Saturday, 22 October 2016

Top Hollywood Movies Rating And Review

In this article we write a complete list of 2016 top hollywood movies rating 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

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2016 Top Hollywood Movies Rating And Review:

‘Blue Bicycle’ (‘Mavi Bisiklet’): Film Review | Antalya Film Festival 2016
3:05 PM PDT 10/20/2016 by Jordan Mintzer

Courtesy of Antalya Film Festival
A tale of childhood rebellion set against a stifling political backdrop.  TWITTER

Director Umit Koreken portrays a young boy fighting the hypocrisy of his tiny Turkish village in this competition selection from the Antalya Film Festival.
A hard knocks coming-of-age drama filled with sharp political undertones, Blue Bicycle (Mavi Bisiklet) marks a solid debut from Turkish director Umit Koreken, who focuses his camera on a 12-year-old boy fighting poverty and injustice however he can.

Set in a remote mountain village in Central Anatolia, the film weaves an intriguing plot out of local corruption and schoolboy rivalries, portraying a world where people have few available options if the powers that be are not behind them. After screening last winter in Berlin’s Generation section and premiering locally at the Antalya Film Festival, Bicycle could find scattered bookings in Europe and additional fest berths abroad.

‘Black Crow’ (‘Siyah Karga’): Film Review | Antalya Film Festival 2016
The endearing Ali (Selim Kaya) is a quiet kid who’s been dealt a tough hand in life: His father recently died under mysterious circumstances – there’s a trial currently underway – and his mother can barely scrape by weaving dresses in their tiny home. To make ends meet, Ali works afterschool as an auto mechanic, contributing to his household’s meager income while trying to save enough to buy the prized bicycle of the film’s title.

Ali’s other main interest is Elif (Bahriye Arin), a girl in his class he’s secretly in love with, and who’s been chosen by the school principal (Fatih Koca) to be the “head prefect,” which is sort of the Turkish equivalent of valedictorian. But when a new student (Burak Vurdumduymaz) moves to town and, thanks to his uncle’s powerful position, winds up taking Elif’s place, Ali decides that he won’t let it happen so easily, enlisting his cousin Yusuf (Eray Kilicarslan) to start an underground campaign that will reinstate Elif in the school's top slot.

Co-written with producer Nursen Cetin Koreken, the script skillfully chronicles Ali’s growing rebellion against the numbing atmosphere of his village, which is shown to be a place where everyone seems to accept hypocrisy as a way of life. There are obvious winks to the current situation in Turkey, where the regime in power has been known to silence those accusing it of corruption and cronyism. In fact, the school principal often feels like a stand-in for President Erdogan himself, cracking down on those who question his authority with an iron fist. (One memorable scene has him inspecting his students’ handwriting to try and match it with pro-Elif graffiti, making them line up outside in the cold as if they were awaiting a brutal military trial.)

Justina Bustos in 'Breadcrumbs.'
‘Breadcrumbs’ (‘Migas de Pan’): Film Review
While the film intelligently portrays Ali’s predicament as part and parcel of Turkey’s greater political climate, it sometimes feels a bit clumsy in the way it delves out plot points and doesn’t always build up the drama in convincing ways. But Koreken does manage to coax strong performances out of his young cast, with Kaya truly touching as a boy who resists the forces constantly weighing upon him – whether from adults or kids his own age – hoping to find a smudge of happiness amid his harsh surroundings.

Tech credits for this Turkish-German co-production are pro if purposely gritty, especially camerawork by Niklas Lindschau that captures the mud-strewn streets and rudimentary accommodations of Ali’s hometown.

Production companies: Drama Film Produksiyon, Papermoon Films
Cast: Selim Kaya, Eray Klincarslan, Bahriye Arin, Katya Shenkova, Fatih Koca
Director: Umit Koreken
Screenwriters: Umit Koreken, Nursen Cetin Koreken
Producers: Umit Koreken, Nursen Cetin Koreken
Director of photography: Niklas Lindschau
Production designer: Mehmet Erenkaya
Costume designer: Selin Fidanci
Editor: Ali Aga
Composer: Cafer Ozan Turkyilmaz
Casting director: Nursen Cetin Koreken
Sales: Attraction Distribution

In Turkish

93 minutes

Hollywood Movies Review And Rating

In this article we write a complete list of 2016 hollywood movies review and rating. 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

watch movies free online

Top Hollywood Movies Review And Rating:

Lynne Alana Delaney writes, directs and stars in a romantic comedy about the making of a romantic comedy.
Demonstrating the very real limits of do-it-yourself, shoestring filmmaking, The Remake is a boomer-centric rom-com whose leading lady handled several key production roles, including producing and directing, working from a screenplay that she wrote, based on her own self-published novel. It would be nice to applaud Lynne Alana Delaney’s creativity, but the result is so ham-handed and unconvincing that it’s far easier to wish she’d enlisted more help in realizing her vanity project.

The Los Angeles-set movie, revolving around the onscreen reunion of one-time co-stars whose offscreen romance ended disastrously, is being four-walled at a single SoCal theater.

Delaney and her real-life husband, Ruben Roberto Gomez, play the central couple, Sheridan O’Connor and Riccardo Rossi. At the outset of their careers (they were still teenagers, we’re reminded endlessly), they appeared together in Passport to Love, which made them stars and became a touchstone for audiences coming of age in the ’70s. When, 30-odd years later, the film’s director, Frank Zelski (Timothy Carhart), aims to resuscitate his career with a Passport update, Sheridan and Riccardo haven’t spoken since Riccardo was a no-show at their wedding.

Inviting them to read for the feature, Zelski wraps it in mystery, withholding from each of them the nature of the project and, more to the point, the co-star’s identity. His strategy is no more preposterous than the idea that an American studio would put big bucks behind a movie starring two people who haven’t been marquee names in decades.

Once that bit of Hollywood absurdity is out of the way — the movie abounds in tone-deaf exposition posing as showbiz insights — the ostensible clash of the movie-star titans barely registers, more a whimpery whine than the great life-changing rift it’s meant to be. Sheridan is still feeling the smart of humiliation over being left at the altar by the “randy Roman.” Riccardo, who turns out to have had a good reason for hightailing it back to Italy, is nothing but delighted to see her. They leave the past unresolved and get to work on the “major studio production” that looks as chintzy as the surrounding movie. If nothing else, The Remake earns its place within the bad-film-within-a-bad-film micro-subgenre.

Larry King, Brett Ratner to Get American Jewish Historical Society Honors
There’s not a believable, involving moment in the glimpses of filmmaking or in the Sheridan-Riccardo melodrama, with its clumsily telegraphed twist and instantly accessible cache of decades-old letters. Sheridan’s daughter (Tessa Munro) stirs up the still-simmering pot as she gets to know her widowed mother’s long-ago lover. Patrika Darbo offers sitcom-y commentary and advice as Sheridan’s sister; Sally Kellerman does likewise as their aunt, lending her distinctively smoky voice to observations about aging in Hollywood — a worthy topic that receives only the most superficial of glancing nods in this story of second chances.

Chief among the film’s problems is the not-ready-for-primetime performances of Delaney and Gomez, with hers relying heavily on eye-rolling. Both have taken a midlife leap into acting for film and TV, mainly in background work. It’s commendable that they’re pursuing what they love, but they simply don’t yet have the chops to carry a feature.

The film’s only lived-in, natural performance belongs to Robert Romanus, as Riccardo’s agent; in the smaller role of Sheridan’s agent, Stanley B. Herman provides a touch of grit. Nonagenarian June Lockhart appears briefly, and unfortunately, as the story’s villain, a one-dimensional meanie mouthing anti-Italian slurs in the name of old-school WASP xenophobia.

The flatly lighted visuals by DP Timothy Delaney are a suitable match for the clunky dialogue, with repeated use of unhelpful framing and inexplicable camera angles — no ugly ceiling goes unobserved. Such thinly disguised locations as private homes dressed up as restaurants only add to the awkwardness of the proceedings. In her jack-of-all-trades approach, Delaney took on the role of production designer, showing resourcefulness, if not producing persuasive sets. But when even Larry King is unconvincing as himself, sets are the least of a movie’s troubles.

Production company: Associated Artists Productions
Cast: Lynne Alana Delaney, Ruben Roberto Gomez, Tessa Munro, Patrika Darbo, Timothy Carhart, Robert Romanus, June Lockhart, Larry King, Sally Kellerman, Stanley B. Herman, Mark Teschner
Director-screenwriter-production designer: Lynne Alana Delaney
Producers: Robert R. Gomez, Lynne Alana Delaney, Timothy Delaney
Executive producers: Robert Venter, D.B. Cooper
Director of photography: Timothy Delaney
Costume designer: Catherine Collins
Editors: Aaron D. Arnold, Meredith Raithel Perry
Composer: Darius Holbert
Casting: Lynne Alana Delaney, Ruben Roberto Gomez

Rated PG-13, 97 minutes