So I watched the movie and what started off well, end up like a half way Romance movie. It had it's up and downs and then peaked and fell flat. Expected abit more for a series that is this good usually.

Decent enough third entry that gets a little goofy at the end but I liked it, though not quite as good as the first two. I'd say Michael Chaves did a fine job directing utilizing some of the tricks James Wan did in the previous entries (like a one-shot scene going through the house early on). But like the others, the biggest plus is with Patrick Wilson and Vera Farmiga who were again wonderful together. **3.5/5**

If you enjoy reading my Spoiler-Free reviews, please follow my blog @
https://www.msbreviews.com
I've always questioned myself why The Conjuring Universe possesses more spin-offs than main titles since The Conjuring and The Conjuring 2 are, by far, the best films of the popular horror franchise. Looking at the numbers, The Nun holds the box office record, being the most successful movie of the saga financially, but ironically enough, it's also the most disliked film by both critics and audience members. The viral marketing campaign obviously hyped this spin-off to an unbelievable level of expectation, but it's still strange that it took five years to deliver another The Conjuring flick since both previous installments were tremendously profitable as well.
With James Wan out of the director's chair and without a screenplay credit, my expectations weren't exactly high. Wan is one of the main reasons why The Conjuring movies work so well. From his ability to generate an enormous amount of suspense to the actually scary atmosphere, Wan is definitely one of the best horror directors of the last decade. Therefore, replacing him would always be a challenging task. Michael Chaves directed The Curse of La Llorona, a generic, bland horror flick that didn't have a single surprising element. However, I did compliment Chaves' work with the horror sequences since I did find them somewhat effective. So, I was still feeling optimistic about The Devil Made Me Do It...
It's admittedly the weakest film of the trilogy, but it's still far from the awful Annabelle Comes Home or the hideous origin story about the famous nun. When it comes to the main titles, the exceptional production value is something all have in common. In fact, this latest flick is arguably the best-looking one. The horror sequences look stunning on the big screen, and the sound design is extremely impactful as always. It's worth remembering that this franchise doesn't waste hundreds of millions to make its movies, being a relatively low-budget cinematic universe, especially when compared to every other studio's massive sagas. Practical effects are always the go-to if possible, keeping the use of CGI to the minimum.
Acting-wise, it's also where these films triumph. Patrick Wilson and Vera Farmiga share palpable chemistry, deeply elevating their characters' emotional connection. At its core, The Conjuring features a love story between Ed and Lorraine Warren, ultimately being their grounded, convincing, loving relationship that keeps the viewers interested in the least "based on a true story" events. Both actors deliver remarkable performances, as does the legendary John Noble (The Lord of the Rings, Fringe) as a former priest. I didn't know about his casting before the movie, so I was genuinely surprised by seeing Noble on the big screen again. He's absolutely phenomenal, as expected, and quite creepy as a mysterious character.
Everyone else is decent enough, but I don't find any other interpretation worth noting. Unfortunately, this is as far as I can go compliment-wise. The primary narrative surrounding the actual case that gives the name to the film is nowhere near as interesting as the stories told in the previous The Conjuring movies. The case itself doesn't have much to tell, so the majority of the film rests on following the beloved couple going on side quests as detectives. Eventually, the clues found are connected to the main plot, but overall, David Leslie Johnson-McGoldrick's screenplay isn't that captivating. Despite the predictability and formulaic horror elements, there's a rather enjoyable "twist" to the whole "demon possession" routine that marks the entire franchise.
The biggest disappointment is something I feared would happen without James Wan at the helm. The once terrifying, suspenseful atmosphere during the effective, creative jumpscare sequences now gives place to the generic build-up that viewers experience in some of the cheapest horror movies of today. Due to a character's health issue, the tension levels are constantly high for this person in particular, but for most of the runtime, the general environment lacks the essential scary feeling. The jumpscares look lazy and too obvious, a cliche that The Conjuring films fought hard to distance themselves from. In addition to this, it's a much darker movie than the rest in terms of lighting.
Finally, I have mixed feelings about the ending. Without spoiling it, of course, it's similar to A Quiet Place Part II in the sense that two different sequences need to be edited together seamlessly so the viewers can easily follow what's happening without losing the tension and suspense. One of these scenes is particularly shaky, repetitive, and overly dark, which definitely left me a bit disappointed. Peter Gvozdas and Christian Wagner's editing is really good, though. Michael Burgess' cinematography offers a couple of gorgeous shots, and Joseph Bishara's score maintains the ominous tone of the franchise. James Wan is clearly missed, but Michael Chaves didn't do a bad job.
The Conjuring: The Devil Made Me Do It is undoubtedly the weakest installment of the trilogy, but it's still quite far from the awful level of the worst films of the horror franchise. Boasting the trademark terrific production value of the saga, Patrick Wilson and Vera Farmiga deliver outstanding lead performances as the only two emotionally compelling characters. Overall, every element is lesser than the previous The Conjuring movies. From the less scary atmosphere to the unimaginative, generic jumpscares, Michael Chaves isn't able to replicate James Wan's tremendous levels of suspense and tension, despite a brilliant opening sequence. David Leslie Johnson-McGoldrick's screenplay focuses on many storylines indirectly connected to the main plot, ending up with a not-that-interesting narrative that doesn't quite justify the main title. Some technical attributes, mainly the editing and cinematography, as well as sound design, compensate with some entertainment. In the end, I still recommend it to fans of the cinematic universe and lovers of the horror genre.
Rating: B-

**These magnificent seven are politically correct and historically inaccurate, but still far more fun than any sequel to the first film.**
“Magnificent Seven” – the original film – was a remake of a Japanese production, and ended up being followed by an unnecessary and rather poor succession of sequels. Only the Japanese original and the early American film remain for posterity, which is a classic in its own right. What we have here turns out to be a remake of the remake, and despite its many merits, it doesn't make us forget our first love.
The film has two big points in its favor: the production, luxurious and detailed, and the quality of the cast involved. The script presents the same story that we already know, but structured differently and with different types of actors, in addition to being entirely in the USA, and not in Mexico. That was another point in its favor, as the story of the first film had already been virtually copied, chewed up and dismantled by the sequels that followed.
I liked the work of Denzel Washington, an impeccable actor and perfectly comfortable with action movies. Ethan Hawke is very supportive and does some quality solo work as well. Haley Bennett is also excellent. Chris Pratt, Vincent d'Onofrio, Lee Byung-Hun and all the others help, but they don't capture our interest or really stand out. Peter Sarsgaard, the villain, did a good job considering the weaknesses of the material received: the character appears little, has almost nothing to do and, in the end, inside the church, he has a behavior that does not match anything that had happened so far. there.
Technically, the film features a huge amount of effects-laden action and high-quality CGI. Antoine Fuqua knew how to understand how the film should be, honoring its predecessor without, however, copying it. The film has excellent effects, good costumes and good sets. The production paid attention to the period details, which does not prevent some minor anachronisms, which were not a substantial problem. The action scenes were well executed and the film will certainly please fans of the genre, and the soundtrack has a certain epic flavor that goes well and harmonizes well with the (already historic) musical theme of the film, which was rerecorded for the new production.
These are all qualities, and minor flaws. Where I really feel that the film failed was in the casting of some of the actors. After the recent controversies in the industry (which involved not only the infamous accusations of harassment, but also the discrimination of professionals based on color or ethnicity), there was an effort to counteract bad publicity with actors who were black, Native American or Latinos in all sorts of characters. I'm not against it, but I think there are characters better suited to it than others, and I doubt, for example, that a Native American would pair well with a group of mostly white gunslingers in the late 19th century. As much as political correctness is appeased, it is an idea that goes against historical verisimilitude. Another problem with this film is the attempts to introduce humor, both in the situations and in the dialogues: they are so bad and so shaky that it would be better if they had removed them from the final version.

***Muscular Western headed by Denzel Washington is superior to the hokey original***
A woman (Haley Bennett) seeking justice after the murder of her husband enlists a bounty hunter (Denzel Washington), who gathers six others, to defend the woman’s southwestern town against a ruthless army hired by a destructive industrialist (Peter Sarsgaard). Chris Pratt, Ethan Hawke, Vincent D'Onofrio, Byung-Hun Lee, Manuel Garcia-Rulfo and Martin Sensmeier play the other six gunfighters.
"The Magnificent Seven" (2016) is a reimagining of the 1960 Western, which itself was based on Kurosawa's "Seven Samurai" (1954). While the plot is contrived the original version had a stellar cast, a magnificent score and great locations, but it was ruined by hokey script flaws. For instance, the teen Chico (Buchholz) was able to effortlessly infiltrate Calvera's bandits, utterly fooling them, even though there were only 32 of them by this point (rolling my eyes). Even if Calvera & his brigands failed to make out Chico's face, which is a big IF, his dialogue & accent would've given him away. Keep in mind that Chico was just an unseasoned teen.
Another example is the villagers' sudden cowardly turnaround (betrayal), which totally contradicted their earlier resolve. Yes, I realize they learned that the bandits weren't run-off and that they were going to return to the village out of desperation, but there were only like 30-32 bandits left at this juncture and the combined forces of the seven gunmen and the fighting villagers now had the opportunity to annihilate the thugs for good.
This version of course eliminates such idiotic writing and ups the ante with the action. The movie's bloody, but no more so than recent Westerns like "3:10 to Yuma" (2007) and "Django Unchained" (2012). If you like those ones, as well as oldies like “Duel at Diablo” (1966) and “The Outlaw Josey Wales” (1976), you’ll like this one. Washington stands tall in the main role while Jennifer Lawrence lookalike Haley Bennett is stunning and superior to Lawrence.
The movie runs 2 hours, 12 minutes and was shot in Arizona, New Mexico and one shot in Colorado (Miller Mesa, Ridgway) with the main set being in Jackson, Louisiana.
GRADE: B

My only objection with this version is the use of the Gatling gun. Though I know it's only a movie and it creates more excitement, the gun never fired that many rounds per load. That said, I still enjoyed the movie.

This is indeed a very good remake of an old classic. As always I am a bit worried when they make a remake of old classics that I liked. This remake is well worth watching though. Despite having a few minor gripes I went for 5 out of 5 stars on this one.
Most of you are probably familiar with the story of The Magnificent Seven. Gunslinger gets hired to protect a village from the evil industrialist, he picks 6 buddies to help him, trains the villagers, digs in and sits down and waits for the bad guys to arrive. A simple and well suited story for a bit of Western entertainment. I guess I should mention as well that the original Western is actually not the “real” original. That honor befalls Shichinin no samurai, or Seven Samurai in English, which is a Samurai movie by Akira Kurosawa and with Toshirô Mifune in the lead role. That is the movie from which the plot originates.
Anyway, history lesson is over, back to this movie. The movie starts of by introducing the main characters. The bad industrialist is a nasty piece of thug and quickly demonstrates that, although by no means being a blood splatter movie, it is definitely more cruel than what I remember from the original. Next in line is the movies hero played by Denzel Washington and I have to say that he plays the role very well. I liked him as the calm, fairly silent, but oh so deadly gunslinger from the first frame to the last.
The other characters fit quite well into their roles as well. I cannot make up my mind about Jack Horne though. I did like the character but at the same time I felt that he was a wee bit to comical at times. I also liked Goodnight Robicheaux quite a lot but the writer really went a bit over the top as far as I am concerned when he actually left.
Of course the entire movie plays out as a build up to the final big fight and it is a big fight, that has to be said. However there are plenty of things happening during this build up. Both things involving chemically propelled slugs flying around and things slightly less noisy.
Sam Chisolm has to pick up his buddies of course, each one being an opportunity for some cool movie story telling. Then we have the training of the villagers which, as expected, becomes a wee bit comical at times. Oh, and I almost forget that there is a nice little shootout when Chisolm and his buddies introduces themselves to Bogue’s thugs in the village. Said thugs includes the local Sheriff. To no ones surprise I believe. So much for law and order. Time for a new management.
So, fast forward to the end and the big fight. It is big, it is well done and it involves plenty of things that go boom. It is plenty of action but it is also the part of the movie where I have the biggest gripe. Okay folks there are going to be a mild spoiler now. With that out of the way, let’s go to the Gatling gun. It is always cool to see a Gatling gun let loose. However can we keep it a bit more realistic please? They fire thousands of bullets without reloading (they make a fuss about reloading later in the movie). Also they position the gun out in the open where it would have been relatively easy to shoot the men operating it. An idea that they finally get much later and manage to goof up. The final solution to taking out the gun is dramatic but quite convoluted. This is the part of the movie that made me go a bit what the fuck!
Apart from that I really enjoyed this movie. A good remake of an old classic.

Ditches all the cerebral factors in favour of dumb fun, but hey, it works.
Final rating:★★★ - I personally recommend you give it a go.

I seek righteousness. But I'll take revenge.
Directed by Antoine Fuqua and written by Nic Pizzolatto and Richard Wenk. Starring Denzel Washington, Chris Pratt, Ethan Hawke, Vincent D'Onofrio, Byung-hun Lee, Manuel Garcia-Rulfo, Martin Sensmeier, Haley Bennett and Peter Sarsgard. Music is by Simon Franglen (also working from a James Horner template) and cinematography by Mauro Fiore.
Seven gunmen band together to aid the town of Rose Creek whose inhabitants are being driven out by ruthless capitalist Bartholomew Bogue.
We are now in an age of film making where "tagged classics" are no longer sacrosanct. Any number of these "tagged classics" have been and will become viable for remake - reboot - reimaging for newer audiences. It's here, it happens and really there's nothing we can do about it but moan amongst ourselves. John Sturges' 1960 The Magnificent Seven (itself a remake of Kurosawa pic Yojimbo) is a much loved film, and not just in Western lovers circles, it's a film that non Western fans are known to enjoy - and rightly so, it deserves its place as a "tagged classic" and still enthrals over 50 years since its release. So the big studio big wigs and Antoine Fuqua were taking a major gamble remaking a classic remake with their own remake!
Undeniably the shadows loom large over the 2016 version, so much weight of expectation, in fact to some it was a stinker of a film even before it was released! Well, as those who have seen it will attest, both the fans and the dissenters, it hasn't raised the bar for the "Seven" formula, but, and this is very key here, the makers wasn't setting out to make a film that down the line would be perceived as a "tagged classic", and this is evident in the ream of extras available on the Blu-ray releases. They achieved what they set out to do, to make a blunderbuss Oater for the modern era to sample, and they have done it with much love, much cool and lashings of technical greatness. Add in a cast clearly enjoying themselves and not letting anyone down, and it's a tasty plate of beans.
Fuqua updates things by having his seven as a row of differing ethnicities, which works a treat, and crucially he and his writers are respectful of those characterisations, even if a bit more fleshing out wouldn't have gone amiss. Yet nothing is at a cost to honouring the great Westerns of old. Beautiful landscapes envelope the players, the musical score bouncing around man and nature with homaged sweetness. There's closeups, silhouetted slices of panache, superb stunt work (man and beast), glorious set design, and then there's the action. The fight sequences are excellently constructed, a feast for the eyes and ears, death and slaughter unfurled in brutal but hunger appeasing strokes. There's comic relief about the place, and while much of the dialogue wouldn't have the great poets of yore troubled, there is deepness to be found. Intelligence, too, the addition of PTSD to one of the main players is a notable piece of worth, while how wonderful to find a Western lady character of great substance (Bennett excellent), so good in fact she could have been one of the seven!
It's a bare bones story, with a pointless motive revelation tagged on for the finale, while some anachronisms will irritate those bothered by such. But if you are able to judge it on its own terms, as a Western entertainment for this era, and to accept it isn't trying to outdo the source of its inspiration, then a good time can readily be had. 8/10

**The new seven, all unique and diversified!**
Basically, people watch it for either those actors and the director or for an entertertainment. But we all know the story, how it begins and how it ends, since it was the remake of the 1960 film. Actually, it was a successful remake, but not as magnificent as the original. Maybe the youngsters might like this one better.
The director's favourite, Denzel Washington in one of the main characters. Not much change in the theme, except the screenplay was little altered, especially diversity in the film characters and their developments. Because nowadays that's a big issue in Hollywood cinema. So it was led by Denzel and possibly there will be a sequel like the 'Ocean's' trilogy.
The people from a small mining town decides to hire men with guns to fight the villainous businessman who slaughtered their loved ones. The unusual seven men come together and form a team with a plan to defend the town. So what comes next is the battle between the good and the bad that lasts for the whole final act.
The setting was completely refreshing, but slightly disappointing action sequences. All the seven characters were unique and awesome, but the film lacked the great battle scene that defines each one of them. Surely I favour it just for once watch that told from the todays imagination of the 1870s era. Feels like it should have been better, but in the end it is a satisfying film.
_6.5/10_

In 1879, degenerate industrialist Bartholomew Bogue (Peter Sarsgaard) blockades the mining town of Rose Creek, and butchers a gathering of local people drove by Matthew Cullen (Matt Bomer) when they endeavor to confront him. Matthew's better half, Emma Cullen (Haley Bennett), and her companion, Teddy Q (Luke Grimes), ride to the closest town looking for somebody who can help them and happen upon abundance seeker Sam Chisolm (Denzel Washington), who at first decays their proposition until he learns of Bogue's contribution.
Chisolm embarks to enlist a gathering of gunslingers who can help him, beginning with card shark Josh Faraday (Chris Pratt).Watch and download "The Megneficent Seven" here _**movies watch free**_ They are later joined by sharpshooter Goodnight Robicheaux (Ethan Hawke), blade employing professional killer Billy Rocks (Byung-hun Lee), gifted tracker Jack Horne, Comanche warrior Red Harvest and famous Mexican criminal Vasquez (Manuel Garcia-Rulfo).
Touching base in Rose Creek, the seven take part in a gunfight with Bogue's implementer McCann (Cam Gigandet) and his men and push them away with a notice to allow Rose Creek to sit unbothered. Construing that Bogue and his strengths will return in seven days, the seven and Cullen train the sportspeople to guard their home and become attached to them. Watch and download "The Megneficent Seven" here **movies watch free** Robicheaux, frequented by the abhorrences of the Civil War and dreading the unavoidable executing he will be a piece of, forsakes the gathering and is supplanted by Cullen.
Bogue touches base with his strengths and assaults the city, however the desperados are trapped by the townspeople, prompting a shootout amid which Robicheaux rejoins the gathering, McCann is murdered by Vasquez, and Horne is executed by Bogue's Comanche professional killer Denali (Jonathan Joss), who is later slaughtered by Red Harvest. Watch and download "The Megneficent Seven" here _movies watch free_. Bogue then divulges his mystery weapon, a Gatling firearm, with which he executes various innocents. Acknowledging they're outgunned, the seven push the townspeople away and mount their last stand.
Robicheaux and Rocks are killed by a second round of gunfire as Faraday penances himself to demolish the Gatling firearm and whatever is left of Bogue's men, riding up to them in a last charge and afterward exploding a stick of explosive right beside the weapon. Bogue escapes into town, where he is faced by Chisolm, who incapacitates and wounds Bogue. Watch and download "The Megneficent Seven" here movies watch free. As Chisolm is choking Bogue, he uncovers that Bogue and his men assaulted and killed his mom and sister amid an attack quite a long while prior, in which he himself survived being hanged. Bogue is then lethally shot by Cullen while going after a shrouded weapon in his boot.
In the fallout, Faraday, Robicheaux, Rocks and Horne are covered around the local area and respected by the general population of Rose Creek as saints, while Chisolm, Vasquez and Red Harvest ride off, with Cullen commenting that their gallantry made them legends. Watch and download "The Megneficent Seven" here _movies watch free_.

The western genre has gradually been making its way back into the cinematic fold. Recent dusty trail ditties such as David McKenzie's modern-day _Hell or High Water_ or Quentin Tarantino's _The Hateful Eight_ have proven to be recent saddle-tested gems that enthusiastically put cowpoke enthusiasts in movie theater seats. Furthermore, what would Hollywood do if it did not predictably invite yet another remake of a classic film into the moviegoers' mindset? Hence, director Antoine Fuqua takes a challenging stab at generating interest in his latest workman-like western shoot 'em up in the millennium-made version of **The Magnificent Seven**.
Naturally, Fuqua's chaotic and calculating gun-toting actioner is an updated remake of director John Sturges's 1960 film that starred late iconic box office big stars such as Yul Brynner, Steve McQueen, Charles Bronson and Eli Wallach. Of course in return Sturges's borrowed his artistic gun-for-hire gumption from legendary Japanese auteur Akiro Kurosawa's vintage and influential _Seven Samurai_. Fuqua, whose gritty urban police drama _Training Day_ secured a Best Actor Oscar for his **The Magnificent Seven** leading man in two-time Academy Award winner Denzel Washington, takes on the retelling of his particular _Seven_ with feisty fury. One would not necessary anoint Fuqua's outlaw tale as a superior successor to Sturges's borrowed blueprint from Kurosawa. However, Fuqua's array of blazing bullets from his bunch of rag tag bad boys has its own distinctive sense of decorative dare and destruction that feels authentic.
Screenwriters Nic Pizzolatto ("True Detective")and Richard Wenk deliver an unapologetic script that calls for high body counts, old-fashioned showdowns and a wild west waywardness that swaggers courtesy of Fuqua's corrosive crew. The popcorn entertainment in **The Magnificent Seven** is strictly in guilty pleasure territory so there is no need to tighten up your holsters for all you little buckaroos that are eager to wallow in Fuqua's cutthroat corral of gunslingers.
Mustached bounty hunter Sam Chisolm (Washington) is the all-dressed-in-black avenger whose mission is to provide protection for the town of Rose Creek, New Mexico. In his ambitious bid to save the jeopardized Rose Creek he must assembled a group of skilled gunmen able to stand up to the diabolical powers-that-be that look to foster the on-going havoc that prevails.
Specifically, Rose Creek is under the dastardly control of the diabolical Bartholomew Bogue (Peter Sarsgaard) that rules the town with an iron fist. The opening scene demonstrates how nefarious Bogue is at heart because he has no qualms about seizing land from its vulnerable owners or quieting down his critics with intimidating force. Basically, Bogue and his hideous henchmen are not to be reckoned with at all--unless you are willing to match wicked-minded wits with the raw and rough Chisolm and his gun-wielding renegades.
Rose Creek resident Emma Cullen (Haley Bennett, "Music in Lyrics", "The Girl on the Train") steps up to the plate in her effort to confront the nasty Bogue the only best way she knows how--hiring the capable and crafty collection of the Seven to contain this intimidating menace.
Joining Chisolm in his bloody quest to rescue Rose Creek from Bogue's disturbing clutches are explosives expert gambler Josh Farraday (Chris Pratt), and conflicted sharpshooter Goodnight Robicheaux (Ethan Hawke reuniting with his "Training Day" director and co-star Fuqua and Washington). The rest of the tag-a-longs include the outlandishly bearded Jack Horne (Vincent D'Onofrio from TV's "Law & Order: Criminal Intent"), Billy Rocks (Byung-hun Lee), Vasquez (Manuel Garcia-Rulfo) and Red Harvest (Martin Seinsmeier). Together, the anti-heroes known as the Magnificent Seven hope to meet the expectations of Emma's (and the town's) cause and eradicate the villainous Bogue by any means necessary.
**The Magnificent Seven** certainly does not have any pretensions about posing as a conscious-minded, revisionist western as it definitely does not have the prolific pedigree such as Clint Eastwood's _Unforgiven_ for instance. Nevertheless, the film does have a devilish impishness as its main function is to echo an exaggerated rustic feel to its throwback acknowledgement when westerns of yesteryear were just plain frivolous and furious without any particular rhyme or reason.
Sure, the characters have really no inside depth beyond their taste for roughshod recklessness and wild tumbleweed theatrics. This is not necessarily a bad thing to consider in Fuqua's **The Magnificent Seven** because the name of the game is serving up an escapist need for its giddy-up rush for the senses. Indeed, Washington and company will not make anybody forget the aforementioned Brynner and his squad from nearly six decades ago. Still, this particular _Seven_ has its own kind of favorable punch to savor.
The notable names in _Seven_ do rise to the occasion within the context of this otherwise basic story of the wannabe borderline good guys versus the bombastic bad guys. Washington's Chisolm is solidly smooth as charismatic as the leader of the pack. Pratt's Farraday is a charming hoot as the roguish gambling cad. Hawke's Goodnight does a decent job portraying the talented gun handler simply trying to get his groove back due to his shaken confidence from a prior incident (yes, the catchy movie moniker of Goodnight Robicheaux is a keeper to say the least). And D'Onofrio's amusing Horne is deliciously irreverent. The always adventurous Sarsgaard comes to life as the vile wonder whose presence inspires the Seven to tap into vengeance mode.
At the end of the roundup it is quite clear that **The Magnificent Seven** wants to lasso its penchant for resembling a showy Hollywood western even if it is at the expense of lifting its rowdy roots from the likes of its highly regarded predecessors from golden cinema's treasured past.
**The Magnificent Seven** (2016)
Sony Pictures
2 hrs. 12 mins.
Starring: Denzel Washington, Chris Pratt, Ethan Hawke, Peter Sarsgaard, Haley Bennett, Vincent D'Onofrio, Byung-hun Lee, Maunel Garcia Rulfo, Martin Sensmeier
Directed by: Antoine Fuqua
MPAA Rating: PG-13
Genre: Western/Drama/Action and Adventure
Critic's rating: ** 1/2 stars (out of 4 stars)
(c) **Frank Ochieng** 2016

**Central Intelligence might not do anything special with its story, but what makes it special is the genius comedic pairing of Kevin Hart and Dwayne Johnson.**
Central Intelligence is exactly what you have come to expect of any film with Kevin Hart - a lot of fast-talking, dramatic arm-waving, strange faces, and hilarious antics. But Central Intelligence is probably the best of Hart’s catalog of buddy comedies because it marks the beginning of his entertaining friendship with Dwayne Johnson. While the movie is ridiculously goofy, the chemistry between these two reduces the film and leaves the audience wanting more of this fantastic and dorky duo. Central Intelligence also surprises with all the talent on its cast, including Aaron Paul, Jason Bateman, Melissa McCarthy, and more. It might not be a masterpiece, but Central Intelligence is a funny and entertaining film that will make you smile and make you happy that Hollywood has brought Kevin Hart and Dwayne Johnson together to bring the laughs again and again.

**Twenty years is a big gap for a big change to happen in anybody's life.**
This film had the potential to be the best comedy of the year, it opened so well, but did not conclude on high. Like everything suddenly halted, the story came to an end with giving clichéd reason. Though the actors were amazing, and many jokes were awesome. The lead two combination was among the best Kevin Hart worked so far like in the recently with Ice Cube and Will Ferrell.
The opening scenes set off the tone for the rest of the film. Twenty years later, an adventure begins, but that part was so familiar, except the influence of the opening part that carried till the final scene. Even though slightly unpredictable scenes, because the diversions were neatly done against what viewers could expect. The focus was largely on the lead pair, so theirs undertaking was kind of faded away.
There's a guest role at the end, also some behind the scene clips during the end credit cheers us. I think it is a good comedy than it looks, but definitely not the best. Its not the narration, but the actors that makes worth a watch. The stunt sequences were just okay, but utilised according to what the story required. Overall, an enjoyable, time pass film.
_6/10_

The time has come for "Greg" (Ben Stiller) to meet the parents of his girlfriend "Pam" (Teri Polo). He wants to marry her, indeed he even buys a ring - but when the airline makes him check in his bag, then lose the thing and a baby throws up over his shirt he might be forgiven for thinking he'd be better of staying at home. Nope, he perseveres and meets her folks - "Jack" (Robert De Niro) and "Dina" (Blythe Danner) and now his troubles really do begin. Rather than just the usual charming family repartee, "Greg" finds himself under a microscope of penetrative inquisition from his would-be in-law, and it gradually emerges that he has maybe held back on a few truths with "Pam" and he does (or doesn't) like cats. He's also a male nurse called "Focker" - further facts which don't really helps his cause, either. As the weekend progresses, "Greg" lurches from the frying pan to the fire, trashes a sentimental urn, get's stitched up by her brother "Denny" (Jon Abrahams) and I think if it'd been me, I'd have abandoned ship however much I might have loved the woman. Danner always manages to impose herself gently in comedy, her facial expressions and demeanour adding an approving or disapproving look that speaks volumes, and here she works well with De Niro whose controlling behaviour is really the source of much of the humour here. It's not laugh out loud funny, and there's far too much dialogue, but when De Niro is at his most controllingly mischievous, then this is worth a watch. Who doesn't like a bit of Peter, Paul & Mary too?

**_A serious beau becomes a master of disaster when he meets his girlfriend's parents_**
A male nurse from Chicago (Ben Stiller) wants to pop the question to his girlfriend (Teri Polo), but first has to visit Long Island and meet the parents (Robert De Niro & Blythe Danner).
“Meet the Parents” (2001) is a good romantic comedy with Stiller effective as the every-man in a challenging mundane situation that most guys can relate to. The first half involves droll humor as Greg awkwardly meets his potential parents-in-law and suspects that the father doesn’t like him. Yet this is just a set-up for the wild mishaps of the second half as Murphy’s Law goes into effect.
Teri looks great while Nicole DeHuff is on hand as the sister. Elsewhere, an iconic actor of the period shows up in the second half, but I don’t want to give it away as it’s a welcome surprise (it shouldn’t be too hard to figure out seeing as how this is a Ben Stiller comedy).
The sequel “Meet the Fockers” came out four years later and it’s lousy by comparison with distasteful non-humor consisting mostly of juvenile jokes about sex from senior citizens. It was an embarrassment to the iconic actors.
The movie runs 1 hour, 48 minutes, and was shot mostly on Long Island at Old Brookville and nearby Oyster Bay.
GRADE: B+

For something so far out of my wheelhouse, I do have a certain level of appreciation for _Cloudy with a Chance of Meatballs_.
_Final rating:★★½ - Had a lot that appealed to me, didn’t quite work as a whole._

Charlotte Rampling is rather menacingly calculating in this otherwise rather dreary espionage thriller. She is the matron of a school where acclaimed ballet dancer turned agent "Dominika" (Jennifer Lawrence) is being sent to learn how to use sex (and sexuality) as weapons of war. After a pretty squeamish (best not say sticky) start, she gets into her stride and is soon on the trail of her CIA target "Nash" (Joel Edgerton). Of course it isn't going to be straightforward as loyalties are tested, she hasn't really a clue whom she can trust and - yes, it does all sound a bit familiar doesn't it? I am afraid I just could not get "Hunger Games" out of my head for most of this and the starkness of the sexual brutality wore very thin very quickly - rendering the remainder of the film quite sterile and frankly, rather dull and repetitive as she proceeds to try to entrap her quarry and discover who his Soviet sources are. It is poorly paced, I felt, and at over 2¼ hours long it seemed to drag interminably once we, the audience, had sort of put two and two together. Edgerton is a competent actor, and the easy on the eye Matthias Schoenaerts adds a little complexity to the plot, but I am afraid, otherwise, this is a long and rather lacklustre outing for a star far from her best delivering a story that is most definitely not John le Carré.

I thought I was going to get _Black Widow_ only boring, but what I ended up getting was actually _Atomic Blonde_ only boring.
_Final rating:★★ - Had some things that appeal to me, but a poor finished product._

It's one of those movies where you know what's going to happen in the end but you aren't sure how it's going to happen. Then at the end you know you have to watch it again so that you can understand how it happened.

I love Jennifer Lawrence, she's just amazing. It's not her best apparition but she's the main character of the plot, so you can appreciate her like in no other of her movies.
Twisted and complex, the main plot is defined by itself during the development of the movie.
By synopsis, Dominika Egorova (Jennifer Lawrence) it's a professional ballet ballerina that tragically forced to change her career path by an "accident".
Moved by her family needs, she's accept some "business" propositions that subsequent convert her into an Sparrow, a secret government physiologic weapon of seduction.
By personal opinion you can feel this movie very slow because of the absent of a good sound work. The image of this movie was perfect for an excellent sound editing and mixing, so the absent of this take some points in the final score in public perception.

The Babadook is one of those elusive horror films, that's open to broad interpretation.
My personal feeling have watched the whole film in the context of the single mothers predicament, is the real monster is the spectre of domestic abuse. Abuse that happens when a fundamentally decent person, is pushed too far by life and circumstance.
I will warn you, this film is most definitely not for everyone. If, like me, you don't like films, that emulate the abuse of animals, you might want to give this one a hard pass.
That said, there is a lot to like in The Babadook. Its a grimly realistic insight into how life's tragedies can compound and grow, beyond the first tragic event.
Acting too, as is so, so often the case with Australian films, is of a very high standard. Its easy to be drawn into the unfolding, sad tale of a struggling mother, who suddenly finds herself single, sad and alone, with a young son to support.
In summary, quite brilliant, in a dark, at times sad and depressing way. By no means an easy watch but certainly a haunting one, that will remain with you, long after the closing credits.

'The Babadook' is a well done horror film, one that is most definitely creepy.
I would've liked more from the monster and how it works, though the film does give you enough and certainly does a fine job at building up the atmosphere of uneasiness that the thing produces. One great part I noticed is the sound editing, which is astutely crafted throughout.
Essie Davis does terrific in the role of Amelia, she shows every emotion that her character is feeling nicely - I felt her pain initially with the kid, too. Noah Wiseman plays her son, Samuel. He is actually quite impressive given his age, there are a few scenes where he adds a fair deal to them.
It's hearty, suspenseful and attempts proper horror as opposed to forcing things like jump scares, which I will always praise a production in this genre for. I wanted a little more, but overall I like this.

The best pure-horror of the year. But that's not saying much.
Final rating:★★★ - I liked it. Would personally recommend you give it a go.

Ba Ba-Ba Dook! Dook! Dook!
The Babadook is written and directed by Jennifer Kent. It stars Essie Davis, Noah Wiseman, Daniel Henshall and Hayley McElhinney. Music is by Jed Kurzel and cinematography by Radek Ladczuk.
Amelia is a single mother still haunted by the violent death of her husband, she is trying to deal with her young son Samuel's fear of a monster in the house. Initially tolerating it as a flight of fancy, the arrival of a book in the youngster's bedroom called Mr. Babadook, signals the start of a sinister presence that she herself can begin to fear as well.
Australia has been producing some great horror films in the last couple of decades, The Babadook is one of the best of the bunch. Jennifer Kent made it as a 10 minute short back in 2005 called Monster, itself a super piece of horror film making, now in full feature length form (Kent’s first), the vision and intelligence explodes off the screen in every frame.
The premise at the core is not exactly fresh, but Kent manages to make The Babadook its own entity, skilfully steering away from formula jolts and terrors. Which in this day and age of horror retreads, sequel frenzies and blood for blood’s sake, is most refreshing. This is a big character piece, a two hander of incredible emotional power, a mother and son dealing with their own demons before the eponymous Babadook enters the fray. We care about this pair of troubled souls, so much so that as we start to feel the dread, get the tingles down the spine, our hearts are also aching for them. The two performances of the actors quite simply magnificent.
Mr. Babadook is a pop-up picture book that suddenly arrives into their lives. The creature is a sort of cross between a German expressionistic nightmare and Jack the Ripper. The book itself is creepy enough in its own right, more so as it starts to take on a more terrifying tone – and Amelia proves unsuccessful at getting rid of the thing – the picture starts playing its ace psychological cards. The monster is kept mostly to the edges of the frames, or just popping up for a quick glance in unexpected places, this is a great move and suits the narrative perfectly.
The tech credits are top notch. A key aspect to getting the most out of The Babadook is to make sure the sound is loud, for the sound mix is tremendous and can bring pounds of gooseflesh rising up on your arms. Ladczuk’s photography is at one with the themes pulsing away in the story, the colours paled and cheerless, enhancing the fractured psyches of mother and son, but Mr. Babadook is a jet black presence in this landscape. All told the art design from the book to the house and the creature is excellent.
Umbrella’s Australian All Region Blu-ray Release has a super transfer and does justice to the sound mix. There’s over an hour of interviews, which are a mixed bag of informative chat and back slapping, a 12 minute behind the scenes making of and some trailers. The bonus is the 10 minute short, Monster, The Babadook in its infancy but no less scary for it.
The Babadook is a superlative horror film for adults, like when Polanski met Kubrick and they decided to pay homage to Fritz Lang and George Melies. Yes it’s that good. 10/10

Sonic 2 was much more enjoyable for me to watch. The additions of Miles "Tails" Prower and Knuckles were great. Dr. Robotnik's henchman being kind of attracted to Robotnik was... strange. I didn't like that. And that one girl, I think her name was Rachel in the film, is insane. The music was good, the CGI was good, and Knuckles was awesome, funny, and cool (I'm a Knuckles fan, if you couldn't tell). I'm excited to see what they do with Shadow in Sonic the Hedgehog 3!

**Sonic 2 is as fun and ridiculous as the first, for better or worse.**
Sonic 2 continues the formula that brought its predecessor success the first time with colorful, funny characters that make jokes that every kid will giggle at and a completely unrestrained Jim Carrey in his element and at his best. This time the movie swaps Sonic's human sidekicks for animated characters from the games, with Idris Elba's Knuckles being surprisingly funny (I didn't expect that from the trailers). Just like the first movie, Carrey makes this movie so entertaining. His outrageous performance perfectly fits the role of a kids' video game villain, and his snappy dialogue and quipped one-liners made me laugh at almost every scene he graced. Sonic 2 is not a typical movie I would choose for myself, but I'm not upset when my little daughter chooses to watch it over many other kids' movie options.

Lol, I can't believe these movies are being made. If you're adapting the Sonic canon into a modern family-action-comedy film, this is kind of the best-case scenario.
Much more bonkers than I anticipated, but not always in a good way. Definitely a fun time!

The third time is the charm or, after having been less than thrilled about the last two movies I have watched this one was finally one that I quite enjoyed.
When I watched the first Sonic movie with the kids I was quite amused by it. This one I also watched with the kids and I have to say it was some fun two hours.
These movies are pure comedies with an aspect of adventure. Make no mistake about, they are silly movies. Then, with Jim Carrey in one of the lead roles that is what anyone that has not lived under a rock in Coyote land would expect.
Jim Carrey more often than not grates on me with his overacting and ridiculous behavior but in this movie he is the perfect fit.
The movie sets the tone right away when it starts at the mushroom planet, or as Jim Carrey (Dr Robotnik) calls it, the piece of shitake planet, with Dr Robotnik’s coffee making machinery.
What follows is one long ride of, mostly, slapstick jokes but still following the red thread of the story. A story which is not really bad and which adds a nice adventure aspect to the movie.
The movie even adds some realism, although they probably did not realize that during production, in that the federal agents are just as big a–holes as they have proven themselves to be in real life lately.
The grand finale with Dr Robotnik’s huge robot was quite hilarious. I really do not want to spoil things but watch out for that moustache. I’m happy that they refrained from following up that snot laser with a fart laser though.
Bottom line, a really fun family adventure movie.

Full review: https://www.tinakakadelis.com/beyond-the-cinerama-dome/2022/4/13/go-speed-racer-sonic-the-hedgehog-2-review
Sonic the Hedgehog 2 picks up not long after the events of the first film. Doctor Robotnik (Jim Carrey) was banished from Earth by Sonic (Ben Schwartz) and crash-landed his spaceship on the Mushroom Planet. His only means of escape is Sonic’s quill, which is flowing with immense energy, and he uses it to send out a distress signal. This catches the attention of Knuckles (Idris Elba), another super-powerful anthropomorphic animal like Sonic. Knuckles is the last living member of the echidna tribe that was wiped out in the same war that sent Sonic to Earth many years ago.