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IMDb Global climate change prompts a scientific corporation to genetically modify Alaskan polar bears with horrific and deadly results. Rotten Tomatoes A morally ambiguous corporation experiments with genetic modification resulting in the creation of a man-hunting creature. When it escapes, a group of unsuspecting cabin dwellers become its prey in a horrifying game of cat and mouse. Full movie on Pubfilmno1
Driven to rage over the tawdry excesses of reality television, a self-appointed cultural crusader kidnaps several very famous nobodies to make his point- but his crimes only generate more tabloid frenzy.
- Written by JWright Productions Rotten Tomatoes A biting, social satire of reality TV and the glorification of those who are "famous for being famous," L.A. SLASHER takes aim at the current state of the entertainment industry, where it is acceptable (and even admirable) to gain influence and wealth without merit or talent - but instead through shameful behavior, and the notoriety that comes from it. Incensed by the tabloid culture that promotes this new breed of "celebrities," the L.A. Slasher publicly abducts a series of reality TV stars, which leads the media and the general public to question if perhaps society is better off without them. (C) Archstone Full movie on Pubfilmno1
IMDb Alice fights alongside a resistance movement to regain her freedom from an Umbrella Corporation testing facility. Rotten Tomatoes The Umbrella Corporation's deadly T-virus continues to ravage the Earth, transforming the global population into legions of the flesh eating Undead. The human race's last and only hope, Alice (Milla Jovovich), awakens in the heart of Umbrella's most clandestine operations facility and unveils more of her mysterious past as she delves further into the complex. Without a safe haven, Alice continues to hunt those responsible for the outbreak; a chase that takes her from Tokyo to New York, Washington, D.C. and Moscow, culminating in a mind-blowing revelation that will force her to rethink everything that she once thought to be true. Aided by newfound allies and familiar friends, Alice must fight to survive long enough to escape a hostile world on the brink of oblivion. The countdown has begun. -- (C) Sony Full movie on Pubfilmno1
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IMDb While still out to destroy the evil Umbrella Corporation, Alice joins a group of survivors living in a prison surrounded by the infected who also want to relocate to the mysterious but supposedly unharmed safe haven known only as Arcadia. Rotten Tomatoes Experience a new dimension in action horror as director Paul W.S. Anderson uses the 3D technology pioneered by James Cameron and Vincent Pace to take movie lovers on a nightmare thrill-ride. It's been five years since the zombie virus swept across the globe, and Alice (Milla Jovovich) is still traveling tirelessly in search of survivors. When the Umbrella Corporation ratchets up the stakes, an old friend turns up to lend Alice a helping hand. Rumor has it that some survivors have found sanctuary in Los Angeles, but when Alice and friends show up they find the city overrun with zombies, and quickly realize they've stumbled into a diabolical trap. ~ Jason Buchanan, Rovi Full movie on Pubfilmno1
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IMDb Survivors of the Raccoon City catastrophe travel across the Nevada desert, hoping to make it to Alaska. Alice joins the caravan and their fight against the evil Umbrella Corp. Rotten Tomatoes Director Russell Mulcahy takes over for the third chapter in the Resident Evil film franchise, which finds genetically altered Alice (Milla Jovovich) joining forces with Carlos (Oded Fehr) and L.J. (Mike Epps) to take down the Umbrella Corporation once and for all. Upon emerging from her hideout in the Nevada desert, Alice is quickly joined by old friends Carlos and L.J., as well as survivors Claire (Ali Larter), K-Mart (Spencer Locke), and Nurse Betty (Ashanti). Now instilled with super-human strength, senses, and dexterity as a result of the biogenetic experimentation conducted on her by the Umbrella Corporation, Alice and the rest of the survivors set out to eliminate a virus that threatens to turn every living human undead, and ensure that the mysterious organization pays the price for their horrific crimes against humanity. ~ Jason Buchanan, Rovi Full movie on Pubfilmno1
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IMDb Alice awakes in Raccoon City, only to find it has become infested with zombies and monsters. With the help of Jill Valentine and Carlos Olivera, Alice must find a way out of the city before it is destroyed by a nuclear missile.
Rotten Tomatoes One of the only survivors of a man-made plague joins forces with a team of private warriors in a bid to save what's left of the Earth in this sequel to Resident Evil, the big-screen adaptation of the popular video game. Picking up where the first film left off, Resident Evil: Apocalypse finds Alice (Milla Jovovich) still battling the living dead who are overtaking Raccoon City, inoculated with an anti-virus by the nefarious and all-powerful Umbrella Corporation (in addition to the virus itself). Alice encounters Jill Valentine (Sienna Guillory), a former member of Umbrella's internal defense team. Forming an alliance with mercenary-for-hire Carlos Oliviera (Oded Fehr) and his cohorts, this tiny band of survivors seeks out Dr. Charles Ashford (Jared Harris), Umbrella's top scientist and one of the only men with the know-how to find a solution to the zombie menace; however, they discover that Ashford's cooperation comes with a price -- the scientist's daughter, Angie (Sophie Vavasseur), is missing, and he'll help Alice and her partners only if Angie is returned to him safe and sound. Resident Evil: Apocalypse was the first solo directorial credit for Alexander Witt, who previously distinguished himself as a cinematographer and second-unit director. ~ Mark Deming, Rovi Full movie on Pubfilmno1
IMDb A documentary on the series of televised debates in 1968 between the liberal Gore Vidal and the conservative William F. Buckley Jr. Rotten Tomatoes In the summer of 1968, television news changed forever. Dead last in the ratings, ABC hired two towering public intellectuals to debate each other during the Democratic and Republican national conventions. William F. Buckley, Jr. was a leading light of the new conservative movement. A Democrat and cousin to Jackie Onassis, Gore Vidal was a leftist novelist and polemicist. Armed with deep-seated distrust and enmity, Vidal and Buckley believed each other's political ideologies were dangerous for America. Like rounds in a heavyweight battle, they pummeled out policy and personal insult-cementing their opposing political positions. Their explosive exchanges devolved into vitriolic name-calling. It was unlike anything TV had ever broadcast, and all the more shocking because it was live and unscripted. Viewers were riveted. ABC News' ratings skyrocketed. And a new era in public discourse was born - a highbrow blood sport that marked the dawn of pundit television as we know it today. (C) Magnolia Full movie on Pubfilmno1
IMDb A team of commandos on a mission in a Central American jungle find themselves hunted by an extra-terrestrial warrior. RogerEbert
The movie stars Arnold Schwarzenegger as the leader of a U.S. Army commando team that goes into the South American jungle on a political mission and ends up dueling with a killer from outer space. This is the kind of idea that is produced at the end of a 10-second brainstorming session, but if it's done well, who cares?
"Predator" is filmed very well. It's a slick, high-energy action picture that takes a lot of its strength from its steamy locations in Mexico. The heroes spend most of their time surrounded by an impenetrable jungle, a green wall of majestic vistas populated by all sorts of natural predators in addition to the alien. I've rarely seen a jungle look more beautiful, or more convincing; the location effect is on a par with "Fitzcarraldo" and "The Emerald Forest."
As the film opens, Schwarzenegger and his comrades venture into this jungle in search of South American officials who have been kidnapped by terrorists. They track and locate the fugitives, and move in for the kill. But as they find the bodies of team members skinned and hanging from trees, they begin to realize they're up against more than terrorists.
The predator of the movie's title is a visitor from space; that's established in the opening scene. What it is doing in the jungle is never explained. The creature lives in the trees, even though it seems to be a giant biped much too heavy to swing from vines. When Schwarzenegger finally grapples with it, we discover it is wearing a space suit, and that inside the suit is a disgusting creature with a mouth surrounded by little pincers to shove in the food.
Such details are important, of course. Stan Winston, who designed the creature, has created a beast that is sufficiently disgusting to justify Schwarzenegger's loathing for it. And the action moves so quickly that we overlook questions such as (1) Why would an alien species go to all the effort to send a creature to Earth, just so that it could swing from trees and skin American soldiers? Or, (2) Why would a creature so technologically advanced need to bother with hand-to-hand combat, when it could just zap Arnold with a ray gun?
At one point in the movie, the creature removes its helmet so it can battle Arnold mano-a-mano, and I was cynical enough to assume that its motivation was not macho pride, but the desire to display Winston's special effects.
None of these logical questions are very important to the movie. "Predator" moves at a breakneck pace, it has strong and simple characterizations, it has good location photography and terrific special effects, and it supplies what it claims to supply: an effective action movie.
Students of trivia might want to note that the actor inside the predator costume is Kevin Peter Hall, who also occupies the Bigfoot costume in "Harry and the Hendersons."
IMDb As the war of Panem escalates to the destruction of other districts by the Capitol, Katniss Everdeen, the reluctant leader of the rebellion, must bring together an army against President Snow, while all she holds dear hangs in the balance. Rotten Tomatoes The second half of Suzanne Collins' final Hunger Games book is adapted in this Lionsgate production. ~ Jeremy Wheeler, Rovi NYTimes
Review: ‘The Hunger Games: Mockingjay Part 2,’ Katniss’s Final Battle
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Jennifer Lawrence in “The Hunger Games: Mockingjay Part 2.”CreditMurray Close/Lionsgate
There’s no risk that Katniss Everdeen, the warrior who has led the charge against oppression in “The Hunger Games” movies, can ever return to her current incarnation. Even if she and her world are rebooted back into franchise existence by a ravenous studio, her moment was now. Katniss, as played by Jennifer Lawrence over three years and four blockbusters, has evolved from a backwoods scrapper in the first movie into a battle-scarred champion and an exemplar of female power on screen and off — and the battles she’s fought have extended far beyond the fictional nation of Panem
So, yes, of course Katniss is back, just as promised by the clumsy title of her last movie, “The Hunger Games: Mockingjay Part 1.” In “Part 2,” she has returned as destined to finish the fight, defeat the enemy and send off a big-screen series that has had an astonishing run both in cold-cash terms and in its meaningful symbolism. She’s ready. Since 2012, when the first movie landed, Katniss has grown into her role as a savior, an evolution that parallels that of Ms. Lawrence, who entered the series as a Sundance starlet and leaves it as one of the biggest stars in the world. Both have grown exponentially, rising to the demands of their loving audience.
MOVIESBy AINARA TIEFENTHÄLER and ROBIN LINDSAY1:14Movie Review: ‘Mockingjay Part 2’
And “The Hunger Games” has triumphed partly because it means so many different things to so many people. It’s a story of war and peace, love and bullets, pegged to a girl-woman who fights for her family, her friends and the future. It’s aspirational and inspirational, personal and communal, familiar and strange, and it speaks to the past as well as the present, sometimes unnervingly so. Suzanne Collins, who wrote the books, took her cues from reality television, the Iraq war, Roman gladiator games and themyth of Theseus and the Minotaur, and then filtered her influences through a heroine who embodies the adage that it’s better to die on your feet than live on your knees. The result was a great character on the page and a transcendent one on the screen, where women tend to be sidelined or trapped in the virgin-whore divide.
By LionsGate Entertainment2:25Trailer: ‘The Hunger Games: Mockingjay Part 2’
If Katniss escaped that old binary it’s because Ms. Collins created a character who exists outside the traditional confines of the feminine-masculine split, and because the movies have stayed true to that original conception. At once a hunter and a nurturer, Katniss is tough and teary, stoic and sentimental, which give her layers that reflect her changeable inner states as well as her public and private identities as daughter, sister, lover and leader. It’s instructive that she’s worn her most overtly glamour-girl outfits as part of the farcical role forced on her by the totalitarian government that rules Panem, having been dolled up with makeup and smiles for the televised sideshows that accompany the murderous games of the series title. She’s since graduated to basic battle black or unisex clothing that’s suggestive of a Dystopian Gap.
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Jennifer Lawrence seems to be playing a version of her “real self” as Katniss Everdeen.CreditMurray Close/Lionsgate
“Part 2” more or less picks up where the last movie left off, with Katniss and the rest of the rebel forces closing in on the government and Panem’s leader, President Snow (the invaluable Donald Sutherland, leading with an insouciant self-amused smile). There are no real surprises, though many familiar faces, some of whom (Jeffrey Wright and, more movingly, Philip Seymour Hoffman) flash by so quickly that they feel like guests who have popped in only to say goodbye. As with a lot of contemporary franchises, this one stocked the supporting roles with veterans who have given ballast to a largely unmemorable young cast, including the insipid twosome — Josh Hutcherson as Peeta and Liam Hemsworth as Gale — who have wanly bookended Katniss from the start.
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Donald Sutherland as President Snow in “The Hunger Games: Mockingjay Part 2.”CreditMurray Close/Lionsgae
Like the previous two movies, “Part 2” was directed by Francis Lawrencewho, like most franchise filmmakers, was not hired for the quality of his mise-en-scène but for one job: to not screw up an extremely valuable property. (The first was shepherded by Gary Ross, whose cinematographer, Tom Stern, alas, also departed the series.) And, so, mission accomplished, largely with a lot of conversational face-offs and regular bursts of showy violence that sometimes turn panoramic, allowing you to admire the scale of the apocalyptically dressed sets. To that instrumental end, the actors hit their marks while running and gunning amid the gray rubble and black ooze, although Mr. Lawrence does raise some nice shivers in a tunnel sequence, making the horrific most out of the dark.
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Josh Hutcherson as Peeta Mellark in “The Hunger Games: Mockingjay Part 2.”CreditMurray Close/Lionsgate
“Part 2” looks much like most contemporary dystopian future worlds, one that’s by turns similar enough to ours to be reassuring and different enough to be diverting. What makes the material still feel personal — other than the yearslong investment and love that transform entertainments into fan communities — is the combination of Katniss and Ms. Lawrence, who have become a perfect fit. Ms. Lawrence now inhabits the role as effortlessly as breathing, partly because, like all great stars, she seems to be playing a version of her “real” self. It’s the kind of realness that can give you and the movie a jolt, as in a scene with Ms. Lawrence and a sensationally raw Jena Malone that thrusts it into that place where heroes and villains give way to something like life.
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Liam Hemsworth as Gale Hawthorne in “The Hunger Games: Mockingjay Part 2.”CreditMurray Close/Lionsgate
It’s crucial to the conception of Katniss that most of the character’s more emotionally plangent scenes have been with other women, including her family, friends and other Hunger Games combatants. Some of this can be chalked up to casting and, together with Ms. Lawrence, Ms. Malone, Natalie Dormer, Patina Miller and Michelle Forbes make one of the toughest groups of women to band together on screen since Quentin Tarantino’s “Death Proof,” his ode to exploitation cinema and its chicks. This series has had its share of robust male assistance (notably from Mr. Sutherland and Woody Harrelson), but it’s been distracting and at times more than a little amusing that Katniss’s love interests are played by the blindingly bland brotherhood of Mr. Hutcherson and Mr. Hemsworth.
Intentional or not, their casting ensured that in the movies, just as in the books, Katniss was never going to be upstaged by a love interest. “The Hunger Games” may have shocked readers and viewers with its child-on-child violence, but even more startling and certainly far more pleasurable has been the girl-woman at its center who can lead troops like a reborn Joan of Arc, yet find time to nuzzle the downy lips of her male comrades before returning to battle. Her desire is as fluid as her gender, whether she’s slipping into froufrou, shooting down enemy aircraft, kissing a boy or taking a punch. Unlike a lot of screen heroines, she has never settled into stereotype, which, despite the whole dystopian thing, makes her a lot like the contemporary girls and women watching her.
That has helped make Katniss the right heroine for these neo-feminist times, the you-go-and-fight girl who has led the empowerment charge at the box office and in the public imagination, often while slinging a bow and arrow borrowed from Diana, the Roman goddess of the hunt. It wasn’t long before Katniss was making more like a latter-day Athena, the Greek goddess of war, even as this very human girl-woman was also suggesting a vibrant new take on the American Adam. You may not know the name, but you know the type: He’s the hero whom the critic R. W. B. Lewis, in his 1955 study of 19th-century literature (and an “American mythology”) described as being “emancipated from history, happily bereft from ancestry, untouched and undefiled by the usual inheritances of family and race.”
However mythic this figure — individual, self-reliant, “fundamentally innocent” — the illusion of freedom he enjoys is meaningful, Lewis argues, because it makes for fiction capable of “profound tragic understanding” rather than hopelessness. Even inadequately, this Adam struggles because, as with his biblical namesake, “the world and history lay all before” him; by contrast, these lay all behind Katniss, who has endured history, violence and death. Yet she goes forth into her world because she too has an illusion of freedom, one which has spared us the nihilism polluting too many movies and has meant that she is neither Adam nor Eve but something else. And it is only by being this something else (not the Girl, not the Virgin or the Whore) that she has been able both to love and to fight, including against the big bad patriarch.
The success of “The Hunger Games” series has been itself, in its bottom-line fashion, a rejoinder to another intolerant regime, that of a movie industry that continues to treat women on and off the screen as a distraction, an afterthought and a problem. A few months into its run, the second installment, “Catching Fire,” became the first movie with a lone female lead to top the annual domestic box office in four decades. That’s astonishing because it reveals the historical depths of the industry’s inequities even while it speaks to the audience’s embrace of this series. There are all sorts of reasons that viewers have flocked to these movies, including the studio hard sell, but I like to think the numbers prove that, in rallying to Katniss’s side, they’re also backing the other liberation struggle she has come to represent.
“The Hunger Games: Mockingjay Part 2” is rated PG-13 (Parents strongly cautioned). Apocalyptic violence. Running time: 2 hours 16 minutes.
