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Release date - 2020
genre - Drama
stars - David Duggan
Reed Morano
UK

The rhythm section music. The rhythm section song. The rhythm section facebook. The rhythm section scene. The rhythm section putlocker. The rhythm section reaction. The Rhythm section européenne. Rambo can be decent, Zombieland 2 looks forced and lame, Top Gun definitely will be a riot, 47 meters is the first creature movie that looks interesting - as opposed to Underwater, which is some drab shit. T6 and SW9 are epic fails, Kingsman 3 and Gemini Man are wildcards at this point, Jumanji was never good, B&B looked interesting until it turned out the real bad guys are of course white men, Midway is a meaningless faux-american CGI-fest, and Patrick Stewart is soooooooooooooo wasted on this Charlie's Angels that looks like a shitty action remake of Ghostbusters 2016.

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The Rhythm section 8. The rhythm section gatlinburg. “You egos swiping the debit card that your body demagnetized”. The rhythm section gatlinburg tn. Год 2020 страна Великобритания слоган «Witness The Birth Of An Assassin» режиссер Рид Морано сценарий Марк Бернелл продюсер Барбара Брокколи, Майкл Дж. Уилсон, Аластер Берлинэм,... оператор Шон Боббитт композитор Стив Маццаро художник Том Конрой, Дидак Боно, Луиз Мэтьюз,... монтаж Джоан Собель жанр боевик, триллер, драма, детектив,... слова сборы в США $5 437 971 сборы в мире + $551 612 = $5 989 583 сборы премьера (мир) 27 января 2020,... рейтинг MPAA лицам до 17 лет обязательно присутствие взрослого время 109 мин. / 01:49 с айты т рейлеры с еансы п ремьеры р ецензии о бои п остеры к адры с тудии с вязи н аграды с аундтрек.

RIP My Dad Master Chief. U.S.S Enterprise. When I was a young child I went on board during a family Easter Party for Her crew's family. He introduced me to most of the fighter pilots and to a young kid to see those fighter pilot helmets and those men was an amazing once in a lifetime experience. But my dad will always be my hero. He fought in Vietnam on the p.t. boats and retired in 85 as Master Chief. He served on the USS Pyro, USS Bon Richard, USS Dolgren and the USS Enterprise. The rhythm section car chase. This review contains spoilers, click expand to view. It's probably easier to talk about the things Friends and I liked about this movie since the list is so short. I first want to draw your attention, dear reader, to the fact that the trailer for this movie was very pretty. You too may have noticed the copious wigs that Blake Lively wears and think, hey, I haven't seen a good wig movie since Colossal--or wait, was it The Hustle? Did they both have Anne Hathaway in them? Am I confusing The Hustle with Hustlers? Is she also in American Hustle or is that Amy Adams? She's going to be the Head Witch in that Roald Dahl movie this fall. What's it called? The Witches, right--and if you were thinking that you too are probably the demo for this movie. The greatest strength of this movie, whose screenplay is written by the same person who authored the novel, is the central gimmick of the story: fish out of water/fish learns in extended first act how to do the broad strokes of assassin work/still occasionally makes mistakes/falls out of fishbowl. Lively's character is almost purposefully amateurish at action heroing, which leads to some important blunders early in the movie, like when she lets the probably maybe bomber who killed her family get away from his lunch and then go into hiding. Her inexperience creates the gritty aesthetic to all the fight scenes: an objective lens to violence, slow, and painful hits, brawls, and slugs to the stomach of disabled terrorists, the slapdash tumble in the bus. For Friends this was off-putting and I think for them it made her seem really dumb and clumsy, but I'm a fan of a good brawl in favor of the glossy, photoshopped, over-choreographed fight scenes of my youth typified by movies like The Matrix and Crouching Tiger, Hidden Dragon. Give me a Drunken Angel any day. (On this point, I will say that there are some movies that do a really great job of choreographing fight scenes in fresh ways like Sisters Brothers, where the drama isn't in the fight so much as the ability of those wielding such power to deal with the emotional consequences of their destruction, or even something like Birds of Prey, where the power of luck and accident is powerful and creates humor and tension in the fight. 1917, for all its faults and emptiness, wasn't shy about stripping bare the unromantic elements of warmaking. It would honestly be kind of fun to plot out on a graph all the movies of the past two years on a scale from completely choreographed, romantic to ultra-realistic. ) The car chase scene is also pretty lovely and a nice walk down memory lane for anyone who's been thirsty for Northern Africa since Only Lovers Left Alive. Thus ends the list of things we liked. I'm going to include a section for light criticism and questions at the bottom if you're in the mood to inform: I lost track of the bombmaker toward the end of this movie in the scene where Blake breaks into his house but then is interrupted by the entrance of an unknown extra terrorist guy. When she shoots a bunch of people in that apartment, I honestly thought that she'd at that point completed her mission, and didn't even realize we were still looking for him on the bus. So when she gets to the bus and the wife with the suicide vest is there it feels really jarring, like someone's made an impossible phase shift or time has passed supernaturally quickly. Blake's major thing was being a linguist but she hardly speaks any other language than English. Most of her skills from "being top of her class at Oxford" don't seem to come in handy, which leads me to believe that we're all just a dead family away from showing up in the cheapest brothel imaginable. (Spoiler:) Sterling K Brown's disillusioned ex-CIA monologue was an intriguing look into the psyche of a broken agent, but once we get that he’s the villain it feels vapid and obvious. I liked him better when he was a sexy go-between. It also makes Jude Law's identity and the source of all of his information feel really unresolved at the end of this movie. Blake herself shouts at him through the phone during their winter sequence, "How could you know that? Who's giving you this information? " and I for one am also still not entirely sure how he has received all of these case-busting tips about currently active terrorist cells. Besides still wondering how Jude Law knows what he knows about U-17, is the spy he killed his wife or...? I kept waiting to be spoonfed the past relationship between him and the agent whose identity Blake is taking over, and then it never came, so I now feel pretty stupid about all of that backstory. Anyway, it will not live up to your expectations unless your expectations were that the first forty minutes are mostly really forgettable and that you could probably walk into the movie cold about three quarters of an hour in during the training sequence and still have a really fun time. … Expand.

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The rhythm section reviews. Not filled with positive messages, but it does show a substance-abuse addict getting clean and working toward a purpose. Also shows how revenge doesn't heal. Positive Role Models & Representations Stephanie Patrick isn't a traditional role model, but she does allow B to help train her back to health, hone her fitness skills, teach her espionage/assassin skills. B is also difficult to call a role model, but he helps Stephanie instead of killing her and shows remorse for killing innocent civilians along with intended targets. Frequent violence, including references to airplane that blew up midflight and turned out to be the target of a terrorist's bomb. Close-ups of characters shot dead. Hand-to-hand fights in which a man and a woman punch, kick, stab, choke, wrestle each other. People are shot, stabbed, blown up, crashed into, poisoned. One character tries but fails to slit someone's throat (she wounds him but doesn't kill). A character's car blows up, killing three innocent people. Several chase scenes in which villains are shooting at main character, trying to run her off the road. Stephanie is a sex worker at start of movie, is shown meeting a customer in a bedroom in a brothel where laughter, moaning are heard. She takes off her underwear but keeps her long T-shirt on, throws condom on bed before customer reveals he just wants to talk. Some fight scenes between Stephanie and B are almost sexually charged. Stephanie seduces a man, but contact shown between them is limited to kissing passionately against a wall. Frequent use of "f--k, " "f--king, " "f--ker, " "s--t, " "a--hole, " "hell, " plus "Christ" and "oh God" as exclamations. Drinking, Drugs & Smoking Stephanie is an addict, is shown staring at, smoking heroin. She has visible track marks and bruises (either from intravenous use or from abuse). Adults drink occasionally. Stephanie buys more drugs, then claims she's not an addict but goes through withdrawal. Stephanie and other adults smoke cigarettes.

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The rhythm section soundtrack. January 29, 2020 9:00AM PT The plot may be boilerplate in this female-driven revenge thriller, but Blake Lively sells it, playing an action hero who fights like a real person: badly. It’s a wonder that Stephanie Patrick makes it to the end of “ The Rhythm Section ” alive. Normal people tend not to survive the kind of sophisticated revenge mission that snaps Stephanie out of her depression and into action-hero mode in Reed Morano ’s dark, broody and unexpectedly human payback thriller, which stars Blake Lively as a more-motivated-than-coordinated Post Traumatic Suffering Dispenser. Lest you fear any mention of her survival constitutes a spoiler, consider this: The movie was adapted from the first of four pulpy Stephanie Patrick novels written by Mark Burnell, so of course she doesn’t die. But she comes awfully close on several occasions, and her near-incompetence in the face of danger makes her relatable in ways very few cinematic assassins have ever been. Paramount is opening the movie in January, the month where Liam Neeson is typically the one to do this kind of dirty work. Lively is hardly the actor’s obvious substitute, though the character she plays — a rock-bottom junkie prostitute — absolutely convinces she has nothing to lose. Actually, since Burnell’s novel was optioned by Eon, the production company behind the James Bond franchise, some have wondered whether Stephanie Patrick’s supposed to be some kind of gender-flipped 007. (No, says Bond custodian Barbara Broccoli. ) From the very first scene, audiences should realize that they’re watching a very different type of character. In many ways, she’s even less like “Atomic Blonde, ” in which Charlize Theron’s meticulously choreographed, unerringly lethal fighting style is fun to watch but pure fantasy. Stephanie, by contrast, panics under pressure. She’s a bad shot, and an even worse driver. In hand-to-hand combat, she gets thrown around, battered and very nearly killed. Multiple times. The movie begins in Tangiers, where Stephanie has gone to eliminate one of the men responsible for the death of her family. (They died in an airplane bombing, and given the spectacle that might have provided, it’s a wonder the movie doesn’t start there. But then, Burnell adapted the novel himself, so he must have had his reasons. ) So, in the amuse bouche opener, Stephanie creeps into his home and points her gun at the back of his head. But she can’t bring herself to pull the trigger. Could you? “ The Rhythm Section ” features lots of terse, no-nonsense dialogue but some pretty corny voiceover — like the howler Lively’s obliged to recite to explain the film’s title. Standing there in silhouette, her weapon extended, Stephanie’s all jitters. But that’s a much more interesting way to approach her first hit anyway. The only person obliged to be a consummate professional here is Morano, a former DP who helmed the first three episodes of “The Handmaid’s Tale, ” effectively setting the tone for the hit Hulu series. This is her third feature, following tragedy-porn “Meadowland” and post-apocalyptic two-hander “I Think We’re Alone Now, ” and the assignment puts fresh demands on its director. Pulling it off means Morano’s obliged to think differently not only about action, but also about how she works with actors. This isn’t an easy role, but Lively aces it. Flashing back more than half a year earlier, the film finds Stephanie looking a lot worse for wear, with scars on her wrists and tears in her eyes. To erase the pain of the plane crash that claimed her parents’ lives, she turns tricks for smack in a squalid London flat. She’s scraping along rock bottom when an investigative reporter named Keith Proctor (Raza Jaffrey) shows up with inside information on the accident — which wasn’t an accident but an attack, he insists. According to Proctor, the authorities know who built the explosive device but have left him to walk the streets of London a free man. “Why did you come for me? ” Stephanie asks. Without missing a beat, Proctor replies, “Because you’re another victim. You’re just not dead yet. ” But a couple scenes later, Proctor’s dead, found with his throat slit in his own apartment. His flat has been art-directed to look like a serial killer’s inner sanctum, and snooping around, Stephanie manages to glean enough from his files to track down his most important source, a nameless ex-CIA operative ( Jude Law) with demons of his own. His damage is nothing compared with hers, however. Stephanie’s still addicted to drugs at this point, and Lively shows us what that looks like, twitching on top of all the trauma her character is already carrying. The psychology of how this once-promising college grad would transform herself first into such a trainwreck — all bruises and track marks, spiky hair and smoky eyes — and from there into an avenging badass is shaky, but Lively’s commitment sells it. Stephanie assumes the identity of a ruthless hitwoman, Petra Reuter (an excuse for wig changes and an attitude makeover), and reaches out to an information trafficker named Marc Serra (Sterling K. Brown) to identify the target we saw her about to eliminate in the opening scene. On paper, the rest of the film seems fairly routine: a series of setpieces against a revolving backdrop of glamorous international locations. We’ve seen it in movies like “Atomic Blonde, ” “Red Sparrow” and “La Femme Nikita. ” Those women are all sexy, self-confident killing machines. But what sets “The Rhythm Section” apart is the simple matter of identification. She’s not a natural. She freezes up, and can’t do what she was trained for. Instead of fighting, she flails wildly, hoping one of her kicks connects with her adversary’s crotch. When she gets hit, it looks like it hurts. And when her gun falls into the bad guy’s hands, she may as well be dead meat. In the end, it’s luck, not skill that keeps her alive. That’s how most of us would be in her situation. Moments later, in an impressively staged, single-take car chase, Stephanie/Petra nearly gets pushed off a cliff. And so it continues through the final showdown. It’s probably for the best that most action movies don’t unfold like this, where careful planning devolves to desperate innovation in the heat of the moment. But this is what’s meant by “visceral, ” and it works in this context — and must be an awful lot harder to pull off, behind the camera. Morano manages, and if Stephanie Patrick ever gets another big-screen mission, it’ll be interesting to see what this experience has taught her. After Netflix and Disney shuttered all live-action productions, Universal has decided to do the same with “Jurassic World: Dominion, ” “Flint Strong” and the untitled Billy Eichner project all going on hiatus effective Friday. The studio continues to monitor the situation closely and will make a determination on when to restart production in the coming weeks. [... ] “Mulan” fans in mainland China on Friday welcomed the news that Disney will postpone the global release of the new live-action blockbuster, happy that they’ll likely now get the chance to see the film in theaters in sync with the rest of the world. The new “Mulan” was scheduled to release worldwide outside of China, [... ] The Walt Disney Company is taking the edge off of “social distancing” from the coronavirus this weekend, by streaming the animated blockbuster “Frozen 2” three months ahead of schedule. Disney Plus aims to surprise families this Sunday with “some fun and joy during this challenging period, ” referring to the global pandemic of COVID-19, which on [... ] In today’s film news roundup, film festivals in San Franciso and Toronto are being canceled or postponed, the American Cinematheque stops screenings and veteran executive Jon Berg lands a new gig. FESTIVALS Two prominent mid-size film festivals in San Francisco and Toronto have joined the avalanche of cancellations and postponements due to the coronavirus pandemic. ] The Alamo Drafthouse chain has abruptly closed its theaters in Brooklyn and Yonkers amid the coronavirus epidemic. The chain made the announcement Friday night without disclosing any reasons. It said all tickets, including convenience fees and ticket add-ons, will be automatically refunded. “Until further notice, we are deeply sad to say that Alamo Drafthouse Brooklyn [... ] The AMC, Regal, Cineplex, Arclight and Alamo Drafthouse chains have imposed limits on sales as a safety precaution in response to the coronavirus pandemic. AMC Theatres, which has 661 locations in North America, and Regal Entertainment Group, which has 564, both announced Friday that will be reducing their maximum capacity by at least 50% due [... ] As the coronavirus pandemic brings moviegoing to a halt in multiple countries, it’s slowing down attendance at North American multiplexes. The openings for “I Still Believe, ” “Bloodshot” and “The Hunt” are all coming in below expectations. Disney-Pixar’s “Onward” is heading for a repeat victory at the box office with about $16 million at 4, 310 locations, [... ].

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