• Black Panther (2018) Review

    LONG LIVE THE KING!   In this golden age of superheroes films, the Marvel Cinematic Universe stands tall and proud as a beacon to this blockbuster tentpole of comic book

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  • The 15:17 to Paris (2018) Review

    TRUE LIFE HEROISM  CINEMATICALLY DERAILED   For years, actor / director Clint Eastwood has made a name for himself in the filmmaking world of Hollywood. Like many within the pantheon

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  • Rampage Official Trailer #2

    Get ready for “Project Rampage” to be unleashed as Warner Bros. Pictures releases the second official trailer for their upcoming film Rampage. View trailer below.

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  • Ferdinand (2017) Review

    YOU BETTER BULL-IEVE IT!   While the powerhouse giants of Disney, Pixar, DreamWorks, and Illumination Entertainment jostle with the yearly releases of animated features, Blue Sky Studios is somewhere trailing

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  • Top 10 Worst Movies of 2017

    Hello, everyone! With the year of 2017 officially over, it’s time to exam the “best” and “worst” movies that of that year. Indeed, there was a lot of movie releases

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Fifty Shades Freed (2018) Review

AN ANT-CLIMATIC CONCLUSION


 

The allure of two people, the romance they share, and somewhat awkward sexual escapades in BDSM (Bondage, Disciple, Sadism, and Masochism). Plus, don’t forget the clunky Twilight-esque story of which this “forbidden love” is being told. Yes, you know what I’m talking about…. the confusing relationship of Christian Grey and Anastasia Steele from E.L. James’s bestselling series Fifty Shades of Grey. While the world was captivated by the novels (i.e. considered to be named “mommy porn” by many) and sold millions, it was inevitable that Hollywood would snatched up the rights to produce a cinematic representation of James’s work. This, of course, finally materialized in 2015 with the release of Fifty Shades of Grey, the first installment of the trilogy. Directed by Sam Taylor-Johnson, the story followed the courtship of a young Anastasia Steele (Dakota Johnson) and the mysterious Christian Grey (Jamie Dorman) and his sexual taboo temptations that are exactly “garden variety. Unfortunately, Fifty Shades of Grey was deemed “meh” by critics and moviegoers, with many citing it to be “tamed” in its sex scenes, or it’s wooden performances with its leads, or maybe its clunky dialogue within a laughable story. Despite heavy criticism and being branded by many as a film that’s mediocre at best or terrible at worst, Fifty Shades of Grey did score big at the box office, collectively raking in roughly $ 571 million worldwide, which prompted the studio the green light the second story in the trilogy. 2017’s Fifty Shades Darker further continued the romance between Anastasia and Christian (along with their sexual frivolities) as well as adding conflicts with Grey’s old lovers (Leila Williams and Elena Lincoln) and Steele’s possessive / stalker old boss (Jack Hyde). As to be expected, Fifty Shades Darker was received negatively by critics and causal moviegoers (myself included), finding the sequel to be redundant in almost all previous categories that made the first film terrible. However, the film did make money at the box office (roughly $381 million), but almost $200 million short from what the first film was able to achieve. Now, a year after since Fifty Shades Darker was released, Universal Pictures and director James Foley present the final chapter to the popular Fifty Shades series with the film Fifty Shades Freed. Does this third installment close out the trilogy properly or does anyone really care about what happens with Christian and Anastasia relationship? Read more

The Cloverfield Paradox (2018) Review

A GENERIC PARADOX UNTO ITSELF


 

Back in 2008, Cloverfield, a movie that was made for $25 million, made box-off success with a worldwide total of roughly $170 million (profiting almost 7 times its production budget). The movie itself centered around a group of young adults who were caught up in survival as a giant monster attacks and rampages through New York City. Produced by J.J. Abrams and directed by Matt Reeves (the director behind Dawn of the Planet of the Apes), Cloverfield was uniquely shot as a “found footage” feature (something different for the genre and played up as a strength for the movie’s limited budget) as well as its marketing secrecy of keeping the film “under wraps” until its release, which also played to movie’s success. Eight years later, the movie 10 Cloverfield Lane, a somewhat spiritual sequel to Cloverfield, was released. Directed by Dan Trachtenberg and produced by J.J. Abrams again, 10 Cloverfield Lane told a very different story to the original 2008, spinning a tale about young women who tries to escape from a fortified underground bunker belonging to an unstable / paranoid man. In truth, 10 Cloverfield Lane was fantastic film, with critics and moviegoers (myself included) quite taken with this next entry in the “Cloverfield” franchise, praising the cast, which was main only three, and the film’s setting for its narrative to tell a very psychology and gripping survival drama. It was very much different from what the first film was, but 10 Cloverfield Lane succeed and surpassed what the first movie was able to achieve, profiting $110 million at the box office against its $15 million production budget. Now, in a surprising move, Netflix (along with Paramount Pictures and Bad Robot Production) and director Julius Onah present the third installment in the Cloverfield saga with The Cloverfield Paradox. Does the third entry in the series find its place among this franchise or is all “gimmick” and Cloverfield meat? Read more

Goodbye Christopher Robin (2017) Review

TINKERTY TONK


 

Winnie the Pooh (also called Pooh Bear), Christopher Robin, and their friends in the Hundred Acre Woods. Just saying those iconic names and place are embedded deep within many childhood memories, filled with tales of youthful wonder and childish imagination. Created by British author A. A. Milne, Winne the Pooh, first debuted in the children’s book Winnie-the-Pooh in 1926 and The House at Pooh Corner in 1928 and followed the adventures of human boy Christopher Robin and the anamorphic animal friends (Winne the Pooh, Tigger, Piglet, Rabbit, Eeyore, and several others). After the literary and popular success of the books, which was translated in many languages and published across the world, the Walt Disney company bought the licensing rights to Milne’s Winne the Pooh (characters and all) and in 1977 released the animated feature The Many Adventures of Winnie the Pooh; a cartoon film that was divided into three segments (i.e. Winnie the Pooh and the Honey Tree, Winne the Pooh and the Blustery Day, and Winnie the Pooh and Tiger Too). As to be noted, a fourth segment titled Winnie the Pooh and a Day of Eeyore was released a few years later. As time grew on, Winnie the Pooh became one of Disney’s most popular and iconic characters, spanning years of being a developed character in the company’s illustrious canon, including a syndicated cartoon series (The New Adventures of Winnie the Pooh) and several more animated features (2000’s The Tigger Movie, 2003’s Piglet’s Big Movie, and 2005’s Pooh’s Heffalump Movie). However, the success of this classic children’s character goes back to the mind of A.A. Milne. Now, 20th Century Fox and director Simon Curtis present the untold story behind Milne’s beloved creation in the film Goodbye Christopher Robin. Does this newest biopic drama shed light on Winnie the Pooh’s literary inception or does it fail to bridge a cinematic medium to the tale of how Christopher Robin came to be? Read more

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