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First Name: Sumera
Last Name: Butt
Education: Masters
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Language: Urdu,English,Punjabi
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From : USA 


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Name : Anjlina Kaif
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Film review 'Sanam Teri Kasam 2016'

https://www.youtube-nocookie.com/embed/MUibWS7IJew

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Film Review: ‘London Has Fallen’

If nothing else, this dim, drab, xenophobic sequel to 'Olympus Has Fallen' points up everything 'White House Down' did right.

“By seeing London, I have seen as much of life as the world can show,” said Samuel Johnson in 1773, as quoted by biographer James Boswell. By seeing “London Has Fallen,” on the other hand, Johnson may conversely have marveled at a veritable cornucopia of death — the grisly, indiscriminate slaying of world leaders and common men, the swift pulverization of city infrastructure, and the slower decimation of any unsuspecting viewer’s brain cells. Aiming low and still managing to limbo its way under that bar, Babak Najafi’s cement-headed sequel to 2013’s POTUS-in-peril thriller “Olympus Has Fallen” shifts and expands the battleground from the White House to the Big Smoke, while maintaining a cozily American jingoism in its narrative scope and stakes. Cruddily crafted, grimacingly performed and effortlessly racist, this sloppy dish of Gruel Britannia may just go down well enough to green-light a continuing franchise of global destruction. World capitals quiver.

benefits of a modest budget and minimal expectations. Released months ahead of Roland Emmerich’s far wittier, more accomplished but near-identically plotted “White House Down,” “Olympus” was pegged as the cheapjack warm-up act for a predicted summer smash — only to wind up outgrossing Emmerich’s superior slab of cheese by nearly $30 million. Even within the exclusive realm of bad taste, there’s no accounting for it.

Now, with Iranian-born Swede Najafi (“Easy Money II: “Hard to Kill”) filling in for Fuqua, “London Has Fallen” arrives with only the unimposing memory of its predecessor to compete against. Somehow, it falls short. Where “Olympus” was at least cloddishly good-humored in its “Die Hard” stylings, there’s something coldly snarling and vindictive about its sequel’s flag-waving — not to mention a presumptuousness that global auds will invest equally in its on-screen fight for American leaders and freedoms, at any cost to those of other nations.

London certainly provides an attractive backdrop to the carnage: If you’re going to blow up any thoroughfare, after all, it may as well be one as storied and scenic as Chelsea Bridge, while the Houses of Parliament look smashing even when smashed to suboptimal CG smithereens. In no other sense is Blighty flattered here, however, as the pic’s story (by returning scribes Creighton Rothenberger and Katrin Benedikt) hinges on the country’s government, police force and intelligence service being unreservedly inept, corrupt, or some combination of the two. No wonder Secret Service director Lynne Jacobs (Angela Bassett, thanklessly stentorian as ever) discourages Aaron Eckhart’s President Benjamin Asher from leaving the eternally secure confines of the U.S. when Britain’s Prime Minister unexpectedly drops dead. Must he really attend the poor Limey’s funeral? Won’t a nice wreath from Interflora do?

Bloody-minded diplomat that he is, Asher insists on showing his transatlantic solidarity in person — with his trusty, venison-bodied protection agent Mike Banning (Gerard Butler) in tow to guard him against bumbling British incompetence and devious terrorist machinations of farther-flung origin. While North Korea was the enemy in “Olympus,” “London” predictably reverts to familiar Islamophobia, as infamous Pakistani arms dealer Aamir Barkawi (Alon Moni Aboutboul) vows vengeance on the West for a drone strike that — as depicted in a sun-scorched pre-credit sequence — fatally ruined his daughter’s wedding. A solemn gathering of world leaders at St. Paul’s Cathedral provides the perfect opportunity; in short order, terrorist minions in bobby-on-the-beat disguise are gunning down civilians in the street, revered London landmarks are crumbling to dubiously digitized dust, and the German, French, Italian and Japanese heads of state have all joined their British counterpart at the great global summit in the sky. (Don’t mourn the Italian, though — we’re shown he was a total lech.)

Film Review: 'London Has Fallen'

Reviewed at Soho Hotel screening room, London, Feb. 25, 2016. MPAA Rating: R. Running time: 98 MIN.

Production

A Focus Features (in U.S.)/Lionsgate (in U.K.) release of a Gramercy Pictures presentation of a Millennium Films, G-BASE production. Produced by Gerard Butler, Alan Siegel, Mark Gill, John Thompson, Matt O'Toole, Les Weldon. Executive producers, Avi Lerner, Trevor Short, Boaz Davidson, Christine Crow, Heidi Jo Markel, Zygi Kamasa, Guy Avshalom. Co-producer, Peter Heslop. Co-eexecutive producer, Lonbie Ramati.

Crew

Directed by Babak Najafi. Screenplay, Creighton Rothenberger, Katrin Benedikt, Christian Gudegast, Chad St. John; story, Rothenberger, Benedikt, based on their original characters. Camera (color, widescreen), Ed Wild; editors, Paul Martin Smith, Michael; J. Duthie; music, Trevor Morris; music supervisor, Selena Arizanovic; production designer, Joel Collins; art director, Bill Crutcher; set decorator, Richard Roberts; costume designer, Stephanie Collie; sound, Vladimir Kaloyanov; supervising sound editor, Lee Walpole; re-recording mixers, Chris David, Stuart Hilliker; visual effects supervisor, Sean Farrow; visual effects, Worldwide FX, Peerless, Baseblack, Intelligent Creatures, UPP, Union, The Senate VFX, Painting Practice; stunt coordinators, Steve Griffin, Diyan Hristov; line producers, Veselin Karadjov, Valentin Dimitrov, Dileep Singh Rathore; associate producer, Daniel Kaslov; assistant director, Ben Burt; second unit director, Steve Griffin; second unit camera, Lorenzo Senatore; casting, Elaine Grainger.

With

Gerard Butler, Aaron Eckhart, Morgan Freeman, Angela Bassett, Alon Moni Aboutboul, Radha Mitchell, Charlotte Riley, Patrick Kennedy, Melissa Leo, Jackie Earle Haley, Robert Forster, Waleed Zuaiter, Sean O'Bryan, Colin Salmon, Nancy Baldwin, Philip Delancy, Alex Giannini, Elsa Mollien, Tsuwayuki Saotome, Penny Downie, Deborah Grant. (English, Urdu, French, Italian, Japanese dialogue)

https://www.youtube-nocookie.com/embed/MUibWS7IJew

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Film Review ' THE LEGEND OF TARZAN '

Warner Bros.’ new trailer for “The Legend of Tarzan” lays out the origins of the iconic character, starting with the death of his father and glimpses of the feral child being raised by apes in the jungle.

The story then shifts to Alexander Skarsgård’s Tarzan leading a gentrified life and being forced to return to the Congo, with his wife (Margot Robbie) at his side, to serve as a trade emissary for England’s parliament — both unaware that he’s the pawn of a scheme to exploit the Congo.
“You are Tarzan,” he’s told in a voiceover. “You may not like who you are. You may have enemies, but you need to go home.”
The trailer includes plenty of scenes of a muscular Skarsgard swinging on jungle vines with apes, Robbie’s Jane being held captive and a stunning scene of a herd of buffalos charging through a colonial palace.

Christoph Waltz plays Captain Leon Rom, a Belgian warlord; Djimon Hounsou is the local African chief who opposes Captain Rom; and Samuel L. Jackson is a U.S. Civil War vet who helps Tarzan.

“The Legend of Tarzan” opens July 1. David Yates, who helmed the last four “Harry Potter” films, directs from a script by Adam Cozad and Craig Brewer.

https://www.youtube-nocookie.com/embed/MUibWS7IJew

                         

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Film Review: ‘Criminal Activities’

Jackie Earle Haley's directing debut uncannily re-creates the feeling of watching an Elmore Leonard clone circa 1996.



John Travolta as a charismatic gangster in an impeccably tailored suit. Casual references to Marcel Proust and quantum physics. An outrageously byzantine plot orchestrated around a big twist ending. The ’90s are back again in “Criminal Activities,” a profane thriller that so closely resembles the B-movies that followed “The Usual Suspects,” “Pulp Fiction” and “Get Shorty,” it could be mistaken for an archeological discovery. Making his directorial debut, veteran thesp Jackie Earle Haley uncannily re-creates the feeling of watching an Elmore Leonard clone circa 1996, when hunger for philosophizing hoodlums was at an all-time high. There’s nothing remotely fresh about this revival, but tight pacing and an overqualified cast keep things zipping along nicely, which may not be enough to draw people to theaters on Nov. 20, but should clear the lower bar of its simultaneous VOD release.

Were the four buddies at the center of “Criminal Activities” not texting so furiously, the film could be mistaken for another “Suicide Kings” or “Things to Do in Denver When You’re Dead” or “Two Days in the Valley,” since so little has been invested in the contemporary backdrop. All the emphasis is on the foreground, which offers the familiar premise of amateur crooks getting mixed up with trigger-happy professionals. Playing the type of guy who wears shades indoors, Michael Pitt stars as Zach, a smug young stock broker who reconnects with his friends Noah (Dan Stevens), Warren (Christopher Abbott), and Bryce (Rob Brown) at a funeral. A few drinks later, the boys start scheming.

Noah proposes a can’t-miss insider trading scheme involving a small pharmaceutical company on the verge of FDA approval for a game-changing drug. The four agree to partner up on a $200,000 investment, though only Noah has money on hand, which the others assume he inherited from his recently deceased father. When the company goes under, they discover the source of Noah’s cash is Eddie (John Travolta), a mob kingpin who sips on a kale shake and recites the seven rules of economics before informing them they owe him twice the money they borrowed. Eddie offers the cash-strapped men a way out: Kidnap a vicious gangster named Marques (Edi Gathegi), a member of a rival crime syndicate.



“Criminal Activities” aims for a mix of comic ineptitude and two-fisted gangster theatrics, and Haley hits the mark in the kidnapping sequence, which has Marques nearly muscling his way past the hapless quartet in a public bathroom. Stevens’ about-face from the masculine force of “The Guest” to a bushy-haired weakling here is a marvel to behold, but it’s Gathegi who steals the movie as a cool operator who’s completely in control of the situation, even when pinned to a chair with duct tape. Travolta’s return to Chili Palmer mode isn’t a bad idea, but the glib one-liners in Robert Lowell’s script don’t give him much of an arsenal; Gathegi’s serene posture and missile-guided barbs present the more clear and present danger in the room.

Pitt and the gang have a much harder time of it. Each of the four have the thinnest of backstories (one frets that his girlfriend is cheating on him, another struggles with his sobriety, etc.), but once the trouble escalates, they mostly just scream at each other. Haley and Lowell give the peripheral characters a little Elmore Leonard color, but they aren’t as generous with Pitt, Stevens, Abbott, and Brown, who tell each other to “Shut the f— up!” as if they were being paid by the utterance. Marques doesn’t want to spend another minute in the room with these guys; after a while, the feeling is mutual.

Haley gives himself the type of role Jackie Earle Haley might play as Eddie’s chief goon. Tech credits are serviceable across the board, though the pic’s habit of goosing up the action with brief song clips reps a minor but persistent irritation.



Film Review: ‘Criminal Activities’ 
Reviewed online, Chicago, Nov. 18, 2015. Running time: 94 MIN.
Production
An RLJ Entertainment release of a Phoenix Rising and Wayne Rice production in association with May Day Movie Prods., NeeNee Prods., Producer Capital Fund, and Jackie Earle Haley. Produced by Wayne Rice, Howard Burd, Micah Sparks. Executive producers, Mark B. Johnson, Daniel Diamond, Roger May, Mario Coluccio, Gayle Nosal, Chris Haley, Michael Pitt, Dan Stevens, John Travolta, Michael Brickman, Blair Hahn, Warren Ostergard. Co-producers, Linda Favilia, Anson Downes. Co-executive producers, Gary Dankelfsen, Cherelle George.
Crew
Directed by Jackie Earle Haley. Screenplay, Robert Lowell. Camera (color, widescreen, HD), Seamus Tierney; editor, Alex Marquez; music, Keefus Ciancia; music supervisor, Sean Mulligan; production designer, Jennifer Klide; set decorator, Carmen Navis; costume designer, Carla Shivener; sound (Dolby Digital), Marlowe Taylor; sound designer, Jeffrey Alan Pitts; re-recording mixer, Michael Perricone; visual effects supervisor, Chris Haley; stunt coordinator, Richard Fike Zach; assistant director, Chris DeBenedetto; casting, Barbara McCarthy, Angela Demo.
With
Michael Pitt, Dan Stevens, Christopher Abbott, Rob Brown, Edi Gathegi, Jackie Earle Haley, John Travolta.

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Film Review: ‘Pay the Ghost’

Nicolas Cage leads a cast-wide sleepwalk through this low-energy supernatural thriller.

If it’s remembered for nothing else, and it almost certainly won’t be, Uli Edel’s “Pay the Ghost” can at least make a claim to being the first film to feature a haunted razor scooter in a horror setpiece. Aside from that relative highlight, this somnolent supernatural thriller is a low-energy wash from start to finish, as a solemn Nicolas Cage searches across fantastical realms for his missing son with all the urgency of a morning run to Starbucks. Hardly anyone here, from cast to director to the below-the-line craftsmen, appears to have put in more than the bare minimum of professional effort, and the lack of enthusiasm proves contagious. Expect a ghostly payout at the box office.

While Cage was once correctly regarded as one of the finest actors of his generation, his decade-long descent into screamingly over-the-top roles in schlocky junk has made him a pitiable figure in certain circles. Still, there was always something admirable about his go-for-broke, saucer-eyed bellowing in the likes of “The Wicker Man,” “Ghost Rider” and “Season of the Witch.” In recent years, however, the actor has often opted for a lower-register approach, though the quality of his film choices has scarcely improved, and he proves a dour presence here as a literature professor named Mike.

Teaching a syllabus that seems to consist solely of Lovecraft, Irving and Goethe’s “Der Erlkonig,” Mike is a rising star at his unnamed New York university, working overtime to secure tenure as Halloween looms on the calendar. Disappointing his young son, Charlie (Jack Fulton), yet again by arriving home too late for trick-or-treating, Mike tries to make it up to him by taking him to a strange street carnival, where the boy vanishes into thin air after cryptically asking, “Can we pay the ghost?” (It’s perhaps needless to say that Charlie had recently been noticing creepy apparitions outside his window and turning in Stephen Gammell-style sketches in art class.)

A year later, despite the strenuous efforts indicated by the cluttered pin-board in Mike’s sparsely furnished apartment, Charlie still hasn’t been found, and his disappearance has driven a wedge between Mike and his wife, Kristen (Sarah Wayne Callies). Yet as Halloween rolls around yet again, Mike begins having strange visions, notices an unusual number of buzzards inhabiting lower Manhattan, and discovers a cult-like homeless encampment with “pay the ghost” written in ostentatious graffiti outside.

Could Charlie’s disappearance be connected to an unusual number of unsolved regional kidnappings that also took place on Halloween? And might they in turn have something to do with the film’s odd 17th-century prologue? Screenwriter Dan Kay takes the most obvious route through this obvious plot, to the point where he almost seems to be scrambling to fill it out to feature length, yet he neglects to fill in the margins with anything beyond boilerplate mystical hokum. Playing one of Mike’s colleagues, German star Veronica Ferres has nothing to do here but read aloud from Mike’s Google searches on ancient Celtic lore. Meanwhile, the detective (Lyriq Bent) assigned to Charlie’s case gets to assert his faith in facts and logic by screaming, “I believe in facts! Logic!”

Decent B-grade horror films have been made from even lazier premises than “Pay the Ghost’s,” but veteran German helmer Edel appears to have little interest in cooking up anything resembling tension. With most scenes mimicking the feel and look of an average “Law & Order” episode — this one largely taking place in New York’s famed Little Toronto neighborhood — Edel will throw an occasional Dutch angle or jump scare into the mix, but his heart never seems to be in it, and even the most enthusiastic horror fan will have a tough time keeping his or her blood pressure up.

Film Review: 'Pay the Ghost'

Reviewed online, Los Angeles, Sept. 25, 2015. Running time: 94 MIN.

https://www.youtube-nocookie.com/embed/MUibWS7IJew

Production

A RLJ Entertainment release of a Voltage Pictures presentation of a Voltage Films, Midnight Kitchen production in association with Rodkos Productions and Interpol+ Studios. Produced by Nicolas Chartier, Craig J. Flores, Ian Levy, Patrick Newall. Executive producers, Dmitry Roshchenko, Dennis Berardi, Cybill Lui, Frank Buchs.

Crew

Directed by Uli Edel. Screenplay, Dan Kay. Camera (color), Sharone Meir; editor, Jeff McEvoy; music, Joseph Loduca; production designer, Rupert Lazarus; costume designer, Christopher Hargadon; art director, Sean Breaugh; sound, John Thomson; re-recording mixers, Steve Foster, Paul Shubat; visual effects supervisor, Eric Robinson; assistant director, Pierre Henry; casting, John Buchnan, Jason Knight.

With

Nicolas Cage, Sarah Wayne Callies, Veronica Ferres, Lyriq Bent, Lauren Beatty, Kalie Hunter, Jack Fulton, Stephen McHattie.

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Sylvester Stallone Says ‘Creed’ Sequel Could Reunite Rocky and Apollo (EXCLUSIVE)

After a successful comeback in “Creed,” which has grossed $103 million at the U.S. box office,Sylvester Stallone revealed in a new interview with Variety that he’s already getting ready to step back in the ring for another sequel where he’ll play Rocky Balboa.

MGM, which financed the Warner Bros. release with New Line, is onboard. “There’s no doubt that we’re making a ‘Creed 2,’” says MGM CEO Gary Barber.

It’s not clear if Ryan Coogler, who is in negotiations for Marvel’s “Black Panther,” will return as director of the next “Creed.” “I know Ryan is probably going to be gone for a couple years,” Stallone says. “So there will be a quandary on: Do we work with another director and have Ryan produce, or do we wait? There’s a diminishing time acceptance of a sequel. Now they are cranking them out in a year.”

https://www.youtube-nocookie.com/embed/MUibWS7IJew

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