The Smurfs 2(2013)

The Smurfs 2(2013)

iMDB Rating: 4.9
Date Released : Date: 31 July 2013 (USA)
Genre : Animation | Comedy | Family
Starring : Neil Patrick Harris, Jayma Mays, Katy Perry
Movie Quality : BRrip
Format : MKV
Size : 870MB

smurfs2The evil wizard Gargamel creates a couple of mischievous Smurf-like creatures called the Naughties that he hopes will let him harness the all-powerful, magical Smurf-essence. But when he discovers that only a real Smurf can give him what he wants, and only a secret spell that Smurfette knows can turn the Naughties into real Smurfs, Gargamel kidnaps Smurfette and brings her to Paris, where he has been winning the adoration of millions as the world¹s greatest sorcerer. It’s up to Papa, Clumsy, Grouchy, and Vanity to return to our world, reunite with their human friends Patrick and Grace Winslow, and rescue her! Will Smurfette, who has always felt different from the other Smurfs, find a new connection with the Naughties Vexy and Hackus or will the Smurfs convince her that their love for her is True Blue?

Review :

Great movie
For all the bad comments i say please its enough. If you don’t like this type of movies please watch something else. Don’t ruin this great movie by your bad ratings and comments and spoilers. And now for the fans i say it was a very enjoyable movie. It kept me and my girlfriend entertained the hole time. And we were on the edge of our seats. And i say it is a great movie for the kids and it contains some good morals as well. I say it is a good sequel and i hope that the sequel will continue and hope to see in the near future ” The Smurfs 3″. I remember in the theater the majority of the kids were very happy and laughing the hole time. And the 3d images were great as well.

The Wolverine Putlocker


iMDB Rating: 7.1
Date Released : Date: 26 July 2013 (USA)
Genre : Action | Adventure | Fantasy
Starring : Hugh Jackman, Will Yun Lee, Tao Okamoto
Movie Quality : BRrip
Format : MKV
Size : 870MB

When Wolverine is summoned to Japan by an old acquaintance, he is embroiled in a conflict that forces him to confront his own demons. In modern day Japan, Wolverine is out of his depth in an unknown world as he faces his ultimate nemesis in a life-or-death battle that will leave him forever changed. Vulnerable for the first time and pushed to his physical and emotional limits, he confronts not only lethal samurai steel but also his inner struggle against his own immortality, emerging more powerful than we have ever seen him before.

Review :

The Wolverine is back!
PLOT Logan (Hugh Jackman) lives as loner while he’s still devastated and haunted by events that happened with Jean Grey in the third film of X- Men. He is found by a Japanese woman Yukio (Rila Fukushima) who delivers him a message from a man he rescued in 1945, called Yashida (Hiroyuki Sanada). He is dying of cancer an would like to met Logan for the last time. Wolverine travels to Japan, meets Yashida’s son Shingen (Hiroyuki Sanada) and granddaughter Mariko (Tao Okamoto) but soon realise that a county of samurai, ninjas and yakuza are very much real. REVIEW First of all, I’m a huge X-Men and Wolverine fan so let me get that straight. This film is really focused on Logan’s character so consequently the movie is a character study first. If you expect mindless action you will be disappointed. Many fans were quite stroppy after the first Wolverine’s film years back so this one is in a way a redemption. The reason lies in staying true to the comic’s original panels although the story lines have been shifted and shuffled. Some fans are saying this superhero film is one of the best comic based movies but it’s clear that you can never satisfy everyone. As I said before, Wolverine explores his inner conflicts, tries to distance himself from the rest of the X-Men, while facing immortality and soul searching. Hugh Jackman again delivers reprising Logan. His performance is strong and most supporting cast does a wonderful job as well. Setting is beautiful and it was so refreshing to see the traditional Japanese culture and non-Hollywood cast. Many films take place in some country but then we only see Americans in it. Action. To be honest, I expected more action-fighting scenes that would make more sense. Some of them felt a bit forced to me (for example when Yukio and Shingen fight). I understand that they wanted to include scenes because of film’s dynamics but still. Sadly the writing is very two-dimensional for everyone other than Logan. I get that main focus is on Wolvie but other characters are underdeveloped yet there is so much potential for characters like Yukio, Kenuichio and Viper. Story could interlace in a more sophisticated way yet I can imagine how hard it is to adapt a story like this. I love the fact that women in the film are portrayed as strong but I wish there would be more to their stories. I also enjoyed a bit darker mood of the film, Jean Grey’s appearances and occasionally humorous scenes. Main three thoughts that I got from watching The Wolverine: 1. he’s freakin awesome (hands down to Hugh!); 2. I would like to see Logan and Yukio travel and kick some ass together; 3. aaaaaaaaa, can’t wait for next year’s X-Men: Days of Future Past! P.S. Watch out for he post-credits scene in the end.

Despicable Me 2 (2013)

Despicable Me 2 (2013)

iMDB Rating: 7.8
Date Released : Date: 3 July 2013 (USA)
Genre : Animation | Adventure | Comedy
Starring : Steve Carell, Kristen Wiig, Benjamin Bratt
Movie Quality : BRrip
Format : MKV
Size : 870MB

despicablemeGru is recruited by the Anti-Villain League to help deal with a powerful new super criminal. While Gru, the ex-supervillain is adjusting to family life and an attempted honest living in the jam business, a secret Arctic laboratory is stolen. The Anti-Villain League decides it needs an insider’s help and recruits Gru in the investigation. Together with the eccentric AVL agent, Lucy Wilde, Gru concludes that his prime suspect is the presumed dead supervillain, El Macho, whose his teenage son is also making the moves on his eldest daughter, Margo. Seemingly blinded by his overprotectiveness of his children and his growing mutual attraction to Lucy, Gru seems on the wrong track even as his minions are being quietly kidnapped en masse for some malevolent purpose.

Review :

Every You Would Want In A Family Film
Despicable Me 2 is a brilliant film with a great storyline and an impressive voice cast.I definitely wouldn’t say it was better than the first Despicable Me,the first one was a lot more heartwarming,but it still is a very good sequel and has everything you want in a family film,humor for both young and older audiences.However,the story of the movie feels very scattered and throughout I felt like they were trying to fit too much in one hour and a half.Like the first Despicable Me,the Minions are the best part,and they get even more screen time in this one that they did previously,it’s almost impossible not to laugh at these goofy and lovable characters.It’s not as good as the first Despicable Me,but this sequel is very funny and an enjoyable movie for the whole family and I look forward to seeing what Illumination Entertainment does with these characters in the future. Gru (voiced by Steve Carell) joins the Anti-Villain League in order to find an anonymous villain working on an experiment to turn the world evil.

Dracula 3 D Review

Dracula 3 D

Dracula 3DThanks to such gorgeously gruesome cult favorites as “Deep Red,” “Suspiria,” “Inferno” and “The Stendhal Syndrome,” Italian director Dario Argento has long staked out a position as one of the all-time great horror filmmakers, but even his most ardent followers would have to admit that his recent output has been a bit on the shaky side. “Mother of Tears,” the long-awaited conclusion to his so-called “Three Mothers” trilogy divided his fanbase down the middle. Reaction to lame potboilers like “The Card Player” and “Giallo” ran the gamut from mild confusion to outright hostility. Argento’s latest film, “Dracula 3D,” is at least a bit of an improvement over the embarrassment of “Giallo”, but no matter how promising the idea of him tackling Bram Stoker’s classic might sound in theory, the result cannot be regarded as anything but a disappointment.

Argento and his three cowriters have stuck to the basic parameters of Stoker’s tale while making a few changes along the way. This time around, the story opens with straightlaced Jonathan Harker (Unex Ugalde) arriving in a remote village to go to work as a librarian for mysterious town benefactor Count Dracula (Thomas Kretschmann) and quickly becoming the prisoner/walking feedbag for both the count and his “niece”—the newly vampirized town tart Tania (Miriam Giovanelli, supplying most of the film’s nudity). Before long, Jonathan’s beloved wife Mina (Marta Gastini) arrives in town to stay with her best friend Lucy (Asia Argento, supplying the rest of the nudity) to await her husband’s return.

As it turns out, Dracula has had a long-standing agreement with the townspeople in which he helps the village prosper in exchange for unlimited snacking privileges, a deal that the locals are finally beginning to realize may not have been such a smart bargain after all. Meanwhile, Lucy, who has secretly been in the count’s thrall, has been transformed into a vampire herself and Dracula now finds himself romantically obsessed with Mina herself. Just at the point when all seems lost, venerable doctor-turned-vampire hunter Abraham Van Helsing (Rutger Hauer) arrives in the hopes of saving the day and defeating his old nemesis once and for all using his faith, his cunning and a fresh batch of garlic-infused silver bullets.

“Dracula” is a story that has been told so many times on film over the years that anyone daring to do it again needs to bring something new to the party—a fresh take to the narrative or a striking visual approach—if it is to have any hope of standing out from the rest. This is what filmmakers as diverse as Werner Herzog, Francis Ford Coppola and Guy Maddin did with their respective versions (“Nosferatu,” “Bram Stoker’s Dracula” and “Dracula: Pages From A Virgin’s Diary”) and the results were among the finest vampire-related movies of our time.

Although the advance trailer for this film promised a wild riff on a familiar tale, “Dracula 3D” proves depressingly staid. As he did with his adaptation of “Phantom of the Opera,” Argento offers up a version that plays like a choppy condensation based on hazy memories of the book, then augments it with nudity and gore. However, and also as was the case with “Phantom of the Opera,” he seems to be largely going through the motions without ever offering any suggestion as to why he would want to yoke himself to such a familiar property in the first place.

At least with “Phantom of the Opera,” the excuse could be made that since he had already done hi own unique riff on that story a decade earlier with his masterful “Opera,” he had already used up his ideas. From a technical standpoint, there are some impressive contributions from two longtime collaborators, cinematographer Luciano Tovolli and composer Claudio Simonetti, and the retro production design is equally striking. However, Argento wastes their considerable efforts on a story that he never seems especially interested in telling in the first place.

He introduces one intriguing idea—the notion of the village being in cahoots with Dracula in exchange for prosperity—but then does nothing with it other than use it as an excuse to throw a couple of gory axe murders into the mix. There are also flashes of his flair for staging violence and his weirdo sense of humor (such as a jaw-dropping moment in which Dracula assumes the form of a giant praying mantis that is either the high or low point of the proceedings) but they are little more than brief respites from the lethargy that are further undone by “Sharknado”-level CGI effects. And while I understand that endings have never been Argento’s strong suit over the years, the denouement here is especially weak, though it does lead to one of the most unintentionally hilarious lines of dialogue to ever be heard in one of his films.

The performances in “Dracula 3D” fail to show much depth either—Kretchsmann is perhaps the least terrifying version of Dracula to come along since Leslie Nielsen, Gastini and Giovanelli are pretty blanks (though the latter will no doubt become a favorite of followers of Mr. Skin) and Ugalde seems to have based his performance on the one that Keanu Reeves almost gave in “Bram Stoker’s Dracula” and fails to live up to those standards. Rutger Hauer and Asia Argento, on the other hand, make more vivid impressions, but since the former doesn’t arrive until 70 minutes in and the latter is largely wasted in a secondary role, their efforts are largely in vain.

However, when the two do get to share the screen for a brief confrontation, things liven up so considerably that I found myself wondering why Argento didn’t choose to properly exploit his daughter’s alluringly feral persona by simply casting her as Dracula and going on from there. I am not saying that “Dracula 3D” would have been a complete success had he done this, but that would have been the kind of audacious move that the movie sorely needed. More importantly, the end result almost certainly would have had more bite than this one

The Conjuring Full Movie Streaming

Watch The Conjuring (2013) Full Movie Streaming
iMDB Rating: 7.8
Date Released : Date: 19 July 2013 (USA)
Genre : Horror | Thriller
Starring : Patrick Wilson, Vera Farmiga, Ron Livingston
Movie Quality : BRrip
Format : MKVthe-conjuring
Size : 870MB

Paranormal investigators Ed and Lorraine Warren work to help a family terrorized by a dark presence in their farmhouse. In 1971, Carolyn and Roger Perron move their family into a dilapidated Rhode Island farm house and soon strange things start happening around it with escalating nightmarish terror. In desperation, Carolyn contacts the noted paranormal investigators, Ed and Lorraine Warren, to examine the house. What the Warrens discover is a whole area steeped in a satanic haunting that is now targeting the Perron family wherever they go. To stop this evil, the Warrens will have to call upon all their skills and spiritual strength to defeat this spectral menace at its source that threatens to destroy everyone involved.

Review :

Better Than Any Recent Horror Movie

Hide and clap or clap and seek, whatever that game was it made me never want to play any version of hide and seek ever again. The Conjuring did something a horror movie hasn’t been able to do in a long time. No, not scare the hell out of me but it didn’t make me laugh. This movie was one of the scariest movies I have seen in a very long time. The jump scares were there but necessary and not as predictable. The story of the Warrens is one I have never heard about but the supernatural and demon possession is something I sort of believe in, and that made the movie feel more real. I really enjoyed this movie, let’s see why. A family is struggling on money and buys a house in the country off a bank auction. Little do they know, this house is haunted and has an awful past. When they bought the house you would think they would do the research on the history of the house but that is just me. From the mysterious leg tugs to the creepy doll that moves on its own, this movie knows how to scare. The terror and horror in this movie is overwhelming and lives up to the hype. It takes a lot to scare me in a movie and I have seen scarier movie there were many different ways this movie had an edge. One of the first things I noticed was that all the characters looked pale. The opening scene is a side story with a few girls who are being terrorized by an old doll. Not only was the doll creepy but the poor girls looked terrible. There was no pigmentation in their face. In fact no character, even the Warrens had much color in their face. All the clothes the characters wore were dull colors and they were not vibrant. Almost every scene was dark. Even when the sun was out, it was cloudy and there were shadows everywhere. That was something I noticed early and it was the same throughout the entire movie and it made the movie scarier. The scariest scene is easily when the mother plays hide and clap or whatever that game was called. Yes, I was too scared to remember, okay, don’t judge me. Everything in this scene worked. The scared mother made the scare more believable and the acting she did. The music blended in well. The idea of turning on the lights is used a lot but it always works. She is running around the house trying to find the ghost and the jumps and spooks were great. The theater jumped and screamed at the end of the scene which ended in darkness and terror. The major flaw in most horror movies is the acting. The acting in this movie, however, is actually pretty good. The family that is haunted has five kids and a few of them are stereotypical but they all do a good job. They each have a scene or two where they shine in their moment of terror. If they are scared then the audience is scared and the movie works. Seeing one of the youngest daughters sleep walk and bang her head against the closet was creepy and of course the entire movie starts with normal occurrences that are creepy and quickly elevate. Was this movie perfect? No, there were some scenes where the movie slowed down and got a little out of hand. There are scenes that are supposed to be scary but aren’t and they were hard to believe. The key to a movie like this is the backstory and the “based on a true story” gimmick. The Warrens are real people who were paranormal investigators but there were parts of this movie where this could not have possibly been real. There were times where I was taken out of the movie because a girl was being dragged by her hair because of a ghost or something. It is hard to make a scene like that work because it looks silly. The characters of the Warrens themselves were unexpected. The movie focused on them just as much as it did on the family that was being haunted. The Warren’s have a daughter of their own which was unexpected and she gets involved in a creepy scene as well. They had really good chemistry but their acting was a little weak at times. The Conjuring was a good time and I had fun with the movie but I don’t think I would see it again. I think it only has the real effect once. Overall The Conjuring is a very good horror movie. Is that really saying much? Well, you tell me. I’m not a huge fan of horror movies. They are usually poorly made and cheap, but this one was different. It didn’t rely on jump scares and cheesy tricks, but rather clever movements with the camera and limited CGI. The presentation of this movie was great and the writing clever. The backstory to this movie interesting and I bought it. I believe things like this happen but the movie needs to exaggerate it to make money and a good movie. I usually hate horror movies and laugh at them but this one was different. I was legitimately scared and I had fun. The scare wasn’t constant and it wasn’t there long but it was there. Some movies the scare is always there but in this movie it was here in bursts. For being the scariest movie I have seen in a long time it gets the WillyT Scaredy Pants Award. That’s my horror genre rating so it also gets the WillyT Recommendation.

A Touch of Sin

A touch of sin“May you live in interesting times” is the familiar Chinese saying, usually spat out as a curse. You can see why in “A Touch of Sin,” a film by renowned director Jia Zhang-ke. That kind of time is now, in the history of his country. With four vignettes inspired by real-life “ripped from the headline” events, he shows what the great economic expansion of China is doing to the majority of its people. It’s not a pretty picture, but it’s a compelling one.

The four stories track a furious miner who goes on a rampage against a company head, a migrant worker who returns home for his mom’s 70th birthday, a young kid from the provinces who can only find work in an exploitative factory or a brothel, and a massage parlor receptionist (played by Zhao Tao, the director’s real-life wife). Zhang-ke’s view is of a country with corrupt managers and government officials. It also points up the undeniable income disparity topping even that of the U.S. Still, the displaced and marginalized traverse the country, trying to get some piece of the pie. Or some job.

Worse yet, greed has trickled down to everyone. One of the nastiest ironies is that Dahai, the miner played by Jian Wu, gets a tongue-lashing for his idealism by a character reminding him that at least the executive has made it into upper ranks, and out of their village. Dahai tries to fight some injustices, such as the mine owner failing to honor his promise to share some profits with his workers. Nothing doing, though, so when the embezzler visits in his private jet, Dahai goes bonkers with a gun. In perhaps the most memorable sequence, the docile-seeming receptionist (Tao) is set upon by a patron of the “sauna” where she works. He literally beats her up with money trying to force her into another job description: a masseuse/hooker. Finally, she turns the tables, brandishing a knife in a way to best any kung fu master.

Signature strokes of a great filmmaker come through even in a “message” movie. Startling images shot in high definition digital show the old agrarian China smashed up against the new. A horse pulling a cart without a driver goes the wrong way down a highway. Bulls peer placidly at the urban scene. But you have to know a bit about China, which most of us don’t, to get that the four stories are set in different parts of this huge country: a cross-section is implied. One is clearly in the north, though, as we can figure from the snow, and characters often chat about where they are from, or guess each other’s dialects. It’s a world in flux.

Those who follow news in China will catch on to the televised glimpse of an incident involving a high speed train wreck,  a disaster the Chinese government kept on the down-low. That the film is showing these things at all is some sort of minor miracle. Zhang-ke’s films have been suppressed for number of years, yet he decided to go ahead and try to pass the censors this time (he did). The script for “A Touch of Sin” won best screenwriting award at Cannes this year. His earlier films include “Still Life” which showed an ancient river being wiped out as part of a dam project, and “24 City,”a kind of oral history about condo development and the loss of 20,000 jobs.

Those films are calm in tone compared to the explosive “Touch of Sin,” with its wilder-than-the-Wild West beginning as a traveler is set upon by roadside thugs. He’s ready for them, vigilante- and Tarantino-style, presaging the steam of rage which erupts into violence throughout the film, sometimes graphically. A mangled ear was too much for a couple audience members at the screening I attended, or maybe they couldn’t get into the storylines. There is no segue from one sequence to another, though in fact the movie is tied up in a nearly novelistic fashion, with plot threads coming together cleverly at the end.

If you have the stomach for it, “A Touch of Sin” is a stunning travelogue of cruelty and vengeance. Even if you can’t relate to the anthology-like narrative and would have preferred to spend more time with individual characters, the film’s glimpses of China today intrigue. Smaller towns now have a neon sheen. The countryside is strewn with humming construction equipment re-making the landscape. Even the brothel where a displaced factory worker (a poignant Luo Lanshan) finds work has its moments. Catch the spectacular march of sex workers in theatrical costumes being paraded before the cash-rich patrons; don’t blink or you’ll miss a witty cameo with the director as one of them.

None of this may want to make you go to China. “A Touch of Sin” is hardly an invitation to look-see. It does explain some of the contradictory information we’ve gotten: spectacular wealth and growth, but terrible factory accidents, low wages, and human abuse issues. It’s also a kind of plea to the Chinese government. I’m always suspicious of a movie where you have to have a creator’s quote to figure things out, but Zhang-ke, who was on hand for a Q & A at the screening, had an apt one. “The expansion in China has been so fast,” he said, “there’s been no room for the system to catch up with any kind of humanity.”

Watch Grown Ups 2 Full Movie Stream Online

Watch Grown Ups 2 Full Movie Stream Online
iMDB Rating: 5.2
Date Released : Date: 12 July 2013 (USA)
Genre : Comedy
Starring : Adam Sandler, Kevin James, Chris Rock
Movie Quality : BRrip
Format : MKV
Size : 870MB

grown-upsAfter moving his family back to his hometown to be with his friends and their kids, Lenny finds out that between old bullies, new bullies, schizo bus drivers, drunk cops on skis, and 400 costumed party crashers sometimes crazy follows you. Having the greatest time of his life three summers ago, Lenny (Adam Sandler), decides he wants to move his family back to his hometown and have them grow up with his gang of childhood friends and their kids. But between old bullies, new bullies, schizophrenic bus drivers, drunk cops on skis, psycho grade school girlfriends and 400 costumed party crashes he finds out that sometimes crazy follows you.

Review :

A lumbering, distasteful comedy that has a lower impression of you than you have of it

There I sat, in stone-cold silence, not completely watching, but observing Grown Ups 2, one of the most desperate comedies of the year. Smiling maybe twice, groaning several times, rolling my eyes several more, and eventually closing them for a few seconds trying to imagine what a movie like this could’ve been if the quality of the talent matched the quality of the three screenwriters behind this project. The first Grown Ups film wasn’t great – or even good – by any means, but had the vibe of a cheery, stupid ABC Family movie. The strongest complaint I had about the original film carries over to this one immensely which is that given the immense amount of talent in this film, from the three title characters alone, this should be a much better, much funnier movie. Adam Sandler can be funny when he is given timing and a decent character, Kevin James can always be sweet, simple, and relatable, Chris Rock is one of the funniest comedians working today, and David Spade almost always knocks one out of the park in Rules of Engagement. It’s dumbfounding to note that Taylor Lautner has the biggest laughs in the film, and after watching this, I have faith that after the redundant Twilight franchise he’ll find work in some solid buddy comedies. However, the first inkling that Grown Ups 2 is terrible is by the sole fact that Rob Schneider himself decided other matters were worth is time than making a film that was almost guaranteed to be a hit. The entire event is a plot less picture (not the good kind) that provides its audience with a pathetic array of scenes that seem more like throwaway skits from Saturday Night Live. It’s a massively redundant, laundry-list of senseless setups with unfunny payoffs that usually involve something along the lines of bathroom humor, objectification, homophobia, and obnoxious behavior. In other words, it’s another Sandler movie. It takes place entirely on the last day of school and revolves around the gang of Lenny (Adam Sandler), Eric (Kevin James), Kurt (Chris Rock), and Marcus (David Spade) returns, this time welcoming a more quiet, suburban lifestyle contrary to that of Lenny’s in Hollywood, and the ridiculous series of sitcom antics that unfold overtime. The plot stops there. What follows is, as stated, a series of cheaply-staged, poorly-performed, witless gags that do nothing but make one check the time. Among the barrage of questions I had while watching this film, one of which was, “who is the target audience here?” My mind resorted immediately to tweens and adolescents, who spend too much time giggling at bathroom humor as is. But then, as the film progressed, it began to redirect its senses to a more sentimental side, which only shows the immense tonal strain the film has which is “create cinematic anarchy for forty minutes before showing that this is a story about being true to ones roots and taking care of the family.” The sentimentalism is then mixed with a strangely out of place eighties party that concludes the picture, which will definitely not be appreciated to the fullest extent by the previously mentioned tweens and adolescences, as many of the jokes and period references will fly straight over their head. The problem with the film is that it seems so effortless and so poorly conducted. At least with various Sandler films like Happy Gilmore, Big Daddy, and even the unexpectedly raunchy That’s My Boy, I could sense that it was made for somebody, be it adolescents or a bit older of a crowd and stuck with that persona. Grown Ups 2 is a film made with no agenda, no personality, and no spirit. It even resorts to the tireless Sandler cliché of having all the male characters being a cornucopia of stupidity and the female characters being nothing but eye-candy for the men. There are certain things I expect Sandler to be over now, what with approaching fifty in a few years. You have a choice as a moviegoer this weekend and the several other weekends Grown Ups 2 is going to play. You can either a see a film that possesses gags as commonplace and predictable as a Fruity Pebbles commercial or use this time as an opportunity to seek out nearby independent features in theaters, at your local video store, or even on Netflix. Say you refute that suggestion and want to see Grown Ups 2 as a pleasant, feel-good movie. I know plenty of independent movies that are pleasant, feel good movies (Frances Ha is one of them and is still playing in many theaters nationwide). Wouldn’t you at least want to give money to people who don’t believe that you’re sitting in the audience because you possess the attention-span of a newborn? Starring: Adam Sandler, Kevin James, Chris Rock, David Spade, Salma Hayek, Maya Rudolph, Maria Bello, Nick Swardson, Shaquille O’Neal, Peter Dante, and Allen Covert. Directed by: Dennis Dugan.ackmail will not save this film at all, due to the fact if this was a Skinemax film without the porno in it, it would possibly be a bit more drawn out with people who have guilt complexes, and the two antagonists by this film might as well be known as the protagonists since Liam Hemsworth is basically Harvey Dent, he saw himself become the villain in the end which was totally screwed up to begin with…….I will never get my money back for seeing this film……

Gravity Movie

Gravity Movie Review

GravityAlfonso Cuarón’s “Gravity,” about astronauts coping with disaster, is a huge and technically dazzling film. Watching Sandra Bullock and George Clooney’s spacefarers go about their business, you may feel—for the first time since “The Right Stuff,” perhaps—that a Hollywood blockbuster grasps the essence of  a job that many can’t imagine without feeling dizzy. The film’s panoramas of astronauts tumbling against starfields and floating through space station interiors are at once informative and lovely.

But the most surprising and impressive thing about “Gravity” isn’t its scale, its suspense, or its sense of wonder; it’s that, in its heart, it is not primarily a film about astronauts, or space, or even a specific catastrophe. At times it plays like a high-tech version of shipwreck or wilderness survival story that happens to take place among the stars, and that would fit nicely on a double-bill alongside “Deliverance,” “127 Hours,” “Cast Away,” “Rescue Dawn” or the upcoming “All Is Lost.” For all its stunning exteriors, it’s really concerned with emotional interiors, and it goes about exploring them with simplicity and directness, letting the actors’s faces and voices carry the burden of meaning.  It’s about what happens to the psyche as well as the body in the aftermath of catastrophe.

Not content to observe the agonizing physical details of the astronauts’ struggles, “Gravity” goes deep into the feelings  of one character, Bullock’s Dr. Ryan Stone, a first-time space traveller who boards a shuttle alongside Clooney’s Matt Kowalski to repair the Hubble telescope. When debris destroys the telescope and their ride home, Ryan finds herself marooned in orbit alongside Kowalski, taking an unasked-for crash course in disaster management, learning all she can from her more experienced partner, struggling to control the anxious heartbeat that flutters on the soundtrack along with her shallow breathing and the sporadic hiss of backpack thruster jets.

“Houston, I have a bad feeling about this mission,” Kowalski tells mission control (voiced, in one of Cuarón’s only film-buffish in-jokes, by Ed Harris, a veteran of both ”The Right Stuff” and “Apollo 13“). We hear Kowalski speak this line for the first of many times during the majestic opening shot. We see space, and Earth—and beyond it, a tiny speck that slowly draws close, revealing the mission, the vehicles, the characters.

In the hands of lesser storytellers, this shot and other, equally striking ones might play like showboating. (The filmmaker and his regular cinematographer, Emmanuel Lubezki, shot numerous films with spectacular long takes, including “Children of Men.”) Luckily, Cuarón, who cowrote the script with his eldest son Jonás, roots every moment in a tactile present. The fragility of the body has rarely been highlighted so consistently throughout the entire running time of a feature. Every time the astronauts move, or don’t move, you worry that they’re going to end up like their colleagues: bodies frozen hard as bricks, faces caved in like pumpkins.

Ryan is our stand-in. The movie makes this notion plain by shifting between points-of-view. A lot of the time we’re in what you might call third person limited, watching Ryan and Kowalski move through their treacherous environment and taking note of objects drifting with them, some menacing, others oddly poignant: a chess piece, a ballpoint pen, a Marvin the Martian doll, a puff of electrical flame, a lone teardrop. And then, gradually, subtly, “Gravity” will move into first person, drifting towards Ryan and then seeming to pass through her helmet, edging closer to her face, then finally pivoting so that we’re gazing out through her visor, hearing her voice and breath echo inside her suit as she looks for a space station, for Kowalski; for someone, something, anything to grab onto.

Some have already complained that “Gravity” is too melodramatic, too simplistic, too mystical, too something; that once we figure out that it’s about the psychology of Ryan, we may write it off as less imaginative than we hoped.  I don’t believe such shortcomings—if indeed they are shortcomings—can dent this film’s awesomeness. If “Gravity” were half as good as I think it is, I’d still consider it one of the great moviegoing experiences of my life, thanks to the precision and beauty of its filmmaking.

But even if we grant that the movie doesn’t have the philosophical ambition of “2001″, the space adventure to which it’s most often compared, fairness demands we recognize that it’s trying for something else. “Gravity” is reminiscent of “2001″ mainly because it feels like a feature-length expansion of the sequence in which astronaut Dave Bowman gets locked out of the Jupiter spacecraft without his helmet. Beyond that, it’s its own thing, and its storytelling is as simple as its visuals are complex. A surprising number of scenes are theatrically spare: just people talking to each other, telling stories, painting mental pictures for us.
Gravity Movie review.

For long stretches, Cuarón trusts Bullock to give us a one-woman show, and she delivers. Her work here constitutes one of the greatest physical performances I’ve seen, and the filmmakers frame her in ways that make each moment resonate. The way she twists and turns and swims through zero gravity (or its studio simulation) is a master class in how to suggest interior states through gestures. An image of Ryan curled up womblike in zero gravity packs a primordial wallop: it’s a dream image dredged from the Jungian muck. Some of the shots of Bullock’s face through her helmet visor evoke Carl Dreyer’s “The Passion of Joan of Arc,” the film that perfected the emotionally expressive closeup. “Gravity” evokes that silent classic and others—including Maya Deren’s experimental short “Meshes of the Afternoon,” whose most analyzed sequence, a series of shots boiling evolution down to four gestures, might have influenced the unabashedly metaphorical closing scene of  Cuarón’s film.

If anyone asks me what “Gravity” is about, I’ll tell them it’s a tense adventure about a space mission gone wrong, but once they’ve seen and absorbed the movie, they’ll know the truth. The root word of “Gravity” is “grave.” That’s an adjective meaning weighty or glum or substantial, but it’s also a noun: the location where we’ll all end up in time. The film is about that moment when you suffered misfortune that seemed unendurable and believed all hope was lost and that you might as well curl up and die, and then you didn’t. Why did you decide to keep going? It’s is a mystery as great as any in physics or astronomy, and one we’ve all grappled with, and transcended.

Watch Paranoia Full Movies Streaming

Watch Paranoia (2013) Full Movies Streaming
iMDB Rating: 4.6
Date Released : Date: 16 August 2013 (USA)
Genre : Drama | Thriller
Starring : Liam Hemsworth, Gary Oldman, Harrison Ford
Movie Quality : BRrip
Format : MKV
Size : 870MB

paranoiaAn entry-level employee at a powerful corporation finds himself occupying a corner office, but at a dangerous price: he must spy on his boss’s old mentor to secure for him a multi-billion dollar advantage. The high stakes thriller Paranoia takes us deep behind the scenes of global success to a deadly world of greed and deception. The two most powerful tech billionaires in the world (Harrison Ford and Gary Oldman) are bitter rivals with a complicated past who will stop at nothing to destroy each other. A young superstar (Liam Hemsworth), seduced by unlimited wealth and power falls between them, and becomes trapped in the middle of the twists and turns of their life-and-death game of corporate espionage. By the time he realizes his life is in danger, he is in far too deep and knows far too much for them to let him walk away.

Review :

Should have been an On Demand title

This film is basically like Only God Forgives but with Liam Hemsworth acting like a poor version of Ryan Gosling for a wanna be version of The Net but its not even The Net, its the Net 2.0, it might as well be a Skinemax without the porno bits to it, its basically a 1000 yard stare that says nothing, does nothing, tries to screw your day up, and has a pretty bow-tie on, I SWEAR TO THE LORD ALMIGHTY YOU COULD PUT THAT THE ON THE POSTER ITS THAT BAD, IT MIGHT AS WELL BE LIKE ONLY GOD FORGIVES MIXED WITH A SKINEMAX FILM WITH APPLE ADVERTISING I cannot recommend this film at all, it isn’t worth the amount of money it had spent on it, I think if you want to go see this movie, don’t say I didn’t warn you, it like Smoking Aces and The Departed with cell phone companies going to war with each other every freaking day…..and also a crap ton of bl

All is bright

All is bright

All is brightPhil Morrison’s “All is Bright” is half-bright. Roughly one half of it is brilliant absurdist comedy in the low-key Bill Forsyth style. The rest is such a calculated balance of mumbly realism and crowd-pandering Christmastime cuteness that I predict an “All is Bright” series will end up on NBC’s Thursday night lineup.

Right up front, some viewers will have a problem (unfairly, I say) with the apparent passivity of the protagonist, Dennis (Paul Giamatti), a Quebeqois robber who learns only after being released from prison that his former accomplice and friend is dating the mother of his child. Said wife (Amy Landecker) warns Dennis not to reveal himself to their tween daughter, whom she’s told that her daddy died of cancer. Dennis has a brief fit of rage at the wife and later lands one punch on the accomplice, Rene (Paul Rudd), but he somehow doesn’t kill either of them in a crime of passion. Homeless and desperate for work, he tags along with his betrayer on a trip to New York to sell Christmas trees. That’s not the implausible part, since most newly released prisoners become masters at pragmatism, reining in their emotions for fear of being sent right back to the hell they just escaped. The truly absurd developments in “All is Bright” are small, false moments here and there that ultimately undermine the delicately observed and truthful ones:

1. It’s hard to believe that the guileless but emotionally intelligent Rene would be so brazen in disrespect to Dennis, taking lovey-dovey phone calls from the woman he stole from Dennis right in front of him. That’s asking for another punch in the face, or worse.

2. It’s tough to imagine a Homeland Security-era American border patrol officer so lax and bribe-able as the one who appears in this film when Rene and Dennis go to New York to sell Christmas trees.

3. Sally Hawkins’ creamy Russian dressing accent makes you wonder whether there were no suitable Russian actresses available to play “sassy immigrant neighbor” in New York at the time of filming. (But I laughed out loud when she said, “…like Vunna White on ‘Fortune Wheel….’”)

4. Dennis’ psychotic bullying and mugging of an innocent rival tree salesman doesn’t square with the film’s attempt to make him seem lovably harmless deep down. Nor with the fact that, as a parolee illegally out of his home country, he’d be doing everything possible to lay low.

5. Diner owners in laidback Greenpoint, Brooklyn who are so obnoxious as to snatch Dennis out of their bathroom mid-pee because he isn’t a paying customer. Nowhere in Brooklyn has this ever happened. Worse, the moment is scored to a warm Christmas ballad, for leaden irony. Much later, after he’s somehow made amends with the assholes and sets a few bills on the counter en route to the john, the same jerk who ejected him now accepts his cash with a sneering, “F@$k you very much!” Nothing like this has ever happened anywhere.

6. Dennis and Rene take so many foolish risks for the sake of formulaic (if subtly played) comic set pieces that it becomes clear that Morrison and screenwriter Melissa James Gibson are more interested in yuks worthy of a Sundance Audience Award than considering what could be funny or suspenseful in a more realistic scenario. A comical jazz combo instructs us not to take anything too seriously.

It’s a shame, because I kind of love Morrison’s vision, which aims to filter Capraesque sentiments (about good men going through hard times) through textured, layered Altman styling. Cinematographer W. Mott Hupfel III captures the palpable winter chill, ratty beards, linty coats and lived-in interiors in gorgeous medium-length takes and slow zooms right out of “McCabe & Mrs. Miller.” In one beautiful bit of Altmanesque overlap at the Brooklyn tree stand, a delicate zoom keeps two dueling conversations in frame and three flavorful accents—African, Russian, Canadian—in aural deep focus.

Generally, Giamatti and Rudd do their part to give this film some unpredictable life outside of its surefire formulas, but Morrison just doesn’t take enough advantage of the neighborhood (which, full disclosure, I lived in this summer and can attest is overflowing with far more interesting life forms than the stock extras seen here) to make their quest seem situated in a world rather than a (barely) colorful backdrop. Such would better serve the subtext, set up early on, of an economic scramble as brisk and merciless as the winter winds.

But if you’re looking for cute, “All is Bright” has it for days. I wish I could give four stars to Giamatti’s big, sad eyes and outrageous Civil War beard. Rudd is great at playing a friend whose bumbling makes you draw back a hand to slap him only to lower it gently on his head, like a beguiled puppy owner. That kind of thing only goes so far, and by the film’s pack-of-lies Christmas morning ending, the eggnog has curdled.

Cast :

Paul Rudd as Dennis
Paul Giamatti as Dennis
Sally Hawkins as Olga
Peter Hermann as Tremblay
Michael Drayer as Bobby
Halley Feiffer as Claire
Amy Landecker as Therese
Amanda Warren as Young Woman
Curtiss Cook as Frank
Barbara Vincent as Christmas Tree Customer
Morgan Spector as Vlad

Director: Phil Morrison

Writer: Melissa James Gibson

Comedy, Drama

Rated R

107 minutes

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