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Captain America : The Winter Soldier (2014)

Captain America : The Winter Soldier (2014) 
Captain America : The Winter Soldier is an upcoming american action film featuring the marvel comics character Captain America Produced by Marvel studios and distributed by Walt Disney Studios Motion Pictures.
Director : Anthony Russo , Joe Russo

Producer : Kevin Feige

Writers : Christopher Markus, Stephen McFeely

Stars : Chris Evans, Frank Grillo, Sebastian Stan

Music : Henry jackman

Country : United States

Language : English

Release Date : 04 April 2014  (USA)

Running Time : ....

Plot

Steve Rogers struggles to embrace his role in the modern world and battles a new threat from old history: the Soviet agent known as the Winter Soldier.

Movie Review

Not Yet

Watch Captain America : The Winter Soldier (2014) Official Trailer [HD]




Captain Phillips (2013)

Captain Phillips is a 2013 american action thriller film directed by Paul Greengrass and starring Tom Hanks and Barkhad Abdi. The film is a Biographical film of merchant mariner (merchant mariner)Captain Richard Phillips, who was taken hostage by Somali pirates in the Indian Ocean during the Maersk Alabama hijacking in 2009 led by Abduwali Muse.

Director : Pauk GreenGrass

Producers : Micheal De luca , Dana Brunetti ,Scott Rudin

Writer : Billy Ray

Stars : Tom Hanks, Barkhad Abdi

Music : Henry jackman

Country : United States

Language : English , somali

Release Date : 11 October 2013  (USA)

Running Time : 134 minutes

Movie Review

“Captain Phillips,” a movie that insistently closes the distance between us and them, has a vital moral immediacy. It was directed by Paul Greengrass, the British filmmaker who quickened the pulse of contemporary action cinema with the second and third installments in the Bourne franchise, features that proved yet again that big-screen thrills and thought need not be mutually exclusive. Kinetic action and intelligence are similarly the driving forces in “Captain Phillips,” which, like Mr. Greengrass’s Bourne movies, shakes you up first with its style and then with its ideas.


The story is based on shivery, true events that unfolded in early April 2009, when four armed Somalis seized the Maersk Alabama, an American container ship under the command of Richard Phillips. The ship, with an unarmed crew of just 20 sailors, was hauling tons of cargo in hundreds of containers, including food from the United Nations World Food Program designated for African countries. To the Somalis, the ship apparently looked like a floating jackpot. What happened next played out in world news, and Captain Phillips went on to write, with Stephan Talty, a plodding, straightforward book with the telegraphing title “A Captain’s Duty: Somali Pirates, Navy SEALS, and Dangerous Days at Sea.”
“Captain Phillips” is based on “A Captain’s Duty,” and while they trace a similar narrative arc and share numerous details, they’re worlds apart in terms of sensibility. Written by Billy Ray (whose credits include “Shattered Glass”), it opens with a postcard-perfect shot of a white Vermont house. Inside, Captain Phillips (Tom Hanks) is packing up and checking his route. He and his wife, a nurse, Andrea (Catherine Keener, who’s there to underscore Phillips’s decency), are soon on their way to the airport and murmuring about their children, the future and a fast, scarily changing world. There’s a stiltedness to their talk — and Mr. Hanks leads too hard with a broad Boston accent — yet the scene’s intimacy, and the couple’s vulnerabilities, immediately humanize Phillips.

Mr. Greengrass likes to work fast. One minute Phillips is hugging his wife at the airport and the next he’s walking the decks of the Maersk Alabama, testing its unlocked security gates and running his crew through a safety drill. Almost as soon as the crew finishes the exercise, it’s confronted with a real-world threat: two rapidly approaching skiffs. Phillips and the crew dodge the skiffs by increasing their speed (the real ship’s speed topped out at 18 knots, or about 21 miles per hour) and shifting course to churn up destabilizing waves. Badly rocked, their jerry-built engines sputtering, the skiffs turn back, but the next day, one returns with four heavily armed Somali men. Led by Muse (the newcomer Barkhad Abdi, very, very fine), the Somalis board the Alabama, initiating a harrowing siege.

At the time of the hijacking, a lot of the news reports focused on Captain Phillips and the nominal exoticism of a 21st-century piracy that had nothing to do with illegal downloads, football or Johnny Depp swashbuckling through a Disney franchise. The existential realities that inform contemporary Somali piracy turn out to be one of the unexpected themes of “Captain Phillips,” which begins as something of a procedural about men at work and morphs into a jittery thriller even as it also deepens, brilliantly, unexpectedly, into an unsettling look at global capitalism and American privilege and power. Phillips is unambiguously a heroic figure, but he’s scarcely the sole point of interest in a movie that steadily and almost stealthily asserts the agonized humanity of his captors.
This humanization hits you like a jolt. The shock isn’t that the pirates are people, however corrupted. But that even as the movie’s rhythms quicken along with your own — Mr. Greengrass works you over like a deep-tissue pugilist with smash cuts, racing cameras and a propulsive soundtrack so you feel the urgency as well as see it — an argument is being created. There is, you realize, meaning here beyond the plot, meaning in the barren Somali hamlet in which Muse and his companions congregate under warlord gunpoint and in the razored angles of their startling, gaunt faces. There’s meaning, too, in the wild eyes and stained teeth of men who never eat, but stuff their thin cheeks with khat, the amphetaminelike plant that, among its uses, helps suppress the appetite.

After the Somalis take over the Alabama, the action downshifts and the story settles uneasily into a tense standoff with Muse and Phillips now staring warily at each other across the ship’s bridge rather than across the water through binoculars. Mr. Hanks is one of the few movie stars who, like Gary Cooper once upon a Hollywood time, can convey a sense of old-fashioned American decency just by standing in the frame. There’s something so unforced about him that it can seem as if he’s not delivering a performance, just being Tom Hanks. This feeling of authenticity, however well honed and movie made, dovetails with Phillips’s gruff likability to create a portrait of a man trying to keep himself, his crew and his ship together even as the world he knew comes violently undone.
That reality grows progressively more uneasy with the arrival of the American military, which descends with expected might in warships that loom over the crisis like idled, waiting giants. Throughout “Captain Phillips,” Mr. Greengrass plays with scale, proportion and camera angles to underscore the differences at play in the story; there’s an early aerial shot of Phillips walking on the deck of the Alabama and dwarfed by a ship that in turn drifts like a speck on the water. Later, these extremes accentuate the paradoxes of the story — the tiny Somalis scrambling aboard an enormous American ship — that grow more pointed and political, as when a group of hugely muscled Navy personnel arrive and begin gearing up for a finale in which there seem to be many Goliaths but no David.
What comes after isn’t a surprise, even if “Captain Phillips,” which revs you up with frenzied action and violent spectacle, does surprise by denying you the usual action-movie high. Because just as the movie races toward its foregone conclusion, it also begins siphoning off the excitement it has been building up all along. The big men with the big guns do their part, but the skin-prickling, carnal excitement that almost inevitably comes with certain types of screen violence never manifests, replaced instead by dread, anxiety, a shaking man and whole a lot of blood. It’s the kind of blood that most movies avoid and that, Mr. Greengrass suggests, is what remains unseen in global traumas like this. Some viewers may pump their fists but, I think, he wants this victory to shatter you.

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Watch Captain Phillips (2013) Official Trailer



Percy Jackson : Sea Of Monsters

Percy Jackson : Sea Of Monsters is a 2013 american fantasy-adventure film based on the Rick Riordan novel of the same name.

Director : Thor Freudenthal

Producers : Micheal Barnathan, Chris Columbus, karen Rosenfelt

Writer : Marc Guggenheim

Stars : Logan Lerman , Alexandra Daddario, Brandon T. Jackson

Country : United States

Language : English

Release Date : 7 August 2013  (USA)

Running Time : 106 minutes

Plot Summary

In this retelling of Rick Riordans book, "The Sea of Monsters", Percy Jackson, accompanied by his friends Annabeth Chase, Clarisse La Rue and Tyson, his half brother, goes on a journey to the Sea of Monsters to retrieve the Golden Fleece and save Camp Half-Blood.

Movie Review 

 Following the almost $226.5 million box office of the first Percy Jackson movie, the hero (Logan Lerman) has returned to save Camp Half-Blood, the training ground for Greek demigods and employer of the teacher-centaur Chiron (Anthony Head of “Buffy the Vampire Slayer,” at his Watcher-ly best, replacing Pierce Brosnan). When the magical tree that protects the camp is poisoned, Percy must retrieve the Golden Fleece to heal it.

Tagging along with Percy’s buds Annabeth (Alexandra Daddario) and the satyr Grover (Brandon T. Jackson) is Percy’s half-brother, Tyson (an appealing Douglas Smith), a shaggy Cyclops mocked by his peers. (Given the proclivities of their father, Poseidon, Percy and Tyson must have countless half-siblings.)
Also chasing the fleece are Clarisse (Leven Rambin, lending welcome astringency), the daughter of Ares, and Luke (Jack Abel), the embittered son of Hermes, back from the first installment, who intends to use the fleece to revive the dreaded Kronos, long-dormant leader of the Titans. The demis must traverse the Sea of Monsters (the Bermuda Triangle, that is) to reach an abandoned amusement park, the giant Cyclops Polyphemus and a Kronos resembling the walking volcano from “Wrath of the Titans.”
Regrettably absent here is Catherine Keener (as Percy’s mother), though Nathan Fillion (another “Buffy” alum), as Hermes, has amusing moments. “Sea of Monsters” is diverting enough — the director, Thor Freudenthal (“Diary of a Wimpy Kid”), is savvy with effects and keeps his young cast on point — but it doesn’t begin to approach the biting adolescent tension of the Harry Potter movies. Are there hints of another sequel? You bet your gorgon.

Watch  Percy Jackson : Sea Of Monsters (2013)  Trailer



 

Cloudy with a Chance of Meatballs 2 (2013)

Cloudy with a chance of Metaballs 2 is a 2013 Amercan computer animated comic sci-fi film produced by Sony pictures animations and distributed by columbia pictures.


Directors : Cody Cameron , Kris Pearn

Companies : Sony pictures

Writer : Judi barrett

Stars : Bill Hader , Anna Faris, Will Forte

Country : United States

Language : English

Release Date : 27 September 2013  (in theaters)

Running Time : 95 minutes

plot summary

Cloudy 2 picks up where the first movie left off, with Flint Lockwood discovering that his evil machine which turns water into food "is still operating and now creating mutant food beasts. With the fate of humanity in his hands, Flint and his friends must embark on a dangerously delicious mission, battling hungry tacodiles, shrimpanzees, apple pie-thons, double bacon cheespiders and other food creatures to save the world… again.

Movie Review 

Working from a beloved 1978 children's book by Judi and Ron Barrett that had virtually no plot, 2009's "Cloudy with a Chance of Meatballs" was a pleasant surprise for kids and parents. Directors Phil Lord andChris Miller not only assembled one of the most likable voice casts of that year but cleverly worked relatable themes of personal expression, parental acceptance, and even a sweet romance into a tale in which cheeseburgers fall from the sky and gummy bears can be deadly.
Returning to Swallow Falls in the inevitable sequel (not at all based on the Barrett's literary follow-up, "Pickles to Pittsburgh"), the creators of "Cloudy with a Chance of Meatballs 2" retain enough of the imaginative energy of their predecessor to keep little ones engaged but they fall victim to the common trap of animated sequels, believing that the driving creative principle has to be more, More, MORE. The food doesn't just fall from the sky this time, it moves, breathes, and develops its own ecosystem. The result is a film in which the environment, the "Foodimals," end up more interesting than the characters or story.
In a brief recap to open the sequel, we're reminded that Flint Lockwood's (Bill Hader) "FLDSMDFR" ("Flint Lockwood Diatonic Super Mutating Dynamic Food Replicator") was lost at the end of the first film, leaving everyone with a happy ending but what looked like a heck of a lot of clean-up work. Flint is awestruck when his idol, a creative titan known as Chester V (Will Forte), head of the revolutionary tech company Live Corp, descends on Swallow Falls and not only offers to help in the clean-up efforts going on around the world but wants to work with Flint. 
Lockwood, his girlfriend Sam Sparks (Anna Faris), and dad Tim (James Caan) head off to San Franjose, where Flint becomes a cog in Chester's highly-competitive machine, a tech operation where there's a caffeine station every ten feet and monitors display motivational platitudes from the company leader. The spoofing of the tech industry's over-caffeinated, over-competitive atmosphere by writers John Francis Daley, Jonathan Goldstein, and Erica Rivinoja is clever but will likely go over the heads of most kids and register as kind of slight for the older ones.
Of course, the clearly malevolent Chester V, aided by an ape with a human brain named Barb (Kristen Schaal), has sinister motives. He wants the FLDSMDFR and he knows Flint is the only one who can get it for him. Chester convinces Flint that Swallow Falls has become overrun by deadly creatures that are half-food, half-animals. Vicious "Cheesespiders" (cheeseburger-shaped spiders) roam the island, even killing off most of the Live Corp. employees who have gone to help the clean-up effort. With his knowledge of how all of this chaos started in the first place, Flint is the only one who can save the island. He's like Ian Malcolm in "The Lost World," headed back to the chaos, and the visual cues to the Steven Spielberg series, complete with a stampede of giant bananas are pretty transparent. Replace the Raptors with Cheesespiders and the T. Rex with a giant taco.
Of course, there are no lone heroes in kid's movies and the writers and new directors Cody Cameron and Kris Pearn can't miss the chance to get the beloved characters from the first movie back to help Flint on his journey. The lovely Sam and gruff pop join forces with Flint's monkey Steve (Neil Patrick Harris), Officer Earl (Terry Crews, replacing Mr. T from the first film), and even Chicken Brent (Andy Samberg) and cameraman Manny (Benjamin Bratt). Can friendship and teamwork tackle an island of "Flamangoes" and "Shrimpanzees"?
I wish "Cloudy with a Chance of Meatballs 2" answered that question. It's not a film about friendship and teamwork as it is a film about marshmallows with faces. "Cloudy 2" is undeniably dense with ideas, images, and characters but slight on anything of thematic interest at all. The first movie was about a kid obsessed with science and ostracized from his society learning that he had a place in it. The second movie is about an admittedly adorable, talking strawberry. The characters of "Cloudy 2" are almost non-existent, turning into devices to get viewers to the next visual "ooh" moment. Yes, a lot of those visual moments are creative but this film simply lacks the heart of the first one, becoming a series of interesting set pieces more than an engaging story.
It's not through lack of trying on the part of the voice cast, who are uniformly strong. Hader and Faris have an energy that most animated films lack and they're accompanied well by Caan, Forte, and Schaal. Finding the right actors to voice the characters is a crucial and often under-valued element in animation and a lot of the success of "Cloudy" came back to the way Hader and Faris didn't phone in their work in the slightest, making Flint and Sam characters who were easy to root for. This time, the script doesn't give them enough time to work creatively other than to respond to what's around them but the cast can't be blamed for that.
It comes down to point of comparison. Holding this film up against its wildly inventive predecessor shows its flaws and yet it retains enough of that movie's creative spark that it's hard to dismiss when compared to the other films that clutter the animated marketplace. The world of "Cloudy with a Chance of Meatballs 2" is a cleverly-conceived one, the design of the film is engaging on all levels, and the voice cast is great. It's the story that fails to engage beyond the glittering surface. Maybe they should try "Pickles to Pittsburgh" next time.
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Watch Cloudy with a chance of Metaballs 2 (2013) Movie Trailers


Transformers : Age of Extinction (2014)

Transformers : Age of Extinction (2014)

Transformers : Age of Extinction is an upcoming american science fiction & action film based on Transformers toy line. It is the fourth installment of Transformes film Series.This film is a sequel to Transformers : Dark of the Moon , taking place four years after the invasion of Chicago.The film is set for release on 27 June 2014 (USA) in 3D.
Director : Michael Bay

Production Company : Hasbro

Writer : Ehren Kruger 

Stars : Mark Wahlberg, Nicola Peltz, Jack Reynor,

Country : United States

Language : English

Release Date : 27 June 2014 

Running Time :

Plot

The plot is a mechanic and his daughter make a discovery that brings down Autobots and Decepticons - and a paranoid government - official on them.

Movie Review

Not Reviews Yet


Dhoom 3 (2013)

Dhoom 3 is an upcoming Bollywood action thriller film Directed by Vijay Krishna Acharya.it will be the  Third installment of popular Dhoom series.Abhishek Bachchan and Uday Chopra will reprise their role as Jay Dixit and Ali Akber while Aamir Khan and Katrina Kaif opponent couple.Dhoom 3 will be relaesed on 20 December 2013 in regular 2D and IMAX Format. This is the first bollywood movie to be released in the IMAX format.
Director : Vijay Krishna Acharya

Producer : Aditya Chopra

Writers : Aditya Chopra,Vijay Krishna Acharya

Stars : Aamir Khan , Katrina Kaif, Abhishek Bachchan , Uday Chopra

Music : Pritam Chakrabarty

country : India



Release Date : 20 December 2013

Running Time : 

Movie Review :

Not Yet

Watch Dhoom 3 trailer on Youtube

DHOOM 3 teaser Aamir Khan !! Katrina Kaif !! Abhishek Bachchan !! Uday Chopra



DHOOM 3 Theatrical trailer Aamir Khan !! Katrina Kaif !! Abhishek Bachchan !! Uday Chopra


Free Bird (2013)

Free Bird (2013)


Director : Jimmy Hayward
Writers : Jimmy Hayward,  Scott Mosier, David I. Stern, John J. Strauss
Stars : Woody Harrelson , Owen Wilson , Dan Fogler
Release Date : 01 November 2013

Two turkeys from opposite sides of the tracks must put aside their differences and team up to travel back in time to change the course of history - and get turkey off the holiday menu for good.

movie Reviews :

Owen Wilson lends his voice to Reggie, a purple-plumed, free-range turkey who is smart, skinny and self-serving. The casting director should be commended for uniting Mr. Wilson with Woody Harrelson in an animated buddy comedy. Yet, while Mr. Harrelson is successful precisely because he disappears into the role of the dimwitted and fearless turkey, named Jake, Mr. Wilson plays a stifled caricature of his persona from his live-action films. The script even recycles a joke from his role in“Zoolander.” And worse, little else in the film is funny.
The plot follows the turkeys as they travel back in time to alter the first Thanksgiving menu. It is, quite accurately, I think, as if someone said, “Let’s make ‘Bill & Ted’s Excellent Adventure’ starring turkeys!” Some of the same visuals and plot points from that 1980s classic are copied here, without any of its inventiveness and singular tone. It takes a certain brilliance to do dumb well, but the makers of “Free Birds” have not displayed this quality.
Instead, the film is stuffed with violence. Some children may be frightened by scenes involving horror-style attack dogs, relentless fighting and even the love interest’s lazy eye. Most disappointing is that the 3-D animation is smooth but visually uninteresting in this first feature from Reel FX, an animation studio with a track record in commercials.
The movie’s pro-vegetarian, pro-fast-food message is nutritionally dubious — and notably sponsored by Chuck E. Cheese’s. (This might be a good occasion to explain to your child what “product placement” means.) The movie subversively suggests not only that we should avoid the traditional foods at Thanksgiving, but also that we should have that meal delivered. Never has a holiday film seemed to hate the values of the event it’s celebrating so much. In the end, as after a junk food binge, “Free Birds” is likely to leave audiences fuzzy-headed and vaguely nauseated instead of nourished and satisfied.

Watch Free Bird (2013) Official Trailer ON Youtube



Wreck-It Ralph (2012)

Wreck-It Ralph (2012)

Director : Rich Moore
Writers : Jennifer lee , Phil Jhonston
Producer : Clark Spencer
Principal Cast  : John C. Reilly(Wreck-it_ralph), Sarah Silverman( Vanellope von Schweetz), Jack McBrayer (Fix-it Felix Jr.) Jane Lynch (Sergeant Calhoun), Alan Tudyk (king Candy) And Mindy Kaling (Taffyta Mutonfudge)
release date : 2nd November 2012
Running Time : 108 minutes

A video game villain wants to be a hero and sets out to fulfill his dream, but his quest brings havoc to thee whole arcade where he lives

Movie Review

“Wreck-It Ralph,” a brand-new Walt Disney feature, unites child-friendly 3-D animation with video games. This will strike many parents as a consummation devoutly to be dreaded, akin to a sentence of consecutive birthday parties at Chuck E. Cheese’s. Scholars of corporate pop-culture synergy, on the other hand, will wonder what took so long, since between them the kiddie-cartoon and joystick rackets account for untold billions of dollars in revenue. The merchandising potential is limitless! In either case, the movie invites a measure of cynicism — which it proceeds to obliterate with a 93-minute blast of color, noise, ingenuity and fun.
The “Toy Story” movies have taught us to empathize with inanimate, mass-produced playthings, to imagine them with inner lives in some ways richer than our own. “Wreck-It Ralph” attempts a similar feat with the pixilated avatars that shoot, scamper and zoom across our various interactive screens. In some ways this represents an easier cognitive leap, since those characters already possess rudimentary personalities along with the ability to move and make sounds.
But video game characters are also the coldblooded (or maybe code-blooded) inhabitants of rigidly deterministic worlds. They may command our sometimes compulsive attention, but can we ever really love them?
The makers of “Wreck-It Ralph” —Rich Moore directed, from a screenplay by Phil Johnston and Jennifer Lee — answer this question by appealing, first of all, to nostalgia, to the affection parents feel for games that evoke their childhoods. Woody and Buzz Lightyear were to some degree baby boomer throwbacks, and Ralph and some of his companions similarly recall the golden age of Generation X arcade play, the 1980s of Pac-Man and Centipede and Donkey Kong.
Ralph, a lumbering giant with huge hands, an appetite for destruction and the voice of John C. Reilly, has toiled for 30 years as the “bad guy” in a game called Fix-it Felix Jr. Every time a quarter drops into the slot, he smashes up an apartment building until it is repaired and he is routed by Felix, a twerpy goody two-shoes voiced by Jack McBrayer.
Fix-it Felix Jr. is only one of many game environments created in the film, which cleverly toggles between its own rather conventionally bigheaded, smooth-featured character design and the variously crude, fanciful and realistic styles that the players would see. When the arcade is closed, the characters are able to travel outside and between their native games, a conceit that makes possible some good jokes, a handful of geek-friendly references and cameos — nice that Q*Bert gets a shout-out — and a hectic, multilevel plot.
Ralph, like any true Disney animated hero, undergoes an identity crisis. Treated as a pariah by his colleagues in Fix-it Felix Jr. — even though he’s just doing his job — he sets out to become a hero in another game, risking a breach of protocol that is known (for reasons that would be a spoiler to explain) as “going Turbo.” In a violent first-person shooter game where heavily armored warriors mow down rampaging insects, he encounters a tough commander named Calhoun (Jane Lynch), who will serve as a romantic foil for Felix and as an emblem of gender parity in a usually boy-centric imaginative universe.
“Wreck-It Ralph” does well on this score, and not only because the main gamer — an eager, mostly silent surrogate for the audience — is a girl. Ralph’s main field of battle is a car-racing game called Sugar Rush, which unfolds in a hallucinatory Hello Kitty candy land with more gumdrops than guns. There he meets his fellow outcast and obligatory sidekick, a sharp-tongued pixie named Vanellope von Schweetz. She compensates for her cloying name by channeling the voice (and therefore, at least by implication, the sensibility) of Sarah Silverman.
Vanellope is a “glitch” — a malfunctioning program come to life — mocked and despised for her difference by the mean girls of Sugar Rush (led by Mindy Kaling) and their creepily saccharine king (Alan Tudyk). Her battle for self-esteem is linked with Ralph’s, and — this being an animated Disney feature — the outcome is hardly in doubt. But perhaps because the mood of the movie is so relentlessly playful and kinetic, its bouts of sentimentality feel refreshing, not forced.
“Wreck-It Ralph” manages to be touching as well as silly, thrilling and just a bit exhausting. The secret to its success is a genuine enthusiasm for the creative potential of games, a willingness to take them seriously without descending into nerdy pomposity. I am delighted to surrender my cynicism, at least until I’ve used up today’s supply of quarters.

Watch Wreck-It Ralph Trailer on Youtube




 
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