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Nonton Film The Ballerina (2017) Full Movie


Nonton Film The Ballerina (2017) Full Movie Sub Indonesia

Film The Ballerina (2017) Full Movie
Review Film The Ballerina (2017) Full Movie
Released by 101 Films and available on digital download and DVD, The Ballerina (2017) is a directorial debut from a newcomer, Steve Pullen. Pullen stars, directs, co-produced and wrote the screenplay to the film. It’s been marketed as a piece of Southern Gothic and a ghost story set in the backwoods of Virginia; woods ghost stories seem to be a whole sub-genre in itself.

The story opens with a girl dressed ready for her ballet recital while we hear her parents arguing. The father, Glenn (Pullen himself) drives Sophia (the director’s daughter, Isabella Pullen) off to the recital when after a near road accident with a truck full of red necks he says that he has to stop for a while. Jump forward several years and Glenn is living in the backwoods swamps of Virginia. Heavily bearded he and Sophia live homeless in tents in the swamps with other rejects and outcasts from society. One day Glenn and Sophia meet a homeless woman with two kids called Doe (Deena Dill) who has just arrived at the swamps. She tries to encourage Glenn that Sophia, who experiences nightmares needs special professional care. But it’s worse than that as Sophia becomes scared of hauntings and visions in her waking life.

Up to about two-thirds of the way the film does start to feel like its dragging before it makes a fresh turn and begins to answer some of the questions. Like the recent Cold Moon, it soon transpires that this is not a horror film or ghost story in the traditional sense and it has to be said the horror elements are not as scary as the publicity (as good as it is) might suggest. Instead, we get a story about regret, tragedy, and loss. Without giving too much away, the reveal is genuinely sad and shocking. It is less hysterical or violent than Cold Moon and more emotional and melancholic. The problem with the film is less Pullen, although he probably requires more experience as a director than it is with the overall sound design of the film.

The score grates somewhat with its string score to overemphasize emotion and the melancholic mood of the film. This is also supported by the dark tones of the film, both nocturnal and overcast with a deathly pallor to the faces of the characters of Glenn and Sophia. Elsewhere, the sound effects of the hauntings when they appear are a little over the top and college project like where it could have benefitted from something more atmospheric or tension building.

Overall the film demonstrates some of Pullen’s lack of experience as a filmmaker, but he is also able to punch the viewer in the chest with the emotional elements. However, the main message of the film is this: take care of your kids. There ain’t nothing wrong with that message. There are no extras on the disc.

Nonton Film Braven (2018) Full Movie


Nonton Film Braven (2018) Full Movie Sub Indonesia

Film Braven (2018) Full Movie
Review Film Braven (2018) Full Movie
Director: Lin Oeding
With: Jason Momoa, Garret Dillahunt, Jill Wagner, Stephen Lang, Sasha Rosoff, Brendan Fletcher, Zahn McClarnon. Release Date: Feb 2, 2018
Rated R  1 hour 33 minutes

Some of the most impressive first features are those that don’t appear to be first features at all – that, instead, seem like the work of a seasoned pro who commits fully to familiar material, and somehow reinvigorates clichés and conventions. “Braven” marks the directorial debut of Lin Oeding, a veteran stunt coordinator and second unit director whose credits run the gamut from high-end studio projects (“The Equalizer,” “Inception”) to guilty-pleasure genre pastiches (“The Baytown Outlaws,” “Universal Soldier: Day of Reckoning”), so it’s hardly surprising that the fight scenes and run-and-gun clashes here are brutally efficient and efficiently brutal. What is unexpected is Oeding’s confidently unhurried, no-sweat approach to introducing characters and connections, and his straightforward, almost aggressively non-flashy attentiveness to such niceties as spatial relationships and cause-and-effect details during the rough stuff. If Don Siegel or John Sturges had lived long enough to try his hand at a VOD-centric melodrama, it probably would have looked and sounded a lot like this one.

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Taking a break from his ongoing gig as Aquaman in the DC Extended Universe, the lead player (and producer) Jason Momoa credibly dials it down to the level of the blue-collar hero as Joe Braven, the hands-on owner-operator of a rural Newfoundland logging company that evidently is less than diligent when it comes to vetting employees. Joe is a cheerfully loving husband to Stephanie (Jill Wagner); a playful parent to their young daughter Charlotte (Sasha Rosoff); and an increasing worried protector of Linden (Stephen Lang), his aging father, who has been edging into dementia ever since he survived a serious workplace accident, and now has a bothersome habit of getting into barroom brawls with the husbands of women he mistakes for his late wife.

Of course, since this is, after all, a VOD-centric melodrama, you can rest assured that Joe will face far more demanding challenges than deciding whether to institutionalize dear old dad. Fairly early in “Braven,” it’s revealed that Weston (Brendan Fletcher), one of Joe’s delivery-truck drivers, moonlights as a drug courier by transporting bags of heroin along with the logs. When Weston and Hallet (Zahn McClarnon), his partner in crime, skid off the road during a nighttime snowfall, they opt to hide their stash in Joe’s secluded hunting cabin — conveniently located near the accident — before inquisitive cops show up. It seems like a good idea at the time.

The next day, however, when Weston and Hallet return to the cabin with Kassen (Garret Dillahunt), the drug kingpin whose stash has been stashed, and a few armed minions, they find Joe and Linden have trekked out to the cabin to spend some quality time together. Nothing good comes of this.

To their credit, Oeding and screenwriter Thomas Pa’a Sibbett don’t try to “explain” Joe’s resourcefulness and resilience by making him a retired Special Ops soldier or CIA hit man. Rather, they define Joe as a relatively ordinary guy who’s driven to extremes (and forced to improvise lethal weapons) to defend himself, his father, and — yes, they have no shame in this regard — little Charlotte, who surreptitiously came along for the ride. There’s more than a hint of Sam Peckinpah’s “Straw Dogs” in the scenes that depict Joe’s DIY approach to warding off home invaders with metal rods, hunting bows, red-hot tongs, and anything else he can scrounge in the cabin. For his part, Linden provides cover from his upstairs vantage point, and even takes a few good shots, with a scope-equipped hunting rifle. But the movie keeps us from ever feeling too secure in regard to the old man’s capabilities with sporadic reminders that, well, he’s not entirely sentient.

“Braven” remains exciting and suspenseful even after Joe vrooms out of the claustrophobic cabin setting on an ATV, triggering a manhunt in the snow that further illustrates Oeding’s ability to choreograph action in clear, clean fashion. And that action is all the more involving because the freshman filmmaker gives his actors sufficient time to flesh out their characters before the bullets (and arrows) start flying.

Momoa neatly balances physicality, vulnerability and unpredictability in a performance that recalls his standout work in the underrated Sundance TV series “The Red Road,” while Lang’s vivid portrayal of a lion in winter is potently charged with alternating currents of angry pride and fearful confusion. Individually and collectively, they make the father-son bond arrestingly compelling. In one scene, Linden pointedly reminds Joe that he turned the logging business over to his son, and more or less guilt-trips Joe into insisting he would never, ever, put his dad in his home. At that point, it stops being a scene and simply is.

Dillahunt effectively plays the drug lord Kassen as a self-styled martinet who clearly enjoys giving orders and cracking heads; you get the feeling that he leads the raid on the cabin not because such an action is necessary, but because he really enjoys acting like he’s the general of an invading army. Wagner capably rises to the challenge of conveying that, when push comes to shove, Stephanie can be just as tough — and accurate — as her husband. And even though McClarnon (another “Red Road” alum) has only a secondary role, he once again indicates, as he has in the cable series “Longmire” and “The Son,” that he has sufficient screen presence to steal any scene that isn’t bolted to the floor.

The lensing by Brian Andrew Mendoza is exceptional, and the score by Justin Small and Ohad Benchetrit enhances moods without ever overstating the obvious. To put it simply and gratefully: “Braven” is the sort of unpretentious yet thoroughly professional popcorn entertainment that brings out the best in everybody involved.

Film Review: 'Braven'

Reviewed online, Houston, Jan. 31, 2018. MPAA Rating R. Running time: 93 MIN.

PRODUCTION: A Saban Films release and presentation of a Highland Film Group production, in association with Pride of Gypsies, Hassell Free, Tinker Productions, Narrative Capital. Producers: Jason Momoa, Brian Mendoza, Molly Hassell, Mike Nilon. Executive Producers: Henry Winterstern, Arianne Fraser, Delphine Perrier, William V. Bromley, Ness Saban, Shanan Becker, Charles Auty, Megan Forde, Michael Acierno, Daniel Levin.

CREW: Director: Lin Oeding. Screenplay: Thomas Pa’a Sibbett; story: Mike Nilon. Camera (color): Brian Andrew Mendoza. Editor: Rob Bonz. Music: Justin Small, Ohad Benchetrit.

WITH: Jason Momoa, Garret Dillahunt, Jill Wagner, Stephen Lang, Sasha Rosoff, Brendan Fletcher, Zahn McClarnon.

Nonton Film Death Race: Beyond Anarchy (2018) Full Movie


Nonton Film Death Race: Beyond Anarchy (2018) Full Movie Sub Indonesia

Film Death Race: Beyond Anarchy (2018) Full Movie
Review Film Death Race: Beyond Anarchy (2018) Full Movie
After a seven month delay, Death Race: Beyond Anarchy races onto Blu-ray, DVD and On Demand on October 2, 2018, from Universal Pictures Home Entertainment. Unrated and Unhinged, the deadliest game of survival stars franchise newcomers Zach McGowan (“Black Sails”) and Danny Glover (Saw, Predator 2, Lethal Weapon) join returning Death Race fan favorites Danny Trejo (Machete) and Fred Koehler (“American Horror Story”).

In the film, “Danny Trejo returns as the ruthless bookie, Goldberg, in the wildest, bloodiest, Death Race ever. After a failed attack on the inmate and legendary driver, Frankenstein, Black Ops specialist Connor Gibson (McGowan) infiltrates a super-maximum federal prison with one goal – enter the immoral and illegal Death Race and take Frankenstein down. Connor enlists the help of Baltimore Bob (Glover) and Lists (Koehler) and unexpectedly falls in love with bartending beauty, Jane (Marzano). Connor will have to fight for more than his life in this brutal world of no guards, no rules, no track, and no fear.”

Also gearing up for an October 2nd release, prepare for the ultimate Death Race 4-Movie Collection featuring Jason Statham, Tyrese Gibson, and Ving Rhames, which will include Death Race, Death Race 2, Death 3: Inferno and Death Race: Beyond Anarchy.

Death Race: Beyond Anarchy on Blu-ray, DVD, and Digital, includes exclusive bonus features that take viewers deeper into the intense world of Death Race, with special behind-the-scenes footage and filmmaker commentary.

BLU-RAY, DVD AND DIGITAL exclusive BONUS FEATURES:

Inside the Anarchy: Filmmakers and cast describe how this chapter of the Death Race franchise stands out from the rest. From new locations to a fleet of new cars, to a new star in Zach McGowan, see why Death Race: Beyond Anarchy is the deadliest Death Race yet!
Time Served: Lists & Goldberg: Hear Death Race franchise veterans Fred Koehler and Danny Trejo discuss what it’s like to be back playing Lists and Goldberg, and how their characters have changed.
On the Streets of Death Race: Beyond Anarchy: Director Don Michael Paul and cast explain how the stunt work gave the production a uniquely energetic feel.
Feature Commentary with Director/Co-Writer Don Michael Paul and Star Zach McGowan

Nonton Film The Lucky Man (2018) Full Movie


Nonton Film The Lucky Man (2018) Full Movie Sub Indonesia

Film The Lucky Man (2018) Full Movie
Review Film The Lucky Man (2018) Full Movie
"The Lucky Man" is an undercooked road movie that never effectively squares its mix of "Badlands"-style sweethearts-on-the-run crime drama with the religious fervor and hucksterism of the Steve Martin dramedy "Leap of Faith."

The film follows childhood friends and now-longtime lovers Johnny (Jesse James), a coke-addicted preacher, and Rebecca (Mariana Paola Vicente), a materialistic beauty, as they cross the American southwest conning churchgoers and God-fearers into filling the collection plate on behalf of the Lord. The caveat: Johnny may actually possess the gift of healing, though it feels more sci-fi than spiritual.

But a series of wrongheaded moves tighten the screws on the trigger-happy Johnny and pouty Rebecca, sending them speeding toward the Mexican border to escape the law. Even for this volatile, impulsive, none-too-bright pair, their plan eludes logic. Meanwhile, Rebecca wants to get married, have kids and talk to her worried mother (Rebecca Flores), who considers Johnny "El Diablo."

Writer-director Norman Gregory McGuire needed to better flesh out his inconsistent main characters, clarify their goals and motivations, and deepen their journey with more vivid set pieces and fewer clichés. Stronger, less repetitive dialogue and moments, a fresher portrayal of Latinos and a firmer hand with the film's uneven supporting cast would have helped as well.

-------------

‘The Lucky Man’
Not rated.

Running time: 1 hour, 36 minutes

Playing: Starlight 4-Star Cinemas, Garden Grove; also on VOD

Nonton Film Scooby-Doo! & Batman: The Brave and the Bold (2018) Full Movie


Nonton Film Scooby-Doo! & Batman: The Brave and the Bold (2018) Full Movie Sub Indonesia

Film Scooby-Doo! & Batman: The Brave and the Bold (2018) Full Movie
Review Film Scooby-Doo! & Batman: The Brave and the Bold (2018) Full Movie
I wish I had a grandchild to enjoy Scooby-Doo! and Batman: The Brave and the Bold with since I am far from the target audience. I was outgrowing Saturday morning TV when Scooby and the gang debuted and never warmed up to them. Over time, the troublesome teens have encountered countless pop culture celebrities in their storied career but this, their fourth meeting with the Caped Crusader, is a record.

It makes perfect sense that the 1960s homage version of Batman (Diedrich Bader) is used here since it is stylistically appropriate for this sort of crossover. Paul Giacoppo acquits himself well with a breezy script that uses touchstone elements from both series so fans are satisfied. Comics aficionados will appreciate the use of the New Look era Mystery Analysts of Gotham, even though the novelists have been replaced by the more colorful Martian Manhunter (Nicholas Guest), Detective Chimp (Kevin Michael Richardson), the Black Canary (Grey Griffin), the Question (Jeffrey Coombs), and Plastic Man (Tom Kenny). It’s funny to see Aquaman (John DiMaggio) trying to be a member while the Scooby (Frank Welker) and the gang are tested for admittance.

Since these sorts of mashups require a major threat, it seemed right that Batman’s rogues cause the trouble so of course, we get to see Catwoman (Nika Futterman), Riddler (John Michael Higgins), Penguin (Tom Kenny), Clayface (Kevin Michael Richardson), Harley Quinn, and Poison Ivy (both by Tara Strong).

There’s action, humorous hijinks, Scooby snacks, familiar catchphrases, and more all nicely handled by director Jake Castorena, who graduates from numerous art director assignments (Batman: The Killing Joke, Justice League: Gods & Monsters, etc.) to his third directorial job, following directing episodes of Justice League Action and Batman Unlimited.

The 75 minutes definitely feels padded but that’s to be expected given the limited range of the Scooby half of the match. Thankfully, the disc is rounded out with two classic episode from the New Scooby-Doo Movies:  “The Dynamic Scooby-Doo Affair” and “The Caped Crusader Caper”.

Nonton Film California Dreaming - Escape From Ensenada (2017) Full Movie


Nonton Film California Dreaming - Escape From Ensenada (2017) Full Movie Sub Indonesia

Film California Dreaming - Escape From Ensenada (2017) Full Movie
Review Film California Dreaming - Escape From Ensenada (2017) Full Movie
With: Cory Zacharia, Patrick Mio Llaguno, Neil Harley, Kevin Gilger, Carolan J. Pinto, Mark Borchardt, Elizabeth Zacharia, Rachel Feldman, Maggie Corona-Goldstein, Henning Gronkowski.
Official Site: http://www.imdb.com/title/tt4411466/?ref_=nv_sr_2

Destitute and clinging to threadbare hope, an aspiring Hollywood high-flyer rehearses her Oscar speech at one point in Mike Ott’s is-it-or-isn’t-it docufiction “California Dreams” — though as her earnest sentiments gush forth, it’s entirely someone else’s acceptance speech that springs poignantly to mind. “You can’t trade in your dream for another dream,” said Viola Davis at the SAG Awards a few years back, and so it proves for the troubled human subjects of Ott’s film: a ragtag ensemble of small-time underachievers whose shared, cherished fantasy of making it in the movies gets them up in the morning, but not much further than that. Well, they’re in a movie now: As is Ott’s wont, “California Dreams” blurs the line between simulated vérité and authentic observation, making it often impossible to tell whether those on camera are playing themselves, simply being themselves or a combination of the two. To what extent are they in on the joke? And is the film guilty of exploitation regardless? These are questions openly invited by Ott’s lustrously shot provocation, his most broadly accessible oddity to date.

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“Acting is the only thing I’m really good at,” says Cory Zacharia, the most prominently featured of Ott’s subjects — a sweet, ingenuous 28-year-old wastrel from Lancaster, CA, who hasn’t held a job in eight years but still believes silver-screen stardom is achievable. It’s one of many statements in “California Dreams” that is wholly up for debate. Cory doesn’t seem like a good actor. More than once, he delivers an audition monologue from Francis Ford Coppola’s “The Outsiders” with halting lack of conviction, and fields remote, increasingly irate offers of a movie lead from a German producer who likens him to James Bond — a vacancy, one suspects, that has worked its way down the talent ladder.

Yet things aren’t exactly as they appear: In reality, the lanky, uncommanding Zacharia is one of Ott’s regular collaborators, having made his screen debut in 2010’s feature “Littlerock.” If he’s therefore playing a worst-case-scenario version of himself, pining for a break while applying for work at Taco Bell under the skeptical, margarita-blurred gaze of his mother (Elizabeth Zacharia), then he’s playing it rather effectively. There’s something rather moving about the innocence of Cory’s delusion, fabricated or otherwise — a kind of anti-star quality that in itself becomes oddly magnetic. The sheer, pristine beauty of the film’s craft, meanwhile, makes its relative reality even more elusive: Mike Gioulakis’ serenely gorgeous cinematography trades in romantically dusky pastels and studied compositional symmetry, lending a heightened, intrinsically cinematic glow to Ott’s chosen expanses of Californian nowhere. Whether they know it or not, the starry-eyed losers of “California Dreams” are already living in a kind of la la land.

Even as we accept the artifice of the film’s construction, however, Ott’s presentation of his unlikely leading man challenges our comfort. His struggles with basic literacy and numeracy are presented as deadpan comedy — if not at the expense of Cory himself, who may or may not be playing dumb on camera, than at the dreaming masses he represents. By the time an unidentified off-camera interviewer presses Cory for details of his juvenile sexuality and mental health history, “California Dreams” has given us no baseline by which to determine whether the raw, upsetting revelations that ensue are drawn from life or scripted from thin air. Many will see this as wilful, even irresponsible, trickery. At the same time, Ott has artfully constructed a slippery hall of human mirrors, testing and subverting the rules of empathy in documentary and narrative cinema alike.

Similar treatment is accorded the other case studies in “California Dreams,” albeit with far less generous screen time — an imbalance that heightens the risk of cheap caricature. Shy, virginal Filipino immigrant Patrick Llaguno’s dreams of stardom seem even more far-fetched than Cory’s; ditto those of Kevin Gilger, a storage-unit supervisor attempting to corner a particularly niche market in impersonating Dog the Bounty Hunter. Neil Harley, a schlumpy would-be screenwriter from Las Vegas, is perhaps the most well-adjusted of a uniformly fragile bunch; the most affecting is middle-aged Carolan Pinto, who plans her aforementioned Oscar-night speech from the beaten-up car that has been her only home for years.

Woven in and around Cory’s more elaborately detailed tale of tragicomic woe, these character sketches don’t do much to further complicate the film’s already ambiguous thesis — though Patrick’s most amusing anecdote may unlock it to some extent. Before delivering his own wobbly audition monologue from his favorite film, “Forrest Gump,” he explains that he grew up believing Robert Zemeckis’ idiot-savant fantasy was a fact-based biopic — a misconception, he says, that “proves how powerful cinema can be.” Spinning off this innocent notion with considerably more cynicism, “California Dreams” itself asks whether one needs to know the “truth” of a story to be moved by it.

Film Review: 'California Dreams'

Reviewed online, London, March 9, 2017. (In Berlin Film Festival — Critics' Week; SXSW — Visions.) Running time: 83 MIN.

PRODUCTION: A Number 7 Films production in association with Small Form Films. (International sales: The Film Sales Company, New York City.) Producers: Heika Burnison, Nicole Arbusto, Alex Gioulakis.

CREW: Director: Mike Ott. Camera (color): Mike Gioulakis. Editor: Gerald D. Rossini.

WITH: Cory Zacharia, Patrick Mio Llaguno, Neil Harley, Kevin Gilger, Carolan J. Pinto, Mark Borchardt, Elizabeth Zacharia, Rachel Feldman, Maggie Corona-Goldstein, Henning Gronkowski.

Nonton Film Voldemort: Origins of the Heir (2018) Full Movie


Nonton Film Voldemort: Origins of the Heir (2018) Full Movie Sub Indonesia

Film Voldemort: Origins of the Heir (2018) Full Movie
Review Film Voldemort: Origins of the Heir (2018) Full Movie
When news spread last year of a potential "Harry Potter" fan movie, I was cautiously excited.

The project — a story about Tom Riddle's rise to power, and an heir to Godric Gryffindor who tries to stop home — had the blessing of Warner Bros., the producer of the official "Harry Potter" movies, which signaled it might actually be good.

I misread the signals.

Released on Tuesday, the 52-minute "Voldemort: Origins of the Heir" shows precisely why so many people are dismissive of fanfiction. It's aimless, poorly made, and it doesn't possess anything resembling an interesting original idea.

To be sure, my expectations were calibrated. "Voldemort: Origins of the Heir" was crowdfunded through Kickstarter, and never had anything close to the budget or established talent of the official movies. But creative and scrappy young people can always come up with an interesting story, and the movie's trailer looked surprisingly cool for a low-budget project. And it was an interesting premise: If the "Fantastic Beasts" movies fill in the background on the rise of Gellert Grindelwald, then some enterprising fans took it upon themselves to do the same for Voldemort.

Grisha McLaggen in the movie.Tryangle Films
The creativity simply isn't there. In the movie, Grisha McLaggen, the heir of Godric Gryffindor (who doesn't appear in J.K. Rowling's official works) and former friend of Tom Riddle, is trying to track down his Horcruxes now that he's become the evil dark wizard Lord Voldemort. We also get plenty of flashbacks, where a younger Riddle (played by someone who's clearly way too old for the role) argues with friends and shows off his ruthless side. Most of it is done with exposition, in confusing scenes that don't interpret the "Harry Potter" canon in any meaningful way.

All fanfiction is inherently amateur — and this movie can't escape that.
There's a difference between fanfiction and spin-offs. Fanfiction is inherently amateurish, made by fans who use their imagination to push a story further, or take pre-existing characters wherever their imagination goes. There are more quality control and money put into developing studio work, which is why even movies like "Jumanji: Welcome to the Jungle" are taken seriously. A lot of people worked hard on it and it's a polished piece of pop culture.

Makarov, the villain in the movie.Tryangle Films.
But even professionally made work, if deemed bad enough, is dismissed as "fanfiction." Take "Harry Potter and the Cursed Child," J.K. Rowling's sequel play to the main "Harry Potter" series. Some "Harry Potter" fans derided its dialogue, zany characters, and infidelity to Rowling's established magical world as "fanfiction." Fanfiction is always seen as something less essential, and usually qualitatively worse than whatever its based on. It didn't help that Rowling's story shared some odd characteristics with actual fanfiction published years before the play itself.

"Voldemort: Origins of the Heir" embodies fanfiction's worst traits.
With the exception of the "50 Shades of Grey" series (which E.L. James originally wrote as "Twilight" fanfiction under the pseudonym Snowqueens Icedragon), "Voldemort" may be the most expensive fanfiction ever. But it still feels like hackwork.

The movie lacks any creative ideas. The movies biggest is that each Hogwarts House founder has a designated heir, who remain secret from the rest of the world for reasons no one who wrote the script has any interest in. They all talk like they studied the blade. Its cheesiness makes it seem much hokier than the "chosen one" thing Harry Potter has to go on.

And if McLaggen is the hero of the movie, the villain it introduces is not so much Tom Riddle/Voldemort, but some guy named Makarov who seems to be a Soviet general. There's a big scene where we first see his face, and dramatic music cues that lead to a reveal where we discover... he's blind in one eye. Yup. The movie has a useless Soviet villain guy with one working eye. It's like a character who would be written out of a bad '80s action film.

voldemort origins of the heir
Some scenes are shot like a video game. Here's our protagonist blasting people with a wand.Tryangle Films
The movie's directors have few original visual ideas, either. One of the movie's opening scenes tries to set it up as some kind of CGI extravaganza, where McLaggen blasts anonymous goons with her wand. It's shot in the first person, with her hands in front of the camera, as if the movie is a video game.

It's just badly made.
One of the weird things about "Voldemort: Origins of the Heir" is that it doesn't even feel like it was written by a "Harry Potter" fans. It needlessly contradicts the "Harry Potter" canon, not to mention basic storytelling rules.

For example, there's a scene where Riddle, working for Borgin and Burkes, meets up with their client Hepzibah Smith, who "Harry Potter" superfans may remember as the owner of Salazar Slytherin's locket before Riddle stole it from her. Sure enough, Smith tells Riddle that she has the locket but asks him not to say anything about it to Burke, just as she did in the "Harry Potter" books. But then the movie also says that she purchased it from the shop in the first place. Why keep it a secret, then, if the shop-owners know she bought it?

making of Voldemort origins heir
The making of "Voldemort: Origins of the Heir."Tryangle Films
There's another part where McLaggen wrongly says Voldemort created Horcruxes because they're the only way to achieve immortality. Meanwhile, Nicolas Flamel is already hundreds of years old at that point.

Most of the movie takes place as an expository dialogue between McLaggen and Makarov, explaining the writers' fanfiction mythology. It gets tiring quickly, especially when so many characters who clearly aren't British try to do British accents.

And don't think that the movie is feminist just because the protagonist is a woman. McLaggen is Mary-sued into being Voldemort's love interest for no reason, and a twist late in the film entirely undercuts her character's existence. By the end of the movie, she's pointless.

The movie can't decide if it wants to be an original piece of work.
When a spinoff succeeds, it both honors the great qualities of the original work yet untethers itself to become its own thing. Just look at "Fantastic Beasts and Where to Find Them," or the new "Star Wars" movies "The Force Awakens" and "The Last Jedi." (Or, heck, even "A Very Potter Musical.")

Voldemort origins heir
Tom Riddle and Grisha have a romantic relationship in the movie.Tryangle Films
"Voldemort: Origins of the Heir" gets it backward. It fails to recognize the great qualities of the "Harry Potter" series and is uncommitted to becoming its own thing. It's premised on being a "Rogue One" line venture into unexplored territory, but its uninterested in telling an actual story. Its twist ending traps it into being slavishly dedicated to the original series instead of daring to take it further.

At least they tried.
The best I can hope for the "Origins" filmmakers is that the attention to the project launches the careers of everyone involved. (They're all clearly proud of working on this — the opening credits take about three months of the movie's 52-minute runtime.) While the project doesn't work, it isn't lazily made.

Aside from what must have been a struggling negotiation with Warner Bros., you can see the care put into the visual details. The dark color palette establishes some continuity with the official movies, which were steeped in shadow since "Prisoner of Azkaban." The costumes are pretty convincing and far less cheesy than you'd expect. And some props, like Riddle's diary, look like the real thing.

But the movie itself, unfortunately, defeats itself. It ends with a man named Igor (presumably Karkaroff, the Death Eater and Durmstrang headmaster) poking through the ruins of where Voldemort once was. It ties back to the main series, where the character was known to be dedicated to Voldemort even after his reign was over. I don't know if it's supposed to be a metaphor for the movie's relationship with the "Harry Potter" movies, but it sure works as one.

Nonton Film Freak Show (2017) Full Movie


Nonton Film Freak Show (2017) Full Movie Sub Indonesia

Film Freak Show (2017) Full Movie
Review Film Freak Show (2017) Full Movie
Director: Trudie Styler With Alex Lawther, Ian Nelson, Abigail Breslin Release Date: Jan 12, 2018
1 hour 31 minutes

Official Site: http://www.imdb.com/title/tt5089534/

“Buckle up, darlings,” warns Billy Bloom, the adolescent protagonist of “Freak Show,” with his most salacious Bette Davis sneer. “I’m gonna take you on a little ride I call my life.” For a second, you sense some affectionate irony in Trudie Styler’s well-intentioned but woolly directorial debut: After all, many are the privileged suburban teenager who has declared their life wilder and wackier than anyone else’s.

It doesn’t take long to realize, however, that “Freak Show” takes Billy (gamely played by British rising star Alex Lawther) entirely at his word. An out-and-proud, drag-loving high-schooler who delights in subverting masculine norms — and wears his resulting social isolation as a badge of honor — he’s certainly a beautiful misfit. Yet Styler’s surface-level adaptation of James St. James’ queer bildungsroman shows us more of Billy’s eye-popping wardrobe than his soul, as his superficially defined exceptionalism tilts ever less endearingly into narcissism; we leave this carnival-colored rallying cry to “stay true to yourself” unsure of who our hero truly is. A limited January release awaits “Freak Show” following a lengthy 2017 festival tour, but the film will presumably find its most receptive young audience online.

MORE REVIEWS
Film Review: 'Down a Dark Hall'
Film Review: 'The Little Mermaid'
Styler’s peppy but thin foray into feature direction is especially disappointing following her strong track record as a producer of more singular, stylistically confident indies, from Dito Montiel’s “A Guide to Recognizing Your Saints,” Duncan Jones’s “Moon” to Maggie Betts’s recent “Novitiate” — a polar-opposite portrait of teenage rebellion in which the ascetic life amounted to its own form of freak flag-flying. Crafted with varnished competence but little personality, “Freak Show” is instead the kind of lightweight cinematic foray one might expect from a figure embedded in A-list celebrity: As Styler calls in glitzy cameo-sized favors from the likes of Bette Midler, John McEnroe, and Laverne Cox, her film offers little more than a strained “Make America Great Again” gag in the way of sociopolitical texture.

In sketching out Billy’s fraught but fabulous existence, Styler, together with screenwriters Beth Rigazio and Patrick J. Clifton, wavers in her allegiance to reality or wish-fulfilment: The film’s depictions of classroom bullying don’t sit in quite the same world as a dreamy, sensitive star quarterback named Flip (Ian Nelson, as winning as can be in such a patently phony role) who can spot a real Jackson Pollock at a hundred paces. In either dimension, Billy’s immense economic privilege goes unchecked. Introductory scenes illustrate the formative influence of his hedonistic mother Mauvine (an auto-vamping Midler), described as “a living testament to grace, glamour, and Gucci,” though his vast, expensive collection of drag outfits — ranging in inspiration from Adam Ant to the Little Mermaid — might just put her closet to shame.

Yet this gilded childhood — lit in suitably luxe fashion by cinematographer Dante Spinotti — soon hits a gray wall. For clunkily withheld reasons, Mauvine exits the scene, sending Billy from Connecticut to live with his moneyed but distinctly fun-free father William (Larry Pine) on a vast estate in a pocket of Southern suburbia that may as well be called Homophobiville. “Freak Show” doesn’t shy from blanket regional stereotyping, but then neither does its hero: Billy enters the local high school with such a superiority complex that he never bothers to learn the name of the one open-minded wallflower (AnnaSophia Robb) who initially befriends him. She is nonetheless entranced by his fluorescent charisma, as, in due course, is Flip, an Oscar Wilde-quoting jock-with-a-heart who acts as Billy’s no-homo admirer and protector. (We’re flirting with outright fantasy here.)

Chief among those unconverted to Billy’s brash charms is Lynette (Abigail Breslin), a self-righteous, Bible-thumping Mean-Girl-in-Chief and imminent homecoming queen who spouts Trump-style rhetoric by the lipglossed mouthful. She’s easy to loathe, but “Freak Show” practically casts as a villain anyone not dazzled by Billy’s inner light — a position that grows harder to cheer for as his own character remains so stubbornly, one-dimensionally self-oriented. “I gotta be me,” Billy insists, and rightly so — but when that state of appearing to preclude any interest in, or empathy with, even his most supportive peers, the message rings a little hollow.

It’s exciting to see Lawther, so affecting as the young Alan Turing in “The Imitation Game” and as a yearning gay teen in “Departure,” crafting such a multifaceted gallery of queer portraiture early in his career, but his brightest efforts can’t make Billy more character than a concept. “Freak Show,” meanwhile, doesn’t exhibit an understanding of queer identity that goes much deeper than the sheer sequined fabulosity of Billy’s image. In an impassioned, inspirational school address — the kind to which you know the film is building from its first frame — he finally hints at broader understanding: “You’re all freaks too — isn’t that what being a teenager is all about?” It’s a tardy glimmer of solidarity in what’s otherwise aggressively, even oppressively, a glitter-strewn one-man show.

Film Review: 'Freak Show'

Reviewed at Karlovy Vary Film Festival (Another View), July 4, 2018. (Also at Berlin, Edinburgh, LA Outfest, Taipei, Tallinn festivals.)

PRODUCTION: An IFC Films release of a Maven Pictures presentation of a Flower Films production in association with Bruno Wang Prods., CoMade STHLM. (International sales: The Works Film Group, London.) Producers: Jeffrey Coulter, Charlotte Ubben, Bryan Rabin, Ember Truesdell, Chris Miller, Trudie Styler, Celine Rattray. Executive producers: Drew Barrymore, Nancy Juvonen, Pierre Lagrange, Maya Sanbar, Sawsan Asfari, Sir Ivan, Jenny Halper, Bruno Wang, Samantha Perelman, Bobby Sager, Cathleen Ihasz, Nicole Ihasz. Co-producers: Anita Sumner, Alexandra Kerry, Stephen Mao, Chris Botti.

CREW: Director: Trudie Styler. Screenplay: Beth Rigazio, Patrick J. Clifton, adapted from the novel by James St. James. Camera (color, widescreen): Dante Spinotti. Editor: Sarah Flack. Music: Dan Romer.

WITH: Alex Lawther, Ian Nelson, Abigail Breslin, Bette Midler, Celia Weston, Larry Pine, AnnaSophia Robb, Willa Fitzgerald, Eddie Schweighardt, Laverne Cox, John McEnroe.

Nonton Film The Strange Ones (2018) Full Movie


Nonton Film The Strange Ones (2018) Full Movie Sub Indonesia

Film The Strange Ones (2018) Full Movie
Review Film The Strange Ones (2018) Full Movie
A camping trip is not what it seems in a psychological suspense drama starring Alex Pettyfer and James Freedson-Jackson.
With their first feature, the ambitious and exceptionally well-crafted The Strange Ones, directors Christopher Radcliff and Lauren Wolkstein demonstrate an undeniable mastery of mood. The atmosphere of disquiet that they drum up casts a spell, without question, but one that serves the story only to a point. However nuanced and artful, the nightmarish unease is laid on so thick that, in combination with the cryptic narrative, it gradually turns to murk.

The film's expressionistic exploration of trauma and identity centers on a teen boy who's either a runaway or an abductee, and whose traveling companion might or might not be his older brother. Some will be intrigued by the head-trip mystery, others irritated by the drama's pile-up of feints and elisions.

The indie will follow its Oscar-qualifying run with a Dec. 7 bow on DirecTV, and is scheduled for an early-2018 theatrical release, when its inclusion on John Waters' top 10 list for 2017 could boost box office.

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Expanding the directors' 2011 short film of the same name, Radcliff's screenplay essentially splits the story into two halves. The first revolves around a road trip; the second, more elliptical section, deals with its repercussions. A sense of dread and emergency dominates from the get-go, drawing the viewer in but also setting a baseline that ultimately defuses the movie's intended jolts.

At the wheel of the station wagon is a scruffy, intense twentysomething (Alex Pettyfer). Riding shotgun, when he's not sleeping in the backseat, is a shell-shocked teen, Sam (James Freedson-Jackson, of Cop Car). In the rearview mirror is a fatal house fire. When the boy introduces himself to strangers as Jeremiah, the lie is obvious. Just as blatantly false is the duo's assertion that they're brothers heading to the woods for a leisurely camping trip. Though the exact nature of their relationship isn't clear for much of the story, the idea that something is very, very off is all but spelled out in neon.

As the film shifts time and place, filtered through Sam's perspective, Freedson-Jackson shifts from vulnerable to shockingly precocious, and back again to a childish naïveté. His largely flat-affect performance, which received a special jury citation at SXSW, is unsettling, a combination of astutely played moments, merely blank ones and an excess of close-ups.

With more seasoned deftness and restraint — and a sometimes wobbly American accent — Pettyfer (Elvis & Nixon) exudes a disturbing mix of violence, tenderness, sexual menace and allure. A sickening wariness infects the two main characters' every exchange, and in the early going there's a mildly gripping uncertainty over who's in control and who's manipulating whom. But however strong the cinematic ambiance, the suspense factor dwindles precipitously as the storyline fragments.

Even while the narrative falters, cinematographer Todd Banhazi's masterful compositions distill an affecting essence from the rural New York state locations. Beyond the woods and the country roads, the drama delves into such unexpected locales as an off-season motel and a work camp for teens. The former is run by a flirtatious young woman, the latter by an affably no-nonsense older man — well played, respectively, by Emily Althaus (Orange Is the New Black) and character actor Gene Jones (No Country for Old Men).

The directors use both sequences to heighten elements of doubt and imbalance. But the mystery over what's happening to Sam and how much of it he understands loses its hold — first as the plot enters an explanatory phase, and then as it doubles down, unpersuasively, on its skewed, subjective angle.

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Addressing such serious matters as abuse and mental health, Radcliff and Wolkstein deliver effective moments of horror and, to a lesser extent, insight. A crucial ingredient in realizing the feature's dark spiral of a dream state is the haunting score by Brian McOmber (Krisha, It Comes at Night), one of the best composers working in film today. His flute-forward theme quotes motifs from Gene Moore's music for the immortal B movie Carnival of Souls, in certain ways an apt point of reference.

Yet as assured as the filmmaking is, and as much as it announces a talented helming duo, its mode of emphatic understatement makes for an overly arduous viewing experience, and one with diminishing returns. After stripping away all the low-key mannerisms and would-be frissons, a viewer is likely to respond with a shrug of agreement when Freedson-Jackson's character complains that he "can't tell if it's, like, real or a dream. Or whatever."

Production companies: Stay Gold Features, Adastra Films, Relic Pictures, Archer Gray, Gamechanger Films, Storyboard Entertainment
Distributor: Vertical Entertainment
Cast: Alex Pettyfer, James Freedson-Jackson, Emily Althaus, Gene Jones, Melanie Nicholls-King, Olivia Wang, Owen Campbell, Tobias Campbell, Birgit Huppuch, Will Blomker
Directors: Lauren Wolkstein, Christopher Radcliff
Screenwriter: Christopher Radcliff
Story by: Christopher Radcliff, Lauren Wolkstein
Producers: Sebastien Aubert, Michael Prall, Eric Schultz, Shani Geva, Daniela Taplin Lundberg
Executive producers: Anne Carey, Paul Finkel, Ozo Jaculewicz, Mynette Louie, Jason Potash
Director of photography: Todd Banhazi
Production designer: Danica Pantic
Costume designer: Mitchell Travers
Editors: Christopher Radcliff, Lauren Wolkstein
Composer: Brian McOmber
Casting director: Jessica Daniels

Rated R, 82 minutes

Nonton Film Kickboxer: Retaliation (2018) Full Movie


Nonton Film Kickboxer: Retaliation (2018) Full Movie Sub Indonesia

Film Kickboxer: Retaliation (2018) Full Movie
Review Film Kickboxer: Retaliation (2018) Full Movie
Alain Moussi returns in chapter two of the reboot of the franchise that cemented Jean-Claude Van Damme's fame.
Some people just won't take "no" for an answer when they've invited you to participate in an old-fashioned fight to the death. In Dimitri Logothetis' Kickboxer: Retaliation, the sequel to 2016's reboot of the franchise that cemented Jean-Claude Van Damme's stardom, Christopher Lambert's villain wants our hero to fight so badly he'll imprison him, kidnap his girlfriend and even offer up a spare bedroom in his vast palace. The dude desperately needs to see Kurt Sloane (Alain Moussi) get his head split, but he wants to be sporting about it. A pulpy and fun fight flick that is better in some respects than it needs to be, Retaliation may not do for Moussi what the original Kickboxer did for Van Damme, but it won't send fans home disappointed.

The last picture ended with Kurt Sloane killing the fighter who killed his brother (it was called Kickboxer: Vengeance, after all) then leaving for the U.S. with new girlfriend Liu (Sara Malakul Lane). Now, as the title Retaliation might suggest, it's time to pay the piper. Marshals come to interrogate Kurt about the killing, but wait — those aren't marshals, they're henchmen of Lambert's Thomas Moore, sent to bring Kurt back to Thailand and throw him in a jail near Bangkok.

Brought before Moore, who insists he must enter another deathmatch to pay for what he has done (??), Kurt is appropriately defiant, while Lambert does an enjoyable bargain-basement Christoph Waltz impression: "One more fight to the death — that's all I'm asking!" He's even offering a million dollars for Kurt's trouble, provided he survives. But Kurt prefers to go back to jail.

There, things are unfriendly. When a trio of inmates surrounds Kurt with malice in their eyes, our hero shouts to someone, "you better call the prison doc" before predicting the exact injuries the doctor should expect to be treating. The ensuing action, set to a tune aping Muddy Waters' "Mannish Boy," leaves the doctor with many more patients than predicted.

Here and elsewhere, Gerardo Madrazo's cinematography is much more stylish than moviegoers may expect. But the pic's stylishness sometimes comes at the expense of fight-scene excitement: Though few will doubt what they're seeing, too many close-ups make the mayhem feel less real, and frequent use of slow motion limits an overall sequence's visceral kick. Perhaps the filmmakers decided the choreography of long scenes was too obvious when played at regular speed.

Eventually coerced to accept Moore's challenge and fight a nearly seven-foot tall "bioengineered marvel" called Mongkut (Hafþór Júlíus Björnsson), Kurt must begin a specialized training regimen. Which means it's time not only for the return of Van Damme's wry Master Durand — who has recently been blinded by Moore, giving him an excuse to never remove those shades he's so fond of — but a fellow inmate, Briggs, played by Mike Tyson.

While Briggs works on brute force and similar straightforward technique, Durand becomes a chopsocky Obi-Wan Kenobi, blindfolding Kurt and teaching him to feel his opponent's movements before they come. (In blue-tinted visions, Durand, of course, senses enough to outfight the sighted people around him.)

Logothetis contrives to squeeze a set piece or two in before the main event — one, featuring two lingerie-clad fighters in a forest of crystal bamboo, then moving into a hall of mirrors, is goofy fun even if its Lady From Shanghai reference invites unflattering comparisons.

When Kurt finally faces Mongkut in what we're told is "the original Muay Thai temple," viewers will get their money's worth. Roughly half an hour long, this last bout features plenty of David/Goliath action (camerawork is more sensitive here) and a couple of narrative fakeouts. Moussi allows Kurt to look genuinely afraid, which helps, and points toward a possible Rocky-style defeat. Whether he wins or loses here, rest assured that Kurt is already scheduled to appear in the portentously named Kickboxer: Armageddon.

Production company: Our House Films
Distributor: Well Go USA Entertainment
Cast: Alain Moussi, Jean-Claude Van Damme, Hafþór Júlíus Björnsson, Christopher Lambert, Sara Malakul Lane, Ronaldinho, Mike Tyson
Director-screenwriter: Dimitri Logothetis
Producers: Robert Hickman, Dimitri Logothetis
Executive producers: Jeff Bowler, Nicholas Celozzi, Luke Daniels
Director of photography: Gerardo Madrazo
Production designer: Toey Jaruvaateekul
Costume designer: Terri Middleton
Editors: Christopher Robin Bell, Daniel McDonald
Composer: Adam Dorn
Casting director: Thitiya Thongbai

Rated R, 110 minutes

Nonton Film A. I. Tales (2018) Full Movie


Nonton Film A. I. Tales (2018) Full Movie Sub Indonesia

Film A. I. Tales (2018) Full Movie
Review Film A. I. Tales (2018) Full Movie
Usually when I have to lay my putrid peepers on an arcane anthology things take a turn for the horror biz, but recently I was sent a picture packed with yarns of a sci-fi bent, all with the theme of artificial intelligence as their linking narrative element. Let’s see how the disparate stories (these shorts are presented “as is” with no connecting framing narrative) of A.I. Tales stack up, shall we?

First up comes Seed; the story of a man named Nathan (Nelson Lee, who also wrote and directed the film) whose family and friends gather to celebrate his birthday, but rather than being a joyous affair things take a turn for the melancholy as our protagonist reflects on the life he has lead with the folks gathered, warts and all. So why is Nathan so glum…why because it is his 40th birthday and therefore he must be reduced to just his consciousness and give up his body in order to conserve the resources of an over-populated future Earth. Will he be able to make that step for those he loves?

More of a drama with science fiction spice sprinkled on top, Seed is an effective character study and offers a strong emotional impact on the viewer. While definitely not my preferred cup of tea, I nevertheless found this entry to be a well-made affair and should appeal to those that enjoy sci-fi with a strong personal core rather than robots, aliens and pew-pew lasers (please let there be pew lasers in this thing…)

Next comes In/Finite by director Kristen Hilkert (who also co-wrote the film with actress Ashlee Mundy. This lil’ ditty tells the story of Jane (the aforementioned Mundy), a lonely woman who decides she wants to get away from it all…like really away from it all and decides she wants to head off into space (which is possible due to her admission to an astronaut program). Not ready to tell her family and friends more than that her journey is a one-way trip, she attends an emotional farewell party in her honor.

As with Seed, this too is straight up the human drama with the absolute minimum p.h. of sci-fi thrown in. Also, like the first story, this entry is incredibly well made and acted…but just not my bag baby…I’m not getting my lasers am I?

Moving on we have Phoenix 9 from director Amir Reichart and writer Peer Gopfrich which relates the tale of a group of rag-tag survivors on the surface of a nuked Earth. These brave souls soldier on until they arrive at an abandoned facility on their way to a rumored colony where other survivors are holed up. Once there tensions come to a head before our heroes find a secret room guarded by a high tech computer system. Does this room hold the key to their salvation?

Now, this is more like it; a tale of future war and survival with robots and awesome apocalyptic visuals! Also present are some fantastic production design and cinematography, solid acting, and a nice sense of ever-mounting tension. Unless the next segment is fantastic, I’m calling Phoenix 9 the best in show…

Last up we have writer/director Vitaly Vertov's Redux which spins the yarn of a scientist desperately sending messages through time as a S.W.A.T. team advances on his secret lab.

Redux is a taught micro-length thriller with a fun sci-fi premise and a solid cameo from Eric Roberts to boot as the corporate man behind the S.W.A.T. assault. This was my second favorite entry in the collection, and it too features strong visuals, a great premise, and a cool synth score.

All in all A.I. Tales is solid if a bit uneven anthology. None of the stories present fail to entertain, and all are expertly crafted and acted, but the beginning of the film, with it’s back to back dramatic pieces has a tendency to drag compared to the more suspenseful segments that bring up the second half of the runtime. Bottom line, if you like your sci-fi mixed with a strong human emotional content this anthology will be a great viewing experience for you.
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