A thosand Kisses Deep

IMDb
An unsettling drama that cinematically captures and recreates the psycho-analytic experience.



Rotten Tomatoes
How well do you know yourself and those you love? Returning home from work, Mia witnesses an aged woman leap from a window. Scattered around the old woman's broken, lifeless body Mia discovers shredded pieces from a beloved photograph of herself and her former lover Ludwig. Highly unnerved, Mia begs Max, the buildings' custodian , to let her into the deceased woman's flat. While inside this strangely familiar place, Mia recognizes the contents as her own. Confused and disturbed by what lies before her, she bolts back and forth in time where she is forced to realize it was her very own life that ended before her. Now, the only way to safeguard her future is to go back to her past and confront the man she loves deeply but dreads most.

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Contagion

IMDb
Healthcare professionals, government officials and everyday people find themselves in the midst of a worldwide epidemic as the CDC works to find a cure


Rotten Tomatoes
Contagion follows the rapid progress of a lethal airborne virus that kills within days. As the fast-moving epidemic grows, the worldwide medical community races to find a cure and control the panic that spreads faster than the virus itself. At the same time, ordinary people struggle to survive in a society coming apart. -- (C) Warner Bros.

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Blood Freak

The Start of Your Thanks Giving Movies


IMDb

A biker comes upon a girl with a flat tire and offers her a ride home. He winds up at a drug party with the girl's sister, then follows her to a turkey farm owned by her father, a mad scientist. The father turns the biker into a giant turkey monster who goes after drug dealers.

- Written by frankfob2@yahoo.com




Rotten Tomatoes
Well, if nothing else, this horror film from Florida is certainly unique if not hilariously campy in its wretchedness. Featuring a strong Christian/anti-drug message and plenty of blood and gore, it is the story of a hog-riding hippy who meets a wicked woman, turns-on to drugs and as he gets further addicted, turns into a giant-bloodsucking turkey with a special taste for junkies. The story is narrated by a smoker with a really bad cough.




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Star Leaf

IMDb
Hikers find a secret grove of extra-terrestrial marijuana and must fight for their lives when they anger the other-worldly forces protecting the plants.


UKHorrorSene

High school friends Tim (Trerise) and James (Gavilanes) served together in Afghanistan as Marine snipers. Tim has since left the service to pursue life as a hippy, while James remains in the core and struggles with PTSD. They get together for what is supposed to be a surf weekend with Tim’s Twilight obsessed girlfriend Martha (Truax) in tow. Instead Tim hijacks the trip for a much better one. They pay a visit to Seth “Guardrail” Slaughter (Hodgkins) and obtain a map to mystical grove of marijuana that has otherworldly origins.

Partaking of the Star Leaf comes with a few caveats. The first rule of Star Leaf is, no pictures, no GPS and no taking clippings. Smoke as much as you want while there, but when you leave, destroy the map and no free samples. Immediately Martha breaks the ‘no-pictures please’ rule with a couple selfies and Tim decides to help himself to some clippings. This unleashes a strange turn of events in a movie that was already half drug trip to begin with.

A whacky but workable combination of sci-fi, drugs, and thrills, Star Leaf delivers on its trippy premise with skill and humor. More comedy than horror, it makes for some darn good watching. One of the joys of the film is the snappy dialogue delivered by excellent actors. Gavilanes gives a great performance as the moody and damaged James who’s PTSD forms the crux of the plot. Trerise’s Tim is a funny, likeable ass who has buried his war time trauma with a thin veneer of Eastern mysticism and drugs. Guardrail, the aging hippy biker, played expertly by Hodgkins, brings both skill and warmth to his performance.

The single failing of Star Leaf is a soundtrack so loud the dialogue is hard to hear in places. But it’s a small quibble. Everything other element, direction, cinematography and editing, is pretty outstanding. The effects… well, the mediocre digital animation used for everything from gunshots to explosions is forgiveable in light of Star Leaf’s many positives.

Star Leaf, might, just MIGHT, be a cult classic in the making. The drugs, the hallucinogenic trips, the ‘did that really happen’ plot hovers somewhere between “Jacob’s Ladder” and “Harold and Kumar go to White Castle” with not all together unpleasant side effects.

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The Dark

IMDb
An alien mutilator stalks and kills human prey during the night.



RogerEbert

Movie critics aren't supposed to give away the plots of thrillers. That's part of the unwritten agreement with their makers. The other part of the unwritten agreement, though, is that thrillers should have plots. Since "The Dark" breaks its side of the deal, I feel blameless in forging ahead.

This is without a doubt the dumbest, most inept, most maddeningly unsatisfactory thriller of the last five years. It's really bad: so bad, indeed, that it provides some sort of measuring tool against which to measure other bad thrillers. Years from now, I'll be thinking to myself: Well, at least it's not as bad as "The Dark."

The movie involves a Jack the Ripper from outer space, who has superhuman strength, can tear down brick walls with his bare hands and has eyes that emit lightning flashes. He kills someone every night. The police are trying to catch him. That's about it. The killings are not only unmotivated, but uninvolving, since only strangers get killed. They appear in the movie, walk into dark parking garages and are murdered. The creature's favorite means of attack is to pull off his victim's heads. Wonderful. The press nicknames him "The Mangler," a title that could more accurately be bestowed on the director.

"The Dark" alternates the nighttime attacks with endless scenes of cops lecturing each other on how important it is to catch The Mangler. But the case is finally broken open when the father of one of the victims (William Devane) and a local TV newscaster (Cathy Lee Crosby) team up to solve it. A psychic has predicted that a young actor will be the next to go, so they pub-crawl through actors' haunts to find him. They do, he speeds drunkenly away in his car, they follow, the police tail them, and everyone ends up in a deserted monastery where The Mangler is cornered.

He's a tough creature to destroy. He's about 6 feet 6 inches, looks like the Wolf Man, snarls and growls a lot and zaps everybody with his lightning bolts. The special effects are so bad, by the way, that at times the lightning bolts do not seem to come from his eyes, or to hit their targets - but never mind, the victims topple over anyway. Gunshots don't affect the creature, but after he's set on fire, he disappears in a puff of smoke.

What is this creature? Where does it come from? How to explain its chemistry, its appetites, its violence? Great questions, I guess, for the sequel. The movie ends with a panorama of Los Angeles and a narration assuring us that mankind must always be afraid of The Dark, because in the vastness of the universe, etc., we are like blind men tapping our way into infinity, etc.

One of the amazing things about "The Dark" is that it's only about 85 minutes long - short for a feature film, if more than long enough for this one. If they'd gone all the way and shot for 120 minutes, they might have qualified for the most stupefyingly boring movie ever made. Maybe they win that one anyway.

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Alien Hunger

IMDb
Aliens with a ravenous appetite for summertime campers descend upon a campground.


AlienHungersite

"It's a stupid film, but like the bug-eyed monster movies of the 1950s, it's stupid fun"

- THOMAS M. SIPOS, hollywoodinvestigator.com 

Aliens with a ravenous appetite for summertime campers have descended upon a campground in the action sci-fi thriller Alien Hunger. Starring Richard Hatch (Battlestar Galactica) and Vernon Wells (Road Warrior, Commando) Alien Hunger keeps audiences on the edge of their seats as something that’s “not of this earth” terrorizes and feeds on the flesh of campers only yards away from the comforts of the park rangers' home.

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Pixels

IMDb
When aliens misinterpret video feeds of classic arcade games as a declaration of war, they attack the Earth in the form of the video games.



Rotten Tomatoes

MOVIE INFO

As kids in the 1980s, Sam Brenner (Adam Sandler), Will Cooper (Kevin James), Ludlow Lamonsoff (Josh Gad), and Eddie "The Fire Blaster" Plant (Peter Dinklage) saved the world thousands of times - at 25 cents a game in the video arcades. Now, they're going to have to do it for real. In Pixels, when intergalactic aliens discover video feeds of classic arcade games and misinterpret them as a declaration of war, they attack the Earth, using the video games as the models for their assaults -- and now-U.S. President Cooper must call on his old-school arcade friends to save the world from being destroyed by PAC-MAN, Donkey Kong, Galaga, Centipede, and Space Invaders. Joining them is Lt. Col. Violet Van Patten (Michelle Monaghan), a specialist supplying the arcaders with unique weapons to fight the aliens.(C) Sony

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Sense8 season 1

This is a great Show has everything in it Drama Action Mystery Horror Gay Lesbian Strong Females Strong Men


IMDb
A group of people around the world are suddenly linked mentally, and must find a way to survive being hunted by those who see them as a threat to the world's order.



The Alantic

top me if you’ve heard this one before: A group of strangers’ lives intersect in unexpected ways. It’s one of the most elemental story setups that exists. Are we talking Lost? Speed? Contagion? Golden Girls? Or are we talking about the story of mankind itself?
One not-too-uncommon twist on the premise takes it abstract, ratcheting up the strangeness of the strangers and playing coy about how exactly they intersect.Crash, Babel, and the entire rom-com genre spawned by Love, Actually follow lives that touch one another only glancingly. A recent boomlet of novels, like Jennifer Egan’s Pulitzer-winning A Visit From the Goon Squad and David Mitchell’s Cloud Atlas and The Bone Clocks, hopscotch between characters separated by the places they live, the voices in which they speak, and the decades they’re born in. Often, the reader’s left to guess at why the various chapters from different points of view exist as part of the same book.

RELAT

When they work, stories like these can make even the most jaded consumer of culture get a little giddy about humanity’s vastness and its interconnectedness. But to do so, each individual character’s story has to hold the reader or viewer’s interest. Some chapters of Cloud Atlasand Goon Squad could work as self-contained short stories. Some actually have.
Sense8, the new Netflix show from the Wachowskis (the siblings who created The Matrix) and J. Michael Straczynski (the showrunner for Babylon 5), would like to join this tradition. The Wachowskis already oversaw the big-budget 2012 adaptation of Cloud Atlas, which earnestly tried to evoke the magic of Mitchell’s novel, made up of disparate narratives that spanned from the 1800s to a future century. (It flopped.) Sense8 is all set in the present, but the premise is just as hydra-like: Eight random people scattered all over the globe—a cop in Chicago, a bus driver in Nairobi, a businesswoman in Seoul, etc.—find their minds suddenly linked in mysterious ways, for mysterious reasons.

It’s a cool idea that pays off with some spine-tingling moments in the three episodes screened for critics. The characters peer into one another’s realities, feel one another’s feelings, and share one another’s skills only in fits and starts—most often in moments of high drama, either because of the way that the mind connection works in the show’s universe or because of the need for contrivance in any television story. Towards the end of one episode, a hijacking unfolds in Africa as a kickboxing match goes down in South Korea, resulting in a cross-continental martial-arts sequence. At another moment, love scenes transpire in India, Germany, and Mexico, resulting in some amusingly overlapping emotions for those involved.

But gosh-wow moments like those are rare, at least so far. Most of the screen time fleshes out the eight fairly banal principals’ lives. This affords the show the chance to dabble in an array of classic film situations: a Bollywood dance routine, a cop ride-along, a criminal’s safecracking. It also affords the program some refreshing diversity in regards to race and, more notably, sex and sexuality. Two gay couples figure in prominently, and the protagonist with perhaps the most screen time is a transgender woman. Still, many of these stories feel familiar. Does the sensitive Chicago cop have a hard-drinking dad and a partner skeptical of his compassion? Does the transgender activist—she prefers “hacktivist”—have a controlling, disapproving mother who insists on calling her by her male birth name? Of course and of course.
As has happened so many times in the Wachowskis’ career, you’re left wishing they’d been paid for their initial idea and that the execution had been left entirely to someone else. The wooden solemnity of Keanu Reaves et. al in The Matrix is proven again to be less of an aesthetic feature of that particular movie and more a result of how the filmmakers direct their actors. Outside of some neat crosscutting between story-lines, the Wachowskis’ visual sensibility hasn’t evolved much either. The title sequence is a good indication: It’s made up of not-particularly-well-framed postcard shots from around the world, presented at an iPhoto automated slideshow tempo, with fonts and music that might have seemed edgy on a mid-‘90s Prodigy album. Bloat is a problem, too. Into this mesh of stories, why add further clutter via flashbacks featuring different actors?

Some clunkiness and blah characterization would be acceptable if the overarching story held attention. But three episodes in, the connected-minds premise has only occasionally figured into the narrative, with almost no explanation for what’s going on. It’s not that the show relies on mystery too much; it’s that it doesn’t rely on it enough, at least not yet. Episodes end on cliffhangers based on car chases and boxing matches and other dramatic happenings that would be part of the characters’ lives regardless of the supernatural meta-plot, and given that those lives aren’t all that riveting, the viewer’s not left itching for the next episode.

It’s not that the show relies on mystery too much; it’s that it doesn’t rely on it enough.

It’s frustrating, because there are flashes of fascination in here. The way that the emotions and visions of the “sensates” bleed together resembles mental illness, and is often treated as such. The same fantasy of The Matrix, that one could download a life’s worth of knowledge into the brain, is present here, but with a metaphorical twist—know-how comes from connecting to another person, not to a vast technological network. And some of the individual plotlines are more charming than others; a comical one featuring a closeted actor and his “beard” entertainingly shows the movie star trying to use his professional acting abilities in his private life.
But the momentum simply isn’t there. The disconnected stories of Cloud Atlasthat the Wachowskis so admired worked on the page because David Mitchell is a talented wordsmith with a knack for suspense. Love, Actually, for whatever else you might say about it, packed in enough wit and sentiment so as to not bore people. The medium isn’t the problem: The sprawling, often disconnected ensemble of Game of Thrones hangs together on the strength of scene-to-scene acting and writing. Sense8 thinks as big as any of these works, but botches the small stuff, and the result is a show about humanity where it’s hard to care about any of the humans


Season 1
Episode 1 here movie25
Episode 2 here Movie25
Episode 3 here movie25
Episode 4 here Movie25
Episode 5 here Movie25
Episode 6 here Movie25
Episode 7 here movie25
Episode 8 here Movie25
Episode 9 here Movie25
Episode 10 here Movie25
Episode 11 here Movie 25
Episode 12 here Movie25

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AntMan

RogerEbert

ometimes “lightweight” isn’t a pejorative. “Ant-Man,” the comics-based superhero movie that’s centered around one of the more arguably goofy Marvel Comics characters (first prize has to go to a guy named Paste Pot Pete—and don’t ask) achieves its particular magic by keeping its proceedings almost as weightless as its shrunken-down hero. The movie, directed by Peyton Reed (“Down With Love,” “Bring It On”) and starringPaul Rudd, isn’t exactly or entirely fluffy, but it’s pretty damn agile, and as a result provides the most pure, uncomplicated fun, and even joy, of any Marvel picture I’ve seen.

The movie opens in 1989, with a digitally de-aged Michael Douglas strolling into an intelligence-gathering fortress and facing down some powerful frenemies, among them Tony Stark’s dad (John Slattery), a still-lovely-in-middle-age Peggy Carter (“Agent Carter” to “Captain America” and TV fans) and new sneery dude Mitchell Carson (Martin Donovan). Douglas’ character, Hank Pym, has a red vial containing something called “the Pym particle,” and SHIELD wants it, and Carson’s pretty insistent on the point. It doesn’t end well. This appetizer of backstory sets up not only the narrative for this picture, but serves as the equivalent of, um, nation building for the larger conceptual continuity of the MCU, which will be providing the entirety of the United States’ entertainment content, if all goes according to plan, by the year 2025.

The good news is that your enjoyment of this movie won’t be reliant on your getting various in-jokes and character references, even though there are a fair number of them. What the movie delivers for most of its running time is a surprisingly disarming amalgam of “The Incredible Shrinking Man” and “Rififi” by way of Brian De Palma’s first “Mission Impossible” movie, except with Jules Dassin’s goofball element thrown back in the mix. Short version: The “Pym particle” makes the tiny-but-powerful Ant-Man suit operable; in the present day Hank’s too old to work it and too protective of his steely daughter Hope (Evangeline Lilly) to permit her to put it on. So Hank elaborately recruits newly-sprung-from-prison hacker/cat-burglar Scott Lang (Paul Rudd) for a “job.” Said job involves putting a stop to megalomaniacal Darren Cross (a shiny-headed and deliberately-atrociously-outfitted Corey Stoll). Cross is an old protégé of Pym’s, a current employer of Hope’s, and he’s about to make a multi-billion-dollar killing on a weaponized “Yellowjacket” suit that pilfers Pym’s technology.

The stakes are high here, but they’re not as grandiose as they are in most contemporary comic-book-based movies, where the fate of the entire world if not the universe seems to be at stake every time. Yeah, Cross IS a lunatic (messing with the sort of atom-manipulation that makes these suits work can mess with your mind), and he does want to make an army of Yellowjackets, and his buyer, represented by the aforementioned Mitchell Carson, is none other than an outfit called HYDRA. But this movie doesn’t need to destroy whole cities to get its job done. Savvy, wise-cracking Scott wants to make it in the “straight” world so he can have more time with his daughter. The fact that his ex-wife now lives with a defensive cop (Bobby Cannavale) adds not just emotional dad-rival complications, but some plot twists as well. And after Cross smells some kind of rat in his system (it’s not a rat, incidentally, just a whole bunch of telepathically controlled ants), Scott’s lovable knucklehead criminal buddies—portrayed in varying shades of hilarity by Michael Peña, T.I. and David Dastmalchian—are obliged to get in on the action as well.

This is a lot of material for any movie to juggle, and it’s also competing with a crazy visual-effects element; the different sizes of Ant-Man bring with them different worlds, and his interaction with ants has a crazy pop-art surreality, like a pulp reiteration of Dali’s imagery in “The Persistence of Memory” and other insect-packed artworks. The script is credited to Edgar Wright and Joe Cornish, and then to Rudd and Adam McKay. Wright was originally set to direct, and while I’m not one to play pick-the-authorial touches (especially after only one viewing), I suspect quite a few of the visual gags in this picture originated with his contributions. In any event, the movie Reed has directed offers a remarkably direct through-line; I kept waiting, in dread, for a flashback explaining how the villain got that way, but it never came; instead, we find out what we need to know via dialogue and action, which is very welcome. Despite the movie’s buoyancy, it manages to convey Cross’s villainy and its gravity with an appropriate tone. It’s delightful and almost miraculous the way this movie manages to work as a comic heist picture on a huge scale, and with a comic science-fiction picture blended into it…while managing to cohere to the whole, you know, Marvel thing. Even the usually dreaded training-montage sequence manages to unfold like a compelling dance number. Part of it has to do with the novelty of the training—it’s not many movies that show its protagonist attempting to leap through a keyhole, or get a group of ants to pile sugar cubes into a cup of tea—but it’s also the character work from Rudd, Lilly and Douglas. Also nifty is the size-matters humor the movie works so deftly and unpredictably—there’s an iPhone-centered joke in the middle of a ridiculous (in a good way) climactic action sequence that’s devilishly clever. As is customary with Marvel films, “Ant-Man” has more than one ending—more than two, as it happens. My favorite was the second one, which will probably please thinkpiece writers and/or Evangeline Lilly fans, so I’m sure you’ll hear about it soon. As for myself, I found myself grinning a bit at the final promise “Ant-Man Will Return.”

Wired

ANT-MAN IS MARVEL’S WEIRDEST MOVIE, AND THAT’S A GOOD THING

Click to Open Overlay Gallery

 ZADE ROSENTHAL/MARVEL STUDIOS

FOR A MOVIE that looked as though it might get squashed before it ever got out of the larvae stage, Ant-Man has turned out to be a quirky and almost brilliant addition to the Marvel Cinematic Universe. Think of it like an invertedGuardians of the Galaxy—all the off-beat humor and unfamiliar characters, just at a millionth of the size.

Granted, Ant-Man, out today, starts out at conventional 1:1 scale. It’s 1989, and scientist Hank Pym (Michael Douglas) is working with S.H.I.E.L.D. under Tony Stark’s dad, Howard (John Slattery). Pym, who in the MCU has only been mentioned in passing in Thor, has the formula to make people smaller by shrinking the distance between atoms—but he won’t give it up no matter how much S.H.I.E.L.D.’s head of defense Mitchell Carson (Martin Donovan) wants it. So he walks. Boom. That’s it for scene-setting; now that you know how Pym and his tech fit into Marvel’s world, you’re free to sit back and enjoy the side-quest without worrying about Infinity Gems.

It’s that very tangential nature that gives director Peyton Reed’s film an air of lightness in the beefcake-weighted world of Marvel—and probably what gives it permission to get away with things like Thomas the Tank Engine sight-gags and jokes about The Cure. But just because Ant-Man is about a lesser-known superhero doesn’t mean it strays far from the Marvel formula. In other words, it’s a satisfying popcorn movie, even if the idea of a likable and superpowered white guy feels a little rote by this point.

Of course, this one happened to fall into heroism ass-over-teakettle. Scott Lang (Paul Rudd, as charming today as he was when he fell for his stepsister in Clueless) is fresh out of prison for hacking and living in San Francisco with his former cellmate Luis (Michael Peña, scene-stealing as always). Lang wants to get his life back on track and reconnect with his daughter, but after getting fired from Baskin Robbins he decides to join Luis and his friends in one more heist. Naturally, what he ends up stealing is Pym’s secret Ant-Man suit.

Click to Open Overlay Gallery

Evangeline Lilly as Hope van Dyne in Ant-Man.  ZADE ROSENTHAL/MARVEL STUDIOS

Fortunately, Pym has been looking for someone to thwart his former apprentice Darren Cross (Corey Stoll) from developing his own tiny-human suit for nefarious (*cough*Hydra*cough*) purposes—so he asks Scott to be the Ant-Man and stop Cross. This seems like a good idea to everyone except Hank’s daughter, Hope van Dyne (Evangeline Lilly), who would be happy to take up an Ant-Woman mantle if her dad would just let her. She might not get her wish, but she does get to take out her frustrations on Scott via old-school training montage. (Dear Marvel: More Lilly ass-kicking in future films, plz.)

Plot-wise, that’s all you really need to know. Ant-Man is a by-the-books redemption story wrapped in a Good Guys vs. Bad Guys tale. Like most comic-book adaptations, its Evil Mastermind’s motivations aren’t entirely clear. And it takes a while to get going, but once it does it’s a fast, fun ride with some brilliant micro-worldbuilding special effects that comes in under two hours, which feels positively brisk considering the, um, fuller comic-book movies we’re used to. It’s fast and loose, and aims only to entertain.

The fact that Ant-Man actually pulls that off is a feat in itself. The movie’s been in the works for nearly a decade, way back when Shaun of the Dead director Edgar Wrightwas attached to make it. Wright exited the movie last May over “differences” with Marvel, and the studio finally tapped Reed as an eleventh-hour replacement; meanwhile, Rudd and his writing partner Adam McKay (Anchorman) reworked the script. If you were following the situation,Ant-Man seemed like a good bet to break Marvel’s streak; it was hard to imagine that a movie suffering from this many setbacks would even hit its release date, let alone be any good. Against all odds, it did both.

We’ll never know what Wright’s version would’ve looked like (probably awesome), but the story as it is plays perfectly to Rudd’s strengths; he may not come off as a superhero type, despite the new contractually obligated six-pack, but his sardonic humor is so unique it could be trademarked. When he comes in with lines like “I think our first move would be calling the Avengers,” it feels as natural as Robert Downey Jr. delivering a Tony Stark zinger. Ant-Man doesn’t get everything right, but what it nails is creating a Scott Lang that feels like an everyman—and also very much like Rudd.

For those who like to keep track of these kinds of things,Ant-Man marks the end of Marvel Studios’ second phase. (Phase 3 begins next spring with Captain America: Civil War.) It might be the weirdest—and it’s definitely the least splashy—note to go out on. But if it signals a willingness from Marvel to embrace more less-squeaky-clean superhero movies, then that’s no small feat at all.

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The 13th Unit

IMDb
Seven strangers find themselves trapped in an underground storage facility, struggling to survive while being hunted by a supernatural beast that resides inside the mysterious 13th unit.


Xmovie8
Storyline: Seven strangers find themselves trapped in an underground storage facility, struggling to survive while being hunted by a supernatural beast that resides inside the mysterious 13th unit.


Full Movie on Xmovie8