Saturday, 22 October 2016

Box Office And Review Of Hollywood Movies

In this article we write a complete list of 2016 box office and review of hollywood movies. In this article we write a list of horer movies missons movies civil war movies based on jungle movies batman movies superman movies Warcraft  movies based on animal movies based on biography drama comedy adventure based on full action movie based on full romance movies based on adventure action and other type of movies details are provide in this article. A good collection of all fantastic movies 2016 are here

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2016 Box Office And Review Of Hollywood Movies:

'Michael Moore in TrumpLand': Film Review


Courtesy of IFC Center
A powerful, if not particularly cinematic, case for voting for Hillary.  TWITTER
The political provocateur's stealth project documents his recent live performances in an Ohio theater and calls on voters to embrace Hillary Clinton.
Michael Moore has dropped an October surprise on moviegoers in the form of his stealth project documenting his recent live performances at a theater in Ohio. Featuring a mixture of stand-up comedy, political observation and ultimately a full-throttle tribute to Hillary Clinton, Michael Moore in TrumpLand earns points for ultra-timeliness and its admirable attempt to raise the level of discourse in this deeply polarizing election. But despite Moore's obvious desire to reach out to Trump voters, disaffected Bernie followers, those leaning toward third-party candidates and people who intend to sit out the election entirely, this cinematic lecture is unlikely to change many hearts or minds … which is more the pity.

The performance begins in jocular fashion, with Moore citing the theater's location in Clinton County, Ohio (not "Clinton Country," he reminds us), as the birthplace of the banana split. He points out the special seating sections in the theater reserved for Mexican-Americans, complete with a wall, and Muslim Americans, the latter constantly monitored by an overhead drone. And he notes that the audience includes many voters leaning toward Trump, easily identified by the close-ups of their scowling faces.

Speaking without rancor or hurling accusations, Moore thoughtfully analyzes Trump's appeal, especially to the vanishing American breed known as the white male. He comically describes a future featuring "internment camps for men" and lauds the superior aspects of the female gender, such as the fact that they're mostly nonviolent.

"Women generally don't shoot you," he points out. "Unless you deserve it."

'Michael Moore in TrumpLand'
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Carefully refraining from directly criticizing the Republican presidential nominee, Moore compares disaffected Americans to those Brits who voted for Brexit, saying that they "used the ballot box as an anger management tool." And he says that if Trump is elected, the voters will have declared "the biggest 'f— you' ever recorded in human history."

But his true agenda becomes clear when he talks about Clinton.

"Can't you say something nice about Hillary Clinton?" he implores the crowd. One male Trump supporter grudgingly allows that "she stood by her man."

Moore has his own nice thing to say about her: "I'm glad she killed Vince Foster," he announces to startled laughter. He proceeds to lampoon the many conspiracy theories that have sprung up about Clinton's supposed trail of bodies, referencing one internet site claiming that the candidate has been involved in the deaths of 46 people. Enthusing over her "badass" credentials, Moore crows, "ISIS is gonna shit if she's president!"

But he turns deadly serious when delivering an impassioned paean to Clinton's efforts to bring about healthcare reform. Citing a statistic to the effect that some 50,000 Americans die needlessly each year, either because of inadequate or no health insurance, Moore declares it a national disgrace. Comparing Clinton to the current leader of the Catholic Church, he tells the crowd, "She can be our Pope Francis." And Moore stares directly into the camera, as if addressing Clinton personally, telling her, "You're not alone." The pitch would have been more effective if it hadn't been accompanied by a lengthy account of his attending a White House dinner in the 1990s, where he claims that both Bill and Hillary fawned over him.

'Michael Moore in Trumpland'
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Moore is an articulate and passionate speaker who leavens his political discourse with folksiness and humor. And much of what he says here is bound to resonate, at least with certain voters whose minds aren't yet entirely closed. But despite his efforts to empathize with Trump supporters — not that they'll be bothering to see this film anyway — he's unlikely to make any headway with them. Moore's clear agenda is rather to raise the level of enthusiasm for Clinton, which is something her campaign needs in order to drive voter turnout.

Such cinematic touches as a fake Trump television commercial and a satirical newscast documenting Trump's inauguration day add little to the proceedings, as they're not nearly as funny as the sort of skits constantly seen on late-night comedy shows.

Theatrically released projects are rarely as urgently driven as this one. At the premiere screening on Tuesday in New York, Moore said that it had been shot less than two weeks earlier and locked in only that morning. He also expressed the hope that "millions of people" will see it between now and Election Day. Considering the meager box-office returns of his last effort, Where to Invade Next, the best chances of that happening are clearly via online outlets.

Production: Dog Eat Dog Films, IMG Films
Director-screenwriter: Michael Moore
Theater direction: Dana Calderwood
Producers: Michael Moore, Carl Deal
Executive producers: Mark Shapiro, Will Staeger, Michael Antinoro, Jonathan Dube, Tia Lessin, Ellin Baumel, Meghan O'Hara
Editor: Doug Abel


Not rated, 73 minutes   

Hollywood Movies Box Office And Review

In this article we write a complete list of 2016 hollywood movies box office and review. In this article we write a list of horer movies missons movies civil war movies based on jungle movies batman movies superman movies Warcraft  movies based on animal movies based on biography drama comedy adventure based on full action movie based on full romance movies based on adventure action and other type of movies details are provide in this article. A good collection of all fantastic movies 2016 are here



2016 Hollywood Movies Box Office And Review:

‘Heaven Will Wait’ (‘Le Ciel attendra’): Film Review

Writer-director Marie-Castille Mention-Schaar (‘Once in a Lifetime’) follows two French teenage girls who voluntarily join the ranks of radical Islam.
With the spate of terrorist attacks occurring in Paris and other French cities over the last few years, and with many of those attacks perpetrated by local residents, the recruitment of homegrown Jihadi fighters has recently become a popular subject on both the big and small screen. In films like Made in France, Les Cowboys, Road to Istanbul and the TV movie La Desintegration, filmmakers have tried to explore how young French men and women from all walks of life find themselves indoctrinated by radical Islam, leaving their families in ruin and occasional victims in their wake.

In the femme-centric drama Heaven Will Wait (Le Ciel Attendra), writer-director Marie-Castille Mention-Schaar doesn’t so much touch upon this hot-button topic as whack it over the head with a sledgehammer in a film that makes some salient points about why teenage girls could be drawn into the clutches of ISIS recruiters, but does so with little thematic depth or cinematic nuance. Still, it’s effective enough as a sort of middlebrow wake-up call that will definitely impact some viewers — especially parents wondering what their children are doing behind their bedroom doors. (The film’s answer: They’re praying to Mecca!) After a well-received theatrical release in France and stints at Locarno, Toronto and Tokyo, Heaven should see continued attention abroad, with Gaumont already racking up a string of sales in foreign lands.

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Crosscutting between three storylines that come together in the final act, Mention-Schaar and co-writer Emilie Freche (The Jews) follow two young protagonists who experience the call to Jihad in mirroring narrative strands. On one side we follow Sonia (Noemie Merlant), a born-again Muslim arrested for trying to pull off an attack in France, after which she goes through a long detox process that slowly transforms her into the girl she once was. And on the other hand there’s Melanie (Naomi Amarger), a studious cello player who meets a recruiter online and gradually falls into his clutches. (There’s a third strand involving a mother (Clotilde Courau) suffering from the absence of her daughter, with the director deliberately holding back key information despite the obvious connection she has to one of the main characters.)

While there is a documentary-style approach to certain sequences — particularly those involving therapy sessions led by real-life indoctrination expert Dounia Bouzar — the way that Mention-Schaar dramatizes these young girls’ lives often comes across as grossly deliberate and borderline ridiculous. In one scene, the highly susceptible Melanie sends texts to her Muslim “prince,” as she calls the unseen Islamist recruiter, while her teacher reads aloud an anti-religious diatribe by Guy de Maupassant. And in a series of over-the-top domestic spats, Sonia, who is on house arrest and at the mercy of her helpless parents (Sandrine Bonnaire, Zinedine Soualem), is seen going through severe Jihadi withdrawal, murmuring prayers, wandering about comatose, turning her sheet into a headscarf, screaming, crying, clutching at the walls and cursing. It feels like at any second, her head will do a 360 like Linda Blair’s in The Exorcist.

Tom Karabachian and Anita Ferraz in 'The Other End.'
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Mention-Schaar may be the least subtle French filmmaker currently working in this semi-art house vein, relying primarily on close-ups because she has no real sense of staging, and capturing ripped-from-the-headlines tales in ways that both jolt and comfort the audience. (Her last film, the breakout hit Once in a Lifetime, dealt with banlieue kids learning important lessons from the Holocaust, including a scene where they hear the horror stories of an actual survivor.) As a concerned citizen, she deserves credit for tackling subjects that are constantly in the news and on everyone’s mind, but as a helmer her faux-realist methods seem inherently flawed, substituting easy narrative clich├ęs — in this case, different lives thrown together, then reconciled, by the evil doings of ISIS — for something more ambiguous and provocative.

Certainly, there’s truth to be found in the kind of events depicted in Heaven Will Wait, with reports stating that over the last five or so years, thousands of young French adults have fled their homes to join radical Islamic forces fighting in Syria and elsewhere. But transforming such events into credible fiction is another matter, and despite hard-hitting performances — especially from leads Merlant and Amarger, who throw themselves full-throttle into difficult roles — the filmmakers ultimately turn a deeply complex phenomenon into what feels like a gratifying movie-of-the-week.

Production companies: Willow Films, UGS Images, France 2 Cinema
Cast: Noemie Merlant, Naomi Amarger, Sandrine Bonnaire, Clotilde Courau, Zinedine Soualem, Dounia Bouzar
Director-producer: Marie-Castille Mention-Schaar
Screenwriters: Marie-Castille Mention-Schaar, Emilie Freche
Executive producer: Philippe Saal
Director of photography: Myriam Vinocour
Production designer: Valerie Faynot
Costume designer: Virginie Alba
Editor: Benoit Quinon
Casting directors: Marie France Michel, Christophe Istier
Sales: Gaumont

In French


Not rated, 104 minutes