This is a new series I want to start and it is called 16 minutes. In those 16 minutes I will put all trailer which have been published in week 1 of 2018.
Enjoy the video and have a great start into this week.
Inspired by real events, Tiger Zinda Hai is a sequel
to the blockbuster Ek Tha Tiger, and an espionage action thriller that
follows an adventurous rescue mission in Iraq.
A dreaded terrorist organization run by Abu Usman in Iraq held's 25
Indian nurses and 15 Pakistani nurses has hostages in a hospital. Mr
Shenoy chooses Tiger for the mission whose missing since last 8 years
after he fell in love with ISI agent Zoya. Tiger and Zoya are happily
married with a son. Shenoy traces Tiger but he declines the mission
where Zoya convinces him as he loves his country then anything else.
Tiger leaves for the mission with his selected team and plan. To Tiger's
surprise Zoya to reaches to save the Pakistani nurses with her team.
The Raw and ISI team join hands to complete their missions by forgetting
the tensions between their countries. Making it a mission of humanity.
The cheese-soaked Bollywood action blockbuster "Tiger Zinda Hai," a
big splashy movie where Indian and Pakistani special agents team up to
defeat Syrian terrorists holed up in Iraq, is retrograde, bloated, and
formulaic. It's also consistently sincere, energizing, and charming.
So it's not surprising that "Tiger Zinda Hai" is the second highest grossing Indian film of the year (after "Baahubali 2: The Conclusion"). This is, after all, the kind of chest-thumping, nationalistic spectacle that Peter Berg
has, at his best, successfully translated into big box office bank here
in America. "Tiger Zinda Hai"—translated from Hindi as "Tiger is
Alive"—is also the sequel to "Ek Tha Tiger," the #1 2012 movie at the
Indian box office. Why wouldn't it make a mint?
Arguably, what's most refreshing about "Tiger Zinda Hai" is that its
creators don't just pay lip service to their characters' humanitarian
values, and ideas like the makers of "Ek Tha Tiger" did. For starters,
"Tiger Zinda Hai" is essentially an ensemble film headlined by co-stars Salman Khan and Katrina Kaif.
This is no small feat since "Ek Tha Tiger" feels like a Salman Khan
vehicle that also features Kaif. Think of the way that the recent "Ocean's Eleven" films are pretty much "putting on a show"-style musicals with more casino heists, and less dancing. In those films, George Clooney, Brad Pitt, and Matt Damon put their guys in place, and then let them do their respective things.
That's what "Tiger Zinda Hai" is like, only instead of robbing Al Pacino and Andy García,
these guys try to free a group of 25 Indian and 15 Pakistani nurses
from a group of Syrian/Iraqi fundamentalist kidnappers/terrorists.
Indian bureaucrat Shenoy (Girish Karnada) knows that only one man can
stop the terrorists, and their cartoonishly vindictive leader Abu Usman (Sajjad Delafrooz).
And that man is Tiger (Khan), a retired Indian super-spy who at the end
of "Ek Tha Tiger" eloped with, rather than neutralized, his Pakistani
super-spy wife Zoya (Kaif).
True to cornball formula, Tiger
returns from retirement—"somewhere in the Alps"—after briefly
considering the consequences of returning to a violent but efficient
life of shooting, stabbing, and exploding enemy combatants. Still, Zoya
and their young son Junior (Sartaaj Kakkar) give Tiger the green light,
so he goes ahead, and assembles a crack team comprised exclusively of
war movie cliches (The dynamite expert! The sniper! The
hacker!). Thankfully, Zoya and her own team of Pakistani spies join
Tiger mid-way through the film's hefty 165-minute proceedings. At this
point, the group's members put their political differences aside, and
vow to work together for the sake of, uh, all "humanity."
At this point, "Tiger Zinda Hai" has seemingly achieved toxic levels
of cheesiness. This is, admittedly, the kind of movie where women are
regularly terrorized for the sake of getting a rise out of audiences of
either gender, like whenever the kidnapped nurses gasp and shriek
audibly while bullets and rockets fly over their heads. This is also a
movie where Khan, without any ironic winking, uses his shirt as a gas
mask so he can give audiences two eyes-full of his
well-oiled, Texas-Steak-sized abs and pecs. That kind of self-loving
maneuver might as well have been swiped directly from the Old Man Tom Cruise playbook.
But
somehow, "Tiger Zinda Hai" transcends its inane nature through the
sheer force of its creators' convictions. This is, after all, the kind
of movie where Kaif gets four or five action scenes—instead of just a
token one or two—to flex her muscles. And those sequences are some of
the best in the film! Just look at the bit where Kaif launches Tiger,
his team, and Zoya up a ramp, and over a group of terrorists. Or how
about the scene where Kaif gets to dispatch a room full of baddies after
putting on a gymnastics, gun-and-sword-fighting, and wire-fu routine
that's just as rousing—and arguably more technically polished--than any
big set piece in "Wonder Woman."
This is also the kind of movie where even supporting characters like
selfish Indian mercenary Firdaus (Paresh Rawal!) and Zoya's fellow
Pakistani agents are given time and room enough to show off their
skills. See the the disarming moment—if totally contrived—moment that
Indian and Pakistani agents share talking about their favorite cricket
players.
So yes, "Tiger Zinda Hai" is an action movie with more
red meat than grey matter between its ears. It won't challenge your core
beliefs, or tell you anything daring or new (unless you think putting
aside your differences for humanity's sake is a radical concept). But it
is exceptionally good comfort food cinema because its creators take
their time here to deliver the kind of preposterous canned action poses
and improbably heroic feats that action filmmakers have been repackaging
and reheating since the '80s, if not earlier.
No, the biggest difference between "Tiger Zinda Hai" and other
recent proud-to-be-from-Country-X films like "Wolf Warrior II" (the
highest grossing Chinese film of this year, and of all time) and "The
Admiral: Roaring Currents" (the highest grossing Korean film of 2014,
and of all time) is that "Tiger Zinda Hai" is superior cheese. How could
you say no to a film that concludes with its two leads dancing joyfully
around Greek ruins while back-up dancers break-dance, twerk, and
pop-and-lock behind them? "Tiger Zinda Hai" is genuinely charming, and
that makes all the difference.
The story of the kidnapping of 16-year-old John Paul Getty III and the desperate attempt by his devoted mother to convince his billionaire grandfather Jean Paul Getty to pay the ransom.
Rome, 1973. Masked men kidnap a teenage boy named John Paul Getty III (Charlie Plummer). His grandfather, Jean Paul Getty
(Christopher Plummer), is the richest man in the world, a billionaire
oil magnate, but he's notoriously miserly. His favorite grandson's
abduction is not reason enough for him to part with any of his fortune. All the Money in the World
(2017) follows Gail, (Michelle Williams), Paul's devoted, strong-willed
mother, who unlike Getty, has consistently chosen her children over his
fortune. Her son's life in the balance with time running out, she
attempts to sway Getty even as her son's mob captors become increasingly
more determined, volatile and brutal. When Getty sends his enigmatic
security man Fletcher Chace (Mark Wahlberg) to look after his interests,
he and Gail become unlikely allies in this race against time that
ultimately reveals the true and lasting value of love over money.
“All the Money in the World” is brutal and funny
in the darkest way. The dark humor comes from John Paul Getty’s attitude
toward his fortune. He’s so miserly he makes Ebenezer Scrooge look
generous. Naturally, he’s the real target here; he would have to be,
considering Gail is just another middle class single woman who barely
has two nickels to rub together, thanks to her decision to decline Getty
family funds in exchange for keeping custody of her kids after
divorcing the old man’s drug addicted son. “All the Money in the World”
would be ten minutes long if grandpa would just pay what the criminals
are asking for the release of his grandson—$17 million—instead of
hemming and hawing and trying to get the price down.
Grandpa has reasons for haggling—not good ones, but reasons.
Ultimately, though, he just seems like he’s not wired right. His
grandson’s opening narration suggests that rich people aren’t actually
like you and me—that money has deformed their minds—but the elder
Getty’s behavior is so repugnant on so many levels, and so profoundly
dislocated from anything resembling empathy, that money alone doesn’t
strike me as the best explanation for his actions. I don’t know if this
is an unresolved complication, a basic failing of the screenplay, or a
dimension that Scott and/or Plummer added to the role during shooting.
If
the latter, however, what’s onscreen is more interesting than the
younger Getty’s diagnosis, because it means we’re watching an
emotionally stunted and perhaps mentally ill person with access to
billions allow a blood relative to suffer just so that he can save a few
bucks. In other words, it’s not the money, it’s him. To most of us, the
stated ransom is an unimaginably huge amount, but to somebody like
Getty, it’s the equivalent of the coins hidden under sofa cushions. We’d
do whatever it took to save a loved one in similar circumstances, but
John Paul the First has such an oversized dealmaker’s ego that he won’t
take out his checkbook unless the terms are just right.
Gail’s
tactical restraint when confronted with her former father-in-law’s
iciness is commendable, and Williams plays it just right, letting us see
Gail’s anger and frustration while making us believe that she could
tamp it down out of sight when dealing with the elder Getty and his
associates. What astonishing discipline this woman had! The old
cheapskate acts as if this is all just a large-scale version of saving
eight bucks buying a statue at a flea market. John Paul III could be
murdered or tortured as a result of the stubbornness of an old man who
prides himself on never meeting the first offer, and trying to save
money on everything, even a transaction as basic as sending out laundry
while staying in a five-star hotel (he washes and dries his own sheets
to shave a few bucks off his tab).
Scott is relatively restrained here, letting his stars carry the day
and declining to unleash the full force of his directorial power except
in a handful of intricate setpieces (I won’t specify which ones here,
because I doubt anyone but students of the Getty family history know all
the details, and a couple of them are genuinely surprising). A certain
monotony sets in during the middle section, which replays too many
similar beats too close together—if the script were looking to combine
or cut incidents, this would’ve been the place to do it—but on the whole
this is a more-than-solid effort.
It’s also a throwback of sorts. Adapted by screenwriter David Scarpa from John Pearson's 1995 book Painfully Rich: The Outrageous Fortunes and Misfortunes of the Heirs of J. Paul Getty,
it has a welcome 1970s flavor, by which I mean that it’s about
recognizable human beings dealing with tense situations that feel real
because they happened. The story is told in classically shaped scenes
with beginnings, middles and ends, and shot mostly in real locations.
The wide-format cinematography creates tension by shoving characters off
to one side or boxing them inside doorways or windows and letting you
wonder what unseen threats might be lurking in the rest of the frame.
As
is often the case in his non-science fiction movies, Scott splits the
difference between overwhelming, almost tactile-seeming realness, and
pure, uncut Hollywood fantasy, and you just have to roll with it.
There’s a standard disclaimer at the end of the film, stating that
certain liberties were taken with the historical record. I’d imagine
that a lot of them had to do with placing Gail and her partner in
misery, Getty's business manager and former CIA operative Fletcher Chase
(Mark Wahlberg,
who isn’t terrible but does not radiate intelligence and ultimately
makes no particular impression). The movie often puts the duo at the
sites of dangerous activities that they probably didn’t get anywhere
near in real life.
The film is a testament to the awesome work ethic of its 80-year old but still apparently tireless director, who fired Kevin Spacey,
the actor who had originally played Getty, a month before the scheduled
release date, after Spacey was accused of multiple accounts of sexual
misconduct, deleted all of his footage, reshot the affected scenes with
Plummer in the role and dropped them into the finished movie. This is
not the best place to get into the particulars of the production—they’ll
be nothing more than a footnote or asterisk in a couple of decades
anyway—but they’re worth noting because the end product is much better
than anyone could have expected, considering the challenges faced and
met by all involved.
In fact I wouldn’t be surprised if Plummer
got another Oscar for this part. If he does, it shouldn’t be seen merely
as an acknowledgment of good work under weird and unfortunate
circumstances, but as recognition of how precise and fearless he is.
There is nothing likable about the elder Getty, indeed very little
that’s recognizable as anything but evidence of profound, maddening
dysfunction. Plummer embodies the character so completely that his Getty
transcends the movie he’s in, and starts to seem emblematic of the
times in which the film was released, an era when money seems to matter
more than mercy.
Believing they have left behind shadowy figures from their past,
newlyweds Christian and Ana fully embrace an inextricable connection and
shared life of luxury. But just as she steps into her role as Mrs. Grey
and he relaxes into an unfamiliar stability, new threats could
jeopardize their happy ending before it even begins.
But before we start with the review I wanted to say that in 2018 I will go more beyond the world of movies. I have a lot of specials prepared and a lot of magical moments will be created when I will talk about my hobby: Hollywood and the world of movies.
I cannot wait for the new stuff and to share it with you.
In a brand new Jumanji adventure, four high school kids discover an old
video game console and are drawn into the game's jungle setting,
literally becoming the adult avatars they chose. What they discover is
that you don't just play Jumanji - you must survive it. To beat the game
and return to the real world, they'll have to go on the most dangerous
adventure of their lives, discover what Alan Parrish left 20 years ago,
and change the way they think about themselves - or they'll be stuck in
the game forever, to be played by others without break. Written by
Sony Pictures
James Newton Howard was originally announced as the film's composer, but had to leave due to schedule conflicts. See more »
Goofs
Helicopters cannot maintain level flight while turned sideways, any
pilot knows this and would never attempt such a move at low altitude
while inside a canyon. See more »
Quotes
[Fridge rushes by Martha and nearly knocks her down]
Martha:
Hey, person walking!
See more »
Crazy Credits
Near the end of the closing credits, Jumanji's drums can be heard beating. See more »
Baby I Love Your Way
Written by Peter Frampton
Performed by Big Mountain
Courtesy of Warner Bros. Records Inc.
By arrangement with Warner Music Group Film & TV Licensing
It’s hard to say whether “Jumanji: Welcome to the Jungle,” about a
group of teenagers who turn into videogame characters, is a sequel to
the 1995 Robin Williams hit “Jumanji,”
a remake, a reboot, or something else. But it’s definitely the kind of
movie that works the name of a classic rock song into its title and
makes sure to blast it during the end credits, so that people who were
in their twenties during the 1990s and now have kids of their own (and
probably took them to this film) can feel that Pavlovian tingle.
That description makes the new “Jumanji” sound like a cash-grab, and
in lot of ways it is—studios are so enamored with the notion that
pre-existing intellectual properties are box office insurance that
they’re far more likely to greenlight this than something genuinely new,
even though exactly no one has spent the last two decades saying, “I
wish somebody would make another ‘Jumanji.’” At the same time, though,
this is a likable, funny diversion, and sometimes more than that. It has
enough twists and surprises to pull viewers along, despite the fact
that writer-director Jake Kasdan’s
story (co-written with four people) is ultimately not much meatier than
the one from a 1990s videogame that the characters end up inhabiting
after getting sentenced to a “Breakfast Club”-type detention at school.
(In the original film, the titular diversion is an old-fashioned board
game, just like in the source material, Chris van Allsburg’s popular
children’s book.)
The protagonists here are Spencer (Alex Wolff),
an earnest nerd; Spencer’s onetime best friend Fridge (Ser’Darius
Blain), a football star who ends up grounded after authorities realize
Alex wrote a homework assignment for him; Bethany (Madison Iseman),
a classic snotty Heather-type who’s addicted to her smartphone and
takes selfies constantly; and the bookish, socially anxious Martha (Morgan Turner). They all have insecurities and issues. Once they end up inside the Jumanji videogame, these same characters are played by Dwayne Johnson (as Spencer the nerd); Kevin Hart (as Fridge the jock); Karen Gillan (as the super-fit avatar of Martha), and Jack Black,
of all people, as Bethany. There are supposed to be five characters in
the game-space, though, and we meet the fifth in due time: Alex Vreeke (Nick Jonas),
who is introduced as an energetic teenager in the film’s 1996 prologue,
only to get sucked into the game and become The Local Missing Boy whose
endlessly grieving family still lives in their now-decrepit house.
The body-switching gag threatens to wear out its welcome quickly (hah ha, the scrawny nerd looks like Dwayne Johnson now, and the awkward girl has washboard abs!),
but the actors take their assignments to play teenagers so seriously
that the film surfs along on a wave of poker-faced earnestness, mixing
moments of pathos in with its super-broad slapstick. (Except for Dan Castellaneta’s
Homer Simpson, nobody screams in pain more hilariously than Kevin
Hart.) At certain points you might feel as though you’re watching the
longest, most lavishly produced “Saturday Night
Live” sketch ever, complete with lush jungle scenery (the film was shot
partly on location in Hawaii) and attacks by CGI hippos, rhinos,
monkeys, crocodiles and the like. But since the entire thing plays like a
10-year old’s Disney Channel fantasy of what adolescence will be like,
it works well enough, especially when coupled with intense discussions
of the game’s rules (how many lives you get, how many levels there are,
how to lift the curse from the land, etc).
Both the videogame’s construction and its gender politics are very
‘90s. The movie is aware of this and makes fun of it, though there’s a
bit of an eat-your-cake-and-have-it-too aspect to the way it puts
Johnson and Gillan's bodies on display. There are occasional jolts of
mayhem, thanks mainly to the motorcycle-riding ninjas who do the bidding
of the movie’s villain John Van Pelt (Bobby Cannavale),
a demonic figure who wants to control the Jaguar’s Eye and claim
dominion over the land. The action scenes are constructed with a bit of
panache and manage to be exciting though you’re never seriously worried
that any major character is going to lose all of their lives. Kasdan, a
veteran filmmaker who happens to be the son of “Raiders of the Lost Ark” and “The Empire Strikes Back” screenwriter Lawrence Kasdan,
has an old-school sense of how to build those kinds of sequences. The
shots are thoughtfully composed, for the most part, and you always know
where you are and what's at stake from moment to moment.
The
script’s scenarios allow for charming, often faintly surreal funny
character moments, as when Black’s round yet flouncy Bethany instructs
Gillan’s super-fit but still physically awkward Martha on how to be
sexy. Black’s "hey, sailor" walk evokes Bugs Bunny in drag, and Gillan’s
subsequent “seductive” dance to distract some guards looks as if she’s
trying to shake sand out of her shorts while simultaneously dealing with
a bad case of swimmer’s ear. The film doesn’t have the nerve to follow
some of its more subversive ideas (such as Bethany lusting after Alex)
to their logical conclusions, probably because this is an expensive
project that’s terrified of alienating a certain sector of the public
(imagine the walkouts if Jack Black lip-locked with Nick Jonas in
something other than a CPR situation). But it’s still more surprising in
more ways than it had to be, and the performers are clearly having such
fun playing insecure teenagers that you stay involved even when the
thinness of the enterprise becomes undeniable. This is a two-and-a-half
star movie, honestly, bumped up a notch because the actors are likable,
the film doesn’t have a cruel thought in its head, and the sentimental
finale feels earned.
The rating system is also new. I will still rate the movies, but from 1 to 5 stars just to make the range a bit smaller and to show which one is really good or not.
Here is my list of the top 10 movies I watched in 2017, There are also some of 2018 already in there because I watched them already.
But now let's start with this 20 minutes video.
The Movieclips team decided to look back on the year in trailers and
pick the 10 best ones. This is our countdown! What are your favorite
trailers of 2017? Let us know in the comments below.
Watch more Trailers:
The Fandango MOVIECLIPS Trailers channel is your destination for hot new
trailers the second they drop. The Fandango MOVIECLIPS Trailers team is
here day and night to make sure all the hottest new movie trailers are
available whenever, wherever you want them.
