#123movies #fmovies #putlocker #gomovies #solarmovie #soap2day Watch Full Movie Online Free – Against all logic, the competitive swimmer, Haley, drives into the mouth of a furiously destructive Category 5 hurricane on a collision course with her hometown of Florida, to check in on her estranged father, Dave. There, in their weather-beaten house amid a rapidly sinking and alligator-infested town, Haley and her father find themselves trapped in the labyrinthine mess of their flooded crawl space, where a merciless pair of six-metre predators is silently stalking them. Now–as Haley and Dave are gasping for air in the claustrophobic basement–only their will to survive can help them stand a chance against the scaly adversaries’ powerful jaws. Can they escape without getting eaten alive?
Plot: When a huge hurricane hits her hometown in Florida, Haley ignores evacuation orders to look for her father. After finding him badly wounded, both are trapped by the flood. With virtually no time to escape the storm, they discover that rising water levels are the least of their problems.
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The movie plot follows Hayle, who heads towards a storm in Florida to check on his father, who is not answering calls.
When she gets there, her father is hurt and the house is surrounded by hungry and furious alligators. To make it worse, the storm causes a flooding and all this water just makes the hunt easier for the gators.
The movie has good visual effects, but the plot armor is the most absurd one I have seen in years. Against everybody else, the gators are relentless and super-effective man-killing machines, tearing anyone in pieces before they are even able to see what is attacking them. The protagonists, however, suffer only mild scratches from gator bites that would at least result in an arm or leg being torn off.
This is so frequent and so clearly absurd and unrealistic that the movie ceases to be enjoyable after a while.
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2018 was a disappointing year for me. A lot of letdowns regarding my most anticipated movies, and not enough surprises throughout the year. 2019, on the other hand, has been quite interesting. Most blockbusters have resonated with me, and they’ve been my favorite films to watch so far (Avengers: Endgame, John Wick: Chapter 3 – Parabellum, Us, Glass). Additionally, original low-budget flicks have also caught my eye, and I’ve been enjoying them as well, even if they’re no masterpieces (Greta, Long Shot). Although, I had some bad experiences as well (Dark Phoenix, Hellboy, Godzilla: King of the Monsters).
Crawl, which I honestly expected just to be a cliche-filled silly horror movie, joins this last group, and it’s on par with Long Shot as the best surprise of 2019, until now. First of all, this is not a typical horror film, at least having in mind the last few examples of the genre. People might go in expecting something along the lines of Annabelle Comes Home, but with alligators, so I might as well moderate those thoughts. I wouldn’t even place it in that genre, even though disaster-horror isn’t exactly a bad description. It’s definitely a suspense movie, almost like a survival-thriller. Haley and Dave have to fight for their lives in a race against both a hurricane and fatal predators, so I wouldn’t generally put this in the horror genre. Moving on …
I love this type of films, you know that. Suspenseful, claustrophobic sequences, straightforward plot, and set in (mostly) just one location. You might think that since it’s only one place to shoot and it’s such a simple concept, it’s easier overall, but it couldn’t be more distant from the truth. With high-budget, multiple-location movies, directors and screenwriters can hide their technical flaws with tremendous VFX or huge set pieces. In one location, especially such a small one like a modest house, there’s no hiding. If you want to deliver an entertaining and captivating story, you have to write an enthralling screenplay. If you want to provide scary and efficient jump scare scenes, you need to show some creativity and prove you’re a talented filmmaker.
Alexandre Aja, who doesn’t exactly has a remarkable filmography, showcases that even with such a simplistic and short idea, it’s possible to be as or more fun than a massive blockbuster. Less than 20 minutes into the film, and we’re on. There’s enough backstory and characterization of the main protagonist for the audience to not only care about Haley but understand what skills she has that will help her survive what comes next. I love small details like zooming in on her locking a door, closing a window, moving a piece of furniture … Every shot has meaning because it will affect the plot later on. Aja is not shooting something “just because”, and that’s a skill that a lot of directors struggle to have nowadays since they feel that the runtime needs to be close to the two-hour mark.
After so many dumb, cliche, and horribly performed jump scare sequences in previous horror flicks from this year, I finally got to watch a movie where the director knows how to truly scare people, and make them jump out of their chairs. There are no loud soundtrack noises to make you screech. There are no demons or monsters in front of the screen, screaming like crazy. I was at the edge of my seat for more than a couple of times, and I genuinely got scared on some particular moments, where the surprise factor (Aja doesn’t follow the cheap timings of most horror scenes) and the creativity behind the camera were top notch.
Obviously, the VFX and overall production design aren’t mind-blowing. The alligators look pretty real, and that was the main goal, so mission accomplished. Also, being Rated-R helps the film to deliver great alligator attacks with tons of blood, and the injuries our characters have to deal with are pretty gnarly and disgusting (that’s a compliment). Filming in water is extremely hard, especially in such a confined space. However, Aja and his crew were able to produce a movie where you can understand everything that’s going on for the entire runtime.
Kaya Scodelario and Barry Pepper deliver great performances and show amazing chemistry. Their characters have enough development, even if they don’t have that imaginative scripts. Crawl is one of those films where I can’t point out a preeminent issue with it because it’s good at every aspect. I mean, sure, there are a couple of rare moments of extreme survival, where we might think “he/she should be dead”, but it’s such a fun and entertaining time at the theater that we can let go of one or two over-the-top scenes. It’s not like The Meg, where every single moment is unrealistic as hell. The success of the fictional part of a fiction movie depends on its realistic foundation and limits. If these aren’t well-established, then the film will be all over the place, and its viewers won’t know what to believe or not.
All in all, Crawl is one of 2019’s best surprises, and I definitely recommend to see it in theaters. With compelling leads and a simple concept, Alexandre Aja delivers an entertaining, suspenseful, claustrophobic, and technically creative movie. Finally, someone who knows how to handle a camera, and provide genuinely scary jump scare sequences. Hopefully, this can catapult Kaya Scodelario to grab a bigger role on a more impactful film. I can’t point out any “flaws”, it’s simply a “good movie”. With such a low-budget, give a chance to this one, and watch it instead of a massive blockbuster that will probably leave you disappointed with the numerous cliches and the extreme focus on silly action or huge set pieces as a replacement for a good story. Good job, Paramount!
What I Expected
Crawl was directed by Alexandre Aja and was written by Michael and Shawn Rasmussen. This movie was exactly what I thought it was going to be for the most part, but surpassed my expectations visually. I gave this film a 68/100. What attributed to that was the story itself was a bit of a stretch in my opinion and too many things went wrong…even for a movie. I thought Kaya Scodelario was good as Hayley in this and she really made the movie. A couple of things I also noticed.. 1. The wind didn’t blow Kaya Scodelario’s hair outside in the hurricane in a couple of scenes. 2. I know this shouldn’t have mattered but was the director trying to foreshadow the importance of Gators in Hayley’s life by her attending The University of Florida? (This did not impact my score but just a thought.) It did its job by keeping me entertained for a while but it was a little long. Every time you think something went right Hayley or the Dad makes a dumb decision..almost like every character in bad horror films. The CGI was good and the underwater shots were astounding..when people were being attacked the blood was used well and they really sold the injuries. Overall, this film is worth seeing…when it comes to Netflix or TV.
hrowback to the ’70s creature features and weather disaster flicks of the drive-in set (um, this is a good thing)
CRAWL (2019) *** Kaya Scodelario, Barry Pepper, Morfydd Clark, Ross Anderson, Jose Palma. Throwback to the ’70s creature features and weather disaster flicks of the drive-in set (um, this is a good thing) with a hurricane in Florida threatening the lives of Scodelario (excellent) attempting to rescue her estranged father Pepper (equally strong) when not only is the storm endangering their lives but the true threat of peril with alligators literally thrown into the mix. Filmmaker Alexandre Aja pulls out all the stops and wisely uses fantastic CGI with non-stop chills, action and dread enducing WTF will happen next? thanks to Michael and Shawn Rasmussen’s twisty/turny screenplay and executive produced by genre master Sam Raimi. Fun scares aplenty.
Original Language en
Runtime 1 hr 27 min (87 min)
Genre Action, Horror, Thriller
Director Alexandre Aja
Writer Michael Rasmussen, Shawn Rasmussen
Actors Kaya Scodelario, Barry Pepper, Morfydd Clark
Country United States, Serbia, Canada
Awards 5 nominations
Production Company N/A
Sound Mix Dolby Digital
Aspect Ratio 2.35 : 1
Camera Arri Alexa Mini, Leitz Summilux-C and Fujinon Alura Zoom Lenses, Arri Alexa SXT, Leitz Summilux-C and Fujinon Alura Zoom Lenses
Laboratory EFilm (digital intermediate)
Film Length N/A
Negative Format Codex
Cinematographic Process ARRIRAW (3.4K) (source format), Digital Intermediate (4K) (master format)
Printed Film Format DCP