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The Birth of a Nation is a poor reflection of an amazing true story but there are choice moments that are worthy of the time. T
The promotion of slavery is one of the darkest blots on American history. As such, much like the Holocaust and the massacres of the World Wars, such traumatic events deserve to be remembered and chronicled in the art of today. However, a simple retelling is not enough. Chronicling true events is well and good but they still need to set themselves apart from other stories that have already been told. While The Birth of a Nation is an unarguably powerful film, it does little to nothing to set itself apart from the countless predecessor slavery biopics.

The story starts off strong enough, focusing on the criminally ignored by history Nat Turner (Nate Parker) who lead an unprecedented slave rebellion inspiring the movement that would later result in the Civil War. Nat is a strong young man who learned how to read from an early age and used his talent to study the bible. When his master (Armie Hammer) finds out that there is a demand for a slave preacher to calm down other rebellious slaves he ships Nat out to various locations to earn extra coin for his plantation. After seeing the horrifying ways other slaves are being treated Nat eventually shifts from preaching for a peaceful God to that of a wrathful one. It’s a thrilling tale and one that deserves a good telling. The issue is that much like Gladiator, the film takes a good story and then takes so many creative liberties that it feels more like a less tongue-in-cheek version of Django. Nat is a slave who throws off his bonds and becomes his own man. It’s not that it is a bad story, but it has been done so many times before and frankly, much better.

Nate Parker plays Nat and I immediately give him strike one for making it hard for me to remember which one is the actor and which is the real person given the likeness of their names. The actor definitely put his heart and soul into the film, putting his acting career on hold for years and investing a lot of his own money. He also directed, starred, produced, and co-wrote the film with his college roommate. Parker is also easily the strongest actor in film. When other events grow stale and the goings on fall into a paint by numbers scheme Parker brings the chills when he delivers one of Nat Turner’s many intense monologues preaching gospel to instigate fighting for freedom. But when the focus moves from Nat to actually tell the historical side of the story, the film stumbles. Exposition is given out in a clunky form and Nat’s motivation (originally avenging his abused wife) feels incredibly forced. Speaking of the women in this film, most of them feel incredibly silenced. Though we get glimpses of the strength that Nat’s mother and grandmother possess, they are normally left to watch in fear or admiration at Nat’s deeds. Nat’s wife Cherry gets the shortest end of the stick. She exists in the film for the sole purpose of being raped by Jackie Earl Haley’s despicable slave hunter and acting as a catalyst for Nat’s decisions. For a film that goes out of its way to preach equality, this oversight is atrocious.

Cinematography wise, Nation is beautiful in an abstract sort of way. The color pallet used is subtle and grey. Battle scenes and normal day to day goings on are drabbed in dull shades, interrupted only by the bright crimson spurt of blood or the shining ivory of cotton. Nat occasionally has visions that are appropriately hazy and strange which the camera conveys through heavy fog and uninterrupted one shot slow pans across deep landscapes. This is accompanied by a heartbreakingly somber soundtrack behind, most notable again during one of many Nat Turner monologues. Tears are sure to fall as you see the heart given in these performances matched with the somber music from Henry Jackman.
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Force is no longer as passive and there couldn't have been a better title than - The Force Awakens
A long time ago in a galaxy... well in our own galaxy and our very own planet Earth, George Lucas wrote and directed an epic space opera film called Star Wars which grew into a hugely popular franchise and a global pop cultural phenomenon with a cult following spanning generations. The first movie was released more than 32 years back and it's been 27 years since release of the last installment of the original trilogy (Episode VI: Return of the Jedi) which is indeed "a long time ago" as sequels and prequels go, even the last installment of the much less appreciated prequel trilogy (Episode III: Revenge of the Sith) came out 10 years back but Star Wars franchise continued to command huge fan following. The announcement of the release of Episode VII: The Force Awakens and the huge marketing campaign made it one of the most anticipated movie releases in recent times if not of all times. However, one of the issues eager fans had to deal with was avoiding exposure to spoilers and leaks proliferating on the Internet. I assiduously avoided every piece of information that had anything to do with Star Wars: The Force Awakens, so my review of the movie includes NO SPOILERS, or so I hope.

Director JJ Abrams has already shown his calibre by making thrillers like MI3 and visually stimulating scenes of space battles in his two Star Trek movies but it did seem doubtful if he could match the myth making skill of George Lucas. Further the tag line "Every generation has a story" further raised the question if the movie was aimed at a complete new generation or sought to satisfy the legions of fans of the original trilogy. Of course, he had at least one of the original writers, Lawrence Kasdan as a co-writer but one must confess that Abrams has been able to bring balance to the force, metaphorically speaking.

Is it a reboot? The Force Awakens does use the template of A New Hope as well as a bit of Return of the Jedi but the content is definitely fresh. As this is Episode XII, it is obvious that the story begins after the events of the Return of the Jedi and it does introduces a whole lot of new characters, places and powers of the force. The plot is fast paced, at times faster than one can absorb it fully, which thankfully gives me reasons for second viewing. At the same time there is enough emotional drama and tense sequences which could have you glued to the screen but there is very little long-drawn melodramatic sequences that partly bogged down the narrative in the prequel trilogy.
Besides there are plenty of references and homages but the best comes in the form of Harrison Ford (I don't believe this is a spoiler as Ford and Chewbacca have been prominent in the film posters and trailers). Even after 30 years, Harrison Ford as Hans Solo blows you off with his performance although he doesn't use blasters as freely :p Among the new ones, Daisy Ridley as the protagonist has delivered an incredible performance winning accolades from fans and critics alike. Other key actors like Adam Driver, John Bogeya, Oscar Issac and Carrie Fischer have done justice to their respective roles. The chemistry between the protagonist and the antagonist is surprisingly strong and is likely to get more intense in the next episode. I would love to go into details but do not wish to give away anything. An ambitious project of this magnitude and executed so brilliantly deserves to be seen on the big screen first, so I will probably wait for the DVD release and follow up with a post-review delving deeper into the plot as I have done previously with my favourite movies .

Till then the only bit I am willing to give away is that it seems in this episode the Force is no longer as passive and there couldn't have been a better title than - The Force Awakens.

Originally posted by danish Ahmed in http://xpensieve.blogspot.in/
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9.2
A great film to get to know the great love of hashi(the dog)
I just saw the film.. how to say. It was like a dream. The film tells about the unconditional love(i guess more than a loyalty) between a dog hachi and his master (the professor). The dog was so brilliant and i don't think he acted, its all real, he told everything through his eyes, love, sad, awaiting for his master, everything. We should give an Oscar to hashi. The master Richard gare also acted so well with the dog with great kindness and love. The end was so sorrow but still beautiful to tell the humans that there r still more love u can do with, the real unconditional love. My eyes are cried in many scenes and there were so many eye drops in my pillow the end. A must watch film to know what is love and loyalty.
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Much like the chariot horses it's eponymous hero races, this CGI laden big screen re imagining of Lew Wallace's timeless novel 'Ben-Hur' takes a fair amount of time to get into it's stride. Stumbling at first and struggling to find the correct pace, the film certainly makes a few missteps in both character development and emotional investment before it finally finds its legs but once it does, it actually becomes quite a lot of fun - utterly incomparable to William Wyler's widely celebrated 1959 Best Picture winner but still fun nonetheless. 'Broadwalk Empire's Jack Huston does a pretty good job as he dons the blood-stained robes of Judah Ben-Hur, the young Jewish prince who seeks murderous revenge against his estranged and jealous adopted brother Messala (a Roman officer played with quiet yet malicious relish by 'Fant4stic's Toby Kebbell) who killed his family and sentenced him to a life of nightmarish slavery. Director Timur Bekmambetov, best known for his wildly entertaining 2013 action fantasy 'Abraham Lincoln : Vampire Hunter', certainly ups the visual ante and action deficit of previous cinematic adaptations of this most enduring of Biblical epics and while not all of the snazzy special effects entirely convince, there is enough eye-popping splendour, seen most notably in the aforementioned chariot scenes, to fully entertain and enthrall.
Originally posted on http://dc-moviereviews.blogspot.in/2016/09/ben-hur.html
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7.8
Its a fantastic film, setting a new bar for the comic movie genre.
Its a fantastic film, setting a new bar for the comic movie genre. Awesome action scenes paired with highly emotional human elements create something so much more than just an adaptation of a comic writer’s story. Whether you are Team Cap or Team Iron Man, there will plenty to love for both sides.
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Though it is sadly light on much as far as character development and drama, what we do get is fun enough to be worth for money
Poorly made movies can occasionally be made bearable by a certain admirable trait, whether it be an excellent story or cinematography ect. In the Magnificent Seven’s case the saving grace comes from its star studded cast. Director Anotine Fuqua does not necessarily bring anything new to the table but the cliché western is undoubtedly fun with many a moment that will make you chuckle and wish for the old days regardless of your age. This ages old tale of a bunch of ruffians coming together to take out the bad guy may be as old as the Western itself but the undeniable charm will make you grin in spite of itself.

The always reliable Denzel Washington takes over the role of Steve McQueen as The Man in Black, Sam Chislom, a silent but deadly type in the frontier. He is met by citizens of a town being terrorized by the egomaniacal Bartholomew Bogue (Peter Sarsgaard) who is every bit of the moustache twirling villain. Joining Chislom is a merry band of rouges including gambling self-proclaimed “world’s greatest lover” Faraday (Chris Pratt) war legend Goodnight Robicheaux (Ethan Hawke) bible thumping trapper Jack Horne (Vincent D’Onofrio) and more. Together this band of “heroes” works to take down the evildoers.

The hardest part of the film to swallow is easily the beginning when the cast is fractured. The hunt to bring the party together is a sloooooow burn which makes it hard to sit through the first half of the two hour run time. The only piece of the party that works solo is Chislom because of some dark emotions that play in his backstory. Other characters have similar demons in the closet like Ethan Hawke’s Goodnight, but we never see to deep into it because that would keep the film from being as fun. But as the cast slowly starts to build and becomes one cohesive unit, everything gets kicked into first gear. You get the sense that the actors had a hell of a good time making this and when they start having fun you will too. There are a number of scenes where the guys are just being guys, lying around, talking about girls, talking smack, (you know, guy stuff). These scenes may be visually unimpressive but they are easily the most fun.

That’s not to say the action does not entertain. When the bullets finally start flying, shots get intense. Like the original, the remake keeps the bravery of making sure no one is safe allowing some big characters to bite the dust. It keeps the tension tight in an otherwise carefree movie. Everyone gets their moment to shine but my personal favorite has to be D’Onofrio’s Jack Horner. The absolute bear of a man physically looks like he should be kicking ass and taking names (like he does in Daredevil) but though is character is undeniably deadly, he has a soft spot too. With a whistly voice and a penchant of respect for all including his enemies, he is masterfully balanced by D’Onofrio’s acting. I feel that everyone will have their own personal favorite which just goes to show that there is an element for everyone to enjoy in this magnificent journey.

With all of the explosions, quips, and mayhem, The Magnificent Seven feels like a summer blockbuster that got pushed to the Fall.
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The great story is similarly matched by a great cast and production and proves that the Cloverfield story is anything but dead
10 Cloverfield Lane is the sequel I never knew I wanted. After the initial Cloverfield released in 2008 many were intrigued by the origins of the giant sea monster that terrorized New York but rumors of a sequel were eventually dispelled and the intrigue died down. That is until its surprise announcement only three months ago of what producer J.J. Abrams called a “blood relative” to the original film. While some fans may be disappointed that connection to the original film is lacking, the latest entry in the franchise offers plenty in terms of fantastic story direction and performances.

Michelle (Scott Pilgrim Vs. The World’s Mary Elizabeth Winstead) is running away after an angry altercation with her now ex-boyfriend. While driving one night she is violently run off the road by a mystery assailant, knocking her unconscious. When she comes to she finds herself handcuffed underground in a doomsday bunker. This immediately ensures that there will be no giant monsters rampaging through the city this time around. Instead the threats stay much more in the background and make a surprisingly effective scare. A distant rumble inspiring a “What was that?” moment creates much more terror through imagination than actually seeing monsters ever could. But as the film’s marketing suggests, “Monsters come in many forms.” This time around it’s in the form of John Goodman’s (The Big Lebowski) Howard. Howard is a huge individual, further accentuated by the small bunker he and his “guests” are in. After spending 40 years in the Navy he decided that global annihilation was inevitable and that all of us would be dead thanks to anything from nuclear warfare to Martians and so decided to build his doomsday bunker. His paranoia forces Michelle and his charming southern coworker Emmett (John Gallagher Jr.) to either appease him or fight to escape. I’ll let you guess which way that goes.

Abandoning the found footage style of the first film, 10 Cloverfield Lane takes on a much cleaner cut approach from newcomer director Dan Trachtenberg. Rather than have massive kaiju roaming the streets he decides to take the slow build approach to reveal anything that hints at paranormal activity. Most of the time we don’t even have time to worry about what could be lurking outside the bunker; you will stay too busy be terrified of where Howard is. As Michelle and Emmett plot to escape Howard’s paranoia only worsens and makes him more erratic. The bunker he has created seems to hold secrets of its own which is cleverly revealed slowly along with the answers of what happened to the outside world.

This constant fear of dread that is instilled in us is thanks to John Goodman’s fantastic performance as the paranoid disaster fanatic. Winstead serves as the emotional heart of the film, trying to make the best of her situation despite being in constant fear of her captor/savior. Gallagher adds a surprising amount of emotion himself, often adding a much needed lightness to the proceedings when things get most dark. The small cast works well together despite having nothing but each other to really react to or interact with. It is almost funny when the credits finally roll and you see how short the list really is but then you realize how much talent it would take to create something of this magnitude with such a small cast and production. It is a fantastic debut for the director and shows the real acting chops that the cast possesses.

The story is smaller and more isolated than the first Cloverfield’s stupid drunks running in NYC but it is no less impactful. We get a closer look into the psyche of the human spirit faced with annihilation and what grisly ends it would move to in order to make itself feel safe.
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It’s an excellent film that is worth the watch
Taking place in Boston in the middle of the early 2000s, a group of reporters for The Boston Globe (A.K.A. the “Spotlight” team) get a whiff of a large scandal happening within the Catholic Church resulting in molested children. However, they are hesitant to go after the church until their new editor Marty Baron (Liev Schreiber) comes in and softhandedly demands that they investigate. Catholicism is very prominent in Boston and the Spotlight team is justifiably worried that this will paint a target on their back but they go ahead with the story anyway. The team finds themselves not only opposed by the church but by the community as well. Nevertheless they press on to uncover one of the largest scandals in history.

The team is made up of Michael Rezendes (Mark Ruffalo), Walter “Robby” Robinson (Michael Keaton), Sacha Pfeiffer (Rachel McAdams), and others whose names you won’t remember. To their credit the cast gives some of the best acting of their collective lives while slowly uncovering that the city they know and love has been hiding such a dark secret. Boston is a character in and of itself from the shiny urban areas in the financial district to the urban decay as the camera takes us farther from the city’s shiny center. Bu despite the actors putting forth their best (especially Ruffalo), the material they deliver gets increasingly dull as time goes on. The uncovering of this scandal was huge and had networks and people talking for years but the movie just has scene after scene of people simply standing still and talking in classroom like environments. I get that journalism is mostly just that; asking questions and trading information with fellow journalists, but a film requires more to keep the proceedings entertaining and Spotlight fails to do so.

Though our journalists are definitely warriors of truth they never come off as idolized. None of them are perfect, everyone has a flaw or a lapse of judgment that makes them feel legitimately human. There were times where these people would be fighting so hard for the truth and I had to ask myself if they were doing it for the children in danger or because they simply wanted a good story that would make headlines. Some of these faults are larger than others and there is even a huge twist at the end that is continuously hinted at that I did not even see until it was revealed. There is a delightfully slow burn here with some of the topics that make the reveal so fulfilling, but there are times where it could have moved SO much faster.

Spotlight is a good film. It just was not the best film of 2016 and that bothers me. I get that Best Picture winners normally tackle large political or sociological issues with grace which Spotlight wholeheartedly did, but in terms of film production and overall execution it stays simply above average.
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9.0
The Revenant - A Brutal And Beautiful Saga Of Survival And Revenge
After earning Oscar for Birdman, director Alejandro G Iñárritu comes up with another masterpiece, The Revenant, a movie on the legendary American frontiersman and fur trapper Hugh Glass whose gritty survival story is brought to life by the absolutely brilliant performance by Leonardo DiCaprio, excellent direction by Iñárritu and the overall outstanding effort of his crew members. And when I say brought to life I mean it. The movie is executed so flawlessly that it draws the viewers into the torturous ordeal of Glass as he suffers from tremendous violence of wild nature and savagery and malice of fellow-humans to the point of death but returns overcoming untold hardship with an unyielding zeal to survive and extract revenge.

Partly based on Michael Punke's book The Revenant: A Novel of Revenge, the story begins with flashback glimpses of the protagonist Hugh Glass' tragic past as he along with his half-native son Hawk (half-Pawnee Indian from mother's side) guides a company of American frontiersmen fur trappers through the icy cold wilderness where they come under sudden attack from a tribe of local natives (Arikara Indians whose chief's daughter has been kidnapped) . A gory battle ensues which leaves three-fourths of the party dead and the rest escape on the boat but abandon it on advice of Glass and start trekking on foot. While alone Glass is severely mauled by a bear, clawed and bitten on chest, neck and back leaving him barely alive. Unable to carry him through difficult terrain, three members are left behind to look after him and give Glass a decent burial when the time comes. The unscrupulous John Fitzgerald (Tom Hardy) betrays Glass, first trying to suffocate him to death but after being prevented from doing so by Hawk he murders Glass' son and leaves him half buried to die from wounds. But in doing so he inadvertently also gives Glass a strong reason to try to survive and seek revenge.

Further Iñárritu and cinematographer Emmanuel Lubezki's collaboration post Birdman pays off brilliantly again. The decision to shoot in natural light brings out the cruel but natural beauty of the tundra in strong contrast to the harsh and grueling narrative. After winning Oscars last two consecutive years for Gravity and Birdman, Lubezki might win a third one the manner in which he has captured the spittle flying out of Glass in his agitation, the icy breath fogging the lens and the beautiful sunset with equal brilliance. Even the only CGI scene, that of the grizzly bear mauling Glass is shot in a way so as to bring out the ferocity of the attack rather than focusing on just the visual effect.

Finally, the movie seems to convey parallel messages in what is essentially a story one man's grit and determination to survive against all odds and a wronged father's zeal to avenge the death of his son. Interwoven in the plot are elements of violence between man vs wild, man vs man, exploitation of indigenous people by European settlers and also spiritualism as Glass drifts in and out of hallucination of his dead wife, who whispers to him words of encouragement that keeps him going.

Finally, this harsh and brutal and highly realistically made survival story of Hugh Glass may not be for everyone, it is more of an visceral experience than a story on celluloid. But it is definitely worth a try for everyone except those very weak of heart. However, if you find the gory realism in the movie pulling you into it and making you uncomfortable, people slaughtering each other without giving much reason and the ending bit ambiguous, remember it's a survival story in a time when as the placard in French put around the neck of the hanged Pawnee Indian says.
Originally posted by danish Ahmed in http://xpensieve.blogspot.in/
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Having stunned audiences worldwide with his ultra-violent re-interpretation of Sam Raimi's video nasty classic 'Evil Dead', director Fede Alvarez triumphantly returns to the horror genre with 'Don't Breathe', a stripped down yet extremely effective and claustrophobic psycho-shocker that may be sparse in dialogue and character development but very heavy on tension, thrills and knuckle-chewing terror. 'Evil Dead's Jane Levy stars as Rocky, one of three desperate teenage burglars who end up fighting for their lives when they foolishly decide to rob a blind yet very dangerous war veteran ('Avatar's Stephen Lang) whose creepy and desolate home hides twisted and terrifying secrets. Throw a vicious, froth mouthed pooch who makes Cujo look like Lassie into the already volatile mix and you have a lean, mean and very efficient roller coaster ride of a film that may be simplistic but soon reveals itself to be a disturbing, distressing and sometimes downright disgusting shockfest that is sure to please genre fans both seasoned and rookie.
Originally posted on: http://dc-moviereviews.blogspot.in/2016/09/dont-breathe.html#more
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Two years of a faithful wait for the movie made me as happy as Harry was on his 1st visit to Hogsmeade when I took delivery of the tickets to watch Harry Potter and the Half Blood Prince at a multiplex with one of my close friends…also an ardent Potter series fan! Right from the 3rd movie the scriptwriters had taught us fans to get used to them twisting the original tale and doing away with parts of the story that we considered significant…but inspite of the warning David Yates’ HP 6 left me broken hearted as I found yet again that this was a director who made a story of his own…my rant about the movie goes thus :

For all ye Muggles who think ‘its jus a movie’ :
Harry Potter is a teen wizard (yes he can do magic n stuff) who has returned to his school with best friends Ron and Hermione for his 6th year. His headmaster Dumbledore takes him through preparations to face and ultimately destroy the baddie Voldermort who in the past killed Harry’s parents. It’s a story of revenge that has a good dose of friendship and in the case of this movie a lotta adolescent love. The visual effects are mindblowing and the movie boasts of a cast comprising some of Britain’s most talented actors.

On the whole…it was nothing like the heaven of magic that the 1st two movies created…but still we got to see a couple of characters we love on screen…and with the special effects it wasn’t hard to sit through the movie. But the magic was missing...ironically yes...there were wands, broomsticks, spells, hexes, jinxes and even a singing phoenix but the magic of the entire concept was missing! And the fact that the 7th movie lies in the hands of David Yates only makes me wish that I make myself ready to face a similar experience yet again next year!
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7.0
A fun and watch worthy fim
I read plenty of the short horror stories when I was a kid but was not immensely attached to them so I figured I could suffer through the latest blow to my cherished childhood memories. Surprisingly, I found I didn’t have to. Goosebumps is a surprisingly fun, even heartfelt film that simultaneously manages to pack in the creeps for kids and adults alike.

Rather than focus on a single Goosebumps novel, the film decides instead to embrace all of them at once. That’s one hell of a gutsy move. Of course there isn’t enough time to fully explore the fun/horror of every single monster, but none of them feel like worthless props hanging in the background. What’s more, the characters that do get the spotlight are written wonderfully and balance scariness with their R.L. Stine trademarked quirks perfectly. This is most notable with the film’s main antagonist Slappy, the self-aware, creepy-as-f**k dummy which was the only real monster I remembered from the books because it scared the ever loving sh*t out of me. Slappy is hilarious and sinister, spouting off unrelenting puns one second and breaking a man’s fingers the next and that kind of spirit straight from the books that is captured perfectly.

Despite antagonists being the main draw of any Stine creation, the protagonists this time around are pretty fun themselves. Jack Black’s performance as R.L. Stine is surprisingly fitting and he easily draws out the most laughs of the film. He an artist, so obviously he feels sensitive and misunderstood (and constantly overshadowed by that bastard STEVE King!!!). Even though he is the creator of his own demons, that doesn’t mean he isn’t freaked out like the rest of us. When his creations find a way out into the real world he isn’t some calm and collected Indiana Jones type who knows exactly what to do; no, he runs like hell with everyone else. Technically though, Jack Black isn’t our main protagonist; that honor goes to Dylan Minnette as Zach Cooper. Zach recently moved into Nowhere, Suburbia with his mom to escape the grief of his recently deceased father. In his search for friends, he runs into Stine’s daughter Hannah (Odeya Rush) who is mysteriously kept away from others by her over protective father.

Of course, the two quickly form a friendship with the potential of more around the horizon, and while that may be a bit nuanced their sharing feeling of grief over a lost parent is not. As it turns out, Hannah also lost a parent somehow and also feels like an outsider. The pairing is sweet and believable as the chemistry between the two works well. There’s also the matter of Champ (Ryan Lee) who is there for no reason other than comic relief. Look, I’m all for a guy to laugh at when the going gets tough, but the film is funny enough without throwing another scapegoat into our faces. In a way, the trio reminds me of the group from Paper Towns where they are all off on a quest for others and themselves. There is even a moment where Champ (again, the underdog nerd of the group) gets to save the hot cheerleader type from certain doom and is rewarded with a chance to date wayyyyy outside his league. Just like Paper Towns. And the actress who plays the damsel in distress from Goosebumps (Halston Sage) is that exact character in Paper Towns… Coincidence?

Save for Champ, all of our unlikely heroes come off as likeable in their own way. They bond and grow, finding strength in their friends and themselves. It’s a strangely sweet tale for something that has so many demonic creatures in it. Of course there are cheesy CGI effects galore when it comes to fighting the big monsters.
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Interstellar : A Journey Through Human Minds
The basic premise of the movie is drawn from a philosophical/scientific argument on the risky consequence of unchecked progression of technological civilization. In the beginning we find that a massively diminished human population has turned into an agrarian society, shunning technology for the most part. The reason given is that shortage of food has led to a situation where NASA's trained pilot is forced to take up farming. From a philosophical perspective there could be another reason. Enrico Fermi proposed in response to the question why we haven't encountered any form of communication from extra-terrestrial civilization (in the famous Fermi Paradox) that one of reasons could that an intelligent civilization that has developed technology for space travel would also have developed the capability to self-destruct. This seems all the more true when we look at our history to find that we developed the atom bomb and nuclear arsenal for MAD (mutually assured destruction) before we landed on the moon. And I am not even looking at climate change scenario. For a world with hugely diminished human population and facing starvation ,the only way to avoid complete annihilation of the species would be to forsake industrial civilization and return to basic survival methods. It is not surprising that the school teachers talk about them being a caretaker generation and things getting better.

It is a father's love for his daughter that partly motivates Cooper to plunge towards the black hole from which he is sucked into the artificial construct in the fifth dimension and from where TARS is able to gather quantum data after observing the singularity. Cooper's love for Murph is quantifiable, the matrix of cubes, each representing six different views of Murph's bedroom in every instance of time makes it possible for him to navigate specific instance of time to send message by exerting force on world-lines of specific objects such as books and hands in a watch to create gravitational waves that affect these objects. Similarly, Murph's love for his father transcends space and time. Her father has been gone for more than 25 years and if alive is thousands of millions of light years away, but she is still drawn to her bedroom where both of them started investigating the anomalies and where she believes she can find the answers. And she does. She finds the quantum data encoded in the seconds hand of the watch her father had given her and decodes the message to complete the gravity equation so that the space station is able to take off and mankind is saved from extinction.
Originally posted by danish Ahmed in http://xpensieve.blogspot.in/
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'The Purge : Election Year' lacks any of the visceral thrills or pointed social metaphors that made it's predecessors stand out amongst the-then saturated horror/thriller crowd.
This third entry in James DeMonaco and Platinum Dunes' all-crime-is-legal horror thriller franchise may improve on 2014's underwhelming 'The Purge : Anarchy' but still manages to overlook the endless array of options and story arcs the basic premise of the series so clearly invites. Following on from the events of 'Anarchy', 'The Purge : Election Year' sees anti-Purge presidential candidate Charlie Roan (Elizabeth Mitchell) being hunted on Purge night by the supporters of the annual 12 hours of terror. With the help of Frank Grillo's grizzled Sgt. Leo Barnes (reprising his role from the previous movie), Roan must evade the swastika-tattoed mercenaries and mask wearing crazies and survive the night. As is typical with the other films in the series, 'The Purge : Election Year' is far from subtle - with overt Clinton/Trump symbolism and partisan rhetoric running rampant throughout it's lean 90 minute running time. However, apart from it's somewhat amusing in-your-face political message and a number of over-the-top performances that make pantomime look understated, 'The Purge : Election Year' lacks any of the visceral thrills or pointed social metaphors that made it's predecessors stand out amongst the-then saturated horror/thriller crowd.
Originally posted on http://dc-moviereviews.blogspot.in/2016/09/the-purge-election-year.html
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9.0
Best animal movie for kids
Jungle book is one of the best animal movie to watch for kids. Because it strongly delivered the messages about the importance of courage, teamwork, family and friendship. The story travels between young Mowgli (Neel Sethi), the orphaned "man cub" raised as a wolf and the tiger Shere Khan, jungle's most vicious predator who hated Mowgli too the core. Overall graphics in the movie is very good and nice to watch. People who gave voice behind the screen for animals have done their great job.Actually I was very much familiar with the story in my childhood age itself and so I simply enjoyed watching it.
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8.2
With excellent direction and strong performances, Bridge of Spies is a film worth
Bridge of Spies is a much more subtle film than most war movies. Fitting for the age that it is placed in, there are no giant battle scenes here. Gunfire rarely flashes up on the screen. The only violence that is ever shown mainly comes through the US and Russia’s government’s harsh treatment of their prisoners. Refreshingly, the United States is not shown as a white knight in a world of evil. Rather, America’s government is playing just as dirty as the other side. For the sake of keeping up appearances the US government appoints James Donovan (Tom Hanks) who is primarily an insurance lawyer, to defend and possibly save the life of a potential Russian spy. But in reality the government expects the case to be rather open and shut. The defense is merely a façade to try and show the rest of the world that the United States is more just than Russia. Knowing this, Hanks is still determined to fight and try to win the freedom of his client.
Spielberg is still a terrific director and his talent shows just as it always does (except for Jurassic Park 2, what were you thinking man?). Cold War era U.S. and Berlin are captured in the steely tense ways that plagued the atmosphere back then. Children play in the streets while keeping a tight grip on nuclear preparedness pamphlets. When Donovan is sent to West Berlin, the goings on seem altogether normal but as he travels to the east end over the Berlin Wall urban and social decay rear their ugly heads and make for a frightening scene. At times, there is symbolism that hits a little too heavy however. There is more than one shot where Hanks is illuminated like an angel while the rest of the room and characters remain clouded in darkness just in case we forget who the obvious hero is. But aside from these occasionally out of places frames, the cinematography and directing is fantastic as should be expected and makes for a thrilling view.
Whether or not you are interested in history pieces, this is still a Spielberg film with some very entertaining and emotional moments that make it more than worth the theatre price. It may not meet the hype that comes with such a legendary team up but it is still one of the better releases this year. With excellent direction and strong performances, Bridge of Spies is a film worth
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Though the story and characters are hard to follow, its quite funny.
When Tim Burton’s Alice in Wonderland hit theatres in 2010, Disney was rushing to make live action remakes of all of their older, more popular animated features. Though it was met with mixed review, the film at least had the good sense to bring a bit more darkness into a world filled to the brim with lunatics. The larger problems of two dimensional characters and incoherent storytelling could be forgiven for bringing author Lewis Carrol’s whimsical world back to life. While the first film may have possessed the allure of being a new spin on an old tale, Through the Looking Glass is nothing but a cash grab hoping that the same formula will work twice. Though the created CGI world does admittedly look impressive, the terrible story cohesion and character writing makes for a tale best left on the bookshelf. Taken over by Muppets director James Bobin, Alice Through the Looking Glass finds our titular character (played by the wonderful Mia Wasikowska) having returned to the real world as a swashbuckling pirate fighter… of sorts. After completing her voyage at sea which began at the end of the first Alice, her old suitor Hamish inexplicably shows up to demand possession of her ship, The Wonder. Rather than deal with her real world problems, Alice decides to say F*ck it and heads back down the rabbit hole, or rather, through a mirror that has trans-dimensional powers for some reason. Much like a bad LSD trip, the less questions you ask, the more you will enjoy the ride.

Alice eventually meets back up with her old crew of wonderland misfits like the White Queen (Anne Hathoway), Tweedledee and Tweedledum (Matt Lucas), and the Chesire Cat (Stephen Fry). All are on a quest to help Johnny Depp’s nightmare worthy Mad Hatter cope with the loss of his family after a Jaberwocky decided they were better off dead. The White Queen orders Alice to go back in time to save the Hatter’s family and bring him back from the Disney equivalent of suicide. It is here where we meet the film’s one strength in the form of Sacha Baron Cohen’s Time. Time is a German sounding cooky sort who never comes off as a true antagonist. He denies Alice’s request for time travel because changing the past will (and later does) have nasty repercussions. So when talking doesn’t work, Alice throws caution to the winds and steal a time ship which is basically the equivalent of a Dr. Who Tardis with better special effects. This makes it hard to root for Alice, who is really kind of a jerk for putting the universe at risk just so her old chum can be happy. Be that as it may, Time begins a merry chase after her and the duo fight through history.

Though the story and characters are hard to follow, the film is not without merit. Alice Through the Looking Glass boasts much more impressive set pieces than its predecessor, fully realizing the crazy world of Wonderland. The film is also quite funny thanks to expert comedic timing from Bobin’s direction. Just when you start getting overly frustrated at the lack of sense in the plot, a funny quip will keep you going. Sadly, this is really all the film has to offer. Besides the very obvious CGI worlds and occasional funny moments nothing happens that will stay with you outside of the theatre. Instead, this lackluster piece will simply have you asking for your money back.
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7.2
A great animation picture with new characters and fun.
Finding Dory is a good quality animated adventure that children and adults can enjoy alike. Unlike its predecessor, it lacks originality but makes up for it with great new characters and funny gags. The animation is on point and the lighting effects with the water make such a realistic effect that if weren’t for the adorable cartoon fish swimming around, you could almost think it was real. It speaks to the talent of Pixar and shows that they are not yet done impressing the world with their awesome features
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6.0
Deadpool will easily stack up to one of the best comic films ever made. A fun character and cast led by impressive first time director Tim Miller
Deadpool is one of those things that just won’t die, literally and metaphorically. After a botched debut at the hands of Gavin Hood’s X-Men Origins: Wolverine, fans were worried that the merc with a mouth would never see the silver screen again. When the film finally made it out of development hell, rumors began to circulate that it was another terrible Fox comic film waiting to happen. Then preview screening reviews started to circulate with most “respectable” critics giving it a mediocre rating. But that’s where Deadpool sets itself apart from other movies. The film wasn’t made to give Ebert’s ghost a boner, it was made for the fans. This is a 2 hour love letter to the people who fought tooth and nail to see the beloved character get a second chance, and those people will be very pleased. But if you are an outsider to nerd dimension, you’ll probably want to steer clear.

Our hero really isn’t a hero at all. Easily earning his R rating, Wade Wilson (A.K.A. our titular protagonist) is a self-proclaimed bad guy, just not the “worst” guy out there. He has a soft spot though, for his favorite stripper turned girlfriend Vanessa (Firefly’s Morena Baccarin) and does his best to be a better man. Unfortunately, that all goes tits up when Wade discovers he has developed cancer in basically every area of his (admittedly bodacious) body. From here we follow a typical hero origin story. Blah blah blah, illegal mutant weapon program. Blah blah blah revenge plot for illegal weapon program. You get the gist. The story is really where Deadpool falters in step. There are no major plot twists, complications, or attempts at making a memorable plot whatsoever. While there are plenty of supporting characters, they may as well not even be there as this is definitely a one man show. That’s actually for the best as Ryan Reynolds is perfectly cast as DP. From the moment the title card rolls, the one liners start coming and never stop. Keeping up a constant barrage of jokes is tough for any script, and a few do fall flat, but for the most part the film is rib cracking hilarious and ridiculously entertaining.

Balancing a beloved comic hero with the demand for a rated R character is no small feat, but Reynolds and company pull it off stupendously. Whereas most other comic films focus on the action scenes, Deadpool is all about the laughs. That’s not to say there aren’t action scenes though. Easily the best parts of the film, there are three main fantastically choreographed scenes that are imaginative and bloody wonderful. Our anti-hero isn’t the only one rolling with the punches though.

This time around we have a fully realized CGI Colossus and Negasonic Teenage Warhead, a couple of X-men who get roped into helping Deadpool get his game on. This pair have small but welcome time on screen, mainly there to be foils to Deadpool’s antics. It leaves me wanting more X-men to interact with DP but with the movie timelines all screwy right now, it’s understandable that they kept the participation down to a minimum. Not only that, but in its ever self-aware wisdom Deadpool even cracks a few gags at the confusion itself. The villains are sadly worse for wear. The Transporter: Refueled Ed Skrein is Ajax, the mutant responsible for Wade Wilson’s misery. Though the acting is fine, there is no substance to the character. He’s simply evil for evils sake. That’s fine if you can stand apart, but Ajax falls into an ever growing box of failed Marvel villains. At least he does better than his comrade Angel Dust (former MMA fighter Gina Carano) who is there to punch and get punched and that’s about it. I get that the main attraction of the film is a hero people have been begging to see for decades, but that’s no excuse for giving other characters next to nothing interesting about them. In the end, it comes off as lazy script writing more than anything.
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9.0
The Martian is one of those films that only comes by once in a cinematic age and will be an overall joy for cinephiles and science fans alike.
Beautiful. Now that’s a word I never thought I would use to describe the lifeless surface of Mars to be sure, but Director Ridley Scott moved to prove me wrong in his latest film starring Matt Damon and Jessica Chastain. Scott’s ability in space has not been demonstrated so well since Alien, doing so much with so little, using quick multi-camera strategies along with vast establishing shots to show just how alone yet alive protagonist Mark Watney is. The film is a spectacle in terms of both presentation and performance, showing humanity at its finest and most desperate and captures the humanization of characters flawlessly. The Martian blasts away my expectations with stunning special effects and heartfelt character moments and is easily on of Ridley Scott’s defining masterpieces.

Mark Watney (Damon) is a botanist sent by NASA to analyze various soil samples on Mars, with his fellow crew all having their own personal missions. One day or Sol as they are called in space, a massive storm hits the team causing them to immediately abort. On their way to extraction Watney is hit with debris and assumed dead on the surface of Mars, leaving his team no choice but to leave without him. Miraculously, Watney does not die but this in itself introduces a new problem. He has to find a way to stay alive for years… on Mars. Limited food and water supply, a habitat only designed to last for a few months, and the sheer fact that he is the only living being on the planet create immense hurdles that Watney has no choice but to solve, otherwise he’ll be dead in weeks. Not only that but back home NASA has to find a way to get to him in time. The following events that transpire show greatness of the human spirit while also showing its’ greatest fears.

Matt Damon pulls off the impressive feat of performing a nearly two-hour long one-man show on the desolate wasteland of Mars. He is completely isolated and save for a couple of disco CDs, some spread out go pros, and his upbeat attitude, it’s going to stay that way until NASA can get back to him. Damon shows immense depth here; joking with himself and the audio diary when things get rough here, showing silent moments of intense reflection when coming face to face the fact that he may in fact die there. His emotional swings are perfectly balanced and his character is instantly likable and relatable. The supporting cast feels just as real. The Newsroom’s Jeff Daniels plays a hilariously dark director of NASA and despite his cold brevity he never feels overly cruel when he debates against spending millions of dollars to save one man on Mars. The remaining Mars crew are mostly made to actress in the confined area of their personal space station, The Hermes but make the most of it even with the limited surroundings. In fact the Hermes Station is where a great deal of the more practical special effects take place making the small moments with the remaining crew exciting ones. Though the 5 crew members are made of some heavy hitters like Kate Mara and Sebastian Stan, most focus is placed on Commander Lewis played by Jessica Chastain. Having made the deciding call to leave Watney on Mars, she is emotionally distraught but has to remain focused and on mission. Chastain’s steely stare and no bullsh*t attitude come off perfectly fitting for her character and makes the character a force to be reckoned with, particularly in the film’s third act when she is forced to make some more life or death calls.

These terrific performances emerged with some stunning practical effects make for an easily enjoyable film, but in the end this is DirectorRidley Scott’s crowning achievement. The casts that he is brought together perfectly off one another and the world he has built has as much of a persona as the characters do. His visually stunning shots are perfectly morphed with a simultaneously ambient and foreboding score by Harry Gregson-Williams as well as some strangely fitting disco music from yesteryear. When Watney does his video logs by talking to the various cameras set up around his habitat and equipment, what should feel like a disconcerting change of scenery comes off as completely natural with Scott behind the lens. With his expert camera work and excellent direction of talent on screen, Scott more than makes up for the disappointment I felt after Prometheus a few years back.

I raise a glass to the entire cast and crew on this production. Ridley Scott and space are very much a match made in the heavenly bodies and he shows it in a way almost no one else can. Through the roughly two and half hour run time, viewers will experience joy, sadness, hope, and desperation, sometimes simultaneously.
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