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  #1  
Old 12-18-2015, 10:01 AM
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Default Movie/TV Buzzzzzzzz

Extraction 2015.
The Toronto Globe and Mail critic gives it '0' rating. Better than minus -0 rating I guess.

http://www.theglobeandmail.com/arts/film/film-reviews/extraction-bruce-willis-cant-save-this-senseless-cia-based-rescue-mission/article27805263/

http://www.imdb.com/title/tt4382872/
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Old 12-18-2015, 12:00 PM
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Default Upcoming Releases for Canada (Dec 18>)

Upcoming Releases for Canada (Dec 18>)
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Old 12-18-2015, 12:03 PM
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Default Upcoming Releases for USA (Dec 18>)

Upcoming Releases for USA (Dec 18>)
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Old 12-18-2015, 01:30 PM
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I am waiting to see the new Star Wars movie.
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Old 12-23-2015, 07:28 AM
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Man In The High Castle to get a second season.

I liked S1.
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Old 12-23-2015, 07:37 AM
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Default The Danish Girl (2015)

The Danish Girl (2015)-5.5/10 (3,364) I thought it would get a higher IMDB rating.
http://www.imdb.com/title/tt0810819/
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Old 01-08-2016, 08:32 AM
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Default REVIEW The Revenant (3.5 out of 4)

REVIEW
The Revenant: Powerful storytelling captures the revenge of Hugh Glass
KATE TAYLOR
The Globe and Mail
Published Friday, Jan. 08, 2016 12:00AM EST
Last updated Friday, Jan. 08, 2016 12:00AM EST

Directed by Alejandro G. Inarritu
Written by Mark L. Smith and Alejandro G. Inarritu
Starring Leonardo DiCaprio, Tom Hardy and Will Poulter
Classification 14A
Year 2015
Country USA
Language English
In 1823, the American frontiersman Hugh Glass was working as a trapper and guide with the Rocky Mountain Fur Co. on the Upper Missouri when he was attacked by a grizzly and viciously mauled. Assuming he would succumb to his wounds, the party left him behind with two companions who were to bury his body when the seemingly inevitable transpired. Instead, they stole his kit and his gun, and left him to die. But Glass survived and crawled 320 kilometres on a broken leg across what is now South Dakota to retrieve his belongings and take his revenge.


Why Leonardo DiCaprio is earning Oscar buzz for 'The Revenant' (Reuters)
Believe it or not, the difficulty in turning that true story into art is that it lacks drama. Specifically, it lacks a strong through-line for the amazingly resilient Glass since it’s unclear whether he was mainly motivated by the theft or by the abandonment; Michael Punke’s 2002 novel The Revenant, a surprisingly flat fictionalization of Glass’s feat, may leave readers scratching their heads as to how a story so remarkable could prove so anticlimactic.

What is needed here is some professional myth-making, and who better to provide that than Hollywood? The Revenant, Alejandro G. Inarritu’s powerful follow-up to last year’s Oscar-winning Birdman, is an admirable exercise in cinematic storytelling, strategically scripted by the director and his co-writer, Mark L. Smith, movingly performed by Leonardo DiCaprio and magnificently filmed by cinematographer Emmanuel Lubezki.

Inarritu and Smith have made many changes to Punke’s speculative but more-or-less historical account of Glass’s revenge, but the most significant is this: Here, Glass has had a native American wife (she is dead and shown occasionally in flashback) and he is accompanied on the fateful trapping expedition by his half-Pawnee son. To abandon him, his colleagues have to murder the teenage boy first.

And so, the good guys and the bad guys are clearly delineated in this movie. John Fitzgerald (Tom Hardy makes him powerfully unrepentant) is not merely a thief, he’s also a murderer; the young and much-coerced James Bridger (the wonderfully gawky Will Poulter) is an accessory after the fact, forced to follow Fitzgerald or get left behind himself. (Bridger became a well-known mountain man in his own right; exactly which men were left to tend Glass is a subject of some debate among historians.) Most importantly, in Inarritu’s version, Glass is not some crazed obsessive, risking his miraculously preserved life just to retrieve his gun, but rather a justifiably vengeful father.

Although much of The Revenant was actually shot in British Columbia and Alberta, the film follows that vengeful father across the vast landscapes of the American West and finds its integrity in depicting the grandeur of the land and the harshness of living on it. From the opening shot of a forest weirdly submerged in a river of flowing water to a remarkable scene where Glass stumbles upon a bison herd, The Revenant is visually breathtaking, thanks to Lubezki’s cinematography. Reportedly, Inarritu insisted on shooting most of the film in natural light, and the payoff is a remarkable naturalism, both hard and sweeping.

Another intriguing aspect of the film is its depiction of the indigenous people, divided into various competing tribes, sometimes viciously attacking each other and the Europeans, sometimes happy to engage in peaceful trade. The Americans mainly shoot first and ask questions later, and Glass’s uniquely sympathetic interactions with aboriginal characters seem more a function of making him a likeable figure than of crafting a believable depiction of his milieu.

Meanwhile, the wily French traders are more interested in conducting business with the natives – or enslaving their women. It would seem there’s more than a few cultural stereotypes there, but it’s a testament to Inarritu’s film that they never overwhelm his depiction of the complex and varying relationships between aboriginal and European.

And then there’s the issue of whether the Oscar-less DiCaprio will finally get his Academy Award for this role. He deserves it. Glass’s throat is mauled by the bear so he can’t speak, and he spends most of the film alone: DiCaprio is called on to depict the man’s desperation, grief and searing anger almost entirely through his eyes and he does it with remarkable depth, turning Glass’s endurance into a steadfastness both physical and emotional.

Still, the film is imperfect. Occasionally, Inarritu, as though indulging the manifest talents of his cinematographer, creates scenes where Glass’s survival in the midst of this dangerous land is so improbable a viewer has to laugh. DiCaprio has many mighty moments here; he also has one or two near-misses that are worthy of the Road Runner.

Finally, there is the puzzling ending, in which the director, who has laboured so successfully to create the unrelenting hardness of this piece, seems uncertain how to extract himself from Glass’s bloodthirsty quest. Inarritu is Mexican: Perhaps, even as he positions himself for another Oscar nomination, he is still enough of an outsider to Hollywood to be sensitive to its potentially abusive cultural power as it elevates heroes and banishes villains. Certainly, he declines to resolve the dramatic conundrum that is the revenge of Hugh Glass.

ME...good review. I did see this film.
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Old 01-08-2016, 01:20 PM
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Default REVIEW- Sisters 2015.....3 out of 4 stars

REVIEW
Sisters: Tina Fey, Amy Poehler relive the glory days in this beloved comedy
JULIA COOPER
Special to The Globe and Mail
Published Friday, Dec. 18, 2015 12:00AM EST
Last updated Friday, Dec. 18, 2015 12:00AM EST

Directed by Jason Moore
Starring Amy Poehler, Tina Fey, Ike Barinholtz
Classification 14A
Genre comedy
Country USA
Language English
While shopping for new dresses, the Ellis sisters Maura and Kate (comedy queens Amy Poehler and Tina Fey) pull at the short hemlines and adjust the spandex ruching over their bodies. Poehler, playing the more conservative of the siblings, looks down at the sequined “WERK” emblazoned across her chest and opines: “I think we need a store that is less Forever 21 and more Suddenly 42.” Lycra is a younger woman’s game – and Sisters hilariously and unapologetically belongs to the middle-aged woman.

Maura and Kate travel home to Orlando to clean out their old bedrooms, since their parents have gone the way of the baby boomer and swapped their single-family house for a condo. Bratty and racked with nostalgia, the sisters throw one last rager as revenge and throwback.

The simple premise – that two women in their 40s throw a house party in their childhood home in an attempt to relive their glory days – is sort of brilliant. It allows the film, directed by Pitch Perfect’s Jason Moore and written by Saturday Night Live’s Paula Pell, to draw on the best images of the house-party genre without being tired or wan. The film’s conceit is similar to the aforementioned dressing-room revelation: Maybe these women are a bit old for this? But self-awareness is overrated, and Suddenly 42 has its charms.

The trappings of a house-party movie mise-en-scène are all here: the plastic red cups, the multicoloured Christmas lights, the backyard pool. This could be the Valley party in Clueless, the crammed living room of Can’t Hardly Wait, the fraternity high jinks of Animal House or the trashed lawn of Sixteen Candles. But here, the guests are a bit worse for the wear of their 40-or-so years, all chino pants and Talbot cardigan sets, unsure of how to let loose like they used to. As a younger character (the hilarious Greta Lee) puts it as she looks out over the middle-aged carnage of crying, wine-drunk women, and slurring, pantless men: “Wow, people are really working their stuff out at this thing.” Suburban life has taken its basic toll.

Sisters boasts strong supporting performances by Lee, Maya Rudolph, Ike Barinholtz and some SNL familiars. There are so many combined years of sketch-comedy experience in the cast credits that the film’s timing is tight, the jokes continuous and the few flubs forgivable. The laughs don’t shy away from the vulgar, but instead go right for it with a quick and dirty thirst.

Fortunately, Sisters doesn’t collapse into total absurdity in the same way that many house-party movies do – the film is slapstick and at moments teeters on the edge of too much, but it quickly snaps back before losing its audience. We are talking about Poehler and Fey after all. These two have worked in comic collaboration for 20 years now, from SNL to hosting the Emmys and Golden Globes. It’s not their first rodeo.

And thanks to its love of a good time and the comedians who light it up, this film will join the hallowed ranks of Baby Mama, Bridesmaids, Spy and Trainwreck – that is, as a beloved comedy about brassy broads just werking.: Tina Fey, Amy Poehler relive the glory days in this beloved comedy
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Old 01-13-2016, 05:23 PM
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Default Babysitter's Black Book (2015)

Babysitter's Black Book (2015)
Friends start a babysitting business to save up for college, but when the babysitting money just isn't cutting it, they start a prostitution business as well.
Me..Gotta give these girls E for effort... http://www.imdb.com/title/tt4234734/
Inspired by true events.
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Old 01-18-2016, 01:49 PM
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Default tvseriesfinale

http://tvseriesfinale.com/
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