Screenwriter : Gabrielle Allan, Jennifer Crittenden
Starring : Anna Faris, Chris Evans, Ari Graynor, Blythe Danner, Joel McHale, Dave Annabelle, Andy Samberg, Zachary Quinto, Tom Lennon, Aziz Ansari, Anthony Mackie, Martin Freeman, Mike Vogel
Starring : Chris Evans, Mark Kassen, Brett Cullen, Marshall Bell, Michael Biehn, Jesse L. Martin, Roxanna Hope, Tess Parker, Kate Burton, Vinessa Shaw
Genre : Drama
Official Website : Puncture-the-movie.com
IMDB Rating : 7.8
Story : There’s something perverse about the ultra-conventional way directors/brothers Adam and Mark Kassen handle their unconventional material in the based-on-a-true-story drama Puncture. Faced with a fairly standard underdog legal case against a monolithic, entrenched system and an anything-but-standard protagonist in the form of vice-ridden lawyer Mike Weiss, they choose to focus on familiar beats and a story that proceeds like a checklist derived from Erin Brockovich and countless predecessors. As Weiss, Captain America star Chris Evans makes for a charismatic hero in spite of his distinctly unheroic behavior, but Puncture never gets a handle on who he is or what drives him, either to pursue the case or to return again and again to the squalid motel room where he steeps himself in drugs and prostitutes.
Vinessa Shaw kicks off the storyline playing an emergency-room worker who contracts AIDS from an accidental needle-prick; an irascible friend (Marshall Bell) promptly invents a one-use safety needle that would prevent such accidents, but can’t get hospitals or medical-supplies firms to even look at it, thanks to the kickbacks-driven cartels that control medical purchasing contracts. Sketchy Houston ambulance-chasers Weiss and Paul Danziger (played by Mark Kassen; Danziger executive-produced the film) seem like odd choices to take on a national purchasing monopoly. Weiss is a smug young addict who lacks responsibility or empathy, while Danziger is cautious, practical, and profit-driven, the yin to Weiss’ raging yang. But in spite of Danziger’s reservations, they pursue the case through the expected legal setbacks, vague threats, evil-corporation bribes, string-pulling, and startling discoveries—at least to the degree allowed by Weiss’ tendency to miss appointments because he’s passed out somewhere.
Puncture excels in the smaller touches, from Shaw’s quiet performance to the woozy, unrushed motel idylls where the hard-driving Weiss finally slows down for a few breaths. Or in the even tinier details, like the way the Kassens measure time in one scene via a security guard’s progress on a crossword puzzle, or the identifying Post-It notes (“juror,” “fire chief”) Weiss places on a group of fellow burnouts he uses as props in a mock trial. But it falls down in the larger storytelling, whether it’s lining up conspirators behind the scenes to intone their ominous intentions, or feeding its cast hokey lines like “Sometimes the brightest light comes from the darkest places” and “At least I have the courage to lose for what’s right!” In particular, the ending is baffling in the way it heavily implies a murderous conspiracy without explicitly stating it—or implying that there’s a shred of evidence to support it—then tries to turn it into an uplifting climax that’s never explained or justified. The systemic abuses documented in Puncture are horrifying, but at this point, tales of corporate chicanery are so common that they’ve lost some of their edge. Puncture has plenty of potential for edge in the form of Weiss, a flawed but formidable fighter, but it rarely manages to focus on him as anything but a cog in a very familiar machine.
Release Date : September 23, 2011 (3D/2D theaters)
Studio : Warner Bros. Pictures
Director : Charles Martin Smith
Screenwriter : Karen Janszen, Noam Dromi
Starring : Harry Connick Jr., Ashley Judd, Kris Kristofferson, Nathan Gamble, Cozi Zuehlsdorff, Austin Stowell, Morgan Freeman
Genre : Adventure, Family
Official Website : DolphinTalemovie.com
IMDB Rating : 5.3
Story : “Dolphin Tale,” the story of a maimed dolphin named Winter and the people who rescue her, is pitched awfully young, without a shred of the satire or subtlety that is generally found in films aimed at tweeners and above. That’s not a bad thing; it just means accompanying grown-ups or older siblings will have to choke down a sizable dose of schmaltz with their fish milkshakes.
The film is inspired by an actual dolphin rescue, though it is so larded up with manufactured drama — single-parent households, a hurricane, an animal rescue center facing bankruptcy, a boy whose favorite cousin is in a war zone — that it’s hard to tell what’s real. The gist of it, though, is this: Winter lost her tail after becoming entangled in a fishing net, and her rescuers fitted her with a prosthetic one to help her survive.
Nathan Gamble as the young rescuer in chief and Cozi Zuehlsdorff as the girl who befriends him make a decent enough kiddie couple, and Harry Connick Jr. is quite watchable as the girl’s father, who runs the rescue center. Everything, including the parallels between the dolphin and the injured war veterans who factor into the story, is made obvious enough that no 6-year-old could miss it. As for older viewers, they have to wait to the very end for their rewards: some glimpses of Winter’s real rescue and rehabilitation.
Starring : Jeff Ament, Matt Cameron, Stone Gossard, Mike McCready, Eddie Vedder
Genre : Documentary, Musical
Official Website : Not Available
IMDB Rating : 9.1
Story : Filmmaker Cameron Crowe knew the guys in Pearl Jam long before there was a Pearl Jam, from back when Crowe and the musicians who formed the backbone of the Seattle scene were all idealistic, enthusiastic young artists. Crowe’s documentary Pearl Jam Twenty features footage from as far back as the band’s Mother Love Bone and Mookie Blaylock days, tracking Eddie Vedder’s replacement of MLB drug casualty Andrew Wood, and his evolution from being so shy that he’d only sing with his hair in his face to being capable of holding a festival crowd rapt with a piercing stare. Twenty then follows the band’s story as it becomes one of the biggest concert attractions in the world, then settles into a smaller, in some ways more comfortable, level of success. Crowe clearly knows this world well, both from his personal interactions with the band and from his years on tour buses as a Rolling Stone journalist.
What makes Pearl Jam Twenty a little better than the average fan-friendly documentary is that Crowe focuses on the more significant parts of the Pearl Jam story: not how the group wrote “Alive,” but how it’s struggled with maintaining artistic credibility while selling millions. Crowe gets into Pearl Jam’s fight with Ticketmaster, which marked a turning point in the band’s reputation among the alt-rock crowd, and he covers the tragedy of some of its fans being crushed to death at a Danish rock festival, which was a turning point in Pearl Jam’s sense of how big it wanted to be. Structurally, the film resembles the Rush bio-doc Beyond The Lighted Stage, which is a fine blueprint for Crowe to follow.
Twenty is still first and foremost for Pearl Jam diehards, who’ll be the most likely to appreciate the sincerity with which the band members pay tribute to each other. But even people who don’t know Pearl Jam well—or those who are outright skeptics—should be able to appreciate what Crowe reveals about its longevity. As Vedder has disappeared further into a “soulful, activist weirdo” public persona (halfway between Johnny Depp and Michael Stipe) he’s maintained his fraternity with his bandmates, who’ve all bonded over their love of sports, their commitment to speaking their minds, and their faith in rock ’n’ roll. How else could a band that’s wanted to be both as big as The Who and as street-level as Fugazi have survived for so long?
Starring : Craig Baldwin, Jamie Foxx and Craig Green
Genre : Documentary
Official Website : ThunderSoulmovie.com
IMDB Rating : 6.2
Story : Like a real-life “Mr. Holland’s Opus,” the documentary “Thunder Soul” shows how one teacher can influence young people for the good through the rest of their lives.
In “Thunder Soul’s” case, the teacher is Conrad O. Johnson Sr., who taught music in Houston, Texas, schools for three decades, most famously as music director at Kashmere High School in the late ‘60s and most of the ‘70s. The Kashmere Stage Band broke out of what was often a staid form of band music to play a combination of Ellingtonian jazz and James Brown-like funk, some of it written by Johnson. It then combined that music with showmanship — including moves reminiscent of the soul acts of the period — to become a dominant force in stage-band competitions of the period, including the national championship.
The Houston Chronicle once said that “to compete against the Kashmere Stage Band in the ‘60s and ‘70s was to settle for … second place.” The band toured, made records, played in Europe — and, according to the documentary, inspired its school’s students to succeed in other areas as well.
Decades later, the Kashmere band became a new musical presence as artists sampled their old records. A 2006 CD reissue of Kashmere’s work, “Texas Thunder Soul 1968-74,” became a surprise hit on Amazon.com.
“Thunder Soul” builds its celebration of Kashmere and of Johnson around a 2008 reunion of members of the old school bands. Johnson, who retired from Kashmere in 1977 but continued to work in music into his early 90s, was 92 at the time of the reunion. His health had begun to decline, and he died shortly after the reunion concerts. But documentary maker Mark Landsman was able to record interviews with Johnson and the former student musicians (many of whom went on to music professions), as well as drawing on archival material.
The result is a loving tribute to a man who believed that music was fundamentally valuable to young people, but also that life was about more than music. People recall his insisting on appropriate conduct, language and discipline. His lessons stuck. And pride creeps into Johnson’s voice when he is told that the reunion musicians can still play — because to him, that means they were taught well all those years ago.
I wish the documentary dug more deeply into some issues, such as Johnson’s abrupt retirement from Kashmere in 1977; his students believe he was forced out by a hostile school administration. While music is often used in the background, there is only one full performance piece, from the reunion.
Still, the film moved me, both when Johnson spoke about his life and when students revealed their abiding affection for him. You can see that in those moments when his old students visit him, in their reverence for Johnson and their holding his hand. In times of budget worries and cuts in education funding, “Thunder Soul” tells us what a great teacher can achieve when given the opportunity.
Starring : Jason Statham, Clive Owen, Robert De Niro, Yvonne Strahovski, Dominic Purcell, Aden Young, Ben Mendelsohn, Lachy Hulme, Firass Dirani, Grant Bowler, Adewale Akinnuoye-Agbaje
Genre : Action, Thriller
Official Website : KillerElite.com
IMDB Rating : N/A
Story : Killer Elite, an adaptation of Sir Ranulph Fiennes’ controversial bestseller The Feather Men, purports to be based on actual events, chronicling the sinister machinations of a shadowy military organization. But this clumsy action movie feels too generic to be real. The film attempts to add an element of sophisticated sociopolitical commentary to the typical Jason Statham head-busting shoot-’em-up, but only ends up draining it of visceral thrills. Killer Elite is less a cerebral thriller than an underachieving time-waster with feeble pretensions.
In a performance that stubbornly fails to expand on his steely persona, a scowling, all-business Statham stars as an elite former Special Air Serviceman intent on getting out of the assassination business. Statham longs for a simpler, less violent life, but when mentor Robert De Niro is kidnapped, he’s forced back into action as a frighteningly efficient professional killer. In order to win De Niro’s freedom, Statham must kill three accomplished operatives under the leadership of the unfortunately mustachioed Clive Owen.
Killer Elite aspires to a level of moral ambiguity far beyond its shaky command. Director Gary McKendry wants to explore the complexities of killing in the name of preventing further bloodshed, but the moral and political elements amount to little more than window dressing. At a seemingly endless 105 minutes, Killer Elite drags on so long that its own characters seem to be willing it to stop. The third act is littered with dramatic declarations that all of the conspiring and killing must stop; the characters are all clearly as bored with the double-crosses and complications as the audience is liable to be. Killer Elite ends with a disclaimer largely conceding that its claims of being based on a true story are suspect. That’s one final disappointment in a film full of them.
Starring : Gerard Butler, Michelle Monaghan, Kathy Baker, Madeline Carroll, Michael Shannon, Souleymane Sy Savane
Genre : Action, Drama
Official Website : MachineGunPreacher.org
IMDB Rating : 5.5
Story : In spite of the focus on salvation and the challenges of a godly life, Machine Gun Preacher doesn’t read as a Christian message film. And in spite of its overall plot—violent biker drug addict finds God, goes to the Sudan, and starts effectively fighting a war that the locals seem to be losing—it isn’t a typical “black conflict channeled through white witness” story either. In both cases, the film dodges the obvious trap by focusing so fiercely on controversial biker-turned-preacher-turned-militia-fighter Sam Childers that it’s clear this is his story, not the Sudan’s, or Christianity’s. Preacher partially adapts Childers’ autobiography Another Man’s War, but visualizes him from the outside instead of through his own lens. In the process, it expresses something neither religious-uplift movies nor Great White Hope stories tend to acknowledge: the consuming frustration and loneliness that can come alongside a moral call to action.
300/The Ugly Truth muscleman/rom-com lead Gerard Butler gets a rare opportunity for real depth as Childers, an angry, aimless product of poverty who begins the movie by emerging from prison, banging his wife (Michelle Monaghan) in their car, then visiting a drug buddy (Michael Shannon) for a celebratory score. But an intense confrontation with a knife-wielding maniac, plus Monaghan’s newfound faith, leads Childers to convert, battle his demons, and remake himself as a successful business owner. He initially visits Africa to build homes, but soon feels God wants him to construct an orphanage for the victims of Joseph Kony’s marauding Lord’s Resistance Army. And as he sees more of the LRA’s work, he feels a possibly less godly pull to pick up a gun and do something about it.
Machine Gun Preacher periodically strains credulity with its over-the-top approach, which packs a lot of incident into a small space, and heightens its emotions accordingly. Director Marc Forster (Monster’s Ball) turns Childers into a cartoony Rambo who dispatches nameless baddies with perfect dramatic timing, and heroically saves the bleeding-heart aid workers who dared question his methods. Meanwhile, the Sudan’s aridness and desperation are repeatedly contrasted with America’s glittering luxuries, which are awkwardly crammed into Childers’ otherwise hardscrabble Pennsylvania town only when it’s time to prove a point. This is in many ways a self-serving, hyperbolic story that mythologizes Childers and his life without addressing the inherent contradictions in murdering people for God. (Particularly murdering fanatics who themselves claim to be murdering people for God.)
But the anguish of the situation is compelling, particularly as Childers pursues his convictions with an intensity that becomes frightening and bitter, both in the pulpit and in the field. The rage that haunted him as a younger man finds a worthier focus, but is no more constructive than it ever was. Butler acquits himself well in a smoldering performance that embraces show-don’t-tell, and the obvious fragility of the world he’s trying to build and protect is heartbreaking. Machine Gun Preacher is stirring when it presents Childers as a hero, but it does its most impressive work when it addresses him as a flawed, struggling, but still determined man.
Starring : Taylor Lautner, Lily Collins, Alfred Molina, Jason Isaacs, Maria Bello, Denzel Whitaker, Michael Nyqvist, Sigourney Weaver
Genre : Action, Thriller
Official Website : Abductionthefilm.com
IMDB Rating : N/A
Stroy : For as long as he can remember, Nathan Harper (Taylor Lautner) has had the uneasy feeling that he's living someone else's life. When he stumbles upon an image of himself as a little boy on a missing persons website, all of Nathan's darkest fears come true: he realizes his parents are not his own and his life is a lie, carefully fabricated to hide something more mysterious and dangerous than he could have ever imagined.
Just as he begins to piece together his true identity, Nathan is targeted by a team of trained killers, forcing him on the run with the only person he can trust, his neighbor, Karen (Lily Collins). Every second counts as Nathan and Karen race to evade an army of assassins and federal operatives. But as his opponents close in, Nathan realizes that the only way he'll survive -- and solve the mystery of his elusive biological father -- is to stop running and take matters into his own hands.
Starring : Brad Pitt, Jonah Hill, Philip Seymour Hoffman, Robin Wright, Stephen Bishop, Kathyrn Morris, Chris Pratt
Genre : Drama
Official Website : Moneyball-movie.com
IMDB Rating : 7.9
Story : There's a great movie inside "Moneyball"; unfortunately, what's on the screen is merely good. One of the year's big Oscar hopefuls, this adaptation of Michael Lewis' nonfiction book about Oakland A's general manager Billy Beane, who helped change the way major league baseball teams evaluate talent, is a film in which you're never less than entertained, even if you get the nagging sense that what you're watching isn't nearly as compelling or deep as it should be. Most people aren't going to care: This is a fun, smart, breezy story. But those who were hoping for more -- particularly baseball fans -- may shake their heads at what could have been.
Directed by Bennett Miller, who last made "Capote," "Moneyball" takes us into the world of the A's, starting with the offseason after they lost in the 2001 playoffs to the much richer New York Yankees. Beane (Brad Pitt) knows his small-market team can't compete with the deeper pocketbooks of the Yankees or the Boston Red Sox, but with the help of Peter Brand (a pseudonym for actual assistant GM Paul DePodesta, played by Jonah Hill), a nerdy young Yale economics grad who believes he's come up with a mathematical system for finding cheap diamonds-in-the-rough, he sets about rebuilding the A's for the 2002 campaign.
"Moneyball" initially seemed to be advertising itself as this year's "The Social Network": a recent true story about how scrappy, geeky underdogs beat the system and changed the rules of their particular world. (Plus, Oscar-winning "Social Network" screenwriter Aaron Sorkin co-wrote the adaptation.) But while the films share some surface similarities -- especially in the beginning when Beane and Brand are coming up with their master plan -- "Moneyball," for better or worse, mostly resembles a sports movie. Specifically, it's one of those sports movies where the underdog triumphs, but not before going through a sort of "Bad News Bears"-style initiation where the undervalued players struggle mightily and make fools of themselves on the diamond.
The movie has a freewheeling style that's pretty enjoyable, but pretty soon it becomes apparent that that's the only style the movie has. After the moral ambiguity of "Capote" (and the bizarre, poignant study of New York tour guide Timothy "Speed" Levitch in the documentary "The Cruise"), Miller seems to want to deliver just a simple, solid drama that hits a lot of crowd-pleasing buttons. Even when "Moneyball" goes into deeper emotional terrain -- explaining how Beane's failure as a pro player (after practically being guaranteed by scouts that he'd be a huge star) drives his competitive fire -- Sorkin and co-writer Steven Zaillian's screenplay offers a lot of sharp dialogue but not a lot of real insight into baseball or the business of professional sports.
The film opens with a quote from all-time great Mickey Mantle talking about how even veterans of the game still get surprised how little they understand about baseball, but "Moneyball" never fully wraps its head around the intoxicating madness of the sport. On a fundamental level, Miller and his writers don't quite acknowledge that, while the 2002 A's were a successful team, there really is so much luck, chance and intangibles that go into making a winner. There's a deep irony about Beane and Brand/DePodesta's method: It forgoes traditional baseball scouting biases for a dispassionate look at player statistics, but it's a game that still has to be played (and won) by flesh-and-blood humans. Sadly, "Moneyball" a little too easily makes it seem like Oakland's success was based entirely on a special formula. Beane and DePodesta deserve credit for incorporating controversial baseball statistician Bill James' "sabermetrics" to outsmart major-market teams, but the film seems a little too awed by their results, not quite taking into account the unknowable factors that can help produce a winning or losing club.
Likewise, Miller and Pitt never quite solve the mystery of Beane. As a main character, he's presented as a cocksure, competitive guy who's good at his job. But there's not much pathos in his backstory -- nor is there much resonance in the filmmakers' somewhat half-hearted stab at developing a relationship between him and his young daughter (Kerris Dorsey). Pitt brings his typical charisma to the part so that you really like the guy, even if you don't quite feel like you know him. In this way, he's well-matched with Hill, whose Brand starts off as a number-crunching dweeb and ends that way. It's a reserved performance from Hill and one of his best, but you feel yourself dying to get past his brain to learn more, and the movie doesn't go there.
Baseball fans will love the nitty-gritty details of the trades and player moves that went on that season, and it's fun to see who's been cast to play, say, David Justice. (Perhaps the best is Miller's "Capote" Oscar-winner Philip Seymour Hoffman as manager Art Howe. Here Miller does twist the conventional sports movie template by making the manager basically an ineffectual afterthought rather than the inspiring leader ready with the big speech at any occasion.) But the baseball world "Moneyball" conjures up is more anecdotal than deeply immersive. As in "Capote," Miller is at arms-length when observing his subjects in "Moneyball," which provides some nice distance and perspective. But it also opens the movie up to charges that it doesn't quite love or understand its milieu enough to truly penetrate it. As a result, "Moneyball" tends to feel a bit at a remove. Not one performance is out of place, and not one moment seems off-key. Still, if "Moneyball" was a ball club, you'd say it has a lot of good pieces but isn't quite championship-caliber.
Starring : Bruce Willis, Ryan Phillippe, Jenna Dewan-Tatum, 50 Cent, Randy Couture, James Remar, Will Yun Lee, Susie Abromeit
Genre : Action, Crime, Drama
Official Website : N/A
IMDB Rating : 4.7
Story : Bruce Willis is favorite action hero of million of fans and he is coming soon in his upcoming non-stop action movie Setup. Setup release date is in the last quarter of 2011. This film is all about crime, thrill and spectacular action. Mike Gunther is the director of this multi-million dollar film, estimated budget of Setup is $12,000,000.
Story of Setup is about group of friends who involved in deadly diamond heist. Now they have to survive against all odds which lead us to non-stop action of over 2 hours. Complete star cast of Setup includes Bruce Willis, Ryan Phillippe, Jenna Dean, James Remar, 50 Cent, Randy Couture, Will Yun Lee, Susie Abromeit, Shaun Toub, Jay Karnes, Jordan Trovillion, Ambyr Childers, Omar Dorsey, Patrick Mough and Rickard Goteri.
Shooting locations of film includes Grand Rapids, Michigan, USA and production compay is Cheetah Vision. I strongly recommend this movie to those readers who just want to see lot of gun fires and fight in a film.
Starring : Natalie Portman, Vincent Cassel, Mila Kunis, Barbara Hershey, Winona Ryder
Genre : Psychological Thriller
IMDB Rating : 8.3
Story : Black Swan is a modern retelling of Pyotr Ilyich Tchaikovsky’s classic ballet, Swan Lake. In the movie, the ballet director, Thomas Leroy (played by Vincent Cassel), describes to his dancers the basic plot of the ballet:
“We all know the story. Virginal girl, pure and sweet, trapped in the body of a swan. She desires freedom, but only true love can break the spell. Her wish is nearly granted in the form of a prince. But, before he can declare his love, the lustful twin, the Black Swan, tricks and seduces him. Devastated, the White Swan leaps off a cliff, killing herself and, in death, finds freedom”.
Nina, a shy and fragile young woman is chosen to play the role of the Swan Queen and must therefore embody both the pure White Swan and the evil Black Swan. Her quest for perfection as a ballet dancer leads her to experience, in her everyday life, the transformation experienced by the White Swan in the ballet’s story. The events of Nina’s daily life therefore mirror the story of the character she takes on as a ballet dancer, ultimately leading to confusion and, as the line between reality and fiction blurs, to apparent insanity.
The director’s use of mirrors and reflections in numerous scenes are a constant reminder of Nina’s altered perception of reality. Mirrors in the movie are often misleading and Nina’s reflections seem to have a “life of their own”. As Nina becomes haunted by the Black Swan, this alternate persona takes a life of its own and acts outside of Nina’s conscious control. We will explain later how this relates to trauma-based mind control.
If you have not read other articles on this site, trauma-based mind control – also known as Monarch Programming - is the process in which an individual is subjected to intense trauma and dehumanization in order to cause a mental dissociation. This causes a fragmentation of the slave’s personality and enables the handler to create an alternate persona that can be programmed at will. Some researchers claim there are occult elements at work in this process.
“Project MONARCH could be best described as a form of structured dissociation and occultic integration, in order to compartmentalize the mind into multiple personalities within a systematic framework. During this process, a Satanic ritual, usually including Cabalistic mysticism, is performed with the purpose of attaching a particular demon or group of demons to the corresponding alter(s). Of course, most skeptics would view this as simply a means to enhance trauma within the victim, negating any irrational belief that demonic possession actually occurs.”
Starring : Vanessa Hudgens, Alex Pettyfer, Mary-Kate Olsen, Neil Patrick Harris, Peter Krause
Genre : Romance
Official Website : Beastlythemovie.com
IMDB Rating : 5.0
Story : Kyle Kingson (Alex Pettyfer) has it all – looks, intelligence, wealth and opportunity – and a wicked cruel streak. Prone to mocking and humiliating “aggressively unattractive” classmates, he zeroes in on Goth classmate Kendra Hilferty (Mary Kate Olsen), inviting her to the school’s extravagant environmental party. Kendra accepts, and, true to form, Kyle blows her off in a particularly savage fashion. She retaliates by casting a spell that physically transforms him into everything he despises. Enraged by his horrible and unrecognizable appearance he confronts Kendra and learns that the only solution to the curse is to find someone that will love him as he is within one year – a task he considers impossible. Repulsed by his appearance, Kyle’s callous father (Peter Krause) banishes him to Brooklyn with a sympathetic housekeeper (Lisa Gay Hamilton) and blind tutor (Neil Patrick Harris).
As Kyle ponders how to overcome the curse and get his old life back, he chances upon a drug addict in the act of killing a threatening dealer. Seizing the opportunity, Kyle promises the addict freedom and safety for his daughter, Lindy Taylor (Vanessa Hudgens) if she will consent to live in Kyle’s Brooklyn home. Thus begins Kyle’s journey to discover true love in this present-day retelling of the classic “Beauty and the Beast” story.
Screenwriter : Seth Lochhead, David Farr, Joe Penhall, Joe Wright
Starring : Saoirse Ronan, Cate Blanchett, Eric Bana, Jason Flemyng, Tom Hollander, Olivia Williams
Genre : Action, Drama, Thriller
Official Website : Hannathemovie.com
IMDB Rating : 7.0
Story : Hanna (Saoirse Ronan) is a teenage girl. Uniquely, she has the strength, the stamina, and the smarts of a solider; these come from being raised by her father (Eric Bana), an ex-CIA man, in the wilds of Finland. Living a life unlike any other teenager, her upbringing and training have been one and the same, all geared to making her the perfect assassin.
The turning point in her adolescence is a sharp one; sent into the world by her father on a mission, Hanna journeys stealthily across Europe while eluding agents dispatched after her by a ruthless intelligence operative with secrets of her own (Cate Blanchett). As she nears her ultimate target, Hanna faces startling revelations about her existence and unexpected questions about her humanity.
