A Dog’s Purpose (2017) Review

A Dog’s Purpose is an upcoming American comedy-drama film directed by Lasse Hallström and written by Audrey Wells. It is based on the 2010 novel of the same name by W. Bruce Cameron. The film stars Britt Robertson, Dennis Quaid, Josh Gad, Peggy Lipton and Juliet Rylance. The film is scheduled to be released on January 27, 2017, by Universal Pictures.

Director: Lasse Hallström
Writers: W. Bruce Cameron (novel), Cathryn Michon (screenplay)
Stars: Britt Robertson, Josh Gad, Dennis Quaid
Genre: Adventure, Comedy, Drama
Release: Italy 19 January 2017 – UK 21 April 2017

A Dog’s Purpose (2017) Storyline
A dog looks to discover his purpose in life over the course of several lifetimes and owners.

A Dog’s Purpose (2017) Review
Parents need to know that A Dog’s Purpose provides a bit of a twist on the standard talking-animal movie. The story is narrated by a dog (voiced by Josh Gad), who begins his life as a golden retriever named Bailey whose best friend is a young boy named Ethan (Bryce Gheisar). Bailey remains loyally by Ethan’s side through his teenage years, even through Ethan’s first love (so expect some kissing and romance), until Bailey dies of old age … only to be reincarnated as a (female) German shepherd police dog. The dog continues to come back, living many lives as many different breeds. With each new human he — or she — lives with, the dog learns a little more about his purpose, until, years later, he returns to a familiar home and a familiar friend (Dennis Quaid). Although this movie will likely have emotional moments that might be too intense for sensitive younger kids — including the reccurring death of a pet — for the most part it looks like a heartfelt family dramedy for all dog lovers.

A Dog’s Purpose (2017) Trailer

xXx: Return of Xander Cage (2017) Reviews

xXx: Return of Xander Cage (alternatively known as xXx: Reactivated and pronounced “Triple X”) is an upcoming 2017 American action film directed by D. J. Caruso, produced by Vin Diesel, Joe Roth, Jeff Kirschenbaum, and Samantha Vincent, and written by F. Scott Frazier and Chad St. John. It stars Diesel, Donnie Yen, Deepika Padukone, Samuel L. Jackson, Tony Jaa, Nina Dobrev, Ruby Rose, Rory McCann, Kris Wu, and Ariadna Gutiérrez. It is intended to be the third film in the xXx franchise, and thereby a sequel to both the 2002 film xXx and the 2005 film xXx: State of the Union, though more directly with the first film. Unlike the previous films, which were distributed by Columbia Pictures, Return of Xander Cage will be released by Paramount Pictures on January 20, 2017, in 2D, RealD 3D and IMAX 3D.

This will also mark the first film produced by Revolution Studios in nine years since 2007’s The Water Horse: Legend of the Deep.

Director : D.J. Caruso
Writers : F. Scott Frazier, Rich Wilkes (based on characters created by)
Stars : Deepika Padukone, Donnie Yen, Vin Diesel
Genre : Action, Adventure, Thriller.
Release : 18 January 2017 France – 24 February 2017 Poland

Storyline
Extreme athlete turned government operative Xander Cage (Vin Diesel) comes out of self-imposed exile, thought to be long dead, and is set on a collision course with deadly alpha warrior Xiang (Donnie Yen) and his team in a race to recover a sinister and seemingly unstoppable weapon known as Pandora’s Box. Recruiting an all-new group of thrill-seeking cohorts, Xander finds himself enmeshed in a deadly conspiracy that points to collusion at the highest levels of world governments.

 xXx: Return of Xander Cage (2017) Trailer

Don’t miss to watch this movie . . .!!!

Monster Trucks (2016) Reviews

Director : Chris Wedge
Writers : Derek Connolly (screenplay), Matthew Robinson
Stars : Jane Levy, Lucas Till, Rob Lowe
Genre : Action, Adventure, Animation
Release : 21 December 2016 France – 28 April 2017 Sweden
Monster Trucks is an upcoming 2016 American 3D live-action/computer-animated action comedy film produced by Paramount Animation, Nickelodeon Movies and Disruption Entertainment. It is directed by Chris Wedge and written by Jonathan Aibel, Glenn Berger, Derek Connolly and Matthew Robinson.[5] The film stars Lucas Till, Jane Levy, Amy Ryan, Rob Lowe, Danny Glover, Barry Pepper, and Holt McCallany. This was the final film worked on by Jon Polito’s before his death on September 1, 2016.
“Looking for any way to get away from the life and town he was born into, Tripp (Lucas Till), a high school senior, builds a Monster Truck from bits and pieces of scrapped cars. After an accident at a nearby oil-drilling site displaces a strange and subterranean creature with a taste and a talent for speed, Tripp may have just found the key to getting out of town and a most unlikely friend.”
Monster Trucks (2016) Trailer

Gold (2016) Reviews

Director :  Stephen Gaghan
Writers : Patrick Massett, John Zinman
Stars : Bryce Dallas Howard, Matthew McConaughey, Toby Kebbell
Genre : Adventure, Drama, Thriller
Release : 25 December 2016 Canada – 13 April 2016 German
Gold is an upcoming 2016 American crime adventure film directed by Stephen Gaghan and written by Gaghan, Patrick Massett and John Zinman. The film stars Matthew McConaughey, Édgar Ramírez, Bryce Dallas Howard, Joshua Harto, Timothy Simons, and Michael Landes. Principal photography began on June 29, 2015, in New York City, New Mexico and Thailand. The film is scheduled to be released in a limited release on December 25, 2016, by TWC-Dimension.
“An unlikely pair venture to the Indonesian jungle in search of gold.”
Gold (2016) Trailer

 

Don’t miss to watch this movie…!!!

Assassin’s Creed (2016) Reviews

Assassin’s Creed (2016) Reviews.  When Callum Lynch explores the memories of his ancestor Aguilar and gains the skills of a Master Assassin, he discovers he is a descendant of the secret Assassins society.
Director: Justin Kurzel
Writers: Michael Lesslie, Adam Cooper
Stars: Marion Cotillard, Michael Fassbender, Essie Davis

 

Assassin’s Creed (2016) Trailer

Assassin’s Creed (2016)  Reviews / Metascore:

Parents need to know that Assassin’s Creed is based on the wildly popular video game by the same name (and its sequels). The games are known for their cinematic quality and intense violence, so expect the movie to follow in their footsteps. As in the games, historical fiction meets science fiction when a descendant of a secret medieval society called the Assassins uses revolutionary technology to access genetic memories and live out his ancestors’ adventures. In this case, former criminal Callum Lynch (Michael Fassbender) is recruited to unlock the memories of an Assassin during the Spanish Inquisition so the society can gain the necessary skills to take down their enemies, the Templar Order, in present day. The popularity of the game series will likely attract teens and tweens to the movie, but it could well be too violent for younger viewers.

Passengers (2016) Reviews

Passengers (2016) Reviews.  A spacecraft traveling to a distant colony planet and transporting thousands of people has a malfunction in its sleep chambers. As a result, two passengers are awakened 90 years early.
Director: Morten Tyldum
Writer: Jon Spaihts
Stars: Jennifer Lawrence, Chris Pratt, Michael Sheen

Passengers (2016) Trailer

Passengers (2016) Reviews

Passengers is something of an anomaly. It’s a big-budget original, costing anywhere from $90 million to 120 million depending on who you ask, from a major studio that is being sold entirely on star power. The trailer, which dropped a few hours ago, shows off a certain amount of sci-fi razzle-dazzle. But the core selling point, arguably the only selling point, is the idea that audiences will flock to see Jennifer Lawrence (who got $20m plus 30% of the profits once it breaks even) making outer-space whoopie with Chris Pratt (who will starve with a mere $12m payday).

There’s no IP, no franchise potential, and no previously established universe or characters. Passengers is an honest-to-goodness “star vehicle.” Jon Spaihts’s much-liked screenplay has been making the rounds for nearly a decade, with a bunch of theoretical pairings (Keanu Reeves and Rachel McAdams, for example). I don’t know (vague spoiler warning) if the final film kept the somewhat creepy central premise intact, but it’s not my place to discuss what may be a late-in-the-game reveal.

Morten Tyldum got the directing gig after The Imitation Game, and this is Sony’s big Christmas gamble. In a world of franchises and superheroes, is there still any worth in pure star power? Jennifer Lawrence is arguably one of the most famous women on the planet (and the world’s highest-paid actress) with the X-Men and The Hunger Games franchises under her belt and four Oscar nominations (and one win) since 2010.

Chris Pratt is one of the Internet’s most beloved celebrities, and he is unquestionably a big reason why Warner Bros./Time Warner Inc.’s The LEGO Movie, Walt Disney’s Guardians of the Galaxy and Universal/Comcast Corp.’s Jurassic World all soared to unexpectedly large box office glories. But is he worth anything starring in a movie that isn’t an explicit brand name play?

Even Sony’s The Magnificent Seven won’t prove much, despite the fact that I’m expected it to break out pretty well this weekend. Denzel Washington has a long list of seemingly popular white male co-stars (Russell Crowe, Chris Pine, Ryan Reynolds, etc.) who flourish with him only to stumble without him.

And even Lawrence’s successful David O.Russell collaborations (Silver Linings Playbook, American Hustle) had the advantage of mostly solid reviews, ensemble casts, the Oscar season heat and a long and leggy award season release. Absent those things, Joy “only” made $101 million worldwide for Fox last year on a $60m budget, albeit she gets credit for every dime of that.

And Pratt has never had a “just me and my star power” test, although to be fair he’s only been “a name” since early 2014. Point being, lot is riding on Passengers, including the notion that we can make new movie stars today outside the realm of cheap(er) comedy vehicles.

Can Sony still score a big-scale blockbuster that isn’t a James Bond movie or a Spider-Man picture? Will Jennifer Lawrence and Chris Pratt prove themselves to be more than franchise supplements and/or Internet famous (to the extent that actual drawing power even exists in 2016)? Will audiences show up for one of those big-budget adult-skewing star-vehicles they always say Hollywood doesn’t make or were they just bluffing?

All of these questions and more will be answered when Passengers arrives in theaters on Dec. 21.

The Space Between Us (2016) Reviews

The Space Between Us (2016) Reviews, Read All about it. The first human born on Mars travels to Earth for the first time, experiencing the wonders of the planet through fresh eyes. He embarks on an adventure with a street smart girl to discover how he came to be.

Director: Peter Chelsom
Writers: Allan Loeb, Stewart Schill
Stars: Asa Butterfield, Carla Gugino, Britt Robertson

The Space Between Us (2016) Trailer

The Space Between Us (2016) Reviews

Sarah Elliot and 5 other astronauts are going to embark on a 4 year mission to colonize Mars. This has been the dream project of Nathaniel Shepard, creator of Genesis Space Tech, since he was 12. Unable to go to Mars himself, he sends Sarah and the team with the approval and backing of NASA to Mars. After successfully landing on Mars, 2 months later, Sarah learns she is pregnant. Learning the news, Nathaniel and Director Chen argue of what is best for the baby, Sarah, and their mission. They decide to keep the pregnancy a secret from the public and let Sarah have the baby on Mars. Moments after Gardner Elliot is born, Sarah dies. 16 years later, after “being raised by scientist in a bubble”, Gardner, a romantic, is longing for a real connection on Earth. The closest he can get is FaceTiming a girl nicknamed Tulsa. Tulsa is a foster child who takes care of herself. She would rather be anyplace but Earth. When Gardner starts acting out, Kendra, his pseudo-mother and astronaut, convince Nathaniel and Chen to let him come to Earth. Once on Earth, all hell breaks loose. Gardner runs away from the base and starts a mission to find Tulsa, the father he never knew, and discover people’s favorite thing about Earth. But what Gardner doesn’t know is Earth’s gravity is making him sick. If he doesn’t get back to Mars, he could die. Kendra and Nathaniel will do anything to find and save him.

This film covers wanderlust and love expertly. You are allowed to see the beauty and scariness of Earth through Gardner’s eyes with breathtaking landscapes and surprising discovers of horses and trucks. The conversations between Tulsa and Gardner do not go beyond their years in order to point out the hypocrisy of human interactions. Some may have an issue with the “John Greene” ending, but the ending is realistic. It is worth seeing in theaters to enjoy the cinematography of Earth’s and Mars’s landscapes and the actor’s performances. The downfall is the build. Understanding Gardner on Mars takes half the film. You may tune out but this is a mistake. These scenes are very important for the 2nd half of the movie. So keep your eyes and ears open and see this movie before someone ruins the ending. You may be able to guess it, but its still worth watching.

I give it 3.5 out of 5 stars.

Rogue One: A Star Wars Story (2016) Movie Reviews

Rogue One: A Star Wars Story (2016) Reviews, The Best Reviews. The Rebellion makes a risky move to steal the plans to the Death Star, setting up the epic saga to follow.
Director: Gareth Edwards
Writers: Chris Weitz, Tony Gilroy
Stars: Felicity Jones, Mads Mikkelsen, Ben Mendelsoh

Rogue One: A Star Wars Story (2016) Trailer

Rogue One: A Star Wars Story (2016) Reviews

According to Latino Review, Mission: Impossible — Rogue Nation director Christopher McQuarrie was recently brought in to do a two-week pass on the Rogue One script. There’s no word about when in the process McQuarrie might have tackled the screenplay, but with his busy schedule as of late, doing promotion on a major movie and getting it ready for release, it could have been tricky to fit in. Still, this is only good news.

Though he has been working more as a director in the last few years, with Rogue Nation last summer and Jack Reacher in 2012, screenwriting is where he’s made his bones. He first rose to prominence with the Oscar-winning The Usual Suspects, but he also wrote Rogue Nation, adapted Reacher, and penned Edge of Tomorrow, among other projects. The idea of him taking a pass at Rogue One is something that has us very excited around these parts. He’s great at delivering big popcorn blockbusters that don’t skimp on the grit, character, humor, or intelligence. Those are all things we want out of a Star Wars movie.

Rogue One has been filming now for a while, but the writer situation has been a bit of a revolving door. Gary Whitta handed in the original draft then bowed out. Simon Kinberg was rumored to be taking over, rumors that were quashed when Chris Weitz (Cinderella) was brought on board to give it a polish. If LR’s sources are correct, and McQuarrie did go over the script, with just two weeks it probably wasn’t a massive overhaul, but more of tightening things up and beefing up certain elements.

What we know of Rogue One makes is sound unlike most Star Wars movies that have come before. First off, it’s a side story that doesn’t really figure in to the main Episode saga. There is also going to be less of an emphasis on the Force, which likely won’t have much of a presence at all. It has also been described as a gritty war movie, which is certainly something new for the franchise, and right in McQuarrie’s wheelhouse.

Set between the events of Revenge of the Sith and A New Hope, the plot of the Gareth Edward-directed movie, as we understand it, revolves around the theft of the plans for the first Death Star. We’ve got a glimpse at the cast, which includes Felicity Jones, Donnie Yen, Diego Luna, Mads Mikkelsen, Forest Whitaker, Ben Mendelsohn, Alan Tudyk, and Riz Ahmed, and though there have been rumors of everything from bounty hunters to Darth Vader, most of the details are still under wraps.

Filming right now, Star Wars: Rogue One is scheduled for release December 16, 2016

Max Steel (2016) Movie Reviews

The movie reviews for Max Steel (2016) – The adventures of teenager Max McGrath and alien companion Steel, who must harness and combine their tremendous new powers to evolve into the turbo-charged superhero Max Steel.

When teenage Max McGrath discovers his body can generate the universe’s most powerful energy, he must bond with the only being able to contain it – a mysterious techno-organic extraterrestrial named Steel. United as the superhero Max Steel, the two friends must combat an alien menace and unlock the secrets of their past.

Max Steel (2016) Movie Trailer

Parents need to know that Max Steel is based on a cartoon series and a Mattel action figure. This origin story tells how a 16-year-old boy named Max and a “techno-organic” alien named Steel symbiotically join to form one being with superhuman strength. Apart, neither can survive, but together they can defeat the threat chasing them. Confusing? Slightly. But expect tweens and young teens familiar with the animated series to be interested in this sci-fi thriller.

Kids’ TV shows are always talking about the importance of imagination. That’s odd, because kids’ TV shows are often so unimaginative. Probably the worst offenders are sci-fi and superhero cartoons, which are content to recycle visuals, premises and plots from previous cartoons, which cribbed them from somewhat more original works intended for adults.

Disney XD’s new animated series “Max Steel” is a good example of this type of creativity-challenged show. Cobbled together from ready-made sources with no apparent interest in coming up with a fresh twist or a new slant, it fails to make much of an impression, either positive or negative. The creaky computer-generated animation doesn’t help.

Premiering next Monday, March 25, at 4 p.m., “Max Steel” is a reboot of an animated series that aired in the States from 2000 to 2002. The new version is about a teenager named Max McGrath (voiced by Andrew Francis), who moves to a new town and is immediately bullied by a kid named Butch (Brian Drummond) on his first day of school. He’s helped out by a pretty girl named Sydney (Sarah Edmonson) and a nerd named Kirby (Richard Ian Cox).

While fleeing Butch and his gang on his bicycle, Max discovers that he has super strength. The subsequent fight releases a burst of energy that’s detected by the boss (Mark Oliver) at Trans Human Industries, who wears a Darth Vader-like respirator.

Max’s uncle Forge Ferrus, who has been following him, takes Max to the offices of N-Tek, a secret organization founded by Uncle Ferrus, as well as by Max’s father and a man named Miles Dredd, both of whom died in an accident while Max’s father was investigating an energy form known as TURBO.

It turns out that Max can produce his own TURBO, which the big bad boss at Trans Human Industries needs to survive. When Max’s uncle puts him into a chamber designed to stabilize his energy, it instead produces an overload of power. Suddenly, a ” techno-organic bioparasitic warrior” thingamajig named Steel activates and forms a cyborg with Max, with Steel in control.

Most of these story elements — the new school, a bully surprised by hidden powers, the dead scientist father, the shadowy mentor — are so overused that the writers of this series might have assumed they were obligatory and thus didn’t feel they were being lazy.

The same probably goes for the show’s look. As in so much sci-fi of the last 35 years, the design of the futuristic hardware borrows heavily from the original “Star Wars” movies.

Max’s banter with Steel might remind older viewers of the interplay between Michael and KITT on another late-20th-century pop-culture landmark, “Knight Rider.”

The computer animation is adequate for action scenes, but close-ups and wide shots of people doing simple things like walking are bizarrely artificial. Kids are going to recognize that the show is cheaping out.

Max Steel” is debuting in connection with a revamped line of action figures. Perhaps if it were intended to stand alone, its creators might have tried to provide something new.

Miss Peregrine’s Home for Peculiar Children (2016) Movie Review

Miss Peregrine’s Home for Peculiar Children (2016) Movie Review When Jacob discovers clues to a mystery that spans different worlds and times, he finds Miss Peregrine’s Home for Peculiar Children. But the mystery and danger deepen as he gets to know the residents and learns about their special powers. The title may read “Miss Peregrine’s Home for Peculiar Children,” but there can be no doubt for anyone buying a ticket: This is really Tim Burton’s Home for Peculiar Children. Not since “Sweeney Todd,” and before that all the way back to “Sleepy Hollow,” have the studios found such a perfect match of material for Hollywood’s most iconic auteur. It’s gotten to the point where the mere addition of Burton’s name to a movie title can justify an otherwise iffy prospect: You don’t want to see a “Planet of the Apes” remake? Well, how about a Tim Burton “Planet of the Apes” remake? Now you’re interested! Here, there’s nothing forced about the coupling of Ransom Riggs’ surprise best-seller with Burton’s playfully nonthreatening goth aesthetic and outsider sensibility, which should put the director back on the blockbuster charts.

One of the kid-lit sphere’s freshest recent surprises, Riggs’ novel was inspired by the author’s personal collection of vintage photographs — including a floating girl, an invisible boy, and other such darkroom dodges (not unlike retouch artist Mark Mothersbaugh’s “Beautiful Mutants” series) — and may as well have been written for Burton to direct. Known as “peculiars,” this eccentric mix of wartime refugees are like a cross between the Addams Family and the X-Men, each one blessed with some outré ability, from spontaneously igniting anything they touch to bringing inanimate objects (i.e. skeletons and dolls) to life.

While collateral damage from a Nazi bombing destroyed their beautiful Victorian orphanage during World War II, these kids have had few direct enemies, tucked away on the tiny Welsh island of Cairnholm, for more than seven decades. But that’s changed, now that a shape-shifting goon named Barron (Samuel L. Jackson) is on the hunt for peculiars, gobbling their eyes with great relish (and no one plays great relish, eye-gobbling or otherwise, like Jackson).

The kids have been safe all this time thanks to Miss Peregrine (embodied by Burton’s new muse, Eva Green), who possesses the gift of creating protective “loops,” or 24-hour safety bubbles wherein her charges can hide in a “Groundhog Day”-like cycle, forever repeating the day before the bomb struck. As guardians go, Miss Peregrine is what one might call an “ymbrine,” a rare breed of peculiar capable of transforming into a bird — in her case, a peregrine falcon, though there are others (including Miss Avocet, played by Judi Dench). Her ebony hair streaked with blue and swept up into a bird’s-nest ’do, Green cleverly suggests her avian alter ego, standing rigidly upright in her peacock-blue satin gown, glowering down through exaggerated eyeliner, and brandishing her long, slender fingers as if they were talons. Riggs may have imagined her, but she has clearly become a Burton creation, just one of many among her brood of adolescent oddities, who might otherwise be mistaken for so many sideshow freaks.

While hardly as elaborate (or inventive) as Hogwarts, Miss Peregrine’s eccentric quasi–orphanage shares the quality of remaining a well-kept secret from polite society. Even the other Cairnholm residents don’t realize who their neighbors are, so none can imagine why a boy named Jacob Portman (Asa Butterfield, who has literally grown up — if not necessarily into those endearingly big ears of his — since starring in Martin Scorsese’s “Hugo”) would travel all the way from Florida to visit what remains of the old house. An aspiring “discoverer,” Jacob is reeling from the murder of his paranoid old grandfather, Abe (Terence Stamp), who died trying to defend himself from a long-limbed, eyeball-snatching creature called a hollowgast. (Of all the film’s design improvements, the hollowgast represents its most inspired, looking like a malicious, tentacle-mouthed twist on “The Nightmare Before Christmas” pumpkin king Jack Skellington.) No one quite believes Jacob’s firsthand account, though he cleverly manipulates his therapist (a hilariously “understanding” Allison Janney) into endorsing the trip to Wales, on the condition that his washed-up dad (Chris O’Dowd) accompanies him.

In the grand tradition of kid heroes who must circumvent their fuddy-duddy parents in order to accomplish great feats, Jacob manages to ditch his dad and locate Miss Peregrine’s loop, stepping back into 1943 to meet the children who had once been Abe’s closest companions. Some traits are undeniably genetic, and Jacob has inherited both his grandfather’s peculiarity and his taste in women. In fact, given the time-travel conceit, Jacob has the unique opportunity to swoon for the very same girl that Abe had loved so many years ago, a borderline-albino blonde bombshell named Emma (Ella Purnell), for whom screenwriter Jane Goldman (“Stardust”) has devised some deliciously romantic interactions, including a splendid reverse-“Titanic” love scene that sets up several key elements of the film’s finale, including a skeleton battle to rival the imagination of Ray Harryhausen.

Goldman’s frequently amusing script is the secret ingredient that makes “Miss Peregrine” such an appropriate fit for Burton’s peculiar sensibility, allowing the director to revisit and expand motifs and themes from his earlier work: With its time-skipping chronology and family-reconciling framing device, the entire tale could be another of Burton’s “Big Fish” stories (from the film of the same name); it offers opportunities for “Frankenweenie”-style stop-motion; there are ostracized freaks (and even a dino-shaped topiary) straight out of “Edward Scissorhands”; and its elaborate, meticulously decorated mansion manages to improve upon the wonky houses seen in “Beetlejuice” and “Dark Shadows.”

Perhaps it’s all a little bit too familiar for those who’ve been following Burton since the beginning. Although the director repeats more than he innovates this time around, for younger audiences, the film makes a terrific introduction to his blue-hued, forever-Halloween aesthetic. It’s clearly also an excuse for him to work with Green again after “Dark Shadows,” and rather than leaving audiences with the icky feeling that he’s twisting his leading lady to fit his admittedly kooky sensibility (as seemed to happen with Helena Bonham Carter and Lisa Marie), he appears to have met his match in Green. The already-outré “Penny Dreadful” star walks that razor-fine line between dignity and camp perhaps better than any other current actress — making for a partnership we can only hope to see continue.