Saturday, January 22, 2011

Watch Free Online Zenith Hollywood Movie Trailer English Reviews Cast And Crew

Zenith Hollywood Fantasy Movie 2010/11

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Cast And Crew
Starring: Peter Scanavino,
Jason Robards III, Ana Asensio,
Tim BiancalanaDavid Thornton,
Raynor Scheine,Al Nazemian,
Jay O Sanders,Arthur French
Directed By: Vladan Nikolic
Written By: Vladan Nikolic
Distributor:Cinema Purgatorio
Runtime: 1 hr. 33 min.
Released On: Jan 19, 2011 (Limited)
Genre: Mystery & Suspense,
Science Fiction & Fantasy

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Synopsis:
Zenith is a retro-futuristic steam-punk thriller, about two men in two time periods, whose search for the same grand conspiracy leads them to question their own humanity. Starting from a fictional recreation of Stanley Milgram’s Obedience to Authority experiment, Zenith plunges into exploring multifaceted dimensions of the human experience. The film follows two parallel stories – of father and son – now, and 40 years into the future. Searching for the same elusive conspiracy, both father and son find no answers; instead, their journeys unravel their lives and force them to look deep and hard at themselves and their surroundings. In the end, they are both confronted with the same Faustian bargain – but each one chooses a very different path
In a hellish future where human beings have become stupefied by the state of permanent happiness they have been genetically altered to experience,... In a hellish future where human beings have become stupefied by the state of permanent happiness they have been genetically altered to experience, Jack (Peter Scanavino) offers relief via drugs that cause his customers the welcome phenomenon of pain. But when Jack receives a mysterious videotape of his dead father, he sets out to unmask the dangerous conspiracy that has created this dystopian world.



Movie Review:
The low-budget science-fiction thriller Zenith—credited as “a film by anonymous,” but written, directed, and produced by Vladan Nikolic—is both a movie and an experiment in world-building. Set in a not-too-distant future where human beings have been genetically modified to be happy, Zenith stars Peter Scanavino as an epileptic whose spells of misery let him access the secret knowledge that his numbed fellow citizens have lost. Through his connections in an underground ring of pain-dealing drug lords, Scanavino begins to collect videotapes made decades ago by his father (Jason Robards III), a former Catholic priest whose life changed when a parishioner stumbled into his confessional and started rambling about global conspiracies. Picking up where his father left off, Scanavino investigates whether society is controlled by a secret cabal that masks their nefarious activities as philanthropy.

In addition to Zenith The Film, viewers are encouraged to experience Zenith The Transmedia Experience, which encompasses several websites and YouTube videos, each adding to the movie’s mythology, sometimes with input from fans. (Interested parties should start at crowleylocks.com.) It’s an audacious, impressive feat of imagination, turning a few sets and characters into a generation-spanning look at a society where benevolence and malevolence are so finely interwoven that it’s hard to know what to fight against. Nikolic begins Zenith with a dramatization of the Milgram experiment—the famous psychological test in which test subjects proved willing to commit atrocities if an authority figure ordered them to—and throughout the film and its offshoots, he considers the ways in which we follow trails when prompted.

But while Zenith is fascinating to contemplate as a concept, it doesn’t fully work as a piece of entertainment—at least not in 90-minute-movie form. The film starts strong, introducing Scanavino and Robards while cutting between their initial epiphanies, and it ends strong, too, with father and son facing similar situations before their stories converge unexpectedly. But in between, Nikolic pads out the running time with cheesy-looking sex and fight scenes, and with a doubling-back narrative structure that not only makes the story more confusing, but looks like Nikolic is just trying to save money by reusing footage. People only join a movement if its leaders seem confident and competent. Zenith aces the former, but flubs the latter.

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Watch Free Online Applause Hollywood Movie Trailer English Reviews Cast And Crew

Applause Hollywood Drama movie 2011

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Cast And Crew
Cast:Paprika Steen, Michael Falch,
Otto Leonardo Steen Rieks, Lars Brygmann
Directed By: Martin Zandvliet
Distributor:World Wide
Genre: Art House & International, Drama
Rated: R
Running Time: 1 hr. 26 min.
In Theaters: Jan 21, 2011 Limited

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Movie Synopsis:
Recovering alcoholic stage actress, Thea Barfoed (Paprika Steen) has gone through turmoil. Having divorced her husband, Christian (Michael Falch), and... Recovering alcoholic stage actress, Thea Barfoed (Paprika Steen) has gone through turmoil. Having divorced her husband, Christian (Michael Falch), and relinquished custody of their two boys during her heavy drinking days, Thea wants to start over. As her past alcohol use and indiscretions still haunt her, the reality of a new beginning seems bleak. Thea uses her inner actress's charm and manipulation to convince her ex-husband that she is fully recovered and capable of being a good mother to their children; however, she hasn't completely convinced herself. On stage, Thea plays the binge drinking, ostentatious Martha in "Who's Afraid of Virginia Woolf?" Ironically, her stage character bears an uncanny resemblance to her personal life. As her alcoholism and past regrets hang in the balance, Thea must decide whether to confront her inner demons or to let the show go on.



Movie Review:
Uninterested in seeing another film about an individuals suffering from some sort of addiction or another, I nearly skipped Applause and wrote it off as the same old same old but hearing raves for Paprika Steen’s performance and with little else to choose from, I gave the film a chance. Though it didn’t provide anything we haven’t seen before (addict struggling to stay clean and keep her life in order), Martin Zandvliet’s film does provide something which is a little rarer, a powerful performance that is memorable well after walking away from the film.



Thea is an ageing stage actress at the top of her game. She’s also an alcoholic and though on the surface she plays the part of the recovering addict even going as far as attending AA meetings, she keeps a tab at her local pub and a fridge full of hard liquor. Ready to make a real change and get her children back, she cleans up her act but life is never quite as easy as one hopes and when faced with a major hurdle, she falls back on old ways. Not exactly new but that’s not to say that Zandliet’s film is poorly constructed. On the contrary, it’s a beautiful film with a smart script which inter-cuts Thea’s on-stage performance as an alcoholic with her life which is falling apart.



Even with a good script and Zandliet’s direction, the film’s real gem is Paprika Steen’s award winning performance. She’s raw, emotional and powerful in a role which pits her as an unlikable character. At the hands of a less talented actress the film would have been a forgettable run of the mill drama but Steen’s performance is anything but mediocre.

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Watch Free Online Evangelion: 2.0 You Can (Not) Advance Japanese Movie Trailer English Reviews Cast And Crew

Evangelion: 2.0 You Can (Not) Advance Japanese Animation Movie 2009/2011

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Cast And Crew
Cast: Kotono Mitsuishi,
Y√Ľko Miyamura,Fumihiko Tachiki,
Megumi Ogata,
Akira Ishida, Junko Iwao
Directed By: Masayuki,
Kazuya Tsurumaki
Written By: Hideaki Anno
Distributor: Eleven Arts
Genre: Animation | Action | Drama | Sci-Fi
Rated: PG-13
Running Time: 1 hr. 48 min.
In Theaters: Canada: 20 January 2011
USA: 20 January 2011
Country: Japan
Language: Japanese | German | English
Also Known As (AKA):
Evangelion New Theatrical Version: Breaking Japan (literal English title)

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Synopsis:
In the earliest battles against the monstrous Angels, young Eva pilots Shinji and Rei were forced to carry humanity's hopes on their shoulders. Now, with the deadly onslaught of the Angels escalating and the apocalyptic Third Impact looming, Shinji and Rei find their burden shared by two new Eva pilots, the fiery Asuka and the mysterious Mari. Maneuvering their enormous Eva machines into combat, the four young souls fight desperately to save mankind from the heavens - but will they be able to save themselves?

Review:
It's been a long wait, but better late than never I'd say. One of the classic mecha science fiction anime now undergoing a revamp of its own, and despite not having much background knowledge of where the series has headed toward, I still found this installment engaging enough to leave me wanting more especially since it ended on a cliffhanger of sorts, even though it's yet another long wait before the third film hit the screens over here.



Evangelion continues where we last left off in its cinematic version, and the Earth is now under protection by the EVA robots around the world, still piloted by children. There are plans now underway to be more humane though, in piloting the EVAs like unmanned drones from afar, thus keeping the kids out of harm's way. But then there are other plans brewing at sinister levels, which only get hinted at here, clearly sowing the seeds in this installment for something more to come in the future films.

Elements from the earlier film have become staple, and repeated, such as the cheeky way the female characters always get portrayed in teasing the audience / fanboys with various states of dress / near wardrobe malfunction, and hey, besides lead character Shinji Ikari (voiced by Megumi Ogata), every one of his peer pilot seem to be female, and in the opening we're introduced to the pilot for EVA No 5 to start off the film literally with a bang, and EVA No 2's pilot Asuka Langley Shikinami (Yuko Miyamura) in her bright red robot and uniform, in an instant confirming the suspicion that here's one hot chili who isn't afraid to speak her mind. I like this feisty character, who brings a breath of fresh air from the quiet Rei Ayanami (Megumi Hayashibara) and Shinji's pessimism. Other elements would include the countless religious imagery, which is now more in-your-face, and I suppose it should all make sense once the final film rolls around.



The narrative found perfect balance to go a little deeper into the motivation of the various characters, though the kid pilots leave more room as intended for future growth, since Rei is a quiet enigma, Shinji still being the reluctant hero, and Asuka the live-wire who doesn't mince her words, even if criticizing her Japanese counterparts quite pointedly and in some ways, offensively too. A large chunk of the story got devoted to a suggestion of a love triangle that didn't manage to play itself out due to the constant alien threat, but got to a point enough to affect the events that follow, and to make them a sledgehammer for emotions.

Then there's the action sequences, which are still as spectacular. The Angels' designs get weirder, and their attack more powerful of course, though the EVAs have a few more tricks up their sleeves, brought about by really pushing the envelope beyond what has so far been permissible. With humans at the helm of technology, we are always in control and can add that aspect of humanity without allowing technology itself from going berserk. This gets explored and discussed somewhat, especially when a dummy module gets its field day when called upon to override some human inaction, and I assure you your jaw will drop and how enemies get pulverized, which is something which I least expected, in an action-packed, yet moving scene which will get you all riled up. Then again this shows how important it is to have a human mind in control, over something else which dictates its actions through set rules, and executed without a soul of thought.

As a follow up film, this one lived up to the potential set by its predecessor, and expanded upon that universe with more Evangelion protocols, new and improved mecha capabilities, and characters you feel for, while still keeping a lid on the intrigue posed by the organizations NERV and Seele. No prior knowledge of the earlier film is required, though you would be better off to know some basics to enjoy the film a lot more. Needless to say the fans would lap this up, especially when the trailer for the 3rd film gets played after the end credits that offered that sneak peek into what's next, and that antagonizing wait for it to actually happen.



Shinji Ikari (voice of Spike Spencer) and Rei Ayanami (voice of Brina Palencia) work as EVA pilots who have already defeated their nemesis, ironically named Angels, in past battles. When the Angels re-emerge and threaten mankind with a Third Impact, two new pilots join Shinji and Rei, namely, Asuka Langley (voice of Tiffany Grant) and Mari Illustrious Mikanami (voice of Maaya Sakamoto) in their new battles to restore peace. The plot gets increasingly complex as the dynamics between the four EVA pilots evolve and as the tensions emerge between the STEELE and NERV organizations which cause even more potential problems once the new set of battles with the Angels commence. Shinji and Asuka, for instance, develop a strong physical attraction to one another and often flirt. So, if you’re unfamiliar with the Evangelion series and start with this one, you’ve probably noticed by now that it’s not your typical brainless, action-packed sci-fi adventure because screenwriter Hideaki Anno has written a compelling, imaginative and, for the most part, intelligent story with interesting characters. Moreover, you’ll find a few moments of surprise along the way. Unless you’re an avid fan, though, you might be confused by some of the events that transpire because there’s not much in terms of exposition, so it’s advised that you freshen up on Evangelion 1.0 beforehand. On a positive note, even if you do find yourself perplexed, there’s still plenty of eye candy to be found thanks to co-director Masayuki and Kazuya Tsurumaki’s use of dazzling, colorful animation that’s filled with attention to foreground and background details. The action sequences themselves feel quite exciting, and the soundtrack includes a few well-chosen songs with poetic lyrics. At a running time of 1 hour and 48 minutes Evangelion 2.0: You Can (Not) Advance is an exhilarating adventure that offers compelling characters, a wonderfully imaginative story and dazzling special effects. Newbies might feel slightly perplexed, though.

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Watch Free Online The Housemaid Korean Movie Trailer English Reviews Cast And Crew

The Housemaid Korean Drama Movie (2010)11

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Cast And Crew
Cast:Jeon Do-yeon, Youn Yuh-jung,
Park Ji-young, Lee Jung-Jae,Woo Seo,
Ahn Seo-Hyun
Directed By: Sang-soo Im , Im Sang-soo
Written By: Ki-young Kim, Sang-soo Im
Distributor:IFC Films
Genre: Drama, Art House & International,
Mystery & Suspense
Rated: Unrated
Running Time: 1 hr. 47 min.
In Theaters: Jan 21, 2011 Limited
Country: South Korea
Language: Korean | English

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Synopsis:
Eun-yi is an innocent young woman who is hired as an upper class family housemaid, and is tasked to take care of the family's small daughter and her... Eun-yi is an innocent young woman who is hired as an upper class family housemaid, and is tasked to take care of the family's small daughter and her pregnant mother, Hae-ra. Byung-sik is an older housemaid who has been with this family for a long time and holds many secrets. But soon enough, the master of the house, Hoon, takes advantage of his social position by slipping into the new housemaid's bed. Hoon's visits become frequent and Byung-sik reports the affair to Hae-ra's mother Mi-hee, who plots to give Hae-ra the control over her husband. Soon Eun-yi becomes pregnant by Hoon and wants to keep the baby. This is discovered by the family and Eun-yi is forced by Mi-hee to have an abortion despite the young woman's pleas to let her keep the baby and leave the house. Her forced abortion turns Eun-yi's already fragile mental condition for the worse and she decides to take the matter into her own hands.



Movie Review:
The background and rationale of the suicidal lady is unknown and it seems like nobody cares. Just before the opening chapter ends, Eun-yi stops by for a good look at the suicide scene of a chalk outlined figure on the tarmac road in deep thoughts.
From this point on, the film adopts a totally different style.
Eun-yi is employed as the second family housemaid to Hoon's family, where everything (including camera work) is polished and civilised. The family of three resides in a grand mansion that indicates abundant wealth, helmed by the master of the household, Hoon. Hae-ra, Hoon's wife, is pregnant with a second child and they also have a daughter who will go under the wing of her new nanny, Eun-yi.



In the beginning of Eun-yi's work in the family, the only negativity seems to be from the other older housemaid, Byung-sik, who appears to be strict with her training. Everything is sugar-coated with surface deep qualities that are commonly associated with middle and upper class societies. The hospitality of Hae-ra makes it even more nerve-soothing for Eun-yi and instills well prospects for her days to come, which is later a source of nausea-inducing reaction towards what Hae-ra becomes of.

This remains valid, until the infidelity of Hoon erotically manifested in a naive Eun-yi.
Erotism is played out well by Director Lim Sang-soo, where it is explicit in context that are subtly suggestive in visuals. It may be excitably enjoyable for some, however it is seen as a pleasurable sin that sows the seeds of evil that will grow ferociously within the family.
We see two forms of character transition after the infidelity in Byung-sik and Hae-ra. One struggles to emerge out of evil while the other falls into an ugly abyss. This is further aggravated by the strangely youthful and attractive mother of Hae-ra, which might be explained by how beauty has always been pursued by the men of wealth.
Wealthy men and their affinity with beautiful women.
Great performance by Seo Woo who plays Hae-ra as her wicked transition fueled by the twisted words of her mother is particularly painful to watch, especially when such ugliness lives underneath her skin of porcelain beauty. Together, both Hae-ra and her mother planned on hurting Eun-yi and her unborn child (the consequence of unprotected infidelity) to get rid of her in order to safeguard their status within the family.

Vengeance is only but what is expected upon driving one to utmost devastation.
Eun-yi's method of getting back at the Hoon and his family is somewhat questionable, as it is seen as a statement making act of terror. However, the true effects of her revenge do not merely stop there. It surpasses them and relays to Hoon's next generation where his daughter becomes a changed mind after witnessing Eun-yi's act of vengeance. We get a hint of this in the closing noir scene of how Hoon's daughter is insensitive to her dysfunctional family at her outdoor birthday celebration.
This is (possibly) a simple act of linear intentions by Eun-yi. However its aftermath effects, though oblivious to her, are truly complex in nature and disturbingly powerful.
Points to bring back from The Housemaid are derivative of afterthoughts from the film, those that gradually consume you if you are not careful. It seems Eun-yi is the pure agent, whose neutrality is only matched by Hoon's daughter, who came from a lower class society trying to seek a better life in a higher society.
Wealth and success maybe an incentive in life that several seek, but greatness in life is far more superior and is rarely achieved. Perhaps the capitalistic world has truly blinded us from invaluable virtues. Everything in life requires a balance, an invisible boundary that is so easily to cross over without even realising.
It kept me in deep thoughts even upon leaving the theatre, I believe it will do the same for you too.

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Cast And Crew
Starring: Nathan Adloff, Joe Swanberg,
Director: Bernard Shumanski, Richard Shumanski
Written By: Bernard Shumanski, Richard Shumanski
Releaded On: Jan 28, 2011 (Limited)
Genre: Gay & Lesbian, Comedy

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Synopsis:
After moving to Chicago for art school, Sam (Nathan Adloff, AUDREY THE TRAINWRECK) begins turning tricks to help pay the bills. His longtime, long-distance boyfriend Aaron (Taylor Reed, WRECKED) can't stand to be apart and joins him, determined to find enough work so that Sam can give up having sex for money.



When the two decide to tie the knot and move to a state where they can marry, their financial worries intensify... until Aaron spies on Sam with a prominent client (Joe Swanberg, acclaimed director of HANNAH TAKES THE STAIRS and UNCLE KENT), and everything takes a darker turn. Evocatively shot by Adam Wingard (cult director of POP SKULL and A HORRIBLE WAY TO DIE), BLACKMAIL BOYS is a sweet and sexually explicit love story, bending genre with a touch of dark humor



Movie Info:
Nathan Adloff is more than just a pretty face [and you know what I mean if you've seen his latest feature film, BLACKMAIL BOYS]. He’s an actor, director, and all-around creative type making it happen in Chicago.
An at-times sexually graphic feature about a young gay couple, one a male prostitute, who hatch a plot to blackmail a client (played by filmmaker Joe Swanberg) who turns out to be an anti-gay crusader. This second feature from the mysterious Shumanski brothers recently won the Audience and Jury Awards at Birmingham's SHOUT Gay & Lesbian Film Festival. It also has Memphis connections, with filmmaker Morgan Jon Fox showing up in the credits and some local music (including Snowglobe's Brad Postlewthwaite and Jeff Hulett) on the soundtrack.

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