Selasa, 27 Januari 2015

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Watch Hansel Vs. Gretel Online Free  After getting a taste for blood as children, Hansel (Jeremy Renner) and Gretel (Gemma Arterton) have become the ultimate vigilantes, hell bent on retribution. Now, unbeknownst to them, Hansel and Gretel have become the hunted, and must face an evil far greater than witches...their past. -- (C) Paramount

Rating:
    R (for strong fantasy horror violence and gore, brief sexuality/nudity and language)
Genre:
    Action & Adventure , Comedy
Directed By:
    Tommy Wirkola
Written By:
    Dante Harper , Tommy Wirkola , D.W. Harper
In Theaters:
    Jan 25, 2013 Wide
On DVD:
    Jun 11, 2013
US Box Office:
    $55.7M
Runtime:
    1 hr. 27 min. 

These are dark days. The Oscars are over, and now morale doesn't get any lower, as the very worst films are dumped ignominiously into cinemas like a vanload of cook-chill equine lasagnes delivered to schools and hospitals. This movie is a case in point. It's a film which is so demeaningly bad, so utterly without merit, that there is a kind of purity in its awfulness. There is a Zen mastery in producing a film which nullifies the concept of pleasure.

Kamis, 22 Januari 2015

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Film Review: 'Vice'

Watch Vice Online Free Reviewed online, Pasadena, Calif., Jan. 19, 2015. MPAA Rating: R. Running time: 95 MIN.

Production

A Lionsgate release of a Grindstone Entertainment Group and Emmett Furla Oasis Films presentation, in association with K5 Intl., of an Emmett Furla Oasis Films production, in association with Aperture Entertainment. Produced by Randall Emmett, George Furla, Adam Goldworm. Executive producers, Oliver Simon, Daniel Baur, Barry Brooker, Stan Wertlieb, Wayne Marc Godfrey, Robert Jones, Mark Stewart, Anthony Jabre, Steven Saxton, Elisa Salinas, Steven Galanis, Vance Owen, Brett Granstaff, Ted Fox, Corey Large. Co-executive producers, Gus Furla, Tim Sullivan, Ryan Black.

Crew

Directed by Brian A. Miller. Screenplay, Adam Fabrizio, Jeremy Passmore. Camera (color, widescreen), Yaron Levy; editors, Paul Harb, Rick Shaine; music, Hybrid; music supervisor, Mike Burns; production designer, Nate Jones; art director, Michelle Jones; set decorator, Jessica Navran; costume designer, Bonnie Stauch; sound (Dolby), B.J. Lehn; supervising sound editor, David Barber; sound designer, Ben Zarai; re-recording mixer, Barber; special effects coordinator, Dave Nami; stunt coordinator, Don Abbatiello; line producer, William B. Steakley; assistant director, Jonathan Southard; casting, Anne McCarthy, Kellie Roy.
 
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Selasa, 20 Januari 2015

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the beginning of Ava DuVernay’s extraordinary “Selma,” we hear Martin Luther King, Jr. (David Oyelowo), indulging a private joke with Coretta Scott King (Carmen Ejogo), about how, long ago, they were going to settle down in a small university town and lead a simple life as a preacher and his wife. The year is 1964, and the Kings are in a hotel room in Oslo; he is donning an ascot and a cutaway coat before receiving the Nobel Peace Prize. In his fancy duds, he’s self-mocking yet proud, a crusader at rest. Throughout the movie, we hear the voice that we remember—measured and confident, and then, on the podium, full-blooded and exalted. In this film, once King launches into any kind of utterance, nothing can stop him. The British actor David Oyelowo adds something of his own to the role, an extra layer of meditative richness and a touch of sexual playfulness (King is flirting with his wife in the hotel). He also underlines King’s idiosyncratic way of emphasizing the first syllable of words, which injects jolts of energy into the smooth and even tones. This King is slightly contemptuous; his composure is barbed.

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King returns from Oslo just as the civil-rights movement is entering one of its most crucial phases. Earlier in 1964, President Lyndon Johnson (Tom Wilkinson) had pushed the Civil Rights Act through Congress, ending legalized segregation. Now he wants to move on to the War on Poverty. But King insists on a voting-rights act, to abolish the civics and literacy tests and other tactics used to prevent millions of African-Americans from participating in elections. King fights Johnson in the Oval Office, on the phone, and from the street. He knows that a large number of people plan to march the fifty miles from Selma to the Alabama state capitol, in Montgomery, where they will demand to exercise their right to vote, and that, when they do, white racists, goaded by Governor George Wallace (Tim Roth), will explode in front of the newspaper reporters and the TV cameras. Johnson understands what King is up to, and accuses him of reckless opportunism. The two struggle face to face, as DuVernay re-creates in personal terms one of the defining moments in the life of the nation.

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Kamis, 27 November 2014

Watch The Babadook Full Movie

Watch The Babadook Full Movie, An actor-turned-film-maker who cites a stint on the set of Lars von Trier’s Dogville as “my film school”, Kent’s first feature as writer-director is both fiercely original and richly genre-literate. Alongside Dreyer, Polanski, Franju, Lynch, Carpenter and del Toro, all of whom the film-maker has named as inspirational (her knowledge of horror is enthusiastically thorough), there are echoes of the more nightmarish end of Tim Burton’s animations, the use of in-camera stop-motion effects breathing brilliantly mechanical life into the pop-up titular character. The colour palette is equally precise – washed-out blues and expressionist blacks recalling the tinted monochromes of early cinema (Georges Méliès casts a significant shadow). Kent works closely with director of photography Radek Ladczuk to create a timeless, mythical world within the suburbs of modern Adelaide.
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As for the Babadook, he’s descended from the same nursery rhyme gene pool as Freddy Krueger (and by extension the Struwwelpeters and Scissormen of Heinrich Hoffmann), invoked by childish verse, feeding upon the guilty fears of parents. And it is here that the film’s real power resides – in its depiction of Amelia’s projection of her own paranoias on to the child. When she looks at Sam, she sees her dead husband; no wonder the kid looks so scared. Like Henry James’s The Turn of the Screw (and thereafter Jack Clayton’s The Innocents), the real focus here is not the supernaturally afflicted child but the psychologically disquieted adult.

What an interesting double bill this would make with Lynne Ramsay’s provocative We Need to Talk About Kevin, which similarly addresses the taboo subject of maternal paedophobia, albeit from a less fantastical viewpoint. There’s a hint, too, of the protective melancholia of Hideo Nakata’s spine-tingling Dark Water, from which Kent’s multilayered fable borrows both its heartrending theme and ultimate resolution; a strange and terrifying world, seen through the eyes of a mother whom Kent, in an interview, tellingly described as “drowning”.

Watch The Babadook Full Movie For all its eerie visual prowess and assured storytelling skill, none of this would work had Kent not been blessed with such believable leads from whom she draws terrifically nuanced performances. With his cowled eyes and pallid skin, young Noah Wiseman combines the plucky spark of Phantasm’s Michael Baldwin with the haunted gaze of The Hills Have Eyes’ Michael Berryman – a figure of both pity and fear who inspires wildly contradictory impulses in his tormented mother. Sam may be a “problem child” but the real problem lies elsewhere. Essie Davis, the award-winning stage actress and screen regular, turns in a haunted mother performance to rival Belén Rueda in The Orphanage or Nicole Kidman in The Others. It is through her eyes that we experience the narrative’s descent into madness, and it’s to her credit that the film remains so firmly grounded in recognisable human emotions even as the fabulist elements rage and reign. Like Pan’s Labyrinth, this is a tale of two worlds – the incarnate and the imagined – and Davis’s responses make both seem equally “real” and equally alarming.
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Minggu, 23 November 2014

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    Jennifer Lawrence as Katniss Everdeen
    Josh Hutcherson as Peeta Mellark
    Liam Hemsworth as Gale Hawthorne
    Woody Harrelson as Haymitch Abernathy
    Donald Sutherland as President Snow
    Philip Seymour Hoffman as Plutarch Heavensbee
    Julianne Moore as President Alma Coin
    Willow Shields as Primrose Everdeen
    Sam Claflin as Finnick Odair
    Elizabeth Banks as Effie Trinket
    Mahershalalhashbaz Ali as Boggs
    Robert Knepper as Antonius
    Lily Rabe as Commander Lyme
    Evan Ross as Messalla
    Jeffrey Wright as Beetee
    Stanley Tucci as Caesar Flickerman
    Toby Jones as Claudius Templesmith
    Jena Malone as Johanna Mason


Jennifer Lawrence's charisma and the the sly excellence of her supporting cast keep "The Hunger Games: Mockingjay, Part 1" aloft. This third installment in the "Hunger Games" saga (technically chapter three, part one) is a bleak, sometimes dire experience, and not only because it's the darkest installment yet in an already dark saga, catching dystopian rebels in a beaten-down and demoralized state. As written by regular series scribes Peter Craig and Danny Strong, and as directed by Frances Lawrence (who helmed the second film in the series, "Hunger Games: Catching Fire"), it also feels a bit stretched out, not to give the actors room to breathe and widen the film's narrative margins to better pack them with detail, but because that's how Hollywood increasingly does big budget "event" franchises these days: chopping one volume into two or three, a la "Harry Potter" or "The Hobbit," to satisfy the most literal-minded readers by dramatizing as many scenes as possible, and to sell more tickets.
When the story begins, our heroes have literally been driven underground. Hunger Games champion Katniss Everdeen (Lawrence) survived multiple iterations of the books' nationally televised, gladiator-styled, bread-and-circuses reality show, then was cynically positioned by the evil President Snow (Donald Sutherland) as a false figure of inspiration. She became the real thing thanks to her indomitable spirit, plus clever plotting by rebel fighters and image manipulators, including Katniss's once-drunk and now sober mentor, Haymitch (Woody Harrelson); the propagandist and image consultant Plutarch (the late Philip Seymour Hoffman, to whom the film is dedicated); the tech genius Betee (Jeffrey Wright), and the image wizard (and ace comic relief) Effie Trinket (Elizabeth Banks).

"Mockingjay, Part 1" picks up where "Catching Fire" left off, with Katniss, rescued from Quarter Quell, living in a compound under the rubble of District 13 with her fellow insurrectionists. Led by their intrepid district president Coin (Julianne Moore, sporting a frosted 'do and a severe demeanor), our heroes endure attacks by Snow's planes and troops while plotting their next righteous move. Of course, Katniss is also supported and pined-after by her loyal right-hand, Gale Hawthorne (Liam Hemsworth), even as she frets over the fate of her great love, the still-milquetoast Peeta (Josh Hutcherson), who's being held hostage by Snow's forces and turned into an anti-Katniss propaganda tool, denouncing our heroine on national TV in order to legitimize his puppet masters.

If "The Hunger Games" films were to be compared structurally to "Star Wars"—still the commercial Holy Grail of film franchises—you might say that this one is the first half of "The Empire Strikes Back," with emphasis on the visually and drastically oppressive Hoth sequences. The plot takes us from from setback to setback to setback until we feel suffocated (on purpose). Snow has the overwhelming military advantage, and in a couple of effective action scenes, we get the sense of just how long the rebels' odds of victory are. The best of these depicts an aerial assault that's filmed mostly from ground level, envisioning Snow's warplanes as chunky blurs that can corner in midair, like gulls. 



Minggu, 16 November 2014

Watch The Theory of Everything Full Movie

Watch The Theory of Everything Full Movie, The physical decline runs in parallel to Hawking's personal and professional successes: bestsellers and academic acclaim, getting as close as you can get to the meaning of life – as well as three children and many years of happiness with determined, devoted Jane.
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The choice of source material had led some to wonder if the decks might be stacked in her favour when it came to the treatment of their separation. But this is a film of scrupulous ethics and fresh-scrubbed compassion. It's true there's something slightly predatory about the nurse (Maxine Peake) who comes between them, but by and large the film handles its emotions with the same careful consideration as its maths.

It stands or falls, of course, on its central performance. But Redmayne towers: this is an astonishing, genuinely visceral performance which bears comparison with Daniel Day-Lewis in My Left Foot. His Hawking starts askew – the glasses, maybe the shoulders a touch – and over the course of two hours contorts and buckles into a figure at once instantly familiar and fresh. This is more than just skilful impersonation – it's inhabitation. To look on as his face and body distort is to feel, yourself, discomforted, even queasy.

The film's emotional punch, however, comes from the trauma the disease wreaks on Hawking as one half of a couple. It manages that rare thing in any movie, least of all a well-upholstered biopic, and that is a realistic relationship, with grace notes, and a bedrock of respect and affection. Jones makes for a formidable opposite number; she's a consistently brilliant actor who needs a breakthrough.
Perhaps this may prove to be the movie. Though Redmayne will deservedly hoover up a great swagbag of awards, Jones shouldn't go home empty-handed. One beautifully underplayed scene between the two near the end hits with such choking force the viewer is left almost giddy.

It's a film to leave you reeling but cheered, too. It's about battling love, as well as illness. A universal story, extracted from a unique one.

Minggu, 09 November 2014

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It’s impossible to discuss director A.J. Edwards’ triumphant debut without first acknowledging his association with Terrence Malick. Having worked with the singular filmmaker for over a decade, from documenting the making of The New World, consulting on The Tree of Life and having edited To The Wonder, Edwards seems to have transformed from resolute disciple to artistic descendant, sponging both formal technique and spiritual inflection to create a film that looks, sounds and feels like the work of Malick, yet stands as something new, fresh and fully formed, if not stylistically original. In development since 2007 and still debuting in the wake of a handful of other recent Lincoln films, The Better Angels breathes refreshing verve into the little known story of Abraham Lincoln’s brief, but formative years spent in Indiana.

Exhaustively researched, young Abe’s story is told with an artistic contradiction – with strict adherence to historical fact, yet obsessive attention to cinematic lyricism. Edwards says the poetry is written in the history itself, but he seems to expand its forgiving fictionalized borders ever so gently. Like the precise recreation of Jamestown in The New World, the backwoods Indiana of 1817 is actualized with remarkable authenticity, despite much of it actually being filmed in the Mohonk Preserve in the Appalachian Mountains.

The Lincolns live in an austere wooden cabin, weave fabric by loom, work wood by hand and land by ox. In this harsh reality, Edwards seeks to invoke an immersive experience that burrows down into the psyche with its vibrantly edited, lush steadicam footage and naturalistically detailed sound design. There is an overt feeling of physical impact – axes against timber, canes on skin, plows ripping the earth – that subtly resonates throughout the picture with the lasting cultural impact Lincoln has left on American society. It’s no coincidence then, that the film begins at the steps of the god like memorial that lies by the reflecting pool on the National Mall. Edwards knowingly humanizes the legend by showing his roots, his complex family dynamic, his austere upbringing and his uncommon interest in self education.

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