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Directed by : Francis Ford Coppola, Francis Ford Coppola, Fred Roos, Sofia Coppola, Sofia Coppola, Sofia Coppola, Ross Katz, Kevin Shields, Lance Acord, Lance Acord

Produced by : Francis Ford Coppola, Francis Ford Coppola, Fred Roos, Sofia Coppola, Sofia Coppola, Sofia Coppola, Ross Katz, Kevin Shields, Lance Acord, Lance Acord

Starring : Bill Murray, Scarlett Johansson, Giovanni Ribisi, Anna Faris, Akiko Takeshita, Fumihiro Hayashi, Kazuyoshi Minamimagoe, Kazuko Shibata, Take, Hiroko Kawasaki

Company : American Zoetrope

Release date(s) : 2003-08-31

Running time :102 Minutes

Country  : United States

Language :日本語, English

Budget :  $4,000,000

Storyline : Ok movie Lovers. If you didn't like The Life Aquatic with Steve Zissou, then don't even bother with Lost in Translation. The jokes are dry and the dialogue is weak. At least in Life Aquatic they wore funny outfits. Being a world traveler myself I could appreciate the jet lag and overall moping around thru out the whole film. You will definatly feel lost. Although I found myself laughing out loud a few times at Bill Murray and his quips, BY NO MEANS should the average movie fans think this is a comedy. It is an independent art film and should be treated as so.
True love transcends sexual expression

RELEASED IN 2003 and written & directed by Sofia Coppola, "Lost in Translation" was a big hit in 2003-2004. It's about an aging actor, Bob Harris (Bill Murray), who's in Tokyo doing commercials for a week. His home-life is mundane and he's experiencing a bit of the mid-life crisis. He runs into an attractive 20 year-old something woman, Charlotte (Scarlett Johansson), who's in Tokyo with her photog husband (), but he's gone most of the time and takes her for granted.

This is a mature, semi-arty film and you have to be in the right mode/maturity level to appreciate it. I said "maturity level" and not "age" because some people are pretty mature at 16 while others are completely immature at 50. For me, the story, music and visuals pulled me into these characters’ temporary world for the 102-minute runtime.

The film succeeds as an amusing social commentary and a deep love story, as well as a visual/musical delight. I'll only focus on the deep love element. It's been noted that the story originated from Sofia's experience with an aging actor when she was younger, possibly Harrison Ford. Sofia is obviously Charlotte, while Charlotte's husband is Sofia's ex and Anna Faris plays the role of the other woman, which would be Cameron Diaz in real life. So there's a lot of reality in the picture.

But it's not just a cathartic piece. Sofia has some potent insights to offer on the nature of true romantic love. For one, love transcends age difference (Bob is about 35 years older than Charlotte). For another, it's possible to be married and experience romantic love for another. Not that this ever justifies adultery, it's just a fact. As the story progresses you'll see how comfortable Bob and Charlotte are with each other, how they look into each other's eyes, the windows of the soul, in a profoundly naked sense. This can happen in the flash of a moment where the two people just KNOW, or it can take place over a period of time, as is the case with Bob and Charlotte (which is a handful of days). They see the same things and speak the same language, and I don't mean English. But this presents a conundrum for Bob. Bob COULD take advantage of Charlotte because she's so lonely in a sea of people, which is one of the movie's themes; she's also inexperienced and vulnerable. Will he or won't he take advantage?

***SPOILER ALERT*** Don't read further if you haven't seen the film.

If Bob loves Charlotte so much, not to mention his wife & kids, why does he have a one-night stand with the lounge singer (Catherine Lambert)? Bob slept with her to release sexual tension that had been building up between him and Charlotte. This was a moral failure, but keep in mind he was drunk (another failure but, have pity, he was going through a mid-life crisis). While all this is obvious, it goes deeper...

Bob could have taken advantage of Charlotte if he wanted to but didn't because he genuinely loved her, which is revealed at the end. Bob could sleep with the singer because he didn't love her (not that it justifies his actions). Simply put, true love transcends sexual expression and sexual union does not equal love.

The ending is powerful and tear-inducing. No CGI, explosion or action stunt can compare. It's just an older man and a too-young woman embracing in the midst of 20 million strangers. Tears flow, kisses are given and unheard words are whispered. They could never be a couple, even if they weren't married, and they know they'll never see each other again, at least on this physical plane, but their love has been expressed and will be treasured for eternity.

GRADE: A
Lost in Translation is one of my all-time favorite movies. The film grabbed me when I first saw it in the theater (unusual for back then, but my cineplex got this one in) and since I've watched it dozens of times. Bill Murray and Scarlet Johansson are both great and Sofia Coppola's direction taking in the sights and sounds of Tokyo (a city I've always been curious about and wanted to visit) was amazing.

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Directed by : Theo van de Sande, Dennis Dugan, Adam Sandler, Fred Wolf

Produced by : Theo van de Sande, Dennis Dugan, Adam Sandler, Fred Wolf

Starring : Adam Sandler, Kevin James, Chris Rock, David Spade, Rob Schneider, Salma Hayek, Maria Bello, Maya Rudolph, Steve Buscemi, Colin Quinn

Company : Columbia Pictures, Relativity Media, Happy Madison Productions, Sony Pictures

Release date(s) : 2010-06-24

Running time :102 Minutes

Country  : United States

Language :English

Budget :  $80,000,000

Storyline :

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Directed by : John Mathieson, Guy Ritchie, Guy Ritchie, Guy Ritchie, Guy Ritchie, John Davis, Danilo Bollettini, Oliver Scholl, Enzo Sisti, James Boyle

Produced by : John Mathieson, Guy Ritchie, Guy Ritchie, Guy Ritchie, Guy Ritchie, John Davis, Danilo Bollettini, Oliver Scholl, Enzo Sisti, James Boyle

Starring : Henry Cavill, Armie Hammer, Alicia Vikander, Elizabeth Debicki, Luca Calvani, Sylvester Groth, Hugh Grant, Jared Harris, Christian Berkel, Misha Kuznetsov

Company : Wigram Productions, Davis Entertainment, RatPac-Dune Entertainment, Warner Bros. Pictures

Release date(s) : 2015-08-13

Running time :116 Minutes

Country  : United States

Language :Italiano, English, Pусский, Deutsch

Budget :  $75,000,000

Storyline : The high-powered and hyper-kinetic ‘The Man From U.N.C.L.E.’ is a pulsating production that one would expect from the off-kilter imagination of writer-director Guy Ritchie whose flashy and furious actioners such as ‘Snatch’ and ‘Lock, Stock And Two Smoking Barrels’ are indicative of the filmmaker’s excess frivolity. So it is not much of a shock that Ritchie’s big screen adaptation of the iconic 60s television series that featured the retro-suave Robert Vaughn and golden-haired heart-breaker David McCallum takes on a sleek, stylish and impishly erratic mix of intrigue and frolic.

The consensus is that ‘The Man From U.N.C.L.E.’ continues the wave of nifty and naughty-minded colourful espionage spectacles that seem to have invaded the summer of 2015. Perhaps when one cries ‘U.N.C.L.E.’ it will not be as challenging or convincingly crafty as the more cerebral and stimulating ‘Mission: Impossible-Rogue Nation’. Still, Ritchie’s off-beat serving of ‘The Man From U.N.C.L.E.’ is mindless fun and roguishly cheeky.

Sure, at times the boisterous bounce in ‘U.N.C.L.E/’ feels rather strained as Ritchie’s foray into the James Bond-esque territory featuring the off-balance smoothness of twitchy twosome Brit Henry Cavill (the ‘Man of Steel’ star portraying American CIA Agent Napoleon Solo) and Armie Hammer (incidentally sporting a catchy and clever moniker) as Russian KGB Agent Illya Kuryakin spirals into a cliched cavalcade of mischievousness drowned out by surging surf music, crazy-minded and bright-coloured landscapes, perfect-looking protagonists and wildly penetrating predicaments in its manufactured action sequences. Nevertheless, ‘The Man From U.N.C.L.E.’ still generates a sense of rousing charm and insane impishness to carry out its agenda for off-the-cuff espionage escapist frolicking.

Some may not mind the make-up of ‘U.N.C.L.E.’ as a saucy buddy action flick in disguise as Cavill and Hammer drolly inhabit the kooky coolness of TV’s dynamic duo spies from yesteryear. Nobody will ever claim that Cavill and Hammer are trying to ape the small screen spying antics of original U.N.C.L.E. bad boys in the aforementioned Vaughn and McCallum any time soon. The exaggerated juiced-up chase scenes, the inclusion of high-volume spunk and wit, devious femme fatales that parade around as hormonal trophies…all add to the high-wire hedonism of Ritchie’s off-centered international gun-toting caper.

Ritchie’s co-written screenplay, along with Lionel Wigham of ‘Sherlock Holmes’ fame with ‘Harry Potter’ producer credits, does not provide much of a deep-seeded story other than its need to indulge the audience in its shifty shenanigans as an over-the-top ode to a classic couple of televised operatives that baby-boomers will fondly recall from their childhood reminiscences. The premise is somewhat painfully familiar as two clashing spy guys with different approaches to the espionage game join at the hip to stop a madman planning to engineer nuclear destruction for a vulnerable world. Of course, in attempting to stop such unthinkable madness we are overcome with the philosophical tactics and mannerisms of the targeted tandem looking to spread some spice along the way in saving the world from certain cartoonish devastation.

Solo is the capable cad whose free-spirit and ease on handling a sticky situation is met with instinctive, cavalier American ingenuity. Kuryakin, on the other hand, seems to be disciplined in his uptight ‘play-it-by-the-book’ demeanor as the cold Russian enforcer without a sense of straying from his boundaries. Together, this debonair ‘ying-and-yang’ pair of free-wheeling agents form as one in their mission to foil the demented deed of others. Isn’t that special?

In essence, ‘The Man From U.N.C.L.E.’ believes in its wheeling-and-dealing hype and that is not necessarily a bad thing. It does not pretend to be anything other than what it is at large, a spry, jet-setting caper where playful doom and gloom is played out against a backdrop of elegant locales not to mention a spruced-up soundtrack to accompany the animated proceedings. As usual Ritchie punctuates his theatrical releases with loose-minded lunacy happening at a fast pace. The outlandishness of ‘U.N.C.L.E.’ is truly true to form in the tradition of the funky and frenetic fables that Ritchie loves to spin at will.

Both Cavill and Hammer seem to get inspiration out of their dressy roles as the inventive spies with a knack for carousing and chaos. The wily women that are at the center of attention for Solo’s/Kuryakin’s romancing interests in Elizabeth Debicki’s vivacious Victoria and Alicia Vikander’s toxic Gaby is refreshingly stimulating and reinforces the suspenseful jolt. As the commanding Waverly that oversees Solo and Kuryakin, Hugh Grant does not hold a candle to the late great character actor Leo G. Carroll, that was so memorable as the head honcho that pushed the buttons in the background for both Solo’s ‘The Man From U.N.C.L.E.’ and later April Dancer’s (Stephanie Powers) ‘The Girl From U.N.C.L.E.’

So here is to the jousting ‘U.N.C.L.E.’ enjoying its considerable A.U.N.T (‘A Unique Nifty Time’) at the busy summertime box office.

The Man From U.N.C.L.E. (2015)

Warner Bros. Pictures

1 hr 43 mins.

Starring: Henry Cavill, Armie Hammer, Alicia Vikander, Elizabeth Debicki, Sylvester Groth, Christian Berkel, Luca Calvani, Misha Kuznetsov and Hugh Grant

Directed and Co-Written by: Guy Ritchie

MPAA Rating: PG-13

Genre: Spy/Espionage/Action & Adventure/Spy Thriller

Critic’s rating: ** 1/2 stars (out of 4 stars)
I know Ritchie gets a lot of flak for being a Tarantino copyist, but I really enjoy the films of the Brit that I've seen so far. They're great fun and more enjoyable than the grim-a-thons that the James Bond, Mission: Impossible and Jason Bourne franchises have churned out, though I love those as well. I thought the casting was a nice in-joke, pairing DC Comics' Superman with Marvel's Captain America, and I have loved Alicia Vikander's work since seeing her years ago in 'A Royal Affair'. I thought at the time she exuded both acting chops and sensuality out of every pore and would be a real monster if she ever went international--which she definitely has, both here and in 'Ex Machina'. Though I have never seen the TV series, I felt the camaraderie between the stars was refreshing, the car chases and other stunts were excellent, and, in a year most saturated with spy films (thankfully, for enthusiasts such as I), although it tanked at the box office, I for one hope it becomes a franchise. Why put the brakes on a good thing?...
> A very pleasing action-comedy with the balanced sensitive contents.

Another brilliant action-comedy from Guy Ritchie. I never saw the 60s television series of the same name, but this was very convenient for his style of portraying the tough men showing off their strength. The actors were simply wonderful, two year commitment by the two lead guys for this project definitely payed off well and Alicia Vikander filled the feminine void perfectly. I think it was one of the best trio in the movies I ever seen, very powerful and I hope it lasts for a trilogy.

The story sets in the 60s during the cold war tension between the world's two superpowers. But the film's specialty was, it does not render clash between them, instead they come together to fight the rogue forces who plan blitz against them. Very humourous, highly entertaining with a swift pace and amazing action sequences.

I don't think the narration had any unique twist and turn, instead I call it a smartly written screenplay. So the overall movie was so good, but not a top-notch. My disappointment came from the technical side in some of parts, especially the bike and car chase in the last quarter that you can clearly tell a fake (greenscreen/bluescreen shot). Other than the main plot and its clever scenes, the movie did not offer distinctive features. Just taking away a ½ point is what places it on a line between good and average, but I definitely consider it a good.

6½/10
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In the early 1960s, CIA agent Napoleon Solo competes with KGB agent Illya Kuryakin to find Gaby Teller's nuclear scientist father. They need to get her out of East Germany first, then follow leads to the father, who seems to be building a bomb for a rich family in Italy. Will they stop the use of the nuclear device? Will Napoleon survive torture by Gaby's Nazi uncle? Be ready to laugh; this is not a dark humourless POS like the superhero films; rather, it's a light hearted romp.

*Image courtesy of The Movie Database*

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Directed by : Ellen Heuer, Jonah Hill, Seth Rogen, Nathan Kahane, Carla Hetland, Lisa Love, Maureen Webb, Jeremy Stanbridge, Lyle Workman, Kelli Konop

Produced by : Ellen Heuer, Jonah Hill, Seth Rogen, Nathan Kahane, Carla Hetland, Lisa Love, Maureen Webb, Jeremy Stanbridge, Lyle Workman, Kelli Konop

Starring : Jacob Tremblay, Brady Noon, Keith L. Williams, Molly Gordon, Midori Francis, Will Forte, Josh Caras, Retta, Lil Rel Howery, Millie Davis

Company : Good Universe, Point Grey Pictures

Release date(s) : 2019-08-14

Running time :89 Minutes

Country  : United States

Language :English

Budget :  $20,000,000

Storyline : walking into the theater i didnt know what to expect from this movie except two things one to atleast laugh a little and two to be in aww by the shocking content but however what i personally didnt expect was to attend the absolute funniest movie ive seen all year long i laughed out loud nonstop i loved the characters as well this definetly isnt for everyone kids included or anyone offended by sex humor but if you can take it i highly recommend seeing this comedy blockbuster
Most of the comedies that I love have an element of emotional weight, and ‘Good Boys’ is no exception. The film has some really bittersweet conversations about losing friendships and growing up that are sure to hit home for a lot of people. It helps push the film to the next level, and was something I really adored.
- Chris dos Santos

Read Chris' full article...
https://www.maketheswitch.com.au/article/review-good-boys-more-than-just-a-young-superbad
Everything old is new again.

Three naive six-graders are on a quest to get to their first kissing party, but get detoured along the way. Sound familiar? That's because it's the same plot as "Superbad" only with younger kids. From having to score drugs to selling a sex doll, these kids get into all kinds of ridiculous hijinks that provide only a mild laugh now and again.

My main problem here is the rehash. Why? "Superbad" is a far superior movie, probably because of the knowledge the characters bring to the table. These kids know next to nothing about the world, a fact that's played up to a maximum extent time and again. By the end of the movie, I was ready to throw my hands up in the air saying "Alright! I get it already." And the characters don't really develop to a significant extent. They remain just as naive at the end of the movie as they were at the beginning.

As a result, we wind up not just with a rehash of "Superbad" but a rather stagnant one at that. It can be cute at times, but overall we learn nothing along with the characters and our lives are not richer for having seen this movie. It's a cute diversion, but nothing else. Take it for what it is, or don't. My recommendation is that if you have anything else to see, you're probably better off seeing that instead.
It's not very good, and it is very derivative but man, I guess I'm just a sucker for jokes about drug use? For whatever reason I pretty consistently find it genuinely funny. Probably says more about me than it does about _Good Boys_, but whatever, it's fine.

_Final rating:★★½ - Had a lot that appealed to me, didn’t quite work as a whole._

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Directed by : James J. Murakami, Harold Ramis, Harold Ramis, Harold Ramis, Trevor Albert, Danny Rubin, Danny Rubin, John Bailey, George Fenton, Howard Feuer

Produced by : James J. Murakami, Harold Ramis, Harold Ramis, Harold Ramis, Trevor Albert, Danny Rubin, Danny Rubin, John Bailey, George Fenton, Howard Feuer

Starring : Bill Murray, Andie MacDowell, Chris Elliott, Stephen Tobolowsky, Brian Doyle-Murray, Angela Paton, Rick Ducommun, Rick Overton, Robin Duke, Willie Garson

Company : Columbia Pictures

Release date(s) : 1993-02-11

Running time :101 Minutes

Country  : United States

Language :English, Français, Italiano

Budget :  $14,600,000

Storyline : Funny story done to fit on Bill Murray's shoes.

It is good enough and with a moral for the family but I don't get it what this is such a famous movie.
I can watch this movie again and again and again. Just trying to imagine what I would do in such a situation. And who doesn't like groundhogs?
**The Future is Not a Given**

_Groundhog Day_ sets out to accomplish the inconceivable, where few comedies, or movies of any kind, or art forms of any device dare to tread. It is determined to ultimately answer: How does one find true happiness. The kind of baby that might have been hatched by crossing Woody Allen and Dali Lama. What's truly amazing is that it pretty well achieves this without being pretentious or portentous. Its humble, pedestrian style coincides with it's charitable message. Furthermore, it's a riot!

What do you do when the snowstorm of life traps you into a place you don't want to be? Self-destructive anarchy is an option: drinking, stealing, screwing, lying, joyriding and suicide. But this is a big storm so long-term solutions are required. The good news if you're lonely and unhappy? You probably have more time to dedicate to self- improvement (music lessons, ice sculpturing).

But challenging the self must have worthwhile outcomes. Phil, believing he's magical, challenges himself to get Rita to sleep with him within 24 hours. He's being dishonest, still playing games and ends up getting slapped in the face repeatedly. It appears that Phil's obstinate pattern of narcissistic behaviour is the cause of this inert existential loop, and one that traps everyone he is in contact with. When he finally realizes that while money, sex and immediate self-gratification might have their perks, they are short-lived and vastly overrated, and a major personality overhaul will be required to escape this Kafkaesque nightmare. An endless, insanely frigid winter is bound to contain him (them (us)) unless new strategies are introduced, alternative energies adopted, the shift away from a self-serving paradigm sustained.

To his credit, Phil refuses to be cornered into the status quo and become one in a million zombies chanting “it is what it is”. Phil actually starts to recover when he gives up trying. When he dismisses the quick fixes (sex, booze, anger, lying and fighting), when he relinquishes his ego and lets go of his smarmy King Joffrey-Justin Bieber juvenility, when he learns to be himself, like himself, settle into his own skin so he can thrive in and, in turn, improve his surroundings. In a reversal of _It's a Wonderful Life_, rather than Bedford Falls being worse off from George's absence, Punxsutawney is better off with Phil's presence. Routine days require routine acts of kindness and Phil and the entire town collectively benefit from it. Phil is a born-again humanist, one who rescues himself from himself, escaping a solipsistic rotation of mutually-destructive behaviour simply by being a good Samaritan. The forecast: many rewarding days of sunshine.

I always had a bit of a problem with the ending. That the cycle of unhappiness only ends when the guy gets the girl. But now I see that getting the girl was coincidental (and symbolic). Before he gets the girl he has to get himself. That's how you put a reverse spin on a downward spiral. The girl is now able to love the boy because he is love-worthy. The boy could be anyone. A politician. A corporation. You.

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Directed by : Tim Burton, Danny Elfman, Richard L. Anderson, Warren Skaaren, Janet Hirshenson, Jane Jenkins, John Warnke, Cheryl Carasik, Bob Badami, Bo Welch

Produced by : Tim Burton, Danny Elfman, Richard L. Anderson, Warren Skaaren, Janet Hirshenson, Jane Jenkins, John Warnke, Cheryl Carasik, Bob Badami, Bo Welch

Starring : Michael Keaton, Geena Davis, Alec Baldwin, Winona Ryder, Catherine O'Hara, Jeffrey Jones, Glenn Shadix, Sylvia Sidney, Patrice Martinez, Dick Cavett

Company : Geffen Pictures, Warner Bros. Pictures

Release date(s) : 1988-02-29

Running time :92 Minutes

Country  : United States

Language :English

Budget :  $15,000,000

Storyline : Inventive and Fun take on the Afterlife.

RELEASED IN 1988 and directed by Tim Burton, “Beetlejuice” chronicles the story of a couple (Alec Baldwin & Geena Davis) who accidently perish after moving to a quaint Connecticut town. They find themselves sentenced to “haunting” their former house where they try to scare the new wannabe swank couple out (Jeffrey Jones & Catherine O'Hara), but they find that their Goth daughter is more curious than scared (Winona Ryder). Michael Keaton plays the eponymous madcap “bio-exorcist” while Glenn Shadix is on hand as the new couple’s interior designer.

This was Burton’s debut on the silver screen and the first half is hilarious entertainment mixed with some interesting insights on the afterlife. The movie puts its best foot forward, but the second half isn’t as compelling and I think the title character is more annoying than amusing.

THE FILM RUNS 1 hour & 32 minutes and was shot in beautiful East Corinth, Vermont, and (studio) Culver City, California. WRITERS: Michael McDowell, Larry Wilson and Warren Skaaren.

GRADE: B+

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Directed by : Marci Liroff, Kym Kristalie, Wendy Greene Bricmont, Marc Fishman, John Stoneham Jr., Brandt Gordon, Rolfe Kent, Mary Jane Fort, Dana E. Glauberman, Mark Waters

Produced by : Marci Liroff, Kym Kristalie, Wendy Greene Bricmont, Marc Fishman, John Stoneham Jr., Brandt Gordon, Rolfe Kent, Mary Jane Fort, Dana E. Glauberman, Mark Waters

Starring : Lindsay Lohan, Rachel McAdams, Lacey Chabert, Amanda Seyfried, Lizzy Caplan, Daniel Franzese, Jonathan Bennett, Tina Fey, Tim Meadows, Amy Poehler

Company : Broadway Video, Paramount, M.G. Films

Release date(s) : 2004-04-30

Running time :97 Minutes

Country  : United States

Language :Kiswahili, English, Deutsch, Tiếng Việt

Budget :  $17,000,000

Storyline : I hardly ever watch contemporary American comedies in which most of the top cast are women (I still haven't seen either 'Clueless', 'Bridesmaids' or 'Heathers', for example), but recently I enjoyed 'The Devil Wears Prada', I have liked both Lindsay Lohan (especially in 'Bobby' and 'The Prairie Home Companion') and Rachel McAdams (most significantly in 'Redeye' and 'Passion'), so knowing that one of my favourite SNL comediennes, Tina Fey, both wrote and co-starred in this, made me give it a shot. It being critically lauded by some male cinephiles I trust didn't hurt matters, either.

It was full of laughs and subtly got across its points about 21st-century American society and of the growing pains for young women in its high school shenanigans. 'Mean Girls' is definitely worth the trouble to find and to give a try yourself. It left me enthusiastically wishing Ms. Lohan can sort out her personal troubles and get back to acting, where she belongs.
_Mean Girls_ has absolutely no business being as phenomenal as it is. None at all. If you've read many enough my reviews to get any sort of indication as to the sort of cinema I am in to, then you could be forgiven for assuming I wouldn't be a fan. After all, _Mean Girls_ is about as far away from my wheelhouse as a movie could conceivably be. But I fucking **love** it. And I honestly can't tell you why. Every single piece of _Mean Girls_ examined in isolation, is something I despise. Every trope, formula, format, cliche, device and style choice is something I have ragged on a hundred times before in different reviews, but for whatever reason, I cannot put _Mean Girls_ down. I don't think a single year has gone by since I first saw it in the late '00s that I haven't rewatched it. Usually, multiple times a year. Inexplicable, but there it is.

_Final rating:★★★★½ - Ridiculously strong appeal. I can’t stop thinking about it._