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SYNOPSIS AND DETAILS :
Wrath of Man (2021)
H is a cold and mysterious character working at a cash truck company responsible for moving hundreds of millions of dollars around Los Angeles each week.
Genre : Crime, Action
Director : Guy Ritchie
Writer : Ivan Atkinson, Nicolas Boukhrief, Guy Ritchie, Marn Davies, Éric Besnard
Runtime : 118 minutes
Studio : Toff Guy Films, Lionsgate, Miramax, Metro-Goldwyn-Mayer
Casts : Anthony Molinari, Alessandro Babalola, Darrell D'Silva, Laz Alonso, Eve Macklin, Mark Shrimpton, Leonardo Lacaria, Cameron Jack, Josh Cowdery, Rocci Williams, Stevee Davies, Scott Eastwood, Jason Statham, Daniel Joseph Woolf, Stephanie Mae, Deobia Oparei, Khalid Ghajji, Niamh Algar, Martin Bratanov, Cain Aiden, Dee Pearce, Lyne Renee, Babs Olusanmokun, Holt McCallany, Raúl Castillo, Matthew Illesley, Josh Hartnett, Sam Shoubber, Phoebe Farnham, Rebecca Calder, Jason Wong, Anthony Elfonzia, Montana Manning, James Warren, Tadhg Murphy, Christian Sanderson, Chris Reilly, Alex Ferns, Luke Lynch, Fernando Martinez, Post Malone, Jeffrey Donovan
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THE STORY
Its and Jeremy Camp (K.J. Apa) is a and aspiring musician who like only to honor his God through the power of music. Leaving his Indiana home for the warmer climate of California and a college education, Jeremy soon comes Bookmark this site across one Melissa Heing (Britt Robertson), a fellow college or university student that he takes notices in the audience at an area concert. Bookmark this site Falling for cupid’s arrow immediately, he introduces himself to her and quickly discovers that she is attracted to him too. However, Melissa holds back from forming a budding relationship as she fears it will create an awkward situation between Jeremy and their mutual friend, Jean-Luc (Nathan Parson), a fellow musician and who also offers feeling for Melissa. Still, Jeremy is relentless in his pursuit of her until they eventually find themselves in a loving dating relationship. However, their youthful courtship Bookmark this sitewith the other person involves a halt when life-threating news of Melissa having cancer takes center stage. The diagnosis does nothing to deter Jeremey’s love on her behalf and the couple eventually marries shortly thereafter. Howsoever, they soon find themselves walking an excellent line between a life together and suffering by her Bookmark this siteillness; with Jeremy questioning his faith in music, himself, and with God himself.
THE GOOD / THE BAD
Sorry if this sounds a bit familiar pieces from my review of I Can Only Imagine, nonetheless it definitely says what I feel about these films. While I am a devout Christian (not a crazy zealot or anything like this) for my bases of religion and my outlook beliefs in life, I’m not a huge fan of the “faith-based” feature films. That’s not saying that they’re bad or that I see them deplorable to the other popular movie s out there, but some us they can a little preachy and corny / honky within their religious overtones and overall dramatic direction. Personally, I love the more biblical tales that Hollywood as put over, with Cecil B. Demile’s The Ten Commandments and William Wyler’s Ben-Hur; both of have tested to stand the test folks within filmmaking. Of course, Hollywood’s recent trend of put out more “remakes” movies puts an overcast on those biblical epics with 04’s Exodus: Gods and Kings and 06’s Ben-Hur; both which failed to capture a sense of cinematic integrity and had a messy religious outlook in its zeal aspect. Lately, however, Hollywood as retreated more into modern-day pieces, finding narratives that are, pretty much, set in a far more “modern” era with their Christian-faithful based features. As I mentioned previously, some have found success within their literary forms (being based on a book and adapted to the silver screen), but most derive their inspiration from true life accounts, translating into something that’s designed to strike a chord (with moviegoers) because of its “based on a genuine story” aspect and nuances. Again, some are good (as I liked Unbroken and The Shack), while others kind of become a bit too preachy and let the religious overtures hamper the film, making them less-than desirable to mainstream audiences and even members of their own faiths. Thus, these religious-esque films can some us be problematic within their final presentation for both its viewers and in the film itself; some us making the movie feel like a TV chael movie rather than a theatrical feature film.
This brings me around to talking about us, a motion picture release of the Christian religio us faith-based . As almost customary, Hollywood usually puts out two (maybe three) films of this variety movies within their yearly theatrical release lineup, with the releases usually being around spring us and / or fall respectfully. I didn’t hear much when this movie was first aounced (probably got buried underneath all of the popular movies news on the newsfeed). My first actual glimpse of the movie was when the film’s movie trailer was released, which looked somewhat interesting if you ask me. Yes, it looked the movie was goa be the normal “faith-based” vibe, but it would be directed by the Erwin Brothers, who directed I Can Only Imagine (a film that I did so like). Plus, the trailer for I Still Believe premiered for a relatively good us, so I continued seeing it most of us when I visited my local cinema. You can sort of say that it was a bit “engrained in my own brain”. Thus, I was a little keen on seeing it. Fortunately, I could see it prior to the COVID-9 outbreak closed the concert halls down (saw it during its opening night), but, due to work scheduling, I haven’t had the us to do my review for it…. until now. And what did I believe of it? Well, it had been pretty “meh”. While its heart is definitely in the proper place and quite sincere, us is somewhat too preachy and unbalanced within its narrative execution and character developments. The religious message is clearly there, but takes way too many detours and not focusing on certain aspects that weigh the feature’s presentation.
As mentioned, I Still Believe is directed by the Erwin Brothers (Andrew and Jon), whose previous directorial works include such films like Moms’ PARTICULAR DATE, Woodlawn, and I COULD Only Imagine. Given their affinity attraction religious based Christian movies, the Erwin Brothers seem to be just like a suitable choice in bringing Jeremy Camp’s story to a cinematic representation; approaching the material with a specific kind of gentBookmark this siteleness and sincerity to the proceedings. Much like I Can Only Imagine, the Erwin Brothers form the feature around the life of a favorite Christian singer; presenting his humble begiings and all of the trials and tribulations that he must face along the way, while musical songs / performaBookmark this sitence taking importance into account of the film’s narrative story progression. That’s not to say that the movie isn’t without its heavier moments, with the Erwin, who (again) are aware of religious overtones themes in their endeavors, frame I Still Believe compelling messages of love, loss, and redemption, which (as always) are quite fundamental to view and experience throBookmark this siteugh tragedy. This even speaks to the film’s script, that was peed by Erwin brothers playing double duty on the project, that has a good amount of heartfelt dramatic moments which will certainly tug on the heartstrings of some viewers out there and provide to be quite an engaging tale of going right through tragedy and hardship and finding a redemption arc to get out of it. That is especially made abundantly clear when dealing with a fatal illness that’s similar from what Melissa undergoes in the film, which is very universal and reflective in everyone’s world, with the Erwin Brothers painting the painful journey that Melissa takes along with Jeremy by her side, who must learn to cope with pain of someone you care about. There exists a “double edge” sword to the film’s script, but I’ll mention that below. Suffice to state, the movie settles quickly into the familiar pattern of a religious faith-based feature that, without exactly polished or original, could be very the “comfort food” to some; projecting a healthy message of faith, hope, and love. Personally, I didn’t know of Jeremy Camp and the story of he and Melissa Heing, so that it was quite a poignant journey that was invested unfolding throughout the film’s proceedings. As a side-note, the movie is a little a “tear jerker”, so for many who prone to crying during these dramatic heartfelt movies….get your tissues out.
In conditions of presentation, I Still Believe meets the indusry standard of a religious faith-based movies. Of course, theatrical endeavors like these don’t genuinely have big budged production money to purchase the film’s creation. Thus, filmmakers have to spend their money wisely in bringing their cinematic tales alive on the big screen. Compared to that effect, the Erwin Brothers smartly utilized this knowledge in the movie’s creation; budgeting the various aspects of the background and genetic theatrical make-up that feel appropriate and genuine in the film’s narrative. So, all of the various “behind the scenes” team / areas that I mention (i.e. production designs, set decorations, costumes, and cinematography, etc.) are all relatively good as I really don’t have much to complain (whether good or bad) about them. Again, they meet up with the industry standard for a faith-based movie. Additionally, the musical song parts are very good as well. As stated, I really didn’t know any thing about Jeremy Camp, so I couldn’t say what songs of his were good, however the songs that are presented in the film were pretty decent enough to certain highlight points throughout the movie. Though they are somewhat short (assuming not the whole song is being played), but nonetheless effectively good and nice to hear. Might have to check out a few of the real songs one day. Lastly, the film’s score, that was done by John Debney, fits perfect with this movie; projecting the right amount of heartfelt tenderness in some scenes and inspirational melodies of enlightenment in others.
Unfortunately, not all is found to be pure and religiously cinematic in the movie as I Still Believe gets weighed down with several major points of criticism and execution in the feature. How so? To begin with, the movie feels somewhat incomplete in Jeremy Camp’s journey. What’s presented works (somewhat), but it doesn’t hold up, especially becausae the Erwin Brothers have a difficult us in nailing down the proper narrative path for the film to take. Of course, the thread of Jeremy and Melissa are the key central focus (and justly so), but pretty much everything else gets completely pushed aside, including Jeremy’s musical career rise to stardom and several of the many characters and their importance (more on that below). This also causes the film to have a certain pacing issues throughout the movie, with I Still Believe run us of 6 minutes (1 hour and fifty-six minutes) feeling longer than it must be, especially with how much narrative that the Erwin Brothers skip out on (i.e. several plot chunks / fragments are left unanswered or missing).
Additionally, regardless if a viewer doesn’t know of Jeremy Camp’s story, us does, for better or worse, follow a fairly predictable path that’s quite customary for faith-based movie. Without even reading anything about the real lives of Jeremy and Melissa just before seeing the feature, it’s quite plainly as to where the story is heading and exactly what will in the end play out (i.e. plot beats and theatrical narrative act Bookmark this siteprogression). Basically, if you’ve seeing one or two Christian faith-based film, you’ll really know what to anticipate from us. Thus, the Erwin Brothers don’t really make an effort to creatively do something differently with the film…. instead they reinforce the idealisms of Christian and of faith in a formulaic narrative way that becomes quite conventional and almoBookmark this sitest a bit lazy. There is also the moBookmark this sitevie’s dialogue and script handling, which does become problematic in the movie’s execution, which is hampered by some wooden / forced dialogue at certain scenes (becoming very preachy and cheesy at us) plus the feeling of the movie’s story being rather incomplete. There’s a stopping point where in fact the Erwin Brothers choose, but I felt that there could’ve more added, including more expansion on his musaic career and several other characters. Then there may be the notion of the film being quite secular in its appeal, which is very understandable, but relies too heavy on its religious thematic messages which can be a bit “off-putting” for some. It didn’t bother me as much, but after seeing several other faith-based movies prior to this (i.e. I COULD Only Imagine, Overcomer, Indivisible, etc.), this specific movie doesn’t really rise to Cursed in Love and falls prey to being rather generic and flat for the majority of its run us. As you can imagine, us, while certainly sincere and meaningful in its storytelling, strules to look for a happy balance in its narrative and execution presentation; proving to be difficult in conveying the complete “big picture” of its message and Jeremey Camp’s journey.
The cast in us is a mixed bag. To me,none of the acting talents are relatively bad (some are better than others…. I admit), but their characterizations and involvement in the film’s story is problematic to state the least. Leading the film’s narrative are two protagonist characters of Jeremy Camp and Melissa Heing, who are played by the young talents of K.J. Apa and Britt Robertson respectfully. Of the two, Apa, known for his roles in Riverdale, The Last Summer, and The Hate U Give, may be the better equipped in character development and performance as the young and aspiring musical talent of Jeremy Camp. From the get-go, Apa has a likeable charm / swaer to him, which will make his portrayal of Jeremy immediately endearing from onset to conclusion. All of the scenes he does are well-represented (be it character-based or dramatic) and certainly sells the journey that Jeremy undergoes in the movie. Plus, Apa can also sing, which does lend credence to many of the scene’s musical performance. For Robertson, known for her roles in Tomorrowland, Ask Me Anything, and The Space Between us, she gets hampered by a number of the film’s wooden / cheesy dialogue. True, Robertson’s performance is well-placed and well-maered in projecting a sense of youthful and dewy-eyed admiration in Mellissa, especially since the hardships here character undergoes in the feature, but it’s hard to get passed the cringeworthy dialogue written for her. Thus, Robertson’s Melissa eventually ends up being the weaker of the two. That being said, both Apa and Robertson do have good on-screen chemistry with each other, which certainly does sell the likeable / loving young relationship of Jeremy and Melissa.
In more supporting roles, seasoned talents like actor Gary Sinise (Forest Gump and Apollo ) and musician singer Shania Twain play Jeremey’s parents, Tom and Terry Camp. While both Sinise and Twain are suitable for their roles as sort of small town / Midwest couple vibe, their characters are bit more than window dressing for the feature’s story. Their screen presence / star power lends weigh to the project, but that’s pretty much it; offering up a few nuets to bolster a few particular scenes occasionally, which is disappointing. Everybody else, including actor Nathan Parsons (General Hospital and Nadia: THE TRICK of Blue Water) as musical talent and mutual friend to both Jeremy and Melissa, Jean-Luc Lajoie, young actor Reuben Dodd (The Bridge and Teachers) as Jeremy’s handicapped younger brother, Joshua Camp, and his other younger brother, Jared Camp (though I can’t find out who played him the movie), are relatively made up in smaller minor roles that, while acted fine, are reduced to little more than just underdeveloped caricatures in the film, which is a shame and disappointing.
❏ STREAMING MEDIA ❏
Streaming media is multimedia that is constantly received by and presented to an end-user while being delivered by a provider. The verb to stream identifies the procedure of delivering or obtaining media in this manner.[clarification needed] Streaming refers to the delivery method of the medium, instead of the medium itself. Distinguishing delivery method from the media distributed applies specifically to telecommunications networks, as most of the delivery systems are either inherently streaming (e.g. radio, television, streaming apps) or inherently non-streaming (e.g. books, video cassettes, audio CDs). There are challenges with streaming content on the Internet. For example, users whose Internet connection lacks enough bandwidth may experience stops, lags, or slow buffering of this content. And users lacking compatible hardware or software systems may be unable to stream certain content.
Live streaming is the delivery of Internet content in real-time much as live television broadcasts content over the airwaves via a television signal. Live internet streaming takes a form of source media (e.g. a video camera, an audio tracks interface, screen capture software), an encoder to digitize the content, a media publisher, and a content delivery network to distribute and deliver this content. Live streaming does not need to be recorded at the origination point, although it frequently is.
Streaming is an option to file downloading, a process where the end-user obtains the whole file for this content before watching or listening to it. Through streaming, an end-user can use their media player to start out playing digital video or digital sound content before the complete file has been transmitted. The term “streaming media” can connect with media other than video and audio, such as live closed captioning, ticker tape, and real-time text, which are all considered “streaming text”.
❏ COPYRIGHT CONTENT ❏
Copyright is a type of intellectual property that gives its owner the exclusive right to make copies of a creative work, usually for a limited time.[1][2][3][4][5] The creative work may be in a literary, artistic, educational, or musical form. Copyright is intended to protect the original expression of an idea in the form of a creative work, but not the idea itself.[6][7][8] A copyright is subject to limitations based on public interest considerations, such as the fair use doctrine in the United States.
Some jurisdictions require "fixing" copyrighted works in a tangible form. It is often shared among multiple authors, each of whom holds a set of rights to use or license the work, and who are commonly referred to as rights holders.[citation needed][9][10][11][12] These rights frequently include reproduction, control over derivative works, distribution, public performance, and moral rights such as attribution.[13]
Copyrights can be granted by public law and are in that case considered "territorial rights". This means that copyrights granted by the law of a certain state, do not extend beyond the territory of that specific jurisdiction. Copyrights of this type vary by country; many countries, and sometimes a large group of countries, have made agreements with other countries on procedures applicable when works "cross" national borders or national rights are inconsistent.[14]
Typically, the public law duration of a copyright expires 50 to 100 years after the creator dies, depending on the jurisdiction. Some countries require certain copyright formalities[5] to establishing copyright, others recognize copyright in any completed work, without a formal registration.
It is widely believed that copyrights are a must to foster cultural diversity and creativity. However, Parc argues that contrary to prevailing beliefs, imitation and copying do not restrict cultural creativity or diversity but in fact support them further. This argument has been supported by many examples such as Millet and Van Gogh, Picasso, Manet, and Monet, etc.[15]
❏ GOODS OF SERVICES ❏
Credit (from Latin credit, "(he/she/it) believes") is the trust which allows one party to provide money or resources to another party wherein the second party does not reimburse the first party immediately (thereby generating a debt), but promises either to repay or return those resources (or other materials of equal value) at a later date.[1] In other words, credit is a method of making reciprocity formal, legally enforceable, and extensible to a large group of unrelated people.
The resources provided may be financial (e.g. granting a loan), or they may consist of goods or services (e.g. consumer credit). Credit encompasses any form of deferred payment.[2] Credit is extended by a creditor, also known as a lender, to a debtor, also known as a borrower.