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Title : Body Double
Body Double genre : Crime, Mystery, Thriller
Body Double crew : Gerald B. Greenberg, Brian De Palma, Brian De Palma, Brian De Palma, Stephen H. Burum, Bill Pankow, Janet Hirshenson, Jane Jenkins, Elisabeth Leustig, Ida Random
Body Double release date : 26 August 19 4 3
Body Double runtime : 114 Minutes
Body Double Crew : Gerald B. Greenberg, Brian De Palma, Brian De Palma, Brian De Palma, Stephen H. Burum, Bill Pankow, Janet Hirshenson, Jane Jenkins, Elisabeth Leustig, Ida Random
Body Double movie cast :
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After losing an acting role and his girlfriend, Jake Scully finally catches a break: he gets offered a gig house-sitting in the Hollywood Hills. While peering through the beautiful home's telescope one night, he spies a gorgeous blonde dancing in her window. But when he witnesses the girl's murder, it leads Scully through the netherworld of the adult entertainment industry on a search for answers -- with porn actress Holly Body as his guide. Body Double 1984 review : De Palma Double Bubble, Toil and Trouble.

Body Double is directed by Brian De Palma, he also co-writes the screenplay with Robert J. Avrech. It stars Craig Wasson, Melanie Griffith, Gregg Henry, Deborah Shelton, Guy Boyd and Dennis Franz. Music is by Pino Donaggio and cinematography by Stephen H. Burum.

Brian De Palma continued his crusade to push buttons of the sensitive whilst homaging his hero Alfred Hitchcock, with this cheeky, garish, sleazy thriller. Even when moving away from Hitch like movies, he created a storm with Scarface (1983), so the critics of 1984 wondered if a return to suspense thriller territory would put the director back on an even cinematic keel? Not a bit of it! The reaction to Body Double was ridiculously over the top, apparently a misogynistic homage to the porn industry, with exploitation gore thrown in for good (bad) measure, Body Double was the devil's spawn in the eyes of critics. The public? Not so much, film was a sure fire hit at the box office.

Of course today it seems all very tame, where not even a simulated drilling killing can raise the temperature of the audience, or that frank sexual language and bare bodies no longer makes cinema goers blush. On reflection now it's easy to view De Palma's movie as a visionary piece of work, a film gently poking the ribs of Hollywood and the MPAA, and as was always the case with his 70s and 80s work, he was a director who easily elicited a response from his audience. And with his box of cinematic tricks still impressive before he became over reliant on them, Body Double is a fascinatingly lurid viewing experience.

That it's Vertigo and Rear Window spliced together is a given, but that doesn't make it a bad film, besides which it bears the De Palma stamp as well, undeniably so. Plot finds Jake Scully (Wasson), a struggling actor with claustrophobia, thrust into a world of murder, obsession, deceit and paranoia, for when he house sits for a newly acquired friend, he spies a sexy lady through the telescope apparently being stalked by an odd looking Native American. To reveal more would spoil the fun of anyone watching for the first time, but suffice to say that Jake has entered the realm where neo-noir protagonists wander around wondering how and why they are in this mess.

It's pulpy and pappy, but in the best ways possible, and unlike many other films made by directors who ventured into similar territory, it's never boring (hello Sliver). Cast are appropriately cartoonish or animated, the twists fun if not hard to see coming, and with De Palma's visual panache cosying up nicely with Donaggio's musical score, Body Double is fine entertainment brought to us by a director with a glint in his eye. 8/10
Body Double infiltrates the vehemence of adult entertainment through inspired Hitchcockian thrills. De Palma was at the height of his success during the eighties. Implementing his technical flourishes within sub-genres that we’re not necessarily accessible for the average audience member. Erotic thrillers, whilst some may describe as distasteful and misogynistic, accentuated sexualisation to further enhance the lust of man. Body Double is no different. Much like the pornographic industry that is portrayed, it certainly has a sub-par screenplay that persuades you to fast-forward to the “act” in question, yet manages to lure you into the sleazy allurement of De Palma’s technically adept direction.

After waltzing in on his partner cheating on him, a novice actor is recruited by a friend to house-sit a luxury abode, conveniently positioned adjacently to another property hosting a sumptuous succubus of temptation. Naturally, downbeat and fuelled by anger, he resorts to peeping and spying as she provocatively dances in front of the window before proceeding to creepily follow her the next day.

As the main man himself stated, this is inspired by Hitchcock’s two greatest thrillers: ‘Rear Window’ and ‘Vertigo’. The added eroticism granting De Palma’s feature a differing (if unpleasantly salty...) flavour that uniquely defines its narrative qualities. Initially, the first act kicked off with a mundane imitation of Hitchcock’s aforementioned ‘Rear Window’, opening itself up to comparative criticisms. The introductory setup, outlining Wasson’s Jake Scully as a claustrophobic unconfident mess, sent the plot down a one-way route that, upon first thought, had minimal opportunities for a U-turn. The convenience of the telescope as Scully unashamedly invades the privacy of his new temporary neighbour and his dreadful tailing techniques complementing his mediocre onscreen acting portrayals, sent my own thoughts down the predictable avenue. Was Scully a perverted mess, or was he being set up? I thought I knew. But then De Palma trapped me.

Through ornate neo-noir aesthetics and a vapid insight into the world of adult entertainment, he precariously planted a sufficient amount of false breadcrumbs to force me to second guess myself. And that I did. The mystery slowly unraveling, accompanied by a smooth monosyllabic score and Frankie Goes To Hollywood’s legendary gay anthem “Relax”, unlocking the intentions of all characters involved. Heightening the glossy lifestyle of adult performers, De Palma‘s directorial flair, mostly consisting of extended takes and distant shots, invited audiences into a tainted environment plagued by primitive regression. Tantalising voyeurism and dangerous obsession. Even hints of Argento’s influence of the giallo sub-genre.

Various techniques, especially the continuous panoramic 360 revolving as Wasson and Shelton questionably embraced each other, resembled dated homages that failed to match the noir aesthetics that De Palma meticulously crafted. The conclusive ten minutes unfortunately unwrapped certain revelations in an underwhelming manner, by having the story abruptly cut with no substantial resolution. This left myself viewing the proceeding credits montage with an overbearing feeling of unsatisfactory bewilderment.

Undoubtedly, Body Double is rough around the edges. Occasionally bypassing substantial development for evocative voyeuristic tendencies. But that does not deter from De Palma’s intrinsic cinematic approach, where the night life of Hollywood truly becomes illuminated.

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Title : The Current Occupant
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The Current Occupant release date : 10 September 19 5 1
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Come Play crew : Alan C. Blomquist, David J. Bomba, Roque Baños, Maxime Alexandre, Andrew Rona, Jacob Chase, Jacob Chase, Alex Heineman, Gregory Plotkin, Marcia Scott
Come Play release date : 17 January 19 2 4
Come Play runtime : 96 Minutes
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2020 is undoubtedly one of the worst years ever for movies, not even in terms of quality, but the infinite delays of highly anticipated films automatically make this year more underwhelming than what it would ever be. Nevertheless, it still delivered a few surprises along the way. Movies that I wasn't really expecting to like as much as I did (Underwater, The Call of the Wild), or even films that I knew I'd enjoy them but eventually end up absolutely loving them (The One and Only Ivan, Palm Springs, The Personal History of David Copperfield). Jacob Chase's feature directorial debut is amongst the former group. I only knew the premise and the cast, which I have to admit didn't really convince me, but I still gave it a go since this could be my last trip to a film theater this year…

If it ends up truly being my last time watching a movie on the big screen this year, then it's a wonderful final film. Come Play is one of the biggest surprises of 2020. There are so many aspects that I absolutely love about it, but it doesn't escape from several issues as well. I'll start with the impressive performance of Azhy Robertson (Oliver) as a non-verbal autistic kid. As someone who has shared some time with a young autistic girl, I left the theater fully believing that Azhy was, in fact, autistic in real-life (I didn't recognize him from Marriage Story). I was mind-blown when I found out he wasn't. His display feels so realistic and authentic that I never thought his portrayal was pure acting.

John Gallagher Jr. (Marty) is really good as well, but he doesn't have as much screentime as Gillian Jacobs (Sarah). The latter isn't exactly awful, but she definitely disappoints in the more sentimental moments. She's great during the horror sequences, adding to the suspenseful atmosphere, but when the time comes to really deliver heartfelt dialogues and passionate expressions, Gillian fails to offer a convincing performance. The other kids in the movie are also quite cringe-worthy, but not every young actor can be incredible at such a young age.

Despite the cast's irregular interpretations, none ruins the captivating story behind Larry, the "misunderstood monster" on the other side of the screen. The social commentary is loud and clear, giving the film a whole other layer. Jacob Chase's commitment and dedication to this work (based on his own short) are palpable throughout the runtime, visible through the numerous tiny details spread across each storyline. I found myself astonishingly invested in the narrative. However, Chase often repeats scenes meant to pass that social message he so desperately wants to transmit, transforming many scenes that could be genuine into something extremely forced.

This last aspect is compensated with innovative horror sequences with highly creative use of today's technology to generate an incredibly tense environment. There aren't many jumpscares, but most are pretty effective. Nevertheless, it's the suspenseful atmosphere throughout the entire movie that elevates the overall horror vibe. Chase also employs long takes, which ultimately leaves viewers at the edge of their seats due to some excellent camera work (Maxime Alexandre) and seamless editing (Gregory Plotkin). I really like the score (Roque Baños), but there are a couple of moments where the almost silent music weirdly becomes an adventure tune.

Another brilliant technical decision comes from Chase's work with the VFX team. As expected from a low-budget production, the visual effects would never reach today's standards if they decided to show the monster in plain sight during daylight. If you go into the film expecting a monster movie where the latter is the protagonist, forget it. The crew was intelligent and humble enough to acknowledge the not-that-good VFX quality, so Chase "hides" the monster with low lighting and "shows" him during night sequences and/or through a smartphone/tablet's camera. It might be a disappointing aspect for many people, but I was delighted with this smart decision.

It's more of a family drama than a generic horror flick. There's a fair attempt at delivering something special, and I do believe it was very close to being one of the best films of the year. The treatment of the autistic character is near-perfect. I love the fact that not only the movie shows every problem that a condition like this brings, but it also demonstrates the extraordinary qualities that autistic people possess. Even though he cannot speak, Oliver is exceptionally clever, fun, and brave, something I believe most of today's society doesn't think autistic kids can be. The ending is both bold and surprising, finishing on a significant emotional moment that will leave viewers with a bittersweet reaction.

In the end, Come Play is one of my favorite surprises of this year. Jacob Chase proves that he's a dedicated filmmaker who knows his craft. With exceptional preparation, Chase presents an extremely captivating narrative, distinct from the generic horror flicks that flood every year. By focusing on the emotionally compelling story instead of the formulaic jumpscares, the horror sequences have a much more significant impact due to the viewer's connection with the main characters, especially Azhy Robertson's. The latter delivers one of the best young performances of 2020, interpreting an autistic kid with remarkable authenticity. However, the rest of the cast is not up to the task, especially Gillian Jacobs, who disappoints with an overall emotionally underwhelming display. The social commentary is important and efficiently transmitted, despite Chase eventually losing his balance and exaggerating the number of scenes that ultimately become forced. Technically, the suspenseful atmosphere steals the spotlight from the few yet effective jumpscares. Ends with a surprisingly bold, emotionally bittersweet moment. As long as you don't expect a "monster flick" packed with predictable scares, I sincerely recommend it to anyone looking for a Halloween plan.

Rating: B+
While the movie is definitely derivative (i.e. "The Babadook" on a phone), the acting is above average, the creature effects are not bad, and there are a few cleverly done creepy scenes using the device's camera.

I'm not sure why they made Oliver an autistic pre-teen, but actor Azhy Robertson makes it believable. And is it just me, or is anybody else sick and tired of "school yard bullies harassing the child lead" trope?!?

In the film's climax, there is a scene that took my by surprise in a good way (I've seen it all so I give any film kudos if it can pull that off). That actually had me take another look at the movie and I liked it more.

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Annabelle Comes Home crew : James Wan, Walter Hamada, Peter Safran, Kirk M. Morri, Joseph Bishara, Jennifer Spence, Claudette James, Rich Delia, Brian Duffy, Jeffrey Wetzel
Annabelle Comes Home release date : 23 March 19 5 5
Annabelle Comes Home runtime : 106 Minutes
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I went to this movie not expecting much, but it never crossed my mind that I would be watching a film as bad or worse than The Nun. Honestly, going back, I was too easy on the latter since I didn’t exactly give it a massively negative review, which it surely deserves. However, Annabelle Comes Home really tries its best to be even worse. I hate it. I truly do. The horror genre has been exponentially growing, and it’s one of the two most popular genres right now (comic-book movies are the other), but this cheap, bland, cliche, predictable, and forgettable class of horror films is genuinely starting to annoy and frustrate me. The Conjuring Universe became just a set of silly spin-offs with entities that have no interest whatsoever and filled with extremely under-developed characters.

This is the third movie about Annabelle. Three films that address the powers of a freaking doll. Three! Very few people liked the first one, the prequel was admittedly a pleasant surprise, but this one is just atrociously bad. There’s not even a story. The whole movie is based on repeating almost laughable jump scares sequences. Literally, it’s all some sort of variation of the following:

Character walks down the hall -> A strange noise occurs-> Character slowly follows that noise -> Score starts to become louder -> Character checks something and camera closes in on the actor’s face -> Score becomes heavier and louder with the introduction of bass -> Another noise occurs behind the character -> Camera pans with the character and nothing happens -> Character continues to check on something -> Another noise, another pan, nothing again -> Score is reaching its climax -> Character continues doing the same thing -> Final noise, pan, and then one out of the two predictable jump scares happen: BOO! or Fake! … BOO! -> These are accompanied by a ridiculously loud sound that everyone in the theater is already bracing for because, guess what, everyone knows it’s coming -> Cut -> Repeat.

Except for the first 15-20 minutes, which are used to solely provide backstory to the three main characters, every single scene is an uninspired, unimaginative, anticipated, and tedious build-up to a jump scare that heavily relies on an exaggeratedly loud sound, and someone screaming. There’s no real narrative besides some character backstories which also have their own issues, especially one that involves an attempt at the start of a silly romance. Gary Dauberman tried to insert comedy in order to balance an otherwise monotonous film, but he failed miserably. Every supposedly funny moment is astonishingly cringe-worthy. It was his directorial feature-debut, and it shows.

It just feels like another cheap horror flick, filled with nothing but jump scares. One after the other. Every director in Hollywood could have done this, there’s no distinct style or a trademark shot. Nothing. I do believe that every movie takes a lot of work, and there are tons of people behind a film that genuinely give it their all every time. But Annabelle Comes Home feels so much like a pure cash grab, and I hate writing these words because every movie ever is ultimately an attempt to win money for the studios. However, this sequel never feels like it’s actually serving any purpose for the expansion or improvement of the universe it represents. It’s a horror flick filmed in just one location, something that I usually love because you can do so much with it, but this time it really seems that it was filmed entirely at a house because it was cheaper, hence more probability of profit.

There are two clear areas in the horror genre: the zone with films like Hereditary, Get Out and Us, where the story and its characters are what’s more important and scarier; and the other with movies like The Nun, The Curse of La Llorona or Annabelle Comes Home, where the only goal is to cyclically produce jump scare sequences with no narrative significance or impact. If you enjoy this latter type of films (which is absolutely okay, everything is subjective to personal preferences), then you’ll probably enjoy this movie. At least, people in my theater screamed and laughed pretty hard with no respect for the moviegoers that were trying to watch the actual film. However, if you’re sick of watching the same thing over and over and over and over again, please, for your own sake, skip it.

If it wasn’t for the truly amazing performances, this could very easily be the worst movie of the year (Serenity still holds that spot). McKenna Grace is phenomenal as Judy! Madison Iseman and Katie Sarife are also pretty good at their roles. Patrick Wilson and Vera Farmiga barely have any screentime, but when they do show up, they definitely elevate the scene. Everything related to the production design is quite good, but technicalities will never save a film from misery if the two pillars of any movie (story and characters) are thrown down the sewer. Also, I was shocked when I discovered that this is Rated R. There’s barely any blood or anything that justifies that type of rating. It’s another aspect that makes this film an even bigger disappointment.

In the end, Annabelle Comes Home is as poor or worse than The Nun. I can’t really decide which one I would watch instead of the other because I truly don’t want to watch any of these ever again. A brilliant cast might save this movie from a completely negative review, but it’s still an atrociously cheap addition to the horror genre. Everyone knows why this film doesn’t work: continuously repeating predictable, loud, and hollow jump scare sequences is not a story. I can’t feel invested in any of these scenes if they lack narrative impact or a minimum level of scariness. The fact that I barely even instinctively flinched (something I can’t really avoid) is a sign of how horrible this movie is. My expectations for The Conjuring 3 just dropped tremendously. Good luck, James Wan. You’re going to need it.

Rating: D
I was a little less worried about a third _Annabelle_ movie than I was the second one, because, well this came off the back of that second one, and that second one was okay. But that second one came off the back of the first _Annabelle_ movie... And that was a fucking disaster. Lots of people say that the whole Conjuring franchise is a cool thing, but nothing has come close to the quality of that first _The Conjuring_ movie. Respectfully, I disagree. The franchise as a whole is okay, but not only is has something better come out post-_The Conjuring_, furthermore, I'm gonna go ahead and say that the first _Conjuring_ movie isn't even really that good. The only entry I've given a favourable review ("favourable" here meaning "more than a 5 outta 10") iissss *dramatic pause* THIS O- no I'm kidding it's _Conjuring 2. Conjuring 2_ is the good one and everything else ranges from "alright" to "dumpster fire", and the first _Annabelle_ is firmly at the bottom of that dumpster fire. What's the next best entry? The crème de la compètènt? It's... Oh my God I think it actually is this one... You guys is _Annabelle Comes Home_ the closes thing we've got to a second good movie? ...Fuck... I'm pretty sure it is.

_Final rating:★★½ - Had a lot that appealed to me, didn’t quite work as a whole._
Hopefully this brings an end to a dreadful trilogy. Not as terrible as the first one at least but this had nothing to offer and yet another one of these movies where an evil supernatural entity seems more intent on f'ing around with the characters rather than actually harming them. One upside was the acting at least wasn't terrible and, albeit they were only in it for 10-minutes, I did like seeing Patrick Wilson and Vera Farmiga. **1.75/5**

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2001: A Space Odyssey crew : Stanley Kubrick, Stanley Kubrick, Stanley Kubrick, Stanley Kubrick, Geoffrey Unsworth, Ray Lovejoy, H.L. Bird, Winston Ryder, Arthur C. Clarke, Arthur C. Clarke
2001: A Space Odyssey release date : 17 November 19 9 2
2001: A Space Odyssey runtime : 149 Minutes
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Humanity finds a mysterious object buried beneath the lunar surface and sets off to find its origins with the help of HAL 9000, the world's most advanced super computer. 2001: A Space Odyssey 1968 review : There are many great predictions hinting to future (it is from 1968 - can you believe it?) innovations throughout the movie. I might not have found all them because I keep falling asleep while watching it but I will keep trying to find them all.
I believe that we should call it a modernism show, albeit exhibited in the form of a movie. While it might feel "boring", it forces you to rethink what philosophical level that a two-hour film can achieve. The focus on questions about life, intelligence, and time, is worth more attention than the sci-fi part (though the special effect of this movie is already way ahead of its time).
The eighth wonder of the world. Easily 30+ viewings since I was a little kid. Nothing new to say here; simply wanted to add another pair of hands to the ocean of applause for my absolute favorite thing, the only indisputably perfect movie, the answer to the question of Is Life Worth Living, Man's greatest achievement, two thousand one a burger-flipping space odyssey
I got this movie recently when it came out on Ultra HD Blu-ray simply because it was missing in my collection and, being a Sci-Fi fan, missing 2001 in my collection simply would not do. It is a movie that was made to rely almost entirely on the visuals. It could be said that it is a visual symphony if that makes sense. Thus it was filmed on 70 mm film and in 6 channel stereo which, at the time was a huge thing. Thanks to this it actually made some sense to transfer this movie to Ultra HD Blu-ray since the originals were really good enough even though the movie was made in 1968.

I remember watching this movie as a kid and was profoundly disappointed. I thought come on, where’s the adventure, not to mention any form of action? Today I can more appreciate it for what it is. A visually stunning movie. I also can more appreciate the fact that the movie is trying to be scientifically accurate instead of going all out on the fiction part. The parts where gravity, or rather the lack thereof, was portrayed, that was really high tech movie making at the time. I also noticed now, when re-watching it, that all the screens are actually flat which also was really far in the future at the time. Actually it was still pretty much in the future back in 2001.

However, even today, I have to say that I find the movie excruciatingly boring. It is two and a half hour long and it moves very, very slowly. It takes 50 minutes of movie time before we actually get to the main part of the movie and get onto the Discovery for instance. No matter how great the visuals are, there’s only so much boredom I can stand before it starts to get to me.

In the last 30 minutes or so the movie starts to become very psychedelic. The part where Bowman is pulled into the vortex, the stargate, is going on forever and in the end it just becomes a blur of headache inducing color effects. The final parts of the movie with the three Bowmans of different ages is just weird.

So,as this is a non-professional and personal take on the movie I cannot really motivate more than 3 out of 5 stars.

I hadn’t actually planned to review this movie. Everything has really already been said about it but I could not refrain after having read this crap at Rotten Tomatoes:

Critics Consensus: One of the most influential of all sci-fi films — and one of the most controversial — Stanley Kubrick’s 2001 is a delicate, poetic meditation on the ingenuity — and folly — of mankind.

It’s pretty well known that Rotten Tomatoes is the absolutely worst movie rating site around and the so called “critics” are useless culture elite morons with an over-inflated opinion about themselves at best and politically motivated SJW asswipes at worst but still.

What the hell is controversial about it? Reality check, there’s really nothing controversial about it at all. It is just a fictional story in the future. Then we have that crap “the folly”. What bloody folly? If anything the movie shows a much better future than what we got. A future where the politicians apparently promoted advancement of science and space exploration which is the direct opposite to the money and oxygen wasters we have today.

Sure, if you indulge too much in smoking funny mushrooms or are politically motivated you can probably “interpret” the hell out of any movie and “find” whatever message you want but it is still bullshit.

Well, that was my (controversial?) take on 2001.

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Gone Girl release date : 20 March 19 1 3
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With his wife's disappearance having become the focus of an intense media circus, a man sees the spotlight turned on him when it's suspected that he may not be innocent. Gone Girl 2014 review : Good cast and decent story, although the end is not very convincing.

The cut of the movie is really good and Rosamund Pike is genuinely scary.

Not a master piece but quite good given the lack of passable movies lately.
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David Fincher is a true master class when it comes to directing, because Gone girl is one of the best films of this year.

Ben Affleck was perfect for this role, because Ben Affleck through out he's career had a lot of hate from the media and the critics that mostly slammed him in every role that he was in. And that's why he was outstanding in this movie.

Rosamund Pike acting in this film was pure brilliant and spectacular. She was so good in this role she might get a Oscar nomination for this. Tyler Perry in this movie was actually pretty damn good, and am so surprise saying that because Mr. Perry was in such awful films like: MADEA trilogy, Alex cross and the list goes on. But in this movie he did good.

What this movie does so brilliantly well is how we view media today, because most of the stories you hear on the news might not be true and how the media can spread lies about people and ruining their lives. Everybody always believes what the media says even if it's true or not, because we don't know what that person on the news is going through, and this movie got that message out they so perfectly.

My only problem with this movie is Neil Patrick Harris character. Now let me just say that Neil Patrick Harris wasn't terrible in the movie, but his character to me slowed the film down.

Overall Gone Girl is a fantastic film.
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This is it. The last David Fincher's film I'll be able to review before Mank, his next masterpiece… I hope. I've been through Se7en, Fight Club, Zodiac, The Social Network, and now it's time for Fincher's latest installment, Gone Girl. Clearly, Fincher loves to work with people he knows. Jeff Cronenweth has been his director of photography in half of his movies, same for Kirk Baxter as part of the editing team, and Trent Reznor and Atticus Ross in the musical score. Even his production designer, Donald Graham Burt, has been around since Zodiac. However, Fincher always works with a different writer, and this time, he partners up with a debutant screenwriter, Gillian Flynn, author of the original novel that originates this adaptation.

Usually, when it comes to writers, I take this change of media with a grain of salt since writing a book isn't exactly the same as writing a screenplay (it's completely different, I was being generous). With that said, Flynn absolutely destroys my self-doubts, delivering one of the best scripts of 2014. From the exceptionally captivating, perplexing disappearance of Amy to the underlying theme about how press and media treat this type of news, Flynn's screenplay is impressively able to develop each and every narrative in the most perfect way possible. With a remarkable use of time/date stamps, the viewer follows in a detailed manner the events that build up to the tragic day through different perspectives, mainly Amy's and Nick's.

This story's greatest accomplishment is how it makes the press influence what the viewer thinks about the characters, just like in real life. Nowadays, people don't even click to read the full article and understand its context. A single headline, as far from the truth as it might be, is enough to start a worldwide online debate. The same goes for television networks, and their news shows: if it's on the national news program, then it must be true, people think. I may be wrong when I wrote the whole "change of media" matter before, but of this, I'm sure: take every news article you read with a grain of salt because most of the time, the full, true story isn't entirely revealed.

This takes me to Ben Affleck (Justice League, The Way Back) and what I consider one of the best casting choices of the respective decade. In case you don't know, Affleck has been pursued throughout his whole life by journalists who try their hardest to expose his personal life, no matter how disrespectful it may turn out to be. Nick goes through the exact same obstacle. There's non-stop news about Amy, and it only becomes a matter of time until Nick starts being accused of being a terrible husband, and ultimately the obvious killer, even though the press can't find a single proof. Affleck doesn't even need to incorporate a new character since he has the necessary life experience to offer an utterly brilliant performance. Definitely, one of my favorite actors working today.

Since I'm in the realm of performances, I might as well continue with Rosamund Pike (Radioactive). Her interpretation of Amy is almost the opposite of Affleck's, in the sense that the latter gives a seemingly simple yet powerful display, while Pike has a much more complex, layered role. She can be menacing and scary but also loving and kind. The puzzle surrounding her disappearance is mostly based on a perspective enigma, as the viewer is told the same story through different lenses throughout the first half of the film. Honestly, this is probably a career-best performance for Pike, who portrays a character of extremes, allowing her to demonstrate her jaw-dropping emotional range.

Carrie Coon (Margo Dunne) is another actress I've grown to deeply enjoy watching, and she's terrific as Nick's sister. Her chemistry with Affleck is spot-on, and I sincerely hope that one day she becomes one of the most coveted actresses in Hollywood. Tyler Perry (Tanner Bolt) is also pretty great as Nick's lawyer, but Kim Dickens is even greater as Detective Rhonda Boney, who partially plays the same role as the viewer by trusting that what she sees and hears is undoubtedly the ultimate truth. Flynn's screenplay is packed with twists and turns, some of them more surprising than others, but the third act saves an unexpected, shocking turn of events, leading to a powerful ending that will leave most audiences speechless, myself included.

Two minor issues. One of them, you probably have already figured it out since I left Neil Patrick Harris (Desi Collings) out of the cast compliments above. Harris is fine as the character he portrays, but I can't help but feel that he wasn't the right actor for the role. This is a classic Fincher movie: dark, somber, depressing, tragic, and with its own share of violence and blood. In fact, it possesses one of the most disgusting, disturbing uses of blood in a single scene I've ever seen. Harris is an excellent actor, but he stands out from the rest of the cast, and not in a positive way. Again, fine performance, just not the right role for him. The other problem is admittedly an irrelevant nitpick regarding a few details story-wise that stretch the believability of everything just a bit.

Nevertheless, this is still a phenomenal film, and it's another evidence of David Fincher's masterful visual filmmaking. Once again, Fincher works with his known crew members to create a sumptuous look and feel. With seamless editing, a memorable score, and fantastic camera work, Gone Girl is technically magnificent, but it's Gillian Flynn's debut screenplay that steals the spotlight. Boasting jaw-dropping twists, including an utterly shocking third act and respective ending, Flynn's narrative is incredibly engaging due to its remarkable structure and puzzling mystery, never losing an inch of excitement or interest. Ben Affleck is one of the best casting choices of the decade by interpreting a man whose life is deeply affected by the press and media, which should never be fully trusted (a clear and powerful message to the audience), while Rosamund Pike delivers her career-best performance with an emotionally devastating display. Despite the misstep of casting Neil Patrick Harris in such a dark movie and a couple of nitpicks regarding the investigation, everything and everyone else turn this into one of the best films of the 2010s.

Rating: A

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Lorraine and Ed Warren travel to north London to help a single mother raising four children alone in a house plagued by malicious spirits. The Conjuring 2 2016 review : **This time a London family struggle in their haunted house.**

First of all, I am not a big fan of the first film, but I liked that. Now this sequel was not bad either. This time it takes us to the London. But the film reminded me the 80s film 'Poltergeist', particularly the second part. So don't assume it is exactly the same, only the scenes involving house seems similar, but the story was different. It is another true story based film, that's what they said in the opening statement. You're not forced to believe that, if you're here for an entertainment, you will get that if you put your logics away for the two hours.

A family of four young children and their mother living in a house in the London witness some serious paranormal activities lately. Particularly the eleven year old girl affected the most with the spirit the house possessed. So the American couple from the first film are brought in to do their best to help the family. When they try to contact the spirit, they won't get what they were looking for. Instead, an unexpected blame goes for the girl and soon the family loses confidence in them. The overcoming those misunderstanding, particularly realising the truth brings a twist before concluding the tale.

The one twenty minute never looked too long. Because there's always something keeps happening, so the audience to keep engaged with. Probably this is won't be your best horror film of the years, but being a horror themed film, it had good form of those contents. Not too scary, at a time those clichés were used in a good way to bring freshness in the scenes. I will credit the writers for that. Besides, the actors were undoubtedly good, including those little ones. For me this is a better horror film and I definitely look for another sequel. I hope this one would stand up to your expectations.

_7.5/10_
I know I'm in the minority on this, but I actually preferred it to the original.

_Final rating:★★★ - I personally recommend you give it a go._
I'm giving this half a star more than I gave the first movie. As a horror film in its own rite, it's competently made, although somewhat predictable as it follows most of the traditional haunted house film tropes. But it is better than the first one in that it's a more cohesive film, with such corrections as how the background "monster" actually does play a part in the story, whereas in the first film Annabelle was shoehorned in but had nothing to do with the main story and served only as a distraction.

Ultimately, the reason I can't rate this film higher is because it's about the Warrens, who were a couple of charlatans that took advantage of vulnerable and desperate people. While this is touched on briefly, it's done more in the context of people who don't believe them are all mean and unsympathetic.

Again, it's a competently made horror film that's better than its predecessor, if a little predictable, but don't look at it as being based on a true story. Take it with a massive grain of salt.

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Get Out the movie showtimes online 2017 4k Get Out song, Watch Get Out full movie online now.Chris and his girlfriend Rose go upstate to visit her parents for the weekend. At first, Chris reads the family's overly accommodating behavior as nervous attempts to deal with their daughter's interracial relationship, but as the weekend progresses, a series of increasingly disturbing discoveries lead him to a truth that he never could have imagined.,what are Get Out movies in order Get Out synopsis full movie Get Out 2017 HD Movies, Full Length Movie
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Title : Get Out
Get Out genre : Mystery, Thriller, Horror
Get Out crew : Terri Taylor, Sean McKittrick, Rusty Smith, Denson Baker, Leonard R. Spears, Damian Church, Toby Oliver, Jason Blum, Greg Mauer, Jordan Peele
Get Out release date : 10 December 19 9 9
Get Out runtime : 104 Minutes
Get Out Crew : Terri Taylor, Sean McKittrick, Rusty Smith, Denson Baker, Leonard R. Spears, Damian Church, Toby Oliver, Jason Blum, Greg Mauer, Jordan Peele
Get Out cast :
Daniel Kaluuya, Allison Williams, Catherine Keener, Bradley Whitford, Caleb Landry Jones, Marcus Henderson, Betty Gabriel, Lakeith Stanfield, Stephen Root, Lil Rel Howery
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Chris and his girlfriend Rose go upstate to visit her parents for the weekend. At first, Chris reads the family's overly accommodating behavior as nervous attempts to deal with their daughter's interracial relationship, but as the weekend progresses, a series of increasingly disturbing discoveries lead him to a truth that he never could have imagined. Get Out 2017 review : Horror and comedy have blended well since around the beginning of film for one key reason: the release that both allow from the audience. The building set-up is not unlike the quiet before the jump scare. Both utilize equations of timing to provoke an unconscious reaction. Because of these similarities, the horror-comedy is a well-tapped genre, especially in the last couple decades of works aiming their trajectory at the cult DVD bin. So it takes a particular level of skill to mine new ground in the territory, particularly from a first time director. What makes Jordan Peele’s Get Out so engaging, frightening and hysterical is that he knows exactly when to play the material straight; which it turns out is most of the time. Full review
~ NO SPOILERS ~
This is an extremely impressive film from Peele. Its smart and knows it-- teasing you along the way of what is to unfold at the film's climax.

The main character is a photographer goes to visit his GF's house and all-white family. Things are not as they appear at first glance, and as the film progresses it becomes even more disturbingly obvious that the family is hiding a secret. As time goes on, cracks begin to form in the sticky sweet facade of pleasantness surrounding the home. Beyond this I can't spoil it, but the third act of this film is very satisfying. I don't think there was any part of this film that overstayed its welcome or felt weak.

The acting performances overall are superb, the cinematography is excellent, and the lighting is also well done.

Please go see this movie if you are into horror/comedy, its worth supporting.
**Opening Remarks**

I went out to see this film armed only with the snippets I watched in the form of television commercials and YouTube ads. The film had a very interesting look and that really caught my attention. I noticed that the film focused primarily on race, which seemed like an interesting concept for a horror/psychological thriller. I also saw that Jordan Peele (of "Key and Peele" fame) was the director of the film and I was thrown completely off about what type of movie I was going to get.

**First Impressions**

To start off, this film is gorgeous and this presents itself fairly early into the film. Gorgeous quality, gorgeous scenery, gorgeous people. Added with the minimal soundtrack, the film seems very open. Many horror movies try to go for a claustrophobic approach, while "Get Out" uses its spacious atmosphere to bring out the unnerving fear of the unknown.

**Going Smoothly**

Other than a few moments of "How exactly is this scientifically possible?," you do not have to suspend your belief too often throughout the film. "Get Out" has an easy to follow, coherent story line that is aided by its pacing. Honestly, this is some of the best pacing have seen a modern horror film in a long time. Every sequence in this film seems to take the same amount of time and keeps the film moving along at a brisk pace. Every scene is refreshing and contains a new bit of information, instead of lingering on unimportant details. Every sequence is shot with purpose.

**Getting to Know the Cast**

The acting in this movie is very well done. The interactions between characters seemed genuine and characters reacted to situations in appropriate manners. This isn't your average horror movie where the characters make stupid decisions to continue the plot; it all seems very organic. The characters act in a manner that you really connect with and do things that you could see yourself doing in these situations.

**Further Considerations**

As I mentioned earlier, the film was directed by Jordan Peele, who has almost exclusively worked in comedy. As a fan of "Key and Peele" skits and their major film, "Keanu," I thought I had this film figured out before going to see it. With its subject matter about race, I figured this movie would be more of a joke than it was a straight-up horror film. And while the film is a very witty satire on race relations in America and features some very humorous dialogue and situations, the film drives the horrors of racism to the furthest point. The humor stems mostly from the absurdity of the films premise.

**That Ending**

I do not have any major complaints about the movie. It didn't drag on, it mimicked reality, and gave me some very uneasy feelings, which is a plus for a horror film. The only problem I have with the film is the ending. It wraps itself up way too quickly and throws everything at you all at once. Luckily, the ending does resolve itself and doesn't leave any glaring loose ends. The film does end a bit too abruptly for my taste and it would have been nice to see what happens afterwards.

**Closing**

I would recommend this film to anybody looking for a different horror experience. It is tasteful and tame compared to other films, but it certainly doesn't distract from its purpose.
Perhaps it was the months of hype-related-preamble I had before getting the chance to see _Get Out_ that caused me to be not entirely blown away by it, or maybe it just doesn't resonate with me the same way it did with its audience at large.

Either way, I was still very impressed with Jordan Peele's directorial debut. It's a great combination of freaky and funny, as well as realist and absurdist. Not to mention, how wholly original it is. There are some pretty deep lapses in logic that had me scratching my head, but overall, it's a more than solid piece and I am very keen to see where Peele is headed next.

_Final rating:★★★½ - I strongly recommend you make the time._
**Now you're in the sunken place!**

Not all the directional debut sees this kind of welcome from the audience. Yeah, Jordan Peele had written and directed it. It is similar to the 90s style mystery-thrillers. Definitely must see for the 90s, 80s guys. It kind of looked like a black comedy, but I guess that's not they had preferred. Especially that teacup scenes and some of the close up shots, that freaks, yet very funny.

Well, this is the story of an interracial romance. When Chris decides to meet his girlfriend's white family, living outskirt of her hometown, all goes as planned. But he was not sure how her parents take it, that he's a black. Now everything has settled, but his visit started to take a strange turn after a series of weird events. What it is and how he overcomes it is the remaining tale.

The casting was amazing. The story was suspenseful. You would feel you can predict the scenes, but not that easy and when twist happens, you will realise it was simple as that. This is a hit film now, but if it was 20 years ago, surely would have gotten a cult classic status. And yes it is, thinking the future.

When this got out and its pre release, I thought it would disappear without any trace. It is rare a recognition a film like this to get to having a second string cast, debutante director and being a low cost film. I got entertained thoroughly as it delivered as promised. But I think some people are overjoyed and praising it like crazy. That's true if you are not a film fanatic, otherwise it is one of those decent films. Surely not to be missed. One of the best of this year.

_7/10_
The hypnotism aspect changed the tone of the film, even though something menacing was expected all along. The end shriveled into routine gore and gun violence. The racial implications may make some feel guilty. Good enough overall but also overrated. Ms. Williams may be more than another NBC 'talent', time will tell.

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