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Movies Review: Fast Five

Making a sequel to a film is never normally a good thing. They excite all the fans of the previous film(s) and then disappoint them with a production that is not better than the original. The same goes for a remake. Some films turn into a series where each film becomes worse – this has been the case with the Fast and Furious series. However this fifth film is one that outclasses its predecessors, read on to see why.

Fast Five continues where Fast and Furious left off, with Dominic sentenced to 25 years in jail and the bus chase that was seen at the end involving Mia and Brian. The aftermath of their interception was that they managed to break Dom out of custody, dodged every authority, and have fled to Rio de Janeiro (where every Brazilian seems to be portrayed as a gun-toting thug). In order to break free, they attempt to pull off a 100 million dollar heist. It isn’t long before they all become a few of the most wanted criminals. Their mission that rips through Brazil sees two on their tail – federal agent Luke Hobbs (Dwayne Johnson), who never lets anyone escape and corrupt drug lord Reyes (Joaquim de Almeida) who wants them dead.

That’s not really a witty plot. And there aren’t great performances guided by a witty script either so rule out suspenseful conversations and memorable dialogue. A merit goes to the Dwayne Johnson though – he was perfectly cast for his role and shows a lot more of his talky WWE side unlike his last film Faster where he was virtually on mute. But Fast and Furious has never been known for excelling in those aspects of filmmaking. It’s known for the action scenes. And what spectacular action scenes there are in Fast Five. It takes it turn to be more of The Expendables instead of the previous films of the series by having a ‘men on a mission’ plot element and emphasising more on fighting than racing. There’s more road rage in here than street racing, and for the record there’s even an ex-wrestler versus action hero fight like there was when Stone Cold fist fought Sly Stallone.

The first act of the film is fast and furious. It quickly takes the audience on a relentless train ride where we see a train robbery in process. This act quickly builds up a background for the story so the audience knows who, what, when, how and why the team are in Brazil. The second act revolves around the main plot element of the $100 million heist. The film decelerates slightly here when we see the crew plotting. Anyone who would have seen the details of the film beforehand would realise why – this lasts over 2 hours, longer than all of the previous films. The 10 minutes after a full two hours weren’t really necessary but show us the aftermath of the third act, the hugely thrilling act. Any who feel frustrated at the pace of the second act – stay for the climactic scene in the third act.

Think of Fast Five as the cinematic equivalent of a mindless muscular athlete. Can’t talk a good game but can surely play a good game. We have all met that person, that guy who failed his exams but took the football pitch by storm at high school. Fast Five is as absent minded – plain characters and clunky dialogue. But the ‘physical’ side is where it amazes – the action scenes of course. It’s like the men behind the camera decided to perfect the action scenes, the plot was secondary. Looking at this year’s earlier films The Mechanic and The Green Hornet, it’s safe to say that Fast Five has the best action sequences of the year yet, and is the best action film overall so far.

Verdict: Forgive the simplicity of the script and get ready for the fastest and most furious ride yet.

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The Wicker Tree Review

At some 38 years since its predecessor, The Wicker Tree must be one of the most belated of all notable sequels. Its also one that I suspect many have misgivings about and when it receives a wider release one that will get criticised heavily. For me though it was a qualified success, a fun and at times chilling companion piece that despite not being a patch on the original still boasts a good measure of charm.

It sees evangelist country and western singer Beth Boothby and her fiancée Steve setting off on a tour of Scotland to convert the locals, with results that I suspect will not surprise. The first thing that leaps out about the film is the humour. The Wicker Man was a film of dark comedy, true gallows humour but here the tone is a lot broader. Beth and Steve are as bright eyed and naive as can be and trip gaily to their fate, cranking the dramatic irony through the roof. There’s a fair amount of outright comedy as well, like a trashy music video from Beth’s past or scenes involving an unfortunate cat.

The humour ultimately is what sets the film back, as while intermittently amusing it is more often silly and ultimately deprives the piece of dread and suspense. In terms of horror aspects the film also suffers from a somewhat coy approach, as if trying not to upset the lighter tone. On the great plus side though, Robin Hardy directs with a wonderfully free and playful hand that comes across as remarkable for someone with only two features under his belt.

Although the erotic charm and ethereal menace of the original is lacking there’s a great visual wit to The Wicker Tree, especially in its constant contrasts. An early sequence in which an elegant castle facade gives way to a searching tracking shot down dark and twisting passages to a butchery is a good example, the beautiful face and bloody heart. Elsewhere the sacred and profane, Pagan and Christian, old and new and as it all builds we see that each opposition is no different from the one before and soon enough realise that in actuality there’s far more similarity than we think.

It’s an interesting development to the original in which the opposition was far stronger defined and a development rooted in the characters of Beth and Steve. Both Christians and sinners, they struggle with the path of righteousness and the ways of the flesh. Though neither are as ultimately sympathetic as Sgt. Howie from the original they are more rounded, though actors Brittania Nicol and Henry Garret are no match for Edward Woodward as they take too much time of the film to really settle into their characters.

On the villainous front things are stronger though, with Graham McTavish’s Lachlan Morrison a fine replacement for Christopher Lee (appearing for a moment in a gimmicky flashback). McTavish has a great good humoured superiority about him, a pleasant menace and fire and brimstone power when needed. Jacqueline Leonard carries herself. with mean elegance as Delia Morrison, Clive James makes for a good sinister handyman and voluptuous Honeysuckle Weeks a gorgeous temptress.

In general I would have preferred a more sinister approach and I don’t think even the dafter inclined will like all of the humour but for all this I thought The Wicker Tree rather fine fun. 7/10 from me, check it out to see for yourself is my advice.


Fast Tube by Casper

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Wanderlust

Whether good or bad, love or hate, movies should always elicit a reaction; the stronger the better in my book. When I come out of a theater, I want to have an opinion of the film I just saw and I want to be bubbling over with comments to process and compile into a review. As such, one of the worst traits a film can have is a lack of noteworthy content. If I cannot muster up a few hundred words on a given film, then I can’t exactly give a hearty recommendation. Such is the case with Wanderlust.

Life isn’t going well for George (Paul Rudd) and Linda (Jennifer Aniston). Just days after paying too much for a small New York apartment, George’s company goes under and Linda’s new business idea is wrecked. Jobless and penniless, the couple heads to Atlanta where George has a job waiting for him, courtesy of his obnoxious older brother (Ken Marino). On the way down, however, they stop in at a remote bed and breakfast which turns out to be a commune. Led by a charismatic free spirit named Seth (Justin Theroux), this group of hippies have embraced a simpler way of life that comes complete with all the amenities and ideals you might expect of such a community. Intrigued by the happiness the group exudes, George and Linda decide to move into the commune for a two-week trial run. Shenanigans ensue.

Most of what I liked about Wanderlust boiled down to my affection for the leads, Rudd and Aniston. Rudd is one of the most likable, perpetually enjoyable comedic actors in the field today and he always manages to come across as a bright spot even in a bad movie. I think Rudd’s charm comes as a result of his ability to bridge the gap between nerd and cool guy; he doesn’t exactly belong in either camp and yet can walk in both. As always, Rudd gives an endearing and appealing performance here and exudes a natural, everyman charisma. I’m pretty sure several of the funnier scenes within Wanderlust are the product of Rudd’s improvised banter and as such, this film owes a great deal to its star. Aniston, too, is a favorite of mine (despite some of truly terrible films) who has proved to possess a comedic touch when given something to work with. Her chemistry with Rudd is solid and while her role isn’t as well developed as Rudd’s, she does her job well and the pair makes for a solid combination.

The other elements of Wanderlust, however, are lackluster. The narrative contains a few promising story lines but they aren’t fleshed out with much pizazz. There are plenty of laughs but most of them come from easy, “low hanging fruit”-type jokes that get old as the film progresses. And most of the supporting characters are as one-note as they come; each brings a few laughs here and there when they’re in their respective elements but then run out of gas and become tiresome. Theroux, Malin Ackerman, Kathryn Hahn, and several others have their moments but none of them ever really get moving or show any signs of development. This lack of depth and development results in the feeling that Wanderlust is not so much a film as it is a bundle of individual scenes, vignettes if you will, tied together by George and Linda in loose, unsatisfying fashion.

There’s nothing inherently or irrevocably wrong with Wanderlust but outside of a few laughs and the appeal of the leads, there’s nothing truly right about it, either. It simply is and that lack of significance makes for an overly ho-hum experience.


Fast Tube by Casper

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