تحميل فيلم why so serious

And, as great as this movie is, once they get to London, it's really more of the same in terms of visuals. Having said all of that, let's move on shall we? I'm honestly quite surprised that DC waited THIS long to make a Wonder Woman movie, particularly when, to me, this is the movie that should have started your whole extended universe. This should have been the starting point for all things DCEU. Firstly, if we're doing this in chronological order so, technically, this should have been first and, secondly, it's a great movie, so you start off with this and people would actually be pumped for the DCEU instead of looking at things so cynically now.

It's an asterisk. And that's not to minimize this film's significance, because I do like the shift and I feel that DC knows that, at least for this moment in time, Wonder Woman is its most important character. So that's why, in my opinion, DC needs to worry far more about Wonder Woman, as she needs to be their top priority, for your cinematic universe going forward as opposed to the old, familiar faces.

Having said that, let's get going, shall we? At first, honestly, I didn't get it. Don't get me wrong, Gal Gadot is a very talented and attractive woman, but I just didn't get IT for the longest time. But, having finally seen her as this character, I understand the decision to cast her in the role. Firstly, for some reason or another, she's even more stunningly beautiful as Wonder Woman than even I imagined. Plus, honestly, I find she brings all the values to the character that she needs.

So, in my opinion, it's a good combination of both. Diana Prince Wonder Woman herself comes from a long line of Amazonian warrior women created by Zeus in order to protect mankind, really, from itself. Ares, the god of war, being tots jelly of humanity, decided to plot its destruction by influencing them and his influence leading to the humans starting wars against each other. Ares has also killed all of the gods with the exception of Zeus himself. Zeus used the last of his power to wound Ares and making him retreat.

Long story short, Zeus essentially hid Themyscira the island the Amazons live in to keep from Ares from finding it and left them a weapon called the Godkiller for Ares' return. Blah, blah, blah, long story short, Steve Trevor an Allied spy crashes his plane off the coast of Themyscira, wherein German soldiers follow him and there, they fight against the Amazonian women who, after losing some of their own, including Diana's aunt, defeat the German soldiers.

Steve, after telling them about the Great War WWI attempts to enlist the help of the Amazonian women in order to turn the tide of war, but Hippolyta Diana's mother has none of it. Steve has found this notebook by this German doctor that tells of an attempt to create a deadlier form of mustard gas, which he's trying to put a stop to or else millions more will die.

Diana, being incredibly idealistic, figures that this is Ares' return to the world of men and she needs to put a stop to it by killing Ares. Diana eventually does leave with Steve, she'll never be able to return to Themyscira again as a result.

So, eventually, Steve and Diana make their way to London, where they begin their plan to fight back against the Germans pre-Hitler and attempt to put a stop to this deadlier mustard gas.

I will say that the movie does miss a chance to tell an incredibly interesting story of Diana having to adjust to the gender differences once she makes it to London. Women aren't allowed in the military, they're not even allowed in this war council to discuss an armistice between them and the Germans. Diana, of course, finds her way in this meeting and she browbeats one of the generals for being a coward, acting as if the lives of his soldiers are less important than his own and not fighting alongside his men.

Women, at least in this point in time, have not been allowed the vote either. And, honestly, it would have been incredibly interesting to explore that dynamic of Diana, coming from an island where women are clearly superior in every way even though there's no men to a place where women are so clearly oppressed.

There's a few hints of it here and there, but I think the movie would have benefited from exploring that dynamic a little bit more, in my opinion.

One of the things I liked about this movie is that, unlike a lot of superhero movies, I do think they try to give a face at the people that are being affected by the war and how that motivates Diana to try and help them, whether it's by driving the German soldiers from this small town or getting rid of Dr. Maru and Ludendorff, the ones not letting this armistice go through and who are also developing the deadlier mustard gas.

There's an interesting debate here that, honestly, I wish the movie would have stuck with. There comes a point, much later in the film where Diana kills Ludendorff, as has been her goal all along, since she feels Ludendorff is Ares and killing him stops the fighting. She does, in fact, kill Ludendorf, but the fighting does not stop. In fact, you could argue, that it gets worse. Diana questions Steve about why the fighting hasn't stopped and there's a discussion between the two where Steve says that, maybe, just maybe that's just how we are, we're hard wired to self-destruct.

There's just something to the idea that Diana believes that only one person is to blame for all of this and by stopping that one person stops the war itself. It's an interesting idea because it brings to mind the questions that, really, maybe we're not really worth saving in some way, if all we do is keep killing each other every few years. Not many superhero movies deal with this topic in this way.

But, of course, you could say that it's a bit of a red herring given that, in fact, Ludendorff was not Ares and, instead, was someone they considered an ally.

But it's interesting to explore regardless, given that Diana is still so naive about certain things in 'modern' times and how her idealistic values and ideas aren't shared by everyone around her. I think that's probably one of the best thing this movie does, just sort of explore the idea that not everyone shares Diana's values and how, in a way, her views are sort either antiquated, ahead of their time or both.

Steve, who's been helpful to her every step of the way, does stand in her way in some scenes before, of course, Diana takes matter into her own hands. Diana and Steve's relationship is also one of the strongest points of the movies. This is in large part, of course, to how great Gal Gadot and Chris Pine are, their chemistry is excellent and, while the movie does contain a romantic angle between the two, it doesn't feel forced or unnatural.

As I mention, Gal Gadot's performance is very strong. She's a badass, but she also brings heart and life to the character. She's not necessarily a goody two-shoes like Captain America, but they share some similarities in how they view the world. You can see how people would be drawn to her kind and compassionate nature and that's not something that, say, a lot of actors playing superheroes are able to capture. The film does have a good bit of action and it is pretty damn good all things considered.

There were some parts that I felt were too Zak Snyder-y, like the whole slo-mo things that Zak Snyder abused in But, at the very least, in this case, it can be explained by the fact that one of Diana's superpowers is seeing bullets in slo-mo, which allows her to deflect them before they harm her or anybody. So, at least, it's not a stylistic choice that was abused, it has actual significance. The action gets a thumbs up from me as if that wasn't obvious. So you know how I mentioned earlier that the movie touches on the fact that, maybe, humanity isn't worth saving if all we are is doomed to destroy ourselves.

Well, later on in the movie, Diana comes to the realization that, in spite of everything, humanity is worth fighting for.

One of the things I didn't like, there's actually a couple of minor issues I had, is the fact that the whole ending of Diana saying that she believes love will end up saving us is really kind of corny and cheesy. Not that the message isn't a worthy one, it's just how it's handled. And, really, Steve's ultimate act of sacrifice was one made for love, so it makes sense that Diana would believe that, it's execution is still a bit corny.

Another thing that bothered me is that, ultimately, the fighting DID stop after Diana killed Ares and, I don't know, I feel like that's too simplistic of a conclusion for something as complex as the first World War. I like the earlier themes which, while certainly more bleak and that's something DCEU could do to remove from its movies , it's still a better conclusion and, at the same time, Diana can still come to the same conclusion she did as a result of Steve's actions.

Minor issues, really, as it didn't really affect my overall enjoyment of the film. Having said that, do I think that this is one of the best superhero movies ever made? No, not really. It's the best movie based on one of DC's properties since the Dark Knight Trilogy finished off in It's a great superhero movie, with a strong origin story at its core, great performances from Gal Gadot and Chris Pine and a more humanistic approach to its conflict, in that the people Diana and Steve are trying to save aren't entirely faceless as they usually are in these movies even in the MCU.

But, at the same time, there's nothing really about this movie that extends the boundaries of what we know the superhero genre to be.

It works solely within that framework. And there's nothing wrong with that but, to me, the best superhero movies transcend their framework to become something more, something fresh within this genre and, honestly, I don't think this offered anything fresh. Maybe that's just me. Regardless of all of that, this is still a great superhero movie and, as mentioned, this should have been DC's first step in their attempts to create their own cinematic universe.

As such, we cannot turn back time and, as I mentioned earlier, Wonder Woman should be DC's top priority right now. Wonder Woman needs to be the centerpiece of their extended universe if they want to come close to rivaling Marvel. Or even just being a strong number 2. They're number 2 by default, but they're not a strong number 2. With that said, this is a great start to this franchise and I'm eagerly looking forward to more from this character and how DC decides to expand the character.

I would easily recommend this. Jesse O Super Reviewer. Nov 26, The fourth movie in the current DC extended universe that has been exploding onto our screens with much aplomb. Well actually no it hasn't but that was the idea wasn't it. So far things have been a bit dodgy to say the least, could this movie turn the tide? Well according to just about everyone this movie did seem to do just that. So has the movies popularity, hype and praise swayed me in any way? Is it justified? The movie is basically a prequel to the movie 'Batman v Superman: Dawn of Justice' whereby it shows the origins of Diana Prince Gal Gadot , whilst at the same time connecting to the events that occur within BvS.

The fact its this way around is of course due to WB's lack of patience and coordination in their comicbook universe building playing catch up with Marvel as fast as possible. The plot however pans out as you might expect, in the usual comicbook fashion. We learn about Diana's homeland, her culture and people. We learn about a pending almighty evil that threatens everything.

Outsider shows up and ends up helping Diana in her quest to find and eliminate evil. A bit of exposition, some minor alternate bad guys to deal with, a few key battles and then one big CGI finale. Much like the recent 'Kong: Skull Island' I had an initial problem with the fictional Amazonian homeland of Themyscira. This place appears to be a very large group of islands plopped in the middle of an ocean somewhere.

The problem being it appears to be hidden by a perpetual weather system and some kind of invisibility force field. Obviously this is a fantasy movie so something like this shouldn't really matter. But the entire notion that no one has ever stumbled across this rather large place, and reported it, just seems completely unbelievable. The other thing that bothered me was the fact that when German forces actually find this location whilst chasing a downed Steve Trevor , they simply start to attack!

Why would they do that?? Such an important discovery like that. Also what exactly happened to the German ship? Did the force field sink it? The plan: Steve simply wants to hand back some important stolen information regarding Nazi gas weapon advancements Steve was an undercover spy. Diana has basically been brainwashed all about Zeus and his dastardly son who wants to wipe out mankind Zeus' creation because he thinks they are a destructive race. She believes Ares is the cause of WWI and she can stop it.

The thing this narrative becomes extremely annoying truth be told because Diana never shuts up about it. That's minutes. If it were released to big screens, it would tie Kenneth Branagh's adaptation of "Hamlet" as the longest major studio theatrical release in history.

And reader, if it ever does get released to theaters, I'll go see it again, as long as it's in IMAX and there's an intermission. Some other time, perhaps, we can talk about the road that led to this moment, along with its implications for the major studio relationships to the more entitled or belligerent elements in fandom. My own feelings are summed up in the Clickhole headline, " The worst person you know just made a great point.

This four-hour cut is the kind of brazen auteurist vision that Martin Scorsese was calling for when he complained rightly that most modern superhero movies don't resemble cinema as he's understood and valued it. With its spread-out ensemble storytelling, its blend of poker-faced earnestness and grandiose tragedy, its fractured structure, and its often-glacial pacing — which marinates in moments at length, often for beauty's sake alone, displaying a serene faith in its own judgement rarely encountered outside of so-called "slow cinema" films — this cut makes demands on the audience that have never been made by a superhero picture produced at this budget level.

The backstory: " Justice League " was meant to be the third in a series of Zack Snyder superhero films after " Man of Steel " and "Batman v. Superman: Dawn of Justice," but Snyder and his chief collaborator and wife, executive producer Deborah Snyder, stepped down during postproduction to grieve for their daughter, who had died unexpectedly. The releasing studio, Warner Bros. Superman," which ended with Superman's death. Whedon ended up rewriting and reshooting most of the movie, Whedon-izing it with smart-alecky one-liners and shooting new action scenes that, while competent, lacked the turbocharged delirium Snyder is known for.

The recut—it feels more correct to call it a "restoration"—contains zero Whedon footage. It's broken into seven chapters with titles, each of which has a self-contained quality reminiscent of issues of a monthly comic as well as old-fashioned episodic television; the Snyder Cut is as much of a medium-blurring, "Is it TV or is it a movie?

Only a sliver of what's onscreen is wholly new, notably a forward-looking "teaser" conversation between Batman and the Joker, perched awkwardly at the end of an otherwise gorgeously shaped three-plus-hour experience.

But Snyder generated so much material during the original shoot—much of it shelved by Warner Bros. The vast majority of superhero blockbusters are not intended as freestanding works of creative expression. They're meant to function as cogs in a content-producing machine that largely avoids painful or unanswerable questions, feeding disposable imagery and situations to viewers who expect to be rewarded for their brand loyalty and familiarity with comics lore by being given more and more and more of the thing they already know they like.

When you compare the hugeness of these productions to the stubbornly private choices of story and style, they seem perversely out-of-sync with whatever was considered "normal filmmaking" when they were first released into the world. The Whedon cut of "Justice League" was the opposite of that.

It felt and played more like a Marvel film, busy and quip-driven and relentlessly charming. Snyder's cut is an ensemble picture that does as good a job as MCU's "Avengers" films of presenting a band of heroes as strong-willed, fully-rounded individuals, people who had lives and issues before the main action started, and who must learn to work to together in service of battling Steppenwolf and Darkseid.

Yes, there's a plot: basically the same as in the first "Justice League," and for that matter, the "Avengers" movies: a superhuman, megalomaniacal bad guy wants access to a source of time-and-space dominating superpowers, and can only get it by cobbling together scattered elements six infinity stones in the MCU series, three magic boxes in this movie.

But plot might be the tenth most important thing on this movie's mind. This is the definitive cut not just in terms of canonical events and actions " Aquaman " director James Wan and " Wonder Woman " series director Patty Jenkins are on record saying they consulted Snyder on continuity but aesthetic purity.

What registers most strongly is the film's sense of space and place, which might make one wonder if many of the justified complaints about Snyder's other superhero pictures stem from his own inclinations and the commercial demands of nine-figure-budget tentpoles being fundamentally at odds with each other.

The most remarkable restoration, character-wise, is the Cyborg storyline. It mirrors without duplication all the other stories of characters reconciling mixed feelings about their childhoods and accepting the limitations of their parents or parental figures. This is the movie's main preoccupation, and the emotion it generates becomes a binding agent for the prodution, which by nature of its audacious structure and pacing is constantly at risk of boring the audience by turning into a candy sampler of set-pieces.

Fisher's storyline—Cyborg's resentment of his emotionally inept scientist father, played by Joe Morton , aka Skynet's daddy in "Terminator 2"—is built out with empathy and care, and paid off in a moving climax that offers redemption without invalidating ill will.

Clark Kent's relationship to his sainted adoptive mom, Martha Diane Lane and the departed adoptive father Jonathan Kent Kevin Costner and blood father Jor-El Russell Crowe are reconsidered, re-contextualized, and reborn along with Superman himself. Wonder Woman's feelings about leaving her family, her island, and its culture and their feelings about her departure are woven in as well, plus Aquaman's resentment at being a bi-species hybrid torn between two worlds and feeling abandoned by both; and Barry's relationship with his incarcerated criminal dad Billy Crudup , whom he loves and wants to please even though his actions brought shame on their family and made Barry's life worse.

This film would feel crushingly sad if its main characters weren't so open-hearted. And on iOS, if you happen to use a different account later, there is NO way to log out of your existing account. The following data may be used to track you across apps and websites owned by other companies:. The following data may be collected and linked to your identity:. Privacy practices may vary, for example, based on the features you use or your age. Learn More.

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