Desierto Movie Reviews

The Desierto Movie Reviews base on movie online streaming – A group of people trying to cross the border from Mexico into the United States encounter a man who has taken border patrol duties into his own racist hands.

Desierto 2015 Movie Trailer

What begins as a hopeful journey to seek a better life becomes a harrowing and primal fight for survival when a deranged, rifle-toting vigilante chases a group of unarmed men and women through the treacherous U.S.-Mexican border. In the harsh, unforgiving desert terrain, the odds are stacked firmly against them as they continuously discover there’s nowhere to hide from the unrelenting, merciless killer.

Writer-director Jonas Cuaron’s sharply made but simplistic second feature shares a reductive view of immigrant and border issues.

The old Most Dangerous Game/The Naked Prey man-stalking format is uncomfortably imposed on a Mexican immigrant narrative in Desierto, a sharply made but simplistic second feature from writer-director Jonas Cuaron. Although the flow of Mexicans into the United States has been a topical matter for decades, the fact that the entire subject of migrants worldwide has this year become such a hot-button issue could well work to this film’s advantage. But the spectacle of a Confederate flag-sporting redneck hunting down Mexicans stranded in the desert with a ferocious dog and a high-powered rifle doesn’t really add anything helpful to the big conversation about immigration. The film’s obvious topicality will put it in the spotlight, but the idea of a nut-job American loner using desperate border-crossers for target practice doesn’t represent the real issues in play in any meaningful or accurate manner. Equal parts action melodrama, social critique and art project (especially in regards to the heavy and pretentious musical score), this could get praised for the wrong reasons and become some sort of event, but wide acceptance is unlikely.

Cuaron directed his previous feature, Year of the Nail, in 2007 and more recently co-wrote Gravity with his father, Alfonso. It only takes a glance to notice that both the hugely successful space drama and the new film are very stripped-down survival tales in highly inhospitable settings — in this case, a remote desert area where the U.S.-Mexico border is represented by an easily surmounted barbed-wire fence.

Misfortune befalls a group of 14 migrants when the truck carrying them breaks down in the middle of nowhere; the driver then points the poor souls in the direction of the United States and wishes them luck. Fortunately, at least one of them, Moises (Gael Garcia Bernal), has been this way before and is able to guide the nervous voyagers to and over the border.

Unfortunately, what awaits them is not just heat and sand and rock but a vicious hunter with only one purpose in mind — to track and kill every Mexican he can get in his rifle sights. Sam (Jeffrey Dean Morgan) is a rangy, bearded cowboy with a heavy-duty pickup, a very powerful rifle and an amazingly fast, agile and bloodthirsty dog named Tracker. That’s all we ever know about the guy, except that he’s bad-tempered and curses a lot when things don’t go his way.

When he spots the group traipsing across a wide-open space, Sam perches on a rock and begins picking off the desperate travelers like sitting ducks, killing eight of them in quick succession. Tracker claims a victim of his own by biting the poor man’s throat, and in short order there are only two Mexicans left, Moises and a young woman, Adela (Alondra Hidalgo).

Does Sam have a reason for hating Mexicans so much? Was his wife raped and killed by one? Is he a psycho? Just a racist? A wee bit more is revealed about Moises, that he has a son up in Oakland and, because he went back to Mexico, is having trouble getting back into the U.S. But overall, psychology and motivation don’t concern Cuaron here, just the physical spectacle of the hunter and the hunted.

If the story is meant to represent the immigration debate in microcosm, it’s woefully reductive. If it’s meant to be first and foremost an action thriller, it does have a few nice moves to offer, especially in the climactic mano-a-mano between the two men on large rock formations that involves risky maneuvers, precarious positions and long drops. But even this well-staged denouement is undercut by a heavily intrusive synth score by the French artist Woodkid. Cinematographer Damian Garcia makes fine use of the superbly forbidding locations (most of the film was shot in Baja California, near La Paz).

Desierto Movie Reviews – The two leading actors effectively enough express the simplistic perspectives they’re meant to represent, but there’s no subtext or nuance called for; they’re more like action totems of diametrically opposed positions, of the intruder and the would-be guardian. The three dogs that play Tracker are mesmerizing.

Production company: Esperanto Kino
Distributor: STX Entertainment
Cast: Gael Garcia Bernal, Jeffrey Dean Morgan, Alondra Hidalgo
Director: Jonas Cuaron
Screenwriters: Jonas Cuaron, Mateo Garcia
Producers: Jonas Cuaron, Alfonso Cuaron, Carlos Cuaron, Alex Garcia, Charles Gilbert
Executive producers: David Linde, Gael Garcia Bernal, Nicolas Celis, Santiago Garcia Galvan
Director of photography: Damian Garcia
Production designer: Alex Garcia
Costume designer: Andrea Manuel
Editor: Jonas Cuaron
Music: Woodkid
Venue: Toronto International Film Festival (Special Presentation)

Rated R, 94 minutes

The Accountant (2016) Movie Review

The Accountant (2016) Movie Review base on the movie online streaming – As a math savant uncooks the books for a new client, the Treasury Department closes in on his activities and the body count starts to rise.

Christian Wolff is a math savante with more affinity for numbers than people. Behind the cover of a small-town CPA office, he works as a freelance accountant for some of the world’s most dangerous criminal organizations. With the Treasury Department’s Crime Enforcement Division, run by Ray King, starting to close in, Christian takes on a legitimate client: a state-of-the-art robotics company where an accounting clerk has discovered a discrepancy involving millions of dollars. But as Christian uncooks the books and gets closer to the truth, it is the body count that starts to rise.

Despite his lofty position in the DC Cinematic Universe, Ben Affleck does indeed have time to work on projects that don’t require a cape or vigilante justice. Just take this trailer for The Accountant as an example, as he plays a math genius who has a taste for accounting… and vigilante justice. We swear, despite the joke we’ve just made, you’re in for a hell of a ride.

Thanks to Warner Bros, the trailer went out on YouTube this evening, and the rest is history. Affleck plays Christian Wolff, a “math savant” who basically takes his career as a CPA and turns it into a lucrative service for enterprising criminal organizations. At least, he did until he stumbled upon a dirty robotics company that has him and Anna Kendrick putting together a financial puzzle, and eventually running for their lives. Rounding out The Accountant’s impressive cast is Jon Bernthal, J.K. Simmons, Jeffrey Tambor, and John Lithgow.

In the mix of repetitive imagery, evolving storylines, and Radiohead’s “Everything In Its Right Place,” The Accountant slowly amps up the dread felt by the audience. The noise still crescendos to a mildly ear-splitting tone that most other films would cap off their trailers with, but the choice to end it all with the repeating drumming of Ben Affleck’s fingers makes for a nice touch. One would hope that Gavin O’Connor’s direction of the film is being reflected in this choice, as the financial drama looks like it’ll balance gunshots with tax returns in proper fashion. Then again, this is a very limited tease at the events of The Accountant, so anything can happen between now and the next trailer.

The Accountant (2016) Movie Trailer

The Accountant looks like one of those Ben Affleck movies that the man himself could have directed, had he not already been busy with playing Batman in Batman v Superman: Dawn of Justice, or directing his second Dennis Lehane adaptation, Live By Night. Scheduling aside, the partnership between Ben Affleck and Warner Bros looks like it’s a most fruitful one, as this film looks like a cross between a detective novel and a financial thriller. If there were a way we could see this one tomorrow, we’d already be ordering tickets.

The Accountant is going to audit some very bad people on October 14th.

Deepwater Horizon (2016) Movie Review

Deepwater Horizon (2016) Movie Review Based on the true events that occurred on an oil rig in the Gulf of Mexico on April 20, 2010, the story chronicles the courage of those who worked on the Deepwater Horizon and the extreme moments of bravery and survival in the face of what would become one of the biggest man-made disasters in world history. There’s an argument to be made that films and TV shows based on harrowing, true-life tragedies serve as a form of collective cultural catharsis. They can bring order to chaos, give context to horror, and provide a general framework that allows us to move on. With the rise of modern long-form documentaries, reexamining old tragedies can even be used as a lens to examine larger, deep-seated cultural issues.

And then sometimes it’s just all about good old-fashioned rubbernecking.

Deepwater Horizon, the new film from director Peter Berg (Lone Survivor), is the story of the catastrophic explosion that rocked the offshore oil rig in 2010, leaving 11 members of its crew dead and causing one of the worst ecological disasters in the history of the United States. It’s an effective piece of action filmmaking: loud, raucous, and filled with some gripping moments of real dread. But it’s also a film without a purpose, one that seems to delight in destruction and death just for the thrill of it.

Mark Wahlberg plays Mike Williams, chief electronics technician on the Deepwater Horizon, who has the kind of impossibly precocious daughter and perfect wife (Kate Hudson) that you only see in movies about people who are about to find themselves in mortal danger. Mike’s a stand-up guy, whose focus on safety and doing the right thing is only matched by his boss, Mr. Jimmy (Kurt Russell at his most affable).

When they arrive on the rig for a three-week tour, Mike and Mr. Jimmy learn that a safety procedure had recently been ignored due to the intervention of Vidrine and Kaluza, two executives from the oil company BP. (The execs are played by John Malkovich and Brad “Buddy Garrity” Leland, so you know they’re heartless scumbags the minute they show up on screen.) With the Deepwater Horizon already behind schedule, Vidrine is anxious to get the well back up and running, and talks Mr. Jimmy into ignoring a few vital warning signs to speed things along — which leads to the catastrophic accident that took down the rig in real life.

The film is based on “Deepwater Horizon’s Final Hours,” an exhaustive article from The New York Times about the incident, and Wahlberg, Malkovich, and nearly the entire rest of the cast are all playing actual people that were there on that fateful day. But that doesn’t stop Deepwater Horizon from playing things as big as it possibly can, whether it’s Vidrine’s villainy or Mr. Jimmy’s aw-shucks sainthood. But nobody ever saw The Towering Inferno or The Poseidon Adventure for the nuanced character work, and Deepwater Horizon leans into that even as the requirements of the booming disaster movie it wants to be seem somewhat at odds with the solemnity of the actual subject matter.

Deepwater Horizon expertly handles the slow build up to the disaster, making complex machinery understandable, and imbuing things like pressure levels and kill lines with a kind of talismanic power. The film’s best moments come as the audience, knowing full well what kind of movie they’re watching, witness bad decisions being made one after the other. The tension builds, and the only thing that’s unclear is just exactly how the inevitable catastrophe will finally strike. When it does, it’s almost as if the movie cracks its knuckles and rolls up its sleeves: now watch this.

Berg delivers on that promise as the film barrels through a series of set pieces that seem to destroy the oil rig one piece at a time. When the movie takes moments to pull back from the chaos, the visuals are harrowing: a fire-strewn hellscape of burning metal slowly closing in on the 115 survivors as they desperately try to find a way to get off the rig. But just as often Berg shoots his action in a combination of close-ups and insert shots, the camera bouncing from moment to moment. It lends a chaotic and claustrophobic feel to many sequences — particularly as Wahlberg looks for survivors inside the rig after the massive explosion — but other times it’s incomprehensible, obscuring what character the audience is even looking at, and forcing them to rely on the pounding score to understand whether something good or bad is about to happen on-screen.

It’s still undeniably engaging, but between the caricatured leads and the shaky-cam action, it starts to become unclear what story Deepwater Horizon really wants to tell. It’s not quite the heroism-and-bravery tale the trailers promise, and it’s not a nuanced look at people dealing with the aftermath of tragedy, either. As the film falls in love with its geysers of fire and multiple catastrophes, it’s hard to escape the feeling that on some level, Deepwater Horizon is just trying to appeal to our base desire to watch bad things happen to people, without any larger message or purpose — the cinematic equivalent of slowing down on the freeway to check out a car crash.

That would be fine if we were talking about a film about the end of the world or some other fictional scenario, but Deepwater Horizon traffics on the fact that it is based on an actual tragedy. (The end credits even feature a photo roll-call of the 11 people that lost their lives on the rig.) That framing almost demands it offer something more substantive than simply re-creating a series of events. Not using it to make a point about the economic and regulatory forces that allowed the tragedy to occur makes the whole thing feel somewhat hollow and cynical, like manipulation masquerading as good will. There’s no question that Deepwater Horizon delivers thrills, but you may feel awfully empty afterward.

The disappointments room Movie review

Relativity’s “The Disappointments Room” is tracking at a low $2 million ahead of its debut this weekend, setting the stage for the film to have one of the worst widely-released openings of all time.

Starring Kate Beckinsale, Lucas Till and Michaela Conlin, the movie revolves around unspeakable horrors that a mother and her young son discover in the attic of their country home.

The dire forecast may not be so much a reflection of the quality of the movie at this stage, however, as its release date was moved up just days ago. Announced by Relativity president Ryan Kavanaugh on Twitter, he noted a shift in strategy to video on demand for the title — which could also account for low expectations regarding the theatrical release. Watch Spoiler The disappointments room

Still, listed as a wide release (1,000 screens or more), industry trackers have it opening among the year’s three lowest grossing movies.

Title : The Disappointments Room
Release : 2016-03-25
Runtime : 0 min.
Genre :  Drama, Thriller
Stars :  Kate Beckinsale, Michaela Conlin, Marcia De Rousse, Melissa Eastwood, Duncan Joiner, Ella Jones
Overview: A mother and her young son release unimaginable horrors from the attic of their rural dream home.

Bawdy Olympic-themed comedy “The Bronze” — which was originally acquired by Relativity but changed hands, later to be distributed by Sony Pictures Classics — only grossed $386,328 from 1,167 locations when it opened in mid March this year. It currently stands as the lowest-grossing opening for a wide release in 2016, behind the Weinstein Company’s “Jane Got a Gun,” which made $835,572 on its debut in late January on 1,210 screens.

TheWrap did not receive an estimated screen count for “The Disappointments Room” from Relativity before the publish time of this article, but with estimates set at $2 million, and assuming the movie opens in more than 1,000 theaters, that would make it the third lowest grossing debut for a movie so far this year, behind Sony’s “The Brothers Grimsby,” which opened at $3.3 million from 2,235 screens.

When it comes to the lowest grossing opening for a wide release of all time, predictions put “The Disappointments Room” among a class of epic, recent bombs, according to Box Office Mojo charts. (An exact ranking is somewhat elusive because the site breaks up historic low grossers into separate brackets based on theater count.)

Opening in 2,413 theaters, Universal’s “Jem and the Holograms” opened to virtual crickets last October, grossing only $1.4 million on its debut. Opening that same weekend in 2,012 locations was the Bill Murray dramedy “Rock the Kasbah” from Open Road, which didn’t do much better at $1.5 million.

Last year’s “Victor Frankenstein” had the worst debut for a film opening in 2,500 through 3,000 theaters, making only $2.5 million. TriStar’s Robert Zemeckis biopic starring Joseph Gordon-Levitt, “The Walk,” had the eighth-lowest grossing deputy in that theater-count category, making only $3.7 million.

Having opened in 2,020 theaters this past weekend, Fox’s sci-fi thriller “Morgan” made just $2.4 million — putting it in the bottom 20 worst openings of all time in its bracket.

Of course, the weekend after Labor Day tends to be a low-grossing period at the box office anyway.

With that in mind, Relativity could be offloading its “Disappointments Room” in this upcoming weekend’s slot.

Originally set to open in theaters last March 25, the D.J. Caruso-directed film has moved around on the release calendar as Kavanaugh has worked to revive Relativity, which filed for Chapter 11 bankruptcy in July 2015.

The company has repeatedly changed the dates of several of its titles.

“Masterminds,” starring Zach Galifianakis, Kristen Wiig, Owen Wilson and Jason Sudeikis, will be released on Sept. 30 — 13 months after it was initially supposed to come out. It is directed by Jared Hess.

Kate Bosworth‘s “Before I Wake,” costarring Jacob Tremblay, Thomas Jane and Annabeth Gish, and directed by Mike Flanagan, is currently undated.

And “Kidnap,” starring Halle Berry, will debut on Dec. 2.

Relativity formally emerged from the Chapter 11 process in mid March. Having managed to resolve hundreds of millions of dollars in debt with creditors, the studio has landed an impressive $400 million in new equity financing from Los Angeles-based Maple Leaf Films.

Kavanaugh has remained chairman and CEO of the reformed Relativity Studios, while producer Dana Brunetti was named president and creative leader earlier this year.

Blair Witch 2016 Reviews

A group of students going camping in the Woods. They soon realize that they are not all alone… Formerly The Woods, Blair Witch is the third film in the franchise.

The horror film Blair Witch (formerly The Woods) to Adam Wingard attacked by surprise the public from Comic Con.

Until today, the film was called The Woods: the story of a band of young people lost in a dark forest. Until today. Until the Comic Con in San Diego, where the trailer was planned under the title all changing: Blair Witch. Is the third film in the franchise, seventeen years after the Blair Witch Project (1999) was the fine horror in contemporary production and was genre cinema in the era of the found footage, more than a decade before Paranormal Activity and others, using a great promotion that mixed urban legend and primal fear (is lost in the Woods at night). But a very forgettable sequel in 2000 (Blair Witch 2: Book of shadows) buried the franchise – until 2009 where the creators of the original film were talking about a Blair Witch 3, which soon disappeared into development hell. There was no news of the film, and here’s the new trailer for The Woods under the new name of the Blair Witch.

Blair Witch Reviews

The new Blair Witch find traces of the first (there is in this trailer the final plan of the first film… “That sounds familiar”, as one character says) and seems a lot more straight forward than the original. Here, the Director Adam Wingard was noticed with his survival a little Kinky You’re Next, but it is the very successful The Guest (with Dan Stevens in crazy ex who encrusted in an ordinary family) who did move to the next level. It already expected The Woods with great impatience on the faith of its Director and a first trailer creepy, the fact that it is now the reboot/continuation of Blair Witch does not detract from the excitement. Blair Witch was released in France on September 21.

The Darkness (2016)

From the director of the cult classic, “Wolf Creek,” Greg McLean, comes the supernatural thriller “The Darkness,” opening nationwide May 13th, 2016. As a family returns home from vacation at the Grand Canyon, they innocently bring home a supernatural force that preys off their own fears and vulnerabilities, threatening to destroy them from within, while consuming their lives with terrifying consequences.

Release date:May 13, 2016
Studio:High Top Releasing
Director:Greg McLean
MPAA Rating:PG-13 (for thematic elements, some disturbing violence, brief sensuality and language)
Screenwriter:Greg McLean
Starring:Kevin Bacon, Radha Mitchell, David Mazouz, Lucy Fry, Matt Walsh, Jennifer Morrison
Genre:Thriller, Horror
Copyright Holder:N/A
Official website:Facebook| Twitter| Instagram

The Darkness (2016) Trailer

Money Monster (2016)

In the real-time, high stakes thriller Money Monster, George Clooney and Julia Roberts star as financial TV host Lee Gates and his producer Patty, who are put in an extreme situation when an irate investor who has lost everything (Jack O’Connell) forcefully takes over their studio. During a tense standoff broadcast to millions on live TV, Lee and Patty must work furiously against the clock to unravel the mystery behind a conspiracy at the heart of today’s fast-paced, high-tech global markets.

After losing money on a stock tip, a disgruntled investor (Jack O’Connell) holds a Wall Street guru (George Clooney) and a producer (Julia Roberts) hostage on live television.

Release date: May 13, 2016 (USA)
Director: Jodie Foster
Distributed by: TriStar Pictures
Producers: George Clooney, Daniel Dubiecki, Lara Alameddine, Grant Heslov
Screenplay: Jim Kouf, Jamie Linden, Alan Di Fiore

Money Monster (2016) Trailer