A group of former government assassins fights back against the CIA after they’re targeted for knowing too much in this adaptation of Warren Ellis’ acclaimed DC Comics graphic novels. Frank Moses (Bruce Willis) used to be a hired gun for the CIA. Along with Joe (Morgan Freeman), Marvin (John Malkovich), and Victoria (Helen Mirren), Frank’s specialty was carrying out contracts that the government didn’t want the public to know about. These days, Frank and his old gang are all retired, but the powers that be are still concerned that they know too much, and dispatch a team of top assassins to ensure their silence. Now, Frank and his former team members realize that their only hope for survival is to break into CIA headquarters and expose the truth. But once they’re in, the group uncovers evidence of a massive cover-up that promises to rock the very foundation of our government. Karl Urban, Brian Cox, Richard Dreyfuss, and Ernest Borgnine co-star.
Mirren is one of several overqualified actors who are featured in the graphic-novel-derived, comic action escapade “RED,” and she doesn’t appear until well into the movie. Until then, we have to satisfy ourselves with a motley crew of oddball luminaries, including Bruce Willis, over-underacting as former black-ops CIA agentFrank Moses, and John Malkovich, under-overacting as ex-CIA loon Marvin Boggs. I liked every 20 minutes of it. Director Robert Schwentke never strikes a comfortable balance between comedy and action. That first home invasion, for example, is shot like a routine thriller sequence, but it’s bookended by goofiness. His mistake was in trying to strike a balance in the first place.

A team of local TV reporters are following a squad of firemen on night duty. The footage is completely live and their task is to make show about on the life of these professionals who work while we are sleeping. The first job of the night is to rescue an old lady who is trapped inside her apartment but the routine rescue soon takes a sinister turn. Something evil is spreading throughout the building, out of control. Trapped inside, the firemen and the TV crew have to confront an unknown and lethal horror. Now, the only thing that matters is hiding, surviving and trying desperately to escape. They must keep on recording. No matter what happens.
It is A Filmax Entertainment presentation. (International sales: Filmax Intl., Barcelona). Produced by Julio Fernandez. Executive producers, Fernandez, Carlos Fernandez. Co-executive producer, Alberto Marini. Directed by Jaume Balaguero, Paco Plaza. Screenplay, Balaguero, Plaza, Luis A. Berdejo.
Even though we already had a remake (Quarantine (review here)) and there’s a sequel on the way, after two years Sony years has finally gotten around to releasing the film that started it all, [REC], onto DVD here in the States (Canada’s had it for the better part of a year). What was the hold-up? That’s anyone’s guess. The only thing we can hope is that people ignore the horrid cover art and pick it up anyway.

RUBBER is the story of Robert, an inanimate tire that has been abandoned in the desert, and suddenly and inexplicably comes to life. As Robert roams the bleak landscape, he discovers that he possesses terrifying telepathic powers that give him the ability to destroy anything he wishes without having to move. At first content to prey on small desert creatures and various discarded objects, his attention soon turns to humans, especially a beautiful and mysterious woman who crosses his path.

Leaving a swath of destruction across the desert landscape, Robert becomes a chaotic force to be reckoned with, and truly a movie villain for the ages. Directed by legendary electro musician Quentin Dupieux (Steak, Nonfilm), aka Mr. Oizo, RUBBER is a smart, funny and wholly original tribute to the cinematic concept of “no reason.”
If “Rubber’’ was half as smart as it is clever, we might be talking gonzo midnight four-star classic here. Not so much a horror parody as a prankish genre deconstruction — you bet the director’s French — the movie answers a question that may or may not have been bothering you. To wit: What would happen if a castoff automobile tire came to life and possessed the psychokinetic ability to explode human heads?

One there was an old film which was very active in the motions of characters. It was then the firing start of the film makers to do the same movies. It was really a big hit when the first action film came out. It was really a big hit to all movie goers.
In the year 2011, there was amovie entitled “Hobo with a Shotgun”. Here we can all watch a film with a trailer like this. A train rolls into its final stop. From one of the freight cars jumps a weary-eyed transient with dreams of a fresh start in a new town. Instead, he lands smack-dab in the middle of an urban hellhole, a place where the cops are crooked and the underprivileged masses are treated like insignificant animals. This is a city where crime reigns supreme, and the man pulling the strings is known only as “The Drake.” Along with his two cold-blooded and sadistic sons, Ivan and Slick, he rules with an iron fist, and nobody dares fuck with The Drake, especially not some hobo. Director Jason Eisener’s blood-soaked return to the Sundance Film Festival is more than just a nod to the grindhouse flicks of the 1970s and ’80s; he ups the ante in a major way, and Rutger Hauer’s performance is a legendary display of brutal ass-kicking and meticulous name-taking that is not to be missed.
Filmed in stark black-and-white, Lu’s drama chronicles the stubborn resistance of the final few Chinese foot soldiers, the slaughter following the walled city’s fall and the transformation of pulverized Nanjing into a vast concentration camp. Lu tells the heartbreaking, nearly unbearable story with compassion, controlled fury and unflinching realism. It opens with a stunning 45-minute combat scene that turns the dust-choked cityscape into a deep circle of hell and puts us square in the crossfire. We meet battle-hardened Chinese foot soldier Hianxiong (Liu Ye), child soldier Xiaodouzi (Bin Liu) and Sgt. Kadokawa (Hideo Nakaizumi), a conflicted and remorseful young Christian Japanese soldier whose conscience is tried beyond endurance.

In 19th-century China, seven year old girls Snow Flower and Lily are matched as laotong – or “old sames” – bound together for eternity. Isolated by their families, they furtively communicate by taking turns writing in a secret language, nu shu, between the folds of a white silk fan. In a parallel story in present day Shanghai, the laotong’s descendants, Nina and Sophia, struggle to maintain the intimacy of their own childhood friendship in the face of demanding careers, complicated love lives, and a relentlessly evolving Shanghai. Drawing on the lessons of the past, the two modern women must understand the story of their ancestral connection, hidden from them in the folds of the antique white silk fan, or risk losing one another forever.

As the businesswoman keeps a bedside vigil, she reads the invalid’s unpublished manuscript, a tale of two young women who are best friends in 19th-century Hunan province. Victims of foot binding, class divides, family cruelty, and political unrest, they find solace in a secret language, writing to each other on a silk fan. In this lavish adaptation of Lisa See’s novel, the complex chronologies of the parallel narratives are skillfully handled by director Wayne Wang, which makes his reliance on unbridled sentimentality all the more irritating. Hugh Jackman, who never met a song he didn’t like, has a cameo as Jun’s Australian husband, a nightclub owner and bilingual crooner.

Kermit the Frog and Fozzie Bear, from of the large crew of loveably fuzzy characters created by puppetmaster Jim Henson, have embarked on a quest for stardom. They take a trip to Hollywood, riding in or on a wide variety of vehicles along the way. They begin their journey on a bicycle pedalled by Kermit, but friends accumulate along the way, and they change vehicles to accomodate them. They have the additional challenge of fending off the entreaties of the heartless Doc Hopper (Charles Durning), who wants Kermit to make some advertisements promoting fried frog legs. Kermit must also cope with his amorous feelings for Miss Piggy, and hers for him.
Director James Frawley has a lot of fun with cinematic sleight-of-hand, including shots of Kermit pedalling a bicycle, the Muppets driving cars and trucks, and additional full-body camerawork.The cogent storyline runs Kermit through a gamut of emotions, from self-doubt and bashful love to a moral showdown on the old High Noon set.
This appealing children’s adventure movie has numerous scenes which do homage to classic films, and features a huge cast of Hollywood greats, from Edgar Bergen to Orson Welles, in cameo roles. A great box-office success, this movie paved the way for a number of sequels. One of the film’s many songs, The Rainbow Connection, was nominated for an Oscar.

This film has its good trace to our history since this has something to do with our big leap with mankind. t goes out to be smart- being meticulous, diverting, always on the go- though it isn’t relatable as Blair Witch where we set ourselves to make a film to hunt some urban myth. it has a very Atmospheric look, very Alien to me, i was in hope half expecting this to be attached to Ridley Scotts up and coming Prometheus, though it was hope- hope that this film had a game plan- prognostics to its 100 minutes running time- an outcome- apart from tarantulas, and though it is a horror film it never felt set to be just that- it seemed like a test- a testament to this style of filmmaking- the director wanting to give more- do more- instead of scare you- possible cheat you on your admission ticket. This film has gained general negative approval due to what has been built and expected of these ‘films’- jumps, though like Cloverfield and District 9 it is underlined with something more.
This may not be your average low budget film- heck may be big budget- but i think the industry have force fed views and traits for these films into your head- expectations, panache that they have been built in for you to expect out of mockumentries- but this and the TROLL HUNTER will surly enough surprise you.

One of the most favorite actresses in the Hollywood was luckily chosen to be one of the main casts of the best-selling novel entitled “Les Miserables”. The book was also written by one of the famous writer in the whole world and that is Victor Hugo.
Anne Hathaway has nabbed the coveted role of Fantine in Universal Pictures’ and Working Title Films’ new production of Les Misérables. She joins co-stars Hugh Jackman and Russell Crowe in the project, which The King’s Speech helmer Tom Hooper is directing. The film has been slotted for a Dec. 7, 2012 release.
Jackman has the role of Jean Valjean and Crowe will play Inspector Javert in the new adaptation of the classic Victor Hugo novel and stage play. William Nicholson (Gladiator) has written the screenplay. Sir Cameron Mackintosh is producing with Tim Bevan, Eric Fellner and Debra Hayward of Working Title. Universal execs Erik Baiers and Maradith Frenkel are overseeing for the studio.
Repped by CAA and Management 360, Hathaway is currently filming Warner Bros.’ The Dark Knight Rises for a July release. She most recently starred in One Day, Love and Other Drugs and Alice in Wonderland.

The most legendary Barbarian of all time is back this Summer. Having thrived and evolved for eight consecutive decades in the public imagination- in prose and graphics, on the big screen and small, in games and properties of all kinds- Conan’s exploits in the Hyborian Age now come alive like never before in a colossal 3D action-adventure film.
A quest that begins as a personal vendetta for the fierce Cimmerian warrior soon turns into an epic battle against hulking rivals, horrific monsters, and impossible odds, as Conan realizes he is the only hope of saving the great nations of Hyboria from an encroaching reign of supernatural evil.
Deftly adapted from the original works of Robert E. Howard and faithful to the mythology and psychology of his iconic character, CONAN THE BARBARIAN stars Jason Momoa, Rachel Nichols, Stephen Lang, Rose McGowan, Saïd Taghmaoui and Ron Perlman. The film is directed by Marcus Nispel, and written by Thomas Dean Donnelly & Joshua Oppenheimer and Sean Hood.
It was a little weird hearing Conan speak in perfect English. Arnold’s poor English helps with the barbarian aspect. My only complaint is that the final showdown between Conan & the main bad guy is not as violent as I would have preferred. It seemed a little anti-climactic after all of the hacking & slashing.

Sucker Punch” is an epic action fantasy that takes us into the vivid imagination of a young girl whose dream world provides the ultimate escape from her darker reality. Unrestrained by the boundaries of time and place, she is free to go where her mind takes her, and her incredible adventures blur the lines between what’s real and what is imaginary.
Zack Snyder directed “Sucker Punch” from a screenplay he wrote with Steve Shibuya, based on Snyder’s story. Snyder and Deborah Snyder produced, with Thomas Tull, Wesley Coller, Jon Jashni, Chris deFaria, Jim Rowe and William Fay serving as executive producers.
Warner Bros. Pictures presents, in association with Legendary Pictures, a Cruel and Unusual Production of a Zack Snyder film, “Sucker Punch.” Opening nationwide March 25, 2011, the film will be distributed by Warner Bros. Pictures, a Warner Bros. Entertainment Company.
Furthermore, I think that Sucker Punch is without a doubt one of the most surprising and visually stunning original movies that you will see this year. It’s not based off of a comic book and video game which in itself is impressive in the current movie climate, and just remember no one liked, The Lost Boys or Office Space when they first came out and know they are cult hits.