movie review t 34

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T-34 Movie – WW2 Adventure Tank Film

T-34 is a 2018 military action adventure WW2 film, directed by Alexei Sidorov.

The film premiered in cinemas in Russia on January 1, 2019. The worldwide release took place on January 11, 2019. The television premiere of the film took place on May 9, 2019, on Victory Day, on the Russia-1 TV channel.

T-34 Movie Plot

The young tanker of the Red Army, Nikolai Ivushkin, who had just graduated from the accelerated courses for junior lieutenants with honors, arrives at the front in the army in the area of the village of Nefyodovka near Moscow; along with a lorry driver who delivered provisions, they barely escape, nearly being targeted by a German tank.

At the location of the unit, Ivushkin is ordered to take command of the only surviving Soviet tank T-34-76, since only one tank and several soldiers remained among the survivors from the battalion.

Soon a unit of Hauptmann Klaus Jaeger from the 11th Panzer Division of the Wehrmacht arrives at the village. On November 27, 1941, a tank battle takes place, during which Ivushkin and his crew destroy the entire Yager tank company, with the first shot from an ambush – two tanks at once with one shell. At the end of the battle, the crew of Klaus Jager is left alone with the crew of Ivushkin. Opponents knock out each other’s cars. Only Yager, Ivushkin and driver Stepan Vasilyonok manage to survive. Ivushkin and Vasilyonok, being wounded, fall into Nazi captivity.

Summer 1944. Ivushkin and other prisoners of war are taken to Thuringia to the German concentration camp SIII. Nikolay, who has already escaped seven times, is kept in a special block, where he is brutally tortured to find out his name and military rank.

Ivushkin recruits a team from among the prisoners of the camp, which includes Volchok, Vasilyonok and Ionov. The newest Soviet tank T-34-85, captured and brought from the front, is at their disposal. During the inspection of the tank, the heroes find the corpses of the crew and six miraculously undamaged live shells in it. Ivushkin asks permission to bury the crew of the tank and hides the shells in the grave. Ivushkin comes up with a plan: to escape from the training ground during training in order to reach the border of occupied Czechoslovakia (Protectorate of Bohemia and Moravia), which is approximately 300 kilometers away.

Panther in T-34 Movie

After the repair, the tank is shown to the German command, admiring the skill of the crew, Jager orders to mine the surroundings around the camp. The interpreter Anna informs Nikolai about the mines and is ready to flee with Ivushkin. After stealing a map from the Standartenführer’s office, she leaves the camp. A number of German command officials arrive at the Jager test site for testing. The crew of the T-34-85 creates a smokescreen and knocks out one of the “Panthers” of the 12th SS Panzer Division “Hitler Youth”, fires a high-explosive fragmentation projectile at the command post of observation (while Jaeger and several officers manage to escape). Germans with machine guns and anti-personnel grenade they try in vain to stop the “thirty-four”, and Jager shoots at him with a pistol, but also in vain. T-34 breaks out of the range through the main gate. On the way, at the appointed place, Ivushkin picks up Anya.

The combat vehicle moves towards the border of the protectorate of Bohemia and Moravia, stocking up on supplies, fuel and weapons along the way. Jaeger pursues them with a group of tanks. The roads are blocked by anti-tank guns, Ivushkin’s crew manages to avoid traps. Further, after a halt, Ivushkin sends Anya to the Czech border on foot, and the crew is preparing to join the battle.

Upon reaching the evacuated city, they are confronted by five Panther-type tanks led by Jaeger. The fugitives deal with four of them: the first is knocked out by a ricochet on the paving stones in the lower part of the tank; the second is dealt with by Volchok, who destroyed his crew and captured the tank, but was injured at the same time, the third is neutralized by a sniper hit under the tower, and the fourth is destroyed at the last moment by Volchok, thereby diverting Yager to himself, and he finishes off the captured tank. After the thirty-four and the last Panther fired unsuccessfully (the shells collided with each other, changing the flight vector, and the T-34 shell breaks the night vision device of the Panther ), Yager gets out of the tank and throws down his glove, which means a duel offer.

Klaus Challenges the dual

Two tanks engage in a duel on a bridge. While Ionov is reading “Our Father”, Ivushkin’s crew miraculously manages to avoid serious hits (the left caterpillar and the commander’s cupola are damaged) and accurately hit the Yager tank’s observation slot with a return shot, after which the “thirty-four” goes to ram. Yager’s tank hangs helplessly on the edge of the bridge, Ivushkin approaches the car and sees the wounded Yager. Shaking hands with Ivushkin, thus showing respect for the winner, the German falls down with his tank and dies. After the battle, Ivushkin orders the crew to flood the T-34 so that it does not hit the enemy.

The film ends with Ivushkin and his team finding Anya in a meadow, and they all make their way to the Czech border on foot.

During the closing credits, it is shown how the post-war peaceful life of each of the heroes developed: Ionov serves in the temple and paints icons, Vasilyonok works on a tractor, he has a wife and three children, Volchok walks through the forest with a gun – perhaps he became a huntsman, Ivushkin brings Anna to his parents and asks for permission to marry.

Panther vs T34/85 Battle

T-34 Movie Review: A Riveting War Drama That Brings History to Life

T-34 is a Russian war drama film directed by Aleksey Sidorov, set during World War II, which tells the story of a group of Soviet soldiers who escape from a Nazi concentration camp in their tank T-34. Released in 2018, the film has quickly become a box office success, grossing over $40 million in Russia alone. In this review, we’ll take a closer look at what makes T-34 a must-watch movie for war film enthusiasts.

Panther on Testing Ground

One of the most impressive aspects of T-34 is its realistic and authentic portrayal of the war. The film captures the brutality and chaos of the Eastern Front, with stunning visuals and expertly choreographed battle scenes. The tank battles, in particular, are intense and visceral, with the T-34 and German tanks exchanging fire and maneuvering for position in a deadly game of cat-and-mouse. The sound design is also excellent, with the roar of the tanks and the explosions adding to the sense of immersion.

Another strong point of T-34 is its ensemble cast, with Alexander Petrov delivering a standout performance as Ivushkin. Petrov brings a sense of vulnerability and humanity to his character, making him a relatable and sympathetic protagonist. Other members of the crew, such as Artyom Bystrov’s mechanic Stepan Vasilyonok and Vinzenz Kiefer’s German soldier Klaus Jäger, also make a strong impression and add depth to the story.

The film’s pacing is also noteworthy, with Sidorov balancing action-packed sequences with quieter moments of character development and introspection. The film’s 139-minute runtime flies by, and the audience is left on the edge of their seats until the very end.

Stage director and scriptwriter – Alexei Sidorov
Director of photography – Mikhail Milashin
Set Designer: Konstantin Pakhotin
Composers – Vadim Mayevsky, Alexander Turkunov, Ivan Burlyaev, Dmitry Noskov
Costume designer — Ulyana Polyanskaya
Make-up artist — Irina Lyashko
Editing director — Dmitry Korabelnikov
Sound engineer – Alexey Samodelko
Creative producer – Nikolai Larionov
Producers – Ruben Dishdishyan, Anton Zlatopolsky, Leonard Blavatnik, Mikhail Kitaev, Nelli Yaralova, Yulia Ivanova, Anatoly Akimenko with the participation of Nikita Mikhalkov and Leonid Vereshchagin

T-34 Movie Scene

On September 10, 2015, it was announced that Mars Media would be producing the high-budget military action drama T-34. Later, producer Leonard Blavatnik joined the project, an investor, owner of Amedia and Warner Music studio, who chose this film from a large number of proposals, which was also due to personal motives (victory in the Great Patriotic War is part of family history, the producer’s grandfather is a front-line soldier), and other reasons – the best young artists, a first-class film crew and the successful experience of a partner, Mars Media, and personally Ruben Dishdishyan.

Director and screenwriter Alexei Sidorov set the task “to tell the story of the war in such a way as to captivate young people and not cause controversy among those who still keep the Great Patriotic War in their memory”.

Several tanks were filmed in the film, including a real T-34, shot down during the war. For the filming of the film, the car was restored: the engine was sorted out and brought to a combat state, the camouflage was recreated, which was used in the winter in 1941 under the name “winter forest”.

The production designer of the film, Konstantin Pakhotin, built an entire village in a field near the village of Strelkovka, Kaluga Region, in a month. Although the houses in the story will be destroyed at the very beginning of the film, each has its own, special style, carved finish. Props were carefully selected, with the help of local residents.

The concentration camp was filmed in the Czech city of Terezin on the territory of the real existing concentration camp Theresienstadt, now turned into the Ghetto Museum. For the scene of the arrival of the train with prisoners, real old German steam locomotives and wagons were used. Filming of the meeting with G. Himmler was in the Rudolfinum hall, Prague. Scenes with a tank on the streets were filmed in the Czech city of Loket.

The premiere of the film “T-34” in Russian cinemas took place on January 1, 2019. On the first day of hire, box office receipts amounted to 114,635,133 rubles.

The release of the picture “T-34” in the world distribution took place on January 11, 2019.

The film received mixed to mixed reviews. According to the Criticism aggregator – 5.5/10 (based on 26 reviews).
Some publications, after the publication of the trailer and the premiere of the film, wrote about the similarity of the story told with the plot of the Soviet drama film “Lark” in 1964, while noting that “T-34” cannot be considered a remake of “Lark”: both manner and method presentation, and the general outline of the narrative, and the finale of these two paintings are very different.
According to film critic Anton Dolin, the authors made a high-budget military blockbuster, almost clearing it of the propaganda and ideological component: “the film about the Great Patriotic War successfully dispensed with patriotic propaganda” . The creators do not pretend that the “T-34” is a picture based on real events, at its core it is “pure fantasy adapted for teenagers” . The critic notes the schematism of the plot and the weak elaboration of the characters’ characters. “This exemplary fearlessness, this programmatic heroism is a little embarrassing. At first, you don’t understand what. And then you remember what the T-34 traces its genealogy to: Soviet films about the war. In the best of them, the opponents were not the Germans, as here, but the war as such. In “The Destiny of a Man”, Ivan’s Childhood, The Cranes Are Flying ”, The Ballad of a Soldier ”, Checking on the Roads“For all the differences, there was one conceptual similarity: they showed how a person retains the human in himself thanks to the desire for the world and the memory of it. The T-34 space is arranged fundamentally differently. It is given over to a total endless war, in which comforting simplicity reigns: there are ours, there are enemies, and the enemies must be beaten to the bitter end. Without pain and bitterness, with passion and frenzy of the players of the computer championship” .
Novaya Gazeta columnist Larisa Malyukova reflects on the role of tanks in modern Russian cinema. Sidorov took into account the shortcomings of the “tank” films of 2018 “Indestructible” and “Tanks”: “In his picture, the propaganda itch is partly tamed by uncomplicated adventures and energetic battles, seasoned with humor, rouged with love bliss” . Just like Dolin, Malyukova compares the film with Soviet films on a military theme: “In those films, Faulkner ’sidea: you can’t come out of a war as a winner. They had an awareness of the global catastrophe that the Second World War was for our people. In the latest domestic film war, one cannot find the author’s point of view. Instead of turning to myth, there is a mythologization of history. Instead of the anti-war spirit – the motto “We can repeat!”, A call to heroism. Instead of a cruel smart enemy – solid idiots. The romanticization of the war, the feeling of lightness of victory covers the screen” .
Critic Valery Kichin writes in Rossiyskaya Gazeta that it is impossible to form an idea of what the Great Patriotic War is in reality from the film: “According to the plot, this is a legend like “Bumbarash” or “Elusive”, in style – the scenario of a computer game called“ T-34″. That is, the spectacle is primarily spectacular and reckless” . A dashing adventurous plot, a conditional setting of the action, a peculiar beauty even in the process of destruction – “yes, this is a movie fairy tale about the feat of arms of that very folklore hero who, as you know, rides, rides, does not whistle, but runs over – will not let go. And the authors, of course, were inspired by the style of the battle quest: they use game techniques that are well known to the modern viewer, and the wonderful feeling that the heroes have several lives in reserve accompanies the entire film. And the actors here do not so much play as they play: at the moments of the most improbable plot somersaults, a crafty spark of cheerful excitement slips in their eyes. This sincerity removes all claims: military classics were filmed by people who went through a real front, now people who have combat experience in the quest have come, they have different skills and ideas about war”. Reviewer Yevgeny Bazhenov criticized the abundance of unreasonably slowed down frames and the unreliability of the picture; he also criticized the film for the fact that the victorious actions of the Russians in it are justified rather by some kind of fantastic “miracle of war”, and many important details are omitted or misrepresented. According to him, everything that happens in the film is so implausible that it would be no less surprising and quite reasonable if the main characters of the film immediately flew to Moscow in their tank.
Maxim Sukhaguzov (“Afisha Daily”) considered that the picture creates an ideological dissonance, displaying the war in the spirit of “Fast and the Furious’ on tanks in IMAX for school age”.

Awards and nominations

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Where to Watch

Alexander Petrov (Nikolay Ivushkin) Irina Starshenbaum (Anya Yartseva) Viktor Dobronravov (Stepan Vasilyonok) Vinzenz Kiefer (Klaus Jäger) Yura Borisov (Ionov) Anton Bogdanov (Demyan Volchok) Artur Sopelnik (Kobzarenko) Pyotr Skvortsov (Lykov) Sam Treskunov (Vasiliy Teterya) Guram Bablishvili (Gabuliya)

Aleksey Sidorov

An SS Panzer Division uses a T-34 manned by Soviet POWs as a training target, but the prisoners plot a daring maneuver.

Recommendations

GET READY TO GEEK OUT

[REVIEW] ‘T-34’ ELEVATES ITS ACTION WITH A NOVEL USE OF SLOW-MOTION

Director: Aleksey Sidorov Writer: Aleksey Sidorov Starring: Alexander Petrov, Vinzenz Kiefer, Viktor Dobronravov, Irina Starshenbaum

Where is your fighting spirit?

There are plenty of war movies, and more specifically, there are plenty of World War II movies. What there isn’t enough of, in my opinion, is movies about tank battles. There have been some really good ones, like The Beast or Kelly’s Heroes or Fury , but I can never say no to another one.

There’s something about that kind of warfare that feels like a strange combination of modern weaponry and old-school battle techniques. Tanks lumber and the crews inside them have to work in perfect harmony to succeed. It reminds me of old naval battles between tall ships. So obviously, I was the perfect mark for T-34 .

This war film is currently the second highest grossing Russian-made film of all time. I can see why it was such a crowd pleaser. There’s no easier way to make your audience cheer for your characters than by having them face literal Nazis.

We meet Nikolay Ivushkin ( Alexander Petrov ) in 1941 and T-34 gets right into the action. There’s a fun cold open where Nikolay and another soldier escape an enemy tank in a truck. This section introduces us to the main gimmick of the action scenes, which is writer/director Aleksey Sidorov’s love for slow motion. We get to see shells fired in slow motion, shells ricocheting off of metal in slow motion, shrapnel flying around the inside of a tank in slow motion. The first few times it happened, I started bracing myself to get tired of it quickly. Sidorov knows exactly when to pull back and let the action play out normally. He also knows when to slow it down and force our attention on something really cool or brutal or important.

Nikolay gets a field promotion to tank commander, and his mission is to hold off a German advancement through a practically abandoned village. We get to this battle quickly, with the clichéd “new leader has to earn his soldiers’ respect” happening across a few exchanges of words. I expected more build up, more attention to their planning, and more focus on the other soldiers on Nikolay’s team. I found out pretty quickly why that didn’t happen.

The actual fight was impressively shot. It was easily the best use of the slow motion and CGI in the entire film. We get to see Nikolay’s smarts and his grit as a leader, we get to see Stepan ( Viktor Dobronravov ) the tank driver’s skills in action, and we meet Klaus Jäger ( Vinzenz Kiefer ), the German tank commander and the villain of the film. Nikolay’s single, battle-worn T-34 tank almost takes out Jäger’s entire team — and Jäger himself — but he and Stepan are captured.

This is when the movie completely threw me for a loop in a good way! I didn’t know what to expect when T-34 jumps to 1944, and Nikolay is still a prisoner. I got excited, anticipating where the movie would take me, and I wasn’t disappointed.

Jäger needs to train new Nazi divisions on fighting tanks. He comes to the camp to recruit Nikolay into being the head fish in the barrel. I loved this. Suddenly I’m getting a tank movie and a prison escape movie! There was also a little bit of The Longest Yard in there, what with the war games dynamic. Nikolay is given a T-34 and his choice of a crew — he picks Stepan and two new-comers, Serafim ( Yuriy Borisov ) and Volchok ( Anton Bogdanov ) — and he immediately goes about making a plan for escape.

Petrov and Kiefer work well against each other. They only get a few scenes where they’re actually, physically opposite each other. They have the perfect faces and eyes to convey their relationship even when they’re just staring into a viewfinder or peering out of the top of a tank. Irinia Starshenbaum plays Anya, a woman in the concentration camp that Jäger uses to translate for him, and Nikolay falls in love with. They’re cute together — Petrov has a young David-Keith-meets-young-Ewan-McGregor look to him — but their relationship feels like more of an afterthought than an integral piece of the story.

T-34 is a good-looking movie too. The CGI is used stylishly and effectively, only really getting wonky in a couple of scenes. Aside from the slow-motion shots, Sidorov isn’t afraid to mix things up a bit. The shots inside the tank during the battles have a cool, off-kilter, Jean-Pierre Jeunet vibe to them. We even get a quick, black-and-white POV shot from a camera filming the training exercise.

The action was exactly what I was looking for in a movie like this. There’s even a scene where enemy tanks are right beside each other and racing to get their turrets turned before the other one can. That’s the kind of shit I love.

At almost two hours, the movie feels a little flabby in some spots — they spend a little too much time camping out and stealing food — but there are small moments throughout that make it work. A moment later in the film, where Nikolay has to decide which member of his team has to go on a likely suicide mission, is short and effective. I also loved the method they used to get live shells for the training exercise. It gave their escape attempt a more profound meaning.

While I don’t think T-34 would do much to change the mind of someone who dislikes war movies, its well-shot action scenes make it a must for anyone who’s a fan of the genre.

Camera Work

Tank battles, shoe-horned love story.

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2018 ‘Т-34’ Directed by Alexey Sidorov

Fast And Furious On Tanks

In 1944, a courageous group of Russian soldiers managed to escape from German captivity in a half-destroyed legendary T-34 tank. Those were the times of unforgettable bravery, fierce fighting, unbreakable love, and legendary miracles.

Alexander Petrov Victor Dobronravov Irina Starshenbaum Vinzenz Kiefer Petr Skvortsov Semyon Treskunov Artyom Bystrov Michael Janibekyan Anton Bogdanov Sofya Sinitsyna Yuliya Dzhulai Darya Hramtsova Vasiliy Uriyevskiy Vasiliy Butkevich Yaroslav Shtefan Kirill Lopatkin Polina Volkova Wolfgang Cerny Yuriy Borisov Igor Khripunov Paul Orlyanskiy Artur Sopelnik Danila Rassomakhin Guram Bablishvili Joshua Grothe Dirc Simpson Mike Davies Elena Drobysheva Brian Flaccus Show All… Mikael Dzhanibekyan Christoph Glaubacker Philip Hersh Vladislav Manin Robinson Reichel Anton Shurtsov Nikola Todorović Danil Tyabin Christoph Urban Alexey Ushakov

Director Director

Alexey Sidorov

Producers Producers

Ruben Dishdishyan Len Blavatnik Nelly Yaralova Anton Zlatopolskiy Yuliya Ivanova Nikita Mikhalkov Leonid Vereshchagin

Writer Writer

Casting casting.

Soňa Ticháčková

Editor Editor

Dmitry Korabelnikov

Cinematography Cinematography

Mikhail Milashin

Production Design Production Design

Konstantin Pakhotin

Sound Sound

Costume design costume design.

Ulyana Polyanskaya

Mars Media Entertainment AMedia Studio Trite Mosfilm Cinema Foundation of Russia Algous studio Russia-1

Russian Federation

Primary language, spoken languages.

German Russian

Alternative Titles

T-34 レジェンド・オブ・ウォー, T-34 レジェンド・オブ・ウォー　最強ディレクターズ・カット版, 勇敢スペクタクルかっこいい映画まとめを作成する追加するまとめを選択してください T-34 レジェンド・オブ・ウォー　ダイナミック完全版, Iron Fury, T-34: O Monstro de Metal, T-34 : Machine de guerre, 猎杀T34, T-34 - Das Duell, T-34 Héroes de acero, Legenda jménem T-34, تي-34, T-34：玩命坦克, تی 34, טי-34, T-34 - Eroi d'acciaio, Chiến Tăng Huyền Thoại

Action Drama History War

War and historical adventure Epic history and literature Military combat and heroic soldiers Historical battles and epic heroism Bravery in War Political drama, patriotism, and war Nazis and World War II Show All…

Releases by Date

Theatrical limited, 27 dec 2018, 01 jan 2019, 18 jan 2019, 08 may 2019, 04 jul 2019, 25 oct 2019, 11 dec 2020, 03 feb 2021, 23 aug 2019, 03 oct 2019, 06 may 2021, 22 mar 2019, 05 aug 2019, 10 sep 2019, 08 nov 2019, 28 mar 2021, releases by country.

Theatrical 12+
Theatrical 15
Digital VOD
Physical 12
TV 12 Ciné+ Frisson
Digital 12 Prime Video
Theatrical N-13

Netherlands

Theatrical 16
Physical 16 DVD, Blu ray
Theatrical limited 12+ IMAX
Physical 12+ DVD
Physical 15
Theatrical 保護級

139 mins More at IMDb TMDb Report this page

Popular reviews

Review by Shakemeister ★★★

December List

They see me rollin’ They hatin’ Patrolling and tryin' to catch me ridin' dirty

Yea, I assume cruising around in a tank includes some pretty dirty riding…

I find it pretty fucking funny that the Russian news media hailed this as “ Fast and Furious on tanks”

I’m not gonna lie, this can give Fury a run for its money any day of the week. Now THIS is the REAL HARDCORE tank movie we need.

Now we just need to get Vin Diesel

Review by Carter Burkhart ★ 3

The story in here feels like it was adapted from my 10 year old G.I. Joe and Army Men battles.

Review by MAGE ★★★ 20

Ok, maybe I do want to see a Zack Snyder movie about Washington crossing the Delaware.

This drags a bit in the middle, but the first and last 40 minutes are fucking phenomenal. You’d think I’d get sick of the super-slow-mo artillery shell shots, but every one of the 248 times it happened, I nodded appreciatively and thought to myself, “Yes. I like this.” Sure, the CGI isn’t top shelf Hollywood stuff, but it’s fucking good enough for what this is. Which is preposterous Russian propaganda. You’re an awfully long way morally from gallantly fighting the Nazis, fellas. I mean, yeah, admittedly so are we Yanks. But, um…..let’s see…..

In any case, you know what else this movie…

Review by ethxn🏴‍☠️ ★★★★★ 2

“We were fighting for our land.”

This film is seemingly a remake of The Lark (1964) . I have unfortunately seen very few Russian films, one of my favorites however was The Spacewalker (2017) . Though now, I can confidently say T-34 is another favorite as I was completely engrossed throughout the film.

The special effects during battle were outstanding, the slow-mo, while used often, was gorgeously shot. It made the actions by both German and Russian tank crews feel so palpable. I felt as if I was in the battle with them at times. The filmmakers accurately depicted the essence of being stuck within a metal beast being hit by shells that could obliterate the interior if not expertly dodged at…

Review by InisiAL ★★★★

Good thriller and action even the act mostly take a place inside at tank. The slowmo act also cool

Review by Trevor Wang ★★★★

Check out my Russian and Soviet Cinema , and History & War lists!

Alexey Sidorov's T-34 is loosely based on true events about a group of Russian soldiers captured by the Nazis and managed to carry out an escape mission from the concentration camp in a legendary T-34 tank during WWII.

T-34 is visually stunning with fantastic and immersive production design, compelling storytelling with twists, complex characters driven by strong motifs, and captivating cinematography captures vivid fighting scenes in slow motion, tracking shots, and intense camera angles.

T-34 is a courageous story about legendary bravery for freedom, fierce fighting with tactics, unbreakable romantic love, undefeated brotherhood of trust, and incredible miracles in 1944. It's an epic Russian WWII film that is so inspirational!

Review by More_Badass ★★★

When T-34 is just rollicking tank action porn with drifting tank duels and artillery slow-mo, it’s incredibly entertaining. Otherwise, the melodrama, romance, and patriotic camaraderie couldn’t feel more forced and flat.

Thankfully there’s more tank battles and cannon “quick-draws” in T-34 than there is unengaging war drama. First act is almost entirely one extended battle; final 40 is nearly all Great Escape/chase action. But the movie struggles when it favors conversation over combat. A really mixed bag of an experience that tries to overcome its underdeveloped characters (or not developed at all, like Irina Starshenbaum’s utterly sidelined Anya) with bombastic battle spectacle.

Review by Ed Küpfer ★★★½

Cool setup: Late in the Great Patriotic War, a Russian tank crew held as POWs in a German concentration camp is chosen to crew a captured defanged tank, the titular T-34, to be live target practise for German tanker trainees. But the Russians plan on breaking out of the camp in their tank and escaping back to their own lines.

If you like bullet time, your mind may literally explode when you see artillery shell time, which happens in nearly every tank vs tank confrontation in this movie. of which there are many. You even get super slow motion shots of shrapnel tearing up the inside of a tank. Pretty cool.

The whole thing was cheesy but a lot of fun.

Review by JobenNate ★★★★

Every single slow motion shot.....nut.

Review by raptorroach ★★★½

the only reason the fuckin girl was there was to assure the audience that nikolai was straight

Review by Andrew Stasiulis

Lame brained even by Russian Nationalist cinema standards.

Russia began heavily re-investing in the mythic properties of the Second World War in the early 2000’s with films like The Star, a film very much tailored off the success of Saving Private Ryan.

As Putin’s project for a resurgent militaristic national identity grew, an increasing flow of war films marched in step.

It should come as no surprise that they have gotten dumber and more bombastic as the delusions of a rotten wannabe superpower steadily reached a fever pitch. There’s a stark contrast in the ideological material of the more recent Russian war “blockbusters” with their preceding generation’s. Compare this to Sergei Bondarchuk’s They Fought For Their Country and you will…

Review by Jake Alda Coffey ★★★★

A very engrossing Russian war movie. Wasn’t familiar with this film til recently, but was impressed by its quality, especially its visuals during the battles. Besides Come and See, I haven’t seen a Russian war film before. They’re both grueling in different ways. There were lots of slow motion shots of bullets and missiles flying into buildings and objects, and each time was a stunning work of art. This is definitely worth a watch, a hidden gem.

2018 RANKED

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T-34 (2018)

Published 8 April 2019 · Updated 10 April 2019

Film Review : T-34

I’ll give you another chance. You choose and prepare a Russian tank crew. On a designated day at the shooting range, you show your science, to my cadets. You won’t have ammunition. Just your skill. If you die … you die as a soldier on the battlefield.

I thought it was time again to watch a realistic WWII war movie. One that focuses on heroism and the urge to survive. A film where you almost can smell the war and experience the despair, as if you were in the middle of it. Not a movie that shows experimental creatures (like in “ Overlord “) or Nazi Zombies. I have to admit that after seeing the trailer for “ T-34 ” (yes, yes, I know I always claim to avoid trailers), I was very curious about this film. The trailer looked phenomenal. And I wanted to see if the entire film was peppered with such spectacular images. Or was the trailer again a summary of the best phases of the film? Believe me. The film is unparalleled from start to finish and keeps you glued to your screen.

Euh. A Russian movie.

When it comes to Russian-made films, I need to confess that I don’t know much about that. To be honest, my knowledge is limited to the clichés known about this enormous country. But in hindsight, I really have to admit that I was pleasantly surprised by it. The film didn’t have such an old-fashioned and woolly appearance, but it looked highly qualitative with extremely perfect footage and solid acting. You could say this film has true Hollywood blockbuster allures.

Big applause for the T-34 .

The movie is about the T-34. A Soviet tank that was used en masse against the invasion by Germany in the former Soviet republic. This medium-sized tank, which was provided with thickened armor, was initially unable to cope with the better-made German panzers. However, they had one advantage: the large caterpillar tracks made them tactically very mobile and the infamous mud pools were no problem in the winter period, while the German armored brigades got stuck in it. So the film is a tribute to this legendary tank that helped defeat Nazi Germany.

Those slow-motion images were impressive.

If you like action-packed war films and want to see how ruthless and cruel a tank battle can be, then you should definitely watch this film (but I am convinced there are other wonderful films that tackle this subject). The confrontations between German tank brigades and Russian lieutenant Nikolay Ivushkin ( Alexander Petrov ) and his crew are ultra-realistic and impressive. The close-up images in the T-34 with its limited movement space, are breathtaking and have a claustrophobic effect.

You can feel the nerves rushing through your own body. Just as the crew, as they realize they can expect a fatal hit any time. You can almost smell the sweat of fear. And it’s the images that leave a huge impression. The slow-motion images of the all-destructive grenades going through steel and concrete, look really exquisite. It all has a very high PC game vibe and perhaps this technique was used a bit too much. But it was entertainment of the highest level.

Prisoners of War.

But not only the tank battles impressed me. The part about Nikolay’s captivity in a German concentration camp was also excellent. The scene where the train, crammed with “Prisoners of War”, arrives at the concentration camp in the rain, I found impressive. The despair, despondency, and hopelessness were contained in that one image with the train where dead people fall out of the wagons, the moment the sliding doors open.

It’s here that Nikolay is picked out by camp commander Klaus Jäger ( Vinzenz Kiefer ) to fix a captured T-34 and make it ready for battle with a crew chosen by Nikolay. The intention is that their Russian tank becomes a target during tank practices by the Germans. What Klaus Jäger doesn’t know is that they also found ammunition while removing the dead bodies. And that’s the impetus for Nikolay to escape during such an exercise and after that trying to reach Czech Slovakia.

I loved to play “Tank Battle” when I was a kid.

When I was young I loved to play the board game “Tank Battle”. “ T-34 ” reminded me of this repeatedly. Only the board game was a bit more peaceful compared to this movie. “ T-34 ” is extremely ruthless and shows how heroism makes the impossible possible. And amidst this war violence, there’s even room for some romance between Nikolay and the Russian translator Anya ( Irina Starshenbaum ) whose privileges in the concentration camp are invaluable for Nikolay and his companions.

I kept asking myself just one thing. What impact did such a grenade (that bounces off the armor) have on the crew in the tank? Is it the air pressure? Or the decibels? Because I can imagine that must be a lot of noise. As if you are sitting in a bronze clock and someone hits it with a heavy sledgehammer. It’s just a futile question about an otherwise excellent and impressive Russian film.

My rating 7/10 Links: IMDB

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T-34 (2018)

Genre: war / action, duration: 139 minuten, country: russia, directed by: aleksey sidorov, stars: alexander petrov and vinzenz kiefer, imdb score: 6,8 (14.306), releasedate: 27 december 2018.

"Fast And Furious On Tanks" 1941. Second Lieutenant Ivushkin has just graduated from the Academy and is sent to the front. There he must answer a suicide mission - with a T-34 tank and a small crew, he must stop a dozen new German Wehrmacht tanks from attacking a nearby village. Miraculously, he succeeds, but is unfortunately captured anyway. 1944: Ivushkin is imprisoned in a German concentration camp for three years. The Wehrmacht wants to train its elite tank leaders using captured Soviet T-34 tank. Ivushkin is offered the first command, along with his old crew. He agrees, but only because he plans a daring and well-planned escape.

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Nikolay Ivushkin

Anya Yartseva

Klaus Jäger

Vasiliy Teterya

Demyan Volchok

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Trailer T-34

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MASTEROFTHEPUPPETS

13 messages

Sterke en originele oorlogsfilm. Voor de liefhebber een must! Duitsers die duits spreken en russen Russisch! Love it Mooie grauwe film met hedendaagse technieken verfilmd. Top!

Strong and original war film. A must for the enthusiast! Germans who speak German and Russians Russian! Love it Beautiful gray film filmed with contemporary techniques. Top!

11815 messages
10209 votes

Goeie film waarin een gevangen Russische tankcommandant door de Duitsers wordt gedwongen een tank te repareren. Een prima verhaal dat hier een onderhoudende film oplevert die behoorlijk avontuurlijk gebracht wordt. Een aantal goeie actie-scenes met leuk gebruik van slow-motion. Een spannende finale, ook al is het niet overal even geloofwaardig en is het redelijk dik aangezet allemaal.

Good film in which a captured Russian tank commander is forced by the Germans to repair a tank. A great story that results in an entertaining film that is presented quite adventurous. Some good action scenes with nice use of slow-motion. An exciting finale, even if it is not equally believable everywhere and it is all quite thick.

HALVE TAMME. (moderator series)

13428 messages

T-34 (2018). Een tank! Ik blijf het toch een fascinerend voertuig vinden. We zijn door de jaren heen gewoon verwend. De 'hier en daar' slechte CGI neem ik dan ook voor lief want de rest is gewoon goed. Acteurs/actrices, verhaal (drama), gevechten (actie), locaties ect ect. Een gemiste kans is deze film zeer zeker niet. Hand op mijn hart. Ben je into oorlogsfilms, dan mag je deze tank battle echt niet missen. Ik heb een geslaagde filmavond achter de rug. Nice! ****

T-34 (2018).

A tank! I still find it a fascinating vehicle. We've just been spoiled over the years. The 'here and there' bad CGI I take for granted because the rest is just good. Actors/actresses, story (drama), fights (action), locations ect ect. This film is certainly not a missed opportunity. Hand on my heart. If you are into war movies, then you really shouldn't miss this tank battle.

I've had a successful movie night. Nice!

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T-34 (2018)

Original title: т-34.

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T-34 streaming: where to watch online?

Currently you are able to watch "T-34" streaming on Amazon Prime Video, Peacock Premium or for free with ads on Tubi TV, Pluto TV, Freevee, Amazon Prime Video with Ads. It is also possible to rent "T-34" on Amazon Video, Google Play Movies, YouTube, Vudu, Apple TV, Microsoft Store online and to download it on Apple TV, Amazon Video, Google Play Movies, YouTube, Vudu, Microsoft Store.

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Streaming charts last updated: 5:18:16 PM, 04/14/2024

T-34 is 13765 on the JustWatch Daily Streaming Charts today. The movie has moved up the charts by 8823 places since yesterday. In the United States, it is currently more popular than His Girl Friday but less popular than Coven.

Streaming Charts The JustWatch Daily Streaming Charts are calculated by user activity within the last 24 hours. This includes clicking on a streaming offer, adding a title to a watchlist, and marking a title as 'seen'. This includes data from ~1.3 million movie & TV show fans per day.

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Civil War Plays Like a Nightmare. You Should Still See It.

A24’s most expensive movie to date is borderline incoherent. that doesn’t mean it’s not important..

The year is unspecified—it could be a few years into some alternate future, or it could be right now. The president, a clean-cut establishment type played by Nick Offerman, is unnamed, his party and political affiliations unclear (though his rhetoric in an address to the nation sounds disturbingly authoritarian). And the precise nature of the domestic conflict that has torn the United States apart and turned the nation’s major cities into zones of open warfare is unexplained. In Civil War , the provocative fourth feature from Alex Garland ( Ex Machina , Annihilation , Men ), the details about why and how America collapsed into violent chaos are immaterial. What Garland wants is to drop us into the middle of that violent chaos as it unfolds, to make us see our familiar surroundings—ordinary blocks lined with chain drugstores and clothing boutiques—recast as active battlegrounds, with snipers on rooftops and local militias enforcing their own sadistic versions of the law.

One thing Garland’s at times frustratingly opaque script does go out of its way to clarify is that the ideological fissures in this alternate version of America occur along different fault lines than the ones that remain from the country’s actual civil war. The main threat to what we’ll call the Offerman administration is the secessionist group the Western Forces, a Texas-California alliance that’s intentionally impossible to extrapolate from our current red state–blue state split. There is also a separate rebel movement of some kind based in Florida, but above all, there is unchecked street violence and general social disorder. One early exchange of dialogue suggests that the war has been going on for some 14 months, which seems like too short a time for the country to have fallen into the advanced state of dystopia in which we find it: highways choked with empty cars, most of the population in hiding, the internet all but nonfunctional except in a few urban centers. But again, the point is less plausibility than viscerality. Garland got his start writing a zombie movie, Danny Boyle’s 28 Days Later , and he has also co-written an award-winning action video game. Civil War , A24’s most expensive movie to date, sometimes plays like a mashup of those two genres, with the viewer as first-person player and our armed fellow citizens as the zombies.

As the film begins, Lee Smith (Kirsten Dunst), a veteran war photographer, is in New York City, holed up at a hotel that doubles as a makeshift command center for the press. Knowing that the Western Forces are on the verge of taking the capital, Lee and her longtime professional partner, a wire-service reporter named Joel (Wagner Moura), are planning a perilous road trip from New York to D.C. in the unlikely hope of landing an interview with the embattled president. Lee’s longtime mentor, news editor Sammy (Stephen McKinley Henderson), warns them that the plan is sheer madness—then asks if, despite his age and limited mobility, he can get in on the action.

As they’re preparing to leave, they’re joined, despite Lee’s protests, by Jessie ( Priscilla ’s Cailee Spaeny), an aspiring photojournalist in her early 20s who idolizes Lee’s work but has no experience in war zones. Bringing along the stowaway Lee disparages as a “kindergartner” will only, she argues, put all of them in even more danger. These doubts turn out to be justified: The presence of Jessie, a live wire with a penchant for unnecessary risk-taking, makes the journey to D.C. even more perilous, while forcing Lee to confront how jaded she’s become after years of compartmentalizing her most scarring memories. On the way to the capital, this multigenerational foursome encounters gas-station vigilantes, a shootout at an abandoned Christmas-themed amusement park, and a gut-churning encounter with a racist militant played by Dunst’s real-life husband, Jesse Plemons.

In its vision of journalism as a form of amoral adventure-seeking, Civil War belongs to a long tradition of films about hardened war correspondents in far-flung places, movies like A Private War and The Year of Living Dangerously . But the fact that the carnage these reporters are documenting is homegrown shifts the inflection significantly. Suddenly it’s impossible to exoticize or otherwise alienate ourselves from the bloodshed onscreen, which makes us ask ourselves what we were doing exoticizing it in the first place. This effect of moral immediacy is Civil War ’s greatest strength, and the reason it feels like an important movie of its moment even if it isn’t a wholly coherent or consistently insightful one.

Garland’s idea of throwing us in medias res during a civil war in progress is a bold gambit, and his cinematic instincts—his sense of where to put a camera and how long to draw out a moment of suspense—are often keen. The horrible realities he makes us look at—intra-civilian combat, physical and psychological torture, the everyday depths of human depravity—are summoned powerfully enough that Civil War remains emotionally and physically affecting even as the ideas it seeks to explore remain fuzzy. Is this a critique of contemporary journalism or a salute to the courage of reporters on the front lines? If it’s meant to be suspended somewhere in between, how does the filmmaker position himself on that line, and how should we, the audience, feel about the protagonists’ sometimes dubious choices?

Even as they document street battles and point-blank executions, adrenaline junkies Jessie and Joel occasionally exchange devilish grins. Meanwhile, Lee is all but incapable of normal human relationships because of her unacknowledged PTSD. A late sequence finds them unofficially embedded with an especially ruthless death squad; it would seem important to establish whether this alignment is meant to signify their ultimate journalistic corruption or a necessary compromise for the survival of the Fourth Estate. Even on the level of plot logic, the movie poses a question that the script’s curiously thin worldbuilding never answers: If the internet and most of the nation’s industrial infrastructure are in ruins, how are ordinary people reading Joel’s articles and looking at the photos that Lee herself struggles for hours to upload? If it is intended in part as a satire of journalistic opportunism, Civil War should be more specific about the conditions of 21 st -century media in wartime, especially given that it’s coming out at a moment when front-line reporters face more physical danger than at any time in recent memory.

All we learn of Lee’s background is that, like Jessie, she is from a farm town in the interior of the U.S., with parents who are in stubborn denial about the crumbling of the republic. But because Kirsten Dunst is a remarkable artist, she makes this somewhat underwritten character, who on paper could have been a stoic “badass” stereotype, into a complex and indelible presence. Dunst also, perhaps for the first time, loses the girlish quality she has brought even to middle-aged characters: Lee Smith is a plain, scowling woman with a glum, even abrasive mien. She’s a person whose perspective on life has narrowed down to the size of a camera lens, yet she’s also a committed journalist and a fiercely loyal colleague. As the other three sort-of protagonists, Moura, Henderson, and Spaeny all turn in finely tuned performances that bring a depth to their characters beyond what the script provides, but it’s Dunst whose thousand-yard stare and deep-buried grief will stay with me.

“What kind of American are you?” Plemons’ fatigues-and-pink-sunglasses-clad character asks the journalists one by one as he terrorizes them at gunpoint in the movie’s scariest and most successful sequence. (Not for nothing, it’s also the moment that suggests the most strongly that the vaguely defined conflict in this fictive America has everything to do with race.) That may be the screenplay’s smartest single line, in that it dispenses with the metaphorical quality of Civil War ’s imagined political dystopia and presents us with the real question many Americans are asking each other and themselves right now, sometimes in a self-reflective mode, sometimes in a contentious or overtly threatening one. As the unfolding of that encounter with Plemons makes clear, as soon as the question is asked with a weapon in your hand, it becomes a trick question, posed not to start a conversation but to set a trap. Civil War often leaves the audience feeling trapped in an all-too-realistic waking nightmare, but when it finally lets us go, mercifully short of the two-hour mark, it sends us out of the theater talking.

Movie Reviews

Tv/streaming, collections, great movies, chaz's journal, contributors, don't tell mom the babysitters dead.

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Director Wade Allain-Marcus ’s “Don’t Tell Mom the Babysitter’s Dead” is a remake of the 1991 original, repurposing an older narrative for a new generation and, this time around, centering on a Black family. Seventeen-year-old Tanya Crandell ( Simone Joy Jones ) looks forward to her summer in Spain with her friends. But when her mother ( Patricia Williams ) is shafted at work, losing out on a promotion to a younger, whiter, male-r counterpart, she has a mental breakdown that warrants a summer-long R&R stay, which co-opts Tanya’s budget for abroad and leaves her indignantly stuck at home.

In her absence, Mrs. Crandell hires an elderly babysitter, Ms. Sturak ( June Squibb ), to watch the kids: Tanya, her stoner teen brother Kenny (Donielle T. Hensley Jr.), macabre little sister Melissa (Ayaamii Sledge), and nerdy kid brother Zack (Carter Young). Ms. Sturak is not the warm, fuzzy granny she appears to be, swapping out freshly baked cookies and comforting hugs for crude, blatantly racist remarks. When the siblings throw an all-out rager disguised as “Bible study,” the underage drinking, smoking, and queer romancing happening under their roof throws the conservative sitter into cardiac arrest. The kids are forced to hide the body and learn how to take care of themselves for the summer.

The responsibility falls on Tanya as the eldest and most responsible; with some clever Google deep dives and intricate Canva work, the siblings create a 25-year-old simulacrum of their sister, who uses her newly faked identity to land a job at Libra, a fashion company helmed by the ultimate girlboss, Rose ( Nicole Richie ). As Tanya juggles a summer of office politics, adult responsibilities, and a freshly spawned romance, “Don’t Tell Mom the Babysitter’s Dead” comedically centers on older sibling syndrome and the daunting pressures of adulthood and agency.

Writers Chuck Hayward , Neil Landau , and Tara Ison deliver a script chock full of hilarious one-liners that are kindly doled out evenly among the ensemble cast. Whether quipping on the quotidian precarities of being young Black kids in a wealthy white neighborhood (even aside from the dead white woman they disposed of) or the situational comedy of Tanya’s manufactured identity and adjustment to the 9-to-5 lifestyle, the script hands out laughs with generosity. Kenny’s penchant for weed and Melissa’s true crime fascinations also present familiar comedic archetypes for the film to lean on.

Unfortunately, many of these comic opportunities fall flat in the execution. Shoddy line deliveries keep you from recognizing the joke, requiring a few seconds of processing time to land. The performances often feel responsible for this; they feel uncanny and solitary as if the cast were projecting lines to the expectant ears of a studio audience that doesn’t exist. While this awkward independence of the functioning characters muddles some moments, it doesn’t entirely erase the recognizable humor that remains consistent throughout.

Jones acquits herself quite well in her first role as a leading lady. She displays a formidable amount of range, from the short fuse of an eldest sister’s stoicism to the personal and professional confidence she develops as the summer pushes her to expand her comfort zone. The dynamics of the sibling ensemble are also generally believable in their moments of union and annoyance. Hensley Jr. is a reliable source of comic relief, and his antics test his siblings’ patience and perseverance.

Tanya’s employee-employer relationships with Rose and her budding romance with aspiring architect Bryan ( Miles Fowler ) get more screen time than those with her siblings, making “Don’t Tell Mom the Babysitter’s Dead” more of a portrait of her than that of the family. While Richie’s performance is rather flat and one-note, it’s a testament to the hollow girlboss identity the film crafts in the shape of a chronically-online millennial Miranda Priestly. At the same time, the chemistry between Tanya and Bryan is the most persistent: Fowler and Jones feel natural, weaving through the attraction, timidity, and frustrations of young, insecure, and poorly communicated relationships. Yet this particular pairing has the least bearing on the film's events, and this display of potential exacerbates the desire for magnetism in the core sibling dynamic.

“Don’t Tell Mom the Babysitter’s Dead” is laid-back and funny but ultimately whiffs on its swings too many times to make a lasting impression. It has all the right components, earnestly eliciting a few chuckles and a true investment in its characters. Still, it comes together like a jigsaw puzzle whose pieces aren’t fully pressed into place: a flimsy portrait of teen comedy and coming-of-age that won’t stand the test of time.

Peyton Robinson

Peyton Robinson is a freelance film writer based in Chicago, IL.

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Director: Aleksey Sidorov

Release Date (Streaming): Jun 11, 2019

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People say ‘it can’t happen here.’ ‘Civil War’ shows what happens when it does.

Kirsten dunst plays a photojournalist in an america that’s become a war zone..

The plot of Alex Garland’s “Civil War” is straightforward enough. Two veteran photojournalists, a younger one, and an elderly reporter want to get to a besieged capital to cover its imminent fall. Traveling in a white SUV with “PRESS” on the side, they need to take a roundabout route through war-torn territory. You know what to expect from that setup: tension, action, suspense, clashes among the passengers. It’s a road trip courtesy of CNN.

Except the situation, unlike the plot, is anything but straightforward. The besieged capital is Washington, and the war-torn territory is in Pennsylvania, West Virginia, and Virginia. The civil war of the title is American, and not the one that started in 1861. This civil war takes place in the near future — perhaps very near.

Stephen McKinley Henderson in "Civil War."

There was a time, and not that long ago, when something like “Civil War” would have seemed grotesque and fantastical and exploitative. It still seems grotesque. It doesn’t seem fantastical or exploitative.

California and Texas, which have seceded and formed the Western Forces, are attacking D.C. Something called the Florida Alliance is threatening the Carolinas. The territory of the New People’s Army runs in a band from the Pacific Northwest through Minnesota. Everything else is the Loyalist States. The president, who’s serving a third term, has shut down the FBI. There was something called “the Antifa Massacre.” The Western Forces fly a flag identical to Old Glory other than one detail: It has two stars, not 50.

Things are at once recognizably the same and vastly different. Garland (“Ex Machina,” 2015; “Annihilation,” 2018; “Men,” 2022) understands that dread grounded in familiarity is that much more to be dreaded than the out-of-left-field kind. He employs here the same everyday-life-upended principle he used in his script for “28 Days Later” (2002), with its vision of life in a London that’s been devastated by a virus.

Kirsten Dunst in "Civil War." Note the US flag with two stars.

Such political details come up in the movie in passing or are gleaned from a map that the film’s distributor, A24, posted on X last week . It’s not a 109-minute commentary that Garland’s made (he wrote the script as well as directed); it’s a feature film. Joining California and Texas, as distant geographically as they are ideologically, is a reminder that “Civil War,” first and foremost, is storytelling rather than a speculative op-ed.

Still, distance is as distance does. A Constitution-busting presidential third term and FBI elimination give off an unmistakably Trumpian vibe. More pointedly, it’s not D.C. that the journalists are driving to. They’re heading to where the Western Forces are gathering for the final push on the capital. That would be a place in Virginia by the name of Charlottesville, where there were “very fine people on both sides” in 2017.

It’s important to note that “Civil War” presents the conflict as a given. The war is the world the story takes place in without itself being the story — until the end, with the attack on Washington. The sequence is very impressive technically and close to unbearable emotionally. Try to watch it without flashing back to Jan. 6, even if it’s not the Capitol that’s under assault but the White House.

Garland has made a movie of set pieces (a riot in New York, confrontations with militiamen, Washington as free-fire zone), unsettling soundscapes, and even more unsettling tableaux (a wrecked helicopter in a JCPenney parking lot; a dump truck full of corpses).

Cailee Spaeny and Wagner Moura in "Civil War."

The significance of visuals to “Civil War” extends beyond the strictly visual. It matters that three of the four main characters are photographers. They’re people whose job it is to see — and see for the rest of us. “Every time I survived a war zone and got the photo,” says Lee Miller (Kirsten Dunst), “I thought I was sending a warning home: ‘Don’t do this.’ But here we are.”

Lee has the same name as a legendary World War II photographer . The name of the aspiring photographer, Jessie Cullen (Cailee Spaeny, “Mare of Easttown”), is a nod on Garland’s part to the great war photographer Don McCullin . The film’s climax can be seen as a variation on Robert Capa’s most famous photograph . Garland frequently inserts still images that one of the photojournalists has just taken — a terrific idea in theory, a distraction and visual tic in practice.

This orientation toward the photographic makes sense. Yet it also helps account for how flat “Civil War” feels emotionally. This matters even more than in most movies, certainly most action movies (which, among other things, “Civil War” is), because what connects the set pieces is those four characters relating to each other. Or trying to. Wagner Moura (“Narcos,” “The Gray Man”), plays Joel, the other photographer. Stephen McKinley Henderson (the priest in “Lady Bird,” Thufir Hawat in “Dune”) is Sammy, the old-guy reporter.

“Civil War” can, and frequently does, put its characters through an emotional wringer. It puts viewers through one, too. But those characters seem less like people with actual feelings to be wrung than means to Garland’s filmmaking ends. That’s also true of his three previous movies. Jean Renoir he is not. Here that emotional reductiveness most clearly applies to Jessie, who’s basically a device for complicating Lee’s situation. “Civil War” has been getting so much attention because of its political aspect. Ultimately, though, it’s more a set of character studies. Seen in that light, the movie’s about as plausible as California and Texas joining forces.

It’s telling that the two most vivid characters are only briefly onscreen: the president, played by Nick Offerman, and a militiaman played by an uncredited Jesse Plemons. Offerman is especially inspired casting: imposing yet unsteady, overbearing yet faintly bogus. He’s politician-phony, a really hard quality to convey persuasively, not actor-phony. Plemons wears a hideous-looking pair of red glasses and, more than anyone else in the movie, gives a face to the menace and madness abroad in the land. It’s a nice grace note that in real life he and Dunst are married.

Without much to work with, Wagner and Henderson get the job done. Dunst has more to work with, and she does more with that more. From the flatness in Lee’s voice to the deadness in her eyes, Dunst gives a heroically unglamorous performance. In “Dispatches,” his classic book of Vietnam War reportage, Michael Herr wrote, “War stories aren’t really anything more than stories about people anyway.” “Civil War” is very much a war story. The title tells you that. So long as Dunst is on screen there’s no “anyway” about the people part.

Written directed by Alex Garland. Starring Kirsten Dunst, Wagner Moura, Cailee Spaeny, Stephen McKinley Henderson. At Boston theaters, Coolidge Corner, Kendall Square, Somerville, suburbs. 109 minutes. R (violence, gore, extreme emotional distress)

Mark Feeney can be reached at [email protected] .

T-34 (2018)

Parents Guide

Certification

Sex & Nudity (2)
Violence & Gore (2)
Profanity (2)
Alcohol, Drugs & Smoking (1)
Frightening & Intense Scenes (3)

Sex & Nudity

Mild 13 of 35 found this mild Severity? None 14 Mild 13 Moderate 5 Severe 3 We were unable to submit your evaluation. Please try again later.
The only sex scene is very subtle and suggestive. A man and woman is lying on the ground. They kiss and it seems that they are at least half-naked. The scene is highly suggestive and contains no explicit sex or nudity. Edit
the men run to a lake and are nude mostly obscured. Edit

Violence & Gore

Mild 8 of 17 found this mild Severity? None 2 Mild 8 Moderate 7 Severe 0 We were unable to submit your evaluation. Please try again later.
Battles are mainly between tanks, but there are some scenes where infantry soldiers engage in battle. The violence is not explicit with moderate blood, but no gore. Also no close-up detail of wounds. Edit
A Russian POW is whipped by a German officer. The scene is only a few seconds long. Edit
Mild 14 of 20 found this mild Severity? None 1 Mild 14 Moderate 2 Severe 3 We were unable to submit your evaluation. Please try again later.
On the Russian audio track, there are two instances of the f-word being used, and one use of a crude term for male genitalia. Milder swear-words like "shit" and "bullshit" are also occasionally used. Edit
Occasionally words like "sh*t" and "bullsh*t" are used. Edit

Alcohol, Drugs & Smoking

Mild 14 of 18 found this mild Severity? None 2 Mild 14 Moderate 1 Severe 1 We were unable to submit your evaluation. Please try again later.
Occasionally some soldiers smoke cigarettes and two German officers sometimes smoke pipe. Edit

Frightening & Intense Scenes

Mild 8 of 16 found this mild Severity? None 4 Mild 8 Moderate 4 Severe 0 We were unable to submit your evaluation. Please try again later.
The slow-motion effects used during tank battles to illustrate the impact of rounds hitting tanks might be very unsettling for sensitive viewers - especially those who are not used to the intensity of war movies. However, it should be noted that the idea behind these slow-motion effects are much more relevant to technical and special effects aspects and are clearly not used to distress viewers. Edit
There is one scene where POW's arrive at a concentration camp - the scene contains some very intense psychological aspects; for example a Nazi-officer cocks a pistol and points it at a prisoner's face. He pulls the trigger, but the pistol misfires. Edit
There is another scene where a Nazi-officer cocks his pistol and threatens to shoot a Russian girl. He counts from one to five while pointing the pistol at her - she starts crying and collapses against a wall. Edit

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Civil War ditches present politics in favor of gripping action and emotion

Ex Machina director Alex Garland wanted to tell a timeless human story, not an agenda-driven, partisan one

A blonde woman in a “Press” bulletproof vest stands in the White House in Civil War

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A version of this review ran in March 2024 in conjunction with the movie’s original coverage embargo. It has been updated and republished for the theatrical release.

In an era of divisive, high-stakes U.S. politics, it isn’t surprising to see so many people online responding to the entire concept of Alex Garland’s Civil War as if it’s inherently toxic. Set on and around the front lines of a near-future America broken into separatist factions, Garland’s latest (after the fairly baffling fable-esque Men ) looks like a timely but opportunistic provocation, a movie that can’t help but feel either exploitative or far too close to home in a country whose name, the United States, sounds more ironic and laughable with every passing year.

And yet Garland says that America’s present widespread divisions aren’t really what Civil War is about . The movie is about as apolitical as a story set during a modern American civil war can be. It’s a character piece with a lot more to say about the state of modern journalism and the people behind it than about the state of the nation.

It’s almost perverse how little Civil War reveals about the sides in its central conflict, or the causes or crises that led to war. (Viewers who show up expecting an action movie that confirms their own political biases and demonizes their opponents are going to leave especially confused about what they just watched.) This isn’t a story about the causes or strategies of post-united America: It’s a personal story about the hows and whys of war journalism — and how the field changes for someone covering a war in their homeland, instead of on foreign turf.

Lee Miller (Kirsten Dunst) is a veteran war photographer, a celebrated, awarded, deeply jaded woman who’s made a career out of pretending to be bulletproof in arenas where the bullets are flying — or at least being bulletproof long enough to capture memorable, telling images of what bullets do to other people’s bodies and psyches. Her latest assignment: She and her longtime work partner Joel (Wagner Moura) have been promised an interview with the president (Nick Offerman), who is now in his third term in office and coming off more than a year of public silence.

It’s a dream opportunity for a war correspondent — a chance to make history, and maybe more importantly, to make sense of the man whose choices seem to have been key in pushing the country over the line and into war. But securing the interview will require traveling more than 800 miles to Washington DC, through active war zones, and past hostile barricades erected by state militias or other heavily armed local forces. Tagging along on this potentially lethal road trip is Jessie ( Priscilla star Cailee Spaeny), a green but ambitious 23-year-old photographer who Lee obviously thinks is likely to get herself killed along the way — or get the whole traveling party killed.

The tension between Lee and Jessie forms the center of Civil War , far more than the tension between any particular political perspectives does. They’re potential mentor and her potential replacement, the past and future of their chosen career, allies but competitors, chasing the same things within a small profession known equally for its rivalries and its interpublication commiseration. That gives the film plenty of low-key, sublimated tension, which gets more air than the actual country-wide conflict the two women are navigating. For all that the movie is coming in a time when pundits keep warning about the potential for an actual new American civil war , Garland’s Civil War barely tips its hand about the specifics of the conflicts.

There’s plenty there for viewers who want to read between the lines, about which states are in revolt (California, Texas, and Florida all get passing mentions as separatist states) and about the soldiers — mostly Southern and many rural — who get significant screen time. (Jesse Plemons surfaces as yet another in his long line of terrifying men with clear potential for violence, and a dangerously blank affect that keeps people from knowing when that violence is coming.) But Lee’s angry exhaustion and Jessie’s fear and excitement over learning more about the profession from someone she respects are the real heart of the story.

All of which makes Civil War a movie more about why war correspondents are drawn to the profession than about any particular perspective on present American politics. And it’s a terrific, immersive meditation on war journalism. Lee and her colleagues are presented as half thrill-seeker adrenaline monkeys, half dutiful documentarians determined to bring back a record of events that other people aren’t recording. They’re doing important work, the movie suggests, but they have to be more than a little reckless both to choose the profession and to return to the battlefield over and over.

Lee never gives any big speeches about the difference between covering war in Afghanistan and in Charlottesville, but it’s clear she’s fraying under the pressure of watching her own country in such a rattled and ragged state, with hardened soldiers on both sides demonizing other Americans the way Americans have demonized entire foreign nations. Jessie, for her part, seems impervious to the weight of that reality, but still far less inured to cruelty and to combat. The two women push powerfully at each other, with a clear, beautifully drawn, yet unspoken sense that when Lee looks at Jessie, she sees her own younger, dumber, softer self, and when Jessie looks at Lee, she sees her own future as a famous, capable, confident journalist.

All of this character work is built into a series of intense, immersive action sequences, as Lee’s group repeatedly risks death, trying to negotiate their way across battle lines or embed themselves with soldiers during pitched combat. The finale sequence, a run-and-gun combat through city streets and tight building interiors, is a gripping thrill ride that Garland directs with the immediacy of a war documentary.

The entire film is paced and planned with that dynamic involved. It’s a particularly gorgeous drama, shot with a loving warmth that reflects its point of view, through the eyes of two photographers used to conceiving of everything around them in terms of vivid, compelling images. A late-film sequence shot as the group drives through a forest fire is especially beautiful, but the movie in general seems designed to impress viewers on a visual level. By mid-film, it becomes clear that Lee shoots with a digital camera, while Jessie shoots on old-school film, and that for both of them, that choice is important and symbolic.

In the same way, Garland’s shot choices and the movie’s vivid color keep reminding the audience that this is a movie about not just documenting moments, but capturing them well enough to mesmerize an audience. In some ways, Civil War comes across as nostalgic for an earlier era of journalism and photography. The collapse of the internet seems to have reset the news to a point where print journalism dominates over TV or social media, and no one seems to be getting their news online. It’s the most prominent retro aspect of a story that’s otherwise reflecting a potential future.

What the movie isn’t about is taking sides in any particular present political conflict. That may surprise and disappoint the people drawn to Civil War because they think they know what it’s about. But it’s also a relief. It’s hard for message movies about present politics to not turn into clumsy polemics. It’s hard for any document of history to accurately document it as it’s happening. That’s the job of journalists like Jessie and Lee — people willing to risk their lives to bring back reports from places most people wouldn’t dare go.

And while it does feel opportunistic to frame their story specifically within a new American civil war — whether a given viewer sees that narrative choice as timely and edgy, or cynical attention-grabbing — the setting still feels far less important than the vivid, emotional, richly complicated drama around two people, a veteran and a newbie, each pursuing the same dangerous job in their own unique way. Civil War seems like the kind of movie people will mostly talk about for all the wrong reasons, and without seeing it first. It isn’t what those people will think it is. It’s something better, more timely, and more thrilling — a thoroughly engaging war drama that’s more about people than about politics.

Civil War debuts in theaters on April 12.

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Critic’s Pick

‘Don’t Tell Mom the Babysitter’s Dead’ Review: The Laughs Are Alive

Wade Allain-Marcus has directed a rollicking update of the 1991 cult favorite.

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A boy and a girl standing outdoors look in surprise at something offscreen.

By Amy Nicholson

Don’t tell helicopter parents, but the gleefully transgressive flicks that entertained a generation of latchkey wildlings are coming back in style. Wade Allain-Marcus’s rollicking update of the 1991 cult favorite keeps the plot — a 17-year-old slacker named Tanya (Simone Joy Jones) is forced to support her even lazier younger siblings (Donielle Hansley Jr., Ayaamii Sledge and Carter Young) — and amps up the immoral humor. It’s a snappy, gutsy comedy about how kids are spoiled and ignorant, and yet the adult workplace is only passingly more mature.

A Black single mother (Patricia Williams) has a nervous breakdown and leaves her four children in the care of an aged tyrant (June Squibb) for the summer. Squibb has played plenty of cackling grannies; even so, Ms. Sturak is her most unhinged. “I watch Madea movies! I know how to discipline you!” she screams, pistol in hand. Those sensitive to slurs will be relieved when she keels over. So are the kids, who ignominiously dispose of the corpse and then realize they need money for food.

The rapid-fire script by Chuck Hayward squeezes a joke into every sentence and an economic dig into almost every scene. Tanya is aghast that a rideshare driving shift barely covers a restaurant bill; later, her new boss (Nicole Richie) at a fast-fashion brand shrugs off a rash of factory employee suicides. Even condensing the story, there’s no fixing the ridiculous ending by which point the film is out of gas. But despite being affixed to the guardrails of a reboot, this naughty thrill boasts some boisterous jolts and a charming romance between Tanya and a more emotionally developed boy (Miles Fowler) who inspires her to grow up.

Don’t Tell Mom the Babysitter’s Dead Rated R for teen drug use, language and some sexual references. Running time: 1 hour 39 minutes. In theaters.

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four siblings stand in a kitchen talking

Don’t Tell Mom the Babysitter’s Dead review – a worthwhile comedy remake

The Christina Applegate-led dark comedy from the 90s gets a shrewdly made update that acts as a blueprint for how Hollywood should revisit older material

D on’t Tell Mom the Babysitter’s Dead is the ultimate ode to the latchkey generation. To watch the 1991 film now is to be reminded of a simpler time when parents barely checked in, house parties were all the rage and Christina Applegate was the ideal girl nextdoor. Given its place in the grand tradition of coming-of-age classics, somewhere between Tom Hanks’s Big and Jennifer Garner’s 13 Going on 30, it was only a matter of time before Hollywood mulled a remake of Applegate’s celluloid breakout. Any update would have to relate to a new generation that, in many ways, has had to grow up even faster than their predecessors.

The reboot, which comes courtesy of Paramount streamer BET+, doesn’t just understand this assignment; it nails it. The new film echoes the wit and charm of the original with a major twist: now the black comedy focuses on a Black family in southern California. Other details from the first film are shuffled around and some supplemental characters axed. But for the most part writer Chuck Hayward is faithful to the source material written by Neil Landau and Tara Ison – both of whom receive story bylines and serve as executive producers alongside Tyra Banks. Their film, helmed by Wade Allain-Marcus in his studio directorial debut, is a model for how future reboots can be faithfully done.

In this second draft, it’s Tanya Crandell – a college-bound 17-year-old played earnestly by Bel Air’s Simone Joy Jones – who sees her Spanish holiday plans torpedoed when her widowed mother (the off-color standup comic Patricia “Ms Pat” Williams) suffers a nervous breakdown at the office and seizes Tanya’s vacation funds to float a medically mandated yoga getaway in Thailand. Nonagenarian Ms Sturak (Oscar nominee June Squibb) lands the job of watching Tanya and her siblings: Kenny, the burnout (Danielle T Hansley Jr); Melissa, the goth (Ayaamii Sledge); and Zack, the naïf (Carter Young). But it isn’t long before Ms Sturak drops the sweet granny act and reverts to her true form: a racist old Karen who rouses the kids with a pistol because “she watched Madea movies”.

When Ms Sturk winds up kicking the bucket – felled by either her shock reaction to a rager Kenny throws at the house or an antihistamine overdose, it’s not clear which – the kids don’t grieve. Instead, they hatch a plan to dispose of the body. They’re nearly caught when an errant 911 call brings a cop to their driveway as they’re stuffing the old bag into a garage fridge.

This is one of the many earned moments where the film considers how the story would be different if it were Black latchkey kids conspiring in an involuntary manslaughter. But instead of a discursive, Kenya Barris-style Black history lesson, it’s enough for Kenny to name-drop the sheriff (a former lacrosse coach) to get out of the jam before berating his siblings for taking their fragile freedom entirely too lightly. (“He ain’t even believe we live here!” Kenny says of the cop, who couldn’t help sizing up their big house.) Points on fast fashion, food insecurity, toxic masculinity and college nostalgia are just as shrewdly made. If anything in the script grates, it’s the overreliance on the N-word – which is no doubt played a role in the film’s rating jumping from PG-13 to a hard R.

Ultimately, the kids dump Ms Sturak’s body in a nearby lake with her car and also the money their mom set aside for them to live off of. To make ends meet, the younger siblings push Tanya into the workforce; on the strength of Melissa and Jack’s forgery skills, Tanya lands a job in a fading fashion brand run by a relentlessly sunny girlboss named Rose – played to perfection by 2000s reality queen Nicole Richie. “The bug up her ass lives on the stick up her ass,” she says of Caroline (Will Trent’s Iantha Richardson), the vengeful staffer Rose overtakes for the dream job. “And her neighbors to the north are the chip on her shoulder.”

Where the Caroline character was more active in undermining Applegate’s Sue Ellen Crandell, in the 99-minute reboot, she makes more time for Gus (Jermaine Fowler), Rose’s f-boy paramour, and Bryan (Miles Fowler), Tanya’s crush. The attention allotted to the development of all characters, not just the primary Crandell child, is one area where the reboot improves on the Stephen Herek-directed prototype. Others are the clothes, colors and cinematography – and together they imbue the film with an airy spirit that harkens to the HBO series Insecure, where Allain-Marcus gained fame as lonely man of reason Derek DuBois. All the while, the reboot calls back to the 90s version through cameos (no spoilers) and pullquotes (“I’m right on top of that, Rose!), the transitions punctuated by a carefree soundtrack that whipsaws from Curtis Mayfield to Libra Jolie. Allain-Marcus even set the new family inside the same Santa Clarita house the Caucasian Crandells called home.

Because of so much Hollywood groupthink, the reboot has become synonymous with a specific kind of studio flex – a project for the sake of itself and the bottom line. But Don’t Tell Mom is a justifiably sweet feat that makes latchkey kids across the generations feel seen. Refreshingly, it represents real growth for an industry that would much rather be left to its own devices.

Don’t Tell Mom the Babysitter’s Dead is out in US cinemas on 12 April with a UK date to be announced

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T-34 (2018)
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[REVIEW] 'T-34' ELEVATES ITS ACTION WITH A NOVEL USE OF SLOW-MOTION ⋆
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Подъем танка Т-34/76 Черкасская область
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T-34 Легенда #танки #росиия #топ #америка #монтажик
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T-34 vs. Tiger

COMMENTS

T-34 (2018)
At a POW camp in summer, 1944, they are given a T-34 fresh from the battlefield to be used to train German soldiers in maneuvers where a daring plan of escape is hatched and implemented. Alexander Petrov plays the tank commander, Vinzenz Kiefer the Nazi Colonel and Irina Starshenbaum an interpreter.
T-34 (2018)
T-34: Directed by Aleksey Sidorov. With Alexander Petrov, Irina Starshenbaum, Viktor Dobronravov, Vinzenz Kiefer. An SS Panzer Division uses a T-34 manned by Soviet POWs as a training target, but the prisoners plot a daring maneuver.
T-34
Movie Info. In 1944, a young lieutenant leads a group of Russian soldiers in a German POW camp and plots a daring escape from captivity in a half-destroyed T-34 tank. Genre: Drama, War, Adventure ...
T-34 (film)
T-34 (Russian: Т-34) is a 2019 Russian war film written and directed by Aleksey Sidorov.The title references the T-34, a World War II-era Soviet medium tank used on the Eastern Front during World War II.The film narrates the life of Nikolai Ivushkin, a tank commander who gets captured by the Germans. Three years later, he begins to plan his ultimate escape, alongside his newly recruited tank ...
T-34 Movie
T-34 Movie Review: A Riveting War Drama That Brings History to Life. T-34 is a Russian war drama film directed by Aleksey Sidorov, set during World War II, which tells the story of a group of Soviet soldiers who escape from a Nazi concentration camp in their tank T-34. Released in 2018, the film has quickly become a box office success, grossing ...
T-34 (2018)
An SS Panzer Division uses a T-34 manned by Soviet POWs as a training target, but the prisoners plot a daring maneuver. ... Film Movie Reviews T-34 — 2018. T-34. 2018. 2h 19m. Action/War.
[Review] 'T-34' Elevates Its Action With a Novel Use of Slow-motion
T-34 is a good-looking movie too. The CGI is used stylishly and effectively, only really getting wonky in a couple of scenes. Aside from the slow-motion shots, Sidorov isn't afraid to mix things up a bit. The shots inside the tank during the battles have a cool, off-kilter, Jean-Pierre Jeunet vibe to them.
‎T-34 (2018) directed by Alexey Sidorov • Reviews, film
Fast And Furious On Tanks. In 1944, a courageous group of Russian soldiers managed to escape from German captivity in a half-destroyed legendary T-34 tank. Those were the times of unforgettable bravery, fierce fighting, unbreakable love, and legendary miracles. Remove Ads. Cast.
T-34 (2018)
Eastern Front tank action, drama, risk and survival. In late 1941 a Red Army tank crew defends Moscow, but is captured. At a POW camp in summer, 1944, they are given a T-34 fresh from the battlefield to be used to train German soldiers in maneuvers where a daring plan of escape is hatched and implemented.
Film Review of T-34 (2018)
An honest film review of the movie "T-34 (2018)" ( War) by a real Belgian film buff. You can read a bunch more film reviews here Movie-freak.be ... Only the board game was a bit more peaceful compared to this movie. "T-34" is extremely ruthless and shows how heroism makes the impossible possible. And amidst this war violence, ...
T-34 Movie Reviews
SEE ALL OFFERS. In 1944, a courageous group of Russian soldiers managed to escape from German captivity in a half-destroyed legendary T-34 tank. Those were the times of unforgettable bravery, fierce fighting, unbreakable love, and legendary miracles.
T-34
Eastern Front tank action, drama, risk and survival. In late 1941 a Red Army tank crew defends Moscow, but is captured. At a POW camp in summer, 1944, they are given a T-34 fresh from the battlefield to be used to train German soldiers in maneuvers where a daring plan of escape is hatched and implemented.
T-34 (2018)
In the times of the greatest trials, in the history of mankind, when the lives of loved ones depend on every single action, two sworn enemies will collapse. Being held in captivity, young lieutenant Ivushkin is planning a daring escape. He assembles a crew and challenges the German tank aces led by Jager. For the sake of his loved ones and his ...
T-34 Official Trailer
T-34: Watch Now On Digital, Blu-ray, and DVD |In 1944, a courageous group of Russian soldiers, led by young lieutenant Ivushkin, managed to escape from Germa...
What did you guys think of the movie "T-34" I just watched ...
Mostly for a very simple reason - early T-34s were blind as newborn kittens. Like 12% of the T-34s lost in combat in 1941 were lost to 37mm guns. About 40% were lost to 50 mm guns. Dreaded 88mm cannons claimed, I think, 4%. (there weren't German tanks with 50mm guns either until after their engagement with T34, the best tank gun was 37mm)
T-34 (Film)
T-34 is a 2018 Russian war movie directed by Aleksey Sidorov.. In the months following the opening stages of the German invasion of the Soviet Union, a lone T-34-76 crew lead by junior tank commander Nikolay Ivushkin (Alexander Petrov) is assigned to a small detachment of Soviet infantry to slow the German onslaught at the outskirts of Moscow.Finding themselves outnumbered and outgunned, the ...
T-34 (Movie, 2018)
T-34 plot "Fast And Furious On Tanks" 1941. Second Lieutenant Ivushkin has just graduated from the Academy and is sent to the front. There he must answer a suicide mission - with a T-34 tank and a small crew, he must stop a dozen new German Wehrmacht tanks from attacking a nearby village.
T-34 Movie Reviews
Buy Pixar movie tix to unlock Buy 2, Get 2 deal And bring the whole family to Inside Out 2; ... T-34 Critic Reviews and Ratings Powered by Rotten Tomatoes Rate Movie. Close Audience Score. The percentage of users who made a verified movie ticket purchase and rated this 3.5 stars or higher. ...
Watch T-34 (Director's Cut)
In 1944, a courageous group of Russian soldiers manage to escape from German captivity in a half-destroyed, legendary T-34 tank. These were the times of unforgettable bravery, fierce fighting, unbreakable love, and legendary miracles. This version is the Director's Cut of the film and features additional scenes. 1,120 IMDb 6.8 2 h 19 min 2019.
T-34
All Audience. Verified Audience. No All Critics reviews for T-34. Rotten Tomatoes, home of the Tomatometer, is the most trusted measurement of quality for Movies & TV. The definitive site for ...
T-34 streaming: where to watch movie online?
T-34 is 13815 on the JustWatch Daily Streaming Charts today. The movie has moved up the charts by 9506 places since yesterday. In the United States, it is currently more popular than The Notorious Bettie Page but less popular than The Disappearance of Alice Creed.
'Civil War' review: Kirsten Dunst-starring thriller loads up on
The details of "Civil War" don't make much sense - it's hard to imagine California and Texas agreeing on much of anything, much less seceding together - but that's not really the ...
Civil War: A24's most expensive movie is incoherent—and important
A24's most expensive movie to date is borderline incoherent. That doesn't mean it's not important. The year is unspecified—it could be a few years into some alternate future, or it could ...
Don't Tell Mom the Babysitter's Dead movie review (2024)
Powered by JustWatch. Director Wade Allain-Marcus 's "Don't Tell Mom the Babysitter's Dead" is a remake of the 1991 original, repurposing an older narrative for a new generation and, this time around, centering on a Black family. Seventeen-year-old Tanya Crandell ( Simone Joy Jones) looks forward to her summer in Spain with her friends.
T-34
T-34. 2018. --. Tomatometer. 82%. Audience Score 100+ Ratings. Want to see. Your AMC Ticket Confirmation# can be found in your order confirmation email.
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T-34 (2018)
Sex & Nudity. Mild 13 of 35 found this mild. The only sex scene is very subtle and suggestive. A man and woman is lying on the ground. They kiss and it seems that they are at least half-naked. The scene is highly suggestive and contains no explicit sex or nudity. the men run to a lake and are nude mostly obscured.
Civil War folds a tremendous human drama into its thin, vague politics
Tasha Robinson leads Polygon's movie coverage. She's covered film, TV, books, and more for 20 years, including at The A.V. Club, The Dissolve, and The Verge. A version of this review ran in ...
'Don't Tell Mom the Babysitter's Dead' Review: The Laughs Are Alive
Don't Tell Mom the Babysitter's Dead Rated R for teen drug use, language and some sexual references. Running time: 1 hour 39 minutes. Running time: 1 hour 39 minutes. In theaters.
Don't Tell Mom the Babysitter's Dead review
D on't Tell Mom the Babysitter's Dead is the ultimate ode to the latchkey generation. To watch the 1991 film now is to be reminded of a simpler time when parents barely checked in, house ...

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T-34 Movie – WW2 Adventure Tank Film

T-34 is a 2018 military action adventure WW2 film, directed by Alexei Sidorov.

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T-34 Movie Review: A Riveting War Drama That Brings History to Life

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T-34 (2018)

Film Review : T-34

Euh. A Russian movie.

Big applause for the T-34 .

Those slow-motion images were impressive.

Prisoners of War.

I loved to play “Tank Battle” when I was a kid.

My rating 7/10 Links: IMDB

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