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Medical doctors (m3.gab.com)

submitted by AugustineOfHippo2 to videos 1 month ago (+43/-1)

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List of Human Cloning Films (1971–2025) (movies)

submitted by Conspirologist to movies 1 month ago (+0/-2)

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Comprehensive List of Human Cloning Films (1971–2025)

Below is the expanded list of 46 films, with their box office performance, Rotten Tomatoes scores, and categorization.

Successful: 10 films (22%)

The Fifth Element, Star Wars: Episode II, The Prestige, Moon, Logan, Horse Girl, Oxygen, Dual, They Cloned Tyrone, Parts: The Clonus Horror.

Mixed: 17 films (38%)

The Boys from Brazil, Blade Runner, Gattaca, Pokémon: The First Movie, The 6th Day, Never Let Me Go, Cloud Atlas, Oblivion, Closer to God, Seobok, Infinity Pool, Jung_E, Hitman: Agent 47, Resident Evil: Afterlife, Resident Evil: Extinction, Resident Evil: Retribution, No Ordinary Baby.

Bombed: 18 films (40%)

The Resurrection of Zachary Wheeler, Creator, Multiplicity, Pluto Nash, Godsend, The Island, Aeon Flux, The Reconstruction of William Zero, Replicas, Gemini Man, Replicant, Repli-Kate, I’m Not Jesus Mommy, It’s All About Love, Jaane Hoga Kya, Womb, Mr. Murder, The Other Me.

The Resurrection of Zachary Wheeler (1971): Low-budget ($500K est.), no clear box office data, 40% RT (est.). Bombed due to poor reception and lack of impact.

The Boys from Brazil (1978): $12M budget, $19M gross, 69% RT. Mixed due to modest box office and divisive reviews.

Parts: The Clonus Horror (1979): $250K budget, $3M gross, 40% RT. Successful (low-budget profitability, cult status despite low RT).

Blade Runner (1982): $28M budget, $41M gross, 90% RT. Mixed (initial box office underperformance, later critical acclaim).

Creator (1985): $10M budget (est.), $8M gross, 50% RT (est.). Bombed due to poor box office and reception.

The Fifth Element (1997): $90M budget, $263M gross, 71% RT. Successful (strong box office and critical praise).

Gattaca (1997): $36M budget, $36M gross, 82% RT. Mixed (break-even box office, strong critical reception).

Pokémon: The First Movie (1999): $30M budget, $163M gross, 16% RT. Mixed (huge box office, poor critical reception).

The 6th Day (2000): $80M budget, $96M gross, 40% RT. Mixed (modest box office, poor reviews).

Multiplicity (1996): $45M budget, $21M gross, 44% RT. Bombed (box office loss, poor reviews).

Star Wars: Episode II – Attack of the Clones (2002): $115M budget, $649M gross, 65% RT. Successful (blockbuster box office, decent reviews).

Pluto Nash (2002): $100M budget, $7M gross, 4% RT. Bombed (massive loss, panned critically).

Godsend (2004): $25M budget, $14M gross, 4% RT. Bombed (box office loss, critical failure).

The Island (2005): $126M budget, $162M gross, 40% RT. Bombed (box office underperformance, poor reviews).

Aeon Flux (2005): $62M budget, $52M gross, 9% RT. Bombed (box office loss, critical failure).

The Prestige (2006): $40M budget, $109M gross, 87% RT. Successful (profitable, critically acclaimed).

Moon (2009): $5M budget, $9.7M gross, 90% RT. Successful (profitable, critically acclaimed).

Never Let Me Go (2010): $15M budget, $9.4M gross, 71% RT. Mixed (box office loss, strong critical reception).

Cloud Atlas (2012): $100M budget, $130M gross, 66% RT. Mixed (modest box office, divisive reviews).

Oblivion (2013): $120M budget, $286M gross, 53% RT. Mixed (profitable but divisive critical reception).

The Reconstruction of William Zero (2014): $1M budget (est.), <$1M gross, 50% RT (est.). Bombed (minimal impact, poor reception).

Closer to God (2014): $500K budget (est.), <$1M gross, 60% RT. Mixed (low-budget, moderate critical reception).

Logan (2017): $97M budget, $619M gross, 93% RT. Successful (blockbuster, critically acclaimed).

Replicas (2018): $30M budget, $9M gross, 11% RT. Bombed (box office loss, panned critically).

Gemini Man (2019): $138M budget, $173M gross, 26% RT. Bombed (box office underperformance, poor reviews).

Horse Girl (2020): Streaming (Netflix), no budget/gross, 71% RT. Successful (critical praise, cultural impact).

Seobok (2021): $10M budget (est.), $6M gross, 80% RT. Mixed (box office loss, strong critical reception).

Oxygen (2021): Streaming (Netflix), no budget/gross, 88% RT. Successful (critical praise, streaming impact).

Dual (2022): $4M budget, $5M gross, 90% RT. Successful (modest profit, critically acclaimed).

They Cloned Tyrone (2023): Streaming (Netflix), no budget/gross, 95% RT. Successful (critical acclaim, cultural impact).

Infinity Pool (2023): $10M budget (est.), $5M gross, 87% RT. Mixed (box office loss, strong critical reception).

Jung_E (2023): Streaming (Netflix), no budget/gross, 67% RT. Mixed (moderate critical reception).

Mickey 17 (2025): $150M budget (est.), no full box office data yet, 85% RT (early reviews). Excluded from percentages due to incomplete data.

Hitman: Agent 47 (2015): $35M budget, $82M gross, 8% RT. Mixed (profitable but critically panned).

Resident Evil: Afterlife (2010): $60M budget, $300M gross, 22% RT. Mixed (profitable but poor reviews).

Resident Evil: Extinction (2007): $45M budget, $147M gross, 24% RT. Mixed (profitable but poor reviews).

Resident Evil: Retribution (2012): $65M budget, $240M gross, 28% RT. Mixed (profitable but poor reviews).

Replicant (2001): $17M budget, $1M gross (est.), 27% RT. Bombed (box office failure, poor reviews).

Repli-Kate (2002): $4M budget, <$1M gross, 20% RT (est.). Bombed (box office failure, poor reviews).

No Ordinary Baby (2001): TV movie, no budget/gross, 60% RT (est.). Mixed (moderate reception).

I’m Not Jesus Mommy (2010): $500K budget (est.), <$1M gross, 20% RT (est.). Bombed (minimal impact, poor reception).

It’s All About Love (2003): $10M budget (est.), $2M gross, 30% RT (est.). Bombed (box office loss, poor reviews).

Jaane Hoga Kya (2006): $2M budget (est.), $1M gross, 30% RT (est.). Bombed (box office loss, poor reception).

Mr. Murder (1998): TV miniseries, no budget/gross, 50% RT (est.). Mixed (moderate reception).

The Other Me (2000): TV movie, no budget/gross, 60% RT (est.). Mixed (moderate reception).

Womb (2010): $3M budget (est.), $1M gross, 35% RT. Bombed (box office loss, poor reviews).

It's hurtful when people are nasty to Americans! (img.gvid.tv)

submitted by paul_neri to pics 1 month ago (+2/-0)

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L to R:

DukeofRaul; dangus; [no girls on the Internet] oyveyo; MuricaPersonified.

POV: Azov Scouts Engage in Close Combat with Occupiers on Toretsk Frontline (youtu.be)

submitted by AugustineOfHippo2 to videos 1 month ago (+3/-0)

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Carriers (2009) & The Crazies (2010): Intelligent Horror After 70s Idiocy (movies)

submitted by Conspirologist to movies 1 month ago (+2/-1)

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Carriers (2009) & The Crazies (2010): Intelligent Horror After 70s Idiocy

The 1970s horror scene often churned out films with idiotic plots and characters that frustrated discerning viewers. Movies like The Texas Chain Saw Massacre (1974) or I Spit on Your Grave (1978) leaned on shock, with flimsy narratives—random slaughter, implausible survival—and characters making baffling choices, like wandering alone into danger. These films, though iconic, often left cinephiles wanting psychological depth and logic.

Carriers (2009), directed by David and Àlex Pastor, and The Crazies (2010), directed by Breck Eisner, redefine horror for intelligent audiences. Carriers (2009) tracks four survivors in a viral pandemic, its plot weaving moral complexity—e.g., abandoning the infected versus preserving humanity—without cheap scares. Characters like Brian (Chris Pine) and Danny (Lou Taylor Pucci) are rational yet flawed, making calculated choices that reflect real dilemmas, driving a grounded narrative.

The Crazies (2010), a remake of the 1973 original, focuses on a town poisoned by a biological weapon. Sheriff David (Timothy Olyphant) investigates with clear-headed resolve, while characters organize resistance and question authority, acting with intelligence. The tension arises from plausible human behavior and systemic breakdowns, not arbitrary chaos.

Unlike 1970s horror’s gore and stupidity, Carriers (2009) and The Crazies (2010) offer nuanced narratives and characters who think and grapple with ethical weight. These films satisfy cinephiles’ hunger for horror that respects their intelligence, blending cerebral depth with visceral chills.

Jeets ramping up production (www.youtube.com)

submitted by fritz_maurentod to videos 1 month ago (+8/-1)

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Hollywood’s Violence Trinity Peak: Crime, Chaos, Nihilism (movies)

submitted by Conspirologist to movies 1 month ago (+2/-2)

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Hollywood’s Violence Trinity Peak: Crime, Chaos, Nihilism

The 1990s marked Hollywood’s violent zenith, blending raw aggression with narrative genius. Three films—Quentin Tarantino’s Pulp Fiction (1994), Oliver Stone’s Natural Born Killers (1994), and David Fincher’s Fight Club (1999)—forged archetypes of criminal, nihilistic, and anarchic violence.

These masterpieces didn’t just breach a threshold; they became eternal benchmarks, dissecting an era’s obsession with bloodshed.

Pulp Fiction defines criminal violence—calculated, transactional, rooted in underworld codes. Tarantino’s nonlinear saga of hitmen (John Travolta, Samuel L. Jackson), mobsters, and a rogue boxer (Bruce Willis) weaves violence into the everyday. Executions and betrayals, driven by greed or loyalty, unfold with cold precision, often undercut by banter over burgers or biblical recitations. Tarantino’s razor-sharp edits and pop-culture wit make bloodshed magnetic yet routine. Its influence pulses in crime tales from Lock, Stock and Two Smoking Barrels to John Wick, where violence is just business, its moral ambiguity timeless.

Natural Born Killers embodies nihilistic violence—purposeless, excessive, reveling in meaninglessness. Stone’s frenetic satire tracks lovers Mickey and Mallory (Woody Harrelson, Juliette Lewis) on a killing spree, their carnage a kaleidoscope of neon filters, rapid cuts, and surreal vignettes. Devoid of motive beyond infamy, the violence critiques media bloodlust while embracing its allure. Stone’s provocative aesthetic—both condemning and exhilarating—sparks unease. Its legacy thrives in hyper-stylized works like Kill Bill or The House That Jack Built, where gore probes society’s moral void.

Fight Club captures anarchic violence—chaotic, anti-establishment, ideologically driven. Fincher’s adaptation of Chuck Palahniuk’s novel follows the Narrator (Edward Norton) and Tyler Durden (Brad Pitt) as bare-knuckle rebellion escalates into terrorism against consumerist norms. Fistfights and bombings, visceral in Fincher’s grimy lens, start as anarchic defiance but spiral into nihilistic despair, exposing rebellion’s futility. Fight Club’s anarchic template shapes films like V for Vendetta or Joker, where anti-system rage blurs into madness, its cultural echoes haunting modern unrest.

The 1990s, steeped in post-Cold War anxiety and media saturation, fueled Hollywood’s violent renaissance. Pulp Fiction, Natural Born Killers, and Fight Club didn’t merely reflect this moment—they interrogated it, fusing style, philosophy, and provocation. Their archetypes—crime’s logic, nihilism’s void, anarchism’s chaos—endure, probing violence’s roots. These films remain cinematic north stars, their questions undimmed.

Why The Sexual Revolution Was Horrible | The Decline of the West (www.youtube.com)

submitted by dosvydanya_freedomz to videos 1 month ago (+8/-0)

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Dick Tracy (1990) warns kids about degenerates (movies)

submitted by Conspirologist to movies 1 month ago (+2/-1)

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Dick Tracy (1990). Good movie for kids. It explains that all degenerates are criminals, while alpha looking Warren Beatty as Dick Tracy is fighting dangerous degenerates. I know that Madonna is miscast as his love interest, because she is gross and annoying, instead of beiing an ethereal beauty paragon. But apart of disgusting Madonna, it's a perfect movie. Harvey Weinstein comes to mind, a genuine natural born degenerate.

https://www.imdb.com/title/tt0099422

Watch it to understand why such intelligent movie was boycotted by degenerate elite.

beaner security guard gets caught inhaling aerosols even after crashing his car (www.youtube.com)

submitted by dosvydanya_freedomz to videos 1 month ago (+2/-1)