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streamnow Hidden Figures (2016) Full Movie english subtitles

Release :2016-12-25Runtime :126 min.Genre :DramaProduction :20th Century Fox, Chernin Entertainment, TSG Entertainment, Levantine FilmsCast :Taraji P. Henson, Octavia Spencer, Janelle Monae, Kevin Costner, Kirsten Dunst, Jim Parsons, Mahershala Ali, Aldis Hodge, Glen Powell, Kimberly Quinn, Olek Krupa, Kurt Krause, Ken Strunk, Lidya Jewett, Donna Biscoe, Ariana Neal, Saniyya Sidney, Zani Jones Mbayise, Tre Stokes, Selah Kimbro Jones, Corey Mendell Parker, Ashton Tyler, Alkoya Brunson, Karan Kendrick, Jaiden Kaine, Gregory Alan Williams, Maria Howell, Arnell Powell, Crystal Lee Brown, Tequilla Whitfield, Dane Davenport, Evan Holtzman, Travis Smith, Scott Michael Morgan, Robert McKay, Joe Hardy Jr., Addison Rose Melfi, Gary WeeksCrew :Allison Schroeder, Theodore Melfi, Donna Gigliotti, Peter Chernin, Jenno Topping, Pharrell Williams, Theodore Melfi, Margot Lee Shetterly, Theodore Melfi, Hans Zimmer, Pharrell Williams, Mandy Walker, Wynn Thomas, Missy Parker, Peter Teschner, Jeremy Woolsey, Renee Ehrlich Kalfus, Selena Evans-MillerVote Average:7.9 Count: 33Overview :The incredible untold story of Katherine G. Johnson, Dorothy Vaughan and Mary Jackson - brilliant African-American women working at NASA, who served as the brains behind one of the greatest operations in history: the launch of astronaut John Glenn into orbit, a stunning achievement that restored the nation's confidence, turned around the Space Race, and galvanized the world. The visionary trio crossed all gender and race lines to inspire generations to dream big.Keyword :nasasexismbiographymathematicsracial segregationracismscientistspace raceblack womanu.s. space programdiscrimination1960s




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Review 
 
 
If you want to know what racism feels like, then the director of this movie really let's you have it front and centre. Not in a violent way, but in the way that most people experience it in the little acts of day to day life. The frown, the social exclusion or lack of acknowledgement.The juxtaposition of a mega scientific journey to space with the serious problems on the surface of the planet is perfect. I remember the 60's, the speeches of Dr. Martin Luther King. There are many powerful scenes in this movie. I think back to Dion's song Abraham, Martin and John. 
Theodore Melfi's incredible film depicting the lives and careers of three African-American women whose work was extremely influential in the early days of NASA's Mercury, Atlas, and Apollo missions will hit close to home for many. In all likelihood, there may not have been successful launches, orbits, and landings if it weren't for these brave women who refused to back down and take the back seat to white men and women at a time that even government buildings still segregated restrooms, water fountains, and "community" coffee pots. Every once in a while, there is a biographical drama that packs a powerful socio-political message within a simple but brilliant story that is told incredibly successfully. Hidden Figures is a film that should have been released many years ago. How stories like this one go untold, is bewildering. Between the powerful performances, excellent writing, meticulous direction, and fantastic score, this is definitely a film to catch in theaters this weekend.

Unlike many biographical dramas, there is a comprehensive nature to this film as it contains two important stories. There is the foreground story featuring the women at the center of the movie, but there is also the story of the state of the U.S.' domestic socio-political policies at a time of civil rights unrest--especially in places like Virginia. Both stories parallel one another and serve to pack a powerful punch. After watching this film, it is clear that this film wishes it had existed in the 1960s. Within the former story, the focus is primarily on the life and career of Katherine Goble followed by Dorothy Vaughn, and to a lesser extent, Mary Jackson. Each woman specializes in a different STEM (as it is now commonly referred) area. Katherine is a mathematical genius matched by none, Dorothy understand early computer language better than anyone at NASA, and Mary is an aspiring engineer with a brilliant mind for aerospace design. The latter story, underscoring the socio-political civil rights unrest, is certainly highlighted in the film but never takes the focus completely off the story in the foreground; however, is vitally important to this powerful story with a message that those who you least expect to rise to be leaders in their respective fields, can and will!

Although this truly is a powerful film with a beautiful message that is just as relevant today as it would have been 50 years ago, it never quite hits the mark that I had hoped it would. Suffice it to say, there are some remarkable scenes with powerful speeches, but the film never quite hits that emotional mark as intensely as it should. I realize that some of what transpired in the Space Task room, wind tunnels, and courtroom may have been taken from transcripts for authenticity, as this is a movie, I feel that there should have been more of a dramatic license taken out to increase the emotional impact of the film. It certainly has a moderately high emotional impact, but there was definitely the potential to take it up several more degrees. Two scenes come to mind. (1) Katherine challenging the segregation policies at NASA as it relates to common comforts such as restrooms and coffee and (2) Mary positioning the court to permit her enrollment for graduate level engineering classes held at an all-white school. Dorothy also has a couple of encounters with her superior but they are more subtle--no less powerful and important to the film. In regards to the scene in which Katherine confronts Mr. Harrison, the scene feels a little cut short of where it should have ended and Mr. Harrison's (Kevin Costner) response could have been more dramatic. When in the courtroom as Mary was addressing the judge, this would have been the perfect time for a speech that would have brought a flood of tears to the eyes, but it stops short of where it could have gone too. Over all, the screenplay is excellently written. These are just two areas that I feel could have struck a more powerful emotional cord. As it is, these scenes are still some of the most brilliant in the film and leave an impact.

One of Mr. Harrison's lines in the film contains a large degree of irony. The line was something to the effect of "How can the U.S. government justify NASA when it is consistently unable to get into and explore space?" The irony therein is seen in today's defunding of NASA for, essentially, that very concept. NASA did not lose the bulk of its government funding due to any particular presidential administration but from remaining in the 80s and never launching into the 21st century. After the Space Shuttle program, NASA did very little to grow--its technology and engineering remained fairly stagnant. Sure, combinations technologies greatly benefited from NASA engineers, but that is not what made NASA an exciting organization from the 60s thru the 90s. What made NASA great was the perception of being explorers--exploration excited a society! Once NASA no longer appeared to be focused on exploration and shifted its focus to communication technologies, it lost that public support that was such a part of what brought so many people together. In many ways, the perceptions and issues facing NASA prior to and during the early missions is plaguing it today. Instead of an inability to launch a man into space and orbit the earth (later to land on the moon), there is now the demonstrable evidence and perception that NASA has an inability to create manned vessels capable of exploring space. 

More than a biography of the glory days of NASA, this is a story of three women who, against all odds, rose to the challenges they faced on a daily basis to prove that women are capable of anything that a man can do. 

Written by R.L. Terry

Edited by J.W. Wead 
Here's a movie about numbers and three girls with sharp pencils. Hard to believe the space program relied in manual calculations before NASA got their computers up and running.

Excellent performances make this work. There is a nice score and plenty of fifty era Chevys. The number of vintage Chevys polished and lined up in the parking lot is humorous.

At two hours plus, the movie is and feels to long. Seems like about twenty minutes could be cut. It seems it is wandering at times. The movie lacks urgency. A highlight is the passing of chalk.

There is no need to see this in a theater. For the most part, it's a small but important story that will work well on home platforms. 
There is a subplot in the film where Katherine disappears for 40 minutes every day from her desk at NASA to use a bathroom in a different building, because in segregation-America, there are no facilities for her in her building. When this comes to light, her Boss finds that Katherine has also been forced to use a different coffee jug from her white colleagues. There is then a moment where he removes the label from Katherine's jug used to indicate her race and glares round at her ashamed coworkers. I thought 'at last - some subtlety and intelligence of dramatic touch. Everyone knows what he means removing the sticker and glaring at them - no more segregation in the building.' Unfortunately, the next scene, this same Boss smashes the segregationist sign off the women's toilets with a double-handed lump hammer. I feel this is an apt metaphor for how the film treats its message.

This is a common problem for films which have a message, whether its about racism or sexism embedded in every day interactions, or the blight of poverty or whatever - they often underestimate the awareness, compassion and intelligence of the audience. I'm reminded here in the UK of films such as Made In Dagenham or Suffragette.

Obviously, unless you suffered racial prejudice in a segregated country, you can never know what that was like. But then - how do you bring in as wide an audience as possible? A much better approach to this story would have been to focus on the theme. The theme here, surely, is overcoming daunting odds. Everyone, to differing degrees, can relate to it. So it's strange that I cannot remember any of the characters going through any truly dark moments of self-doubt, or doubt that a more equal society will come forth. For the most part of the film, it seems, a sassy remark and a cheeky smile is enough to turn round the main characters' fortunes in each and every scene - yet it must have been far harder for the real women this story is based on.

Levity vs Poignancy. It's a difficult balance for the writers, who do at least a good job of injecting humour throughout. Yet much of this humour seems artificial and Mr Melfi would have done better if he had trusted both the story and the audience much more.

Full marks, however, for discovering this piece of history. I am always intrigued by finds such as this. For example, I would love to see a biopic of Noor Inayat Khan. I hope when they do this, though, they really take more time over the script than is evident in Hidden Figures. 
Greetings again from the darkness. The space program has created many iconic images over the years: rhesus monkeys in space suits, the Mercury 7 Astronauts press conference, Neil Armstrong and Buzz Aldrin erecting a flag on the moon, and numerous Space Shuttle missions – some successful, others quite tragic. We've even been privy to cameras inside the space station and the NASA control center. Despite all of that, director Theodore Melfi's (St Vincent, 2014) latest film uncovers a part of history to which most of us knew nothing of.

Adapted from the book by Margot Lee Shetterly, the film stuns us with the story of the "Colored Computers" … the African-American female mathematicians who manually checked and cross-checked the endless calculations, formulas and theories required to launch a rocket into space and bring it (and the astronaut) back home. It's a crowd-pleasing history lesson and an overdue tribute to, and celebration of, three intelligent women of color who played crucial roles in the success of the American space program We first meet a young Katherine Johnson as a child math prodigy whose school can't provide her the challenge she needs. Next we see her as a bespectacled adult (Taraji P Henson) on the side of the road beside a broken down car with her friends and co-workers Dorothy Vaughan (Octavia Spencer) and Mary Jackson (musician Janelle Monea). They are on their way to work at Langley in the computing department. Dorothy is the ad hoc supervisor of the group and is in a non-stop battle for the title and increased pay that comes with the job. Mary is the razor-tongued one who is striving to overcome all of the obstacles on her way to becoming the first female African American Engineer at NASA. These are good friends and smart women caught up in the racism and sexism of the times and of the organization for which they work.

Soon, Katherine is promoted to the Space Task Group run by Al Harrison (Kevin Costner). This is a group of true rocket scientists, and Katherine is charged with checking and confirming their work … a thankless job for anyone, but especially for a black woman in the early 1960's. Her supervisor (Jim Parsons) refuses to give her the necessary security clearance – huge portions of the work are redacted, making it increasingly difficult for Katherine to run the numbers. This is a seemingly accurate and grounded portrayal of racism in the workplace. At the time, racism and sexism were mostly woven into the fabric of society … it's "just the way things are". It's almost a passive-aggressive environment with separate coffee pots and restrooms clear across campus.

There are numerous sub-plots – probably too many. We even get an underdeveloped romance between Katherine and a soldier named Jim Johnson (Mahershala Ali, so great in this year's Moonlight). We follow Mary as she goes to court in pursuit of the right to attend the college that offers the engineering courses required for her certification. We see Dorothy with her kids, as well as her ongoing head-butting with her condescending supervisor (Kristen Dunst), who claims to have nothing against 'you people'. Dorothy's response is clever, crowd-pleasing and a reminder that this is an air-brushed version of reality … but also a view that we rarely see. As the Mercury Project progresses, we see how Harrison (Costner) is so focused on getting the job done, that he is oblivious to the extra challenges faced by Katherine – that is until her emotions erupt in a scene that will have Henson under Oscar consideration.

The slow implementation of the first IBM mainframe is important not just to NASA, but also to Dorothy and her team. They see the future and immediately start self-training on Fortran so that they are positioned for the new world, rather than being left behind. Eye-opening sequences like this are contrasted with slick mainstream aspects like no slide-rules (not very camera friendly, I guess), stylish and expensive clothing for the underpaid women, and a steady parade of sparkling classic cars in vibrant colors – no mud or dents in sight. Sure, these are minor qualms, but it's these types of details that distract from the important stories and messages.

The film does a nice job of capturing the national pride inspired by the Mercury project, and astronauts such as John Glenn (played here by Glen Powell, Everybody Wants Some!!). It even works in some actual clips and captures the pressure brought on by the race to space versus the Russians. There is an interesting blend of Hans Zimmer's score and the music of Pharrell Williams that gives the film a somewhat contemporary feel despite being firmly planted in the 60's. This mostly unknown story of these women is clearly about heroes fighting the daily battles while maintaining exemplary self-control. It offers a positive, upbeat and inspirational message … believe in yourself, and don't pre-judge others. Don't miss the photos over the closing credits, and don't hesitate to take the family to the theatre over the holidays. 

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