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putlockers Watch Online The Rhythm Section

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1. countries: USA


2. Mark Burnell


3. Blake Lively


4. year: 2020


5. Movie Info: Blake Lively stars as Stephanie Patrick, an ordinary woman on a path of self-destruction after her family is tragically killed in a plane crash. When Stephanie discovers that the crash was not an accident, she enters a dark, complex world to seek revenge on those responsible and find her own redemption. Based on the novel by Mark Burnell, from director Reed Morano ("The Handmaid's Tale") and the producers of the James Bond film series, The Rhythm Section also stars Jude Law and Sterling K. Brown

The part that everyone is watching this video for starts at 4:54.
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Blake Lively's career is a mystery to me. So little talent, so many bad, bad movies.
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Movies | ‘The Rhythm Section’ Review: The Semi-Reluctant Assassin Blake Lively plays a woman who loses her family and finds a new beat. Video transcript transcript ‘The Rhythm Section’ | Anatomy of a Scene The director Reed Morano narrates a car chase scene from her film featuring Blake Lively. Hi, I’m Reed Morano, and I’m the director of “The Rhythm Section. ” In this sequence, our main character, Stephanie Patrick who’s played by Blake Lively, is out on her first job. And it sort of goes completely awry. And she ends up inadvertently in a car chase she didn’t plan for. The reason why I wanted to do the movie overall is the same reason why I wanted to shoot the car chase this way. And that was because it’s sort of like a POV driven story. The scariest place for me after watching dozens and dozens of cinema’s best car chases was from within the car. And any time I’ve watched one and we cut out of the car, I feel like the tension dropped for me. Something about being in the car and having this limited visibility and having the camera bring us to what we need to see at the front or the back or at the character makes you kind of feel like you’re in the seat next to her, which is the last place I think anyone in the audience would want to be. Because she’s not a superhero. She’s not an action hero. She’s not a real assassin. She’s just this regular woman. In order to see the necessary things, in order to make the audience feel what she’s feeling, we were going to have to coordinate really particularly between what Blake was doing in the car as Stephanie and what was happening outside in the front versus what was happening in the back or the side of the car. And Sean Bobbitt, my DP, was super excited about this as well. So what happened was was we had this old Merc, this old Mercedes. And this was the tiniest car ever. And Sean Bobbitt is a really big guy. But they took out all the seats on the passenger side and built like a slider, like a rail system, with a little seat that he would sit on. But he could slide back and forth. But he was also secured in other ways. But he had mobility to kind of be up front by the window. He could pan towards Stephanie. And he could also pan towards the back window. But he could also slide really far back when he needed to get another view. Part of the reason why the chase is so successful is not only because of all the coordinated efforts of all the stunt people were happening at the right time. It was also Blake carries the scene, and her energy is changing, you know, up and down and throughout like an emotional roller coaster. And she’s really making it fun and scary to be in a car with her. The director Reed Morano narrates a car chase scene from her film featuring Blake Lively. Credit Credit... Bernard Walsh/Paramount Pictures The Rhythm Section Directed by Reed Morano Action, Drama, Mystery, Thriller R 1h 49m In the first minutes of “The Rhythm Section, ” Blake Lively is seen as a purposeful but stressed-out assassin, a mild, loving member of an upper middle class British family, and a heroin-addicted prostitute. She inhabits all these personae with commitment. The actual order of events for her character, Stephanie, is family girl, addict, assassin. The director Reed Morano couches the domestic persona in soft diffused light and the hardened one in shallow-focus claustrophobia. Stephanie has lost her family in a plane disaster. After succumbing to despair, she learns the explosion wasn’t an accident, but an act of terrorism. The Islamic kind. Or was it? The tired script by Mark Burnell, based on his own novel, ultimately doesn’t have the energy to capitalize on red-herring bad faith. Image Credit... Jose Haro/Paramount Pictures Revenge-seeking Stephanie soon finds a rogue, or ex, MI6 agent, played by Jude Law, who teaches her to fight and kill while dispensing bromides like “Even if you succeed, it won’t be worth it. ” Her subsequent adventures include an infatuation with an assassination arranger — a rogue, or ex, C. I. A. agent played by Sterling K. Brown. The movie is produced by Barbara Broccoli and Michael Wilson, the keepers of the James Bond franchise keys. “The Rhythm Section” suggests they want to extend a multifilm license to kill to a female character. (Spoiler alert: Burnell’s novel was the first in a series. ) But this picture makes an iffy origin tale. The talented Morano, whose work on the TV series “The Handmaid’s Tale” shows a knack for shuddery grim realism, sometimes seems to want to subvert the espionage-action genre by bludgeoning the pleasure out of it. One fight scene pitting Lively against the wiry, insistent Richard Brake is so severely brutal it feels like Soderbergh’s “Haywire” remade by Lars von Trier. Audiences may be more shaken than stirred. The Rhythm Section Rated R for bludgeoning, gouging, shooting and so on. Running time: 1 hour 49 minutes.

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Als Teenagerin war Stephanie Patrick (Blake Lively) eine Rebellin, die sich immer ihren Eltern widersetzte – und sogar eine große Reise nach Europa einfach abblies, sodass ihre Familie allein das Flugzeug bestieg, welches über dem Atlantik in die Luft flog. Seitdem frisst sie die Schuld auf, doch sie hat auch gelernt, allein zu überleben. Als sie eines Tages erfährt, dass der Tod ihre Familie kein Unglück war, sondern ein Attentat, kennt sie nur noch einen Gedanken: Rache. Dabei helfen soll ihr die mysteriöse Geheimorganisation Magenta House, die Terroristen in aller Welt heimlich, still und leise tötet, bevor diese vielleicht verhaftet werden und einen großen Prozess als Bühne nutzen können. Doch das neue Leben als tötende Agentin fordert seinen ganz eigenen Preis.
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January 29, 2020 9:00AM PT
The plot may be boilerplate in this female-driven revenge thriller, but Blake Lively sells it, playing an action hero who fights like a real person: badly.
It’s a wonder that Stephanie Patrick makes it to the end of “ The Rhythm Section ” alive. Normal people tend not to survive the kind of sophisticated revenge mission that snaps Stephanie out of her depression and into action-hero mode in Reed Morano ’s dark, broody and unexpectedly human payback thriller, which stars Blake Lively as a more-motivated-than-coordinated Post Traumatic Suffering Dispenser.
Lest you fear any mention of her survival constitutes a spoiler, consider this: The movie was adapted from the first of four pulpy Stephanie Patrick novels written by Mark Burnell, so of course she doesn’t die. But she comes awfully close on several occasions, and her near-incompetence in the face of danger makes her relatable in ways very few cinematic assassins have ever been. Paramount is opening the movie in January, the month where Liam Neeson is typically the one to do this kind of dirty work. Lively is hardly the actor’s obvious substitute, though the character she plays — a rock-bottom junkie prostitute — absolutely convinces she has nothing to lose.
Actually, since Burnell’s novel was optioned by Eon, the production company behind the James Bond franchise, some have wondered whether Stephanie Patrick’s supposed to be some kind of gender-flipped 007. (No, says Bond custodian Barbara Broccoli. ) From the very first scene, audiences should realize that they’re watching a very different type of character. In many ways, she’s even less like “Atomic Blonde, ” in which Charlize Theron’s meticulously choreographed, unerringly lethal fighting style is fun to watch but pure fantasy. Stephanie, by contrast, panics under pressure. She’s a bad shot, and an even worse driver. In hand-to-hand combat, she gets thrown around, battered and very nearly killed. Multiple times.
The movie begins in Tangiers, where Stephanie has gone to eliminate one of the men responsible for the death of her family. (They died in an airplane bombing, and given the spectacle that might have provided, it’s a wonder the movie doesn’t start there. But then, Burnell adapted the novel himself, so he must have had his reasons. ) So, in the amuse bouche opener, Stephanie creeps into his home and points her gun at the back of his head. But she can’t bring herself to pull the trigger. Could you?
“ The Rhythm Section ” features lots of terse, no-nonsense dialogue but some pretty corny voiceover — like the howler Lively’s obliged to recite to explain the film’s title. Standing there in silhouette, her weapon extended, Stephanie’s all jitters. But that’s a much more interesting way to approach her first hit anyway. The only person obliged to be a consummate professional here is Morano, a former DP who helmed the first three episodes of “The Handmaid’s Tale, ” effectively setting the tone for the hit Hulu series. This is her third feature, following tragedy-porn “Meadowland” and post-apocalyptic two-hander “I Think We’re Alone Now, ” and the assignment puts fresh demands on its director. Pulling it off means Morano’s obliged to think differently not only about action, but also about how she works with actors.
This isn’t an easy role, but Lively aces it. Flashing back more than half a year earlier, the film finds Stephanie looking a lot worse for wear, with scars on her wrists and tears in her eyes. To erase the pain of the plane crash that claimed her parents’ lives, she turns tricks for smack in a squalid London flat. She’s scraping along rock bottom when an investigative reporter named Keith Proctor (Raza Jaffrey) shows up with inside information on the accident — which wasn’t an accident but an attack, he insists.
According to Proctor, the authorities know who built the explosive device but have left him to walk the streets of London a free man. “Why did you come for me? ” Stephanie asks. Without missing a beat, Proctor replies, “Because you’re another victim. You’re just not dead yet. ” But a couple scenes later, Proctor’s dead, found with his throat slit in his own apartment. His flat has been art-directed to look like a serial killer’s inner sanctum, and snooping around, Stephanie manages to glean enough from his files to track down his most important source, a nameless ex-CIA operative ( Jude Law) with demons of his own.
His damage is nothing compared with hers, however. Stephanie’s still addicted to drugs at this point, and Lively shows us what that looks like, twitching on top of all the trauma her character is already carrying. The psychology of how this once-promising college grad would transform herself first into such a trainwreck — all bruises and track marks, spiky hair and smoky eyes — and from there into an avenging badass is shaky, but Lively’s commitment sells it. Stephanie assumes the identity of a ruthless hitwoman, Petra Reuter (an excuse for wig changes and an attitude makeover), and reaches out to an information trafficker named Marc Serra (Sterling K. Brown) to identify the target we saw her about to eliminate in the opening scene.
On paper, the rest of the film seems fairly routine: a series of setpieces against a revolving backdrop of glamorous international locations. We’ve seen it in movies like “Atomic Blonde, ” “Red Sparrow” and “La Femme Nikita. ” Those women are all sexy, self-confident killing machines. But what sets “The Rhythm Section” apart is the simple matter of identification. She’s not a natural. She freezes up, and can’t do what she was trained for. Instead of fighting, she flails wildly, hoping one of her kicks connects with her adversary’s crotch. When she gets hit, it looks like it hurts. And when her gun falls into the bad guy’s hands, she may as well be dead meat.
In the end, it’s luck, not skill that keeps her alive. That’s how most of us would be in her situation. Moments later, in an impressively staged, single-take car chase, Stephanie/Petra nearly gets pushed off a cliff. And so it continues through the final showdown. It’s probably for the best that most action movies don’t unfold like this, where careful planning devolves to desperate innovation in the heat of the moment. But this is what’s meant by “visceral, ” and it works in this context — and must be an awful lot harder to pull off, behind the camera. Morano manages, and if Stephanie Patrick ever gets another big-screen mission, it’ll be interesting to see what this experience has taught her.
After Netflix and Disney shuttered all live-action productions, Universal has decided to do the same with “Jurassic World: Dominion, ” “Flint Strong” and the untitled Billy Eichner project all going on hiatus effective Friday. The studio continues to monitor the situation closely and will make a determination on when to restart production in the coming weeks. [... ]
“Mulan” fans in mainland China on Friday welcomed the news that Disney will postpone the global release of the new live-action blockbuster, happy that they’ll likely now get the chance to see the film in theaters in sync with the rest of the world. The new “Mulan” was scheduled to release worldwide outside of China, [... ]
The Walt Disney Company is taking the edge off of “social distancing” from the coronavirus this weekend, by streaming the animated blockbuster “Frozen 2” three months ahead of schedule. Disney Plus aims to surprise families this Sunday with “some fun and joy during this challenging period, ” referring to the global pandemic of COVID-19, which on [... ]
In today’s film news roundup, film festivals in San Franciso and Toronto are being canceled or postponed, the American Cinematheque stops screenings and veteran executive Jon Berg lands a new gig. FESTIVALS Two prominent mid-size film festivals in San Francisco and Toronto have joined the avalanche of cancellations and postponements due to the coronavirus pandemic. ]
The Alamo Drafthouse chain has abruptly closed its theaters in Brooklyn and Yonkers amid the coronavirus epidemic. The chain made the announcement Friday night without disclosing any reasons. It said all tickets, including convenience fees and ticket add-ons, will be automatically refunded. “Until further notice, we are deeply sad to say that Alamo Drafthouse Brooklyn [... ]
The AMC, Regal, Cineplex, Arclight and Alamo Drafthouse chains have imposed limits on sales as a safety precaution in response to the coronavirus pandemic. AMC Theatres, which has 661 locations in North America, and Regal Entertainment Group, which has 564, both announced Friday that will be reducing their maximum capacity by at least 50% due [... ]
As the coronavirus pandemic brings moviegoing to a halt in multiple countries, it’s slowing down attendance at North American multiplexes. The openings for “I Still Believe, ” “Bloodshot” and “The Hunt” are all coming in below expectations. Disney-Pixar’s “Onward” is heading for a repeat victory at the box office with about $16 million at 4, 310 locations, [... ].

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This movie has a tonality that's almost black and white while being filmed in color. It's so somber then quickly jumps to a happy scene in an outdooor restaurant So the poor women is wandering wandering from the heavens throughout the earth... Wandering wandering no place to rest her head wandering wandering. wandering from the heavens throughout the earth. Wandering wandering wandering with no place to rest her head. Ahh wandering wandering from the heavens from the earth.
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Создатели: Рид Морано, Блейк Лайвли, Джуд Лоу, Стерлинг К. Браун, Макс Казелла, Дэниэл Мейс, Джофф Белл, Ричард Брэйк, Раза Джеффри, Нассер Мемарзиа, Тауфик Бархом, Дэвид Дуган, Барбара Брокколи, Майкл Дж. Уилсон, Шон Боббитт, Марк Бернелл, Стив Маццаро Развернуть трейлер Потеряв семью в авиакатастрофе, молодая женщина Стефани встает на путь саморазрушения, увлекаясь алкоголем и наркотиками. Она находит новую цель в жизни, когда узнает от одного журналиста, что крушение самолета было подстроено. Теперь Стефани постарается, чтобы виновные понесли наказание – обязательно смертельное. недостаточно данных для вывода расширенного рейтинга Языки Русский.

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I legit thought she was gonna be one of those horse girls everyone had in their elementary school who would walk around on all fours yelling, “NYEHHHHH”.
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Christy Lemire
January 31, 2020
Blake Lively gives it her all in “The Rhythm Section, ” but the movie only meets her halfway. The glamorous star gets grungy for the role of Stephanie Patrick, an ordinary young woman who transforms herself into an international assassin to avenge the killing of her family. Lively previously has shown a yearning not only for this kind of darker material, as in her standout supporting role in Ben Affleck ’s “ The Town, ” but also for the physical demands of an action film, as she did so convincingly while fighting off a great white shark in the minimalist thriller “ The Shallows. ”
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She’s deeply committed and down for everything “The Rhythm Section” throws her way, often quite literally. But despite some impressively inventive camerawork from cinematographer-turned-director Reed Morano (“The Handmaid’s Tale, ” “I Think We’re Alone Now”) and a couple of intense action sequences, the film as a whole feels rushed and frustratingly empty. Although writer Mark Burnell adapted the screenplay from his 1999 novel of the same name, the story seems truncated; it’s as if he understandably wanted to include as much as possible from his source material, yet still had to work within the constraints of a reasonable running time. Giant leaps take place in terms of time and emotion, leaving us behind in confusion and rendering the human connections hollow and baffling. Lively’s British accent is a bit spotty but she makes a strong impression from the start, when her character is at her lowest. It’s been three years since Stephanie’s father, mother, sister and brother died in a plane crash—a flight she was meant to take, as well. Now, she numbs the unimaginable pain with drugs and feeds her habit by working as a prostitute at a London brothel. Morano intercuts increasingly tight close-ups of Stephanie’s face—her shaggy hair, tear-stained cheeks and swollen eyes—with snippets of brightly lit flashbacks to happier times with her family, underscoring the shocking nature of her decay. When an investigative journalist (Raza Jeffrey) tracks her down and tells her the crash was no accident but rather an act of terrorism, it lights a fire under Stephanie to take back her life by taking out the killer. “The Rhythm Section” comes from James Bond producers Michael G. Wilson and Barbara Broccoli, and it features the kind of globetrotting, espionage and tangles with an international array of bad guys you’d expect from a 007 movie. Stephanie travels from London to Northern Scotland, Madrid, New York, Tangiers and Marseille in her pursuit of justice with a variety of wigs and identities at her disposal. But the film is trying to do something different in making Stephanie’s stumbles a central part of her character. She’s not slick, she’s frequently in over her head and her missions don’t always go as planned. In fact, they never do. Lively’s vulnerability is as compelling as her raw combat skills, and Morano’s female gaze is clear-eyed rather than ogling.
But somewhere along the way, Stephanie becomes too enigmatic, despite the fact that she’s on screen nearly the entire time. We know very little about who she was before the tragedy, which was by design, but even a smidgen more backstory would have made the dangerous path she forges somewhat more plausible. When the exiled MI6 agent who’d been the journalist’s informant takes her in and trains her, it makes sense, although Jude Law is solid as the gruff character known only as B. Eventually, there’s a passing reference in the script to the fact that she’s spent months with this guy at his remote hideout at the edge of a Scottish loch, yet there’s little indication that they’ve formed the kind of emotional connection that would result from that kind of intense, intimate time together. And yet a pivotal fight training scene in B’s cramped kitchen—shot in a single take—is riveting because it’s so flailing and imperfect, and because there’s nowhere to hide. Lively’s demeanor has morphed from that of a wounded animal to a scrappy predator. Later, Morano’s claustrophobic depiction of a car chase through the narrow streets of Tangiers, with cinematographer Sean Bobbitt (“ 12 Years a Slave ”) inside the vehicle, also provides a visceral jolt. Stephanie also meets up in Madrid with Sterling K. Brown ’s character, a former CIA officer who now sells the intel he gleans to the highest bidder. He’s a crucial figure in her quest, but their relationship develops in ways that are both entirely unbelievable and narratively predictable. As charismatic as Lively and Brown are individually, they aren’t afforded the opportunity to establish any real chemistry with each other. And an interlude with an arrogant and wealthy bad guy ( Max Casella) who also played a key role in the airplane attack raises way more questions than it answers. That scene is a prime example of the film’s clangy tendency toward on-the-nose needle drops to comment on the action and set the mood. As Stephanie struts down Central Park West in a disguise, stalking her prey, we hear the ironic strains of the Brenda Lee classic “I’m Sorry”; later, as Stephanie closes in on her ultimate target, Elvis Presley ’s “It’s Now or Never” plays. The title itself refers to a technique B teaches Stephanie to help her calm down and regain control during moments of panic: “Your heart is the drums, your breathing is the bass, ” he says. “The Rhythm Section” itself could have used a little bit of soul.
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