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2020
genre=Comedy
info=Emma. is a movie starring Anya Taylor-Joy, Tanya Reynolds, and Josh O'Connor. In 1800s England, a well meaning but selfish young woman meddles in the love lives of her friends
2 h 4 m
directed by=Autumn de Wilde
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Emma watch video. Really liked it Average rating 4. 00 596, 432 ratings 15, 200 reviews, Start your review of Emma Loved it! Why don't I read more classics? I'll definitely need to read her other books. The BBC tv show was also adorable! This is a book about math, mirrors and crystal balls, and dont let anyone tell you otherwise. Village life? Sorta. The lives of the idle rich? I mean, sure, but only partially and incidentally. Romance? Barely. A morality tale of the Education of Young Lady? The young lady stands for and does many more important things than that. These things provide the base of the novel, the initial bolt of fabric, the first few lines of a drawing that set the limits of the author to writing about these... “I may have lost my heart, but not my self-control. ” Personally, I may have lost my self-control, but not my heart. My motivation to read this book stemmed from J. K. Rowling stating that this was one of her favourite books. A few years ago I read my first Jane Austen, which was Pride and Prejudice, and I really enjoyed it. I thought Emma couldn't be that bad, it's a popular classic and its rating is good. To be honest, it's not bad, exactly, but the fact that it took me one whole month to get... Austen paints a world of excess. Shes just so fucking brilliant. That much so I found the need to swear. The sarcasm is just oozing out of her words. She doesnt need to tell you her opinions of society: she shows them to you. Simply put, Emmas farther is a ridiculous prat. Theres no other word for it. He spends his day lounging around eating rich and expensive food and doesnt bother to exercise his body or mental faculties. The thought of visiting his recently departed governess, a... My interpretation of the first 60+ pages of Emma: Oh, my dear, you musn't think of falling for him. He's too crude and crass. Oh, my dear Emma, you are perfectly correct. I shan't give him another thought. Oh, my dear, that's good because I would have to knock you flat on your arse if you were considering someone of such low birth. Yawn. I tried, but life's too short. Plus, I like 'em crude and crass. Cross posted at This Insignificant Cinder My dear Jane Austen, I hope you dont mind that I write to you, expressing my gratitude for your brilliant handling of words. And as the post office is an object of interest and admiration in your novel “Emma”, I thought a letter would be the adequate way of communicating my thoughts. I must start by confessing that I dont like your heroine at all. Obviously, this sounds like a harsh judgment on a classic character like Emma Woodhouse, and I wouldnt have dared to be as honest with you as I am... Jane Austen famously wrote: I am going to take a heroine whom no one but myself will much like. My initial take: Truer words, Jane. Truer words. Emma is wealthy and beautiful, the queen bee of society in her town, and boss of her household (since her father is a hand-wringing worrywart, almost paralyzed by his fears. Shes prideful, self-satisfied and convinced she knows best, not just for herself but for pretty much everyone in her circle. When Emma decides shes got a gift for matchmaking... 936. Emma, Jane Austen Emma, by Jane Austen, is a novel about youthful hubris and the perils of misconstrued romance. The story takes place in the fictional village of High-bury and the surrounding estates of Hart-field, Randalls, and Donwell Abbey and involves the relationships among individuals in those locations consisting of "3 or 4 families in a country village. The novel was first published in December 1815 while the author was alive, with its title page listing a publication date of 1816... I must begin by stating that I may be utterly biased here. Emma is the novel that introduced me to the treasure that are Jane Austen's masterpieces. I read it when I was fourteen, and fell in love with it right there and then. People often tend to mention that Emma Woodhouse is the least likeable heroine Jane Austen has created. It may be so, since she is rather headstrong, spoiled and with a strong tendency to plan other people's lives, without giving a second thought to all possible... Emma woodhouse changes from being vain and self satisfied, blind to her own feelings and dangerously insensitive to the feelings of others, in a slow, painful progress towards maturity. Okay, when I first started the book and was reading how Emma was taking happiness away from Harriet Smith by telling her that Mr. Martin wasn't good enough for her - I didn't like Emma at all. Now I can understand how Emma only wanted to do good by Harriet and that was how it was back in those days. But, as Mr. Knightely pointed out, Harriet was not from some wealthy family and Emma was doing the wrong thing in trying to find her a great husband. Mr. Knightley went to the trouble to help Mr... 3. 5 stars rounded up because of the narration. I've noticed a lot of people hate Emma. She's spoiled by her circumstances and self-absorbed in a way that only someone who hasn't really known any sort of hardships can be. And I get why she isn't the heroine that anyone is really rooting for in a serious way. Because if the book had ended with Emma alone with her father, it wouldn't have really broken my heart. But here's the thing I found as I listened to this one: It wasn't really Emma that I... Emma, a young woman in Regency England lives with her rich, but eccentric widowed father Henry Woodhouse, in the rural village of Highbury, always concerned about his health (hypochondriac, in the extreme) and anybody else's, Mr. Woodhouse, constantly giving unwanted advise to his amused friends and relatives, they tolerate the kindly old man. Miss Woodhouse ( they're very formal, in those days) is very class conscious a bit of a snob ( but lovable) and will not be friends with people below... Oh my goodness, did I love. At one point, toward the end, when the thing that Austen was working toward happened, I literally fell down from the couch to the rug. Emma herself is a unique creation, a headstrong, misguided, self-confident girl who we can't help but love, because she is honest. The love complications are innumerable, the humor is excellent, and the writing is spectacular. Without the intensely crafted plot of Pride and Prejudice, say, Austen's sentences are left to carry the book... I can't do it! I can't finish it! I keep trying to get into Jane Austen's stuff and I just can't make it further than 150 pages or so. Everything seems so predictable and sooooo long-winded. I feel like she is the 19th century John Grisham. You know there's a good story line in there somewhere, and if you could edit out 60% of the words it would be fantastic. Sorry to all the Jane Austen fans-you inspired me to try one more time and I failed! Although using this trite doesn't mean that the fact is any less true, it is still at the risk of sounding cliché when I say that Jane Austen's classic, Emma, is like a breath of fresh air when juxtaposed to the miasmal novels in the publishing market today; especially for someone who has been on a YA binge of late. You see, the reason why I went for Emma as my first Austen read is because my mother has seen the latest movie adaptation, and she claims it to be her very favorite. Mind you, she... I'm beginning to put in more work in my hobby - my solitary one, reading - than I've put in my career. 400 pages of this stuff is the strong stuff. I have little to analyze here. That is because a lot of the things that can be construed, can be true of any book. Like Sam Harris said, even a cookbook, if improperly analyzed, can yield truths that can seem profoundly benevolent. If I say that the mixture of oil and aniseed symbolizes the purity of the cookbook, that's not conductive to a balanced... Of all of Austen's books - and I've read them all several times - I learn the most from Emma. I believe that one of Austen's goals in writing is to teach us to view the rude and ridiculous with amusement rather than disdain. And in Emma we have the clearest and most powerful picture of what happens when we don't do this: when Emma speaks out against Miss Bates. Though rude on Emma's part, we can't help but love her for her mistake and feel her shame because we've all been there. When I feel I... I hope not to raise any of my friends sensibilities when I tell you that although I liked Emma, I did not love it. Emma simply did not move me. "With insufferable vanity had she believed herself in the secret of everybody's feelings; with unpardonable arrogance proposed everybody's destiny. She was proved to have been universally mistaken. She had brought evil on Harriet, on herself, and she too much feared, on Mr. Knightley. I liked the hilarity of her well-meaning but misdirected attempts... Jane Austen seems to be a rather divisive figure as of late. You love her for her wit, her irony, her gentle but pointed depictions of manners and love. Or you hate her because she seems to be harking back to an age of prescribed gender roles and stultifying drawing room conversation. I am of the former camp. Emma may be one of her more divisive novels and the title character one of her more controversial creations. Or perhaps that should be – one of her more irritating creations. She exasperates... "With insufferable vanity had she believed herself in the secret of everybody's feelings; with unpardonable arrogance proposed everybody's destiny. Regarded as one of Jane Austen's most important works, Emma is a novel about a handsome, clever and rich young woman - Miss Woodhouse - who lives on the fictional estate of Hartfield, in the Surrey village of... This was the perfect book to reread during my Christmas break. I am a devoted fan of Jane Austen's work, but even so, I find "Emma" to be particularly charming and insightful. The story of the "handsome, clever and rich" Emma Woodhouse, who is determined to be a matchmaker among her friends but is constantly making blunders, is one that always makes me smile when I read it. I especially like the descriptions of Emma's neighbors and of Highbury. Indeed, the novel is so vivid I feel as if I could... It took me longer to read this than any other Austen novel. It's a lot denser than her usual effortless breezy brilliance and it's also more nuanced and a little darker. For the first time she creates a central female character who isn't likeable. Emma is smug, she's a snob and she's a classic control freak. She tends to disapprove of any coupling she herself hasn't helped bring about. She herself, devoted to her ailing and rather tiresome father, maintains she will never marry. The narrative... ‘ Seldom, very seldom, does complete truth belong to any human disclosure; seldom can it happen that something is not a little disguised or a little mistaken. Emma Woodhouse, the heroine and namesake of Jane Austens last novel to be published within her lifetime, spends her days of leisure playing matchmaker and offering the reader her keen eye for the character of the locals of Highbury. However, this keen eye may not be as accurate as she would wish it to be. Through her inaccurate impressions... Still not the full review, just a warm-up exercise. You could not shock her more than she shocks me; Beside her Joyce seems innocent as grass. It makes me most uncomfortable to see An English spinster of the middle class Describe the amorous effects of "brass. Reveal so frankly and with such sobriety The economic basis of society. W. H. Auden, Letter to Lord Byron (1936) While twelve readings of Pride and Prejudie give you twelve periods of pleasure repeated, as many readings of Emma give you... Second revived review to celebrate the 200th anniversary of the death of Jane Austen. Sorry Jane, this is rather a feeble review. The only thing I can remember about this beloved novel is that I read it on the bus to work. That's it. On the bus. Sorry. The three stars is because I like reading on buses. If you're into stuff like this, you can read the full review. Such a Beautiful Hindquarter of Pork: Emma" by Jane Austen I wonder if a variation on the Unreliable Narrator is permissible here? Jane Austens Emma, while narrated solely by the author herself, is told exclusively from the title characters point of view (chime in and correct me if there are scenes in which she doesnt take part, however minor) so that Austen becomes Emmas interpreter, and our interlocutor. Its a very deliberate... All these beautiful rereads I'm forced to do because of university are going to mess with my avg rating of this year, but I DON'T CARE. Sometimes I think I like Emma even better than I like Pride and Prejudice. It's so fresh, so sparkly, so linguistically nimble, I would deem it impossible if I hadn't read it twice, bought three copies of it, and watched the movie far too many times to count. “I cannot make speeches, Emma:” -he soon resumed; and in a tone of such sincere, decided, intelligible... Upon my word! After reading a couple of chapters of Emma I do declare—with all due respect—that Miss Emma Woodhouse is one silly cow. I have sought assurance from my dear friend—the very learned Mrs. Roberts from a nearby vicarage—regarding correct usage of the term “silly cow”, and she has given me her approbation with the greatest felicity. Yes, Emma Woodhouse is clueless, so much so that the wonderful 1995 movie Clueless is entirely based on her story. Emma likes to make matches, and I dont... I'm pretty impressed with this busybody know-it-all. As a character novel, the entire thing is extremely dense and interesting and oh-so-convoluted. As a plot novel, it's not so much of anything. Fortunately, I was in the mood for something that would lift individual silly characters from the realm of the opinionated and silly and and arrogant to the level of real humanity with eyes flying open. Honestly, Austen is great at this kind of zinger. It's all about the self-realizations and the...

Ema watch movie cast. Ema Watch movie database. Production Notes from IMDbPro Status: Completed, See complete list of in-production titles  » Updated: 24 May 2019 More Info: See more production information about this title on IMDbPro. Videos Learn more More Like This Horror Thriller Successful author Veronica finds herself trapped in a horrifying reality and must uncover the mind-bending mystery before it's too late. Directors: Gerard Bush, Christopher Renz Stars: Janelle Monáe, Eric Lange, Jena Malone Drama Fantasy 1 2 3 4 5 6 7 8 9 10 6. 6 / 10 X Lost on a mysterious island where aging and time have come unglued, Wendy must fight to save her family, her freedom, and the joyous spirit of youth from the deadly peril of growing up. Director: Benh Zeitlin Yashua Mack, Devin France, Gage Naquin Comedy Romance While matchmaking for friends and neighbours, a young 19th Century Englishwoman nearly misses her own chance at love. Douglas McGrath Gwyneth Paltrow, James Cosmo, Greta Scacchi 5. 6 / 10 Satire about the world of the super-rich. Michael Winterbottom Asa Butterfield, Sophie Cookson, Isla Fisher 8. 1 / 10 A passionate coming-of-age tale set amidst the conservative confines of modern Tbilisi, the film follows Merab, a competitive dancer who is thrown off balance by the arrival of Irakli, a fellow male dancer with a rebellious streak. Levan Akin Levan Gelbakhiani, Bachi Valishvili, Ana Javakishvili Adventure A horror adaptation of the popular '70s TV show about a magical island resort. Jeff Wadlow Lucy Hale, Maggie Q, Portia Doubleday 7. 5 / 10 An extraordinary look at the lives of a middle-aged couple in the midst of the wife's breast cancer diagnosis. Lisa Barros D'Sa, Glenn Leyburn Liam Neeson, Lesley Manville, Amit Shah Action Mystery 5. 5 / 10 A woman seeks revenge against those who orchestrated a plane crash that killed her family. Reed Morano Blake Lively, Jude Law, Sterling K. Brown Sport A former HS basketball phenom, struggling with alcoholism, is offered a coaching job at his alma mater. As the team starts to win, he may have a reason to confront his old demons. But will it be enough to set him on the road to redemption? Gavin O'Connor Ben Affleck, Janina Gavankar, Michaela Watkins Set in the underworld of debt-collecting and follows the homegrown hustler Peg Dahl, who will do anything to escape Buffalo, NY. Tanya Wexler Zoey Deutch, Jai Courtney, Judy Greer War 7. 2 / 10 1945, Leningrad. WWII has devastated the city, demolishing its buildings and leaving its citizens in tatters, physically and mentally. Two young women search for meaning and hope in the struggle to rebuild their lives amongst the ruins. Kantemir Balagov Viktoria Miroshnichenko, Vasilisa Perelygina, Andrey Bykov A stormy reunion between scriptwriter Lumir with her famous mother and actress, Fabienne, against the backdrop of Fabienne's autobiographic book and her latest role in a Sci-Fi picture as a mother who never grows old. Hirokazu Koreeda Catherine Deneuve, Juliette Binoche, Ethan Hawke Edit Storyline Jane Austen's beloved comedy about finding your equal and earning your happy ending, is reimagined in this. Handsome, clever, and rich, Emma Woodhouse is a restless queen bee without rivals in her sleepy little town. In this glittering satire of social class and the pain of growing up, Emma must adventure through misguided matches and romantic missteps to find the love that has been there all along. Written by Focus Features Plot Summary Add Synopsis Taglines: Handsome, clever, and rich. Motion Picture Rating ( MPAA) Rated PG for brief partial nudity Details Release Date: 21 February 2020 (USA) See more  » Company Credits Technical Specs See full technical specs  » Did You Know? Trivia 4 different switchers were used during the making of this film See more » Connections Version of Emma  (1960) See more ».

Login • Instagram. Emma, fourth novel by Jane Austen, published in three volumes in 1815. Set in Highbury, England, in the early 19th century, the novel centres on Emma Woodhouse, a precocious young woman whose misplaced confidence in her matchmaking abilities occasions several romantic misadventures. Gwyneth Paltrow and Toni Collette in Emma Gwyneth Paltrow and Toni Collette in Emma (1996) directed by Douglas McGrath. 1996 Miramax Films Plot summary Emma s introduction of the character Emma Woodhouse is among the most famous in the history of fiction. According to the narrator: Emma Woodhouse, handsome, clever, and rich, with a comfortable home and happy disposition, seemed to unite some of the best blessings of existence; and had lived nearly twenty-one years in the world with very little to distress or vex her. The force of the verb seemed is pointed. Emma is indeed beautiful, wealthy, and smart. However, she is also spoiled, meddlesome, and self-deluded. Although she is convinced she will never marry, Emma believes she is an excellent matchmaker. As she tells her father and her dear friend Mr. Knightley, she practically arranged the recent marriage between her former governess, Miss Taylor, and the widower Mr. Weston. (She did, after all, introduce them. After such a clear “success, ” Emma is determined to make another match. This time, she has set her sights on the village vicar, Mr. Elton. Both Emmas father and Mr. Knightley caution her against interfering, but they ultimately fail to dissuade her. Get exclusive access to content from our 1768 First Edition with your subscription. Subscribe today Shortly thereafter, Emma befriends Harriet Smith, a 17-year-old student at a local boarding school. Harriets parentage is unknown; she is “the natural daughter of somebody” who many years ago placed her in the care of the schools headmistress, Mrs. Goddard. Despite the obscurity of her birth and her perceived inferior social status, Emma decides that Harriet is a perfect match for Mr. Emma sets about improving her friend, first, by discouraging her interest in Robert Martin, a young farmer whose family is renting land from Mr. Knightley. Harriet clearly has feelings for Robert (and Robert for her. Emma convinces her otherwise; she tells Harriet that Robert is beneath her. When Robert writes a letter asking for her hand in marriage, Harriet, with Emmas counsel, refuses him. When Mr. Knightley visits Emma, he excitedly tells her about Roberts intent to marry Harriet. After Emma informs him that Harriet has already rejected Roberts proposal (with her help) Mr. Knightley is furious. He criticizes Emma for interfering, claiming Robert is a respectable man and a good match for Harriet. Mr. Knightley storms out. He does not visit Emma again for some time. In his absence, Emma continues to push Harriet and Mr. Elton together. With Robert out of the way, and Harriet and Mr. Elton spending more and more time together, Emma begins to celebrate the success of her endeavour. All seems to be going well until Christmas Eve, when Mr. Elton reveals to Emma that he is in love with her, not Harriet, and has been spending time with Harriet only to please her. Humiliated by her attempt to pair him with Harriet, Mr. Elton resolves to retire to Bath. Emma is forced to tell Harriet about Mr. Elton and spends the next several days consoling her. Meanwhile, two new visitors arrive in Highbury: Jane Fairfax, the beautiful orphaned niece of Emmas neighbour Miss Bates, and Frank Churchill, the dashing young son of Mr. Initially, Emma dislikes Jane. She condemns her for being too “cold” and too “cautious. ” (The narrator suggests that Emma is in fact jealous of Jane, because Jane had previously met Frank, whom Emma has taken a liking to. Mr. Knightley defends Jane, reminding Emma that, whereas she is privileged, Jane has no fortune and must soon leave to work as a governess. Mrs. Weston suspects that Mr. Knightley harbours some romantic feelings for Jane. Emma adamantly denies this. Emmas initial interest in Frank does not last. After a while, she begins to imagine him as a potential match for Harriet, and, when Harriet confesses her love for a man of a higher social status, Emma assumes she means Frank. As it turns out, Harriet is in love with Mr. Knightley, who, at a recent village ball, saved her from the embarrassment of being snubbed by Mr. Elton and his new wife. Suddenly, Emma realizes that she, too, loves Mr. She realizes that if she had let Harriet marry Robert, she might have avoided this whole mess. And thus the denouement begins. Not long after Harriets confession, Frank makes a hasty departure from Highbury. As he later explains in a letter to Emma, he and Jane have secretly been engaged all along. His flirtation with Emma was just a ruse—a way to buy time until his relatives agreed to his marriage with Jane. Emma and Mr. Knightley discuss this surprise turn of events. To Mr. Knightleys surprise, Emma confesses that she never loved Frank. Knightley, in response, professes his love for Emma. She is overjoyed, and they implicitly agree to be married. Emma briefly worries about Harriet and how she will receive the news of their engagement. Emma is pleased to learn that Harriet has decided to marry Robert after all. The novel thus concludes with three marriages: Jane and Frank, Harriet and Robert, and Emma and Mr. Analysis and interpretation Marriage and social status are the two foci of Emma. Most of the drama in Austens novel revolves around who loves whom and what that means, given their social station. Social status in 19th-century England was determined by a confluence of factors, including, but not limited to, family name, sex, birthright, reputation, and wealth, and it dictated much about the course of a persons life. Members of the higher social classes were not expected to intermarry, let alone interact, with members of a lower class. In fact, in some cases, such marriages were considered inappropriate. Jane Austen Jane Austen. North Wind Picture Archives Through Emma, Austen subtly satirizes her societys obsession with social distinctions. At the beginning of the novel, Austens heroine is confident she knows who “the chosen and the best” are in Highbury and who constitutes the “second set. ” Keeping with her social code, Emma discourages Harriet from pursuing a relationship with Robert. As Emma explains, Robert is not a “gentleman. ” He is therefore destined to become “a completely gross, vulgar farmer, totally inattentive to appearances, and thinking of nothing but profit and loss. ” Emma is similarly appalled when Mrs. Elton presumes to call Mr. Elton and Mr. Knightley “Mr. E” and “Knightley. ” Mr. Knightley challenges Emmas notions of class distinction, pushing her to contemplate whether such distinctions truly matter. When Emma criticizes Robert for his ungentlemanly demeanour, Mr. Knightley impassionedly defends Robert, claiming that he “has more true gentility than Harriet Smith could ever understand. ” After all her attempts to make suitable matches fail, Emma finally begins to realize that social distinction does not equate to a constitutional difference in character. By the end of the novel, Emma has learned her lesson, and she decides that “[i]t would be a great pleasure to know Robert Martin. ” In terms of its subject matter, Emma was by no means revolutionary: Austen herself described the novels subject (“Three or four families in a country village”) as an ideal subject for any novel. However, Emma was revolutionary in terms of its form and style. Before Austen, novelists generally used either first- or third-person narration to tell their stories. Austen combined the two styles, first in Sense and Sensibility (1811) and then again in Emma. From the outset, Austen characterizes Emma as a self-deluded young woman. Austens style of narration allows the reader to share in Emmas delusions: The longer she considered it, the greater was her sense of expediency. Eltons situation was most suitable, quite the gentleman himself, and without low connections; at the same time not of any family that could fairly object to the doubtful birth of Harriet. He had a comfortable home for her, and Emma imagined a very sufficient income; for though the vicarage of Highbury was not large, he was known to have some independent property; and she thought very highly of him as a good-humoured, well-meaning, respectable young man, without any deficiency of useful understanding or knowledge of the world. Here Austen distinguishes the voice of the third-person narrator from that of the heroine. Using phrases like “quite the gentleman himself” and “a comfortable home for her, ” Austen evokes Emmas consciousness through a type of subjective narration called free indirect discourse. Its intended effect is to close the distance between the reader and the character, thereby helping the reader to see through the characters eyes. In this passage (and throughout Emma) Austen passes between Emmas own thought processes and a more straightforward, traditionally third-person narrative voice (“she considered it, ” “Emma imagined”. Emma was one of the first novels—if not the first novel—to employ sustained free indirect discourse. As such, some critics locate it among novels such as James Joyce s Ulysses (1922) and Virginia Woolf s Mrs. Dalloway (1925) as one of the great experimental novels of the 19th and 20th centuries. Publication and reception Austen began writing Emma in January 1814. She finished the novel a little over a year later, in March 1815. In the fall of 1815, Austen submitted Emma to London-based publisher John Murray. Murray offered Austen 450 in return for the copyrights of Emma and two of her previous novels, Sense and Sensibility (1811) and Mansfield Park (1814. Upon receiving his offer, Austen called Murray a “Rogue” and resolved to retain the copyright herself. Murray eventually published Emma on commission, with Austen herself paying for advertising and an initial print run of 2, 000 copies. First editions of the three-volume novel hit bookshop shelves in December 1815. Like her previous novels, Emma was published anonymously. Austens novel was received by friends and family members with mixed reviews. In general, they criticized the plot for its lack of action and romantic drama. Contemporary critics expressed more favourable views, praising the authenticity of Austens characters and, especially, her heroine. Critics also appreciated Austens “amusing” sense of humour. An anonymous reviewer for the Quarterly Review —long believed to be Sir Walter Scott —said of Austen and Emma: The authors knowledge of the world, and the peculiar tact with which she presents characters that the reader cannot fail to recognize, reminds us something of the merits of the Flemish school of painting. The subjects are not often elegant, and certainly never grand; but they are finished up to nature, and with a precision which delights the reader. Irish poet Thomas Moore wrote in a similar vein. He described Emma as “the very perfection of novel-writing. ” Legacy Austen did not expect readers to like the protagonist of Emma. About her, Austen famously said, “Im going to take a heroine whom no one but myself will much like. ” Generations of readers have proved Austen wrong. “Handsome, clever and rich, ” Emma is undoubtedly one of Austens most beloved characters. Modern readers have by and large embraced Emma and her flaws. Feminist critics have identified her as an archetype of the modern woman, whose prospects and future happiness do not depend on marriage. Austens novel continues to be tremendously popular with modern audiences. Emma has been adapted for the stage and screen several times. Notably, in 1995, Clueless was released, a contemporary take starring Alicia Silverstone as Cher (Emma) Paul Rudd as Josh (Mr. Knightley) Brittany Murphy as Tai (Harriet) and Jeremy Sisto as Elton (Mr. Elton. Unlike the original novel, Clueless is set in Beverly Hills, California, in the mid-1990s. The film achieved cult status in the 21st century. Other notable screen adaptations of Emma were released in 1996 and 2009. Haley Bracken.

Ema Watch movie page imdb. To save this word, you'll need to log in. Love words? You must — there are over 200, 000 words in our free online dictionary, but you are looking for one thats only in the Merriam-Webster Unabridged Dictionary. Start your free trial today and get unlimited access to America's largest dictionary, with: More than 250, 000 words that aren't in our free dictionary Expanded definitions, etymologies, and usage notes Advanced search features Ad free! History and Etymology for Emma from British signalmen's pronunciation of M (as in A. M. Learn More about Emma Cite this Entry “Emma. ” Dictionary, Merriam-Webster. Accessed 9 Feb. 2020. Comments on Emma What made you want to look up Emma? Please tell us where you read or heard it (including the quote, if possible. WORD OF THE DAY to strike out or mark for deletion Get Word of the Day daily email! Love words? Need even more definitions? Subscribe to America's largest dictionary and get thousands more definitions and advanced search—ad free! Merriam-Webster unabridged.

I n January 1814, Jane Austen sat down to write a revolutionary novel. Emma, the book she composed over the next year, was to change the shape of what is possible in fiction. Perhaps it seems odd to call Austen “revolutionary” – certainly few of the other great pioneers in the history of the English novel have thought so. From Charlotte Brontë, who found only “neat borders” and elegant confinement in her fiction, to DH Lawrence, who called her “English in the bad, mean, snobbish sense of the word”, many thought her limited to the small world and small concerns of her characters. Some of the great modernists were perplexed. “What is all this about Jane Austen? ” Joseph Conrad asked HG Wells. “What is there in her? What is it all about? ” “I dislike Jane … Could never see anything in Pride and Prejudice, ” Vladimir Nabokov told the critic Edmund Wilson. Austen left behind no artistic manifesto, no account of her narrative methods beyond a few playful remarks in letters to her niece, Anna. This has made it easy for novelists and critics to follow Henry Jamess idea of her as “instinctive and charming”. “For signal examples of what composition, distribution, arrangement can do, of how they intensify the life of a work of art, we have to go elsewhere. ” She hardly knew what she was doing, so, implicitly, the innovative novelist like James has nothing to learn from her. There have been scattered exceptions. The year after he published More Pricks Than Kicks, the young Samuel Beckett told his friend Thomas McGreevy, “Now I am reading the divine Jane. I think she has much to teach me. ” (One looks forward to the scholarly tome on the influence of Jane Austen on Samuel Beckett. Contemporary novelists have been readier to acknowledge her genius and influence. Janeites felt a frisson of satisfaction to see that the most formally ingenious British postmodern novel of recent years, Ian McEwans Atonement, opens with a lengthy epigraph from Northanger Abbey. McEwan alerts the reader to the fact that his own novel learns its tricks – about a character who turns fictional imaginings into disastrous fact – from the genteel and supposedly conservative Austen. Emma, published 200 years ago this month, was revolutionary not because of its subject matter: Austens jesting description to Anna of the perfect subject for a novel – “Three or four families in a country village” – fits it well. It was certainly not revolutionary because of any intellectual or political content. But it was revolutionary in its form and technique. Its heroine is a self-deluded young woman with the leisure and power to meddle in the lives of her neighbours. The narrative was radically experimental because it was designed to share her delusions. The novel bent narration through the distorting lens of its protagonists mind. Though little noticed by most of the pioneers of fiction for the next century and more, it belongs with the great experimental novels of Flaubert or Joyce or Woolf. Woolf wrote that if Austen had lived longer and written more, “She would have been the forerunner of Henry James and of Proust”. In Emma, she is. Saoirse Ronan and James McAvoy in Atonement (2007) Photograph: Ronald Grant Archive To measure the audacity of the book, take a simple sentence that no novelist before her could have written. Our privileged heroine has befriended a sweet, open, deeply naive girl of 17 called Harriet Smith. It is a wholly unequal relationship: Emma is the richest and cleverest woman in Highbury; Harriet is the “natural daughter of someone”, left as a permanent resident of the genteel girls boarding school in the town. While cultivating their relationship, Emma knows very well that Harriet is her inferior. “But in every respect as she saw more of her, she was confirmed in all her kind designs. ” The sentence is in the third person, yet we are not exactly being told something by the author. “Kind designs” is Emmas complacent judgment of herself. Even the rhyme in the phrase makes it sound better to herself. In fact, the kindness is all in the mind of the beholder. Emma has set out to mould Harriet. Emmas former companion, Miss Taylor, has got married and become Mrs Weston, leaving her solitary and at a loose end. Harriet will be her project. Her plans are kind, she tells herself, because she will improve this uninstructed and wide-eyed young woman. We should be able to hear, however, that her designs are utterly self-serving. Soon she is persuading Harriet to refuse a marriage proposal from a farmer who loves her, and beguiling her with the wholly illusory prospect of marriage to the smooth young vicar, Mr Elton. Take another little sentence from much later in the novel. By now Emma is convinced that Harriet, scorned by Mr Elton, can be paired off with the highly eligible Frank Churchill. The only impediment seems to be the inflexible Mrs Churchill, Franks adoptive mother, who expects him to find a much grander wife. Then news arrives of Mrs Churchills sudden death. Emma meets Harriet, who has also heard. “Harriet behaved extremely well on the occasion, with great self-command. ” Obviously she is learning self-possession from her patron. “Emma was gratified to observe such a proof in her of strengthened character. ” Except that this is all twaddle. Harriet does not give a fig for Frank and never has. Emma has elaborately deluded herself again. The narration follows the path of Emmas errors. Indeed, the first-time reader will sometimes follow this path too, and then share the heroines surprise when the truth rushes upon her. Yet it is still a third-person narrative; Emma is not telling her own story. We both share her judgments and watch her making them. Austen was the first novelist to manage this alchemy. She was perfecting a technique that she had begun developing in her first published novel, Sense and Sensibility. It was only in the early 20th century that critics began agreeing on a name for it: free indirect style (a translation from the original French: style indirect libre. It describes the way in which a writer imbues a third-person narration with the habits of thought or expression of a fictional character. Before Austen, novelists chose between first-person narrative (letting us into the mind of a character, but limiting us to his or her understanding) and third-person narrative (allowing us a God-like view of all the characters, but making them pieces in an authorial game. Austen miraculously combined the internal and the external. Scholars have raked through the fiction of predecessors and contemporaries such as Fanny Burney and Maria Edgeworth, and found a few flickerings of this technique, but nothing more. In our own time, novelists use it almost as second nature, without necessarily giving it a name or thinking that they have learned it from somewhere. Yet, though its pioneer, Austen used it with an assurance that has never been surpassed. David Lodge has observed how odd Jamess condescension is, given that he came to specialise in the very technique Austen had pioneered: “Telling the story through the consciousness of characters whose understanding of events is partial, mistaken, deceived, or self-deceived. ” It has been easy for sophisticated readers – especially rival novelists – to miss her sophistication. Romola Garai as Emma in the BBCs 2009 adaptation. Photograph: BBC By the time that she began writing Emma, Austen was no longer responding to other novelists, she was in new territory, in dialogue with her own earlier novels. She had been steeped in the fiction of the 18th and early 19th centuries, and in her earliest work she wrote against the novels of sensibility or the gothic fiction that she knew so well. But in the creative furore that saw her complete her last four novels in five years, she left the conventions of existing fiction behind. She began work on Emma before she had even received the proofs of  Mansfield Park. That novels heroine, Fanny Price, was reticent, self-abnegating, powerless and often silent or absent. As if in response to her own experiment, she now created a heroine who is assertive, dominant, all too powerful. Emma Woodhouse thrusts herself forward in the novels title and its very first sentence. Her viewpoint is so dominant that it takes several readings before you realise how subtly we are invited to imagine how Emma looks to some of the other characters. How Mr Elton imagines that she is egging him on to propose to her (“I think your manners to him encouraging”, warns Mr John Knightley, to no avail. How Jane Fairfax dreads her inquisitiveness and hates her monopolising of Frank Churchill. How the Martin family must regard her as the heartless snob who has torn Harriet away from the man who loves her. All this is intimated through Emmas own glimmerings of insight – which she duly crushes. Austens narrative enacts her heroines victories over her own better self. There is, however, one carefully calculated chapter in the whole novel narrated from another characters viewpoint. Deep in the third volume, Austen jolts the reader with a chapter from Mr Knightleys point of view. It comes at a crucial point, where Frank uncharacteristically blunders by mentioning an item of parochial gossip that he can only know from his secret correspondence with Jane: Mr Perry the apothecary is getting a carriage (because he is making so much money from the maladies imaginaries of Highbury. How could he know? “It must have been a dream, ” laughs Frank. Emma is “out of hearing”, but Mr Knightley is observing. He watches as all the major characters sit down to play a word game (the novel is full of games and puzzles) and Frank selects the letters for the word “blunder”. Mr Knightley sees and suspects. “Disingenuousness and double-dealing seemed to meet him at every turn. ” The spell of Emmas consciousness has been so powerful that Austen has to wake us up for a moment. But the chapter ends with Mr Knightley suggesting to Emma that there might be some intimate “degree of acquaintance” between Frank and Jane – only to have his suspicions routed by her. “There is no admiration between them, I do assure you. ” No one can say she was not given the chance to see the truth. Austen has several different ways of getting us to read through Emma. At key moments, free indirect style becomes something closer to dramatised thought. Austen develops her own system of punctuation for this. Here is our heroine, back home after the Westons Christmas Eve dinner party, reflecting on Mr Eltons marriage proposal (“actually making violent love to her”) in the carriage home. She had persuaded herself that he was amorously interested in Harriet; worse, she had persuaded Harriet of this too. The hair was curled, and the maid sent away, and Emma sat down to think and be miserable. —It was a wretched business indeed! —Such an overthrow of every thing she had been wishing for! —Such a development of every thing most unwelcome! —Such a blow for Harriet! —that was the worst of all. Every part of it brought pain and humiliation, of some sort or other; but, compared with the evil to Harriet, all was light; and she would gladly have submitted to feel yet more mistaken—more in error—more disgraced by mis-judgment, than she actually was, could the effects of her blunders have been confined to herself. Austens idiosyncratic punctuation, that system of exclamation marks and dashes, allows for a kind of dramatised thought process. Yet because it is still in the third person, we can judge Emma even as we share her thoughts. She is a person worth our sympathy because she is capable of acknowledging and feeling sorry for her mistakes. But, by the unprecedented subtlety of Austens narrative technique, we sense that Emma regrets the scotching of her plans (“Such an overthrow of everything she had been wishing for! ”) as much as (or more than. the impending pain for Harriet. We can even hear her trying to persuade herself (“she would gladly have submitted … ”) of her unselfishness. Alan Cumming (Mr Elton) Juliet Stevenson (Mrs Elton) Polly Walker (Jane Fairfax) and Ewan McGregor (Frank Churchill) in the 1996 film, which starred Gwyneth Paltrow as Emma. Photograph: Allstar/Cinetext/Miramax The novels stylistic innovations allow it to explore not just a characters feelings, but, comically, her deep ignorance of her own feelings. Out of vanity, encouraged by the promptings of Mr and Mrs Weston, Emma has persuaded herself that Frank, whom she has never met, might be the perfect partner for her. When he finally turns up he proves handsome and humorous and intelligent. Understandably, she soon starts seeing the signs that he must be falling for her; better still, she also starts convincing herself that “she must be a little in love with him”. A few amusing confidences shared with smooth Frank Churchill, and she presumes it is the real thing. “Emma continued to entertain no doubt of her being in love. ” Her capacity for self-congratulation deceives her about even the workings of her own heart. Austen does not tell us this, as George Eliot would eloquently tell us: she simply lets us inhabit Emmas consciousness, simply lets us see the world according to Emma. Even better is her self-deception about the man whom she does love. When Mrs Weston suggests that Mr Knightleys evident admiration of Jane presages their likely marriage, the narrative tells us of Emmas response, but also stages her self-deception. She could see nothing but evil in it. It would be a great disappointment to Mr. John Knightley; consequently to Isabella. A real injury to the children—a most mortifying change, and material loss to them all;—a very great deduction from her fathers daily comfort—and, as to herself, she could not at all endure the idea of Jane Fairfax at Donwell Abbey. A Mrs. Knightley for them all to give way to! —No—Mr. Knightley must never marry. Little Henry must remain the heir of Donwell. How natural, then, that when our heroine does realise what love is, it is as a nasty shock. Her erstwhile puppet – now her Frankensteins monster – Harriet reveals that she (no longer quite so modest) has her heart set on Mr Knightley and has good reason to think that he returns her affection. Why is the idea of Harriet marrying Mr Knightley so unacceptable? “It darted through her, with the speed of an arrow, that Mr. Knightley must marry no one but herself! ” What a brilliant sentence that is! With absolute daring, Austen shows us that love can be a discovery of what a person has unknowingly felt for many a long month or year. Now, suddenly and for the first time, Emma understands the plot of her own story. But even at this moment of self-knowledge Austen lets us hear or feel the characters imperiousness, her overpowering sense that events “must” meet her desires. Which is why those who condemn the novel by saying that its heroine is a snob miss the point. Of course she is. But Austen, with a refusal of moralism worthy of Flaubert, abandons her protagonist to her snobbery and confidently risks inciting foolish readers to think that the author must be a snob too. Emmas snobbery pervades the novel, from that moment when we hear Mrs Goddard, the mistress of the little girls boarding school, and Mrs and Miss Bates described as “the most come-at-able” denizens of Highbury (meaning that they are at the beck and call of Emma and her hypochondriac father. Austen has the integrity to make Emma snobbish even when she is in the right. When Mr Elton proposes to her she recognises what the reader has always known: he is vain, cold-hearted and repulsive. But her enlightenment is also affronted dignity: But—that he should talk of encouragement, should consider her as aware of his views, accepting his attentions, meaning (in short) to marry him! —should suppose himself her equal in connexion or mind! —look down upon her friend, so well understanding the gradations of rank below him, and be so blind to what rose above, as to fancy himself shewing no presumption in addressing her! —It was most provoking. Similarly, her run-ins with Mrs Elton, some of the best comic dialogues in all fiction, show her to be perceptive and socially arrogant in equal measure. Mrs Elton, newly arrived in Highbury, visits Emma and talks of her introduction to Mr Knightley. “I must do my caro sposo the justice to say that he need not be ashamed of his friend. Knightley is quite the gentleman. I like him very much. Decidedly, I think, a very gentleman-like man. ” Only when Mrs Elton leaves can Emma “breathe” her indignation. “A little upstart, vulgar being, with her Mr. E., and her caro sposo, and her resources, and all her airs of pert pretension and underbred finery. Actually to discover that Mr. Knightley is a gentleman! I doubt whether he will return the compliment, and discover her to be a lady. I could not have believed it! And to propose that she and I should unite to form a musical club! ” Emma is right – and yet Emma too is full of herself. She even, unconsciously, uses the same vocabulary as her foe, who assures her, “I have quite a horror of upstarts”. The magnificently ghastly Mrs Elton makes herself known through her voice and, in Emma, Austen discovers new and unprecedented ways of making a human voice live in print. Some of her techniques foresee the ingenuities of modernism. When Mrs Elton picks strawberries at Mr Knightleys party at Donwell Abbey, a paragraph of fractured monologue brilliantly dramatises what must be at least half an hours worth of bossy babble. “The best fruit in England—everybodys favourite—always wholesome. These the finest beds and finest sorts. —Delightful to gather for ones self—the only way of really enjoying them. Morning decidedly the best time—never tired—every sort good—hautboy infinitely superior—no comparison—the others hardly eatable—hautboys very scarce—Chili preferred—white wood finest flavour of all—price of strawberries in London—abundance about Bristol—Maple Grove—cultivation—beds when to be renewed—gardeners thinking exactly different—no general rule—gardeners never to be put out of their way—delicious fruit—only too rich to be eaten much of—inferior to cherries—currants more refreshing—only objection to gathering strawberries the stooping—glaring sun—tired to death—could bear it no longer—must go and sit in the shade. ” A ludicrous progress from know-all enthusiasm to sun-struck exhaustion. For garrulous Miss Bates, Highburys good-hearted resident bore, Austen invents a different kind of monologic outpouring that some have called Joycean. Here is just a little sample, as Miss Bates arrives for the ball at the Crown Inn. “Thank you, my mother is remarkably well. Gone to Mr. Woodhouses. I made her take her shawl—for the evenings are not warm—her large new shawl— Mrs. Dixons wedding-present. —So kind of her to think of my mother! Bought at Weymouth, you know—Mr. Dixons choice. There were three others, Jane says, which they hesitated about some time. Colonel Campbell rather preferred an olive. My dear Jane, are you sure you did not wet your feet? —It was but a drop or two, but I am so afraid:—but Mr. Frank Churchill was so extremely—and there was a mat to step upon—I shall never forget his extreme politeness. ” And so on. There are other people here, not just listening but speaking, or trying to speak. And yet Miss Batess voice, self-generating and unstoppable, becomes for a while the only one you can hear. Emma hardly listens to her “prosing”, and there have been readers who have likewise skipped the details of her speech. But one of Austens tricks is to embed many a clue as to the real ruses of other characters in the unsuspicious outpourings of this much-ignored old maid. “What is before me, I see, ” she says, typically declaring herself incapable of perceiving what is indirect or implicit. But what she says is truer than what anyone hears: she is the reliable witness to what is really going on. Even that passage above offers clues as to what Frank is really up to. If this is a detective story, then Miss Bates is the foolish bit-part player offering the apparently trivial testimony that is dangerously ignored. Phyllida Law (Mrs Bates) and Sophie Thompson (Miss Bates) in the 1996 film. Photograph: Rex/Moviestore Collection Frank is, of course, conducting a covert romance with Jane, Miss Batess orphan niece, but he is so clever that it is easy to miss his tricks. Sharing Emmas perspective, we sometimes get fooled too. Perhaps on a second reading of the novel we are properly suspicious of Franks motives in volunteering to mend the rivet in Mrs Batess spectacles: Jane is staying at the Batess tiny flat and he is always finding excuses to visit. But it will probably take more than two readings for most readers to notice how he has managed to get Miss Bates out of the flat – she bustles over the street to invite Emma in – so that he is alone with Jane and the sleeping (and stone deaf) old Mrs Bates. When we enter the front door with Emma we see through her eyes. The appearance of the little sitting-room as they entered, was tranquillity itself; Mrs. Bates, deprived of her usual employment, slumbering on one side of the fire, Frank Churchill, at a table near her, most deedily occupied about her spectacles, and Jane, standing with her back to them, intent on her pianoforte. Emma sees nothing untoward – but what has really been going on? Why is Frank so “deedily occupied” and Jane “intent” on a musical instrument? Surely they have been in a close embrace. It is as if there is a Charlotte Brontë story going on under Emmas nose. “The Passions are perfectly unknown to her, ” Brontë declared, sounding like a character whom Austen would have delighted in depicting. She had been recommended Pride and Prejudice by George Eliots partner, George Henry Lewes, who was partly responsible for Eliot holding Austen in higher regard than most of the other great novelists of the 19th century. Lewess 1859 essay in Blackwoods Magazine is still one of the most perceptive analyses of Austens powers. But instead of description, the common and easy resource of novelists, she has the rare and difficult art of dramatic presentation: instead of telling us what her characters are, and what they feel, she presents the people, and they reveal themselves. In this she has never perhaps been surpassed, not even by Shakespeare himself. Yet Lewes was rare among serious writers in giving her this status. But then, with Emma, Austen almost seems to be tempting inattentive readers to overlook her technical audacity – to miss her tricks. None of Austens novels is as full of tricks as Emma, and many of them are carefully concealed to reward the rereader. I remember the moment, after many readings over the years, when I finally saw what she was doing with Mr Perry, the apothecary. Everyone is always quoting him, especially Emmas valetudinarian father Mr Woodhouse: “as Perry says …”; “… This is just what Perry said”; “Ah! my dear, but Perry had many doubts about the sea doing her any good. ” Mr Perry is always being spotted passing by (all those lucrative house calls) and his views are always being reported. Yet not a single word that he ever says is actually given us in the novel. Of course not! He is the echo to every persons existing prejudices; no wonder he is so successful. It is a joke buried by Austen for posterity to discover. As she told her sister Cassandra, she only wrote for those who had “a great deal of ingenuity themselves”. • What Matters in Jane Austen. Twenty Crucial Puzzles Solved by John Mullan is published by Bloomsbury.

Ema Watch movie reviews. Ema watch movies 2017.

Ema Watch movie. Ema watch movie reviews. What does Emma mean? An English name derived from the Old German for "whole" or "universal. popular since the 19th century. Well-known Emmas: the title character in Jane Austen's Emma; actresses Emma Thompson, Emma Stone, and Emma Watson. Origin German Popularity #2 in 2020 No change from 2019 Source: BabyCenter user data advertisement, page continues below Related names Like Emma? What about: Olivia, Ella, Ava, Sophia, Isabella, Mia, Amelia, Charlotte, Emily, Grace, Lily, Chloe Common sibling names SISTERS Olivia, Hannah, Abigail, Ava, Grace, Sophia, Anna, Lily, Madison, Sarah, Ella, Elizabeth BROTHERS Ethan, Jacob, Noah, Jack, Matthew, Andrew, Ryan, Joshua, Luke, Caleb, Logan, Benjamin Popularity over time Learn more about a name See name meaning, origin, popularity, and related names Discuss names in our Community.

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The Wolf Hour Free. The Wolf Hour Free watches. Movies, ‘The Wolf Hour Review: Panic in the City In this psychological drama, Naomi Watts plays an agoraphobic writer slowly unraveling in a blistering New York City apartment. Credit. Alison Cohen Rosa/Brainstorm Media The Wolf Hour Directed by Alistair Banks Griffin Drama, Mystery, Thriller R 1h 39m More Information More than anything, “The Wolf Hour” suggests an unfinished “Twilight Zone” episode, one that teases an explosive, possibly supernatural payoff before fizzling out. Set in the South Bronx in the sweltering summer of 1977, this psychological drama centers on June (Naomi Watts) an agoraphobic writer four years into spending a hefty advance for her second novel. Tormented by trauma thats somehow linked to her celebrated debut, June smokes and paces, her whole body crackling with distress. Unfolding almost entirely inside the filthy, trash-strewn apartment that once belonged to Junes grandmother, “The Wolf Hour” paints a portrait of mental instability coated in sweat and cigarette ash. Outside the open window, the killer known as Son of Sam terrorizes the dusty streets, where brawls and sirens only intensify Junes paranoia. Now and then, random visitors interrupt her isolation, like her concerned sister ( Jennifer Ehle) an empathetic gigolo (a kind-eyed Emory Cohen) and a wary delivery man ( Kelvin Harrison Jr. from the bodega downstairs. None of these encounters, however, do much to flesh out a character who, despite Wattss magnificently nervy performance, remains a messed-up mystery. More compelling is the atmosphere of near-constant menace that the writer and director, Alistair Banks Griffin, and his cinematographer, Khalid Mohtaseb, strive to maintain. The repeatedly buzzing doorbell that, when answered, reveals only nerve-jangling static; the conversations that take peculiar, bewildering turns. The result is a sometimes punishingly theatrical experiment that teeters on the verge of surreality, transfixing us with the promise of something terrible lurking just beyond those ratty curtains. The Wolf Hour Rated R for a sweet gigolo and a sleazy police officer. Running time: 1 hour 39 minutes.

 

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Looks good!Good to see Nicolas in a potentially good movie. Thx for the 1 hour xxx. The wolf hour free watch full. This is gonna be a long 17 days. My favorite movie of Netflix is package. And there you've just seen the entire movie. Naomi Watts in The Wolf Hour. Brainstorm Media Set in the grim and steamy South Bronx in the blistering summer of 1977, a lurid psychological thriller without thrills called The Wolf Hour is as pointless and unspecific as its title. All it has going for it is a dolorous but passionately committed performance by a drab, unrecognizable Naomi Watts. She produced it to show off the range of her obvious talent, and deserves an A for effort in a vehicle that rates a D for dreary, desolate and depressing. The rest of The Wolf Hour deserves an F for forget it. SEE ALSO: Daniel Craigs Murder Mystery ‘Knives Out Is More of a Comedy Than a Thriller The star plays a once-respected author, June Leigh, whose career has tanked. She has deserted her former life and become a neurotic recluse locked inside a filthy slum, dwelling far away from her old safe and privileged existence. In the derelict neighborhood outside, violence is rampant in the streets and the city is in the middle of a blackout, triggering looting, fires, and the worst crime wave in New York history. THE WOLF HOUR ★ (1/4 stars) Directed by: Alistair Banks Griffin Written by: Alistair Banks Griffin Starring: Naomi Watts, Jeremy Bobb, Jennifer Ehle, Emory Cohen, Kelvin Harrison Jr. Running time: 99 mins. Inside her cluttered, claustrophobic, one-room apartment she nervously chain smokes cartons of cigarettes while the intercom buzzes constantly, but theres no one there. The conditions outside are so dangerous that its not even safe to go to the corner bodega for a bottle of water. To make things worse, the serial killer called the Son of Sam is on the loose. Its Roman Polanskis Repulsion, only creepier. Any and every vestige of former beauty is gone in a reconstructed Watts with stringy black hair, covered with sweat in a dirty tank top, surrounded by copies of her well-reviewed novel about her father that was responsible for his death and the reason her family has disowned her. Now, shes four years behind in finishing a new book for which she has gone through her advance, and shes become a shut-in with writers block, consumed by paralyzing fear and riddled with anxiety and paranoia. A few intruders arrive—a sympathetic delivery boy (Kelvin Harrison Jr. who uses her sink to wash off, a cynical cop (Jeremy Bobb) an old friend who tries to help (Jennifer Ehle) and a paid escort (Emory Cohen) she phones for desperate sex. They are excellent, but it is really Watts who dominates the film in what practically amounts to little more than an experimental one-woman acting exercise. Writer-director Alistair Banks Griffin provides plenty of menace but not much convincing psychological insight, and the title The Wolf Hour makes no logical sense at all.

The Wolf Hour Theatrical release poster Directed by Alistair Banks Griffin Produced by Brian Kavanaugh-Jones Bradley Pilz Written by Alistair Banks Griffin Starring Naomi Watts Emory Cohen Jennifer Ehle Kelvin Harrison Jr. Jeremy Bobb Brennan Brown Music by Danny Bensi Saunder Jurriaans Cinematography Khalid Mohtaseb Edited by Robert Mead Production companies Automatik Bradley Pilz Productions HanWay Films Distributed by Brainstorm Media Universal Pictures Release date January 26, 2019 ( Sundance) December 6, 2019 (United States) Running time 99 minutes Country United States United Kingdom Language English The Wolf Hour is a 2019 psychological thriller film written and directed by Alistair Banks Griffin. It stars Naomi Watts, Emory Cohen, Jennifer Ehle, Kelvin Harrison Jr., Jeremy Bobb and Brennan Brown. The film had its world premiere at the Sundance Film Festival on January 26, 2019. It was released on December 6, 2019, by Brainstorm Media. Universal pictures Cast [ edit] Naomi Watts as June E. Leigh Emory Cohen as Billy Jennifer Ehle as Margot Kelvin Harrison Jr. as Freddie Jeremy Bobb as Officer Blake Brennan Brown as Hans Production [ edit] In October 2017, it was announced Naomi Watts would star in the film, with Alistair Banks Griffin directing from a screenplay he wrote. [1] In November 2017, Jennifer Ehle, Emory Cohen, Kelvin Harrison Jr., Brennan Brown and Jeremy Bobb joined the cast of the film. [2] Release [ edit] The film had its world premiere at the Sundance Film Festival on January 26, 2019. [3] 4] Shortly after, Brainstorm Media acquired distribution rights to the film. [5] It was released in the United States on December 6, 2019. [6] References [ edit] Hipes, Patrick (October 20, 2017. Naomi Watts To Star In Psychological Thriller 'The Wolf Hour. Deadline Hollywood. Retrieved June 26, 2019. ^ N'Duka, Amanda (November 28, 2017. Jennifer Ehle, Kelvin Harrison Jr., Emory Cohen Join Naomi Watts In 'The Wolf Hour. Retrieved June 26, 2019. ^ The Wolf Hour. Sundance Film Festival. Retrieved June 26, 2019. ^ Debruge, Peter (November 28, 2018. Sundance Film Festival Unveils 2019 Features Lineup. Variety. Retrieved June 26, 2019. ^ Wiseman, Andreas (June 26, 2019. Naomi Watts Thriller 'The Wolf Hour' Sells To Brainstorm Media For North America & UPHE For Slew Of Int'l Markets. The Numbers. Retrieved October 14, 2019. External links [ edit] The Wolf Hour on IMDb.

Tomris Laffly December 6, 2019 Playing a self-banished, agoraphobic recluse, Naomi Watts delivers a disquieting, mostly one-woman performance in writer/director Alistair Banks Griffin s “The Wolf Hour. ” Its a drab vision of mental struggle that owes all of its limited draw to its lead—you cant imagine spending those 90 or so grimy and claustrophobic minutes with anyone other than Watts. But then again, if its a sense of nightmarish, escalating disorientation you are after, you could instead be watching the surreal “ Mulholland Drive, ” with proven proficiency in tapping into Watts appealing dark side. There are times Griffin nears that raw madness (with a little “ The Shining ” mixed in for good measure) once again, entirely thanks to Watts dedication. But on the whole, his indecisive “The Wolf Hour” tick-tocks its way to an underwhelming finale. And when it gets there, the most shocking realization youll have is how forgettable an affair it all has been. Advertisement Its a shame, because Griffin sets his neo-noir-adjacent psychological thriller in one of the most cinematically juicy eras and locales in American history. We are in the summer of 1977, cramped inside a grubby apartment in a South Bronx walkup that has seen better days. Outside, the. 44 caliber killer, Son of Sam, is looming large, the heat is sweltering and somewhere in the city, Travis Bickle is still driving his taxi while the infamous blackout of July 77 bides its time. But we dont see any of that however, and settle instead for a diminutive microcosm of the period within the confines of writer June Leighs (Watts) apartment, a roomy-ish (by New York standards) living quarter with a view, which used to belong to the authors grandmother. Mercifully, Kaet McAnneny s production design does a fine enough job injecting this mostly indoors-set picture with a real sense of time and place. Amid all the piles of books, dusty nooks and crannies and a mucky kitchen, June watches this “Drop Dead”-era world go by behind her dirt-encrusted windows. Police sirens are constantly within her earshot and the Twin Towers are still erect in her eyesight. If only this once-celebrated counterculture figure could just step outside. But she had decided to lock herself in and put a stop to the troubles shes caused after one of her successful books destroyed her family. If she never leaves, June figures, she cant do any further harm. But what if someone is trying to hurt her instead? There are certainly enough clues, the chief of them being an unknown someone incessantly buzzing her intercom to never answer back. We never really know how long June has been living like this, though the mountainous trash bags scattered in her apartment (which you can almost smell) and Watts sweaty breathlessness offer clues that its been a while, to say the least. Every now and then, other people walk in and out of the story to release us from mind-numbing monotony, like a concerned but supportive sister (played amicably by Jennifer Ehle) an opportunistic delivery guy/hustler (the always memorable rising star Kelvin Harrison Jr. a creepy cop and a self-professed midnight cowboy ( Emory Cohen of “ Brooklyn ”) who helps amplify the tension when boredom starts to take over. The finest (and predictably, the most distressing) segment of “The Wolf Hour” arrives when lights get wiped out across the city. Griffin plays the well-known, violent and chaotic beats of the historical occurrence with impressive believability, aided by Khalid Mohtaseb s cinematography that accentuates shadows and light flickers with gritty texture. Yet Griffins film never really gets anywhere revelatory. Worse, it doesnt seem to want to. Like the sheltered loner at its center, “The Wolf Hour” feels jailed amongst a string of half-realized ideas, too intimidated to step outside and tackle them head-on. Reveal Comments comments powered by.

David Lynch must have been a Bergman fan. YouTube. 3 I think this is ok,after see all, I give a chance. 1.25 times. awsome. June 23, 2019 4:16PM PT Naomi Watts delivers a nuanced, nervy turn as a reclusive shut-in stewing in paranoia, writer's block and the heat of the 1977 Bronx summer. Run a finger along any of the surfaces in Alistair Banks Griffin s sophomore feature “ The Wolf Hour, ” and it will come up slicked with sweat, grime and the residual soot of the city. It is the summer of 1977,  and its hotter than hell. June Leigh ( Naomi Watts) perches on the window sill of the squalid Bronx apartment she dares not leave, facing right into a lethargic fan that scarcely even stirs the wavy brown hair off her sticky shoulders. Outside, little blisters of violence and intimidation erupt on the tinder-box streets, and somewhere nearby, Son of Sam is murdering women with wavy brown hair. “Hello from the gutters of New York City, ” the serial killer writes in letters to the papers, and though Griffins heavy-on-atmosphere, light-on-plot film takes place almost exclusively five floors up from ground level, those gutters feel palpably, oppressively close. “ The Wolf Hour ” is a peculiar film, compelling in its way due to Watts tensile, committed performance as a once-celebrated feminist writer now hemmed in to her dead grandmothers apartment by paranoia and the demons unleashed by her earlier success. And though there are other players, if there is a second lead in this near-single-location, near-one-woman-show, it is probably Kaet McAnnenys production design, which oozes menace and neglect so viscerally it might as well be ectoplasm. Khalid Mohtasebs supple photography, too, is a small wonder, never cheating the small space, but finding enough maneuverability within it so that a sense of claustrophobia is evoked without the imagery ever feeling constrained. But for all these strengths, and the judicious application of Saunder Jurriaans and Danny Bensis nervy score, the film lacks texture where it needs it most — in Junes unraveling psychology. She has been holed up here for a while — long enough to have bags of trash collecting flies beside the dusty draft of her second book in the living room, a system in place for paying the rent without opening her door and a regular grocery delivery set up with the bodega nearby. Her isolation is almost complete, except for a sinister buzzing intercom that crackles emptily when she answers it, and for a sudden, unwanted visit from her old friend Margot (Jennifer Ehle) who brings literal and figurative fresh air into her life for a moment, before June alienates her again. Aside from that, she forms a testy bond with delivery boy Freddie (Kelvin Harrison Jr. and fights off the rapey advances of a cop (Jeremy Bobb. But mostly, she chain-smokes, sweats into her drab tank top and fails to write. For all the hothouse menace Griffin summons, there is something coldly considered about “The Wolf Hour. ” As much as we feel Junes anxiety, and the acrid, stultifying weight of the humid air that encases her like wet cement, we never feel for her. Case in point: she replays a videotape of a much more put-together June being condescended to by a male interviewer and matching him jab for jab, until he unleashes the revelation that undoes her entirely and leads to her current, straggly-haired, sweat-stained incarnation. On the one hand, its a fairly effective way of cluing us in on backstory while maintaining the rigor of the single-location premise. But her past vicissitudes seem so like they happened to another person (one we never properly meet) that its difficult to invest in them. (It doesnt help that the bombshell TV interview irresistibly recalls the “Simpsons” episode where Bart taunts Lisa with the video where “you can actually pinpoint the second when [Ralphs] heart rips in half”. This cautiousness also extends to the films themes. Whereas there is a racial and a class element to Junes paranoia, as an unstable, vulnerable white woman from a wealthy background living alone and friendless in a predominantly black, poor, socially volatile neighborhood, the film shies away from a real exploration of that provocative situation. And even her creative struggle is undermined: “The Wolf Hour” takes the notion of literary blockage excessively seriously — as it does everything: The portrayal of the classic 70s feminist as a being almost defined by her stringent humorlessness is something of a cliché by now. But it also implies that maybe all June really needed to get those juices flowing again was some halfway decent sex, which comes courtesy of an unusually sensitive gigolo, beautifully played by a soft-bodied, gentle-eyed Emory Cohen. “The Wolf Hour” touches on explosive ideas of racism, sexism, guilt, delusion and urban isolation, so its frustrating that, like the gun June obtains at one point, they are handled only warily and then shoved under the floorboards. The general consensus is that the other major 1977 heatwave-set New York City film, Spike Lees sprawling “Summer of Sam, ” bit off more than it could chew. But “The Wolf Hour” tries to make a five-course meal of the merest morsel, leaving Watts, on eminently watchable form, to grind her teeth on a role far less meaty than it ought to have been. The Sundance Film Festival is fighting a battle thats been building for several years, and what its fighting for can be summed up in one word: relevance. What makes a Sundance movie relevant? In a sense, the old criteria still hold. Its some combination of box-office performance, awards cachet, and that buzzy, you-know-it-when-you-see-it thing of. When Tim Bell died in London last summer, the media response was largely, somewhat sheepishly, polite: It was hard not to envision the ruthless political spin doctor still massaging his legacy from from beyond the grave. “Irrepressible” was the first adjective chosen in the New York Times obituary. “He had far too few scruples about who. After three weeks in theaters, Sonys “Bad Boys for Life” is officially the highest-grossing installment in the action-comedy series. The Will Smith and Martin Lawrence-led threequel has made 291 million globally to date, pushing it past previous franchise record holder, 2003s “Bad Boys II” and its 271 million haul. The first entry, 1995s “Bad Boys, ”. World War I story “1917” dominated the BAFTA film awards, which were awarded Sunday evening at Londons Royal Albert Hall with Graham Norton hosting. The wins for “1917” included best film, best director for Sam Mendes and outstanding British film. The awards are broadcast on the BBC in the United Kingdom and at 5 p. m. “1917, ” Sam Mendes World War I survival thriller, dominated at the 73rd British Academy of Film and Televisions Film Awards with seven wins including best film and best director. “Joker, ” meanwhile, which went into the BAFTAs with the most nominations, 11, won three awards including best actor for Joaquin Phoenix. “Parasite” picked up two awards. Every summer, more than 1, 000 teens swarm the Texas capitol building to attend Boys State, the annual American Legion-sponsored leadership conference where these incipient politicians divide into rival parties, the Nationalists and the Federalists, and attempt to build a mock government from the ground up. In 2017, the program attracted attention for all the wrong. Box office newcomers “Rhythm Section” and “Gretel and Hansel” fumbled as “Bad Boys for Life” remained champions during a painfully slow Super Bowl weekend. Studios mostly consider Sundays NFL championship a dead zone at movie theaters since the Super Bowl is the most-watched TV event of the year. And 2020 proved no exception. Overall ticket.

Someone give the thumbnail selector a prize... Photo credit: Automatik; Bradley Pilz Productions; HanWay Films The apocalyptic anxiety of our present sociopolitical moment is the not-so-hidden undergirding of Alistair Banks Griffins psychodrama “The Wolf Hour, ” in which Naomi Watts plays June Leigh, a fearful author whos isolated herself from the outside world by holing up in her fifth-floor South Bronx walk-up. But its not 2019, when even the most dedicated of hermits can feel connected to others through the Internet. Griffins analog setting is the summer of 1977, when New Yorks then-notorious version of urban decay had segments of the city ready to ignite, while a steady stream of news about “The. 44 Caliber Killer” — a female-targeting serial murderer soon to be known as “Son of Sam” — had single women on edge, especially those with long, dark hair, like Junes. But despite a typically committed performance by Watts, once again showing her special affinity for hard-edged sufferers grinding out a way to survive, and an aura of the familiar and off-putting (reminiscent of Griffins 2010 indie debut “Two Gates of Sleep”) “The Wolf Hour” struggles to justify its increasingly grating moodiness. It doesnt work up much steam, neither as a single-location paranoid thriller nor as an especially revealing character study of self-imposed, jittery confinement. Also Read: Game of Thrones' With Naomi Watts Prequel on Ice, What's the Future of HBO's Planned Universe? Initially, though, the sickly green, Fincher-ish tinge to Khalid Mohtasebs cinematography — which captures the thin film of sweat on Watts and the pungent layer of neglect over everything in Junes apartment (formerly her grandmothers, the previous tenant) — and the ambient sound design hold the tense promise of an intriguing dive into a worried mind. Outside, the Bronx rattles, moans and yells, while inside, in dim light, we can hear the buzz of flies, but more urgently, to Junes fragile sensibility, the sinister crackle of her intercom, as if someone is desperate to get inside her building. Whenever she tries to answer it, though, no one seems to be there, just distortion and faint talking. Is this a prank? Or is she imagining it? Junes interactions with detectable humans, on the other hand, amount to prickly exchanges built around necessity. She can shove money under the door when rent is due, but when the grocery store sends a new delivery kid, Freddie (Kelvin Harrison, Jr., “Assassination Nation”) her guard goes up, especially when he asks if he can use her bathroom. Shes not crazy about having to accept her sister Margot (Jennifer Ehle) as a concerned visitor, but June begrudgingly allows it, even letting slide cracks like Margots after some helpful cleaning, “I keep expecting to find a dead body. ” Also Read: Andrew Lincoln to Star Opposite Naomi Watts in 'Penguin Bloom' Sibling rivalry rears its head, though, after their conversation discloses that Margot, also a writer, never had success the way June did with her counter-culture smash novel “The Patriarch, ” hardback copies of which litter the apartment. I wish we didnt have to learn about the books impact — including a key piece of psychological information — from a TV interview clip that awkwardly recreates a late-60s interview show with an imperiously judgmental William F. Buckley-type (Brennan Brown, overdoing it. Its a heavy-handed bit of shoved-in exposition that disrupts the already-wearying aura of housebound anxiety in the movies Hitchcockian shout-outs and “Repulsion”-like set-up. Then again, regarding the latter reference, perhaps one of Griffins goals was to refashion Roman Polanskis horror classic about a delicate beautys corrosive fear of sexually liberated society into a more timely scenario that adds political existential dread and the historical reality of sexual violence as thematic hues. When June finally gets a cop (Jeremy Bobb, “Escape at Dannemora”) to make a house call about the menacing buzzing, it devolves into a believably danger-filled exchange surrounding male institutional power. Later, the appearance of a want-ad-solicited “date” named Billy (an effective Emory Cohen) a self-proclaimed “midnight cowboy, ” carries its own mini-rollercoaster of suspicion, sensitivity and worry. Also Read: Naomi Watts on Remaining Locked Up in 'The Wolf Hour' Video) Eventually, though, when the notorious blackout of that New York summer factors into the finale, theres little sense that the movies external certainties and interior turbulence have fused into anything meaningful. Again, theres admirable visceral oomph to Griffins final push as that infamous nights destructiveness becomes impossible for June to ignore, but what were left with as an emotional climax is lacking and, one could argue, predictable considering the protagonists profession. There will surely be buzz surrounding Watts, who conveys utter dedication to Junes predicament even as the movie around her betrays a stylistically engineered quality. “The Wolf Hour” is, in a sense, almost too smart for its own good: savvy about the movie language of cooped-up constructs, aesthetically bold in look and sound, and content to let a great actor lead the way. But even lives like Junes — brilliant but trapped in their neuroticism — need to feel alive onscreen, not just coldly examined, and ultimately “The Wolf Hour” feels more like an exercise in the psychology of unease than a full-throttle leap into it. 15 Buzziest Sundance Movies: From Shia LaBeouf's 'Honey Boy' to 'Leaving Neverland' Photos) Sundance 2019: Film fanatics will brave the cold to see these hot films in Park City, Utah Park City, Utah, is about to be flush with cash. and we're not talking about buying apres ski gear. Here are the most buzzed-about titles of the 2019 Sundance Film Festival. (Note: some already have distributors.

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Whats wrong with this guy calling every film he puts up an exploitation film. The Wolf Hour Free watch dogs. Um actually that wasnt nick fury. Edit Summaries June was once a known counter-culture figure, but that was a decade ago. She now lives alone in her South Bronx apartment, having all but cut herself off from the outside world. It's the notorious "Summer of Sam" and June only has to look out of her window to see the violence escalating with the brutal summer heat. The city is on a knife's edge, a pressure-cooker about to explode into the incendiary 1977 New York blackout riots. Synopsis It looks like we don't have a Synopsis for this title yet. Be the first to contribute! Just click the "Edit page" button at the bottom of the page or learn more in the Synopsis submission guide.

Watch Beyond the Clouds. 👌. 3 nominations. See more awards  » Edit Storyline June was once a known counter-culture figure, but that was a decade ago. She now lives alone in her South Bronx apartment, having all but cut herself off from the outside world. It's the notorious "Summer of Sam" and June only has to look out of her window to see the violence escalating with the brutal summer heat. The city is on a knife's edge, a pressure-cooker about to explode into the incendiary 1977 New York blackout riots. Written by Anonymous Plot Summary, Add Synopsis Details Release Date: 6 December 2019 (USA) See more  » Also Known As: The Wolf Hour Company Credits Technical Specs See full technical specs  » Did You Know? Trivia Naomi Watts and Kelvin Harrison, Jr. starred together in Luce. See more ».

Nicolas Cage needs to make a comeback, needs to make another con Air or the rock, hes a good action star, hes just takes too many roles at once. Is this real. Upload in 21:9, don't add black bars to the top and bottom. Youtube will adjust for different screens. Fnaf: the twisted ones orginal wolf song. The wolf hour free watch episode. No upcoming screenings. Available No Tickets Available [ artDate, amDateFormat: dddd, MMMM Do" artDate, amDateFormat: h:mm A. You may not purchase more tickets at this time. About Its July 1977, and New York City is awash with escalating violence. A citywide blackout is triggering fires, looting, and countless arrests, and the Son of Sam murders are riddling the city with panic. June, once a celebrated counterculture figure, attempts to retreat from the chaos by shutting herself inside the yellowed walls of her grandmothers South Bronx apartment. But her doorbell is ringing incessantly, the heat is unbearable, and creeping paranoia and fear are taking hold. Visitors, some invited, some unsolicited, arrive one by one, and June must determine whom she can trust and whether she can find a path back to her former self. With Hitchcockian tautness, writer-director Alistair Banks Griffin flawlessly captures the style and texture of the 1970s and the interior unraveling of a woman who, like her city, is teetering on a knife-edge. Naomi Wattss astonishing performance is that of an antihero racked with paralyzing anxiety. In this eerily resonant allegory for our times, she is, like all of us, weighing her actions in a world on the brink of collapse. YEAR 2018 CATEGORY NEXT COUNTRY U. S. A. RUN TIME 99 min COMPANY Hanway Films WEBSITE EMAIL PHONE [phone] Credits Director Alistair Banks Griffin Screenwriter Producers Brian Kavanaugh-Jones Bailey Conway Anglewicz Bradley Pilz Co Producer Ged Dickersin Director Of Photography Khalid Mohtaseb Production Designer Kaet McAnneny Editor Robert Mead Costume Designer Brenda Abbandandolo Music By Saunder Jurriaans Danny Bensi Casting Stephanie Holbrook Actor Naomi Watts Emory Cohen Jennifer Ehle Kelvin Harrison Jr. Jeremy Bobb Brennan Brown Artist Bio After receiving a BA at Rhode Island School of Design, Alistair Banks Griffin directed a short film, Gauge, which premiered at the 2008 New York Film Festival. In 2009 he received a Cinereach grant for his first feature film, Two Gates of Sleep, which premiered at the 2010 Cannes Film Festival and won grand prize at CPH PIX. After residencies in Berlin and San Francisco, Griffin directed his Sundance Lab–supported second feature, The Wolf Hour, starring Naomi Watts.

Critics Consensus No consensus yet. 50% TOMATOMETER Total Count: 20 44% Audience Score Verified Ratings: 9 The Wolf Hour Ratings & Reviews Explanation Tickets & Showtimes The movie doesn't seem to be playing near you. Go back Enter your location to see showtimes near you. The Wolf Hour Videos Photos Movie Info It's July 1977, and New York City is awash with escalating violence. A citywide blackout is triggering fires, looting, and countless arrests, and the Son of Sam murders are riddling the city with panic. June, once a celebrated counterculture figure, attempts to retreat from the chaos by shutting herself inside the yellowed walls of her grandmother's South Bronx apartment. But her doorbell is ringing incessantly, the heat is unbearable, and creeping paranoia and fear are taking hold. Visitors, some invited, some unsolicited, arrive one by one, and June must determine whom she can trust and whether she can find a path back to her former self. Rating: R (for language and brief sexuality/nudity) Genre: Directed By: Written By: In Theaters: Dec 6, 2019 limited Runtime: 99 minutes Studio: Brainstorm Media Cast News & Interviews for The Wolf Hour Critic Reviews for The Wolf Hour Audience Reviews for The Wolf Hour The Wolf Hour Quotes News & Features.

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Ashfall download. Ashfall fossil beds. Ashfall Reviews Movie Reviews By Reviewer Type All Critics Top Critics All Audience Verified Audience January 21, 2020 Against the odds, Ashfall works at a dramatic level, largely thanks to the hard work of its cast and a real sense of commitment to the story that holds no matter how silly things get. January 20, 2020 Ashfall isn't trying to do anything more than entertain viewers. January 16, 2020 Ashfall might be a trope-ridden blockbuster, but it's one with geopolitical significance. January 2, 2020 Ashfall does not keep viewers guessing and delivers a message that love can indeed save the day. December 30, 2019 When the ash settles, what remains on screen is the molten wreckage of a high concept crowd-pleaser that, in its efforts to be everything for everyone, ends up delivering precious little to anyone at all. December 22, 2019 Atrocious editing and an overly long running time turn Ashfall into a disaster of a disaster movie. December 20, 2019 Ashfall is not a masterpiece by any standard, but directors Lee Hae-jun and Kim Byeong-seo managed to create a decent disaster film that is up to standard in every way, from good acting and character-building to a solid storyline and suspense.

Ashfall 4. Parasite, extreme job,long live king makpo, the great battle, along with the gods. Ashfall quezon city. Ashfall showtimes. Ashfall full movie eng sub. Ashfall book 4. Ashfall showtime. Ashfall A volcano on Baekdu Mountain suddenly erupts. Pandemonium ensues on the Korean peninsula, with more eruptions predicted in the area. To prevent another disaster, Jeon Yoo Kyung plans an operation based on a theory by Professor Kang Bong Rae. He had has studied Baekdu Mountain and its possible eruptions. Jo In Chang is the captain of a special forces team. He is tasked to take part in the operation, which holds the fates of South and North Korea in the balance. Jo In Chang contacts Lee Joon Pyeong who is part of the Ministry of People's Armed Forces of North Korea. Meanwhile, Jo In Chang's wife Choi Ji Young is alone in Seoul. She struggles to survive against the disaster.

Ashfall korean movie. I like how its basically X-men but its not. Just pray dont be happy cause were suspended. Ashfall Theatrical release poster Hangul 백두산 Hanja 白頭山 Revised Romanization Baekdusan Directed by Lee Hae-jun Kim Byung-seo Produced by Lee Hae-jun Kim Byung-seo Starring Lee Byung-hun Ha Jung-woo Ma Dong-seok Bae Suzy Jeon Hye-jin Production company Dexter Studios CJ E&M Distributed by CJ Entertainment Release date December 19, 2019 (South Korea) Running time 128 minutes [1] Country South Korea Language Korean Budget US17. 7 million [2] 3] Ashfall ( Korean:  백두산; Hanja:  白頭山; RR:  Baekdusan) also known as: Mount Paektu, is a 2019 South Korean action film directed by Lee Hae-jun and Kim Byung-seo, starring Lee Byung-hun, Ha Jung-woo, Ma Dong-seok, Bae Suzy and Jeon Hye-jin. The film was released in December 2019 in South Korea. [5] 6] Plot [ edit] The volcano of Baekdu Mountain suddenly erupts, causing severe earthquakes in both North and South Korea. Pandemonium ensues on the Korean peninsula, with more eruptions predicted in the area. To prevent another disaster, Jeon Yoo-kyung ( Jeon Hye-jin) plans an operation based on a theory by Professor Kang Bong-rae ( Ma Dong-seok. He had has studied Baekdu Mountain and its possible eruptions. Jo In-chang ( Ha Jung-woo) is the captain of a special forces team. He is tasked to take part in the operation, which holds the fates of South and North Korea in the balance. Jo In-chang contacts Lee Joon-pyeong ( Lee Byung-hun) who is part of the Ministry of People's Armed Forces of North Korea as a spy. Meanwhile, Jo In-Chang's pregnant wife Choi Ji-young ( Bae Suzy) is alone in Seoul. She struggles to survive against the disaster. Cast [ edit] Lee Byung-hun [7] 8] as Lee Joon-pyeong Ha Jung-woo [9] as Jo In-chang Ma Dong-seok [10] as Kang Bong-rae Bae Suzy [11] 12] as Choi Ji-young Jeon Hye-jin [13] as Jeon Yoo-kyung Production [ edit] Production on Ashfall ended on July 21 after five months of filming. Release [ edit] The film was released December 19, 2019 in South Korea and on December 20 in the US. The film is set to be released on December 24 in Taiwan, January 1, 2020 in Hong Kong, January 2 in Singapore and Malaysia, January 8 in Indonesia, the day after in Thailand and Australia, and January 31 in Vietnam. [14] Reception [ edit] Critical response [ edit] On review aggregator Rotten Tomatoes, the film holds an approval rating of 71% based on 7 reviews, with an average rating of 6/10. [15] Box office [ edit] On December 22 at 11 a. m. KST, “Ashfall” officially surpassed 2 million moviegoers, taking just four days to reach the milestone. Notably, the film had just reached 1 million moviegoers just the day before. [16] 17] 18] References [ edit] "백두산. Naver (in Korean. Retrieved 22 November 2019. ^ Ji-yoon, Hwang (21 November 2019. Lee Byung-hun, Ha Jung-woo Team up for Disaster Blockbuster. Chosun. Retrieved 22 November 2019. ^ A-list actors team up for 17 million movie 'Mount Paektu. The Korea Times. Retrieved 22 November 2019. ^ Ashfall (2019. Box Office Mojo. IMDb. Retrieved 28 January 2020. ^ 총 겨눈 이병헌vs하정우 '백두산' 폭발급 긴장감. 20 November 2019. Retrieved 22 November 2019... Ashfall' brings new threat to Seoul: a volcano: Disaster movie asks what people will do to protect their loved ones. Korea Joongang Daily. Retrieved 25 November 2019... Ashfall' actors confident about film's eye-catching scale, storyline. Yonhap News. 19 November 2019. Retrieved 22 November 2019. ^ Yoon, Min-sik (3 December 2019. Dictator's assassination, volcanic eruptions at Paektusan coming to big screens soon. Korea Herald. Retrieved 22 December 2019. ^ LEE Byung-hun and HA Jung-woo Wrap MOUNT BAEKDU. Koreanfilm. 8 August 2019. Retrieved 22 November 2019. ^ 이병헌 하정우 마동석 전혜진 배수지 '백두산' 긴장감 넘치는 보도스틸 공개. Breaknews (in Korean. Retrieved 22 November 2019... 백두산' 하정우 "배수지와 부부 연기, 나이차 크지만 용기 내 촬영" 엑's 현장. in Korean. Retrieved 22 November 2019. ^ 수지, 홀터넥 드레스 소화 '여신 강림' 백두산. in Korean. Retrieved 22 November 2019... IS포토] 전혜진, 영화 백두산에서 냉철한 판단력을 가진 '민정수석'으로. Retrieved 22 November 2019. ^ Jean, Noh (18 December 2019. CJ announces pre-sales and release dates for action drama 'Ashfall. Screen Daily. Retrieved 22 December 2019. ^ ASHFALL. Retrieved 27 January 2020... 백두산' 4일 만에 200만 관객 돌파…'극한직업'과 같은 속도. 22 December 2019. Retrieved 22 December 2019. ^ Korea Box Office: Ashfall' Volcano Disaster Movie Dominates Weekend. 23 December 2019. Retrieved 26 December 2019. ^ External links [ edit] Wikimedia Commons has media related to Ashfall. Ashfall on IMDb Ashfall at HanCinema.

Ashfall full movie sub indo. Pray for taygaytay 🙏. Ashfall_fox. Ashfallow. Umabot na sa rizal. Sana safe lahat god bless Philippines. Ashfall movie near me. May rappler pa pla hahaha. Idk who ideas for making this trailer, im hooked please make a full movie 😂😂. If you live on an active volcano you should expect eruptions from time to time. To be surprised and devastated after is just stupid.

Edit Storyline Stagnant since 1903, at an elevation of 2, 744 m, a volcano erupts on Baekdu Mountain located on the Chinese-North Korean border. Armed with the threat of imminent eruptions, a team of uniquely trained professionals from South and North Korea unite. Together, they must join forces and attempt to prevent a catastrophic disaster threatening the Korean Peninsula. Written by Stanton Plot Summary, Add Synopsis Details Release Date: 24 December 2019 (Taiwan) See more  » Box Office Budget: 17, 700, 000 (estimated) Opening Weekend USA: 36, 201, 22 December 2019 Cumulative Worldwide Gross: 61, 644, 788 See more on IMDbPro  » Company Credits Technical Specs See full technical specs  ».

Ashfall tauntaun. They took an old folklore tale and turned it into this? 😂. Ashfall aussies. Ashfall book. Ashfall volcano. Hmmm, Prototype, Crysis next gen? D. Why these trailers been giving away the whole movie lately? Smh. จะปายดูเพราะ ฮาจองอู เลยนะนี่.

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If an item is proved to be damaged, Cinemark will offer the following: 1) a replacement item of the same type, provided available; 2) a replacement item of a similar type (eg. an  Incredibles  water bottle replaced by a  Jurassic World  water bottle. 3) a replacement item of the same or equal retail value.  If Member does not accept any of the replacement items, points will be refunded to the Account. The size of Rewards received upon redemption of points is not guaranteed (for example, if the Reward offered is a T-shirt, Cinemark does not guarantee the Member will receive their preferred T-shirt size.   Points will not be refunded based on sizing issues. Points will be refunded to the Account if the item has not been delivered within 60 days of redemption. Members may be invited to redeem points for “Birthday Rewards. ”  Birthday Rewards are only redeemable one time per twelve-month period.  Members must present their User ID and a separate valid form of identification at the time of redemption.  Birthday Rewards are subject to change. Points will expire if not redeemed within a twelve-month period.  At the time of expiration, all points will be forfeited.  Membership is not terminated upon expiration and forfeiture of points, and the Member can continue to accrue points through his/her Account. We will not be taken to have waived any of our rights even if we allow redemption of points or honor Rewards when not required. 3. 4 Discontinuation; Suspension; Account Closure:  To be considered active, a Member must have scanned his/her User ID or earned a Reward within the preceding twelve months. We may, in our sole discretion, at any time and without prior notice: i) Discontinue transmitting all or any part of the Content (as defined below) related to the Cinemark Movie Rewards Program; ii) Change, discontinue or limit access to the Cinemark Movie Rewards Program or any functionality, feature or other component of the Cinemark Movie Rewards Program; or (iii) Suspend or terminate your use of or access to your Account, upon giving you notice of such suspension or termination, if we reasonably believe you have breached these Terms and Conditions. You may elect to close your Account at any time by notifying our guest services department at Contact Us. Upon closure, any rights to redeem points from that Account are lost. 3. 5 Termination, Changes, and Breach:  We may change any aspect of the Cinemark Movie Rewards Program including issuing and redemption procedures or any Rewards in any respect, all without notice. For example, but without limitation, we may add, delete or change participating Cinemark locations, time limits for collection, redemption or use of points or Rewards; redemption conditions or procedures; or the value of purchases required for particular Rewards. Any changes will be effective only after the effective date of the change and will not affect any dispute arising prior to the effective date of the change.   If: no points are recorded in your Account for twenty-four (24) months; you commit fraud; you misrepresent any information; you violate any Terms and Conditions; you abuse your Cinemark Movie Rewards Program privileges; or you act in any other way to the detriment of us, our participating Cinemark locations, or the Cinemark Movie Rewards Program, we may, without affecting our other rights, terminate your enrollment and/or cancel your points and disclose only appropriate information requested by proper authorities. If points expire or are cancelled for any reason, they become void without compensation. Use of the Site and the Cinemark Movie Rewards Program 4. 1 Disclaimers: THE INFORMATION, PRODUCTS AND SERVICES ON THE SITE AND IN THE CINEMARK MOVIE REWARDS PROGRAM ARE PROVIDED ON AN “AS IS, ” “WHERE IS” AND “WHERE AVAILABLE” BASIS. CINEMARK DOES NOT WARRANT THE INFORMATION OR SERVICES PROVIDED HEREIN OR YOUR USE OF THE SITE OR THE CINEMARK MOVIE REWARDS PROGRAM GENERALLY, EITHER EXPRESSLY OR IMPLIEDLY, FOR ANY PARTICULAR PURPOSE AND EXPRESSLY DISCLAIMS ANY IMPLIED WARRANTIES, INCLUDING BUT NOT LIMITED TO, WARRANTIES OF TITLE, NON-INFRINGEMENT, ONLINE MERCHANTABILITY OR FITNESS FOR A PARTICULAR PURPOSE. CINEMARK WILL NOT BE RESPONSIBLE FOR ANY LOSS OR DAMAGE THAT COULD RESULT FROM INTERCEPTION BY THIRD PARTIES OF ANY INFORMATION OR SERVICES MADE AVAILABLE TO YOU VIA THE SITE OR THE CINEMARK MOVIE REWARDS PROGRAM. ALTHOUGH THE INFORMATION PROVIDED TO YOU ON THE SITE AND IN THE CINEMARK MOVIE REWARDS PROGRAM IS OBTAINED OR COMPILED FROM SOURCES WE BELIEVE TO BE RELIABLE, CINEMARK CANNOT AND DOES NOT GUARANTEE THE ACCURACY, VALIDITY, TIMELINESS OR COMPLETENESS OF ANY INFORMATION OR DATA MADE AVAILABLE TO YOU FOR ANY PARTICULAR PURPOSE. NO POINTS MAY BE REDEEMED UNTIL THEY HAVE BEEN CREDITED TO THE MEMBER'S ACCOUNT. POINTS AND REWARDS HAVE A VALUE OF ONE 100 TH  OF ONE CENT, CANNOT BE CONVERTED INTO ANY CURRENCY, AND MAY BE CANCELED AT ANY TIME. SPECIFIC REWARDS MAY EXPIRE UNDER THE TERMS OF THE PROMOTIONAL PROGRAMS ESTABLISHED BY EACH PARTICIPATING CINEMARK LOCATION. Transactions upon which points are earned or redeemed and all Rewards are subject to all applicable legal rules and the terms and conditions set by the participating Cinemark locations, the Site, and third party websites accessed by a link in the Cinemark Movie Rewards Program page. CINEMARK CANNOT AND DOES NOT GUARANTEE CONTINUOUS, UNINTERRUPTED OR SECURE ACCESS TO THE SITE OR THE CINEMARK MOVIE REWARDS PROGRAM. 4. 2 No Warranty:  THE SITE AND THE CINEMARK MOVIE REWARDS PROGRAM, INCLUDING ALL CONTENT, SOFTWARE, FUNCTIONS, MATERIALS, MERCHANDISE, AND INFORMATION MADE AVAILABLE TO YOU OR ACCESSED BY YOU, IS PROVIDED "AS IS. TO THE FULLEST EXTENT PERMISSIBLE BY LAW, CINEMARK MAKES NO REPRESENTATION OR WARRANTIES OF ANY KIND WHATSOEVER FOR THE CONTENT OF THE SITE, THE CINEMARK MOVIE REWARDS PROGRAM, OR THE MATERIALS, INFORMATION, OR FUNCTIONS MADE ACCESSIBLE. CINEMARK ASSUMES NO RESPONSIBILITY WHATSOEVER AND SHALL NOT BE LIABLE FOR THE USE OF THE SITE OR THE CINEMARK MOVIE REWARDS PROGRAM, INCLUDING, WITHOUT LIMITATION, THE CONTENT AND ANY ERRORS CONTAINED THEREIN. CINEMARK SHALL NOT BE LIABLE FOR ANY FAILURE OF THE SITE OR THE CINEMARK MOVIE REWARDS PROGRAM ARISING OR RESULTING FROM ACTS OR EVENTS BEYOND THE CONTROL OF CINEMARK. 4. 3 Limitations of Liability:  UNDER NO CIRCUMSTANCES SHALL CINEMARK HAVE ANY RESPONSIBILITY OR LIABILITY FOR ANY EXPENSE, LOSS, COST, INJURY, DAMAGE, DELAY, ACCIDENT OR ANY OTHER MATTER OR THING WHATSOEVER (COLLECTIVELY, COSTS. HOWEVER SUFFERED OR CAUSED (INCLUDING COMPENSATORY, INCIDENTAL, INDIRECT, SPECIAL, PUNITIVE, CONSEQUENTIAL OR EXEMPLARY DAMAGES OR DAMAGES FOR LOSS OF INCOME OR PROFITS) DIRECTLY OR INDIRECTLY ARISING OUT OF OR RELATED TO (I) THE CINEMARK MOVIE REWARDS PROGRAM OR YOUR PARTICIPATION IN THE CINEMARK MOVIE REWARDS PROGRAM; II) ANY FAILURE, DELAY OR DECISION BY US IN ADMINISTERING MOVIE REWARDS OR AMENDING THESE TERMS AND CONDITIONS OR THE BASIS ON WHICH YOU CAN REDEEM POINTS; III) UNAUTHORIZED USE OF YOUR ACCOUNT OR USER ID; IV) ANY PRODUCT, SERVICE, OFFER, REPRESENTATION, STATEMENT OR CLAIM ABOUT THE CINEMARK MOVIE REWARDS PROGRAM MADE BY A PARTICIPATING CINEMARK LOCATION OR ANY OF THEIR EMPLOYEES, OR ANY OTHER PERSON; V) THE PURCHASE, REDEMPTION FOR OR USE OF ANY GOODS OR SERVICES OF PARTICIPATING CINEMARK LOCATIONS; OR (VI) YOUR USE OF, OR INABILITY TO USE, THE SITE OR THE MERCHANDISE. THIS APPLIES EVEN IF WE OR OUR REPRESENTATIVES ARE ADVISED OF THE POSSIBILITY OF SUCH COSTS. Some jurisdictions do not allow the exclusion or limitation of liability for consequential or incidental damages. In such jurisdictions, our liability is limited to the greatest extent permitted by law, or 20, whichever is less. 4. 4 Indemnification:  You agree to indemnify and hold Cinemark harmless from and against any and all liabilities and costs incurred in connection with any claim directly or indirectly arising out of or related to, any breach by you of these Terms and Conditions, including without limitation, attorneys fees and costs. Cinemark reserves the right, at its own expense, to assume the exclusive defense and control of any matter otherwise subject to indemnification by you. You further agree to cooperate as requested by Cinemark in the defense of any claim. You shall not in any event settle any claim without the written consent of Cinemark. 4. 5 Member Obligations; Prohibited Actions:  You agree that you will not, and will not permit others to: i) Provide any unauthorized third party with access to the Site, the Cinemark Movie Rewards Program or any information, data, text, links, images, software, chat, communications and other content available through the Internet and proprietary to Cinemark (collectively, Content" by any means; ii) Modify, reverse engineer, reverse assemble decompile, reduce to human perceivable form or create derivative works based on the Site, the Cinemark Movie Rewards Program or any of the software applications used by you in connection with your use of the Site or the Cinemark Movie Rewards Program; iii) Engage in any activity that does not comply with U. S. law or other applicable law and regulations (including federal, state and local laws and regulations and regulations of regulatory or administrative organizations) or otherwise engage in any illegal, manipulative or misleading activity through the use of the Site or the Cinemark Movie Rewards Program; iv) Disable any licensing or control features of the Site; v) Introduce into the Site or into the Cinemark Movie Rewards Program any virus or other code or routine intended to disrupt the Site or the Cinemark Movie Rewards Program, alter or delete its Content, access confidential Content on the Site or the Cinemark Movie Rewards Program, retrieve or record information about the Site or its users, or interfere with the operation of the Site or the Cinemark Movie Rewards Program, including, but not limited to, distribution of unsolicited advertising or mail messages and propagation of computer worms and viruses; vi) Merge the Site or the Cinemark Movie Rewards Program with another program or create derivative works based on the Site or the Cinemark Movie Rewards Program; vii) Post any material in any form whatsoever on the Site or within the Cinemark Movie Rewards Program that is defamatory, obscene or otherwise unlawful or violates any third party's right of privacy or publicity; viii) Sublicense, assign, translate, rent, lease, lend, resell for profit, distribute or otherwise assign or transfer the content of or access to the Site or the Cinemark Movie Rewards Program to others; viii) Infringe any third party's patent, copyright, service mark, trademark or other intellectual property right of any kind or misappropriate the trade secrets of any third party in connection with your use of the Site or the Cinemark Movie Rewards Program, or remove, obscure, or alter any notice of the copyright or other proprietary legends on the Site or the Cinemark Movie Rewards Program; or (ix) Otherwise act in a fraudulent, illegal, malicious or negligent manner when using the Site or the Cinemark Movie Rewards Program. Except as expressly provided herein, Cinemark reserves all rights with respect to the Site and the Cinemark Movie Rewards Program, and may pursue all legally available options under both civil and criminal laws (and may cooperate with law enforcement agencies) in the event of any violations. You recognize the great value of the goodwill associated with the Site and with the Cinemark Movie Rewards Program and acknowledge that the Site, the Cinemark Movie Rewards Program and all rights therein and goodwill pertaining thereto belong exclusively to Cinemark. You further agree that it is critical that such goodwill be protected and enhanced and, toward this end, you shall not during the term of your membership in the Cinemark Movie Rewards Program or thereafter: i) Attack the title or any rights of Cinemark in or to the copyrights, trademark, and other intellectual property in the Site or the Cinemark Movie Rewards Program; ii) Do anything either by an act of omission or commission which might impair, violate or infringe the copyright, trademarks, and other intellectual property in the Site or the Cinemark Movie Rewards Program; iii) Claim (adversely to Cinemark or anyone claiming rights through Cinemark) any right, title or interest in or to the copyright, trademarks, and other intellectual property in the Site or the Cinemark Movie Rewards Program; iv) Misuse or harm the copyright, trademarks, and other intellectual property in the Site or Movie Rewards or bring the Site or the Cinemark Movie Rewards Program into disrepute; v) For its benefit, directly or indirectly, register or apply for registration of Cinemarks trademarks or any mark which is, in Cinemarks reasonable opinion, the same as or confusingly similar to any of Cinemarks trademarks; and/or (vi) For its benefit, directly or indirectly, register, maintain or apply for registration of a domain name which is, in Cinemarks reasonable opinion, the same as, confusingly similar to or incorporates any of the Cinemarks trademarks. 4. 6 Copyright; Trademarks:  Cinemark, or the applicable third party owner, retains all right, title and interest to and under all patents (including all reissues, divisions, continuations and extensions of such patents) patent applications, trademarks, trademark registrations service marks, trademark registration applications, trade names, domain names, all other names and slogans embodying business, product or service goodwill, copyrights, computer software, specifications, data, designs, trade secrets, technology, diagnostic tools, inventions, know-how, processes and confidential and proprietary information and any other intellectual property or other right, in all information and content (including all text, data, graphics, and logos) on the Site and the Movie Rewards Page. Except as provided in these Terms and Conditions, you are strictly prohibited from modifying, copying, transmitting, distributing displaying, performing, reproducing, publishing, licensing, framing, creating derivative works from, transferring or otherwise using in any other way for commercial or public purposes, in whole or in part, any information, text graphics, images, video clips, directors, databases, listing or software obtained from the Site or the Movie Rewards Page without the prior written consent of Cinemark. Systematic retrieval of content from the Site or the Movie Rewards Page to create or compile, directly or indirectly, a collection, compilation, database or directory (whether through robots, spiders, automatic devices or manual processes) or creating links to the Site or the Movie Rewards Page without written permission from Cinemark is strictly prohibited. Nothing on the Site or the Movie Rewards Page shall be interpreted as granting, by implication, estoppel, or otherwise, any license or right to use any image, trademark, logo or service mark on the Site or the Movie Rewards Page. Unless otherwise specified, the Site and the Movie Rewards Page are for your personal and non-commercial use only and you may print, copy and download any information or portion of the Site or the Movie Rewards Page for your personal use only. Copying or downloading material from the Site or the Movie Rewards Page does not transfer title to any material on the Site or the Movie Rewards Page to you. If you copy or download any information or software from the Site or the Movie Rewards Page, you agree that you will not remove or obscure any copyright or other notices or legends contained in any such information. You are prohibited from using any marks for any purpose, including, but not limited to, use in advertising or publicity pertaining to distribution of materials on the Site or use as metatags on other pages or sites on the World Wide Web without the written permission of Cinemark or such third party, which may own the marks. You are not authorized to use our logo as a hyperlink to the Site unless you obtain Cinemarks written permission in advance, although we permit you to use our logo as a hyperlink to certain designated features of the Site for designated purposes. You agree to grant Cinemark an irrevocable, non-exclusive, worldwide, royalty-free, sublicensable, transferable license to use, copy, display, distribute, perform, transmit, publish, broadcast, and prepare derivative works upon, anything transmitted to the Site or the Movie Rewards Page by you. Cinemark reserves all rights to copyright and trademark ownership of its material at the Movie Rewards Page and will enforce such rights to the full extent of the law. 4. 7 Social Media Features:  The Site, including the Movie Rewards Page, may provide certain social media features that enable you to: Link certain content on the Site to certain third-party websites. Send emails or other communications with certain content, or links to certain content, on the Site. Cause limited portions of content on the site to be displayed or appear to be displayed on your own or certain third-party websites. You may use these features solely as they are provided by us, solely with respect to the content they are displayed with, and otherwise in accordance with any additional terms and conditions we may provide with respect to such features. You agree to cooperate with us in causing any unauthorized framing or linking to cease immediately. We reserve the right to withdraw without notice any linking permission. We may disable all or any social media features and any links at any time, without notice, in our discretion. 4. 8 Privacy; Collection and Use of Certain Information:  These Terms and Conditions incorporate our  Privacy Policy. 4. 9 Passwords:  When this Agreement has been accepted and agreed to by you, the password that you create will soon be activated and enable you to access your Account. Passwords may not be shared or used by more than one individual. Any transfer of passwords to, or use of passwords by, an unauthorized person is strictly prohibited. You will maintain the confidentiality of the User IDs and passwords by which you access the Site, and will allow access to the Site and the Cinemark Movie Rewards Program only by authorized persons, and not by any program, expert system, electronic agent, bot" or other automated means. You acknowledge that neither Cinemark nor any third party will contact you to solicit your User ID, or password. Therefore, you should not provide your User ID or password to any person whom you do not authorize to use your Account. Any use of your assigned user IDs or passwords will be deemed to be your use. Remember to choose a strong password, including numbers, capital letters, special characters, etc., and one that is not typically found in a dictionary. You may never use someone elses account, username or password without permission. When creating your Account, you must provide accurate and complete information. In the event your password is lost or stolen it is your responsibility to notify Cinemark as provided in the  Contact Us  section.  YOU ARE RESPONSIBLE FOR MAINTAINING THE CONFIDENTIALITY OF YOUR PASSWORD AND ACCOUNT, AND YOU AGREE THAT YOU ARE FULLY RESPONSIBLE FOR ALL ACTIVITIES THAT OCCUR UNDER YOUR PASSWORD OR ACCOUNT, AND THAT CINEMARK HAS NO LIABILITY FOR ANY ACTIVITIES THAT OCCUR UNDER YOUR PASSWORD OR ACCOUNT. If you become aware of any breach of security through your Account, you must immediately change your password and notify us of such breach. You agree that, unless you have first notified us immediately of any such breach, we should assume that any instruction transmitted using your User ID and password is yours and has been authorized by you, and we will have no obligation to inquire into the propriety of such instruction. You will not permit any use of the Site or the Cinemark Movie Rewards Program that would damage, interfere with or unreasonably overload the Site and/or the Cinemark Movie Rewards Program. 4. 10 Exclusions and Limitations; Consumer Protection Notice:   If you are a consumer, the provisions in this Agreement are intended to be only as broad and inclusive as is permitted by the laws of your State of residence.  If you are a New Jersey consumer, the terms of the provisions relating to third-party links herein do not limit or waive your rights as a consumer under New Jersey law and the provisions in these Terms and Conditions are intended to be only as broad and inclusive as is permitted by the laws of the State of New Jersey.  In any event, Cinemark reserves all rights, defenses and permissible limitations under the law of your State of residence. 4. 11 Shipping of Rewards and Site Purchases:  Cinemark (or its vendor) will only ship to addresses located in the United States. We do not ship to P. O. Boxes. When you redeem the Cinemark Movie Rewards Program points for physical rewards, or make purchases on the Site for gift cards, Supersavers, or merchandise, you must provide a valid mailing address for shipment. It is your obligation to provide full shipping information at the time of redemption of points for or purchase of a physical item in order to receive the item.  Failure to do so may result in the loss of the Cinemark Movie Rewards Program points and/or the physical Reward for which the points were redeemed. Cinemark will not use the address provided for any marketing purposes. 4. 12 Payments and Refunds of Site Purchases:  In using the Site, you agree to pay the amounts owed to Cinemark via Visa, MasterCard, Discover, and American Express credit cards only.  At this time, we are not accepting any other method of payment. If you purchase tickets on the Site with a registered account you can receive a refund at for the purchase price of the ticket (excluding any service charge) up to two hours prior to the start of the showtime. In the rare situations when a show is cancelled, you will be entitled to a refund for the full purchase price of your tickets, including any service charges. At the theatre, a full refund can be given up to the start time of the showtime.  In these situations please notify our guest services department at Contact Us  and include the theatre, movie, showtime, email address and your confirmation number. Please refer to the  FAQ page  at for further details regarding the refund procedures. 4. 13 Links:  Although Cinemark controls a few hyperlinks in the Site, some links within the Site may lead to third-party sites. In addition, some Rewards can be claimed through links provided by movie studios or other third parties, which links Cinemark may pass through to you.  Cinemark includes these third-party links solely as a convenience to you. The presence of a link does not imply an endorsement of the linked site, its operator, or its contents, or that Cinemark is in any way affiliated with the linked site. The Site does not incorporate any materials appearing in such linked sites by reference. Cinemark reserves the right to terminate a link to a third party web site at any time. The third party sites are not controlled by Cinemark, and may have different terms of use and privacy policies, which Cinemark encourages you to review. Cinemark has no responsibility for the content of any third party web site, and provides such links on an “AS IS” basis. UNDER NO CIRCUMSTANCES SHALL CINEMARK BE LIABLE FOR ANY DIRECT OR INDIRECT, SPECIAL, INCIDENTAL, OR CONSEQUENTIAL DAMAGES THAT MAY ARISE FROM YOUR USE OF, OR INABILITY TO USE, ANY THIRD PARTY SITE. 4. 14 Must be At Least 13 Years Old to Use the Site and at Least 16 Years Old to be a Movie Fan and Movie Club Member:  If you are at least thirteen (13) years old but not of legal age to enter agreements, you MUST have permission from your parent or guardian to use the Site and to become a member of either Movie Fan or Movie Club. Cinemark makes no active effort to collect personal information from individuals under the age of 13. You must ensure that content you provide on any website or social media platform in connection with attempting to earn the Cinemark Movie Rewards Program points is acceptable for viewing by users who might not be adults. 4. 15 Controlled from the United States:  The Site and the Cinemark Movie Rewards Program are controlled from offices within the United States. Cinemark makes no representation that content or materials in the Site or the Cinemark Movie Rewards Program are appropriate or available for use in other jurisdictions. Access to the Site, the Cinemark Movie Rewards Program, content, or materials from jurisdictions where such access is illegal is strictly prohibited. If you choose to access the Site or the Cinemark Movie Rewards Program from other jurisdictions, you do so at your own risk. You are always responsible for your compliance with applicable laws. THE LAWS OF TEXAS WILL GOVERN THE CONTENT AND MATERIALS CONTAINED IN THE SITE AND the Cinemark Movie Rewards Program, WITHOUT GIVING EFFECT TO ANY PRINCIPLES OF CONFLICTS OF LAWS AND EXCLUDING THE UNITED NATIONS CONVENTION ON THE INTERNATIONAL SALE OF GOODS. YOU AGREE TO SUBMIT TO THE EXCLUSIVE JURISDICTION OF THE STATE AND FEDERAL COURTS OF DALLAS, TEXAS IN RELATION TO ANY CLAIM, DISPUTE, OR DIFFERENCE ARISING FROM THESE TERMS, AND YOU AGREE TO WAIVE ANY RIGHT OF REMOVAL OR TRANSFER WHETHER DUE TO FORUM NON CONVENIENS OR OTHER REASON. 4. 16 Not Authorized to do Business in Every Jurisdiction:  Cinemark is not authorized to do business in every jurisdiction. Information published on the Site or the Cinemark Movie Rewards Program may contain references or cross-references to goods or services that are not available in your state or country. If you click on our International link, you can see the countries where Cinemark currently does business. There is a separate Cinemark web site for each country, which is subject to its own terms and conditions and privacy policy. 4. 17 English Language:  The official text of these Terms and Conditions or any notice provided hereunder shall be in English. In the event of any dispute concerning the construction or meaning of these Terms and Conditions, reference shall be made only to these Terms and Conditions as written in English and not in any translation into another language. 4. 18 Arbitration:  Except as prohibited by law, unless we otherwise elect, any dispute regarding these Terms and Conditions, including validity, existence, binding effect, interpretation, performance, breach or termination, and including tort claims, shall be referred to and finally determined, to the exclusion of the courts, by a single arbitrator. Disputes shall be resolved by final and binding arbitration in accordance with the JAMS Inc. Comprehensive Arbitration Rules & Procedures then in effect. There shall be no right or authority for any claims to be arbitrated on a class action basis. The arbitration shall take place in Dallas, Texas, in English or at the option of the party seeking relief, online, by telephone, online, or via written submissions alone, and be administered by JAMS.  The arbitral tribunal (“Tribunal”) shall be composed of one arbitrator, who shall be independent and impartial.  If the parties fail to agree on the arbitrator within twenty (20) calendar days after the initiation of an arbitration hereunder, JAMS shall appoint the arbitrator in accordance with the rules. The decision of the arbitrator will be final and binding on the parties.  Judgment on any award(s) rendered by the arbitrator may be entered in any court having jurisdiction thereof.  Nothing in this Section shall prevent either party from seeking immediate injunctive relief from any court of competent jurisdiction, and any such request shall not be deemed incompatible with the agreement to arbitrate or a waiver of the right to arbitrate. The parties undertake to keep confidential all awards in their arbitration, together with all confidential information, all materials in the proceedings created for the purpose of the arbitration and all other documents produced by the other party in the proceedings and not otherwise in the public domain, save and to the extent that disclosure may be required of a party by legal duty, to protect or pursue a legal right or to enforce or challenge an award in legal proceedings before a court or other judicial authority. The arbitrator shall award all fees and expenses, including reasonable attorneys fees, to the prevailing party.  Any judgment rendered by the arbitrator may be entered in any court of competent jurisdiction. Members may choose to opt out of the agreement to arbitrate by mailing a written opt out notice (“Notice”) to Cinemark. The Notice must be postmarked no later than thirty (30) days after the date you accept these Terms and Conditions for the first time. The Notice must be mailed to Cinemark Corporate Headquarters located at 3900 Dallas Parkway, Plano, Texas 75093 to the attention of the Legal Department. This procedure is the only mechanism by which you can opt out of the agreement to arbitrate. Opting out of the agreement to arbitrate has no effect on any other parts of these Terms and Conditions, or any previous or future arbitration agreements that you have entered into with Cinemark. 4. 19 Entire Agreement; Severability:  These Terms and Conditions and the Privacy Policy, which is hereby incorporated into this Agreement by reference, constitute the entire agreement between you and us regarding your use of the Site, your participation in the Cinemark Movie Rewards Program, your entitlement to collect and redeem points, and your entitlement to Rewards and any other benefits of the Cinemark Movie Rewards Program, and supersede all previous versions or prior agreements oral or written, and any other communications relating to the subject matter of this Agreement. Except as expressly contained in these Terms and Conditions, there are no conditions, representations, warranties, express or implied, statutory or otherwise. When you deal with us over the Internet, you consent to the formation of contractual relations through electronic communications. We are the final authority as to the interpretation of these Terms and Conditions and as to any other questions or disputes regarding the Site, the Cinemark Movie Rewards Program or any Reward. All materials and any notices from us will be sent to your address as in our records; please notify us if your address changes. The Site, the Cinemark Movie Rewards Program, all rules and Terms and Conditions are governed by the laws of Texas. If any provision of these Terms and Conditions is invalid or unenforceable, such provision shall not affect the validity and enforceability of the remaining Terms and Conditions. Use of Movie Club 5. 1 Program Overview.  Enrollment in the Movie Club program is on the basis of a monthly membership fee (“Membership Fee”) as stated on our Movie Rewards page.  An active Movie Club member (“Movie Club Member”) will receive one credit (“Credit”) per month valid for one regular 2D movie ticket.  Additionally, Movie Club Members will also receive special members-only discounts on concessions at participating theaters. When you enroll in Movie Club you will receive a monthly credit redeemable for one (1) regular 2D movie ticket at participating Cinemark theatres (and except in certain Cinemark theatres where an upcharge may be added) and will be able to access members-only pricing on tickets and concessions. Movie Club Members are automatically enrolled in the Cinemark Movie Rewards Program. As such, Movie Club Members are subject to the Terms and Conditions set forth in Sections 3 and 4 above. In addition, the following Terms and Conditions apply.  If there is a conflict between any terms in Sections 3 and 4 and this Section 5, the terms of this Section 5 shall control. 5. 2 Enrollment, Renewal, and Cancellation.  Purchase is required for enrollment in Movie Club.   Movie Club Members must be enrolled in the Cinemark Movie Rewards Program (however, enrollment in Movie Fan does not require enrollment in Movie Club and there is no purchase required for enrollment as a Movie Fan member.   The Membership Fee may vary based on zip code and may or may not include applicable taxes.  The Membership Fee and terms of enrollment will not be changed during the course of the membership month.  However, Cinemark reserves the right to change the Membership Fee and terms of enrollment at the time of monthly renewal.  If the Membership Fee and terms of enrollment are changed, Cinemark will send an e-mail notification to Movie Club Members prior to renewal with instructions for termination of the Movie Club account (“Movie Club Account”. Renewal of the Movie Club membership is automatic.  Cinemark will charge the credit card on record for the Membership Fee, typically on the 30 th  day of the billing cycle for automatic renewal.   Unless the Membership Fee has changed, Cinemark will not send any e-mail notification prior to charging the credit card for a renewal.  The exact date for the next monthly billing will be displayed in the profile page of the Movie Club Account. The Subscription Member is responsible for keeping the credit card information updated on the Movie Club Account.  If the credit card on record cannot be charged, the Movie Club Account will be cancelled and Cinemark will send an e-mail to the Subscription Member notifying the cancellation of the Movie Club Account effective as of the date of renewal. A Movie Club Account is active and available for use immediately upon receipt of the confirmation email acknowledging creation of a Movie Club Account.  Enrollment is limited to one Movie Club Account per Movie Club Member per email address.  Cinemark requires that Movie Club Members be at least sixteen (16) years of age. There is no required minimum enrollment period. Movie Club Members may cancel membership at any time through the profile management page. The cancellation will be effective from the billing cycle following the effective date of cancellation.  The Membership Fee cannot be refunded.   All unused Credits remaining in the Movie Club Account expire six (6) months from the date of cancellation. 5. 3 Use of Credits.  Movie Club Members will receive one (1) Credit valid for one (1) regular 2D movie ticket during each month of membership.  Except in certain theatres where an upcharge may be added, each Credit may be redeemed for one (1) regular 2D movie ticket or the Membership Fee paid for the Credit, whichever is higher.  The Credit can be used to book tickets at any participating Cinemark theatre.  Credits may be redeemed only for regular 2D tickets; upcharges will apply for any non-2D or premium format tickets. Unused credits (“Rollover Credits”) rollover into the following month. Rollover Credits continue to rollover and may be used indefinitely in an active Movie Club Account.  If a Movie Club Account is cancelled, all Rollover Credits expire six (6) months from the date of cancellation. Credits may not be partially used; the entire Credit is to be used on booking one ticket.  Tickets booked with a Credit are transferrable and may be used by anyone. However, Credits may not be transferred and are only redeemable by the Movie Club Member who received the Credit in his/her Movie Club Account. A Movie Club Member can use any number of available Credits in a single transaction.  All outstanding Credits must be used prior to receiving the Membership Fee price on additional tickets.  However, the number of transactions on a Movie Club Account is limited to three (3) per day.  All tickets purchased after the third transaction will be at the non-discounted price but service fees will be waived for all transactions.  There are no limitations on number of transactions for the concessions discount. If Credits are used to purchase tickets but the Member is unable to make the showtime, we will refund the Credit(s) not cash value) to the Members Movie Club Account. The Member is not entitled to receive the cash value of any refunded tickets. A Credit is not a Gift Card and is not redeemable for cash; it may not be used for any transaction except the booking of one (1) regular 2D movie ticket. Credits cannot be refunded. 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Ashfall trailer. Ashfall watch online. Ashfall park nebraska. Ashfall fossil beds state historical park. Follow Other name: 백두산, Baekdusan, Baekdu Mountain, Mt. Baekdu Description: A volcano on Baekdu Mountain suddenly erupts. Pandemonium ensues on the Korean peninsula, with more eruptions predicted in the area. To prevent another disaster, Jeon Yoo Kyung plans an operation based on a theory by Professor Kang Bong Rae. He had has studied Baekdu Mountain and its possible eruptions. Jo In Chang is the captain of a special forces team. He is tasked to take part in the operation, which holds the fates of South and North Korea in the balance. Jo In Chang contacts Lee Joon Pyeong who is part of the Ministry of People's Armed Forces of North Korea. Meanwhile, Jo In Chang's wife Choi Ji Young is alone in Seoul. She struggles to survive against the disaster. Country: Korean Status: Completed Released: 2019 Genre: Action; Adventure; View more video Show all episodes.

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Greed is a movie starring Sophie Cookson, Shirley Henderson, and Asa Butterfield. Satire about the world of the super-rich
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