While most people watch videos to release stress or for recreation purposes, others watch films for the purposes of bonding and socializing. Movies can be watched either at home or in the available theaters. Therefore, one has to choose whether to stream movies alone at home or going to a movie theater with friends and family. Both types of places have differences and similarities that are tabulated below.
This is achieved regardless of the venue chosen for watching the movie. Many people also like taking a snack like popcorns while watching movies. These items can be bought at the theaters. Similarly, one has the freedom to eat some snacks at home.
There are many differences between watching a movie at home and in theatres. The cost, for instance, is different. First, watching a film at a theatre requires a person to drive and pay for the ticket and any other facility or accompaniment. On the other hand, there is no cost incurred when watching a film at home.
One can take a seat on a couch, on the carpet, or watch the movie at any position in order to achieve comfort. Therefore, the level of comfort when watching a movie at home is higher than in a theater. In fact, one needs to be aware of strangers sitting next to him or her. At home, there is a high degree of freedom of posture, style, music, and other aspects.
Yet another important difference involves the desire to keep updated with the film market. For instance, watching a movie in theaters enables one to watch recent materials and movies in the industry. When watching them at home, one has to wait until they are released in a DVD format or aired on a television channel.
The concept of angels, spirits or ghosts who help humans on Earth had been common in cinema, from Here Comes Mr. Jordan (1941) to the 1946 works It's a Wonderful Life and A Matter of Life and Death. Many earlier U.S. and U.K. films demonstrate high amounts of reverence, while others allow reasonable amounts of fun. Powell and Pressburger's A Matter of Life and Death presents an early example of spirits being jealous of the lives of humans. The shift from monochrome to colour, to distinguish the angels' reality from that of the mortals, was also used in Powell and Pressburger's film. While Wings of Desire does not portray Berliners as living in a utopia, academic Roger Cook wrote that the fact that people have pleasure "gives, as the English title suggests, wings to desire".
Wings of Desire received "Two Thumbs Up" from Gene Siskel and Roger Ebert on Siskel & Ebert & The Movies, where Siskel credited Wenders for a story that "praises life as it is lived yet making sense of life's confusions". In New York, David Denby hailed it as "extraordinary", and possibly "the ultimate German movie". Desson Howe cited it for "a soaring vision that appeals to the senses and the spirit." Janet Maslin, writing for The New York Times, called it "enchanting" in its concept, but "damagingly overloaded" in execution. In Variety, David Stratton embraced the visuals, the performances and Knieper's score, adding the film also showcased Wenders' taste for rock music. The Washington Post's Rita Kempley credited Wenders and Handke for crafting a "whimsical realm of myth and philosophical pretense, dense with imagery and sweetened by Ganz's performance". Dissenting, Pauline Kael remarked, "It's enough to make moviegoers feel impotent". According to online film resource They Shoot Pictures, Don't They?, Wings of Desire is the most acclaimed film of 1987.
It was later ranked 64th in Empire magazine's "The 100 Best Films Of World Cinema" in 2010. In 2011, The Guardian placed it in the 10 best films ever set in Berlin. The next year, it received 10 votes in the 2012 Sight & Sound polls of the greatest films ever made. Les Inrockuptibles's 2014 review declared it a great film, timeless, and poetic. That year, French critics at aVoir-aLire also praised its poetry, and said Berlin becomes one of the characters, crediting Alekan, Handke, Cave and Knieper for important contributions. German journalist Michael Sontheimer recommended seeing it to understand how radically Berlin has been altered since the 1980s, particularly looking at the somber images when the human Damiel walks through Berlin. In his 2015 Movie Guide, Leonard Maltin awarded it three and a half stars, describing it as "Haunting" and "lyrical". Jonathan Rosenbaum declared the bulk of the film before Damiel becomes human as "one of Wenders's most stunning achievements". In 2017, Le Monde rated it four stars out of five, citing the aesthetics of its black-and-white photography, poetry and contemplation of history. The German news publication Der Tagesspiegel recounted the film's memorable imagery in 2016, listing Damiel as an angel and the library scenes. On the 30th anniversary of the Cannes screening, Jessica Ritchey posted on Rogerebert.com that she found it odd to be an atheist and love the film, expressing admiration for the black-and-white photography and the overall message that when the world seems terrible, desire is powerful. On review aggregator website Rotten Tomatoes, the film has an approval rating of 98% based on 56 reviews from critics, with an average rating of 8.7/10. The website's critical consensus reads, "Beyond ravishing, Wings of Desire is Wim Wenders' is aching and heartbreaking exploration of how love makes us human." The film ranked 34th in BBC's 2018 list of The 100 greatest foreign language films voted by 209 critics from 43 countries around the world.
The latest documentary for producer and director Ahsen Nadeem, Crows are White follows a filmmaker, struggling to reconcile his desires with his faith, who sets off to the strict monastery in search of answers. When he arrives, his presence is not welcomed and the only monk who will speak with him is an outcast who prefers ice cream and Slayer to meditation. Together they forge an unlikely friendship that leads them to higher truths and occasionally, a little trouble.
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