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Casts=Liang Wei-Hei Duncan. 2019. Drama. runtime=2 Hour, 15 Minutes. . directed by=Josh Safdie. Download Csiszolatlan gyÃmÃnt 4. I love all his comedy movies Don't mess with zohan 🤣. YouTube. Martin Lawrence looks like hes still wearing the Big Momma suit. Sadler wins Oscar. Download Csiszolatlan gyÃmÃ. This movie reminds me of requiem for a dream. They chose a similar way of portraying addiction and is in your face with individuals self destructive behavior. The Academy : We dont understand your movies Nolan : Dont try to understand it, feel it.

Does Adam have on a fckn zoo York shirt on 😭😭😭. That whole sequence in the movie was one of the funniest and my most favorite in the movie 😂. Especially when they were walking afterwards. I saw Uncut Gems at the London Film Festival last year and it was my highlight of the festival and favourite film of last year. The film is full of twists and turns that it is almost like a rollercoaster. Adam Sandler has never been better and it makes you wonder why he hasn't done more dramatic roles. Until now, I thought that the best metaphor for filmmaking that I’d ever seen in a movie was found in Akira Kurosawa’s “High and Low”: throwing bags of money out of a speeding train. But Josh and Benny Safdie ’s new film, “Uncut Gems, ” offers a better, if more elaborate, one, when its protagonist, Howard Ratner (Adam Sandler), a Diamond District jewelry dealer who’s also a compulsive gambler, places a bet on a basketball game. Howard isn’t merely risking money on the outcome; he’s crafting a story that, for the bet to pay off, has to come out right—who wins the opening tip-off, how many points a particular player will score, whether or not the winning team covers the spread. Howard’s story has to correspond to reality, or, rather, vice versa. With his grandiose vision of winning, he’s the ultimate fantasist and, in his mortal dependence on what actually happens, the ultimate realist. He’s a lot like a director behind a camera. The soundtrack of “Uncut Gems” is jittery with the hectic electronica of Daniel Lopatin, a. k. a. Oneohtrix Point Never, but the mind-bending score could have been replaced by overlays of multiple out-of-synch ticking clocks, to mark the overwhelming intensity of the drama’s chronological pressure. The Safdie brothers’ movie is desperately timed; the forty-eight-year-old Howard measures out his days and nights not in coffee spoons but in the arc of a three-pointer, the slam of a car door, the paired buzzes of his showroom’s double-safe, electrically controlled bulletproof-glass barriers. Howard’s very survival is a matter of precise timing and of his urgent, off-balance storytelling. (The movie’s editing, by Benny Safdie and Ronald Bronstein—who co-wrote the script with the brothers—evokes the visual clamor of its clashing urgencies. ) Howard tries to sidestep his creditors and their violent enforcers with instantaneously improvised lies that have to be timed with a comedian’s precision to elude their grasp. He plans to pay one with money owed to another and winnings that haven’t yet come in, and, if his borrowings and his scams, his debts and his dodges, don’t fit together in exactly the right sequence, the entire house of cards that is his life will come tumbling down. It’s also a movie of a cruel physicality, of the clash of textures, of the hard and the soft, the viscous and the solid and even the ethereal—a tale of blood and fluids that starts in Ethiopia, in 2010, where a miner is carried from his worksite with a horrifically bloody wound, and continues to a video screen in New York, in 2012, where Howard is having a colonoscopy and a doctor is narrating his camera’s enteral journey. It’s only the first of the movie’s bloody byways, only the earliest of the movie’s visions of bodily mortification. Howard is, from the time he’s in motion, in danger, confronting in his showroom a pair of toughs sent by a loan shark named Arno (Eric Bogosian) to whom he owes a hundred thousand dollars. The numbers may be an abstraction, but the goods—gemstones, fancy watches (whether hot or legit), and cash—are physical, as are the threats by which they’re extracted from debtor to creditor. From the start, Howard—wearing an ostentatious leather jacket, a two-tone shirt with the tag still dangling out of its collar, ever so slightly too decorative glasses, an overly trimmed goatee, and a watch that could build biceps—strides through the Diamond District talking at top speed into his cell phone. He’s plotting the score of a lifetime: importing—or, rather, smuggling—a rare, uncut, large black opal from Ethiopia, which he’s expecting to sell, through an upscale auction house, for a million dollars. But, when the opal finally reaches his showroom, other business gets in the way: Howard’s employee, Demany (Lakeith Stanfield), who’s his liaison to athletes and hip-hop artists, brings the pro-basketball star Kevin Garnett (playing himself) to the showroom. There, Garnett sees the opal, feels its power (which Howard has been hyping), and decides that he must have it as an aid to his game. (Garnett was playing, in 2012, for the Boston Celtics, and the action is set during that year’s playoffs. ) Howard is loath to part with the opal, but he senses that the transaction gives him a betting advantage. Meanwhile, another clock is ticking: Howard’s marriage, to Dinah, pronounced “Deenah” (Idina Menzel), is over; it’s in its zombie-like afterlife. The family (including their teen-age daughter, a near-adolescent son, and a young boy) lives in a house in the suburbs, but Howard is there only symbolically: Dinah is ending the marriage, but the couple have agreed to stay together through Passover to maintain a temporary illusion of family unity. Howard comes home after work to see the children and then, on pretext of more work, leaves—for an apartment in midtown, where he lives with Julia (Julia Fox), a young woman who works for him in the showroom. Julia is a salesperson who trawls the night life for potential customers; she may or may not also be cheating on Howard, but, in any case, she parties hard and allays Howard’s constant suspicions with sexual enticements. The Safdies have long specialized in drama kings and queens, in protagonists who knock their lives out of joint and into action with breathless, reckless, perpetual cycles of frenzied, self-imposed challenges and daily dangers. Howard is the first whose drama seems essentially creative—he is, in effect, playing a dangerous series of shell games for high stakes in order to lend his life high dramatic moment, and his elaborate invention of lies to shimmy out of his creditors’ menacing clutches comes off as a performance in which he himself delights. His gem-and-jewelry business is already stressful and risky enough, but it’s his gambling—and the intricate flow chart of debts and cadges—that fills his life with stories and turns every moment into a life-or-death crisis. The highs of success (rare though they may be) aren’t the sole point, and the money itself isn’t the key payoff: it’s the creation and experience of a dramatic life, the daily tensions and thrills and dangers, the off-balance improvisational theatre into which he has converted his humdrum suburban existence—to which, nonetheless, for sentimental reasons, he clings fiercely and desperately. Even the punishment, the fear, and the humiliation seem to be part of the terrible pleasure. “Uncut Gems” jitters and skitters and lurches and hurtles with Howard’s desperate energy. Sandler’s frantic and fidgety performance provides the movie with its emotional backbone, and he’s not alone: Menzel’s swing between the steadfast and the derisive, Bogosian’s terrifying calm, Stanfield’s good-humored acuity, Garnett’s elevated poise, Fox’s survivalist ferocity, and the vivid contributions of a wide range of other performers, including such notables as Judd Hirsch and, in voice-over roles, Tilda Swinton and Natasha Lyonne, plus real-life celebrities (the Weeknd, playing himself, and Mike Francesa, playing a bookie)—along with a host of newcomers, such as Keith Williams Richards and Tommy Kominik, as enforcers, and Roman Persits, as a jeweller—swirl and clash and rumble, in a symphonic tangle of overlapping and intertwining high-volume voices. The Safdie brothers have always been artists of chaos, whose daring methods of filming (including working on location without permits and blending their scripted action with whatever comes up in the street) have been reflected in their films’ frenetic action and reckless characters. But in “Uncut Gems” their system and their cinema, the story of the production and the story that they tell, converge all the more violently, and in risky new ways. This is, by far, the Safdies’ biggest-budget movie to date. The figure hasn’t been disclosed, but the movie was co-executive-produced by Martin Scorsese and, as Kelefa Sanneh reports in his profile of the Safdies in The New Yorker, it’s the first time that the filmmakers had to deal with trucks and trailers on location, and they had to tailor their practices to fit. After making movies on ultra-low budgets for more than a decade, and with an only slightly elevated one for “ Good Time ” (which stars Robert Pattinson and Jennifer Jason Leigh), it’s clear that they know what to do with the money: in a very literal sense, the money is on the screen, and, for that matter, the money suffuses the action and provides the movie with its very tone.

Opinions may change over time, but I don't like to take more than a day to review a film if I feel the need to give my two cents about it. Critiquing is a very slippery platform, like I said opinions change, but it the hardest part is probably balancing the subjectivity and objectivity; in this review I will attempt to be bipartisan.
I find this absolutely hysterical that on Christmas I decide to watch The King of Comedy a Martin Scorsese picture and then I see his name in the Exec Producer cred and it's just fitting. There's definitely inspiration and admiration between Scorsese and the Safdie bros, the NYC landscape adds an overarching layer of familiarity to that of a character-driven Scorsese picture. I'm a writer of screenplays and it's so hard not to love this film particularly for the craft filmmaking/writing. The protagonists in Gems and the aforementioned Scorsese film share one major trait and it is also their big FLAW - they both are INSISTENT to the point of bafoonery (if that's not a word, I'm coining it now) which leads to both movies falling under Aristotelian Tragedies meaning the character REFUSES to fix their major flaw and end up paying the price for it, the price varies. In Gems the price was a literal tragedy, which I can't help but feel that due to this resolution wide audiences will undoubtedly tend to stay away from this one. There is a point here despite the downer at the end, it took its sweet time getting there and there definitely was a light at the end of the tunnel, but it was an oncoming train. Everyone calls out the greedy nature of Howard, but forget to mention the very first shot of him in the movie: unconscious on an operating table. The man had health problems and it was started to look like a Breaking Bad motivation was about to be revealed, then the Safdie bros found a different direction to sway you in. Uncut Gems falls under a very small minority of movies that get released today with a vision so unflinching, so ruthlessly true to the creator's vision and that's a testament to the trust the Safdie bros have earned from studios that back their films in their short professional careers. Speaking of the studio, I absolutely continue to love and support the Uncompromising nature of A24 projects that keep getting the green light (keep them coming. This probably one of the grander A24 projects I've seen, it's still gritty and barebones to a point, but it didn't feel like a bottle-episode and felt like there were enough filming locations to spice the setting up. With all that being said, this one of the most New York movies of the year, if you don't like loud New Yorkers, probably skip this one if you must lol.
A+ performance by Adam Sandler
A+ subjective) score
Overall, the execution probably couldn't have gone any better than it did for the Safdie's and the material they worked with. It does seem like they had trouble padding the runtime as some scenes go on a little long in the same locations. Loved it, had a ball watching it play out. I didn't immediately find the score jarring or anything like others seem to be saying, but this movie will be part of my collection in the future. Somewhere in my Top 5 favorite films of 2019.

Makes me want to smash the classic arcade burner. Adam Sandler I'm glad this man shows he can act the only one I ever seen him be serious was in spanglish I was so hyped when I heard this film. I'm here for any Mark Ruffalo true story movie 1st spotlight now this. This type of interview should be with Chris Farley Do you remember.

One of the only flaws in this scene and really the entire movie, is that the video being shown on that iPhone is much higher resolution than was actually available on a phone in 2012. It's not something most will notice, but it's just something that bothers me a little bit. Other than that it's amazing. Best movie of the year.

This movie is amazing. Usually Im on my phone or something but this movie had me hooked.

5 / 5 stars 5 out of 5 stars. Adam Sandler gives a terrific, career-best performance as a Manhattan jeweller with a perilous gambling habit in a rollicking, high-energy thriller Deranged, delusional cheerfulness … Adam Sandler in Uncut Gems. Photograph: AP T his sensationally good New York crime drama is rocket-fuelled with greed and crack-fumed with fear. It is directed by the Safdie brothers, Benny and Josh, who create something deliciously horrible, working with their longtime screenwriter-collaborator Ronald Bronstein. It conjures up the work of James Toback and John Cassavetes – and indeed early Martin Scorsese, who is an executive producer here. There is a consistency of purpose that their earlier film, Good Time, lacked. In its unforced, gripping, black-comic chaos, Uncut Gems resembles nothing so much as a super-violent, feature-length episode of Curb Your Enthusiasm. The Safdies have cast as their leading man Adam Sandler who gives a glorious, career-best turn as a fast-talking Manhattan diamond dealer called Howard Ratner (dare we hope for a cheeky reference to the British jeweller Gerald? ), sporting a black leather jacket, dark glasses, earrings and an ingratiating, unreliable grin. Sandler has been known for pretty crass comedies in the past, though polite broadsheet opinion traditionally makes an exception for his performance in Paul Thomas Anderson’s 2002 film Punch-Drunk Love. For me, that was a bit overblown, and in any case Sandler is far better here. Howard is semi-separated from his wife Dinah (played by Idina Menzel – the voice of Frozen’s Elsa) and kids, though still importantly embedded in the Jewish customs involved in her family dinners. He has now installed his sexy, vocal-fry-toned employee Julia (Julia Fox) in a cheesily decorated bachelor apartment in the city. His diamond shop is a heavily fortified, sweaty and airless emporium, protected by a castle-keep system of inner and outer toughened-glass doors opened with a nerve-jangling buzzer. Howard’s business is doing reasonably well, thanks to a middleman called Demany (great work from Lakeith Stanfield) who brings high net worth individuals from the world of music and sports into Howard’s store in return for a cut of the sale price; Howard takes his own commission for selling Demany’s counterfeit Rolexes as certified genuine. Howard is looking to make a fat profit with an illegally imported black opal from Ethiopia, the equivalent of a “blood diamond” but a stone of mythical import and rarity that fascinates Howard’s biggest celeb customer: NBA megastar Kevin Garnett (playing himself) who is capriciously convinced that this is an anti-kryptonite rock that guarantees victory on the basketball court. Like vintage 70s horror, Uncut Gems begins with an eerie prologue showing this occult stone being discovered deep underground. Tall tale … Sandler and Lakeith Stanfield with NBA star Kevin Garnett, playing himself. Photograph: Wally McGrady/AP So things look good for Howard, but there’s a problem. He is a compulsive gambling addict whose habit is raging out of control – though part of this movie’s 70s feel lies in the fact that he is never described as an “addict” and never recognises himself as such. He has a sideline in taking customers’ valuable pieces of jewellery for supposed repair (a kitsch figure of the crucified Michael Jackson being a case in point) but actually using them as collateral for huge mob loans that he will then bet on pro sports: usually basketball, with which he is obsessed. And he is borrowing against future assumed sales or sure-fire gambling wins to make other bets or pay off other creditors. Howard is in very deep with an intimidating player called Arno (Eric Bogosian) whose man-mountain goons make an unwelcome appearance at his store. Sandler’s superb performance shows how Howard has what amounts to a superpower – his optimism, his toxic gift of the gab, his deranged delusional cheerfulness and his refusal to be fazed or scared by things that would reduce ordinary people to jelly. There’s an incredible sequence on the streets of Manhattan – which the Safdies and their cinematographer Darius Khondji shoot with rangy, loose-limbed exuberance – showing Howard getting punched in the throat by one of his debt collectors and then, after a moment of traumatic wheezing, he goes on walking, talking, attempting to bamboozle his assailant with ersatz charm. Taste test … Howard installs Julia (Julia Fox) in his cheesily decorated bachelor pad But Howard is robbing Peter to pay Paul, in such a way that Peter and Paul are eventually going to take turns holding him down while the other beats the daylight out of him. His whole life is a pyramid scheme of dishonesty, in which the victim is himself. And all the time the film is in a state of deafening cacophonous uproar: the white noise in poor Howard’s head is displaced into the streets, the clubs, the sports arenas where his terrible humiliation is to be played out. It’s a cinema of pure energy and grungy voltage, and the Safdies make it look very easy. This will be the year’s most exciting film. You can take that to the bank. • Uncut Gems is released in the UK on 10 January and on Netflix on 31 January.
Like: Good Time Reply: Three Billboards Outside Ebbing, Missouri.

Download Csiszolatlan gyÃmÃne supporte pas les. Movie sucked, adam sandler doesnt just play a slimeball he is one. Kg look like he could still play. Pierce looks 52. Excellent film, Adam Sandlers star finally shines. Oscar contender. Swedish movie FORCE MAJUERE 2014. Finaly an Adam Sandler movie that doesnt suck. So Adam going dark right now. This movie sits at 30 million dollars in the US box office, it could have touched 100 million dollars easy in the worldwide box office if they would have distribute it worldwide instead of giving it to Netflix smh... If he wasnt so overjoyed after the Celtics won, hed remember the debt goon still had a gun and the ending might have turned out differently.

They did a good job with the trailer! I know the story but they still left it very mysterious and thrilling. He's got something for your. | Sheila O'Malley December 25, 2019 "Everything I do is not going right. " So sobs Howard, the adrenaline-junkie diamond dealer gambling addict played by Adam Sandler in "Uncut Gems. " Taking place over the course of a couple of days, "Uncut Gems, " directed by Josh and Benny Safdie, hurtles along a narrow track over a yawning abyss, following Howard as he attempts to pay down his huge gambling debts by, of course, placing increasingly risky bets. There's the hope that once he pays it all off, he'll wipe the slate clean, and repair some of the bridges he's burned. But everyone around Howard knows this is a fantasy. His addiction is too entrenched. The dazzle of the "uncut gems" in the title is not a surface shine. It glows at the center of the earth, it burns in Howard's core. Advertisement It makes sense, then, that "Uncut Gems" would start with a sequence where the camera goes inside a black opal (dug out of the Welo opal mines in northern Ethiopia) which then morphs into the inside of a human colon. The colon of Howard, to be exact, as he endures a colonoscopy. The images on the hospital monitor look similar to the fantastical space of the opal's innards, its curves and layers. This is metaphor writ so large it's brazen, a theme hammered home with refreshing rhetorical candor. The opal is inside Howard, his need for it comes from the basest part of him. He lives in a state of "gold sickness" or "dragon sickness" (so vividly described by J. R. Tolkien in The Hobbit), the hypnotic power of gems luring men into madness since the beginning of time, seeking pirate's gold, El Dorado, the Holy Grail, on doomed colonialist adventures. Howard's black opal is the same as any long-besought gem: it emanates a magical pull on all who look upon it. Its power is almost wholly symbolic. Co-written by the Safdies and regular collaborator Ronald Bronstein, "Uncut Gems" immerses you in Howard's nutty cacophonous world. Howard's jewelry shop in New York's Diamond District is a tiny space with the atmosphere of a three-ring circus. The double entrance to his shop—requiring two buzzes—is a buffer between Howard and the world, giving him (at the most) 10 seconds lead time against anyone looking for him. His assistant Demany ( LaKeith Stanfield) hustles clients who might be interested in the flashy items in Howard's inventory, and the latest lure is Boston Celtics star Kevin Garnett (playing himself), waiting in the shop when Howard returns from the colonoscopy. Howard can't resist showing Garnett his latest acquisition: the opal, just arrived from Ethiopia, which Howard is putting it up for auction later in the week (at a hugely inflated price). He tells Garnett about how he feels connected to the Ethiopian Jews who dig up the opals, and his enthusiasm is so passionate it's catching. Garnett asks if he could borrow the opal for good luck at the upcoming Eastern Conference finals, and Howard says yes. Howard saying "yes" is the first of the many, many terrible choices he makes over the next 135 minutes. He owes so much money that goons follow him around, showing up at his office. These people mean business. His wife ( Idina Menzel) seethes with hatred for him. His daughter can barely tolerate him. He's put up his young mistress ( Julia Fox) in an apartment he's rented for her. Howard is always on the go, always running out of rooms, racing down sidewalks, charging across lobbies. And that's the thing about addiction, the thing that "Uncut Gems" really understands. On some level, the stress is the point. The nerve endings are so frayed they need  the stress. Howard is useless without panic. So is his mistress, who also suffers from a form of "gold sickness. ” It is their main bond. This is not a "cautionary tale" about the dangers of gambling. It's more like a virtual-reality game where you step into Howard's experience. The Safdies use New York City in ways that haven't been seen since films in the '70s. The city has been so cleaned up and gentrified and homogenized it might be easy to forget that so much goes on at street-level, so much chaos, the marginalized and lost seeking a foothold, the grifters and hustlers slipping through the cracks, working their angles. The Safdies' " Heaven Knows What " was documentary-like in its approach, but their follow-up " Good Time " was a race-against-the-clock thriller, its action sprawling over the five boroughs. The Safdies are nervy, funny, and comfortable with discomfort. Their characters have no access to comfort, and yet in every moment they're striving to escape, hustle, talk their way out of things, talk their way into things, get what they need, what they want. Veteran cinematographer Darius Khondji (a changeup from the Safdies' regular collaboration with Sean Price Williams) brings out the sickly gleam in this world, the green-fuzz of the interior lighting, the glamour of some of the interiors juxtaposed with the sleaze of the others. In a recent conversation between Adam Sandler and Brad Pitt for Variety's Actors on Actors series, Pitt observed that even though Howard makes all these bad choices in "Uncut Gems, " you worry about the guy. It is Pitt's contention that this is because of Sandler's "warm-heartedness, " something you always feel, no matter the material. I think there's something to that. You hear people expressing surprise when Sandler gives a good performance. There should be no surprise. When he's given good material, like Paul Thomas Anderson's "Punch Drunk Love, " or Noah Baumbach's "The Meyerowitz Stories" (to name just a few), he's as good as it gets. Behind his humor is pain and rage, both of which he is able to tap into. Here, as Howard, complete with goatee, fancy glasses, "club" clothes, he is a portrait of a man living on the edge. He never stops talking. He never stops striving, scheming, shouting, hustling. In his eyes is the devotional gleam of the big score. "Self-delusion" is a redundant term. All delusions come from a willingness to buy into a fantasy, an off-chance, a long shot. In a delusion, your brain is a cage, and you are your own prison guard, monitoring the perimeters of allowable thought. Delusion feeds addiction, and addiction needs a constant supply of delusion. "Uncut Gems" shows this electrified-fence feedback loop like no other film in recent memory. It's excruciating and exhilarating. Reveal Comments comments powered by.

This 2 minute trailer is better than the whole Suicide Squad movie. I love how Adam Sandler is worth 420M and can dress like a broke divorced dad. I love his humility. I love this man so much. I grew up watching him and Im so happy hes being recognized for his talent and not his horrible movies.

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