Action / Drama

Rotten Tomatoes Critics - Certified Fresh 98%
Rotten Tomatoes Audience - Upright 79%
IMDb Rating 7.4 10 257282


Uploaded By: FREEMAN
February 15, 2017 at 06:47 PM



Naomie Harris as Paula
André Holland as Kevin
Tre' Rhodes as Black
720p.BLU 1080p.BLU
811.83 MB
English 2.0
23.976 fps
1 hr 51 min
P/S 12 / 145
1.68 GB
English 2.0
23.976 fps
1 hr 51 min
P/S 18 / 141

Movie Reviews

Reviewed by evelyn-koster 4 / 10

massively overrated

moonlight is a film that deserves recognition on its technical basis - it's a beautifully filmed motion picture. the colour palette is incredible, and the camera work is lovely. there are some strong performances by some of the actors too.

however, this has unfortunately blinded everyone to the fact that the plot is majorly lacking in depth; it touches on some important elements of life (bullying, homophobia, drug abuse etc.), but fails to explore them enough to have an emotional impact on viewers. I commend them for acknowledging the existence of topics that are so very relevant, real and difficult, but the execution of them was poor. there is nothing transcendent about this film, it doesn't leave you thinking about anything.

films don't always have to have a huge meaning, but when advertised as something ground breaking and having emotional impact, I'd have expected more than what moonlight consists of. this film presents themes, but doesn't deal with them. unfortunately, this is not enough to satisfy me or justify winning an Oscar - it just proves that the public are too scared of being honest about the quality of a piece of work when it touches on sensitive subjects.

Reviewed by jaredpahl 1 / 10

A Critic's Wet Dream. A Filmgoer's Worst Nightmare. Moonlight is Woke and Broke. The Most Overrated Movie Ever Made.

I cannot think of a movie as comprehensively championed as Moonlight. A 99 metacritic score, a best picture win, sure to be on the very top of dozens of 'Best of the Decade' lists, and nary a single voice of dissent on the internet. It's career suicide for a critic to bash it, and reputation suicide for anyone else to do the same. Am I wired differently than the rest of the moviegoing world, or is the power of potentially being branded with the dreaded label so strong that no one has the courage to speak up and call this thing out for the self-important garbage it is? There isn't any movie that deserves the ridiculous critical fawning moonlight enjoyed. Least if all this tepid indie arthouse trash.

The selling point for this ludicrously overrated bore? It follows a young, black, gay, poor boy through life in the drug-riddled Miami ghetto. Quite the card for "Marginalized Minority Group Bingo". The collection of victimhood on display gives ample room for critics (leftist gatekeepers is a more apt term these days) and think-piece writers to celebrate the film's "cultural importance" or "revolutionary inclusion", and to use vaporous phrases like "the black experience" to try to sell its worth as a historic work of art. You'll notice, Moonlight's loudest champions don't talk about Moonlight, the movie, but rather, Moonlight, the idea. This film's creators struck some kind of gold with the con job they pulled. It's like a group of scientists spent years trying to create the wokest, art-housiest, most guaranteed critical hit the world has ever seen. And by George, they pulled it off.

Let's talk about our main character. Chiron (played by three different actors in different stages of his life, none of whom give good performances), is a parody of an art-house protagonist. A mute, sensitive thinker, Chiron's job is to sit there and be a stoic victim. He gets bullied and sulks, his mom emotionally abuses him and he sulks. He goes to school and sulks, and he sits on the beach and sulks. The closest you get to emotion with this dullard is a slight pursing of the lips. He's a block of wood. Every supporting character around Chiron is better defined, and relative to his dopey ass, more interesting. Mahershala Ali is alright in his 10 minutes of screen time, and so is Naomie Harris. The Oscar nominations and win might be pushing it, but they aren't bad.

You know what is bad? What is dreadfully, glaringly... bad? The writing. This whole movie plays like some loner's first attempt at poetry. It's all meaningless platitudes that sound profound, but don't make any sense, and carry no insight into the real dilemmas on display. I couldn't believe it when I heard a dime store, college freshman level line like "sometimes I cry so much, I feel like my whole body turns to drops" delivered with complete earnestness. That line, and many others, are straight up laughable. I've met my share of poetry nerds in college. They wish they could write a script this funny.

Coincidentally, I saw this film the same day I saw Brokeback Mountain for the first time. Watching this after another celebrated gay story reveals just how empty an emotional experience Moonlight is. Brokeback involved a relationship that was strongly written and acted enough to make a romantic relationship between two men universally understandable. It was genuine, involving real people with recognizable emotional desires. The sense of empathy it created was enough to break your heart by the film's end, no matter who you are. Moonlight, on the other hand, centers on a relationship that feels completely arbitrary. A manufactured, grafted on obstacle for our cow-eyed hero to overcome. Nowhere in the film's central "love story" did I feel as if I was watching independent people. The characters behave more like puppets, yanked around from situation to situation with no purpose.

Barry Jenkins, today's Hollywood's toast of the town, is really only concerned with the paint job. The showy, arty elements. The "dreamy" camerawork (or out of focus and shaky camerawork if you prefer), the poetic dialogue (laughable), the delicate background music. He doesn't much care about the characters as people, but as parts of his little tone poem school project. Moonlight is a lesson in tricking the "sophisticated" filmgoer. It consciously tries to look and feel like a masterpiece without creating any genuine feeling of its own. Every time I see this trash at the number one spot in someone's best of list, I get sick to my stomach. I refuse to believe that the qualities, or lack thereof, of this film can possibly merit such praise. It must come from somewhere else. From some desire to stay on the good side, the "right side of history" if you will. I could give a damn. I'll say what must be said...

Moonlight is garbage.


Reviewed by CineMuseFilms 9 / 10

A tapestry of lyrical moments and finely wrought detail on a journey for self-identity

Some films are best consumed whole while others give more joy through their fragments. For example, a holistic story with a big legacy is Brokeback Mountain (2005), the modern-day Western with two white gay cowboys as its ground-breaking heroes. Twelve years later, the remarkable film Moonlight (2016) walks into the Brokeback narrative space to echo similar themes but from the African-American experience. Rather than a big story, Moonlight is more a tapestry of lyrical moments and finely wrought detail that are best savoured piece by piece.

Unlike plot-driven stories with big dramatic events, Moonlight feels like an introspective meditation on human experience. It is framed into the three parts of a black person's search for identity: Chiron the bullied loner kid, growing into the troubled teenager, to become the self-accepting man. Along the way, his physicality transitions from vulnerability, through confusion, to defiant strength, yet at each stage he is the same kid who doesn't fit in. There are only three human anchors in his life: his unstable drug-addict mother Paul, a drug-dealing proxy father Juan, and his only friend Kevin with whom he shares his sexual awakening. He grows with few words spoken from behind a psychological shield that he carries to ease the pain of disconnectedness. The film's all-black cast takes away the focus on race; what remains is a universal lonely man on a path to gay masculinity.

The best-fit genre label for this narrative is 'coming-of-age', but this story is less about happenings and more about being and becoming. In so many scenes we are hauled in to share how Chiron physically experiences his forward propulsion. The filming style is key to its intimacy, with its close- framed detail conveying a tactile sensuality and personal connection to Chiron. The film is a swirling montage of memorable metaphors: such as Chiron's deer-like eyes reflecting terror of attacker and rescuer; a single falling tear depicting a torrent of pain; being cradled on water as a yearning for trust; his forgiving glare when Kevin betrays him; the open fingers grasping slipping sand one moment and physical pleasure the next; and his tortoise shell of heavy jewellery as a badge of machismo. Exquisite ambiguity and moral ambivalence is the colour palette of Moonlight, captured by hand-held camera-work that conveys frenzied realism and uncertainty about what is around the corner. No other recent film has such an understated narrative with such an overwhelming richness of moment and detail.

Moonlight has more in common with impressionist paintings than modern cinema. It is soft-focused and visceral. It is not about race or sexuality or masculinity, yet it takes us into those spaces to experience the film rather than just watch. It defies holistic labels and compels engagement with its fragments. You do not see this film for entertainment but to share a journey into darkness to find light.

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