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SYNOPSIS: Gellert Grindelwald has escaped imprisonment and has begun gathering followers to his cause—elevating wizards above all non-magical beings. The only one capable of putting a stop to him is the wizard he once called his closest friend, Albus Dumbledore. However, Dumbledore will need to seek help from the wizard who had thwarted Grindelwald once before, his former student Newt Scamander, who agrees to help, unaware of the dangers that lie ahead. Lines are drawn as love and loyalty are tested, even among the truest friends and family, in an increasingly divided wizarding world.

I'd really love to tell you about the plot. I really would! But I would struggle to pull all the multitude of strands together from J.K. Rowling's story and coherently explain them to anyone. If Rowling had put ten thousand monkeys (not a million - it's no bloody Shakespeare) into a room with typewriters and locked the door I wouldn't be surprised. Let me try at a high level..... The arch-criminal wizard Grindelwald (Johnny Depp) is being tortured in 'Trump Tower', but manages to escape and flees to Paris in pursuit of a mysterious circus performer called Credence (Ezra Miller) and his bewitched companion Nagini (nudge, nudge, wink, wink) played fetchingly by Claudia Kim. Someone needs to stop him, and all eyes are on Albus Dumbledore (Jude Law). But he is unable to do so, since he and Grindelwald are "closer than brothers" (nudge, nudge, wink, wink). So a reluctant and UK-grounded Newt Scamander (Eddie Redmayne) is smuggled into the danger zone... which suits him just fine since his love Tina (Katherine Waterston) is working for the ministry there, and the couple are currently estranged due to a (topical) bout of 'Fake News'. Throw in a potential love triangle between Newt, his brother Theseus (Callum Turner) and old Hogwart's schoolmate Leta Lestrange (Zoë Kravitz) and about a half dozen other sub-plots and you have... well... a complete muggle - - sorry - - muddle. Above all, I really can't explain the crux of the plot. A venerable diarrhoea of exposition in a crypt, during an inexplicably quiet fifteen minutes (given 'im-who-can-be-named is next door with about a thousand other people!) left me completely bewildered. A bizarre event at sea (no spoilers) would seem to make absolutely NO SENSE when considered with another reveal at the end of the film. I thought I must have clearly missed something... or I'd just not been intelligent enough to process the information.... or.... it was actually completely bonkers! Actually, I think it's the latter: in desperation I went on a fan site that tried to explain the plot. While it was explained there, the explanation aligned with what I thought had happened: but it made no mention of the ridiculousness of the random coincidence involved! The film's a mess. Which is a shame since everyone involved tries really hard. Depp oozes evil very effectively (he proves that nicely on arriving in Paris, and doubles-down about 5 minutes later: #veryverydark). Redmayne replays his Newt-act effectively but once again (and I see I made the same comments in my "Fantastic Beasts" review) his character mumbles again so much that many of his lines are unintelligible. I also complained last time that the excellent actress Katherine Waterston was criminally underused as the tentative love interest Tina. this trend unfortunately continues unabated in this film.... you'll struggle afterwards to write down what she actually did in this film. Jacob (Dan Fogler) and Queenie (Alison Sudol, looking for all the world in some scenes like Rachel Weisz) reprise their roles in a sub-plot that goes nowhere in particular. Of the newcomers, Jude Law as Dumbledore is a class-act but has very little screen time: hopefully he will get more to do next time around. Zoë Kravitz impresses as Leta. As you would expect from a David Yates / David Heyman Potter collaboration, the product design, costume design and special effects are all excellent. Some scenes are truly impressive - an 'explosion' in a Parisian garret is particularly spectacular. But special effects alone do not a great film make. Many reviews I've seen complain that this was a 'filler' film... a set-up film for the rest of the series. And I can understand that view. If you analyse the film overall, virtually NOTHING of importance actually happens: it's like the "Order of the Phoenix" of the prequels. I dragged myself along to see this one because "I thought I should". The third in the series will really need to sparkle to make me want to see it. If J.K. Rowling were to take me advice (she won't - she NEVER returns my calls!) then she would sculpt the story-arc but leave the screenwriting to someone better. The blame for this one, I'm afraid, lies at Rowling's door alone.

GENRE: Adventure

PRODUCTION: Warner Bros. Pictures, Heyday Films

KEYWORD: #paris_france #witch #world_war_ii #sequel #new_york_city #old_flame #wizard #1920s #harry_potter #fantastic_beasts #wizarding_world

CAST: Eddie Redmayne, Katherine Waterston, Alison Sudol, Johnny Depp, Jude Law, Dan Fogler, Ezra Miller, Zoë Kravitz, Callum Turner, Claudia Kim, Carmen Ejogo, Jessica Williams, William Nadylam, Ingvar Eggert Sigurðsson, Ólafur Darri Ólafsson, Kevin Guthrie, Brontis Jodorowsky, Derek Riddell, David Sakurai, Fiona Glascott, Wolf Roth, Victoria Yeates, Poppy Corby-Tuech, Cornell John, Sabine Crossen, Claudius Peters, Bart Soroczynski, Danielle Hugues, Alfie Simmons, Isaac Cortinovis Johnson, Olivia Popica, Alfie Mailley, Simon Wan, Morrison Thomas, Andrew Turner, Linda Santiago, Alfrun Rose, Maja Bloom, Olwen Fouéré, Simon Meacock, David Wilmot, Ed Gaughan, Jamie Campbell Bower, Toby Regbo, Hugh Quarshie, Isaura Barbé-Brown, Keith Chanter, Jemima Woolnough, Hollie Burgess, Thea Lamb, Joshua Shea, Isaac Domingos, Ruby Woolfenden, Johanna Thea, Liv Hansen, Israel Ruiz, Jag Patel, Nick Owenford, Tahir Burhan, Deepak Anand, Alexandra Ford, Andrew Blackall, Christopher Birks, Phil Hodges, Michael Haydon, Tim Ingall, Stephen McDade, Jeremy Oliver, Dave Simon, Jason Redshaw, Callum Forman, Ryan Hannaford, Donna Preston, Nasir Jama, Aykut Hilmi, Natalie Lauren, Annarie Boor, Deano Bugatti, Bernardo Santos, Connor Wolf, Sean Gislingham, Adrian Wheeler, Sean Coleman, Andy Summers

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This is an 80`s type action movie with modern special effects. Generally, I am sceptical about Russian movies, they are mostly art house types. This one is an exception though. Everyone who loves a good action with heroes who has no superpowers but are supercool would enjoy it. I loved it. Nowadays it is rare for me to say that, but I really loved it. Please watch it in a theater or on a great screen: cinematics are awesome.

KEYWORD: #world_war_ii #nazi #tank #tank_battle #concentration_camp_escape

CAST: Alexander Petrov, Victor Dobronravov, Irina Starshenbaum, Vinzenz Kiefer, Petr Skvortsov, Semyon Treskunov, Artyom Bystrov, Michael Janibekyan, Anton Bogdanov, Sofya Sinitsyna, Yuliya Dzhulai, Darya Hramtsova, Vasiliy Uriyevskiy, Vasiliy Butkevich, Yaroslav Shtefan, Kirill Lopatkin, Polina Volkova, Wolfgang Cerny, Yuriy Borisov, Igor Khripunov, Paul Orlyanskiy

PRODUCTION: AMedia, Mars Media Entertainment

GENRE: War, Drama, Adventure, Action

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SYNOPSIS: In 1944, a courageous group of Russian soldiers managed to escape from German captivity in a half-destroyed legendary T-34 tank. Those were the times of unforgettable bravery, fierce fighting, unbreakable love, and legendary miracles.

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CAST: Mélanie Thierry, Benoît Magimel, Benjamin Biolay, Grégoire Leprince-Ringuet, Emmanuel Bourdieu, Anne-Lise Heimburger, Patrick Lizana, Shulamit Adar, Joanna Grudzinska, Elsa Amiel

SYNOPSIS: In the last days of the Nazi-occupied France, writer Marguerite Duras awaits the return of her husband, Robert Antelme, arrested for being a Resistance fighter and then deported, while she maintains a tense relationship with her ambiguous lover and a dangerous game with a French collaborationist. Even when the Liberation arrives, she must still endure the unbearable pain of waiting.

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As usual, I am at odds with the idiots who inhabit places like Hollywood, and in their ignorance dare to review films of which they have little real understanding and a lot of subjective brouhaha! The film itself is a masterpiece of film making, which unfolds, like Sunset Song, the Scottish film of a few years back, in a thickly imaged, slow-paced narrative, the tormenting loss of a young woman`s husband, the destruction of her youthful dreams due to war. We must remember that there is only one war, the war of the rich against the poor, the haves against the have-nots, the propertied against the vulnerable. The woman here is not simply any woman, of course, but Marguerite Duras, who was becoming on of the foremost novelists and screenwriters of the post war era, played to the hilt by Mlle Thierry who with this role comes into her own as of the foremost actresses of her generation. It`s as good as Oldham`s Churchill, that good. The detail of the film, not easy to achieve, is impeccable, every frame has been thought thru to the max. They deserved the Cannes for film editing with this one at the least. There is one frame, I really don`t know how they achieved it, but I felt as if I was looking through a window in metal frame door, and not at the flat screen. I`d never seen anything quite like that. Again, at the end of one frame we hear what sounds like heavy breathing or crying, in the following frame we find that this is the sound of Duras` impassioned pen on the page. Utterly brilliant stuff. They had a great source and made a classic film with too many subtleties to recount here, especially to fans of an overpriced, horribly acted and written films like Bladerunner 2049 which are simply hyped junk with dependably high ratings on popular internet movie sites where folks speak depraved Hollywoodize.

KEYWORD: #paris_france #concentration_camp #world_war_ii #french_resistance #nazi_collaborator #nazi_occupation #nazism #female_writer

PRODUCTION: Cinéfrance, Les Films du Poisson, KNM, France 3 Cinéma, Versus Production, Need Productions, Same Player, Proximus, Fondation Carac, Centre National de la Cinématographie, Canal+, OCS, France Télévisions, SofiTVciné 4, Cinémage 11, Sonia Films

GENRE: Drama

SAVING PRIVATE RYAN ,1998 William Marsh Full Movie 2013

SAVING PRIVATE RYAN ,1998 William Marsh Full Movie 2013

SYNOPSIS: As U.S. troops storm the beaches of Normandy, three brothers lie dead on the battlefield, with a fourth trapped behind enemy lines. Ranger captain John Miller and seven men are tasked with penetrating German-held territory and bringing the boy home.

Great film is an illuminating thing: it shines its light into the dark recesses of humanity, revealing the greed, hatred, and hypocrisy that fester there. Bad film is often just as revealing: its existence and reception serve as a mirror reflecting the hearts of its intended audience. Saving Private Ryan is a classic example of the latter, in the flickering light of its propagandistic glow, the American people stand revealed for what they really are: stupid, self-absorbed, morally unsophisticated rubes ready to be fleeced by the first charlatan who comes along and tells them what they want to hear. "Saving Private Ryan" is typical Steven Spielberg fare: a big budget spectacle, bereft of style, filled to the brim with childishly heavy-handed moralizing and peopled with facile "characters" who exist only as cardboard cutouts for the ensuing morality play. Even the film`s underlying subtext is an old Spielberg standby - America GOOOOOD, Nazis BAAAAD. The plot of Saving Private Ryan revolves around a simple moral question: is saving one life worth potentially sacrificing the lives of many? This fourth grade ethical dilemma is played out for nearly three hours over the background of the brocage of Normandy in the hours and days immediately after the D-Day landings, and is handled with Spielberg`s usual wandering attention, ham-fisted lack of subtlety and babbling pop psychology. Spielberg being Spielberg, there`s never any doubt how the question will ultimately be answered (hint: with saccharine sentimentality in front of a tombstone - because, obviously, the same scene wasn`t manipulative enough when it was used to close Schindler`s List). The film opens with thirty minutes of unremitting carnage as US soldiers assault Omaha Beach. This opening scene has been hailed for its savage realism, but it is in truth one of the more cynically manipulative sequences in recent memory, full of irritating, disorienting jump cuts, pornographically Gibsonesque attention to gory detail, camera tricks and special effects artifices, all accompanied by a deafening soundtrack designed to overwhelm our capacity to think about what is being portrayed on the screen and to push us to simply immerse ourselves in its reductive US vs. Them POV. When I saw this film in the theaters, the audience cheered when the first German soldier was killed, then cheered again when American troops murdered surrendering Germans in cold blood: this, I`m sure, was Spielberg`s intent. Having bulldozed and buried any hint of the moral ambiguity of war, Spielberg gets around to the heart of the movie. It has been discovered by the War Department that one Private Ryan (Matt Damon) is now the sole surviving son of a family who has sent five sons to war. Unfortunately, Ryan was a part of the paratrooper drop that preceded the Normandy landings and is missing behind enemy lines. In a moment of supreme hokum (complete with a quotation of a letter by Abraham Lincoln that wouldn`t feel out of place in a Ken Burns documentary), Army Chief of Staff Gen. George Marshall (Harve Presnell) decides that an effort will just have to be made to save Private Ryan. At this point, Saving Private Ryan becomes just another motley-crew-of-experts flick. A team of caricatures is assembled: the tough-as-nails seargent; the feisty Italian; the pious Southern sniper with Talent on Loan from God (if the historical setting had been Vietnam, I`m sure this character would have been replaced by Cuba Gooding Jr. as The Magic Negro); the REMF pussy - all led by Tom Hanks in the role of Tom Hanks, Captain Everyman. Call them the Sanitized Seven. Battles ensue. Some of the caricatures die (does anyone really remember which ones?). The Germans never miss an opportunity to remind us how EVIL they are. One wehrmacht man - having been saved from certain death at the hands our intrepid heroes by the earnest pleas of the REMF - returns only to slowly and sadistically stab an American to death. Oh those tricksy Krauts! In the end, Ryan is saved and Tom Hanks is dying. But it was all worth it. Cue the graveside maundering. USA! USA! USA! The problem with Saving Private Ryan is the problem with everything Spielberg touches. More broadly, it is the problem of the American commercial cinema. Lacking the courage of any real conviction, it cannot offer any challenge to its audience. Instead, it panders to that audience with easy answers, impressive effects, a soundtrack that booms and tinkles in all the right places and a nice mom`s apple pie pat on the back for every red blooded American. What`s missing is even the faintest glimmer of awareness that the world doesn`t break down neatly into heroes and villains, cowards and the courageous, us and them. In the place of subtlety, it gives us spectacle, in the place of art, it delivers technically proficient propaganda.

Trailer: Saving Private Ryan - Trailer [HD]

PRODUCTION: Paramount, Amblin Entertainment, Mutual Film Company, DreamWorks, The Mark Gordon Company

GENRE: Drama, History, War

CAST: Tom Hanks, Tom Sizemore, Edward Burns, Barry Pepper, Adam Goldberg, Vin Diesel, Giovanni Ribisi, Jeremy Davies, Matt Damon, Ted Danson, Paul Giamatti, Dennis Farina, Joerg Stadler, Max Martini, Dylan Bruno, Daniel Cerqueira, Demetri Goritsas, Ian Porter, Gary Sefton, Julian Spencer, Steve Griffin, William Marsh, Marc Cass, Markus Napier, Neil Finnighan, Peter Miles, Paul Garcia, Seamus McQuade, Ronald Longridge, Adam Shaw, Rolf Saxon, Corey Johnson, Loclann Aiken, John Barnett, Maclean Burke, Victor Burke, Aiden Condron, Paschal Friel, Shane Hagan, Paul Hickey, Shane Johnson, Laird Macintosh, Brian Maynard, Martin McDougall, Mark Phillips, Lee Aaron Rosen, Andrew Scott, Matthew Sharp, Vincent Walsh, Grahame Wood, John Sharian, Glenn Wrage, Crofton Hardester, Martin Hub, Raffaello Degruttola, Nigel Whitmey, Sam Ellis, Erich Redman, Tilo Keiner, Stephan Grothgar, Stephane Cornicard, Michelle Evans, Martin Beaton, Anna Maguire, Nathan Fillion, Leland Orser, Michael Mantas, David Vegh, Ryan Hurst, Nick Brooks, Sam Scudder, John Walters, Dorothy Grumbar, James Innes-Smith, Harve Presnell, Dale Dye, Bryan Cranston, David Wohl, Eric Loren, Valerie Colgan, Amanda Boxer, Harrison Young, Kathleen Byron, Rob Freeman, Thomas Gizbert, Leo Stransky, Derek Lea, Mac Steinmeier, Nina Muschallik, Vincent Ventresca

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