Phim World Premiere 'Star Wars III: Revenge of the Sith' - World Premiere 'Star Wars III: Revenge of the Sith' - 2005 - The evil Darth Sidious enacts his final plan for unlimited power -- and the heroic Jedi Anakin Skywalker must choose a side.
Trong một cuộc động đất cách đây mười năm, Xu Lai đã được cứu thoát bởi lính cứu hỏa Jin Shichuan cùng với chú chó cứu hộ "Zhuifeng". Kim Thập Xuyên hứa sẽ bổ nhiệm Từ Lai trong mười năm để hỗ trợ anh hồi phục. Sau đó, Xu Lai trở về Trung Quốc và trở thành một phóng viên và người huấn luyện chó quốc tế. Một lần gặp lại với Jin Shichuan tại một địa điểm cứu hộ, Từ Lai đã bị hiểu nhầm và được xem như một phóng viên thiếu đạo đức. Tuy nhiên, anh đã thay đổi tên đội cứu hộ để giải quyết hiểu lầm và thành lập đội chó tìm kiếm và cứu hộ với sự trợ giúp của Jin Shichuan và chú chó cứu hộ "Ping'an". Xu Lai đã trao chú chó của mình cho Jin Shichuan và trở thành đối tác của anh ta. Cả hai đã từng gặp nhau ở tuyến đầu nguy hiểm và trải qua nhiều điều đáng nhớ, tình cảm của họ cũng dần trở nên ấm áp.
Sau khi gia đình Đổng ở Giang thành bị tàn sát, Đổng Thính Dao - cô thiếu nữ nhà Đổng - bị ép phải đến nhà hôn phu của mình để tìm kiếm sự giúp đỡ. Tuy nhiên, khi đến nhà họ Phương, cô đã bị đánh lừa và thay thế bởi người khác. Bất ngờ đối mặt với sự thật đau lòng, Thính Dao phát hiện rằng người đứng đầu nhà Phương chính là kẻ đã giết cha mình - Đốc quân Phương Thiên Dật. Với lòng căm hận, cô quyết tâm trả thù nhưng lại không biết rằng vị hôn phu của mình - Phương Thiên Trạch - mới là kẻ mang đến đại nạn cho nhà Đổng. Liệu Thính Dao sẽ thực hiện được kế hoạch trả thù của mình và phải đối mặt với tình cảm của hai người cháu trong gia đình Phương không?
Cố Mộng, người con gái độc nhất trong một gia đình giàu có, từng bị vị hôn phu Tiêu Hồng Diệp phá hủy đời sống của gia đình bằng cách lừa đổ họ. Cô quay trở lại dưới hình dáng của một vũ nữ, muốn giết Tiêu Hồng Diệp, kẻ giờ đã trở thành một tên quân phiệt quyền lực. Tuy nhiên, khi cô bị mất trí nhớ, Tiêu Hồng Diệp đã giữ cô bên cạnh và lợi dụng cơ hội để khủng bố cô. Mặc dù bị nhục nhã và đau đớn, Cố Mộng không đầu hàng trong việc trả thù. Với nỗi căm hận ngấm sâu trong lòng, cô đã quyết tâm lật tẩy bí mật và đâm đứa kẻ độc ác này. Tuy nhiên, đôi khi cảm giác yêu hận lại phân tâm cô. Khi mất trí nhớ nhiều lần, cô đã hiểu rõ rằng mình không thể ngừng yêu Tiêu Hồng Diệp.
Chuyện tình giữa phượng hoàng chuyển thế và thần thái dương đã được Hoa Nhung kể lại. Hai người từ yêu nhau đến hận nhau, rồi đến thành toàn cho nhau. Tình yêu khiến ai điên cuồng và không thể từ bỏ. Tuy nhiên, nếu không có tình yêu, sẽ không có hận và sợ hãi. Thần nữ đã đánh cược tất cả để được tái sinh niết bàn và hy vọng rằng trong kiếp sau, nàng sẽ có dung mạo quyến rũ và tính tình dịu dàng để khiến người ta liếc nhìn trong chốc lát.
Ariel, the youngest daughter of the sea king Triton, had always been the most curious one and yearned to explore the world on land. During one of her ventures to the surface, she fell in love with the handsome prince Eric. However, the forbidden nature of their relationship as a mermaid and a human led her to make a deal with the sinister sea witch Ursula to have a chance to reach the surface, unknowingly putting herself and her father's kingdom in danger.
Phim kể về Lê Tô Tô, con gái tông chưởng môn Hành Dương, quyết tâm ngăn chặn ma thần Đạm Đài Tẫn trước khi hắn trở thành tàn ác và thống trị Tam giới. Trong lúc thực hiện nhiệm vụ, Lê Tô Tô hoá thân thành Diệp Tịch Vụ và phát hiện ra Đạm Đài Tẫn chính là trượng phu của mình. Dù bị xảy ra nhiều biến cố, hai người dần nảy sinh tình cảm. Tuy nhiên, Lê Tô Tô phải lấy thân chứng đạo để ngăn chặn Đạm Đài Tẫn và cả Tam giới khỏi bị diệt vong. 500 năm sau khi mất đi người yêu, Đạm Đài Tẫn được chưởng môn Tiêu Dao tông cứu và trở thành đệ tử tiên môn, sửa đổi tính tình và tìm kiếm Lê Tô Tô. Tuy nhiên, tà cốt trong người hắn lại dấy lên và khi hai người tìm được nhau, Tam giới lại rơi vào nguy hiểm. Thông qua nhiều hiểu lầm và trải qua nhiều sóng gió, Lê Tô Tô và Đạm Đài Tẫn cuối cùng đã xoay chuyển càn khôn để ngăn chặn diệt thế.
Sau khi bị người yêu phản bội, con rồng cổ đại Tian Yao cảm thấy đớn đau và tổn thương. Người phụ nữ mà anh yêu đã lấy đi xương rồng của anh, phong ấn chúng theo bốn hướng. Nhờ may mắn, linh hồn của anh ta đã thoát ra được. Sau khi sống lại, anh gặp Yan Hui, người hứa sẽ giúp anh lấy lại xương đầy ý nghĩa đó. Khám phá thấy một con hải cẩu trong hồ, Tian Yao nhận thấy cơ hội để giải phóng bản thân. Gặp Yan Hui, anh cảm thấy hy vọng khi biết rằng cô có một con rồng mạnh mẽ có thể phá vỡ phong ấn của anh. Tian Yao đã lợi dụng Yan Hui giúp đỡ anh lấy lại các bộ phận cơ thể bị mất nhanh chóng. Mặc dù Yan Hui lên kế hoạch trốn thoát, nhưng thất bại. Điều bất ngờ là mối quan hệ của hai người ngày càng sâu sắc hơn theo thời gian. Tian Yao khâm phục những nỗ lực của Yan Hui để cứu anh ta, trong khi Yan Hui đánh giá cao mối quan hệ bền chặt mà họ đã xây dựng. Bí mật vẫn còn nhiều khi Yan Hui bắt đầu biết được nguồn gốc thật của mình.
Câu chuyện trong bộ phim xoay quanh hai nhân vật chính là nữ diễn viên Mẫn Tuệ và nam diễn viên Tân Kỳ. Họ đã trải qua một sự gặp gỡ tình cờ và từ đó bắt đầu mối quan hệ tình cảm. Nhưng do một hiểu nhầm, họ đã phải chia tay. Sau nhiều năm trôi qua, khi họ gặp lại nhau, họ nhận ra rằng những cảm xúc cũ chỉ là khởi đầu cho tình yêu đích thực. Cả hai đều tìm thấy niềm hạnh phúc trong tình yêu của mình, nhưng cuộc sống cũng đầy những ngọt ngào và đau thương.
Tuyển tập hơn 1.000.000+ tập phim tuyển chọn từ hàng trăm ngàn bộ phim nổi tiếng trên khắp thế giới.
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MORE REVIEWS @ https://www.msbreviews.com/ Rewatching before OBI-WAN KENOBI. When it comes to film sagas with massive fandoms, you'll find fans of literally all installments. STAR WARS has 11 movies and surely all are someone's #1. That said, REVENGE OF THE SITH proves to be an improvement in pretty much every single aspect compared to the first two prequels. The narrative and its character arcs receive a much more interesting treatment - we finally get to witness Anakin's turn to the dark side and the rise of the Galactic Empire. Lightsaber fights are more captivating, visuals still hold up rather well, and even the performances are more convincing - dialogue remains pretty bad, especially within the love relationship between Anakin and Padmé, but Christensen surpasses his previous performance. The score continues to be as memorable as ever. It may be far from my personal favorites, but it's, without a doubt, a film that deserves the positive evolution it has received as well as its fans. Clearly, the prequel that George Lucas always wanted to make, with no shifts in focus, irrelevant characters, or low-impact subplots. Rating: B-
I had lost hope in the Prequels when they first came out - disappointing isnt a strong enough word to explain it, but its the best I can do. So I came into this film with low expectations... I knew it wouldnt be great and I knew what it had to do to link up with the original Star Wars. And then, this one surprised me (and still does). The plot is taut, because it has to be (it has a lot of ground to cover). The universe that was made in Ep 1 has to change dramatically to become Ep 4. And the dialogue is mildly better (but still has its moments). The opening action scene wowed at the time (and still does). And some of the duels are excellent - ObiWan vs Grievous was fun and (of course) ObiWan vs Anakin was superb - they had weight and impact and the swings actually "landed" (which is more than can be said for the other ones which just seemed to be dances). And the acting is actually improved a bit - for a moment Christensen actually showed some talent (and he has shown this in other movies, just not in these). He lets himself have an instant of regret after one of his killing sprees before refocusing back to his "angry state." It makes me wonder about how much emotion could have been put into this movie with a different director. McGregor is the best actor here. Portman shines, but is underused. Jackson is wooden in this. And McDiarmid over acts and loses his sinisterness - he is better in the shadows in this role, either sitting or standing still. When he does something more (even walking starts to get too much), he loses all believability (which is a shame as he is a fine actor in other roles). The score still remains typically 'Star Wars' - great. The costumes have evolved again (it has been great watching the costumes change through these movies). And the CGI is great in this - every background has something moving in it. There are flaws with this film - many of them that I have not already touched on, but others have so I wont. But, overall this movie is fun, and a good way to spend over 2 hours. And by the time the helmet comes on at the end, you are there in the moment, holding your breath, waiting for that epic scuba sound to start.
Still not perfect, but <em>'Star Wars: Episode III – Revenge of the Sith'</em> is such a more enjoyable entry in the prequel trilogy - which ends strongly. I had a fun time with this. I do have a couple of (relatively minor) complaints, but first the positives. I'd say this is the best that this cast produced during this run of films. Hayden Christensen is excellent in his role, it's the most I've liked him in <em>'Star Wars'</em> for sure. Ewan McGregor and Natalie Portman give more than solid performances as well. The special effects look nice throughout, while the score is pleasant. I also found the pacing to be practically ideal, which is a marked improvement on its predecessors. The humour and dialogue still isn't great, yet is also bettered. Crucially, the plot is very good. With all that noted, I do have two things I didn't love. The first being the event that includes Samuel L. Jackson's character. I completely get the intention and reasoning of what occurs, but how it is shown did feel kinda forced and poorly written. Another is the end, which overruns ever so slightly. I know it's setting up the original trilogy, but there are a few too many scenes; could've/should've ended on you know who's first breath. However, all in all, I got a positive amount of entertainment and would class this as a step above the preceding two films. I'm glad about that, as it makes the prequel productions way more meaningful and memorable than they were looking to be based on the 1999 & 2002 releases.
Truly the best of the bad _Star Wars_ movies, _Revenge of the Sith_ doesn't make a whole lot of sense, both when viewed as self-contained, and when seen as a part of the _Star Wars_ whole, but at least Lucas bothered to put a whole movie in here. _Final rating:★★½ - Had a lot that appealed to me, didn’t quite work as a whole._
Having seen the first movie when it reached France as I was about 10, it left a vivid mark on my imagination, and I kind of treasured the little bit of fantasy it brought to me among probably millions of other people. I think the reason why episodes IV to VI became timeless classics is that they were simply fairy tales in sci-fi clothing. You had heroes and princesses actually doing their heroes and princesses things on the screen, but most of the coolest bits happened somewhere in the recesses of your own imagination. Struggle of good against evil. Quest for the father. Passage from childhood to adulthood through a series of trials and challenges. All the stuff chivalry stories are made off, presented in a minimalist way that stuck to the essential elements of the plot. All the rest, including top notch SFXs and the excellent Solo-R2D2-C3PO trio was just cleverly fleshing out this very strong backbone. Just a few lines from a dreamy-eyed Sir Alec Guinness about the clone wars while young and clumsy Luke had his pants burn by a floating tennis ball were enough to flare your imagination in depicting an epic struggle between dark empire forces and a few heroic Jedi knights overwhelmed by sheer force and treachery. A few words about Leia and Luke's past were enough to evoke the moving fate of orphans afraid to uncover the hidden truth about a father shrouded in menacing mystery. Stuff dreams are made of, really. Sadly oh so sadly, it looks like nowadays a blockbuster will never get the green light until some kind of quality insurance comity makes sure even the slowest 10% of your average audience will never be left wondering about anything that goes on for more than 2.5 seconds. I guess some marketing genius managed to convince the producers that leaving anything to the imagination of the customer seriously threatened the return on investment or something. The last 3 episodes were unfortunately born in this disastrous context and proceeded methodically with the extermination of the slightest bit of magic that populated the 3 previous movies. Everything is laid bare in front of our eyes like some specimens on a dissection table. No, not even that. More like pieces of hardware broken down into component parts on a sterilized workbench. So the Force is just something you catch like a flu. The mythical clone war is just 15 minutes of a ridiculous "plan 66". The mighty Vader is just a poor boy with an over-sized ego and an IQ reduced to 2 digits figures by an excess of testosterone (or midichlorians or whatnot for that matter). The mighty conflict that flares through the galaxy is just the outcome of desperately trivial political plots. The Jedi council a bunch of pathetically weak over-aged muppets. Yoda a preposterous 10 inches tall kung-fu master. The epic spirit of the first trilogy has been judged guilty of sales-threatening capital crime, quietly dragged behind the marketing barracks at dawn and shot in the back of the head. As if to make good for this assassination, the last 3 movies drown us into a squirming pool of special effect and fan service that go light years over the top. Hysterical scenes flashing past before you really could decide where to focus your gaze just make the cheesy plot-advancing ones look miserable. Here again I feel the invisible hand of the marketing staff, managing to cram about every single second or third rate characters from the previous trilogy into an already bloated plot, stretching even further the already badly mauled consistency of the scenario in the process. Frankly, what could this stupid "average viewer wants facts" assumption bring but bitter disappointment? The result is not only boring, but really, really sad.
George Lucas comes full circle in more ways than one in "Star Wars: Episode III -- Revenge of the Sith," which is the sixth -- and allegedly but not necessarily the last -- of the "Star Wars" movies. After "Episode II" got so bogged down in politics that it played like the Republic covered by C-Span, "Episode III" is a return to the classic space opera style that launched the series. Because the story leads up to where the original "Star Wars" began, we get to use the immemorial movie phrase, "This is where we came in." That Anakin Skywalker abandoned the Jedi and went over to the dark side is known to all students of "Star Wars." That his twins Luke Skywalker and Princess Leia would redeem the family name is also known. What we discover in "Episode III" is how and why Anakin lost his way -- how a pleasant and brave young man was transformed into a dark, cloaked figure with a fearsome black metal face. As Yoda sadly puts it in his inimitable word order: "The boy you trained, gone he is, consumed by Darth Vader." As "Episode III" opens, Anakin Skywalker (Hayden Christensen) and his friend Obi-Wan Kenobi (Ewan McGregor) are piloting fighter craft, staging a daring two-man raid to rescue Chancellor Palpatine (Ian McDiarmid). He has been captured by the rebel Gen. Grievous (whose voice, by Matthew Woods, sounds curiously wheezy considering the general seems to use replacement parts). In the spirit of all the "Star Wars" movies, this rescue sequence flies in the face of logic, since the two pilots are able to board Grievous' command ship and proceed without much trouble to the ship's observation tower, where the chancellor is being held. There is a close call in an elevator shaft, but where are the guards and the security systems? And why, for that matter, does a deep space cruiser need an observation tower, when every porthole opens on to the universe? But never mind. Back within the sphere of the Jedi Council, Anakin finds that despite his heroism, he will not yet be named a Jedi Master. The council distrusts Palpatine and wants Anakin to spy on him; Palpatine wants Anakin to spy on the council. Who to choose? McDiarmid has the most complex role in the movie as he plays on Anakin's wounded ego. Anakin is tempted to go over to what is not yet clearly the dark side; in a movie not distinguished for its dialogue, Palpatine is insidiously snaky in his persuasiveness. The way Anakin approaches his choice, however, has a certain poignancy. Anakin has a rendezvous with Padme (Natalie Portman); they were secretly married in the previous film, and now she reveals she is pregnant. His reaction is that of a nice kid in a teenage comedy, trying to seem pleased while wondering how this will affect the other neat stuff he gets to do. To say that George Lucas cannot write a love scene is an understatement; greeting cards have expressed more passion. The dialogue throughout the movie is once again its weakest point: The characters talk in what sounds like Basic English, without color, wit or verbal delight, as if they were channeling Berlitz. The exceptions are Palpatine and of course Yoda, whose speech (voiced by Frank Oz) reminds me of Wolcott Gibbs' famous line about the early style of Time magazine: "Backward ran sentences until reeled the mind." In many cases the actors are being filmed in front of blue screens, with effects to be added later, and sometimes their readings are so flat, they don't seem to believe they're really in the middle of amazing events. How can you stand in front of exploding star fleets and sound as if you're talking on a cell phone at Starbucks? "He's worried about you," Anakin is told at one point. "You've been under a lot of stress." Sometimes the emphasis in sentences is misplaced. During the elevator adventure in the opening rescue, we hear "Did I miss something?" when it should be "Did I miss something?" The dialogue is not the point, however; Lucas' characters engage in sturdy oratorical pronunciamentos and then leap into adventure. "Episode III" has more action per square minute, I'd guess, than any of the previous five movies, and it is spectacular. The special effects are more sophisticated than in the earlier movies, of course, but not necessarily more effective. The dogfight between fighters in the original "Star Wars" and the dogfight that opens this one differ in their complexity (many more ships this time, more planes of action, more detailed backgrounds) but not in their excitement. And although Lucas has his characters attend a futuristic opera that looks like a cross between Cirque de Soleil and an ultrasound scan of an unborn baby, if you regard the opera hall simply as a place, it's not as engaging as the saloon on Tatooine in the first movie. The lesson, I think, is that special effects should be judged not by their complexity but by the degree that they stimulate the imagination, and "Episode III" is distinguished not by how well the effects are done, but by how amazingly they are imagined. A climactic duel on a blazing volcanic planet is as impressive, in its line, as anything in "Lord of the Rings." And Yoda, who began life as a Muppet but is now completely animated (like about 70 percent of what we see onscreen), was to begin with and still is the most lifelike of the non-humanoid "Star Wars" characters. A word, however, about the duels fought with lightsabers. When they flashed into life with a mighty whizzing thunk in the first "Star Wars" and whooshed through their deadly parabolas, that was exciting. But the thrill is gone. The duelists are so well-matched that saber fights go on forever before anyone is wounded, and I am still not sure how the sabers seem able to shield their bearers from attack. When it comes to great movie sword fights, Liam Neeson and Tim Roth took home the gold medal in "Rob Roy" (1995), and the lightsaber battles in "Episode III" are more like isometrics. These are all, however, more observations than criticisms. George Lucas has achieved what few artists do; he has created and populated a world of his own. His "Star Wars" movies are among the most influential, both technically and commercially, ever made. And they are fun. If he got bogged down in solemnity and theory in "Episode II: Attack of the Clones," the Force is in a jollier mood this time, and "Revenge of the Sith" is a great entertainment. Note: I said this is not necessarily the last of the "Star Wars" movies. Although Lucas has absolutely said he is finished with the series, it is inconceivable to me that 20th Century-Fox will willingly abandon the franchise, especially as Lucas has hinted that parts VII, VIII and IX exist at least in his mind. There will be enormous pressure for them to be made, if not by him, then by his deputies. 4.5/5 - Rodger Ebert