id: 5069011fps: 23.976nb_cd: 1format: srtchar_encoding: feature_type: Movierelease_name: 6.Underground.2019.1080p.NF.WEB-DL.DDP5.1.x264-CMRGrelease_title: release_group: video_codec: screen_size: video_format: author_comments: 6.Underground.2019.1080p.NF.WEB-DL.DDP5.1.ATMOS.x264-CMRG6.Underground.2019.720p.NF.WEB-DL.DDP5.1.x264-KamiKaze6.Underground.2019.1080p.NF.WEB-DL.DDP5.1.x264-KamiKaze6.Underground.2019.INTERNAL.WEB.x264-STRiFE6.Underground.2019.INTERNAL.720p.WEB.x264-STRiFE6.Underground.2019.INTERNAL.1080p.WEB.x264-STRiFE6.Underground.2019.HDRip.XviD.AC3-EVO6.Underground.2019.HDRip.AC3.x264-CMRG6.Underground.2019.WEBRip.x264-ION106.Underground.2019.WEBRip.XviD.AC3-FGT6.Underground.2019.WEBRip.XviD.MP3-FGT6.Underground.2019.720p.WEBRip.XviD.AC3-FGT6.Underground.2019.1080p.WEBRip.DD5.1.x264-FGT6.Underground.2019.1080p.WEBRip.x264-RARBG6.Underground.2019.720p.10bit.WEBRip.6CH.x265.HEVC-PSA6.Underground.2019.1080p.10bit.WEBRip.6CH.x265.HEVC-PSA6.Underground.2019.720p.WEBRip.800MB.x264-GalaxyRG6.Underground.2019.720p.WEBRip.x264-[YTS.LT]6.Underground.2019.1080p.WEBRip.x264-[YTS.LT][official subtitle, works with all WEBRip/WEB-DL re-encodes]bad: 0enabled: truevotes: 0points: 0ratings: 0.0thanks: 12download_count: 92181last_download: 2023-01-04 12:52:40 UTCupload_date: 2019-12-13 09:02:59 UTCcomments_count: 0favourited: 0auto_assign: falsehearing_impaired: truelast_comment: featured: falsefeatured_ts: hd: trueauto_translation: falseforeign_parts_only: falsefrom_trusted: trueadmin_check: falseadmin_checked: trueversion: 1translator: detected_language: Englishdetected_encoding: UTF-8smart_feature_name: 2019 - 6 Undergroundosdb_subtitle_id: 8016815subfiles_count: 1osdb_user_id: 5140732osdb_user_info: "display_rank"=>"Trusted member", "display_user"=>"hadilan", "display_author"=>"Anonymous", "uploader_badge"=>"platinum-member", "display_user_email"=>"dumbuk012@gmail.com", "display_author_rank"=>"anonymous"slug: 6-underground-2019-1080p-nf-web-dl-ddp5-1-x264-cmrguploader_id: 227538translator_id: created_at: 2019-12-13 09:10:14 UTCupdated_at: 2023-02-08 13:49:16 UTCfeature_id: 999196osdb_language_id: 1075ai_translated: falseparent_subtitle_id: childrens_count: 0new_download_count: 128new_last_download: 2023-02-08 00:00:00 UTClast_sync_files: 2023-01-04 11:59:45 UTC
[Movie] 6 Underground (WEB-DL)
6 Underground is an American action thriller film released in 2019. This movie is directed by Michael Bay and written by Paul Wernick and Rhett Reese. The cast includes Ryan Reynolds, Mélanie Laurent, Manuel Garcia-Rulfo, Adria Arjona, Corey Hawkins, Ben Hardy, and Dave Franco. Michael did the production of the film with his long-term business partner Ian Bryce and Skydance's David Ellison, Dana Goldberg, and Don Granger. Find out where was 6 Underground filmed.
6 Underground was released at The Shed in New York City on December 10, 2019. The movie was released by Netflix on December 13, 2019. The plot is about six individuals from all around the globe, each the very best at what they do, who have been chosen not only for their skill but for a distinctive desire to delete their pasts to change the future. IMDb rating for 6 Underground is 6.1 out of 10. The film received mixed reviews from critics. It was reported by Netflix that 6 Underground was seen by 83 million members within its first four weeks of release, and is among its best for an original title.
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The action film has the double distinction of being both one ofthe most popular and most popularly derided of contemporary genres. Inmainstream discourse, the genre is regularly lambasted for favoring spectacleover finely tuned narrative. As the critic Annabelle Vilaneuva put it,"action movies don't even feel like movies anymore, they'relittle more than two-hour trailers for action movies." (1)
Nonetheless, every summer testifies to the genre's pride ofplace in major studio economics. Action films serve Hollywood well,displaying the production values that enable American movies to dominateworld markets. Ten of the twentyfive all-time, worldwide, top-grossing filmsare in the action genre; event films often wear action clothing. (2)
Applying the attractions concept to contemporary cinema is atricky business. Attractions involve a direct, exhibitionist address to theaudience, while narrative cinema connotes the sealed and unified diegeticabsorption of the viewer. Attempts to follow the cinema of attractions intothe classical era inevitably stumble over the contradictory natures ofnarrative and attraction. As Gunning noted in his original formulation, withthe rise of narrative the attraction "goes underground," confinedto specific genres such as the musical. Here attractions are allowed toremain, but as separate intrusions into or breaks in the narrative.Furthermore, Gunning suggests that spectacular films of the 1980s reaffirmcinema's "roots in stimulus and carnival rides, in what might becalled the Spielberg-Lucas-Coppola cinema of effects. But effects are tamedattractions." (10)
In her essay "Classical Hollywood Cinema and ClassicalNarrative," Elizabeth Cowie makes a similar observation. She quotesFrank Borzages 1922 observation that "we have the old melodramaticsituations fitted out decently with true characterizations" in order tosuggest that we rethink the apparent unity of narrative in classicalHollywood cinema. (36) Certainly, situational models persisted into theclassical era in antecedents of the contemporary action film, including thehistorical adventures and the sound serials so beloved by Lucas andSpielberg. Ben Singer has traced the development of the cliff-hanger plotstructure to the 1910s, noting that by late 1914 or early 1915, virtually allserial episodes ended at a point of narrative suspense, with the protagonistfacing apparently certain demise. (37) The format survived well into the1940s and 1950s in the sound serials produced for juvenile audiences byRepublic, Universal, Columbia, and Mascot. Episodes with names like DeathTakes the Wheel, or The Lightning Chamber, leave the hero deadlocked withdeath in a runaway car or an electrical trap, priming the viewer to returnfor next weeks last-minute reversal of fortune. These are situations at theirmost bald, and they are resolved through coincidence and hidden ellipsis. InThe Time Bomb, episode number three of Adventures of Captain Marvel(Republic, 1941), Billy Batsons (Frank Coghlan Jr.) airplane explodes inmidair as his assistants try desperately to warn him of the Scorpions (HarryWorth) bomb, but Billy's radio has been sabotaged by the Scorpion'shenchman. Episode number four replays the situation, revealing a previouslyelided action, in which Billy chances upon a cut wire, repairs his radio,receives the warning, and transforms into Captain Marvel (Tom Tyler), whoflies away from the doomed airplane just before the blast. The causallyoriented viewer would rightly feel cheated by such contrivances, which are asrandom as Sheridan's Beefeater who orders all participants in thestandoff to drop their swords and daggers. For a fan of situationalnarrative, however, the moment constitutes a requisite climax that, oncereached, can be abandoned to clear the way for the next sensation. The soundserials may rely on an especially narrow set of situations, and they mayoffer the same solutions again and again (they are, after all, designed forchildren); but in their very obviousness, these films can help us see howsituational plot construction might work in the action genre. Although amarginal enterprise in the classical era, the sound serial proved highlyinfluential on the two foundational "event films" directed bymovie-brats nostalgic for old Hollywood: Star Wars (George Lucas, 1977) andRaiders of the Lost Ark. 2ff7e9595c
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