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October 02 2013

watchrushfullmovie

Watch Gravity Full Movie Streaming

Watch Gravity Full Movie Streaming Watch Gravity Movie easy Download Some movies are so tense and deeply affecting that they shave years off your life as you're watching, only to give back that lost time, and more, at the end. Alfonso Cuarón's Gravity is one of those movies.

Sandra Bullock and George Clooney play astronauts—one a medical engineer, the other, as he puts it, the guy who "drives the bus"—who find themselves adrift in space, cut off from all (or almost all) Earth communication. This is Cuarón's first movie since his stunning dystopian fantasy Children of Men, from 2006, and his first in 3D. After several years of 3D pointlessness, I'm thoroughly sick of the format, and you may be, too. But instead of attempting to make us believe 3D is a new language, Cuarón and cinematographer Emmanuel Lubezki use it simply to expand the emotional vocabulary of filmmaking, to explore both wonder and the thing that makes wonder possible: despair. Forget stretched-out blue people, Peter Max–colored flora and fauna, and explosions comin' at ya: To see Clooney and Bullock floating and circling one another, nearly drifting into oblivion only to be reeled back, all captured in takes so long it's as if Cuarón's camera can't bring itself to look away—this is what 3D was made for.

Gravity is remarkable because it's both a spectacle and a platform for its actors, especially Bullock. Cuarón has some fun with stock 3D effects: Wrenches, bolts, fountain pens, a little Marvin the Martian figurine complete with scrub-brushy helmet all float by at some point in that optical neverland between the screen and our fingertips. As astronauts Ryan Stone and Matt Kowalski, Bullock and Clooney float, too, but it's a different and generally more marvelous thing. In the early moments, the duo have left the comfort of their space station: She's intent on installing a very important whatchamacallit into a thingie—doing so successfully will give her a chance at better funding for her research back home. He, on the other hand, is just fooling around, trying out a new jet pack—he resembles a toy, a human Buzz Lightyear who, thanks to NASA technology, really can fly. While Stone sweats, perhaps literally—she's not feeling well on this particular day—Kowalski busies himself with being a goofball, entertaining ground control in Houston with tall tales and general waggery. (The voice you hear from the home planet belongs to Ed Harris, who played John Glenn better than anyone else could have in Philip Kaufman's superb adaptation of Tom Wolfe's The Right Stuff.) The setup makes sense: Clooney is the clown, Bullock is the grind. It's a match made in heaven, or at least the heavens.

What follows is a romance, with elements of romantic comedy and dream logic mixed in. If Clooney's is the encouraging voice you want to hear when you're trapped in the vast nowhere of space, Bullock's face is the one you want to see. An early scene shows her drifting farther and farther from everything she knows, tetherless, possibly losing oxygen. She's terrified but also astonished at what might be happening to her, and she has never looked more beautiful—Lubezki renders her skin as luminous as platinum. Even the sound of her breathing, strained and intensified, draws us close to her.

For all the dazzling technique, this really is Bullock's movie. Stone continues to talk even after contact with home has been lost: Kowalski has reminded her that even though she can't hear Houston, Houston may be able to hear her, which is as apt and unsentimental a metaphor for prayer as I can think of. And so she takes us, if not some unseen and unheard God, into her confidence with her soliloquies—we might be the last human beings to hear them, but Bullock treats them like casual conversation. She's the perfect opposite of a grand dame actress: Instead of making pronouncements, she strives to connect.

Gravity is both lyrical and terrifying, and sometimes Cuarón merges the two, sending us into free fall along with his characters. In Gravity's vision of space, all the whites are whiter and the darknesses darker: From the astronauts' point of view, the world looks like a kind of sky, a bright bowl of day turned upside-down over night. It's gorgeous, but it's also a solemn reminder that these two are just one small step away from eternal isolation. The score, by English composer Steven Price, captures that tension perfectly. Its tones are broad and low, the province of the contrabassoon and of undersea monsters, except we're not just talking about the sea or the musical staff. To go deeper into space means going farther out, and Kowalski and Stone find themselves at the edge of an ocean with no bottom, an infinity of unimaginable loneliness.

No space movie arises from a vacuum, and while there may be a mad rush to compare Gravity with 2001: A Space Odyssey, Cuarón's vision is a world apart from Kubrick's. Kubrick approached space with a cool, confident master plan; Cuarón proceeds with awe. Gravity has more in common with The Right Stuff and Brian De Palma's sorely underloved Mission to Mars. The Right Stuff isn't so much about space as about the space program, and Cuarón—who co-wrote the script with Jonás Cuarón, his son—likewise captures the mingling of duty and curiosity that motivates human beings to leave the Earth's atmosphere. And Cuarón, just as De Palma was, is alive to the empty-full spectacle of space and to the workaday poetry of the words astronauts use to describe it. To this day, detractors of Mission to Mars make fun of the picture's allegedly stiff dialogue. But have you ever heard astronauts—who are usually men of science, not Iowa Writers' Workshop grads—speak when they get that first long-distance view of Earth as a glowing orb? They grab for the simplest words, which are often the best. See Also: Watch Prisoners Full Video Online
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September 26 2013

watchrushfullmovie

▶ _Rush_ - Official Trailer (2013) - Chris Hemsworth Racing Movie - YouTube [240p]

(3GP, 3.06 MB)
PLOT: The real-life rivalry between Formula One racers Niki Lauda (Daniel Bruhl) and James Hunt (Chris Hemsworth), from their early days on the F3 circuit to the peak of their fame in the 1976 racing season.

REVIEW: It's ironic that after a couple of stale years, the movie that rockets Ron Howard back to the heights of his directorial prowess is a car movie. Those who've followed his career know that Howard's first film as a director was the Roger Corman car chase movie GRAND THEFT AUTO, so in a way this brings him full circle. Obviously the two movies are wildly different, the former being a b-movie drive in flick, while RUSH is an A-list biopic/Oscar hopeful. Other than cars, what they have in common is that they're both the work of a passionate filmmaker, who seems to be relishing his material, which is something I haven't felt from a Ron Howard movie in a while now.

It helps that the James Hunt/Niki Lauda rivalry is pretty intense, and while the high-pedigree script by Peter Morgan (FROST/NIXON) is clever and classy, it never has to rely on exaggeration. Their rivalry was exciting enough. James Hunt is a pretty charismatic character, being the playboy racer all of us have probably fantasized about being at some point in our lives. Chris Hemsworth is a natural for the part, effortlessly establishing Hunt's insane charisma right from the (great) introduction where he marches into an ER, bruised and bloody, and is able to seduce the sexy nurse on duty (Natalie Dormer) so fast that she has sex with him before stitching him up. Hunt seems like a fun role, and Hemsworth is ideally cast.

As good as he is- and I'd wager he's great- I think Daniel Bruhl steals the show as Lauda. The other day, in my FIFTH ESTATE review, I wrote that Bruhl came off as bland in a fairy uninteresting role. Here, he's arguably got the best part in the film, and he absolutely owns the movie every second he's on screen. Lauda is a less-showy part than Hunt, with him quieter, and more introspective. But, if you know Lauda's story, you'll know that something happens here that changes his perspective on the sport, and makes him into the F1 icon he is to this day. It's a brilliant part for Bruhl, and I'd be he's now a serious contender for a best supporting actor nomination at the Oscars (although it could be argued he's more of a lead).

Next to Hemsworth and Bruhl, the rest of the parts are fairly small, with Olivia Wilde having a memorable, if small part as Hunt's model wife Suzy. However, Alexandra Maria Lara (from CONTROL) has a great part as Lauda's love interest, bringing a warmth to a film that might otherwise have been overwhelmed by the rivalry and the racing. She's a good counterpoint to the two guys.

A lot of credit is due Howard as well, who's managed to turn a movie that could have had an audience that would be limited to F1 devotees, and makes it a pretty universal underdog story. It's also loaded with testosterone, and zips along at a fever pitch. It apparently runs just over two hours but to me it went by lightening fast. The race scenes are superb and even if you're like me and know virtually nothing about the sport, you'll be on the edge of your seat chewing on your fingernails like I was. The propulsive score by Howard regular Hans Zimmer helps.

I'm really thrilled that RUSH ended up being such a strong return to form for Howard, who's a guy you really can't help but like, even when his movies don't deliver. This is probably one of his five best films, and yet another awesome TIFF title.
watchrushfullmovie
Sep 27

Watch Rush {{2013}} Movie Online

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PLOT: The 1970’s rivalry of James Hunt and Niki Lauda – two Formula One racing competitors – is explored in the exciting new film from Ron Howard.

REVIEW: Judging from the poster of the new Ron Howard movie RUSH you may suspect that it is all about Chris Hemsworth and his handsome mug. Of course looks can be deceiving as this racing drama is about not one, but two very intriguing Formula One rivals played by Hemsworth and Daniel Brühl. The two actors make for incredible sparring partners, each one fighting to be the world champion. Of the two however it is Brühl who gives the more complex and moving performance. His blonde-haired, good-looking enemy might be far more colorful and exciting, yet there is something about rooting for the underdog.

The story revolves around the 1970’s Formula One champions James Hunt (Hemsworth) and Niki Lauda (Brühl) who were bitter rivals. It follows their intense competitive spirit as they fight to be number one. While Hunt cavorts and enjoys the wild life, as well a rocky marriage to Suzy Miller (Olivia Wilde), Lauda plots every course and calculates each move he makes. It is an interesting dynamic, especially since there is no clear hero in the proceedings. Even when a terrible accident strikes leaving one of the players badly burned, that edge between the two is never lost.

There is something thrilling about a great racing flick. The revved up engines and the sheer power of the sport is one of awe and fear. Director Ron Howard manages to present the thrill of it all while still creating a worthy drama between the two men. The many shots of tires speeding along the pavement or the explosive terror when the cars smash against each other are deftly handled by the director. My only minor complaint is that he sometimes gets a little too visually creative which at times takes focus away from what is an already exhilarating subject. To an extent, Howard is at his best when he is off the track. Even still, the racing sequences are great.

As far as the performances go, you can’t do much better than Hemsworth. He is a major movie star that can act. The beauty of his turn as Hunt is that he is given the opportunity to play that racing sensation in all its glory. He is clearly relishing this vibrant real life figure and it works. And then there is Brühl. I’ve been a fan of this Spanish born, German speaking actor for a very long time. From his work in GOOD BYE LENIN! and THE EDUKATORS to his terrific performance in INGLOURIOUS BASTERDS, it is not at all surprising that he is phenomenal here. With this as well as the upcoming THE FIFTH ESTATE, this may be the year that he really becomes a major star here in the States.

The screenplay by Peter Morgan (FROST/NIXON, THE LAST KING OF SCOTLAND) smartly examines the fierce battle with a fresh perspective. Occasionally it falls into the minor bouts of sports movie cliché yet it manipulates the audience in an engaging way. The challenge of showcasing both characters evenly throughout the course of the film is commendable. It is near impossible to decide who to root for as both Hunt and Lauda are not just the antagonist and the protagonist… They are each a little bit of both. While personally I could relate to Brühl’s more tightly wound take on Lauda, every so often you’d find that Hunt seemed the better man. Credit should be given to Morgan as well as the two talented actors involved for making it work.

RUSH is one hell of a biopic. With both of the lead actors giving terrific performances, you may find it difficult to decide who to cheer for as they reach the finish line. If you don’t know the history it makes it all the better, even if it is occasionally predictable. The score by Hans Zimmer is perfectly suited with Howard’s style. And of course, Howard maneuvers through the material taking every advantage of the sleek and sexy decade while still offering the intense thrill of the race. RUSH is exactly that, it is a super-charged RUSH of a biopic that will thrill audiences whether they are familiar with James Hunt and Niki Lauda or not.

http://www.joblo.com/movie-news/review-rush-03

watchrushfullmovie
watchrushfullmovie

There comes a time in every critic's life when you find yourself going against the tide of opinion, set adrift by your inability to appreciate something everyone else is gaga for. It is a very different feeling than liking something everyone else despises. But as I gaze upon the 90% positive or so rating on Rotten Tomatoes, all I can do is take a deep breath and say, "My name is Susan and I am a 'Rush' disliker."

Not a hater, mind you. No movie featuring either one of those musclebound Aussie skyscrapers known as the Hemsworth brothers (this one has Chris, a.k.a. Thor, not Liam a.k.a Miley Cyrus' ex) can be all bad. I do admire a good car chase, whether in “Smokey and the Bandit” or in the original “The Fast and the Furious," and my double-digit viewings of “Slap Shot” and “North Dallas Forty” attest to my fascination with sports films—but only if the off-field play between characters is as compelling as the contest on the field. In the case of "Rush" it was immediately apparent that there was a slick formulaic surface clinging to this cinematic road trip. And for me, that was a turnoff. 

"Rush" is based on the true story of Formula One adversaries James Hunt, a swaggering rock-star-bad-boy Brit, and Niki Lauda, a tersely pragmatic Austrian with zero social skills and an itchy middle finger, as they vied for the 1976 world championship title. If you know anything about these two not-quite-gentlemen, it's that one them will be sorely tested when tragedy strikes at speeds close to 200 mph. Much praise already has been heaped upon director Ron Howard—no stranger to car-themed movies as both a filmmaker ("Grand Theft Auto" ) and an actor ("American Graffiti")—for striving to capture the visceral thrill of the sport.

But I found "Rush" to suffer the same problem as most race-track movies, even if measures have been taken to give the audience a behind-the wheel point-of-view. As physically intense as racing might be, cinematically it's tough to portray as anything but repetitious. What's onscreen is a bunch of helmeted drivers in cramped vehicles chasing each other in circles with a few hairpin turns tossed in until the finish line looms—and, unlike real life, the results have already been determined.

I might have tolerated the film much more with the sound off. With the volume on, this movie feels like a mucho-macho Saturday morning cartoon—specifically Bugs Bunny toying with his eternal pursuer, Elmer Fudd. The action is fueled by a lot of pre-race trash talk, plenty of disparaging press-conference interviews and on-camera braggadocio, much plotting to maximize speed and outmaneuver the competition, tons of commentary during the actual races, followed by get-your-motor-running vroom-vroom on the track. (One of most overused pump-'em-up '60s hits ever, "Gimme Some Lovin'", is pressed into service once more.)

Although this arena is far more glamorous and unrehearsed, I found Hunt and Lauda's pre-race confrontations as annoying as the over-the-top interplay that precedes pro wrestling matches—and only half as clever as Bugs and Elmer's repartee.

"Rush" is not so much a bromance as a foe-mance with rivals who are completed—and in this case, literally driven to succeed—by their polar opposites. While Hemsworth as Hunt and Daniel Brühl as Lauda are perfectly believable as their characters, I found it hard to root for either one—although Brühl's charisma-impaired Lauda is closest to being a sympathetic Salieri-like underdog. Howard and writer Peter Morgan eventually show how these bitter adversaries form a bond of mutual respect that can only be achieved when you both put your lives on the line to do what you love. But this moment arrives too late to break up a wearying pattern of bragging, bashing and crashing.

The film earns its "R" rating from Hunt's constant womanizing (his personal motto: "Sex: Breakfast of Champions") and scowling Lauda's propensity for using the F-word. Another contributing factor: the threat of violence lurking around every corner. The danger inherent in a sport that requires recklessness in order to win is flagged early and often, and Howard is not shy about showing the damage to flesh and metal. As Hunt says about his car, "It's just a little coffin, really, surrounded by high-octane fuel all around—for all intents and purposes, it's a bomb on wheels."

"Rush" takes an especially wrong turn at the corner of love and marriage. Olivia Wilde certainly looks the part of runway siren Suzy Miller who inspired Hunt to wed on a whim, but adds little but eye candy. The fact that she soon runs off with actor Richard Burton is about as interesting as she gets. Faring worse is Alexandra Maria Lara as Lauda's first wife, Marlene Knaus, who mostly stands around silently and looks concerned, like one of the lesser nuns in "The Sound of Music." How do you solve a problem like Niki?

At least one scene did capture and hold my attention: when Knaus's car breaks down with Lauda driving and leaves the pair stranded on the quiet road in the Italian countryside, they each attempt to hitch a ride, and the outcome provides a clever twist on a similar scene performed by Claudette Colbert and Clark Gable in 1934's "It Happened One Night."

Other journalists who caught "Rush" in the same circumstances I did—at a Toronto International Film Festival screening—are seriously listing it as a possible best-picture Oscar candidate, and I suppose it could make the cut, depending on how it does at the box office. But to me, this celebration of male cockiness in vehicular form is a much lesser accomplishment than Howard and screenwriter Morgan's previous collaboration, "Frost/Nixon", which also revolved around a contest between formidable adversaries: a dour, disgraced politician, and a flashy media type who was widely perceived as a lightweight. The clash between very different men engaged in battles of the verbal kind produced a different kind of rush: one of the mind. 
watchrushfullmovie

September 23 2013

watchrushfullmovie

Watch Rush Online Free

Watch Rush Download Rush 2013 Streaming - A true story of chalk-and-cheese Formula One drivers – one hot-headed, the other coolly calculating – locked together in a life-and-death rivalry may well seem familiar to UK filmgoers. Yet Asif Kapadia's brilliantly dramatic documentary Senna remains largely unseen by mainstream audiences in America, where it was also scandalously overlooked at the Oscars (here, it won two prestigious Baftas).
To fill that gap, we now have Rush, Ron Howard's multiplex-friendly account of the friction-filled relationship between James Hunt and Niki Lauda, which eerily echoes the tensions teased out between Ayrton Senna and Alain Prost in Kapadia's groundbreaking work. Well oiled, excitingly noisy and machine-tooled for maximum popcorn appeal, Howard's roaring drama depicts men risking life and limb in insanely dangerous circumstances, although the film itself prefers to play it safe in order to court the widest possible crowd.

Scripted by Peter Morgan, whose stage play Frost/Nixon formed the basis of Howard's previous real-life 70s grudge match, Rush paints its duelling antagonists with the most baldly oppositional black-and-white brushstrokes. While Hunt is a handsome playboy with a champagne lifestyle and shagadelic reputation (his badge bears the legend "Sex: Breakfast of Champions"), Lauda is a "rat-faced" systems analyst who goes to bed early after sweating over the mathematical permutations of success.

As the former, Chris Hemsworth appears on occasion to be channelling the spirit of Austin Powers, a Merrie English swinger for whom naughty NHS nurses in stockings provide more than first aid, while saucy stewardesses offer obliging membership to the mile-high club at the drop of a polo-neck sweater. Toning down his performance only marginally from that of his hammer-swinging thunder god turn in Thor, the Australian Hemsworth is ready for action on and off the track, although his posh-school British accent sometimes slides like slick-tyred wheels on a rainy racetrack.

But it's Daniel Brühl as the rigidly locked-down Lauda who is arguably the more interesting of the two; while Hunt's boyish enthusiasms are all on the surface, the enigmatic Austrian's driving forces are more elusive, causing us to wonder about his true motives. Like his eternal adversary, he is a son of wealth rebelling against a privileged past, the common bond that joins this odd couple. But whereas Hunt wears his passions on his sleeve (or, more often, his underpants), Lauda's demons are somewhat internalised, leaving Brühl to wrestle with an emotionally distant character, something he manages with aplomb.

Juxtaposing the worldviews of its yin and yang heroes, Morgan's script treads a fine line between intrigue and overstatement. At its best, this makes for much entertainingly abrasive drama as the rivals' love-hate relationship provokes sparky interaction at pre-race meetings (another flag wave to Senna) and social gatherings alike. Yet such clear-cut divisions can also become an obstacle, with credibility stalling somewhat as simplification wrests control of the narrative steering wheel. It doesn't help that Austin Powers' Basil Exposition himself seems occasionally to be in the commentary box, providing the aural equivalent of subtitles for the hard of thinking.

But Howard has always been a die-hard populist, whether serving up the sparkling romantic fantasy of Splash or delving into the murky waters of psychosis in A Beautiful Mind. With such notable exceptions as the dismal The Da Vinci Code and the painfully unfunny The Dilemma, his back catalogue bears testament to his ability to blend solid thematic meat with easily digestible fluff. As such, Rush (which cost a modest $50m) may prove to be a hit with American audiences for whom the subject matter is still something of a foreign country.

Significantly, Rush also marks a return to Howard's roots, which are firmly grounded in cinematic dreams of cars. Having starred in American Graffiti, with its nostalgic evocations of drive-ins and hot rods, Howard made his directorial feature debut, in 1977, with Grand Theft Auto, a motorised romantic caper publicised with a cartoon pile-up poster proudly brandishing the tagline: "See the greatest cars in the world destroyed!" – a promise on which Rush makes good. There are comparisons, too, with Apollo 13, another 70s-set true story about men in all too flimsy machines travelling at speeds that are likely to cause them to burn up and worse. Despite the fact that (most) audiences knew how that particular adventure would end, Howard did a brilliant job of keeping the crackling tension alive by concentrating on the relations between the astronauts, his dexterity with both the mechanics of action cinema and the nuances of dialogue paying dramatic dividends. It's a winning combination that is once again to the fore in Rush.

Much credit goes to the ace team of cinematic mechanics whom Howard has assembled to fine-tune his vehicle Rush 2013 – from Anthony Dod Mantle's typically deft and probing camerawork, always finding the unexpected perspective, to the collective efforts of the sound department, whose crunchy gear changes and booming engine throbs put the audience right there in the driver's seat. Visually, the film has an access-all-areas pass to every nook and cranny of the cars, but it's the pulsing bassline of that soundtrack that provides the dramatic chassis of the race sequences. Solid supporting performances add to the appeal, with Alexandra Maria Lara and Olivia Wilde making the most of their twin "muse" roles, while Christian McKay reminds us that we have seen too little of him since his breakthrough role in Me and Orson Welles.

Bright, brash and unashamedly formulaic, this is thrillingly accessible fare, aiming more for the straight lines of the home stretch than the tricky curves of those treacherous corners, with Howard keeping one eye always on the grandstand.
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