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Mission: Impossible - Rogue Nation Trailer


The IMF (Impossible Mission Force) have been active for years, but it's time has run out. The head of the CIA (Alec Baldwin) informs them that they are to be disbanded, but some people can't actually adjust to that sort of thing. Ethan Hunt (Tom Cruise) can't let go, and soon discovers that the IMF is actually needed more than ever. The Syndicate - a Rouge Nation - has been steadily growing over the years, and is seen as an anti-IMF. Now, Hunt and his team must engage in their most impossible mission to date, and fight an enemy which, officially, does not exist.

Continue: Mission: Impossible - Rogue Nation Trailer

Special Screening Of 'I'll See You In My Dreams' - Arrivals

America Olivo and Donnie Kehr - Special screening of 'I'll See you in My Dreams' held at the Tribeca Grand Screening Room - Arrivals at Tribeca Grand Screening Room - New York City, New York, United States - Monday 11th May 2015

America Olivo and Donnie Kehr
America Olivo
America Olivo

Mission: Impossible Rogue Nation Trailer


Despite their countless missions, most of which deemed impossible, the IMF is closing down. Considered an irrelevant and archaic group, the government intends to tie off any loose ends - especially Ethan Hunt (Tom Cruise). The problem is, Hunt is a veteran, and a tremendous agent of the IMF, and has uncovered a terrifying secret rouge nation, known as The Syndicate. Hunt plans to track down, expose and destroy The Syndicate through any means necessary. To that end, he recruits his old friends and colleges from the IMF, and plans to take the fight to them. Even if the mission is impossible. 

Continue: Mission: Impossible Rogue Nation Trailer

Into The Woods World Premiere Arrivals

America Olivo and Christian Campbell - Photographs from the red carpet as a vast array of stars arrived for the World Premiere of Disney's film musical 'Into The Woods' which was held at the Ziegfeld Theatre in New York City, New York, United States - Tuesday 9th December 2014

America Olivo and Christian Campbell
America Olivo and Christian Campbell

"Into The Woods" New York Premiere

America Olivo and Christian Campbell - Photographs from the red carpet as a vast array of stars arrived for the World Premiere of Disney's film musical 'Into The Woods' which was held at the Ziegfeld Theatre in New York City, New York, United States - Tuesday 9th December 2014

America Olivo and Christian Campbell

'Into The Woods' New York Premiere

America Olivo and Christian Campbell - Photographs from the red carpet as a vast array of stars arrived for the World Premiere of Disney's film musical 'Into The Woods' which was held at the Ziegfeld Theatre in New York City, New York, United States - Tuesday 9th December 2014

America Olivo and Christian Campbell
America Olivo and Christian Campbell
America Olivo
America Olivo

"Into The Woods" New York Premiere

America Olivo and Christain Campbell - Photographs from the red carpet as a vast array of stars arrived for the World Premiere of Disney's film musical 'Into The Woods' which was held at the Ziegfeld Theatre in New York City, New York, United States - Monday 8th December 2014

America Olivo and Christain Campbell

No One Lives Review


OK

Clearly designed to be as grisly as humanly possible, this movie combines a brutal central character with a very flimsy premise. And the result is actually rather good fun simply because it's so over-the-top. While happily indulging in every gross-out cliche they can think of, the filmmakers may play it far too straight but they also give horror fans exactly what they want.

There's even the hint of a back-story, as an unnamed man (Evans) drives through the American Northwest with his reluctant girlfriend (Ramsey), who is furious over an affair he had. When they stop in a small town for the night, the televisions are full of stories about the hunt for kidnapped heiress Emma (Clemens). And they inadvertently become the target for a gang of violent burglars (Tergesen, Magyar, Olivo, Knapp and Clay) who have just killed an entire family. But the driver isn't a man to mess with, and when the thugs discover Emma hidden in his car, she warns them that he's a psychopathic maniac who won't leave any of them alive.

From here the movie essentially becomes an extreme slasher horror from the killer's perspective, as director Kitamura merrily indulges in the most grotesque torture and carnage he can think of. And it's so bloodthirsty that we can hardly stifle our laughter. There's also a level of soapy psychological tension to go along with the physical nastiness, which gives the actors something to work with. Evans prowls through each scene with unblinking ferocity, deploying whatever he finds on the gang's farm (oh look, a wood-chipper!). Meanwhile, the goons reply by having a vicious power struggle between Tergeson's cool-headed leader and Magyar's trigger-happy meathead.

Continue reading: No One Lives Review

Maniac Review


OK

Aside from being an exercise in point-of-view cinema, it's not clear why French filmmaker Khalfoun (P2) bothered to remake the notorious 1980 slasher horror. This version certainly doesn't include any of the subtext that made 80s horror so intriguing. Instead, it strings together a thin plotline as an excuse for extremely grisly violence and whizzy camerawork. That's enough to hold our interest, but it never gets under the skin.

It's set on the side-streets of Los Angeles, where Frank (Wood) lives in the family mannequin shop haunted by memories of his trashy mother (Olivo). A true psychopath, Frank prowls the streets at night attacking women and scalping them to create a sinister mannequin tableau back home. When he meets the French photographer Anna (Arnezeder), he decides to try and live a normal life. She is intrigued by his shop, and wants the mannequins for her gallery exhibition. But how long will it be before Frank snaps?

Filmed completely through Frank's eyes, we only get glimpses of Wood in mirrors and in a couple of eerie out-of-body shots along the way. But Khalfoun stirs in fantasy sequences, memories and delusions as well, trying to get us into the mind of this mild-mannered killer. Much of this is bravura filmmaking, with long takes and complicated camera angles combining with above-average make-up effects. With all of the brutality aimed at women, the film definitely recaptures the misogynistic tone of those 1980s video-nasties.

Continue reading: Maniac Review

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