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These two titans of The Blockbusters of Lesser Renown have teamed up in Hansel and Gretel: Witch Hunters. From its title, we can sense that it is ripping off Abraham Lincoln: Vampire Hunter. From its content, we can sense that it is ripping off Snow White and the Huntsman. Hansel Vs. Gretel On top of that, it features the automatic crossbows from Van Helsing. It has taken nearly a decade, but someone has ripped off Van Helsing. This is a pivotal moment in cinematic history. We truly are feeding off the bottom at this point. Hollywood is eating itself.

 

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In this movie’s defense, I will say that at least it feels like a single, complete idea. The opening credits state that it was written and directed by somebody you’ve never heard of. But it definitely feels like the idea of one person translated fairly effectively to the screen. It is a nice contrast to all of the script-by-committee blockbusters of the last 15 years or so. Hansel and Gretel: Witch Hunters is really more middle-of-the-road than outright terrible. It’s not Transformers: Revenge of the Fallen or anything. I mean, I actually laughed at Gretel’s line when the messenger explodes into a bloody mess at the tavern. Well, it was more of a titter, but I’ll take what I can get at this point.

The movie opens with Hansel and Gretel’s father abandoning them in the forest and moving back to Texas. They walk to a nearby house made of candy and are captured by the evil witch that lives there. When all seems lost, they overcome the witch, throw her into the fire, and are consumed by the opening credits. We are told the tale of how Hansel and Gretel started hunting down witches over the years and became famous for their deeds. I think this is why the movie is called Hansel and Gretel: Witch Hunters, but I’m not sure. This movie is quite subtle with its themes.

Now it’s “many years later”, and Hansel and Gretel have come to some podunk town to help with the witch problem. We’ve got a Stupid Chief in the form of the local sheriff, who hates the witch hunters because they’re not from ’round there. We have an annoying teenage groupie, filling the always necessary “Shia LaBeouf in Constantine” role. We have a love interest for Hansel, who turns out to be a good witch like his mother (spoiler). We also have a ridiculous looking troll that saves Gretel from being raped by the Sheriff in one of the most bizarre scenes in a mainstream movie in some time.

Why do we have to have a scene where the female protagonist is threatened with gang rape? Is it really necessary? You’re not making Planet Terror here. It’s not a throwback to exploitation film. Why is it in this movie? Is it a commentary on the patriarchy of some kind? At least Tarantino had the good sense to make his appearance as Rapist #1 funny by having his genitalia melt off as he walked towards his intended victims. I guess this was supposed to be a moment for all of us to check our privilege or something. But why is the scene intercut with Hansel and his gal pal swimming in a pond? What the fuck is going on?

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psychedelic ‘60s are over, and paranoia, consumerist sprawl and the bloody Manson murders loom over 1970 in Paul Thomas Anderson’s Inherent Vice. Adapted from Thomas Pynchon’s novel, Anderson’s film is a freewheeling, hilarious, deliberately confusing, and at times even heartbreakingly sad detective yarn. Recalling both The Coen Brother’s The Big Lebowski and Robert Altman’s The Long Goodbye, Inherent Vice finds hippie doper private eye Doc Sportello (Joaquin Phoenix) involved in a confounding mystery involving, amongst other things, his ex-girlfriend, a missing millionaire named Mickey Wolfmann, Nazi bikers, undercover saxophone players, dentists, a mysterious ship, and a syndicate known as The Golden Fang.

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One night, Doc’s old flame Shasta Fay Hepworth (Katherine Waterston, in a revelatory performance) shows up and asks for help. That’s how most noir stories begin—a “femme fatale” arrives on the doorstep of our hard boiled hero and draws him into an underworld. But the sun-bleached Los Angeles of Inherent Vice eliminates any room for noir-ish shadows. Instead, Anderson’s film is a farcical romp as Doc bounces from one ridiculously named character to the next, his case growing more and more confusing. Anderson (and Pynchon’s novel) aren’t interested in explaining what the hell is going on here. Some may be turned off by Inherent Vice’s obtuse nature, but the fun is in getting confused right long with Doc as he tries to fit the jigsaw pieces together.

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As Doc, Joaquin Phoenix holds the screen just as he did in Anderson’s The Master, but his character here is so vastly different. A stoner who seems disillusioned by how the free love of the ’60s gave way to the ’70s, Doc doesn’t so much investigate the case as stumble through it. He’s aided, and hindered, along the way by Detective Christian “Bigfoot” Bjornsen, played by Josh Brolin. While everyone in the film is enjoyable and at times hilarious, it’s Brolin who nearly runs away with the whole film. Bigfoot is a frozen banana loving cop with a SAG card, constantly reminding people that he’s a “renaissance cop.” Yet under all his bluster there’s vulnerability. Bigfoot appears straight-laced, with his perfect flattop haircut, but we can sense a tinge of envy when he looks at Doc’s more carefree existence. Brolin’s work is so perfect here, so hilarious, that one is tempted to call this the performance of his career.

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The film was primarily shot in Adelaide, South Australia, with most of the interior shots filmed on a soundstage in the Australian city—as the funding was from the South Australian state government, this was a requirement that Kent needed to meet.[5] However, Kent explained to the Den Of Geek website that she is not patriotic and didn't want the film to be "particularly Australian":

 

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 Watch The Babadook Online Streaming   I wanted to create a myth in a domestic setting. And even though it happened to be in some strange suburb in Australia somewhere, it could have been anywhere. I guess part of that is creating a world that wasn't particularly Australian ... I'm very happy, actually, that it doesn't feel particularly Australian.[6]

To contribute to the universality of the film's appearance, a Victorian terrace-style house was specifically built for the film, as there are very few houses designed in such a style in Adelaide.[6] A script reading was not done due to Noah Wiseman's age at the time—six years old—and Kent focused on bonding, playing games, and lots of time spent with the actors in which they became more familiar with one another. Pre-production occurred in Adelaide and lasted three weeks and, during this time, Kent conveyed a "kiddie" version of the narrative to Wiseman.[9]

 Watch The Babadook Online Kent originally wanted to film solely in black-and-white, as she wanted to create a "heightened feel" that is still believable. She was also influenced by pre-1950s B-grade horror films, as it was "very theatrical", in addition to being "visually beautiful and terrifying". Kent later lost interest in the black-and-white idea and worked closely with production designer Alex Holmes and Radek to create a "very cool", "very claustrophobic" interior environment with "meticulously designed" sets.[8][6] The film's final colour scheme was achieved without the use of gels on the camera lenses or any alterations during the post-filming stage.[7] Kent cited filmmakers David Lynch and Roman Polanski as key influences during the filming stage.[9]

Kent described the filming process as "stressful" because of Wiseman's age. Kent explained "So I really had to be focused. We needed double the time we had." Wiseman's mother was on set and a "very protective, loving environment" was created.[6] Kent explained after the release of the film that Wiseman was protected throughout the entire project: "During the reverse shots where Amelia was abusing Sam verbally, we had Essie [Davis] yell at an adult stand-in on his knees. I didn't want to destroy a childhood to make this film—that wouldn't be fair."[9] Kent's friendship with Davis was a boon during filming and Kent praised her former classmate in the media: "To her credit, she's [Davis] very receptive, likes to be directed and is a joy to work with."[8]

In terms of the Babadook monster and the scary effects of the film, Kent was adamant from the outset of production that a low-fi and handmade approach would be used. She cites the influence of Georges Méliès, Jean Epstein’s The Fall of the House of Usher and Hexen.[11] Kent used stop-motion effects for the monster and a large amount of smoothening was completed in post-production. Kent explained to the Empire publication: "There’s been some criticism of the lo-fi approach of the effects, and that makes me laugh because it was always intentional. I wanted the film to be all in camera.
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Fortunately, there are welcome if fleeting moments of levity as well, mostly courtesy of Katniss’ temporarily sober mentor, Haymitch (Woody Harrelson), and her once colorfully coiffed, now plainly dressed escort, Effie Trinket (Elizabeth Banks), whose expanded role here represents the film’s most significant deviation from the novel. Their attempts to turn the initially stiff, camera-shy Katniss into a poster girl for the rebellion provide some gentle amusement, until Haymitch realizes that this Mockingjay can’t be trained to perform on cue: It’s only after she sees Capitol planes bomb a crowded District 8 hospital that Katniss’ guilt and devastation spur her into a moment of genuine, articulate fury. “If we burn, you burn with us,” she tells her enemies in no uncertain terms, coining what will become a mantra for the revolution, as dramatized in stirring, sweepingly effective sequences of the other districts rising up and causing untold damage to the Capitol.

Watch The Hunger Games: Mockingjay Full Movie Those brief flare-ups of action — including a daring, high-tech mission to rescue Peeta and the other surviving Quarter Quell tributes from the Capitol — bring a few frissons of suspense to a tale that otherwise operates in a downbeat, claustrophobic register, sustained by the unrelenting pallor of Willems’ studiously underlit images and production designer Philip Messina’s purely functional-looking sets for District 13. Gone are the first two films’ riotous colors and outre fashions; the duo of Kurt and Bart handled the more restrained costume-design duties this time around, their chief contribution being the sleek, black combat gear that Katniss wears for her appearances as the Mockingjay. Even composer James Newton Howard’s usual themes take a backseat to a haunting childhood song that Katniss croons at the film’s midpoint; it’s not long before her allies are humming the same tune as they march on Snow’s empire.

In short, all talents involved seem to have marshaled their significant resources in service of an ever bleaker and more serious-minded portrait of geopolitical conflict, replete with topical parallels (long-range missile attacks, the deliberate targeting of civilian refugees) that cut even closer to home than the filmmakers may have intended — never more than when Snow orders live broadcasts of public executions in each district, the heads of the condemned covered in black hoods. But while helmer Lawrence maintains a steadily absorbing control of the story’s pace, tone and ever-increasing dramatic stakes, the downside of his fidelity to Collins’ novel (the author even gets an “adaptation by” credit this time around) is that the film never shakes off a safe-and-steady, by-the-book feel, or an unfortunate tendency to spell out the obvious. (When Peeta sends Katniss an unmistakable warning, someone helpfully notes, “That was a warning.”) For all its obvious smarts and mildly provocative ideas, “Mockingjay” doesn’t seem to trust its audience quite as much as it clearly trusts its heroine.

Watch The Hunger Games: Mockingjay Full Movie If Katniss remains only intermittently comfortable with her celebrity, Jennifer Lawrence herself feels like more of a natural than ever. Although she has less to do on the action front (she fires only one arrow, and it’s a doozy), her Katniss remains the most compellingly human fixture of this dystopian landscape, even when the psychological toll of her sufferings push the performance into a shriekier, more desperate emotional register than before. Some of that is due not only to Katniss’ feelings for Peeta, but also to her concern for her loving but weak-willed mother (Paula Malcomson) and especially her younger sister, Prim (Willow Shields, more prominent here than in the earlier films), laying the emotional groundwork for events still to come.

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Megavideo Watch Beyond the Light Movie stream, Every artist struggles with self-expression, and Lights kind of pummels Noni. To abruptly cut from her as a little girl singing Simone’s “Blackbird” to her presently exposing herself in leather straps for some god-awful Hype Williams concoction … there’s zero tact there. But it’s still interesting, and Bythewood nails the emotional devastation one might feel in her shoes — that is, her likely expensive and painful record company high-heeled shoes.

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Beyond the Lights distinguishes itself by letting its emotions run deep. Mbatha-Raw and Parker feel like fresh faces, ready to bring everything they’ve got. The former made a nice name for herself this past spring in Belle, and she’s ready for a big breakout role. As Noni, she does something incredibly hard: make you sympathize with her. It’s so easy to belittle our celebrities. We assume they crave attention, and resent them for their cushy status for questionable efforts.

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It’s not quite like that with Noni; she’s a beautiful and talented young person, and you hope she finds what she’s looking for. Parker, who will be treated as eye candy (if the hooting and hollering at last week’s screening were any indication), has the chops to be a leading man. His smoky and comforting voice, his ability to express doubt and strength simultaneously, all of it makes Kaz a better and more interesting character.

Wait, we didn’t even talk about the corny Mexican beach love scene and the distracting cross-promotional aspects, and … you know what? Watch Beyond the Lights with a knowing smirk. That’s fine. Just keep an eye on the shining leads. It’s hard not to in all honesty.

Beyond the Lights Noni and her single-parent mom, Macy, may not have had much as she was growing up, but they had two things going for them: Noni's voice and Macy's drive. Add those two strengths together with years of hard work and Noni is now on the verge of musical superstardom.

Thanks to several duets with her rapper "boyfriend," Kid Culprit, and a soon-to-break, much-hyped solo album, her face is everywhere. Of course, there's quite a lot of the rest of her out there on display, too. But, well, that's what's expected these days. You wanna be the next Rihanna or Nicki Minaj, well, then you let your fans see plenty of skin.

In truth, though, that slip-something-off-and-give-'em-a-thrill stuff isn't really Noni. But her mother has worked too long, pushed too hard for her to balk at a little tawdry sleaze at this stage in her career. Why, Macy would kill her if a few modest objections ruined all they've worked for.

So behind the provocative outfits, the purple hair and the crude pelvic thrusts, Noni remains secretly miserable. She no longer recognizes herself. She's no longer dazzled by the money and glitz. She no longer cares about much of anything, really.

In fact, Noni's pretty much ready to take a nose dive off the highest rooftop she can find. She guzzles a bottle of champagne in the limo, locks the top-floor penthouse suite's door and staggers toward the gently blowing curtains that mark where her balcony doors are. Just put one leg up on the rail. Then the other. And it's as simple as …

Just as she takes that last fateful tumble into oblivion, though, an off-duty cop on guard duty grabs her by the hand. She tries to wriggle free, but he fights to keep her still. He gazes down at her dangling form, looks her square in the eye and tells her, "I see you. Don't do this. I see you."

From there, the rest is all a jumble. He pulls her up. Her mother is there to guide her into the room and explain away her silly "stumble." And the cop is quickly ushered out with the promise of a sizable check as a reward.

There will be a press conference to go to, of course. Explanations to make for why everyone saw her dangling off that ledge. Tipsy excuses to give. But all Noni wants to do is find that cop again. She needs to know, has to know …

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Watch The Theory of Everything Megashare, Just in physical terms, Eddie Redmayne transformation’s into Stephen Hawking is something remarkable. Most of us are familiar with the wheelchair-using Hawking, slouching to one side and speaking with an electronic voice. Redmayne, as if drawing a straight line backward, turns himself into that Hawking over the course of “The Theory of Everything,” but slowly, one gesture and deterioration at a time — until the resemblance becomes something between uncanny and downright freakish.

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Along the way, he gives us a sense of Hawking’s mind. In scenes from Hawking’s student days, Redmayne listens to the professors with the special attention of someone who understands all that he hears and is racing ahead to the next conclusion. Later, as Hawking’s body implodes from motor neuron disease, Redmayne’s face shows a constant play of emotion and thought he can’t express. Using electronics, the best he can manage is four words a minute, and so he must choose his words carefully.

“The Theory of Everything” is the story of about 30 years in Hawking’s life, beginning in the early 1960s, when he was pursuing a doctorate in physics at Cambridge. At 21, Hawking is an awkward young man, but with the peculiar confidence that comes from excelling within his own specialized sphere. At a party, he meets Jane (Felicity Jones), a sober young woman studying Iberian poetry, and after a companionable courtship, they kiss for the first time at a dance.

A nice, almost subliminal virtue of “Theory of Everything” is the way that director James Marsh subtly colors each era, almost as though we’re watching something that’s partly a memory. The Cambridge scenes are presented in earth tones and crisp photography. The first kiss is the occasion for one of the movie’s most elaborate shots, one that pulls back in a swooping arc to show the two young lovers standing above the city, as cars go by below.

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