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THE STORY

After graduating from Harvard. Bryan Stevenson (Michael B. Jordan) forgoes the standard opportunities of seeking employment from big and lucrative law firms; deciding to head to Alabama to defend those wrongfully commended. with the support of local advocate. Eva Ansley (Brie Larson). One of his first. and most poignant. case is that of Walter McMillian (Jamie Foxx. who. in 62. was sentenced to die for the notorious murder of an 2-year-old girl in the community. despite a preponderance of evidence proving his innocence and one singular testimony against him by an individual that doesn’t quite seem to add up. Bryan begins to unravel the tangled threads of McMillian’s case. which becomes embroiled in a relentless labyrinth of legal and political maneuverings and overt unabashed racism of the community as he fights for Walter’s name and others like him.

THE GOOD / THE BAD

Throughout my years of watching movies and experiencing the wide variety of cinematic storytelling. legal drama movies have certainly cemented themselves in dramatic productions. As I stated above. some have better longevity of being remembered. but most showcase plenty of heated courtroom battles of lawyers defending their clients and unmasking the truth behind the claims (be it wrongfully incarcerated. discovering who did it. or uncovering the shady dealings behind large corporations. Perhaps my first one legal drama was 624’s The Client (I was little young to get all the legality in the movie. but was still managed to get the gist of it all). My second one. which I loved. was probably Primal Fear. with Norton delivering my favorite character role. Of course. I did see To Kill a Mockingbird when I was in the sixth grade for English class. Definitely quite a powerful film. And. of course. let’s not forget Philadelphia and want it meant / stand for. Plus. Hanks and Washington were great in the film. All in all. while not the most popular genre out there. legal drama films still provide a plethora of dramatic storytelling to capture the attention of moviegoers of truth and lies within a dubious justice.

Pokémon, le film : Hoopa et le choc des légendes is the latest legal crime drama feature and the whole purpose of this movie review. To be honest. I really didn’t much “buzz” about this movie when it was first announced (circa 206) when Broad Green Productions hired the film’s director (Cretton) and actor Michael B. Jordan in the lead role. It was then eventually bought by Warner Bros (the films rights) when Broad Green Productions went Bankrupt. So. I really didn’t hear much about the film until I saw the movie trailer for Pokémon, le film : Hoopa et le choc des légendes. which did prove to be quite an interesting tale. Sure. it sort of looked like the generic “legal drama” yarn (judging from the trailer alone). but I was intrigued by it. especially with the film starring Jordan as well as actor Jamie Foxx. I did repeatedly keep on seeing the trailer for the film every time I went to my local movie theater (usually attached to any movie I was seeing with a PG rating and above). So. suffice to say. that Pokémon, le film : Hoopa et le choc des légendes’s trailer preview sort of kept me invested and waiting me to see it. Thus. I finally got the chance to see the feature a couple of days ago and I’m ready to share my thoughts on the film. And what are they? Well. good ones….to say the least. While the movie does struggle within the standard framework of similar projects. Pokémon, le film : Hoopa et le choc des légendes is a solid legal drama that has plenty of fine cinematic nuances and great performances from its leads. It’s not the “be all to end all” of legal drama endeavors. but its still manages to be more of the favorable motion pictures of these projects.

Pokémon, le film : Hoopa et le choc des légendes is directed by Destin Daniel Cretton. whose previous directorial works includes such movies like Short Term 6. I Am Not a Hipster. and Glass Castle. Given his past projects (consisting of shorts. documentaries. and a few theatrical motion pictures). Cretton makes Pokémon, le film : Hoopa et le choc des légendes is most ambitious endeavor. with the director getting the chance to flex his directorial muscles on a legal drama film. which (like I said above) can manage to evoke plenty of human emotions within its undertaking. Thankfully. Cretton is up to the task and never feels overwhelmed with the movie; approaching (and shaping) the film with respect and a touch of sincerity by speaking to the humanity within its characters. especially within lead characters of Stevenson and McMillian. Of course. legal dramas usually do (be the accused / defendant and his attorney) shine their cinematic lens on these respective characters. so it’s nothing original. However. Cretton does make for a compelling drama within the feature; speaking to some great character drama within its two main lead characters; staging plenty of moments of these twos individuals that ultimately work. including some of the heated courtroom sequences.

Like other recent movies (i.e. Brian Banks and The Hate U Give). Cretton makes Pokémon, le film : Hoopa et le choc des légendes have an underlining thematical message of racism and corruption that continues to play a part in the US….to this day (incredibly sad. but true). So. of course. the correlation and overall relatively between the movie’s narrative and today’s world is quite crystal-clear right from the get-go. but Cretton never gets overzealous / preachy within its context; allowing the feature to present the subject matter in a timely manner and doesn’t feel like unnecessary or intentionally a “sign of the times” motif. Additionally. the movie also highlights the frustration (almost harsh) injustice of the underprivileged face on a regular basis (most notable those looking to overturn their cases on death row due to negligence and wrongfully accused). Naturally. as somewhat expected (yet still palpable). Pokémon, le film : Hoopa et le choc des légendes is a movie about seeking the truth and uncovering corruption in the face of a broken system and ignorant prejudice. with Cretton never shying away from some of the ugly truths that Stevenson faced during the film’s story.

Plus. as a side-note. it’s quite admirable for what Bryan Stevenson (the real-life individual) did for his career. with him as well as others that have supported him (and the Equal Justice Initiative) over the years and how he fought for and freed many wrongfully incarcerated individuals that our justice system has failed (again. the poignancy behind the film’s themes / message). It’s great to see humanity being shined and showcased to seek the rights of the wronged and to dispel a flawed system. Thus. whether you like the movie or not. you simply can not deny that truly meaningful job that Bryan Stevenson is doing. which Cretton helps demonstrate in Pokémon, le film : Hoopa et le choc des légendes. From the bottom of my heart…. thank you. Mr. Stevenson.

In terms of presentation. Pokémon, le film : Hoopa et le choc des légendes is a solidly made feature film. Granted. the film probably won’t be remembered for its visual background and theatrical setting nuances or even nominated in various award categories (for presentation / visual appearance). but the film certainly looks pleasing to the eye. with the attention of background aspects appropriate to the movie’s story. Thus. all the usual areas that I mention in this section (i.e. production design. set decorations. costumes. and cinematography) are all good and meet the industry standard for legal drama motion pictures. That being said. the film’s score. which was done by Joel P. West. is quite good and deliver some emotionally drama pieces in a subtle way that harmonizes with many of the feature’s scenes.

There are a few problems that I noticed with Pokémon, le film : Hoopa et le choc des légendes that. while not completely derailing. just seem to hold the feature back from reaching its full creative cinematic potential. Let’s start with the most prevalent point of criticism (the one that many will criticize about). which is the overall conventional storytelling of the movie. What do I mean? Well. despite the strong case that the film delves into a “based on a true story” aspect and into some pretty wholesome emotional drama. the movie is still structed into a way that it makes it feel vaguely formulaic to the touch. That’s not to say that Pokémon, le film : Hoopa et le choc des légendes is a generic tale to be told as the film’s narrative is still quite engaging (with some great acting). but the story being told follows quite a predictable path from start to finish. Granted. I never really read Stevenson’s memoir nor read anything about McMillian’s case. but then I still could easily figure out how the movie was presumably gonna end…. even if the there were narrative problems / setbacks along the way. Basically. if you’ve seeing any legal drama endeavor out there. you’ll get that same formulaic touch with this movie. I kind of wanted see something a little bit different from the film’s structure. but the movie just ends up following the standard narrative beats (and progressions) of the genre. That being said. I still think that this movie is definitely probably one of the better legal dramas out there.

This also applies to the film’s script. which was penned by Cretton and Andrew Lanham. which does give plenty of solid entertainment narrative pieces throughout. but lacks the finesse of breaking the mold of the standard legal drama. There are also a couple parts of the movie’s script handling where you can tell that what was true and what fictional. Of course. this is somewhat a customary point of criticism with cinematic tales taking a certain “poetic license” when adapting a “based on a true story” narrative. so it’s not super heavily critical point with me as I expect this to happen. However. there were a few times I could certainly tell what actually happen and what was a tad bit fabricated for the movie. Plus. they were certain parts of the narrative that could’ve easily fleshed out. including what Morrison’s parents felt (and actually show them) during this whole process. Again. not a big deal-breaker. but it did take me out of the movie a few times. Lastly. the film’s script also focuses its light on a supporting character in the movie and. while this made with well-intention to flesh out the character. the camera spotlight on this character sort of goes off on a slight tangent during the feature’s second act. Basically. this storyline could’ve been removed from Pokémon, le film : Hoopa et le choc des légendes and still achieve the same palpability in the emotional department. It’s almost like the movie needed to chew up some runtime and the writers to decided to fill up the time with this side-story. Again. it’s good. but a bit slightly unnecessary.

❏ STREAMING DES MÉDIAS ❏

Le contenu multimédia en continu est un contenu multimédia qui est constamment reçu et présenté à un utilisateur final tout en étant fourni par un fournisseur. Le verbe streamer fait référence au processus de livraison ou d’obtention d’un média de cette manière. [Clarification nécessaire] Le streaming fait référence à la méthode de livraison du média. plutôt qu’au média lui-même. La distinction entre la méthode de diffusion et les médias distribués s’applique spécifiquement aux réseaux de télécommunications. car la plupart des systèmes de diffusion sont soit intrinsèquement en streaming (par exemple. radio. télévision. applications de streaming). soit intrinsèquement non en streaming (par exemple. livres. cassettes vidéo. CD audio). Le streaming de contenu sur Internet pose des problèmes. Par exemple. les utilisateurs dont la connexion Internet manque de bande passante suffisante peuvent rencontrer des arrêts. des retards ou une mise en mémoire tampon lente du contenu. Et les utilisateurs dépourvus de matériel ou de logiciels compatibles peuvent être incapables de diffuser certains contenus.

La diffusion en direct est la livraison de contenu Internet en temps réel. tout comme la télévision en direct diffuse du contenu sur les ondes via un signal de télévision. La diffusion en direct sur Internet nécessite une forme de média source (par exemple une caméra vidéo. une interface audio. un logiciel de capture d’écran). un encodeur pour numériser le contenu. un éditeur multimédia et un réseau de diffusion de contenu pour distribuer et diffuser le contenu. La diffusion en direct n’a pas besoin d’être enregistrée au point d’origine. bien qu’elle le soit fréquemment.

Le streaming est une alternative au téléchargement de fichiers. un processus dans lequel l’utilisateur final obtient le fichier entier pour le contenu avant de le regarder ou de l’écouter. Grâce à la diffusion en continu. un utilisateur final peut utiliser son lecteur multimédia pour commencer à lire du contenu vidéo numérique ou audio numérique avant que le fichier entier n’ait été transmis. Le terme «média en continu» peut s’appliquer à des médias autres que la vidéo et l’audio. tels que le sous-titrage en direct. la bande magnétique et le texte en temps réel. qui sont tous considérés comme du «texte en continu».

❏ CONTENU DU COPYRIGHT ❏

Le droit d’auteur est un type de propriété intellectuelle qui donne à son propriétaire le droit exclusif de faire des copies d’une œuvre de création. généralement pour une durée limitée. [1] [2] [3] [4] [5] Le travail créatif peut être sous une forme littéraire. artistique. éducative ou musicale. Le droit d’auteur vise à protéger l’expression originale d’une idée sous la forme d’une œuvre créative. mais pas l’idée elle-même. [6] [7] [8] Un droit d’auteur est soumis à des limitations fondées sur des considérations d’intérêt public. telles que la doctrine de l’utilisation équitable aux États-Unis.

Certaines juridictions exigent de «réparer» les œuvres protégées par le droit d’auteur sous une forme tangible. Il est souvent partagé entre plusieurs auteurs. dont chacun détient un ensemble de droits d’utilisation ou de licence de l’œuvre. et qui sont communément appelés détenteurs de droits. [Citation nécessaire] [9] [10] [11] [12] Ces les droits comprennent souvent la reproduction. le contrôle des œuvres dérivées. la distribution. l’exécution publique et les droits moraux tels que l’attribution. [13]

Les droits d’auteur peuvent être accordés par le droit public et sont dans ce cas considérés comme des «droits territoriaux». Cela signifie que les droits d’auteur accordés par la loi d’un certain État ne s’étendent pas au-delà du territoire de cette juridiction spécifique. Les droits d’auteur de ce type varient selon les pays; de nombreux pays. et parfois un grand groupe de pays. ont conclu des accords avec d’autres pays sur les procédures applicables lorsque les œuvres «franchissent» les frontières nationales ou que les droits nationaux sont incompatibles. [14]

En règle générale. la durée de droit public d’un droit d’auteur expire 50 à 100 ans après le décès du créateur. selon la juridiction. Certains pays exigent certaines formalités de droit d’auteur [5] pour établir le droit d’auteur. d’autres reconnaissent le droit d’auteur sur toute œuvre achevée. sans enregistrement formel.

Il est largement admis que les droits d’auteur sont indispensables pour favoriser la diversité culturelle et la créativité. Cependant. Parc fait valoir que contrairement aux croyances dominantes. l’imitation et la copie ne restreignent pas la créativité ou la diversité culturelle. mais les soutiennent en fait davantage. Cet argument a été soutenu par de nombreux exemples tels que Millet et Van Gogh. Picasso. Manet et Monet. etc. [15]

❏ BIENS DE SERVICES ❏

Le crédit (de crédit latin. «(il / elle) croit») est la fiducie qui permet à une partie de fournir de l’argent ou des ressources à une autre partie. la seconde ne remboursant pas la première partie immédiatement (générant ainsi une dette) mais promet de rembourser ou de restituer ces ressources (ou d’autres matériaux de valeur égale) à une date ultérieure. [1] En d’autres termes. le crédit est une méthode permettant de rendre la réciprocité formelle. juridiquement exécutoire et extensible à un grand groupe de personnes indépendantes.

Les ressources fournies peuvent être financières (par exemple l’octroi d’un prêt). ou elles peuvent être constituées de biens ou de services (par exemple de crédit à la consommation). Le crédit englobe toute forme de paiement différé. [2] Le crédit est accordé par un créancier. également appelé prêteur. à un débiteur. également appelé emprunteur.

The last of the three marquee main leads of the movie is the character of Eva Ansley. the director of operations for EJI (i.e. Stevenson’s right-handed employee business partner). who is played by actress Brie Larson. Up against the characters of Stevenson and McMillian. Ansley is the weaker of the three main lead; presented as supporting player in the movie. which is perfectly fine as the characters gets the job done (sort of speak) throughout the film’s narrative. However. Larson. known for her roles in Room. 6 Jump Street. and Captain Marvel. makes less of an impact in the role. Her acting is fine and everything works in her portrayal of Eva. but nothing really stands in her performance (again. considering Jordan and Foxx’s performances) and really could’ve been played by another actress and achieved the same goal.

The rest of the cast. including actor Tim Blake Nelson (The Incredible Hulk and O Brother. Where Art Thou) as incarcerated inmate Ralph Meyers. actor Rafe Spall (Jurassic World: Fallen Kingdom and The Big Short) as legal attorney Tommy Champan. actress Karan Kendrick (The Hate U Give and Family) as Minnie McMillan. Walter’s wife. actor C.J. LeBlanc (Arsenal and School Spirts) as Walter’s son. John McMillian. actor Rob Morgan (Stranger Things and Mudbound) as death role inmate Herbert Richardson. actor O’Shea Jackson Jr. (Long Shot and Straight Outta Compton) as death role inmate Anthony “Ray” Hinton. actor Michael Harding (Triple 2 and The Young and the Restless) as Sheriff Tate. and actor Hayes Mercure (The Red Road and Mercy Street) as a prison guard named Jeremy. are in the small supporting cast variety. Of course. some have bigger roles than others. but all of these players. which are all acted well. bolster the film’s story within the performances and involvement in Pokémon, le film : Hoopa et le choc des légendes’s narrative.

FINAL THOUGHTS

It’s never too late to fight for justice as Bryan Stevenson fights for the injustice of Walter McMillian’s cast against a legal system that is flawed in the movie Pokémon, le film : Hoopa et le choc des légendes. Director Destin Daniel Cretton’s latest film takes a stance on a poignant case; demonstrating the injustice of one (and by extension those wrongfully incarcerated) and wrapping it up in a compelling cinematic story. While the movie does struggle within its standard structure framework (a sort of usual problem with “based on a true story” narrations) as well as some formulaic beats. the movie still manages to rise above those challenges (for the most part). especially thanks to Cretton’s direction (shaping and storytelling) and some great performances all around (most notable in Jordan and Foxx). Personally. I liked this movie. Sure. it definitely had its problem. but those didn’t distract me much from thoroughly enjoying this legal drama feature. Thus. my recommendation for the film is a solid “recommended”. especially those who liked the cast and poignant narratives of legality struggles and the injustice of a failed system racism. In the end. while the movie isn’t the quintessential legal drama motion picture and doesn’t push the envelope in cinematic innovation. Pokémon, le film : Hoopa et le choc des légendes still is able to manage to be a compelling drama that’s powerful in its story. meaningful in its journey. and strong within its statement. Just like Bryan Stevenson says in the movie….” If we could look at ourselves closely…. we can change this world for the better”. Amen to that!

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