Gemini Man (2019)

Gemini Man (2019) Movie Trailer :

Gemini Man is a 2019 American action thriller film^[3] directed by Ang Lee and written by David Benioff, Billy Ray, and Darren Lemke. Starring Will Smith, Mary Elizabeth Winstead, Clive Owen, and Benedict Wong, the film follows a hitman who is targeted by a younger clone of himself while on the run from the government.

Originally conceived in 1997, the film went through development hell for nearly 20 years. Several directors, including Tony Scott, Curtis Hanson, and Joe Carnahan, were all attached at some point and numerous actors, including Harrison Ford, Mel Gibson, and Sean Connery, were set to star. In 2016, Skydance Media purchased the rights to the screenplay (which had been through several rewrites) from Disney and in October 2017, Ang Lee signed on to direct for Skydance with Paramount handling the distribution rights. Filming took place from February through May 2018.

Gemini Man (2019) Movie Cast & Crew :

An over-the-hill hitman faces off against a younger clone of himself.

Director:

 Ang Lee

Writers:

 David Benioff (screenplay), Billy Ray (screenplay) | 3 more credits »

Stars:

 Will Smith, Mary Elizabeth Winstead, Clive Owen | See full cast & crew »

Gemini Man (2019) Movie Story :

This movie is a step in the right direction for Big Willie prior to the disaster which was After Earth. I think people are being way too harsh on this movie because it’s a Will Smith movie which can enjoyed watching online. It almost like they wanted this movie to flop compared to the overrated Joker movie. And to be honest i free downloaded the movie Gemini Man. When these same critics praised Rambo: The Last Blood which I enjoyed but it was also a standard action flick. What I loved about this film was the all star cast with Mary Elizabeth Winstead as Toast, Benedict Wong as the pilot friend Baron, and Will Smith as Henry (older Will Smith)/ Junior (clone Will Smith). Also Clive Owen as the bad guy Clay. I also liked we got some classic Will Smith and I found myself laughing a different moments throughout the film. The cast had pretty good chemistry and the character of Junior had some depth in discovering who he really was and what he was designed to be by his father Clay. This movie was like an inferior version of I Am Legend and The 6th Day. So, I hope this movie first week failure which will be recouped once the film goes overseas will not hinder Will Smith from returning to his glory days as the twenty million dollar man, the box office king, the leading man A-list actor, and the number one movie at the box office. He’s heading back in the right direction, but has to pick better directors with better scripts and better writing. Regardless of how good he is as an actor, he can only carry a film so much. I hope the billion Aladdin made earlier this year is enough of a cushion.

Now, onto the bad parts. The CGI was overhyped. Will Smith kept talking about how the character of Junior was the first 100% CGI character,, while everyone else was thinking, “Oh, they shaved his beard.” Will Smith has aged well, used some Photoshop to smooth out the wrinkles here and there, add a flat top, and you have a 20 year old Will Smith without the high cost of CGI. The CGI looks unspectacular. The night scenes were better, but in this day scenes, you can see it’s a CGI character, equivalent to a video game character. We checked out the movie because it was Will Smith. It probably would have been better if Will Smith just played a double of himself like Arnie did in the 6th day. The CGI was an unnecessary gimmick.

Nothing is wrong with the script, but it was too generic for an overhyped movie. This movie script went through production hell, rewrites, and multiple actors being linked to the role for years. To get this script greenlit, the producers banked on Will Smith’s star power. Yet, even with Will’s charisma and acting his butt off, even the best of actors can’t save a mediocre script and chunky dialogue. This goes the same for the rest of the cast. Clive Owen’s talent is wasted here as a generic villain. The characters aren’t given much to do and the script became confused with its message it was trying to convey and contradicted itself sometimes.

Yet. it wasn’t a bad movie. Just mediocre and a movie you have seen a doesn’t time. It had the potential to be above average if it focused less on the gimmicks and more on the story. The action scenes, the cast, and the cinematography were fine. Yet, the script could have been so much better. If this script was as strong as the cast, then it would have been a better, deeper movie.

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Gemini Man (2019) Movie Review :

Digital youthification and deepfakery is the new frontier in studio movies, taking regular live-action films into a deeper uncanny valley. Martin Scorsese’s The Irishman features a young-looking Robert De Niro and now comes this very odd, dodgily acted, semi-intentionally bizarre action-thriller directed by Ang Lee and written by David Benioff, Billy Ray and Darren Lemke. It stars Will Smith as Brogan, a special-forces assassin who discovers his corrupt government paymasters are harbouring a secret and subsequently finds there is a new and worryingly familiar-looking young assassin in town. It’s a youngster who has, to coin a phrase, started making trouble in the neighbourhood.

This eerily recognisable young dude with the jarhead hair and lovable jug ears has been sent to take Brogan out – it’s himself, aged 23, a digitally rejuvenated Will Smith. This cloned version of Brogan was secretly created by his creepy boss Varris (Clive Owen) as part of Varris’s ethically suspect “Gemini project”, a boys-from-Brazil-type plan to create biotech copies of the very best warriors.

Joining forces with tough agent Danny (Mary Elizabeth Winstead) and plucky pal Baron (Benedict Wong), Brogan hits back against this techno-Freudian nightmare, travelling to Georgia, Colombia and Hungary – because Baron has somehow been able to borrow a Gulfstream jet to fly them everywhere. But worrying about the plausibility of that jet is beside the point when you’ve got Young Will Smith™️ running around the place.

The digitally de-wrinkled Smith isn’t great news for the career of Jaden Smith (the real-world son of Will) because this pseudo-young Will Smith is pretty realistic, in fact sort of on a par with the real thing – and the older Smith meets the digital youngster half way by being a bit more wooden than usual. So we could be in for Will Smith action movies for the next thousand years.

The technical effect of the film is strange. As with his last film, Billy Lynn’s Long Halftime Walk, Ang Lee is shooting in high frame-rate, which creates a new pin-sharp clarity but at the expense of making the film look like video – or like a celluloid movie on a plasma TV when you haven’t de-activated motion smoothing. It’s not a taste I want to acquire.

Some of the fight scenes are great, and there’s a rousing confrontation between Smiths young and old, involving some nifty leaping from roof to roof that reminded me of Lee’s cracking early film Crouching Tiger, Hidden Dragon. The juxtaposition of the real and digital faces gives the initial motorbike action scenes an interesting Grand Theft Auto effect. But the rest of the film is a very hard slog, with Smith in permanent danger of being upstaged by a handful of pixels, and Winstead and Wong sporting the slightly bemused-neutral expression of people having to react to a green screen – or perhaps that is the response Smith naturally elicits from his co-stars these days. And this solemn film never really cottons on to something that could have made it fly: the comic possibilities.

The digital novelty is striking for the first 10 minutes, silly for the next 10 minutes, and by the end of the movie you’re pining for the analogue values of script and direction. A wittier, smarter riff on everything could have saved this and Smith can play lighter material. Gemini Man has been born under an unfortunate sign.

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The Monkey King 3 (2018)

The Monkey King 3 (2018) Movie Trailer :

The Monkey King 3 is a 2018 Chinese fantasy film based on the classic novel Journey to the West by Wu Cheng'en. The film is the third installment of the Monkey King franchise, after The Monkey King (2014) and The Monkey King 2 (2016). Directed by Cheang Pou-soi, it stars Aaron Kwok, Feng Shaofeng, Zhao Liying, Xiaoshenyang and Him Law. The film was released on February 16, 2018, the first day of the Chinese New Year holiday period.

The Monkey King 3 (2018) Movie Cast & Crew :

A travelling monk and his followers find themselves trapped in a land inhabited by only women.

Director:

 Soi Cheang (as Pou-Soi Cheang)

Writers:

 Ning Wen (screenplay) (as Elvis Man), Cheng'en Wu (novel) (as Wu Chengern)

Stars:

 Allie Chan, Shaofeng Feng, Aaron Kwok | See full cast & crew »

The Monkey King 3 (2018) Movie Story :

In The Monkey King 3, Buddhist monk Tang Sanzang (William Feng Shaofeng) and his disciples – Wukong the Monkey King (Aaron Kwok Fu-shing), pig demon Bajie (Xiao Shenyang) and the blue-skinned sand demon Wujing (Him Lo Chung-him) – inadvertently enter the Womanland of Western Liang, a nation populated by women raised to believe that men are fatally deceptive in matters of the heart.

Love nevertheless blossoms between Tang Sanzang and the Womanland's young queen (Zhao Liying), even though her royal preceptor (Gigi Leung Wing-kei) is hell-bent on sentencing the men to death. As Wukong and Co. search for a way out of this nation surrounded by a vast magical net, it soon transpires, conveniently, that romantic love is the only key to opening the gate. So will Tang Sanzang give up on his sacred mission and stay with the queen?

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The Monkey King 3 (2018) Movie Review :

Monkeying around with 16th-century Chinese literary classic “Journey to the West” yet again, Hong Kong action veteran Soi Cheang’s third installment in the hit Monkey King franchise ventures into a kingdom populated exclusively by women. And yet, while its femme-focused premise suggests rich opportunities to challenge traditional Chinese gender roles, “The Monkey King 3” disappointingly resists the chance to reinvent female identity. Though the gaudy production pales in comparison to the previous installment on nearly every artistic level, a visible improvement in 3D effects, combined with the film’s family-friendly subject and a day-and-date release in the U.S., should make it a cinch to surpass the previous film’s record opening two years ago.

Back in 2014, when Cheang’s original “The Monkey King” earned a whopping $15.5 million, the film swiftly evolved from a clever one-off into a lucrative Chinese New Year’s franchise — easy to do, given the infinite stories suggested by its epic source material. With “The Monkey King 2,” Cheang found his groove, transcending mere popcorn entertainment by introducing a charismatic and poignantly layered villain in the form of Gong Li’s White-Boned Demon. Though he and screenwriter Elvis Man slip back into shallow, showy mode again here, production company Filmko’s plan to roll out five more installments seems unstoppable.

According to the surviving travelogue written by Xuanzhuang (AKA Tripitaka), whose legendary pilgrimage to India is detailed in “Journey to the West,” the Tang Dynasty monk traversed a land where women ruled while men served them as farmers and soldiers. In Chapter 54 of the novel, author Wu Cheng’en concocted a “Kingdom of Maidens” in which men were non-existent, and where women only gave birth to daughters after impregnating themselves by drinking from the “Spring of Motherhood.”
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The Monkey King 2 (2016)

The Monkey King 2 (2016) Movie Trailer :

The Monkey King 2 is a 2016 Hongkonger-Chinese action fantasy film based on the classic novel Journey to the West by Wu Cheng'en. The film was shot in 3D and is a sequel to the 2014 box office hit The Monkey King with Cheang Pou-soi returning as director and Sammo Hung as action director, who replaces Donnie Yen's role from the previous installment. The film stars Aaron Kwok, who portrayed the main antagonist in the previous installment, as the film's titular protagonist, who also replaces Yen from the previous installment.^[8] It was released in the United States on 5 February, in Hong Kong on 6 February and in China on 8 February 2016.

The Monkey King 2 (2016) Movie Cast & Crew :

When a travelling monk is stranded in a wasteland, The Monkey King must escort him across the land to retrieve sacred scriptures and protect him from an evil demon.

Director:

 Soi Cheang (as Pou-Soi Cheang)

Writers:

 Ping Ran, Ning Wen (as Elvis Man) | 2 more credits »

Stars:

 Aaron Kwok, Li Gong, Shaofeng Feng | See full cast & crew »

The Monkey King 2 (2016) Movie Story :

500 years after Sun Wukong’s imprisonment under the Five Fingers Mountain, a young Buddhist monk Tang Sanzang sets out for a journey to the Thunder Monastery in India to collect Buddha’s scriptures.When he is attacked by a tiger,he is forced to free Wukong and the Monkey King learns that he has to protect the monk throughout the journey, because the Bodhisattva Guanyin ensured he would be bound by an enchanted circlet that can cause him pain whenever Tang Sanzang chants a certain sutra.

Soon the duo meet Zhu Bajie,a lustful pig demon,and Sha Wujing, a djinn-like monk.He fights a dragon,defeats it and transforms it into a horse as his mount. When a travelling monk is stranded in a wasteland, The Monkey King must escort him across the land to retrieve sacred scriptures and protect him from an evil demon.

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The Monkey King 2 (2016) Movie Review :

Kwok, who played the villainous Bull Demon King in the first film, inherits the lead role of mischievous Sun Wukong from Donnie Yen, and his many months of martial arts training have paid off. The Monkey King remains as agile and athletic as before, and perhaps even more complex in Kwok’s incarnation, as the Hong Kong actor continues to steer his career in intriguing and unpredictable directions.

The Monkey King 2 opens in the US on February 5, one day earlier than Hong Kong, and three days before China, giving Western audiences the unique opportunity of seeing a hotly anticipated Chinese film ahead of its domestic release. While it is unlikely to achieve the same degree of success in the West, adventurous audiences - or those familiar with the cult 1970s Japanese TV series Monkey - should find Cheang’s film accessible and entertaining in equal measure. 

Freed after 500 years beneath Five Element Mountain, Wukong is tasked by the Goddess Guanyin (Kelly Chen) with shepherding young monk Xuanzang (William Feng) on his journey west to retrieve ancient spiritual sutras that will pacify the Earth. They are joined by a pair of similarly disciplined creatures: the water-dwelling Wujing (Him Law) and the gluttonous half-man, half-pig Baije (Xiaoshenyang). When the party arrives at a wealthy Silk Road kingdom, they hear stories of a malevolent demon who has been kidnapping and eating children. The pure-spirited Xuanzang is then himself targeted by the seductive yet deadly White Bone Spirit, Baigujing (Gong Li), who feeds on the innocent to retain her own youthful beauty.

Despite its impressive box-office haul, Cheang’s 2014 original arrived on screens after four troubled years of production with effects still unfinished and a largely incoherent narrative. Thankfully, The Monkey King 2 has no such problems. While some VFX sequences are rendered better than others - a CGI tiger is less convincing than Baigujing and her fantastic morphing sirens - the overall quality is superior throughout. Fluid cinematography from Yang Tao and Cheung Man Po and a rousing John Williams-esque score from Christopher Young help elevate the production, while the use of real exteriors and opulent production design by Daniel Fu effortlessly show up the flimsy soundstages and creaky make-up jobs of its predecessor. 

The script for The Monkey King 2 is also a huge improvement on last time out. Writers Ran Ping, Ran Jianan, Elvis Man and Yin Yiyi keep the narrative simple and linear, bringing personality to each vignette and action sequence. Characters are given time to breathe and explore their motivations, rather than simply blast each other with magic, as was too-often the case in Szeto Kam Yuen and Edmond Wong’s offering. The action also benefits from the addition of Hong Kong veteran Sammo Hung, who takes over from exiting star Donnie Yen. A specialist in showy close-quarter choreography, Hung designs a number of stylish skirmishes that retain an agency and realism, despite their fantastical setting.

While the performances are understandably broad, the film makes time for the clashes of conviction between William Feng’s benevolent Xuanzang and Aaron Kwok’s more impulsive Wukong. These conflicting motivations, and Xuanzang’s ability to restrain Wukong via his magical headband, inform this central rivalry, and the film wrings a number of genuinely dramatic moments from this relationship.

Unsurprisingly, Gong Li’s effortless radiance all but steals the show. Baigujing strikes fear into her targets merely by arching an eyebrow or flexing a taloned finger. She glides in and out of scenes like a malevolent mist, all the while shimmering with an ethereal beauty. Recalling Brigitte Lin’s Bride With White Hair, Zhou Xun in Painted Skin: The Resurrection and many other femmes fatales, Li makes for a striking and welcome addition to the ranks of memorable screen villains.

There is plenty of humour throughout the film too, whether from Baije’s transformation into a giant hog while inside an even larger porcupine, or simply from the energetic banter between the three disciples as they struggle to get along. But Cheang keeps the comedy, fantasy, adventure and spirituality on an even keel and guides home an almost perfect holiday blockbuster. Big-name stars and dazzling visuals leap off the screen in eye-popping 3D, while the most recognisable chapter of China’s most-beloved literary text plays out in exuberant and energetic fashion. The Year of the Monkey could not have asked for a more enthusiastic welcome.

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Monkey King: The Legend Begins (2014)

Monkey King Movie Trailer :

The Monkey King is a 2014 Hongkonger^[1]-Chinese^[3] action-fantasy film directed by Cheang Pou-soi and starring Donnie Yen as the titular protagonist son Gouku. Yen also serves as the film's action director. Production began in Beijing on 18 October 2010^[5] and was filmed in 3D.^[6] The plot is based on an episode of Journey to the West, a Chinese literary classic written in the Ming Dynasty by Wu Cheng'en. It was released on 31 January 2014.

Monkey King Movie Cast & Crew :

The Monkey King: The Legend Begins is the re-imagined version by Hollywood of the film The Monkey King: Havoc in Heavens Palace, the origin and birthplace of The Monkey King Story.

Director:

 Soi Cheang (as Pou-Soi Cheang)

Writer:

 Edmond Wong

Stars:

 Donnie Yen, Yun-Fat Chow, Aaron Kwok | See full cast & crew »

Monkey King Movie Story :

Told by an Old Sage, a Western monk who traveled from Europe to China in the 7th Century. He tells the tale to two children, one Chinese, the other from the West who come across the monk in a cave on a remote mountainside above the Eastern Ocean. The monk is the current keeper of a hundred painted scrolls, each describing an event in the Monkey King’s life. The Legend Begins.

The Monkey King: The Legend Begins is the re-imagined version by Hollywood of the film The Monkey King: Havoc in Heavens Palace, the origin and birthplace of The Monkey King Story.

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Monkey King Movie Review :

The Monkey King is a fantasy action film based on the Chinese literary classic Journey to the West. The plot revolves around Sun Wukong (aka the Monkey King) and his adventures in heaven. The movie stars Donnie Yen as the Monkey King, Chow Yun-Fat as the Jade Emperor and Aaron Kwok as the Bull Demon King.

This was a pretty kick ass movie! Yes it is aimed at a younger audience and it’s basically a cartoon with live actors, but it still delivers some crazy action and some really cool looking characters and locations. Keep in mind it’s all CGI and that may turn off some viewers, especially if you are expecting reality based marital arts instead of wire-work fantasy action. But if you can turn your brain off a bit and just appreciate the movie for what it is, then you will have a blast.

The story is basic, the Monkey King is born and obtains super powers and then runs around acting crazy and destroying stuff. His activities may come across as annoying, but remember, he is a monkey! Throughout all his mischief you still get a sense that he is a good person and he doesn’t come off as a jackass. That is probably thanks to Donnie Yen, who I just love, and he really does a great job of portraying the Monkey King. The last Monkey King I saw was Jet Li in The Forbidden Kingdom. Jet Li was also good in the role, but this movie takes it to the extreme.

Chow Yun-Fat is amazing as usual and even though he doesn’t do a lot of “acting” in this movie, he just looks cool! Aaron Kwok is another favorite of mine and he is wicked as the Bull Demon!

The last 20 minutes are full of action like you have never seen. Think of Lord of the Rings but in Heaven! All the visuals are amazing, but keep in mind this is HEAVY CGI. It’s very bright and colorful so you will feel as though you have been transported to a new world. Some of the effects aren’t the best and the overuse of CGI can be a bit distracting, but I really can’t figure out any other way to tell this story without using CGI. It would cost hundreds of millions to try and do it with practical effects. Even then you would have to throw some CGI in there. So I feel the CGI adds to the mystical elements of the movie and doesn’t turn me off.

The only real negative would be that the plot was a bit confusing to follow. That could be the result of the subtitles though; then again the plot is simple enough that you can figure out what is happening anyway, so you won’t be confused for long. The movie could also have been 10 minutes shorter in order to spare our eyes the overload of color and action. But again, this is a minor point.

All in all, I recommend checking it out if you love action/fantasy movies and if you are a Donnie Yen fan. If you love to look at movies and you can ignore the overuse of CGI then I think you’ll love it. Also at one point there is an army of Monkey King’s battling an enormous dragon in the sky! You cannot go wrong there!

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Joker (2019)

Joker (2019) Movie Trailer :  

Joker is a 2019 American psychological thriller film directed and produced by Todd Phillips, who co-wrote the screenplay with Scott Silver. The film, based on DC Comics characters, stars Joaquin Phoenix as the Joker. Joker provides a possible origin story for the character; set in 1981, it follows Arthur Fleck, a failed stand-up comedian in Gotham City who becomes the Joker after a series of unfortunate events. Robert De Niro, Zazie Beetz, Frances Conroy, Brett Cullen, Glenn Fleshler, Bill Camp, Shea Whigham, and Marc Maron appear in supporting roles. Joker was produced by Warner Bros. Pictures, DC Films, and Joint Effort, in association with Bron Creative and Village Roadshow Pictures, and distributed by Warner Bros.

Joker (2019) Movie Cast & Crew :

In Gotham City, mentally-troubled comedian Arthur Fleck is disregarded and mistreated by society. He then embarks on a downward spiral of revolution and bloody crime. This path brings him face-to-face with his alter-ego: "The Joker".

Director:

 Todd Phillips

Writers:

 Todd Phillips, Scott Silver | 3 more credits »

Stars:

 Joaquin Phoenix, Robert De Niro, Zazie Beetz | See full cast & crew »

Joker (2019) Movie Story:

Forever alone in a crowd, failed comedian Arthur Fleck seeks connection as he walks the streets of Gotham City. Arthur wears two masks — the one he paints for his day job as a clown, and the guise he projects in a futile attempt to feel like he’s part of the world around him. Isolated, bullied and disregarded by society, Fleck begins a slow descent into madness as he transforms into the criminal mastermind known as the Joker.

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Joker(2019) Movie Review :

There is a scene in the film where Arthur Fleck (Joaquin Phoenix) is standing in a decrepit elevator with his neighbour Sophie (Zazie Beetz) and her daughter. The lights are flickering, and the lift almost comes to a halt. In irritation, Sophie mentions that the building is beyond repair. She does the iconic finger-gun to the head, to show how hopeless the situation is. Arthur smiles.

The elevator begins to work again and they reach the required floor. Just before he reaches his door, Arthur returns the gesture. They part ways. She smiles understandingly.

There's nothing more to that scene. But it's uncomfortable. It makes you squirm, and you don't know why. But apart from the fraying mindset, it's a dark indication of the events that will follow in the film.

Joker, directed by Todd Phillips, is the origin story of one of the most baffling and iconic DC villains. Through the decades, the character has been given numerous flourishes, and each actor has brought something new to the villain. We've seen Cesar Romero's playful prankster, Jack Nicholson in Batman (1989) and no one can forget Heath Ledger's dark and sadistic portrayal of the Joker. Ledger's characterisation of the Joker in Dark Knight set a benchmark, which, it was believed, no one could touch. After the forgettable performance of Jared Leto in Suicide Squad, Phoenix brings the Joker to life again in a terrifying, haunting and unsettling performance.

It is the 1980s. There is an ongoing class war in the city of Gotham. The privileged like Thomas Wayne make paltry statements about poverty, while the ones pushed to the periphery of society like Arthur Fleck and his ailing mother Penny remain invisible. Arthur tries to earn a living for himself as a clown, but is ridiculed and beaten up. In short, he is at the hands of a system that cannot, or rather refuses to see him. And slowly, the thin mask of sanity that he struggles to hold to the world, slips throughout the film. A family secret hastens his descent into madness. The lines between real and hallucinations become blurred. It leads to a powerful climax, with an ending that rivals a black satirical comedy.

Philips has received strong backlash for making a film about inciting violence in 2019, a year when there have been more than 300 mass shootings in US itself. It was said to be the typical whitewashed story of a lone wolf resorting to mass murder, because he was shunned by society. When posed with the question about inciting violence, Phoenix himself had left an interview as he later said that "he had not thought about that".

But is the answer so black and white? The Joker while attempting to humanise the antagonist in the beginning, doesn't glorify him. The twinge of empathy and sympathy dissolves through the film, and there is a sense of fear of the monster Arthur devolves into. The film also seems to be a strange warning of the dangers of unchecked mental illness and the effects it can have on an individual's moral, physical and emotional make-up.

The Joker is a one-man show, with extended cameos by Robert De Niro and Zazie Beetz. Phoenix is hypnotic and astonishing with his performance, which definitely does merit an Oscar. His eyes haunt you. They show his struggle with his inner demons. It's not often that you find an actor who can give you gooseflesh with every movement that is considered joyful, like dancing or just laughing. Phoenix pulls some demonic dance moves down a stairway; the same stairway where he had once walked alone and miserable.

His laughs as the Joker are anything but funny, and there are a variety of them. There's the high-pitched cackle, and there's the hoarse guffaw which hides the sobs. His laugh has no joy in it. It just shows how dead he is on the inside.

The film has its fair share of flaws of course, and there are some scenes forced into the film. Thomas Wayne's speech on poverty; another one where Arthur meets a young Bruce Wayne, which might confuse the timelines for a few, are among the problematic parts of Joker. The rich and elite have no greys in their personality, to the extent that some dialogues get repetitive.

The Joker is a deeply unsettling social commentary on a ravaging class divide, as well as a warning sign for mental illness. It is not for everyone. But it will definitely bring about a lot of conversation.
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Beauty and the Beast (2017)

Beauty and the Beast (2017) Trailer :  

Beauty and the Beast is a 2017 American musical romantic fantasy film directed by Bill Condon from a screenplay written by Stephen Chbosky and Evan Spiliotopoulos. Co-produced by Walt Disney Pictures and Mandeville Films,^[1][7] it was filmed in the UK with predominantly British principal actors. The film is a live action adaptation of Disney's 1991 animated film of the same name, itself an adaptation of Jeanne-Marie Leprince de Beaumont's 18th-century fairy tale.^[8] The film features an ensemble cast that includes Emma Watson and Dan Stevens as the eponymous characters with Luke Evans, Kevin Kline, Josh Gad, Ewan McGregor, Stanley Tucci, Audra McDonald, Gugu Mbatha-Raw, Ian McKellen, and Emma Thompson in supporting roles.

Beauty and the Beast (2017) Cast :

A selfish prince is cursed to become a monster for the rest of his life, unless he learns to fall in love with a beautiful young woman he keeps prisoner.

Director:

 Bill Condon

Writers:

 Stephen Chbosky (screenplay by), Evan Spiliotopoulos (screenplay by) | 1 more credit »

Stars:

 Emma Watson, Dan Stevens, Luke Evans | See full cast & crew »

Beauty and the Beast (2017) Storyline:

A selfish prince is cursed to become a monster for the rest of his life, unless he learns to fall in love with a beautiful young woman he keeps prisoner.

Disney’s animated classic takes on a new form, with a widened mythology and an all-star cast. A young prince, imprisoned in the form of a beast, can be freed only by true love. What may be his only opportunity arrives when he meets Belle, the only human girl to ever visit the castle since it was enchanted.

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Beauty and the Beast (2017) Movie Review :

The world’s most notorious case of Stockholm syndrome is back in cinemas. Disney now gives us a sprightly, shiny live-action remake of its 1991 animated musical fairytale, Beauty and the Beast, with Emma Watson as Belle, the elfin beauty from a humble French village whose poor old dad (Kevin Kline) is imprisoned by a wicked beast who lives in a remote castle. This is in fact a once handsome prince (played by Downton Abbey’s Dan Stevens), transformed into a monster by an enchantress as a punishment for his selfishness, while all his simpering courtiers were turned into household appliances such as candles and clocks. Belle offers to be his prisoner in her father’s place. Gradually the grumpy, soppy old Beast falls in love with her and she with him.
Everyone warbles the classic 1991 showtunes by composer Alan Menken and lyricist Howard Ashman, and there is a sugar-rush outbreak of starry cameos at the very end, from A-listers who are given full status in the final curtain-call credits. The whole movie is lit in that fascinatingly artificial honeyglow light, and it runs smoothly on rails – the kind of rails that bring in and out the stage sets for the lucrative Broadway touring version.
This movie is allegedly updating its assumptions to include a gay character … while leaving the heterosexual politics untouched. Beastly ugliness is symbolic of tragic male loneliness even as the imprisoned pretty woman submissively redeems her captor’s suffering. The Shrek twist on this scenario has more of a sense of humour: the woman becomes ugly as well.
The gay character is Le Fou, played by Josh Gad — he is the nerdy sidekick to Belle’s caddish and malign suitor Gaston, amusingly played by Luke Evans. But Le Fou’s homosexuality is only definitively revealed as he pairs up with another man in a blink-and-you-miss-it moment at the final dance. Otherwise, his character is no different from the cringing sidekick in the 1991 version; whether Le Fou is the only or the most gay thing about the film is up for discussion, and it is the celebratory and witty connoisseurship of musical theatre in the gay community that has historically kept this genre vital.
Emma Watson is a demure, doll-like Belle, almost a figure who has stepped off the top of a music box; she never gives in to extravagant emotion, or retreats into depression, but maintains a kind of even-tempered dignified romantic solitude. She doesn’t set the screen ablaze, but that isn’t quite the point: she is well cast and it is a good performance from her. There is an entertaining early moment when Belle is irresistibly drawn to wander out into the oddly Austrian-looking French countryside on wings of song, and does everything but spin around on the spot with arms outstretched.
But the hills are alive with spells, and the poor Beast is miserable up in his crumbling castle. He is a bad-tempered old bachelor, yearning to be freed from his mask of ghastliness. (Weirdly, the movie reminded me of Jean-Pierre Melville’s movie The Silence of the Sea, in which the well-meaning francophile German officer, billeted with a French family during the Nazi occupation, earnestly suggests that they might yet find a kind of mutual regard, like the beauty and the beast.) It is a decent performance from Stevens, although as ever with this story, the moment when he is transformed back to handsome prince is a strange anticlimax. Somehow the handsome face is more boring and insubstantial than the great big animal face in which we’ve been encouraged to find something adorable. But it’s an efficient BATB, machine-tooled for sweetness, with flashes of fun, destined to be the centrepiece of a million teen sleepovers.
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