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Erster Trailer zum Klassiker- Remake mit Johnny Depp. Ein Luxuszug fährt durch die verschneite Landschaft und an Bord sind allerlei Gäste. Etwa der dilettantische Kunsthändler Edward Ratchett (Johnny Depp), die spanische Missionarin Pilar Estravados (Penélope Cruz) oder die englische Hauslehrerin Mary Debenham (Daisy Ridley). Dann passiert ein Mord und alle sind verdächtig. Der Krimi "Mord im Orient- Express" basiert auf dem gleichnamigen Roman von Agatha Christie. Für seine Neuverfilmung versammelte Regisseur Branagh, der auch eine der Hauptrollen übernahm, ein unglaubliches Staraufgebot. Neben Depp, Cruz und Ridley werden nämlich unter anderem Judi Dench, Willem Dafoe, Josh Gad, Olivia Colman, Derek Jacobi, Lucy Boynton und Michelle Pfeiffer zu sehen sein. Der deutsche Kinostart ist für den 2. November 2. 01. 7 vorgesehen. Auf dem Balkan bleibt der Orient-Express im Schnee stecken. Als die Leiche eines US-Millionärs entdeckt wird, ermittelt Meisterdetektiv Hercule Poirot, der zufällig. Everyone is a suspect. Clues are everywhere. Unlock the secrets of the Orient Express before it arrives in theaters November 10. Tagesschau.de - die erste Adresse für Nachrichten und Information: An 365 Tagen im Jahr rund um die Uhr aktualisiert bietet tagesschau.de die wichtigsten Nachrichten. FILMSTARTS.de : Kenneth Branagh hat sich eines klassischen Krimiromans von Agatha Christie angenommen und für „Mord im Orient-Express“ eine wahre All-Star.
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The star entrance could hardly be more celebratory if it were for an actual reigning sovereign, but of course the redoubtable Dench really is the queen of this type of role, bringing stern authority combined with an earthy disdain for fuss that humanizes the complex woman behind the figurehead. Many inevitably will roll their eyes at another historical pageant about the British monarchy, and the depiction here of a lowly servant of the empire elevated by his eager devotion to the queen will no doubt strengthen that resistance. But the sizable constituency that turns out for glossy period drama of this kind will embrace the sumptuously appointed Victoria & Abdul as a moving account of an isolated old woman finding joy and lightness in her final years. The fact that it's graced by another unimpeachable performance from Dench should only sweeten the deal for the Focus Features release. In its basic narrative contours, the movie is more or less a grander replica of John Madden's Mrs. Brown, from 1. 99. Dench in that film plays a more recently widowed Queen Victoria, coaxed out of depression by a servant who cuts through the layers of stifling protocol and gains her favor, rankling the royal household as they feel their influence waning. Screenwriter Lee Hall (Billy Elliot) preempts those comparisons with a direct reference, as the queen contemplates her solitude and the meddling of her court from her private Scottish retreat near Balmoral Castle. They couldn't bear me bringing John Brown here," she regretfully recalls to Abdul Karim (Ali Fazal), the handsome young Indian Muslim clerk whisked to England on a Golden Jubilee ceremonial errand that spirals — via his gentle charms and the queen's hunger for warmth and companionship — into a mutual bond of platonic devotion. The fact- based story — Frears and Hall acknowledge some dramatic license up front — was drawn from the book by Shrabani Basu, which in turn was inspired by volumes of Queen Victoria's handwritten notebooks in Urdu, and by the private journals, discovered in 2. Karim, her friend and spiritual advisor. The initial action doesn't portend a light touch. Abdul is introduced hurrying through the crowded streets and bustling marketplaces of Agra, with Danny Cohen's busy handheld camera pumping the exotic atmosphere. And the Brit officials who pluck Abdul from his job keeping the prison ledger might almost seem at home in a Monty Python sketch, with their starchy mugging and eyebrow- arching comments about "an incident with an elephant." Likewise, the second local recruit chosen to go to England, Mohammed (Adeel Akhtar, funny in a thankless role), is presented as a schematic grumpy sidekick, sneering about "the oppressor" while Abdul assures him he should feel honored. But once the action shifts to Britain and Dench takes center stage, the film eases into a pleasurable rhythm. After Abdul makes a favorable first impression by ignoring his royal etiquette instructions and making eye contact, he and Mohammed are summoned for further duty just as they're about to be returned to India. The script convincingly establishes the parched conditions under which the queen might yearn for fresh air by having the Prime Minister (Michael Gambon) reciting a litany of downbeat news in her ear before the delivery of a wobbling jelly pudding spreads a smile across her face. I suddenly feel a great deal better," she says after Abdul again breaks protocol by kissing her slippers. If that sounds like a demeaning display for the film's second title character, it is, and the big hole in Hall's screenplay is its failure ever to question, or even explore, Abdul's motives. He's a jolly instant convert to the Queen Victoria cause who utters nary a whisper of anti- colonialist discomfort, a failing that robs the entertaining film of moral complexity. It helps that Fazal, with his heartthrob looks and expressive eyes, projects such sincerity, but his character nonetheless lacks dimension. Before long, Victoria is regularly dismissing other attendants while Abdul regales her with talk of Indian carpets, the Taj Mahal and mangoes, stoking a curiosity that seems natural for the empress of a country she's been prevented, for safety reasons, from visiting. To the growing consternation of the royal household, headed by Henry Ponsberry (the great Tim Pigott- Smith in one of his final roles), Queen Victoria makes the two Indians her personal footmen. And while Mohammed adapts poorly to the climate, continuing to scowl about "the exploiters of a quarter of mankind," Abdul becomes an indispensable confidant. Hungry for more knowledge of India, the queen appoints Abdul as her teacher, or munshi, receiving daily Urdu lessons from him as part of a culturally specific education entirely new to her. Abdul's failure to disclose his marital status, his religion, his class background or certain irregularities concerning his health cause ripples in the evolving friendship, but the queen takes it all in stride, dismissing the increasingly vocal objections of her staff of racist snobs. Dench is irresistible as the character's (literally) constipated heaviness falls away and she becomes almost giddy with girlish happiness. While holidaying in Florence — where Simon Callow shows up briefly, having fun as a particularly fruity Puccini — Queen Victoria requires little encouragement to sing during the evening's entertainment, bursting with infectious delight into "I'm Called Little Buttercup" from H. M. S. Pinafore. That buoyant mood continues when Abdul takes her hand for a few waltzing turns, almost a gender- reversal of the equivalent moment in The King and I, albeit without the romantic undertones. Naturally, the contentment of the queen and her reliance on the outsider, to the virtual exclusion of all others, pose too great a threat to the Prime Minister and the royal household, whose unrest is stoked by the return of Victoria's son Bertie, Prince of Wales (Eddie Izzard). Channeling his inner Oliver Reed, Izzard glowers with great panache, conveying the festering frustration of a man tired of waiting for his seemingly immortal mother to move on and hand over the crown. If the film seldom moves in any surprising direction, nor does it ever stall. The determination with which both the queen and Abdul reaffirm their reciprocal loyalty despite vociferous opposition becomes steadily more touching, acquiring genuine pathos as her health rapidly declines. Hall overstates the obvious here and there, such as an awkward scene in which Bertie and Ponsberry ask Mohammed to serve as a spy, digging up incriminating dirt on Abdul. But fine performances from a cast of pros generally win out over the story's more formulaic aspects. Cohen's camera settles down into a more composed groove once the key character dynamic is established. And while there's no shortage of visual splendor in Alan Macdonald's production design and Consolata Boyle's beautiful costumes, the unconventional chemistry of the two leads gives the movie a pleasing intimacy, echoed in Thomas Newman's score. Reuniting with her Philomena director, Dench's flinty intelligence and ability to pack infinite shadings into a role will be news to no one; the sense of bone- deep fatigue she brings to the part in the early and late scenes is especially affecting. But Fazal, a Bollywood star seen in Furious 7, gives her a more- than- capable foil, so even if the script does too little to balance the relationship, we remain invested in it through to the sorrowful end. Production companies: Working Title, in association with Cross Street Films. Distributor: Focus Features. Cast: Judi Dench, Ali Fazal, Eddie Izzard, Adeel Akhtar, Tim Pigott- Smith, Olivia Williams, Fenella Woolgar, Paul Higgins, Robin Soans, Julian Wadham, Simon Callow, Michael Gambon. Director: Stephen Frears. Screenwriter: Lee Hall, based on Shrabani Basu’s book, Victoria & Abdul: The True Story of the Queen's Closest Confidant. Producers: Tim Bevan, Eric Fellner, Beeban Kidron, Tracey Seaward. Executive producers: Christine Langan, Joe Oppenheimer, Lee Hall, Amelia Granger, Liza Chasin. Director of photography: Danny Cohen. Production designer: Alan Macdonald. Costume designer: Consolata Boyle. Music: Thomas Newman. Editor: Melanie Ann Oliver. Casting: Leo Davis, Lissy Holm, Nandini Shrikent. Venue: Venice Film Festival (Out of Competition)Rated PG- 1. Judi Dench delivers in otherwise overstuffed 'Victoria & Abdul'In Victoria & Abdul, a gilded let’s- tweak- the- Empire- but- not- really talkfest duet directed by Stephen Frears, our first encounter with Queen Victoria (Judi Dench) comes during a lavish lunch for her majesty’s golden jubilee. It’s 1. 88. 7, and the 6. She’s so bored and depressed that she can barely stay awake, so she eats herself into a food coma and looks ready to be wheeled out — that is, until Abdul Karim (Ali Fazal), a 2. Indian clerk who’s been chosen to present her with a mohur (a gold coin minted by British India), approaches her royal highness. Their eyes meet, agleam with a delight that’s nearly flirtatious, as if Tinkerbell had just sprinkled fairy dust on both of them. And so begins a love affair: not a literal one, but a mother- son, master- servant, disciple- guru bond that will stay in place, and grow, for the next 1. Victoria’s death, in 1. There really was an Abdul Karim, and though Victoria & Abdul has a cheeky introductory title that says “Based on true events…mostly,” the movie, written by Lee Hall (who drew upon the 2. Indian journalist Shrabani Basu), sticks close to the particulars of how he came to be a special companion of Victoria’s. She referred to him as “the Munshi,” a word that to Victoria, in the movie, means spiritual teacher. But he’s really her elixir. His very presence makes her feel good. If Queen Victoria, from minute one, seems not only familiar to us but, indeed, like an old friend, that may be because Dench, 2. Mrs. Brown (1. 99. Then too, in the couple of decades since, Dench has played nearly every role as if it were a species of misbehaving royalty: the cutting wit and puckish superiority, the way she has of laughing — or crying — invisibly beneath that dour scolding visage. Dench is 8. 2 now, but she remains the world’s most formidable pixie, and in Victoria & Abdul she’s in her element and in her snappish, showbiz- melancholy prime. The film surrounds Dench with a coterie of stuffy arrogant British fools for her to not suffer gladly, each one adding to her (and the audience’s) satisfaction. And then there’s Abdul. He is tall, twinkly, and yummy handsome, with thick shiny black hair and a beard that makes him look like Paul Mc. Cartney in Let It Be. The Indian actor Ali Fazal, a Bollywood star who made his Hollywood debut in Furious 7 (2. When Abdul first sees Victoria after that lunch, it’s at another public event, and, rather startlingly, he gets down on the ground to kiss the queen’s foot. She doesn’t ask him to; he just does it.) Later on, he talks to her, in starry- eyed tones of gentle rapture, about the Taj Mahal and the wonders of Indian cuisine (especially the glories of mango chutney), and he agrees to teach her Urdu, which he calls the most “noble” of Indian languages. When he reveals that he’s married, he tells Victoria that she means more to him than his wife does. Victoria, too, looks up to Abdul, at times the way the Beatles did (however briefly) to the Maharishi: as an exotic force of enlightenment. Yet the word munshi was used, at the time, to mean clerk or secretary, and the central relationship in Victoria & Abdul never pretends to be one of equals. Abdul, as a man, remains dutiful, devoted, saintly, obsequious, servile. Maybe that’s accurate, maybe not, but in a mainstream middlebrow drama coming out in 2. British colonization of India that comes off as myopic and, frankly, a little too old- fashioned for comfort. Victoria & Abdul is a pleasant enough entertainment, and it will bring the inevitable awards chatter Dench’s way (is her acting ever less than pinpoint? Never). But as prestige period pieces go, it’s far from top- drawer (more like second drawer, or even third), because its cozy lack of enlightenment is echoed in the standard but far from scintillating play of its drama. What we once liked to call Masterpiece Theatre movies — an archaic term even before Downton Abbey came along — were built upon a certain vital and up- front nostalgia for the age of manners, civilized romance, and courtly Britishness. But Victoria & Abdul is a movie that appears to be specifically nostalgic for the relationship between England and India under the British empire. Thirty- five years ago, in a movie like Heat & Dust (1. Merchant Ivory team explored the symbiosis of India and England in a way that was far more complex and morally shaded. Victoria & Abdul does voice some anti- colonial sentiment, but it’s all placed in the mouth of Abdul’s angry comrade, Mohammed (Adeel Ahktar), who calls the British “barbarians” because of all the animal parts they consume. His ire is treated as a semi- joke, but the real issue is why Abdul, in all his radiant intelligence, is portrayed as a man who never once longed for his country to be free of the yoke of British occupation. I’m not arguing for an anachronistic reading of history, but when Victoria refers to herself as the Empress of India, and Abdul just smiles on, the movie comes close to portraying it as if that were the natural order of things. Of course, this being an American- British Oscar- bait production, there are all these marquee British actors playing stuffed shirts: Michael Gambon as the Prime Minister, Olivia Williams as Baroness Churchill, Eddie Izzard as Victoria’s son, the Prince of Wales. They turn up their noses at Victoria’s guru- servant and speak of how the Indians are of a “lower” order, and the audience gets to silently tut- tut them, which makes it seem as if the movie has its heart in the right place. But the film’s true strategy is to “dignify” India by holding up a superstar saint like Abdul as its flawless representative. That’s not enlightened — it’s Guess Who’s Coming to Dinner served with mango chutney. Get more from Variety and Variety. Follow us on Twitter, Facebook, Newsletter. Ich, Daniel Blake (2. IMDb. Edit. Goofs. When Daniel is in the benefits office the adviser Ann notices he looks unwell and sits him down and gives Daniel a plastic cup of water. Initially when Daniel gets the cup there are two or three cups stick together, as sometimes happens, the film then cuts away and then back and Daniels cup has become just one plastic cup. See more ». Quotes. Katie. I'm just really hungry. 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Top best free movie streaming sites 2017 to watch free movies online without signup.Best free movie websites to watch free movies online without downloading. D23 is upon us this weekend, and with it, a new behind-the-scenes glimpse at the next chapter in the Star Wars saga. But although the movie didn’t offer us a full. It is likely to feature Kylo Ren, Luke Skywalker, Rey, Finn, Supreme Leader Snoke and General Hux. Read: Star Wars VIII LEAKED details reveal new things on Rey, Finn and Kylo Ren in The Last Jedi The new information revolves around the first look of Kylo Ren in The Last Jedi. According to the leaked details, Adam Driver's character will appear with a scar on his face in the first teaser trailer. Star Wars theorist Mike Zeroh, through his latest You Tube video, claimed that the first teaser trailer of The Last Jedi will feature a shot of Kylo Ren and he will look scarier in it. I think this is going to be a big money shot mainly because many of the fans are curious to know what Kylo Ren looks like now. According to him, a follower of the science fiction film series shared an on location photo of the movie.
The image features a coast of Ireland. It sounds like a lightsaber training section. Star Wars Special Stamps and Souvenirs. Cookies are small text files stored by your device when you access most websites on the internet. We will use two types of cookies: Session cookies - these expire when you close your browser and do not remain on your computer. Persistent cookies - these are stored in the longer term on your computer. They are normally used to make sure the site remembers your preferences. Website) uses cookies in order to make it easier to use and to support the provision of relevant information and functionality to you. Cookies also provide us with information about how this Website is used so we can keep it is as up to date, relevant and error free as possible. Further information about the types of cookies in use on this Website is set out below. By using this Website you agree to the use of cookies. 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These cookies don't collect information that identifies individuals. Having taken her first steps into a larger world in Star Wars: The Force Awakens (2015), Rey continues her epic journey with Finn, Poe and Luke Skywalker in the next. Star Wars devotees who can’t wait for December need look no further. With exclusive access to writer-director Rian Johnson, plus interviews with Mark Hamill, Daisy. Star Wars: The Last Jedi (also known as Star Wars: Episode VIII – The Last Jedi) is an upcoming American epic space opera film written and directed by Rian Johnson. All information is aggregated and therefore anonymous. This Website use performance cookies to: Provide statistics on how this Website is used (including selections that you have made and goods and services that you have viewed, during your use of this Website)See how effective our adverts are. Enable us to track and improve this Website by analysing visitor behaviour and results. 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These cookies collect information about your browsing habits on this Website in order to make advertising both on this Website and other websites you subsequently visit relevant to you and your interests, to limit the number of times those adverts are served to you and to help measure the effectiveness of advertising campaigns. I have viewed your review, i muat say i don’t agree with your synopsis of the video. Apparently, there were. I feel that after being worn out from the previous two installments, "Star Wars Episode III: Revenge of the Sith" is kind of a breath of fresh air to all the fans and. |
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