Summary: Bryan is een CIA-spion in ruste die af en toe nog eenbewakingsklusje aanneemt voor de poen. Hij is gescheiden van Lenoremet wie hij een dochter heeft, de tiener Kim. Als na lang zeurenKim op reis mag naar Europa staat Bryan erop dat zijn dochter hemregelmatig op de hoogte houdt. De eerste avond in Parijs belt Kimhaar vader en ziet tijdens hun gesprek dat haar vriendin in eenandere kamer ontvoerd wordt. Ook Kim moet eraan geloven en wordtgekidnapt.
Bryan twijfelt geen moment en reist af naar Parijs waarhij zijn dochter moet zien te redden uit de klauwen van eenOost-Europese bende van seksslaafhandelaren. Hij schuwt geen enkelmiddel om zijn doel te bereiken. The father of one of the kidnappers has sworn revenge and takes Bryan and his wife hostage during their family vacation in Istanbul.
Bryan enlists his daughter to help them escape. It is the third and final installment in the Taken film series, and the sequel to the film Taken and the film Taken 2. Principal photography began on March 29, in Los Angeles. The film was released in France on 21 January Summary: John Godey’s novel “The Taking of Pelham One Two Three” boasts a suspense situation so surefire that even the directorial bad habits of Tony Scott can’t ruin this latest movie version.
Four armed men seize a New York City subway train, isolate one car, and threaten to start killing passengers if a ransom isn’t paid within the hour. The ransom was a million dollars in the book and also in Joseph Sargent’s solid movie, in which Robert Shaw played the mercenary leading the hostage takers and Walter Matthau was the growling transit cop trying to outsmart him. Where Shaw’s menace was steely, John Travolta opts for manic, and shamelessly has a blast in the master villain role.
His adversary, cagily underplayed by Denzel Washington, has been upgraded in civil-service rank but also demoted on suspicion of taking a bribe. This colors the dynamics of the dialogue between Washington at his control-center console and Travolta on the motorman’s microphone aboard the stalled train. So far, so reasonably good. But the director’s trademark tactics keep getting between, well, everything.
The movie settled for one police car being wrecked as the ransom is rushed uptown; Scott requires multiple collisions, each the occasion for police cruisers taking Lethal Weapon-style flight. The hostages in the earlier film were wittily individuated, a multicultural group portrait of the city at that mid-’70s moment; the ones on Scott’s train–and also Travolta’s fellow perpetrators, including that wonderful character actor Luis Guzmán–barely register.
On the upside, John Turturro and James Gandolfini shine as two guys who like the actors themselves are very good at their jobs—respectively playing a hostage negotiator and His Honor, the mayor. The screenplay by Brian Helgeland “L. Confidential”, “Mystic River” strives intelligently, if formulaically, to add new dimensions to the main characters and to offer its own gloss on the current economic meltdown.
Summary: With “Tap”, viewers are reminded of the late Gregory Hines’ formidable skills not only as a dancer, but as a dramatic actor. This film isn’t wholly original–the plot borrows from countless movies where the hero is a flawed man trying to do good. The audience is asked to believe he might revert to his ne’r do well ways, but we’re confident that the ending will reveal his true, heroic colours.
Once back home, he’s torn between returning to a life of crime for that promised big pay-off, or living up to his dance heritage. Hines and Davis Jr. But the actors bring heart to this charming film, which understands that the line between right and wrong can sometimes be as simple as a tiny misstep. Sixtysome years later, the tale is finally told with brilliant design work that looks unlike any previous animated film.
The story is a natural for Disney since the themes of misunderstood central figures have been at the heart of its recent hits. Disney’s “Tarzan” doesn’t wander far from the familiar story of a shipwrecked baby who is brought up by apes in Africa. What gives the film its zing is its clever use of music the songs are sung by Phil Collins himself rather than onscreen characters and the remarkable animation.
Deep Canvas, a 3-D technology, was developed for the film, creating a jungle that comes alive as Tarzan swings through the trees, often looking like a modern skateboarder racing down giant tree limbs. The usual foray of sidekicks, including a rambunctious ape voiced by Rosie O’Donnell, should keep the little ones aptly entertained. Their chemistry helps the story through the weakest points the last third and makes Tarzan’s initial connection with all things human including Jane delicious entertainment.
Disney still is not taking risks in its animated films, but as cookie-cutter entertainment, “Tarzan” makes a pretty good treat. Ages 5 and up “–Doug Thomas”. Summary: Whereas the original “Tarzan” tells the story of a man raised by gorillas who learns to bring together the human and animal worlds, “Tarzan II” is a prequel, of sorts, focusing on a chapter from Tarzan’s childhood where he realizes he is not an ape and sets out to discover his true identity.
The young misfit runs away from his loving mother, Kala voiced by Glenn Close , and wanders up the Dark Mountain to come face to face with the monstrous Zugor. But all is not serious in this minute boondoggle; there is Disney’s usual foray into frivolity by way of a few wisecracking sidekicks–a couple of gorilla brothers named Uto and Kago, and their nettlesome Mama Gunda voiced by Estelle Harris, a laudable choice.
Despite the star-studded voice cast, there is a sense of re-tread ground here, and the story loosely based on Edgar Rice Burroughs’ distinctive tale shows signs of formulaic Disney. Nonetheless, Phil Collins’ trio of original songs livens the pace to make the effort a short-lived smile. Ages 6 to 14 “–Lynn Gibson”. Summary: The Phelps Department Store is about to be sold by its new part owner, Tommy Rogers with the permission of Martha Phelps, the dowager co-owner.
The current manager doesn’t want this as the irregularities in the books will show up. When an attempt is made on Tommy’s life, Martha enlists the worst private eye in the world to protect him, Wolf J. Summary: Original French Version In Marseilles France , Daniel, an ancient pizza delivery boy, changes job to become a taxi driver, but his dream is to become an F1 pilot. Caught by the police for a huge speed infraction, he will help Emilien, a loser inspector on the track of German bank robbers, so he doesn’t lose his license and his job.
Son taxi c’est un bolide en puissance et quand il réveille les tigres qui sommeillent sous le capot, il échappe même aux radars. Hélas, lorsque son taxi croise la route d’Emilien, un policier recalé pour la huitième fois à son permis de conduire, Daniel est bien obligé, s’il veut garder un volant entre les mains, d’accepter le marché qu’Émilien lui propose : l’aider à démanteler un gang allemand de braqueurs de banques qui écume les succursales de la ville à bord de puissants véhicules.
Summary: this is better than taxi 1. Languages: French Dolby Digital 2. Daniel rajoute des option à son taxi et Lili voit rouge. Le commissaire est aveuglé par sa stagiaire nippone et son enquête piétine. Émilien voit des pères Noël partout et Pétra s’impatiente. De Marseille à Tignes, de la Cannebière aux pistes de ski, l’aventure continue. Police Captain Gilbert is distracted by a Chinese reporter writing a story on his squad, detective Emilien’s wife has just announced that she’s pregnant, and taxi driver Daniel is in the midst of a relationship crisis.
After a string of mistakes in which the thieves outsmart the police time and time again with a reporter there to record it all, Daniel and his super-taxi pitch in. Summary: Before being extradited to Africa to stand trial, a notorious Belgian criminal is entrusted to the Marseilles police department for less than 24 hours. But the wily crook convinces bumbling policeman Emilien he’s a lowly Belgian embassy employee who got railroaded by the brilliant master criminal.
Summary: While it offers nothing new to the military action genre, “Tears of the Sun” distinguishes itself with fine acting, expert craftsmanship, and seriousness of purpose. Its familiar “extraction mission” plot is essentially similar to that of “Black Hawk Down”, involving a crack team of U. Special Ops commandos struggling to rescue innocent missionaries amidst the bloody horror of Nigerian ethnic cleansing.
With Bruce Willis as their grizzled, no-nonsense commander, the skillful team enters a hot zone that gets even hotter when their “package”–an American national Monica Bellucci who runs the isolated mission–demands that 70 Nigerian villagers be included in the rescue. Willis’s uneasy conscience leads him to defy orders and expand his mission, and in an ambitious follow up to “Training Day”, director Antoine Fuqua escalates tension and strike-force with considerable emotional impact.
Originally considered as a potential entry in Willis’s “Die Hard” series, and released on the eve of America’s war with Iraq, “Tears of the Sun” admirably avoids jingoism with its rousing story of personal good vs. Summary: Darkness has settled over New York City as Shredder and his evil Foot Clan have an iron grip on everything from the police to the politicians.
The future is grim until four unlikely outcast brothers rise from the sewers and discover their destiny as Teenage Mutant Ninja Turtles. Summary: Like an airport running at peak efficiency, “The Terminal” glides on the consummate skills of its director and star. Having refined their collaborative chemistry on “Saving Private Ryan” and “Catch Me if You Can”, Steven Spielberg and Tom Hanks mesh like the precision gears of a Rolex, turning a delicate, not-very-plausible scenario into a lovely modern-age fable partly based on fact that’s both technically impressive and subtly moving.
It’s Spielberg in Capra mode, spinning the featherweight tale of Victor Navorski Hanks, giving a finely tuned performance , an Eastern European who arrives at New York’s Kennedy Airport just as his fictional homeland has fallen to a coup, forcing him, with no valid citizenship, to take indefinite residence in the airport’s expansive International Arrivals Terminal an astonishing full-scale set that inspires Spielberg’s most elegant visual strategies.
Spielberg said he made this film in part to alleviate the anguish of wartime America, and his master’s touch works wonders on the occasionally mushy material; even Stanley Tucci’s officious terminal director and Catherine Zeta-Jones’s mixed-up flight attendant come off respectively as forgivable and effortlessly charming. With this much talent involved, “The Terminal” transcends its minor shortcomings to achieve a rare degree of cinematic grace.
Summary: This is the film that cemented Schwarzenegger’s spot in the action-brawn firmament, and it was well deserved. He’s chilling as the futuristic cyborg who kills without fear, without love, without mercy. James Cameron’s story and direction are pared to the bone and all the more creepy. But don’t overlook the contributions of Linda Hamilton, who more than holds her own as the Terminator’s would-be victim, Sarah Connor–thus creating, along with Sigourney Weaver in “Alien”, a new generation of rugged, clear-thinking female action stars.
It’s surprising how well this film holds up, and how its minimalist, malevolent violence is actually way scarier than that of its far more expensive, more effects-laden sequel. Summary: After he pushed the envelope of computer-generated special effects in “The Abyss”, director James Cameron turned this hotly anticipated sequel to “Terminator” into a well-written, action-packed showcase for advanced special effects and for one of the most invincible villains ever imagined.
The fate of the future lies in the balance, with Linda Hamilton who would later marry her director reprising her role as the rugged woman whose son will change the course of history. The digital video disc of this blockbuster hit is presented with a digitally mastered THX soundtrack. The apocalyptic “Judgment Day” of “T2” was never prevented, only postponed: John Connor Nick Stahl, replacing “T2″’s Edward Furlong , now 22 and disconnected from society, is being pursued yet again, this time by the advanced T-X, a sleek “Terminatrix” coldly expressionless Kristanna Loken programmed to stop Connor from becoming the savior of humankind.
Originally programmed as an assassin, a disadvantaged T cyborg Arnold Schwarzenegger, bidding fond farewell to his signature role arrives from the future to join Connor and his old acquaintance Kate Claire Danes in thwarting the T-X’s relentless pursuit. The plot presents a logical fulfillment of “T2” prophesy, disposing of Connor’s mother Linda Hamilton is sorely missed while computer-driven machines assume control, launching a nuclear nightmare that Connor must survive.
With “Breakdown” and “U” serving as worthy rehearsals for this cautionary epic of mass destruction, director Jonathan Mostow wisely avoids any stylistic connection to James Cameron’s “Terminator” classics; instead he’s crafted a fun, exciting popcorn thriller, humorous and yet still effectively nihilistic, and comparable to “Jurassic Park III” in returning the “Terminator” franchise to its potent B-movie roots.
Kyle Reese Jai Courtney back to to protect Sarah Connor Emilia Clarke and safeguard the future, an unexpected turn of events creates a fractured timeline. Now, Sgt. Reese finds himself in a new and unfamiliar version of the past, where he is faced with unlikely allies, including the Guardian Arnold Schwarzenegger , dangerous new enemies, and an unexpected new mission: To reset the future Summary: Terminator Salvation restores some of the balance of huge freakin’ explosions and emotionally compelling plot to the Terminator series.
Set entirely after the nuclear assault that left the computer system Skynet in control of the world, Terminator Salvation follows John Connor Christian Bale as he grapples with both murderous robots and his superiors in the resistance, who aren’t sure they believe the prophecies that Connor is destined to save humanity. Into the midst of this struggle tumbles Marcus Wright Sam Worthington, who would later star in James Cameron’s Avatar ; the last thing he remembers was being executed in prison decades before.
Baffled, he falls into company with Kyle Reese Anton Yelchin, Star Trek and a mute little girl, who soon get captured–but Wright then meets and bonds with Blair Williams Moon Bloodgood, Eight Below , a resistance fighter who remains loyal to the confused Wright even though Connor suspects he’s not what he seems–or what he believes himself to be. Terminator Salvation isn’t the astonishing synthesis of action and feeling that either The Terminator or T2 were; the plot threads are poorly woven and fray completely in the last third of the movie.
It’s imperfect, but compared with the hollow carcasses that most action movies including Terminator 3 turn out to be, it’s worth seeing. Summary: Dat Theo Maassen beschouwd wordt als de grootste kleinkunstenaar van deze tijd, werd bevestigd in het jaar Zijn originele invalshoeken, zijn doordachte visies, zijn grote grapdichtheid, zijn perfecte timing en zijn overtuigende podiumbeheersing maken Tegen Beter Weten In tot een haast superieur programma.
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