Saturday, 22 October 2016

Top 2016 Hollywood Movies Reviews And News

In this article we write a complete list of 2016 top hollywood movies reviews and news. In this article we write a list of horer movies missons movies civil war movies based on jungle movies batman movies superman movies Warcraft  movies based on animal movies based on biography drama comedy adventure based on full action movie based on full romance movies based on adventure action and other type of movies details are provide in this article. A good collection of all fantastic movies 2016 are here

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Search Engines Hollywood Movies Reviews And News:

The topic is social media and its discontents as friends and family gather for a SoCal Thanksgiving in a comedy starring Joely Fisher and Connie Stevens.
Aiming to satirize the ways that smartphone addiction has transformed and infected our social lives, writer-director Russell Brown comes up with a few well-considered insights but finally has nothing particularly fresh to say about the matter. Among the ensemble he’s gathered for Search Engines, his comic slant on a California Thanksgiving, most serve as mouthpieces for various sides of the topic, rather than fully fleshed characters.

The promising energy of the early scenes, with its sharp banter and the insinuating camera moves of DP Christopher Gosch, gives way to an increasingly flat, repetitive and barely dramatized argument. The film might find better reception on devices than in theaters, its chief novelty being the onscreen pairing of real-life mother and daughter Connie Stevens and Joely Fisher.

Fisher plays newly divorced art journalist Judy, a non-cook who’s intent on preparing her first traditional Thanksgiving feast, working from recipes bookmarked on her phone. The sudden loss of cell reception in her suburban neighborhood throws a wrench into the meal preparation (does no one have a laptop?), and throws most of her guests into a tizzy.

More convincing than the intended comic turmoil is the chemistry among Fisher, Daphne Zuniga and Rick Slavin (his jittery performance is the film’s only affecting one) as siblings. Stevens provides an earnest sweetness as their GPS-challenged mom, while Judy’s daughters (Grace Folsom, Nicole Cummins) wisely stay out of the fray, turning to such antediluvian amusements as books and board games.

Rather than enriching the would-be satire, the collection of holiday guests increasingly feels like narrative clutter. Some are obvious emblems, others are just there. In different ways, smartphones embody far deeper problems between two conspicuously unhappy married couples: Michael Muhney plays a sexually dishonest husband, and Michelle Hurd is another man’s self-involved wife, who derives validation from her constant online reviewing. It’s no surprise when their digitally cast-off partners (Natasha Gregson Wagner, Barry Watson) bond over analog appreciation — or what another character dismissively calls “nostalgia for inconvenience.”

Had Brown (Race You to the Bottom, The Blue Tooth Virgin) found a way to ingrain his ideas in the various relationships rather than spelling them out, the movie might have found a compelling groove. Instead he attempts to tie together the various strands through the character Shane (Nick Court), a sort of performance blogger; location-based group happenings are his specialty. With Judy’s blessing, the Brit sets about interviewing the others about this most American of holidays, but mainly about their increasingly apparent dependence on web-connected devices.

Court brings a welcome weirdness and mystery to the role. That he turns out to be something of a villain — a crafty manipulator, anyway — is far less satisfying than intended, the air having been let out of the story long before.

The movie’s final, striking image suggests that Brown was reaching for something far more charged and unsettling than what unfolds onscreen. He captures a specific SoCal setting persuasively, but he struggles to turn it into a world where reading Madame Bovary or playing Boggle can feel truly subversive.

Distributor: Indican Pictures
Production: Ridgestone Media
Cast: Joely Fisher, Natasha Gregson Wagner, Connie Stevens, Daphne Zuniga, Barry Watson, Jonathan Slavin, Michael Muhney, Michelle Hurd, Devon Graye, Philipp Karner, Nick Court, Grace Folsom, Nicole Cummins, Ayumi Iizuka, Brooklyn Bella
Director-screenwriter: Russell Brown
Producers: Kerry Barden, Russell Brown, John Baumgartner
Director of photography: Christopher Gosch
Production designer: Leah Mann
Costume designer: Kristen Anacker
Editor: Christopher Munch
Composer: Ryan Beveridge
Casting: Kerry Barden, Paul Schnee


Not rated, 98 minutes

2015-16 Hollywood Movies Reviews

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White Ant Hollywood Movie Reviews:

White Ant': Film Review | Busan 2016

Busan International Film Festival
A strong exploration of the psychological impact of shame, fear and guilt.  TWITTER

Wu Kang-Jen and Yu Tai-Yan headline 'An Exposure of Affected Hospital' director Chu Hsien-Che’s first foray into narrative.
A young man with a fetish for women’s underwear becomes a target for harassment, which is just the tip of the iceberg in Taiwanese documentarian Chu Hsien-Che’s thematically sprawling debut feature, White Ant. Facile pop psychology aside, it would come as no surprise if Chu’s New Currents entry at this year’s Busan International Film Festival emerged as the frontrunner in the fest’s primary competition. Carefully modulated and wisely attuned to its strongest elements (Wu Kang Jen’s brave first-act performance and the bond between two mourning women in the third), White Ant is evidence of Chu's doc background, both in style and substance. White Ant has enough low-key star power in Wu and veteran performer Yu Tai-Yan to give it art house buoyancy in Asia-Pacific, and it’s a shoe-in for festivals outside the region.

In the middle of the night in a quiet corner of Taipei, bookstore worker Bai Yide (Wu, Taipei 24h) stops in the courtyard of a nondescript apartment block. A set of women’s underwear hanging in a window has caught his attention, and he is compelled to steal it. He goes home, masturbates and then lovingly stores the set away with dozens of others he has neatly tucked under his bed. A few days later, a DVD lands in his mailbox: Someone has caught him swiping the underwear and recorded it. Knowing his secret has been discovered is a source of ceaseless anxiety for the fragile Yide, who grows more distant and distracted each passing day.

Elsewhere, the university student who shot the video, Tang Junhong (Aviis Zhong), harbors no remorse over what she’s done. She refers to Yide as a thief and a pervert, stalks him at work and drops off multiple copies of the DVD to prove her point and exert a little power over the anxious young man. Her friends urge her to either leave him alone or call the police, suggestions that come too late to prevent catastrophe.

Structured almost like a two-act play, what starts as an examination of fetishism as a source of shame and isolation morphs into an examination of guilt and catharsis when Junhong insinuates herself into Lan Tangyuan’s (singer-actress Yu, Yang Yang) life. She is Yide’s mother, and Junhong is eager to find out if she had any influence on Yide’s fate, and if there’s anything she can do to make things right.

Writer-director Chu does an admirable job of toggling back and forth between past and present, and giving all three characters and both storylines room to breathe. Junhong’s growing fear that she is responsible for Yide’s end weighs on her almost as much as his belief his “sickness” would drive him even further onto the periphery of society. Both young actors deliver nuanced performances that swing between heartbreaking and infuriating without tipping into histrionics. Wu, all bone and tightly wound sinew, is the surprise, as his previous work has been good but not remarkable. Yu has the thankless role of the self-flagellating mother, but makes the most of her quiet moments with Zhong as they find a way to heal.

White Ant has its flaws. Yide’s emotional and psychological issues are the result of the childhood trauma of accidentally seeing his mother having sex (yes, another dangerous and damaging mother with a sex drive), and Junhong’s final breakdown stretches out past the point of moving into awkward. But Chu’s direction has an immersive quality to it that gives the characters texture and binds them in shared, unspoken fears, and Chu packs each frame with countless details that make Yide, Junhong and Lan's space as physically oppressive as each perceives it to be.

Venue: Busan International Film Festival
Production companies: Big Houses Film Production, Content Digital Film Co.
Cast: Wu Kang-Jen, Aviis Zhong, Yu Tai-Yan, Alina, Hu Wei-Jie
Director-screenwriter: Chu Hsien-Che
Producer: Mark Chen
Executive producer: Lai Ming-Hsiu, Kao Chun-Ting
Director of photography: Lei Heng
Production designer: Cheng I-Feng
Editor: Cheng Hsiao-Dong
Music: Wu Chia-Feng
World sales: Ablaze Image

In Mandarin

No rating, 95 minutes