LAD MOVIE - DISOBEDIENCE (2018) - FILM REVIEW
"Disobedience," Sebastián Lelio’s follow-up to his 2017 Oscar-winning film "A Fantastic Woman,"
and his first English-language film, starts with a Rabbi giving a
sermon about free will. He speaks of angels, beasts, and Adam and Eve.
He says, fearsomely, that humans are "free to choose." Then he drops
dead. There's something refreshing about a story so unconcerned with
"subtlety." Put it all out there. Foreground the theme. Underline as you
go. "Disobedience," based on Naomi Alderman's novel (with adaptation by
Lelio and Rebecca Lenkiewicz) is a good old-fashioned melodrama, albeit with a quieter touch.
Disobedience (2017)
The rabbi who dropped dead was Rav Krushka (Anton Lesser), an important figure in the London Orthodox Jewish community. His daughter Ronit (Rachel Weisz),
a New York-based photographer, left years ago. When she returns home,
she walks into the unchanged world of her childhood, looked at by
relatives and former friends with curiosity and concern. She is
rebelliously secular, with long free hair, cigarettes, short leather
skirts. The obituary for her father states that "sadly" he had no
children. It stings. She's been gone so long she had no idea that Dovid (Alessandro Nivola), taken in by her father as a protégé at 13, and Esti, her childhood friend (Rachel McAdams)
have gotten married. There's an awkward moment in the kitchen when she
makes the connection. The shock on Weisz's face is eloquent, although we
don't know the backstory yet.
The eloquence of the performances
is key to the material succeeding, since Lelio does not introduce the
characters, and their connections, in a straightforward way. It takes
some time before you figure out who Dovid is to Ronit, although from
their behavior you can tell they once were close. She forgets herself
and almost hugs him in a friendly greeting, and then laughs when he
recoils from her touch. Dovid and Esti invite Ronit to stay with them
during her time in London. This is playing with fire, since it soon
becomes clear that Esti and Ronit had an adolescent romance, well-known
to the community at the time. Lelio's approach helps us feel we are
thrust into the middle of a very tight-knit community, with a long
shared history. Exposition is always awkward, so Lelio doesn't bother
with it at all. "Exposition" wouldn't be spoken out loud in this crowd
since everyone knows everything about everyone else. Dovid and Etsi
don't yet have children. She is a teacher in a girls school and enjoys
her work. He is set to step into Rav Krushka's sizable shoes. Ronit's
arrival throws everything into confusion.
This is Lelio's third
film in a row about women (the first being 2013's "Gloria"), and he is
deeply empathetic to the ways in which repressive societies put women in
all kinds of impossible double- and triple-binds. In "A Fantastic
Woman," a trans woman fought to be allowed to grieve for her dead lover,
and Lelio's focus on the cruelty of the surrounding world pushed the
film into a nightmare-scape. He dials this back in "Disobedience." There
are no villains. Even the strict culture of Orthodox Judaism isn't
really a villain. The culture is shown as a close one, with many social
benefits, benefits which Ronit—in leaving—has missed out on. With all of
the dramatic and sexual stuff in the film, the best scene may very well
be a group scene early on, when Ronit joins Dovid and Esti's Shabbat,
attended by a small group of Ronit's relatives. The "mood" at the table
is far from friendly or warm, but it's also not toxic. This is a family.
Ronit is a lost lamb, but there is still space for her in the fold. A
lively debate occurs, and when Esti pops in unexpectedly with a cutting
observation, Ronit stares at her from across the table, thrilled. These
all feel like real people, not caricatures. (In this way, it reminded me
a little bit of Peter Weir's "Witness,"
where you could see why Rachel didn't just run away with the cop,
leaving the Amish world behind. You could see why she wanted to stay,
why she had to stay.)
The relationship between Ronit and Esti, past and present, is
clearly the focal point of the film, but Lelio takes his time getting
there. McAdams is miscast, but she does a fine job showing Esti's
burgeoning emotional life, exploding out of her in a rush: it is as
though time stopped for her when Ronit fled the community so many years
ago. But McAdams is so inherently positive. In a 1950s film,
she'd play a perky ingenue. She's wonderful here when showing
mischievous delight sneaking a puff off Ronit's cigarette. But when she
has to show Esti's anguish at being forced to marry in order to cure her
of wanting to sleep with women, she can't get to the depths required.
She knows what the depths are, but she can't get there in the way a Lili Taylor, or Elizabeth Moss, or Natalie Portman
could. But the scenes between Weisz and McAdams are fascinating, each
actress listening closely to the other, paying attention to every
nuance. It doesn't reach the scope of Grand Tragic Romance, but then, it
isn't meant to. These were two women whose normal adolescent crush was
banned. In a way, time stopped for the both of them.
The colors
of the film are subdued and chilly, all blacks, greys, smoky-blues, so
that at times it looks like a black-and-white photograph. It's
beautiful, in a classical and formal way. "A Fantastic Woman" featured
many surreal dreamlike images, but Lelio plays this one straight. So
straight, though, it is sometimes a detriment. It's the kind of movie
where teachers are shown giving lectures which directly comment on the
action of the movie. Dovid and his young rabbinical students discuss
sensuous love and its importance, and Esti discusses "Othello" with her
students. In one scene in "A Fantastic Woman," Aretha's "(You Make Me
Feel Like) a Natural Woman" is prominently featured, and in a scene in
"Disobedience," to break an awkward silence with Esti, Ronit spins the
dial on the radio and stops on The Cure's "Love Song," which just so
happens to narrate perfectly the emotions of the moment. These obvious
choices really stick out.
Pauline Kael observed that melodrama is
"the chief vehicle for political thought in our films," which you can
see time and again, particularly in films made before the 1950s. In
literature, melodrama can come off as overblown, preachy. But cinema can
make melodrama seem not just real, but urgent and relevant.
"Disobedience" could have gone even further in the direction of "Stella
Dallas"-melodrama torment. Some of it comes across as curiously
low-stakes, considering the circumstances. But, in a way, that's
refreshing too.
A woman returns to the community that shunned her
for her attraction to a childhood friend. Once back, their passions
reignite as they explore the boundaries of faith and sexuality.
Director:
Stars:
Language:
EnglishRelease Date:
27 April 2018 (USA) See more »Also Known As:
A rabbi meg a lánya See more »Box Office
Opening Weekend USA:
$237,393, 29 April 2018, Limited ReleaseGross USA:
$237,393, 29 April 2018Company Credits
Production Co:
AN INDIAN THAT GOES TO YOUR HEART - BEYOND THE CLOUDS (2018) - FILM REVIEW
obnoxious Indian-set drama. The film—the latest from Iranian co-writer/director Majid Majidi ("Baran," "Children of Heaven")—certainly
looks good thanks to cinematographer Anil Mehta's typically
gorgeous presentation of Mumbai's crowded streets and labyrinthine back
alleys. But Mehta's visual compositions are dissatisfying after a point,
mostly because the pseudo-mystical, live-and-let-live philosophy they
espouse doesn't ring true when applied to a story about poor people
struggling to transcend their treacherous living conditions.
Mehta ("Lagaan," "Veer-Zaara") can only do so much in a story that,
like Majidi's most famous '90s films, feels simultaneously too spacey
and too neat to say anything insightful about the plight of Amir (Ishan
Khattar), a teenage drug dealer who must look after Ashik (Goutam
Ghose)—the abusive and now hospitalized husband of
Amir's self-less sister Tara (Malavika Mohanan)—long enough for Ashik to bail Tara out.
From
the start, Tara's tragic circumstances are conflated with Amir's lack
of responsibility. He must become human enough to not only accept
responsibility for his actions, but also realize his responsibility to
her. This is a major challenge since Amir often does whatever it takes
to get ahead, including threatening Ashik's life, and offering to sell a
child into prostitution. Amir is, in this way, unkindly treated like a
product of his environment. Still, the film's dogmatic message is clear:
there are moments of beauty in this teenager's life that are meant to
prove that he is spiritually stronger than all of the seemingly
unavoidable/unforeseeable material obstacles in his way. Even the
mobbed-up gigolo/dealer that Amir works for, and the obstinate
brother-in-law he wants to smash to bits ... all of these problems are
supposedly surmountable.
This unbelievably optimistic mentality
makes it hard to take seriously Majidi and co-writer Mehrad Kashani's
rote scenario. Majidi and Kashani hold Amir's feet to the fire by asking
him to not feel trapped by his complex living situation. He must
forgive Ashik (notice that there's no discussion of the corrupt nature
of the Indian court system). He must save his sister. He must find a way
to support himself. He must be kind to Ashik's estranged mother and
extended family.
Meanwhile, Tara rots in jail. She's only
believably human in the scene where she gets fed up with her Kafka-esque
situation and screams that she needs to be let out immediately. She
paces back and forth, like Jack Nicholson howling with rage in the much-missed Milos Forman's "One Flew Over the Cuckoo's Nest."
And she demands attention, but Amir can only do so much. He follows her
movements from the other side of a see-through glass wall that
separates prisoners like her from visitors like him. This is the most
honest scene in "Beyond the Clouds," a rare moment of clarity where the
filmmakers admit: there are limits to what we can do for our loved ones,
no matter how much we owe them.
Unfortunately, Majidi and
Kashani also often insist on piling the weight of Mumbai's collective
troubles on Amir's shoulders. Never mind that the kid is only 19 years
old, and doesn't have a parent or mentor-like figure that can help him
figure out how to be his best self. What seems to matter most to Majidi
and Kashani is that Amir has enough friends and resources to make bad
decisions. So why shouldn't he be judged like an adult fictional
character? In this unsparing context, it's hard to stomach scenes where
Ghose seduces the camera with his genuinely seductive smile, and antic
energy. He does a charming improvised dance for a former colleague—right
before he stabs his friend in the hand. Amir even looks suave enough to
convince his murderous, tight-wad gigolo boss to pay him on time.
But what's the point of "Beyond the Clouds"? Why tell your
audience that it's more important to go beyond themselves than it is to
be better as themselves? Majidi is clearly drawing on the artistic
tradition of Italian neo-realist films like "Bicycle Thieves," "Umberto D,"
and "Rome, Open City," but shows no signs that he made it through to
the end of the best of those movies. Spoiler alert: people remain
homeless, hungry, and sad at the end of them! They don't get
to transcend their circumstances because that, to put it mildly, would
be a cop-out.
I don't care how stunning the Mehta-lensed
landscape shots of Mumbai are. The point of these scenes is to
watch Ghose find his way through and into the story. But "Beyond the
Clouds" isn't a city symphony: it's a conflicted tribute to a cruel,
and bewitching slum. Majidi and Kashani's shared vision feels
incomplete, as if they were moments away from realizing how to
temper their story's condescending, but well-meaning perspective, but
never got around to doing it.
Director:
Stars:
Release Date:
20 April 2018 (India) See more »Also Known As:
Floating Gardens See more »Filming Locations:
South Mumbai, Mumbai, IndiaCompany Credits
Production Co:
Namah Pictures, Zee StudiosTeenager Amir is constantly dodging trouble while dealing drugs in the underbelly of Mumbai. Following a drug bust, he evades the cops and ends up on the doorstep of his estranged sister Tara. Complications from concealing Amir land Tara in jail, but she still sees her brother as her only hope of living in the outside world again. While their lives have been darkened by despair, hope may shine from beyond the clouds.
Thanks for reading and have fun watching movies.
AVERAGE - AVENGERS: INFINITY WAR (2018) - MY LONGEST FILM REVIEW EVER
For a 160-minute epic that unifies a far-flung superhero universe that
took a decade to build, packs 76 characters into one story, and has four
to six plotlines cooking at any given time, "Avengers: Infinity War"
hangs together pretty well. The plot finds the intergalactic bad guy
Thanos (Josh Brolin)
and his army of Green Goblin-looking warriors bouncing from star system
to star system, torturing and killing various adversaries in order to
gather six super-powerful Infinity Stones and embed them in Thanos'
oversized glove. Once he's collected all six, Thanos will be able to
achieve his dream of wiping out half the population of the universe in
order to preserve its precious resources and restore "balance." The only
thing standing in his way are the Avengers, led by Thor (Chris Hemsworth), Hulk/Bruce Banner (Mark Ruffalo), Natasha Romanoff/Black Widow (Scarlett Johansson), Steve Rogers/Captain America (Chris Evans) and the rest. Plus all the characters from "Black Panther." And the ones from "Guardians of the Galaxy." And a few more Marvel characters who are new to this film.
Avengers: Infinity War (2018)
Co-directors Joe and Anthony Russo, co-writers Stephen McFeely and Christopher Markus,
their small army of actors, and their hundreds of filmmaking
collaborators have managed to get on the same page and stay on it. The
film's running time doesn't fly by, exactly, but it rarely seems to
stall out, which is impressive when you consider how many of the movie's
big scenes consist of people talking, sometimes emoting, in close-up.
The Russos swagger headfirst into melodrama here, more blatantly than in
any previous Marvel film they've directed, though there are problems
with their approach that I'll outline in a moment. The gambit works,
mostly, because the story is an operatic tragedy that necessarily has to
end with the heroes in a deep, dark place. In light of all this, it's
inevitable (and in no way a spoiler to reveal here) that not every
character makes it out alive, and that if you come away from the movie
feeling bummed out and anxious rather than elated, that means "Infinity
War" has done its job, just as "The Empire Strikes Back" and "Harry Potter and the Deathly Hallows: Part One" did their jobs.
If
only the film were better modulated, or perhaps longer, or more
elegantly shaped, or ... well, it's hard to say exactly what's wrong
here. But something's not up to snuff. This is, as many have pointed
out, one half of a story broken in two, but it feels like less than half
somehow. Until pretty recently, MCU films have suffered from collective
curve-grading—each film seemed content to settle for "better than
expected," as opposed to being really, truly good—and that feeling
returns here, unfortunately. "Infinity War" faced so many challenges,
many of them unique to this particular project, that it's a small
miracle that it works at all. On some level, it feels ungrateful to ask a
movie that already does the impossible to do it with more panache. But
what are superhero movies without panache really good for? If there was
ever a moment to swing for the fences, it was this one.
I like
how the movie builds everything around Brolin's CGI-assisted but still
fully inhabited performance as Thanos—an oddly wistful and lonely figure
who is, essentially, a religious fanatic, yet carries himself with the
calm certainty of a military man who's read the ancient Greeks
and speaks tenderly to cadets while stepping on their necks. (Thanos'
second-in-command, the snide and hateful space wizard Ebony Maw—played
by Tom Vaughan-Lawlor—makes
an equally strong impression, though he doesn't have many scenes.) Some
of the movie's most affecting and/or frightening moments see Thanos
tormenting captive heroes (including Zoe Saldana's Gamora and her sister
Nebula, played by Karen Gillan)
until they disclose the location of the stones, or forcing them to
consider killing themselves (or having others kill them) to stop Thanos
from achieving his dream.
The movie treats Thanos as an agent of pure chaos, like an Old
Testament curse come to life, picking people up by their skulls,
deconstructing them into three-dimensional puzzles with a wave of his
hand, even rupturing the structural integrity of the universe. He seems
to have the brute force of the Hulk and the conjuring skill of Benedict
Cumberbatch's Doctor Strange, one of the only characters who routinely
manages to counter his destructive power. At various points, characters
wonder aloud if they'd have been better off not fighting him. These are
action heroes, but the threat facing them is so daunting that they
contemplate an alternate reality in which they don't act.
Vision (Paul Bettany),
who has one of the stones embedded in his forehead, gets attacked while
he's off the grid in Scotland, enjoying the company of his beloved
Wanda Maximoff/Scarlet Witch (Elizabeth Olsen);
after they fight off Thanos' goons at great personal cost, he quips,
"I'm beginning to think we should've stayed in bed." Peter
Parker/Spider-Man springs into action during a class trip after spotting
Thanos' enormous, doughnut shaped spacecraft descending on Manhattan,
then gets the stuffing kicked out of him and says, "I should've stayed
on the bus." The movie has wicked fun foreshadowing the possible demise
of our heroes. In the only scene featuring Tony and his partner Pepper (Gwyneth Paltrow),
they discuss Tony's dream that they had a baby; it feels like the
superhero version of one of those scenes in a war flick where the young
draftee shows off a photo of his fiancee and declares, "Ain't she
pretty?" Thanos' assault on Wakanda, where Cap and the gang take Vision
in hopes that Shuri (Letitia Wright)
can preemptively extract and destroy his Infinity Stone, is depicted as
the logical, awful result of revealing the once-hidden country's
location, and aligning it with global defense organizations after
centuries of neutrality.
And yet, despite the movie's embrace of
pain and fear—exemplified by a scene where Thor lists all the loved ones
he's lost, and appears to be battling PTSD like Tony—it almost never
feels as special or as powerful as it ought to. The direction is part of
the problem. Marvel's conceptual artists, visual effects technicians,
colorists, and sound designers and mixers are operating at what might be
their aesthetic peak here—as well they should be, considering how long
this company has labored to perfect a consistent style and tone; the
panoramic vistas showing wrecked cities and space stations and distant
planets and alternate dimensions, a jumble of psychedelic ironwork and
watercolor clouds, seem as strongly influenced by the legendary Marvel
illustrator Jack Kirby as Taika Waititi's disco lark "Thor: Ragnarok."
But rather than match their support team's inventiveness, the
directors avoid risk. They capture both the violent (sometimes
cruel) action and the emotionally intense private moments in either a
boringly flat or frantically hacky manner (snap-zooms on falling
figures; herky-jerky camerawork and fast cutting during fight scenes;
the same stuff you see in most action films made during the past
decade). They use the camera in an expressive or poetic way so rarely
that when they do bust out a heartfelt flourish (like the long, slow
camera move that reveals the Guardians in their spaceship engaged in a
sing-along, or the "wipes" that reveal the reality that Thanos'
illusions hide, or a climatic fight between Thanos and multiple heroes)
it's as if somebody had briefly sparked a dull wedding reception to life
by going out on the dance floor and demanding a song with a backbeat.
This
would all be a lot less grating if the MCU hadn't produced two
back-to-back hits, "Thor: Ragnarok" and "Black Panther," which had vivid
directorial personalities (Waititi and Ryan Coogler,
respectively), and took as many stylistic/tonal risks as Marvel's brand
would allow. The studio is too bottom-line driven to permit the sort of
eccentricity that would've made this project truly pop (Joss Whedon's
ungainly potluck "Avengers: Age of Ultron,"
with its spiky wit and nihilistic robot philosopher baddie, is looking
better in retrospect). But it's no compliment to the Russos to say that
it's tough to tell just by looking at the movie if they were were on a
tight corporate leash the entire time, or if they decided to minimize
the innate risks of a project this huge and eagerly anticipated by
making vanilla choices.
Another issue—and I'm getting dorm
room-philosophical, so bear with me—is that the format of a blockbuster
MCU movie with 76 characters exposes the limitations of telling a
superhero story via this now-well-established cinematic template, as
opposed to telling it on the printed page, where the only limits are the
writer's imagination and the illustrator's flair for presentation. The
storytelling vocabulary of superhero movies doesn't have to be
constricted (FX's extravagantly inventive TV series "Legion" is proof)
but it feels quite constricted here; it always has been, notwithstanding
occasional outliers like "Thor: Ragnarok," "Black Panther" and "Ant
Man." There are an infinite number of striking or subtle ways that comic
book writers and artists can convey exposition, character details,
psychological states, and simultaneous events occurring in parallel
storylines; you can do stuff like expand a single decisive instant so
that it fills up six pages, or show Spider-Man swinging through midtown
Manhattan in a full-page splash panel dotted with thought balloons that
summarize a year's worth of his life. But in the sorts of Marvel films
that the MCU has released since 2008, we've mostly gotten stuck in
linear time, which is where most commercial narratives unfold. Most of
the scenes in "Infinity War" fall into one of two categories: (1) scenes
where people go into rooms or out onto the street and talk to each
other, and (2) action sequences where characters banter while punching
and zapping each other and dodging falling rocks, buildings, and
spaceships and trying not to get sucked into time-space portals.
There's only so much information that can be put across when you've
limited your storytelling in that way. The ticking clock proves a more
formidable enemy than Thanos. There are only so many moments or lines
that "Infinity War" can give, say, to Tony and Pepper; or to Bruce and
Natasha, who had a powerful connection in "Age of Ultron," got separated
soon after, and are confined to a couple of brief exchanges here; or to
Peter Quill/Starlord (Chris Pratt), Rocket Raccoon (Bradley Cooper), Drax (Dave Bautista) and Mantis (Pom Klementieff),
who are stuck doing comic relief when they aren't suffering greatly or
setting up Peter to make some very bad, dumb choices. Heimdall (Idris Elba), The Collector (Benicio Del Toro) and Proxima Midnight (Carrie Coon)
are barely in the film. Cap gets maybe two dozen lines and a few
meaningful glances, mostly aimed at Sebastian Stan's Bucky/Winter
Soldier, who has even less to do. Chadwick Boseman's T'Challa/Black
Panther, who anchored his own marvelous feature just a few months ago,
is reduced to a glorified field general in "Infinity War," standing
alongside Okoye (Danai Gurira) and M'Baku (Winston Duke)
and watching Thanos' troops burn, trample, and otherwise disfigure the
countryside (an image that's more upsetting, for various reasons, than a
lot of Thanos' violence against individuals).
Another downside
of packing so many people into one film—so many that they apparently had
to cut a few; the film's IMDb page lists numerous major players who are
nowhere to be seen—is that you start to notice that certain characters
are redundant variations on/photocopies of other characters, a
realization that you might not have had if you were were watching them
star in their own self-contained movies. Putting Tony, Peter Parker and
Peter Quill in the same scenes, for instance, might sound like a slam
dunk, but once you spend a few minutes with them, the barrage of
wise-assery becomes grating. It's like being stuck at a party where
every other guy in the room mistakenly believes he's the funny one. (The
scenes between Thor and the Guardians are much better because Thor
plays the straight man to Quill, who is threatened by his awesome
masculine beauty.)
As is often the case in Russo-directed Marvel movies, the humor comes across more vividly than the action. ("Captain America: The Winter Soldier,"
with its paranoid thriller stylings and brutal, close-quarters action,
is still their zenith.) The movie makes excellent use of Thor and his
trickster brother Loki (Tom Hiddleston),
and gives Hemsworth more chances to show off his formidable deadpan
(when Rocket expresses amazement that he can speak Groot's language, he
explains, "They taught it on Asgard—it was an elective"). But the joking
around doesn't so much complement the film's dark material as clash
with it and undermine it. The self-aware humor that the MCU has always
done so well ends up working against "Infinity War" in the end. Marvel's
"just kidding" sensibility was a refreshing counterweight to the
fashionable darkness of early DC Universe movies, as well as to the
"dark & gritty" mode that became a global pop culture default after
the success of Christopher Nolan's Batman movies. But if there was ever a
time for Marvel to bust out the Zack Snyder-style, heavy-metal gloom
and slap the smirk off its own face, it's here, in a film that's mostly
about summoning the courage to fight battles that you know you can't
win, and accepting the likelihood of dying on your knees with your head
held high.
This movie shouldn't just engage and amuse and occasionally move us;
it should shock and scar us. It should kill Ned Stark and Optimus Prime
and Bambi's mommy, then look us in the eye after each fresh wound and
say, "Sorry, love. These things happen." The last 15 minutes have the
flavor of that sort of trauma, but without the actual trauma. Deep down,
we all know that modern superhero movies are operating with even lower
dramatic stakes than Star Wars or James Bond movies: beloved characters
rarely stay dead after they've been killed, and no plot development, no
matter how grave, is irreversible, so there's no possible way that what
seems to be happening on the screen could really be happening.
But we shouldn't be thinking about any of that as we watch Thanos hurt
characters we've grown to love and cast the universe into ruin. The very
sight should rip our hearts out.
Directors:
Stars:
Country:
USALanguage:
EnglishRelease Date:
25 April 2018 (Philippines) See more »Also Known As:
Avengers: Cuoc Chien Vo Cuc See more »Filming Locations:
Pinewood Atlanta Studios, 461 Sandy Creek Road, Fayetteville, Georgia, USA See more »Company Credits
Production Co:
As the Avengers and their allies have continued to protect the world
from threats too large for any one hero to handle, a new danger has
emerged from the cosmic shadows: Thanos. A despot of intergalactic
infamy, his goal is to collect all six Infinity Stones, artifacts of
unimaginable power, and use them to inflict his twisted will on all of
reality. Everything the Avengers have fought for has led up to this
moment - the fate of Earth and existence itself has never been more
uncertain.
Thanks for reading and have fun watching movies.
OCEAN'S 8 (2018) - TRAILER
JOHNNY ENGLISH STRIKES AGAIN (2018) - TRAILER
Johnny English Strikes Again (2018)
After a cyber-attack reveals the identity of all of
the active undercover agents in Britain, Johnny English is forced to
come out of retirement to find the mastermind hacker.
Director:
David KerrStars:
Language:
EnglishRelease Date:
10 October 2018 (France) See more »Also Known As:
Johnny English Volta a Atacar See more »Filming Locations:
Pinewood Studios, Iver Heath, Buckinghamshire, England, UKCompany Credits
Production Co:
SPECIAL - UPCOMING MOVIES THIS SUMMER
Take a quick look at some of the most anticipated movies coming to theaters this summer!
