Mr. Olympia is one of the most prestigious international bodybuilding titles in the world, awarded to the competitors with the most defined muscles and one that Hollywood star Arnold Schwarzenegger won a consecutive six times in the 1970s. Since 1999 it has taken place in Las Vegas and since 2011, Phil Heath has been the Mr. Olympia reigning champion. This documentary follows the lead up to the next event, where Heath is expected to defend his title in a such a hugely competitive world where intensive working out becomes the most predominant thing in each bodybuilder's life. Among his competition is previous champion Jay Cutler and Kai Greene, the latter of whom has come second in the last two events. Will Heath maintain the title once again? Or is it now Greene's time to take the victory?
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From director Jason Connery come The Philly Kid, a tale of corruption, murder and professional fighting. Dillon McCabe (Chatham) is the titular Philly Kid who, on the same night he was crowned an NCAA wrestling champion, becomes involved in the killing of a police officer. He is sentenced to fifteen years in prison, enough time to contemplate his actions and vow not to fight again. Ten years on and Dillon is paroled back onto the streets on New Orleans, returning to his run-down Baton Rouge neighbourhood.
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I remember a time when I used to enjoy Seagal. Such films as Above the Law, Hard to Kill, Marked for Death, Under Siege, and Out for Justice are all solid action films from the '90s. Under Siege is even kind of good. But lately, films like Under Siege 2, Fire Down Below, and The Patriot have shown the age of the Italian stallion of Aikido.
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Everything the kinetic, colorful, superficially violent "Kill Bill: Volume 1" lacked in depth and character is remedied tenfold in Quentin Tarantino's stunning, cunning conclusion to his epic revenge fantasy.
Gone are the absurdist bloodbaths and the superficial grindhouse storytelling, and in their stead the wily writer-director transitions (with masterfully effortless cinematic aplomb) into a character- and dialogue-driven feast of substance and surprises -- which is, nonetheless, still punctuated by spectacularly stylish swordplay.
After a winking mock-noir prologue of recap narration, Tarantino opens "Volume 2" with a parched black-and-white flashback to the wedding rehearsal (glimpsed throughout last year's installment) at which The Bride (Uma Thurman), an unnamed and incognito former assassin trying to go straight, was brutally gunned down (along with everyone in attendance) by her former compatriots.
Continue reading: Kill Bill: Volume 2 Review
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