Following their supposed escape from the monster infested maze, the surviving Gladers led by Thomas are taken to an underground facility in the wake of a devastating solar flare known as The Scorch that has left the vast majority of the population infected with a disease called the Flare, but little do they know they are about to enter Phase Two. Soon they begin to realise that they're still part of WCKD's dastardly experiment and they must find a way to escape once and for all or risk more of them dying untimely deaths. They are warned about the dangers of entering the barren wasteland that has become the rest of the world, but they have no choice if they want freedom. Cities have been overtaken by sand dunes, but they soon about to discover yet more unfathomable horrors that lie before them.
To the outside world not much is known of Alexander Coates AKA Mr. Alexander, however for those who truly know him and his business they know he's the don of a large criminal empire; a notorious kingpin in the underworld of crime.
With age comes change and Alexander is ready for an altogether quieter and straighter life but retirement in criminal cartels is never easy, especially when your nemesis wishes to eliminate any potential threat you might hold over his rise to the top. Ice Man is a criminal with ruthless intention, and very little fear; a problem for all concerned. Mr. Alexander and his loyal employees' come face to face for an all-out action shootout with Ice Man and his army.
The direct to video movie has a renowned action cast of Steven Seagal, Danny Trejo, Bren Foster and Ving Rhames. The film contains everything that fans of the genre should expect in the ways of guns, explosions and all out violence; and some very slick Martial Arts in the way of Seagal and Foster. Force Of Execution looks set to bring another dose of Seagal flavoured action in 2014.
More unsettling than actually scary, this slow-burning horror movie is directed and acted with style even though the script feels rather under-developed. There's enough intrigue to hold our interest, even though the plot is laced with lapses of logic and ill-defined situations. So what keeps us watching is the hope that something might eventually make sense. And along the way the gimmicky filmmaking finds ways to send chills down our spine.
The title is never quite defined; it has something to do with Native Americans and an illicit government drug-testing programme in the 1960s. And things kick off in the present day when James (McMillian) tries one of these experimental mind-altering drugs and then promptly disappears. So his British journalist friend Anne (Winter) starts looking for him, learning that the drug is an extract from dead bodies. While monitoring suspicious radio signals in the desert, she tracks down counterculture novelist Blackburn (Levine), who has been experimenting with the same drug with his girlfriend Callie (Gabrielle). And the deeper they look the stranger things get.
Most of the film is set up as a fake investigative documentary, as Anne follows the story down into a surreal rabbit hole. Mixed in with this are real archive TV clips and old footage about US government experiments on unwitting subjects, plus videotapes that seem to show the hallucinations the patients are having, which makes us wonder if something supernatural and freaky might be going on here.
Continue reading: The Banshee Chapter Review
Each year, hundreds of film festivals transpire, but Cannes is definitely one of the most celebrated. Indie director Henry Jaglom takes us within the 1999 Cannes Film Festival and regenerates the flavor of what it's like to be there. As the movie opens, Jaglom inserts a montage of photographs featuring actors and filmmakers who have visited the festival earlier. Actors like Grace Kelly, Charlie Chaplin, and directors like Alfred Hitchcock have attended.
Continue reading: Festival In Cannes Review
Ten years ago Robert Altman's mordant Hollywood farce "The Player" premiered at the Cannes Film Festival and became an instant sensation. In 1999, writer-director Henry Jaglom took cameras to Cannes to give a similarly sardonic treatment to the increasingly commercial atmosphere surrounding the festival itself.
The resulting picture is "Festival In Cannes," the kind of sweet-and-sour insider movie that film buffs will eat up like so much gelati.
Borrowing visual, narrative and performance stylistic cues from Altman, Jaglom fuses together several astute and entertaining showbiz stories of wheeling and dealing, wonderment, deviousness and schmoozing on the red carpets, at the parties, in the street cafes and in the bungalows of five-star hotels.
Continue reading: Festival In Cannes Review
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