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Wamg Giveaway – Win the Blu-ray of The Take Starring Idris Elba

A rouge CIA agent helps a small-time criminal in the intense-action film, The Take, available now on Digital HD and on Blu-ray and DVD on February 7, 2017 from Universal Pictures Home Entertainment. This powerful story stars Idris Elba (Star Trek Beyond, Beast of No Nation) and Richard Madden (Game of Thrones).The Take Blu-ray™ and DVD include exciting bonus content that take viewers on a journey behind-the-scenes and inside the making of the film.

Idris Elba stars as Sean Briar, a rogue CIA agent who isn’t afraid to step on a few toes to solve a case. While roaming the streets of Paris, a pickpocket (Richard Madden) swipes a bag containing a bomb and inadvertently ruins a bank heist attempt by corrupt French government officials. Now labeled as a terrorist threat and running for his life, the only person who can save him is Sean. This unlikely duo join forces
See full article at WeAreMovieGeeks.com »

The Take Review

These days, it seems you can’t go to a film, turn on your television or surf the net without coming across Idris Elba and the army of adoring fans he’s amassed over the years. The English actor has been working overseas since the mid-1990s but really broke through in North America as Russell “Stringer” Bell on the critically acclaimed HBO drama The Wire.

Since then, Elba has headlined the popular BBC crime drama Luther and appeared in countless films, including the Thor series, Netflix drama Beasts of No Nation and this summer’s Star Trek Beyond. Next, he’ll lead the much-anticipated film adaptation of Stephen King’s The Dark Tower. But with such a versatile resume, how does Elba’s newest film, The Take, measure up?

Previously titled Bastille Day, the movie sees Elba play CIA Agent Sean Briar, who’s charged with foiling a terrorist
See full article at We Got This Covered »

Film Review: ‘Bastille Day’

Film Review: ‘Bastille Day’
As fans continue their push for Idris Elba to fill Daniel Craig’s 007-sized shoes, they could point to far worse case studies for his suitability than “Bastille Day.” The hulking East Londoner may sport a Generican accent as a rogue CIA agent in James Watkins’ efficiently entertaining terrorist thriller, but in all other respects, he proves himself fighting fit for action-franchise duty: gravelly enough to lend this absurd Paris-set romp some gravitas, though he can wink and kick ass at the same time. While the pic pairs him with an affable partner in “Game of Thrones” alum Richard Madden, the standard-issue script doesn’t give their burgeoning buddy dynamic much kindling; instead, it’s Watkins’ lean, keen instinct for choreographing and cutting action set pieces that keeps “Bastille Day” afloat. Even if auds don’t exactly storm the gates, it’ll march on in ancillary.

Mere months after the tragic events of last November,
See full article at Variety - Film News »

Win A Pass To The Advance Screening Of Kick-ass 2 In St. Louis

Kick-Ass, Hit Girl and Red Mist return for the follow-up to 2010′s irreverent global hit: Kick-ass 2. After Kick-Ass’ (Aaron Taylor-Johnson) insane bravery inspires a new wave of self-made masked crusaders, led by the badass Colonel Stars and Stripes (Jim Carrey), our hero joins them on patrol. When these amateur superheroes are hunted down by Red Mist (Christopher Mintz-Plasse) – reborn as The Mother F%&*^r – only the blade-wielding Hit Girl (Chloë Grace Moretz) can prevent their annihilation.

When we last saw junior assassin Hit Girl and young vigilante Kick-Ass, they were trying to live as normal teenagers Mindy and Dave. With graduation looming and uncertain what to do, Dave decides to start the world’s first superhero team with Mindy. Unfortunately, when Mindy is busted for sneaking out as Hit Girl, she’s forced to retire – leaving her to navigate the terrifying world of high-school mean girls on her own.
See full article at WeAreMovieGeeks.com »

Jeff Wadlow on Kick-Ass 2, sequels and 15 ratings

  • Den of Geek
Interview Ryan Lambie 31 Jul 2013 - 13:01

The writer and director of Kick-Ass 2 chats to us about its making, and getting a 15 certificate in the UK...

Nb: This interview contains a bit of swearing.

It’s after eight on an autumn evening at Pinewood Studios, and another hard day’s filming has just finished on the set of Kick-Ass 2. As the dozens of extras exit the sound stage, we take a look around at the oppulent space around us for the first time; this is the lair of Christopher Mintz-Plasse’s villain, and as you might expect from a young, slightly sociopathic comic book villain, it’s packed full of expensive cars, arcade machines, plush furniture, a bar, and somewhat incongruously (if you haven’t read Mark Millar’s source comic), there’s a gigantic water tank with a dead shark in it.

It was in this huge, extravagant
See full article at Den of Geek »

Fright Meter Awards Names The Cabin in the Woods Best Horror Movie and Drew Goddard Best Director; Get the Complete Results

Chairman Troy Escamilla and the Fright Meter Awards Committee have announced that The Cabin in the Woods was named the Best Horror Movie of 2012, and the film also won in four more categories.

For helming the project, Drew Goddard nabbed Best Director; Goddard and Joss Whedon were honored for Best Screenplay; the cast garnered Best Ensemble; and Cabin's final win came for Best Make Up/Special Effects. Read on for the rest of 2012's best.

For more visit the official Fright Meter Awards website, "like" Fright Meter Awards on Facebook and follow Fright Meter Awards on Twitter (@FrightMeter).

2012 Fright Meter Award Winners

Best Horror Movie: The Cabin in the Woods

Best Director: Drew Goddard for The Cabin in the Woods

Best Actor in a Leading Role: Vincent D'Onofrio-Chained

Best Actress in a Leading Role: Gretchen Lodge-Lovely Molly

Best Actor in a Supporting Role: Michael Fassbender-
See full article at Dread Central »

Blu-ray Review: "The Woman In Black": Hammer Has Risen From The Grave

  • CinemaRetro
By Lee Pfeiffer

After several false starts and weak efforts, the much-promised revival of Hammer horror films has finally come to fruition with the release of The Woman in Black, an old-fashioned ghost story that ranks with the finest achievements of the legendary British production company. The story is set in the early 1900s. Daniel Radcliffe gives an excellent performance as Arthur Kipps, a young London-based lawyer who is already a widower, his beloved wife having died while giving birth to their son. Kipps tries his best to juggle being a single parent with the demands of his profession, but his unrelenting grief prevents him from fulfilling his duties at the office. His boss gives him one last chance to redeem himself by sending him to a remote village to investigate a complicated insurance situation relating to a recently deceased person. Arriving in the village, Kipps discovers that the relatively
See full article at CinemaRetro »

The Woman In Black (2012) Review

  • MoreHorror
By Jesse Miller, MoreHorror.com

There’s nothing quite like an eerie, old-fashioned ghost tale – the mystery behind the haunting that envelops you, the charming haunted old house, the townsfolk who dare not utter a word out loud about the horror and of course, the unsettling ghostly reveals. Make no mistake, The Woman In Black is a fine example of the very effective and engaging ghost tale I’ve just described and one that will have you looking over your shoulder long after the credits has rolled.

Based on the novel of the same name by Susan Hill, The Woman In Black follows young solicitor Arthur Kipps (Daniel Radcliffe), who is coping with the loss of his wife after she gave birth to their son Joseph (Misha Handley) four years ago.

Kipps is soon assigned to settle the estate of Alice Drablow, who owned a magnificent English manor, known as the Eel Marsh House,
See full article at MoreHorror »

The Woman in Black (2012)

  • Planet Fury
Directed by: James Watkins

Written by: Jane Goldman, based on the novel by Susan Hill

Cast: Daniel Radcliffe, Ciarán Hinds, Janet McTeer, Sophie Stuckey, Liz White

The Woman in Black is a return to period horror for Hammer Studios. It is based on a 1983 novel written by Susan Hill, which was later adapted into a stage play, as well as a successful television movie in 1989. The play is still running at the Fortune Theater in London's West End, but I can't say this current version will enjoy such success. While it has some terrific moments, most occur in the second half of the film, sandwiched between an annoying first half and a misguided ending.

The film takes place in England during the early 1900s, established when the film opens on three young girls playing with dolls and a tea set in their bedroom. But soon, something distracts the girls from
See full article at Planet Fury »

‘The Woman In Black’ handsome but unscary and deeply clichéd

  • SoundOnSight
The Woman in Black

Written by Jane Goldman, from the novel by Susan Hill

Directed by James Watkins

UK / Canada / Sweden, 2012

Nowadays, “old-fashioned” is generally meant as a compliment in discussions of contemporary movies, in conjunction with an overarching sense that new films – particularly mainstream films – are not as sharp or high-minded as their counterparts from decades past. In the case of The Woman In Black, though, we can safely revert “old-fashioned” back to its traditional, pejorative meaning; hoary, creaky, outdated, too-familiar. The film’s one-sheet is more effectively creepy than the film itself.

This is doubly disappointing considering the source; James Watkins previously helmed the truly vicious chavsploitation thriller Eden Lake. That film took a familiar genre touchstone – the killer-kids flick – and found a novel, relevant spin. The Woman in Black, meanwhile, is entirely content to recycle plot points seen countless times, and its unconvincing turn-of-the-last-century setting might explain
See full article at SoundOnSight »

Lock, Stock And Two Smoking Barrels Blu-ray Review

  • Collider.com
We’re ten years on in Guy Ritchie’s career, and from all evidence he’s about to turn the corner into pure commercial filmmaking. For most people there’s only one answer to what derailed him, and that is: Madonna. The pre-Madonna years featured Lock, Stock and Two Smoking Barrels, and Snatch, the Madonna years featured Swept Away and Revolver, and the post-Madonna’s are now Rocknrolla and Sherlock Holmes, which should be one of the big pictures of 2009. My review of Guy’s Ritchie’s first film after this jump.

Lock, Stock is one of the numerous 90’s crime films to come in the wake of Reservoir Dogs and Pulp Fiction. It’s a genre that burnt itself out rapidly, with only people like Bryan Singer and Christopher McQuarrie proving themselves above the fray. The majority of the genre was overheated pabulum like Things to Do
See full article at Collider.com »

Filth and Wisdom

Release Date: Oct. 17

Director: Madonna

Writers: Madonna, Dan Cadan

Cinematographer: Tim Maurice-Jones

Starring: Eugene Hutz, Holly Weston, Vicky McClure, Richard E. Grant

Studio/Run Time: IFC, 81 mins.

Crisply written, maturely mild sex comedy from the one-time Material Girl

Madonna’s directorial debut, Filth and Wisdom, contains the expected: strippers, light S&M, erotic poetry. But, co-written with Guy Ritchie associate Dan Cadan, it also has crisp banter, endearing characters and the magnetism of Gogol Bordello’s Eugene Hutz, whose narrator, A.K., fronts a struggling gypsy-punk band in London while he beats up pervs for money on the side. For saints, “filth will appear as an oasis,” he says early, facing the camera, puppy-eyed. Throughout, the ensemble—including blind poet Professor Flynn (a dignified Richard E. Grant)—treats depravity as a resource, a way of accessing freedom. A.K.’s ballerina flatmate—the genuinely sweet Holly Watson—gradually finds herself after
See full article at PasteMagazine »

Review: Filth and Wisdom

  • Cinematical
The most obvious thing one can say about Filth and Wisdom is that it's the directorial debut of Madonna. And the most surprising thing one can say about it is that, for all its narrative and aesthetic shortcomings, it's not half-bad. Certainly, Madonna tackles what she knows, which in this case is a collection of related stories linked by the overriding message that no profound knowledge can be attained without degradation first being experienced, a sentiment the Material Girl has been pushing in one form or another at least since 1992's Erotica and its infamous companion tome Sex. If embracing your inner skank is the path to enlightenment, then Madonna must now be the Dalai Lama. And yet despite the juvenile maxims spouted by Eugene Hutz - the lead singer of gypsy-punk outfit Gogol Bordello (which provides much of the soundtrack), here playing a variation of himself named A.K.
See full article at Cinematical »

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