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Ender's Game (2013)

Ender's Game-Nov-1-2013

The 1st movie poster for Summit Entertainment's Ender's Game features the significant range of this sci-fi adaptation, based mostly on Orson Scott Card's novel. Asa Butterfield stars as Ender who is hired by the government to join the elite trainees at the Battle School, to help the humans win their on-going war with alien forces known as the Formics.

Ender's Game begins on Earth after an alien attack, when gifted children are hired by a government desperate to fight back. The kids are trained a very competitive game that's a cross between the Quidditch matches of Harry Potter and the Jedi light saber battles from Star Wars. Only the greatest and brightest will be selected. A young boy emerges as a guru strategist, and the planet's best desire to destroy the alien Formic competition.The battle room is a cube in the book, but the film will move it into a sphere. Gavin Hood adds, (What if we could see through? What if we could see out of the space, and we're moving around the Earth and flipping at the same time?

Director Gavin Hood defined the battle room as seen in the below teaser poster, saying, "This is the high-school football area, only it's in three sizes. It's the size of a football-field in all guidelines: down, up, left, right. And the idea is teams jump-out from opposite ends of this amazing space and play this amazing game of 3D-paintball, almost.".

STARRING: Asa Butterfield, Harrison Ford, Abigail Breslin, Ben Kingsley, Viola Davis, Hailee Steinfeld

DIRECTED BY: Gavin Hood

STUDIO: Summit Entertainment

RATING: PG-13

Dhoom 3-Trailer watch: HD Dhoom 3’s trailer

Dhoom 3-Trailer watch: HD Dhoom 3’s trailer

Dhoom 3 is an future Hindi actions thriller film, composed and directed by Vijay Krishna Acharya and produced by Aditya Chopra. It will be the third sequel of the favorite Dhoom series.

Now You See Me

Now You See Me

A great mystery weaves over the darkness with a assurance momentum. It dodges left, cuts right, moves in all directions and then suddenly circles around and flips on the lights to reveal an intricately designed puzzle that’s not missing a single piece. As the credits part, it makes you rely there’s no other way the film could have accounted for the just sequence of events, and it makes you want to re-watch to see how well everything holds up with your new-found lore.

Now You See Me weaves through the mysterious darkness with momentum and humor, but when the lights are quickly flicked on, it doesn't offer that total puzzle reveal we all yearn for. Yes, the plot points add up to the final result, but with only a several small tweaks the last act could have simply gone in a few of other various directions. That lack of meticulous planning is a bit of a dissatisfaction, but it’s not actually a deal-breaker. As every magician knows, the targets and build-up are far extra riveting than learning how it was completed anyway.

Now You See Me follows 3 magicians and a mentalist, all at unique points in their careers. J. Daniel Atlas (Jesse Eisenberg) is a rising star with lots of street cred. Merritt Osbourne (Woody Harrelson) is a after world-renowned mentalist hoping to fight his way back after tax issues. Henley Reeves (Isla Fisher) is J. Daniel’s former asst attempting to make a name for herself with daring escapes, and Jack Wilder (Dave Franco) is a nobody who performs around town to hone his craft. After getting mysteriously introduced together, they join forces to come to be the magic act known as The Four Horsemen and wind up landing a gig in Las Vegas - which they near by serving a man from France rob his local bank of millions.

How did they do it? Why did they do it? And what are they setting up for next? These are questions for not only the two detectives (Mark Ruffalo and Melanie Laurent) sent to look into the case but also the viewers. In the world of magic, the misdirection is just as significant as the sleight of hand, and the extravaganza is just as vital as the benefit. The film is well aware of both of these concepts, and movie director Louis Leterrier throws in as a lot of complex sequences and red herrings as possible in order to thrill, inspire and puzzle.

From an entertainment viewpoint, the action is clearly driven by Eisenberg’s Atlas and Harrelson’s Osbourne. Each cocksure and hilariously antagonistic in their private ways, they’re definitely the two stand apart characters, and as such, the film sometimes loses track of its other two Horsemen. In fact, during 1st interrogation schedule featuring the four fundamentals in various rooms, Franco and Fisher are barely presented at all. Their heroes are more often than not afterthoughts rather than methods for fun, and the same could be said for Ruffalo's Dylan Rhodes and Laurent's Alma Vargas who often feel much more like story basics than exciting human beings.

Now You See Me is not the intensely difficult, all-time classic mental thrill ride it would like to be. But how many magic techniques definitely are? This one is intensely fun and fascinating while it’s unfolding, and that statistics for some thing.

We Are What We Are

We Are What We Are

Upon hearing the premise for the new horror film "We Are What We Are," many people will no doubt assume that it will be some kind of grisly dark comedy combining jet-black humor with gruesome imagery designed to keep viewers from making any visits to the concession stand in the immediate future. Instead, it treats the concept in a quiet and deliberate manner throughout and while such an approach may prove disappointing to anyone hoping for a broadly drawn bloodbath, the serious and respectful tone helps to make for a genuinely creepy moviegoing experience that will attract both serious fans of the genre and those viewers simply looking for a well-told story. (A story, it should be noted, that is probably best experienced knowing as little about the details, such as the ones I am about to reveal, as possible.)

Set in a remote small town outside of the Catskill Mountains, the film centers on the Parkers, a fairly reclusive but otherwise normal-seeming family that, as the story opens, is marked by tragedy when the matriarch dies in a tragic accident brought on by a massive rainstorm. This is horrible enough but to make things worse, it is just about time for them to go through a religious ritual that has been performed in the family for a couple of centuries and which can only be done by the woman of the house. Oh yeah, the ritual in question involves cannibalism.

Reeling from his wife's death, domineering father Frank (Bill Sage) insists on pressing ahead and goes out the night of his wife's death to bring back a not-so-willing volunteer to manacle in the basement in preparation for the ceremony. On the other hand, teenage daughters Iris (Ambyr Childers) and Rose (Julia Garner) are not quite as enthused with the responsibilities that have suddenly been forced upon them. What the Parkers don't realize is that their ghastly secrets are in danger of being revealed by the police, a curious neighbor (Kelly McGillis) and a local doctor (Michael Parks) whose daughter was a Parker house entree. Even Mother Nature gets into the act, as the torrential rains begin to uncover skeletal evidence of unspeakable crimes.

If this plot sounds slightly familiar to you, it may be because "We Are What We Are" is a remake of a 2010 Mexican film that received a bit of acclaim among horror film fans. I never got a chance to see that film but from what I understand, co-writers Jim Mickle and Mark Damici (the former also directed) have taken the basic premise and then played around with it in a number of ways. The key change, so I hear, is that the genders of the key characters have been switched around—in the original, it was the father who died, the mother who encouraged her brood to carry on and a son who found himself forced to carry on the unspeakable tradition. I also hear that in that version, the keeping of the tradition was driven by socio-economic factors instead of misplaced religious fervor.

Although I am curious to see that version now, I must say that this remake is a more than satisfying moviegoing experience in its own right. Most filmmakers might have taken this basic premise in order to play it as grisly black comedy along the lines of "Motel Hell" ("It takes all sorts of critters to make Farmer Vincent's fritters") and it could well have worked that way. However, by taking the decidedly lurid material seriously, Mickle and Damici have attempted something far more challenging and the risk pays off. From a tonal standpoint, the whole thing is a high-wire act in the sense that if there is one dramatic misstep or bad laugh, the whole thing could collapse in an instant.

Aside from a couple of moments where things could have been tightened slightly, the film never stumbles and the result is one of the more remarkable horror films of late—one that does not rely on sudden shocks or outrageous gore to get under the skin of its viewers. This is not to say that the film can't pull off such moments—there is one scene in which a moment of rare tenderness is brutally interrupted in a genuinely shocking manner and the similarly out-of-nowhere Grand Guignol finale will raise eyebrows and gorges in equal measure. However, it creates an atmosphere of dampness and dread that is genuinely convincing and is far more unnerving in the end that any amount of fake blood.

Intelligently conceived, beautifully executed and filled with surprisingly convincing performances all around (Sage creates an aura of quiet menace that is impossible to shake and Childers and Garner are both heartbreaking as the daughters), "We Are What We Are" is that rare horror film that could play at both arthouse and grindhouse theaters without seemingly out of place at either one. Genre fans will eat it up—no pun intended—but it might prove to be a harder sell for viewers who aren't necessarily jazzed with the idea of watching murder and cannibalism that isn't set to the music of Stephen Sondheim. To those people, I assure you that in terms of smart and serious filmmaking, I would put this film up against any "serious" movie that has come out so far this year and I implore you to give it a chance. Just don't make any plans for dinner afterwards.

We Are What We Are

Data Collect from : rogerebert dot com

Mother of George

A spectacularly imaginary account of African migrant life in current borough, the Sundance-prizewinning "Mother of George" may be a film with a visible manner thus uncommon and forcefully detailed that it may conceivably overwhelm any story it had been wont to tell. Thankfully, though, directorAndrew Dosunmu evidences a positive sense of however all his medium components work along. The result's a piece during which vogue and story unite to form a singularly mesmeric check up on a culture inside a culture.

Shortly when the film begins, Dosunmu, performing from a script by yankee writer Darci Picoult, takes US into a marriage of 2 immigrants from African nation. during this long however entirely fascinating scene, there area unit patches of dialogue and therefore the necessary beginnings of a narrative, however what in the main holds the viewer's attention is that the film's precise, absorbingly articulated check up on the ritual and its wealthy physical and human textures, as well as the array of ancient costumes and robust African faces (provided by dozens of extras with Yoruba social group backgrounds). If Gordon Willis' mental imagery for the "Godfather" films set the quality for the utilization of a dark photographic palette, Dosunmu and cinematographerBradford Young do one thing comparable here, and therefore the outcome is simply as enrapturing.

The wedding during this scene unites Ayodele (Isaach DE Bankolé), the businessman of a booming African building in borough, and Adenike (Danai Gurira), a missy who's abundant nearer to her African roots. initially look they appear well-matched: he is proud and assured, she's poised however conjointly modest and desperate to please. encircled by family and well-wishers, they seem to own the simplest of the recent world and therefore the new. whereas the benefits of latest House of York area unit all around, the 2 relish the support of a powerful ancient culture that has been with success transplanted from Africa. This auspicious combination appears to be summed up by Ayodele's stubborn mother (Bukky Ajayi), World Health Organization needs the couple "prosperity and fertility."

The first of these goals primarily has already been achieved, because of Ayodele's labor as a restauranter. The other is that the rub, and therefore the narrative's engine. whereas the couple's wedding is lusty, months pass and there is no gestation to report. (They hope for a boy, World Health Organization are named George when a deceased relative.) each husband and mate appear to assume that the matter should roll in the hay her, however Ayodele stanchly refuses to require another lady in reality his kid, as custom permits. additional and additional metagrabolised at her inability to conceive, Adenike consults a fan, World Health Organization steers her to a fertility specialist.

The doctor, though, offers tests that would need to involve both husband and wife, and that are expensive. Ayodele scoffs at both the idea that he needs test and at spending money on such foolishness. Unhappy and desperate, Adenike increasingly comes to suspect that the problem may really lie with Ayodele. Her crusty mother-in-law apparently agrees, and offers a solution: Adenike should conceive a child with her husband's younger brother, Biyi (Tony Okungbowa). "It's the same blood," the old woman shrugs. Adenike naturally is shocked at the idea. But what can she do? Is it better to accept her mother-in-law's urging and insert a massive deception into her marriage, or to watch that marriage founder due to childlessness?

Though a rather simple melodramatic conceit at its core, Adenike's dilemma is fascinating not only for the emotional torque it involves, but also for the interplay of larger cultural forces it implies. Although in many ways he has become a modern American entrepreneur, Ayodele's assumptions about his wife's fault in the matter of infertility, like his refusal to join her in trying to find a solution, reflects a kind of patriarchal thinking imported from the old world. Yet that itself is balanced by an equally traditional and forceful matriarchal impulse in the person of Ayodele's mother, the real power-behind-the-throne in this off-kilter marriage, who asserts a very different "right to choose" that puts all control in the mother's hands.

Bringing this resonant trans-cultural drama to life, Dosunmu elicits memorable performances from an exemplary cast. While the formidable De Bankolé skillfully makes Ayodele both warm and remote, a good man derailed by pride, the film's revelation is the Adenike of Danai Gurrira, whose face registers the tumultuous changes caused by her body having become a de facto battlefield. Dosunmu seems to relish contemplating that face, which becomes a key element in his film's extraordinary stylistic display.

Visually, "Mother of George" is one of those rare films—Bertolucci's "The Conformist" is another—in which every shot seems to belong on a museum wall. Dosunmu uses a whole panoply of techniques, from strangely off-center compositions and shallow-focus emphases (he will sometimes show us just the top of a subject's head, or part of a face) to insinuatingly slow camera movements, in addition to Young's dark palette and naturalistic lighting. The director has a background that includes fashion photography and music videos, and the kinds of tools he borrows from those fields can sometimes bring to a movie nothing more than a hyper-aesthetic surface that suffocates everything beneath. In "Mother of George," they contribute a look—call it dream-like hyperrealism—that is part of a remarkably cohesive whole, not just a stylistic tour de force but a comprehensive and persuasive vision of a vibrant culture still in the process of being born.

SAMPLE THIS

Sample This (2013)

I brought a precise yearning to "Sample This," Dan Forrer's documentary on Michael Viner and therefore the unbelievable Bongo Band song that compete an important role in hip-hop music. "Apache," the song in question, is instantly recognizable to any fortysomething neighbourhood denizen United Nations agency grew up within the NYC space. If you ever visited a celebration within the Park, DJ'ed a block party, spun on your back on a cardboard box, or in hand a replica of "The Adventures of player Flash on the Wheels of Steel," this 1973 classic is much engraved in your DNA.

As the percussion break section of "Apache" stuffed the sound recording throughout the gap credits, my brain flooded with recollections of days lang syne gone. That break, and nearly each different musical part in "Apache," has been employed in uncounted rap songs over the past forty years. In selecting to inform this origin story, Forrer secure his film a intrinsical audience of individuals like American state.

Even if you lack a wealth of rap information, "Sample This" remains value seeing. Like "20 Feet from Stardom" and "Standing within the Shadows of metropolis," it focuses on the studio musicians whose contributions ar well-known however whose identities don't seem to be. whereas not pretty much as good as those 2 options, "Sample This" will a competent job of distributing data from studio musicians and therefore the hip hop culture icons their work influenced. variety of peculiar folks show up to speak, from Rosey Grier and Krauthead manservant to cistron Simmons, whose look within the gap scene of "Sample This" is as surprising because the exploding mechanism cockroaches he sent to kill Tom Selleck in "Runaway."

Simmons's tie to the fabric  is explained later. As talker, he provides Associate in Nursing above-average strive against the quality "Behind the Music"-style prose Forrer has written for him. The story of the unbelievable Bongo Band plays out as a interloper than fiction game of Six Degrees of Separation; it ropes in policeman Kennedy and Charles physician similarly as Berry Gordy, The rock band and Phil Spector. "Sample This" begins in 1968, with its main subject Michael Viner operating for Robert F. Kennedy, that connects him to former la Ram (and cousin-german of Pam) Rosey Grier. Grier, United Nations agency appearance damned sensible for eighty one, recounts however his bodyguard duties place him in direct contact with Sirhan Sirhan the instant once Sirhan shot RFK.

Traumatized by RFK's death, each Grier and Viner left Washington D.C. Eventually, they became roommates in California. Viner went into the music business, despite having no musical talent any. "He had a stringed instrument," his sister remembers, "and we have a tendency to begged him to not play it." He did have an excellent aspect hustle, and the way mime fits into this equation is one amongst "Sample This'" most amusing anecdotes.

Viner's musical ties at MGM Records connected him with former Impressions singer Jerry Butler and arranger/songwriter Perry Botkin, Jr. Both appear in "Sample This," discussing Viner's schemes while pulling the movie business into the story. Butler and Viner had cameos in Grier's hilarious 1972 horror comedy "The Thing With Two Heads," and Botkin and his collaborator Barry DeVorzon composed the percussion-heavy origins of "Apache"'s sound for a climactic riot scene in Stanley Kramer's 1970 film, "R.P.M."

Viner's decision to do a soundtrack for "The Thing With Two Heads," and its lack of a full album's worth of material, led to a remake of a 60's song called "Bongo Rock." Having heard R.P.M's music, Viner called Botkin to arrange it. It was credited to The Incredible Bongo Band. Due to Viner's latest hustle, "Bongo Rock '72" became a hit in Canada, leading to a recorded-in-Canada album by the fictitious band and the song that launched a thousand samples.

Enter the studio musicians, or as Incredible Bongo Band guitarist Mike Deasy aptly states: "the people you always heard but never heard of."

"We needed a bongo player," Botkin tells us, "so I hired King Errisson." Errisson, like Bobby Hall at Motown, was a well-known studio percussionist. "He had the fastest hands I'd ever seen," one musician notes, which Errisson casually demonstrates for Forrer's camera. To accompany Errisson on drums, Botkin hired Jim Gordon, a genius session drummer who co-wrote "Layla" with Eric Clapton. The duo had worked together before, laying down the percussion break in Friends of Distinction's "Grazing in the Grass." Botkin arranged a similar break into "Apache," a song that had once been covered by the Beatles in their concerts.

Errisson and Gordon's break is the same musical contraption that Godfather of Hip Hop DJ Kool Herc noticed really got people excited on the dance floor. He searched the Bronx record store bins for albums that contained these moments. When he discovered The Incredible Bongo Band's LP (which he selected based on the album cover), Kool Herc took these sections from "Apache" and strung them together, repeating and mixing them into other records on his turntables. It caught on at parties in the Bronx, and eventually found its way into record after record. Hip hop culture was now forever connected to '60s bongo rock.

"Sample This" spends an equal amount of time with the studio musicians and the rappers who loved their work enough to infinitely use and deconstruct it. Pianist Michael Melvoin talks about 15-hour work days and playing the memorable organ section of Sinatra's "That's Life." Errisson discusses his tie to James Bond and Deasy tells a harrowing story about his time recording the music of the Manson Family. On the hip-hop side, Kool Herc, Grand Wizzard Theodore and Afrika Bambaataa discuss the art of scratching and sampling, not to mention what makes a perfect breakdancing beat. (Bambaataa's "Planet Rock" answered that for me by sampling Kraftwerk.) Footage of old hip hop parties and current performances by the studio musicians flow nicely throughout "Sample This." Everyone looks happy to be both making and consuming the music.

For a documentary filled with such joyous, danceable beats, there's still a note of sadness playing through "Sample This." It's not surprising, given this is a film bookended by deaths. Despite how adept he was at running game, Viner could only outsmart cancer so many times. Amy Winehouse, who also sampled "Apache," gets enough screen time to remind us of her tragically short life. Michael Melvoin, to whom this film is dedicated, died after filming his interviews. And Jim Gordon's story is so horrifying and tragic that it blindsides "Sample This" to a point from which the film barely recovers.

To discuss how songs like "Apache" became as much a part of hip hop as James Brown's famous musical licks, "Sample This" turns to another famous drummer. "It was the age of irony," says ?uestlove, who is fast becoming a highly entertaining interview subject in documentaries. "Not everything cool came from Detroit or Muscle Shoals. This came from Vancouver, Canada." That alone makes "Apache" the best tie-in between the Bronx and Vancouver since Jackie Chan's "Rumble in the Bronx" relocated Grouse Mountain to the Cross Bronx Expressway.