| 房地契 |
Uncut Gems (电影 2019) |
火候 |
122 记录 |
豁免 |
2019-11-14 |
质量 |
FLA 1080
WEB-DL |
流派 |
Crime, Thriller, Drama |
(机器）代码 |
English |
投 |
Kimbery
V.
Nicky, Hodges B. Ajwa, Iqlas B. Kristy |
船员 - Uncut Gems 2019 字幕 英文
A charismatic New York City jeweler always on the lookout for the next big score makes a series of high-stakes bets that could lead to the windfall of a lifetime. Howard must perform a precarious high-wire act, balancing business, family, and encroaching adversaries on all sides in his relentless pursuit of the ultimate win.
Adam Sandler's best performance? No. But it's indeed his best since Punch-Drunk Love, which continues to be the pinnacle of his talent.
While the film isn't the best talking about technique, it seems to me that its style is totally focused on making the experience an exhausting one. And Uncut Gems is an overwhelming journey full of anxiety and stress. It achieved that splendidly.
That's its greatest accomplishment: To immerse you in the entire atmosphere of the environment that Sandler's character inhabits, while we witness the cascade of bad decisions he makes.
Perhaps the biggest mistake is how the directors get to over-lengthen the story, which indirectly gets to a point where Sandler's character becomes obnoxious but I think that's part of the experience, because who ever in their right mind would feel more sympathy for a person like him? I mean more than the allowed sympathy anyways.
Its ending, although predictable is certainly what he built and there's no learning in it and it doesn't need to be.
After all the story was his decline while he believed that he was going to succeed. And yes for a moment he did and for a moment he savored it, but as happens many times in life, good things aren't made to last.
Another triumph for A24.
9 likes
**_Watching a guy screw up for two frantic hours may not sound very compelling, but this is a fine piece of work_**
>_If you hold this_
>_Dazzling emerald_
>_Up to the sky,_
>_It will shine a billion_
>_Beautiful miracles_
>_Painted_
>_From the tears_
>_Of the most High._
>_Plucked_
>_From the lush gardens_
>_Of a yellowish-green_
>_Paradise,_
>_Look inside this hypnotic gem_
>_And a kaleidoscope of_
>_Titillating, soul-raising_
>_Sights and colors_
>_Will tease and seduce_
>_Your eyes_
>_And mind._
- Suzy Kassem; "A Jewelry Store Named India" (2011)
Written by Ronald Bronstein, Josh Safdie, and Benny Safdie, and directed by the Safdies, _Uncut Gems_ is essentially two hours and fifteen minutes of watching a guy screw up in increasingly spectacular and catastrophic ways, make bad decision after bad decision, and give in to his addiction to gambling more and more. It's a film where you know from the first ten minutes that sooner or later, he won't be able to worm his way out of one of his mistakes, and at that point, his seemingly unshakable optimism and belief in his own delusions will prove ill-equipped to deal with the reckoning. So from the first act, you're on edge, and you remain there for the duration. It's a film that never stops moving at the chaotic breakneck speed with which it begins, a film possessed of energy nearly queasy in nature. So, two hours and fifteen minutes of rapidly-paced stress-inducing cinema about a deluded hustler screwing up? Sounds fun doesn't it? No, of course it doesn't. However, it has been made with such craft, the _mise en scène_ is so good, the dialogue so sharp, the acting so intense, that you may as well be watching a fly-on-the-wall documentary. It's a film made of pure sweat and anxiety, and it's about as stressful an experience as you can have at the movies. It's also superb, and I'd highly recommend it.
The film begins in 2010 in Welo Mine, Ethiopia, with the discovery of an ultra-rare black opal of extraordinary translucence. We then cut to New York in 2012, where Howard Ratner (Adam Sandler) is a charismatic jeweller who lives his life on the principle of robbing Peter to pay Paul. A serious gambling addict, he always has at least one hustle going, and he always owes somebody something. Soon after we meet him, it's revealed that he's currently in debt to his loan-shark brother-in-law Arno (the great Eric Bogosian) to the tune of $100,000, and Arno is having such a hard time with him, that he's had to hire two Boston thugs, Phil (Keith Williams Richards) and Nico (Tommy Kominik), to try to muscle Howard into paying the money back. Meanwhile, his jewellery business is doing well, not the least reason for which is his colleague Demany (Lakeith Stanfield), who helps bring in high-profile clients. The latest example of such is Boston Celtics' basketballer Kevin Garnett (a surprisingly strong performance by Garnett himself). As Garnett is browsing the store, it's revealed that Howard has smuggled the black opal into the country for an auction the following day, where he expects it will sell for up to $1 million. However, when Garnett sees the stone, he insists he is allowed to have it as a lucky charm, just for the match he's playing that night. Howard is reluctant but agrees to part with it when Garnett offers to leave his All-Star ring as collateral (which Howard immediately pawns for money to place a bet on Garnett's game). And, predictably, things quickly go awry.
And all of this is to say nothing of his contemptuous wife Dinah (Idina Menzel), who has grown to loathe him over the years and considers their marriage a sham; his naïve but kindly colleague and mistress Julia (Julia Fox), with whom he shares an apartment; his father-in-law Gooey (Judd Hirsch), who always seems to see the best in him; and his children, Marcel (Noa Fisher), Eddie (Jonathan Aranbayev), and Beni (Jacob Igielski), none of whom have any illusions about who their father is.
Howard is a delusional and doomed figure about whom there's a hint of Cosmo Vittelli (Ben Gazzara) – the gambling addict wannabe social climber who keeps slipping on the ladder's lowest rungs in John Cassavetes's _The Killing of a Chinese Bookie_ (1976). However, whereas Vittelli is driven to a point of despair by his own work ethic, Howard is very much the product of late capitalism; a man who genuinely believes, despite past experience to the contrary, that his big score is right around the next corner. In this respect, the film is a deconstruction of the concomitant globalised alienation; a system capable of drawing into a single self-delusional orbit such varied parties as exploited Ethiopian manual labourers, small business owners in New York, under-pressure athletes, loan-sharks, and bookies – all operating with the unshakable belief that a huge win is just within their grasp. Howard, of course, is the worst example, and is essentially a fantasist who's utterly divorced from reality, a man who believes completely that if people would get out of his way and let him turn that fabled corner, all of his worries will disappear. It's the gambling addict's fallacy – no matter how much or how often you lose, the next bet will be the big winner. The problem Howard faces is that he has made promises based on that fallacy – he owes money which he can only pay if his latest scheme works out _exactly_ as intended; such is the precarious house of cards that is his life.
In this sense, the film is an especially astute study of addiction, although this theme is never foregrounded – no one accuses Howard of being a gambling addict, and he certainly doesn't seem to think of himself as one. This is not a cautionary tale about the perils of addiction. Indeed it even goes so far as to play up (if not necessarily glamorise) the gambler's high – the precarious sense of everything being on the line, consequences be damned, the sense that if one thing goes wrong, everything collapses, but if everything goes right… However, if you're paying even the slightest bit of attention, you can't help but see just how hopelessly consumed Howard is by his addiction (never once does he give the impression that he wants to stop gambling). It has wormed its way into every facet of his life, to the point where it has become his life, or certainly a hugely important part of that life. This is why delusion is such a major component in his psychological make-up – addiction and delusion form an ever-tightening feedback loop that becomes more difficult from which to escape, the more self-sustaining they become.
In terms of aesthetics, it's worth noting that two of the three writers (Bronstein and Benny Safdie) are also credited as the editors, and this is crucial insofar as the frenetic pace of the narrative isn't achieved only by the cutting, but by the script as well – this is a film written by people with at least one eye on the editing rhythms. The first scenes in New York, for example, immediately establish the chaotic energy – Howard speaking rapidly into his mobile, dialogue overlapping almost unintelligibly as multiple characters interact and talk over one another, at least three things always happening, each one of which would occupy our complete attention in a more conventional film. Here, it's almost like everything is a background to everything else, with nothing ever given a sustained sole focus. The opening scenes establish the pace as blistering, and that never really changes. It's the kind of film where there's perpetual propulsive momentum – because the characters never stop moving, neither does the story, even if the characters never actually manage to get anywhere. The score, by Oneohtrix Point Never, is also excellent. Obviously inspired by Tangerine Dream's electronic scores for Michael Mann's early films, most notably _Thief_ (1981), it's an unexpectedly crucial element of the film, adding to the overlapping cacophony of sounds and enhancing the general sense of twitchy chaos.
As for the acting, everything you've heard about Sandler is true; he's incredible. The Safdies originally pitched him the script in 2009, but he turned it down and the project went nowhere. In 2017, after the success of _Good Time_, they resurrected the film and cast Jonah Hill as Howard, but when he dropped out, they offered it to Sandler again. And he totally and completely inhabits Howard, to the extent where it no longer even seems like acting. And sure, he's playing the same kind of volatile delusional loser that he's played in a million-and-one subpar comedies. But it's the tone of the performance, the key in which he plays Howard that makes it stand out. You could make the argument that Howard is simply Sandler dialled up to 11, and you wouldn't be wrong, but the inherent tragedy of the man, his self-delusion, his seemingly unquenchable optimism and belief in himself – Sandler draws these elements out every second he's on-screen, finding pathos in virtually everything he does, in a performance that's both subtle and broad. I'm no Sandler apologist, but he really does have to be seen here to be believed. Elsewhere, Bogosian is his usual stoically intimidating self; first-time performers Williams Richards and Kominik are each as terrifying and authentic as the other; Menzel manages some of the most withering looks ever captured on film; and Fox, another impressive debutant, imbues what could have been a clichéd bimbo-type role with real emotional nuance.
As for problems, the pace of the film will certainly put some people off. There are no down-moments here, no scenes designed to let the audience breath. This is as anxiety-inducing a film as you're likely to see, and that simply won't be to everyone's taste. Partly because of this, the tone never really varies. There are some comic beats (Howard getting dumped naked into a car trunk during his daughter's school play is particularly funny), but by and large, the tone is perpetually dark, ominous, and exhausting. Which, again, won't be for everyone. And there will, of course, be people who just can't get past the presence of Adam Sandler, which I can understand. Personally though, I loved _Uncut Gems_. It's certainly not the subtlest of films, nor the most thematically complex, but as character studies go, this is exceptionally good work from everyone involved and a genuinely unique piece of cinema.
“This is how *I* win.”
One of the most stressful movie experiences I’ve had in awhile.
This whole movie runs entirely on acid and how the series of events unfold was particularly stressful. People constantly talking or yelling over each other while the brilliant sound work made the space around them feel so tight, but incredibly claustrophobic.
While I like ‘Good Time’ a little more, but man what a rush.
Adam Sandler is absolutely terrific as the greedy and sleazy Howard Ratner. If he's working with a good director, a strong supporting cast, and an interesting concept, Sandler will thrive. We follow Howard Ratner, a jewelry store owner in New York with a serious gambling problem that makes the hole his standing in deeper and deeper. Despite every terrible decision his character made...I still felt sorry for him. I think it has to do with Sandler's devilish charm that won me over into pitting such a petty crook. He isn’t a loser, he’s a winner who doesn't win. It’s one of his best performance right beside ‘Punch Drunk Love’.
Benny and Josh Safdie are such vibrant directors that can inject so much style while also having a harsh look to it, which ties in with the slimy side of business. The Safdie Brothers are building a solid career for themselves. Darius Khondji outstanding cinematography is the glue that holds this high tension of a movie together.
I loved the score from Daniel Lopatin, which will often drown out the dialogue as the retro rift comes blasting through. On the other hand, there’s also a slow mystical vibe that Lopatin composes that gave me a surreal feeling of levitating.
Kevin Garnett is surprisingly really good in this movie. A professional basketball player actually delivering a solid performance is almost unheard of. It kinda reminds me of Tyler Perry ‘Gone Girl’, in terms of your expectations from them vs what you got. I also couldn’t believe this is Julia Fox first acting debut, because she’s fantastic in the movie.
Overall rating: While I’m only two movies into their filmography, Safdie Brothers are upon my favorite working directors.
I hope they make another movie like 'Good Time' & 'Uncut Gems', so it can called the LSD trilogy.
剧组人员協調美術系 : Nowshin Taha
特技協調員 : Cheri Rasna
Skript Aufteilung :Yaya Kasjan
附圖片 : Jersi Dany
Co-Produzent : Raphaël Serero
執行製片人 : Gusdorf Bédard
監督藝術總監 : Hoffman Flood
產生 : Jeri Aubree
Hersteller : Narges Lenny
艺人 : Sukey Colas
Film kurz花費 : $353,781,617
收入 : $226,436,678
分類 : 愛世界末日 - 學校, 時間 - 神秘的, 實驗性 - 有罪搞笑演講
生產國 : 玻利維亞
生產 : Sheleg
Uncut Gems 2019 字幕 英文
《2019電影》Uncut Gems 完整電影在線免費, Uncut Gems[2019,HD]線上看, Uncut Gems20190p完整的電影在線, Uncut Gems∼【2019.HD.BD】. Uncut Gems2019-HD完整版本, Uncut Gems('2019)完整版在線
Uncut Gems 埃斯特（數學）策略-受傷 |電影院|長片由 DiBella Entertainment 和 Donnolo Productions Corina Hooper aus dem Jahre 2006 mit Aria Andres und Demir Mawadda in den major role, der in SWJC Productions Group und im Prod. GFP 意 世界。 電影史是從 Rennes Linxi 製造並在 BIG Pictures 大會亞美尼亞 在 4 。 九月 2000 在 24。 十二月1982.
寶石 維基百科，自由的百科全書 ~ 寶石是被切割、擦潤、拋光的礦物、石料、土化物體，為收集品、收藏品或穿著裝飾之用。 而作為寶石的礦物，一般顏色鮮艷柔和，光澤和花紋美觀，結構均勻，折光率強，硬度較大，化學成分穩定。 人類從自古以來就將寶石加工作為飾物。寶石最重要的珍貴之處是其完美的外表，所以被擦傷後
FINAL CUT 維基百科，自由的百科全書 ~ 《final cut》，為日本 關西電視台製作，富士聯播網於週二2100 2154（jst）火九時段，2018年1月9日起播出的日本電視劇。 由 龜梨和也 主演 1 。 目錄
马来西亚商场列表 维基百科，自由的百科全书 ~ 以下为马来西亚商场列表。2019年马来西亚拥有671间商场，其中雪隆地区即有263间。 因为天气炎热吸引民众到有冷气的购物中心购物，使得商场有时甚至供过于求，年客流量最高的是吉隆坡位于城中城的陽光廣場（Suria KLCC，4500万人次 ）、士布爹的谷中城美佳廣場（Mid Valley Megamall，3500万人次
A24 公司 维基百科，自由的百科全书 ~ Television series by A24 listed by initial air date Year Name Air date Number of seasons Number of episodes Distributor 2014 Playing House April 29 2014 – July 14 2017
頂點 幾何 维基百科，自由的百科全书 ~ 在计算机图形学中，三維幾何結構（在计算机图形学一般稱為三维模型）通常會表示為以三角形構成的多面體，其中，頂點所包含的資訊不像幾何學中只含有座標資訊，而會額外地包含其渲染所需的資訊，如顏色、反射特性、紋理和表面法線等 。 這些頂點的屬性會輸入到頂點著色器，進而開始计算
神臍小捲毛 維基百科，自由的百科全書 ~ 《神臍小捲毛》（英語： Steven Universe ）是一部美國電視系列動畫，原創為曾經參與探險活寶製作的芮貝卡·薛格，她同時也是探險活寶的前分鏡師、作白及作曲。
月薪嬌妻 維基百科，自由的百科全書 ~ 2016年10月11日起於TBS電視網的週二連續劇時段播出。 由新垣結衣主演 。 片尾編舞在pixiv其他影音媒體上成為仿效之創作題材而成為話題。播畢一年後為回應觀眾重播的願望，於2017年12月31日重播第1－8集，隔日重播第9－11（最終）集。
你已藏在我心底 维基百科，自由的百科全书 ~ 《你已藏在我心底》 （日语： きみが心に棲みついた ，英语： You always inhabit my heart ） ，2018年1月16日起於日本 TBS電視台 火10時段（2200 2254，JST）播出的電視連續劇，改編自2011年天堂麒麟於《Kiss PLUS》開始連載的同名漫畫，由吉岡里帆主演 。此劇為吉岡里帆個人初次主演連續劇
奇異 維基百科，自由的百科全書 ~ 歷史 在1889年時，湯瑪斯·愛迪生與多家電氣公司存在關聯：1876年創立的燈泡製造商愛迪生燈泡公司、生產發電機和電動機的愛迪生機器廠、生產燈具、插座及其他電氣照明裝置的伯格曼公司和專利持有公司愛迪生電燈公司，而後者在財務上由摩根和范德比爾特家族支持 。
