L'Attentat Film Complet Streaming VF Entier Français

Dans un restaurant de Tel-Aviv, une femme fait exploser une bombe qu'elle dissimule sous sa robe de grossesse. Toute la journée, le docteur Amine, israélien d'origine arabe, opère les nombreuses victime de l'attentat. Au milieu de la nuit, on le rappelle d'urgence à l'hôpital pour lui annoncer que la kamikaze est sa propre femme. Refusant de croire à cette accusation, Amine part en Palestine pour tenter de comprendre.

Date de sortie 29 mai 2013 (1h 45min)
Réalisé par Ziad Doueiri
Avec Ali Suliman, Reymonde Amsellem, Evgenia Dodina
Genre Drame
Nationalité Français , belge , libanais , qatarien

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Scary Movie 5 film complet streaming VF en Entier en français HD

Jody et Dan, qui forment un jeune couple, emménagent avec leur bébé dans une maison où semblent se manifester d'étranges phénomènes. Ils vont faire appel à un médium... et au ballet pour faire la lumière sur cette malédiction.

Date de sortie 14 april 2013
Réalisé par Malcolm D. Lee
Avec Ashley Tisdale, Erica Ash, Simon Rex
Genre Comédie
Nationalité Américain

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Les Âmes Vagabondes film complet streaming VF en Entier en français

La Terre est envahie. L’humanité est en danger. Nos corps restent les mêmes, mais nos esprits sont contrôlés. Melanie Stryder vient d’être capturée. Elle refuse cependant de laisser place à l’être qui tente de la posséder. Quelque part, caché dans le désert, se trouve un homme qu’elle ne peut pas oublier. L’amour pourra-t-il la sauver ?
Date de sortie 17 avril 2013 (2h 4min)
Réalisé par Andrew Niccol
Avec Saoirse Ronan, Jake Abel, Max Irons
Genre Science fiction , Romance , Action
Nationalité Américain

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Rangrezz (2013)

Rangrezz is an upcoming Hindi film directed by Priyadarshan starring Jackky Bhagnani, Priya Anand, Rajpal Yadav and Amitosh Nagpal in the lead roles. Rangrezz is a Hindi remake of Tamil hit film Naadodigal, which has already been remade in Telugu, Malayalam and Kannada. After a gap of over fifteen years filmmaker Priyadarshan and Santosh Sivan have come together for this film. The film is produced by Vashu Bhagnani and releases on March 21, 2013.
The Rangrezz movie first look posters. featuring Jackky Bhagnani and Priya Anand. By looking at First Look posters, the movie looks quite interesting.

Cast

Jackky Bhagnani as Rishi Deshpande

Priya Anand as Megha Joshi

Amitosh Nagpal as Winu

Vijay Verma as Pakkya

Akshara Gowda as Jasmine

Raghav Chanana as Joy

Rishikesh Deshpande as Chacha Chaudhari

Pankaj Tripathi as Brijbihari Pande

Lushin Dubey as Rati Chaturvedi

Sunil Sinha as Devdutta Deshpande

Sona Nair as Devyani Deshpande

Sakhi Gokhale as Venu

Milind Wagh as Major

Milind Phatak as Carpenter

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Wrong (2012)

Things aren’t going too well for Dolph Springer (Plotnick). His dog has been kidnapped, his palm tree has turned into a pine tree, and his gardener (Judor) is posing as him to have sex with the pizzeria receptionist (Dziena) who’s fallen for his voice over the phone. On top of all this, he still turns up to his office, where it constantly rains indoors inexplicably, despite being sacked three months ago. Welcome to the world of Quentin Dupieux, the mad Gaul who first came to public attention with a late nineties Levi’s commercial featuring a head-banging puppet named Flat Eric (who makes a small cameo here).

If you thought Dupieux’s previous feature ‘Rubber’, the story of a tire with the power to make heads explode telepathically, was absurd, his latest will really have you scratching your cranium. Unlike that film, which was essentially a pun stretched to feature length, ‘Wrong’ actually has something approaching a narrative, and, crucially, a lot of laughs. He may hail from France, a nation often mocked for its lack of humor, but Dupieux has probably made the best American comedy you’ll see all year. It’s certainly a welcome respite from the “mumblecore” dramedies so beloved by the American indie set.

Absurdist humor can be painfully unfunny in the wrong hands. The Coens, Terry Gilliam, and Charlie Kaufman have all failed for one specific reason: they try too hard. David Lynch can pull it off because he is genuinely insane and, as a result, his surreal humor flows naturally. Dupieux, who not only directed but wrote, shot, cut and scored his film, may well have a screw loose as the gags in ‘Wrong’ are completely off the wall but never feel forced. Here, the situations are absurd but the characters are deadpan, unlike say, a Coen Brothers film which would employ exactly the reverse approach. Comedy is far more effective when the audience understands the joke better than the participating characters.
Ninety percent of viewers will no doubt find all this infuriating but if you’re a fan of comedy that manages to be incredibly clever about being incredibly stupid, ‘Wrong’ will provide an entertaining ninety minutes.

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Welcome to the Punch (2013)

Attempting to foil a robbery, detective Max Lewinsky (McAvoy) is shot in the knee by underworld boss Jacob Sternwood (Strong). Three years later, when his son is hospitalized as a result of his criminal ways, Sternwood returns to London, aiming to find those responsible. Lewinsky attempts to trap him and finally put him behind bars but the two find themselves double-crossed by a group of corrupt politicians and cops intent on pushing their agenda of arming the police force. Reluctantly, Sternwood and Lewinsky team up to expose the truth. Few sub-genres have produced such a level of mediocrity as the British crime flick. Over the past fifteen or so years, countless low budget Guy Ritchie knock-offs have hit our screens. It seems every week there's a new straight-to-DVD release featuring Danny Dyer as a "cockney hard-man". 'Welcome to the Punch' appears from the outset to be simply a big budget version of the aforementioned, replete with an A-list cast. Thankfully it shares little with its partners in British crime. There are no over-the-top "geezer" characters and it's possibly the first London based crime movie not to feature copious use of the C-word. Save for the accents, it's virtually indistinguishable from its American counterparts. While the plot is far from original, director Creevy keeps our interest with some brilliantly staged set-pieces. The look of the film seems to have been inspired by eighties thrillers like William Friedkin's 'To Live & Die in L.A' and Michael Mann's 'Thief'. Creevy and cinematographer Ed Wild use light sources in really interesting ways. There are stunning images like a forest illuminated by a nearby explosion, spotlights traversing an abandoned night-club, and a birds-eye view of a flash-light moving through a container yard. What the film lacks in substance, it certainly makes up for with an abundance of style. Add a cracking performance from Strong, who is quickly making a claim to be the new Ben Kingsley, and 'WTTP' is an entertaining, if instantly forgettable, old-school cops 'n robbers tale.

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3G - A Killer Connection (2013)

There are 4.3 Billion mobile phone users in the world. Every minute 60 thousand "Phantom Calls" are received worldwide. These calls have no known source of origin, no numbers and cannot be traced. Some people believe that these calls are spirits trying to connect to our world! 3G is the nightmarish story of Sam Arora and Sheena, a couple, who become victims of a series of events when Sam buys a 3G enabled second hand phone in Fiji islands while on a holiday. One night they receive a Phantom Call which changes their lives forever. They must face the unbelievable reality that the phone is somehow responsible for all that is happening to them and around them. The only way to stay alive, it seems is to unravel the mystery of the phone. But as the hours burn on, that becomes harder and harder to do. Technology is a part of our lives, what happens when technology wants to take our lives? 3G embodies the horror of a recurring nightmare that draws inspiration from the insecurities of modern life. In spite of all our technology and sophistication, we can't escape the unknown.

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Blancanieves (2012)

The past year has seen a flood of Snow White movies. The tale by The Brothers Grimm first received two decidedly contemporary renditions: the god-awful nightmare Mirror Mirror and the nightmarish action-pic Snow White and the Huntsman. The latter is fairly good thanks to an inspired performance by Charlize Theron as the evil queen and to its video-gamey style, which works surprisingly well. Both these revamped Snow White tales, however, are vastly eclipsed by the Spanish take, Blancanieves. Blancanieves (which literally translates to Snow White) appropriates the “white as snow, black as wood” features of its heroine and reimagines the classic tale in the silent black-and-white of classic cinema. As the characters in Skyfall would say, “Sometimes the older ways are best.”

Like last year’s The Artist, Blancanieves is a throwback to a departed era. Vintage is back in style, though, as shows like Downton Abbey and Mad Men have proven, and Blancanieves is a welcome trip to the past. It’s an exciting, irresistibly charming tribute to the silent era.

This retelling of Snow White feels as if one sifted through the archives and discovered a long lost gem. Writer/director Pablo Berger offers an immaculate recreation of silent film aesthetic, from the vintage stock look to the shot length and duration. Even better is the film’s visual sense, as it uses impressionistic shadows and images to accentuate the fairy tale feel.

The style of the film works especially well with the tale by the Brothers Grimm. Like the lovely black-and-white, the tale of Snow White harkens back to the earliest memories of the magic of storytelling, or of the magic of movies since the Walt Disney film was probably one of the first hooks that caught film buffs’ attention to the cinema. Berger’s tale of Snow White is an entrancing adaptation, too, for the tale’s fateful heroine is not a shut-in princess, but the daughter of a bullfighter.

Named Carmen in the film, the girl is the daughter of a star matador, Antonio Villalta (Daniel Giménez Cacho). A bull gores Antonio during a riveting bullfight that opens the film and both he and his pregnant wife are whisked to the hospital. His wife goes into labour upon seeing the accident, and she dies during childbirth. Antonio survives, but he awakens under the spell of his seductive nurse, Encarna (Y tu mamá también’s Maribel Verdú). A mean-spirited vamp, but hardly an evil witch, Encarna follows the Grimm tale by marrying the father, banishing the daughter, and enjoying a life of wealth and power at the expense of others.

The flip side of this Snow White tale is that the girl is rescued by a troupe of bullfighting dwarves. Carmen (played in her elder years by welcome newcomer Macarena García) joins the seven matadors in the ring. She is an instant star, since bullfighting runs in her veins, and she becomes a national icon as the matador Blancanieves, aka Snowhite. (That’s not a typo).

Blancanieves refashions the old fairy tale anew to the thrilling tempo of castanets and flamenco. Driven by a wall-to-wall score by Alfonso de Vilallonga, which essentially doubles as the film’s dialogue, Blancanieves is full of life and magic. It’s one of the best scores I’ve ever heard in a film, really, and it moves the fairy tale at a unique, exciting tempo.

Equally fiery is Verdú as the evil stepmother. Encarna has no magic mirror to explain her vanity or villainy, but Verdú conveys more wickedness than anyone has ever brought to the role. Playing the delicious character extra saucily, Verdú’s expressive face makes full use of the power of silent cinema. She isn’t afraid to chomp the scenery with an evil glare or a sneaky shift. Who needs dialogue when an actress can say so much with her face?

It’s easy to see how Spain chose this flawlessly executed work of art as its official entry for Best Foreign Language Film at the Academy Awards. (It also was a recent winner at Spain’s Goya Awards, beating the like of The Impossible for Best Film and Best Actress.) Blancanieves might not have made the final hurdle through the Academy’s convoluted foreign film contest, but it sets the bar for films to come in 2013. It’s a hypnotic, imaginative, and thoroughly magical feat of cinema.

I loved every minute of Blancanieves and every serious film buff surely will too. It’s a tribute to the cinema much like The Artist, but it’s also much more. If The Artist was like a blissful homage shot through an Instagram filter called Silver Screen, then Blancanieves is a thorough immersion in the foundational conventions of the medium. Thanks to Berger’s innovative approach to form and to the masterful cinematography by Kiko de la Rica, Blancanieves is not just a whimsical hat tip. It’s more like an addition to, if not a revival of, the era that made film the greatest form of visual art. As much as I loved the Michel Hazanavicious charmer, Blancanieves is even better than The Artist. It’s a must-see for all film buffs. Olé!

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Mental (2012)

Barry Moochmore (Anthony LaPaglia) is the Mayor of Dolphin Heads where he pays more attention to his re-election than his troubled wife Shirley (Rebecca Gibney) or his daughters Coral (Lilly Sullivan), Michelle (Malorie O'Neill), Leanne (Nicole Freeman), Kayleen (Chelsea Bennett) and Jane (Bethany Whitmore). All the females feel marginalised and a little mental, and the girls despair at their mother's unconventional behaviour. But when Shirley is sent to 'Wollongong' for a 'holiday', and Barry brings hitchiking Shaz (Toni Collette) into the house, they meet the personification of 'mental' and unconventional - and proud of it. Shez has a secret agenda, but until that is uncovered, the Moochmore family is transformed. Some of their family and neighbours are also caught in the crazy web ... Review by Louise Keller: In P.J. Hogan's Mental, there are brush strokes of genius and dark clouds of overkill in this ambitious film in praise of family and being accepted for who you are. It's been 18 years since Hogan's breakthrough hit Muriel's Wedding which made our hearts soar as we laughed with the characters, and made us weep from its flip-side pathos. It was also Toni Collette's calling card. Who did not embrace her unpopular, overweight Muriel, who loved ABBA songs and who dreamed of getting married? In Mental, all the signs point to Hogan wanting to recreate another Muriel's Wedding. Even his leading lady, Collette is on board, leading the charge in a reality that is surreal and over-the-top. Muriel was set in Porpoise Spit; Mental is in Dolphin Heads and The Sound of Music has replace the obsession for ABBA music. There are laughs but not enough and the moments of pathos do not come naturally. There is no question that Hogan is tackling high risk subject matter in the topic of mental illness and the line that divides humour, bad taste and pathos is a fine one indeed. But let me tell you what I like about Mental: the characters, who are all obsessed by something. There's Liev Schreiber with a fair dinkum Aussie accent as a crazed shark-obsessed theme-park owner and Deborah Mailman with a cheeky grin as the mad-as-a-hatter lesbian. I was delighted to see (and hear) that Anthony LaPaglia can remember how to speak Strine in his guise as an adulterous politician and absent father unable to remember the name of his daughters. Lilly Sullivan is a real find as the impressionable teenage Coral, who works for the theme-park and has a crush on the suitably named guitar-strumming surfie-type Trout (Sam Clark). Beautiful Rebecca Gibney is almost unrecognisable as the overweight, insecure Shirley Moochmore, who has always dreamed of being one of the Von Trapp family (and a credit to Austria) as she sings the songs from the film. Glazed china dolls are the obsession of Shirley's older sister Doris, beautifully played by Caroline Goodall, while Kerry Fox bravely plays Nancy, the cleanliness-obsessed neighbour whose daughter (Hayley Magnus) cannot keep her legs together. The other Moochmore kids are excellent, too. Toni Collette warrants a separate round of applause for her commitment to Shaz, the pot-smoking hitchhiker with the grandiose notion of avenging the perpetually humiliated. Arriving on the scene with her dog Ripper (the scene in which Ripper buries his nose between Shirley's legs is a match for the dog's name), Shaz is a larger than life creation intent on changing not only her destiny but that of those around her. Crashing into the Moochmore world of chaos, Shaz brings with her a grandiose notion that it is everyone else who is 'mental'; she and the Moochores represent the next step of human evolution - that of perfection. It is the tone and the touch that suffer. Instead of a light touch, Hogan makes his point too obviously, which in turn lessens the impact and the humour. The Sound of Music jokes go far too long, as does everything else in the film. The scenes in which the film's pathos is revealed feel separate from the rest of the narrative. It is a shame because the highly imaginative characters with their obsessions and foibles are wonderfully drawn and should not be allowed to be swept away in a wave of overstatement. Brisk editing and a little bit of subtlety within the colourful chaos would have been more than welcome. Instead, we are left disappointed.

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Jolly LLB (2013)

Story of 'Jolly LLB' has been featured in many typical court room drama type films. One may find resemblance with Govinda's - 'Kyuki Main Jooth Nahin Bolta'. Overall the theme reminds you of the films from 80's and 90's era. The first half of this film starts well with establishment of the characters but drags in between with romantic part and nothing exciting happening around. But just before the interval the movie picks up and has some interesting moments in the second half, too. Scenes such as the whole music copy case, Arshad filing PIL, Saurabh conversation with Boman, mild twist at the interval point, Boman - Arshad's chat in his office, bidding for police post, Boman-Arshad's heated moments in the court, Saurabh firing Boman followed by his finale speech and few more makes the movie interesting.On the flip side, the whole sudden interest of Arshad in this case looked total unconvincing. Similarly, his change of heart lacked the conviction power, the romantic part could have been avoided along with Amrita preaching Arshad and few more. Almost everything is predictable in this script and things happen pretty easily in the film.

Camera work is perfect in this film. There should have been some strict editing in the first half of the film along with few moderate cuts in the second half to make the movie crispy and powerful.

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The Place Beyond the Pines (2012)

My first word of advice: Leave your expectations at the door. If you’ve seen any of the marketing for the film, you’re probably getting a vibe similar to Ryan Gosling’s previous independent hit, Drive. This is by design. With the exception of his casting, and the fact that his character has a penchant for fast vehicles and criminal undertones, the two projects have almost nothing in common. The Place Beyond the Pines is a generational epic with a unique storytelling structure and an ensemble that rivals its bigger budgeted brethren. The lack of studio oversight has allowed for the creation of a wildly ambitious and deeply emotional movie… though its approach is simultaneously its greatest strength and its most devastating weakness. This film doesn’t exist to be anyone’s entertainment, and I’d hesitate to recommend it to someone who doesn’t have a healthy respect for the power of the medium. Everywhere you look, the world is painted in shades of grey, with characters becoming more or less sympathetic, but never truly “good” or “bad.” Most audiences aren’t used to having a complex relationship with the characters in a film, particularly the leads, and it’s easy to see where the casual viewer might dismiss the movie outright. However, for those of us who enjoy more challenging fare, Pines strikes a great balance between leading you down the path, and giving you the space to draw your own conclusions.

Going too far into the turning point moments would ruin the experience, so I’ll try to address the structure in more general terms. Pines is a long movie. With a first cut rumored at over 3 and a half hours, it’s easy to see that the filmmakers wanted to build an all-encompassing saga. The final film is about 2 hours and 20 minutes, and given that its three acts are, in fact, three separate narrative threads that occur in sequence, it’s actually a pretty modest length. Conventional wisdom would have suggested a style of editing rife with flashbacks and intercutting, but the director chose a much more methodical, chronological approach that keeps the story moving and prevents the audience from getting the chance to stop and reflect before the credits roll. The opportunity to experience the events of the film with the characters in real time is rare in contemporary filmmaking, and the disregard for cinematic tropes gives the whole project an added level of integrity.

The movie shows the life of the boy which got twisted when he lost his father`s car. The music for this movie has been out and is composed by Sachin Gupta and the music album has four tracks. The movie is set to release on 15 March 2013.

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Mere Dad Ki Maruti

Mere Dad Ki Maruti (MDKM), it's an outrageous comedy set against the backdrop of a loud Punjabi wedding in Chandigarh. MDKM tells the story of a boy who sneaks his dad's fancy new car out to impress the college hottie and how all hell breaks loose when he loses it!
Mere Dad Ki Maruti is an upcoming movie which tells the story of a boy who steals his father`s car to impress his college friends. The movie is directed by Ashima Chibber.

The movie features Saqib Saleem, Ram Kapoor and Prabal Punjabi. The movie marks the debut of a new comer Rhea Chkraborty. This comedy movie is set in the locations of Chandigarh in a Punjabi wedding. Saqib Saleem will be seen in a role of Sameer with his father played by Ram Kapoor. The role of Gattu is played by Prabal Panjabi. Rhea is playing the role of Jasleen. The movie also stars Ravi Kiseen who is playing the role of Sameer`s brother.

The movie shows the life of the boy which got twisted when he lost his father`s car. The music for this movie has been out and is composed by Sachin Gupta and the music album has four tracks. The movie is set to release on 15 March 2013.

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The Host (2013)

Got to attend a special preview screening in DC a few weeks ago. I wasn't quite sure what to expect... I enjoyed watching the Twilight movies, but I wouldn't exactly call myself a Twihard. The Host though is ... AWESOME. You get all the stuff you'd expect from Stephenie Meyer - like some very hot dudes and a very unique romance... this time it's a love "box" rather than a love triangle. It's hard to explain but it's genius. I can guarantee you won't have seen anything like it!! Alien invasion + hot people trapped in caves = the most inventive kissing scenes ever. As well as all the Twilighty stuff, you also get amazing performances - Saoirse Ronan is the ultimate kick-ass chick. She's got her pick of the men (Max Irons and Jake Abel, who are absolutely going to be stars after this) but there's so much more to her than that. She's an independent, powerful warrior woman. Jennifer Lawrence, watch out!! And why is no one talking about the kid who plays Saoirse's little brother yet?! He is adorable and so good. There is a scene where I teared up watching him. William Hurt was surprisingly hilarious as Uncle Jeb and Diane Kruger is deliciously evil as the Seeker. The movie also has a pretty thrilling sci fi plot, breathtaking scenery, crazy vintage cool costume design, and some seriously good-looking chrome cars. This is a quality movie. I guess that has something to do with Andrew Niccol being the director - from The Truman Show to Gattaca to In Time, he seem to make very stylish, smart movies. I haven't read the book (though I just bought a copy with the movie poster on the front!!) but I hear the movie sticks very closely to the novel. I think Twilight fans are going to be very happy. I think The Host novel fans are going to be very happy. I think a lot of people who didn't expect this movie to make them happy are going to be very happy!! Movie is out March 29th, and I am seriously counting down the days until I can see it again. PS Stephenie - if you're reading this - hurry up and write the next book so we can have our sequel! I have to know what happens to these characters. Hoster for life! (are we calling ourselves "Hosters" or what ;-)?

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G.I. Joe: Retaliation (2013)

G.I. Joe: Retaliation (also known as G.I. Joe 2 or G.I. Joe 2: Retaliation) is an upcoming 2013 American science fiction action film directed by Jon M. Chu, based on Hasbro's G.I. Joe toy, comic and media franchises. It is a sequel to 2009's G.I. Joe: The Rise of Cobra The film was written by Zombieland writers Rhett Reese and Paul Wernick. G.I. Joe: Retaliation features an ensemble cast, starring Bruce Willis and Dwayne Johnson, with Channing Tatum, Arnold Vosloo, Ray Park, Jonathan Pryce, and Lee Byung-hun reprising their roles from the first film.
After the successful release of The Rise of Cobra, Rob Moore, the studio vice chairman of Paramount Pictures, stated in 2009 that a sequel would be developed. In January 2011, Rhett Reese and Paul Wernick, the writers of Zombieland, were hired to write the script for the sequel. The movie was originally thought to be titled G.I. Joe: Cobra Strikes, which was later denied by Reese. Stephen Sommers was originally going to return as director of the sequel, but Paramount Pictures announced in February 2011 that Jon Chu will direct the sequel. In July 2011, the sequel's name was revealed to be G.I. Joe: Retaliation.
Chu stated that his film will be much different from the original. He said that they do address killing off the characters from the first film a little bit in his film, but his movie is about the new characters, and that it was partially his idea to reboot the franchise. According to Chu, the comic book interprets it in one way, and even the cartoon series switched theme songs in the middle, so everybody interprets it in a different way. "It’s the same world, but at a different point, so let's pay homage to the old stuff, but also do new stuff."

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Naachle London (2013)

Vijay is a having difficulties stone artist who works as a instrument trainer while trying for his big break. He is also a caring dad to his toddler Krishna with whom he lifestyles in a Western London, uk authorities smooth.

Rani is a effective single mom balancing a business and an family such as her little girl Mark, son Amit, widowed dad JT and crazy child sis Pooja.

Pooja operates the local Bollywood dancing category where Vijay and Rani take their children. A top manufacturer declares that Native indian Cinema’s greatest celebrity will be looking for a younger entertainer as well as performers and performers for his new Bollywood smash hit, with the Competitors set to take place at the London, uk Mela.

Rani and Vijay fall madly in really like at the dancing category but the tale takes a turn, when Rani’s dad JT understands of his little girl’s growing connection and prohibits it. Rani is split between her regard for her dad and her losing really like for Vijay.

As Vijay motivates Krishna to exercise more complicated towards success in the dancing competition, The Patels, whose son Navin is also competitive, tale their success through any means possible.

As the dancing competition techniques and feelings between Rani and Vijay accentuate, stress produces between all the figures. On the day of the London, uk Mela, with each performance generating enjoyment, we are handled to an surge of enjoyment and dilemma as Naachle London, uk gets to its ejaculation…

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Love and Honor (2013)

«Love and Honor» is a war melodrama directed by Danny Mooney. The action takes place in the 60s. According to the storyline young soldier Dalton Joiner (Austin Stowell) fighting at a war in Vietnam learns from a letter that his girl-friend Jane (Aimee Teegarden) has made up her mind to leave him. He can not believe such a turnabout and when soldiers get a discharge ticket, he goes to America to change his girl-friend’s mind and to propose to her. His true friend and comrade Mickey Wright (Liam Hemsworth), a cheery fellow and a big fan of fibbing goes with him. Upon coming there they get in a group of hippies headed by Jane, called Juniper now. Here the careless Mickey meets a girl called Candace (Teresa Palmer), an ardent opponent of war and a defender of peace. At first these two young people feel strong sympathy to each other and then love. But Dalton and Mickey have to hide the truth about themselves and tell everyone that they are deserters, otherwise the freedom-loving students would not be so hospitable to them, for soldiers are thought to be killers in uniform there… This story will tell you about war and peace, about freedom and struggle, love and friendship, honor and betrayal, the hard choice the young people will have to make. As it is, the movie touches upon many important themes, it is drama-like, but it fall short of it and resembles of a melodrama. It explores major themes, the play of the nice actors Liam Hemsworth, Teresa Palmer and others is not at all bad, but despite the timing of an hour and a half the movie turns out to be somewhat boring, dragged out, and you have a feeling that it is longer. From all the heroes we like most of all the untiring jester Mickey who turns a faithful friend, a daredevil who is changing from a womanizer to an ordinary fellow in love during the film; Candace, since childhood devoted to one aim - struggle for peace and freedom; Dalton who never listens to anybody and always reaches his aims, who is a reliable friend besides; antihero Peter played by Chris Lowell, a timorous boy doing mean actions and supposing himself to be very smart. One cannot say that the main heroes are notable for something, but at the background of other unremarkable, ordinary characters they look much better than others. Generally, the “Love and Honor” movie came out as an average melodrama for a one-time view. It reminds of the “Dear John” film. Young fans of the genre or girls waiting for their boy-friends from army may like the movie. But one should not expect special impressions from the film - it will not excite stormy emotions or agitation, you can while away the time with it.

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Gimme the Loot (2012)

Sofia (Tashiana R. Washington) and Malcolm (Tysheeb Hickson) are teenage graffiti artists struggling for respect in New York City. They come up with a scheme to “bomb” (tag) the home run apple at CitiField (formerly Shea Stadium); but they need to find $500 to pay off a security guard to let them inside the stadium during off-hours.

Sure, Sofia and Malcolm have stolen spray paint and jumped over subway turnstiles before, but $500 is a mighty big score for them. Sofia swipes some high-price sneakers and a cell phone; and Malcolm decides to steal some weed from his occasional employer, which fatefully delivers him to the home of an über-rich, white chick named Ginnie (Zoë Lescaze). No matter how much they steal, Sofia and Malcolm keep finding themselves returning to square one; so they finally decide to enlist the assistance of Champion (Meeko Gattuso) to help them burgle Ginnie’s home.

Gimme the Loot‘s naturalistic, guerrilla-style cinematography (Jonathan Miller) is offset by overly-manicured dialogue that would have benefited from organic, free-flowing, improvisational delivery. Writer-director Adam Leon’s micro-budget indie has a poetic rhythm to its “day in the life” structure, as it attempts to navigate the economic and social disparities between Manhattan and the outlying boroughs. Gimme the Loot removes parental guidance from the equation, turning New York City into a lawless playground for teenagers. One might say that Gimme the Loot glorifies Sofia and Malcolm’s life of crime and simultaneously softens Leon’s critique of the economic quagmire in which they are immersed. Despite their reliance upon thievery to survive, it is difficult not to root for the film’s anti-heroes, Sofia and Malcolm. Gimme the Loot won the Grand Jury prize in the Narrative Feature Competition at SXSW 2012.

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Beehad - The Ravines(2013)

Beehad of Chambel river valley, spread in the states of Uttar Pradesh, Madhya Pradesh and Rajasthan, are notorious for producing the dreaded dacoits of India. Feared dacoits like Maan Singh, Putil bhai, Malkhan Singh, Mohar Singh etc are all by product of this river valley region called Beehad. This trend still continues. However, today they have lost their sheen of self righteousness and become sort of mercenaries.

Slowly and steadily their practice turned into kidnapping and except for a few of them, others turned into a sort of mercenaries. The film, Beehad - The Ravines, deals with this mix of dacoits from 1975 to the year 2005. After a research of five years, this film went on floor and was shot at actual locations of Beehad in Chambal Ravines.

Initially Beehad nurtured extremist like Shriram, Lalaram, Fakkad, Mustakeem etc who terrorized the entire Chambal valley. Later Shriram Singh guided Vikram Mallah and Phoolan Devi into this art of terror and they ignited the valley with religious conflicts. Result of this was Kusuma Nain's birth as a dacoit who later killed Vikram Mallah. While Phoolan Devi vindicated her rape by killing 23 innocent people in Behmai village after her marriage to Maan Singh, it was Kusuma Nain who became the most evil and feared dacoit. Along with Shriram and Lalaram, Kusuma Killed 15 Mallah at mai aasta. Later she surrendered to police and is waiting judgment in Orai Jail.

Today Chambal valley does not have any real time dacoit, but the name beehad still evokes fear. Film Beehad - The Ravines is the story of these dacoits, their social exploitation, their taking to arms against this injustice and their reign of terror against opposite sects and castes.

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Starbuck (2011)

When are “lovable” movie losers even more (allegedly) lovable? When they’re all foreign and arthousey, of course!

French-Canadian Québécois 40something manchild David (Patrick Huard) is constantly letting down friends and family with his unreliability, and now he might have lots of new people to disappoint: the 142 offspring he fathered via sperm donation years earlier. There’s many more of them, actually -- 533 -- but only 142 are party to a class-action lawsuit to get a Montreal fertility clinic to reveal the identity of the donor they have in common, known to them only as “Starbuck.” The legalities of such a situation are brushed aside in a way that is actively offensive from a narrative perspective: overpowering feel-good music is the only soundtrack for the couple of courtroom scenes, so we have no idea of the relative merits of either side of the case, for or against David retaining his anonymity; and the legal, moral, and ethical culpabilities on the part of the clinic aren’t even mentioned at all.

Alas, there’s little hint, in the script by director Ken Scott and Martin Petit, of any other basis upon which to float such a tale: you know, emotional motives, stuff like that. Why do these 142 people feel entitled to Starbuck’s identity? Where are the families they grew up in, and what do they think about this quest? David’s offspring are barely characters, and there’s so many of them simply jammed into supposedly hilarious crowd scenes -- ha ha, David is the dad of all of them! -- that they might as well be random people pulled in off the street to fill a scene. (For a smart, intriguing look at a similar, though less extreme, real-life situation, see the wonderful documentary Donor Unknown, which I would not at all be surprised to learn was the inspiration for this wholly, even absurdly fictional film.) And what’s David’s deal? Why does he want to remain anonymous... and why, at the same time, does he feel compelled to become “guardian angels” for these 142 plaintiffs? His “lovable” side pops up in ways that add to the illogic of the story on the most basic level: How is he, a complete stranger, able to befriend one severely mentally and physically handicapped young man, even take him out for the day from the residential home where lives, without metaphoric and perhaps even literal alarm bells going off? And how is this young man, who does not appear able to communicate, part of the class-action group? If he has close friends or family working on the lawsuit on his behalf, why don’t they notice the stranger hanging around?

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