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Joker Full Movie Watch Online Free:- In mainstream movies today, “dark” is just another flavor. Like “edgy,” it’s an option you use depending on what market you want to reach. And it is particularly useful when injected into the comic book genre.   

Darkness no longer has much to do with feelings of alienation the filmmaker wants to express or purge, as was the case with a film like “Taxi Driver.” It’s not about exploring uncomfortable ideas, as was done in “The King of Comedy.” Do you think Todd Phillips, who co-wrote and directed “Joker,” and references those movies so often you might expect that Martin Scorsese was enlisted as an executive producer here as a way of heading off a plagiarism lawsuit (he dropped out not too long after signing on, however), really cares about income inequality, celebrity worship, and the lack of civility in contemporary society? I don’t know him personally but I bet he doesn’t give a toss. He’s got the pile he made on those “Hangover” movies—which some believe have indeed contributed to the lack of civility in etc.—and can not only buy up all the water that’s going to be denied us regular slobs after the big one hits, he can afford the bunker for after the bigger one hits.

Which is not to go so far as to say that if you buy into “Joker,” the joke’s on you. (Except in the long run it really is.) If you live to see Joaquin Phoenix go to performing extremes like nobody’s business, this movie really is the apotheosis of that. As Arthur Fleck, the increasingly unglued street clown and wannabe stand-up comic down and out in what looks like 1980s Gotham (although who knows what period detail looks like in fictional cities), Phoenix flails, dances, laughs maniacally, puts things in his mouth that shouldn’t go there, and commits a couple of genuinely ugly and disgusting crimes with ferocious relish.

Much has been made, by Warner, and I guess DC Comics, of the fact that this is meant as a “standalone” film that has no narrative connection to other pictures in the DC Universe, but that’s having your cake and eating it too when you still name your lunatic asylum “Arkham” and your cinematic DC Universe is changing its Batmen every twenty minutes anyway. Maybe what they really mean is that this is the first and last DC movie that’s going to be rated R.

A rating it thoroughly earns. The violence in this movie means to shock, and it does. Fleck’s alienation in the early scenes evokes Travis Bickle’s, but this movie is too chicken-livered to give Fleck Bickle’s racism, although it depicts him mostly getting hassled by people of color in the first third. Fleck is also fixated with a Carson-like talk-show host played by Robert De Niro, reversing the “King of Comedy” player positions. He also likes the black woman down the hall from him, played by Zazie Beetz. The casting is not just meant to give the movie bragging rights on the zeitgeist curve, but to evoke Diahnne Abbott in both “Taxi Driver” and “Comedy.” Fleck’s seemingly successful wooing of the character is a jaw-dropper that had me thinking Beetz ought to fire her agent, but a late-game clarification makes it … well, forgivable is not quite the word, but it will do.

As Gotham begins to burn (the civil unrest starts with a garbage strike), Fleck, who has been taken as a vigilante by much of the city’s 99%, doesn’t quite know what to make of his underground cult stardom. (The city is beset by rioters in clown makeup and clown masks; because this movie is rather suddenly behind the curve in “clowns-are-scary” awareness—only Pennywise gets a special dispensation these days—these sequences look like “The Revolt of the Juggalos” or something equally laughable.) His mom (Frances Conroy, the poor woman) has been writing letters to her former employer, the magnate Thomas Wayne, and Arthur opens one of the missives and reads them, learning something disturbing. 

Which is not to go so far as to say that if you buy into “Joker,” the joke’s on you. (Except in the long run it really is.) If you live to see Joaquin Phoenix go to performing extremes like nobody’s business, this movie really is the apotheosis of that. As Arthur Fleck, the increasingly unglued street clown and wannabe stand-up comic down and out in what looks like 1980s Gotham (although who knows what period detail looks like in fictional cities), Phoenix flails, dances, laughs maniacally, puts things in his mouth that shouldn’t go there, and commits a couple of genuinely ugly and disgusting crimes with ferocious relish.

Much has been made, by Warner, and I guess DC Comics, of the fact that this is meant as a “standalone” film that has no narrative connection to other pictures in the DC Universe, but that’s having your cake and eating it too when you still name your lunatic asylum “Arkham” and your cinematic DC Universe is changing its Batmen every twenty minutes anyway. Maybe what they really mean is that this is the first and last DC movie that’s going to be rated R.

A rating it thoroughly earns. The violence in this movie means to shock, and it does. Fleck’s alienation in the early scenes evokes Travis Bickle’s, but this movie is too chicken-livered to give Fleck Bickle’s racism, although it depicts him mostly getting hassled by people of color in the first third. Fleck is also fixated with a Carson-like talk-show host played by Robert De Niro, reversing the “King of Comedy” player positions. He also likes the black woman down the hall from him, played by Zazie Beetz. The casting is not just meant to give the movie bragging rights on the zeitgeist curve, but to evoke Diahnne Abbott in both “Taxi Driver” and “Comedy.” Fleck’s seemingly successful wooing of the character is a jaw-dropper that had me thinking Beetz ought to fire her agent, but a late-game clarification makes it … well, forgivable is not quite the word, but it will do.

As Gotham begins to burn (the civil unrest starts with a garbage strike), Fleck, who has been taken as a vigilante by much of the city’s 99%, doesn’t quite know what to make of his underground cult stardom. (The city is beset by rioters in clown makeup and clown masks; because this movie is rather suddenly behind the curve in “clowns-are-scary” awareness—only Pennywise gets a special dispensation these days—these sequences look like “The Revolt of the Juggalos” or something equally laughable.) His mom (Frances Conroy, the poor woman) has been writing letters to her former employer, the magnate Thomas Wayne, and Arthur opens one of the missives and reads them, learning something disturbing. 

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Spider-Man: Far from Home Full Movie Watch Online Free:- It starring Tom Holland as the Queens teen-ager Peter Parker, rapidly intertwines the big events that capped the “Avengers” cycle—Thanos’s mass obliteration of half of humanity and of half the Avengers, in “Infinity War,” and the return of those victims coupled with the (likely definitive) deaths of other heroes, in “Endgame”—with the conventional high-school life that Peter leads when he’s not Spider-Man. The incorporation of the prior movies’ plot twists into each new work in the Marvel Cinematic Universe is a formidable screenwriting challenge, and the makers of “Far from Home” meet that challenge with a graceful wit that, unfortunately, isn’t matched by much else in the movie.

Early on in “Far from Home,” there’s a clip from a memorial video tribute to Tony Stark, Black Widow, and others among “Endgame” ’s departed, which is being shown in Peter’s school, ahead of a benefit event for victims of “the Blip”—the catastrophic event, shown in “Infinity War,” that wiped out half the world’s population. Now, five years later, the victims of the Blip have all come back, with results that are somewhat comedic: when those who “blipped out” returned, they nonetheless remained exactly the same age as at the time they left. That’s why one character, a Blipee, complains that his little brother (who didn’t blip) is now his older brother. (Imagine if Steven Soderbergh had the chance to direct a Marvel movie, and the world-building feast of civic fantasy that he might have made of the comedies, melodramas, and perhaps even tragedies resulting from the sudden return of Blip victims.)

Unfortunately, the director of “Far from Home,” Jon Watts, and the film’s screenwriters, Chris McKenna and Erik Sommers, stick only briefly with the dislocation caused by the Blip before quickly leveraging it into far more conventional heroics and a far simpler dramatic dilemma. The victims’ benefit, at a Salvation Army hall, is a public event featuring May Parker (Marisa Tomei), Peter’s aunt and guardian, as m.c.; it also features Spider-Man, the local hero of Queens, who’s there to sign autographs—and who, of course, remains silent, to avoid being identified with the sixteen-year-old Peter. That secrecy is carried over from the previous Spider-Man movie, “Homecoming,” which hinted at a future romance between Peter and his classmate M.J. (played in both movies by Zendaya), and suggested the complications inherent in keeping his superheroic identity hidden from her. (Only his best friend, Ned, played by Jacob Batalon, is aware of Peter’s double life.) Peter’s romantic dreams—and their conflict with his Avenging responsibilities—are the dramatic mainspring of “Far from Home.”

From the start of the film, strange things are happening—the small Mexican town of Ixtenco has been reduced to ruins by what residents call a cyclone with a face. Other towns elsewhere have been similarly ravaged by crude colossi, and Nick Fury (Samuel L. Jackson) has shown up and taken note. He dispatches the late Tony Stark’s friend and factotum, Happy Hogan (Jon Favreau), to go backstage at the benefit and let Peter know that his Spider services will be required. But Peter has other plans: the school year is nearing its end, and he and a handful of classmates—including M.J. and Ned—are heading to Europe, under teachers’ supervision, for a so-called science trip, where Peter plans to ingratiate himself with M.J. and bump their relationship out of the friend zone.

The first stop is Venice, where the cyclone-like monster makes another appearance—a huge humanoid made of churning water that threatens the city’s architectural treasures, its population, and Peter’s friends. Peter’s Spider-Man suit is up in his hotel room and he can’t get to it in time—but another superhero, Quentin Beck (Jake Gyllenhaal), a greenish man with a green globe head and a trail of green smoke, makes an appearance and fends off the monster, earning himself, from his appearance on local news, the quasi-Italian moniker of Mysterio.

Then Nick Fury arrives and cajoles Peter into sacrificing the trip in order to save the world—and guilts Peter, too, with the delivery of a gift and a legacy: Tony Stark’s distinctive sunglasses, which the dying hero had expressly willed to Peter. But those glasses turn out to be something more: the command center of Tony’s interactive system of surveillance and weaponry, called edith—an acronym for “Even dead, I’m the hero.” Nick gets Peter into a meeting with Mysterio, who explains the danger they face: the monster is one of the four so-called Elementals—of earth, air, fire, and water. The fire monster is about to lay waste to Prague, where Peter and Beck must go in order to stop it and thwart its plans to destroy the world.

But—avoiding spoilers—another villain appears, and his weapon of choice is distinctively cinematic: he commands a device called Illusion-Tech, by means of which he produces three-dimensional images and sounds of an extraordinary realism that occupy vast city spaces and persuade both the general public and the Avengers of their menace. In effect, this dastardly illusionist is a maker of persuasive computer-graphic action scenes akin to those that Marvel movies are based on, and these effects serve two purposes for their master villain. First, they delude Peter, Nick, and any other superheroes in the vicinity into combatting chimeras and rendering themselves vulnerable to the villain’s actual, physical weaponry. Second, they do exactly what the movies themselves do: they create illusions that are taken for realities, which are reported on by the media as authentic news, and which, in the process, allow the villain to craft a public image to his own advantage.

The villain in “Far from Home” is a malevolent director who takes advantage of what he considers the general gullibility of the public. He’s a manipulative cynic who declares, “It’s easy to fool people when they’re already fooling themselves”; he asserts that “people believe, and nowadays they’ll believe anything”; he boasts, “They’ll see what I want them to see,” and he explains that he created his illusions “to give the world something to believe in,” adding—with his own arrogant self-delusion—that his trickery “is the truth.” What Peter has to do, in order to save himself, his friends, and the world, is—as he puts it—“to get on the inside of the illusion,” to penetrate it to find and defeat the villain who’s creating it.

“Far from Home” is a work of crude and trendy distinctions between material realities and fabricated media images. Made as if in response to the prevalence of fake news and insidious propaganda, the movie relies on a sort of informational virtue signalling that vaunts its own cynical self-promotion: the idea that Marvel’s own audiovisual illusions, unlike those made by the villain, come clearly labelled as fantasies and aren’t meant to override the ability of viewers to distinguish them from reality. This false modesty conceals the colossal success of the Marvel series in the pretense that an image, however fabricated or illusory, doesn’t itself constitute a reality for some subset of its viewers. (The details of this very movie, after all, are more widely reported and discussed than those of any recent documentary.) Lest the Marvel moguls doubt the reality of their own illusions, they should imagine the outcry that would result from their repudiation of the details of previous Marvel movies or of the canonical characters.

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First Man Review: Damien Chazelle (La La Land, Whiplash), the youngest recipient of the Best Director Oscar, reunites with Ryan Gosling and music composer Justin Hurwitz to deliver a heart pounding emotional drama. This spiritual nail-biter alternates between Armstrong’s life on ground and in space to understand the man behind the name, fame and glory. 

Chazelle’s storytelling masterfully juxtaposes Armstrong’s grief, thrill and uncertainty in a way that commands your unflinching attention. From nerve-racking space turbulence to deafening silences, Justin Hurwitz’s melancholic yet liberating score stirs the soul. 

Based on James R. Hansen’s book, the film is essentially a cathartic human drama and not a commercial space adventure as one would assume. Chazelle doesn’t focus on the thrills of space travel, though it is an integral part of the film and its spectacular climax. Instead, he stares into the soul of Armstrong as he grapples with the loss of his daughter, friends, co-pilots and the things he didn't say when they were around. The astronaut turned to his work not only for his passion for space exploration but also as his only source of healing. More than his space missions (Gemini 8, Apollo 11), Chazelle romanticises his elusive personality, lonely existence and realistic approach to life. He makes you look at Armstrong the way he looks at the Moon. - First Man HDRip Full Movie Watch Online Free

With a cold, steely gaze, Gosling portrays his stoic character with remarkable restraint. Be it Armstrong’s frustration, inner turmoil and suppressed emotions, he lets his eyes do the talking. Claire Foy plays Janet (Armstrong’s first wife) with equal maturity. Her confrontational scenes with Gosling exude her character’s quiet resilience. She shows why Janet was much more than a supportive wife. Watch out for the scene where she points out the irony of her life to a friend, referring to her husband's ‘disorienting behaviour’. "I married Neil because I wanted a normal life. He seemed stable unlike the other boys. I wanted stability." 

First Man is immersive, intimate and meditative. It unfolds at its own pace and there lies its beauty. Also, characters seldom resort to words to express themselves, which makes it all the more riveting. 

Some films stay with you for eternity. This one transports you to the moon and back and is as special and introspective as the man it intricately studies but rarely reveres. Brilliantly crafted and hypnotic from beginning to end, First Man is a stunning piece of work that leaves you thinking about it, way after it's over.

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