super

yes god!

Coolest ever go ANDRE go ANDRÉ

https://itunes.apple.com/us/album/feelings-and-changes-feat-zacc-p-ldn-noise-single/1383003163 Excellent positive Music!

https://itunes.apple.com/us/album/feelings-and-changes-feat-zacc-p-ldn-noise-single/1383003163 Excellent positive Music!

Sheesh this song is fire! Been on repeat all day! Vacation vibes ayyyyeeee

these guys are bring good music to the world.

Rain - video https://m.youtube.com/watch?v=WPjjO5Z7JwQ

Great video and music!!! can't wait for more from Andre Merritt.

Very cool movie see some more information regarding the film - enjoyable! https://m.imdb.com/title/tt1259528/ https://www.rottentomatoes.com/m/den_of_thieves/ https://www.newsday.com/entertainment/movies/den-of-thieves-review-1.16261042

Very cool movie see some more information regarding the film https://www.newsday.com/entertainment/movies/den-of-thieves-review-1.16261042 https://m.imdb.com/title/tt1259528/

Very cool need more like this

OMG! These guys are so AWESOME! This the same black salt that the original red power ranger, AUSTIN ST. JOHN, promotes and is apart of! They have Comic Books, many Posters and a freakin' video game coming out soon!....SWEET!! I also follow them on twitter and instagram. They follow me!! Twitter is @blacksaltfilm and Instagram is black_salt_film ...It's good to see them on here! Keep rockin'....True fan here!

OMG! These guys are so AWESOME! This the same black salt that the original red power ranger, AUSTIN ST. JOHN, promotes and is apart of! They have Comic Books, many Posters and a freakin' video game coming out soon!....SWEET!! I also follow them on twitter and instagram. They follow me!! Twitter is @blacksaltfilm and Instagram is black_salt_film ...It's good to see them on here! Keep rockin'....True fan here!

March 21, 2017 FOR IMMEDIATE RELEASE September 29, 2017 is the 50th anniversary of the first broadcast of the British TV program, The Prisoner®, and we’re throwing a three-day party (program) to celebrate this highly-acclaimed television masterpiece8. From Friday through Sunday, Sept 29, 30 and Oct 1, 2017, THE PRISONER CON will be hosting the first-ever-in-the-US program for fans of the 1960’s cult classic TV program. The program will take place at three venues9 in downtown Seattle and bring together an eclectic array of 10 Special Guests including three actresses10 from the program. The three day event will encompass 17 unique sessions including Guest interviews, musical performances, theatrical re-enact-ments, hosted cocktail parties and episode / video screenings. The Prisoner Con has three levels of participation: Villagers (who’ll have access to all three days of fun and fan fraternity); Observers (who will attend the Fri and/or Sat evening parties); and, Warders (non-attending supporters of this once-in-a-lifetime event). In addition, The Prisoner Con shall be collaborating with other events around the globe that are celebrating The Prisoner’s 50th anniversary. We would greatly appreciate it if you will share news of this very special program with your audience. On page 2 of this press release are links that provide excellent information about The Prisoner television program8, its creator and star, Patrick McGoohan11, and, websites for each of the event’s ten Special Guests. Furthermore, the organizers of The Prisoner Con are eager and available to participate in print or audio interviews. Thank you very much. And . . . be seeing you at The Prisoner Con. www.THEPRISONERCON2017.com Karl Frunz • 206-355-7000 • Skype: frunzkarl@gmail.com • planning@theprisonercon2017.c.om Facebook.com/ThePrisonerCon2017 • Twitter.com/PrisonerCon2017

Much has been written about the recent surge of personal stories being told through the horror genre in films like “It Follows,” “The Witch” and “The Babadook,” but there’s an equally interesting trend in the science fiction genre as well. Over the last few years, we’ve seen the genre used not only to examine the power of space travel or a post-apocalyptic future but as a way to address common humanity more than futuristic adventure stories. Joining films like “Gravity,” “Interstellar” and “The Martian” is Denis Villeneuve’s ambitious and moving “Arrival,” a movie that’s about the day the universe changed forever but becomes more focused on a single story even as it’s expanding its worldwide narrative. It is more about grief, time, communication and compassion than it is warp speed, and it’s a film that asks questions. How do we approach that which terrifies us? Why is it important to communicate through language and not action? The final act of “Arrival” gets to the big ideas of life that I won’t spoil here, but viewers should know that Villeneuve’s film is not the crowdpleaser of "The Martian," Ridley Scott’s big TIFF premiere last year. It’s a movie designed to simultaneously challenge viewers, move them and get them talking. For the most part, it succeeds.

'Borat' director Larry Charles' loony portrait of a vigilante determined to bring Osama bin Laden to justice features another unhinged performance from Nicolas Cage. In 2012, I was invited to participate in Sight and Sound magazine’s “greatest films of all time” poll. For a film critic, that’s an awesome honor — and an even greater responsibility — and for some reason I’ll never fully understand, I second-guessed my choices at the last minute, withholding my all-time favorite movie (“Fargo”) and submitting “Borat” in its place. In my defense, Sight and Sound voters always stick to the canon with this poll, since the titles with the most votes win, whereas I sincerely believe that “Borat” is the most revolutionary movie of the last decade, an anarchic social critique for the post-reality-TV era, featuring radical comedy techniques pioneered by “Seinfeld” and “Curb Your Enthusiasm” director Larry Charles. I have chosen this space to own up to my mistake (I’ll admit, however genius I still consider “Borat” to be, it ain’t one of the 10 greatest films of all time) because Charles has since moved on from his fruitful, if diminishing-returns relationship with merry prankster Sacha Baron Cohen (that subsequently yielded the turkeys “Brüno” and “The Dictator”) to attempt a wild-and-crazy satire with … wait for it … Nicolas Cage, and the result is a debacle. A week and a half ahead of its not-quite-straight-to-DVD release, the movie, “Army of One,” opens on a select few screens, where it will likely play to an audience of none. This terribly misconceived and strangely miscast comedy finds Cage tumbling farther into the well of his own bug-eyed eccentricity, a hole dug plenty deep by such roles as “Bad Lieutenant: Port of Call” and its spirit sequel “Dog Eat Dog” (out later this month), not to mention a handful of live-wire action-hero roles in Jerry Bruckheimer movies, the massive box office success of which are directly responsible for his ongoing bankability in such abominations as “The Sorcerer’s Apprentice” and “Season of the Witch.” An actor like Tim Blake Nelson might have been a better choice to play Gary Faulkner — a 50-year-old construction worker from Greeley, Co., who traveled to Pakistan on a mission from God to kill Osama bin Laden — but then, Nelson didn’t star in “The Rock” and “Con Air,” and therefore isn’t a big enough name to get a movie like this greenlit.

The tailoring is more consistent than the storytelling in “The Dressmaker,” an appreciably deranged tale of small-town intrigue that finds Australian filmmaker Jocelyn Moorhouse returning quite literally with a vengeance after a nearly 20-year absence from the director’s chair. Starring Kate Winslet as a spirited 1950s haute-couturist who decides it’s time to return to her miserable hometown and give the place a little color (mostly red), this insistently quirky comedy-thriller-mystery-horror-revenge saga serves up an ugly human menagerie of ghouls and grotesques — every one of them contributing a different patch to a crazy quilt of murder, adultery, repression and madness. A work of shrill, campy excess as well as some pretty choice acting (especially from the always-welcome Judy Davis in a spry supporting role), Moorhouse’s adaptation of Rosalie Ham’s 2000 novel may lead audiences to expect a primmer, more well-behaved movie based on its title alone, but that doesn’t mean it won’t have them in stitches.

Nate Parker's “The Birth of a Nation,” a retelling of the 1831 slave rebellion led by Nat Turner, could not be more timely. The rise of Donald Trump and the more blatant expression of racist attitudes that his candidacy has emboldened; the outcry over police brutality and the formation of Black Lives Matter; the battles over hate speech, “safe spaces” and historical curriculum on campus; the debate about how to reform a criminal justice system that some believe is the continuation of Jim Crow by other means (see Ava DuVernay’s “13th” for more): these ongoing narratives all come back to the right to live an autonomous American life, and the duty to resist those who would oppose that right.

Hart takes center stage in this groundbreaking, record-setting, sold-out performance of "What Now?" filmed outdoors in front of 50,000 people at Philadelphia's Lincoln Financial Field - marking the first time a comedian has ever performed to an at-capacity football stadium.

Casey Sherman and Michael J. Tougias' book detailing a daring 1952 Coast Guard rescue off the New England seaboard comes to the screen in this Disney film produced by Jim Whitaker (Take Me Home Tonight, The Odd Life of Timothy Green). James Tamasy and Eric Johnson team to pen the screenplay. ~ Jason Buchanan, Rovi

On April 20th, 2010, one of the world's largest man-made disasters occurred on the Deepwater Horizon in the Gulf of Mexico. Directed by Peter Berg (Lone Survivor), this story honors the brave men and women whose heroism would save many on board, and change everyone's lives forever.

Academy Award (R)-winning director Oliver Stone, who brought Platoon, Born on the Fourth of July, Wall Street and JFK to the big screen, tackles the most important and fascinating true story of the 21st century. Snowden, the politically-charged, pulse-pounding thriller starring Joseph Gordon-Levitt and Shailene Woodley, reveals the incredible untold personal story of Edward Snowden, the polarizing figure who exposed shocking illegal surveillance activities by the NSA and became one of the most wanted men in the world. He is considered a hero by some, and a traitor by others. No matter which you believe, the epic story of why he did it, who he left behind, and how he pulled it off makes for one of the most compelling films of the year.

Gangster Sonny is the big man in Calogero's Bronx neighborhood. A shooting witnessed by Calogero is the starting point of a lasting bond between the gangster and the small boy. Father (bus driver Lorenzo), however, disap- proves. Calogero grows up under the wings of both men, torn between his own natural honesty and his fascination with Sonny. C's neighborhood cronies get involved in theft, use of guns, racial fights. When C meets girl, things don't become easier. C's leap to manhood is marked by tragedy, but also by his recognition of the many faces of love.

Although there are no super-mutants nor heroes from another world in “The Accountant,” the movie still feels like the origin story for a comic book character. Ben Affleck portrays Christian Wolff, a high-functioning autistic savant who serves as an accountant for criminal organizations worldwide, while usually staying undercover in a small Illinois town. Christian has no friends, and his nightly routine is extremely disciplined and sad. Flashbacks to his childhood under the leadership of his soldier father, who constantly pushed his sons beyond their limits, helps explain why this accountant takes self-defense so seriously. When Christian accepts a job uncovering corruption at a robotics company and meets another accountant, Dana (Anna Kendrick), his habits and autism don’t allow him to express emotion. However, the actions he must take to defend her life set a plot in motion that’s full of suspense. I was reminded of films like “The Bourne Identity,” with its title character’s memory trouble while remembering how to use his fists and advanced weaponry. Wolff kills many people using creative methods, but shooting enemies in the head a couple times is his preferred method. Ben Affleck does decent work in the title role through all the mayhem. I kept hoping to see more character traits/flaws behind his blank stares, but maybe they’re saving some of that for upcoming sequels. Director Gavin O'Connor introduces several interesting characters around Christian, like the ones played by John Lithgow, Jon Bernthal, Jean Smart, Jeffrey Tambor, and especially J.K. Simmons as a leader in the U.S. Treasury Department intent on finding Wolff. Without these supporting actors, “The Accountant” might just be another example of an actor seeking to impress by playing a handicapped character smarter than everyone, like Dustin Hoffman’s “Rain Man.” The action plot was not surprising to me, despite three plot twists toward the end. The movie’s most interesting concept is that people with disorders like autism might have abilities many people would consider super-human, which could appeal to many audiences. “The Accountant” has a lot of violence and some swearing that earn its R-rating. Nevertheless, if you’ve been able to enjoy the types of action portrayed in Bourne or James Bond movies, it’s not likely the violence or language in this film will trouble you. The most disturbing parts of the movie detail Christian’s nightly routine, involving very loud music, a strobe light, and rubbing a stick over his leg, before allowing himself to take a pill at 10:01pm. It seemed to me that Christian was forcing himself to deal with these traumatic types of stimuli because his father forced him to always confront his greatest fears, which made me want to see him break free and experience love. Without these scenes, perhaps Christian Wolff would have even seemed enviable, because of his wealth and strength. I believe the scenes could trigger epileptic seizures in some people, though, so be warned.

In January 2013, Poitras (recipient of the 2012 MacArthur Genius Fellowship and co-recipient of the 2014 Pulitzer Prize for Public Service) was several years into making a film about surveillance in the post-9/11 era when she started receiving encrypted e-mails from someone identifying himself as "citizen four," who was ready to blow the whistle on the massive covert surveillance programs run by the NSA and other intelligence agencies. In June 2013, she and Greenwald flew to Hong Kong for the first of many meetings with the man who turned out to be Snowden. She brought her camera with her. The film that resulted from this series of tense encounters is absolutely sui generis in the history of cinema: a 100% real-life thriller unfolding minute by minute before our eyes. Executive Produced by Steven Soderbergh.

I can hardly believe that over three decades have passed since the original “Ghostbusters” came out, but I do remember being there when it did. I also wondered, as a fairly new Christian, if it would be appropriate to attend a movie that made light of the very spiritual matter of ghosts. I talked myself into going, and didn’t feel so conflicted afterward. The movie was not meant to teach anyone anything about the afterlife, not really, but simply to display the comedic skills of the much beloved Saturday Night Live players and some others from the Second City comedy troupe. Today’s entry does much the same, as most of the characters in the current “Ghostbusters” movie are either current SNL players or alumni from the film of 1984. The movie opens in a haunted mansion tour, like so many that are offered around our country, but in this case, something genuinely abnormal occurs, something paranormal, and so it begins. Immediately, the Ghostbusters team is cobbled together as the apparitions are in need of capture, and an old book that two of the team ashamedly co-authored years prior, suddenly brings them together with renewed faith in their earlier theories about spooks. Much like the first “Ghostbusters,” this one is plied with much goofiness, ridiculous situations, and multiple one-liners that kept the audience mildly chuckling. Something I noticed, too, was how many of the jokes banked on knowledge of the first movie, as well as cultural things that would just not be funny unless one was in the know. It was kind of like those animated films where they entertain the kids because of the spectacle and charming characters, but what the adults are laughing at, the kids have no clue. It was like that here, and, in the end, the audience clapped. Clapped! This wasn’t a fantastic movie; it just connected, knowingly, with the audience. Spiritually speaking, the movie is about capturing ghosts, and that’s not really something humans have any hope to ever do. Besides, if by “ghosts” the understanding is that they are the departed spirits of dead people, this movie doesn’t stress it. In fact, all of the ghosts seem to be malevolent, and we might applaud that, as we believe there are evil spirits (fallen angels) that exist; we call them demons. In the movie, there is one obviously demonic ghost that appears during a rock concert, and a band member cheers the fact that their music has summoned “Satan himself!” In another scene, Abby (Melissa McCarthy) is demon-possessed temporarily and Patty (Leslie Jones) slaps some sense into her while uttering, “the Devil is a liar!” That’s a paraphrase of Jesus” words in John 8:44. Of course, it’s also a phrase one might hear in a Pentecostal deliverance service. So you have those that welcome the devil, and those that cast him out, and everything is something of a silly stereotype. In the Bible, Paul the Apostle wrote in 2 Corinthians 5:8, that to be “absent from the body” is to “be present with the Lord.” We take this to mean that human souls are either present in the living person, or they are in the immediate incorporeal company of God. Human “ghosts” do not wander around Earth haunting anything. And the one Bible mention in the movie was “Biblically bad!” with reference to a plugged toilet. Ahem. As for other content of which to be aware; there is lots of destruction, people being tossed around, and ectoplasm (green slime) being vomited on everyone. The ghosts are mostly scary looking, and small children should not see this film. There are many references to God, and they are not, generally speaking, referring actually to Him. Instead, there are over a dozen OMGs uttered without the abbreviated initials, and almost all uses are exasperated utterances, rather than legitimate calls upon deity. There is one notable moment where God is spoken of as a person, but the speaker says, “I know God doesn’t make mistakes, but he must have been drunk when he made Gertrude’s personality.” That statement is not meant to disparage God but Gertrude, unfortunately it smacks of blasphemy. There are some childish jokes about flatulation, virtually every current expletive (especially a**) finds its way into the script (except maybe the very worst) and the middle finger is flashed. The original Ghostbusters logo is designed with bosoms because of the ghostbusters’ gender, but they are later removed. There are a couple mentions of drug use, but no actual scenes of it, though there is a bar scene. There is a shirtless male actor, Chris Helmsworth, and an unclothed mannequin that comes to life, but neither really come off as prurient. This movie is not unlike a Saturday Night Live sketch that goes on and on. It’s a little better than that actually, but, still, the somewhat bawdy humor and persistent language of some of the characters wear on Christian sensibilities. Nevertheless, this is not a “Christian” movie with a Gospel message or a sanitized presentation. Rather, it is typical of secular culture and has no great redeeming truths to convey (although friendship and sacrifice come through on occasion, and the good guys, or gals, triumph over evil in the end). If you stay through the whole of this movie, then you might as well sit through the credits and catch the extra scene (which, again, won’t make sense unless you’ve seen the original).

In 1961, social psychologist Stanley Milgram conducted the "obedience experiments" at Yale University. The experiments observed the responses of ordinary people asked to send harmful electrical shocks to a stranger. Despite pleadings from the person they were shocking, 65 percent of subjects obeyed commands from a lab-coated authority figure to deliver potentially fatal currents. With Adolf Eichmann's trial airing in living rooms across America, Milgram's Kafkaesque results hit a nerve, and he was accused of being a deceptive, manipulative monster. EXPERIMENTER invites us inside Milgram's whirring mind, beginning with his obedience research and wending a path to uncover how inner obsessions and the times in which he lived shaped a parade of human behavior inquiries.

HITMAN: AGENT 47 centers on an elite assassin who was genetically engineered from conception to be the perfect killing machine, and is known only by the last two digits on the barcode tattooed on the back of his neck. He is the culmination of decades of research - and forty-six earlier Agent clones -- endowing him with unprecedented strength, speed, stamina and intelligence. His latest target is a mega-corporation that plans to unlock the secret of Agent 47's past to create an army of killers whose powers surpass even his own. Teaming up with a young woman who may hold the secret to overcoming their powerful and clandestine enemies, 47 confronts stunning revelations about his own origins and squares off in an epic battle with his deadliest foe.

In the lawless border area stretching between the U.S. and Mexico, an idealistic FBI agent [Emily Blunt] is enlisted by an elite government task force official [Josh Brolin] to aid in the escalating war against drugs. Led by an enigmatic consultant with a questionable past [Benicio Del Toro], the team sets out on a clandestine journey forcing Kate to question everything that she believes in order to survive.

After a painful breakup, successful lobbyist Leah Vaughn jumps into a passionate relationship with a charming stranger. When her ex-boyfriend resurfaces in her life she has to figure out who she should trust and who she should fear.

A detective accused of murder abducts a veteran journalist in a desperate bid to expose the deep-rooted corruption that's destroying their city.

In this sequel to the 2001 cult favorite, David Spade ("Rules of Engagement") returns as the mullet-wearing, rock and roll loving, down on his luck white-trash-hero who embarks on another epic journey, this time through the recent past, the heartland of America - and his own mind - to get back to his loved ones. Joe Dirt is back with a vengeance, and a mop.

After rescuing his kidnapped niece from a powerful drug cartel, Colton MacReady (Scott Adkins) begins a relentless fight to save his family. The cartel has descended upon his secluded ranch with a thirst for revenge. In tow are a corrupt local sheriff and his crew of deputies, ensuring that help won't be coming any time soon. What ensues is a non-stop assault on the ranch, a blow-by-blow survival marathon for Colton to protect his loved ones and save his life.

From a secular perspective, “Dope” is a gripping coming-of-age drama with encouraging messages. And it is those things—but from a Christian perspective, that’s only a small part of it. The larger part of it is another appalling proof that we live in a depraved world—not that we need a movie to prove that to us. There’s an hour and a half of profanity and immorality, and then some positive messages thrown in at the end. The story follows Malcolm, a geeky high school senior living with his single mom in a broken down, somewhat dangerous neighborhood. One day, he gets caught up in a gang’s party, and the slippery slope of sin eventually plunges him into the world of illegal drugs. He must now get out of the many obstacles of life and learn how to view himself and the world. In some parts, it felt like I was watching a gross-out movie. The sexual content, in particular, is nauseous. One of the main characters is a lesbian girl who hangs out with the guys. In one scene, she sees a posted picture with women’s bare butts and holds her tongue up to it. There are also crass discussions about genitals and some explicit discussion about types of sex. A drug addicted woman runs through the street nude and urinates. This is shown on a news cast, so her private parts are censored. The scene that pushes the moral rating from Very Offensive to Extremely Offensive is the scene where a girl takes off her clothes in front of Malcolm. Her breasts are in plain view for several long shots as the two indulge in sensual behavior—including when he lies underneath her and she vomits in his face, which is also plainly shown. Profanity is also extreme. There are over 100 f-words and n-words, and not too many less s-words. The other common profanities are said in typical context, as if for good measure. The middle finger is shown, and r*t*rded is used once. In a few scenes, strong profanity is used more than once in every sentence. The violence is moderate. There are some police chases and a few instances of shooting. One scene shows blood on a cell phone that is dropped. That’s as violent as it gets. But there is also a bit of graphic drug use. I will say that I do think what the filmmakers had in mind from the start was the positive messages. Unfortunately, they didn’t do a very good job leading up to it—although the film is quite stylish. But even more unfortunately, the majority of the film’s content turned out to be very perverted. At the end, Malcolm gives an excellent speech about not fitting in. If the producers allow that to be put on YouTube, watch it. Nothing else in this film is worth seeing, and even that speech isn’t worth the rest of the movie. The beginning of the film displays the two definitions of the noun “dope.” (1) an illegal drug, and (2) a stupid person. This movie is another kind of “Dope” to avoid.

It is no accident that condemned prisoner John Coffey’s (Michael Clarke Duncan) initials are the same as our Savior. Coffey is a gentle giant who is able to heal by placing his hands on the afflicted. After prison guard Paul Edgecombe (Tom Hanks) is cured of an infection, he slowly comes to believe that Coffey is innocent. However, it is 1935, they are in the deep south of the United States, and Coffey, an African-American, has not, and will not get, a fair trial. Despite the obstacles, the men develop a friendship that transcends Death Row. Poster, The Green Mile The supernatural elements of the story enhance their relationship, but does not overpower the plot. It actually enhances the themes of resilience, repentance and faith. The lead actors are great. Hanks plays Edgecombe as a decent, humane man, who does not relish being an executioner of men, but has a duty to his job. Duncan does well in his part of a child-like man, bewildered by his dire circumstances. Doug Hutchinson (better known as the monster Toombs from a couple of famous “X-Files” episodes) is good as a sadistic guard. Bonnie Hunt, known for comedic roles, is solid as Edgecombe’s supportive wife. Many of the actors shine in smaller roles as well. There are a couple of scenes of implied sex between Edgecombe and his wife. Several characters use foul language and racial slurs. The violence level is above average. Electric chair executions are shown; one in particular is very graphic. Otherwise, this movie is nicely put together and a powerful story.

There are some actors and actresses that possess the chops necessary in order to save that sinking ship – whether it be a complete stinker or a film that just happens to miss the mark, you can usually count on that star power to hold you over until the credits roll…yep, NOT the case with Nicole Kidman in Strangerland. Directed by Kim Farrant, the film centers on the married couple (Kidman and Fiennes) of Catherine and Matthew Parker, whose latest relocation to one of the deepest stretches of the Australian Outback with their children, Lily (Maddison Brown) and Tommy (Nicholas Hamilton), has hit quite the snag. After a short time adjusting to their newest digs, Catherine and Matthew awake one morning to find that not one, but both of their children have flown the coop, with not a clue in sight as to their whereabouts. Enter our local detective (Weaving) who is given the case, and as the film progresses, we learn some interesting nuggets of info about our happy family (quite a bit of sarcasm in that one), and their reasons for the abrupt nomadic address change they’ve just undertaken. Now anyone can check out the structure of this film and ascertain that both the children are malcontents, strictly acting out in order to obtain a prescribed response from Mom and Dad, and you know what? It worked. Seems fitting that a colossal dust storm is the backdrop for the kids’ disappearance, because there is a rather larger cloud over Matthew and Catherine’s marriage, and once the cemented reality of their kids’ vanishing sets in, we truly see the cracks in their own foundation begin to re-emerge, and the only issue I had with that is, I simply didn’t care. Kidman offers up a strong performance as Catherine, bringing herself to the edge in more than one scene, and giving the illusion that a piece of her soul is lost alongside her spawn, but somehow Fiennes looked seriously out of place as the father. Given the possibility that his role was written to specifically display this kind of performance, I can go with it, but it doesn’t mean that I have to like it – kind of like dragging your child to the doctor’s office – I’ll go through the torture, but I’m going to voice my displeasure every freaking step of the way. Hugo Weaving, as the stoic investigator, is simply that – stagnant, sedentary, and ultimately mournful – his work in this film is for the lack of a better word, “threadbare.” I can give a film a look and while I’ll literally scrape the meat off of the bones when it comes to performances, I can definitely get lost in a movie’s scenery, and this is where Strangerland earns my respect, with its sweeping cinematography and enveloping visuals, the look and gloomy feel of the situation weighs very heavily on the overall product, however it gets pulled down way too far in order to take any pleasure in it. In essence, we’ve got a moody, wrought psychological presentation about a married couple whose issues with each other have subsequently led to the departure of their own offspring, and the attempts to not only locate the children, but to reconnect the splintered remnants of a union long gone awry. Did I get everything tucked into one neat little package? Then why the hell did I get dragged so far out into the freakin Outback to figure it all out?

Andre Rieu, together with his Johann Strauss Orchestra, featured soloists, and choir celebrate the most romantic time of the year with 14 holiday classics. The Modern Maestro presents the heartening Silent Night, Ave Maria and O Come All Ye Faithful as well as unforgettable renditions of all-time favorites like Silver Bells and White Christmas. A highlight in the program is the premier of Andre Rieu's own composition December Lights, sure to become an instant classic. Home For The Holidays is a treat for fans of Andre Rieu, a wonderful display of classical music, and a feast of holiday entertainment for the whole family.

For all the big and intriguing themes the film subsequently pays lip service to, there's no disguising the fact that this is a fairly dull and suspense-free true crime drama.

The ties that bind a dog to his master can be one of the most unbreakable bonds most of us will ever see here on Earth. Now, further forge those traits of loyalty, love, trust and respect on the battlefield, and you can begin to understand why a service dog and his trainer become linked for life, and not even death can break that bond. Kyle Wincott (Robbie Amell) is the trainer for “Max,” a type of Belgian Shepherd of the same breed that was used by Seal Team 6 in the Operation to kill Bin Laden, and together they lead their unit on missions to find hidden weapons caches in the villages of Afghanistan.

A dispirited detective is partnered with a like-minded police dog and together they help one another as they search for the crime lord who murdered the dog's former partner.

Tom Rob Smith’s crime bestseller makes a shaky transition to the screen in the hands of Swedish director Daniel Espinosa. Set in 1953 in Stalin’s USSR, it starts from a brilliant premise – a detective investigates a series of child killings in a society where even acknowledging the possibility of murder is considered treasonous. In writer Richard Price’s boil-down of the labyrinthine original, the whodunit intrigue loses all momentum, while the film never rises to the prime challenge: persuading us to invest in the redemptive ordeals of a hero (Tom Hardy) who starts out as a merciless state investigator. And the whole thing is fatally scuppered by the decision to have everyone speak in borscht-thick Russian accents. Hardy is very odd, as usual. With a performance of obsessional, brutish intensity, he seems to be off in another film of his own – although, truth be told, it’s a considerably more interesting one than Espinosa’s, which is shot in several shades of Volga mud and drags like a Thursday afternoon in Nizhniy Novgorod.

Someone had the (semi) bright idea to ride the coattails of the upcoming Marvel sequel to The Avengers, by collecting the title characters of the Brothers’ Grimm tales and placing them together in a movie. Instead of Iron Man and Captain America, we are treated here to the sight of Rumpelstiltskin and Cinderella doing battle. Dastardly Rumpelstiltskin uses Snow White’s Magic Mirror in order to transport himself and White into the modern world. This transgression inadvertently brings three other princesses Cinderella, Sleeping Beauty, and Rapunzel along too. Now, out-of-place in the real world, the group of ass-kicking females must use their training and every bit of their magical prowess to defeat Rumpelstiltskin and his legion of enslaved men. Aided by Red Riding Hood, the ladies must confront the Wolf and return Snow White to their alternate universe. Bodybuilding champion and one-time Hulk-ster Lou Ferrigno is Iron Jim, a monster of a man who transformers in a green colored wrecking machine. This is one of the most enjoyable ‘Mockbusters’ to escape from the Asylum since Hercules Reborn. I’ve been accused of being both too kind and overly critical of these titles, but this time out the praise is deserved. Casper Van Dien knocks this one out with an intensity, and sense of wily mischief we haven’t seen from the actor in recent years, while Marah Fairclough’s slumbering beauty is a dream. The fight scenes are polished and the movie has a vibe similar to the X-men series, particularly the parallel between Rouge and Riding Hood.

A Norwegian-made, English-language film set in Ireland, Kenya and Afghanistan, and starring French luminary Juliette Binoche, would seem to wear its internationalism on its sleeve. Yet globe-trotting, at least to war zones, forms the central conflict in “A Thousand Times Goodnight,” Erik Poppe’s gripping tale of a dedicated photojournalist torn between passionate involvement with her work and commitment to her worried family. Deftly sidestepping both melodrama and family-values messaging, Poppe imbues the film with enormous emotional resonance, brilliantly grounded by his leading lady. The absence of subtitles and the presence of Binoche should open global arthouse doors for this Montreal fest grand prizewinner.

Some films aspire to high insanity. “Ted 2” aims low and hits the target, but also manages, in its scattershot way, to be gleefully resonant with our fevered times. Seth MacFarlane’s raunch-rich comedy is a sequel to his 2012 hit about an amiable guy from Boston and the potty-mouthed, compulsively womanizing teddy bear who’s been his best friend since childhood. Once again, in what’s bound to be another hit, the guy, John, is played by Mark Wahlberg; Ted’s voice is Mr. MacFarlane’s; the script was written by the filmmaker with Alec Sulkin and Wellesley Wild; and no holds or cringeful vulgarities are barred. This time, though, the focus turns from a love triangle of John, Ted and Mila Kunis’s Lori to a civil-rights struggle—yes, you read that right—pitting Ted against a world of implacable bigots.

Although the Johnny Depp and Angelina Jolie-starrer “The Tourist” has been faltering at the box office, it recently received unexpected support from the Golden Globe nominations. Along with a nomination for best musical or comedy, the film also earned acting nominations for both Depp and Jolie. As in many other cases, audiences were right in their distaste with it and the Hollywood Foreign Press was mistaken in its misguided support for a film that doesn’t even qualify as either a musical or a comedy.

One of the reasons the original Poltergeist probably made such an impact back in 1982 was that, to my memory, it was one of the first haunted house movies taking place in a modern tract home instead of a rambling manor, as if to tell those upwardly mobile Jordache and leg-warmer-wearing young marrieds that even their brand spanking new model home might not be supernaturally safe. Perhaps the filmmakers 33 years later thought a similar setup would make this even more of a pointless retread, but still, which haunted house setting do you think sounds even more like a cliché, an expensive new house or a cheap fixer-upper? Of course, as you pointed out, this house doesn't exactly look like the low-price part of town. They couldn't have found a '60s ranch house or split-level?

Beyond its blindingly colorful palette, the pleasures to be gleaned from the sequel to the 2012 hit “The Best Exotic Marigold Hotel” derive from watching its eminent, mostly British cast ham it up while trying to inflate dramatic molehills into mountains. To get away with pretending that less is more, strenuous overacting is required. But for die-hard Anglophiles whose hearts go pitter-pat over actresses awarded the title Dame, it won’t really matter what the film’s most famous returnees say or do, as long as they chew the scenery. Leading the list are Maggie Smith and Judi Dench, peddling their irresistible brands of British hauteur. But be warned: If you haven’t seen the first “Marigold,” adapted from a novel by Deborah Moggach, you may find it difficult to figure out who’s who and what’s what in the seriously overpopulated “The Second Best Exotic Marigold Hotel.” Continue reading the main story Related Coverage The Second Best Exotic Marigold HotelMARCH 6, 2015 Because there’s no explanatory prelude in the sequel, you wouldn’t know, for instance, that most of the characters are financially stressed Britons, recruited to spend their sunset years in Jaipur, India, at a residential hotel that is much less splendid than advertised. After much grumbling and backbiting, they become a semi-happy extended family embarked on improbable romantic adventures.

Nathan does not create Eva to be wife/lover, much less a perfect one. The fact the ends up sleeping with his creations (Kyoko and the others) are more about his perversions than about the original intent of the project. And if you think this concept is "retro" then you haven't seen what the Japanese are doing with robots and AI (Google it). In 20 years (or less) people are going to say: "Seriously? This is what we did with the technology?" Its not going to be pretty.

Yes, the film has interesting dialogue and plotting. And it's beautifully realized by set design and photography. Garland creates a nice paranoid atmosphere in the underground bunker. Unfortunately, the gender politics of the film are retro and cliche. Ever seen a Hollywood film about a man creating, manipulating or molding a woman to be the perfect wife/lover? And while the plotting is clever, it's not really convincing or surprising. Still, it's a well made film with some sharp dialogue and scenes.