Hellboy trailer, review, release date, dc wiki, dc comics, Budget, imdb Rating, Cast, Cast Salary 2019

ased on the graphic novels by Mike Mignola, Hellboy, caught between the worlds of the supernatural and human, battles an ancient sorceress bent on revenge.

Initial release: April 10, 2019 (Indonesia)
Director: Neil Marshall
Based on: Hellboy; by Mike Mignola
Production companies: Lionsgate, Dark Horse Entertainment
Producers: Lloyd Levin, Lawrence Gordon, Mike Richardson

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ROTTEN WATCH PREDICTION

When in doubt with a comic book franchise, you reboot the thing. Fourteen years after our hornless, crimson protagonist emerged from the fiery cauldrons of the underworld, we get… well, the same thing happening in this new movie. Hellboy is back to fight evil and navigate a world that doesn’t take too kindly to demons patrolling the streets.

The original movies in the franchise, Hellboy (81%) and II (86%) starred Ron Perlman and had Oscar winner Guillermo del Toro as the director. Neither are back for the reboot, which now has David Harbour as Big Red and Neil Marshall (Doomsday – 51%, The Descent – 85%) at the helm. It looks quite a lot like the original movies, right down to the costume. Hell (pun intended), it’s kind of tough to even tell Harbour and Perlman apart here. The new Hellboy looks every bit as fun as the original, but I’m not sure critics will take to it as warmly just because it looks so much like a carbon copy. More than anything else I think that keeps the Tomatometer score a little lower than the originals.

The body switch/body change comedy seems to have been around practically forever. We get multiple looks at this theme each year, and it’s coming back around again this time with Little. A hard-charging and rude corporate executive (Regina Hall) is transformed into a 12-year-old girl (Marsai Martin) overnight. She must then navigate a world in which she’s just a kid, with all of society treating her as such. These movies tend to fall flat in my opinion because the theme is over tread and the jokes remain sophomoric and easy. But I will say, Little does look like it has some laughs in it.

Issa Rae, the star of HBO’s Insecure,gets her first shot at starring in a movie with Little, and the trailer suggests that she’s part of a winner. Sure, the jokes aren’t groundbreaking, but the timing looks on, and the leads are all tremendously talented. Director Tina Gordon hasn’t had much critical success in the recent past, helming Peeples (37%) and penning What Men Want (46%), but I think this latest finishes better than both of them.

Missing Link comes from Laika, a stop-motion animation studio that’s brought us huge critical hits like Coraline (90%), ParaNorman (88%) The Boxtrolls (76%), and Kubo And The Two Strings (97%). That’s a heck of a run of success, and Missing Linki looks right in line with their other work. It’s sitting at 85% with 27 reviews posted on the Tomatometer, with critics praising both the visuals and the story.

Laika’s latest is mostly a monster-out-of-the-forest buddy comedy about an explorer (Hugh Jackman) who finds a Yeti named Susan (Zach Galifianakis) and tries to acclimate it to the human world while also finding it’s ancestors. It looks every bit of the heart-warming and hilarious story for which the animation studio is known. Considering Laika’s track record and the early buzz, I think it’s safe to say they have another hit on their hands with Missing Link.

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“My job is: protect the world from boogie monsters!” With the movie opening in theaters later this week, Lionsgate has launched one final red band trailer for the new Hellboy movie, directed by Neil Marshall (of Dog Soldiers, The Descent, Doomsday, Centurion). This fresh reboot of the live-action Hellboy series re-casts the main role, with David Harbour playing the big red guy with horns and a stone arm. This final trailer really plays up the hard-R rating, with excessive violence and gore and language throughout. But is the movie any good? You’ll have to see it this weekend and find out. The full cast includes Milla Jovovich, Ian McShane, Daniel Dae Kim, Sasha Lane, Thomas Haden Church, Penelope Mitchell, Sophie Okonedo, Brian Gleeson, and Kristina Klebe. Who’s planning to go? Anyone? Likely Hellboy fans only.

Based on the graphic novels by Mike Mignola, Hellboy (David Harbour), a demon caught between the worlds of the supernatural and human, battles an ancient sorceress bent on revenge. This new Hellboy is directed by English filmmaker Neil Marshall, director of the films Dog Soldiers, The Descent, Doomsday, and Centurion previously, as well as a segment of the anthology film Tales of Halloween, and a few episodes of the latest “Westworld” and “Lost in Space” TV shows. The screenplay is written by Andrew Cosby and Christopher Golden, based on the Dark Horse comic books first created by Mike Mignola in 1993. Featuring music composed by Benjamin Wallfisch. Summit + Lionsgate will release Marhsall’s R-rated Hellboy movie in theaters everywhere starting on April 12th this month. Who’s planning to go watch this one in theaters

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The tropes of the American Western have had a surprisingly wide influence. Its heady mix of self-sufficiency and violence, often presented as a necessary but natural manifestation of a hero’s morality, has spread like seeping blood into nearly every kind of popular modern storytelling. Even sci-fi stalwart Star Trek was initially pitched to network executives as “Wagon Train to the stars.” The bones of the western are just that: a skeleton, ready to be fleshed out with any number of new looks.

This week offers Valley filmgoers a chance to catch three films that chart part of the western’s history in American cinema. Along the way they touch on musical theater, kung-fu, and sci-fi movies. Catch all three and see the breadth of this tradition.

The newest film in the bunch is also the one that has arguably moved the farthest from Western tropes: the Neil Marshall (The Descent) reboot of Hellboy. A sci-fi fantasy that features a half-demon hero who fights the supernatural in defense of his adopted human world, it is brimming with giants, ancient sorceresses, and shape-shifters (Stranger Things’ David Harbour stars as the titular boy). But it also borrows imagery straight out of a shoot-em-up matinee, with Hellboy’s long duster and pistol making him into a gunslinger growing tired of the game, even if this particular sheriff has a giant stone forearm and brick red skin. Perhaps not coincidentally, his father figure in the new film is played by Ian McShane, who is perhaps best known of late for his work on the R-rated western series Deadwood.

If you’re after a more traditional Western, you won’t want to miss The Searchers, which screens at Amherst Cinema as part of the theater’s Print the Legend film series. The 1956 film, directed by John Ford and starring John Wayne as a Civil War veteran who has dedicated his life to searching for his abducted niece, has become one of cinema’s most influential films — even if you’ve never seen it, you will recognize some of its most iconic shots, which have been echoed in countless films across many genres (Tarantino fans will experience some deep déjà vu). In particular, look for the famous “Doorway Shot,” in which Ethan (Wayne) is framed by a cabin entrance as he contemplates the end of his long journey.

As with so much of American history, the story of The Searchers is a tangled one. Based on actual events — a young woman was indeed abducted by Comanche raiders — the truth of the story is not carried over to the film. That narrative evasion (and, more widely, the depiction of the Native Americans in the film) makes The Searchers more complicated for modern viewers; lecturer Nina Kleinberg will be on hand at the screening to introduce the film and lead a Q&A about its cultural and cinematic legacy.

 

Shazam review, release date, dc wiki, dc comics, Budget, imdb Rating, Cast, Cast Salary 2019

We all have a superhero inside of us — it just takes a bit of magic to bring it out. In 14-year-old Billy Batson’s case, all he needs to do is shout out one word to transform into the adult superhero Shazam. Still a kid at heart, Shazam revels in the new version of himself by doing what any other teen would do — have fun while testing out his newfound powers. But he’ll need to master them quickly before the evil Dr. Thaddeus Sivana can get his hands on Shazam’s magical abilities.


Initial release: April 4, 2019 (Russia)
Director: David Sandberg
Producer: Peter Safran
Screenplay: Henry Gayden
Production companies: Warner Bros., New Line Cinema, Seven Bucks Productions, The Safran Company, DC Films

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As of this posting, Warner Bros.’ Shazam! has earned $56.825 million domestic (including $3.3 million in nationwide sneak previews) and $159 million worldwide (including $13.5 million in IMAX alone). Yes, that’s a lower opening than what we’ve been used to when it comes to “big” comic book superhero flicks, as it’s closer to the Fri-Sun frames posted by (not-adjusted-for-inflation) The Wolverine ($53 million in 2013), Ant-Man ($58 million in 2015) and Green Lantern ($53 million in 2011). Actually, in terms of DC or Marvel superhero properties, it’s the lowest Fri-Sun launch since Fantastic Four ($25 million) in 2015. But here’s the kicker: the New Line Cinema release only cost $90 million to produce and, due to the nature of the property, it may qualify as DC Films’ biggest turning point.

We’ve fortunately had very few folks arguing that the debut was disappointing or a miss merely based on the raw number. We had a surprisingly large number of folks arguing that Aquaman’s $72 million launch (again, counting sneak previews) was disappointing because it was a lot lower than the likes of Wonder Woman ($103.5 million in 2017) and Man of Steel ($128 million in 2013), seemingly indifferent to how the Christmas season box office operates. $1.1 billion worldwide later, maybe they’ve learned their lesson. It’s worth noting that Ant-Man eventually legged it to $519 million worldwide on a $130 million budget while The Wolverine earned $412 million worldwide on a $130 million, the second biggest gross for an X-Men movie at the time.

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Shazam! stumbled in China, earning $31 million from a $15.9 million opening day. If it legs like Batman v Superman (1.76x its $54 million launch), it’ll end with $51 million. There is no law saying that China has to like every major Hollywood tentpole and there’s no law saying that otherwise successful biggies have to score huge in China. China often is less a hitmaker and more a steroid to inflate the totals of already successful movies. Aquaman and Transformers: Dark of the Moon both got to $1.1 billion worldwide thanks to an over/under $300 million haul in China, but both big-budget flicks would still have passed $850 million global without a dime from China. The David F. Sandberg-directed fantasy is cheap enough that it requires no Chinese bailout.

Say what you will about the micromanaged ensemble flicks (Batman v Superman, Suicide Squad and Justice League), but DC Films is now batting 1.000 over the last three solo superhero movies. Throw in the less-successful Man of Steel ($668 million in 2013 with mixed-negative reviews and a frontloaded run) and they’re still batting 0.75. It’s not quite apples to apples, but the first four MCU solo flicks were Iron Man (yay!), Incredible Hulk (boo!), Iron Man 2 (eh…), and Thor (yay!). Moreover, the MCU began back when Thor’s $449 million worldwide cume would make it the biggest comic book superhero movie ever without Batman, Spider-Man, Iron Man or Wolverine. Captain America: The First Avenger could be a big hit with $371 million worldwide on a $140 million budget.

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Presuming it has halfway decent legs here and abroad (it opens in Japan on April 19), the film marks a real watershed moment for the beleaguered DC Films brand. Shazam! opened with $159 million worldwide despite being based on a B-level (or C-level?) character and lacking much in the way of “butts in the seats” star power. The opening was above the over/under $45 million tracking to the point where we must presume that the overwhelmingly positive reviews (91% fresh and 7.2/10 on Rotten Tomatoes) and word-of-mouth screenings and sneaks moved the needle. Moreover, and this is key, this weekend’s release is the third straight good-to-great DC Films solo superhero movie. After Wonder Woman and Aquaman, I’d argue Shazam! overperformed BECAUSE it was a DC Films flick.

The Curse of La Llorona, review, release date, dc wiki, dc comics, Budget, imdb Rating, Cast, Cast Salary 2019

In 1970s Los Angeles, the legendary ghost La Llorona is stalking the night — and the children. Ignoring the eerie warning of a troubled mother, a social worker and her own kids are drawn into a frightening supernatural realm. Their only hope of surviving La Llorona’s deadly wrath is a disillusioned priest who practices mysticism to keep evil at bay.
Release date: April 19, 2019 (USA)
Director: Michael Chaves
Language: English
Producers: James Wan, Gary Dauberman, Emile Gladstone
Production companies: New Line Cinema, Atomic Monster Productions

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hings go bump in the night — and, as an occasional change of pace, in the middle of the afternoon — with a frequency that will neither surprise nor disappoint genre fans throughout “The Curse of La Llorona,” an efficiently formulaic shocker inspired by the centuries-old Mexican legend of the titular bogeywoman. It’s set in Los Angeles during the early 1970s, for no readily apparent reason other than to justify the what-the-hell inclusion of Curtis Mayfield’s “Superfly” theme on the soundtrack. But its true location clearly is a distant corner of producer James Wan’s “The Conjuring” extended horror-movie universe, which gets a fleeting wink-wink hat-tip early on with a clever cameo appearance by Tony Amendola in his “Annabelle” role as Father Perez.

Linda Cardellini strikes a credible balance of maternal instincts and mortal terror as Anna Garcia, a social worker and widowed mom who suspects the worst when she discovers a woman in her caseload has been keeping her two small boys locked in a closet in their apartment. Despite the mother’s frantic insistence that she’s been driven to extremes to protect her children from an ungodly evil, the boys are taken away from her and placed in foster care. Within hours, they are found drowned in a reservoir — and Patricia (Patricia Velásquez), the distraught mom, is considered a prime suspect.

As it turns out, however, the real culprit is La Llorona, aka The Weeping Woman, the malevolent spirit of a 17th-century Mexican beauty who drowned her own two children in a jealous rage to punish her unfaithful husband, and now walks the Earth to claim, or kill, other unfortunate youngsters. But wait, there’s more: Because Patricia blames Anna for her tragic loss, she prays for La Llorona to add the social worker’s young children, Samantha (Jaynee-Lynne Kinchen) and Chris (Roman Christou), to her hit list. It doesn’t take long for prayers to be answered.

First-time feature director Michael Chaves is a great deal short of subtle while, as regularly as clockwork, he utilizes La Llorona (portrayed by Marisol Ramirez as a decrepit apparition in a white gown and veil) to provide the jarring pay-off for slow-build scenes featuring sudden gusts of wind, slamming doors and windows, and portentous shots of dripping faucets, unwinding car-window handles, and a backyard swimming pool that appears roughly the size of Rhode Island.

But, then again, people who buy tickets for a rock-the-house scare fest like “The Curse of La Llorona” — and, rest assured, this movie is bound to sell lots and lots of tickets to easily satisfied customers when it opens April 19 — usually aren’t in the market for nuance and understatement. No, they really want to savor the shared experience of screaming, or at least audibly expressing startlement, each time someone or something does the equivalent of sneaking up on them and yelling “Boo!”

That same audience customarily also enjoys laughing out loud at those clumps of cliché-heavy, on-the-nose dialogue that sometimes deliberately, sometimes inadvertently, provide comic relief. Scriptwriters Mikki Daughtry and Tobias Iaconis provide an adequate sprinkling of such howlers, saving the best lines for Raymond Cruz as Rafael Olvera, a former priest turned freelance curandero (or faith healer) armed with a slew of magic potions and powders, and a sly, self-mocking wit.

Cruz infuses Rafael with such incontestable authority that you almost believe he’s proposing a rational game plan rather than rationalizing a plot contrivance when he tells Anna and her children that they might as well stick around their besieged house during the third act and fight La Llorona there because, really, she’d probably just follow them if they vamoose to somewhere safer. Even if they’d flee to a place with better lighting, and without a ginormous swimming pool.

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Disney Penguins, review, release date, dc wiki, dc comics, Budget, imdb Rating, Cast, Cast Salary 2019

The story of Steve, an Adélie penguin, on a quest to find a life partner and start a family. When Steve meets with Wuzzo the emperor penguin they become friends. But nothing comes easy in the icy Antarctic.
Directors: Alastair Fothergill, Jeff Wilson
Writer: David Fowler
Star: Ed Helms

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Although the name “Disney” has become roughly synonymous with a multi-tentacled corporate octopus over the years, latching onto every profitable pop culture phenomenon it can reach and then squeezing it dry — it’s important to remember that it’s also synonymous with “nature documentaries,” and that it has been ever since the Oscar-winning short “Seal Island” way back in 1948.

These nature docs have, over the decades, exposed audiences and particularly Disney’s target demo of wholesome family units to the wide-ranging world of animals in their various natural habitats. For the last 11 years, the Disneynature label has been keeping this torch aflame, and their latest documentary “Penguins” is another feather in the imprint’s cap.

Sumptuously photographed and narratively benign, “Penguins” explores the life of the Adélie penguin, which is smaller than its Emperor cousins and — arguably — even cuter. Ed Helms narrates and provides the voice for our Adélie protagonist, Steve, who embarks on his first quest to find a mate, care for their children amidst harsh Antarctic conditions, and protect his young from various natural predators.

Penguins” mostly plays like an inoffensive tale of natural wonder, there are a few moments of genuine suspense. The predators who scour the Antarctic in search of delicious penguin meat range from nuisance level to, from a tiny penguin’s perspective, large and terrifying. The image of a Leopard Seal poking its giant, dragon-like head out of a crack in the ice floe, eyeing Steve’s brood like an unthinkable leviathan, could give more sensitive little kids nightmares. Or at least give them pause the next time they go ice-skating.

It’s tempting to give the penguins (and REO Speedwagon) all the credit for Disneynature’s latest, but films like this wouldn’t be possible without intrepid documentarians (working with director-producers Alastair Fothergill and Jeff Wilson) collecting hundreds of hours of footage under extreme conditions. The images they’ve captured are, often, genuinely breathtaking and immersive. Images of penguins diving in and out of the water as their reflections give the shot perfect vertical symmetry are astounding to witness in a theatrical environment, and the narrative that Disneynature vet David Fowler has crafted from all these creatures big and small is clear and relatable.

A film like this is always a major accomplishment, so it feels like a cognitive disconnect when the actual story it tells seems so light and benign. But then, that might be the real message: We are all struggling in an imperfect world against threats of varying sizes, but in our hearts, we all feel like we’re underdogs. Like Steve the penguin, we are simply doing our best. And in the case of the makers of “Penguins,” our best can be very sweet.

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Under the Silver Lake trailer, review, release date, dc wiki, dc comics, Budget, imdb Rating, Cast, Cast Salary 2019

When his beautiful, mysterious neighbor disappears without a trace, Sam tries to find the parties responsible, unraveling a string of strange crimes, unsolved murders and bizarre coincidences in his East Los Angeles neighborhood.
Initial release: August 8, 2018 (France)
Director: David Robert Mitchell
Budget: $8.5 million
Box office: 1.8 million USD
Nominations: Palme d’Or, Cannes Best Actress Award,

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ccording to its dictionary definition, satire is supposed to use “humour, irony, exaggeration and ridicule” to “expose and criticise people’s stupidity or vices”. The third feature from David Robert Mitchell, ​about a hipster nerd who tries to solve a murder mystery using cryptic clues lifted from cereal packets and zines, could be read as an exposé of “incel” culture, a winking send-up of mouth-breathing man-children unhealthily obsessed with pop culture, unable to hold down jobs or relationships because they’re too busy playing vintage video games and masturbating over comic books.

Mitchell does use humour, soundtracking a scene in an underground club to Cornershop’s 1997 track Brimful of Asha’ (“It’s old music night at the Crypt”), and I suppose it’s meant to be ironic that Sam (Andrew Garfield) spies on his topless neighbour with a pair of binoculars (his friend uses a drone), given Hollywood’s history of sexualised female bodies. The film’s occasional, atonal lurches into bloody violence might be described as moments of exaggeration and it’s certainly an act of ridicule when thirtysomething Sam is sprayed by a skunk while wandering LA’s Eastside neighbourhood in the first act, the bad smell following him for the remainder of the protracted runtime (an agonisingly slow two hours and 20 minutes).

We’re encouraged to smirk at Sam’s pathetic attempts to play detective and figure out what happened to disappeared neighbour Sarah (Riley Keough, wearing a Marilyn Monroe-style beauty mark and white, two-piece swimming costume), but the film takes his quest seriously. It is too infatuated with its own cryptic mythology, too fawning in its references to LA noirs (Kiss Me Deadly, The Long Goodbye, LA Confidential and Mulholland Drive) and too self-indulgent to be praised as parody, let alone an effective critique of its boring protagonist.

we have a small favour to ask. More people around the world are reading The Guardian’s independent, investigative journalism than ever before. We’ve now been funded by over one million readers. And unlike many news organisations, we have chosen an approach that allows us to keep our journalism open to all. We believe that each one of us deserves access to accurate information with integrity at its heart.

The Guardian is editorially independent, meaning we set our own agenda. Our journalism is free from commercial bias and not influenced by billionaire owners, politicians or shareholders. No one edits our editor. No one steers our opinion. This is important as it enables us to give a voice to those less heard, challenge the powerful and hold them to account. It’s what makes us different to so many others in the media, at a time when factual, honest reporting is critical.

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The Best of Enemies trailer, review, release date, dc wiki, dc comics, Budget, imdb Rating, Cast, Cast Salary 2019

The true story of the unlikely relationship between Ann Atwater, an outspoken civil rights activist, and C.P. Ellis, a local Ku Klux Klan leader. During the racially charged summer of 1971, Atwater and Ellis come together to co-chair a community summit on the desegregation of schools in Durham, N.C. The ensuing debate and battle soon lead to surprising revelations that change both of their lives forever.

Initial release: April 5, 2019 (USA)
Director: Robin Bissell
Screenplay: Robin Bissell
Story by: Osha Gray Davidson
Producers: Tobey Maguire, Robin Bissell, Danny Strong, Matthew Plouffe, Matt Berenson, Dominique Telson, Fred Bernstein

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IT IS hard to talk about “The Best of Enemies” without mentioning “Green Book”. This year’s Best Picture winner pleased audiences and the Academy, but drew ire from critics for its “white saviour” narrative (like many award-winning films about race, “Green Book” explored prejudice from the perspective of a white character). The film’s detractors argued that it does little to advance the cause of racial justice, instead comforting cinemagoers by presenting racism as a purely historical phenomenon.

“Green Book” may have seemed the apotheosis of the genre, but “The Best of Enemies” is contending for that title. Also based on a true story, it is a similarly slick, entertaining and shallow drama. Set in Durham, North Carolina, in the 1970s, the film focuses on the relationship between Ann Atwater (Taraji P. Henson), who runs a radical activist group called Operation Breakthrough, and C.B. Ellis (Sam Rockwell), the president of the local chapter of the Ku Klux Klan. This odd pair is brought together when an electrical fire burns down the school in the black part of town, and Atwater’s group pushes for full integration as the best solution.

Based on a true story, The Best of Enemies centers on the unlikely relationship between Ann Atwater (Henson), an outspoken civil rights activist, and C.P. Ellis (Rockwell), a local Ku Klux Klan leader who reluctantly co-chaired a community summit, battling over the desegregation of schools in Durham, North Carolina during the racially-charged summer of 1971. The incredible events that unfolded would change Durham and the lives of Atwater and Ellis forever.

Directed and adapted by Robin Bissell and based off a book written by Osha Gray Davidson entitled “The Best of Enemies: Race and Redemption in the New South”, this film gifts us with two larger than life characters who happen to be real. Their journey together in the latter years of their lives is nothing short of astonishing and quite inspirational.

While we have seen racially-charged films like The Best of Enemies before, what sets this particular film apart from the others is its ending. While some may call it fate, and others may call it faith; one thing is for sure. C.P. Ellis and Ann Atwater, two people who were conditioned to hate the other on the premise of their skin color, ended up being best friends for 30 years after that fateful charrette in Durham, North Carolina in 1971.

The charrette was moderated by Bill Riddick (Babou Ceesay), believed that the city’s biggest stakeholders who had an issue with the desegregation of schools in Durham should come together and decide whether the schools would be desegregated. No one expected the resulting events to unfold as they did. However, the unlikely friendship between Ellis and Atwater and their collaborative efforts to combat segregation serve as a testament to the power of the human spirit, denote that love is the most powerful emotion and that barriers are meant to be broken for the greater good of humanity.

This film is full of powerful lessons. Below, you will find 5 powerful lessons learned in The Best of Enemies.

Wherever Knowledge is Transferred, Error Can Be Transferred As Well:

C.P. Ellis is white, poor and not the least bit well-traveled. While he believed himself to be a professing Christian, he could not fathom the thought of being associated with a Black person. There’s a scene in which an upstanding man tries to reason with the group at the charrette calls C.P. Ellis brother. C.P retorts with conviction, “Did that nigger just call me brother?” He and his fellow Klansman taught the word of God, yet the doctrine of racism was taught and transferred as well.

When You Stand For Great Change, Prepare For Great Resistance:

Maddy Mays (Caitlin Mehner) is a white woman who was randomly selected to participate in the charrette. Maddy is compassionate and does not have the heart of a racist. Once the Klansmen figured out that her voice could sway the vote in favor of de-segregation, they used intimidation tactics to threaten her to not support segregation. They broke into her home, put a weapon to her head and make her yell out several times, “I am not a friend of niggers!” Though she had a heart for change, her compassion was met with great resistance.

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As A Generalization, Most Veterans Had A Different Perspective on Race After War:

Lee Trombley (John Gallagher Jr.) is a war veteran who has served 2 tours in Vietnam, and he is known to co-mingle with Blacks in his community on an interpersonal level. He works with Black folks and even one manage his store. When asked by C.P.Ellis what he thinks of the charrette, he humbly replies, “It’s nice to hear both sides, you know?” His experience of having fought side-by-side in the war have shaped his perception and views on life. He even defends having a Black manager in his store and states, “I trust him, second only to my wife.”

Racism Is Designed To Create Division:

One night after a heated debate, C.P. Ellis goes to his car and get a shotgun out of his trunk. When Atwater confronts him, he says it’s his protection. She rationalizes with him and quips that the word of God is a defense for her, and states, “the same God that made you, made me.” Atwater in her spiritual maturity truly believes that God created us all. Her belief and persistent confrontation of Ellis eventually begin to make an impact on him.

Love Changes Things

Amazing Grace , review, release date, dc wiki, dc comics, Budget, imdb Rating, Cast, Cast Salary 2019

A documentary presenting Aretha Franklin with choir at the New Bethel Baptist Church in Watts, Los Angeles in January 1972.
Directors: Alan Elliott, Sydney Pollack
Stars: Aretha Franklin, Reverand James Cleveland, C.L. Franklin

Release Date :5 April 2019 (USA)

Critic reviews

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Amazing Grace” is two days of Baptist church condensed to 90 minutes and injected directly into your soul. Shot in 1972 over a 48-hour period in Watts’ New Temple Missionary Baptist Church, this stirring document captured the live recording of the most successful gospel album in history, Aretha Franklin’s Amazing Grace. At the height of her powers, with 11 number one singles and five Grammys to her credit, she returned to the environment and the music that honed her voice and nurtured her soul. The result became her biggest seller, earning a Grammy and quite possibly more than a few conversions. This film is a powerful love letter to the Black Church, offering a soul-shaking introduction for the unfamiliar and a grandmotherly yank of the arm for those who know—it drags you from the theater straight into the pews.

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So I’m here to bear witness. Hear me testify, oh readers. As the son of a minister, this sinner has the Baptist church in his DNA. My Sundays growing up were spent sweating profusely in suit and tie, uselessly fanning myself with popsicle stick paper fans and taking side bets with my cousins on who would get happy in church that day. Years later, I sang in the chwhyuh—to use the preacher pronunciation of the word choir—where I and my tuneful brethren were instructed by the most animated of choir directors. We sang the hymns that every Baptist knows and rode the familiar rhythms and cadences of the service that befell us every Sunday morning. Black church has a soothingly repeated checklist, and though I hadn’t been to worship in at least 25 years (it’s complicated, folks—judge not!), I remembered every item on that list. I sat in the theater gleefully awaiting every single one of them, and I was not disappointed.

Oh yes, “Amazing Grace” is like Sundays at your Baptist church with one major exception: You didn’t have Aretha Franklin as your lead soloist. It’s one thing to listen to her make a joyful noise unto the Lord courtesy of Atlantic Records, but seeing her do it is something entirely different and even more exalting. Those rafters you hear raising on the record now have a visual representation, aided and abetted by Re’s Master of Ceremonies and partner in crime, gospel legend Reverend James Cleveland. Though her entrances into the church on both nights of filming appropriately dripped with a diva’s swagger, Re is for the most part very shy on camera, at least until she starts to sing. She speaks perhaps seven words in the entire film, but don’t mistake that for insecurity. The camera catches her in rehearsal inquiring what key she should be singing in, and when she gets conflicting answers, she hilariously stares daggers at Rev. Cleveland.

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Rev. Cleveland is the quintessential pastor, part court jester and part sermonizer, playing to the camera (at one point, he throws a handkerchief at it) and the crowd while maintaining structure and order. Under normal circumstances, he would easily steal the show. But, as he points out, these circumstances are extraordinary, so he happily cedes control to his lead singer. However, Rev. Cleveland figures prominently in the most astonishing moment in “Amazing Grace.” As Re sings the hymn that gives the film its name, the reverend is overwhelmed with emotion, rising from the piano to openly weep on camera. His emotion is genuine, infectious and of course, a perfectly placed interaction with the viewing audience. It’s an understandable reaction as well; Re’s voice is otherworldly in this number. She vibrates as she sings, the camera catching every bead of sweat pouring down her upturned face while her body becomes a radiant beacon beaming out her unshakeable faith.

The Biggest Little Farm , review, release date, dc wiki, dc comics, Budget, imdb Rating, Cast, Cast Salary 2019

A couple are followed through their successes and failures as they work to develop a sustainable farm on 200 acres outside of Los Angeles.
Initial release: 10 May 2019 (USA)
Director: John Chester
Production company: FarmLore Films
Music composed by: Jeff Beal
Cast: John Chester, Molly Chester
Producers: John Chester, Sandra Keats

Critic reviews

The Biggest Little Farm   Full Movie Watch

The Biggest Little Farm  Full Movie Download

With all due respect to former Vice President Al Gore, here is an inconvenient truth about most environmental documentaries: No matter how important the message, it’s kind of a drag to sit through so many alarmist lectures about how the world is going to end and what humans are doing to speed along its destruction. That’s what makes “The Biggest Little Farm” feel like fresh air for the soul — figuratively, of course, although audiences will almost surely breathe a little easier after tuning in to this inspirational story of one couple who made an impact by entirely rethinking their ecological footprint.

The inspirational story of how a Los Angeles couple quit the city, moved an hour north of one of the most polluted metropolitan centers on Earth, and pursued their dream of growing every ingredient she could possibly want to cook with, this lead-by-example change-the-world doc is perhaps the closest cinema has come to the eco-philosophical musings of “The Omnivore’s Dilemma” author Michael Pollan, who freely challenges long-held social paradigms in his work — something this enlightening doc does too. Both deeply personal and remarkably objective, “The Biggest Little Farm” offers a firsthand account of the ups and downs of married duo John and Molly Chester’s trial-and-error attempt to start a biodiverse agricultural operation on land that had long since been stripped of nutrients.

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As a couple, John and Molly don’t know much about farming, but their ignorance proves to be an asset to the film, which delivers a humble back-to-nature fantasy for city-livin’ adults, while doubling as a rich classroom learning tool for younger audiences. By enticing kids with all kinds of adorable animal footage, the movie finds an intuitive way to make them care about the fate of the farm (where chickens and ducks are regularly attacked by coyotes, and gophers, snails and other pests eat away at the trees), teaching lessons the Chesters themselves observed about how the complex ecosystem could be made to regulate itself. “It’s a simple way of farming. It’s just not easy,” director and narrator John confesses at one point via typically eloquent voiceover.

The Biggest Little Farm   Full Movie Watch

The Biggest Little Farm  Full Movie Download

He and Molly may seem like dilettantes at first, granola-minded city folk with no idea how to begin cultivating the land they’ve purchased, but they have wisdom and humility to engage an expert, a man named Alan York, who helps map out a plan to turn their newly acquired Apricot Lane Farms into a kind of modern-day Eden. York, in his vaguely loony-sounding way, spells out a plan that sounds far too utopian to be practical, and yet, the Chesters go along with it, taking land that could barely support even lemon and avocado trees and transforming it into a habitat for all kinds of plants and animals. The key, Yorke believes, is reviving the soil through cover crops, coupled with a diversity of flora and fauna — to the extent that they wind up with 76 distinct varieties of stone fruits (arranged in such a way that it looks more like a botanical garden than an orchard from the air).

Berserk , review, release date, dc wiki, dc comics, Budget, imdb Rating, Cast, Cast Salary 2019

A fading movie star and his unsuccessful friend are desperately trying to finish a new script for a zombie film. When a prank leads to an accidental death, the two buddies must keep their cool as they try to figure out the best way to hide the body.

Initial release: 5 April 2019 (USA)
Director: Rhys Wakefield
Screenplay: Rhys Wakefield, William Day Frank
Producers: Rhys Wakefield, William Day Frank, Eric B. Fleischman

Critic reviews

Berserk  Full Movie Watch

Berserk  Full Movie Download

There was a time when, for an actor in search of good roles, writing your own movie was a bold and clever idea. Then came Good Will Hunting and Swingers, and everybody thought they should do it. Then it seemed crafty (and budget-conscious) not just to write your own starring vehicle, and to direct it, but to make the story self-referential — about an actor writing a script about an actor writing a script he wants to direct about an actor who wants to be a filmmaker making films about actors. Were there too many clauses in there? Probably — just as there are already too many entries in this unpromising subgenre, with nary a Good Will in sight.

Using this tired conceit as a framework for ostensibly comic accidental murders and drugged-out dumb decisions, Berserk finds Rhys Wakefield (the head creep in The Purge) directing and co-writing, as well as starring alongside Nick Cannon, who presumably represents a glimmer of commercial hope for the grating, sometimes insufferable pic. Unfortunately, fans of the multihyphenate entertainer may find him a depressing sight here, playing a character whose haggard desperation and fright wig of bleached curls make him a far cry from the kid they loved in the 2000s.

Wakefield’s Evan is just getting dumped by his agent when we meet him — she’s sick of his constant promises to deliver a script he claims he’s writing with his movie-star pal Raffy (Cannon). He gets her to agree that she’ll keep him on if he makes good on a promise she knows is impossible: that he’ll have the script finished tomorrow, and that Raffy will commit to starring in it alongside Evan.

 

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BERSERK centers around three so-called “friends” who make the realization that none of them has ever felt true-fear. Over the course of one night, they set out to trick each other into feeling it and nothing is too extreme. The film was directed by Rhys Wakefield as well as co-written by himself and William Day Frank. Wakefield also stars in the film alongside Nick Cannon, James Roday, Erin Moriarty, and Nora Arnezeder.

Honestly, I loved this film. It was so different from anything I’ve watched recently, and it was refreshing. It’s a series of fucked up events that happen to take place on Halloween and you never know what is going to happen next. Each performance was executed beautifully with uniquely bizarre characters that are scarily familiar.

Berserk  Full Movie Watch

Berserk  Full Movie Download

Nick Cannon and Rhys Wakefield play well off each other throughout the film and have great chemistry but the addition of Nora Arnezeder is a must. She adds tension, drama, and intensity to the mix and delivers a killer performance. Together they create movie magic. I must also say that every time I see Wakefield smile, I can’t help but think back to his iconic “sinister grin” in the first Purge film.

BERSERK is a film you really must pay close attention to because it’s kind of all over the place, but it’s supposed to be that way. It was designed to mess with your head. It’s like one big acid trip and as a viewer, you are sucked into that experience never knowing if what’s happening is really happening. In some cases that would annoy me, but it worked perfectly for this film.

Although the film is full of twists and turns throughout the film, the end really surprised me. I thought it was going one direction until boom… it goes a completely different way leaving me surprised but satisfied. It was dangerously perfect. I highly recommend you check out this film when it releases. If you love films that draw you in with a bizarre series of events that result in crime, passion, and murder… BERSERK is for you!

The Wind, review, release date, dc wiki, dc comics, Budget, imdb Rating, Cast, Cast Salary 2019

Lizzy is a tough, resourceful frontierswoman settling a remote stretch of land on the 19th-century American frontier. Isolated from civilization in a desolate wilderness where the wind never stops howling, she begins to sense a sinister presence that seems to be borne of the land itself, an overwhelming dread that her husband dismisses as superstition. When a newlywed couple arrive at a nearby homestead, their presence amplifies Lizzy’s fears, setting into motion a shocking chain of events.


Initial release: 5 April 2019 (USA)
Director: Emma Tammi
Distributed by: IFC Films
Screenplay: Teresa Sutherland
Producers: Christopher Alender, David Grove Churchill Viste

 

Critic reviews

The Wind   Full Movie Watch

The Wind   Full Movie Download

The woman walks out of the cabin, the wind whipping all around her. Her white dress is bloodied. She’s carrying a baby, which isn’t making a sound; the two men staring at her are equally silent. (We eventually hear a howl of pain coming from offscreen.) Later, we see her standing over a grave … only there isn’t an infant in the coffin, but an adult female. The men finish burying her, then they saddle up the horses and leave for what may be a days-long trip. She’s left standing there, glimpsed through a barn door Searchers-style, completely alone.
Some seven minutes in, director Emma Tammi’s feature debut The Wind has already given you 90-percent of what you need to know about her homesteader horror movie. The landscape these people live on is pitiless, stark, violent, haunting. Men are stoic and strong, but also somewhat useless; they’re often A.W.O.L. as well. Women are isolated to a frightening degree and left to fend for themselves. You’re going to get classic Western iconography, and it’s also going to get fucked with a bit. Don’t expect the chronology of events to be presented in order. And most of all, the vibe is going to be heavy frontier-gothic with liberal doses of feminized psychological dread. If you’re thinking “Repulsion by John Ford,” you’re more on the right track than you could possibly know.

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Two couples, two pregnancies and two dead bodies right up front make “The Wind,” Emma Tammi’s first narrative feature, a frontier ghost story with very human stakes. And maybe a very human explanation: Like Tommy Lee Jones’s marvelous 2014 Western, “The Homesman,” this pioneer chiller shines a gender-specific spotlight on the ways isolation and hardship can ravage a woman’s mind.

The first time we see Lizzy (an intense Caitlin Gerard), she’s exiting her log cabin bearing a bloody bundle and wearing a traumatized expression.

“How did she get my gun?” she asks her husband, Isaac (Ashley Zukerman), and their new neighbor, Gideon (Dylan McTee), whose erstwhile wife, Emma (Julia Goldani Telles), is about to follow her newborn into the ground. Frequent flashbacks show Emma’s gradual descent from emotional fragility to hallucinatory breakdown as a religious tract about demons becomes an obsession. Soon Lizzy, left alone while Isaac fetches supplies, is also beset by terrifying, shape-shifting apparitions. Their provenance and intentions are unclear, but Lizzy, a staunch German immigrant, isn’t about to give in to her fears.

The Wind   Full Movie Watch

The Wind   Full Movie Download

tmospheric if narratively thin, “The Wind” (similarities to the 1928 silent film of the same name are coincidental) kicks up a competitive dynamic between the two women that further muddies the psychological waters. Teresa Sutherland’s nonlinear screenplay emphasizes the godlessness of the setting, while terse dialogue and a moaning, percussive sound design enhance its oppressive loneliness.

The movie’s most striking aspect, though, is Lyn Moncrief’s arresting cinematography, which turns the vast vacancy of the plains into both hostile observer and hellish metaphor. The story might finally slip its leash, but the baleful mood holds firm.