Harry Potter and Deathly Hallows Part II

Film Harry Potter and the Deathly Hallows: Part 2 Video Trailer Film Terbaru 2011 - Berikut ini adalah video Trailer film Harry Potter and the Deathly Hallows: Part 2 yang merupakan kelanjutan dari part I yang telah rilis beberapa waktu lalu. Film terbaru Harry Potter and the Deathly Hallows: Part 2 kemungkinan akan dirilis pada bulan mei-july 2011, kita nantikan saja kehadiran film ini di bioskop kesayangan.


Dan untuk itu sebelum anda melihat film Harry Potter and the Deathly Hallows: Part 2 mari kita saksikan terlebih dahulu Trailer Video Film Terbaru Harry Potter and the Deathly Hallows: Part 2 berikut ini yang saya ambilkan langsung dari youtube.com untuk anda. Semoga dengan Video Trailer ini bisa memberikan sedikit gambaran untuk anda apakah Film Terbaru Harry Potter and the Deathly Hallows: Part 2 ini layak untuk ditonton atau tidak.

Selain melihat Video Trailer-nya, saya sarankan kepada anda untuk membaca juga Sinopsis Harry Potter and the Deathly Hallows: Part 2 atau Resensi Film Harry Potter and the Deathly Hallows: Part 2 yang bisa anda temukan di situs besar seperti imdb.com. Saya juga telah membacanya sebentar, dan saya yakin nantinya film terbaru 2011 Harry Potter and the Deathly Hallows: Part 2 ini bisa menarik banyak hati pecintanya terlebih pada Harry Potter and the Deathly Hallows: Part 1 mereka telah meraup keuntungan yang sangat besar di Hollywood.

Dan baiklah, ini dia Video Trailer Harry Potter and the Deathly Hallows: Part 2 yang bisa anda lihat, semoga berkenan:

In Part 2 of the epic finale, the battle between the good and evil forces of the Wizarding world escalates into an all-out war. The much-anticipated motion picture event is the second of two full-length parts. In the epic finale, the battle between the good and evil forces of the wizarding world escalates into an all-out war. The stakes have never been higher and no one is safe. But it is Harry Potter who may be called upon to make the ultimate sacrifice as he draws closer to the climactic showdown with Lord Voldemort. It all ends here.

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Cars 2

In Cars, Pixar used the standard big city boy gets trapped in a small town formula to create a loving, nostalgic homage to the good old days of Route 66 and the vanishing mystique of the American road. In Cars 2 Pixar basically just makes The Pink Panther with cars. At times it’s a lot of fun, but there’s nothing here that’ll stick with you, the way Pixar’s other films so often do.

What’s both good and bad about this film is its wider gaze. The previous movie was set primarily in one, small, remote town where Lightning McQueen encountered a handful of aging automobiles. That more limited setting allowed for greater detail and both the script and the animators who brought the script to life were able to spend time really thinking through the process of what a world inhabited only by cars would be like. The sequel leaves that small town setting and takes the Cars concept out into the big, wide world with Lightning McQueen and Mater traveling around the globe, zooming through posh parties, idling through crowded international city streets. This often turn into something pretty stunning, one of Pixar’s most impressive feats of animation so far, but in the process they’ve sacrificed some of that detail-oriented magic of the first film. There’s just too much going on to think through every little detail of this now suddenly massive world, and sometimes this results in less emphasis on imagining what a place truly inhabited only by living cars might be like, in the interests of just throwing a bunch of cars down on the ground in familiar international settings.


This necessarily more careless approach to building a fantasy works most of the time, but every now and then it results in something ridiculous. For instance, apparently cars now eat human food. In the first movie they pulled up to a filling station when they got hungry, but we’re now supposed to imagine this as a universe where for some reason cars sit around eating Sushi. It doesn’t make sense since if you’re a Porsche peanut butter can’t be good for your carburetor, but the script needed a joke and so they chose a funny scene in which Mater eats Wasabi over actually thinking of something that might fit the film’s premise. You kids won’t notice, but you will.

Your kids won’t mind any of these problems, but parents may be concerned by some of the messages the film has for them. Mater is dumber than ever, and his behavior throughout the film resembles that of a kid with ADD who’s just had too much sugar. That wouldn’t be a problem if the Cars 2 didn’t spend so much time going out of its way to laud that behavior. It’s easy to imagine parents going home after the film to discover their kid running around the house breaking things while shouting “I’m a tow truck!” Mater has morphed from being a loyal friend, into a self-centered, out of control buffoon. It’s fun, but as a role model for children, I can’t really think of anything worse.

This may be the first Pixar movie which doesn’t really work on an adult level. Part of their genius has always been the ability to craft complicated stories which work in many different ways, providing entertainment for people of all ages, all at once. Cars 2 only really works on fourth grade level, and while it does that level very well, it’s limited. Adults will still have fun with it, you’ll find more than a few genuine laughs here and though the movie’s a little long, you’ll be wholly entertained by both the quality of visual flair on display. It’s even better in 3D, this may be the first Pixar movie to actually get 3D right. Yet there’s no heart, no soul, none of the Pixar magic we’ve come to expect from these movies. Cars 2 narrowly avoids becoming Pixar’s first truly bad feature, but graded on their curve it’s definitely the studio’s worst movie. That this should happen on a film helmed by Pixar mastermind John Lasseter, makes this mess even more disappointing. Something’s missing and if they don’t get it back, their winning streak could finally end right here.

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Transformers: Dark of the Moon

When you look back on your life, you’ll remember the big moments. Yet, life isn’t really big moments. It isn’t weddings and birthdays or that time you got drunk and attacked a cop. Life is the long stretches in between all of that. It’s the hours you spent driving to the wedding, or the beers you drank with your friends before throwing the punch. If life is what happens between big moments, then Transformers: Dark of the Moon is lifeless. It contains only big moments and none of the in between. It’s no way to tell a story. For the big moments to make any sense, you have to know how you got there. You’ll walk out of Dark of the Moon with a firm idea of who won in the end, but no real idea of the journey the film’s characters took to make their victory happen. Maybe you won’t care.
You won’t care because even though you’ll have no idea how Sam Witwicky (Shia LaBeouf) and his soldiers got up in that building to fight Decepticons, you’ll be too busy being wowed by what happens while they fight them to worry about it. There’s too much exploding, too many robots transforming, too many long and lingering shots of a pretty girl posing, or smart people hacking, or comedic characters behaving comedically, or giant buildings falling, to really stop and realize that actually, none of this seems to fit together.

It’s not an accident. I feel confident in saying that Transformers director Michael Bay knows he’s missing most of his story’s connecting tissue, and somewhere along the way decided we wouldn’t care and he didn’t either. It’s as if this is the perfect expression of what he’s been going for all along and never quite achieved with his other, comparatively life-laden films. Because of that it may be tempting to call this movie dumb, to accuse it of pandering to people without the soul or subtlety to stay with something smarter. I can’t do that. Movies for dumb people spell everything out for them, and even though Dark of the Moon seems crafted primarily to stimulate a series of easily reached pleasure centers and nothing else, it still asks a lot from its audience.

In the process of skipping over all that life stuff to show us only those high-interest moments, the movie asks us to fill in those between bits on our own. Bay trusts that his audience is capable of doing that, he trusts that the people watching will have enough imagination to fill in all those missing, boring parts without him. He doesn’t seem to think he has to show you the flights of stairs Sam Witwicky climbed to get to the top of that building with his soldier pals, or the heaps of smashed girders and concrete they must have had to crawl over on floor twenty-six to make it up to floor one-hundred and twenty-seven. He’s too busy showing us all the robots they get to fight once there, and trusts that people watching will be smart enough to figure out on their own what it must have taken for them to find their way to the top.

Is it bad storytelling? It would be if this happened accidentally, but if you’ve seen Bay’s other movies, you know this is a style he’s been working towards for awhile. It’s no mistake that he’s made a movie without all those life parts, this is what he’s always wanted, it’s just taken three Transformers movies for him to get there. Because of that there’s almost no point in telling you what this movie’s about. You already know. There are robots. There are things for them to demolish. They fight. You’ll have fun watching this and won’t even remember that the plot involves alien technology hidden on the dark side our moon being brought to Earth to cause trouble, let alone think about Sam Witwicky newly graduated from college and struggling to get a job. Sorry Shia LaBeouf, you are no longer needed in these films.

It all works, after a fashion. It’ll never be as good as the first Transformers, when there really was a story to tell, when it really was a movie about life, wrapped around the relationship between a boy and his first car. The best movies do what Bay’s doing here and make it feel like a part of life too. This is not one of the best movies, it’s the best of what we’re left when you remove all substance, and what we’re left with is infinitely better than the middle ground tread by the previous Transformers film. Dark of the Moon has taken out all the bad jokes and the boring stuff to give us two and a half hours full of nothing but the biggest special effects any movie has ever offered in stunning 3D, and it’s doing it better than any other movie has before.

Gone are most of the incomprehensible shaky cam effects of the previous movie, in a movie that’s nothing but action, Bay seems determined to give us action we can actually follow this time around. He succeeds in that. You’ll know whose head Optimus Prime just ripped off, when he rips it. You’ll know to clap when the battle’s won. You’ll believe there’s a gigantic building falling over in front of you, and in a summer movie that’s pretty good. I still wish the robots weren’t designed like gigantic piles of animated garbage, I wish the movie had time to give them all personalities before killing them off and asking us to care about it, but that’s just never going to happen. Michael Bay is no longer interested in that kind of Transformers film.

Sure it’s far too long, a little exhausting, and it doesn’t really seem to contain any actual characters let alone a story for them to be in. Those of you worried whether Victoria’s Secret model Rosie Huntington-Whitely would be able to replace Megan Fox should have remembered that. She’s not in this movie as an actress, she’s a posable action figure for Michael Bay to slide his camera over. The robots are only set pieces, the men primarily placeholders who stand and fire guns. More than either of the previous films, this Transformers 3 feels like an ultra-violent version of the two-dimensional cartoon it’s based on. I think I’m almost alright with that, when it’s done this well, in this kind of summer blockbuster. We’d probably all be happier watching another movie like Inception, but as long as those movies still get made, I guess there’s nothing wrong in sitting down with a Transformers: Dark of the Moon, once in awhile.


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