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Zac Efron Reportedly In Talks To Star In ‘Baywatch’ Movie With Dwayne Johnson

Zac Efron Dwayne Johnson Pamela Anderson Seth Gordon Damian Shannon Mark Swift Beau Flynn Ivan Reitman Baywatch Robert De Niro

Zac Efron is reportedly in talks to star in a big screen version of Baywatch. The former High School Musical star is in negotiations with producers for the upcoming Paramount Pictures film. Dwayne Johnson is also reportedly on board and the pair will be directed by Horrible Bosses director Seth Gordon.

Zac EfronZac Efron at the L.A. premiere of Neighbors in April 2014.

Read More: Seth Rogen And Zac Efron Set For Neighbors 2 In 2016.

Continue reading: Zac Efron Reportedly In Talks To Star In ‘Baywatch’ Movie With Dwayne Johnson

San Andreas Review


Set up as an old-style disaster movie with only a fraction of the plot, this earthquake action adventure is preposterous enough to just about work as a guilty pleasure. Everything else about the film is simply absurd, from the fake science to the simplistic family dynamic that strains to hold the story together. But it's definitely a big-screen spectacle, and Dwayne Johnson was made to fill the big screen.

He plays Los Angeles Fire & Rescue chopper pilot Ray, who is going through a divorce from Emma (Carla Gugino) after the death of his young daughter. Now his older daughter Blake (Alexandra Daddario) needs help moving up the coast, but Ray has been called to respond to a freak quake in Nevada. So she travels instead to San Francisco with her mother's millionaire boyfriend (Ioan Gruffudd). Then jittery Cal Tech scientist Lawrence (Paul Giamatti) works out that this temblor is heading for L.A. and will move up the coast to San Francisco, perhaps creating the biggest seismic event the world has ever seen. As he issues urgent warnings, Ray rescues Emma from a collapsing L.A. skyscraper, and they both head north to save their daughter. Meanwhile, Blake has teamed up with sexy Brit Ben (Hugo Johnstone-Burt) and his perky little brother Ollie (Art Parkinson) to survive the chaos in San Francisco.

Despite the filmmakers' stated goal to recreate a classic disaster epic like The Poseidon Adventure (1972) or Earthquake (1974), this film doesn't bother to feature an ensemble cast with complex intertwined storylines. Instead, it heaps all of the drama onto Johnson's beefy shoulders. He has more than enough charisma to hold it together, even if his one big emotional scene feels a bit, well, stony. Everyone else provides a masterclass in panic-stricken acting, running and screaming and fearing for everyone's lives even though it's clear from the start that very few characters will die. Hundreds of thousands of anonymous digitally rendered victims perish, but the movie doesn't bat an eyelid about them.

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Premiere Of Warner Bros. Pictures' "San Andreas"

Beau Flynn, Wendy Jacobson and Hiram Garcia - The Warner Bros. Pictures world premiere of 'San Andreas' held at the TCL Chinese Theatre - Arrivals at TCL Chinese Theatre - Hollywood, California, United States - Tuesday 26th May 2015

Los Angeles premiere of 'San Andreas'

Beau Flynn, Alexandra Daddario, Brad Peyton and Carla Gugino - Los Angeles premiere of 'San Andreas' held at TCL Chinese Theatre - Arrivals at TCL Chinese Theatre - Hollywood, California, United States - Wednesday 27th May 2015

Beau Flynn, Alexandra Daddario, Brad Peyton and Carla Gugino
Beau Flynn, Alexandra Daddario, Brad Peyton and Carla Gugino
Beau Flynn, Alexandra Daddario, Brad Peyton and Carla Gugino
Beau Flynn, Alexandra Daddario, Brad Peyton and Carla Gugino

Two Night Stand Review


Miles Teller and Analeigh Tipton are smart enough actors to make the most of this uneven romantic comedy, which never manages to disguise the standard formula, even with a gimmicky premise. So while the plot and characters are simplistic and artificial, at least there's some charisma on the screen to keep us entertained. There's also a spark of lively chemistry that makes the hokey romance somewhat amusing.

It's set in New York, where Megan (Tipton) has moved in with her loved-up friends (Jessica Szohr and Scott Mescudi) to recover from a bad break-up. After a run-in with her ex (Josh Salatin), she goes online in a moment of desperation and then heads to Brooklyn for a one-night stand with Alec (Teller). But when she tries to sneak out in the morning, she finds that they're snowed-in, unable to leave the building. Super-defensive for no real reason, she creates a war-zone in the flat, and they eventually agree to be ruthlessly honest with each other. If they're going to be trapped together, they might as well learn something useful.

There's never a question of where this is heading, although the script makes Megan such an angry shrew that we really don't like her at all for much of the film. She only calms down when Alec produces some weed (a misogynistic plot point), and as they finally begin to communicate Tipton and Teller are able to inject an enjoyable mixture of intelligence and wit into their rambling conversation. This makes them feel more realistic, and lets the film make some sharp observations about the nature of courtship in the world of dating apps. Yes, looking for a partner online is difficult even when "the bar is set so very low".

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European premiere of 'Hercules' - Arrivals

Beau Flynn, Aksel Hennie, Reece Ritchie, Ian McShane, Ingrid Bolso Berdal, Dwayne Johnson, Irina Shayk, Rufus Sewell and Brett Ratner - European premiere of 'Hercules' at CineStar IMAX im Sony Center in Berlin - Arrivals - Berlin, Germany - Thursday 21st August 2014

Beau Flynn, Aksel Hennie, Reece Ritchie, Ian McShane, Ingrid Bolso Berdal, Dwayne Johnson, Irina Shayk, Rufus Sewell and Brett Ratner
Beau Flynn, Aksel Hennie, Reece Ritchie, Ian McShane, Ingrid Bolso Berdal, Dwayne Johnson, Irina Shayk, Rufus Sewell and Brett Ratner

Hercules Review


Far more entertaining than it has any right to be, this is a big, messy blockbuster retelling of the Greek myth that thankfully has a sharp sense of humour and some surprising twists up its sleeve. The cast is also packed with veteran performers who know how to make the most of some eyebrow-raising innuendo, generating intrigue while keeping the audience laughing with them rather than at them.

The premise takes a revisionist approach, grounding the legend of the demigod Hercules (Dwayne Johnson) in real stories that have been exaggerated by his nephew Iolaus (Reece Ritchie), who travels with him as a kind of toga-era marketing expert. Their team of mercenaries includes wryly fatalistic seer Amphiaraus (Ian McShane), quick-witted blade-thrower Autolycus (Rufus Sewell), bow-wielding amazon Atalanta (Ingrid Bolso Berdal) and loyal mute warrior Tydeus (Aksel Hennie). When they're offered a fortune by Lord Cotys (John Hurt) to quell a rebellion, they find themselves in the middle of a massive battle that doesn't go the way they expected. And as events take unforeseen turns, Hercules and his gang have to dig deep to turn the tide in their favour.

Johnson is a natural in the role, so massively pumped up that he looks like he could be popped with a pin. His hulking physique and just enough back-story give the character's reputation some weight, both literally and figuratively, so even if he's not half-god his achievements are still pretty impressive. (There are also plenty of hints that he may turn out to be a god after all.) And the surrounding characters add to this with cleverly written roles that are expertly played by British scene-stealers Hurt, McShane, Sewell, Mullan and Fiennes. McShane is so good that he essentially walks off with the whole movie. But relative newcomers Ritchie, Hennie and Berdal more than hold their own.

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The premeire of 'Hercules' held at Event Cinema Sydney - Arrivals

Beau Flynn - The premeire of 'Hercules' held at Event Cinema Sydney - Arrivals - Sydney, Australia - Thursday 19th June 2014

Dwayne Johnson, Beau Flynn and Guest
Guest, Dwayne Johnson and Beau Flynn
Dwayne Johnson, Guest and Beau Flynn

Hansel & Gretel: Witch Hunters Review


Made in Germany, this raucous adventure merrily refuses to follow the usual Hollywood route of blanding-down a fairy tale for the lowest common denominator (see both Snow White movies last year). It's still pretty stupid, but it's so unapologetically over-the-top that we're consistently entertained. And it helps that the filmmakers are clearly aware of how ridiculous the plot is, so they push it even further.

The film opens with a horror-style version of the Grimm Brothers' fable, then jumps years ahead as Hansel and Gretel (Renner and Arterton) achieve notoriety as bounty hunters specialising in tracking down and dispatching witches. When they arrive in a small village, they rescue innocent young Mina (Viitala) from the bloodthirsty mayor (Stormare), then vow instead to capture the area's real wicked witch Muriel (Janssen). The sheriff is sure they're con artists, so forms his own posse. Meanwhile, Hansel tentatively falls for Mina, and the duo also meet their teen super-fan Ben (Mann), who joins them as they head into the woods.

Norwegian writer-director Wirkola has created a gonzo action-horror movie out of the familiar bedtime story, complete with wildly outrageous creatures, fiery battles and almost as many explosions as a Michael Bay Transformers movie. Meanwhile, Renner and Arterton strut through medieval Europe like 21st century action heroes, wearing skin-tight leather, head-butting their foes, swearing like sailors and shooting massive guns at anything that moves. In other words, Wirkola's approach is essentially satirical, which allows him to indulge in astounding levels of grisly violence without it ever getting too nasty.

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Journey 2: The Mysterious Island Review

With just one character from the 2008 adventure, this film does a decent job continuing the story while playing loosely with another Jules Verne's story.

It's an enjoyably ridiculous romp with far-fetched action for the kids and a few deranged gags for the grown-ups.

Now 17, Sean (Hutcherson) has intercepted a broadcast from his Vernian adventurer grandfather (Caine). He begrudgingly lets his stepdad Hank (Johnson) help decode the message, which says that Verne's Mysterious Island really exists, and that it's the same island from Stevenson's Treasure Island and Swift's Gulliver's Travels. Sean is determined to see it, so Hank accompanies him to Palau, where they rent a helicopter piloted by the goofy Gabato (Guzman) and his hot daughter Kailani (Hudgens). But after they find the amazing island, they discover that it's about to sink.

Continue reading: Journey 2: The Mysterious Island Review

Choke Review

Let's face it: No one thought Fight Club would be anything other than another flash of David Fincher directorial determination when it first came out. Critics and audiences were not enamored with the machismo and mayhem epic, even with stars Edward Norton and Brad Pitt in the lead. No, it took a few years for the cinematic scales to fall from everyone's eyes, turning a cult flick into a classic. Perhaps actor turned auteur Clark Gregg is hoping for the same time-aided appreciation. His interpretation of Club author Chuck Palahniuk's novel Choke is equally quirky and unsettled. One senses, however, no future re-evaluation for this uneven effort.

Since leaving medical school, sex addict Victor Mancini (Sam Rockwell) has worked tirelessly to keep his mentally deranged mother (Anjelica Huston) in a private nursing home. By day, he's a "historical recreationist" at a local colonial village. By night, he travels to various restaurants around town and pretends to choke. Once saved, he hits up his good Samaritan marks for any and all kinds of financial assistance. Desperate to learn who his father is, Victor teams up with a new doctor named Paige Marshall (Kelly Macdonald) to decipher his mother's memories, as well as translate an old diary which may provide some clues. Of course, in between consultations, it's nothing but fornication and copulation.

Continue reading: Choke Review

The Number 23 Review

There are at least 23 ways in which The Number 23 sucks. The most important revolves around its inability to distinguish creepiness from cliché. It fails to realize that there's not nearly enough weed on this planet for its supposedly deep observations to blow your mind. As a result, moments meant to instill fear either evoke boredom or, more often, the giggles.

The movie begins with what has to be the 23rd re-enactment of the Seven credits that were groundbreaking 12 years ago. They do, however, feature a treasure trove of fun facts about the number 23 such as the Mayans predicting that the world would end in 2012. 20 + 12 = 32, which is 23 backwards; get it? Like I said, not nearly enough weed.

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11:14 Review

Car crashes seem to be ripe material for screenwriters looking for a hook to hang their movies on. From Intersection to Crash to Crash (the other one), this seems to be a well-travelled genre. 11:14 adds another notch in that post, a Rashomon-like story of a half-dozen characters who all intersect on one quiet road at 11:14 PM, which results in the loss of at least one life, one male member, a lot of cash, and endless property damage. The immediate before and after of the event contain even more chaos, including a gunshot wound for Hilary Swank.. The film tells each story in sequence, each time adding a little more context to this bizarre series of events, and each time causing us to care a little bit less about what exactly happened. It's not terrible filmmaking, but the plot's "cleverness" will hardly knock your boots off.

The Wild Review


You will not find a worse movie in Walt Disney's animated canon than The Wild. At the very least, the hyperactive abomination helps us understand why the once-mighty studio shelled out $7.4 billion to acquire Pixar Animation Studios earlier this year. Pixar is a proven hit factory, an imagination emporium responsible for the lucrative Toy Story adventures and the Oscar-winning superhero smash The Incredibles. If The Wild represents all that remains in Disney's think tank, it's now painfully clear that the Mouse House needs Pixar like a table needs legs.

Wild is a high-impact cartoon, the kind that catapults its characters head first into rocks, trees, and other animal's rear ends every time we expect a joke but are met with silence. Like its immediate predecessor, Chicken Little, this meaningless cartoon assumes kids will roar their approval so long as things move extremely fast, crash with teeth-shattering force, and pass gas. Parents lose twice - they must pay hard-earned cash to enter and then endure 90 minutes of noise.

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After The Sunset Review

Before I begin my review of After the Sunset, there is one thing I need to get off my chest. Salma Hayek...awoogah!!!

Thank you for permitting that interruption.

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