Ten years after the battle between the titans and the gods, fate the earth remains shaky. Especially since the great Zeus (Liam Neeson) was kidnapped by his brother Hades (Ralph Fiennes) and his son Ares (Edgar Ramirez) to be offered to Kronos, permanent source of destruction. The demigod Perseus (Sam Worthington) and his new companions decide to go pick it up in the ground, in a Kingdom where death plane at every corner.



Soulless remake of a feature film almost cult 1981, “Clash of the Titans” had bitten the dust when it was released in 2010. The special effects always took precedence over the narrative and false 3D gave a headache. Two years later, some of these problems were resolved. The technology is even more performance and thought the story was based on the 3D. This gives some amazing battles, and breathtaking final passages of the many remarkable ideas, including the labyrinth of Tartarus in constant motion.

Is it enough to craft a second volume? Of course that no. Again, there is too much action and very little substance. The screenplay written by six hands of connoisseurs of Greek mythology goes in all directions, increasing the awareness of reversals and improbable dialogue indigestible. The characters do not change very little, and whenever there is an interesting individual, he ends up getting killed. In this register, the actors provide the minimum required. Edgar Ramirez displays a real rage and Bill Nighy is tasty. Their energy is not sufficiently communicative to feed Sam Worthington, Liam Neeson, Ralph Fiennes and Rosamund Pike others who often seem extinct.



Staged with jurisdiction by Jonathan Liebesman (the creator of the dubious “Battle: Los Angeles” which will soon be at the helm of the new version of “Teenage Mutant Ninja Turtles”) and with a great technical care, “Wrath of the Titans” is not transgenic production. After entertainment of quality as “Mirror Mirror”, “The Hunger Games” and “John Carter”, it is always disappointing to go back. Mostly competent models (“Thor”, “300″, the video game “Battle of Olympus”) abound.

In a dystopian universe, human beings are confined to 12 districts. Once a year, boys and girls who are between 12 and 18 are sent in special places where they must compete. The one and only winner is the person who comes to stay alive and kill all its opponents. Katniss (Jennifer Lawrence) was chosen to take part in the competition and with her natural ability to handle the bow and arrows; it may well be the only survivor.

Fans of “The Running Man” and “Death Race” will be known field. Asian bitten works moviegoers recognize all what made the joy of excellent opus “Battle Royale”. To the point that it would be almost legitimate cry for plagiarism. But well, let’s be nice and give the benefit of the doubt to the novels of science fiction by Suzanne Collins.

In an era marked by the cult of celebrity and reality TV, it is quite tasty to see an extremely popular feature slay this superficial obsession. Although the burden is not so pronounced (it will surely be more in future issues), social criticism still operates. Especially in this description of this place of death – the arena – where members of a totalitarian society almost play God in the manner of “The Truman Show”, while the entire population is dependent on literally thousands of cameras and in this scheme where reality is arranged with the guys views, and where hope and desire of revolt have virtually no place to be. Transpose all these days is just obvious, especially to government’s increasingly repressive fall into place.

The effort is not a pamphlet provided. It chooses rather for the effective, violent recreation, but not too barbaric. The heroin is a young woman outside the corporation that will learn to have confidence to her. This canvas comes with a multitude of basic and moral lessons, probably normal for this type of story. A destiny out of the ordinary that does not care so much for her first game – an often tedious learning – or for her succession of events that follows another, but for the vigorous play of Jennifer Lawrence. Noticed in the excellent “Like Crazy” and especially “The Winter’s Bone” that should have earned her an Oscar, she finally found the role that will make it known to the general public. It is surrounded by actors at the antipodes of each other (Woody Harrelson, Donald Shuterland, Lenny Kravitz, Stanley Tucci, Wes Bentley, and Elizabeth Banks) who make up a surprisingly good unit despite the blandness of their characters.



Enjoying a realization often febrile Gary Ross (brilliant creator of “Pleasantville” and the forgettable “Seabiscuit”) which represents well the urgency of souls and a nice soundtrack to the veteran James Newton Howard, “The Hunger Games” is an unorthodox blend of action and social drama, a romance that just dilute totally useless. It’s ambitious, sometimes it’s too heavy and big, but it is not bad for two pennies. Bring him in, as a result!

What would you do if you only had 1000 words to say before you die? This is what an officer asks (Eddie Murphy) who becomes mixed up with all the people around him, as his wife, his mother as his colleagues and superiors. Until it was too late, the father must however learn to pick up the broken pots.



A good concept is not a movie. We can stretch the sauce for a positive “Yes Man” or bored on “Liar Liar” is a genius idea was often difficult to capture during an entire feature film. This is the first basic rule that has escaped the writer of this production lazy, made anonymously by Brian Robbins, who is already responsible for the painful “Norbit” and “Meet Dave”.

He finds his fetish actor, Eddie Murphy, more lost than ever, who would do anything to regain the glory of the 1980s. Such a Jim Carrey depending on his antics and his grimaces, the actor added compress the fungus, screaming during the first half of the work, for then get excited deeply with all his gestures. Next to him, Mr. Bean is an example of subtlety and restraint. Especially that it is done constantly to fly the star by Clark Duke that camps a likable feeble one subordinate.

As if the effort (and this is really) was not sufficiently challenging, you have to stuff all these entities supported that recall the importance of having a family, friends, a nice quiet home to raise children but also to give money to the poor, to help people, to create a harmonious work environment and do everything for a full spiritual life.



Produced by Nicolas Cage and Alain Chabat (who has reserved a small role, if eloquent Christian Leger of the Tuft’s name, that it’s funny!), “A Thousand Words” is a comedy where one almost did not laughs. The Viewer is rather embarrassed of stupidity that offers to him, believer than this type of humor and situations had been deleted from the map long.

To the secondary school, Schmidt (Jonah Hill) has been always a studious student but lonely, while Jenko (Channing Tatum) preferred to spend his time to seduce the girls. As people age, they both became police officers and friends. A perilous mission requires them to work incognito and to return to school in order to flush out a drug dealer.

Broadcast on the airwaves of Fox from 1987 to 1991, “21 Jump Street” became almost a broadcast worship, revealing to the public a certain Johnny Depp. Even if it was that of a replay adapted to the taste of the day of the still more old series “The Mod Squad”, the charm was operating at full capacity.



It’s the same transposition film that takes itself seriously at all. Respecting the past while incorporating contemporary elements, the script is a simple but effective barrage of hilarious gags and hilarious situations. The predictable story makes little sense and the story sometimes stretches in length, this does not laugh out loud. Connected between comedy and the more absurd and completely tripped (the hallucinogenic sequences, for example), there is not one that is taken lightly.

Jonah Hill and Channing Tatum believed so much in all that they assume the roles of executive producers. With their names and a potential success in the hands, it would not be surprising to see a sequel arrive on screens fast enough. Especially that their duet works to full system. The first is quite in his element and he takes care not to overdo it. Of course, his performance does not match that he held in the excellent “Moneyball”, except that the register is not at all the same. The second recalls that it is so better in the long comical measurements. If it was not always credible cop in “The Son of No One” by his charisma has room to expand. The other characters typed on the bone, are defended by strong actors, with incredible that Ice Cube is one of his most significant roles in his career.



Directed with skill by Christopher Miller and Phil Lord (the duo behind the friendly entertainment “Cloudy With a Chance of Meatballs” soon that will address the adaptation of the cult game “Lego”), “21 Jump Street” remains a falsely nice joke, but who knows how superficial good humor her time, and that does not skimp on the winks and hints tasty. To see just after “The Other Guys” this starred Will Ferrell and Mark Walhberg to rave a good shot.

John Carter (Taylor Kitsch) is the weight of the world on his shoulders. By a combination of circumstances, it is found on Mars, in the middle of a war between two rival clans. With its unique gifts, it may succeed in restoring a bit of justice in these races which is tearing each other apart.



Adapted from a series of books of the writer Edgar Rice Burroughs, “John Carter” is the first “real” filmmaker Andrew Stanton, Director of the famous “Wall-E”, “Finding Nemo” and “A Bug’s Life”. If it moves away himself from his zone of comfort, it remains in a magic universe where the special effects are kings. It is besides the first element that jumps to the eyes. The graphic quality of this enchanting world, that is multiplied tenfold by the vibrating music of Michael Giacchino and of astonish effects in three dimensions. After one a little introduction too longwinded, the entry on this planet is done with delight so the elements that titillate feels them are numerous.

This does not preclude the scenario to be more effective than original. Although the “Star Wars”, “Tron” borrowings, “Final Fantasy” and “The Fifth Element” are many (it would be the opposite since the source material was almost 100 years to the meter), the narrative is complex enough to give depth to human beings and their motivations. And it is always possible to rely on the spectacular action scenes when the story takes the edge, what happens to the end, while the succession of tests and fighting is rather repetitive.

The talented performers (Taylor Kitsch, Mark Strong, Willem Dafoe, Samantha Morton, Dominic West, Ciaran Hands, Thomas Haden Church) camped with aplomb characters more or less developed, which mainly represent archetypes of the genre. Leaving aside a few passages that stand out (like this desperate struggle which unveils the tragedy of the hero), the staging follows the conventions, which does not prevent it from being quality. It’s just that from Andrew Stanton, he had to expect much more.



The talented performers (Taylor Kitsch, Dominic West, Willem Dafoe, Samantha Morton,Mark Strong , Thomas Haden Church, Ciaran Hands) camping with aplomb of the characters more or less developed, which are mainly of the genus-specific archetypes. Apart from some passages out of lot (such as the desperate fight that lifts the veil on the tragedies of the hero), staged follows the conventions, which does not prevent it from be of quality. It is only on the part of Andrew Stanton, needed if expect much more.

Luxury family fun that does not take itself seriously and that could very well begin a license for commercial success, “John Carter” is a great adventure film, fascinating and simplistic, repetitive and breathless. Hoping it is not a failure at the box office…

Be careful with old houses. They contain secrets that nobody wants to know. A young woman (Elizabeth Olsen) learns to her cost. Especially because she is trapped in a huge house and that family members are missing. To find them, there is nothing better than to walk where the light is missing and that anyone can stand in darkness…

Released in 2010, the feature Uruguayan “La Casa Muda” took place in real time, offering a long shot when terror came quickly to mix daily. A well-executed exercise in style which, without actually having the stuff of great works horrific, could still chilling and astonish the amateur filmmaking by taking risks and playing with her form.



Its American remake summarizes the broad foundations of his model, often subtle bartering for efficiency, trying to deploy a climate of terror that has yet to convince. The first part is pretty good road. The characters are presented with care and staging strong in the mouth of Chris Kentis and Laura Lee (the duo behind the frightening “Open Water”) is no shortage of panache. There is especially the luminous presence of Elizabeth Olsen, who, after the sublime and too little seen “Martha Marcy May Marlene” again embodies strong women who aspire to torment a little happiness and tranquility.

The plot quickly spoils later. Heroin multiplies the questionable decisions that eventually make laugh instead of scaring. All the possible and unimaginable cliches are invited to the same place, making the off-putting progression. More history is in order, appear more white wires. What could be a cross between the video game “Silent Hill” and the psychological classic “A Tale of Two Sisters” is mute in a viewer, but forgettable B series low.



Very often to the movies, the plan sequence has a function, usefulness. Masters as Brian of Caliper know to use it with virtuosity, while of others as Alexander Sokourov are able to lay true wonders as “THE Russian arch”. In “Silent House”, it is only an incidental one that serves only too rarely to stifle the protagonist, instead of multiplying tenfold the emotional load of the body. If the result a lot less badly than is discounted, it sufficiently is not succeeded for that one oneself there lingers very a long time.

At the request of a woman of power (Kristin Scott Thomas) who seeks to restore the prestige of Great Britain, a scientist (Ewan McGregor) and assistant (Emily Blunt) of a sheikh must find a way implanting salmon in a river of Yemen! Inconceivable that project will not be taken lightly.

Former director general to whom we owe its share of classics (“My Life as a Dog” and, to a lesser extent, “What’s Eating Gilbert Grape”), Lasse Hallstrom is looking for several years. After the successive failures of “The Shipping News”, “Casanova”, “An Unfinished Life”, “Hachi” and “Dear John” (but omit the underrated “The Hoax”), it is possibly his most exciting project of the millennium in this adaptation of a novel by Paul today.



Although the narrative may remind one of “Big Miracle”, the end result is much more interesting. Especially in his first party, particularly delightful. Given a scenario vibrant Simon Beaufoy (“127 Hours”, “Slumdog Millionaire”), the satire is meant fierce, exultant. Kristin Scott-Thomas is hilarious in a role completely crazy, while Ewan McGregor finally found its fresh nihilistic darkness of his debut.

Except that the plot to be anything other than a simple politicized comedy. She put the romance (which implies a predictable romance and blue flower with the cute Emily Blunt), drama (all these dummy links with the fate of a soldier in Afghanistan) and suspense, with often ridiculous scenes where you want in the life of the powerful sheikh (very fair Amr Waked). By wanting to run as many hares, is to catch any and it is a pity.



“Salmon Fishing in the Yemen” is none the less a nice feature, made with care, with a photograph sunny relevant choice of music Dario Marianelli and solid performers. If only he had not set the bar so high from the start…

2011 was the year of sex between friends with the theatrical release of “No Strings Attached” and “Friends With Benefits”. “Friends With Kids” looks like a result of this concept where two friends (Jennifer Westfeldt and Adam Scott) decide to have a child without being in love relationship to their offspring grow up in a harmonious household.

Before reaching this final expected and slightly moralistic precisely, the movie buff is entitled to a very nice romantic comedy, interspersed with biting and salty replicas which are based in mouth. The script written by Jennifer Westfeldt (who also signs the staging, pleasant without more) evokes in turn Woody Allen, Emmanuel Mouret and Nicole Holofcener (to be the excellent “Please Give”). The dialogues that kill many and as soon as one has the impression of being before a joyous farce in one direction, the more dramatic machine releases its venom, taking everyone by surprise.

The quality of the interpretation brings a non-negligible fresh to the project. Adam Scott has all the qualities to become the next Ewan McGregor and his presence will seduce more than one. Jennifer Westfeldt resembles a Jennifer Anistion who has talent, forming a particularly cute couple with his playing partner. The duo is surrounded by very good actors, ranging from Chris O’Dowd to Maya Rudolph, passing by Jon Hamm, Kristen Wiig, Edward Burns and even Megan Fox which has been not always very gifted for good choose her roles.



“Friends With Kids” offers a sensitive and intelligent alternative to this recipe used in there inspiring new ideas. In the end, the mold remains classical, there are a few lengths and the conclusion is not at all what preceded it. Still, all has great taste and he does great change of predigested products arriving regularly on the screens.

Who remembers the big popcorn entertainment “Journey to the Center of the Earth” with Brendan Fraser who took the show in 2008? Some producers who decided to lay a series of lower quality which again is based on the writings of Jules Verne. This time Sean (Josh Hutcherson) goes in search of his grandfather (Michael Caine) by boarding his stepfather (Dwayne Johnson), a helicopter pilot (Luis Guzman) and daughter (Vanessa Hudgens) in an adventure crazy on a mysterious dangerous island.



When actual creators like James Cameron, Martin Scorsese, Wim Wenders and Werner Herzog using 3D, moviegoers will say that this technology is here to stay. Yet there are all the other will try as Brad Peyton (“Cats & Dogs: The Revenge of Kitty Galore”) which distort these processes to pour into the facility. Why play fine if you can throw objects at the head of the spectators? Yet that is what is most interesting in this feature film that is largely childish blink with its beautiful colors and textures that emerge easily from the screen.

What captivated kids for five years. Others feel insulted by this stupid to cry story, these touches of humor that fall flat, these effects special “regular” rather poorly integrated to all and these tiresome and repetitive action scenes. One has the impression of meet at an old 1950s B-series, and less charm. Actors do little miracle, and by disregarding Michael chain and Dwayne Johnson that seem to have fun as a small crazy, they offer disappointing benefits. Especially the young Josh Hutcherson has no charisma.



It is almost certain that “Journey 2: The Mysterious Island” will be a lot of money at the box office. Enough to merit a new result is announced at the end? The answer will be known in three years. But until then, hope that this type of mercantile productions will not have been completely knocked vampirizing the 3D technology that is capable of good and bad.

In recent years, several trailers armed forces were presented on cinema screens. Made with great care, these efforts raised their heart in a moment as they were selling – war, violence, death – had something exciting. A dose of adrenaline needed for real “men” and “women.”



It’s a bit the same feeling comes out of “Act of Valor,” this breathless action flick and no real downtime where a unit shock trying to stop a terrorist threat. The staging of Mike McCoy and Scott Waugh is to be muscular, music by Nathan Furst kept falling down in the right places and little known actors (many people are actually soldiers in real life) deliver services convinced.

It is hard not to be uncomfortable with the show in place. It is not only a test of heroism, patriotism and sacrifice, but a fierce propaganda of recruitment which is Manichean, good on one side with the other villains touting. It is a video game in the “Call of Duty” which shows that kill people, it is really fun. No subtlety or complexity is of the characters and their actions. Embarrassing narration male turgid and demagogic the precise opposite of that of a Terrence Malick sinking even further the nail, recalling that should listen to his fathers and keep right, fight the enemy so that children can live in Tilleul



Opposite a “Full Metal Jacket”, a “Platoon” and even a “Black Hawk Down” and a “Jarhead”, “Act of Valor” is the substantial equivalent of a “G.I. Joe” for large people. But since the trailer is especially built for a teenage audience in the rooms, requires a serious question on ethics and the goals planned, intended anything other than simple entertainment as there are so many others.