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.

Kung Fu Panda 3 - 2016 Full Movie {{Free Watch}}

Stars: Jack Black, Angelina Jolie, Dustin Hoffman

Movie Summary:
In 2016, one of the most successful animated franchises in the world returns with its biggest comedy adventure yet, "Kung Fu Panda 3." When Po's long-lost panda father suddenly reappears, the reunited duo travels to a secret panda paradise to meet scores of hilarious new panda characters. But when the supernatural villain Kai begins to sweep across China defeating all the kung fu masters, Po must do the impossible-learn to train a village full of his fun-loving, clumsy brethren to become the best band of Kung Fu Pandas!

The Finest Hours (2016) ++ Full Movie Streaming Online in HD-720p

Stars: Chris Pine, Holliday Grainger, Casey Affleck

Movie Review:
“The Finest Hours” tells the story of a little-known yet fairly incredible 1950s rescue mission, when a four-man band of Coast Guard troops went far beyond the decision of duty, steering out into impossible sea conditions in the dead of night to attain a crippled oil tanker. So possibly the worst you can say about Craig Gillespie’s film is that, instead of their finest hours, the complete cast and crew all devote a good shift in the office making the movie, creating a flawlessly entertaining, sometimes quite well-crafted disaster drama that however retreats from the memory almost when the credits roll. The disappointing returns for Ron Howard’s recent seafaring saga “In the Heart of the ocean” should supply the producers pause, however the film certainly offers enough to supply a modest-sized audience with some rest from the horrors of the January multiplex.

Like “AN IDEAL Storm,” the film occurs off the coast of Massachusetts during a particularly vicious nor’easter, yet here the focus is divided evenly between a commercial ship in distress and the rescue party heading straight for it. The former is the Pendleton, an oil tanker that split in half under rough waters in winter of 1952, leaving the fore section at the bottom of the sea, and the surviving sailors in its aft section adrift with no radio or commanding officers. The latter is the humble Coast Guard boat dispatched to find the Pendleton, a task that goes from difficult to effectively impossible when night falls and the boat’s compass breaks.

Once it gets to the moment of truth, “The Finest Hours” is a fully respectable nautical nailbiter. Unfortunately, it does take its sweet time getting its sea legs, opening up with the first-date-to-engagement courtship of young Coast Guard sailor Bernie Webber (a square-jawed, taciturn Chris Pine) and telephone operator Miriam (Holliday Grainger). Director Gillespie is a sure hand with sweet small-town repartee (see “Lars and the Real Girl”), and the film does yeoman’s work to make Miriam into more than just a thankless girlfriend character, but it’s hard to get too invested in this long prelude, knowing their romance is only being set up to ratchet up the emotional stakes once one of them gets lost at sea.

Gillespie is clearly convenient off land, and as the storm rolls in, the film offers a dose of high-seas drama on the ill-fated oil tanker, as the boat’s chief engineer, Ray Sybert (Casey Affleck), takes de facto command of the vessel’s survivors, not absolutely all of whom are thrilled about suddenly taking orders from a scrawny, socially awkward bookworm. The boat is filled up with stock types, from the He-Man Scotsman (Graham McTavish) to the jolly cook (Abraham Benrubi) and insubordinate bad apple (Michael Raymond James), but Gillespie’s excitable camerawork - swooping along through the layers of the ship, following crew because they shout messages through the corridors within an elaborate game of telephone - helps bring the ship alive. (Curiously, Boston native Affleck is among the few actors here to eschew a wide New England accent, as well as perhaps uncoincidentally he registers as the cast standout.)

After a great deal of hemming and hawing back on shore, the neighborhood commanding officer (Eric Bana, sporting a patchy Southern drawl and filling in an underwritten antagonist role) decides to send Bernie out to find survivors in a 36-foot-boat, regardless of the locals’ assurance a vessel of this size could not make it past the sandbar in current conditions. Bernie takes volunteers Richard (Ben Foster) and Andy (Kyle Gallner), as well as a woefully unprepared seaman (John Magaro) who just happened to be passing at the outpost for the night.

For the earlygoing at least, the film hits its audience with a barrage of nautical jargon and trusts them to fill in the details, and that decision pays off most fully in the harrowing, believable sequence in which Bernie and Co. climb giant wave after giant wave just to make it out to the open ocean, their tiny boat frequently submerged and rolled end-over-end.

Once Bernie gets out to sea, Gillespie crosscuts among his attempts to navigate choppy, snowy waters sans compass, Ray’s increasingly desperate measures to maximize the oil tanker’s chances, and Miriam, striding bravely into Coast Guard offices and getting her car stuck in a snowbank. Needless to say, the latter is the least engaging of the three threads, and Gillespie spends a bit too much time while ashore establishing a redemption narrative for Bernie, who once failed to rescue some locals in similar conditions. Like so many disaster films, “The Finest Hours” fails to grasp that simple survival is all the motivation these characters need, and that it’s actually far nobler to show these Guardsmen heading into probable death due to the fact it’s their job than due to any specific personal demons.

Regardless, the rescue scenes at sea are tautly edited and well staged, more worried about emphasizing the cold, wet, disorienting conditions than awing with CGI setpieces. Composer Carter Burwell, employed in an even more classic idiom here than his recent scores for “Carol” and “Anomalisa,” helps craft an extremely old-school mood, and d.p. Javier Aguirresarobe does typically strong work. However, save for a couple reliably impressive shots of massive waves, the dim 3D adds hardly any, and there’s something almost perverse about putting it on to so many scenes where characters are coping with zero-visibility conditions.

Deadpool (2016) - Watch Full Movie HD 1080p {{Free}}

Stars: Morena Baccarin, Ryan Reynolds, Gina Carano


Movie Review:
Despite featuring Deadpool’s first ever live-action appearance, the 2009 2009 film X-Men Origins: Wolverine didn’t exactly please fans of the deranged Marvel Comics character. In fact, the interpretation is seen by many to be pure blasphemy. Sure, fans appreciated the casting of Ryan Reynolds, but what they didn’t like was that the film stripped away everything about Deadpool that makes him Deadpool: no cancer, no costume, and as a coup de grace, a sewn up mouth. 

The good news is that retribution is on the way. After years of being stuck in development hell because of studio executives with no vision for the potential of comic book movies, Deadpool is actually moving forward. 20th Century Fox has officially announced that the movie will be released on February 12, 2016 - and we couldn’t be more excited. 

So who is actually making this movie? What will it be about? What will it be rated? We have all this info and more in the latest edition of our What We Know So Far Guides. Let's focus on watching the most recent red band trailer, shall we?

"Fifty Shades of Black" (2016) Watch Full Movie Online

Stars: Kali Hawk, Marlon Wayans, Jane Seymour

Movie Review:
Just a few months after Marlon Wayans announced his Fifty Shades of Grey spoof, the first trailer for Fifty Shades of Black is here. From the person who brought you Scary Movie 2, A Haunted House and A Haunted House 2 comes a different kind of horror spoof with what already feels like a dated concept. In keeping with contemporary spoof efforts, the trailer for Fifty Shades of Black is filled with “Hey, remember this pop culture thing from six months ago?” moments.

The trailer for Fifty Shades of Black will make you long for the days of Don’t Be a Menace to South Central While Drinking Your Juice in the Hood. Remember Kim Kardashian’s photo shoot that “broke the internet”? Remember Magic Mike? It’s unfortunately become common for spoofs to rely on pop culture recognition for humor instead of actual jokes, but if you’re looking for those, the height of Wayans’ comedic sensibility comes in the form of an overweight woman crushing him in a strip club.

The problem with these modern film spoofs is that pop culture is consumed, digested and forgotten in a matter of hours thanks to the internet, which makes so many of these jokes feel outdated. But the trailer does have at least a couple of decent things going for it: a solid whip gag and actress Kali Hawk, whom you’ll probably recognize from her roles in Bridesmaids, Couples Retreat and New Girl.

Wayans co-wrote Fifty Shades of Black with Rick Alvarez, who also worked with him on A Haunted House and its sequel. Their new film co-stars Fred Willard, Mike Epps and Jane Seymour, and arrives in theaters on January 29, 2016.

Watch "Suicide Squad" (2016) @@ Full Movie Streaming Online in HD-720p Video Quality

Stars: Scott Eastwood, Margot Robbie, Will Smith

Movie Review:
Here's all you need to learn about the Suicide Squad movie, including trailers, members, photos, and more!

Certainly after the most unlikely movie on Warner Bros. slate of DC Comics superhero movies (yes, a lot more unlikely than Aquaman) was Suicide Squad. But here we are with a movie about Harley Quinn, Mister J, and all of those other gang within reach.

The DC superhero schedule is only going to be officially two movies old in 2016. Batman v. Superman: Dawn of Justice arrives in March, and is targeted on introducing as much heroes as possible before the 2017 Justice League movie. Instead of jumping right set for more solo films, Warner Bros. opted to accomplish something unexpected and begin accumulating their villains...and that is where Suicide Squad will come in.

We probably must not be too surprised. Warner Bros. (along with DC Entertainment) has been quietly positioning the Suicide Squad for stardom during the last many years. From a well-received appearance on Arrow to an animated film where they co-headlined with Batman to a continued profile-raising in the pages of the comics, it has been clear for quite a while that there have been plans for the team. Well, as it happens that plan included a significant movie with an all-star cast.

The 5th Wave @@ Full Movie HD 1080p

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• Starring: Bailey Anne Borders, Chloë Grace Moretz,Gabriela Lopez, Maggie Siff, Matthew Zuk, Nick Robinson,Ron Livingston

Movie Review:

"The 5th Wave," from the get-go, has difficulty establishing tone and mood. Teenager Cassie Sullivan (Chloë Grace Moretz), clutching an automatic weapon, has a standoff in an abandoned mini mart with a wounded soldier begging for his life. Close-ups of Moretz's terrified face predominate throughout. Cassie's voiceover then kicks in, informing us that before all this, she was a "normal" teenage girl. Those words are a betrayal of the character Rick Yancey created in his popular YA series. There's nothing "normal" about Cassie in the book, but onscreen, Moretz hasn't been given a character she can sink her teeth into. Cassie onscreen never comes to life, and without Cassie, the film doesn't come to life either. Even the most primal scenes (mass executions, family reunions, goodbyes), are ho-hum.

Cassie lives with her parents (Ron Livingston and Maggie Siff) and her little brother Sam (Zackary Arthur). Her "normal" life disappears when a mysterious object appears in the sky over earth. Then come the various "waves" of attack from the aliens known as "OTHERS." The first wave can be an electromagnetic pulse that kills the energy around the world. Airplanes fall from the sky. The next wave is a number of tsunamis that get rid of coastal areas. The 3rd wave is a plague that kills millions more. The fourth wave involves snipers who stalk and kill the survivors of the other waves. And the fifth wave, unknown, is imminent.

Cassie's mother dies in the plague. All of those other family trek to a makeshift refugee camp in the woods (where many people are armed to one's teeth). 1 day, Army tanks arrive (the military is immune to the energy outage, an undeniable fact never explained), and the intimidating Colonel Vosch (Liev Schreiber) carts the kids off in school busses to an undisclosed location, promising the panicked adults that they can soon follow. Vosch, initially a savior who takes charge, has more up his sleeve, and Cassie is left to flee through the woods, clutching her little brother's beloved teddy bear.

The narrative splits between Cassie's journey and the journey of her senior high school crush Ben Parish (Nick Robinson, believable as a boy who has been completely traumatized). Cassie, determined to find her brother, camps in the woods, is shot in the leg by a sniper, and rescued by a farm-boy named Evan Walker (Alex Roe). Evan is caring but mysterious. He also offers blazing baby-blues and rock-hard abs. What could have happened if Cassie have been rescued by a guy who looked like Wilford Brimley? (In the book, the Evan Walker section is extremely strange and suspenseful. Here, it takes on an embarrassing "Blue Lagoon"-ish quality - especially when she peeks longingly at his sculpted torso while he bathes in a river.) 

Ben Parish is taken off with the other kids to an Air Force Base, and put through military boot-camp for the upcoming fight against The Others. The trash-talking kid-soldiers play poker in their barracks, go through weapons training, all under the watchful eye of Colonel Vosch's hard-assed medical assistant (Maria Bello). The kid-soldier episodes have an inadvertent absurdity to them, especially when Ben, squad leader, yells at one of his comrades while taking enemy fire: "Stay low!" (The child can't help but "stay low". The child is only three feet tall. His rifle is taller than he is.) A new member of Ben's squad, a deadpan teenage girl nick-named Ringer (Maika Monroe, in a fun performance), challenges his authority, but is an asset in battle. She can shoot a moving target.

The strengths of director J. Blakeson and production designer Jon Billington lie in the apocalyptic wasteland scenes: a highway filled with crashed cars, corpses piled up, orange fires raging through a dark landscape. The colors are sometimes too bright for such a grim story, and the shattering of group trauma isn't present (the way it really is in the opening scenes of "The Hunger Games"). Cassie's determination to find her brother is sentimentalized (so many closeups of this teddy bear). In the book Cassie is ravaged by grief and rage. Here, she just appears slightly put-out and sometimes super-scared. Moretz is a great actress but she actually is struggling to give Cassie the depth that "The 5th Wave" needs. (Her hair also remains freshly shampooed throughout, whilst squatting in the woods for, apparently, weeks at a time. Details matter.) "The 5th Wave" is Dystopia-Lite.

Whenever a book is adapted for the screen, there are explanations why some tangential plot points have to go. But Susannah Grant, Akiva Goldsman, and Jeff Pinkner, the screenwriting team who adapted Yancey's book, have destroyed the book's rich texture. Maybe it's unfair to guage a movie adaptation on the foundation material, however when problems arise in such situations, it's a issue of adaptation. Even worse, it could make audiences think the book is really as silly as the movie.

Post-apocalyptic stories utilize a have to imagine our very own destruction, a need pricked with anxiety-filled questions: "What would I really do in this situation? How would I fare?" Literature abounds with such stories. Shelley's "Ozymandias" depicts a statue of an ancient king crumbling in the desert sand. T.S. Eliot's "The Hollow Men," with its images of broken columns and fading stars, and its famous final lines, "This is the way the world ends / Not with a bang but a whimper," expresses post-WWI European desolation. Authors Aldous Huxley and George Orwell, Margaret Atwood's "The Handmaid's Tale," Cormac McCarthy's "The Road," Philip K. Dick's "Do Androids Dream of Electric Sheep?", Stephen King's "The Mist," H.G. Wells' "The War of the Worlds," 1950s sci-fi movies, comic books, all laid the groundwork for the Dystopian Literary Craze in which we now live. Lois Lowry's 1993 "The Giver," aimed at a YA audience, ushered in a new era of Dystopian books for teenagers. Suzanne Collins' successful "Hunger Games" franchise has spawned a million imitators. If "Anne of Green Gables" were to be published today, the plucky red-headed orphan would have to crawl through an industrial wasteland to get any attention. Rick Yancey's trilogy (the final installment scheduled for May 2016) is filled with haunting imagery of the earth left more than half-empty, but most chillingly, he understands tyranny and how it operates: if you can make confused frightened people fall into line and march towards the exits within an orderly fashion, you're halfway towards owning them completely. 

These important components are sketched-in and undeveloped in the film. Instead, we're left with Cassie and Evan throwing longing talks about each other, confusing monologues where people find out what the "5th wave" is, and reunion scenes which have no punch. The closing narration is milquetoast cliche, something the Cassie in the book, with her raw tenderized heart, could not have tolerated.

Dirty Grandpa (2016) - Full Movie Free Online Streaming

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• Starring: Aubrey Plaza, Dermot Mulroney, Jason Mantzoukas, Jeffrey Bowyer-Chapman, Julianne Hough,Robert De Niro, Zac Efron, Zoey Deutch

Movie Review:
When Robert De Niro receives his inevitable lifetime achievement Oscar, don’t expect his highlight reel to add an individual clip from “Dirty Grandpa,” a brutally unfunny stab at ribald comedy that stands as the legendary actor’s big-screen nadir. Spouting an endless blast of profane one-liners, all of them more desperate to shock and offend compared to the last, De Niro gives it his best raunchy effort as a senior who convinces his stuck-up preppy grandson (Zac Efron) to take him to Florida. His commitment to the role, however, is a lot more than it - or the film - deserves, as its sub-“Hangover” juvenilia is nearly as excruciating as its basic construction is sloppy. While its cross-generational leads may attract a few curious moviegoers hungry for a few humor, dreary word-of-mouth will probably force this fiasco into early theatrical retirement.

On your day of his wife’s funeral, Dick (De Niro) guilt-trips his grandson Jason (Efron) into helping him honor his late spouse by firmly taking the same journey from Georgia to Boca Raton that they made every year. Though his wedding to prim Meredith (Julianne Hough) is approaching fast, Jason - a corporate attorney who works for his dad, David (Dermot Mulroney) - reluctantly agrees to the task, and then just about provide on one of his many polo shirt-and-khaki outfits when he goes to pick up Dick and finds the man pleasuring himself to porn, and casually referring to his climax as “a No. 3.”

Traveling in Meredith’s pink Mini Cooper, which Dick derisively refers to as a “giant labia,” the duo first stop at a golf course, where Dick begins his film-long habit of poking Jason in the ass with objects and/or his finger, all while espousing his consuming need for coitus. That objective is articulated in terms too filthy to repeat in a respectable publication such as this, though the film’s incessant verbal diarrhea is less shocking than merely embarrassing. Constantly deriding Jason as a “lesbian” and bombarding him with pun-based invectives about his lousy performance as a “wingman,” Dick is over-the-top inappropriate in a way that feels hopelessly strained, as if each one of his lines had been diligently crafted by screenwriter John Phillips for maximum oh-no-he-didn’t! effect.

Because he hasn’t had sex in 15 years, and because his dying wife told him to pursue the life he always wanted, Dick is determined to bed a young woman - and he finds that object of carnal desire in Lenore (Aubrey Plaza), a college sexpot whose mouth is almost as filthy as that of De Niro’s hot-to-trot elder. In order to shack up with Lenore, Dick forces a reluctant Jason to take him to Daytona Beach for spring break. Because Lenore is traveling with Shadia (Zoey Deutch), a hot hippie former classmate of Jason’s, the young dork agrees, although Efron seems so perpetually bored by these sensationalistic shenanigans that it’s difficult to tell if he’s even paying attention to the narrative’s who-what-where-when-whys.

What ensues is much X-rated banter between Dick and Lenore, multiple run-ins with a gleefully frank drug dealer named Pam (Jason Mantzoukas) who’s friends with the local cops, and a series of sequences in which Jason is compelled - by Dick, by circumstance, and by illicit substances - to loosen up and have a good time. This means he smokes crack and wears a G-string and a hornet-shaped stuffed animal on his crotch (thus fulfilling Efron’s one-shirtless-scene-per-movie quota), spends a night in jail for alleged pedophilia, and has to talk to his fiance, his family and a rabbi via Facetime while sporting, on his forehead, a crudely drawn swastika made out of penises.

Amid its nonstop nastiness, Phillips’ script feigns interest in character development, with Jason’s discarded dreams of being a Time magazine photographer revived by Dick’s and Shadia’s encouragement, and Dick’s career as a special-forces badass revealed as the reason for his estrangement from son David. The idea that an overseas-stationed Green Beret would act as belligerently low-class as Dick is tough to swallow, though even less palatable is the movie’s aesthetic crumminess. Director Dan Mazer shoots his Sunshine State-situated action in the flattest manner possible, and he edits his material - including De Niro performing an abysmal karaoke version of Ice Cube’s “It Was A Good Day,” punctuated by his use of the “N” word - with such rushed, herky-jerky awkwardness that it often feels as if the film is actively trying to escape itself.

As befitting such a guy-centric endeavor, women are presented as either chaste angels (Shadia), uninhibited sluts (Lenore) or soul-crushing spousal monsters (Meredith), Meanwhile, Dick’s recurring gay-panic jabs at Jason, as well as his cruel treatment of effeminate Bradley (Jeffrey Bowyer-Chapman), further emphasizes the sense that “Dirty Grandpa” only respects, or has use for, straight Caucasian men of a certain take-what-they-want caveman variety. After repeatedly belittling Bradley for being both gay and black, Dick heroically rescues him from homophobic bullies - an act meant to illustrate that, deep down, this dirty old man is really a good guy. What it actually indicates, however, is that this contemptible fiasco is not only comfortable courting laughs through ugly mockery of minorities, but also doesn’t even have the courage of its own crass-as-I-wannabe convictions.