Pure Love (2016) -- Full Movie Free Online Streaming

Movie Synopsis:

On a live music radio show, a letter arrives from the 23 years in the past. Through the letter, the first love and friendships of five friends are revealed.

A Violent Prosecutor (2016) - Full Movie Streaming Online in HD

Review Synopsis:

Byun Jae-Wook (Hwang Jung-Min) is a grumpy prosecutor who just pursue the truth. He is famous for his hard investigation. A suspect, under interrogation from Byun Jae-Wook, was later found dead. Byun Jae-Wook was arrested and received 15 years in prison.

Five tears later, Byun Jae-Wook meet handsome con Chi-Won in prison. Chi-Won know about the case Byun Jae-Wook. Byun Jae-Wook Chi-Won was able to carry out his plans outside the prison. Using his knowledge as a former prosecutor, he got the Chi-Won released. Byun Jae-Wook preparing a counter-attack on those who framed him. Chi-Won though looking for an opportunity to get away from Byun Jae-Wook.

Bad Guys Always Die (2016) - Full Movie Online

Movie Review:

One of the more high profile among the many China-Korea collaborations being made these days, Bad Guys Always Die teams Taiwanese superstar Chen Bolin with best Korean actress Boy Ye-jin within an action-comedy (leaning more towards the afterwards) place on Jeju Island, an exceptionally popular holiday place for both Koreans and Chinese tourists. A Chinese instructor residing in Busan called Chang Tzu would go to Jeju Island for a vacation along with his brother and their two close friends. However, things be fallible once they witness an automobile crash. They make an effort to help the unconscious girl they discover in the automobile, however when they are stopped by a cop, they are stunned when she wakes up, shoots him and takes every one of them hostage... Read more

Ride Along 2 - Full Movie Streaming Online in HD-720p

Movie Review:

Those that saw the first “Ride Along” may have forgotten how it ended, with diminutive Atlanta security guard Ben Barber (Hart) proposing to his doting girlfriend, Angela (Tika Sumpter), with the reluctant blessing of her detective brother, James (Cube). Scripted by Phil Hay and Matt Manfredi (two of the first film’s four acknowledged screenwriters), “Ride Along 2” accumulates with Ben and Angela’s wedding coming, and the actual fact that so short amount of time has transferred is merely one reason the movie feels as though such a slog from the get-go. Although he’s now a rookie officer, Ben continues to be an obnoxious, accident-prone motormouth, while James remains bit more when compared to a scowl with a badge, driven showing Ben precisely how sick suited he's for police.

When Ben’s fast-talking, slow-thinking shenanigans business lead to the shooting of another detective (a cameo by Tyrese Gibson, on loan from Universal’s “Fast and the Furious” franchise), James persuades Atlanta PD to send him and his brother-in-law-to-be to Miami, where they’re tailing a hacker who might cause them to his crime-kingpin employer. For James, it’s another chance to be rid of “the dwarf” forever; for Ben, it’s an opportunity to verify himself on the pressure and enjoy the bachelor party of his dreams. And sure enough, Story lets us soak up the sights and seems of the Magic City, whether he’s crowding the framework with bikini-clad bodies, staging a foot chase through the back alleys of Little Havana, or having Hart belch fire and tear up the dance floor at a nightclub (actually an Atlanta soundstage, but whatever).

But the two cops’ respective plans go awry when they come face-to-face with the hacker, AJ (Jeong), a resourceful geek whom James dismisses as “a low-budget-ass Jackie Chan,” perhaps in an attempt to stir fond remembrances of “Rush Hour.” If only! The filmmakers deserve some credit for attempting to further diversify their mostly non-white ensemble, a choice that pays off with one kinda-funny collection when James accuses AJ of dodging him just because he’s black (“Look at you! You would run from you!” AJ replies). What they’ve really shown, regrettably, is that mediocrity is completely color-blind: No one here, whether dark, white, Asian or Latino, is allowed to state or do anything appealing - not Antonio Pope (a bored-looking Benjamin Bratt), a wealthy philanthropist who's soon uncovered as the murderous drug lord, and definitely not local detective Maya (Olivia Munn), trotted out as a tough-minded love interest for James.

Although Maya’s smarts are eventually set aside and only her shapelier attributes - as when she stages a diversion by getting hot and heavy with Antonio on the dance floor - she’s treated with marginally more respect than the other women on screen, like the very, vacant Angela and her increasingly fascistic wedding planner, Cori (Sherri Shepherd). But really, this is no one’s notion of an stars’ display: Jeong, a wily and irrepressible comic talent, is most beneficial known for teaching Spanish on “Community” and baring all in “The Hangover” films, and the ones achievements are improbable to be eclipsed by his uninspired third-wheel convert here. For the manic Hart and the surly Cube, that they had a hard plenty of time respiration fresh life into this stale formulation the first time around, and seem content to spin their wheels while hopefully contemplating a career shift away from the Story franchise factory.

The tediously over-explained plot chokes and sputters along, and many of the action set pieces simply smack of desperation, never more so than when Ben finds himself trapped in Antonio’s backyard with a jumbo alligator. There is one diverting car chase, however, in which Ben, drawing on his video-game addiction, skillfully outmaneuvers one vehicle after another - a sequence that finds editor Peter S. Elliot trimming briskly between live-action footage and a “Grand Theft Auto”-style simulation. It’s somehow fitted that “Ride Along 2” springs to life in those moments when it most clearly resembles the non-movie it is.

Star Wars The Force Awakens - Full Movie

Movie Review:

Still, the film’s tilt toward nostalgia over novelty will barely prove a commercial liability; indeed, nothing at all short of a worldwide cataclysm (and even then, who knows) will probably keep Disney’s hugely anticipated Dec. 18 release from becoming the year’s top-grossing movie and possibly the most successful movie of all time, at least until the forthcoming episodes directed by Rian Johnson and Colin Trevorrow arrive. And if Abrams and his co-writers Lawrence Kasdan (back for more after “The Empire Strikes Back” and “Return of the Jedi”) and Michael Arndt have shouldered a near-impossible burden of audience expectations here, it’s hard not to look favorably upon “The Pressure Awakens” simply for being a massive improvement on “The Phantom Menace,” “Strike of the Clones” and everything but a small number of occasions in “Revenge of the Sith” - used jointly, a stultifying test in brand expansion gone awry, where Lucas’ much-vaunted technical wizardry and visible imagination demonstrated no match for the unholy torpor of his storytelling.

In comparison, “The Force Awakens” feels disarmingly swift and light on its feet, possessed of the comic sensibility that embraces modern wisecrackery and earnest humor in identical measure. Shot on 35mm film (and several 65mm Imax video footage), in a decisive refutation of Lucas’ all-digital visual, Abrams’ movie has grit under its fingernails and bloodstream in its veins, even as we see within an early battle sequence in which an Imperial Stormtrooper’s white helmet is all of a sudden streaked with red. A conflicted young warrior-slave who goes by the name of Finn (John Boyega), this Stormtrooper has been brainwashed into providing the First Order - a new army of galactic terrorists that arose from the ashes of the evil Empire, about three decades after the Battle of Endor. Doing battle with the First Order are the good men and women behind a rebel movement called the Resistance.

If all this sounds familiar, the similarities only continue from there. An ace Resistance pilot named Poe Dameron (Oscar Isaac, solid in a minor role) is captured by the First Order, but not before concealing a top-secret map inside a small droid, which he sends away to a desert world. This time around, the droid is not R2-D2 but an orange-colored, spherical-bodied model called BB-8; the desert globe is not Tatooine but Jakku; the individual who adopts the droid is a hardcore young scavenger called Rey (Daisy Ridley); and the coveted information concerns the whereabouts of Luke Skywalker, the last of the Jedi knights, that has mysteriously eliminated lacking. Escaping the First Order with Poe’s help, the eager but good-hearted Finn crash-lands on Jakku, where he eventually companions with Rey - who helps it be quite clear that she’s in no need of rescuing, many thanks quite definitely - to ensure that BB-8’s intel helps it be back again to the Resistance.

Keeping barely one step prior to the enemy Link fighters on the tail, Rey and Finn have the ability to commandeer the dust-choked but ever-durable Millennium Falcon, resulting in a outrageous loop-de-loop chase scene where Rey actually is an exceptionally gifted pilot. Of course, where the Falcon is, Han Solo (Harrison Ford) cannot be too far behind, and after turning up to reclaim his old spaceship (“Chewie, we’re home”), he reluctantly joins causes with Rey, whose presence has begun setting off interested rumblings within the Push. For his or her part, Rey and Finn can’t believe they’re seeing Han Solo in the flesh, and it’s hard not to discern in the young actors’ expressions a completely unfeigned delight at sharing the screen with Ford in one of his most iconic roles.

“It’s true - the Force, the Jedi, all of it. It’s all true,” Han murmurs at one point, and he seems to be addressing not just his new friends but also the audience, and with the sort of soulful conviction capable of converting even the most jaded “Star Wars” skeptics into true believers once again. It’s that desire to transport the viewer - to return us to a wondrous, childlike condition of moviegoing innocence - that effectively models the pattern for nearly every following development in “The Push Awakens.” A lot of this is rather intuitive: It simply wouldn’t be classic “Celebrity Wars” if someone didn’t mutter “I've a bad sense concerning this,” or if audiences didn’t get an upgrade on the favorite gold-plated worrywart C-3PO (Anthony Daniels), his squat sidekick R2-D2, which fish-faced lover favorite Admiral Ackbar (Tim Rose). However the film’s most indelibly moving moments are reserved for Han and his estranged love, Leia (Carrie Fisher), no more a princess but a Level of resistance general. Their banter is raspier and gentler than it was 30 years back, less barbed and more bittersweet, and audiences can expect their hearts to swell to Mandallian proportions whenever the actors are on screen.

Abrams’ filmmaking has enough dynamism and sweep to zip us along for much of the fast-paced 135-minute running time, and for impressive stretches he achieves the action-packed buoyancy of the old Saturday morning serials that partly inspired “Star Wars” in the first place. At once polished and pleasingly rough-hewn, Dan Mindel’s lensing alternates between stately landscape compositions and nimble camera movements as the situation requires, while editors Maryann Brandon and Mary Jo Markey prove as attentive to the coherence of the action sequences as to the rhythm of the overall narrative, while making adroit use of the signature side-swiping picture transitions. And even in a series heavy with CGI and/or creature results - as when Finn and Rey are attacked by fearsome creatures with razor-sharp tooth and tentacles - the visuals never lapse into overkill. The unobtrusive sophistication of the visible results (supervised by Roger Guyett) is particularly apparent in moments offering the uber-villainous Supreme Leader Snoke (motion-capture maven Andy Serkis, resembling a plus-sized, more articulate Gollum), where it’s not readily obvious that we’re viewing a hologram.

Gone, happily, will be the prequels’ ADD-inducing history shots of spaceships zipping across a sterile cityscape like goldfish trapped in a giant screen saver. The different worlds we see here, from the parched desert vistas of Jakku to the verdant forests of the planet Yavin, feel vividly textured and inhabited (Rick Carter and Darren Gilford are credited with the production design). But the most crucial component of the movie’s design is undoubtedly John Williams’ still-enveloping score, from that thrilling, trumpet-like first blast over the opening text scroll, to the majestic flurries of feeling the music generates as it accompanies the characters on their long and difficult journeys.

At a certain point, however, “The Force Awakens” seems so established to fashion a modern echo of the initial trilogy it becomes almost too reverential - or riff-erential, given Abrams’ fondness for performing on recognizable tropes, themes and plot factors in his film and Television work. The Loss of life Celebrity that was ruined by the end of “Celebrity Wars” is one-upped here with a much larger, even more destructive weaponized planet (we even get to see the contrasting blueprints in detail). The Mos Eisley cantina meets its match in a watering hole run by a wizened old proprietress, Maz Kanata (Lupita Nyong’o, in motion-capture drag), who has some crucial wisdom about the Pressure to pass on to Rey. And in the story’s least persuasive development, the famous Oedipal dynamic that defined Luke and Darth Vader’s bond re-emerges unexpectedly here in even more toxic form - a twist that simply feels too contrived to achieve the desired impact.

Overall, the script leans rather heavily on exposition to complete the 30-calendar year gap between your events of the film and the ones of “Come back of the Jedi”; one longs to get right up to speed, however in subtler, less long-winded conditions. The movie’s multiple dark-side-of-the-Force types are also something of the mixed handbag. Serkis is okay however, not galvanizing as Snoke; Domhnall Gleeson has a few impressive snit matches as a petulant First Order general, with one open public conversation that’s shot to look very “Triumph of the Will”; and Gwendoline Christie is seen only in full armor as Finn’s ex-superior, Capt. Phasma, whose narrative function never really comes into focus. That leaves Adam Driver, solid very effectively against type as the silver-masked, dark-cloaked Kylo Ren, though it would be as unfair to say more about his role as it would be to disclose any particulars about when and where Mark Hamill’s Luke Skywalker turns up.

For that matter, even by film’s end there remains a frustrating if intentional degree of mystery surrounding Finn and Rey, both individuals charged with carrying the series forward, and whose backstories presumably will be fleshed out more satisfyingly in subsequent movies. Viewers willing to focus on might be found will have a field day analyzing the casting of the white feminine and a dark man as co-leads in the year’s biggest blockbuster - an audacious and honestly long-overdue corrective to the position quo, quite in addition to the truth that both actors are excellent. Boyega, so good in “Assault the Block,” brings sly wit to the role of a soldier grappling with a vaguely Jason Bourne-style problems of conscience. And Ridley, in a doozy of a breakout role, is great as a young female not yet sure what to label of the powerfully beckoning Drive, or of the glorious and terrifying destiny that may await her. She might not yet have the heroic stature of the Katniss Everdeen, but future films will surely show.

In the long run, “Star Wars: The Force Awakens” suggests the task of the filmmaker who faced the exciting yet unenviable task of partially reassembling one of the very most beloved ensembles in movie history, furthering their characters’ adventures in a meaningful fashion, and helping them pass the baton in one generation of action numbers to the next - and emerged with a compromise solution that, even when it’s not firing on all cylinders, has been put across with sufficient style, momentum, love and care to demonstrate irresistible to any who have ever considered themselves fans. Risking heresy, it’s well worth noting that Abrams actually did smarter, more inventive work on his 2009 reboot of “Celebrity Trek,” no doubt in part because he was working with a less greatly guarded business. “Celebrity Wars,” at once a ethnic juggernaut and a sacrosanct organization, resists any try to reimagine its landscaping too aggressively or imaginatively; which may be to the detriment of the diverting first work, but Abrams has more than stoked our expectation for what his successors may have up their sleeves.

The Revenant (2016) - [HD] regarder en francais English Subtitles

Movie Review:

Great film has the power to convey the unimaginable. We sit in the comfort of a darkened theater or our living room and watch protagonists suffer through physical and emotional pain that most of us can’t really comprehend. Too often, these endurance tests feel manipulative or, even worse, false. We’re smart enough to “see the strings” being pulled, and the actor and set never fades away into the character and condition. What’s remarkable about Alejandro Gonzalez Iñárritu’s “The Revenant” is how effectively it transports us to another time and place, while always keeping its well worth as a bit of visible artwork. You don’t just watch “The Revenant,” you have it. You go out from it exhausted, impressed with the entire quality of the filmmaking and a bit more grateful for the creature comforts you will ever have.

Iñárritu and co-writer Tag L. Smith collection their shade early, staging a breathtaking assault on several fur trappers by Local Americans, portrayed not merely as “enemies” but a violent push of character. While a few dozen men are getting ready to pack up and get to their next stay in the fantastic American wilderness, a picture out of “Apocalypse Now” unfolds. Arrows pierce air and flesh as the few making it through men flee to a close by boat. As it happens that the tribe is seeking a kidnapped daughter of its leader, and can kill anyone who gets in their way. At the same time, we learn that one of the trappers, Hugh Cup (Leonardo DiCaprio) has a half-Native American boy called Hawk (Forrest Goodluck).

Low on men and hunted, the expedition leader Andrew Henry (Domhnall Gleeson) orders that their team go back to its foundation, a fort in the center of this snowy wilderness. John Fitzgerald (Tom Hardy) disagrees, and the seeds of dissent are planted. He doesn’t trust Henry, and he doesn’t like Glass. In the midst of these discussions, Glass is away from the crew one day when he’s brutally attacked by a bear-the sequence is, without hyperbole, one of the most stunning things I’ve seen on film in a long time, heart-racing and terrifying. Glass barely survives the attack. It seems highly unlikely that he’ll make it back to the base. With increasingly dangerous conditions and a tribe of killers on their heels, they agree to split up. Most of the men will go back first while Fitzgerald, Hawk and a young man called Bridger (Will Poulter) will receive a sizable fee to remain with Cup until he dies, offering him as much comfort as is possible in his last times and the burial he deserves.

Obviously, Fitzgerald quickly tires of experiencing to watch a guy he doesn’t value die. He kills Hawk before an immobile Cup and then fundamentally buries Hugh alive. As Bridger and Fitzgerald return, Glass essentially goes up from the dead (the term revenant means “one which returns after loss of life or an extended absence”) and starts his search for vengeance. With damaged bones, no food, and miles to look, he pulls himself through snow and across mountains, seeking the man who killed his son. He is practically a ghost, a man who has come as close to death as one possibly can but is unwilling to go to the other side until justice is done.

The bulk of “The Revenant” consists of this torturous journey, as Glass regains his strength and gets closer to home through sheer force of will. Iñárritu’s Oscar-winning cinematographer for “Birdman,” Emmanuel Lubezki (who also took a trophy for “Gravity” the year before and could easily make it three in a row for this work) shoots “The Revenant” in a way that conveys both the harrowing conditions and the artistry of his vision. The sky seems to go on permanently; the horizon is neverending. He works in a color scheme provided naturally, and yet improved. The snow seems whiter, the sky bluer. A lot of his pictures, especially in times of great danger like the starting strike and the keep picture, are unbroken-placing us in the center of the action.

At other times, Lubezki’s options recall his focus on “The Tree of Life,” especially in moments in the next fifty percent when Glass’s trip gets more mystical. And that’s where in fact the film falters a little. Iñárritu doesn’t quite have a deal with on those second-half moments and the 156-minute working time begins to feel self-indulgent as the film loses focus. When it centers on the conditions and the tale of a man unwilling to die, it’s mesmerizing. I just think there’s a tighter version, especially in the mid-section, that would be even more effective.

About that man: So much has been made of this film being DiCaprio’s “Overdue Oscar” shot that I feel like his actual work here will be undervalued. Make no mistake. Should he win, it will not be some “Lifetime Achievement” win as we’ve seen in the past for actors who we all thought must have gained for another film (Paul Newman, Al Pacino, etc.). He’s completely dedicated atlanta divorce attorneys terrifying moment, pressing himself beyond he ever has before as an actor. Even just the physical needs of the protagonist could have been enough to break a great deal of lesser stars, but it’s how DiCaprio captures his inner fortitude that’s captivating-his body may be damaged, but we believe he's unwilling to stop.

The minimal helping cast is good, and it’s nice to see Gleeson continue to have an incredible 2015 (also in “Brooklyn,” “Ex Machina” and “Star Wars: Episode VII - The Force Awakens”). Tom Hardy is less effective, often going a little too heavy on the tics (wide eyes, shot up-close), but I think that’s a fault of the direction and not one of our best actors. In the end, this is DiCaprio’s film through and through, and he nails every challenging beat, literally throwing himself into this character that demands more of him in physical form than every other before. 

What do you do for vengeance? What conditions would you surmount to obtain it? Or would you merely give up? Well known movies often drop questions like these into our lives, allowing us to understand the world just a little differently than before we noticed them. “The Revenant” has this power. It lingers. It hangs in the rear of your brain like the best traditional parables of man vs. character. It'll stay there for a long time.

Jane Got a Gun ** Full Movie Online Streaming [[ Watch Free ]]

Stars: Natalie Portman, Joel Edgerton, Ewan McGregor

Movie Synopsis:
Young and pretty with a soul of pure steel, Jane Hammond (Natalie Portman) is an excellent girl married to 1 1 of the worst baddies around. When her husband Bill turns against his own gang, the vicious Bishop Boys, and returns home barely alive with eight bullets in his back, Jane knows it's time to ditch clothes for a couple of pants and strap on her behalf behalf own gun. As the relentless leader John Bishop gears up for revenge, Jane's best expect her family's survival rests with her old love Dan Frost (Joel Edgerton) - a gunslinger whose hatred for Bill is slightly overshadowed by his love for Jane. Together Jane and Dan spring clever traps, luring Bishop's men to certain death exactly like their old feelings for just one another resurface amidst the flying bullets.

With director Lynne Ramsay ("We need to DISCUSS Kevin", "Morvern Callar") at the helm, the rich dimensions of the characters find their finest ally with Jane out in leading, taking her fate into her own hands with the kind of bravado legends are made of.