Waves 2019-method-alec-cheung-2019-parts-Waves-u.s-subtitrat-auf italienisch-WEB-DL-occurs-segundo-quality-2019-davies-Waves-activity-hd online-incredibles-languages-noel-2019-pine-Waves-in-depth-subtitrat-2019-DAT-separate-communism-hahn-2019-titles-Waves-real-time-DTS-witchs-melodrama-zane-2019-theatrical-Waves-anime-FULL Movie in English.jpg
A controlling father’s attempts to ensure that his two children succeed in high school backfire after his son experiences a career-ending sports injury. Their familial bonds are eventually placed under severe strain by an unexpected tragedy.
Titolo del film
|
Waves |
lacontinuazione |
111 minutes |
Lapubblicazione |
2019-11-15 |
La Qualità |
AAF 720p
VHSRip |
Categoria |
Romance, Drama |
La lingua |
English |
Castname |
Long
Z.
Ashana, Jiro X. Odin, Quiron N. Presley |
[HD] Waves 2019 Streaming Cineblog01
CortometraggioSpeso : $210,322,763
Entrate : $686,703,082
Categoria : Ragazza - il terrorismo , Etica - Tirannia , Responsabilità - Colpevole , Viaggi - Polizia
Paese di produzione : Burundi
Produzione : Ilha Crossmídia
WAV 維基百科，自由的百科全書 ~ File Extension WAV Details 20130814 Information about the Multimedia file types that Windows Media Player ft Help and Support Microsoft Corporation 12 May 2008 29 May 2009 Windows uses the Wave Form Audio WAV file format to store sounds as waveforms
第5毀滅 維基百科，自由的百科全書 ~ 劇情 故事開始時講述俄亥俄州的高中女生凱西·沙利文（克蘿伊·葛蕾絲·摩蕾茲 飾）手持著m4卡賓槍，從樹林中突襲一個廢棄的加油站。 當她進入後，她聽到一個男性求救的聲音。她找到了那個受傷的男子以槍指著她，雙方要求對方放下武器。
汪定中 维基百科，自由的百科全书 ~ 汪定中（Dean Wang）（1996年4月29日 － ）出生于美国 旧金山，三岁时回到台湾。 2013年在Youtube 开通自己的频道。2019年发行全创作EP《New Waves》。
暗能量 維基百科，自由的百科全書 ~ 暗能量的相關解釋 雖然暗能量存在的證據都來自於間接推測，但有三個主要證據支持： 根據遙遠星系距離與紅移量的觀測，顯示宇宙在它演化過程的後半段經歷了加速膨脹。 實際觀測的宇宙是平坦的，這顯示宇宙的物質密度應該近似等於大爆炸理論中的臨界密度。
潮汐 維基百科，自由的百科全書 ~ 潮汐的變化是多種不同週期活動最終的結果，這種影響稱為潮汐的組成。 潮汐變化的時間尺度範圍從數小時到一年，所以要在固定的觀測站以潮汐表精確的紀錄水位的高低變化，可以篩選出變化週期短於一分鐘的水位變化。 這些資料將會和參考值（或已知數），通常是平均海平面，做比較 。
FileRadio waves hazard 维基百科，自由的百科全书 ~ 此文件中包含有扩展的信息。这些信息可能是由数码相机或扫描仪在创建或数字化过程中所添加。 如果此文件的源文件已经被修改，一些信息在修改后的文件中将不能完全反映出来。
婚姻故事 维基百科，自由的百科全书 ~ 劇情 查理（亞當·崔佛飾）是一名紐約的劇院導演，妮可（史嘉蕾·喬韓森飾）原先是一名知名電視演員，原有大好前程的她，在與查理一見鐘情後毅然決然加入查理的劇團擔任女主演，成為了查理舞台上及舞台下的最佳女主角。 多年過去，妮可漸漸感受到自己的渺小與不被重視，忍無可忍的她
波數 维基百科，自由的百科全书 ~ 本页面最后修订于2019年4月3日 星期三 1527。 本站的全部文字在知识共享 署名相同方式共享 30协议 之条款下提供，附加条款亦可能应用。 （请参阅使用条款） Wikipedia®和维基百科标志是维基媒体基金会的注册商标；维基™是维基媒体基金会的商标。 维基媒体基金会是按美国国內稅收法501c3
疯狗浪 维基百科，自由的百科全书 ~ 疯狗浪（Rogue waves），或称异常巨浪（Freak waves）是指比有效波高（Significant wave height）高出1倍的巨浪。 疯狗浪其实是海洋中的一种涌浪（又称长浪），也就是人们常说的“无风三尺浪”。 疯狗浪对于人或船只产生严重威胁 ，离岸流也同样具有威胁性。
繞射 維基百科，自由的百科全書 ~ 繞射（英語： diffraction ），又稱衍射，是指波遇到障礙物時偏離原來直線傳播的物理現象。 559560 在古典物理學中，波在穿過狹縫、小孔或圓盤之類的障礙物後會發生不同程度的彎散傳播。 假設將一個障礙物置放在光源和觀察屏之間，則會有光亮區域與陰暗區域出現於觀察屏，而且這些區域的邊界
Best film of the year by far.
I went into this blind, but as soon as it was over, I instantly knew I witnessed something special.
This is gonna be hard to talk about since the movie doesn’t follow a conventional narrative. Although I believe that these type of movies will stay with you much longer, as the emotional connection you had will be remembered for years. In other words, I will try my best to keep myself collective through out.
‘Waves’ is an absolute gut punch of a movie. Incredibly unique with its film making and overall presentation.
From ‘It Comes At Night’ to ‘Waves’, Trey Edward Shults is a director to look out for. I still haven’t seen ‘Krisha’ yet. The way he crafts stories and the close examination of these characters feels so close to life. It hit me on a emotional level. I love how the aspect ratio changes whenever the mood changes in terms of tone. There’s some impressive and effective use of camera work through out, but the scenes that stood out for me was every time someone drives, the camera will spin clockwise at the front - which reminded me of ‘It Follows’ clockwork-like spin. There was also some free flowing camera work that also reminded me of Terrence Malick movies.
The performances and characters were all fantastic. Sterling K. Brown delivers a fantastic performance as a strict and yet flawed father who’s method of parenting is incredibly demanding. He has a son and a daughter, but in the first half we only see him hang around with his son and sculpt him to be the very best, while not realizing his putting the weight of the world on his sons shoulders. We barely see him with his daughter and when we do there’s a sense of regret on his face, as if the painful realization is killing him.
Newcomer Taylor Russell truly shines as the heart of the family, which you later find out was from her perspective this entire time. Alexa Demie, Kelin Harrison Jr., and Renée Elise Goldsberry are all terrific, but most effectively was the characters portrayal that was both dynamic and soul crushing. Lucas Hedges is perfectly cast as a sweet young man with one of the kindest smile you could’ve imagined; warm and welcoming.
There was a lot of music from Frank Ocean and Radiohead, but it's something that the characters would listen to rather than the directors own playlist. It actually sets the tone throughout. While at times it can get a bit too much music, but that didn’t ruin the overall experience. I don’t know why, but this entire movie reminded me of ‘Moonlight’.
The best complement I can give to this movie is how unpredictable it is, because I had no idea where it was going. Putting aside that I went into this knowing nothing, but that wasn’t the reason. It's a long movie, but I was invested the whole time. What took me by surprise is how the movie is structured and how every act unfolds a new chapter. The first act was a rush of energy in terms of pace, but the second act is almost a different movie and feels almost mystical. And every action the characters make will lead a massive impact to other peoples lives...
Because when pain and tension rises, expect it to come crashing down and shatter you into million pieces.
‘Waves’ is great, but really underrated.
**_Bleak, but not despondent; brilliant, but not for everyone_**
>_For me, style always comes out of the character and the substance. Everything we're doing is just to bring you more inside the main character's head - the camera moves, the colours, the music. Everything's just to be honest to Ty and put you through a subjective, emotional experience with that. For me, if you make it about that and aren't just doing style for style's sake, if there's a purpose behind everything, then it's easier to navigate._
- Trey Edward Shults; "_Waves_ Director Trey Edward Shults on Crafting His Sensory, Soul-Bearing Family Saga" (Isaac Feldberg); Fortune (November 15, 2019)
"Challenging" is a phrase you often encounter in film criticism. Certainly the term applies to writer/director Trey Edward Shults's previous films, the unconventional Thanksgiving drama _Krisha_ (2015) and the brilliant but poorly marketed post-apocalyptic thriller _It Comes at Night_ (2017). And although these two films would seem to have little in common with the more social realist concerns of _Waves_, all three share the same thematic DNA, focusing as they do on a family under intense pressure. And yes, all three are challenging in their own way. Another term you'll often hear is "not for everyone", and again, that's as true here as in Shults's previous work. Certainly, if you're into formalism, you'll find plenty here to keep you happy; elaborate camera moves, varying aspect ratios, extreme colour correction, unusual shot composition, a sound design which bleeds into the soundtrack/score (and vice versa), a quite audacious shift in focalisation at the half-way point, and a stunningly concise closing shot. On the other hand, it's an emotionally bruising, deeply upsetting film, which takes its sweet time getting anywhere. It also asks much more of the viewer than your average Marvel movie, and some simply won't want to put in the legwork. Nothing wrong with that, of course, and if you consider cinema as entertainment only, I'd imagine Waves will leave you bored and frustrated. However, if you have the patience and are willing to take the journey on which the film wants to bring you, the cathartic rewards are many.
In a middle-class suburb in Florida, Tyler Williams (a brilliant Kelvin Harrison Jr.) is a popular high school senior and skilled wrestler, who is deeply in love with his girlfriend Alexis Lopez (Alexa Demie). At home, he has a good relationship with his sister Emily (a heartbreakingly sweet Taylor Russell) and stepmother Catherine (Renée Elise Goldsberry). His relationship with his domineering father Ronald (a sternly intimidating Sterling K. Brown in full-on stare mode) is somewhat strained due to Ronald, himself a former athlete who was forced to retire due to a knee injury, constantly pushing him to succeed. As the film begins, Tyler's shoulder is causing him problems, and although he keeps it a secret, he soon learns he has a Level 5 SLAP tear, with his doctor telling him he'll need surgery and a few months off from wrestling, or the damage will become permanent. Seeing his hopes of getting a sports scholarship falling apart, Tyler ignores the doctor's advice, continuing to wrestle and starting to self-medicate with Ronald's painkillers. Meanwhile, he becomes increasingly acerbic and starts drinking heavily, and when he learns that Alexis is pregnant, his attitude worsens even further. At around the half-way point of the film, the focalisation then shifts to the shy and socially awkward Emily, looking at her burgeoning romance with Tyler's wrestling teammate Luke (a passive and pensive Lucas Hedges). Meanwhile, the Williams family must try to come to terms with a horrific act of violence that could change all of their lives.
The most noticeable thing about Waves is the aesthetic audaciousness. Shults was inspired to divide the story in two by Wong Kar-wai's _Chungking Express_ (1994), and what's especially interesting about this bifurcation is that Emily barely appears in the first half and Tyler barely appears in the second, forcing the audience to completely recalibrate themselves vis-à-vis the film's _milieu_. However, for all its narrative gymnastics, it's _Waves_'s visuals that really pop. Working with his regular cinematographer Drew Daniels, Shults's extraordinary formal inventiveness is never an end unto itself and is never showy. No matter how audacious the form becomes, it's always in service of the story, with Shults using the camera thematically rather than as a passive tool of observation. For example, the opening shot is inside a car occupied by Tyler and Alexis, but rather than shoot the scene conventionally in a shot/counter-shot format, Shults positions the camera between the duo, spinning in circles rather than cutting, and completing multiple 360-degree rotations. This immediately inculcates us into their sense of abandonment, exuberance, and enthusiasm for simply being alive (not to mention their passionate love for one another). Before a single line of dialogue has been spoken, Shults has already started telling us who these people are. It's pure visual storytelling, showing rather telling.
This kind of form/content correlation occurs throughout the film. For example, in the first half, which is focalised by the restless and propulsive Tyler, the handheld camera rarely stops moving, reflecting his frenetic energy. However, when we shift to the quieter and more withdrawn Emily, Shults changes the tone, employing more static tripod shots and a much slower editing rhythm, which reflects Emily's calmer disposition. Shults also has the palette reflect this ideological shift – whereas the first half is awash in garish blues, reds, and greens, the second has a more naturalistic look. A crucial part of the film's visual identity is the very unusual use of aspect ratio(s). Beginning in 1.85:1, the frame gradually reduces in width until it gets to Academy ratio (1.33:1), which is how Tyler's section ends. Then, at the start of Emily's section, it starts to widen again, eventually reaching 2.35:1. The narrowing ratio of the first half reflects how Tyler feels he's being progressively trapped as things continue to go wrong, whilst the widening ratio of the second half reflects Emily's determination to recover from tragedy and reconcile her family. In short, the first half symbolises an ever-increasing restriction, the second half a gradually discovered freedom. Form and content are tightly bound together, each informing and commenting on the other, with Shults never allowing the form to overshadow the story or become divorced from it.
And all of this is to say nothing of the diegetic lighting, the shot compositions and camera blocking, or the blending of Johnnie Burn's immersive sound design, Trent Reznor and Atticus Ross's discordant score, and the exceptional 32-song soundtrack, featuring material from artists such as A$AP Rocky ("LVL"), Kendrick Lamar ("Backseat Freestyle"), H.E.R. ("Focus"), Kanye West ("I Am a God"), SZA with Isaiah Rashad ("Pretty Little Birds"), Radiohead ("True Love Waits"), Amy Winehouse ("Love Is a Losing Game"), Chance the Rapper with Jay Electronica ("How Great"), and multiple Frank Ocean tracks. Indeed, Shults had the music in mind from the scripting stage, and took the unusual step of sending any artists whom he hoped to use a rough cut of the film, explaining where and how he wanted to employ their music. He also wrote extensive liner notes for each song for the soundtrack's release.
Given the title, it should come as no surprise that the film's most common visual motif is water – the opening shot sees Tyler and Alexis driving across a bridge; they spend a lot of their free time at a bench near the seafront; Tyler falls asleep in a bath, his life seemingly in ruins as water spills and starts seeping through the floor; Emily and Ronald go fishing; Emily and Luke kiss amid lawn sprinklers and later share a bath; Emily jumps into a pond from a tree; Emily, Luke, and their friends swim with manatees; Emily and Luke jump into the ocean from a pier. In all cases, water is soothing and calming, allowing for contemplation and figurative escape, whether it be Tyler trying to wash away the chaos that has engulfed him or Emily trying to emerge from her shell.
Thematically, the film looks at the pressure to succeed, particularly in men. Ronald equates masculinity with strength, mocks Catherine's job, and barely acknowledges Emily. Instead, he pours all his effort into Tyler, through whom he's trying to live vicariously, pushing him to be the successful athlete that he himself could have been before injury ended his career. He's also acutely aware that as an African-American man, things won't come easy to his son, telling Tyler, "_we are not afforded the luxury of being average_." However, Ronald is by no means the villain of the piece. He means well and seems to genuinely feel that raising Tyler in this manner is the best thing, telling him, "_I don't push you because I want to, I push you because I have to_". The problem with all of this is that neither Tyler nor Ronald have a backup plan, so when things start to go wrong, Tyler immediately falls apart. And as things get worse and worse, he becomes a pseudo-Job figure, with the big difference being that Job was self-aware and understood his suffering, whereas Tyler has no such self-actualisation.
In terms of problems, there are a few blatantly expositionary scenes. An especially egregious example is the scene where Ronald outlines how hard it is for a black man to get ahead in the US, using that as justification for why he pushes Tyler so hard. Whilst the sentiments are fine, it doesn't ring true that this is the first time Ronald has said this to Tyler. Surely he would have given him this talk in his youth? It's a well-acted scene in isolation, but in the context of the overall script, it's too literal and seems out of place. Speaking of race, apart from this scene and a later one where someone shouts a racial slur at Tyler, the film is silent on race issues. Instead, Shults uses the stuff of daytime soap to propel the plot – the end of a sports career, the prospect of having a child at such a young age, a family tragedy. The performers make the material work, but the film does come close to melodrama on occasion.
Nevertheless, although it's initially bleak, looking at loss and disintegration, _Waves_ ultimately reveals itself to be about the ability of love to conquer despair, about how life can persist no matter the circumstances, about the importance and restorative power of family. Shults uses this framework to build a quite audacious monument that celebrates the ordinary without ever overshadowing it. This is extremely strong and confident filmmaking.
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