Ragini MMS 2 (2014) BluRay 720p

~~~~SPOILERS AHEAD~~~~

At least the primary Ragini film gave us a sparkling performance by Rajkummar Rao, then called Yadav. This was enough time when Rajkummar's Shahid wasn't even conceived. He became a "despo", similar to the character of Ragini MMS 2.

What did I come away with from Ragini MMS 2? A sinking feeling which the horror genre has run its course. Boredom is often a beast that director Bhushan Patel is just not up to fighting. Sex is earned to spice up the semi-dead spirits. Steamy scenes are stuffed into this scare-fest since Sunny Leone top-lines the cast.

The script has become tailored to fit the lewd; sorry, lead's porn backdrop.So when the film crew visits exactly the same haunted house where the very first Ragini film unfolded (why make exactly the same mistake twice?!), Sunny, all voluptuous and popping in all places, fakes sexual climax and tells an obnoxious fellow actor that porn actresses too can act.

They sure can. Sunny, in their own third Bollywood film, puts in quite an endeavor to look possessed by an evil chudail. To be fair for this fornicating fraulein while on an image-mending binge, the very last half-hour finds her visiting convulsions of terror. It's a climactic performance that pines to see us that porn stars can act.

Point made. Sunny is obviously good with climaxes. We can now go on to the rest in the film which slithers from the hall of absurdity that has a terrifying nonchalance. We have characters deliberately moving deeper and deeper in to the darkest shadows on the haunting house inviting sure death.If you are so dumb about go into empty rooms with creaky doors, then you definately might as well be dead.

Why include the characters inside our horror films so intellectually challenged? Ragini MMS 2 is very suffused with morons. There is usually a hammy television actor who uses a naked shower with Sunny (each porn star) then later jerks off during sex. He is very gross because guys from the Ragini series are likely to be just that.

In Ragini MMS 1, Rajkummar Rao dragged his girlfriend to your haunted house to shoot a dirty MMS back with her. In this instalment, there's an over-the-top film director (the talented Parvin Dabas) who would like to make a 'horrex' (a blend of horror and sex, much a similar as the director of Ragini MMS 2).

Ragini MMS 2 can be so enamoured by its luscious leading lady's lusty past it doesn't really know what it really wants to be. Neither horrifying nor sexy, the film is similar to a conflicted schizophrenic seeking a closure to his identity crisis blocking out the sunlight from all of the windows in the home and caught in circles around his darkened home.

Watching Ragini MMS 2 is similar to playing Russian Roulette together with the lights off. You know someone is pulling the trigger and looking to fire random shots at unidentified victims. Every trick from your horror genre is brought into use. By some time Divya Dutta is introduced as the latest avatar of Max von Sydow from The Exorcist, the devil is just too far attended be tamed.

~~~~MOVIE INFO~~~~

Genre : Horror, Romance, Thriller
Durasi : 119 Menit
Rating : 4.0/10 IMDb
Sutradara : Bhushan Patel

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Point Break (2015) Bluray 720p

Takes the outline in the original and translates it with an audience that's chugged 15 Monster Energy drinks and stayed up for the week mainlining Dude Perfect videos.
“If a tree falls from the forest with out one puts it on YouTube, made it happen really happen?”

This is definitely an actual brand of dialogue, delivered with total sincerity, from Ericson Core’s remake of Kathryn Bigelow’s Point Break. It’s one of the dumb “wisdoms” suggested using a screenplay that’s plagued by bubblegum philosophy. But if you’re OK with the pseudo-Zen sentimentality in the insta-upload message for the reason that statement, then your shallowness in this derivative and unnecessary reboot may not bother you just as much as it did me. The original Point Break wasn’t Shakespeare, the slightest bit. But it wasn't insultingly stupid. This is.

Core’s Point Break essentially takes the outline in the 1991 genre thriller starring Keanu Reeves and Patrick Swayze, but translates it to have an audience which has chugged 15 Monster Energy drinks and stayed up to get a week mainlining Dude Perfect videos. In the process, Core misunderstands all that was essential to the original film, believing that ramping in the “EXTREME” each and every turn will resulted in a more rewarding experience. It isn’t. It’s exhausting. Remember the exciting skydiving sequence from the original? This time out, you are likely to get large-scale skydiving, surfing and motorcross stunts within the first fifteen minutes! But the skydiving sequence in the first movie mattered because once it arrived, you cared about the characters involved within the stunt. The new Point Break individuals have as much depth as actors in a very Mountain Dew ad.

Right away from the bat, Point Break 2015 produces a fundamental error in putting together Johnny “Utah” (Utah is usually a nickname these times out, making no sense). Keanu Reeves’ version from the character in 1991 would have been a former athlete but a clean-cut and dedicated FBI agent who reluctantly joined several surfers suspected of robbing banks wearing masks of dead Presidents. (The crooks wear similar masks in a single scene with the reboot, and don't again, considering that the remake doesn’t get why that gimmick was important.) When Reeves’ Utah gets pulled into your wake of Patrick Swayze’s Bodhi, it is against exactly what Utah means, creating an internal conflict that transcended the impressive stunts.

Point Break 2015 paints “Utah” (Luke Bracey) being a former extreme-sports addict who recognizes what of Bodhi (Edgar Ramirez) with the exceptional crew simply because behave how he one did. No internal conflict. No stakes inside game. It’s strange, too, how after one criminal mission at the start with the movie, Bodhi and the team of elite athletes stop committing crimes (hence, the possible lack of presidential masks) and also don’t create any conflict that might need the FBI… using wind out on the movie’s sails.  We’re playing new versions of Bodhi and Utah, plus the comparisons between the main and the remake – that happen to be inevitable when reviewing this movie – show how wrong this remake is. Swayze’s Bodhi became a charismatic Zen flame drawing Keanu’s moth. Ramirez’s Bodhi belongs more for the tattoo-and-leather Euro-trash sounding extreme-stunt seekers. There’s less appeal – to both him, and towards the movie.

Is Point Break 2015 bigger than the first? Yep. Where Kathryn Bigelow limited her action towards the sleepy beach communities of Southern California (in most cases), Core’s Point Break is usually a global affair which has “Utah” chasing Bodhi towards the far-reaches from the Earth to avoid him from… well, again, he’s probably not committing any crimes, so I’m unsure why the FBI is very hellbent on bringing Bodhi to justice. The people Bodhi’s gang are interchangeable and forgettable. Teresa Palmer incorporates a painfully thankless role since the Mother Hen on the gang, cooking meals for The Boys whenever they complete their missions, and sleeping with “Utah” since the script thinks it requires an emotional conflict. Does bigger mean better? Nope. Because really, the frequency of which does “bigger” equal “better” on the subject of Hollywood remakes?

“Let’s only be here.” That’s another pearl of wisdom spoken by way of a serene criminal in Point Break 2015.

Release date: December 3, 2015 (Indonesia)
Director: Ericson Core
Box office: 131.3 million USD
Budget: 105 million USD
Music composed by: Junkie XL

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Baby (2015) 720p HD

Baby’ is an ideal vehicle for that times we are in: it provides a home-spun hero who allows himself to get hurt but is invincible, plus an enemy who's going to be the easiest to demonise. The film can be as simplistic as the title – Us vs Them, with no prizes for guessing who'll win. In a messy world, where each action might have an equal and opposite reaction, exactly what is the point of complexity?

We are made a luxuriously-bearded mullah (based, clearly, upon a few real-life types) whose eyeballs have flames in the individual, as well as a crowd of followers who look like they are ready for ‘jihad’. They raise blood-curdling slogans, and talk nasty about `Indiya’. The retaliatory measures undertaken by our hero are justified in the beginning. Can’t have hate-spewing terrorists who secret meeting place in countries-ringed-by-deserts-and-sand-dunes threatening our sovereign nation, are we able to?

So were meant to cheer if the skilled counter-espionage agent Ajay (Akshay Kumar) breaks bones and smashes faces, while a gruesome interrogation sets the scene. If they can bash our guys, were allowed to bash right back, with no hassle. Ajay and the band of merry men, the impossibly buff Daggubati, as well as the sulky computer expert Anupam Kher, cause some amusement since they race around Turkey and Nepal plus the Middle East, tracking the baddies. But the whole is familiar and far of it is tedious.

This is Akshay’s most credible performance in a very long time, and reminds us the actor he is able to be, when he isn't up-ending monkeys and dogs in films pretending to become comedies.The supporting cast is passed out a few diverting tics, that features a nice little turn by Ms Pannu because the girl that can give as effective as she gets.

But the niggling discomfort a result of the pandering to stereotypes ( along with the requisite nod to tokenism) colours our viewing. There’s also the reality that though this film looks always to become on the move, it frequently stalls. The result is a kind of frantic business which flatters to deceive : ‘Baby’, fronted by its fleet-footed hero regarding his brisk moustache and it is background-music-overlaid action, feels over it should.

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Terminator Genisys (2015) BluRay 720p

The first challenge you face in decoding Terminator Genisys, before you even get through to the multiple tangled-kite-string horrors of the company's plot, is doing exercises who on the planet the thing is for. To anyone with no reasonable working understanding of the initial two Terminator films, will probably be nigh-on incomprehensible: the super-fans, meanwhile, will realise that everything here runs counter to your chrome-plated directness of James Cameron’s original vision.

In short, the objective audience is very much people who know the initial two Terminator films thoroughly and also hate them. The other 99.9999+ percent folks are in for just a bumpy ride.

Genisys, chapter one, verse one: to start with, the planet earth is a formless void and darkness covers the face area of the deep. Or in simple terms, there’s a post-apocalyptic prologue, while using last tatters of humanity scrapping together with the evil robotic forces of Skynet somewhere within the murk.

John Connor (Jason Clarke) is leading the Resistance, with Kyle Reese (Jai Courtney) tagging on puppyishly behind him within a string of brownish battle scenes, none that come close to matching the majestic visual uppercut that opened Cameron’s 1984 original: a drift of human skulls being ground to dust beneath a robotic caterpillar track.

It’s this confrontation that prompt the events of this film – and sure enough, we percieve Connor and Reese going to Skynet’s time travel device, soon after the T-800 robot (Arnold Schwarzenegger) provides it to jump back in 1984 with Sarah Connor, the helpless mother-to-be from the Resistance’s mighty leader, presents itself his to-kill list. Reese volunteers to search after him and save the morning, stopping simply to take off his clothes first. In the Terminator films that’s precisely how time travel works: probably the founders of Skynet were fans of Magic Mike.

What happens next would be the strangest and the majority wince-inducingly effortful passages in modern cinema: a shot-for-shot and prop-for-prop recreation from the opening of The Terminator, assembled using a tweezer-like awareness of detail. However, as it transpires the events are playing out in a very parallel timeline, none actually count for anything, which becomes clear as things learn to veer dramatically off-course. (As sequels go, Genisys is slavishly disrespectful, that could be a first.)

Initially, the diversions are diverting – including of all when a mature Schwarzenegger-model Terminator turns up to do grapple with his younger self, who’s meticulously recreated with digital voodoo. In this timeline, Sarah Connor (Emilia Clarke, from Game of Thrones) continues to be raised from the T-800 because the early 1970s, and calls him ‘Pops’: a casually astonishing twist that this film doesn't have any apparent appetite to educate yourself regarding.

Couldn’t director Alan Taylor have at the least given us a flashback to Arnie doing the college run, or dividing up a mug of spaghetti bolognese into freezer bags, in order to give himself more time within the evenings? Instead, he just ploughs on towards the upshot, which is that this brutal T-800 has become an amusingly incongruous good guy, and Sarah Connor, in lieu of Kyle Reese, will be the avenging angel. If Cameron hadn’t already done just that in Terminator 2: Judgement Day, 24 a long time ago, it would have really felt like something.

Next comes a rise to 2017, where trio must defuse the titular Genisys programme: a scarcely defined social networking app (it requires pictures of clouds) which Skynet is applying to bring about Judgement Day on this altered version in the near-present. But the ongoing temporal hijinks are equal parts tedious and indecipherable, and how the characters speak about parallel timelines feels like studio executives thrashing out a franchise within a boardroom. (It’s never explained, however in Genisys-world, neither Terminator 3: Rise in the Machines nor Terminator: Salvation have the symptoms of happened: again, a studio exec’s dream.)

For the many agonised complexity of Genisys’s storyline, nothing surprising ever actually occurs in it: it’s the usual ugly helicopter chases and fistfights on metal gantries, with Matt Smith generating a late (and negligible) appearance as the eye of Skynet itself.

Emilia Clarke will be the closest the film concerns having a saving grace – she gets the Linda Hamilton pout down pat, no less than – but Courtney and Jason Clarke make machines look warm-blooded, and Schwarzenegger like Welles playing Falstaff. One on the film’s running jokes will be the T-800 – sorry, ‘Pops’ – smiling awkwardly so that they can ingratiate himself to humans, and it’s never very clear if the creaking noise that accompanies the expression is often a sound effect or you cannot.

“I’m old, not obsolete,” is Schwarzenegger’s plaintive refrain, however the film contains the opposite problem: it’s a totally new-fashioned blockbuster, obsessive about sustaining the franchise as an alternative to telling an article. That renders it obsolete on arrival.

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Breakdown (2016) HDRip

British director Jonnie Malachi’s gangster pastiche Breakdown can be a vicious mongrel of a typical movie, frothing and snarling though using a fatal insufficient bite inside bark.  Owing much to previously more productive degrees of that ilk, however you like but certainly not in substance, Breakdown thrashes desperately in attempts at allegory but ultimately ends up floundering in the already saturated genre.

The twin thuds of silencer rounds ricocheting into the opening frame offer about normally duality ever since the film can manage. Assassin Alfie Jennings (Craig Fairbrass) hurriedly but efficiently portions himself into a car following his latest “transaction”. However, this hit man which has a heart is haunted by visions of past contractual obligations as well as the burden of his burgeoning morality is maintaining growth too much up-to-date.

Soon after retrieving himself over the latest epiphany, he's summoned within the Manor of his superior, Albert (James Cosmo), a previous Major having a penchant for moustaches and human taxidermy. Greeted from the door by Ronnie (Rab Affleck, another mustachioed tough guy), Alfie’s fortunes spiral downward with this level on, after an incident inside of a routine torturing to obtain a client.

The film continues, with scenes draped together within the toil in the script so rooted in aphorism and wince-inducing cliché it is hard to imagine operate has been made in the slightest. The cataclysmic tedium of Fairbrass’ monosyllabic mumbling, together with yummy mummy trophy wife Cat (Olivia Grant) similarly struggling for getting her words out by employing a perpetual pout and doe-eyed affectation, ends in Breakdown not only managing to confuse notions of masculinity with violence, but will also appearing to endorse them.

The direction itself, however, is definitely the movie’s one saving grace; it appears to be very slick and well lit, despite as being a patchwork of shots lifted from superior films and directors (offering Sam Mendes’ infamous dining room table shot from American Beauty and Road to Perdition). Emmett Scanlan’s turn as Connor is yet another much-needed tonic, oozing in and out of scenes such to be a malnourished, Usual Suspects-era Stephen Baldwin. Yet neither can rescue the film from sinking in the weight of their very own amateurish failings and Breakdown will probably end up sleeping when using fishes.

Information

Released : 15 January 2016
Player : Craig Fairbrass , Emmett J Scanlan , James Cosmo , Mem Ferda
Director: Jonny Malachi
Size : 225 MB
Duration : 1 hour 50 minutes
Imdb Rating : 6/10

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