The newly released "Iron Man 3"
trailer is jam-packed with information, brand-new Iron Patriot armor, and lots
of doom -- driving home the point that Tony Stark (Robert Downey Jr.), and
perhaps even the U.S. President too, are in deep trouble.
After a rapid-fire display of action sequences, destruction and
plot points are revealed, the final frames of the preview footage symbolically
show the lights going out on an already dilapidated "Iron Man 3" logo. Then we see Tony dragging a
seemingly inoperable suit through the snow. This cannot be good.
Watch the new "Iron Man 3"
trailer, then read what we found to be the five biggest questions raised by
this first look.
Ellison Oswald (Hawke) is a
one-time best-seller whose books on real murders used to stir up sales, but now
just stir people up. Looking for a career boost, he moves to a small town where
a grisly murder took place when four-fifths of a family were found hanging from
a tree in their yard. What Hawke doesn't tell his wife (Juliet Rylance) and
kids (Michael Hall D'Addario and Clare Foley) is that he's moved them into the
actual house where the murdered clan lived and died. (Any resemblance to the
blocked, baffled Jack Nicholson character in The Shining is
purely intentional.) Ellison soon finds a box of Super 8 films in the attic,
and the most recently dated one shows the actual lynching. Ellison, desperate
for success, doesn't call the cops, which briefly fills the film with life.
What then helps kill Sinister dead is that Ellison does not
immediately watch all of the rest of the films in the box—each of which shows
another brutal murder—like any person in that circumstance would. Instead,
Ellison chooses to pop in and out from his tasks and watches them piece by
piece, spooling up another portrait of murder at random intervals any time the
film needs a jolt, which is often.
The tale is a
true one this time around, transporting us back to the eerily-familiar era of
the late 1970s/early 1980s, when Iran was in the midst of
a tumultuous revolution. The Shah (King) had been ousted from power
and took refuge in America; under the leadership of religious cleric Ayatollah
Khomeini, the Iranian revolutionaries protested the Shah’s escape by storming
the U.S. Embassy in Iran, taking fifty-two American citizens hostage.
However,
six Americans escaped the embassy siege and found refuge with a Canadian
diplomat. With their identities slowly but surely being pieced together by the
revolutionary guard, “The Six” had one hope: CIA exfil (exfiltration) wiz Tony
Mendez (Affleck). Tony’s big idea? Create a fake Canadian sci-fi film scouting
locations in Tehran, Iran, and sneak The Six out in plain sight. But as usual,
the plan doesn’t go quite as smoothly as Mendez had hoped.
Were you appalled at Liam Neeson's
32-person body count in 2008's Taken? Congratulations, you're
qualified to be a villain in Taken 2. This sequel picks up months
after Neeson slaughtered Paris to protect daughter Maggie Grace's virginity
from the highest bidder, and finds him flustered to realize she may be giving
it away for free to secret boyfriend Luke Grimes. But first, we see the Albanian
cemetery where seven corpses—a mere fraction of Neeson's kills—are being
mourned by their loved ones and bitter boss (Croatian character actor Rade
Šerbedžija). Director Olivier Megaton (Colombiana) shows us the wailing
mothers of the evil dead, a rare sight for any action film, before he
reintroduces us to Neeson's own family. But though that's a set-up for Taken
2 to ponder questions of justice and revenge, it knows its audience
would rather see Neeson snap necks than wax philosophical. And so he does in a
follow-up that feels even slighter and sillier than the original, which itself
was no masterstroke of clever plotting. Taken 2 is 91 minutes
of "See Neeson kill—kill, Neeson kill!" and it's guaranteed to make a
small ransom at the box office. Or else?
What Is Good/Bad About The Movie:
Enough time has elapsed between the first and second films that
Neeson's European rampage has become a family inside joke. Everyone in the film knows Neeson is a
bit of a paranoiac, but only director Megaton concedes he might be a full-blown
obsessive compulsive who insists on hand-drying his own car at the full-service
car wash and literally waits for the clock to turn two before he knocks on
Janssen's door for visiting hours with the kid. The idea that Neeson might
actual have a mental condition besides, you know, one that would enable him to
kill without regret, is a shrewd addition to the character. Action heroes like
him simply can't blend into the real world, and when Taken 2's
script plops him in mundane Los Angeles, it's smart enough to admit that in
peacetime, he's an obnoxious dad who puts trackers on Grace's cellphone and
runs all her suitors through the government database.
While these early scenes are played for laughs,
the comedy collapses when the happy family decamps for a Turkish for vacation
only to be quickly captured by Šerbedžija's minions. The "bad guys"—a
concept that has less and less meaning when Šerbedžija gets misty about his
dead son, electrocuted by Neeson in Paris—dream of stealing the three back to
their motherland to slit their throats over the graves of their dead. And it
doesn't take long to track the Americans to Turkey, which the assassins
apparently get to by piling in a car and driving the 11 hours from Albania to
Istanbul (now that's a road trip flick I'd love to see).
Luckily, Neeson has packed his armored suitcase of death, and after
he and Janssen are, yes, taken, he's able to call Grace and walk her
through his weaponry, unleashing the teenager to randomly fling grenades across
crowded Istanbul. Who else would dare tell his ex-wife while she's handcuffed,
blinded, bleeding, and hung upside down in chains: "You have to be
calm." And a scene where he casually talks his daughter through a geometry
problem designed to save his skin.
You almost empathize with Šerbedžija by the time he forces Neeson
to look at pictures of the men he's killed and growls, "To you, they were
nothing." This whole time, have we rooting for a psycho? If Taken
2 had truly dared to ask why he's the hero, it would have added a jolt
of philosophy to this mindless popcorn. But instead, we have Grace introducing
dad to her boyfriend and quipping, "Don't shoot this one—I really like
him." Everyone laughs, but it's no joke.
In 2044, Kansas looks like Detroit. Tent cities have taken hold under
the highways, men are murdered for stealing a stereo, and one deceptively
casual criminal overlord (Jeff Daniels) controls everything—particularly the
Loopers, punctual assassins who cruise around this urban warzone in shiny
sports cars, wearing their hair slicked-back like '50s French movie stars. Like
all Loopers, Joe (Joseph Gordon-Levitt) has one job: at a specific time
measured down to the second, he'll shoot a hooded man who appears literally out
of the air. Or more literally, out of the year 2074. After all, the best way to
get rid of a man is to time-travel him back three decades and blow off his head
before he pisses you off. Then one day, Joe is ordered to kill the older version
of himself (Bruce Willis)—consider it an assisted suicide. But the now-married,
retired Joe is too smart to die easy, and so the hunt is on with Daniels' goons
chasing Gordon-Levitt, who's chasing Willis, who's chasing his own deadly
agenda.
What Is Good/Bad About The Movie
First, the facts: Joseph
Gordon-Levitt and Bruce Willis don't look alike. But through the magic of
make-up and acting, they do. Johnson has shied away from getting specific about
Gordon-Levitt's three-hour prosthetic regimen, though it's clear his nose has
been hooked and his eyefolds creased, plus the young actor has trained himself
to knit his eyebrows together, gravel his voice, and purse his lips like he's
fighting off a smirk. Sometimes he'll tilt his head just slightly and the spell
breaks. But really, who cares. The two are twined together in a dual role that
isn't dependant on cheap mimicry—Willis' version of Joe has, after all, lived
twice the life of his would-be assassin—but instead
thinks audaciously about what it would mean to live in the same moment
as your future self: A fresh slice chopped from Gordon-Levitt's
ear instantly means a cauterized scar on Willis' own. A young man
bent on violence and for-the-moment thrills ("This job doesn't tend to
attract the most forward thinking people," notes Joe) meets the killer his
selfishness created. And an old man who's finally found love would kill the
immature punk who vows he'll walk away from his future bride—except if he kills
him, he'll never meet her at all.
These ideas about mistakes and
mentorship become even more tangible when the two cross paths with a single
mother (Emily Blunt, strong) and her son (Pierce Gagnon, great) and
unthinkingly risk changing more futures then their own. The film flirts with Back
to the Future-style visions of time travel—photos that fade, actions that
ripple forward—but also suggests that, like the gun-toting Loopers, all of whom
have agreed to kill themselves in their employee contracts, there is a circular
order to fate that cannot be changed. And ominiously, Willis reports from the
future that there's a new super boss coming who aims to kill everyone.
What's bold about the movie isn't
just its use of time travel, the mechanics of which Willis refuses to explain,
huffing, "We're gonna be here all day making diagrams with straws."
And its visual effects are brashly low brow—the time machine looks and acts
like a cage covered in a tarp. It's that Looper is so economical and
cold, giving us a ruthless hero set on an even more ruthless quest. There isn't
a single good guy in the film, only varying shades of cruel. And the value of a
life literally has a price: four bars of silver. (Inflation renders cash
useless, a detail left confidently unexplained.) Yet from these
ingredients, Johnson builds toward a shatteringly emotional climax that asks, would
you sacrifice one man for yourself, yourself for the world, or the world for
one man? That question forms a loop. And so does the future.
The story revolves around divorced nurse Sarah (Elisabeth Shue) and
her teenage musician daughter Elissa (Lawrence), who are able to afford their…
well, dream house in an upscale rural town, since it borders a
seemingly-abandoned home where a girl named Carrie Anne murdered her parents
four years earlier. Sarah, however, is not pleased when she learns the property
is occupied by the family’s grown son Ryan (Max Thieriot) – a wounded
artistic soul who moved back home after his parents were killed – not to
mention that crazy Carrie Anne vanished without a trace.
Elissa eventually encounters Ryan (after running afoul
of Tyler (Nolan Gerard Funk), a high school stud who shows his true colors
when he drunkenly hits on Elissa) and the two artists are immediately taken
with one another, much to Sarah’s further chagrin. It’s not a spoiler to say
Ryan has been keeping a lid on some dark secrets, which threaten to harm Elissa
as she grows closer and closer to the mysterious boy-next-door.
Resident
Evil: Retribution story picks up (literally) where the last film left
off: Alice (Jovovich) and her allies are stranded on the Arcadia
tanker with an Umbrella strike force ready to attack. After an explosive
shootout, Alice is taken hostage by the Umbrella Corporation and moved to a
secret facility – where she is interrogated by her former friend Jill Valentine
(Sienna Guillory), who is under the control of anti-humanity super computer,
The Red Queen. In order to rescue Alice, who holds the key to a powerful
weapon, Ada Wong (Bingbing Li), Leon S. Kennedy (Johann Urb), Barry Burton
(Kevin Durand), and returning partner-in-zombie killing Luther West (Boris
Kodjoe) lead a strike on the Umbrella facility – fighting through a number of
“biohazards” (creatures and people that have been mutated by T-Virus and Las
Plagas infections). However, as the team moves from one branch of the facility
to the next, new horrors and even some long-awaited answers are unearthed.
Set in the
late '60s, Sparkle tells the story of three sisters from middle-class Detroit who
form a girl group sort of like the Supremes. They're astoundingly talented,
they want to be famous, and at one point they get their shot at a major deal
with Columbia Records. But all sorts of things keep getting in the way, like an
abusive, coke-sniffing celebrity boyfriend — what happens to him will
leave your jaw on the floor — and, more than that, their oppressively uptight
church-lady mother, played with teasing confidence and force by Whitney Houston
in her final screen role.
The movie is a remake of the 1976 ersatz-Supremes Hollywood fable
that starred Irene Cara, and the earlier film's setting — the late '50s and
early '60s — made sense.
The story revolves around a family in the first year of a divorce. A father (Morgan) gets his kids every weekend from their overprotective mother. The mother is dating some douche dentist. Things come to a head when the father takes his two young daughters to a yard sale to buy some supplies for his new home. The youngest daughter Em (Calis) becomes intrigued by an old box with strange carvings on it. You see this box is no ordinary box it’s what’s called a Dybbuk box which is from ancient Jewish faith. Its purpose is to seal malevolent spirits or demons. I should mention at this point that the story is based on “true” events.
Following in the wake of Jason
Bourne's burning of the Blackbriar program in The Bourne Ultimatum, Tony Gilroy's new entry in
the franchise pulls back the curtain on the other CIA intelligence programs
that have been operating in the shadows and now fear exposure; specifically,
Operation Outcome, a highly advanced iteration of the original Treadstone
program.
After Colonel Eric Byer (Edward Norton)—operator
of Outcome and mastermind behind all of the assassin programs, including
Treadstone—discovers that Bourne has exposed Blackbriar, he is forced to
liquidate his own program, eliminating all knowledgeable personnel. But when an
asset from the program escapes, the CIA will find they have a whole new
liability on their hands: agent Aaron Cross (Jeremy Renner).
With Byer and the full power of the CIA hot on his heels, Cross will have to
use every skill in his arsenal to avoid capture and stay alive.
Camden
"Cam" Brady (Will Ferrell) is the congressman of the 14th District of North Carolina and
is running for a fifth term unopposed. His campaign, coordinated by his old
friend, Mitch (Jason Sudeikis) is based on Cam's public image as a a
law-abiding Christian husband and father, which is undermined when Cam's affair
with a woman he met in one of rallies is exposed through a sexually explicit
voice message that Cam accidentally leaves in the answering machine of a local
family.
Corrupt businessmen Glen Motch (John Lithgow)
and Wade Motch (Dan Aykroyd) use this opportunity to convince Martin
"Marty" Huggins (Zack Galifianakis),
director of the tourism center of the town of Hammond and son of one of the
Motch Brothers' associates, Raymond Huggins (Brian Cox),
to run against Cam, as part of a plan to profit from illegal dealings with
Chinese companies. Marty announces that he is running against Cam, who
underestimates Marty and humiliates him by playing a video biography highlighting
Marty's dim-witted nature. The Motch Brothers then hire Tim Wattley (Dylan McDermott)
to be Marty's campaign manager. Tim reinvents Marty as a successful entrepreneur
and family man, and the competition between Cam and Marty begins.
Marty popularity rises due to his
effective campaign, while Cam loses his after accidentally punching a baby
during a rally against Marty. Cam then ruins a campaign portraying Marty as a
terrorist and support of Al Qaeda, while Marty exposes Cam as a fake Christian. Cam's
attempts to display his religiousness by visiting a church of snake handlers
result in him getting bitten by a snake. The video is leaked into the Internet
and goes viral, restoring some of Cam's popularity.
Cam realizes he's setting a bad
example for his son, who is planning to slander his competition for class
president, and visits Marty hoping to make amends. A drunken Cam tells Marty
that he became a politician to help people, citing that as class president in
elementary school, he took a dangerous rusty slide out of the playground. After
he leaves, Marty is convinced by Wattley to report Cam to the police, and he is
pulled over and arrested for DUI, which takes a toll on his campaign. Marty
also portrays Cam as dim-witted by publishing a "communist manifesto"
that Cam had written in 2nd grade, and later showing a video of Cam's son
addressing Marty as "dad". Cam becomes furious, and fight breaks out
between the two, resulting in Cam punching a famous dog and once more suffering
in his popularity levels. Cam gets revenge on Marty by seducing Marty's
neglected wife, Mitzy (Sarah Baker) and releasing the sex tape, humiliating the
Huggins family, and in the process causing a disgusted Mitch to leave, while
Marty retaliates by shooting Cam's leg during a hunting trip and claiming to be
an accident.
As the election nears, Marty meets
with Raymond and the Motch Brothers, and learns of their plans to sell Hammond
to their Chinese business partner and turn the entire town into a large series
of factories. Marty realizes he was manipulated all along and rejects the Motch
Brothers' support, refusing to allow them to destroy Hammond. In order not to
lose their investment, the Motch Brothers attempt to sway Cam into helping them
by having Wattley revitalize Cam's public image, while Marty goes back to his
old self and reconciles with his estranged family.
On the election day, Cam's victory
appears to be certain, until Marty comes forward and exposes the Motch
Brothers' intent, promising to preserve Hammond if elected. Despite this, Cam
wins and remains congressman, due to the voting machines being owned by the
Motch Brothers. However, while gloating to Huggins, Huggins said he looked up
to Brady in school for getting rid of the slide, showing his large scars to
Brady. Realizing he has lost touch with his true objectives as a politician, he
withdraws from the election, and Marty wins by default. Cam earns back Mitch's
respect, and Marty appoints Cam as his chief of staff.
Six months later, Marty and Cam
carefully take down the Motch Brothers by exposing the scandals in which their
associates are involved, finally having the Motch Brothers called to appear
before the Congress for their shady dealings. Although the Motch Brothers are
able to use constitutional loopholes to have their business plans categorized
as "legal", they are arrested for providing assistance to Wattley,
who is actually a international fugitive known as "The Greek
Butcher". Marty and Cam celebrate their newfound friendship as the Motch
Brothers are carried away to jail.
Douglas Quaid (presently played by Colin Ferrell)
is the average factory worker, a blue-collar dude who married his high school
sweetheart Lori (Kate Beckinsale)
and lives day to day within the confines of the world’s limited inhabitable
space – most of the planet was decimated by nuclear warfare, you see, and the
only places left to live are the ultra-posh United Federation of Britain (the
British Isles and most of main land Europe) or the dreg-ridden The Colony
(Australia). Unhappy with his seemingly happenstance existence, Quaid gets the
itch to get away and decides to go to Rekall, a company that implants your
brain with memories. When he does go, he is interrupted by the cops and
unwittingly yet quite efficiently kills them all. He runs home to tell his
wife, who tries to kill him. And so starts the journey of Quaid figuring out
that he is really an intelligence operative who had his mind wiped to eliminate
him as a threat. With the help of his former partner (Jessica Biel) Quaid tries
to restore himself to his former glory a freedom fighter against the big baddie
capitalist Cohaagen (the incomparable Bryan Cranston).
It
has been eight years since the Batman has been seen in the streets of Gotham.
Blamed for the death of Harvey Dent, Batman has gone into hiding, along with
his alter ego Bruce Wayne. Gotham is no longer a corrupt town thanks to a
(possibly illegal) law named after Dent that allows the police tremendous
power. Bane, a former disciple of Ra's al Ghul (much like Batman) sees an
opportunity to finish his master's undertaking and destroy Gotham. Seeing that
his beloved city is about to burn to the ground, Batman reappears, but after
eight years away, he is no longer the man he once was, and he is beaten by Bane
and sent to the world's worst prison - Hell. Bane unleashes his fury upon
Gotham, leading to a city cut off from the world, and only days away from being
destroyed by a nuclear weapon. Will Batman escape the prison he's in - both
physically and mentally - and return to save Gotham one last time? Or has the
Batman finally met his match in the powerful Bane?
A young Peter Parker was abandoned by
his parents late one night and send off to live with his Aunt and Uncle. Years
later he comes upon a briefcase his father left behind that has a formula in
it. He visits the offices of Dr. Curt Connors, Mr. Parker's partner all those
years ago, and finds that they were trying to work on something that would
allow humans to cross species with animals allowing, among other things, for
humans to regrow limbs when needed. While in the offices, Peter is bitten by a
spider which suddenly gives him powers beyond imagination. But when his formula
allows Dr. Connors to also cross himself an animal, this time a lizard, it
leads to disastrous consequences, giving rise to a creature unlike any other.
Ben (Aaron Taylor-Johnson), a University of California, Berkeley graduate, and
Chon (Taylor Kitsch), a former U.S. Navy SEALare top weed growers, their product is the best in
the business. Ben provides the brain and Chon the brawn as they run their
operation successfully and relatively peacefully. They also share a girlfriend
Ophelia (Blake Lively) and this threeway
relationship works well. One day they are approached by representatives of
Elena Sánchez (Salma Hayek) of the Baja
Cartel. She wants to go into business with them. Ben and Chon do not want to be
involved with a cartel so Elena sends her henchman Lado, (Benicio del Toro) to kidnap Ophelia. Following the kidnap, the duo
work with a corrupt DEA agent, played by John Travolta to fight back
against the cartel and rescue Ophelia.
Ted is a 2012 Americancomedy film, directed, written
and produced by Seth MacFarlane and starring himself as the title character,
with Mark Wahlberg, Mila Kunis, Giovanni Ribisi, Jessica Stroup, and Patrick Warburton. The film is the
feature-length directorial debut of MacFarlane,[1] produced by Media Rights Capital, and distributed by Universal Pictures. Ted opens in suburban Boston on the day before
Christmas, 1985. With Patrick Stewart narrating, it briefly sounds like we're
going to enter a world of magic and nostalgia... until we're told about the
favorite pastime of WASPy pre-teen boys. Living in this idealized community is
John Bennett (who will grow up to be played by Mark Wahlberg), a seven-year old
outcast with no friends who immediately becomes attached to his favorite
Christmas present: an oversized teddy bear. That night, he makes an ill-advised
wish for Teddy to come to life and, because nothing is more powerful than a
young boy's wish (except an Apache helicopter), John awakens to discover that,
for the first time in his life, he has a best friend. The scene in which he
introduces Teddy to his parents is priceless.
In Brave, set in the highlands of 10th century Scotland, a skilled archer
named Merida defies an age-old custom, causing chaos in her kingdom. After
consulting a witch for help, her family becomes cursed and Merida is forced to
undo the spell herself before it is too late.
Abraham
Lincoln: Vampire Hunter is a 2012 American actionfantasyhorror film based
on the 2010 mashup novelof the same name. The film
was directed and co-produced by Timur Bekmambetov,
along with Tim Burton. The novel's author, Seth Grahame-Smith, wrote the adapted
screenplay. The real-life figure Abraham Lincoln,
the 16th President of the United States(1861–1865),
is portrayed in the novel and the film as having a secret identity as a vampire hunter.
Lincoln first began his hunting expeditions because, as a boy, he saw those
suckers go after slaves. (They're all white, these vampires.) When he
intervened to save a little black friend, they went after his own mother. And when
he became a man — the adult Lincoln is played by Benjamin Walker with a look of
perpetually stricken self-effacement — he committed himself to the eradication
of the infernal species, under the tutelage of a rogue good vampire named Henry
Sturgess.
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