Action Movie Run All Night (2015)

Run All Night (2015)

R  |  114 min  |  Action, Crime, Drama  |  13 March 2015 (USA) 

Your rating:  

Ratings: 6.6/10 from 60,998 users   Metascore: 59/100
Reviews: 185 user | 227 critic | 34 from Metacritic.com

Mobster and hit man Jimmy Conlon has one night to figure out where his loyalties lie: with his estranged son, Mike, whose life is in danger, or his longtime best friend, mob boss Shawn Maguire, who wants Mike to pay for the death of his own son.

Director: Jaume Collet-Serra  

Writer: Brad Ingelsby

Stars: Liam Neeson, Ed Harris,  Joel Kinnaman |   See full cast and crew » 

 

 

Storyline

Professional Brooklyn hitman Jimmy Conlon is more commonly known as THE GRAVEDIGGER. Jimmy was a mob hit-man, who was best friends with his boss Sean Maguire. But when Jimmy's son, Michael, is marked for death by the mob, Jimmy must go up against Sean to protect Michael at all costs. Together, he and Michael must avoid corrupt cops, contract killers and the mob to survive the night.

 

John Wick (2014)

R  |  101 min  |  Action, Thriller  |  24 October 2014 (USA)7.2

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Ratings: 7.2/10 from 206,899 users   Metascore: 68/100
Reviews: 584 user | 351 critic | 39 from Metacritic.com

An ex-hitman comes out of retirement to track down the gangsters that took everything from him.

Directors: Chad  Stahelski,  David Leitch   (uncredited)

Writer: Derek Kolstad

Stars: Keanu Reeves, Michael Nyqvist, Alfie Allen | See full cast and crew » 

Storyline

John Wick is a mob hit man who, upon falling in love, quits. 5 years later, his wife dies and to make sure he's not alone she arranges for a dog to be brought to him after her death. Later, some men wanting his car break in and beat him up and kill his dog. When he recovers, he sets to get the ones who killed his dog. He learns that the leader is the son of his former employer. And the man wanting to protect his son, tries to take care of Wick but he's still as good as he was

Love is another visually striking trip up director Gaspar Noé’s ass

Director: Gaspar Noé

Runtime: 134 minutes

Rating: Not Rated

Cast: Karl Glusman, Aomi Muyock,

 Klara Kristin (in English and French w/subtitles)

Availability: Select theaters October 30 

 

 

Working in that time-tested arthouse tradition of combining explicit sex with interminable scenes of people arguing and talking about themselves, Gaspar Noé’s overlong 3-D relationship drama Love unfolds as series of spats between pigheaded American expat Murphy (Karl Glusman) and his Parisian girlfriend, Electra (Aomi Muyock), presented as flashbacks and dressed up with hardcore sex scenes scored to Erik Satie piano pieces, in which nothing really happens; you could take the sex scenes out, and Love would still be more or less the same film. This is another trip into the director’s ceaselessly self-explaining universe of archetypes, 2001: A Space Odyssey references, and New Age philosophy, and though Noé (Enter The Void, Irréversible) is by turns naïve, juvenile, and clumsily literalist, he is also a filmmaker stubbornly committed to making movies that don’t look or move like anyone else’s. He is confidently original—at least for someone who’s basically an edgy teenager in the body of a middle-aged man.
Naming a protagonist who does everything wrong Murphy and a woman with serious daddy issues Electra is about as subtle as Love gets, extrapolating an ordinary case of male ego (short version: He wants to fuck other women, but can’t stand the idea of her with another man) as though it were teaching Greek tragedy, complete with a scene in which a character explains the central themes of a movie that is exactly like the one the audience is watching. Noé is addicted to self-references: Murphy—who, like the Argentinean-born director, came to Paris for film school, not speaking a word of French—stashes drugs in a VHS case for Noé’s debut, I Stand Alone, and has a scale model of one of the fantasy buildings from Enter The Void; in framing scenes that show him slightly older, he has a young son named Gaspar. There’s a difference between being naked before an audience and showing them your dick, and Noé does the latter—very literally, in close-up and 3-D.

Noé is self-aware enough to recognize that his movies tend to disappear up their own asses; not for nothing is the nightclub in Irréversible called The Rectum. Love frames its own navel-gazing as an experiment in first-person psychological interiority, narrated by Murphy, who is trying to remember Electra while smoking opium on a dreary New Year’s morning. The misogynistic, self-pitying voice-over brings to mind the bitter, alienated narrator from I Stand Alone, though the approach here is perhaps too measured (or too personally invested) to be corrosive. Or perhaps the problem is in the cast, too amateur to emote and talk at the same time; what one wouldn’t do here for the unstable line readings of Enter The Void’s Paz De La Huerta, not to speak of the zip Vincent Cassel and Monica Bellucci put into Irréversible.
What does that leave? The movie’s geometrically striking, intentionally limited style. The camera is presentational and largely static, suggesting movement in the background of graphic novel panels, or, in the rare cases when it moves, the locked third-person of an open-world game. For the most part, there are three kinds of shots in Love (frontal, profile, overhead), which sometimes creates the impression of a moment being coldly sliced, as though by a lab technician preparing a microscope slide. Formal gimmicks have always been Noé’s strong suit, and here he comes up with a simple and effective one, spacing the shots with flickers of black screen in lieu of traditional continuity cuts. Love, a movie with very little to say about relationships and even less to say about sex, is somehow one of the most interesting attempts any filmmaker has made in recent years at conveying the experience of memory.
Love handles sex unimaginatively, with the kind of solemnly static compositions and classical music that let viewers know it’s art. But its use of 3-D to visualize the energy and movement of cosmopolitan nightlife (also a strong point in the opening stretch of Enter The Void) is sometimes dazzling: Laser lights and strobes confuse the visual planes of a nightclub scene; dim apartment interiors recede into the background like illusionistic trompe-l’œil frescoes; and an argument staged in the back of a cab, with Murphy and Electra silhouetted against the moving backdrop of the city street, throbs with claustrophobic immediacy. Ironic that a movie that’s so explicitly about intimacy should only feel intimate when it gets its characters to 

love (II) (2015) Not Rated  |  135 min  |  Drama, Romance  |  30 October 2015 (USA) 6.1 Your rating:     -/10   Ratings: 6.1/10 from 4,759 users   Metascore: 51/100 Reviews: 25 user | 107 critic | 27 from Metacritic.com Murphy is an American living in Paris who enters a highly sexually and emotionally charged relationship with the unstable Electra. Unaware of the effect it will have on their relationship, they invite their pretty neighbor into their bed. Director: Gaspar Noé Writer: Gaspar Noé Stars: Aomi Muyock, Karl Glusman, Klara Kristin | See full cast and crew »               Storyline    Murphy is an American living in Paris who enters a highly sexually and emotionally charged relationship with the unstable Electra. Unaware of the effect it will have on their relationship, they invite their pretty neighbor into their bed.                               .

Fury(2014)

April, 1945. As the Allies make their final push in the European Theatre, a battle-hardened army sergeant named Wardaddy (Brad Pitt) commands a Sherman tank and her five-man crew on a deadly mission behind enemy lines. Outnumbered and outgunned, Wardaddy and his men face overwhelming odds in their heroic attempts to strike at the heart of Nazi Germany.

Sony Threatened by Hackers as ‘Annie’ and ‘Fury’ Leak Online

Last week, Sony Pictures was crippled by a cyber-attack from an organization known as the Guardians of Peace (G.O.P.), which disabled all of their communications inside the company. The organization threatened to expose the studios' "top secrets" if their demands were not met, which have not been been disclosed. Over the weekend, G.O.P. leaked five Sony movies onto the Internet, four of which have not been released in theaters yet. The movies that were leaked online include Fury, Annie (December 19), Mr. Turner (December 19), Still Alice (January 19, 2015) and To Write Love On Her Arms, which doesn't have a release date set.
Variety also reports that, since the movies leaked online, Fury has been downloaded more than 1.2 million times, while Annie has been downloaded by over 206,000 file-sharing users, as of yesterday. File-sharing tracking service Exipicio also revealed that Still Alice was pirated by 103,832 users, followed by Mr. Turner's 63,379 illegal downloads and To Write Love On Her Arms with 19,946 downloads.

BOX OFFICE: ‘Fury’ Wins the Weekend with $23.5 Million

BOX OFFICE PREDICTIONS: Will ‘Fury’ Overtake ‘Gone Girl’?

First ‘Fury’ Clip and Photo Gallery Featuring Brad Pitt

A young soldier's reluctance to kill his enemy draws the ire of his commanding officer in the first clip from director David Ayer's Fury, arriving in theaters nationwide October 17.
Fury is set in April, 1945, towards the end of World War II, as the Allies make their final push in the European Theatre. A battle-hardened army sergeant named Wardaddy (Brad Pitt) commands a Sherman tank and her five-man crew on a deadly mission behind enemy lines. Out-numbered, out-gunned, and with a rookie soldier thrust into their platoon, Wardaddy and his men face overwhelming odds in their heroic attempts to strike at the heart of Nazi Germany.

American Sniper Poster American Sniper(2014)

From director Clint Eastwood comes “American Sniper,” starring Bradley Cooper as Chris Kyle, the most lethal sniper in U.S. military history. But there was much more to him than his skill as a sharpshooter. U.S. Navy SEAL Chris Kyle is sent to Iraq with only one mission: to protect his brothers-in- arms. His pinpoint accuracy saves countless lives on the battlefield and, as stories of his courageous exploits spread, he earns the nickname “Legend.” However, his reputation is also growing behind enemy lines, putting a price on his head and making him a prime target of insurgents. He is also facing a different kind of battle on the home front: striving to be a good husband and father from halfway around the world. Despite the danger, as well as the toll on his family at home, Chris serves through four harrowing tours of duty in Iraq, personifying the spirit of the SEAL creed to “leave no one behind.” But upon returning to his wife, Taya (Sienna Miller), and kids, Chris finds that it is the war he can’t leave behind.

‘American Sniper’ Blu-ray and DVD Coming on May 19

From director Clint Eastwood comes American Sniper, arriving onto Blu-ray Combo Pack, DVD and Digital HD on May 19 from Warner Bros. Home Entertainment in association with Village Roadshow Pictures, A Mad Chance Production, A 22nd & Indiana Production. American Sniper stars Bradley Cooper as Chris Kyle, whose skills as a sniper made him a hero on the battlefield. But there was much more to him than his skill as a sharpshooter.
A two-time Oscar nominee for his work in Silver Linings Playbook and American Hustle, Cooper stars alongside Sienna Miller, Luke Grimes, Jake McDorman, Cory Hardrict, Kevin Lacz, Navid Negahban and Keir O'Donnell. Oscar-winning filmmaker Clint Eastwood (Million Dollar Baby, Unforgiven) directed American Sniper from a screenplay written by Jason Hall, based on the book by Chris Kyle, with Scott McEwen and James Defelice. The autobiography was a runaway bestseller, spending 18 weeks on the New York Times bestseller list, 13 of those at number one

Who Is Apollo Creed? A Brief History of Rocky's Greatest Rival (and Friend)

The story of Rocky is legend, and at this point, most of us can either rattle off Rocky’s boxing accomplishments across his six films or relate the story of how wannabe movie star Sylvester Stallone wrote a little boxing movie for himself and became an icon in the process.
This is not that story.
This is the story of Creed, the fighter from the first four Rocky films, who went on to quite unexpectedly spawn a film bearing his name all these years later in 2015. We knew Creed was always a worthy opponent, but we never expected Creed to be such a worthy sequel/spin-off movie. We’re absolutely delighted to report - it’s damn good.
Michael B. Jordan completely inhabits Adonis Creed, Apollo’s illegitimate son, fighting out from under the shadow of a father he never knew in the sport he was born to conquer. Sylvester Stallone reprises his role as Rocky Balboa, but in support of Adonis’s story of triumph in the face of adversity. That isn’t a spoiler; that’s the bread and butter of the franchise.
So, how did we get here? We go back to 1975.

The Origin of Apollo Creed
“We needed, not only a guy who’s a boxer, but he had to be someone who was just the opposite of the Rocky character. A classy, educated boxer is what we were looking for, in a sense,” related Rocky producer Robert Chartoff in an interview for Rocky’s DVD special features. The script got the attention of former pro football player Carl Weathers.
Weathers studied acting during the NFL off-seasons and immediately saw himself in the Creed role - supremely confident and charismatic. At the audition, Weathers stepped out before any dialogue was exchanged and came back to read shirtless. To act opposite Weathers, Stallone whipped his shirt off too. The filmmakers knew there was something special at work.
“What made Apollo Creed a great opponent was Apollo Creed, as any great champion would do, will bring out something in you that you didn’t know you possessed,” Weathers related. “Great opponents have a tendency to do that.”

Apollo in Rocky: “Be a thinker, not a stinker.”

We first see Apollo Creed on TV in a bar, challenging Mac Lee Green, and revealing a little bit about the darker side of boxing in the process. “Stay in school; use your brain. Be a doctor; be a lawyer. Don’t care about sports as a profession,” admonishes Creed to the TV cameras. It’s a curious aside for a character who will become known over the course of the films for his tenacity, but Creed’s nearly proven right when Green breaks his own hand and the future of the big Creed/Green fight is brought into question.
With the promotional machine in place and so much money on the line for the fight in Philadelphia, Creed settles on boxing a patsy and leans hard on mid-70’s American bicentennial fervor. Local bruiser “The Italian Stallion” Rocky Balboa is chosen at the last minute simply because Creed thinks their names will look good on the marquee.
Creed’s camp coasts to the Bicentennial SuperBattle, and finds themselves going blow-for-blow with a Balboa who’s hungrier than anyone had counted on. Apollo wins this fight, but eats too much crow for comfort. What he thought would be an early knockout against a chump turns into a punishing full 15 rounds and a win by decision against a fighter with a heart that turns him into a boxing legend.

Apollo in Rocky II: “Man, I won...but I didn't beat him!”

Picking up right when the first film finishes, a humiliated Apollo Creed immediately demands a rematch with Rocky Balboa now that he knows exactly what kind of fighter he’s dealing with. Creed’s handlers know it too, perhaps better than Creed does, and strongly advise against it, but it’s Creed’s ego that wins out. Sports fans accuse the fight of being fixed, with Creed willingly participating in a drawn-out spectacle designed to pull the heartstrings of Philly, instead of giving his all. Creed becomes a man obsessed with putting these accusations to rest.
Creed’s only able to put the rematch together after a concerted PR campaign from his party that paints the Italian Stallion as a chicken. It’s this relentless bad press (coupled with Rocky’s ineptitude at being a viable advertising spokesman) that sends Balboa back to his trainer Mickey to overcome Balboa’s “Southpaw jinx” and correct his one exploitable in-ring weakness.
Surprising no one (these movies are titled Rocky after all), Creed underestimates Rocky again, this time leading to a knockout against Creed in the final round. Carl Weathers sees Rocky II from the perspective of Apollo, “What Apollo Creed has to learn is that you can’t count a guy out just because he hits the floor,”

Apollo in Rocky III: “There is no tomorrow.”

This film marks a shift in the relationship between Creed and Rocky. Newcomer Clubber Lang (Mr. T) trounces a complacent celebrity Rocky, and Rocky’s trainer Mickey succumbs to heart failure at the conclusion of the fight. When all seems lost, Apollo Creed steps in.
Without betraying a single bit of established characterization, Creed takes Rocky under his wing. He helps Rocky cope with the loss of Mickey and trains him to up his speed game at the Los Angeles gym where Apollo made his name. All he asks in return from Rocky is a private bout, one away from the crowds, cameras, and lights, to answer the question of who’s better, once and for all (and ending the film with a freeze frame that would drive audiences crazy for an answer).

Apollo in Rocky IV: “Don’t stop this fight, no matter what.”

Creed is brought out of retirement by the prospect of boxing Russian juggernaut Ivan Drago. Like the Bicentennial SuperBattle, Creed sees this as an opportunistic way to exploit the Cold War, have a bit of fun, and make a ton of money.
No fun was had. Drago annihilates Creed with crushing punches, and though Creed knows the fight is far more serious than he ever imagined it would be, he refuses to throw in the towel. And at the time, no one could’ve predicted that Drago would land a killing blow.
The biggest crime of Rocky IV is that the audience gets no time to mourn this character we’ve gotten to know over the course of four films. It rolls straight into Rocky’s challenge to Drago, reducing Creed to just another side player in Rocky’s story. It is the last we see of Carl Weathers as Apollo Creed.
Weathers reflected on Creed’s legacy, “There was something in that character that resonated as a man for the people. That’s meaningful to them - to be recognized as a man who stands up for what he believes and can handle himself with what he believes. No matter where I go in the world, people still revere that character.”

The Origin of Adonis Creed

Apollo’s presence is sorely missed in 1990’s Rocky V and 2006’s Rocky Balboa, which continued Rocky’s story into old age and retirement. That might’ve been it for the franchise if it wasn’t for Fruitvale Station writer-director Ryan Coogler and his relationship with his own dad, who was a fan of the Stallone series. “We would watch them all the time and he would cry at the same moments, and he would get fired up at the same moments,” Coolger told Toronto Sun. When Coogler’s father became seriously ill, Coogler considered how Rocky might react to such a situation and the idea for a new film was born.
Creed is the first “Rocky” film not penned by Stallone, and if the actor had any skepticism, it was erased by the power of Coogler’s script. Stallone soon came aboard as a producer and agreed to play Rocky Balboa one more time opposite Michael B. Jordan’s Adonis Creed. The cast is rounded out by Tessa Thompson as the earthy musician Adonis has feelings for and Phylicia Rashad as Mary Ann Creed (taking over the established role from Lavelle Roby and Sylvia Meals, respectively).
“A guy dreams of just getting in the ring and, y’know, having a chance. But a chance doesn’t necessarily define you; it’s what you do with the opportunity,” Weathers is speaking generally of the Rocky series, but it applies directly to Ryan Coogler. The young writer-director has taken his chance and delivered a knockout.