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Review

Terminator Genisys shows that a modern Terminator movie still pleases. What exactly is the appeal of these movies? What has drawn us to this series, is it the cool robots? Is it the action? The compelling plots where things hang on the edge? What really draws us to these movies, which do better than virtually every other series is the primal urge that you have already experienced in your mythical things. When you glide through the night streets, like a shadow, free from all orders, from all organizations, during those moments, those tranquil moments when it’s just you and a vast open space. All you hear is far off sounds, things shimmer around, what is going on? You are back to what many daredevils have experienced for millenniums. You can taste the air as it’s thick, almost seeing the colors of it, those tiny little spiraling objects floating around that appear if you space out too long. You see the color of space in between, you taste that heavy air. You hear only what they say in music is “Breve rest”, just ” . . . “, just emptiness, but there is sound all in itself in this. This fires you up inside because we are now wolves as we’ve always been and every little step or eye movement will tell our own tales out into that beyond. you look up and see a vivid blue skyline above, you’re in the crossroads of worlds right now. That is what is so core that tapes into our urges, these characters are unconnected and do whatever in the heck they please in our city and street planet, where other movies have people part of orders, headquarters, groups, acting together, while in the Terminator movies it’s a bunch of lowly plebes cast out and having to win victorious or lose by their dust and sweat wits, and their only helpers are just loosely connected for the moment, 1-3 people or so and no one else. There is time travel trickery, there is making characters becoming like legendary icons now. The pace of the movie moves fast, there is no pondering that so many movies like to meander on.

Of course the movie is re-working a time line from the original movie The Terminator, and the only confusing moments were actually following the plot as it is being told, most of it by exposition from Terminator himself (played by Arnold of course) as he usually answers a lot of questions that are asked by the other heroes Kyle and Sarah. The plot is as one would expect re- creating a lot of the time travel stories into different angles. The heroes, Kyle, the hero from the future, and Sarah, the working class person who becomes a warrior, are a continuation from the original Terminator and are played assuredly by new faces, they are naturalistic and play their parts well caught in the element of their conflict. The movie’s main bad guy is someone that surprises you and gives another take on the series’s villains. The neutral players are as usual, the government officials who have no clue what is going on, the people in ties and police, completely surprised at what’s going on. The movie can be viewed without viewing the original Terminator because everything is self-contained here including the beginning which nicely explains and sets everything, and goes into detail, of course that is for the modern movie theater goer. I’m sure all of us have viewed the other movies. There are numerous funny moments throughout, just between the main characters toward one another, namely the human hero Kyle’s interactions with Terminator, and Sarah’s interactions with him. As well as some of the city officials who come into contact, the humor is not too much or goofy but is so nicely put in. As they say comedy is the toughest genre so adding it in here requires effort and it’s pulled off great. I myself went myself, to my right some people, to my left some couple. My eye was amazed at seeing this latest tale unravel in our modern skyscraper streets… and in particular those moments of empty worlds out there, when you are a daredevil ready to dole out exactly how things are going to be. That is the best message i got from this movie, that because it on a whim just re-creates and re-creates how things will go and nothing is set, just like we are the masters of our actions. Too much to take on our shoulders? Oh no, just think of it as we hold the invisible strands of power over us. You too can ride around a red motorbike and roll up building steps with it wearing sunglasses at night.

Watch Magic Mike XXL Full Movie Online

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Review

Mike is persuaded by his past twerking buddies to take a road trip to a stripper’s convention. He has been out of the game for three years now. They have an accident and meet up with Mike’s ex.

Yeah, that sounds about right. There’s a whole lot of talking about a whole bunch of nothing. And even if I may not be the intended target audience, it really took like forty minutes before the film even gets to the goods. Those boys don’t dance around for a good while and still then, the best dancing doesn’t even come from the mates on the road trip. Channing Tatum can move but the other guys are dead weight.

Gregory Jacobs was the first assistant director on the first “Magic Mike”. He has, however, been the first AD on a few of Steven Soderbergh’s films. Now they decide to both produce a sequel where Jacobs can take the director’s chair and Soderbergh will make some real poor decisions with lighting, composition and editing. The film is so badly lit that so much of it is in darkness. And when it is lit then it’s odd. Highlighting weird features. Felt like a student film.

The characters are hardly admirable characters, perhaps they’re not meant to be. But then they sit around and talk about the difficulties of being so beautiful, how it holds them back and how connections are so difficult. It’s a little juvenile, self indulgent and boring. Then the film tries reaching for that two-hour mark to really test the idea of patience. But the characters: you have the tall Greek god type with the monster junk that no woman can handle. Then there’s the aged guy who looks like a run down version of Mickey Rourke in “The Wrestler”. He cant act and is bile-bubbling watching him strip down to a tiny G-string. This ken doll retard that actually just comes off a little weak and whiny. And the Latino guy because that shows diversity. Apparently.

The obstacles? They each have to come to terms with being ripped and beautiful (except the wrestler, he needs to come to terms with being really old). Other than that I don’t really see any obstacles.

Okay, for the good stuff. There are two-dance scenes that are really impressive. The choreography is impeccable. The first is in a secret strip club where Mike is challenged and laps up flipping and twisting women around as he bangs them, rhythmically. And the last dance where Mike and a new guy pull of an impressive reflective dance routine with two women on chairs. Channing Tatum won’t come off looking unskilled in this little drama. Jada Pinkett Smith is quite sassy as the stripping MC. And the soundtrack is pretty great. Other than that…

I want to say that this one is really for the ladies but I feel the ladies might even be disappointed with the amount of fun to be had in a film that appears to have been more fun to make. There’s ten minutes of worthy entertainment but another hundred and five minutes that you have to sift through. “Magic Mike XXL” is a weird mash up of a road-trip-dance- comp-brothel film that’s just boring.

Ill give it some points for the dancing sequences.

If you agree check out keepingitreel.info. if not, come cuss me out.

Watch Ted 2 Full Movie Online

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Review

There is a rating system in these reviews with one being awful. Well, I didn’t give it a one but it’s close to it. What is it about Seth McFarlane that studios want to give him money to make feature films? Ted 2, the sequel to Ted, did not bring a hint of laughter to me. I had watched the first film and couldn’t sit through it and never had any inclination to watch it again. Now comes Ted 2 and I did the same thing. I though at least this would make up for the first one but it didn’t. It left me humorless. With McFarlane’s Million Ways to Die in The West, I looked for the funny but sat through that epic lemon without protest. With ted 2, it’s just not funny to me. Yeah, I get the joke but these are DOA jokes. The sperm jokes were too easy to telegraph. Who didn’t see a cart of sperm falling on Mark Wahlberg must have went to get popcorn. And the dope smoking lawyer was just lazy writing. Why couldn’t she have Turrets and have ticks? McFarlane’s limited or perhaps overused range of dope, crude humor, drugs and musical dance numbers has its limits to an audience. The musical dance number just laid there for the audience. The silence was just a precursor for things to come.The next time a studio gives Seth McFarlane money to make a film, use it as toilet paper instead

Thunder buddies for life.

The story is about Ted and Tami-Lynn are married and the next step is having a baby but Ted can’t be legally regarded as a parent unless he can prove his is “human” in a court of law.

Now looking back on the first Ted movie I got say I changed my mind on it a bit and what I mean is that it wasn’t as great as I remembered it to be, but I still think it’s decent enough to give it a pass as a comedy and a film. But then I heard news about a squeal in the works and then I heard that Amanda Seyfried, Morgan Freeman and Liam Neeson was in the film and that alone give me a little interest in the movie just by that movie news. I wasn’t jumping for excitement for this movie as I the movie didn’t look anything special, just squeal bait.

Now after seeing Ted 2 I’m not very impressed of what I watched, actually this movie is pretty bloated for it’s own good.

What I liked in the first Ted movie is the chemistry between Mark Wahlberg and the character Ted. They back and forward humor really worked if you would believe it, I mean a pot smoking talking teddy bear hanging around with Elliot Moore from The Happening would actually work is just beyond this world. And here they chemistry is still good just like in the first movie.

The movie did make me laugh a couple of times as that’s mainly Wahlberg and Seth chemistry in the movie and some other stuff that’s only a small little nod to a film or TV and it was funny at first until late on where they stretched out the joke to the point were it got really old and really stale very fast. But I do think this movie is way better then Seth MacFarlane last movie A Million Way to Die in the West as that movie didn’t even try and was pretty forgettable, I mean it’s been a year since that movie came out and I forgotten pretty much all of it.

What really surprise me is how messy the movie is and the movie doesn’t know what it wants to be, because these three different things going on in this movie like Ted is trying to prove that he’s a human because him and he’s wife want a baby but Ted needs to prove he’s human so he can be legally parent (Yeah I know it doesn’t make any sense, just go for it for now) oh and these a road trip in the movie and remember that stalker in the first Ted movie that kidnapped Ted well he’s back in this movie. That’s the whole movie of Ted 2 for you. Oh one last thing, Ted 2 is kind of the same as the first, I wish I can go into details of that but that would be spoiling it for some people who may have interest of seeing this movie and I’m being nice here and won’t be spoiling anything.

Before seeing this movie I thought that Amanda Seyfried wasn’t going to do anything great, I thought that she was just filling it in for the money, but I got to say that she was pretty good in the movie. She actually did something with the story and didn’t feel like a background character. She was Wahlberg worked really well with each other and Ted as well. Same thing with Morgan Freeman.

Overall Ted 2 isn’t all that great to me. As I said before about a billion of times by now you may disagree and like the movie and completely overall on what I said, again that’s fine that’s cool, enjoy what you enjoy, but I’m sticking what I put down and it won’t change anytime soon.

Watch Max Full Movie Online

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Review

My wife talked me into seeing this movie and boy am I glad. It had a riveting plot (sort of a thriller), respectable acting and beautiful scenery (it’s supposed to be in Texas but it isn’t). Thomas Haden Church was outstanding as the hard edged war veteran dad with haunting memories of the Gulf War. Josh Wiggins as the self absorbed younger brother does a believable portrayal of someone who finally cares about something other than himself .The theater was pretty full of mostly adults for a 10am showing and the audience spontaneously applauded at movie’s end. Highly recommended kid/dog movie ever right up there with Old Yeller. It’s full of fast paced action and is a fitting tribute to our war veterans and canine corps.

I was waiting for this film for almost 6-7 months and watched it on the opening day. It’s a good movie but I probably had high expectations. If I were the director, I would’ve made the movie differently. I would’ve started the film with a phone call to Ray or Pamela from the army saying that they have to take Max down. Then they’ll decide to visit Max and when they do there should’ve been enough reason that Max is totally out of control. I think the director failed in this aspect terribly. There was not much evidence that Max is out of control and has to be taken down. The decision to take him down didn’t justify the visualization at all. And Justin didn’t have to give too much effort to bond with him either. I thought it’s gonna be everyone’s film, instead it was a kid film. Anyway, I will still give 10 for such an adorable dog, Max.

But it can’t help itself. Depending on how you yourself feel about dogs, the movie tends to go back and forth from the cheesiest thing I ever seen, to the most bad ass.

I saw this movie White Dog earlier this year and similar to that film they turn a dog into an action hero. A surprising thing to do in this day and age considering the action sequences in the movie made me concern that PETA would be all over their backs.

I think what I like most about the movie is that the film is more for the whole family. It was not really advertise as a kids thing per say most likely cause the action is pretty real and not cartoonish (accept when the dog is concern which cannot be help).

But the movie is cheese. It’s another film that exploits America’s unconditional love for our troops. Plus all the standard cliché’s of a movie like this seemed even more one dimensional. The protagonist who was a troubled kid did not convince me that he was troubled and his relationship with his love interest seemed forced.

Otherwise, the only real reason to see this movie is to watch the dog prove how easy it is to be an action star.

Watch Inside Out Full Movie OnLine

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Review

Let me just throw this out there: Inside Out is easily the best Pixar film in years. Inside Out is not just the best in the last few years, but it will without a doubt stand alongside the best of the best the studio has to offer. It’s a really tough thing to rank Pixar, because they have had such stellar track record, and so it really boils down to which animated masterpiece is your favorite. Do you love the nostalgia of the original Toy Story, or how about how Finding Nemo swept us away? We can argue The Incredibles, Ratatouille, WALL-E and Up are the best that Pixar has to offer…Inside Out is going to further complicate that favorite status for a lot of people.
Inside Out is about a little girl named Riley, and the story takes place during a time when her family makes a great move from her Minnesota home town to San Francisco. For anyone who has ever moved at a young age, they may recall emotional hurdles trying to adjust to living in a new home, new location, a new school and making new friends. It can be a lot to ask for to a child. That is what this movie is about, and Pixar tells this story on parallel planes both from Riley’s humanistic world and the very emotions that exist within her head.
Riley’s brain is bonkers. Never have I expected to see such surrealistic imaginative settings for a Pixar film. Unlike every film the studio has made to date, Inside Out creates a slate that breaks all logical boundaries. We are talking about a world that is as vast as your very own imagination, and Pixar takes full advantage of that by making truly out-there and brilliant possibilities.
Inside Out is a movie about emotions, and it would not be a success if the movie itself did not feel emotional. This is probably the most emotional Pixar film to date, but as a roller coaster that goes through its highs and lows, and it makes sure you are along for the ride.
At the end of the day, once you see the full picture of Inside Out you will understand the true context and all the metaphors toward life it has to share. This is easily the most complex and layered Pixar film to date, and in a way it sets a new bar for Pixar’s maturity at telling captivating stories that anyone can relate to no matter what the age is.

Let me just throw this out there: Inside Out is easily the best Pixar film in years. Inside Out is not just the best in the last few years, but it will without a doubt stand alongside the best of the best the studio has to offer. It’s a really tough thing to rank Pixar, because they have had such stellar track record, and so it really boils down to which animated masterpiece is your favorite. Do you love the nostalgia of the original Toy Story, or how about how Finding Nemo swept us away? We can argue The Incredibles, Ratatouille, WALL-E and Up are the best that Pixar has to offer…Inside Out is going to further complicate that favorite status for a lot of people.

Inside Out is about a little girl named Riley, and the story takes place during a time when her family makes a great move from her Minnesota home town to San Francisco. For anyone who has ever moved at a young age, they may recall emotional hurdles trying to adjust to living in a new home, new location, a new school and making new friends. It can be a lot to ask for to a child. That is what this movie is about, and Pixar tells this story on parallel planes both from Riley’s humanistic world and the very emotions that exist within her head.

Riley’s brain is bonkers. Never have I expected to see such surrealistic imaginative settings for a Pixar film. Unlike every film the studio has made to date, Inside Out creates a slate that breaks all logical boundaries. We are talking about a world that is as vast as your very own imagination, and Pixar takes full advantage of that by making truly out-there and brilliant possibilities.

Inside Out is a movie about emotions, and it would not be a success if the movie itself did not feel emotional. This is probably the most emotional Pixar film to date, but as a roller coaster that goes through its highs and lows, and it makes sure you are along for the ride.

At the end of the day, once you see the full picture of Inside Out you will understand the true context and all the metaphors toward life it has to share. This is easily the most complex and layered Pixar film to date, and in a way it sets a new bar for Pixar’s maturity at telling captivating stories that anyone can relate to no matter what the age is.

Watch Dope Full Movie Online

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Review

The trailer was a great visual feast but it doesn’t show the scale of the movie and how excellent it is. 3 kids from Inglewood, CA, a town we’re usually not asked to care about, have to wise up about drug dealing. I actively tried to find a bad performance, and I couldn’t find a single one. Unlike many other “black” films, this one has comedic elements and tries to get you to laugh using memes and potty humor. Typically, this would carry a negative connotation, but in the case of this movie it is excellently executed and the pace is so quick that you don’t even care how juvenile it is. I encourage everyone to watch this movie when it releases in June, specifically on the 19th. I’m sure it won’t have the story it did at Sundance, however. Open Road may change a few elements of the story, which would be a shame. I’m giving this one a 9/10, just in case the movie isn’t as good as it once was at Sundance, so bear that in mind.

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Review

Quickie Review:

After the events of Jurassic Park, 22-years ago, Isla Nublar now hosts the original vision of a functioning dinosaur theme park, Jurassic World. To keep the public interest and raise the visitor rates, the corporation engineer a new breed of dinosaur, Indominus Rex (I-Rex). Meddling with genetic research once again puts the park and people in danger when the I-Rex breaks loose. Jurassic World while not living up to the Spielberg’s classic, stands strong on its own merits. The new I-Rex is a great new addition to the roster of scary dinosaurs and the CGI is very well done. There are some sub- plots that don’t fit well, but the overall story is a thrill ride with both horror and action. Jurassic World is a great summer- blockbuster monster fun.

Full Review:

While I was looking forward to Jurassic World, the trailers left me only cautiously optimistic. I had quite a few doubts about the movie: genetic splicing of different dinosaur species, trained raptors, over-reliance on CGI. It all seemed too different from Jurassic Park. After watching the movie all my apprehensions were thrown out the window because different is exactly what Jurassic World needed.

Let’s start with the star/villain of the movie, I-Rex. The perfect word to describe her is terrifying. The sheer size of her in every aspect, jaw, feet, claws, if you saw her running towards you, to quote the movie “The kids? This will give their parents nightmares.” Which is perfect! Because that’s an essential part of what Jurassic Park was, a horror. It’s not just the physicality of the dinosaur but the way she moves, thinks, and takes advantage of her spliced nature that added a lot to her being an insurmountable threat. A lot of the dinosaurs were CGI even for close-ups but it never pulled me out of the movie. The computer visual effects were very well polished, and I am saying that as a huge fan of practical effects where possible. In fact, the dinosaur designs were so well done I’d say they had more personality than most human characters in other movies.

Chris Pratt and Bryce Dallas Howard were also very good in the movie. As much I loved Pratt in Guardians of the Galaxy as Star- Lord, I didn’t want him to play the same character again. Luckily he doesn’t and still is a badass. He showed that with the way he interacted with the raptors and the way he’d improvise to get out of a difficult situation. I’d like to reassure you that the way the raptors are trained makes complete sense in the context of the movie. They are still dangerous animals, not completely tamed, so their scenes with Pratt hold a lot of tension. Pratt and the rest of the cast including the kids Ty Simpkins and Nick Robinson are not completely humourless. There are some good jokes here and there that keep the movie from becoming completely dreary.

There are few small issues I do have with the movie but the subplots in particular is what bothered me the most. This is the second time in two weeks there is a movie with a divorce subplot. But the way it is handled in Jurassic World is even worse because it never really affects the story or the characters significantly. There are also other story arcs that are not executed well and so feel out of place. I can’t say much else without spoiling the movie but if these subplots were trimmed off, Jurassic World may have been a more well- rounded film.

I have to say I really enjoyed my time with Jurassic World. Like for many others Jurassic Park means a lot to me, it’s the first Hollywood movie I remember from my childhood. Director Colin Trevorrow did an excellent job in honouring the classic while introducing us to something new. When you watch the movie, you can tell this was a movie made by a fan (a very talented one too) for the fans. By the end of the movie I was applauding it. So if you have your doubts like I did, go watch it, because I’m sure it’ll surprise you.

Watch Spy Full Movie Online

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Review

I was frankly not very interested in watching Spy, because I had the feeling it was going to be a female version of the atrocious Paul Blart: Mall Cop, or something like that; but after having read many positive reviews about it, I decided to risk myself… and the result ended up being better than I expected, even though the general reaction this movie provoked on me can be described as “meh”. The main attribute from Spy is the solid performance from Melissa McCarthy, who was able to create a realistic and detailed character which elevates the film and makes the predictable jokes work better than what the insipid screenplay would deserve. However, that occasionally generates a marked inconsistency in scenes which start as a comedy and end as weak drama incompatible with the “fish outside the water” humorous routines. In other words, director and screenwriter Paul Feig wasn’t able to balance the comedy formula with the “serious” elements. I think I would have preferred Spy to be a lighter and more accessible action comedy, or an espionage movie which takes itself seriously, without losing its sense of humor. The problem is that Spy never defines its purpose, and attempts to be two things at the same time without being very satisfactory in either of both aspects. However, as I previously said, the main thing which makes Spy moderately entertaining despite its mediocrity is McCarthy’s performance; as a comedienne, she displays spark and warmth; and as an action heroine, she’s simultaneously incongruent and credible. And despite the fact that they weren’t given very substantial material to work with, I also liked the performances from Jason Statham, Rose Byrne and Miranda Hart. I think that, with a more precise focus and a less generic story (I barely paid attention to the affair of the bombs, the terrorists, etc.), Spy would have been quite a competent espionage film; but the addition of comedy elements alters the centre of gravity of the screenplay, provoking an instability which substantially affects the film. On the other hand, I don’t know whether the general audience would accept McCarthy as an action figure without the extenuating factor of comedy. It seems unfair to think like that, but reality isn’t fair… and Hollywood reality doesn’t even know that word. That’s why we ended up seeing Chris Hemsworth playing a geek hacker this year.

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Review

The day before I saw this I read it was a prequel which made me so mad because we’re gonna get a fourth one to continue where #2 left off. Anyway, this movie is very unnecessary to the plot of the trilogy, it adds nothing. It seems to answer questions you never would’ve asked like “How does Elise know that dice guy from Chapter 2?” or “How did Elise meet those two ghost hunting guys?”. This movie basically adds more character development to Elise, even though we got plenty to work with from the first movie. To me, Chapter 2 felt like a Psycho ripoff with a kid being forced to be a girl, then grow up to be a serial killer while being dressed as a woman. With this, it feels like a X-Men: Days of Future Past ripoff with Elise not wanting to use her powers when she was younger (i.e. Professor X not wanting to use his powers when he was younger). At least the ripoff part wasn’t heavily put in like it was with Chapter 2. One good thing about this movie is that it brought back the creepy factor and improved it from the first movie, while Chapter 2 abandoned it and was a generic horror/thriller movie. One thing that made me mad was the beef with the Bride in Black from the other movies. Since it’s a prequel, of course we would probably see the Bride in Black back but the reason why he/she is back is stupid. The reason is because he/she swears Elise will die by his/her hand, which makes sense since she does at the end of the first movie, and we can assume the Bride is mad because in the flashback in Chapter 2 Elise stops the Bride from taking over Josh’s body. But before seeing this movie, the Bride killing Elise was justified because Elise found out at the end of the first movie that Josh wasn’t really Josh and she would’ve warned Josh’s family, we didn’t need this pile up to the Bride’s hatred toward Elise. Also, why can’t we get a real demon again in these movies. The true definition of a demon is a creature that was never alive. In Chapters 2 and 3, the antagonists aren’t demons but are called demons. They are really just evil spirits of past souls. The only real demon in this series is the Darth Maul ripoff character from the first movie. I’m just saying this so people can know the difference. Another good thing about this movie is rare in prequels, you can actually watch in the order of 3, 1, and 2. Usually in prequels, there would be parts in them that would require you watching the previous movie(s) that was released. Example: Paranormal Activity 2 tells you when it takes places before Micah dies in the middle of the movie. This would be a spoiler for you if you didn’t see the first movie and decided to watch the movies in chronological order (3,2,1,4,5). But with this movie, the info from the other movies come off like inside jokes rather then spoilers to some viewers who didn’t see the other 2 movies. So if you’re one of those people who want to watch film series’ in chronological order, this one is a safe bet.

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Review

Quickie Review:
Agent turned studio-head Ari Gold (Jeremy Piven) is producing his first movie and he’d like Vincent Chase (Adrian Grenier) to star in it. Vince agrees on the condition that he gets to direct the movie. Together with his band of friends Vince must face both professional and personal hurdles. Entourage brings back the cast of the original show. While there are some funny additions to the cast the overall movie suffers from a meandering plot. The aimless story is only worsened by numerous shallow characters. For non-fans of the show, this is a pointless movie to watch. As for the fans, you might leave disappointed.
Full Review:
I have never seen a single episode of Entourage. Still, I must admit the trailer sold me on the movie and I was highly anticipating it. Unfortunately, I was left more confused as to what the point of the movie was. So you’ve been warned that this review comes from someone who has no idea what the show is like.
Though I didn’t like the movie, I did enjoy some of the characters. Jeremy Piven as Ari Gold was hilarious. He has a no B.S. attitude most of the time and speaks his mind directly. Conversely it is also funny to see when he needs to shut his mouth to get what he needs. Billy Bob Thornton and Haley Joel Osment play father and son who are two key financiers for Ari’s movie. They too have great comedic chemistry, and steal most of the scenes they are in. Haley Joel Osment has surprisingly good comedic timing. I haven’t seen him in much but in this movie he plays the creepy rich guy who gets what he wants in an amusing way.
The biggest problem for me as a new-comer to this property is that the movie felt like it was two or three episodes from a random season of the show. There are all these references and backstory that I feel like I need to know. Of course I understand that this movie is catered more for the fans of the show, but if a movie wants a wider audience then it should retain a wider appeal. On top of that the premise of the movie makes it seem like there is some kind of conflict, but it is all resolved with a series of cameos from stars. Same goes for the individual story arcs. So there is no need to worry whether the main characters will succeed or not because some freak incident will occur and it will all work out in the end. So I didn’t care for the characters one bit because the entire movie is as shallow and one note as the characters themselves.
If you are not fan of the show or never seen it, this is not a movie for you. At the same time if you are fan of the show I have a feeling you won’t love this movie either. I say this because I went to watch this movie with a friend who watched the show and he also admits it felt like 2 or 3 bad episodes from the show. So overall I’d say skip it for the cinema, but if you’d really like to watch it, give it a shot on TV.

Quickie Review:

Agent turned studio-head Ari Gold (Jeremy Piven) is producing his first movie and he’d like Vincent Chase (Adrian Grenier) to star in it. Vince agrees on the condition that he gets to direct the movie. Together with his band of friends Vince must face both professional and personal hurdles. Entourage brings back the cast of the original show. While there are some funny additions to the cast the overall movie suffers from a meandering plot. The aimless story is only worsened by numerous shallow characters. For non-fans of the show, this is a pointless movie to watch. As for the fans, you might leave disappointed.

Full Review:

I have never seen a single episode of Entourage. Still, I must admit the trailer sold me on the movie and I was highly anticipating it. Unfortunately, I was left more confused as to what the point of the movie was. So you’ve been warned that this review comes from someone who has no idea what the show is like.

Though I didn’t like the movie, I did enjoy some of the characters. Jeremy Piven as Ari Gold was hilarious. He has a no B.S. attitude most of the time and speaks his mind directly. Conversely it is also funny to see when he needs to shut his mouth to get what he needs. Billy Bob Thornton and Haley Joel Osment play father and son who are two key financiers for Ari’s movie. They too have great comedic chemistry, and steal most of the scenes they are in. Haley Joel Osment has surprisingly good comedic timing. I haven’t seen him in much but in this movie he plays the creepy rich guy who gets what he wants in an amusing way.

The biggest problem for me as a new-comer to this property is that the movie felt like it was two or three episodes from a random season of the show. There are all these references and backstory that I feel like I need to know. Of course I understand that this movie is catered more for the fans of the show, but if a movie wants a wider audience then it should retain a wider appeal. On top of that the premise of the movie makes it seem like there is some kind of conflict, but it is all resolved with a series of cameos from stars. Same goes for the individual story arcs. So there is no need to worry whether the main characters will succeed or not because some freak incident will occur and it will all work out in the end. So I didn’t care for the characters one bit because the entire movie is as shallow and one note as the characters themselves.

If you are not fan of the show or never seen it, this is not a movie for you. At the same time if you are fan of the show I have a feeling you won’t love this movie either. I say this because I went to watch this movie with a friend who watched the show and he also admits it felt like 2 or 3 bad episodes from the show. So overall I’d say skip it for the cinema, but if you’d really like to watch it, give it a shot on TV.

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Review

In the aftermath of a massive San Francisco earthquake, a rescue pilot makes a dangerous journey across the state in order to save his family.
Dwayne Johnson is charming and manly as always, playing the pilot who saves his estranged wife Carla Gugino from a crumbling tower and together set out to find their daughter, delivering cheesy one liners along the way. Their daughter, played by Alexandra Daddario, is on a journey of survival as she befriends Hugo Johnstone-Burt and his younger brother. Meanwhile Paul Giamatti, along with Archie Punjabi’s news team, try to understand the earthquake’s movements and warn the city in order to save lives, with cliché dialogue that is now expected from these kind of films. San Andreas keeps a focus on these characters, with some time for Ioan Gruffudd and his strange sudden shift from likable step-dad to a cowardly survivor who meets a timely death. Kylie Minogue makes a cameo… but to zero affect.
The silly but exhilarating action sequences are worth the price of admission, especially the boat race over the tsunami and destruction of the Golden Gate Bridge. Overall it’s nothing we haven’t seen before from modern disaster films, with a family drama played out alongside stunning but repetitive special effect sequences.

In the aftermath of a massive San Francisco earthquake, a rescue pilot makes a dangerous journey across the state in order to save his family.

Dwayne Johnson is charming and manly as always, playing the pilot who saves his estranged wife Carla Gugino from a crumbling tower and together set out to find their daughter, delivering cheesy one liners along the way. Their daughter, played by Alexandra Daddario, is on a journey of survival as she befriends Hugo Johnstone-Burt and his younger brother. Meanwhile Paul Giamatti, along with Archie Punjabi’s news team, try to understand the earthquake’s movements and warn the city in order to save lives, with cliché dialogue that is now expected from these kind of films. San Andreas keeps a focus on these characters, with some time for Ioan Gruffudd and his strange sudden shift from likable step-dad to a cowardly survivor who meets a timely death. Kylie Minogue makes a cameo… but to zero affect.

The silly but exhilarating action sequences are worth the price of admission, especially the boat race over the tsunami and destruction of the Golden Gate Bridge. Overall it’s nothing we haven’t seen before from modern disaster films, with a family drama played out alongside stunning but repetitive special effect sequences.

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Review

In short: The effects are great, the story was good, character connection was hollow, the closer you got to the end of the movie the more rushed it got (the ending was so rushed it left me wondering what just happened?), would love to see a directors cut.
The movie started off good, then I started to realise a lack of character emotional connection and a bit of a hollow lack of detail and feeling. Then it started to get the feeling they were skipping character, plot etc details and trying to move the story on as fast as they could, and as things got faster and faster your connection with the characters got less and less. Only to be revived once in a while by a forced emotional scene. By the end either the writer either just gave up or they edited to ensure they fitted in to 4.3 seconds. The end left me thinking, well, what? what just happened?
It could have been so much more, more time and detail needed to go into the characters and the story needed to evolve more naturally and not be pushed/rushed. Could have even split it up into 2 movies, allowing us to explore the characters worlds more and to connect with them better.
A good watch despite what I’ve mentioned, just could have been so much more, like so many movies these days.

In short: The effects are great, the story was good, character connection was hollow, the closer you got to the end of the movie the more rushed it got (the ending was so rushed it left me wondering what just happened?), would love to see a directors cut.

The movie started off good, then I started to realise a lack of character emotional connection and a bit of a hollow lack of detail and feeling. Then it started to get the feeling they were skipping character, plot etc details and trying to move the story on as fast as they could, and as things got faster and faster your connection with the characters got less and less. Only to be revived once in a while by a forced emotional scene. By the end either the writer either just gave up or they edited to ensure they fitted in to 4.3 seconds. The end left me thinking, well, what? what just happened?

It could have been so much more, more time and detail needed to go into the characters and the story needed to evolve more naturally and not be pushed/rushed. Could have even split it up into 2 movies, allowing us to explore the characters worlds more and to connect with them better.

A good watch despite what I’ve mentioned, just could have been so much more, like so many movies these days.

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Review

Cameron Crowe is one of my favorite directors. He never fails to put a smile on my face, even if it’s my 15th time watching the same film of his (Almost Famous). But with ‘Aloha’, it doesn’t seem like his film at all. In fact, at times the film seems as though it’s 3 different projects jumbled into one. Aloha was one of my most anticipated films this year, and with a cast that includes the likes of Bradley Cooper, Rachel McAdams, and Emma Stone, I didn’t think there was any way this film would let me down. Boy, I was wrong. The trailer was fantastic. It had great music, great character drama, and a beautiful landscape, that’s the makings of a great Crowe film. Unfortunately it was a bland and forgettable as a film can be. If you cant get a good film with all of the great things on your side, than there’s something going on here.

I heard there was some serious behind the scene issues with Aloha. Ones that took Crowe out of the promoting of the film and even Sony’s lack of marketing for the project. I mean there was only one trailer, ONE. Movies these days spit out at least 3-4 trailers per film with upwards of 5-7 TV spots. Sony has had a lot of trouble both in and out of their film branch, so I’m not overly surprised by the behind the scene issues. I just hope that it wasn’t a situation of Crowe not being able to make the film he wanted to. If the blu-ray comes along with a new and improved directors cut than I will probably have a better idea of how to score the film. But for now, it was a complete mess. It tells the story of a military contractor who returns to Hawaii where he reconnects with his long lost love and simultaneously meeting the new fling in his life. It’s a hard film to review because there are many plot points and situations that just didn’t seem like things that a seasoned director would put in a movie in an actual theatre. I will say that there are moments of Crowe greatness but it’s so rare that it gets lost in the mess of love triangle. I never bought into the Emma Stone-Bradley Cooper fling. I saw a reviewer talk about how her character thinks she’s in a Will Ferrell comedy at first until toning it down later on, and that’s completely true. The two seem like they are playing characters from different movies and somehow their dialogue matched up.

I will say that I don’t believe the film deserved the whitewash criticism as much as it got. There’s no question that the main cast is all white and could have been more diverse, but Hawaiians are present in the film throughout, they’re just not the leads. But the thing that most bothered me was the lack of human emotion and heart to the film. Crowe often creates great characters who I believe to be sharing moments with each other. Here, the characters are simply all in a Hawaii at the same time and happen to do things that somewhat relate to one another. The whole side story of setting up satellites with Bill Murray was a waste of time. I think if the film focused on Cooper’s past with Rachel McAdams, who Is the best part of the film, rather than forcing us into a relationship with Emma Stone, it would have been much better. I love Emma Stone as much as the next guy but the chemistry just wasn’t there. Plus, the way the characters are written, Cooper is much better off going after a woman like McAdams than Stone. Danny McBride and Alec Baldwin have some laugh worthy moments but the trailer sold the film much differently. I got the sense that Murray would play a man that helps Cooper get through his past and look to start a new future. And that John Krasinski would play the funny jealous husband. But instead Murray’s character has no common sense and Krasinski is cringe worthy as he tries to his best cool guy impression. But there is a really sweet story underneath the rest of the film. Cooper and McAdams are really good here, and the reveal towards the latter half of the film gave the depth it needed. It was just too late for me. And then where the characters end up was too cliché for my liking. I was really disappointed with this one. Just another big letdown in 2015.

+Cooper & McAdams

+Reveal sweetens the story

-Character decisions are laughable

-Stone’s misplaced tone

-No heart

-Pacing issues

-Feels like 3 different films into one

4.6/10

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Review

Premiering in this year’s Sundance Film Festival’s US Dramatic Competition, Andrew Bujalski’s new dramedy Results is equal parts heartfelt, witty, and genuinely hilarious. Featuring standout performances from Guy Pearce, Cobie Smulders and Kevin Corrigan, the film tells the story of the Power 4 Life gym, owned and managed by Trevor (Guy Pearce). He dreams of opening up a new location and branching out his business a bit to rival his competitors. Who knows, maybe a future location downtown might even have an on-site juice bar or a new yoga room? Trevor’s business plans get mixed up with that of Kat (Cobie Smulders) his coworker who has taken on a new ultra-wealthy client Danny (Kevin Corrigan) who is set on getting back in shape at any cost. The results (no pun intended) of these eccentric characters’ lives being mixed together creates some highly entertaining scenarios, like when Danny develops a crush on Kat and tries to bribe her with marijuana, or when Kat and Trevor have spontaneous late night drinks with rival gym owner Gregory (Anthony Michael Hall).
Bujalski’s work is infamous for being a mash up of vinaigrettes that encompass an overall story, and Results has received its fair share of criticism for not having an even tone. I panned Bujalski’s previous film, Computer Chess for that every reason upon my first viewing. After some thought however, and a much-needed second viewing, I realized Bujalski’s dedication to small details and his ability to avoid clichés and tropes makes him one of the most exciting indie directors out there. The writing in Results is near-perfect; you get a sense that these aren’t just movie characters, but living and breathing people with their own set of complicated romantic desires and needs, and Bujalski captures them like a fly on the wall at their very best (and worst) moments.
Besides being Bujalski’s most commercial and most accessible film, Results might also be his funniest. It’s a fantastic and witty film – the kind of thing you would expect Wes Anderson or Woody Allen to come up with – one with such fresh energy and endearing characters hard not to like. It might not be everyone’s cup of tea, but for those looking for some lighthearted-but- complex storytelling should look no further.

Premiering in this year’s Sundance Film Festival’s US Dramatic Competition, Andrew Bujalski’s new dramedy Results is equal parts heartfelt, witty, and genuinely hilarious. Featuring standout performances from Guy Pearce, Cobie Smulders and Kevin Corrigan, the film tells the story of the Power 4 Life gym, owned and managed by Trevor (Guy Pearce). He dreams of opening up a new location and branching out his business a bit to rival his competitors. Who knows, maybe a future location downtown might even have an on-site juice bar or a new yoga room? Trevor’s business plans get mixed up with that of Kat (Cobie Smulders) his coworker who has taken on a new ultra-wealthy client Danny (Kevin Corrigan) who is set on getting back in shape at any cost. The results (no pun intended) of these eccentric characters’ lives being mixed together creates some highly entertaining scenarios, like when Danny develops a crush on Kat and tries to bribe her with marijuana, or when Kat and Trevor have spontaneous late night drinks with rival gym owner Gregory (Anthony Michael Hall).

Bujalski’s work is infamous for being a mash up of vinaigrettes that encompass an overall story, and Results has received its fair share of criticism for not having an even tone. I panned Bujalski’s previous film, Computer Chess for that every reason upon my first viewing. After some thought however, and a much-needed second viewing, I realized Bujalski’s dedication to small details and his ability to avoid clichés and tropes makes him one of the most exciting indie directors out there. The writing in Results is near-perfect; you get a sense that these aren’t just movie characters, but living and breathing people with their own set of complicated romantic desires and needs, and Bujalski captures them like a fly on the wall at their very best (and worst) moments.

Besides being Bujalski’s most commercial and most accessible film, Results might also be his funniest. It’s a fantastic and witty film – the kind of thing you would expect Wes Anderson or Woody Allen to come up with – one with such fresh energy and endearing characters hard not to like. It might not be everyone’s cup of tea, but for those looking for some lighthearted-but- complex storytelling should look no further.

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Review

Budget and unemployment issue mean that the Bowen family – Dad Eric, Mom Amy, and kids Kendra, Griffin and Madison – have to downsize to what appeared to me to be a fairly sizeable house, albeit rather marred by the supernatural manifestations. Things go bump in the night, terrifying already timid son Griffin, and centring on Madison, the youngest. After she is kidnapped by her closet and held prisoner in the TV, the family calls in specialist help.
A friend of mine wondered why they only remake successful films – surely unsuccessful films merit remaking more? And here comes a perfect example to illustrate the folly of remaking successful movies. The 1982 Poltergiest, directed by Tobe Hooper and produced by Steven Spielberg, was an excellent movie. It didn’t need remaking. And now along comes a remake. Had the original version never existed, this would have been a perfectly acceptable horror movie. But the original does exist, and this remake brings little new to the table. The main story beats are the same, some of the manifestations are different, but it is essentially the same movie, and not done as well – despite the best efforts of the cast, it lacks heart.
You might enjoy it if you’ve never seen the original – heck, you might enjoy it even if you have – but it’s all a bit pointless.
And if you’re not actually going to do anything worthwhile with the 3D, why bother?

Budget and unemployment issue mean that the Bowen family – Dad Eric, Mom Amy, and kids Kendra, Griffin and Madison – have to downsize to what appeared to me to be a fairly sizeable house, albeit rather marred by the supernatural manifestations. Things go bump in the night, terrifying already timid son Griffin, and centring on Madison, the youngest. After she is kidnapped by her closet and held prisoner in the TV, the family calls in specialist help.

A friend of mine wondered why they only remake successful films – surely unsuccessful films merit remaking more? And here comes a perfect example to illustrate the folly of remaking successful movies. The 1982 Poltergiest, directed by Tobe Hooper and produced by Steven Spielberg, was an excellent movie. It didn’t need remaking. And now along comes a remake. Had the original version never existed, this would have been a perfectly acceptable horror movie. But the original does exist, and this remake brings little new to the table. The main story beats are the same, some of the manifestations are different, but it is essentially the same movie, and not done as well – despite the best efforts of the cast, it lacks heart.

You might enjoy it if you’ve never seen the original – heck, you might enjoy it even if you have – but it’s all a bit pointless.

And if you’re not actually going to do anything worthwhile with the 3D, why bother?

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Review

I’ve never read the novel on which this is based but decided to give the film a try seeing as it featured the always very watchable Carey Mulligan and a screenplay by David Nicholls (One Day).

It may not please everyone but I think the director has managed to create a strong love story that allows the central character to develop throughout the two hour run. Mulligan captures every aspect of the character well and despite her making lots of bad choices we still stick by her.

Michael Sheen does well in his role and there are plenty of twists that kept me on the edge of my seat.

In this age of franchises and big blockbuster superhero nonsense it is refreshing that this film manages to tell a good story with a wonderful cast and hopefully will be enjoyed by many.

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Review

As with Mad Max 2, this latest instalment of the Mad Max franchise presupposes no prior knowledge of the preceding movies. The term “reboot” has been applied to it, which is perhaps fair enough. Having a new star as the titular character (Tom Hardy) lends credence to this view. As with Mad Max 2, Fury Road begins with a voice-over narration setting the scene. In Mad Max 2, that voice was some nameless man, acting as a teller of the myth of Max. In Fury Road, it is the voice of Max himself. Mad Max 2 struck me as more mythic, but Fury Road does not eschew this approach but it does appropriates other stylistic genres.

Perhaps the driver of this story is a variation on the story of The Iliad…all Hell breaks loose when the wife of a powerful man goes walkabout…off the reservation, so to speak. There seems to be more emphasis on a picture of a post-apocalyptic society here than in previous Mad Max films, although perhaps Beyond Thunderdome did delve in to this aspect…it’s just that I remember very little of of it, apart from that cage-fight setting etc. Early on in the film, at least, it’s more about creating a sense of place and society than focusing on Max. Most of the movie is one long, frantic, car/truck/motorcycle chase sequence…which might sound like a bad thing but director George Miller makes it exhilarating…although perhaps falling short of the standards he set in Mad Max…which happened to be more introduction to the franchise and made me conclude as a child that he had outdone Hollywood (later watching the first movie in the series was a disappointment, I have to say).

How does Tom Hardy fare in the role? In this, he seems a marginal character a lot of the time…an accidental/incidental hero, if you will…low intensity often, too. He looks buff compared to the lithe Mel Gibson in the first three movies. His accent seems a bit weird too…I can’t remember if I found it to sound South African at times…or maybe that was one or two other characters? Some of the other characters have weird accents too…either they’re not nailing what they’re going for, or it’s just a mixed bag of accents. Max’s costume accessories at times recall his role in The Dark Knight Rises. Sometimes Max’s predicament puts in mind James Bond being in a similar, outlandish circumstance.

In this mad world, it’s good that Max isn’t the be-all and end-all. Quite a lot screen time is spent on Charlize Theron’s character…the fancifully named “Imperator Furiosa”. One has to give Charlize great kudos…I doubt that any other actor has taken The Method to such an extent as to have their forearm amputated for the role! She is, in a way, a rival to Max’s myth.

Also impressive about the film is the cinematography and style of it all. The sea of humanity early on in the film, the aesthetic, which seems to draw on such diverse sources as “Beneath the planet of the apes” (perhaps…foggy memory!), underground American horror films about the backwoods people and Freaks…etc.etc.etc. The refugee camp aesthetic has a distinct looking cast but I don’t think that they have the memorability of the goons in Mad Max 2, with the likes of The Humungus, Wez and The Feral Kid (although he is not a goon!). Let’s not forget The Gyro Captain in that latter camp too!

Some really impressive visuals can be found in the dust storm sequence, which seems positively of The Apocalypse and one setting which brings to mind wastelands enchanted by an evil spell…a la “Lord of the rings” or “Excalibur” like. The latter setting has a surreal feel to it in stark contrast to its stark, monochrome colour palette.

Perhaps for the first time in this series, the “mad” part of the title character seems to be literalised. He has demons which torment him. To be honest, I wasn’t sure where to place these in the chronology…before going into this movie, I suspected that it was set some time after the events of the original movie and perhaps before or after the events of the second. Max has numerous flashbacks which unsettle him. I did wonder if one of the faces I saw was meant to be the Feral Kid or another was meant to someone from the first movie…but the age of the character in the flashback I Fury Road made me doubt that…although the original movie isn’t clear in my mind. It might very well be possible that the events of the flashbacks could be fodder for a sequel to Fury Road…assuming that they haven’t been covered in the prior movies.

My casual reading of the series is that the first movie was set in a remote, violent community. Some time between the events of that movie and the second, some sort of global catastrophe occurred which brought mankind back to a primitive, dog-eat-dog state. Speaking of which, there are some nice, seeming references to Mad Max 2…from the truck driven by Furiosa (is that where this movie’s title derives from?) to a nice nod to the dog food scene…but turned up to 11 (something the squeamish may want to close their eyes momentarily for!).

To be honest, I would have been happy for Mel Gibson to reprise his role as Max and I didn’t really need “name” overseas stars brought in, but Charlize is probably less of a marked choice than Tina Turner in Beyond Thunderdome (although she had a couple of great songs on that movie’s soundtrack!).

I’d place this movie behind Mad Max 2 and above Beyond Thunderdome, which I saw before rating movies at places like this. It’s an exhilarating ride.

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Review

I was anticipating for the sequel for Pitch Perfect, I basically can’t wait for it to be out in my local cinema. This sequel is a little disappointing to watch as it has quite some cliché story lines. The plot aren’t as solid and some of the movie parts are chunky, it doesn’t has a smooth transition to it.

Some characters are not themselves anymore. A prime example would be Beca, she isn’t the first Beca whom we knew, she seemed like she has lost her attitude & personality. Not the cool and independent Beca that we saw in the first movie. Also, Fat Amy’s persona is exaggerated. Yes, I know people like her in the first movie, I do too, in fact, she is one of my favourite but in this sequel, she appears unintelligent somehow.

I feel like Emily’s role doesn’t really contribute much impact to the movie. They should have give her more screen time/more development for her character.

Lastly, some jokes on other nationalities are quite insensitive. Especially the part where John introduces the Indian acapellas? And also the subtle jokes about the Germans, they are not very pleasant.

Overall, I expected better based on it’s previous success. It is an OK movie that doesn’t leave a lingering impression.

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Review

While we are coming off a big weekend that saw Hollywood finally deliver The Avengers: Age of Ultron to the big screen, it looks like we may be back to an uninspiring slate for the film world. There’s only one movie on the docket, offering a special ride along with Reese Witherspoon and Sofia Vergara.
Just remember, I’m not reviewing these movies, but rather predicting where they’ll end up on the Tomatometer. Let’s take a look at what This Rotten Week has to offer.

While we are coming off a big weekend that saw Hollywood finally deliver The Avengers: Age of Ultron to the big screen, it looks like we may be back to an uninspiring slate for the film world. There’s only one movie on the docket, offering a special ride along with Reese Witherspoon and Sofia Vergara.

Just remember, I’m not reviewing these movies, but rather predicting where they’ll end up on the Tomatometer. Let’s take a look at what This Rotten Week has to offer.

There is a certain recognizable formula that constantly plays out within the buddy comedy genre. It’s common that the stories find two people who annoy each other to no end and couldn’t be more dissimilar – but as they spend time together they realize that their differences are equal parts hilarious and endearing. Slowly, through some circumstance, and just general happenstance, they become the best of friends and have insane adventures together. Sometimes this works, sometimes it doesn’t, and this week we’ll find out if it can be replicated for success in Anne Fletcher’s Hot Pursuit.

Hot Pursuit teams up Reese Witherspoon and Sophia Vergara as a cop and the wife of a druglord – and to be honest, this movie looks like trash. It’s a shame, because I do think both Witherspoon and Vergara are talents, but this film very much seems like something you do for the studio so the studio will let you do other, more challenging work. The jokes feel canned and recycled. It just seems like the whole production is below both of them.

Director Anne Fletcher has been down this road before. She’s directed a number of celebrity team-ups to diminishing returns. Flicks like The Guilt Trip (38%), The Proposal (44%) and 27 Dresses (41%) are three on her resume that leave a less-than-inspiring trail of “comedy” work. These movies, while having some names attached, are all completely forgettable; throwaways for otherwise talented actors and actresses. This latest seems like more of the same.

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Review

We find the team dealing with a threat of their own making….. a sentient robot called Ultron, who was originally designed as a peacekeeping program. Since Loki was captured, the team have been working to take down various cells of a secret society of villains known as HYDRA.

Their aim to make the world a better, safer place inspires Tony Stark to create Ultron, in order to respond to additional threats that the Avengers aren’t able to handle.

Ultron, unfortunately, takes this directive way too seriously and believes that world peace can only be achieved by exterminating humanity, and he’ll stop at nothing to accomplish this goal.

The battle between the Avengers and Ultron is further complicated by the appearance of superpowered twin Quicksilver, and Scarlet Witch, who ally themselves with the homicidal android……..

It was always going to be a tough call to match the first Avengers movie, which, in all fairness, was a monumental cinematic experience, but here, it appears that Whedon knew he couldn’t match it, realise the film would make bucketloads anyway, and just hasn’t bothered with many of the characters.

Oh yes, they have all the same screen time, but it appears that the heroes with their own separate franchises, have been sidelined in order for the humanistic side of the film to work, and in turn, it achieves it somewhat, but there is too much exposition that bloats the movie, and makes it, at times, an almost unbearable ordeal, which takes some doing, considering the wealth of characters in the film.

But the real problem with the film is its lack of urgency, and here Whedon isn’t to blame, it’s Disney/Marvel being greedy and boasting about the next phase of Marvel movies,so we know who is safe, so Ultrons mission seems a little too futile.

Where the humour in the first film was refreshing and went with the characters psyche, here it suffers the same as Thor: The Dark World Did, just too forced and unbelievable. Gone is Starks Sarcasm, Cap’s future fear, and the general banter.

But it’s still spectacular in places, the Hulkbuster Vs. Hulk battle is the highlight, bonkers and very funny, Spader channels Downey Jr. As Ultron, Frankensteins Monster to Starks Victor, and he is a perfect choice.

But the highlight of the film is Remmer, he really outshines the rest of the cast, the. It’s human character in the film, and it’s genuinely touching when he’s with his family,showing a very vulnerable side to the Avengers.

Olsen is the best out of the newcomers, Johnson is okay, but his ‘I bet you didn’t see that coming’ grates toward the end.

So all in all, it’s a crushing disappointment for such an impressive franchise, major characters are sidelined, Jackson shows up like Schwarzennegar in the avengers, and friends pop up for no good reason from other Marvel movies.

It feels like one long build up for Civil War, which does sound impressive.

But then again this sounded wonderful.

Meh-vengers, if you would…..

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Review

Most of us dream about the future. “What will they think of next?”, we wonder as we marvel at the technological innovations of the present and try to imagine what could be on the other side of the horizon. We’re curious to see how society will change with the times as we reflect back on everything we’ve seen already. We want the best for our children and we hope to live long enough to see them reach their goals and find happiness. Most of us wish for a long and healthy life, and would consider that a tremendous blessing. But can there really be too much of a good thing? Is it possible that longevity could, at some point, become a curse? In “The Age of Adaline” (PG-13, 1:50), one woman finds out that joy and pain can both increase with time.

“Adaline Bowman lived a normal life,” the film’s narrator tells us. Adaline (Blake Lively) grows up, marries and has a child. When Adaline’s daughter, Flemming, is an old woman (and is played by Ellen Burstyn), Adaline looks like she’s still in her late 20s. But that’s only because she is. On an unusually cold California night, the young mother’s car slid off a country road and into a stream. The combination of the frigid water and a lightning strike had a unique effect on Adaline’s body. She stopped aging.

A condition that some would kill for creates a very unusual problem for Adaline. An acquaintance who hasn’t seen her in years expresses shock when she remarks that Adaline hasn’t changed a bit. A cop who pulls Adaline over for speeding becomes suspicious of the age on her driver’s license. When the attention that is attracted by her unchanging looks starts to become threatening, Adaline feels that she has no choice but to run.

Eventually, she decides that she even has to start living separately from her then high school-aged daughter. The two maintain their relationship over the years with phone calls and they occasionally meet, but that is the only close relationship that Adaline allows herself. When she realizes that someone is becoming too big a part of her life, she pulls back. Everyone must be kept at arm’s length. And every ten years or so, Adaline establishes a new identity and moves to a new location. No one can ever know her secret. It’s better this way, she tells herself.

Flemming wishes her mother could find happiness, and Adaline is tired of running, but it’s all she knows… and then she meets Ellis Jones (Michiel Huisman). He’s young, handsome, charming, wealthy and very interested in Adaline. He senses that she’s special, although he has no idea just how special. She tries to resist his attempts at starting a relationship, but (in case I didn’t mention it already), he’s young, handsome, charming, wealthy and very interested in Adaline. And Adaline is indeed lonely. She hesitates, but accepts his invitation to spend a weekend with his parents (Harrison Ford and Kathy Baker) to help celebrate their 40th wedding anniversary. On that trip, she encounters someone who knew her many years before. Adaline does her best to explain it all away, but her secret life is dangerously close to unraveling, just as her relationship with Ellis is getting more serious.

“The Age of Adaline” is wonderfully original and well-executed. The plot begs comparison to the 2008 Brad Pitt movie “The Curious Case of Benjamin Button”, but this film is much smarter and more touching. This script does a good job of making what is basically a fantasy film scenario seem almost plausible, but that’s beside the point. The story is so involving that it really doesn’t matter how Adaline ended up in her predicament. Lively plays her as a beautiful young woman with an old soul. It’s a very effective and sympathetic portrayal. We feel Adaline’s heartache; we admire her intelligence, determination and resourcefulness and we wish right along with her daughter that Adaline could just be happy. The script also resists the temptation of putting too many verbal winks to Adaline’s condition into the dialog. The story is very grounded for a fantasy and the plot unfolds organically, without pretense or any more artifice than is necessary for the film’s premise. Most importantly, in Adaline’s struggles, we see reflected the power and the many facets of love.

As much as I happen to love this movie, I have to remain objective enough to point out what I saw as some minor flaws in its execution. The narration, while helping the audience understand what is happening to this woman, sometimes gets a little too wordy for its own good. The method used to fill us in about Adaline’s backstory is creative, but not very well edited. Lastly, Huisman’s acting is serviceable, but is a bit of a weak link in an otherwise strong chain of performances. But at the end of the day, these really are minor criticisms of what I consider to be one of the best movies I have seen this year. “The Age of Adaline” is basically a well written, terrifically acted, beautifully shot movie that tells a fascinating and original story that will tickle your brain and touch your heart. What (or maybe I should ask “when”) IS the Age of Adaline? It is now. Go see this movie, before you get another day older. “A”

Watch Little Boy Full Movie Online

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Review

One of the knocks on “Christian” films is that they lack subtlety; the message is wielded like a blunt force instrument, and the story resolution comes by way of a pat ending, reached always through faith in God. Heroes and villains are drawn in stark contrast, and the heroes are the ones that believe in God the most. I don’t agree it is a valid knock in all cases, but I appreciate at least that criticism, and see the point.

Then there is Little Boy. First, I would hesitate to call it a “Christian” film at all, as the message seems broader than that, but what the heck – call it a Christian film. In fact, call it a Catholic film. Perish the thought!

Little Boy is a meditation on many things – the belief that faith without works is dead; the belief that works without love are also dead; the corporal works of mercy. All of these are Catholic beliefs, some uniquely so. But they are also all human. Should we treat each other well because we love God? Or because it’s right? Does it matter?

In the end, Little Boy is also a mediation on the nature of faith itself. Does our faith in God change God? Or cause him to do what we want Him to do? Or does our faith simply allow us to see what God does through the eyes of trust and love, through the eyes of a little boy gazing upon a father that he worships? The formula in a lot of Christian films is that faith helps us get what we want. The reality is that faith helps us to deal with what God wants. There is a big difference.

I enjoyed Little Boy, but not simply for its message of faith. We can all see ourselves in one character or another as they all deal differently with the tension of WWII. Overall, Little Boy is a touching and poignant film, well worth a shot.

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Review

After a few establishing montages of a WWI scene, Crowe starts his directing debut with vertical aerial shots of the titular character going about the titular undertaking. In a series of ever so lightly surreal overlapping frames of fade-out and fade-in subjects, we see Connor (Crowe, in the lead role too in addition to directing) the protagonist and his dog walking about carefully, the former manipulating two sticks of thin wire, one held in each hand. This is set in some of the wildest and driest parts of Australia. With unwavering confidence and uncanny conviction, he finally stops at a spot, digs deep, deep, and deep until rising out of the bowels of the earth – no, not Johnny Cash’s flames from the ring of fire – but an almost miraculous gush of water.
Pleased with his accomplishment, Connor returns to his farmhouse and is greeted with a smile from his wife who is cleaning a boot of one of his three sons, complaining indulgently that she doesn’t understand why they are always so dirty. After dinner, domesticity oozes as the wife urges Conner to go through the nightly ritual of reading their three sons to sleep. The next thing we hear is the loving father’s voice reading in the bedroom. As the camera moves into the bedroom we see three empty beds, beds that have not been slept in for quite some time. The gloomy nature of the movie finally unfolds – the three young adult sons have all gone to fight in Turkey, and were killed, all three together, in the Battle of Gallipoli. The next morning, Connor finds that his wife has drowned herself.
The remainder of the movie, set in Turkey (mostly Istanbul), can be categorized as what my summary line intimated: an entertaining cinematic package. The tone is initially gloomy, tracing Connor’s effort to acquire permission from hopelessly bureaucratic bodies to get into the military zone to look for the remains (perhaps just a skull) of his sons to bring home to Australia for a decent burial. Romance is offered in rapport with a young Turkish widow Ayshe who runs the hotel in Istanbul where he stays (a stunningly lovely Olga Kurylenko), a relationship that follows an often-seen trajectory of starting with animosity but gradually warming towards mutual empathy. Another often-seen relationship comes as the man-and-kid bonding with Ayshe’s somewhat cheeky but generally adorable son. When Connor finally succeeds in getting into the military zone, we get a feel of the ever elusive nature of political alliances: Australia and Turkey, enemies only so recently, are now allies against Greece. Two important characters emerge from this new addition to the dramatic arena. One is a British colonel played by Jai Courtney. You would perhaps remember him as John McClane’s (or you can call him Bruce Willis) son in “A good day to die hard”. The other, an even more important role, is a Turkish Major played by an excellent Yilmaz Erdogen. The pace picks up when after finding of remains of two of the sons, a gleam of hope breaks out that the third one may still be alive. High adventure ensues, with a touch of melodrama that is not unwelcome, after the somber mood that has dominated the movie for the most part.
I am not going to repeat the summary line again but would just add that the movie is shot in an old-fashion style which is a delight to watch.

After a few establishing montages of a WWI scene, Crowe starts his directing debut with vertical aerial shots of the titular character going about the titular undertaking. In a series of ever so lightly surreal overlapping frames of fade-out and fade-in subjects, we see Connor (Crowe, in the lead role too in addition to directing) the protagonist and his dog walking about carefully, the former manipulating two sticks of thin wire, one held in each hand. This is set in some of the wildest and driest parts of Australia. With unwavering confidence and uncanny conviction, he finally stops at a spot, digs deep, deep, and deep until rising out of the bowels of the earth – no, not Johnny Cash’s flames from the ring of fire – but an almost miraculous gush of water.

Pleased with his accomplishment, Connor returns to his farmhouse and is greeted with a smile from his wife who is cleaning a boot of one of his three sons, complaining indulgently that she doesn’t understand why they are always so dirty. After dinner, domesticity oozes as the wife urges Conner to go through the nightly ritual of reading their three sons to sleep. The next thing we hear is the loving father’s voice reading in the bedroom. As the camera moves into the bedroom we see three empty beds, beds that have not been slept in for quite some time. The gloomy nature of the movie finally unfolds – the three young adult sons have all gone to fight in Turkey, and were killed, all three together, in the Battle of Gallipoli. The next morning, Connor finds that his wife has drowned herself.

The remainder of the movie, set in Turkey (mostly Istanbul), can be categorized as what my summary line intimated: an entertaining cinematic package. The tone is initially gloomy, tracing Connor’s effort to acquire permission from hopelessly bureaucratic bodies to get into the military zone to look for the remains (perhaps just a skull) of his sons to bring home to Australia for a decent burial. Romance is offered in rapport with a young Turkish widow Ayshe who runs the hotel in Istanbul where he stays (a stunningly lovely Olga Kurylenko), a relationship that follows an often-seen trajectory of starting with animosity but gradually warming towards mutual empathy. Another often-seen relationship comes as the man-and-kid bonding with Ayshe’s somewhat cheeky but generally adorable son. When Connor finally succeeds in getting into the military zone, we get a feel of the ever elusive nature of political alliances: Australia and Turkey, enemies only so recently, are now allies against Greece. Two important characters emerge from this new addition to the dramatic arena. One is a British colonel played by Jai Courtney. You would perhaps remember him as John McClane’s (or you can call him Bruce Willis) son in “A good day to die hard”. The other, an even more important role, is a Turkish Major played by an excellent Yilmaz Erdogen. The pace picks up when after finding of remains of two of the sons, a gleam of hope breaks out that the third one may still be alive. High adventure ensues, with a touch of melodrama that is not unwelcome, after the somber mood that has dominated the movie for the most part.

I am not going to repeat the summary line again but would just add that the movie is shot in an old-fashion style which is a delight to watch.

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Review

Don’t let the Russian trolls dissuade you from watching this movie. The fact that this movie was banned by Putin’s censors ( truth hurts! ) is in itself a very good reason why you should see it.
This is a good portrayal of the grim, awful reality of life under the Stalinist regime and it shows very well what this murderous, totalitarian system ( that the Russians invented and wanted to spread all over the world ) was like and what it did to people. It crushed their conscience and the backbone of their humanity. It killed morality and any innate goodness of mankind. It created a Homo-Sovieticus who is still alive and kicking in today’s Russia.
And yet, no matter how much suffering and how many victims this monstrous system created, there are still communism apologists in today’s Russia ( and elsewhere in the loony left western media world ) that just can’t accept the simple truth that communism was as bad as Nazism.
That’s why they don’t want you to see this movie, that’s why they will tell you it’s rubbish not worth seeing. Don’t listen to them, just go and see this movie and decide for yourself.

Don’t let the Russian trolls dissuade you from watching this movie. The fact that this movie was banned by Putin’s censors ( truth hurts! ) is in itself a very good reason why you should see it.

This is a good portrayal of the grim, awful reality of life under the Stalinist regime and it shows very well what this murderous, totalitarian system ( that the Russians invented and wanted to spread all over the world ) was like and what it did to people. It crushed their conscience and the backbone of their humanity. It killed morality and any innate goodness of mankind. It created a Homo-Sovieticus who is still alive and kicking in today’s Russia.

And yet, no matter how much suffering and how many victims this monstrous system created, there are still communism apologists in today’s Russia ( and elsewhere in the loony left western media world ) that just can’t accept the simple truth that communism was as bad as Nazism.

That’s why they don’t want you to see this movie, that’s why they will tell you it’s rubbish not worth seeing. Don’t listen to them, just go and see this movie and decide for yourself.

Watch Unfriended Full Movie Online

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Review

The age of technology! It is a wonderful time where the Internet allows so much to be shared with a push of a button. The media shared can bring lots of happiness, or quickly become a portal terror just like the theme of today’s movie review Unfriended. From the trailers you might expect:

1. Found footage bologna we’ve grown accustom too 2. A simplistic plot with more drama than actual story 3. Gruesome kills that will chill you to the bone 4. Acting that is simple

So what do you get? When it comes to found footage films, we have come to expect erratic, dizzying shots of our cast running from some unknown entity. Often we get more headaches than information, leading to frustration and lackluster films. Unfriended is told through the web camera of Blaire (Shelly Hennig), as she skypes, messages, and texts her beloved troop of friends. Being on the computer, the film was limited to mostly stationary footage of Blaire multitasking between instant messaging and video chatting. Many audience members I feel will relate and appreciate the portrayal of teenagers juggling communication with other websites, as the group participates in cheesy exchanges of humorous dialog. That is until the terror starts and the social media becomes an instrument of torture that shrewdly forces our group to confess. Now I can appreciate the ingenuity of using computers and the relevance, but this movie sometimes took this angle a little too far. One particular annoying part was watching Blaire try to phrase her messages, constantly retyping the same message and hesitating to press send. A good lesson indeed for the teenage population, but I didn’t need to see this five times in the movie.

With the interesting camera angle, perhaps the story had some quality to it. Unfriended does have a unique twist, cleverly manipulating the internet to develop the characters and dish out the terror. The biggest strength of this movie is the mystery of the hacker, the suspense of who will uncover the secret keeping me interested in the tale. Unfortunately it still suffers from the predictable Slasher formula starting with the convenient timing that all of their parents aren’t home, on a school night. A majority of the plot is based on uncovering their “Mean Girl” like secrets, horrible, and typical, high school antics that are old hat. It does add further depth to the characters, perhaps even adding some relatable qualities that high school students may latch on to. I however couldn’t stop laughing at how stupid these kids were and the mistakes they kept compounding. I wish I could say the revelation at the end made up for some of the lackluster elements, but the ending didn’t deliver the satisfaction I looked for, and quite honestly seemed like a cheap write off.

Let’s get to the kills you are most likely seeking from the trailer. Unfriended manages to think outside the box in terms of spilling blood, using mundane objects as the means for death. Two deaths in particular are disturbing, the web came giving you enough of the carnage to piece things together without dropping into extreme torture territory. I will admit many of these deaths are ridiculous, overdramatic messes that made some of the audience howl with laughter. Yet I can’t help but applaud their integration of the murder devices into a casual conversation, with the exception of one or two that were obvious foreshadows to their demise. I can’t say much more, or I might ruin this quality, but keep your eyes peeled. Oh well, at least the deaths are fairly “justified” by the mysterious hacker’s actions.

Acting wise, the cast does a good job capturing the stereotypical teenager role. They capture the emotional spectrum of their characters, from shallow minded gossip to the fear and terror of uncertain death. The dialog is definitely “realistic”, but my friend and I agree that all the petty arguing and screaming got old. We did however enjoy the mannerisms of CAPS LOCK and emoticons being used in the movie to mimic the current cyber chat trends. While the acting is okay, the limited characters were not ones I could grasp onto. They all were annoying idiots, whose cruelty and selfishness were over the top, taking away any sympathy I might have felt. Perhaps a good character might have helped balance the bad, but this movie held no moral spectrum other than teenagers being teenagers. Either way the acting is fine for the characters given, and some of the characters (who aren’t teens) were really cute.

Unfriended is not the best horror movie by a long shot, but it has taken an interesting tangent from the normal thriller movie. Teenager and young adults alike will find relevance in the modern technology used, but others may find this more of a comedy than a horror. This rather loud and obnoxious tale fails to deliver on a lot of other levels, and I can’t really recommend this one for a theater visit. Perhaps a Redbox rental is in your future for this one, otherwise let the intended audience tell you how it is.

Watch Paul Blart: Mall Cop 2 Full Movie Online

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Review

After six years of keeping our malls safe, Paul Blart has earned a well-deserved vacation. He heads to Vegas with his teenage daughter before she heads off to college. But safety never takes a holiday and when duty calls, Blart answers.

Shirley Knight and Jayma Mays do not reprise their roles for the sequel. Knight played Blart’s mother, and Mays played Amy, his love interest. Their absences are explained in the movie by having Blart’s mother die and Amy dump him shortly after the wedding at the end of the first film.

The movie begins with him arriving at luxury Wynn Las Vegas hotel for a vacation while wearing a colourful Hawaiian print shirt.

He takes in the sight of the lavish property as messages emblazoned across the screen read: ‘After six years of keeping our malls safe Paul Blart is finally getting a vacation.’ Then Paul’s slapstick comedy begins as he tries to show his proficiency in riding his vehicle of choice; a segway, only to be hit by a car in the hotel valet area His daughter Maya, played by Raini Rodriguez, urges him to enjoy the trip but ominous music begins to play as Paul exclaims: ‘Someone is taking down the hotel.’ Then a man with a gun is shown walking up the stairs of the hotel followed by flashes of a case full of cash and security footage.

‘A hero is never off duty,’ flashes across the screen when Paul receives his trusty officer uniform and snaps back into action.

He holds a press conference to talk about the predicament the hotel and casino is in as scenes of him riding around on his trusty segway and other bumbling moments are shown.

Paul then makes a rousing speech as he declares: ‘We are trained to detect, deter, observe and report but there’s one man who goes above and beyond and I am that man!’ He goes on to zipline from the top of the hotel to kick a suspect off a fountain, then proceeds to fight thieves, an ostrich and even punches an old woman.

The humorous clip concludes with Paul trying to hit on a female police officer on a horse, she gives him her phone number, then he slaps the horse on the behind which makes the horse kick him across the road into his mini van.

Paul Blart: Mall Cop 2 Is An Excellent Movie Everyone Must See.

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Review

“Isn’t it strange, to create something that hates you?” – Ava

Walking into the cinema… Artificial intelligence has been a cinematic fascination since Metropolis. This year presents more futuristic awareness of robots and the moral implications of their creation. Ex Machina seems to be a psychological thriller with a moral message, but will it offer anything that we have not seen before in this genre?

Overall rating: 3.25 stars Cinematic rating: 3 stars Big question opportunities: 3.5 stars

In the latest artificial intelligence drama from director Alex Garland (28 Days Later, Dredd), Bluebook is the industry leading search engine and software firm. Caleb (Domhnall Gleeson) wins a week in a private mountain retreat with the reclusive CEO and founder, Nathan played by Oscar Isaac, of the technology giant. But on arrival, Caleb quickly determines that he will have to participate in a bizarre, but ground breaking study of human interaction with the world’s first truly interactive artificial intelligence, which has been created in a beautiful female robot, Ava (Alicia Vikander). An exciting proposition for a young computer genius, but it quickly turns into a twisted psychological tale of the human condition.

This has been a busy year for artificial intelligence films and director Alex Garland has to differentiate Ex Machina from all the other robot films. Garland begins the journey in a pristine and rustic garden habitat, a modern day Eden. The perfect place for a creator to develop new life. Even though it is not an original setting, it does set up the stark contrast from the the usual sterile trappings of a laboratory environment with him literally bringing his creation up from out of the earth and the depths of the cyber world. The story of Ex Machina is a creation story, but it becomes a psychological exercise, for the characters and for the audience. With each ensuing question, there are a multitude of underlying questions that need to be considered. The character development and script have a multilayered brilliance and allows Garland’s psychology study to open doors that separate it from other artificial intelligence films. From Blade Runner to Chappie, the questions of ethics and humanity are central themes. Ex Machina incorporates these themes, but is different because it is not merely a study of the created organisms, but an analysis of the creator. Oscar Isaac’s character, Nathan, captures the brilliance needed for this type of machinery development, but exposes the underlying problem with man being a creator. Humans are flawed, hence causing them to create an inherently flawed creation. All of the psychological tension was well paced, the actors delivered effective performances. Garland’s characters show that they all are measured and calculate each move, like a well played chess match. Then it was like someone knocked over the game board and the conclusion ended abruptly and ineffectively. The originality of the script calls for a more thoughtful conclusion, but it felt like Garland ran out of ideas, time or money and abruptly ended the film. Ex Machina was captivating, innovative and opened the door for a multitude of topics, but failed to deliver satisfactory answers in the end.

Even with the less than satisfactory ending, this film asks many of the underlying questions of human existence. The illusions to the garden of Eden were not subtle. Ava and Caleb were the test subjects in the world created by Nathan. Unlike the God of the Bible who is merciful, gracious and perfect in intention and purpose, Nathan is brilliant, but a flawed creator. With wealth and power, he proves that he feels he is above all moral codes. Not knowing Alex Garland’s intentions with the script, he did manage to expose the problem with created beings attempting to create other moral beings. Sinful intentions produce a tainted creation. Creation is merely one topic amongst many in Ex Machina. Intelligence, greed, power, morality, ethics, and sexuality are all touched on and given room for discussion after the film. As a word of warning, language and nudity are issues and should be considered before watching. Looking pass these issues, this psychological test will provide a plethora of conversation possibilities for the audience as it’s test subjects.

Leaving the cinema… Ex Machina was a refreshing change within this genre, there were layers to this film that allow for a deeper conversation on the topic of artificial intelligence. It is not a biblical metaphor, but the biblical illusions are unavoidable. The film is dark and borderline depressing, with a less than satisfactory ending. Yet, if you enjoy thought provoking films, you will enjoy this psychological adventure.

Reel Dialogue: What are the bigger questions to consider from this film? 1. What does it mean to be human? (Genesis 1:27, 2:5-25) 2. As a creator, what was God’s purpose in creating mankind? (Isaiah 43:7, Colossians 1:16)

3. Answering Ava’s question at the top: Even though some of mankind ignore and potentially hate God, this is a flaw in the human heart and not in God. He is a perfect and flawless creator. (Genesis 3)

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Review

I saw “The Longest Ride”, starring Britt Robertson-Under the Dome_tv, Scream 4; Scott Eastwood-Fury, Texas Chainsaw 3D_2013, oh yeah, you might have heard of his father, Clint; Jack Huston-American Hustle, The Twilight Saga:Eclipse; Oona Chaplin-Game of Thrones_tv, Quantum of Solace and Alan Alda-The Blacklist_tv, The West Wing_tv.
This is a movie that is based on a book written by Nicholas Sparks. In case you are not familiar with the name, he has had about ten of his books turned into movies, including Safe Haven, Dear John and, his most famous one, The Note Book. Britt plays a college student majoring in art that meets a cowboy, Scott. Scott is a bull rider that has some physical problems resulting from his many years of riding bulls-it’s a tough sport, being thrown a few times by an angry bull will tend to mess your body up pretty good. In fact, his doctor has told him to quit the sport, but he’s not going to listen to him. Scott and Britt are trying to work out all the bugs in their relationship, him being a cowboy and her going away to New York City to study art on a scholarship, when they come across a car accident and save the driver, Alan and a box of love letters. When Alan recuperates in the hospital, he lets Britt read his letters and the story of how he met and fell in love with his wife back in the 1940’s. The story jumps back and forth, between the 1940’s and the present, telling two different love stories that just happen to have more than a few similarities and teachable moments with each other. Jack plays the young Alan and Oona plays his bride. There are lessons to learn from the parallel stories, including that love requires sacrifices, opposites usually do attract and the longest ride can mean 8 seconds on a bull or it can refer to your life with someone. It’s rated “PG-13″ for action and sexual content-partial nudity-and a running time of 2 hours & 19 minutes. It was a good story for this type of movie. I would not buy it on DVD but it would be alright, as a rental.

I saw “The Longest Ride”, starring Britt Robertson-Under the Dome_tv, Scream 4; Scott Eastwood-Fury, Texas Chainsaw 3D_2013, oh yeah, you might have heard of his father, Clint; Jack Huston-American Hustle, The Twilight Saga:Eclipse; Oona Chaplin-Game of Thrones_tv, Quantum of Solace and Alan Alda-The Blacklist_tv, The West Wing_tv.

This is a movie that is based on a book written by Nicholas Sparks. In case you are not familiar with the name, he has had about ten of his books turned into movies, including Safe Haven, Dear John and, his most famous one, The Note Book. Britt plays a college student majoring in art that meets a cowboy, Scott. Scott is a bull rider that has some physical problems resulting from his many years of riding bulls-it’s a tough sport, being thrown a few times by an angry bull will tend to mess your body up pretty good. In fact, his doctor has told him to quit the sport, but he’s not going to listen to him. Scott and Britt are trying to work out all the bugs in their relationship, him being a cowboy and her going away to New York City to study art on a scholarship, when they come across a car accident and save the driver, Alan and a box of love letters. When Alan recuperates in the hospital, he lets Britt read his letters and the story of how he met and fell in love with his wife back in the 1940’s. The story jumps back and forth, between the 1940’s and the present, telling two different love stories that just happen to have more than a few similarities and teachable moments with each other. Jack plays the young Alan and Oona plays his bride. There are lessons to learn from the parallel stories, including that love requires sacrifices, opposites usually do attract and the longest ride can mean 8 seconds on a bull or it can refer to your life with someone. It’s rated “PG-13″ for action and sexual content-partial nudity-and a running time of 2 hours & 19 minutes. It was a good story for this type of movie. I would not buy it on DVD but it would be alright, as a rental.