Kingsman: The Secret Service

Kingsman: The Secret Service tells the story of a super-secret spy organization that recruits an unrefined but promising street kid into the agency’s ultra-competitive training program just as a global threat emerges from a twisted tech genius.

Synopsis

Mark Millar and Dave Gibbons' comic series is adapted for the big screen in this Matthew Vaughn-directed action thriller. The story centers on a secret agent who recruits a juvenile delinquent into a top-secret spy organization. Together, they battle a tech genius with diabolical ambitions. ~ Jeremy Wheeler, Rovi

Provided by Rovi 

source:http://www.fandango.com/kingsman:thesecretservice_175203/movieoverview

• Starring: Colin Firth, Michael Caine, Samuel L. Jackson, Taron Egerton
• Summary: A veteran spy (Colin Firth) of a super-secret organization recruits an unrefined but promising street kid (Taron Egerton) into the agency’s ultra-competitive training program just as a global threat emerges from a twisted tech genius. 

source:http://www.metacritic.com/movie/kingsman-the-secret-service

 

Movie Info

Based upon the acclaimed comic book and directed by Matthew Vaughn (Kick Ass, X-Men First Class), Kingsman: The Secret Service tells the story of a super-secret spy organization that recruits an unrefined but promising street kid into the agency's ultra-competitive training program just as a global threat emerges from a twisted tech genius. (c) Fox

• Rating: R (for sequences of strong violence, language and some sexual content)
• Genre: Mystery & Suspense
• Directed By: Matthew Vaughn
• Written By: Mark Millar , Dave Gibbons , Matthew Vaughn , Jane Goldman
• In Theaters: Feb 13, 2015 Wide
• US Box Office: $119.4M
• Runtime: 2 hr. 8 min.

20th Century Fox - Official Site

source:http://www.rottentomatoes.com/m/kingsman_the_secret_service/ 

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Run All Night

Synopsis Of Run All Night

Brooklyn mobster and prolific hit man Jimmy Conlon, once known as The Gravedigger, has seen better days. Longtime best friend of mob boss. Jimmy, now 55, is haunted by the sins of his past - as well as a dogged police detective who’s been one step behind Jimmy for 30 years. But when Jimmy’s estranged son, becomes a target, Jimmy must make a choice between the crime family he chose and the real family he abandoned long ago. Now, with nowhere safe to turn, Jimmy just has one night to figure out exactly where his loyalties lie and to see if he can finally make things right. 

source: http://android-movies.com/en/movie/241554/Run+All+Night-2015

Movie Info 

Liam Neeson reunites with Unknown director Jaume Collet-Serra for this Warner Bros. thriller following a mob hit-man and his estranged son (Joel Kinnaman) as they flee the wrath of a vengeful crime boss. ~ Jason Buchanan, Rovi

• Rating: R (for strong violence, language including sexual references, and some drug use)
• Genre: Mystery & Suspense
• Directed By: Jaume Collet-Serra
• Written By: Brad Inglesby
• In Theaters: Mar 12, 2015 Wide
• US Box Office: $19.6M
• Runtime: 1 hr. 54 min.

Warner Bros. - Official Site

source:http://www.rottentomatoes.com/m/run_all_night/

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Furious 7

From small beginnings as a plucky street racing drama, the Fast & Furious series has transformed itself into a juggernaut tentpole franchise that delivers jaw-dropping vehicular carnage and testosterone-soaked fist fights. Cast members aside, the Fast movies of recent years bear little resemblance to the early outings.

It wasn't until the arrival of Dwayne Johnson in 2011's Fast Five that the films really found their feet - now they're competing for serious box office bucks with the likes of Marvel and Transformers. In short, the Fast franchise now produces the kind of action movies you wished The Expendables would.

Paul Walker

Picking up straight where Fast & Furious 6 left off, the storyline this time around is driven by Deckard Shaw's (Jason Statham) thirst for revenge against Dom Toretto (Vin Diesel) and his crew. Shaw, like a force-of-nature horror villain, materialises out of the blue to put Hobbs in hospital, kill Han (Sung Kang) and drop a bomb on Brian (Paul Walker) and Mia's (Jordana Brewster) doorstep.

The crew are given the chance to save their own skin by Kurt Russell's Mr Nobody, a clandestine government operative who hires them to recover a powerful 'God's Eye' surveillance device. His promise? They can use it to track down and deal with Shaw before handing it back.

So begins a global game of cat and mouse as supercars speed through skyscrapers in Abu Dhabi, cars parachute out of planes and Statham embarks on a pair of epic showdowns with Johnson and later Diesel. It's as big and over-the-top as you'd expect, playing out like a Fast & Furious greatest hits. There's even room for a drag race (featuring an Iggy Azalea cameo) and a place for The Fast and the Furious: Tokyo Drift, which is weaved neatly into the series' timeline.

This is big, brash, everything-and-the-kitchen-sink spectacle that delivers on entertainment value. New director James Wan feels at home with the formula, although there's the occasional fumble, notably a penchant for leeringly gratuitous ass shots (even Michael Bay isn't this bad!) and frantic editing that makes a few of the fist fights barely comprehensible.

Of course, Fast & Furious 7 is with us later than originally planned. The tragic death of Paul Walker midway through the shoot meant that production had to shut down to mourn then figure out how to complete the film. Walker's brothers Caleb and Cody came into the fold to serve as doubles and, aided by the latest VFX technology, his character Brian O'Connor is able to play an integral part in Fast 7. The digital work is pretty much flawless.

The film's real triumph, though, is how it works as an emotional send-off for Walker. No spoilers here, but the closing moments are handled absolutely beautifully. Heartfelt and genuinely moving, it works both within the context of the Fast series' family-centric ethos and, perhaps more powerfully, offers a moment of closure for fans. The final shot could not be more perfect. Tears will be shed.

source:http://www.digitalspy.co.uk/movies/review/a637531/fast--furious-7-review-series-bids-emotional-farewell-to-paul-walker.html#~p7WFeDJUbxXmTT

True Story

True Story is based on, well, a true story. Now almost 15 years after Michael Finkel was fired from The New York Times, he still talks to Christian Longo every month. (He wants to "follow the story to the end," he tells vulture.com). And he says he finds this movie about him brilliant but "completely unsettling."

As well he should. Finkel is no hero in True Story. He is a man desperately in search of professional redemption. Onscreen, Mike wants this story. He needs it badly. He spends a great deal of time talking with Chris in jail, and he comes to like him. He even shows Jill a long letter Chris wrote to him, and the two of them marvel at how similar it looks to Mike's own notes—the handwriting, the doodles, everything. "You could tell me what it's like to be me," Mike tells Chris when the two first meet.

As the story—and Mike's obsession with the story—grows, he says, "Everybody deserves to have their story heard." But Jill isn't so sure. Maybe some stories don't need to be heard. Maybe some lives don't need to be understood. Mike wants to know Chris, guilty or innocent. Jill has no such desire. She doesn't need to know evil personally to know what it looks like. "You will never, ever escape what you are," she tells Chris.

Do we need to understand the mind of a killer? Is Mike's work really so critical? Jill certainly doesn't think so. Nor does the judge. He admits from the bench that Chris is a mystery to him. "And God willing, you will remain so."

It's a salient point as we encounter movies like True Story—movies with something to say, but say it in discomforting ways. Some say it's important to engage with such stories, arguing that it's necessary to dig deep into the dark depths to pull out what truth and meaning we can. Others say there's little reason to muddy our minds, insisting that life's too short and too precious a gift to spend our treasured minutes in the mire.

At the end of the film, as Mike wraps up a reading of True Story, he's asked a question. What did he give up during the process of researching and writing? What did he lose? He doesn't answer.

Sometimes we don't want to know the truth, but here's an uncomfortable one. When we sink ourselves into stories about immorality or outright evil, maybe we can glean something good. But there is a cost in doing so. We risk losing a little something, a little of ourselves, in the folds.

True Story
The truth. We all say we want it—the truth, the whole truth and nothing but the truth. But lies flourish for a reason. The truth can be boring. Hurtful. Dangerous. Incriminating. We want the truth, we say. But is that, in itself, true? Or is it a lie we sometimes tell ourselves? Michael Finkel is in the truth-telling business. As a reporter for The New York Times, he uncovers uncomfortable truths and splashes them across the country, drawing people in with his prose, shocking them with what he's found.

But then, in the wake of yet another Mike Finkel sledgehammer story—one about the modern-day African slave trade—another shocking truth comes to light. In an effort to make the story more compelling, Mike has taken the accounts of several victims and merged them into one, solitary source—a man who did not actually experience all that Finkel reports.

"Everything that happened, happened to one of the boys!" Mike protests to his editors. Sure, his main character might not have been whipped, as he wrote. But someone was. Not good enough, say they. Not nearly. And it certainly doesn't disguise the nasty, ugly truth: In an effort to get yet another cover, to land on the short list for a Pulitzer Prize, Mike lied.

"I said write it up, not make it up," his editor hollers. Mike is summarily fired and slinks back to his Montana home, wondering whether he'll ever get another chance. But as Mike is getting canned in New York, something else is happening in rural Oregon. A man named Christian Longo stands accused of killing his entire family—his wife and three little children. The suspect hid in Mexico for weeks … using the alias Michael Finkel, reporter for The New York Times.

The real Mike smells a story. He flies to Oregon to meet Chris, and the alleged killer offers him an exclusive in exchange for … writing lessons. No, this isn't just a story, Mike thinks: It's a book. A big one. A lucrative one. A career-resuscitating one. So what if Chris hasn't actually told him yet whether he's guilty or not? He will.

"I think he trusts me," Mike tells his girlfriend, Jill. "Can you trust him?" Jill counters. After all, the guy did lie about being Mike. What's to stop him from lying to Mike? Would Mike be able to tell? Would he even want to?

Credits
Genre: Drama, Mystery/Suspense
Cast: Jonah Hill as Michael Finkel; James Franco as Christian Longo; Felicity Jones as Jill
Director: Rupert Goold
Distributor: Fox Searchlight
In Theaters: April 17, 2015

Reviewer: Paul Asay

source:http://www.pluggedin.com/movies/intheaters/true-story.aspx

- Movies for your Androids -

Ex Machina

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The title Ex Machina is that the last a part of the phrase Deus ex machina, which accurately suggests that "god from the machine." throughout plays in Greek and Roman times, stagehands would typically use a crane to lower characters or "deities" into a hopeless scene to alter the result of events at the last moment, manufacturing a "miraculous" answer to an otherwise insoluble downside.

Here, Nathan definitely exudes godlike pretentions. however a lot of to the purpose is that the level to that the machine Nathan's created has up. it is a machine with a surprising AI that goes so much on the far side simply passing the Turing check. it is a machine named Ava who steals Caleb's heart … and eventually shatters it with a similar quite cold, calculated crafty that her creator therefore utterly sculpturesque for her.

In ways that shortly aloof from marine turtle Scott's seminal exploration of what it suggests that to be human in 1982's Blade Runner, Ex Machina flirts with the queries of whether or not a automaton will actually be alive, whether or not humans ought to be cautious once it involves making AI, and whether or not our romance with more and more godlike technology are going to be our undoing.

But those don't seem to be the sole things thrusting at provocation here. Alas.

From the instant Caleb meets Ava, the story's charged with an electrical, sexy undercurrent that culminates with many graphic scenes golf stroke feminine "robot" bodies absolutely on show. And, clearly, Nathan has created his fembots with sex pretty much in mind.

So Ex Machina is an intriguing, chilling, flesh-filled rumination on the potential potentialities and pitfalls of AI—a cautionary tale regarding high technical school that has to be treated with high caution itself.

Movie Reviews

Caleb Smith has simply won the lottery. it is not the type of lottery most of the people ever have an opportunity to play. The 26-year-old programmer at the world's largest computer programme, Bluebook, has won a company-wide contest to pay per week with their magnificently reclusive president, Nathan Bateman.

How reclusive? Well, to induce to the guy, Caleb is flown by chopper to Associate in Nursing unspecified  mountainous wild … and born off with no residence seeable. "This is as shut as i am presupposed to get to the building," the pilot says. "What building?" Caleb asks. "Follow the watercourse," the pilot instructs.

Caleb follows it, finally finding Nathan Bateman's home, most of that is nestled—without windows—into the encircling granite. it is not simply a home, Nathan tells him. it is also a hunt facility. And Caleb, it seems, has been chosen not simply to hold with the mavin adult male. Bateman. he is been picked to check the fruit of Nathan's game-changing research: a automaton named Ava.

Ava may be a lovely, voluptuously sculptured automaton with an all-too-human face. Caleb's task? to use the questionable Turing check so as to determine whether or not the machine's AI has really achieved freelance consciousness.

Caleb tries to play it cool along with his disturbingly artful boss and also the lovely "woman" he is created. however it's obvious Caleb's falling for her—just as Nathan had anticipated. And Ava, it seems, is falling for Caleb, too. however that is hardly the sole proof that Ava will so have a mind of her own, as Caleb and Nathan each shortly discover.

Credits

Genre: Drama, Sci-Fi/Fantasy, Mystery/Suspense

Cast: Domhnall Gleeson as Caleb Smith; Alicia Vikander as Ava; Oscar Isaac as Nathan Bateman; Sonoya Mizuno as Kyoko

Director: Alex Garland

Distributor: Universal Pictures

In Theaters: April 10, 2015

Reviewer: Adam R. Holz

source:http://www.pluggedin.com/movies/intheaters/ex-machina.aspx

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The Boy Next Door

It's our favorite movies ever. You can read various movie reviews at our Sister's Pages, or on it's Page4.me and Wordpress platform. Enjoy it! ;)

The Boy Next Door is supposed to be a heroic tale, however it veers perilously near sex-soaked comedy—a camp send-up stuffed with ludicrous one-liners and oh-so-predictable jump scenes. this is not simply a waste of ninety absolutely smart minutes. It's an obliteration of them.

Everybody makes mistakes, it's true. Take this film, as an example. many individuals had a hand in making this error. And as a reviewer forced to observe the result, all I will hope is that they've currently learned their lesson and do not ever repeat it.

The Boy Next Door

Claire is aware of a issue or 2 concerning mistakes. Her philandering spouse created one—repeatedly—with a San Francisco treat. Sure, Garrett says he is sorry, and he ought to be. however within the realm of mistakes, that is a reasonably huge 'un, thus Claire punts his cheating heart to the curb for slightly whereas she ponders whether or not she created miscalculation by marrying the guy.

It's a vulnerable time for Claire, who already had lots to stress concerning. the varsity year's simply round the corner, and Claire—a highschool lit teacher—has to work out some way to induce her pupils jazzed concerning The heroic poem. Her high school-age son, Kevin, is often intimidated. Oh, and she or he contains a new, handsome, extremely distracting neighbor.

Noah looks nice enough initially. he is emotional in to assist Claire's aged neighbor, Mr. Sandborn, through a bone marrow transplant. The young man contains a deep respect for traditional literature, too—a feather in his Elizabethan cap, as so much as Claire's involved. And he hasn't been within the neighborhood over 5 minutes before he and Kevin square measure the most effective of friends. will it matter that Noah's nearly twenty (and still finishing high school) whereas Kevin's face remains probing for its 1st date with a razor? after all not. we tend to should not be petty, and Claire's simply happy that Kevin's found a pal.

But whereas Noah would possibly like Kevin, he contains a abundant totally different type of tenderness for Claire. He dreamfully runs his eyes across her body. He tells her however horny she is in their taken moments along. he is hot for teacher, and he needs her to grasp it.

Claire is aware of any type of interlude with Noah would be wrong on each conceivable level. She's still married, after all. And having sex with a highschool student, even though he's nearly twenty, is sort of sure to get you a mention on Fox News … and laid-off. But Noah, what together with his Narcissus eyes and superhero abs, will be quite persuasive. And one night over a bungled chicken dinner, the hunky guy goes to figure.

"No judgments," he says as he kisses her. "No rules. Just us."

Everyone makes mistakes. however some mistakes square measure larger than others. particularly after you build one with a reasonably however seriously insane neighbor.

At least Claire feels frightful concerning her huge mistake straight off thenceforth and tries onerous to induce her priorities back on target. And what square measure those? Her son, 1st of all. She loves him and desires the most effective for him. She contains a lingering love for her perverse husband, too. and she or he and Garrett really work toward attempting to repair no matter went wrong with their wedding.

Noah's clearly ninety eight unhealthy. however that different two prompts him to spice up Kevin's confidence and defend the younger guy once he is intimidated. (He will it by virtually killing the kid's aggressor, however we'll suspend that subject until later.) He even saves Kevin's life. (A gesture somewhat alleviated, of course, by the actual fact that he tries to kill him later.)

Credits

Genre: Drama, Mystery/Suspense

Cast: Jennifer Lopez as Claire Peterson; Ryan Guzman as Noah Sandborn; Ian Nelson as Kevin; John Corbett as Garrett; Kristin Chenoweth as Vicky

Director: Rob Cohen (Alex Cross, The Mummy: Tomb of the Dragon Emperor, Stealth, XXX, The Fast and the Furious, The Skulls)

Distributor: Universal Pictures

In Theaters: January 23, 2015

Reviewer: Paul Asay

source:http://www.pluggedin.com/movies/intheaters/boy-next-door-2015.aspx

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Taken 3

Before "Taken"'s sudden box workplace success back in 2009, nobody probably would have pegged soft Irishman Liam Neeson—who's currently 62—as consequent nice action star. however that is specifically what happened. Since then, Neeson's marked not solely in "Taken 2" (and currently this third installment), however in different high-calamity, high-grit roles in "Unknown", "Non-Stop", and "The Grey". Apparently, audiences simply cannot get enough of Liam Neeson's "particular set of skills."

I wonder, however, if "Taken 3" can finally mark a relaxation in fans' appetites for his family-man revenge fantasies. It's merely not an honest film—either esthetically or ethically. Neeson appearance as tired and uninterested in the currently conventional avenge-and-protect plot as i used to be with observation it. The murder is as foreseeable because it is incessant, as memorisation and generic because it is mind-numbing. It's as if the scriptwriter merely traced and glued the phrase, "Bryan Mills pummels and shoots unhealthy guys" on each different page of the script.

Scenes shared by Bryan and Kim pack emotional resonance, of course. we have a tendency to definitely don't desire the young, pregnant woman to suffer constant fate as her poor mother. in an exceedingly distant, abstract method, it's smart that her ever-watchful, ever-skilled father is there to shield her.

But that is wherever the word smart ceases to possess abundant application to the present soul-sapping actioner, a weary and exhausting finale for a franchise that is already removed an excessive amount of of our time.

Pity poor Bryan Mills.
All this aging male parent and ex needs to try to to is hole up in his humble L.A. apartment, create connoisseur meals for himself and brainstorm lovely ways that to inform his college-age girl, Kim, what quantity he loves her. (Like, say, impromptu delivering a elephantine stuffed panda and champagne to her 3 days before her birthday.)

Bryan's such a good fellow, in fact, that his ex-wife, Lenore, confides in him the troubles she's having in her subsequent  wedding to a not-so-decent man named Stuart. And Bryan's decency is on show once more once he showing wisdom attracts the road at the temptation of getting AN affair together with his showing emotion vulnerable ex.

All in all, his could be a quiet, gentle, humble, anonymous existence. For all anyone is aware of, Bryan Mills is simply an everyday, black-leather-jacket-wearing sixtysomething hermit with AN awful Irish accent.

Did I mention nonetheless that Bryan accustomed be a United States Army Special Forces über-soldier? And a spy? And a paramilitary sensei? Or that, for him, things ne'er keep quiet long? Did i actually want to? as a result of, because the title to the present currently well-established action franchise tells North American nation, somebody in Bryan's life is usually being taken from him. he is perpetually pushed to reply, that perpetually demands mercantilism his mild, humble, anonymous existence for one thing significantly additional fatal.

This time around, the titular taking is not a snatch in the slightest degree (not initially, anyway), as was the case within the 1st 2 installments. No, now the stakes square measure higher and grimmer from the first once Bryan returns to his housing one morning to seek out his beloved Lenore together with her throat slit in his bed. he is no quite picked up a bloody knife contact the ground once police burst in to bust him.

Bryan, of course, isn't simply taken. "It's time to travel down the hole," he says once slip the police, a squad that is diode by the determinably manful Det. Frank Dotzler.

Bryan simply deduces that he is been framed for Lenore's murder, and it is not long before he learns United Nations agency his wife's killer is: a evilly vicious Russian crime lord named Oleg Malankov. It seems that Malankov has had one thing of a business "misunderstanding" with Stuart. And he is taking bloody retribution consequently.

His next target? Kim. Again.
Or not.
Because as anyone who's ever crossed Bryan Mills has painfully learned, taking those he loves removed from him are some things you are doing at your own mortal peril.

Credits
Genre: Drama, Action/Adventure, Mystery/Suspense
Cast: Liam Neeson as Bryan Mills; Maggie Grace as Kim Mills; Famke Janssen as Lenore St. John; Forest Whitaker as Frank Dotzler; Dougray Scott as Stuart St John; Sam Spruell as Oleg Malankov
Director: Olivier Megaton (Taken 2, Colombiana, Transporter 3)
Distributor: 20th Century Fox
In Theaters: January 9, 2015

Reviewer: Adam R. Holz

source:http://www.pluggedin.com/movies/intheaters/taken-3.aspx

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The Woman in Black 2: Angel of Death

A bunch of London kids area unit packed up and shipped off to a large house within the country for keeping throughout warfare II. And once there, they notice one thing rather sudden. 

Sounds slightly just like the starting of The Lion, the Witch and therefore the Wardrobe, does not it? Except there is not any wizardly wardrobe able to spirit curious kiddos off to a keen land named Narnia during this tale—just a creepy previous cellar, a purportedly bolted nursery and plenty of troubling playthings. there is not any lion, either. however a witch? American state, yes. there is a witch.

No white witch, this one, however a mysterious, morbid figure UN agency skulks through the house dressed tired black. She died within the house it slow agone, however her unhappiness and hate create her linger. and she or he will love very little children—to death. She'd like nothing a lot of than have this new large indefinite amount of very little ones keep with her ... forever.

It seems like many of the scariest supernatural horror villains I've heard of or seen lately have been women. Bathsheba from The conjury, Mama from Mama, all those stringy-haired women from Japanese-inspired horror flicks just like the Ring ... there is one thing significantly subversive concerning casting females in these roles, I think—particularly once they (as happens here) take advantage of kids. we tend to associate girls, naturally, with motherhood. A mom would do anything to protect her kids, we tend to believe—and thus once we tend to see that maternal instinct twisted into one thing horrific, it bothers us maybe to a small degree quite after we see constant behavior coming from men. 

The Woman in Black 2: Angel of Death is so a irritating, troubling film, filled with part creeps and many jump scenes. there is not the maximum amount visceral content as you may expect from such a scarefest: very little to no physiological property on show, hardly any language and astonishingly spare quantities of blood. however all that will during this case be to a small degree beside the purpose, as a result of there is additionally little redemptive worth lurking during this darkness. 

"Our own worst enemy is ourselves," Jean says. "Our fears. Doubts. Despair. that is what can destroy United States of America." we tend to see individuals attempt to clear their minds of such negative thoughts. Optimism, the film suggests, is that the key to pushing back its cold, black villains. and that we see some noble efforts therein regard.

Keep calm and smile at the demon, you may say. however since once will that kind of issue save the day? within the finish we tend to're left—as we were within the 1st movie—with a sense of unhappy, spooky inevitability: in spite of what proportion spirit our heroes show, or however fervidly they need to smile wide enough to dispel the evil, we tend to get the sense that jenny can simply persevere stalking those gloomy halls—and maybe venture on the far side them, too. 

The Woman in Black can't be stopped with a gay acknowledgement or a double dose of grit and gumption. Not, at least, as long as there is cash to be created within the business of sequels.

GENRE

Drama, Mystery/Suspense, Horror

CAST

Phoebe Fox as Eve Parkins; Helen McCrory as Jean Hogg; Jeremy Irvine as Harry Burnstow; Oaklee Pendergast as Edward; Adrian Rawlins as Dr. Rhodes; Amelia Pidgeon as Joyce; Jude Wright as Tom; Leanne Best as The Woman in Black

DIRECTOR

Tom Harper

DISTRIBUTOR

Relativity Media

IN THEATERS

January 2, 2015

ON VIDEO

April 7, 2015

REVIEWER

Paul Asay

source:http://www.pluggedin.com/videos/2015/q2/woman-in-black-2-angel-of-death.aspx

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The Babadook

An often-effective, surpringly rare horror motion-picture show maneuver is to require Associate in Nursing everyday state of affairs that’s straightforward to relate to and to ramp it up to the purpose of psychopathy. Australian writer-director Jennifer Kent’s assured initial feature is that child everybody is aware of (or has been), the one who’s thus scared of the bugbear — or no matter imagined terror haunts his nights — that he utterly disrupts his parents’ life and his own.

Young Noah Wiseman may be a force of nature as guided missile, promptly the foremost vulnerable and most irritating kid conceivable, infecting his worn-down mother (Essie Davis) with temporary state (at one purpose, he crawls into her bed whereas she’s exploitation her vibrator), having a screaming ill temper within the automotive whereas kicking the rear of her seat, and in bother for transferral home-baked monster-fighting weapons to highschool. The backstory — Amelia’s husband died in a very automotive crash driving her to the hospital to own their son — is poignant and also the portrait of mother and son bolted in a very single, escalating fantasy is riveting and awfully credible. the house stretch, that hints at the origins of the monster, is suspensive and surprising.

At first, we’re cornered in a very house with a child World Health Organization is relentless in his fantasy — to the purpose wherever his mother suspects he’s producing proof of Babadook activity, like broken glass the soup. Then, the film enters deeply into Amelia’s troubled mindscape as "The Babadook", that has secure to kill her son by possessing her to try to to the deed, takes over, and guided missile has cause to be genuinely afraid. In films just like the "Amityville Horror" and "The Shining", fathers ar influenced by the supernatural to become menaces to their kids, however this can be a rare instance of the syndrome moving a mother. Davis is surprising because the drained mum, troubled to traumatize a toddler World Health Organization forever says and will the incorrect issue at the incorrect time — protesting regarding the medication he’s been given to create him sleep whereas the social services ar creating a decision.

"The Babadook" shares some traits with up to date ghost stories like sensory receptor, "Mama" or "Insidious" however with a stronger character basis. It’s genuinely scarey in its jump moments, however additionally imparts a lingering sense of dread that may stick with you for days — and can positively come back to mind subsequent time you get up within the middle of the night curious what that scratching noise was. Its expressionist vogue means that it’s not simply reduced to an easy story of a psychological delusion — there's a true monster, tho' ambiguity on its nature is carried throughout to the worrisome end.

The deceptive, vicious, odd pop-up book that turns up within the home with no real rationalization and triggers the crisis is bright designed, and unsettling. The Seussish-with-a-nightmare-edge illustrations ar dextrously horrid, exactly not appropriate for pliant youngsters, however still gift a unforgettable, virtually cute brand. The Babadook manifests in varied forms — at one purpose, taking drugs on late-night tv within the middle of a Georges Méliès film — strutting and denudation teeth sort of a hideous mixture of Struwwelpeter, Nosferatu, Willy Wonka, Freddy Krueger and also the Child Catcher.

source:http://www.empireonline.com/reviews/reviewcomplete.asp?FID=138767

Movie Info
Six years once the killing of her husband, birth defect (Essie Davis) is at a loss. She struggles to discipline her 'out of control' half-dozen year-old, Samuel (Noah Wiseman), a son she finds not possible to like. Samuel's dreams ar littered with a monster he believes is coming back to kill them each. once a troubling storybook known as 'The Babadook' turns up at their house, Samuel is convinced that the Babadook is that the creature he is been dreaming concerning. His hallucinations spiral out of management, he becomes additional unpredictable and violent. Amelia, genuinely frightened by her son's behaviour, is forced to medicate him. however once birth defect begins to ascertain glimpses of a sinister presence all round her, it slowly dawns on her that the factor Samuel has been warning her concerning is also real. 

(C) IFC

• Rating:     Unrated
• Genre:     Drama, Horror, Mystery, Suspense
• Directed By:     Jennifer Kent
• Written By:     Jennifer Kent
• In Theaters:    November twenty seven, 2014 restricted
• On DVD:    April thirteen, 2015
• Runtime:    one time unit. 34 min.

IFC Films - Official Site

source:http://www.rottentomatoes.com/m/the_babadook/ 

- Movies for you Android - 

Cut Bank

Cut Bank is the sort of copycat, self-consciously comedic violent noir of which there were far too many at the Sundance Film Festival in the years after the Coen Brothers and Quentin Tarantino strode onto the scene. Clever enough to provoke a few abrupt laughs along the way, this big screen debut for two television stalwarts, director Matt Shakman (It’s Always Sunny in Philadelphia) and writer Robert Patino (Sons of Anarchy, Prime Suspect), is sabotaged by some frightfully on-the-nose expository dialogue and an adamantly prosaic visual style.

Still, the solid cast will probably earn this a distributor for limited theatrical release. The yarn is set (but was not filmed) in the tiny (pop. 3,100) Montana town that proudly announces itself as the "coldest spot in the nation," although, as the story is set during the summer, this has no bearing whatever on the plot. An embarrassingly informational initial scene has handsome dumb cluck Dwayne (Liam Hemsworth) telling his gullible but fetching girlfriend Cassandra (Teresa Palmer) something she scarcely needs to hear again, that he wanted whisk her to L.A. three years ago but for now he’s stuck caring for his sick old dad.

As if in preparation for imagined film careers, Dwayne takes his young lovely out to a floral field to take some lyrical video footage of her, only to also capture, in the background, a figure emerge to fire to two shots at another man. The victim is the town's goofy old postman, Georgie Wits (Bruce Dern), who has heretofore been seen spending his lunch hour in his mail truck ogling nubile cheerleaders through binoculars.

As there’s a $100,000 reward in place for anyone providing evidence of the killing of a federal employee, Dwayne expectantly gives his videotape to local sheriff Vogel (John Malkovich), who’s taken aback by the advent of the town’s very first murder. However, there’s no body, nor has the day’s mail been delivered, which is a matter of extreme concern to taxidermist Derby Milton (Michael Stuhlbarg), an ultra-weirdo with bottle-bottom glasses who’s expecting a very important parcel.

Short of spilling any spoilers, which would be numerous, it’s safe to say that the lack of a corpse is simply the first of many details that suggest that things are not as straightforward as they might have seemed at first; it almost goes without saying that the body count does not end with one. Writer Patino no doubt had fun lining up all his ducks, the better to savor twisting their necks and plucking their feathers, and there are minor pleasures to be taken watching pros like Dern, Stuhlbarg, Malkovich and Oliver Platt, playing a visiting D.C. official, employ delayed reactions and well-practiced stares to milk maximum value out of the script’s surprise turns.

But thick-headed Dwayne and bubbly Cassandra, who dreams of being crowned Miss Cut Bank before leaving for Hollywood stardom, are dull characters, as is the latter’s stern father (Billy Bob Thornton).

Even more deleterious, however, is the by-the-numbers direction; especially with this sort of story, which has been done a thousand times before, stylistic flair and visual inventiveness are de rigueur, the only justification, in fact, for further exploits in this much-traversed field. Shakman’s handling of it is strictly presentational, creating no special mood, atmosphere or character.

Some very good talent behind and before the camera has been put to quite ordinary use here.

source:http://www.hollywoodreporter.com/review/laff-film-review-cut-bank-713607

Movie Info

Dwayne McLaren (Liam Hemsworth) dreams about escaping small town life in Cut Bank, Montana, "the coldest spot in the nation," with his vivacious girlfriend Cassandra (Teresa Palmer). When Dwayne witnesses an awful crime, he tries to leverage a bad situation into a scheme to get rich quickly but he finds that fate and an unruly accomplice are working against him. Thrust into the middle of a police investigation spearheaded by the local sheriff (John Malkovich), everything goes from bad to worse in this all-American thriller. Directed by Matt Shakman and also starring Billy Bob Thornton, Bruce Dern, Michael Stuhlbarg, and Oliver Platt. (C) Official Site
 

Rating:	R (for violence and language)
Genre:	Mystery & Suspense
Directed By:	Matt Shakman
Written By:	Roberto Patiño
In Theaters:	Apr 3, 2015 Limited
On DVD:	May 25, 2015
Runtime:	1 hr. 33 min.

A24 - Official Site

http://www.rottentomatoes.com/m/cut_bank/

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Jinn

Despite OK visual effects, a few chills and some newfangled movie monsters, writer-director Ajmal Zaheer Ahmad’s supernatural thriller “Jinn” often feels like one-half of an old grindhouse double bill.  It’s a watchable if rather convoluted effort.

The titular jinn, according to Eastern mythology, are one of three races created “In the beginning…” (the other two are man and angels).  Conveniently--for a horror film, anyway--the mysterious jinn are nothing if not flexible.  These time- and shape-shifting beings can be good or bad, peaceful or violent, invisible or in your face (at times they resemble upright fireplaces).  Whatever, you want them on your side.

Unfortunately for Shawn (Dominic Rains), a model-handsome Michigan auto designer married to the equally pretty Jasmine (Serinda Swan), he must suddenly do battle with a vicious sect of the jinn, the Shayateen, due to a family curse that stretches back to 1901.  Suffice to say this ancestral history is news to Shawn and it’s delivered the old-fashioned way: on a VHS tape.

What follows is a frantic few days in which Shawn must collaborate with an unlikely trio of jinn experts--a shadowy priest (William Atherton), a protective tough guy (Ray Park) and a manacled mental patient (Faran Tahir)--to learn how to fight the fiery Shayateen at their own miserable game and, y’know, save the world.  This demands that, among other things, Shawn pass an ancient ritualistic test called the Chillah (don’t ask).

Meanwhile, Jasmine, who may or may not be pregnant with Shawn’s child, has allegedly been abducted by the bad jinn. Cue the stacked deck.

Magical swords, evil doppelgangers, a sexy black muscle car, an unremarkable final showdown and lots of first-draft dialogue factor into this thankfully brief (about 80 minutes plus end credits) frightfest. 

As for the film’s closing promise: “The Jinn will return”--don’t hold your breath.

~ By Gary Goldstein

source:http://www.latimes.com/entertainment/movies/moviesnow/la-et-mn-review-jinn-cant-rise-above-horror-cliches-20140405-story.html 

 

Movie Info

In the beginning, three were created. Man made of clay. Angels made of light. And a third made of fire. For centuries, stories of angels and men have captured the imagination and been etched into history crossing all boundaries of culture, religion and time. These two races have dominated the landscape of modern mythology, shrouding the evidence that a third was ever created. This third race, born of smokeless fire, was named the jinn. Modern man has all but forgotten this third race ever existed. It is time for him to remember. 

(c) Freestyle

 

Rating:	PG-13 (for some intense sequences of violence and terror)
Genre:	Horror , Mystery & Suspense , Science Fiction & Fantasy
Directed By:	Ajmal Zaheer Ahmad
Written By:	Ajmal Zaheer Ahmad
In Theaters:	Apr 2, 2014 Limited
On DVD:	Apr 12, 2015
US Box Office:	$0.1M
Runtime:	1 hr. 37 min.

Freestyle Releasing - Official Site

source:http://www.rottentomatoes.com/m/jinn_2014/

 

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