Justice League

Fueled by his restored faith in humanity and inspired by Superman’s selfless act, Bruce Wayne enlists the help of his newfound ally, Diana Prince, to face an even greater enemy. Together, Batman and Wonder Woman work quickly to find and recruit a team of metahumans to stand against this newly awakened threat. But despite the formation of this unprecedented league of heroes—Batman, Wonder Woman, Aquaman, Cyborg and The Flash—it may already be too late to save the planet from an assault of catastrophic proportions.

 Watch Trailer Below:

 

First Images From Will Smith’s Netflix Movie Bright

Netflix has established itself as the master platform for on-demand entertainment, with more and more huge stars driving to secure projects with the network.
One of the forthcoming Original titles from the VOD heavyweight is Bright – directed by Suicide Squad‘s David Ayer – and stars Will Smith in the leading role. Arriving online today are a trio of brand new stills from the movie, which you can check out below.

Bright is set in an alternate present-day in which humans cohabit with elves, orcs, and fairies. The science-fiction tinged action flick follows two cops from extremely different backgrounds, who embark on a routine nights duty which turns out to be anything but. Cast alongside Smith are Joel Edgerton, Noomi Rapace, Lucy Fry, Edgar Ramirez, Ike Barinholtz, Enrique Murciano, and Jay Hernandez.
The film arrives on global Netflix servers in December.

Rings (2017) Review

Movies like Rings are what give the horror genre a terrible reputation. This beautiful, mysterious, atmospheric and pure format of filmmaking has become inundated with soulless, cash-absorbing sequels, prequels, and remakes which lack any of the dignity or excellence of their predecessors. But what makes director F. Javier Gutiérrez’s latest even more unfathomably terrible is that it doesn’t even warrant the ‘horror’ label. There is nothing even remotely frightful, surprising, or engaging about this film; it is entirely unable to tap into any single emotional current, unless you count boredom as an emotion, and in that case, this is a unequivocal masterpiece. Because Rings is so mind-shatteringly, eye-gouchingly, heart-stoppingly abysmal, it doesn’t even warrant the time or effort of a critic to sit, research, and pen a review. 
So, what’s this unmitigated disaster all about then? Well, quite frankly nothing. For a film with SIX writing credits – including the talents of Jacob Estes, who wrote and directed the morally powerful child crime thriller Mean Creek (2004) – Rings has virtually no narrative whatsoever. Abercrombie teenagers watch the titular video, then the phone rings and it isn’t Dave from PPI Insurance trying to flog you something, rather Samara – the heartbroken and neglected soul who you know, loves murdering people – who gives you “seven days” before she makes you pull a ridiculous face and go all grey. What does Rings add to this formula that we’ve seen about fourteen times already across multiple continents? Well, there is some new still images in the video? Like, a bird, and a church. Oh, and Leonard from The Big Bang Theory is conducting “scientific experiences” by getting his students – apparently he’s a college professor (most likely with a degree in Absolute Flipping Moron) – to watch the tape, and then, ummm, get other people to watch it? Good experiment, bro. That’s exactly what all the other movies have done already.
Here’s the real problem with Rings, and indeed this franchise. It no longer makes any remote sort of social sense. Think back to Ringu (1998), or even Gore Verbinski’s impressive 2002 remake with Naomi Watts; most people still had, and used VHS players. DVD was a very new phenomenon. The process of watching the sketchy bootleg videotape, and then suffering Samara’s wrath across the week as you frantically attempt to copy the VHS footage (not the easiest thing to do) and actually convince another to watch it? Like, actually ask another human being to potentially – and willingly – die on your behalf? Yeah, that bred an atmosphere of anxiety, paranoia, and terror. It felt scary, and that is so mightily important. Now in 2017, EVERYONE is connected. To copy the video, you just right-click and select ‘copy’. Tension eliminated. To get another to watch it? Well, just tell The Lad Bible about this “bare jokes creepy video, fam”, and those imbeciles will upload it to some 15,000,000 in an instant. You are off the hook before Samara has even put the receiver down. “Seven days, love? Gimme a break. Get a haircut. Hashtag on fleek”.

But you see, Rings thinks it is smart – it isn’t, it’s absolutely brain-meltingly stupid, but alas – because the kids here struggle to copy a video file because it’s “too large”, or attempt to purchase a fated VHS player at a yard sale, because YOLO it’s totes vintage. Considering the talent working behind the scenes to render a Ring picture for the new age, the film so biblically fails to either understand the times, or worse, respect them. They could have used the idiots at The Lad Bible or whatever to make the video go viral; a whole world of people now caught under the insidious torment of Samara, as she crawls through iPhone screens as hipsters take Instagram shots of their Pumpkin Spice Lattes at Starbucks. That would have been cool. Almost like a zombie pandemic movie, but no, instead we get generic girl and generic guy who embark on generic journey to overcome generic villain who is misunderstood due to a generic backstory with generic post conveniences along the way. The film may be just over an hour and forty, but it actually feels about seven days in length, and that is due to the unrelenting tedium and lack of creativity. One of the worst terms a film critic can use is “boring” – it is such a lazy statement to make – but hell, Rings is boring, exponentially so, because it is as lazy as that word.
Universally, the performances are diabolical. There is more wood here than at Oak Furniture Land. Alex Roe – who plays stereotypical hunky teen guy Holt (even his name is cliché…) meanders through scenes looking like he got off the London Underground at the wrong station. He has zero weight in frame, and assists any attempt of drama or terror with clubfoot precision. Even worse however is our lead heroine Julia – played with ear-grating annoyance by Matilda Lutz. This girl cannot act. Regardless of how tragically bad the screenplay is, she has absolutely no clue how to manoeuvre in-front of camera. Her dialogue exchanges are 100% exposition, and a clear lack of experience in a leading role makes bad prose sound even worse, plus she fumbles constantly during Rings‘ larger – yet still titanically bland – set-pieces, such as an altercation with Vincent D’Onofrio (hope you are enjoying the Bahamas trip this role paid for, mate…) which is supposed to be profound and tense, but feels like a deleted scene from a Laurel and Hardy comedy. Aimee Teegarden of Friday Nights Lights fame is also briefly in the film, and she’s hot; that’s about it. Just really hot.
We can all laugh and joke about how abhorrent Rings is, but in truth, it is an extremely sad affair. Multiplexes will be laden with audiences flocking to see this rotting pile of faeces, which in turn will breed another, and another. Paramount Pictures will continue to vacuum your hard-earned money, in exchange for a product so immeasurably appalling and worthless. It is not a fair deal whatsoever. There are ‘bad’ movies, and then there are bad movies. This is somehow even worse…
Rings is out now on wide release in UK cinemas.

The Love Witch (2017) Review

Ravishingly crafted, and richly observed, writer-director Anna Biller’s The Love Witch – a romanticised broth of fizzingly gothic Americana – harps back to an era filled with the very good, and the very bad. Serving in virtually every primary role, from music composition, to production design; via editing, and costume, this is clearly a passion project for the lavish creative, and her enthusiasm and plentiful knowledge is on the brightest display throughout. This pulpy, psychosexual trip is unlike anything else on the market at current, and despite a number of issues throughout, it serves as a vigorous injection of pure cinema.
Biller’s baby is a claret-tinted reflection of a niche period in studio filmmaking – the late 60s Technicolor melodrama – in addition to the schlocky novellas which peppered displays in motels and gas stations. Themes of sex, violence, and marital misdemeanours rendered narratives within the horror and thriller genres; offering viewers and readers the cheapest of shocks and spills like say “Fifty Shades of Grey” provides today. The Love Witch understands the macabre fantasy of such a timeframe, and develops quite frankly unbelievable aesthetic texture within it. Because this film, at its very essence, is a gloriously tongue-in-cheek pastiche first, and a narrative feature second. Perhaps even third or fourth in the pecking order.
As previously mentioned, Biller isn’t just harnessing a story within a setting; she is mimicking the entire process of filmmaking. Her latest is absolutely laden with horrible editing choices, such as the dreaded zoom, in addition to ludicrous plot contrivances which make absolutely no sense, and defy any sort of continuity. Her actors are deliberately giving timber-thick wooden performances – so stiff and awkward that on occasion it is difficult to work out what’s the act, and what’s the act of an act. Plus there is the cheaply implemented usage of hazy bordering; something that even a teenage video editor using Windows Movie Maker would grimace at. All of this sounds like a serious dig at The Love Witch, but on the contrary. These peculiar visual cues are beautifully showcased and understood, assisting the landscape and design of the film. Ultimately they characterise it more so than the storyline.

Perhaps the most impressive quality here is how subtly Biller manages to curate modern references in a film so unashamedly unsubtle. Similar to the manner in which Damien Chazelle uses clues to remind audiences that his La La Land actually exists in present day, not the 1950s, The Love Witch beats to a equal drum. You are almost adamant that this is a work of a forgotten time – heck, even the font is as archived as they come – and yet something finite brings you back to 2017. A quick sight of a BMW M5 pulling up curb-side, or the drawing of an iPhone from a gown so vintage it’ll likely be heaped with fifty years of dust in your attic. These tiny, but significant, gestures are treasures to be discovered, and consequently show Biller’s smarts.
However, not everything is as rose-tinted as it seems. Let’s get real for a moment: this is not going to be everyone’s cup of tea, far from it in fact. Whilst the singularity of Biller’s film is certainly impressive, many-a-viewer will be longing for more than a fanciful façade. There is virtually no narrative to the satisfying beyond our stunningly gorgeous seductress Eliane (Samantha Robinson) moving to a witch-friendly suburb where she enchants men with her rich love potions. Unfortunately, her expertise mean her bewitching brews are far too potent, leading to death from a heart so full. A wafer-thin narrative such as this would be digestible if presented across a snappy runtime – say 80-90 minutes maximum – but at two hours, there just isn’t enough drama to sustain. Embellishments are all well and good, but style is no substitute for substance.
Perhaps deliberately, perhaps not, no single fellow cast member is ever as interesting or textured as Eliane. Sure, she is the star of the project – our enchanting antihero who is absolutely perfect for the role (Robinson’s shimmering beauty really could melt the heart of man) – but it is very hard to care about anyone in her direct contact. The male counterparts are undercooked, and the counteracting females even limper. The Love Witch might be the Robinson show, but there rarely seems to be a single attempt from the script to support her, and indeed our connections to her world.
Still, despite its flaws, Biller has crafted something impressively audacious, and although it is bound to polarise, will ultimately be remembered for its tenacity and independence. The attention to detail is more than admirable, and the solo vision of the film makes it a refreshing burst from the mundanities of modern multiplex fodder.
The Love Witch opens in select UK cinemas on 10th March, and is available to purchase on Blu-ray and DVD from 13th March.

Watch: Hilarious Rogue One: A Star Wars Story Parody Video

We at Filmoria absolutely LOVE Star Wars, and we said Gareth Edwards’ Rogue One: A Star Wars Story was “absolutely astonishing entertainment,” in our official review last year. Still, we also appreciate a good joke poked at A Galaxy Far, Far Away, which is exactly what How It Should Have Ended (HISHE) have provided with this side-splitting new video.
Now rather obviously, this video contains major spoilers, but come on, who hasn’t seen Rogue One?

Rogue One stars Felicity Jones, Diego Luna, Riz Ahmed, Ben Mendelsohn, Donnie Yen, Alan Tudyk, Mads Mikkelsen, Jiang Wen, and Forest Whitaker. The film will be available for purchase on 4K HD Blu-ray, Blu-ray, and DVD in the UK from 10th April.
Rian Johnson’s forthcoming Star Wars entry – The Last Jedi – is one of Filmoria’s Must-See Movies Still to Come in 2017.

Ryan Reynolds Returns In Deadpool 2 Teaser

With Logan slicing his way through the global box-office this weekend – read our official review here – 20th Century Fox and Marvel Entertainment are looking ahead to the second outing for the “Merc with a Mouth”; the one and only Deadpool.
Attached to US screenings of the James Mangold-directed Wolverine picture is this hilarious teaser for Deadpool 2, which will see Ryan Reynolds reprise his beloved role as Wade Wilson.
Entitled “No Good Deed”, the promotional video shows Wilson stumbling upon a mugging in an alley.  Unfortunately he decides to change in a phone booth and by the time he gets to the victim, it’s too late. To top it all off, there’s even a Stan Lee cameo! Check it out here…
Fans of Marvel Comics should take a trip to the Filmoria Official Store, where we have an amazing selection of limited edition artwork for sale, including items hand-signed by Stan Lee himself!

Kong: Skull Island (2017) Review

We’re officially over awards season and now entering into blockbuster season as the dust settles on that Oscars disaster and we prepare ourselves for the big guns to throw at us their best mega-money offerings from worlds that are far removed from the real world that we live in. Escapism cinema is often the order of the day when it comes to the expected box office titans of a calendar year and none come mightier than King Kong, returning to the screen in Kong: Skull Island.
The year is 1973 and with the Vietnam War officially ceased, it is a time for war-torn soldiers to return home to their families and look to forget the napalm-induced horrors that they have encountered while battling for their country. Not for Samuel L. Jackson’s Lieutenant Colonel Preston Packard and his squadron (including Toby Kebbell, Thomas Mann and Shea Wigham) as they are tasked with one more mission before removing themselves from bullets, helicopters and ultimate danger.
They are tasked with transporting an investigative crew to an unknown island where something so much more dangerous is lurking within the lush forestry and grand rivers. Led by Bill Randa (John Goodman) and geologist Houston Brooks (Corey Hawkins), and joined by British tracker James Conrad (Tom Hiddleston) and photographer Mason Weaver (Brie Larson), the crew attempt to uncover just why no-one has returned from the devastating Skull Island.
In this day and age it takes something truly spectacular to ultimately captivate audiences on a visual level. In an era where CGI-heavy movies can often feel like they are over-saturating cinema, it’s wonderfully refreshing to see a film like Kong: Skull Island still pushing the boundaries to create a visual experience like few others. Such a behemoth of cinema spanning decades deserves his own grand return and this is the movie to provide just that. From the very first early moment in which we set eyes on the great King, we’re instantly transported to a world of wonderment and excitement. A stark contrast to Legendary’s other fighting monster Godzilla, here director Jordan Vogt-Roberts throws Kong front and centre as quickly as possible, reminding us that he isn’t messing around, much like his leading beast.
And Kong isn’t the only one to steal the limelight. A movie of this calibre possesses a supreme ensemble cast and each get their core moments to shine. John Goodman channels some of his unhinged 10 Cloverfield Lane characteristics and Samuel L. Jackson has a riot as the movie’s core antagonist intent on wreaking fiery havoc on Kong and the other over-sized natives of the island. Hiddleston and Larson strike with a scintillating chemistry that sets them apart as our key heroes and even the likes of Thomas Mann and Corey Hawkins lend that extra depth to a group we get accustomed to in no time at all.
While Skull Island certainly isn’t a lesson in groundbreaking acting or award-winning dialogue, it does exactly what it has promised – provide enthralling and exciting action. Every scene featuring the big ape is majestic and set pieces involving other creatures hammer home the message that this is a monster movie to the core. From helicopters being swatted out of the sky to aptly named Skullcrawlers slithering their way to make you jolt in your seat, the movie looks spectacular in its presentation and cinematographer Larry Fong deserves the utmost of praise. Iconic shots of sunsets and fire-laden landscapes provide their own Vietnam movie nods but ultimately this is stylised action cinema at its most gorgeous.
Perhaps the only slightly jarring part of the film that may irk some viewers is an incessant use of 70s music to drive the era in the opening half of the film, but this is soon long forgotten in favour of grand monster mayhem. That and John C. Reilly’s beard…
Kong: Skull Island is a breakneck action blockbuster that re-introduces King Kong as the cinema monster to dominate all. It’s loud, bombastic, explosive fun that hits all the right notes and proves that Legendary are on their A-game when it comes to their monster universe. Kong is still the King. Period.
Kong: Skull Island is released in UK Cinemas on 10th March.

'Power Rangers' movie 2017 spoilers: Film's official runtime revealed; Zordon, Rita Repulsa are former Power Rangers in the reboot?

Power Rangers reboot is a joint production of both Saban and Lionsgate, which will be directed by Dean Israelite. (Photo : Facebook) 

The latest details and spoilers for the 2017 "Power Rangers" movie will feature the possible origins of Zordon and Rita Repulsa, as well as the film's official runtime.
It seems that the official runtime for the 2017 "Power Rangers" movie reboot has been announced as Lionsgate confirmed that the film will be at 123 minutes, which a little over two hours, Screenrant reported.

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It is certainly that the "Power Rangers" has a lot to set up and then deconstruct; introducing the new versions of the 90's characters as the new rangers, letting new viewers become familiar with the origins. It should also give us plenty of time to enjoy the fight sequences as well as the CGI action.
Aside from the runtime, Lionsgate also released the film's international poster which features all five rangers unmasked alongside their respective DinoZords, the Tyrannosaurus, Triceratops, Pterodactyl, Sabretooth Tiger and Mastodon.
Meanwhile, it seems that a long standing rumor from the "Power Rangers" movie has been revealed regarding the possible origins of Zordon (Bryan Cranston) and Rita Repulsa (Elizabeth Banks).

Zordon's backstory in the 2017 "Power Rangers" movie has been teased as Cranston's version of Zordon could be one of the original Ranger before the events of the movie.
The theory was teased when an Instagram post from Andrew Grey (via Power Ranger Now) which featured Cranston's book "A Life in Parts" with a message that reads “To Andrew, Happy Birthday! To a Power Ranger, from a Power Ranger. Be well. – Bryan Cranston, 2017.”
With that in mind, this could mean that Zordon could be a former ranger, particularly the Red Ranger before Jason Scott (Dacre Montgomary). It is also theorized that the main villain in the "Power Rangers" movie, Rita Repulsa (Elizabeth Banks) was the former Green Ranger, but was seduced by power and betrayed her fellow rangers for the Zeo Crystal, the source of there power.
Rita's mission in the movie to gain the Zeo Crystal using the monster Goldar and deliver it to her master Lord Zedd, which is Zordon will need Jason along with the other chosen teenagers Kimberly Hart (Naomi Scott), Billy Cranston (RJ Cyler), Zack (Ludi Lin) and Trini (Becky G) as the next Power Rangers to defend the earth.
The "Power Rangers" movie will be in cinemas on March 24, 2017.