#Corey Michael Eubanks

[badmovieihave]

Bad movie I have Maniac Cop 1988

[randomdeinonychus]

I'm sure there is a plot reason for Bigfoot to be attacking that bear with a rock, but I prefer to assume he's just being a jerk.

Bigfoot: The Unforgettable Encounter | 1994

[ulkaralakbarova]

A young man leaves Ireland with his landlord’s daughter after some trouble with her father, and they dream of owning land at the big giveaway in Oklahoma ca. 1893. When they get to the new land, they find jobs and begin saving money. The man becomes a local barehands boxer, and rides in glory until he is beaten, then his employers steal all the couple’s money and they must fight off starvation in the winter, and try to keep their dream of owning land alive. Meanwhile, the woman’s parents find out where she has gone and have come to America to find her and take her back. Credits: TheMovieDb. Film Cast: Joseph Donnelly: Tom Cruise Shannon Christie: Nicole Kidman Stephen Chase: Thomas Gibson Daniel Christie: Robert Prosky Nora Christie: Barbara Babcock Danty Duff: Cyril Cusack Mary Kay: Eileen Pollock Kelly: Colm Meaney Dermody: Douglas Gillison Grace: Michelle Johnson Bourke: Wayne Grace Joe Donnelly: Niall Tóibín Paddy Donnelly: Jared Harris Colm Donnelly: Steven O’Donnell McGuire: Barry McGovern Gordon: Gary Lee Davis Farmer: Peadar Lamb Peasant: Mark Mulholland Peasant: P.J. Brady Landlord: Wesley Murphy Priest: Jimmy Keogh Villager: J.G. Devlin Villager: Gerry Walsh Tavern Keeper: Brendan Cauldwell Peter: Derry Power Matthew: Noel O’Donovan John: Macdara Ó Fátharta Lady: Eileen Colgan Lady: Kate Flynn Lady: Joan O’Hara Map Vendor: Frankie McCafferty Hat Vendor: Poll Moussoulides Irish Vendor: Pat Kinevane Flag Vendor: Donncha Crowley Fruit Vendor: Tim McDonnell Thug: Todd Hallowell Thug: Ken McCluskey Rebel Leader: Brendan Ellis Flynn: Clint Howard Coniff: Jeffrey Andrews Glenna: Judith McIntyre Olive: Rynagh O’Grady Lamplighter: Martin Ewen Social Club Policeman: Brendan Gleeson Doctor: Frank Coughlan Crew Boss: Hoke Howell Old Man: Arnold Kuenning Immigrant: Rocco Sisto Immigrant: Michael Rudd Railworker: Donré Sampson Derelict: Harry Webster Officer: Mark Wheeler Tomlin: Rance Howard Blacksmith: William Preston Prostitute: Pauline McLynn Prostitute: Joanne McAteer Prostitute: Cara Wilder Prostitute: Aedin Moloney Piano Playing Prostitute: Helen Montague Boxer: John-Clay Scott Boxer: Clay M. Lilley Boxer: Cole S. McKay Boxer: James Jude Courtney Boxer: Jeff Ramsey Boxer: Anthony De Longis Boxer: Carl Ciarfalio Bigoted Man: Tim Monich Boston Maid: Alecia LaRue Turner: Ian Elliot Social Club Thug: Bobby Huber Social Club Woman: Julie Rowen Social Club Woman: Louisa Marie Henchman: Brian Munn Honest Bob: Bob Dolman I.M. Malone: Phillip V. Caruso Immigration Policeman: Tom Lucy Dancing Girl (uncredited): Kris Murphy Film Crew: Original Music Composer: John Williams Producer: Brian Grazer Costume Design: Joanna Johnston Producer: Ron Howard Editor: Daniel P. Hanley Editor: Mike Hill Animal Coordinator: Greg Powell Screenplay: Bob Dolman Stunts: Tony Brubaker Stunt Coordinator: Walter Scott Director of Photography: Mikael Salomon Stunts: Corey Michael Eubanks Stunts: Gary Powell Movie Reviews:

[90smovies]

[kritikycz]

Rychle a zběsile 2 - Paul Walker dva roky po prvním dílu R.Z.

Recenze prvního dílu je za námi, pojďme nyní nakouknout pod kapotu a subjektivně zhodnotit volné pokračování. A že volné je opravdu ve všech směrech – zůstala jen jediná postava z předchozího dílu, a sice Brian O’Connor, který i tentokrát bude působit coby policií nastrčený špion. Zbytek se docela razantně změnil.- Více na https://www.kritiky.cz/filmove-recenze/retro-filmove-recenze/2019/rychle-a-zbesile-2-paul-walker-dva-roky-po-prvnim-dilu-r-z/

[grigori77]

Movies of 2020 - My Pre-Summer Favourites (Part 2)

The Top Ten:

10.  TRUE HISTORY OF THE KELLY GANG – Justin Kurzel has been on my directors-to-watch list for a while now, each of his offerings impressing me more than the last (his home-grown Aussie debut, Snowtown, was a low key wallow in Outback nastiness, while his follow up, Macbeth, quickly became one of my favourite Shakespeare flicks, and I seem to be one of the frustrated few who actually genuinely loved his adaptation of Assassin’s Creed, considering it to be one the very best video game movies out there), and his latest is no exception – returning to his native Australia, he’s brought his trademark punky grit and fever-dream edginess to bear in his quest to bring his country’s most famous outlaw to the big screen in a biopic truly worthy of his name. Two actors bring infamous 19th Century bushranger Ned Kelly to life here, and they’re both exceptional – the earlier half of the film sees newcomer Orlando Schwerdt explode onto the screen as the child Ned, all righteous indignation and fiery stubbornness as he rails against the positions his family’s poverty continues to put him in, then George MacKay (Sunshine On Leith, Captain Fantastic) delivers the best performance of his career in the second half, a barely restrained beast as Ned grown, his mercurial turn bringing the man’s inherent unpredictability to the fore.  The Babadook’s Essie Davis, meanwhile, frequently steals the film from under both of them as Ellen, the fearsome matriarch of the Kelly clan, and Nicholas Hoult is similarly impressive as Constable Fitzpatrick, Ned’s slimily duplicitous friend/nemesis, while there are quality supporting turns from Charlie Hunnam and Russell Crowe as two of the most important men of Ned’s formative years.  In Kurzel’s hands, this account of Australia’s greatest true-life crime saga becomes one of the ultimate marmite movies – its glacial pace, grubby intensity and frequent brutality will turn some viewers off, but fans of more “alternative” cinema will find much to enjoy here.  There’s a blasted beauty to its imagery (this is BY FAR the bleakest the Outback’s ever looked on film), while the screenplay from relative unknown Shaun Grant (adapting Peter Carey’s bestselling novel) is STRONG, delivering rich character development and sublime dialogue, and Kurzel delivers some brilliantly offbeat and inventive action beats in the latter half that are well worth the wait.  Evocative, intense and undeniable, this has just the kind of irreverent punk aesthetic that I’m sure the real life Ned Kelly would have approved of …

9.  JUST MERCY – more true-life cinema, this time presenting an altogether classier account of two idealists’ struggle to overturn horrific racial injustices in Alabama. Writer-director Destin Daniel Cretton (Short Term 12, The Glass Castle) brings heart, passion and honest nobility to the story of fresh-faced young lawyer Bryan Stevenson (Michael B. Jordan) and his personal crusade to free Walter “Johnny D” McMillan (Jamie Foxx), an African-American man wrongfully sentenced to death for the murder of a white woman.  His only ally is altruistic young paralegal Eva Ansley (Cretton’s regular screen muse Brie Larson), while the opposition arrayed against them is MAMMOTH – not only do they face the cruelly racist might of the Alabama legal system circa 1989, but a corrupt local police force determined to circumvent his efforts at every turn and a thoroughly disinterested prosecutor, Tommy Chapman (Rafe Spall), who’s far too concerned with his own personal political ambitions to be any help.  The cast are uniformly excellent, Jordan and Foxx particularly impressing with career best performances that sear themselves deep into the memory, while there’s a truly harrowing supporting turn from Rob Morgan as Johnny D’s fellow Death Row inmate Herbert, whose own execution date is fast approaching.  This is courtroom drama at its most gripping, Cretton keeping the inherent tension cranked up tight while tugging hard on our heartstrings for maximum effect, and the result is a timely, racially-charged throat-lumper of considerable power and emotional heft that guarantees there won’t be a single dry eye in the house by the time the credits roll.  Further proof, then, that Destin Daniel Cretton is one of those rare talents of his generation – next up is his tour of duty in the MCU with Shang-Chi & the Legend of the Ten Rings, and if this seems like a strange leftfield turn given his previous track record, I nevertheless have the utmost confidence in him after seeing this …

8.  UNDERWATER – at first glance, this probably seems like a strange choice for the year’s current Top Ten – a much-maligned, commercially underperforming glorified B-movie creature-feature headlined by the former star of the Twilight franchise, there’s no way that could be any good, surely?  Well hold your horses, folks, because not only is this very much worth your time and a comprehensive suspension of your low expectations, but I can’t even consider this a guilty pleasure – as far as I’m concerned this is a GENUINELY GREAT FILM, without reservation.  The man behind the camera is William Eubank, a director whose career I’ve been following with great interest since his feature debut Love (a decidedly oddball but strangely beautiful little space movie) and its more high profile but still unapologetically INDIE follow-up The Signal, and this is the one where he finally delivers wholeheartedly on all that wonderful sci-fi potential.  The plot is deceptively simple – an industrial conglomerate has established an instillation drilling right down to the very bottom of the Marianas Trench, the deepest point in our Earth’s oceans, only for an unknown disaster to leave six survivors from the operation’s permanent crew stranded miles below the surface with very few escape options left – but Eubank and writers Brian Duffield (Jane Got a Gun, Insurgent) and Adam Cozad (The Legend of Tarzan) wring all the possible suspense and fraught, claustrophobic terror out of the premise to deliver a piano wire-tense horror thriller that grips from its sudden start to a wonderfully cathartic climax.  The small but potent cast are all on top form, Vincent Cassel, Jessica Henwick (Netflix’ Iron Fist) and John Gallagher Jr. (Hush, 10 Cloverfield Lane) particularly impressing, and even the decidedly hit-and-miss T.J. Miller delivers a surprisingly likeable turn here, but it’s that Twilight alumnus who REALLY sticks in your memory here – Kristen Stewart’s been doing a pretty good job lately distancing herself from the role that, unfortunately, both made her name and turned her into an object of (rather unfair) derision for many years, but in my opinion THIS is the performance that REALLY separates her from Bella effing-Swan.  Mechanical engineer Norah Price is tough, ingenious and fiercely determined, but with the right amount of vulnerability that we really root for her, and Stewart acts her little heart out in a turn sure to win over her strongest detractors. The creature effects are impressive too, the ultimate threat proving some of the nastiest, most repulsively icky creations I’ve seen committed to film, and the inspired design work and strong visual effects easily belie the film’s B-movie leanings.  Those made uneasy by deep, dark open water or tight, enclosed spaces should take heed that this can be a tough watch, but anyone who likes being scared should find plenty to enjoy here.  Altogether a MUCH better film than its mediocre Rotten Tomatoes rating makes it out to be …

7.  ONWARD – Disney and Pixar’s latest digitally animated family feature clearly has a love of tabletop fantasy roleplay games like Dungeons & Dragons, its quirky modern-day AU take populated by fantastical races and creatures seemingly tailor-made for the geek crowd … needless to say, me and many of my friends absolutely loved it. That doesn’t mean that the classic Disney ideals of love, family and believing in yourself have been sidelined in favour of fan-service – this is as heartfelt, affecting and tearful as their previous standouts, albeit with plenty of literal magic added to the metaphorical kind.  The central premise is a clever one – once upon a time, magic was commonplace, but over the years technology came along to make life easier, so that in the present day the various races (elves, centaurs, fauns, pixies, goblins and trolls among others) get along fine without it.  Then timid elf Ian Lightfoot (Tom Holland) receives a wizard’s staff for his sixteenth birthday, a bequeathed gift from his father, who died before he was born, with instructions for a spell that could bring him back to life for one whole day.  Encouraged by his brash, over-confident wannabe adventurer elder brother Barley (Chris Pratt), Ian tries it out, only for the spell to backfire, leaving them with the animated bottom half of their father and just 24 hours to find a means to restore the rest of him before time runs out.  Cue an “epic quest” … needless to say, this is another top-notch offering from the original masters of the craft, a fun, affecting and thoroughly infectious family-friendly romp with a winning sense of humour and inspired, flawless world-building.  Holland and Pratt are both fantastic, their odd-couple chemistry effortlessly driving the story through its ingenious paces, and the ensuing emotional fireworks are hilarious and heartbreaking in equal measure, while there’s typically excellent support from Julia Louis-Dreyfus (Elaine from Seinfeld) as Ian and Barley’s put-upon but supportive mum, Laurel, Octavia Spencer as once-mighty adventurer-turned-restaurateur “Corey” the Manticore and Mel Rodriguez (Getting On, The Last Man On Earth) as overbearing centaur cop (and Laurel’s new boyfriend) Colt Bronco.  The film marks the sophomore feature gig for Dan Scanlon, who debuted with 2013’s sequel Monsters University, and while that was enjoyable enough I ultimately found it non-essential – no such verdict can be levelled against THIS film, the writer-director delivering magnificently in all categories, while the animation team have outdone themselves in every scene, from the exquisite world-building and character/creature designs to some fantastic (and frequently delightfully bonkers) set-pieces, while there’s a veritable riot of brilliant RPG in-jokes to delight geekier viewers (gelatinous cube! XD).  Massive, unadulterated fun, frequently hilarious and absolutely BURSTING with Disney’s trademark heart, this is currently (and deservedly) my animated feature of the year.  It’s certainly gonna be a tough one to beat …

6.  THE GENTLEMEN – Guy Ritchie’s been having a rough time with his last few movies (The Man From UNCLE didn’t do too bad but it wasn’t exactly a hit and was largely overlooked or simply ignored critically, while intended franchise-starter King Arthur: Legend of the Sword was largely derided and suffered badly on release, dying a quick death financially – it’s a shame on both counts, because I really liked them), so it’s nice to see him having some proper success with his latest, even if he has basically reverted to type to do it.  Still, when his newest London gangster flick is THIS GOOD it seems churlish to quibble – this really is what he does best, bringing together a collection of colourful geezers and shaking up their status quo, then standing back and letting us enjoy the bloody, expletive-riddled results. This particularly motley crew is another winning selection, led by Matthew McConaughey as ruthlessly successful cannabis baron Mickey Pearson, who’s looking to retire from the game by selling off his massive and highly lucrative enterprise for a most tidy sum (some $400,000,000 to be precise) to up-and-coming fellow American ex-pat Matthew Berger (Succession’s Jeremy Strong, oozing sleazy charm), only for local Chinese triad Dry Eye (Crazy Rich Asians’ Henry Golding, chewing the scenery with enthusiasm) to start throwing spanners into the works with the intention of nabbing the deal for himself for a significant discount.  Needless to say Mickey’s not about to let that happen … McConaughey is ON FIRE here, the best he’s been since Dallas Buyers Club in my opinion, clearly having great fun sinking his teeth into this rich character and Ritchie’s typically sparkling, razor-witted dialogue, and he’s ably supported by a uniformly excellent ensemble cast, particularly co-star Charlie Hunnam as Mickey’s ice-cold, steel-nerved right-hand-man Raymond Smith, Downton Abbey’s Michelle Dockery as his classy, strong-willed wife Rosalind, Colin Farrell as a wise-cracking, quietly exasperated MMA trainer and small-time hood simply known as the Coach (who gets many of the film’s best lines), and, most notably, Hugh Grant as the film’s nominal narrator, thoroughly morally bankrupt private investigator Fletcher, who consistently steals the film.  This is Guy Ritchie at his very best – a twisty rug-puller of a plot that constantly leaves you guessing, brilliantly observed and richly drawn characters you can’t help loving in spite of the fact there’s not a single hero among them, a deliciously unapologetic, politically incorrect sense of humour and a killer soundtrack.  It got the cinematic year off to a cracking start, and looks set to stay high in the running for the remainder – it’s EASILY Ritchie’s best film since Sherlock Holmes, and a strong call-back to the heady days of Snatch (STILL my favourite) and Lock, Stock & Two Smoking Barrels.  Here’s hoping he’s on a roll again, eh?

5.  THE INVISIBLE MAN – looks like third time’s a charm for Leigh Whannell, writer-director of my current horror movie of the year – while he’s had immense success as a horror writer over the years (co-creator of both the Saw and Insidious franchises), as a director his first two features haven’t exactly set the world alight, with debut Insidious: Chapter III garnering similar takes to the rest of the series but ultimately turning out to be a bit of a damp squib quality-wise, while his second feature Upgrade was a stone-cold masterpiece that was (rightly) EXTREMELY well received critically, but ultimately snuck in under the radar and has remained a stubbornly hidden gem since.  No such problems with his third feature, though – his latest collaboration with producer Jason Blum and his insanely lucrative Blumhouse Pictures has proven a massive hit both financially AND with reviewers, and deservedly so.  Having given up on trying to create a shared cinematic universe inhabited by their classic monsters, Universal have resolved to concentrate on standalones to showcase their elite properties, and their first try is a rousing success, Whannell bringing HG Wells’ dark and devious human monster smack into the 21st Century as only he can.  The result is a surprisingly subtle piece of work, much more a lethally precise exercise in cinematic sleight of hand and extraordinary acting than flashy visual effects, very much adhering to the Blumhouse credo of maximum returns for minimum bucks as the story is stripped right back to its bare essentials and allowed to play out without any unnecessary weight.  The Handmaid’s Tale’s Elizabeth Moss once again confirms what a masterful actress she is as she brings all her performing weapons to bear in the role of Cecelia “Cee” Kass, the cloistered wife of affluent but monstrously abusive optics pioneer Aidan Griffin (Netflix’ The Haunting of Hill House’s Oliver Jackson-Cohen), who escapes his clutches in the furiously tense opening sequence and goes to ground with the help of her closest childhood friend, San Francisco cop James Lanier (Leverage’s Aldis Hodge) and his teenage daughter Sydney (A Wrinkle in Time’s Storm Reid).  Two weeks later, Aidan commits suicide, leaving Cee with a fortune to start her life over (with the proviso that she’s never ruled mentally incompetent), but as she tries to find her way in the world again little things start going wrong for her, and she begins to question if there might be something insidious going on.  As her nerves start to unravel, she begins to suspect that Aidan is still alive, still very much in her life, fiendishly toying with her and her friends, but no-one can see him.  Whannell plays her paranoia up for all it’s worth, skilfully teasing out the scares so that, just like her friends, we begin to wonder if it might all in her head after all, before a spectacular mid-movie reveal throws the switch into high gear and the true threat becomes clear.  The lion’s share of the film’s immense success must of course go to Moss – her performance is BEYOND a revelation, a truly blistering career best turn that totally powers the whole enterprise, and it almost goes without saying that she’s the best thing in this.  Even so, she has sterling support from Hodge and Reid, as well as Love Child’s Harriet Dyer as Cee’s estranged big sister Emily and Wonderland’s Michael Dorman as Adrian’s slimy, spineless lawyer brother Tom, and, while he doesn’t have much actual (ahem) “screen time”, Jackson-Cohen delivers a fantastically icy, subtly malevolent turn which casts a large “shadow” over the film.  This is one of my very favourite Blumhouse films, a pitch-perfect psychological chiller that keeps the tension cranked up unbearably tight and never lets go, Whannell once again displaying uncanny skill with expert jump-scares, knuckle-whitening chills and a truly astounding standout set-piece that looks set to go down as one of the year’s top action sequences.  Undoubtedly the best version of Wells’ story to date, this goes a long way in repairing the damage of Universal’s abortive “Dark Universe” efforts, as well as showcasing a filmmaking master at the very height of his talents.

4.  EXTRACTION – the Coronavirus certainly has thrown a massive spanner in the works of this year’s cinematic calendar – the new A Quiet Place sequel should have been setting the big screen alight for almost two months now, while the latest (and most long-awaited) MCU movie, Black Widow, should have just opened to further record-breaking box office success, but instead the theatres are all closed and virtually all the big blockbusters have been pushed back or shelved indefinitely. Thank God, then, for the streaming services, particularly Hulu, Amazon and Netflix, the latter of which provided a perfect movie for us to see through the key transition from spring to the summer blockbuster season, an explosively flashy big budget action thriller ushered in by MCU alumni the Russo Brothers (who produced and co-wrote this adaptation of Ciudad, a graphic novel that Joe Russo co-created with Ande Parks and Fernando Leon Gonzalez) and barely able to contain the sheer star-power wattage of its lead, Thor himself.  Chris Hemsworth plays Tyler Rake, a former Australian SAS operative who hires out his services to an extraction operation, under the command of mercenary Nik Khan (The Patience Stone’s Golshifteh Farahani), brought in to liberate Ovi Mahajan (Rudhraksh Jaiswal in his first major role), the pre-teen son of incarcerated Indian crime lord Ovi Sr. (Pankaj Tripathi), who has been abducted by Bangladeshi rival Amir Asif (Priyanshu Painyuli).  The rescue itself goes perfectly, but when the time comes for the hand-off the team is double-crossed and Tyler is left stranded in the middle of Dhaka with no choice but to keep Ovi alive as every corrupt cop and street gang in the city closes in around them.  This is the feature debut of Sam Hargrave, the latest stuntman to try his hand at directing, so he certainly knows his way around an action sequence, and the result is a thoroughly breathless adrenaline rush of a film, bursting at the seams with spectacular fights, gun battles and car chases, dominated by a stunning sustained action sequence that plays out in one long shot, guaranteed to leave jaws lying on the floor.  Not that there should be any surprise – Hargrave cut his teeth as a stunt coordinator for the Russos on Captain America: Civil War and their Avengers films.  That said, he displays strong talent for the quieter disciplines of filmmaking too, delivering quality character development and drawing out consistently noteworthy performances from his cast.  Of course, Hemsworth can do the action stuff in his sleep, but there’s a lot more to Tyler than just his muscle, the MCU veteran investing him with real wounded vulnerability and a tragic fatalism which colours his every scene, while Jaiswal is exceptional throughout, showing plenty of promise for the future, and there’s strong support from Farahani and Painyuli, as well as Stranger Things’s David Harbour as world-weary retired merc Gaspard, and a particularly impressive, muscular turn from Randeep Hooda (Once Upon a Time in Mumbai) as Saju, a former Para and Ovi’s bodyguard, who’s determined to take possession of the boy himself, even if he has to go through Tyler to get him.  This is action cinema that really deserves to be seen on the big screen – I watched it twice in a week and would happily have paid for two trips to the cinema for it if I could have.  As we look down the barrel of a summer season largely devoid of big blockbuster fare, I can’t recommend this film enough.  Thank the gods for Netflix …

3.  PARASITE – I’ve been a fan of master Korean filmmaker Bong Joon-ho ever since I stumbled across his deeply weird but also thoroughly brilliant breakthrough feature The Host, and it’s a love that’s deepened since thanks to the truly magnificent sci-fi actioner Snowpiercer, so I was looking forward to his latest feature as much as any movie geek, but even I wasn’t prepared for just what a runaway juggernaut of a hit this one turned out to be, from the insane box office to all that award-season glory (especially that undeniable clean-sweep at the Oscars). I’ll just come out and say it, this film deserves it all.  It’s EASILY Bong’s best film to date (which is really saying something), a masterful social satire and jet black comedy that raises some genuinely intriguing questions before delivering some deeply troubling answers.  Straddling the ever-widening gulf between a disaffected idle rich upper class and impoverished, struggling lower class in modern-day Seoul, it tells the story of the Kim family – father Ki-taek (Bong’s veritable good luck charm Song Kang-ho), mother Chung-sook (Jang Hye-jin), son Ki-woo (Train to Busan’s Choi Woo-shik) and daughter Ki-jung (The Silenced’s Park So-dam) – a poor family living in a run-down basement apartment who live hand-to-mouth in minimum wage jobs and can barely rub two cents together, until they’re presented with an intriguing opportunity.  Through happy chance, Ki-woon is hired as an English tutor for Park Da-hye (Jung Ji-so), the daughter of a wealthy family, which offers him the chance to recommend Ki-jung as an art tutor to the Parks’ troubled young son, Da-song (Jung Hyeon-jun).  Soon the rest of the Kims are getting in on the act, the young Kims contriving opportunities for their father to replace Mr Park’s chauffeur and their mother to oust the family’s long-serving housekeeper, Gook Moon-gwang (Lee Jung-eun), and before long their situation has improved dramatically.  But as they two families become more deeply entwined, cracks begin to show in their supposed blissful harmony as the natural prejudices of their respective classes start to take hold, and as events spiral out of control a terrible confrontation looms on the horizon.  This is social commentary at its most scathing, Bong drawing on personal experiences from his youth to inform the razor-sharp script (co-written by his production assistant Han Jin-won), while he weaves a palpable atmosphere of knife-edged tension throughout to add spice to the perfectly observed dark humour of the situation, all the while throwing intriguing twists and turns at us before suddenly dropping such a massive jaw-dropper of a gear-change that the film completely turns on its head, to stunning effect.  The cast are all thoroughly astounding, Song once again dominating the film with a turn which is at once sloppy and dishevelled but also poignant and heartfelt, while there are particularly noteworthy turns from Lee Sun-kyun as the Parks’ self-absorbed patriarch Dong-ik and Choi Yeo-jeong (The Concubine) as his flighty, easily-led wife Choi Yeon-gyo, as well as a fantastically weird appearance in the latter half from Park Myung-hoon.  This is heady stuff, dangerously seductive even as it becomes increasingly uncomfortable viewing, so that even as the screws tighten and everything goes to hell it’s simply impossible to look away.  Bong Joon-ho really has surpassed himself this time, delivering an existential mind-scrambler that lingers long after the credits have rolled and might even have you questioning your place in society once you’ve thought about it some. It deserves every single award and every ounce of praise it’s been lavished with so far, and looks set to go down as one of the true cinematic greats of this new decade.  Trust me, if this was a purely critical best-of list it’d be RIGHT AT THE TOP …

2.  1917 – it’s a rare thing for a film to leave me truly shell-shocked by its sheer awesomeness, for me to walk out of a cinema in a genuine daze, unable to talk or even really think about much of anything for a few hours because I’m simply marvelling at what I’ve just witnessed.  Needless to say, when I do find a film like that (Fight Club, Inception, Mad Max: Fury Road) it usually earns a place very close to my heart indeed.  The latest tour-de-force from Sam Mendes is one of those films – an epic World War I thriller that plays out ENTIRELY in one shot, which doesn’t simply feel like a glorified gimmick or stunt but instead is a genuine MASTERPIECE of a film, a mesmerising journey of emotion and imagination in a shockingly real environment that it’s impossible to tear your eyes away from.  Sure, Mendes has impressed us before – his first film, American Beauty, is a GREAT movie, one of the most impressive feature debuts of the 2000s, while Skyfall is, in my opinion, quite simply THE BEST BOND FILM EVER MADE – but this is in a whole other league.  It’s an astounding achievement, made all the more impressive when you realise that there’s very little trickery at play here, no clever digital magic (just some augmentation here and there), it’s all real locations and sets, filmed in long, elaborately choreographed takes blended together with clever edits to make it as seamless as possible – it’s not the first film to try to do this (remember Birdman? Bushwick?), but I’ve never seen it done better, or with greater skill. But it’s not just a clever cinematic exercise, there’s a genuine story here, told with guts and urgency, and populated by real flesh and blood characters – the heart of the film is George MacKay and Dean Chapman (probably best known as Tommen Baratheon in Game of Thrones) as Lance Corporals Will Schofield and Tom Blake, the two young tommies sent out across enemy territory on a desperate mission to stop a British regiment from rushing headlong into a German trap (Tom himself has a personal stake in this because his brother is an officer in the attack).  They’re a likeable pair, very human and relatable throughout, brave and true but never so overly heroic that they stretch credibility, so when tragedy strikes along the way it’s particularly devastating; both deliver exceptional performances that effortlessly carry us through the film, and they’re given sterling support from a selection of top-drawer British talent, from Sherlock stars Andrew Scott and Benedict Cumberbatch to Mark Strong and Colin Firth, each delivering magnificently in small but potent cameos.  That said, the cinematography and art department are the BIGGEST stars here, masterful veteran DoP Roger Deakins (The Shawshank Redemption, Blade Runner 2049 and pretty much the Coen Brothers’ entire back catalogue among MANY others) making every frame sing with beauty, horror, tension or tragedy as the need arises, and the environments are SO REAL it feels less like production design than that someone simply sent the cast and crew back in time to film in the real Northern France circa 1917 – from a nightmarish trek across No Man’s Land to a desperate chase through a ruined French village lit only by dancing flare-light in the darkness before dawn, every scene is totally immersive and simply STUNNING.  I don’t think it’s possible for Mendes to make a film better than this, but I sure hope he gives it a go all the same.  Either way, this is the most incredible, exhausting, truly AWESOME experience I’ve had at the cinema this year (so far) – it’s a film that DESERVES to be seen on the big screen, and I feel truly sorry for those who missed the chance …

1.  BIRDS OF PREY & THE FANTABULOUS EMANCIPATION OF ONE HARLEY QUINN – the only reason 1917 isn’t at number one right now is because Warner Bros.’ cinematic DC Extended Universe project FINALLY got round to bringing my favourite DC Comics title to the big screen.  It’s been the biggest pleasure of my cinematic year so far getting to see my top DC superheroines brought to life on the big screen, and it’s been done in high style, in my opinion THE BEST of the DCEU films to date (yup, I loved it EVEN MORE than Wonder Woman).  It was also great seeing Harley Quinn return after her show-stealing turn in David Ayer’s clunky but ultimately still hugely enjoyable Suicide Squad, better still that this time round they got her SPOT ON this time – this is the Harley I’ve always loved in the comics, unpredictable, irreverent and entirely without regard for what anyone else thinks of her, as well as one hell of a talented psychiatrist.  Margot Robbie once more excels in the role she was basically BORN to play, clearly relishing the chance to finally do Harley justice, and she’s a total riot from start to finish, infectiously lovable no matter what crazy, sometimes downright REPRIHENSIBLE antics she gets up to.  Needless to say she’s the nominal star here, her latest ill-advised adventure driving the story – finally done with the Joker and itching to make her emancipation official, Harley publicly announces their breakup by blowing up Ace Chemicals (their love spot, basically), inadvertently painting a target on her back in the process since she’s no longer under the supposed protection of Gotham’s feared Clown Prince of Crime – but that doesn’t mean she eclipses the other main players the movie’s REALLY supposed to be about. Each member of the Birds of Prey is beautifully written and brought to vivid, arse-kicking life by what has to be the year’s most exciting cast – Helena Bertinelli, aka the Huntress, is the perfect character for Mary Elizabeth Winstead to finally pay off on that action heroine potential she showed in Scott Pilgrim Vs. the World, but this is a MUCH more enjoyable role outside of the fight choreography because while Helena may be a world-class dark avenger, socially she’s a total dork, which just makes her thoroughly adorable; Rosie Perez is similarly perfect casting as Renee Montoya, the uncompromising pint-sized Gotham PD detective who kicks against the corrupt system no matter what kind of trouble it gets her into, and just gets angrier all the time, paradoxically making us like her even more; and then there’s the film’s major controversy, at least as far as the fans are concerned, namely one Cassandra Cain.  Sure, this take is VERY different from the comics’ version (a nearly mute master assassin who went on to become the second woman to wear the mask of Batgirl before assuming her own crime-fighting  mantle as Black Bat and now Orphan), but personally I like to think this is simply Cass at THE VERY START of her origin story, leaving plenty of time for her to discovery her warrior origins when the DCEU gets around to introducing Lady Shiva (personally I want Michelle Yeoh to play her, but that’s just me) – anyways, here she’s a skilled child pickpocket whose latest theft inadvertently sets off the larger central plot, and newcomer Ella Jay Basco brings a fantastic pre-teen irreverence and spiky charm to the role, beautifully playing against Robbie’s mercurial energy.  My favourite here BY FAR, however, is Dinah Lance, aka the Black Canary (not only my favourite Bird of Prey but my very favourite DC superheroine PERIOD), the choice of up-and-comer Jurnee Smollet-Bell (Friday Night Lights, Underground) proving to be the film’s most truly inspired casting – a club singer with the metahuman ability to emit piercing supersonic screams, she’s also a truly ferocious martial artist (in the comics she’s one of the very best fighters IN THE WORLD), as well as a wonderfully pure soul you just can’t help loving, and it made me SO UNBELIEVABLY HAPPY that they got my Canary EXACTLY RIGHT.  Altogether they’re a fantastic bunch, basically my perfect superhero team, and the way they’re all brought together (along with Harley, of course) is beautifully thought out and perfectly executed … they’ve also got one hell of a threat to overcome, namely Gotham crime boss Roman Sionis, aka the Black Mask, one of the Joker’s chief rivals – Ewan McGregor brings his A-game in a frustratingly rare villainous turn (currently my number one bad guy for the movie year), a monstrously narcissistic, woman-hating control freak with a penchant for peeling off the faces of those who displease him, sharing some exquisitely creepy chemistry with Chris Messina (The Mindy Project) as Sionis’ nihilistic lieutenant Victor Zsasz. This is about as good as superhero cinema gets, a perfect example of the sheer brilliance you get when you switch up the formula to create something new, an ultra-violent, unapologetically R-rated middle finger to the classic tropes, a fantastic black comedy thrill ride that’s got to be the most full-on feminist blockbuster yet – it’s helmed by a woman (Dead Pigs director Cathy Yan), written by a woman (Bumblebee’s Christina Hodson), produced by more women and ABOUT a bunch of badass women magnificently triumphing over toxic masculinity in all its forms.  It’s also simply BRILLIANT – the cast are all clearly having a blast, the action sequences are first rate (the spectacular GCPD evidence room fight in which Harley gets to REALLY cut loose is the undisputable highlight), it has a gleefully anarchic sense of humour and is simply BURSTING with phenomenal homages, references and in-jokes for the fans (Bruce the hyena! Stuffed beaver! Roller derby!).  It’s also got a killer soundtrack, populated almost exclusively by numbers from female artists.  Altogether, then, this is the VERY BEST the DCEU has to offer to date (Wonder Woman 1984 has got a MAJOR job ahead of it beating this one), and my absolute FAVOURITE film of 2020 (so far).  Give it all the love you can, it sure as hell deserves it.

[rychleazbesile-5-celyfilm]

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Rychle a zběsile 5 (2011) Online Filmy ke shlédnutí Sledujte : Rychle a zběsile 5 Filmy zdarma

Akční / Krimi / Thriller

USA, 2011, 125 min

Režie: Justin Lin Scénář: Chris Morgan Kamera: Stephen F. Windon Hudba: Brian Tyler Hrají: Vin Diesel, Paul Walker, Jordana Brewster, Dwayne Johnson, Tyrese Gibson, Elsa Pataky, Gal Gadot, Ludacris, TJ Hassan, Joaquim de Almeida, Matt Schulze, Tego Calderón, Don Omar, Sung Kang, Alimi Ballard, Geoff Meed, Eva Mendes, Mark Hicks, Amanda Salinas, Corey Michael Eubanks, Benjamin Easterday, Natalie Gal, Luis Da Silva Jr., Jeimy Osorio, Arlene Santana, Jay Jackson, Yorgo Constantine, Michael Irby, Pedro García, Richard Tavernaro, Fernando Chien, Blue Kimble

Divadle: 2011-04-20Obsah: Česká policie může zůstat v klidu, veškeré silniční běsnění se bude odehrávat v rozpálených ulicích brazilského Ria. Až sem utekli před spravedlností notorický zločinec s dobrým srdcem Dom Toretto (Vin Diesel) a Brian O´Conner (Paul Walker), bývalý polda, který mu naposled pomohl utéci z vězení. Ne však náhodou. Do města pod obří Ježíšovou sochou je přivedl plán, na jehož konci na ně čeká vstupenka ke svobodě. Potíž vězí v tom, že ten plán, v nominální hodnotě 100 miliónů dolarů, které na ně čekají v sejfu policejní stanice, je naprosto šílený. Brian a Dom povolají do Ria bývalé parťáky, aby zvýšili své šance na úspěch, jenže proti nim nestojí jen zkorumpovaný narkobaron a jeho bojůvka, ale také drsný federální agent Luke Hobbs (Dwayne Johnson). Hobbs je typ člověka, který bere svou práci smrtelně vážně, a když dostane nějaký úkol, tak ho vždycky splní. A to je pro oba hrdiny smrtonosná kombinace. Ještě že mají auta a schopnost dostat z nich pokaždé to nejlepší

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[go-redgirl]

Atlanta Havoc to bring pro indoor football to Buford City Arena (Georgia) The Gwinnett Daily Post ^ | October 2, 2017 | Staff

Indoor professional football is headed to the new Buford City Arena.

The 5,500-seat facility will be home to the Atlanta Havoc, an expansion franchise in the American Arena League, which has teams spanning the East Coast from Florida to Vermont. The franchise is the second in the AAL in the state, joining the Macon-based Georgia Doom.

An official press conference announcing the team’s arrival is planned for Oct. 12.

“I am very excited to be the person to bring professional arena football to the area,” Havoc owner Tim Viens, a part-time driver on the NASCAR Camping World Series and Xfinity Series, said in a team release. “The Buford (and) Atlanta area has a strong passion for sports that I believe will carry over to the Havoc.”

The new franchise’s head coach is Boo Mitchell, a longtime Gwinnett-area coach who currently works with North Gwinnett High’s wide receivers. His defensive coordinator is Willie Gary, who has past indoor coaching experience with the former Georgia Force.

Viens also runs the Vermont Bucks indoor franchise, which won the 2017 Can-Am Indoor Football League title, in his home state. The former college and pro kicker lives with his wife Cherie in Daytona Beach, where he played indoor football for four years, but the couple hope to find a second residence in the Buford area.

“The Buford (and) Atlanta area is a great location for our league to be expanding to,” AAL president Jack Bowman said. “It fits well into our footprint of teams. Tim brings a wealth of knowledge in professional sports and business leadership and is an ideal fit for our league.”

Viens and the Havoc plan tailgating activities that begin three hours before kickoff with outdoor activities, including inflatables for children, climbing walls and face painting. Other pre-game festivities will include a beer garden and live music.

Ticket prices are $8 for children 17-and-under and $15 for adults. The Havoc season begins March 17 with the home opener and the regular season runs through the home finale on June 2.

More ticket information and details on the team are available at www.atlantahavoc.com.

The Havoc’s early player signings are former Florida A&M and Jacksonville Sharks wide receiver/defensive back James Cash, former Georgia State and Columbus Lions linebacker Derrick Cannon, former St. Louis Rams/CFL defensive back Chris Smith, former Georgia State and Georgia Force wide receiver Corey Alberty, former Samford/Arizona State quarterback Michael Eubanks and former Atlanta Falcons wide receiver Martell Moore.

An open tryout for potential players will be held Oct. 14 from 10 a.m. to 1 p.m. at Victory Impact Performance in Buford. The cost is $75 (cash only on day of tryout) and those interested can email to info@atlantahavoc.com.

[moviemorning003-blog]

The Complete Detail Of  2 Fast 2 Furious (2003) Name 2 Fast 2 Furious (2003) Storyline Former cop Brian O'Conner is called upon to bust a dangerous criminal and he recruits the help of a former childhood friend and street racer who has a chance to redeem himself. Detail Of 2 Fast 2 Furious (2003) Director John Singleton Writer

Gary Scott Thompson  --  (characters)

Michael Brandt  --  (story)

Derek Haas  --  (story)

Gary Scott Thompson --  (story)

Michael Brandt --  (screenplay)

Derek Haas  --  (screenplay)

Produced by

Michael Fottrell  --  executive producer

Heather Lieberman  --  co-producer

Lee R. Mayes  --  executive producer

Neal H. Moritz  --  producer

Stars & Cast

Paul Walker  --  Brian O'Conner

Tyrese Gibson  --  Roman Pearce (as Tyrese)

Eva Mendes  --  Monica Fuentes

Cole Hauser  --  Carter Verone

Ludacris  --  Tej (as Chris 'Ludacris' Bridges)

Thom Barry  --  Agent Bilkins

James Remar  --  Agent Markham

Devon Aoki  --  Suki

Amaury Nolasco  --  Orange Julius

Michael Ealy  --  Slap Jack

Jin Au-Yeung  --  Jimmy (as Jin Auyeung)

Edward Finlay  --  Agent Dunn

Mark Boone Junior  --  Detective Whitworth

Mo Gallini  --  Enrique (as Matt Gallini)

Roberto 'Sanz' Sanchez  --  Roberto

Eric Etebari --  Darden

John Cenatiempo  --  Korpi (as Johnny Cenatiempo)

Troy Brown  --  Paul Hackett

Corey Michael Eubanks  --  Max Campisi (as Corey Eubanks)

Sammy Maloof  --  Joe Osborne (as Sam Maloof)

Troy Robinson  --  Feliz Vispone

Jose Perez  --  Jose

Sincerely A. Ward  --  Slap Jack's Girlfriend

Nievecita Dubuque  --  Suki's Girl

Tequilla Hill  --  Suki's Girl

Bettina Huffer  --  Suki's Girl

Phuong Tuyet Vo  --  Suki's Girl

Felecia Rafield  --  Detective

Mateo Herreros  --  Detective

Walter 'Duke' Foster  --  Detective

Zachary L. Mann  --  US Customs Lead Agent

Marc Macaulay  --  Agent

Cobette Harper  --  Agent

Limary Agosto  --  Waitress (as Limary L. Agosto)

Tony Bolano  --  Gardener

Tara Carroll  --  Seductress

Neal H. Moritz  --  Swerving Cop (as Neal Moritz)

Marianne M. Arreaga  --  Police Chopper Pilot

Tamara Jones  --  Customs Technician

Music by David Arnold Genres Action | Crime | Thriller Country USA | Germany Language English | Spanish Release Date  

USA    3 June 2003

Australia       5 June 2003

USA    5 June 2003

Canada          6 June 2003

USA    6 June 2003

New Zealand           12 June 2003

Brazil  13 June 2003

Iceland          13 June 2003

Mexico          13 June 2003

Taiwan          13 June 2003

Belgium         18 June 2003

Switzerland  18 June 2003

France           18 June 2003

Austria           19 June 2003

Switzerland  19 June 2003

Czech Republic        19 June 2003

Germany      19 June 2003

Hungary        19 June 2003

Netherlands 19 June 2003

Switzerland  20 June 2003

Denmark      20 June 2003

Spain  20 June 2003

UK       20 June 2003

Ireland           20 June 2003

Italy    20 June 2003

Poland           20 June 2003

Finland          22 June 2003

Sweden         22 June 2003

Israel  26 June 2003

Lithuania       27 June 2003

Norway         27 June 2003

Portugal        27 June 2003

Singapore     17 July 2003

Greece           18 July 2003

Turkey           18 July 2003

Russia            21 July 2003

South Korea 25 July 2003

Kazakhstan  25 July 2003

Peru   14 August 2003

Japan 23 August 2003

Estonia          29 August 2003

Panama         29 August 2003

El Salvador   29 August 2003

Philippines    10 September 2003

Norway         12 September 2003

Argentina     18 September 2003

Republic of Macedonia     19 September 2003

Philippines    24 September 2003          Turkey           2 November 2001

Norway         16 November 2001

Argentina     17 November 2001

Argentina     22 November 2001

Kuwait           15 December 2001

USA    22 June 2016

Filming Locations Miami, Florida, USA Certificate Rated PG-13 for street racing, violence, language and some sensuality Box OfficeOf 2 Fast 2 Furious (2003) Budget $76,000,000 (estimated) Opening Weekend $50,472,480 (USA) (6 June 2003) Gross

$127,154,901 (USA) (28 September 2003)

$127,083,765 (USA) (21 September 2003)

$127,014,815 (USA) (14 September 2003)

$126,911,695 (USA) (7 September 2003)

$126,781,485 (USA) (31 August 2003)

$126,522,515 (USA) (24 August 2003)

$126,236,060 (USA) (17 August 2003)

$125,882,195 (USA) (10 August 2003)

$125,380,175 (USA) (3 August 2003)

$124,813,080 (USA) (27 July 2003)

$124,028,375 (USA) (20 July 2003)

$122,454,585 (USA) (13 July 2003)

$119,437,965 (USA) (6 July 2003)

$113,996,055 (USA) (29 June 2003)

$102,889,130 (USA) (22 June 2003)

$83,584,700 (USA) (15 June 2003)

$50,472,480 (USA) (8 June 2003)

£7,403,287 (UK) (27 July 2003)

£7,087,350 (UK) (20 July 2003)

£6,720,986 (UK) (13 July 2003)

£6,167,855 (UK) (6 July 2003)

£4,958,135 (UK) (29 June 2003)

£2,747,875 (UK) (22 June 2003)

$107,376,377 (Worldwide) (6 November 2003) (except USA)

$236,350,661 (Worldwide) (28 September 2003)

€3,275,839 (Italy) (7 September 2003)

€2,986,217 (Italy) (13 July 2003)

€2,726,407 (Italy) (6 July 2003)

€1,015,877 (Italy) (22 June 2003)

$1,660,922 (Portugal) (21 June 2014)

€5,729,294 (Spain) (27 July 2003)

€5,509,049 (Spain) (20 July 2003)

€5,158,629 (Spain) (13 July 2003)

€4,589,986 (Spain) (6 July 2003)

€3,583,362 (Spain) (29 June 2003)

€1,684,764 (Spain) (22 June 2003)

Technical Specs Of 2 Fast 2 Furious (2003) Runtime 107 min Sound Mix DTS | Dolby Digital | SDDS Company Credits Of  2 Fast 2 Furious (2003) Production Company

Universal Pictures (presents)

Original Film

Mediastream Film GmbH & Co. Productions KG

Ardustry Entertainment

This Movie Detail Written By  www.Moviemorning.com   

[rhetthammersmithhorror]

Bigfoot: The Unforgettable Encounter | 1994

[moviemorning003-blog]

The Complete Detail Of Fast Five (2011) Name Fast Five (2011) Storyline Dominic Toretto and his crew of street racers plan a massive heist to buy their freedom while in the sights of a powerful Brazilian drug lord and a dangerous federal agent. Detail Of Fast Five (2011) Director Justin Lin Writer

Chris Morgan  --  (written by)

Gary Scott Thompson  --  (characters)

Produced by

Vin Diesel  --  producer

Michael Fottrell  --  producer

Amanda Lewis  --  executive producer

Justin Lin  --  executive producer

Neal H. Moritz   --         producer

Fernando Serzedelo  --  line producer: Brazil

Samantha Vincent  --  executive producer

Stars & Cast

Vin Diesel  --  Dominic Toretto

Paul Walker  --  Brian O'Conner

Jordana Brewster  --  Mia

Tyrese Gibson  --  Roman

Ludacris  --  Tej (as Chris 'Ludacris' Bridges)

Matt Schulze  --  Vince

Sung Kang  --  Han

Gal Gadot  --  Gisele

Tego Calderon  --  Leo

Don Omar  --  Santos

Joaquim de Almeida  --  Reyes

Dwayne Johnson  --  Hobbs

Elsa Pataky  --  Elena

Michael Irby  --  Zizi

Fernando Chien  --  Wilkes (as Fernando F. Chien)

Alimi Ballard  --  Fusco

Yorgo Constantine  --  Chato

Geoff Meed  --  Macroy

Joseph Melendez  --  Chief of Police Alemeida

Jeirmarie Osorio  --  Rosa

Mark Hicks  --  Capa

Esteban Cueto  --  Berto

Corey Michael Eubanks  --  Lanzo (as Corey Eubanks)

Luis Da Silva Jr.  --  Diogo (as Luis DaSilva)

Luis Gonzaga  --  Cash House Door Guard

Carlos Sanchez  --  Evidence Technician

Benjamin Blankenship  --  Lead DEA Agent (as Ben Blankenship)

Pedro García  --  Conductor

Arturo Gaskins  --  Croupier

Jay Jackson  --  Field Reporter

Arlene Santana  --  Field Reporter

Kent Shocknek  --  News Anchor

Sharon Tay  --  News Anchor

Andy Rosa Adler  --  News Anchor

Music by Brian Tyler Genres Action | Crime | Thriller Country USA Language English | Portuguese | Spanish | Italian Release Date

Brazil  15 April 2011

Australia       20 April 2011

South Korea 20 April 2011

UK       21 April 2011

Ireland           21 April 2011

Belarus          28 April 2011

Germany      28 April 2011

Kazakhstan  28 April 2011

Russia            28 April 2011

Ukraine         28 April 2011

Canada          29 April 2011

Spain  29 April 2011

Lithuania       29 April 2011

Romania       29 April 2011

Turkey           29 April 2011

USA    29 April 2011

Belgium         4 May 2011

Finland          4 May 2011

France           4 May 2011

Italy    4 May 2011

Latvia 4 May 2011

Norway         4 May 2011

Philippines    4 May 2011

Sweden         4 May 2011

Argentina     5 May 2011

Brazil  5 May 2011

Chile   5 May 2011

Czech Republic        5 May 2011

Denmark      5 May 2011

Georgia         5 May 2011

Greece           5 May 2011

Hong Kong   5 May 2011

Croatia          5 May 2011

Hungary        5 May 2011

Kuwait           5 May 2011

Mexico          5 May 2011

Malaysia       5 May 2011

Netherlands 5 May 2011

Peru   5 May 2011

Portugal        5 May 2011

Singapore     5 May 2011

Slovakia        5 May 2011

Thailand        5 May 2011

Bulgaria         6 May 2011

Brazil  6 May 2011

Colombia      6 May 2011

Estonia          6 May 2011

India   6 May 2011

Iceland          6 May 2011

Panama         6 May 2011

Pakistan        6 May 2011

Poland           6 May 2011

Taiwan          6 May 2011

Venezuela    6 May 2011

China 12 May 2011

Indonesia      12 August 2011

Bangladesh  31 August 2011

Cambodia     1 September 2011

Singapore     22 September 2011

Japan 23 September 2011

Japan 1 October 2011

Filming Locations Rice, California, USA Certificate Rated PG-13 for intense sequences of violence and action, sexual content and language Box Office Of Fast Five (2011) Budget $125,000,000 (estimated) Opening Weekend £5,332,096 (UK) (22 April 2011) Gross

$209,837,675 (USA) (11 August 2011)

$209,805,005 (USA) (7 August 2011)

$209,688,235 (USA) (31 July 2011)

$209,445,775 (USA) (24 July 2011)

$209,142,635 (USA) (17 July 2011)

$208,782,685 (USA) (10 July 2011)

$207,752,210 (USA) (26 June 2011)

$205,094,205 (USA) (12 June 2011)

$201,979,665 (USA) (5 June 2011)

$197,575,550 (USA) (29 May 2011)

$186,165,450 (USA) (22 May 2011)

$169,690,470 (USA) (15 May 2011)

$139,779,285 (USA) (8 May 2011)

$86,198,765 (USA) (1 May 2011)

£18,008,899 (UK) (29 May 2011)

£14,393,127 (UK) (8 May 2011)

$626,137,675 (Worldwide) (10 December 2011)

$626,137,675 (Worldwide) (11 August 2011)

PHP 126,881,256 (Philippines) (19 June 2011)

PHP 125,334,315 (Philippines) (12 June 2011)

PHP 125,189,755 (Philippines) (5 June 2011)

PHP 124,487,382 (Philippines) (29 May 2011)

PHP 116,381,733 (Philippines) (22 May 2011)

PHP 93,828,714 (Philippines) (15 May 2011)

PHP 46,901,026 (Philippines) (8 May 2011)

Technical Specs Of Fast Five (2011) Runtime 131 min Sound Mix SDDS | DTS | Dolby Digital Company CreditsOf Fast Five (2011) Production Company

Universal Pictures (presents)

Original Film

One Race Productions (as One Race Films)

Dentsu (in association with) (as Dentsu Inc.)

This Movie Detail Written By  www.Moviemorning.com   

[moviemorning003-blog]

The Complete Detail Of  2 Fast 2 Furious (2003) Name 2 Fast 2 Furious (2003) Storyline Former cop Brian O'Conner is called upon to bust a dangerous criminal and he recruits the help of a former childhood friend and street racer who has a chance to redeem himself. Detail Of 2 Fast 2 Furious (2003) Director John Singleton Writer

Gary Scott Thompson  --  (characters)

Michael Brandt  --  (story)

Derek Haas  --  (story)

Gary Scott Thompson --  (story)

Michael Brandt --  (screenplay)

Derek Haas  --  (screenplay)

Produced by

Michael Fottrell  --  executive producer

Heather Lieberman  --  co-producer

Lee R. Mayes  --  executive producer

Neal H. Moritz  --  producer

Stars & Cast

Paul Walker  --  Brian O'Conner

Tyrese Gibson  --  Roman Pearce (as Tyrese)

Eva Mendes  --  Monica Fuentes

Cole Hauser  --  Carter Verone

Ludacris  --  Tej (as Chris 'Ludacris' Bridges)

Thom Barry  --  Agent Bilkins

James Remar  --  Agent Markham

Devon Aoki  --  Suki

Amaury Nolasco  --  Orange Julius

Michael Ealy  --  Slap Jack

Jin Au-Yeung  --  Jimmy (as Jin Auyeung)

Edward Finlay  --  Agent Dunn

Mark Boone Junior  --  Detective Whitworth

Mo Gallini  --  Enrique (as Matt Gallini)

Roberto 'Sanz' Sanchez  --  Roberto

Eric Etebari --  Darden

John Cenatiempo  --  Korpi (as Johnny Cenatiempo)

Troy Brown  --  Paul Hackett

Corey Michael Eubanks  --  Max Campisi (as Corey Eubanks)

Sammy Maloof  --  Joe Osborne (as Sam Maloof)

Troy Robinson  --  Feliz Vispone

Jose Perez  --  Jose

Sincerely A. Ward  --  Slap Jack's Girlfriend

Nievecita Dubuque  --  Suki's Girl

Tequilla Hill  --  Suki's Girl

Bettina Huffer  --  Suki's Girl

Phuong Tuyet Vo  --  Suki's Girl

Felecia Rafield  --  Detective

Mateo Herreros  --  Detective

Walter 'Duke' Foster  --  Detective

Zachary L. Mann  --  US Customs Lead Agent

Marc Macaulay  --  Agent

Cobette Harper  --  Agent

Limary Agosto  --  Waitress (as Limary L. Agosto)

Tony Bolano  --  Gardener

Tara Carroll  --  Seductress

Neal H. Moritz  --  Swerving Cop (as Neal Moritz)

Marianne M. Arreaga  --  Police Chopper Pilot

Tamara Jones  --  Customs Technician

Music by David Arnold Genres Action | Crime | Thriller Country USA | Germany Language English | Spanish Release Date  

USA    3 June 2003

Australia       5 June 2003

USA    5 June 2003

Canada          6 June 2003

USA    6 June 2003

New Zealand           12 June 2003

Brazil  13 June 2003

Iceland          13 June 2003

Mexico          13 June 2003

Taiwan          13 June 2003

Belgium         18 June 2003

Switzerland  18 June 2003

France           18 June 2003

Austria           19 June 2003

Switzerland  19 June 2003

Czech Republic        19 June 2003

Germany      19 June 2003

Hungary        19 June 2003

Netherlands 19 June 2003

Switzerland  20 June 2003

Denmark      20 June 2003

Spain  20 June 2003

UK       20 June 2003

Ireland           20 June 2003

Italy    20 June 2003

Poland           20 June 2003

Finland          22 June 2003

Sweden         22 June 2003

Israel  26 June 2003

Lithuania       27 June 2003

Norway         27 June 2003

Portugal        27 June 2003

Singapore     17 July 2003

Greece           18 July 2003

Turkey           18 July 2003

Russia            21 July 2003

South Korea 25 July 2003

Kazakhstan  25 July 2003

Peru   14 August 2003

Japan 23 August 2003

Estonia          29 August 2003

Panama         29 August 2003

El Salvador   29 August 2003

Philippines    10 September 2003

Norway         12 September 2003

Argentina     18 September 2003

Republic of Macedonia     19 September 2003

Philippines    24 September 2003          Turkey           2 November 2001

Norway         16 November 2001

Argentina     17 November 2001

Argentina     22 November 2001

Kuwait           15 December 2001

USA    22 June 2016

Filming Locations Miami, Florida, USA Certificate Rated PG-13 for street racing, violence, language and some sensuality Box OfficeOf 2 Fast 2 Furious (2003) Budget $76,000,000 (estimated) Opening Weekend $50,472,480 (USA) (6 June 2003) Gross

$127,154,901 (USA) (28 September 2003)

$127,083,765 (USA) (21 September 2003)

$127,014,815 (USA) (14 September 2003)

$126,911,695 (USA) (7 September 2003)

$126,781,485 (USA) (31 August 2003)

$126,522,515 (USA) (24 August 2003)

$126,236,060 (USA) (17 August 2003)

$125,882,195 (USA) (10 August 2003)

$125,380,175 (USA) (3 August 2003)

$124,813,080 (USA) (27 July 2003)

$124,028,375 (USA) (20 July 2003)

$122,454,585 (USA) (13 July 2003)

$119,437,965 (USA) (6 July 2003)

$113,996,055 (USA) (29 June 2003)

$102,889,130 (USA) (22 June 2003)

$83,584,700 (USA) (15 June 2003)

$50,472,480 (USA) (8 June 2003)

£7,403,287 (UK) (27 July 2003)

£7,087,350 (UK) (20 July 2003)

£6,720,986 (UK) (13 July 2003)

£6,167,855 (UK) (6 July 2003)

£4,958,135 (UK) (29 June 2003)

£2,747,875 (UK) (22 June 2003)

$107,376,377 (Worldwide) (6 November 2003) (except USA)

$236,350,661 (Worldwide) (28 September 2003)

€3,275,839 (Italy) (7 September 2003)

€2,986,217 (Italy) (13 July 2003)

€2,726,407 (Italy) (6 July 2003)

€1,015,877 (Italy) (22 June 2003)

$1,660,922 (Portugal) (21 June 2014)

€5,729,294 (Spain) (27 July 2003)

€5,509,049 (Spain) (20 July 2003)

€5,158,629 (Spain) (13 July 2003)

€4,589,986 (Spain) (6 July 2003)

€3,583,362 (Spain) (29 June 2003)

€1,684,764 (Spain) (22 June 2003)

Technical Specs Of 2 Fast 2 Furious (2003) Runtime 107 min Sound Mix DTS | Dolby Digital | SDDS Company Credits Of  2 Fast 2 Furious (2003) Production Company

Universal Pictures (presents)

Original Film

Mediastream Film GmbH & Co. Productions KG

Ardustry Entertainment

This Movie Detail Written By  www.Moviemorning.com   

[moviemorning003-blog]

The Complete Detail Of Fast Five (2011) Name Fast Five (2011) Storyline Dominic Toretto and his crew of street racers plan a massive heist to buy their freedom while in the sights of a powerful Brazilian drug lord and a dangerous federal agent. Detail Of Fast Five (2011) Director Justin Lin Writer

Chris Morgan  --  (written by)

Gary Scott Thompson  --  (characters)

Produced by

Vin Diesel  --  producer

Michael Fottrell  --  producer

Amanda Lewis  --  executive producer

Justin Lin  --  executive producer

Neal H. Moritz   --         producer

Fernando Serzedelo  --  line producer: Brazil

Samantha Vincent  --  executive producer

Stars & Cast

Vin Diesel  --  Dominic Toretto

Paul Walker  --  Brian O'Conner

Jordana Brewster  --  Mia

Tyrese Gibson  --  Roman

Ludacris  --  Tej (as Chris 'Ludacris' Bridges)

Matt Schulze  --  Vince

Sung Kang  --  Han

Gal Gadot  --  Gisele

Tego Calderon  --  Leo

Don Omar  --  Santos

Joaquim de Almeida  --  Reyes

Dwayne Johnson  --  Hobbs

Elsa Pataky  --  Elena

Michael Irby  --  Zizi

Fernando Chien  --  Wilkes (as Fernando F. Chien)

Alimi Ballard  --  Fusco

Yorgo Constantine  --  Chato

Geoff Meed  --  Macroy

Joseph Melendez  --  Chief of Police Alemeida

Jeirmarie Osorio  --  Rosa

Mark Hicks  --  Capa

Esteban Cueto  --  Berto

Corey Michael Eubanks  --  Lanzo (as Corey Eubanks)

Luis Da Silva Jr.  --  Diogo (as Luis DaSilva)

Luis Gonzaga  --  Cash House Door Guard

Carlos Sanchez  --  Evidence Technician

Benjamin Blankenship  --  Lead DEA Agent (as Ben Blankenship)

Pedro García  --  Conductor

Arturo Gaskins  --  Croupier

Jay Jackson  --  Field Reporter

Arlene Santana  --  Field Reporter

Kent Shocknek  --  News Anchor

Sharon Tay  --  News Anchor

Andy Rosa Adler  --  News Anchor

Music by Brian Tyler Genres Action | Crime | Thriller Country USA Language English | Portuguese | Spanish | Italian Release Date

Brazil  15 April 2011

Australia       20 April 2011

South Korea 20 April 2011

UK       21 April 2011

Ireland           21 April 2011

Belarus          28 April 2011

Germany      28 April 2011

Kazakhstan  28 April 2011

Russia            28 April 2011

Ukraine         28 April 2011

Canada          29 April 2011

Spain  29 April 2011

Lithuania       29 April 2011

Romania       29 April 2011

Turkey           29 April 2011

USA    29 April 2011

Belgium         4 May 2011

Finland          4 May 2011

France           4 May 2011

Italy    4 May 2011

Latvia 4 May 2011

Norway         4 May 2011

Philippines    4 May 2011

Sweden         4 May 2011

Argentina     5 May 2011

Brazil  5 May 2011

Chile   5 May 2011

Czech Republic        5 May 2011

Denmark      5 May 2011

Georgia         5 May 2011

Greece           5 May 2011

Hong Kong   5 May 2011

Croatia          5 May 2011

Hungary        5 May 2011

Kuwait           5 May 2011

Mexico          5 May 2011

Malaysia       5 May 2011

Netherlands 5 May 2011

Peru   5 May 2011

Portugal        5 May 2011

Singapore     5 May 2011

Slovakia        5 May 2011

Thailand        5 May 2011

Bulgaria         6 May 2011

Brazil  6 May 2011

Colombia      6 May 2011

Estonia          6 May 2011

India   6 May 2011

Iceland          6 May 2011

Panama         6 May 2011

Pakistan        6 May 2011

Poland           6 May 2011

Taiwan          6 May 2011

Venezuela    6 May 2011

China 12 May 2011

Indonesia      12 August 2011

Bangladesh  31 August 2011

Cambodia     1 September 2011

Singapore     22 September 2011

Japan 23 September 2011

Japan 1 October 2011

Filming Locations Rice, California, USA Certificate Rated PG-13 for intense sequences of violence and action, sexual content and language Box Office Of Fast Five (2011) Budget $125,000,000 (estimated) Opening Weekend £5,332,096 (UK) (22 April 2011) Gross

$209,837,675 (USA) (11 August 2011)

$209,805,005 (USA) (7 August 2011)

$209,688,235 (USA) (31 July 2011)

$209,445,775 (USA) (24 July 2011)

$209,142,635 (USA) (17 July 2011)

$208,782,685 (USA) (10 July 2011)

$207,752,210 (USA) (26 June 2011)

$205,094,205 (USA) (12 June 2011)

$201,979,665 (USA) (5 June 2011)

$197,575,550 (USA) (29 May 2011)

$186,165,450 (USA) (22 May 2011)

$169,690,470 (USA) (15 May 2011)

$139,779,285 (USA) (8 May 2011)

$86,198,765 (USA) (1 May 2011)

£18,008,899 (UK) (29 May 2011)

£14,393,127 (UK) (8 May 2011)

$626,137,675 (Worldwide) (10 December 2011)

$626,137,675 (Worldwide) (11 August 2011)

PHP 126,881,256 (Philippines) (19 June 2011)

PHP 125,334,315 (Philippines) (12 June 2011)

PHP 125,189,755 (Philippines) (5 June 2011)

PHP 124,487,382 (Philippines) (29 May 2011)

PHP 116,381,733 (Philippines) (22 May 2011)

PHP 93,828,714 (Philippines) (15 May 2011)

PHP 46,901,026 (Philippines) (8 May 2011)

Technical Specs Of Fast Five (2011) Runtime 131 min Sound Mix SDDS | DTS | Dolby Digital Company CreditsOf Fast Five (2011) Production Company

Universal Pictures (presents)

Original Film

One Race Productions (as One Race Films)

Dentsu (in association with) (as Dentsu Inc.)

This Movie Detail Written By  www.Moviemorning.com