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Hollywood Full Movies

Full Movie: Unthinkable (Caretakers) | Full Mystery Thriller Movie

Unthinkable (Caretakers) | Full Mystery Thriller Movie

Unthinkable (Caretakers) – A young medical student finds himself entrenched in a web of intrigue when he’s sent to care for the former US Ambassador to Syria. Christopher Cousins, Vivica A. Fox and Missi Pyle co-star in Loomis’ thrilling drama.

2018
Stars: Christopher Cousins, George Loomis, Missi Pyle

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Hollywood Full Movies

Full Movie: A Deadly Place | Full Mystery Thriller Movie | 2020

A Deadly Place | Full Mystery Thriller Movie | 2020

A Deadly Place – Hailey Adams returns home after her father’s death, only to be reunited with the Tinson family, who are old family friends. They behold dark secrets about her past that she will come to face in deadly measures and fight to survive.

2020
Stars: Cassandra Ebner, Douglas Chapman, Iain Belcher

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Hollywood Full Movies

Full Movie: Red Island | Full Mystery Sci-Fi Movie

Red Island | Full Mystery Sci-Fi Movie

Red Island – A distressed couple become stranded on an isolated island only to get hunted by an unforeseen force.

2018
Stars: Alex Essoe, Georgie Daburas, Tawny West

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Full Movie Hollywood Full Movies

Full Movie: DOE | Full Mystery Thriller Movie | Timothy Davis

DOE | Full Mystery Thriller Movie | Timothy Davis

DOE – A man wakes up with no memory of his past but the ability to speak dozens of languages fluently. After finding a clue about his former self, he will race against time to discover his true identity.

2018
Stars: Timothy Davis, Tatyana Ali, Mathew St. Patrick

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American Movies English Reviews

Review: Lapsis (2020)

Lapsis (2020)

Directed by: Noah Hutton | 108 minutes | drama, thriller | Actors: Dean Imperial, Madeline Wise, Babe Howard, Ivory Aquino, Dora Madison, James McDaniel, Frank Wood, Arliss Howard, Violet Adams, Jason Babinsky, Kim Blacklock, Alex Breaux, Beau Davidson, Caroline Duncan, Sam Gilroy

With ever-increasing technological developments, it is difficult to estimate what our life will look like in the near future. Will we soon be able to clone deceased loved ones so that they live on virtually? Will someone’s social status be determined by how many points or likes he or she earns online? These not so far-fetched visions of the future were developed by Charlie Brooker in his fascinating series “Black Mirror”, but also inspires others. Rapid technological developments in the 21st century, and how these affect reality, drove the talented young filmmaker Noah Hutton (son of actors Timothy Hutton and Debra Winger) to make ‘Lapsis’ (2020), a film that does not just happen. pushed into a box. A basis of science fiction is mixed with a good dash of social drama and that is topped with a touch of black humor. Theme: how the tech giants (here it is a fictitious company, but feel free to fill in Google, Amazon or Microsoft) are becoming more powerful by the day, forcing the common man to hook up, so as not to miss the boat. He is then completely squeezed out like a plaything by those same technological superpowers. Nature also has to believe in ‘Lapsis’, although nobody seems to really make a point of it.

The protagonist in ‘Lapsis’, which takes place in an alternative reality, is Ray (Dean Imperial), a simple good man who has long refused to join the ranks of the nations. Quantum computers are increasingly leading the way, but Ray doesn’t like it. The result of this is that he is killed in parking fines, for example, because he simply refuses to use the corresponding quantum software. He has always managed to get by with a simple job at the ‘Lost Luggage’ department at the local airport, but he feels an increasing need to throw his principles overboard. The main reason is his younger brother Jamie (Babe Howard), who he cares for and who is suffering from a new kind of chronic fatigue syndrome. There is a treatment for it, but it costs a lot of money. A quick way to make money – much faster than moving suitcases at the airport – is ‘cabling’. The work is announced with flashy promotional films: you are busy in the open air, where you unroll cables from large reels. You move from one quantum location to another, through forested areas. A child can do the laundry, and there is a big bag of money in return. The cable operators all receive a device that keeps track of exactly how much they have walked and how much they have earned with it, but that also indicates when it is time to rest and when they can go to the toilet (3x per 24 hours!). The faster the cable operators travel the distance, the higher they climb the ladder (which in turn brings better rewards). We have to take them into account with robots that travel the same route ‘on automatic pilot’; if such a robot crosses your path, you can forget your payment.

Ray, who is assigned the job through an intermediary, receives a device and a username that has already been used by someone else. He makes surprisingly fast progress for a newcomer and that arouses suspicion among the other cable operators. Who was the person who used this device before and why the others look at him with their neck when they hear his username is a mystery to Ray. Only the mysterious Anna (Madeline Wise) gives him the benefit of the doubt. She tells the newcomer about the downside of the work: the rivalry and competition between cable operators, the physical exhaustion, the lack of medical care. The ropes are completely squeezed out and with a bit of bad luck just before you reach the finish line, a robot crosses your path and all your efforts are in vain. Anna tells him about the illegal ways that cable operators have devised to outsmart the robots + a metaphor for employees who take action to put a stop to their degrading working conditions.

A science fiction film that takes place in a parallel reality. The world of ‘Lapsis’ is recognizable, albeit with alienating elements. But at the same time not so alienating that we cannot imagine anything about it. This film works best as a biting satire on the expansion drive of technology giants and the danger of always wanting to piggyback on technological developments. In a way, ‘Lapsis’ is comparable to the work of Ken Loach, the British grandmaster of the ‘kitchen sink drama’. The parallels you can draw between this film and, for example, ‘Sorry We Missed You’ from 2019 are many. But while Loach makes his drama convincingly human and palpable, in ‘Lapsis’ the emphasis is more on satire.

The protagonist Ray may be a sympathetic figure, but he tends to be a bit like a caricature. There is no intense emotional involvement. For the story, Hutton gets stuck in good ideas. In terms of originality and inventiveness, the film certainly scores points, but the story itself remains vague and the ending does not leave you feeling satisfied. Hutton seems to want to share a lot about abuses on the social and societal level, but in the end says very little that we did not already know. ‘Lapsis’ is a nice and entertaining satire on capitalist slavery, which is launched with an original starting point but ultimately does not quite live up to its promise due to a lack of depth, clarity and humanity.

[imdb]tt11540272[/imdb]

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English Reviews FilmiTips

Review: The City Below You (2010)

Director: Christoph Hochhäusler | 110 minutes | drama | Actors: Robert Hunger-Bühler, Nicolette Krebitz, Mark Waschke, Wolfgang Böck, Corinna Kirchhoff, Michael Abendroth, Angelika Bartsch, André Dietz, Paul Faßnacht, Alexandra Finder, Piet Fuchs, Stefan Gebelhoff, Johannes Kiebranz, Antje Lewald, Viola Pobitschka, Stefan Preiss, Robert Schupp, Nadja Stübiger, Heike Trinker, Van Lam Vissay, Alexandra von Schwerin, Klaus Zmorek, Oliver Broumis, Frank Voß, Julia Domenica, Robert Menke

Clinical film with a slightly mysterious undertone about an affair between a bank manager and the wife of one of his employees. The two protagonists are absolutely evenly matched: the ruthless banker Roland Cortes (Robert Hunger-Bühler) and the opportunistic Svenja (Nicolette Krebitz) play with fire when they start an affair that seems to be based mainly on lust. Gradually it turns out that their mutual attraction is not only based on lust, but that they recognize the same traits of each other. Both are manipulative, want what they see, and are willing to lie and cheat in order to achieve their goals. Perhaps that is the explanation why Svenja is willing to risk her – apparently – loving relationship with her husband Oliver (Max Waschke) for the older Roland, but the film sometimes also hides other hints. Both have things to hide from their past: Svenja lies about her resume, Roland comes up with false childhood memories. Did it once start out as a game, but become habitual over the years?

‘Unter dir die Stadt’ does not provide easy answers, but it does raise questions. It works for a long time, but as the playing time continues, it more and more resembles a trick of the makers. However, the actors ensure that the film does not derail, but still remains fascinating. After Svenja’s initial refusal to join the affair, Roland manages to use his top executive position to send her husband Oliver to Indonesia. Oliver thinks he has been promoted, but what he does not know (yet) is already known to the viewer: his predecessor was kidnapped and murdered there because of the business that the bank does in the Asian country. With this Roland goes a lot further than just avoiding his “rival”: he places Oliver in a position where he may be in physical danger. This premise is strongly reminiscent of the Biblical story of King David, who seduced Bathsheba and placed her soldier Uriah at the forefront of the battles with the Ammonites. Although the plot ends differently in this film, the parallels are present.

The Frankfurt am Main, where the film is set, has been portrayed coldly as a city of glass and concrete, without a soul, where everything revolves around (earning) money. The business deal that part of the subplot revolves around, however, does not seem to interest director Hochhäusler that much (despite the fact that he himself wrote the screenplay with Ulrich Pletzer), so that the story tilts too much towards the affair between Roland and Svenja. As a result, things have to be straightened out too abruptly if Roland’s business problems surrounding the deal become more important towards the end. Hochhäusler does manage to visualize everything visually. With this beautiful camerawork, strong non-verbal scenes and of course the acting talent of Hunger-Bühler and Krebitz, Hochhäusler manages to compensate for the weaknesses in the screenplay. ‘Unter dir die Stadt’ mainly succeeds in evoking a certain atmosphere, whereby the viewer mainly gets the feeling that the characters are above all lonely. In any case, alienated enough from their surroundings, at Roland for longer and at Svenja especially after Oliver left.

This is where the previously touched mystery also comes to the surface. Quite a few questions remain unanswered. Some viewers will find that annoying, but the makers still know how to make it intriguing. For example, there are a number of strange events, which do not fit into the bigger picture, which underline Svenja’s impulsiveness (such as the careless acceptance of a pill by a woman in the toilet of a restaurant) and Roland’s sometimes irrational behavior (such as watching a drug addict injects). In any case, it seems irrational, because it is never explicitly stated why. Not to mention the alienating final scene, about which many speculations are possible. The film thus remains partly a mystery, because the events and motives of the protagonists cannot or hardly be interpreted.

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Review: Truffle love (2020)

Directed by: Jascha de Wilde, Ben Hendriks | 84 minutes | documentary

Forget pigs and dogs. You search for truffles with flies. In the documentary ‘Truffle Love’ we step into the world of truffle hunters, traders, growers and chefs who are fully dedicated to this rare fungus.

With a simple twig the truffle hunters walk through the forests and meadows of Provence in search of the ‘black diamond’. In addition to the roots of oaks, for example, because they like to grow there. Young pine trees are resolutely pulled from the ground, because they pose a threat to truffles. Just like global warming, by the way. A good truffle needs stress in the form of cold and thunderstorms and the changing climate could cause the truffle to die out.

The twigs are constantly tapping on the ground and for good reason. Because if flies suddenly fly up by tapping on the forest floor, it could be an indication that truffles are hidden. The hunters drop to their knees and bring a handful of soil to their noses. Truffle present or not? It’s a gamble. Then dig and usually wild boars have been ahead of them. But if the hunter has a prize, the catch is euphoric and even addictive, they say.

Once smelled and tasted, you will not forget the smell of truffle. Even blindfolded you can recognize this strong earthy, gas and musky perfume out of thousands. It transports you. It is well known that truffles are rare. Sometimes it takes up to 20 years for the fungal climate in the ground to produce this black gold, but usually the long wait has been in vain, says Catherine Mure, expert and trader for chef Jacques Marcon (3 Michelin stars). She once planted oak trees to grow truffles herself, but unfortunately not one fungus emerged after two decades. This is maddening, because other growers had a rich harvest after all this time. Nature cannot be forced, as it turns out, and with that the mystery lives on.

Just as known as the rarity is the value of truffles. They are precious. A good deep black truffle (not brown or gray) with white veins costs € 1200 per kilo. There is also white gold and this does not mean Limburg white asparagus. The white truffle is the grand dame of this type of swamp and even rarer than its black brother. The largest white truffle to date (approx. 2 kg) was auctioned at Sotheby’s in 2014 for € 50,000. These amounts sound like music to the ears of so-called poachers. They visit the nurseries without permission that are waiting like open treasure chests in Provence. Fortunately, the local police regularly check the orchards and often catch the truffle thieves. If they find anything at all.

‘Truffle Liefde’, the new documentary by Jascha de Wilde and Ben Hendriks after ‘Passage’ from 2017, shows the intense journey from idolizing, searching, harvesting and trading to the kitchens of renowned French restaurants and even the church. It is a pity that there are no fragrance cartridges for televisions, because a documentary like this one asks to stimulate the sense of smell with the perfume of this special fungus and the sweet landscape of Provence.

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Review: Ultimate Avengers 2: Rise of the Panther (2006)

Directed by: Curt Geda, Steven E. Gordon | 76 minutes | action, animation, adventure, science fiction | Actors: Justin Gross, Gray DeLisle, Michael Massee, Olivia d’Abo, Marc Worden, Nan McNamara, Nolan North, Andre Ware

Large in America, unknown in the Netherlands. The history of The Avengers in a nutshell. The American comic book heroes were released in our country in a distant past under the title ‘De Vergelders’, but nowadays you will have to do without the comic characters in the newsstands. Anyway, fortunately there is the medium DVD, so that as that hard fan you don’t have to go through life completely ‘cold turkey’. Enter ‘Ultimate Avengers 2’.

After the events of ‘Ultimate Avengers’, the team around Captain America has split up. The members each go their own way and Thor makes it completely different, by entrenching himself in an area where there is no living soul to be seen. Hank and Jan Pym bicker all day long and Iron Man has become quite arrogant and does everything to stay in the picture. Bruce Banner aka the Hulk is locked in an impenetrable cell and Captain America… Well, Captain America. The hero tries to leave his turbulent past behind and drowns himself in his work. When the African mini-state of Wakanda is besieged by an alien race, the Chitauri, the Avengers are called together. With fresh reluctance, the king of Wakanda, The Black Panther, decides to accept the help of the superhero team.

You don’t have to expect realism or logic in ‘Ultimate Avengers 2’. However, if you’re looking for a movie that features Nazi aliens, a primitive country that effortlessly makes weapons of mass destruction to order, and where bizarre characters with the most outrageous powers rule, then this ADHD action-packed cartoon is the right place for you. The full 76 minutes of this cartoon is filled with action and spectacle. The laser beams and missiles are flying around your ears.

In between fights, brief attention is paid to the personal worries of the characters. Hank and Jan Pym have relationship problems, Captain America is lonely, and Bruce Banner is treated like a criminal. Although not too much time is spent in trouble, it has been worked out fascinatingly. The short storylines around the individual Avengers keep the non-stop action just that little bit more engaging, because you really start to care about the characters. Okay, you don’t have to expect a complex character study, but you understand the adolescent attitude of Captain America just a little better. It is also nice that the problems that were discussed in the first part are further elaborated. The problems between Wasp and Giant Man, for example. The action itself looks fine again and is fired at you full speed.

Is there anything else to criticize about ‘Ultimate Avengers 2’? Certainly. Why a dated character like The Black Panther should show up remains a mystery. The king of the seemingly primitive African state is outdated. The African population walks around in old tribal clothing, while the country has the most modern weaponry. The panther was probably taken from the stable to give the film a multicultural character. After all, there are not many black superheroes in the Avengers universe. But still, the fictional Wakanda could be depicted in a more modern way. Fortunately, the Black Panther costume has been overhauled, so that the superhero looks at least a lot hipper than in the comics. Besides Wakanda, the aliens are also quite dated. More flamboyant villains would have spiced up the film. After that, the bad guys remain somewhat flat, because they are so anonymous and have no personality. Unfortunately. Fans of the Avengers will certainly have a blast with this energetic cartoon, but the layman will probably scratch their heads after seeing so much ultimate nonsense.

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Review: U-571 (2000)

Director: Jonathan Mostow | 115 minutes | thriller, war | Actors: Harvey Keitel, Bill Paxton, Matthew McConaughey, Jon Bon Jovi, David Keith, Thomas Kretschmann, Jake Weber, Jack Noseworthy, Tom Guiry, Will Estes, Terrence ‘TC’ Carson, Erik Palladino, Dave Power, Derk Cheetwood, Matthew Settle , Rebecca Tilney, Carolyna De Laurentiis, Dina De Laurentiis, Burnell Tucker, Rob Allyn, Carsten Voigt, Gunter Würger, Oliver Stokowski, Arnd Klawitter, Kai Maurer, Robert Lahoda, Peter Stark, Erich Redman, Sergeant William John Evans, Robin Askwith, Jasper Wood, Martin Glade, Oliver Osthus, Corporal John William Falconer, Corporal Cory Glen Mathews, Valentina Ardeatini

You can blame the American film industry a lot, but not a lack of ambition. With ‘U-571’ Hollywood hoped to overthrow the German submarine classic ‘Das Boot’, but that did not work out. In any case, the attempt has resulted in a nice film that never really sparkles, but never gets really boring. In short, ‘U-571’ is the popcorn flick made flesh.

Director Jonathan Mostow uses ‘poetic freedom’ and based his World War II thriller ‘U-571’ on true events that he adapted somewhat for his predominantly (American) audience. A team of soldiers is sent to intercept a German submarine. This U-571 contains a coding machine that makes it possible to decipher German codes. A group of brave Americans (in reality they were British) do everything they can to score this information. That is not easy. Especially when the Nazis go after the Yanks.

Forged history or not, ‘U-571’ has become an entertaining war film (although English veterans will probably think otherwise). The claustrophobic situation in the boat and the hopeless situation in which the characters find themselves provides a few nail-biting moments. Matthew McConaughey’s solid acting is without a doubt the best the movie has to offer. The Texan actor is good at his role and portrays his character as a complex character who is alternately sympathetic, cold, calculated, vulnerable and disgusting. In short: you are looking at a real person. Why character actors like Bill Paxton and Harvey Keitel have signed on for this film, unfortunately, remains a mystery. The men are not given much space and their characters remain too flat to fascinate. ‘U-571’ is a film of missed opportunities, but one that is still damn fun to watch. Mostow’s work could have become a classic, but misses too many opportunities. Its a shame, but there is nothing to do about it.

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Review: Tube – Tyubeu (2003)

Directed by: Baek Woon-Hak | 112 minutes | action, drama, thriller | Actors: Kim Seok-hun, Bae Du-na, Park Sang-min, Kwon Oh-jung, Jeong Jun, Sa Hyon-Jin, Son Byung-ho, Park Joong-Hoon

‘Tube’ is director Baek Woon-Hak’s debut and, although not without errors, it is a very promising debut. The film opens with an incredibly over-the-top shooting frenzy lasting more than five minutes. Since the viewer at that point has no idea what the film is about, this scene probably accomplishes the opposite goal that the makers had in mind. Instead of sitting directly on the edge of the chair, a distance has been created between the image and the audience. Nevertheless, the gaze that Terrorist T and Detective Jay exchange is enough to know that there is an old feud between them that will be fought out in this movie.

Then we see a few scenes with an attractive Korean, who knows how to hold her own, but also shows her vulnerable side through her fascination with the mysterious agent Jay. Kay is played by Du-Na Bae, and she knows how to portray her character perfectly, brave, passionate and a bit strange. Jay also knows how to convince as a troubled and stubborn cop. Fortunately, after the unpleasant beginning, there is an improvement. As soon as the scenes take place in the metro you are sucked into the film, and you only come out again after an hour and a half, occasionally only distracted by the very annoying music, which sometimes even drowns out the dialogues.

The film’s great strength is strangely enough that not much is explained. The feud between T and Jay has to do with murdering Jay’s girlfriend, fiancé or wife, but why she was murdered remains a guess. Then in the opening scene, Jay shoots someone who dies in T’s arms, and who that person is also remains unclear. This mystery will keep you fascinated for a long time, because you hope that at the end all the pieces of the puzzle will come together. This also happens in part.

The story of ‘Tube’ is not original, Baek Woon-Hak has shamelessly copied big Hollywood productions like ‘Speed’, ‘Under Siege 2’ and ‘Heat’. However, he manages to create a certain atmosphere around his two protagonists, which makes the audience feel very involved with them. The chemistry between Jay and Kay is clearly palpable and the end comes unexpectedly. Great exciting action thriller from a director of which we can hopefully expect even more spectacle.