Insurgent - One Choice Can Destroy You

Synopsis

Directed by Robert Schwentke, the second film in the Divergent series find Tris (Shailene Woodley) and Four (Theo James) on the run from Jeanine Matthews (Kate Winslet) while trying to figure out the secret that will help the rebels build a new and better future.

source:http://www.fandango.com/thedivergentseries:insurgent_177207/plotsummary 

 

Beatrice Prior must confront her inner demons and continue her fight against a powerful alliance which threatens to tear her society apart. 

source: http://android-movies.com/en/movie/262500/Insurgent-2015 

 

Movie Info 

THE DIVERGENT SERIES: INSURGENT raises the stakes for Tris as she searches for allies and answers in the ruins of a futuristic Chicago. Tris (Woodley) and Four (James) are now fugitives on the run, hunted by Jeanine (Winslet), the leader of the power-hungry Erudite elite. Racing against time, they must find out what Tris's family sacrificed their lives to protect, and why the Erudite leaders will do anything to stop them. Haunted by her past choices but desperate to protect the ones she loves, Tris, with Four at her side, faces one impossible challenge after another as they unlock the truth about the past and ultimately the future of their world. (C) Lionsgate 

 

• Genre: Drama , Action & Adventure , Romance , Science Fiction & Fantasy 

• Directed By: Robert Schwentke 

• Written By: Akiva Goldsman , Brian Duffield , Mark Bomback 

• In Theaters: Mar 19, 2015 Wide 

• US Box Office: $52.3M 

• Runtime: 1 hr. 59 min. 

• Lionsgate Films - Official Site 

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

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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

The Last Witch Hunter

“Tormented by the loss of his family and cursed with immortal life, the last witch hunter is all that stands between humanity and the combined forces of the most horrifying witches in history.“

New York City hides many secrets, but the most astounding secret of all is that witches still live amongst us. Condemned to a life of immortality, the last witch hunter, Kaulder (Vin Diesel), is all that stands between humanity and a new reign by the most horrifying and powerful witches in history, including the Queen Witch who will stop at nothing to reclaim her throne.
source:http://www.comingsoon.net/movie/the-last-witch-hunter

Fast & Furious 6

“All roads lead to this.” 

That’s the tagline for Fast and Furious 6 and it’s appropriate on several different levels. The film is the final series entry from director Justin Lin, who picked up a fledgling franchise and carried it into the blockbuster realm. It also marks the culmination of a story that began at the end of Tokyo Drift, when a cameo from Vin Diesel signaled the shift from a set of loosely connected films to a tightly intertwined set of stories and characters.

source:http://www.slashfilm.com/fast-and-furious-6-review-the-fast-and-furious-movie-fans-never-imagined-possible/

Avengers: Age of Ultron

In the mid-1970s, an exponent introduced me to the Avengers. I preferred the action, their serialized stories, the conflict. and therefore the character i used to be drawn to the foremost was the "synthezoid" referred to as Vision.

When I learned Ultron would be the villain during this film, I thought, Well, you cannot have Ultron while not Vision. And you cannot have Vision while not Scarlet Witch. (They eventually wed within the comics.) And sure as shooting, they are all here.

That'll satisfy a lot of long fans like me. And even the sort of narrative meddling director god Whedon indulges here and there does not ruin too several things. Similarly, tho' there is a heap of onscreen destruction, Earth's Mightiest Heroes do their best to reduce bloodshed. therefore the result's an old-school mag encounter that ultimately feels, well, like AN old-school mag, powerfully action the superhero values of humility, teamwork, forgiveness, trust and, of course, sacrifice.

That makes the infrequent foul language and sexual implication frustrating on behalf of me, as a fan, as a dada and as a blocked In moving picture reviewer. We're barely a moment into the fun once Stark, in battle, spews out an s-word. Captain America rebukes him, yelling, "Language!" so utterance becomes a running joke from then on, with characters commenting on or correcting others whenever a alternative word slips out.

Just as Ultron himself is self-conscious, then, the moving picture named when him exhibits a sort of consciousness regarding its sometimes jumpy content. whether or not it's Norse deity revamping his statement regarding the Hulk's victims attending to hell, conversations regarding limiting injury to civilians, or banter regarding inappropriate interjections, god Whedon's script is packed with winks that permit us grasp that he is aware of specifically what direction criticisms ar possible to come back from.

But do such duteous disclaimers somehow negate the negative influence these moments can be having on viewers (especially younger ones)?

Those shortcomings do not fully obscure all the positives I've simply mentioned, of course. therefore it makes me once more think about Vision's assessment of humanity: "There is grace in their failings," he says.


"Avengers: Age of Ultron"

"What if the globe was safe?"

That's the question industrial genius Tony Stark (otherwise referred to as Iron Man) asks Bruce Banner (Hulk). What if we have a tendency to may place a "shield round the world?" he wonders. What if we have a tendency to may produce "peace in our time?"

What if we have a tendency to may use the dormant Ultron project to try and do it.

"I thought Ultron was a failure," Banner says.

It was, Stark responds. however currently that they've retrieved Loki's scepter, an whole of immeasurable power, they need the facility to bring Stark's final would-be peacekeeper to life.

Banner thinks they ought to tell the opposite Avengers.

Stark's not therefore positive. "I don't desire to listen to the man-was-not-meant-to-meddle speech," he says.

Turns out Tony Stark ought to have listened to it speech. as a result of by the time Ultron involves life, well, it's safe to mention the stud hunk of high-tech  metal has a reasonably completely different plan regarding his mission. And it ain't peacekeeping.

"I grasp you meant well," Ultron tells his creator. "You simply did not assume it through. however is humanity purported to be saved if it is not allowed to evolve?"

And by evolution, Ultron means that extinction. that is the solely "path to peace," he says.

So that is our fate, folks, unless Iron Man, Hulk, Captain America, Thor, Black Widow, Hawkeye and a number of newcomers will thwart the psychoneurotic monster's genocidal plot. Yep, it is time to heat up an explicit star-spangled defend, a magnificently serious hammer, myriad specialised arrows, repulsor rays, oh, and a giant ol' set of smashing inexperienced fists.

Genre: Drama, Action/Adventure, Sci-Fi/Fantasy
Cast: Robert Downey Jr. as Tony Stark/Iron Man; Chris Hemsworth as Thor; Mark Ruffalo as Bruce Banner/The Hulk; Chris Evans as Steve Rogers/Captain America; Scarlett Johansson as Natasha Romanoff/Black Widow; Jeremy Renner as Clint Barton/Hawkeye; James Spader as the voice of Ultron; Samuel L. Jackson as Nick Fury; Don Cheadle as James Rhodes/War Machine; Aaron Taylor-Johnson as Pietro Maximoff/Quicksilver; Elizabeth Olsen as Wanda Maximoff/Scarlet Witch; Paul Bettany as Vision/Jarvis; Thomas Kretschmann as Strucker
Director: Joss Whedon (Much Ado About Nothing, The Avengers, Serenity)
Distributor: Walt Disney
In Theaters: May 1, 2015

Reviewer: Adam R. Holz

source:http://www.pluggedin.com/movies/intheaters/avengers-age-of-ultron.aspx

http://android-movies.com

Monkey Kingdom

Deep within the heart of tropical Sri Lanka, there once was a kingdom, "Monkey Kingdom", wherever humans erected buildings and temples and mammoth statues of Siddhartha. the dominion was eventually overrun by the forest. and therefore the folks abandoned it.

But nature, as has typically been aforementioned, abhors a vacuum. and there is no reason why a wonderfully smart kingdom ought to visit waste. a minimum of that is what the troop of toque Old World monkey monkeys World Health Organization touched in appear to assume.

For generations, the macaques have created their direct these abundant relics, still as during a immense granite rock commanding this hereditary kingdom, named Castle Rock.

It's known as Castle Rock by humans, not the monkeys, of course. The monkeys area unit content to pay their days assembling figs, grooming each other, off her guard and frolicking. And if that seems like primate paradise, well, it is ... a minimum of for those at the apex of this explicit monkey kingdom.

Macaques have a rigid social order. Members of the privileged elite, dominated by associate alpha male (Raja) and his 3 queens (The Sisterhood), have dibs on all the simplest food. and that they treat "lesser" monkeys like servants.

Among those within the industrious underprivileged is Maya, associate outcast of types whose destiny looks to be to serve her betters all of her long life—just as her folks did before. however once a replacement male (Kumar) shows up to plead for entrance into the monkey tribe, he develops a "thing" for Maya. shortly Maya's got associate baby (Kip). however Raja and his queens, well, they do not assume a lot of of Kumar. And he is driven off.

If all this seems like a primate play on 90210—or perhaps we should always decision it Mean Monkeys—it reasonably is. given in associate lovable , Walter Elias Disney reasonably method, of course. Monkey Kingdom follows the narrative example of previous Disneynature species-focused offerings: African Cats, chimp and Bears, with the administrators from those films (Mark Linfield and Alastair Fothergill) helming this one, too.

Maya fights for survival, fights her fellow monkeys and fights to stay Kip alive. associate invasion of rival macaques is LED by a ugly (isn't he always!) dangerous monkey ominously named Lex. Raja fails to repel the invaders, resulting in a short exile during a close town whereas the troops heal their wounds and regain their strength. Eventually, the displaced monkeys reclaim their ancestral native land.

Quick! someone cue up "Hakuna Matata," as a result of like all of Disneynature's G-rated offerings, there is a whole lotta gentle roguishness aimed toward young viewers here. These elfish primates area unit irrepressibly social. And once they cannot notice their own kind to play with, well, mongooses, dogs and bears can do, too. And once the monkeys forage for food among human habitats, their cute "thieving" is compete strictly for laughs. (But i am unable to facilitate however assume that the folks of Sri Lanka read these bold, extremely anthropomorphized interlopers a lot of less with empathy than can yankee kids.)

When the monkeys are not longing for food, they are attempting to stay from changing into a meal themselves, evading leopards and monitor lizards. folks ought to understand that one unsuspecting primate gets taken rapidly by a seven-foot monitor, and that we see the poor creature's lifeless body obtaining dragged into the underwood. which there is another death in one amongst 2 clashes between the tribes, with the macaques all wanting "mournfully" upon the lifeless body of their fallen "friend." (These temporary nods to the fact of life within the jungle are not too graphic or lingering. and therefore the same applies to shots of the monkeys' anatomy, by the way).

Along the method, in its own odd, monkey-minded method, Monkey Kingdom demonstrates the virtue associated stability of an intact family—and with no a word regarding evolution, too. once she quickly becomes a "single mother," Maya features a laborious time protective Kip and finding food for each of them. however once Kumar returns and is ultimately embraced by the tribe's aging leadership, it means that bigger security for Maya and Kip still.

Though the movie's talking regarding animals, not people, you walk out of {the theater|stage|the podium|the rostrum|the area unitna} broody the very fact that vulnerable young 'uns do higher once mammy and pop are each gift to shield and supply.

Genre: Documentary
Cast: Narrated by Tina Fey
Director: Alastair Fothergill (Bears, Chimpanzee, African Cats, Earth) and Mark Linfield (Chimpanzee, Earth)
Distributor: Disneynature
In Theaters: April 17, 2015

Reviewer: Adam R. Holz

source:http://www.pluggedin.com/movies/intheaters/monkey-kingdom.aspx

- Movies for your Androids -

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

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