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Thursday, March 26, 2020

Zombieland: Double Tap 2019

Columbus, Tallahassee, Wichita, and Little Rock move to the American heartland as they face off against evolved zombies, fellow survivors, and the growing pains of the snarky makeshift family., Zombieland: Double Tap 2019 flipped full movie online free youtube , Stars with: Ruben Fleischer, Woody Harrelson, Jesse Eisenberg, Genres : Action, Comedy, Horror

Review :
Even with its flaws, ‘Zombieland: Double Tap’ doesn’t overstay its welcome with its 99-minute run time, and remains a solid piece of popcorn entertainment. Although it doesn’t push any boundaries, it’s harmless fun (the Homer zombie of horror films, if you will... that’ll make more sense after you’ve seen it). So stumble into a cinema and join these friends on a reunion - sure, one filled with endless blood, guts and brains, but that’s half the fun of a zombie comedy, right?
- Charlie David Page

Read Charlie's full article...
https://www.maketheswitch.com.au/article/review-zombieland-double-tap-the-gangs-back-for-a-brainless-zombie-comedy-sequel

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As you probably know by now, since I posted the original film's review a few hours ago, I loved the first Zombieland. I defend that it's a zombie cult classic, and I was genuinely pumped for its sequel. It didn't go through any external controversy (something quite rare nowadays), the cast didn't say anything wrong in the interviews (haters didn't have enough words to twist this time around), Ruben Fleischer returns as the director, as well as Rhett Reese and Paul Wernick (plus a new member, Dave Callaham) as the screenwriters. If a studio wants to do a 10-year sequel, it might as well get the creators and original cast back together, right?!

That's what I love the most about Double Tap. It didn't lose the original's essence, and it didn't forget what made it so successful. The cast's chemistry can be felt thousands of miles away, but the new additions also fit in seamlessly. Zoey Deutch portrays Madison, a purposefully stereotypical "dumb blonde girl" who has some of the funniest scenes as well as some of the most cringe-worthy (Deutch gives an excellent performance, though). And Rosario Dawson plays Nevada, basically a women version of Tallahassee (Woody Harrelson), which means she has a bunch of badass action sequences. As for the old gang, well…

Everyone delivers great performances, but this time, Harrelson really elevated his character. Not only does he have the expected awesome kickass moments, but he also offers some emotionally compelling displays. Emma Stone (Wichita) and Abigail Breslin (Little Rock) keep being amazing as their characters, and Jesse Eisenberg (Columbus) does get a bit too … Jesse Eisenberg, but it never stops feeling natural, having in mind how his character acts. These four are the heart of the whole show. Hence, getting the original cast back together is halfway through success, even more than in the first movie. Story-wise is where I do have some complaints, unfortunately.

Maybe it's due to the fact that I watched 2009's Zombieland just a couple of hours before Double Tap's screening, but I wish that Fleischer and his team were more creative. Sure, the original was 10 years ago, and not everyone is going to rewatch the original (especially not right before), so it's expected that a lot of classic moments are recreated in some shape or form. However, for an extended period, I felt that I was watching the exact same film, just with older characters. I know I'm going to hear some of Columbus' original famous rules, but there's a surprising lack of new ones. I know Tal is going to repeat some of his catchphrases, but he's an imaginative guy, he can think of fresh ones (which he does say in the last minutes, but still).

To move the plot forward or actually make the story happen, a lot of questionable things occur, and not in the sense of them not being rational (it's not like Zombieland is a groundbreaking piece of storytelling). It's the apparent lack of character development through all of the years that have passed, and I'm not addressing their personalities being the same (it's pretty normal). To create this movie, characters make decisions that don't feel right, having in mind they spent so much time together. It's impossible for love, trust, and emotional attachment not to be developed throughout such a long time. So, while Little Rock's arc is understandable and relatable, Wichita and Columbus' lacks convincing arguments, in my opinion. Both make decisions too dumb for such intelligent characters, but I guess "that's love".

Once again, the technical features that defined the original so clearly are seamlessly employed in its sequel. Beautiful production design, cool soundtrack, fantastic application of practical effects and real sets, which nowadays are getting rarer. The slightly longer runtime still manages to carry a fast pace, which is always a good attribute, and it's packed with thrilling, hilarious, bloody action sequences. Amusing pop culture references, and the most significant moment of all: Double Tap has one of the best, if not THE best, mid-credits scene of the year! Don't you dare leave the theater, it's right at the beginning of the credits, so stay in your seat!

All in all, Zombieland: Double Tap pays a decent homage to the original zombie cult classic by getting everyone (cast and crew) back together, and delivering yet another entertaining flick. By maintaining the essence of the first film, Ruben Fleischer is able to capture the outstanding cast's chemistry, as well as present those amazingly entertaining action sequences. Even though the central narrative isn't as straightforward and interesting as in the original, it's still captivating enough for the audience to care about. There is an excessive amount of callbacks to classic catchphrases, rules, or moments, which shows a bit of a lack of imagination to create new material. While it's not as funny or entertaining as the 2009's movie, it's still a good time. If you're a fan of Zombieland, definitely watch it! If not, well… Nut up and watch it or shut up and let others enjoy it.

Rating: B

_**Just as funny and irreverent as the original, even if it hits all the same beats**_

> _I'd rather die while I'm living than live while I'm dead._

- Jimmy Buffett; "Growing Older But Not Up" (1981)

The original _Zombieland_ (2009) was something of a sleeper hit, earning over $100 million against a $24 million budget, becoming the most financially successful zombie movie ever made, until it was surpassed by Marc Forster's asinine _World War Z_ (2013). Smart, funny, and self-aware, it didn't take itself too seriously, and it had bucket-loads of heart, but it was hardly a film crying out for a sequel. And as time passed, it seemed more and more unlikely such a sequel would happen. However, after a decade in development hell, _Zombieland: Double Tap_ has arrived, and boy is it one of the most unnecessary sequels I've seen in quite some time. However, as unnecessary as it is, it's also extremely enjoyable. It doesn't do a whole lot that wasn't in the original, but the irreverent sense of humour, fourth wall breaks, sharp character interactions, and, most importantly, shedloads of charm are all present and accounted for. Directed by Ruben Fleischer (who helmed the original) and written by Rhett Rees and Paul Wernick (who wrote the original), along with Dave Callaham, _Double Tap_ may not take too many risks, but it's a fine companion piece.

10 years after the events in the first film, the quartet is still together and still getting on one another's nerves – there's the neurotic but sweet Columbus (Jesse Eisenberg doing his Jessie Eisenberg thing), the crass but caring Tallahassee (a wonderfully acerbic Woody Harrelson), the sarcastic Wichita (a dead-pan Emma Stone) and the laidback Little Rock (Abigail Breslin doing a lot with the little she's given). As we meet them, they're in the process of taking up residence in the White House – Columbus and Wichita are still a couple, but recently, she's started to wonder if perhaps their relationship is more important to him than it is to her; Little Rock is now a young woman who resents the fact that Tallahassee still treats her like she's 11; and Tallahassee, for his part, hasn't changed an iota. After Columbus proposes to Wichita (using the Hope Diamond), she and Little Rock skip town, but she returns a month later, telling the others that Little Rock ditched her and headed to a supposed zombie-free commune. And so the trio reluctantly set out to find her. Along the way, we're introduced to Madison (Zoey Deutch, who completely steals the film), a millennial bimbo who's been holed up in walk-in freezer; Berkeley (Avan Jogia), a peace-loving hippie; Nevada (Rosario Dawson), a tough-as-nails Elvis aficionado; and Albuquerque (Luke Wilson) and Flagstaff (Thomas Middleditch), who are eerily similar to Tallahassee and Columbus (the reveal of which was spoiled by the trailer). There's also a new breed of zombie, which is faster, stronger, and more intelligent than the regular kind, and which can only be killed with multiple head-shots.

And that's about it as far as the plot goes. The original film came at a time when the zombie genre was just starting to be taken more seriously – Danny Boyle's _28 Days Later_ and Juan Carlos Fresnadillo's _28 Weeks Later_ were released in 2002 and 2007, respectively, introducing all manner of innovations and turning many of the genre tropes on their head; Jaume Balagueró and Paco Plaza's _[•REC]_ films were released in 2007 and 2009, setting a new standard for found footage films; _The Walking Dead_ debuted in 2010, and for the first few seasons it was as well-reviewed a show as you could find (until it turned into repetitive self-parody). Zombies also featured heavily in video game franchises of the era, such as _Siren_ (2003), _Dead Rising_ (2006), _Dead Space_ (2008), and _Dead Island_ (2011). _Zombieland_ cared about none of that – it was, in fact, the inverse of such titles, a film that didn't take anything seriously, least of all itself.

With this in mind, although 10 years have passed and the landscape is very different, one of the sequel's most successful elements is that next to nothing has changed; in essence, it acknowledges the gap precisely by ignoring it. So, Columbus's opening voiceover specifically refers to the long break as he thanks us for choosing _Double Tap_ when there is such "_a wide choice of zombie entertainment_" and Madison tells Tallahassee his catchphrase is "_very 2009_", but the film as a whole feels as if it was shot immediately after the original. Of course, this is important insofar as in the universe of the franchise, the last decade has been very different to the last decade of our reality, so the filmmakers can't layer in too many contemporary references – although Columbus does mention how "_unrealistic_" _The Walking Dead_ comics are, there's a hilarious deconstruction of the concept of Uber, and there's a subtle allusion to Trump when Wichita sarcastically tells Tallassee he'd have brought "a real dignity" to the office of the presidency.

This factors into the performances as well, insofar as Columbus, Tallahassee, and Wichita are all broadly similar to how they were 10 years ago. Little Rock has changed significantly, but that's as much to do with the fact that she was a child in the original and is now a young woman. This lack of character development may sound like a bad thing, but really, the familiarity of the characters and their group dynamic has its own inherent charm, we welcome it because it's familiar, with the cast essentially doing the same things they did in the original. Speaking of performances, Zoey Deutch completely owns every scene she's in. Sure, the character is clichéd as all hell and, on paper, she should be all kinds of annoying, but that she isn't, is a testament to Deutch's warm performance, finding genuine pathos amidst the perpetually peppy and cheerful high-energy ditz. She also has great chemistry with the original cast, especially Harrelson. In fact, all of the new actors have terrific chemistry, which is nice to see insofar as effortless chemistry was one of the hallmarks of the original.

In terms of problems, as mentioned, the film doesn't do a whole lot that wasn't in the original – the characters are the same, the narrative beats are the same, the group dynamic is the same, the sense of humour is the same – and for some, this will certainly be an issue. Indeed, as much as I enjoyed the film, I would have liked to see it take more risks (there's certainly nothing here to rival the inspired Bill Murray cameo). Because of this blanket similarity, there is a sense in which the sequel isn't really its own thing, it's defined primarily by what the original did rather than forging its own path, and a lot of the meta-humour only works if you know the original. Another problem is that it fails to do much with an interesting set-up, which sees women chaffing against traditional gender roles and the identities conferred on them by men. Once the gang end up on the road, this theme is pretty much forgotten (even with the introduction of Nevada, who seems more like a man's idea of what a tough woman should be than her own person). There are also more than a few clichés, primarily in relation to Madison (as blond a character as you'll ever meet) and the one-note Berkeley (a weed-smoking gun-hating hippie, who is literally introduced by way of a sitar on the soundtrack).

_Zombieland: Double Tap_ is undemanding and doesn't completely justify its existence, but it also does justice to the original, and never for one second does it take itself seriously. The effortlessness with which it slots into the original's groove is either funny in its own right or poor writing, depending on your perspective, but the film is smart enough to know and acknowledge that it feels slightly out of place in 2019, in a way the 2009 original did not. And if a little of the spark has been lost, the warmth, the characters, the jokes, and the playfulness more than make up for it.

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in: 2019, Action, Comedy, Horror

Zombieland 2009

Columbus has made a habit of running from what scares him. Tallahassee doesn't have fears. If he did, he'd kick their ever-living ass. In a world overrun by zombies, these two are perfectly evolved survivors. But now, they're about to stare down the most terrifying prospect of all: each other., Zombieland 2009 free movie in hindi , Stars with: Jesse Eisenberg, Emma Stone, Woody Harrelson, Genres : Adventure, Comedy, Horror

Review :
Fun, not that fun to have a higher mark than a 5/10.

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I haven't seen Zombieland in quite a few years, but with its sequel being released this week, now it's the perfect moment to go back to the hilarious world of zombies. It still holds up incredibly well. In a time where zombie films and TV shows were starting to come up (The Walking Dead premiered one year later), this post-apocalyptic zombie comedy flick still remains as one of the best zombie movies of the century. Their use quickly became something cliche, and neither funny or scary. Nowadays, people are used to seeing the living dead on the screen all the time, so why does a 2009's film like this still work?

Well, first of all, the outstanding cast is halfway through success. In 2009, only Woody Harrelson was already a renowned adult actor. Emma Stone and Jesse Eisenberg didn't star in anything truly remarkable yet, so much that Abigail Breslin was more recognizable than them. Even with only 13-years-old, she already had an Oscar nomination in a supporting role (Little Miss Sunshine). However, everyone delivers fantastic performances, which carry the simplistic yet entertaining story to such a success that it became a zombie classic.

Harrelson portraying Tallahassee, the guy who's not scared of anything and likes to "enjoy the little things", is one of his career's coolest roles. Eisenberg is not exactly the type of actor I like since he can only do so much with his acting abilities. He always offers the same type of character: a quirky, twitch-full, idiosyncratic personality, which most of the times doesn't work. Contrary to this tendency, Columbus is a character that logically and hilariously fits this model, hence Eisenberg is the movie's primary source of comedy. From his list of rules to his weird behavior, everything feels natural since the character's background justifies his awkward self.

Stone and Breslin share great moments together, as well as Harrelson and Eisenberg, but the former duo has less exciting sequences. Nevertheless, even though the girls could have received more character development, their relationship gives them a compelling reason for us to care about. Wichita might just look like the cliche hot girl who falls for the good guy, but she would do anything to protect her sister, and her love for Little Rock does give her some gravitas. The cast's chemistry is undeniably astonishing. It's visually palpable that they had tons of fun doing this film, and that elevates every single conversation or action scene.

The short runtime allows for a fast-paced story, packed with fun moments, and a lot of bloody zombie killings. The production design is remarkable. Excellent use of practical effects and real sets, plus a perfect soundtrack. Ruben Fleischer knew precisely what he wanted the movie to be, and he never tried to make it something more. Yes, it still involves a romance of sorts, and some backstories might not be funny or joyful. However, it never feels forced or fabricated. It never overextends its stay because Zombieland is neither a romance or a drama. It's purposefully campy, plays with stereotypes creatively, and it's merely 88 minutes of good fun. We are in 2019, and studios forgot how to make films like this!

Every year, there are dozens of blockbusters that would be extremely entertaining if studios would just let them be what they are meant to, but no. They need to have some relevant story that carries a political tone or a social message. Zombieland has all the attributes of a pure blockbuster: a phenomenal cast, a straightforward narrative packed with thrilling sequences, a short runtime with fast pacing, compelling characters, and thousands of zombies. Put together a funny screenplay filled with chuckle-worthy jokes, and you have yourself one of the best zombie movies of the century. It's one of those films which don't exactly have what people address as "flaws". Zombieland has its cliches and lazy exposition, but it heavily compensates them with 80 minutes or so of spectacular entertainment. It's a zombie cult classic. Nut up or shut up, but watch the goddamn movie!

Rating: A-

in: 2009, Adventure, Comedy, Horror

Wrong Turn 6: Last Resort 2014

A sudden and mysterious inheritance brings Danny and his friends to Hobb Springs, a forgotten resort deep in the West Virginia hills. Hobb Springs is being looked after under the watchful care of Jackson and Sally, a socially awkward couple who introduce Danny to the long lost family he's never known. A clan by the name of Hillicker. But soon Danny learns his relatives have a different way of living, that for generations, the Hillickers have observed ancient traditions rooted in cannibalism and other taboo rituals., Wrong Turn 6: Last Resort 2014 near dark free movie , Stars with: Anthony Ilott, Chris Jarvis, Aqueela Zoll, Genres : Horror

Review :
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in: 2014, Horror

Wrong Turn 2: Dead End 2007

Retired military commander Colonel Dale Murphy hosts the simulated post-apocalyptic reality show where participants are challenged to survive a remote West Virginia wasteland. But the show turns into a nightmarish showdown when each realizes they are being hunted by an inbred family of cannibals determined to make them all dinner!, Wrong Turn 2: Dead End 2007 movie free 2019 , Stars with: Erica Leerhsen, Henry Rollins, Texas Battle, Genres : Horror

Review :
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in: 2007, Horror

World War Z 2013

Life for former United Nations investigator Gerry Lane and his family seems content. Suddenly, the world is plagued by a mysterious infection turning whole human populations into rampaging mindless zombies. After barely escaping the chaos, Lane is persuaded to go on a mission to investigate this disease. What follows is a perilous trek around the world where Lane must brave horrific dangers and long odds to find answers before human civilization falls., World War Z 2013 movie free love , Stars with: Brad Pitt, Mireille Enos, Daniella Kertesz, Genres : Action, Adventure, Horror

Review :
**Put's the Zzz in Zombie**

First time I saw it 3 odd years ago I was not impressed.

Decided to give it another go though today, which I wish I hadn't cause it was even worse and more dull than I remember.

Now when I say dull I don't necessarily mean that it lacks action (it has a bunch of scenes with action, and being that these zombies run superfast unlike the typical zombies in film and series perhaps even a bit more than the average) but lack of interesting characters or good actors and any sort of originality in script makes it a tired ride.

Brad Pitt is not necessarily a great actor but he seriously did his most barebones performance here, you were just on the run from zombies with cars flying over and all kinds of stuff but you barely show any sort of emotion? Borderline Steven Segal territory ocassionally, or at the very least Jean Claude Van Damme... But without the fighting skills.

So yeah not an impressive film.

As with most zombie movies the plot is rather contrived and unbelievable (even if you accept the existence of zombies) but if you want to watch zombie movies in the first place that is something that you are supposed to be immune to.

This is another variant of zombies being created by some virus and rapidly taking over most of the planet. As I said, the entire story is somewhat unbelievable. When I first read about zombies as a kid there was always some supernatural/magic stuff involved. I think I liked that “explanation” much better than the virus nonsense which just have too many holes in it. For example there is no way a virus could make human bodies roam around aimlessly inside a sterile laboratory for days without nutrition. Well, as I said, it is a zombie movie so one just have to get over these little issues.

As an action movie with zombies as the main adversary it is a fairly good movie. The action is solid, the special effects okay and the entire movie continues at a reasonably brisk pace. Pitt is also doing a decent job of his role. There are few of the other actors that are very memorable though. The scenes where the zombies pile onto each other to scale walls and even reach choppers are rather cool. The movie is not very gory for being a zombie movie. Whether that is a good thing or not depends on the viewer I guess. Personally I do not mind some gory stuff in zombie movies.

There are a few annoying parts which Hollywood always seem to have to throw in. For example, the world is on the brink of the apocalypse and Lane and his wife just doesn’t want to get involved. What the f…? Also why do people always let their kids wander away in situations where they really should keep track of them? Not to mention how clumsy people always get when they have to sneak around and be silent. These things are just annoying.

Anyway, this movie fulfils its purpose as two hours of action-filled but not too intelligent entertainment quite well.

in: 2013, Action, Adventure, Horror

When the Bough Breaks 2016

A surrogate mother harbors a deadly secret desire for a family of her own with the husband who is expecting to raise her child., When the Bough Breaks 2016 interstellar movie free download 480p , Stars with: Jon Cassar, Morris Chestnut, Regina Hall, Genres : Crime, Drama, Horror

Review :
The woefully generic **When the Bough Breaks** has the gloss factor going for it to a certain extent. Truthfully, its presentable package of panicky polish includes a stylish suspense piece highlighting an attractive cast involved in familiar dramatic cable-TV inspired shrugs and false jolts. Of course the creepy cradle falls in the mediocre **When the Bough Breaks** when the Jon Cassar-directed, Jack Olsen-written hollow horror showcase commits the real scare of resembling a lightweight Lifetime Movie Channel twitchy televised project. The so-called sinister shenanigans in **When the Bough Breaks** never feel majestic or mischievous enough to fill the realm of the big screen. Basically, Cassar’s transparent tension-filled teaser is atmospheric and arbitrary in the surrogate pregnancy genre. The artificial thrills fail to wring any imaginative or inventive suspense that register with genuine anxiety.

Ultimately, **When the Bough Breaks** yearns to be a provocative pot-boiler with a high-end naughty pulse to its flat-lining frenzy of passion and pain. The real shame is that **Bough** commonly echoes the commonplace conventions of a potent cheesy sexual thriller we have seen countless times to no end. In fact, **When the Bough Breaks** could masquerade as a BET cable channel-based knockoff to filmmaker Adrian Lyne’s 1987 psycho-sexual thrill vehicle _Fatal Attraction_ with an ethnic twist. In fact, **Bough** is in more of the synthetic spirit of the forgettable Beyonce Knowles-Idris Elba-Ari Larter 2009 horror slice-and-dice romancer _Obsession_. The regurgitated theme of a twisted younger spicy vixen looking to get her sensual hooks on the hunky object of desire at the expense of the harried wife on the cynical sidelines has played out in other preferable big screen and cable TV-bound flicks. Here in **Bough** the tired formula comes off as another strained, eye-rolling rip-off pertaining to the otherwise revisited jeopardized love triangle scenario.

Thus, **When the Bough Breaks** loses its credible balance when the movie morphs into another hysterical female psychopath waving a sharp utensil around in the name of cartoonish, toxic outrage. Joining the contemporary delusional divas such as the aforementioned _Fatal Attraction’s_ Alex Forrest and _Obsession’s_ Lisa Sheridan (how about going way back and looking at the doomed love triangle with seasoned actress Jessica Walter’s crazed stalker Evelyn from 1971’s Clint Eastwood-directed “Play Misty For Me”) is Jaz Sinclair’s (“Paper Towns”) sexy surrogate Anna looking to rock the titillating world of a handsome married man named John Taylor (Morris Chestnut).

The premise involves power professional couple John, an attorney, and his gorgeous established chef wife Laura (Regina Hall). They are both blessed with looks, materialistic excess and thriving careers but there is one main thing that alludes them as being completely sound in their lives–the playful addition of a baby to start their growing family. The marital tension has been building between the Taylors and a child seems to be the immediate solution to healing. Unfortunately, Laura has had three miscarriages in the past. The Taylors have experimented with surrogates to carry their baby but to no avail. Time is running out as John and Laura grow restless and want results especially in the wake of a dire marriage needing stimulation.

Soon, the Taylors will find some glimmer of hope in becoming parents when they get acquainted with the aforementioned 21-year old sexy waitress Jaz Walsh (Sinclair) and her sleazy abusive boyfriend Mike (Theo Rossi from TV’s “Sons of Anarchy”). Anna, now impregnated, is at the mercy of Mike’s beatings and decides to call John for help. John brings Anna back to his place to shelter away from the riff raffish Mike. The opportunity for taking in a pregnant and desperate Anna could prove beneficial for the childless married tandem. What the Taylors do not realize is how shifty and deceptive their new housemate is at heart.

**When the Bough Breaks** follows the run-of-the-mill road map of lame suspense, tepid titillating sequences and by-the-book shocks that have about as much high-wire punch as poking a stale marshmallow. The tawdry scenes between youngish vamp Anna trying to seduce the wealthy yet unsatisfied older John feels mechanically orchestrated. The sex appeal among the main principals is an automatic given so there is bound to be some hormonal happenings in the bedroom or behind closed walls among the periled pretty people. In fact, Anna actually spies on the Taylors’ private love-making session at one point but the payoff in watching this conniving cutie getting “turned on” by the private intimacy feels oddly uneventful and detached. Anna lusting after married stud-muffin John does not generate anything particularly provocative unless you find this curvaceous crackpot printing “baby” on her puffed out tummy as the selling point of a twisted temptress gone to her loony limits.

Had the filmmakers done a better job at exploring the damaged diva persona of Sinclair’s Anna Walsh then maybe her tarnished tart routine would be more interesting and intriguing. Sinclair’s Anna is reduced to “bitchy and berzerk” without much consideration in tapping further into her obvious “lost little girl” syndrome. The trouble is that we have seen the Anna Walsh-type seductress in cinema numerous times before so the frenzied female in a tame and tedious **When the Bough Breaks** comes off as merely inconsequential. Sinclair certainly has perverse fun playing a “pregnant plaything” for Chestnut’s stoic legal eagle that eventually bites into the alluring poisoned apple of Anna’s tainted charm. It is too bad that the movie’s unevenness and telegraphed toxicity recalls a scattershot flatness that never realizes its inspired potential. Even when John’s unscrupulous plot is revealed the shakeup does not change Bough’s disjointed direction.

**When the Bough Breaks’** so-called chilly effectiveness is dramatically stiffened despite the glitzy shine of its photogenic cast and pseudo-steamy situations. Furthermore, the inability to seize the moments of the unintentional campiness is somewhat glaring as well. The-bad-girl-with-the-baby-bump thriller feels like a typical wet diaper–relentlessly saggy while carrying an unexpected load it cannot handle.

**When the Bough Breaks** (2016)

Sony Pictures

1 hr. 33 mins.

Starring: Morris Chestnut, Regina Hall, Jaz Sinclair, Romany Malco, Theo Rossi, Tom Nowicki

Directed by: Jon Cassar

MPPA Rating: PG-13

Genre: Horror/Drama/Suspense & Mystery

Critic’s rating: ** stars (out of 4 stars)

(c) **Frank Ochieng** 2016

**It's like a falling tree dropping a seed on the ground.**

I have to agree with the film critics on this one. Felt like I have already seen this film, but it turned out to be a very familiar thriller theme. It had plenty of issues and the first thing was the main plot in which the story built on. The mother-child connection is a very sensitive matter and that's where the film got stumbled. Even though they wanted to do film on that, they did not convince with the portrayed of the surrogate mother. From the entertainment perspective, it lacked the thriller big. The climax was all the sudden and then it ended just like that.

At first I thought it might be a remake, but it was inspired or borrowed the theme from elsewhere. This psychological-thriller focused on to tell the tale of a wealthy childless couple. They decide to hire a young and beautiful Anna to be their surrogate mother. When everything was going very well, Anna's crush on the man she's carrying a baby begin to blow the things off. So now what happens to the couple, Anna and the baby revealed in the final segment.

Thankfully, this is not the worst film of the year. I have even worse than this. But this can be easily a skippable one. There's no complaint over the actors, they had given what the characters demanded. Rich in quality, not a bad film from the technical aspect. Those are the area where it got scored a few points from me. If the screenplay had developed well, the film would have been in a different league. Particularly, I did not like the lack of diversity, looked like a black film for the black viewers. There are lots of similar films which are much better than this one that you could try.

_4/10_

in: 2016, Crime, Drama, Horror

Warm Bodies 2013

After a zombie becomes involved with the girlfriend of one of his victims, their romance sets in motion a sequence of events that might transform the entire lifeless world., Warm Bodies 2013 what movie free , Stars with: Nicholas Hoult, Teresa Palmer, John Malkovich, Genres : Comedy, Horror, Romance

Review :
If you like zombie's gener you will love this movie ... or not!

It cheats in a cheap way through creating 2 level of zombies: the good ones and the bad ones. Also, it breaks tons of zombies stereotypes to be able to build the story, that's why you may end hating it if you are a "purist".

As this is not my case, I really enjoyed this movie. Fun script, good casting and great performances by Hoult and Palmer. Also, always a pleasure to watch a movie with John Malkovich.

This is a quite different zombie movie. I think it can best be described as a romantic zombie movie with a humorous touch and some action thrown in for good measure. It is not at all a bad movie. I do prefer the “shot everything that moves and when it doesn’t move anymore shot some more just to be sure” type of zombie movies but I still quite enjoyed this one. The words “romantic” and “zombie” is of course two words that you really would never expect to see in the same sentence. Surprisingly enough it does indeed work in this movie.

I think my main enjoyment of this movie was the voice-over with R’s thoughts though. At times it is incredibly funny. The actual story, that the zombies’ magically starts to heal themselves is of course pretty nonsensical but you do not really watch zombie movies for their elaborate plot anyway. I have seen worse and this was not really supposed to be a horror-zombie movie anyway so I can live with that.

This is the first zombie-movie that I have watched where you actually see the story from the zombies perspective. Another thing that, surprisingly enough, worked quite well. The voice-overs helped a lot to make that happen.

The special effects are fairly low key for being a zombie movie but I would say that they are just about right for this movie. The “bonies” are the most monster-like ones in the movie and their make-up is quite cool. Unfortunately their movements are quite stiff and look decidedly computer generated. That is a shame and pretty much the only complaint I have concerning the actual implementation of this movie.

Unless you are totally allergic to zombies I would recommend watching this movie. I would especially recommend it if you are not normally into zombie movies. You are likely to be surprised.

in: 2013, Comedy, Horror, Romance

Velvet Buzzsaw 2019

Big money artists and mega-collectors pay a high price when art collides with commerce. After a series of paintings by an unknown artist are discovered, a supernatural force enacts revenge on those who have allowed their greed to get in the way of art., Velvet Buzzsaw 2019 movie streaming ps4 , Stars with: Jake Gyllenhaal, Rene Russo, Zawe Ashton, Genres : Horror, Mystery, Thriller

Review :
Was I disappointed? Taking in to consideration the fact that I'm being delivered _Velvet Buzzsaw_ by the same writer, director, and star as _Nightcrawler_, honestly, yes. But that is a very high bar to try and meet, falling short of it is none too heinous an offence. On its own merits, _Velvet Buzzsaw_ features some magnificent acting, cool effects, engaging plotline, despicable characters and a hefty dose of originality. It's not a perfect film, it's probably not even a great film, but I've started years off in far worse ways before.

_Final rating:??? - I liked it. Would personally recommend you give it a go._

in: 2019, Horror, Mystery, Thriller

Us 2019

Husband and wife Gabe and Adelaide Wilson take their kids to their beach house expecting to unplug and unwind with friends. But as night descends, their serenity turns to tension and chaos when some shocking visitors arrive uninvited., Us 2019 movie online free , Stars with: Jordan Peele, Lupita Nyong'o, Winston Duke, Genres : Horror, Mystery, Thriller

Review :
Jordan peele is one of the best dictators in the world with only two movies and this movie is amazing
96%

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First of all, you can read my review of one of my favorite movies of 2017, Jordan Peele‘s Get Out by clicking its title. One of the best feature-long debuts of all-time by a writer-director who I wish he discovered his filmmaker skills sooner because the horror genre urgently needed someone like him. Peele is starting to become one of Hollywood’s most notable people, and he proves once again, now with Us, that his undeniable talent is going to leave our jaws dropped and our minds confused for quite some years. While I do think that his first film is more consistent and better structured, Us is so far the best movie of the year, and I doubt that it will stop being part of that list by the end of it.

The best films are the ones that can transform a 45-min car ride back home from the theater into a blink of an eye. I spent all that time plus some more minutes discussing and arguing with my partner who I saw the movie with. By now, I have a pretty decent understanding of the film’s story and of Lupita‘s character arc, which will definitely leave you extremely confused and mind-blown by the end of the movie. However, I will see it a second time to make sure my “theory” aligns with everything else, especially those tiny little details we don’t really think they matter when they actually do.

Peele‘s screenplay is thought-provoking and suspenseful, filled with brilliant character development, and surprisingly well-filmed action scenes. I guess he knows how to do anything efficiently. The chasing scenes are riveting, and the fights are bloody awesome. In addition to this, most of the action occurs at night which requires the director to know what he’s doing, so the audience is able to follow what’s happening. I never, not once, lost my place during an action sequence. I knew who everyone was, where were they at, and what were they doing. Nowadays, having in mind how actual action blockbusters are being made, this is the best praise I can give a director regarding these type of scenes.

A lot of articles are calling Jordan Peele the “next Spielberg“ or “new Hitchcock“. I’m calling him the first Jordan Peele! I would have loved to be the one who came up with this last sentence, but I wasn’t … and I’m so happy about it. It means that more people are starting to plant into their minds that Peele is one of a kind, not one like the other. His trademark close-up shots right in the actors’ faces can show and tell so much about a character. Besides that, the actors will have a golden opportunity to show their enormous emotional range, their incredible expressions, their limitless talent … That is if you are someone like Lupita Nyong’o.

Right after I watched Alita: Battle Angel, I called that it would get an Oscar nomination for Best Visuals Effects, and I still stand by it. Well, I also want to be the first to call not only an Oscar nom, but a Best Actress win for Lupita. Daniel Kaluuya was outstanding in Get Out, but Lupita surpasses his fellow comrade with two (!) powerfully captivating performances. As the original mother, she shows kindness and endearing traits. As her doppelganger, she’s scary, menacing, and evil. Two completely different characters with distinct physical and psychological characteristics are no problem for Lupita. She handles them in such a flawless and effortless manner, carrying the entire narrative on her shoulders like it was nothing. She deserves every recognition there is.

Nonetheless, she still received great help from the remaining cast. Winston Duke (Gabe Wilson) is hilarious, and he’s the primary source of comedy throughout the film. With a remarkable balance of tones, Peele lets Duke shine in a role that he thrives on. Us can be very heavy and dark at times, so a good laugh here and there is always welcome. The young actors are also great, but I have to congratulate Shahadi Wright Joseph‘s performance as Zora Wilson. She has approximately the same age Amandla Stenberg had in The Hunger Games. At the time, I knew Stenberg would be an outstanding actress, and I was not wrong. Now, I’m 100% certain that Shahadi will be an exceptional one if she isn’t already.

Technically, I already wrote above how talented Peele is. From his seamless ability to film action sequences in the dark to his brilliantly-written screenplay, he nails almost every aspect of his movie. The score beautifully accompanies the narrative with cool, rhythmic songs when everything seems fine, and with loud, angelically weird voices that instantly change the tone. Flawless editing helps hide some nitpicks I have with some exposition scenes, especially towards the end. While I understand that the story has a lot to take in once “explained”, I believe Peele does so in a slightly too fast monologue that I think some people won’t quite enjoy. For me, I would have loved total ambiguity. If they didn’t explain a thing, I would have been ecstatic, but I understand the need to do it.

My other gripe with the film is the other family, portrayed mainly by the always astonishing Elizabeth Moss (Kitty Tyler), and Tim Heidecker (Josh Tyler). Thinking about them and their importance to the story, I find that either they could have been better utilized or they shouldn’t even exist. It’s the middle ground between these two options that bothers me a little since it feels like these two remarkable actors, especially Moss, were left aside too much. They are indeed relevant to elevate the story as a whole, but I still wish they were explored a bit better.

Sadly, I think audiences will like Get Out more, even though Us has more of the horror genre’s traits than the first. Not only due to the story being more comfortable to follow and ultimately understand (some people actually left my theater way before the end … shame on you!), but also because it has a definite ending. Unfortunately, people don’t really like to think about a movie after it finished, so if it has some sort of open-ending, they’re going to be mad. That’s what happens if you go into Us expecting a cheap horror film, filled with cliche jump scares, and hollow characters. This is not a scary flick. It is a horror movie, and a phenomenal one. In case you want a simple, spoiler-free advice on how to approach the film’s story, I’ll leave just one small sentence after my rating.

Jordan Peele is one of a kind. He is not like anyone else. Once again, he offers a thought-provoking, deeply layered, and incredibly suspenseful narrative. Captivating and entertaining from beginning to end, with no misstep along the way. Technically seamless, with his emotionally-driven trademark close-ups on the characters faces being a standout. Lupita Nyong’o delivers what I believe it’s her career-best performance(s), which should grab her not only a bunch of award nominations, but wins as well. Brilliant cast, tonally well-balanced with hilarious comedy, and filled with excitingly scary action sequences.

Us does not have a single interpretation. My perspective is not right or wrong, it’s just my point of view. It’s one of those movies you can watch time and time again, and each viewing will give you another insight that you missed before. However, I do think that what happens at the very end, it’s true, and I have more than enough hints throughout the film to sustain my opinion. Despite some minor issues/nitpicks, it’s undoubtedly the best movie of 2019 so far, and I highly doubt it will be out of my Top10 by the end of the year. Thank you, Peele, not only for giving us great horror films, but for being yourself. Go see it!

Rating: A-

Advice: focus on the boy’s actions, and how he reacts to everything he sees or does.

Led by stellar performances and careful directing, Us asks more questions than it answers, giving the audience all the tools needed to solve every single mystery for themselves, making this an uncommonly effective horror masterpiece.

_Us_ is gonna be a tough one to review. Difficult to review without spoilers, which is what I'm gonna do here, but I think even if I was doing spoilers, I'd still struggle.

What I will say, is that my feelings on _Us_ went up and down as I sat there and the story progressed. At one point, I was enraptured by a single scene that for a brief moment I got so caught up I felt certain no movie of the year was ever going to be able to top it. But then the scene ended, and shortly after the movie ended and my mind just went to "...It's good".

**Definitely** merits watching, re-watching and analysing (there is a **lot** to unpack from _Us_) but maybe not the highest of all available praises.

_Final rating:??? - I liked it. Would personally recommend you give it a go._

**_An effective socio-political thriller looking at issues of class and privilege_**

> _Therefore thus saith the LORD, "Behold, I will bring evil upon them, which they shall not be able to escape; and though they shall cry unto me, I will not hearken unto them."_

- Jeremiah 11:11

There's a detail to be found in writer/director Jordan Peele's second feature, _Us_, which gives you a good idea of the amount of thought that has gone into the film. In the opening scene, set in 1986, a young girl walks into a hall of mirrors, with a sign outside proclaiming "Find yourself", and a picture of a Native American above the door, with the words "Shaman Vision Quest". Later in the film, now in the present day, the same hall of mirrors is seen, the same "Find yourself" is seen, but now the picture of the Native American has been replaced with a wizard, and "Shaman Vision Quest" with "Merlin's Enchanted Forest." This change, easily dismissed as representative of everything that's wrong with PC culture, is actually much more telling. It represents a meaningless and superficial attempt to tackle society's discomfort with the violence found throughout the history of the United States. It's like putting a plaster on a severed limb; "_sure, the white man slaughtered the Native Americans, but if we do things like change signs on amusement parks, everything should be forgiven, right?_" This, in turn, speaks directly to one of the film's most salient themes - the US (or us) as we know it today is a country built on violence, racism, and oppression, but as long as such things are swept under the carpet and no one talks about them, then there's no need to worry. Peele very much wants people to start talking about them.

I wasn't the biggest fan of Peele's previous film, the smash hit, _Get Out_; it was a terrific idea and a well-made film, but it left me a little indifferent. However, although it wasn't my all-time favourite movie, I certainly admired how he reformulated the tropes of the genre so as to suggest that just because the US gives the appearance of being a pseudo-post-racial society, it doesn't necessarily mean that that's true behind closed doors and in people's hearts. With _Us_, he is working in a similarly metaphorical mode, using the tropes of the home invasion thriller to probe issues of class and, especially, privilege, whilst also suggesting that what gives us our humanity may not be the same thing as what makes us human. The plot is an allegory for a nation divided unto itself; a fractured national identity that sees a strict demarcation between those above and those below, the haves and the have-nots, those with opportunity and those without. Essentially, Peele suggests that when social/economic/political inequality is so pronounced for so long, sooner or later, the only recourse available to the have-nots is to make a grand statement, a statement that will almost certainly not be peaceful.

The film opens in 1986 as the Thomas family visit the boardwalk in Santa Cruz. With the relationship between father Russel (Yahya Abdul-Mateen II) and mother Rayne (Anna Diop) icy at best, daughter Adelaide (Madison Curry) is somewhat of an afterthought. Leaving Adelaide in Thomas's charge, Rayne heads to the bathroom, but with Thomas more interested in playing Whack-a-mole, Adelaide wanders down onto the beach. Walking into a strange beachfront hall of mirrors, she sees something that deeply traumatises her, resulting in her not talking for several years. The film then cuts to the present day as the now-adult Adelaide Wilson (an astounding Lupita Nyong'o) travels to Santa Cruz with her family - husband Gabe (Winston Duke), daughter Zora (Shahadi Wright Joseph) and son Jason (Evan Alex). Comfortably middle-class, the family are staying in a house owned by Adelaide's parents, although much to Gabe's irritation, they are nowhere near as wealthy as their neighbours, the Tylers - Kitty (Elisabeth Moss), Josh (Tim Heidecker), and twin daughters Becca and Lyndsey (Cali and Noelle Sheldon). Uneasy at being so close to the scene of her childhood trauma, Adelaide becomes convinced that something terrible is going to happen, and although Gabe is initially dismissive, she seems so earnest in her conviction that he agrees the family can leave the next day. However, the power then cuts out, and Jason reveals that there are four people standing ominously in the driveway.

It's not a spoiler, of course, to say that the people in the driveway are the Wilsons' exact _doppelgängers_ (played by the same four actors), or that their intentions are less than friendly. However, one of the problems with reviewing the film is that so many of the themes and larger socio-political ideas are tied to who the _doppelgängers_ are and what they want, that it's difficult to discuss them without spoilers. So, small spoiler ahead - the _doppelgängers_ are called the Tethered; essentially, they are an underground-dwelling race of lookalikes, spiritually tied to those living above (this info is revealed quite early in the film, so it's not a massive spoiler). Although partly inspired by the 1960 "Mirror Image" episode of _The Twilight Zone_, the main influences for the Tethers appear to be urban legends surrounding "mole people" and, more specifically, the conflict between the Morlocks (strong underground-dwelling troglodyte-like humans) and the Eloi (small fruit-eating humans living on the surface) in H.G. Wells's _The Time Machine_ (1895).

Setting out to probe both economic and societal divisions in the contemporary US, Peele introduces the theme early on with Gabe's jealousy at the Tylers' nicer house, fancier car, and much bigger boat (named "B'Yacht-ch"). Later, after the arrival of the Tethered, the theme becomes more explicit; through no fault of their own, they live in an underground realm, deprived of the opportunities those above the surface have access to. The allegorical dimension couldn't be clearer; the film is essentially a parable about class division. The Wilsons represent a middle-class all-American family, financially comfortable and well educated (Gabe wears a Howard University sweater; Adelaide studied ballet). The Tethered represent the underclass, whose lives are the inverse of the Wilsons, those without access to the privileges enjoyed by the wealthy, despite possessing the same emotions, the same biology, and the same capacity for happiness and success. This similarity is driven home when Adelaide asks Red (her Tethered) who they are, and Red seems confused by the question, answering (truthfully), "_we're Americans._"

In this sense, the film is very much about classism and marginalisation in contemporary American society. Taught they have no soul, the Tethered are depicted as resentful and bitter versions of the people on the surface, with Peele positing that only circumstance divides them. Adelaide is not smarter or more capable than Red; rather, the main difference between the two is just that of the difference between a poor person and a rich one; fate of birth. This speaks to perhaps the film's most important point - the marginalised, destitute, and discriminated against can succeed just as much as everyone else if only they're given the opportunity to do so. This is also alluded to in the powerful final shot. I won't spoil it, but the last image reveals that the Tethered have accomplished something which the surface dwellers once attempted but failed.

Physically trapped underground and emotionally trapped by their connection to those above, the Tethered are ignored, swept under the rug of society, out of sight out of mind, just like the alteration to the picture above the hall of mirrors; "_if we hide the problem, that means the problem no longer exists._" In what is essentially a sustained inversion of impostor syndrome, Peele allegorically examines what could happen when the marginalised and ignored can be marginalised and ignored no longer, whether they be the economically impoverished, the racially suppressed, vets suffering from PTSD, non-Americans xenophobically regarded as the Other, really any group of people that society at large has shunned. Looking at issues of double consciousness, social identity, sin, and privilege, Peele asks the US to look at itself in the mirror and consider those invisible millions.

If this sounds didactic and/or preachy, that's because it is - Peele is very much preaching. However, he also allows himself to have some fun with it - when Zora arms herself for battle, for example, she does so not with a gun or a knife, but a golf club. What possible better weapon could there be for the bourgeoisie? Later, the only thing that gets Gabe to abandon a secure hiding spot is the prospect of driving the Tylers' car. True, the deeper Peele explores the Tethered, the more insurmountable logistical problems that are thrown up, and the further he strains credibility. However, it's a testament to both his filmmaking acumen and the strength of his thematic concerns, that such straining is not as detrimental as it may sound. Sure, there are huge practical problems with the Tethered, but you sort of go with it because what he's saying is so interesting, and he's saying it so well.

One of the most impressive things about the film is the attention to detail. For example, there are numerous references to Jeremiah 11:11, in which the prophet Jeremiah warns Jerusalem it is facing destruction because of their worship of false idols. In the film, so too do such false idols occur, in the form of money and, more specifically, a virtual assistant named Ophelia on which the Tylers are completely reliant, and which is at the centre of probably the darkest joke in the film. Another example is that the number 11, which itself is obviously a mirror image, recurs throughout, not just in objects (a digital clock is shown reading 11:11, the roof of an ambulance has the number 1111), but in the actual shot composition, wherein objects in the frame are made to literally look like the number (two lights reflected in the water, the frame of a door, trees in the background, a pattern on the floor).

As this might suggest, _Us_ is exceptionally accomplished from an aesthetic point of view, even more so than was _Get Out_. The opening scene, for example, features extraordinarily impressive photography by Mike Gioulakis, designed to place us as close to young Adelaide's consciousness as possible. As she wanders along behind her parents, the camera sticks primarily to her height, with everything towering above her, whilst the candied apple she holds is hypnotically red and shiny (one could say Edenic). Additionally, her parents never come close to touching, a visual manifestation of the obvious problems in their marriage. The film also features an agonisingly beautiful scene involving one of the Tethered and a fire, which is masterfully shot. The music by Michael Abels is especially good in this scene. Another fine scene features the rare use of a split diopter, a tool favoured by Brian De Palma that allows both foreground and background subjects to stay in focus simultaneously. Using it in a crucial scene towards the end of the film, it is the only time we see Adelaide and Red's faces in the same shot at the same time, with Red shot in BCU, facing away from Adelaide, who stands behind her. Far from being a gimmick, Peele uses it to enhance his theme, allowing the content to dictate the form.

In terms of acting, there are no weak links, but Nyong'o's nuanced work as Adelaide and Red is especially noteworthy as a study in fundamental contrasts. Apart from their appearance, nothing about the two is similar; their posture, their facial expressions, how they talk, how they walk, how they react to things around them, how they use their hands. Adelaide, a former ballet dancer, is graceful and elegant, whereas Red is automaton-like, her movements almost staccato and splintered into sudden bursts. It's a clinic on how to convey individualised psychology through body language, and at times, it's hard to believe it's the same actress playing both roles, she really is that good and deserves serious awards recognition for her work. For his part, Duke plays Gabe as a gentle and dorky father with an endless line of bad jokes, who frequently embarrasses his kids, but his _doppelgänger_ Abraham as a hulking monster.

In terms of problems, there are a few. As already mentioned, there are insurmountable practical issues with the Tethered which are never addressed, and on occasion, Peele becomes overly didactic. My biggest issue with the film, however, was something you see a lot of, and not just in horror movies - every time the Tethered want to kill someone, they do so immediately, without ceremony or pause. However, they pass up multiple opportunities to kill the Wilsons. At first, this seems as if it's because they wish to keep them alive for some reason, but later in the film, we find out that really, they just want to kill them. Never once do they attempt to do so with the ruthless efficiency with which they kill others, which is an irritating inconsistency. It also means for large parts of the film, there isn't really any tension. Additionally, the final twist, of which I will say nothing, doesn't really work, feeling like something of a twist for twist's sake that was never fully integrated into the narrative.

These small problems notwithstanding, _Us_ is an impressive film that improves on _Get Out_ in almost every way, and which serves as a more complete artistic statement. Examining what it means to be so concerned with what you don't have that you never consider the fact there are people with far less, the film holds a cracked mirror up to society, showing some of its ugliest prejudices and failings. The Tethers are monsters because they have been left with little choice other than to become monsters, imprisoned by a system they had no part in creating and in which they are not allowed to participate. Both visually accomplished and thematically complex, _Us_ once again finds Peele examining the kind of social oppression that no one wants to acknowledge (just like that sign above the hall of mirrors), but this time he widens his scope to move beyond issues of race. In _Get Out_, he took a story of bodily possession and moulded it into a story of black/white relations. In _Us_, he demonstrates that oppression can easily cross racial boundaries. And the real horror of this isn't to be found in monsters or jump scares. It's to be found in humanity's frequent inhumanity to one another.

in: 2019, Horror, Mystery, Thriller

Upgrade 2018

A brutal mugging leaves Grey Trace paralyzed in the hospital and his beloved wife dead. A billionaire inventor soon offers Trace a cure — an artificial intelligence implant called STEM that will enhance his body. Now able to walk, Grey finds that he also has superhuman strength and agility — skills he uses to seek revenge against the thugs who destroyed his life., Upgrade 2018 will movie watch free online , Stars with: Logan Marshall-Green, Melanie Vallejo, Steve Danielsen, Genres : Action, Horror, Sci-Fi

Review :
_We... Are Stenom..._

Based on the trailer alone, I was pretty sure _Upgrade_ was gonna be a movie I enjoy. But after those last couple of minutes? Now? I'm pretty sure this is gonna be my favourite movie of the year.

_Final rating:???? - Very strong appeal. A personal favourite._

Low budget, but well done sci-fi. It's not overly cerebral; there's a consistent amount of action throughout. Worth a watch.

in: 2018, Action, Horror, Sci-Fi

Unfriended: Dark Web 2018

?When a 20-something finds a cache of hidden files on his new laptop, he and his friends are unwittingly thrust into the depths of the dark web. They soon discover someone has been watching their every move and will go to unimaginable lengths to protect the dark web., Unfriended: Dark Web 2018 movie or free , Stars with: Colin Woodell, Stephanie Nogueras, Betty Gabriel, Genres : Horror, Mystery, Thriller

Review :
Something that I've noticed recently in horror franchises that have tried to get off the ground in the past couple of years, the second entry is actually better than the first. In ages past, a thing unheard of, but now at least as common as not. Same goes for _Unfriended: Dark Web_. Just about everything is one step up from the first _Unfriended_ movie: Acting, AV, urgency, the shorter wait times, and the new direction _Dark Web_ takes in terms of its antogonists (I won't spoil it for you, but surely you're capable of reading a title and putting it together for yourself) works better in this one too. I feel at least.

Now neither of these films are perfect, but the first _Unfriended_ movie was okaaaaaaaaay, and this one has managed to push it by the skin of it's teeth over in to what I could honestly argue is "good".

_Final rating:??? - I liked it. Would personally recommend you give it a go._

in: 2018, Horror, Mystery, Thriller

Unfriend 2016

Enjoying college life as a popular student, Laura shares everything with her more than 800 friends on Facebook. But one day, after accepting a friend request from a social outcast named Marina, Laura’s life is cursed..., Unfriend 2016 tamil movie download free.com , Stars with: Simon Verhoeven, Alycia Debnam-Carey, William Moseley, Genres : Horror, Mystery, Thriller

Review :
I hope this isn't a portent of Alycia Debnam-Carey's future career.

_Final rating:?½: - Boring/disappointing. Avoid if possible._

**Having 800 friends on the list, but not able to handle one particular.**

This is a spin-off of the 2014 film 'Unfriended'. So there's no comparison between them But you can't stop people doing that, particularly saying which version they liked the most. For me, I enjoyed the other one which was a bit different than usual in the same themed films. This one was not a single day event based film. It was stretched and developed, especially for the film characters to give more depth in the storytelling. A brief flashback in the beginning, and then comes back to the present with twist and turns in the tale.

Largely based on facebook culture of the youngsters and the filmmakers applied the same old horror film formula to the rest. For some viewers it will work, particularly facebook fans, I guess. But this was an average film. Everything was already seen before in different film and you are only seeing it which is associated with social media, that's all.

A German film, but made in English language and cast. The actors were decent, but in some case I was not impressed. There were many flaws, but surely they all can be explained where the film did not do that exactly as it should have even stretched further. That's the point, for being too casual, so the film looked like one of those B category horror-thriller from the past. For watching it once, okay. That includes if you have seen the 2014 film or not, because it is completely different and not fresh enough to impress us.

_4/10_

in: 2016, Horror, Mystery, Thriller

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