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I can't see them all turning out similar to The Last Wolfman or Frankenstein movies, yuck
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Movies Dragonlord's 2014 Movie Guide
- Thread starter Dragonlordxxxxx
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I can't see them all turning out similar to The Last Wolfman or Frankenstein movies, yuck
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That's just how I feel about the movie. Aside from the fantastic action sequences, almost everything about the film was just bad and annoyed me to no end. The dialogue is even more terrible than the last time, characters talking but saying nothing at the same time. The whole Megumi/Aoshi side story was just painfully unnecessary (aside from shoehorning Aoshi into the final battle). They could have eliminated those scenes and beefed up Kaoru, Sano and Yahiko's roles. Shishio makes a big scene about summoning the Ten Swords in the last film but they turned out to be a dud as they were just treated as extras. So much wasted potential.
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Friday Box Office:
ANNABELLE No. 1 on Friday But GONE GIRL Will Steal Weekend
With this year
ANNABELLE No. 1 on Friday But GONE GIRL Will Steal Weekend
With this year
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Critics Review of GONE GIRL
Rotten Tomatoes: 87% Approval Rating (179 out of 206 critics like it)
Consensus: Dark, intelligent, and stylish to a fault, Gone Girl plays to director David Fincher's sick strengths while bringing the best out of stars Ben Affleck and Rosamund Pike.
New York Daily News - 5/5
“Gone Girl,” David Fincher’s hypnotically great movie, is a break-all-the-windows plot-twister that keeps every jolt and (most of) the cultural jabs from Gillian Flynn’s blockbuster novel. But the biggest star here may be Fincher’s surgically precise insight and silky style of suspense, which makes this film a modern companion to such classics as Hitchcock’s “Vertigo” and Clouzot’s “Diabolique.” Fincher is a fearless filmmaker who understands his audience’s intelligence (not to mention their cinematic blood lust). By the end of “Gone Girl,” we feel like we’ve lived through about four movies, not just one. Good luck letting go of any of them.
Rolling Stone - 3.5/4
David Fincher's shockingly good film version of Gone Girl is the date-night movie of the decade for couples who dream of destroying one another. Expect a stampede at the box office. Gone Girl is a movie of its cultural moment, an era when divorce won't cut it if there are options for lethal revenge and aggravated assault. In the toxic marriage of Nick Dunne (Ben Affleck) and Amy Elliott (Rosamund Pike), both partners are equal-opportunity liars and cheats. Or almost equal. Arguments between the sexes are going to be heated. Gone Girl gives us a portrait of two vipers spitting venom at each other across the landscape of a recession-busted, morally bankrupt America. Even with Fincher's unflinching gaze and Flynn's incinerating wit, shards of humanity remain.
USA Today - 4/4
For nearly 2
Rotten Tomatoes: 87% Approval Rating (179 out of 206 critics like it)
Consensus: Dark, intelligent, and stylish to a fault, Gone Girl plays to director David Fincher's sick strengths while bringing the best out of stars Ben Affleck and Rosamund Pike.
New York Daily News - 5/5
“Gone Girl,” David Fincher’s hypnotically great movie, is a break-all-the-windows plot-twister that keeps every jolt and (most of) the cultural jabs from Gillian Flynn’s blockbuster novel. But the biggest star here may be Fincher’s surgically precise insight and silky style of suspense, which makes this film a modern companion to such classics as Hitchcock’s “Vertigo” and Clouzot’s “Diabolique.” Fincher is a fearless filmmaker who understands his audience’s intelligence (not to mention their cinematic blood lust). By the end of “Gone Girl,” we feel like we’ve lived through about four movies, not just one. Good luck letting go of any of them.
Rolling Stone - 3.5/4
David Fincher's shockingly good film version of Gone Girl is the date-night movie of the decade for couples who dream of destroying one another. Expect a stampede at the box office. Gone Girl is a movie of its cultural moment, an era when divorce won't cut it if there are options for lethal revenge and aggravated assault. In the toxic marriage of Nick Dunne (Ben Affleck) and Amy Elliott (Rosamund Pike), both partners are equal-opportunity liars and cheats. Or almost equal. Arguments between the sexes are going to be heated. Gone Girl gives us a portrait of two vipers spitting venom at each other across the landscape of a recession-busted, morally bankrupt America. Even with Fincher's unflinching gaze and Flynn's incinerating wit, shards of humanity remain.
USA Today - 4/4
For nearly 2
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Critics Review of ANNABELLE
Rotten Tomatoes: 31% Approval Rating (23 out of 74 critics like it)
Consensus: Annabelle borrows unabashedly from better horror films, content to leave viewers with a string of cheap jolts that fail to build on the far more effective The Conjuring.
Entertainment Weekly - F
Enter Annabelle, a deeply insulting prequel produced by Wan and directed by The Conjuring cinematographer John R. Leonetti. The only thrill-building tool in Annabelle's kit involves things jumping out at you and making a loud noise, but you're better off watching those YouTube videos that do the exact same thing. We live in an incredible era for horror movies, and deep within the genre, filmmakers are crafting inspired and genuinely unnerving flicks that tap into subconscious fears and make salient points about the human experience. Sadly, horror fans seeking wide-release mainstream films are stuck with Annabelle, a poorly conceived jumble of half-baked pretension executed entirely without joy for the benefit of the easily bamboozled.
New York Daily News - 1/5
This prequel to last year’s hit horror film “The Conjuring” is likely to be a certifiable smash. It’s as subtle as a knife in the gut, but that won’t bother chiller-mavens, who like their shocks thick and fast. The first jolts are genuinely scary. A Manson-family-like satanic cult unleashes a murderous rampage. The doll is tainted with demonic blood. Mia survives a stabbing and gives birth to a healthy baby. Cue a frenzied frightfest, but each successive incident renders the story more meaningless. Wallis is commendably restrained and Alfre Woodard adds class as Mia’s wise ally. But “Annabelle” is a vortex of visual clich
Rotten Tomatoes: 31% Approval Rating (23 out of 74 critics like it)
Consensus: Annabelle borrows unabashedly from better horror films, content to leave viewers with a string of cheap jolts that fail to build on the far more effective The Conjuring.
Entertainment Weekly - F
Enter Annabelle, a deeply insulting prequel produced by Wan and directed by The Conjuring cinematographer John R. Leonetti. The only thrill-building tool in Annabelle's kit involves things jumping out at you and making a loud noise, but you're better off watching those YouTube videos that do the exact same thing. We live in an incredible era for horror movies, and deep within the genre, filmmakers are crafting inspired and genuinely unnerving flicks that tap into subconscious fears and make salient points about the human experience. Sadly, horror fans seeking wide-release mainstream films are stuck with Annabelle, a poorly conceived jumble of half-baked pretension executed entirely without joy for the benefit of the easily bamboozled.
New York Daily News - 1/5
This prequel to last year’s hit horror film “The Conjuring” is likely to be a certifiable smash. It’s as subtle as a knife in the gut, but that won’t bother chiller-mavens, who like their shocks thick and fast. The first jolts are genuinely scary. A Manson-family-like satanic cult unleashes a murderous rampage. The doll is tainted with demonic blood. Mia survives a stabbing and gives birth to a healthy baby. Cue a frenzied frightfest, but each successive incident renders the story more meaningless. Wallis is commendably restrained and Alfre Woodard adds class as Mia’s wise ally. But “Annabelle” is a vortex of visual clich
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saw anabelle.
not worth it
not worth it
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Weekend Box Office:
GONE GIRL Edges Out ANNABELLE With $38M in Tight Race
Capping a dramatic race at the North American box office, David Fincher's R-rated adult drama Gone Girl topped horror spinoff Annabelle as both movies did far better than expected. Gone Girl took in an estimated $38 million from 3,014 theaters, the top opening of Fincher's career and one of the best showings for star Ben Affleck, who stars opposite Rosamund Pike in 20th Century Fox and New Regency's $61 million adaptation of Gillian Flynn's popular novel. Fincher's top opening is Panic Room, which opened to $30.1 million in 2002.
Mirco-budgeted horror film Annabelle, a prequel to box office hit The Conjuring and fueled by younger moviegoers, grossed $37.2 million from 3,815 theaters. That's a sizeable victory for New Line and Warner Bros., considering Annabelle cost just $6.5 million to make. Some rivals have the two pictures closer; final weekend numbers will be released Monday.
Based on Friday's numbers, Gone Girl appeared the easy victor, but the race became closer thanks to Annabelle's hold on Saturday (usually, horror falls off). Heading into the weekend, Fox predicted that that Gone Girl would open in the $20 million to $22 million range. Adult dramas generally don't open big but can have impressive legs. That holds true for virtually all of Fincher's films.
Box Office: David Fincher's 'Gone Girl' Tops 'Annabelle' With Career-Best $38 Million
GONE GIRL Edges Out ANNABELLE With $38M in Tight Race
Capping a dramatic race at the North American box office, David Fincher's R-rated adult drama Gone Girl topped horror spinoff Annabelle as both movies did far better than expected. Gone Girl took in an estimated $38 million from 3,014 theaters, the top opening of Fincher's career and one of the best showings for star Ben Affleck, who stars opposite Rosamund Pike in 20th Century Fox and New Regency's $61 million adaptation of Gillian Flynn's popular novel. Fincher's top opening is Panic Room, which opened to $30.1 million in 2002.
Mirco-budgeted horror film Annabelle, a prequel to box office hit The Conjuring and fueled by younger moviegoers, grossed $37.2 million from 3,815 theaters. That's a sizeable victory for New Line and Warner Bros., considering Annabelle cost just $6.5 million to make. Some rivals have the two pictures closer; final weekend numbers will be released Monday.
Based on Friday's numbers, Gone Girl appeared the easy victor, but the race became closer thanks to Annabelle's hold on Saturday (usually, horror falls off). Heading into the weekend, Fox predicted that that Gone Girl would open in the $20 million to $22 million range. Adult dramas generally don't open big but can have impressive legs. That holds true for virtually all of Fincher's films.
Box Office: David Fincher's 'Gone Girl' Tops 'Annabelle' With Career-Best $38 Million
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DRACULA UNTOLD
Release Date: Oct 10 (Wide Release)
Genre: Fantasy Horror Drama
Director: Gary Shore (feature film directorial debut)
Cast: Luke Evans, Sarah Gadon, Dominic Cooper, Samantha Barks, Zach McGowan, Thor Krisjansson, Art Parkinson
Synopsis:: At the turn of the century, the young lord Vlad and his family live a peaceful life ruling over their small kingdom, but when a Turk warlord demands from Vlad a thousand boys and his son to create an army Vlad seeks a terrible power that will allow him to protect his kingdom and family from the Turks at a terrible cost.
[YT]m6wXYp-AMgs[/YT]
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THE JUDGE
Release Date: Oct 10 (Wide Release)
Genre: Comedy Drama
Director: David Dobkin (The Change-Up, Wedding Crashers)
Cast: Robert Downey Jr., Robert Duvall, Vera Farmiga, Billy Bob Thornton, Vincent D'Onofrio, Leighton Meester, Jeremy Strong, Ian Nelson, and Dax Shepard
Synopsis: In
Release Date: Oct 10 (Wide Release)
Genre: Fantasy Horror Drama
Director: Gary Shore (feature film directorial debut)
Cast: Luke Evans, Sarah Gadon, Dominic Cooper, Samantha Barks, Zach McGowan, Thor Krisjansson, Art Parkinson
Synopsis:: At the turn of the century, the young lord Vlad and his family live a peaceful life ruling over their small kingdom, but when a Turk warlord demands from Vlad a thousand boys and his son to create an army Vlad seeks a terrible power that will allow him to protect his kingdom and family from the Turks at a terrible cost.
[YT]m6wXYp-AMgs[/YT]
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THE JUDGE
Release Date: Oct 10 (Wide Release)
Genre: Comedy Drama
Director: David Dobkin (The Change-Up, Wedding Crashers)
Cast: Robert Downey Jr., Robert Duvall, Vera Farmiga, Billy Bob Thornton, Vincent D'Onofrio, Leighton Meester, Jeremy Strong, Ian Nelson, and Dax Shepard
Synopsis: In
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WHIPLASH
Release Date: Oct 10 (Limited Release)
Genre: Musical Drama
Director: Damien Chazelle (Guy and Madeline on a Park Bench)
Cast: Miles Teller, J.K. Simmons, Melissa Benoist, Johnny Simmons and Paul Reiser
Synopsis: Andrew Neyman is an ambitious young jazz drummer, single-minded in his pursuit to rise to the top of his elite east coast music conservatory. Plagued by the failed writing career of his father, Andrew hungers day and night to become one of the greats. Terence Fletcher, an instructor equally known for his teaching talents as for his terrifying methods, leads the top jazz ensemble in the school. Fletcher discovers Andrew and transfers the aspiring drummer into his band, forever changing the young man's life. Andrew's passion to achieve perfection quickly spirals into obsession, as his ruthless teacher continues to push him to the brink of both his ability-and his sanity.
[YT]7d_jQycdQGo[/YT]
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KILL THE MESSENGER
Release Date: Oct 10 (Limited Release)
Genre: Biographical Drama Thriller
Director: Michael Cuesta (Homeland, Dexter)
Cast: Jeremy Renner, Rosemarie DeWitt, Ray Liotta, Barry Pepper, Michael Sheen, Mary Elizabeth Winstead, Oliver Platt, Andy Garcia, Tim Blake Nelson, Robert Patrick, Michael Kenneth Williams, and Paz Vega
Synopsis: Two-time Academy Award nominee Jeremy Renner (
Release Date: Oct 10 (Limited Release)
Genre: Musical Drama
Director: Damien Chazelle (Guy and Madeline on a Park Bench)
Cast: Miles Teller, J.K. Simmons, Melissa Benoist, Johnny Simmons and Paul Reiser
Synopsis: Andrew Neyman is an ambitious young jazz drummer, single-minded in his pursuit to rise to the top of his elite east coast music conservatory. Plagued by the failed writing career of his father, Andrew hungers day and night to become one of the greats. Terence Fletcher, an instructor equally known for his teaching talents as for his terrifying methods, leads the top jazz ensemble in the school. Fletcher discovers Andrew and transfers the aspiring drummer into his band, forever changing the young man's life. Andrew's passion to achieve perfection quickly spirals into obsession, as his ruthless teacher continues to push him to the brink of both his ability-and his sanity.
[YT]7d_jQycdQGo[/YT]
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KILL THE MESSENGER
Release Date: Oct 10 (Limited Release)
Genre: Biographical Drama Thriller
Director: Michael Cuesta (Homeland, Dexter)
Cast: Jeremy Renner, Rosemarie DeWitt, Ray Liotta, Barry Pepper, Michael Sheen, Mary Elizabeth Winstead, Oliver Platt, Andy Garcia, Tim Blake Nelson, Robert Patrick, Michael Kenneth Williams, and Paz Vega
Synopsis: Two-time Academy Award nominee Jeremy Renner (
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Critics Review of WHIPLASH
Rotten Tomatoes: 96% Approval Rating (132 out of 137 critics like it)
Consensus: Intense, inspiring, and well-acted, Whiplash is a brilliant sophomore effort from director Damien Chazelle and a riveting vehicle for stars J.K. Simmons and Miles Teller.
Entertainment Weekly - A
Before seeing it a second time recently, I was afraid that it wouldn't live up to that first impression. That my almost giddy reaction to its explosive performances, raw-nerve energy, and infectious bebop swing was simply a side effect of the high-altitude hothouse of Park City. The truth is, I loved it even more. It's the most electric movie I've seen so far this year. You don't have to be a jazz fan for Whiplash to zap you with its thrumming live-wire beat (although it doesn't hurt). If you can appreciate the sight of two totally dialed-in performers simmering until they boil over, that's enough. And P.S., that's pretty much the definition of jazz.
New York Daily News - 4/5
If you’re not yet familiar with Miles Teller, remember his name. Thanks to Damien Chazelle's musical drama “Whiplash,” you’re about to hear a lot more about the young actor. Great art, like some of the music in “Whiplash,” captures us wholly. Very good art, like “Whiplash” itself, comes close enough. So yes, the high-stakes finale feels preposterously unlikely, and sets up a moral quandary that’s never resolved. But the ending’s also unforgettably thrilling, an ecstatic embrace of creative passion that’s dazzling in its intensity. When it’s over, you’ll sit in stunned silence as the credits roll. And then you’ll rush to tell everyone you know that they need to experience this, too.
Rolling Stone - 3.5/4
Written and directed by the gifted Damien Chazelle (Guy and Madeline on a Park Bench), from his own experience of getting schooled on the sticks, Whiplash is a battle to the death. It's also a provocation: How much of what makes you human will you sacrifice for a desire to truly excel? And the two lead actors will blow you away. Teller (The Spectacular Now), a drummer himself, is a young actor of startling power and nuance. And Simmons, who can play evil (HBO's Oz), gentle (Juno) and all stops between, is a barbed and brilliant marvel in the role of his life. Beat the drums for a Simmons Oscar, and add a cymbal crash for Whiplash. It's electrifying.
James Berardinelli - 3.5/4
It's a noteworthy achievement for director Damien Chazelle to infuse a tale about the development of a musician with all the tension and intensity of a top-notch thriller. Whiplash is riveting. At times, it evidences the qualities of a can't-turn-away car wreck: brutal and horrific yet compelling. At other times, it has the rhythms of a sports drama with all the ups and downs inherent in that genre. It's about obsession and compulsion. It's about what happens when too much importance is placed on greatness and when the goal of achieving it eclipses all else. It twists the mentor/student relationship in ugly ways. But, above all, it focuses on the power shifts and test of wills that develop between characters brilliantly portrayed by Miles Teller and J.K. Simmons. This movie is not to be missed.
Rotten Tomatoes: 96% Approval Rating (132 out of 137 critics like it)
Consensus: Intense, inspiring, and well-acted, Whiplash is a brilliant sophomore effort from director Damien Chazelle and a riveting vehicle for stars J.K. Simmons and Miles Teller.
Entertainment Weekly - A
Before seeing it a second time recently, I was afraid that it wouldn't live up to that first impression. That my almost giddy reaction to its explosive performances, raw-nerve energy, and infectious bebop swing was simply a side effect of the high-altitude hothouse of Park City. The truth is, I loved it even more. It's the most electric movie I've seen so far this year. You don't have to be a jazz fan for Whiplash to zap you with its thrumming live-wire beat (although it doesn't hurt). If you can appreciate the sight of two totally dialed-in performers simmering until they boil over, that's enough. And P.S., that's pretty much the definition of jazz.
New York Daily News - 4/5
If you’re not yet familiar with Miles Teller, remember his name. Thanks to Damien Chazelle's musical drama “Whiplash,” you’re about to hear a lot more about the young actor. Great art, like some of the music in “Whiplash,” captures us wholly. Very good art, like “Whiplash” itself, comes close enough. So yes, the high-stakes finale feels preposterously unlikely, and sets up a moral quandary that’s never resolved. But the ending’s also unforgettably thrilling, an ecstatic embrace of creative passion that’s dazzling in its intensity. When it’s over, you’ll sit in stunned silence as the credits roll. And then you’ll rush to tell everyone you know that they need to experience this, too.
Rolling Stone - 3.5/4
Written and directed by the gifted Damien Chazelle (Guy and Madeline on a Park Bench), from his own experience of getting schooled on the sticks, Whiplash is a battle to the death. It's also a provocation: How much of what makes you human will you sacrifice for a desire to truly excel? And the two lead actors will blow you away. Teller (The Spectacular Now), a drummer himself, is a young actor of startling power and nuance. And Simmons, who can play evil (HBO's Oz), gentle (Juno) and all stops between, is a barbed and brilliant marvel in the role of his life. Beat the drums for a Simmons Oscar, and add a cymbal crash for Whiplash. It's electrifying.
James Berardinelli - 3.5/4
It's a noteworthy achievement for director Damien Chazelle to infuse a tale about the development of a musician with all the tension and intensity of a top-notch thriller. Whiplash is riveting. At times, it evidences the qualities of a can't-turn-away car wreck: brutal and horrific yet compelling. At other times, it has the rhythms of a sports drama with all the ups and downs inherent in that genre. It's about obsession and compulsion. It's about what happens when too much importance is placed on greatness and when the goal of achieving it eclipses all else. It twists the mentor/student relationship in ugly ways. But, above all, it focuses on the power shifts and test of wills that develop between characters brilliantly portrayed by Miles Teller and J.K. Simmons. This movie is not to be missed.
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AUTOMATA
Release Date: Oct 10 (Limited Release and VOD)
Genre: Science Fiction Thriller
Director: Gabe Ib
Release Date: Oct 10 (Limited Release and VOD)
Genre: Science Fiction Thriller
Director: Gabe Ib
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Weekend Box Office:
GONE GIRL Trumps Flood of New Films With $26.8M Finish
1. Gone Girl -- $26,800,000 weekend; $78.2M total
2. Dracula Untold -- $23,460,000 weekend; $23.4M total
3. Alexander… -- $19,100,000 weekend; $19.1M total
4. Annabelle -- $16,365,000 weekend; $62.1M total
5. The Judge -- $13,330,000 weekend; $13.3M total
Turning into a watercooler sensation, David Fincher's Gone Girl easily stayed at No. 1 in its second weekend, trumping a flood of new films with $26.8 million from 3,284 theaters. The adult thriller fell a scant 29 percent. The film's stellar hold puts the big screen adaptation of Gillian Flynn's popular novel on track to become Fincher's top-grossing film in North America, not accounting for inflation. His best showing to date is The Curious Case of Benjamin Button ($127.5 million). Through Sunday, its 10th day in release, Gone Girl's domestic total is $78.3 million.
Universal and Legendary Pictures' origins pic Dracula Untold, fueled by males (57 percent), came in No. 2 with $23.5 million from 2,889 theaters. Overseas, Dracula Untold continued to draw blood, earning another $33.9 million for an international total of $62.6 million and global total of $86.1 million. Costing $70 million to make but lacking any big names, Dracula Untold chronicles the transformation of Vlad the Impaler (Luke Evans) into the world's most notorious vampire.
Disney's Alexander and the Terrible, Horrible, No Good, Very Bad Day placed No. 3 with an estimated $19.1 million from 3,088 theaters. Very Bad Day provided a respite for families. Disney produced the $28 million movie with 21 Laps and The Jim Henson Co., and is already in good shape financially, considering Very Bad Day's modest budget.
Gone Girl made life tough for Robert Downey Jr.'s new courtroom dramedy The Judge, since both target adults. The $50 million movie opened to a tepid $13.3 million from 3,003 theaters, putting it at No. 5 behind horror holdover Annabelle, which placed No. 4 in its second weekend with a pleasing $16.4 million for a domestic total of $62.2 million for New Line and Warners.
Weekend Box Office: 'Gone Girl' Defeats 'Dracula Untold' for Second First Place Finish
GONE GIRL Trumps Flood of New Films With $26.8M Finish
1. Gone Girl -- $26,800,000 weekend; $78.2M total
2. Dracula Untold -- $23,460,000 weekend; $23.4M total
3. Alexander… -- $19,100,000 weekend; $19.1M total
4. Annabelle -- $16,365,000 weekend; $62.1M total
5. The Judge -- $13,330,000 weekend; $13.3M total
Turning into a watercooler sensation, David Fincher's Gone Girl easily stayed at No. 1 in its second weekend, trumping a flood of new films with $26.8 million from 3,284 theaters. The adult thriller fell a scant 29 percent. The film's stellar hold puts the big screen adaptation of Gillian Flynn's popular novel on track to become Fincher's top-grossing film in North America, not accounting for inflation. His best showing to date is The Curious Case of Benjamin Button ($127.5 million). Through Sunday, its 10th day in release, Gone Girl's domestic total is $78.3 million.
Universal and Legendary Pictures' origins pic Dracula Untold, fueled by males (57 percent), came in No. 2 with $23.5 million from 2,889 theaters. Overseas, Dracula Untold continued to draw blood, earning another $33.9 million for an international total of $62.6 million and global total of $86.1 million. Costing $70 million to make but lacking any big names, Dracula Untold chronicles the transformation of Vlad the Impaler (Luke Evans) into the world's most notorious vampire.
Disney's Alexander and the Terrible, Horrible, No Good, Very Bad Day placed No. 3 with an estimated $19.1 million from 3,088 theaters. Very Bad Day provided a respite for families. Disney produced the $28 million movie with 21 Laps and The Jim Henson Co., and is already in good shape financially, considering Very Bad Day's modest budget.
Gone Girl made life tough for Robert Downey Jr.'s new courtroom dramedy The Judge, since both target adults. The $50 million movie opened to a tepid $13.3 million from 3,003 theaters, putting it at No. 5 behind horror holdover Annabelle, which placed No. 4 in its second weekend with a pleasing $16.4 million for a domestic total of $62.2 million for New Line and Warners.
Weekend Box Office: 'Gone Girl' Defeats 'Dracula Untold' for Second First Place Finish
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FURY
Release Date: Oct 17 (Wide Release)
Genre: WWII Action Adventure
Director: David Ayer (End of Watch, Sabotage)
Cast: Brad Pitt, Shia LaBeouf, Logan Lerman, Michael Pena, Jon Bernthal, Scott Eastwood, Jason Isaacs
Storyline: Set during the last months of World War II in April 1945. As the Allies make their final push in the European Theater, a battle-hardened army sergeant named Wardaddy (Brad Pitt) commands a Sherman tank called "Fury" and its five-man crew on a deadly mission behind enemy lines. Outnumbered and outgunned, Wardaddy and his men face overwhelming odds in their heroic attempts to strike at the heart of Nazi Germany.
[YT]FLiamMVgoxc[/YT]
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THE BOOK OF LIFE
Release Date: Oct 17 (Wide Release)
Genre: Animated Adventure
Director: Jorge R. Gutierrez (feature film directorial debut)
Cast: Diego Luna, Zoe Saldana, Channing Tatum, Hector Elizondo, Danny Trejo, Ice Cube
Synopsis: From producer Guillermo del Toro and director Jorge Gutierrez comes an animated comedy with a unique visual style. The Book of Life is the journey of Manolo, a young man who is torn between fulfilling the expectations of his family and following his heart. Before choosing which path to follow, he embarks on an incredible adventure that spans three fantastical worlds where he must face his greatest fears. Rich with a fresh take on pop music favorites, The Book of Life encourages us to celebrate the past while looking forward to the future.
[YT]INV5RDyZNVU[/YT]
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THE BEST OF ME
Release Date: Oct 17 (Wide Release)
Genre: Romance Drama
Director: Michael Hoffman (The Emperor
Release Date: Oct 17 (Wide Release)
Genre: WWII Action Adventure
Director: David Ayer (End of Watch, Sabotage)
Cast: Brad Pitt, Shia LaBeouf, Logan Lerman, Michael Pena, Jon Bernthal, Scott Eastwood, Jason Isaacs
Storyline: Set during the last months of World War II in April 1945. As the Allies make their final push in the European Theater, a battle-hardened army sergeant named Wardaddy (Brad Pitt) commands a Sherman tank called "Fury" and its five-man crew on a deadly mission behind enemy lines. Outnumbered and outgunned, Wardaddy and his men face overwhelming odds in their heroic attempts to strike at the heart of Nazi Germany.
[YT]FLiamMVgoxc[/YT]
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THE BOOK OF LIFE
Release Date: Oct 17 (Wide Release)
Genre: Animated Adventure
Director: Jorge R. Gutierrez (feature film directorial debut)
Cast: Diego Luna, Zoe Saldana, Channing Tatum, Hector Elizondo, Danny Trejo, Ice Cube
Synopsis: From producer Guillermo del Toro and director Jorge Gutierrez comes an animated comedy with a unique visual style. The Book of Life is the journey of Manolo, a young man who is torn between fulfilling the expectations of his family and following his heart. Before choosing which path to follow, he embarks on an incredible adventure that spans three fantastical worlds where he must face his greatest fears. Rich with a fresh take on pop music favorites, The Book of Life encourages us to celebrate the past while looking forward to the future.
[YT]INV5RDyZNVU[/YT]
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THE BEST OF ME
Release Date: Oct 17 (Wide Release)
Genre: Romance Drama
Director: Michael Hoffman (The Emperor
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BIRDMAN
Release Date: Oct 17 (Limited Release)
Genre: Black Comedy
Director: Alejandro Gonz
Release Date: Oct 17 (Limited Release)
Genre: Black Comedy
Director: Alejandro Gonz
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FELONY
Release Date: Oct 17 (Limited Release)
Genre: Mystery Thriller
Director: Matthew Saville (The King)
Cast: Joel Edgerton, Jai Courtney, Melissa George, and Tom Wilkinson
Synopsis: Is a lie defensible if it protects the innocent? If the truth wouldn't change a tragic course of events, does it matter? These thorny moral questions are at the heart of Felony, a thriller that brings together three leading men at the top of their respective games. Fuelled by a complex script by Joel Edgerton and tight direction by Matthew Saville, Felony is a stylish, gripping, compulsively watchable story with an almost unsolvable dilemma at its core.
Malcolm Toohey (Edgerton) has it all: a terrific family and a reputation as an upright cop, a job he loves. One night, after celebrating a successful arrest, he makes a terrible mistake, then, to cover up that mistake, he makes the decision to lie about it - with tragic consequences. Complicit in the affair is senior officer Carl Summer (Tom Wilkinson), an assertive watchdog of "the brethren," whose new partner Jim Melic (Jai Courtney) has the youthful arrogance of knowing very well, he thinks, what is right and what is wrong.
[YT]rtzscvA-FJI[/YT]
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YOUNG ONES
Release Date: Oct 17 (Limited Release)
Genre: Science Fiction Drama Thriller
Director: Jake Paltrow (The Good Night)
Cast: Michael Shannon, Nicholas Hoult, Elle Fanning and Kodi Smit-McPhee
Synopsis: is set in a near future when water has become the most precious and dwindling resource on the planet, one that dictates everything from the macro of political policy to the detailed micro of interpersonal family and romantic relationships. The land has withered into something wretched. The dust has settled on a lonely, barren planet. The hardened survivors of the loss of Earth's precious resources scrape and struggle. Ernest Holm (Michael Shannon) lives on this harsh frontier with his children, Jerome (Kodi Smit McPhee)and Mary (Elle Fanning). He defends his farm from bandits, works the supply routes, and hopes to rejuvenate the soil. But Mary's boyfriend, Flem Lever (Nicholas Hoult), has grander designs. He wants Ernest's land for himself, and will go to any length to get it.
[YT]mH9_tU5PbGs[/YT]
Release Date: Oct 17 (Limited Release)
Genre: Mystery Thriller
Director: Matthew Saville (The King)
Cast: Joel Edgerton, Jai Courtney, Melissa George, and Tom Wilkinson
Synopsis: Is a lie defensible if it protects the innocent? If the truth wouldn't change a tragic course of events, does it matter? These thorny moral questions are at the heart of Felony, a thriller that brings together three leading men at the top of their respective games. Fuelled by a complex script by Joel Edgerton and tight direction by Matthew Saville, Felony is a stylish, gripping, compulsively watchable story with an almost unsolvable dilemma at its core.
Malcolm Toohey (Edgerton) has it all: a terrific family and a reputation as an upright cop, a job he loves. One night, after celebrating a successful arrest, he makes a terrible mistake, then, to cover up that mistake, he makes the decision to lie about it - with tragic consequences. Complicit in the affair is senior officer Carl Summer (Tom Wilkinson), an assertive watchdog of "the brethren," whose new partner Jim Melic (Jai Courtney) has the youthful arrogance of knowing very well, he thinks, what is right and what is wrong.
[YT]rtzscvA-FJI[/YT]
______________________
YOUNG ONES
Release Date: Oct 17 (Limited Release)
Genre: Science Fiction Drama Thriller
Director: Jake Paltrow (The Good Night)
Cast: Michael Shannon, Nicholas Hoult, Elle Fanning and Kodi Smit-McPhee
Synopsis: is set in a near future when water has become the most precious and dwindling resource on the planet, one that dictates everything from the macro of political policy to the detailed micro of interpersonal family and romantic relationships. The land has withered into something wretched. The dust has settled on a lonely, barren planet. The hardened survivors of the loss of Earth's precious resources scrape and struggle. Ernest Holm (Michael Shannon) lives on this harsh frontier with his children, Jerome (Kodi Smit McPhee)and Mary (Elle Fanning). He defends his farm from bandits, works the supply routes, and hopes to rejuvenate the soil. But Mary's boyfriend, Flem Lever (Nicholas Hoult), has grander designs. He wants Ernest's land for himself, and will go to any length to get it.
[YT]mH9_tU5PbGs[/YT]
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Friday Box Office:
Brad Pitt's FURY Wins Friday with $8.8 Million; BIRDMAN Soars
Marking another victory for star Brad Pitt, director David Ayer's Fury will win this weekend's North American box office battle with an estimated $25 million after topping Friday's chart with $8.8 million. The World War II tank drama, nabbing an A- CinemaScore, launches two months before Pitt's wife, Angelina Jolie, opens her own WWII epic, Unbroken.
Sony, QED International and LStar Capital spent $68 million to make Fury, featuring Pitt as a battle-hardened Army sergeant in command of a Sherman tank and her five-man crew as they attempt to strike at the heart of Nazi Germany (Sony is aggressively marketing the film to veterans).
New family friendly entry Book of Life, produced by Guillermo del Toro, is finding itself in a close race for No. 2 with fellow Fox title Gone Girl. Both films are aiming to take in roughly $18 million for the weekend. Fox Animation and ReelFX co-produced the $50 million Book of Life The pic, set around the Mexican holiday Day of the Dead, grossed $5 million Friday from 3,069 locations after likewise earning an A- CinemaScore.
Alejandro G. Inarritu's dark comedy Birdman is making headlines at the specialty box office, where it's on course to score the best theater average of the year so far after The Grand Budapest Hotel in a victory for the filmmaker. Birdman is projected to gross $410,000 from four theaters in New York and Los Angeles for a location average of $102,500.
Box Office Report: Brad Pitt's FURY Guns Down $8.8 Million Friday; BIRDMAN Soars
Brad Pitt's FURY Wins Friday with $8.8 Million; BIRDMAN Soars
Marking another victory for star Brad Pitt, director David Ayer's Fury will win this weekend's North American box office battle with an estimated $25 million after topping Friday's chart with $8.8 million. The World War II tank drama, nabbing an A- CinemaScore, launches two months before Pitt's wife, Angelina Jolie, opens her own WWII epic, Unbroken.
Sony, QED International and LStar Capital spent $68 million to make Fury, featuring Pitt as a battle-hardened Army sergeant in command of a Sherman tank and her five-man crew as they attempt to strike at the heart of Nazi Germany (Sony is aggressively marketing the film to veterans).
New family friendly entry Book of Life, produced by Guillermo del Toro, is finding itself in a close race for No. 2 with fellow Fox title Gone Girl. Both films are aiming to take in roughly $18 million for the weekend. Fox Animation and ReelFX co-produced the $50 million Book of Life The pic, set around the Mexican holiday Day of the Dead, grossed $5 million Friday from 3,069 locations after likewise earning an A- CinemaScore.
Alejandro G. Inarritu's dark comedy Birdman is making headlines at the specialty box office, where it's on course to score the best theater average of the year so far after The Grand Budapest Hotel in a victory for the filmmaker. Birdman is projected to gross $410,000 from four theaters in New York and Los Angeles for a location average of $102,500.
Box Office Report: Brad Pitt's FURY Guns Down $8.8 Million Friday; BIRDMAN Soars
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Critics Reviews for FURY
Rotten Tomatoes: 80% Approval Rating (112 out of 140 critics like it)
Consensus: Overall, Fury is a well-acted, suitably raw depiction of the horrors of war that offers visceral battle scenes but doesn't quite live up to its larger ambitions.
Los Angeles Times - Good
If memorable war movies mean something to you, open that book to a new page and add "Fury" to the list. It belongs there. Even if you're not keeping a list, it's hard not to be impressed by what writer-director David Ayer, powerfully aided by star Brad Pitt and an exceptional below-the-line team, has accomplished with this bleak and savage story of a World War II tank crew operating in Germany during the last month of the European war. What makes this film distinctive is the adroit way it both subverts and enhances old-school expectations, grafting a completely modern sensibility onto thoroughly traditional material.
New York Daily News - 4/5
We’ve seen World War II films that depict Allied forces as heroic, conflicted or flawed, flying victorious in the air or marching in the mud in despair. But “Fury” excels in showing the ground-level, guttural intensity and claustrophobia of battle. Writer-director David Ayer doesn’t break new ground here. He isn’t trying to. Ayer works with archetypes and places them against familiar backdrops. But the movie’s inner space — inside the heads of its tank battalion, and inside the tank itself — is what grabs you, as gripping battle scenes shake you.
USA Today - 3/4
Given how many World War II films have emerged in the last 70 years, it requires a thoroughly fresh angle to make one seem distinctive. The story suffers from repetitiveness, broken up by scenes of extreme gore. Key characters are not developed fully enough for audiences to feel invested in their fates. And it doesn't help that Brad Pitt played a similar role in Basterds. But Fury does capture the brutality of war and the misery of life spent largely confined in an armored tank during the war's final weeks, in April, 1945.
Rolling Stone - 3/4
Tank warfare in the final days of World War II sounds like primo escapism for action freaks. Fury, written and directed with exacting skill and aching heart by David Ayer (End of Watch), doesn't let us off easy with vid-game violence. Ayer thrusts us into the furnace of the Fury, a Sherman tank commanded by Don "Wardaddy" Collier (Brad Pitt), until we feel as battered as the crew. But it's Lerman who anchors the film with a shattering, unforgettable portrayal of corrupted innocence. Fury means to grab us hard from the first scene and never let go. Mission accomplished.
Rotten Tomatoes: 80% Approval Rating (112 out of 140 critics like it)
Consensus: Overall, Fury is a well-acted, suitably raw depiction of the horrors of war that offers visceral battle scenes but doesn't quite live up to its larger ambitions.
Los Angeles Times - Good
If memorable war movies mean something to you, open that book to a new page and add "Fury" to the list. It belongs there. Even if you're not keeping a list, it's hard not to be impressed by what writer-director David Ayer, powerfully aided by star Brad Pitt and an exceptional below-the-line team, has accomplished with this bleak and savage story of a World War II tank crew operating in Germany during the last month of the European war. What makes this film distinctive is the adroit way it both subverts and enhances old-school expectations, grafting a completely modern sensibility onto thoroughly traditional material.
New York Daily News - 4/5
We’ve seen World War II films that depict Allied forces as heroic, conflicted or flawed, flying victorious in the air or marching in the mud in despair. But “Fury” excels in showing the ground-level, guttural intensity and claustrophobia of battle. Writer-director David Ayer doesn’t break new ground here. He isn’t trying to. Ayer works with archetypes and places them against familiar backdrops. But the movie’s inner space — inside the heads of its tank battalion, and inside the tank itself — is what grabs you, as gripping battle scenes shake you.
USA Today - 3/4
Given how many World War II films have emerged in the last 70 years, it requires a thoroughly fresh angle to make one seem distinctive. The story suffers from repetitiveness, broken up by scenes of extreme gore. Key characters are not developed fully enough for audiences to feel invested in their fates. And it doesn't help that Brad Pitt played a similar role in Basterds. But Fury does capture the brutality of war and the misery of life spent largely confined in an armored tank during the war's final weeks, in April, 1945.
Rolling Stone - 3/4
Tank warfare in the final days of World War II sounds like primo escapism for action freaks. Fury, written and directed with exacting skill and aching heart by David Ayer (End of Watch), doesn't let us off easy with vid-game violence. Ayer thrusts us into the furnace of the Fury, a Sherman tank commanded by Don "Wardaddy" Collier (Brad Pitt), until we feel as battered as the crew. But it's Lerman who anchors the film with a shattering, unforgettable portrayal of corrupted innocence. Fury means to grab us hard from the first scene and never let go. Mission accomplished.
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Critics Review of THE BOOK OF LIFE
Rotten Tomatoes: 79% Approval Rating (54 out of 68 critics like it)
Consensus: The Book of Life's gorgeous animation is a treat, but it's a pity that its story lacks the same level of craft and detail that its thrilling visuals provide.
Entertainment Weekly - A-
Produced by Guillermo del Toro, The Book of Life is a winsome ode to Mexico's Day of the Dead. It's bolstered by a giddy voice cast (including Diego Luna and Zoe Saldana) that elevates the formulaic plot about a hero's quest for true love, and it's that rare gem of a 'toon that delights both child and adult. Overflowing with hyperactive charm and a spectacular sea of colors, it showcases some of the most breathtaking animation we've seen this decade.
New York Daily News - 4/5
Mexican folklore gets the full 3-D animated treatment in one of the most visually dazzling films of the year. At first, director Jorge Guti
Rotten Tomatoes: 79% Approval Rating (54 out of 68 critics like it)
Consensus: The Book of Life's gorgeous animation is a treat, but it's a pity that its story lacks the same level of craft and detail that its thrilling visuals provide.
Entertainment Weekly - A-
Produced by Guillermo del Toro, The Book of Life is a winsome ode to Mexico's Day of the Dead. It's bolstered by a giddy voice cast (including Diego Luna and Zoe Saldana) that elevates the formulaic plot about a hero's quest for true love, and it's that rare gem of a 'toon that delights both child and adult. Overflowing with hyperactive charm and a spectacular sea of colors, it showcases some of the most breathtaking animation we've seen this decade.
New York Daily News - 4/5
Mexican folklore gets the full 3-D animated treatment in one of the most visually dazzling films of the year. At first, director Jorge Guti
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Critics Review of BIRDMAN
Rotten Tomatoes: 92% Approval Rating (56 out of 61 critics like it)
Consensus: A thrilling leap forward for director Alejandro Gonz
Rotten Tomatoes: 92% Approval Rating (56 out of 61 critics like it)
Consensus: A thrilling leap forward for director Alejandro Gonz
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Critics Review of DEAR WHITE PEOPLE
Rotten Tomatoes: 97% Approval Rating (36 out of 37 critics like it)
Consensus: Dear White People adds a welcome new voice to cinema's oft-neglected discussion of race, tackling its timely themes with intelligence, honesty, and gratifyingly sharp wit.
Entertainment Weekly - B
Some, including riffs on black hair and interracial dating, just feel clumsy, and too often the characters come off less as people than conduits for Simien's talking points. It's also hard not to wish the script had gone for fewer coincidences and clich
Rotten Tomatoes: 97% Approval Rating (36 out of 37 critics like it)
Consensus: Dear White People adds a welcome new voice to cinema's oft-neglected discussion of race, tackling its timely themes with intelligence, honesty, and gratifyingly sharp wit.
Entertainment Weekly - B
Some, including riffs on black hair and interracial dating, just feel clumsy, and too often the characters come off less as people than conduits for Simien's talking points. It's also hard not to wish the script had gone for fewer coincidences and clich
