Wat een mooie bruiloft jullie zagen er prachtig uit en ook compliment voor de prachtige kleding van jullie kinderen ik wens jullie alle goeds toe 🎉❤❤ en heel veel geluk en liefde samen ❤toegewenst ❤❤😘😍💞💕💖💥❣👰🤵
Legyen még ijen imádom💜💜💜💜💜💜💜💜💜💜💜💜💖💖💖💖💖💖💖💖💖💖💖💖💖💖💟💟💟💟💟💟💟💞💞💞💞💞💞💞💝💝💝💝💝💝💝💝💘💘💘💘💘💘💘💘💘💘💗💗💗💗💗💗💗💗💗💗💗💗👌👌👌👌👌👌👌👌👌✌✌✌✌✌👊👊👊👍👍👍👍👍👍👍👍💟👍👍👍💟💟💟💟👍👍💕💕💕💕💕💕💕💚💚💚💚👍👍👍👍👍👍👍👍👍👍👍👍👍👍👍💓💓💓💓💓💓💓💓💕💕💕💕💕💕💕💕💕💕💕💕💕💖💖💖💖💖👍👍👍👍👍👍💪💪👅💋💋💋💋💋💙💙💙💙💙💙💙💙💙💙💙💙💙💙💙💙💙💙💙💙❤❤❤❤❤💋💋💋💋💋💋💋💋💋💋💋💋💃💙💙💙💙💙💙
Canadian director Denis Villeneuve is known and admired for his 2010 movie Incendies, a mysterious and involved tale that I thought worked as a kind of prose-poem about memory and identity, and about how violence and bloodshed are the creator/parents of a traumatised future - but I wondered about its straightforward believability as drama. Now Villeneuve has made his first English-language film, Prisoners, a long, brutal and occasionally gripping forensic crime drama. Hugh Jackman stars as a man whose little daughter has been kidnapped; Jake Gyllenhaal is the cop assigned to the case, and Paul Dano is the disturbed individual who holds the key to the whole thing. This movie keeps plenty of suspects in play, along with multiple plotlines running and plates spinning. It all finally ties up - sort of. Prisoners is as involved and twisty as any airport bestseller: not an adaptation, though, but an original screenplay by the TV writer-producer Aaron Guzikowski. It obviously aspires to something more than pulp, with the pluralities of meaning in the title. There are flashes of the macabre, which put me very briefly in mind of Jonathan Demme's The Silence of the Lambs (1991) or George Sluizer's The Vanishing (1993). The film gestures at agonised questions of guilt, crime and punishment: on the poster, the haggard and bearded Jackman has a Dostoevskian look that oddly does not come across in the movie itself. Perhaps most interestingly, Villeneuve and Guzikowski appear to be contriving some metaphors for the "war on terror"; some anxieties buried in the American psyche about just what is involved when interrogation is enhanced. Jackman and Terrence Howard are Keller and Franklin, two middle-aged guys, who with their wives Grace (Maria Bello) and Nancy (Viola Davis), are forever having family get-togethers. After one boozy Thanksgiving lunch, the grownups let their two little girls play out on the street, close to where a creepy campervan is parked. When the two girls vanish, along with the sinister vehicle, a massive police hunt is directed by Detective Loki (Gyllenhaal), who is haunted by the case and perhaps, in the time-honoured manner, by his own personal demons. But on arresting the van's driver, the learning-impaired Alex Jones (Dano), there is still no sign of the girls and the man appears entirely unresponsive to ferocious questioning. With no legal grounds to hold him, and to general community outrage, Loki has to let the man go. In the brawl outside the station, Jones murmurs something to Keller. Could it be that he does know something - taunting the parents with riddles and clues? Villeneuve is good at showing the nauseating excavation and archaeology involved here: vast areas are searched and sifted through. And when the investigation is as widespread and concerted as this, other horrors, long hidden, can be dredged up too. Loki has to contact and question all the known sex offenders in the locality, and his fanatical persistence seems to bring new atrocities to light. The discovery of a mouldering corpse, which may or may not have anything to do with the missing girls, appears to cause only an infinite weariness and distaste in Loki. He speaks to one woman whose little boy vanished without trace 20 years ago, and she seems almost resigned to tragedies like hers never getting solved: "No one took them; nothing happened; they're just gone." Set against this nihilist despair is something else: rage. For the families, the girls' kidnapping appears to be an act of terrorism and something must be done. The idea that Jones actually does know something, and that pussyfooting law-enforcement officials are failing to get at the truth, is intolerable. The result is violence, and some horrible images that are closer to European hardcore than mainstream Hollywood. But what exactly is the movie saying about all this? It could be that torture is always morally culpable, that it never elicits anything of value - or it could be that it is dirty work that gets results. Rather as in Kathryn Bigelow's Zero Dark Thirty (2012), there is a kind of ambiguity about righteous violence in Prisoners and how exactly we are supposed to feel about it. The film finally effects an evasive blend of condemnation and sentimental exoneration. Perhaps more disconcerting is the way Guzikowski's screenplay has to strain and squirm to tie up all its loose ends, and the film will try your patience with some of the later throwaway revelations. A certain dour realist vigour keeps the nightmare alive.
Wow nice! :D i like the tone you've got. your voice is so clean, and i love the vocal tricks and some rearrangements you did with this song! I would maybe suggest a bit more "feeling" in your facial expressions, but it was fantastic, such an excellent cover! If you have time check out my cover of "Into You" and tell me how it was , and give me some advice ;DD It would be amazing to have advice from you! :) Have a great week! -Matthew
Thanks for your sweet reaction! Its not me though, Im just producing it. If you want to speak to her you can go to her own channel; ru-vid.com/show-UC-ZdN3Kt6GmUPg0TDo-4ISA I did listen to your cover too, its very good !! Keep going on! :)
