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Tuesday 18 September 2018 photo 1/8
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The Divide Tamil Dubbed Movie Download
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DOWNLOAD: http://urllio.com/qyjq7
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Survivors of a nuclear attack are grouped together for days in the basement of their apartment building, where fear and dwindling supplies wear away at their dynamic.
Nuclear explosions force the residents of a New York apartment block to run from the building. However, the explosions force them into a basement. Eight residents are holed up in the building's bomb shelter. They must acclimatise to each other in difficult, cramped conditions.
This film is really quite clever in a lot of respects. There is a lot of metatheatre here that the thinking person will notice. People who just want to be guided through a story or watch gore are going to have extreme reactions to this film because it will not satisfy them. There is also a lot of meat for those who enjoy being morally outraged and a fair wedge of missing detail for the pedantic to get stuck into.
Starting from the top - Yes, the characters are not well developed - Their stories are however largely irrelevant. The focus is on the dynamics between the broad archetypes that describe our culture. The real stars of this film are not the actors but the commentary on the concepts we all hold in common that bind us together in society. You don't get cosy with these characters - they are all at their worst without the constraints of a state to intervene. If you read any existential philosophy, Camus or Sartre in particular, you will know exactly what to expect.
This movie is alpha male stuff and there is a lot of beating up on women. They are treated harshly is a fair observation for which the film makes no apologies.
Some critics have cried 'mysogyny!' but I think their badly burnt schema's for human interaction have forgotten that actually when all is said and done it is the 'heroine' that sells out the last decent men - I say decent because Mikey in particular is very misunderstood by the characters. They are distrustful of him and dislike him immediately but in a very amusing way, by some critics here too. He isn't the ogre some have alluded to and in many situations demonstrates not only his supreme level headedness (testing the waters of who would 'turn bad' by not revealing hidden supplies when food was running low) but also extreme moral fortitude after having suffered torture and abuse. When he is freed to sort out the mess everyone else has visited on him he delivers his condemnation of Bobby's behaviour; "...are you proud of what you have done here?".
Nitpicking about the nuances of a nuclear blast...Well okay, but it's really just serves up exactly what the movie needs to get going - the removal of civilised society.
The absence of any big picture explanation about the nuclear attack has annoyed many too but, why care? That isn't the story. Any sort of explanation would just dilute the arc of the film. The absence of knowledge for the circumstances of the attack is a thoughtful device in itself - in the event of a nuclear attack, communications and information would be out of the window almost the instant the bombs fell. Certainly for the civilian population. The sense of isolation - not being able to piece together the thread of the awful things that has and is about to happen to the characters and the paranoia that would be foremost. By withholding this information, the director allows us to feel a measure of this.
Which brings me on to people describing this film as torture porn? Please... Saw or Hostel has more of a claim to that particular niche and those films have mainstream followings. The derogatory inferences that the minority of people who watch this film and enjoy it are somehow getting off on the depravity are well wide of the mark.
There is torture but it's practised with purpose and measured. There is even a correct nod at the repulsiveness of it (the main bad character stating "if I rationalise this, I won't go through with it'). A demonstration by the director that this scene isn't served up for the sadists delectation, more 'we are going to skip ahead a little here as there is no way Mickey is going to give up the information - here is what we all know will inevitably happen to him'. The scene also removes the common sense anchor up until this point and allows the social dynamic to completely degrade and 'the divide' to emerge - The point of the film, no less.
I thought this was a solid film although from my perspective the conclusions were all pretty obvious removing a little of the interest. One of the main points of interest for me in this film was witnessing the mark at which people remove themselves from social norms and start to confront their own feral appraisal of situations without societal blinkers. There was a good scene with Bobby testing Sam's heterosexual credentials through a bizarre mixture of intimidation and mock friendliness that draws a spotlight on this issue but not a major one.
In the end its a brutally honest look at the human condition at its worse.
Some people are uncomfortable with the depravity to which the human species often sinks and this film will confront them. It screams that people serve their own interests and its only the rules of our societies and the fear of retribution these rules promise for those that step over the mark that put a limit on the lengths to which we would go to satisfy our interests.
Their reactions are telling as it is exactly these polarised reactions to extreme material that the film explores. The metatheatre I alluded to at the start of my review is played out by segregating peoples reactions in almost the same way the characters of the film are divided into their positions. Some of the audience will aggressively react to this film, others passively accept. A few quietly determined individuals pick their way through the detritus towards a better understanding of this film and the society that made it.
As if more proof were needed that the post-apocalyptic genre has pretty much shot its wad, here comes Xavier Gens' doomsday opus to confirm that fact. The film takes that ancient saw about human depravity ("Man is a wolf to man")and treats it as if it were some fresh insight into how extreme situations sometimes don't exactly bring out the best in us. The big reveal: people trapped together in confined spaces with limited resources can turn into real a-holes. Wow: who knew?
Of course, a movie doesn't need original ideas to hold our attention; some of the most entertaining films get by on premises that Homer would have found dated. But those films also throw in a dash of cayenne pepper to wake up a bland dish---quirky dialog, an actor who does something unexpected with an otherwise conventional role.
There's not much of that here. The look of the film (mostly variants of grunge brown) mostly works: the director clearly got what he could within a limited budget. But two hours within this cramped palette is too much of a bad thing: claustrophobia may be having a good time but the audience...not so much.
The script (which incorporates the actors' improvisations) caroms off the sides of the plot like a roided-out cue ball. Plot lines wander away from the main narrative like memory-challenged patients and never find their way home, poor things. As a story like this unfolds, no one should expect scattered details to click together like a Yale lock (that's the job of crapfests like the Transformers series), but an occasional nod in the direction of coherence sometimes helps.
A few performances are intermittently interesting. Rosanna Arquette, often most expressive when she seems to be doing the least, has some memorable moments; it's unfortunate that younger viewers, many of whom may not have seen her in, say, The Executioner's Song, may not know how good she can be. Her gift for conveying feeling in a brief look is a refreshing change from a scenario which seems to believe its characters are most "real" when they're raging at 100+ decibels. Yes, we know: they're "stressed." Milo Ventimiglia torques some of his line readings into surprising directions, and Michael Eklund has a nice creepy edge as he sinks further into, you know, the the lower depths of kinkdom. (He and Ventimiglia have a "pec-off" in the last part of the film that I'm gong to call a draw.)
But as a kitsch-as-kitsch-can mash-up of more interesting efforts in this vein (ranging from Lord of the Flies to Roger Corman's classic schlockfest The Day the World Ended), the film clearly suffers from an identity crisis that it never manages to resolve.
In Xavier Gens's The Divide, the revolution will not be televised, only the degradation of human civility--and in a mire of clichés more toxic to the mind than the radioactive dust that causes everyone's hair to fall out in the wake of a nuclear explosion.
When comparing both versions, we see that the unrated cut contains material that's more or less helpful for character development. Towards the climax of the movie, it becomes apparent that the R-Rated misses some scenes that take some of the sick intensity of the events (e.g. the second sex scene). a5c7b9f00b
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