Midsommar 2019 123movies

Watch: Midsommar 2019 123movies, Full Movie Online – Dani (Florence Pugh) and Christian (Jack Reynor) are a young American couple with a relationship on the brink of falling apart. But after a family tragedy keeps them together, Christian invites a grieving Dani to join him and his friends on a trip to a once-in-a-lifetime midsummer festival in a remote Swedish village. What begins as a carefree summer holiday in the North European land of eternal sunlight takes a sinister turn when the insular villagers invite their guests to partake in festivities that render the pastoral paradise increasingly unnerving and viscerally disturbing..
Plot: Several friends travel to Sweden to study as anthropologists a summer festival that is held every ninety years in the remote hometown of one of them. What begins as a dream vacation in a place where the sun never sets, gradually turns into a dark nightmare as the mysterious inhabitants invite them to participate in their disturbing festive activities.
Smart Tags: #religious_cult #cult #grief #burned_alive #summer_festival #isolated_community #human_sacrifice #sweden #suicide #sex_ritual #funeral_pyre #panic_attack #ritual_sacrifice #female_nudity #death_of_parents #emotional_breakdown #paganism #head_bashed_in #flower_crown #hallucination #drugs

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Ratings:

	7.1/10 Votes: 315,035
	83% | RottenTomatoes
	72/100 | MetaCritic
	N/A Votes: 5390 Popularity: 55.867 | TMDB

Reviews:

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This was easily one of my most anticipated movies of the year. Hereditary was my favorite film of 2018, so obviously, Ari Aster’s second feature grabbed my full attention from the very first announcement. Fortunately, even though Midsommar is only being released now in my country, I was able to stay away from spoilers, as well as from any sort of images or clips. As you might expect, this is not a typical horror movie, even though it’s being marketed as belonging to the genre. Sure, it has some horror stuff that indisputably connects it to the genre, but it definitely doesn’t play out to scare audiences or make you have nightmares at night.

Hereditary was quite divisive among audiences due to the lack of traditional jump scares and generic entertainment, besides it being too excessive regarding spiritualism for the general public. Midsommar is undoubtedly going to be even more divisive. First of all, it drags. There’s no denying it. The first weird cult scene only occurs about one hour in, which in a 140-minute runtime is a bit too far ahead. Granted, it’s one of the most shocking and horrific sequences in the daylight I’ve ever seen, but its build-up (extremely well-done) takes a big part of the second act, slowing down the pacing too much.

Additionally, it’s a film that entirely relies its entertainment value on the feeling of shock instead of fear. If you didn’t enjoy Aster’s first feature because it didn’t have enough scary sequences, Midsommar isn’t going to convert you to being a fan of his work. Similarly to Ad Astra (just released last week), it’s a story that requires the audience to care about more than only superficial aspects. If you go in expecting to leave your brain outside just so you can be uncloudedly entertained, then you might want to think again. I can’t stress this enough: you need to pay attention to what you’re watching!

Hints to what the story holds for us are everywhere, especially in the walls. Through paintings, runes, and hand-drawings, Ari Aster spreads basically all the information you need to better understand where the movie is going. It’s a film about two key themes: how to deal with grief, and how to handle a complicated relationship. These are the issues that people should be able to acknowledge and understand how they’re being developed. I love how Aster addresses the latter topic (he wrote this screenplay after he ended a relationship of his own), but I’m disappointed by the way he put the former into the “background”.

The first 15-20 minutes deal with what happens to Dani’s life, and it’s never approached again, even though there’s a vague idea of what could have actually happened, by the end of the movie. Regarding the other point, it isn’t exactly a “toxic” relationship that we’ve seen in previous films, but one where each person is waiting for an excuse to leave the other. Hence, some actions feel forced in the hope that they can trigger something. It’s a strangely realistic yet uncomfortable take on something a lot of people go through. Technically, this is one of 2019’s most fascinating productions.

From the colorful cinematography to the impeccable editing, from the stunningly impressive production design (again, the WALLS!) to the immersive score … Ari Aster is no joke. The way he handles dialogues is a treat to someone like me, who cares so much about engagement through characters speaking. There are so many long takes with Florence Pugh giving her all, just raw and powerful emotions. It’s her career-best performance, no doubt about it. Her character’s storyline is partially what brings the “horror” to the narrative. Just like Toni Colette on Hereditary, Pugh is probably going to be ignored during the awards season, as well as the movie’s technical achievements since the horror genre still didn’t convince enough people to give a shot.

Regarding the other characters, they’re my main issue. They simply felt like plot devices. Will Poulter (Mark) is funny as the comic-relief guy, but his character, like every other one besides Dani, doesn’t do much to make me care about or feel invested in their own subplots (if there are any). They barely have any backstory, and their purpose is basically to help move the plot forward by giving Aster opportunities to show some pagan rituals of some kind. There are incredibly shocking, bloody, and jaw-dropping scenes, some might make you feel uncomfortable, others might make you laugh. But they’re all meant to shock you in some shape or form.

Whether you love it or hate it, Midsommar is memorable. If you didn’t enjoy Hereditary due to the lack of jump scares, the former isn’t for you then. Midsommar requires full attention, patience, and an open-minded mentality. It’s not a generic horror flick, so don’t go in expecting to be constantly entertained by silly scares. Expectations are everything, so moderate them in the best way possible. It has one of the most abstract ways of addressing a difficult relationship and how to deal with grief, but if you LOOK AT THE WALLS, you’ll be able to (maybe) follow the story a bit better.

Technically, Ari Aster delivers a masterful work, with exceptional production design and gorgeous cinematography, plus seamless editing. Florence Pugh carries the story on her shoulders with an astonishingly compelling performance, but her supporting cast didn’t do much with their under-developed characters. The film drags a lot, and it can become tedious at some point, but in the end, it’s one of those movies that sticks with you. A second viewing may be necessary, and it will probably be a better experience. Can’t wait to find out. Go see it!

Rating: B

Although arthouse horror movies really aren’t my thing for the most part, ‘Midsommar’ falls into a strange middle ground where I wasn’t bored but I wasn’t invested either. I feel no need to “finding the mean“ to read theories online, because I simply don’t care. The only saving grace is the visuals, which are breathtaking and wildly creative at times, but it’s not a trip I want to take again.
– Chris dos Santos

Read Chris’ full article…
https://www.maketheswitch.com.au/article/review-midsommar-ari-aster-brings-the-gore-but-lacks-the-emotion

8/08/2019
3 stars

If this was direct to streaming, no one would consider it significant…
All summer long, I’ve had people breathlessly tell me, “You need to see this movie.”

I’ve been down this road before. It was called Hereditary, Ari Aster’s last film.

I debated never watching this film, but then I reasoned that as much as I detested It Follows, I loved Under the Silver Lake.

Maybe Aster would hit paydirt in this one. After all, I love folk horror films like The Wicker Man and Blood On Satan’s Claw. How bad could it be?

Woah boy.

Dani Ardor is dealing with a lot. Her sister has killed her parents and then herself. This has also pushed her already failing relationship with her boyfriend Christian. Somehow, they stay together the whole way to summer, when she learns that his Swedish friend Pelle is going home to his commune family for a once in every ninety years ritual and is taking Christian and his friends Mark and Josh.

Christian had no intention of telling her about the trip. In fact, his friends want them to break up. But then she’s there in Halsingland along with them as they trip out and settle in. Hours later, two of the elders leap off a rock to their deaths, but when the male doesn’t die, the others smash his head with a rock.

The elder Siv explains that this is how life goes here in Harga, with every member dying in the same way at the age of 72. This would also be the point where anyone sane would get out.

Two other guests, Simon and Connie, try to leave but miscommunication separates them. And to top things off, Christian decides to steal Josh’s thesis on the Harga. That’s when we learn that the commune’ runic religion is based on an oracle who is conceived every few years via incest.

Oh, where do we go from here? Mark pees on a tree and gets skinned alive. Josh tries to take photos and gets hit with a mallet. Dani takes more drugs and dances around a maypole whole her boyfriend eats pubic hair before impregnating another girl while the rest of the females all watch and push his butt in deeper. Yes, it may have taken Quentin Tarantino a few films before we all realized he has a foot fetish, but Ari Aster took all of one film and a bit of this one to show us that his go-to horror is obese and aged nudity.

After finding Christian and Maja having sex, Dani has started screaming and all of the women turn it into a song. I laughed the kind of mad guffaw that Max Cady only reserved for classics like Problem Child. Somehow, this film, much like the last one that Aster essayed, has descended from horror into comedy through no fault of its own.

If I told you that the cult members all disembowel a bear and shove Christian into it – get it, his name is Christian and he’s being sacrificed? – would you believe me? Well, you better, because that’s exactly the kind of ridiculous ending this movie has. Can you believe that some people were upset by this and how intense it supposedly got? Then why was I holding my sides and struggling to breathe as I chuckled with the kind of volume that I had once only thought possible in my wildest dreams?

This film is a joke, told with false significance and no small fury, all screaming and yelling and singing and wishing and praying and hoping that someone finds it significant and important and worthy of notice. In short, it is everything that is 2019 – a country that asks for prayers on social media one day and shoots one another in the face the next. A sad moron screaming, “Notice me.”

Somehow, thirty minutes of footage was cut from this movie before release. I have no idea how this is possible, as it felt so ponderous that I fear that it’s being over is just a surprise ending and the truth is I will soon wake up and still have forty minutes left to watch. It’s the kind of movie that The Lord of the Rings films would tell to wrap it up.

There are no surprises. I mean, the opening mural literally tells you everything that will happen in the film. And another piece of art shows a woman falling in love with a man, placing flowers under his pillow and then hiding her pubic hair in his food. This is exactly what Maja does with Christian.

There is all the subtlety of a sledgehammer in this film. Every single story beat is so hammered home – yes, that’s a horrible pun but this movie in no way makes me want to try – that you become wistful for the simple days of Toni Collette flying around without her head.

The funniest thing about this movie is that it sees the Nicholas Cage The Wicker Man as more of an inspiration than the original. That might be all you need to know about this utter turd in the punchbowl.

Other Information:

Original Language en
Runtime 2 hr 28 min (148 min), 2 hr 52 min (172 min) (director’s cut)
Budget 9000000
Revenue 47980982
Status Released
Rated R
Genre Drama, Horror, Mystery
Director Ari Aster
Writer Ari Aster
Actors Florence Pugh, Jack Reynor, Vilhelm Blomgren
Country United States, Sweden
Awards 28 wins & 77 nominations
Production Company N/A
Website N/A

Technical Information:

Sound Mix Dolby Digital
Aspect Ratio 2.00 : 1
Camera Panavision Millennium DXL2, Panavision Primo and Primo Artiste Lenses
Laboratory Harbor Picture Company, New York (NY), USA (digital intermediate)
Film Length N/A
Negative Format Redcode RAW
Cinematographic Process Digital Intermediate (4K) (master format), Dolby Vision, Redcode RAW (5K) (source format) (some scenes), Redcode RAW (8K) (source format)
Printed Film Format D-Cinema