I think it's a hard line to walk, making a biopic about a genuine real-world serial killer and his wife, having said serial killer take up a pretty massive chunk of that biopic's screentime, and still not have it look as if you're trying to paint said serial killer as sympathetic - when you're a main character, when it's your story, you **are** the protagonist, and when the protagonist is a monster, that's... Yeah, that's a hard line to walk. And I think it's walked here falteringly. There's some very powerful moments, and it is absolutely an intriguing experiment in cinema, but I don't think it made all the best choices. I mean it's not a twist that Ted Bundy did it, 'cause all the world already knows... Well I mean, he's Ted Bundy. He's literally famous for one single thing, and it's being a murderer.
I can still recommend **Extremely Wicked, Shockingly Evil and Vile** to reasonable adults. Not a strong recommendation, but one nonetheless.
_Final rating:★★★ - I liked it. Would personally recommend you give it a go._

Unfriended is a movie that plays with a bold concept: telling the entire story through a computer screen. It’s an innovative approach that captures the modern digital experience, but it’s also limiting. The first act does a solid job setting up tension and showcasing realistic online interactions, but as the story transitions into supernatural horror, it loses some of its grounding. The ghost revenge angle feels less convincing, leaving the movie somewhere between a chilling cautionary tale and a far-fetched slasher.
The acting works well for what it is, especially if you see it as a revenge prank gone wrong. However, the supernatural elements don’t fully sell the scares. That said, the integration of music, complete with playlist visuals, is a clever and enjoyable touch. While Unfriended deserves credit for trying something different, it’s missing the depth needed to elevate it to a truly great horror film. I didn’t hate it, but it’s not quite there either.

Online, your memories live forever... but so do your mistakes.
A group of online chat room friends find themselves terrorised by someone or something using the account of their dead friend.
For someone like me who is way out of the age sphere for such things like the social media world featured here, Unfriended is a fascinating and unnerving experience. When your on line experiences are simply message boards and discussion forums etc, where twitter, skype, facebook and their like are alien to them, then one can only praise when an innovative and fresh idea is brought to the horror realm of film making. And lets face it, horror always needs new splinters to off set the ream of numerical sequels and remakes from hell.
Unfriended is not scary on conventional terms, where it's not about to jolt you out of your seat or have you hiding behind the sofa. It is, however, scary how technology has advanced, how the millions of world wide web users so willingly commit to baring their innermost to all and sundry. Then there's the dark half, those who use the platforms for venal and nefarious means, bringing very real terrors into our world.
I can't personally vouch for how genuine the tech aspects are in this film, but Unfriended definitely taps into a frightening realm, and that is to be applauded. Oh I will not be watching it again, I mean what would be the point? But I'm glad I did take the plunge, and simultaneously I'm glad I'm one of those who is happy just texting and using email... 7.5/10

Actually pretty alright, maybe the format has been utilised better elsewhere, but you still have to admire _Unfriended's_ dedication, especially for all the way back in 2014. That dedication does have some drawbacks though, the devotion to the realism unfortunately also means realistically low quality webcam video & audio, as well as the realistic wait times I've using a computer. It felt like for **so** much of _Unfriended_ I was just sitting there waiting for a page come up, or a file to download, or a response on an IM, and yes of course any computer user will absolutely have to wait for these things, but it's not what you go to the movies to see.
_Final rating:★★½ - Had a lot that appealed to me, didn’t quite work as a whole._

'Unfriended' is a modern horror film with interesting messages about modern society and our addiction to social networking tools on the Internet. It touches on quite a sensitive subject in cyber bullying from the very disturbing introduction. It tells the story of a teenage girl who was publicly humiliated on the internet and commits suicide due to the heckling and bullying from her peers. A year on and it seems that this group of peers are being stalked online by a vengeful pursuer.
Gabradze's direction is very intriguing. 'Unfriended' (lovingly renamed 'Mad Macs' by me) plays out in very simplistic fashion. The film shows the main character's computer screen throughout it's duration. The audience see every keystroke and mistake made by Blaire Lily (Shelley Hennig). This is a very compelling technique when trying to show the character's panic and fear slowly progressing. Blaire plays around with music software known as 'Spotify' during the film which gives an excuse for there to be non-diegetic music to add to the atmosphere.
As the film is mainly a conference video call on 'Skype', the actors are in separate rooms on individual "webcams" to add to the realism of the story. Although the film didn't require the actors each to connect to the internet, occasional screen buffering and flickering help add to the illusion.
'Unfriended' is a very dialogue-driven film as not a lot of action takes place. Therefore, it is essential to have a good screenplay to keep the story as intriguing as possible. The screenplay is solid and there are genuine moments when the mysterious stalker is very creepy and scary. Due to the nature of the film's themes, there is a lot of slang and computer terms that seasoned users of said social networking tools will appreciate and understand. If you are not very wise to how these programs work it may be hard to keep up with the story.
The actors weren't the best but the film did work. It would seem that their jarring and annoying demeanor added to the theme of the piece however.
Overall, 'Unfriended' is an interesting film. I thought it was a very clever statement on modern life. There were moments that were genuinely scary and creepy but like most modern horror films it relied too much on jump scares. It conjured up good memories of 'The Blair Witch Project' in how it tried to be as realistic as possible whilst also addressing dark themes of today's culture.
★★★

**In this viral going social media era, our actions must be very cautious!**
A new age cinema. I don't know how it was put under 'found footage' subgenre film, since the webcams involved I think it is very much valid. There are lots of interesting stats for this like it is a $1m film, 80 minutes long, shot within the 16 days, but made to look like a single shot film in real time. This is a story of friends gang whose friend was recently committed suicide. Like usual one day, they are all hanging out on the Skype for a group chat, finds a stranger contact live among them who claims she's their dead friend. So the quest begins to find who really it is and what is the purpose behind such a pose.
This story is very familiar. Like a gang was put together in a room and revealing each others secret to bring total chaos. Take for example 'Cube'. What follows is we all know which is actually a famous cliché in a thriller like this. So I thought similar way for this and it was, but only in a digital format where the current world trend stands. So this film can be enjoyed by youngsters and those who are familiar which internet forums like facebook, skype, google, email et cetera. In the entire film, all you would see is the computer screen. So you have to quick where mousing is moving and text was composed and concentrating the audio comments. Something like sitting next to a friend's computer and looking what he's doing.
I think it was a good film, keeps us guessing till the final minute. I'm watching it a bit late, but very happy I did not miss it after all and there is already a second film getting ready which is due this year's end. But I doubt the film won't get anywhere near to this one. The franchise might end up like 'Paranormal Activity' if sequels keeping coming. The actors were good though. I thought one of them was Jennifer Carpenter where one of the film posters resembles 'Quarantine', but during the watch I realised it was a different actress.
Despite the familiar theme, the setting makes all the difference and pretty entertaining. The end scene was a surprise, because until that point I was not aware of this film genre. Definitely worth a watch for modernising the old storyline with lots of suspense.
7/10

Second time watching this and honestly outside a couple of scenes, I barely remembered anything. Thought the acting was fine, as was the direction but considering the cast that included Johnny Depp, Joel Edgerton, Benedict Cumberbatch, Kevin Bacon and others, thought what an epic crime-thriller could've been instead was a solid enough film but not much more than that. Also, the make-up job done on Depp was distracting more than anything. **3.5/5**

Bulger's playing us, making a fool of the Bureau. We're in too deep, and he knows it! God help us all.
Black Mass is the story of Whitey Bulger (Johnny Depp), who was the brother of a state senator and the infamous violent leader of South Boston's Winter Hill Gang. It charts his criminal activities and his subsequent dealings with the FBI.
Directed by Scott Cooper, Black Mass is one of those instances where a great lead performance deserves a better over all film. Depp literally inhabits the role of Bulger in a fully formed perf that reminds us of what a fine actor he can be. Unfortunately the edgy material to hand never really ignites in filmic form. Maybe we were spoilt by the offerings of Coppola and Scorsese previously? For this comes off as a cheap imitation of far greater films, with the crafters of the pic giving us something of a caricature piece.
Although compelling as a lead character study, much of the narrative is rendered as playing it safe, putting emotive heart where it doesn't belong. Most of the support characters, and key to the story, are under developed, while the pace is decidedly attention sapping and not adroitly understated. Nevertheless, we do get good acting perfs to support Depp, notably Joel Edgerton as corrupt FBI agent John Connolly, while Masanobu Takayanagi's (Hostiles) cinematography is delicate of moody hues.
There's a fascinating story trying to get out of this, but the 15 year wait to get it to screen hasn't been worth it. There's some truly electric scenes, but they are few and far between, which gives us ultimately just a compact and safe piece of gangster film making. 5/10

You're as maniacal as a box of kittens.
A remake of Robert Aldrich's 1974 film The Mean Machine, which starred Burt Reynolds, this version sees Peter Segal direct and Adam Sandler headlining. Also starring are Chris Rock, Burt Reynolds, James Cromwell and William Fitchner.
One time gridiron superstar Paul Crewe, now disgraced, gets himself sent to a prison run by a gridiron fanatical warden. Coerced into being part of a match between the guards and the cons, Crewe has his work cut out to make a team out of misfits, runts and near idiots!
Adam Sandler has always proved divisive, and this film has proved to be no exception. Massively popular at the box office (over $100 million profit), it's a film that anyone with an aversion to Sandler should stay away from. I mean if by 2005 you hadn't realised he's not for you then why would you watch this?
Coming from someone who absolutely adores the original film, I had no hesitation in watching this, I like Sandler and I don't mind remakes as I'm always intrigued to see how they pan out. This is full of prison stereotypes, close to the knuckle humour and meaty violence, but is it funny? From my perspective yes it is, very much so, with some of the dialogue sparkling and delivered with comedic grace by a fine cast. But that's me, others, as we know, don't feel the same.
The action is well put together by Segal, the convicts training sequences are great fun, while the main game that crowns the pic is exciting, dramatic and yes, great fun. The support slots contain more beef than an Aberdeen Angus stew, with the likes of Michael Irvin, Terry Crews, Steve Austin and Brian Bosworth fronting up, while David Patrick Kelly playing a weasel is never a bad thing. A lot of people loved it in 2005, I'm now one of their number. 7/10

Another PG13 horror movie. That rating is like shouting "Don't worry, we aren't going to scare you!!!! Bring your family, bring the kids, we are as bland as tofu." And it is.
Like all the others they are going for one or two fast jumps and...that's it.
Pointless without the Horror/Comedy label, but Hollywood is afraid to attach humor to anything frightening under the belief the Millennials won't "get it." So you have, well, you have a film that is going out of its way to not be scary to keep the rating family friendly...
And for some reason I watched it.

Certainly the lowest, dumbest point of the franchise thus far, but not **so** bad that I won't be willing to watch the 4th entry touted for a 2017 release.
Also does that super annoying thing where it is 100% a prequel, but still called "Chapter X".
_Final rating:★★ - Had some things that appeal to me, but a poor finished product._

Entertaining romcom marred by incongruent porn-ish elements
RELEASED IN 2008 and directed by Nicholas Stoller, "Forgetting Sarah Marshall" is a romcom starring Jason Segel as Peter, a genial musician from Los Angeles who composes music for a popular detective show, which stars his hottie girlfriend, the titular Sarah Marshall (Kristen Bell). After she breaks up with him he vacations at a resort in Hawaii where, unexpectedly, his ex & her rock star beau (Russell Brand) also happen to be staying. Mila Kunis plays a concierge at the resort who takes interest in Peter.
This is a compelling, amusing romantic comedy with Segel likable as the protagonist and Bell winsome and charismatic as his ex. Brand is great as a Jim Morrison-like rock god who doesn’t drink; the way he performs on stage is laugh-out-loud funny (poking fun at rock stars). The resort locations are a highlight and the story is sprinkled with several notable guest stars (Bill Hader, Jack McBrayer, Maria Thayer, Taylor Wily, Paul Rudd, Da'Vone McDonald, Jonah Hill, etc.).
Unfortunately, there are several NC-17 (aka porn-ish) scenes that I wasn’t expecting since the version I watched was supposedly rated ‘R.’ I’m talking about several scenes of simulated sex, including one involving fellatio, as well as full-frontal male nudity right out of the gate (Seriously?). I basically ignored these scenes or rolled with them and laughed. I’m sharing this info for those who don’t care to see a movie mixed with nigh-porn elements.
THE MOVIE RUNS 1 hour 51 minutes and was shot in O'ahu, Hawaii, and Los Angeles, as well as studio work done at Universal City, CA. WRITER: Jason Segel.
GRADE: B but basically ruined (for me) by the porn aspects, so really ‘D’

This was a refreshing surprise. Quite hilarious at some points, not so funny in others but still refreshing and the cast does a good job.

**Overall : Too many moments left a bad taste in my mouth to enjoy Burnt as much as I wanted to.**
The beginning of Burnt reminds me of the beginning of a heist movie. Bradley Cooper assembles a team made up of the best of the best to achieve the ever elusive 3 Michelin Star restaurant. The early scenes' energy and promise filled me with excitement, but unfortunately, the sheer arrogance and unlikeability of Cooper's Adam Jones drained the film of most of its charm and ability to enjoy it fully. I didn't find myself wanting Adam Jones to prevail. Thankfully, there is some character growth and development, but the road to get there was much more unpleasant for the audience than necessary.

> It is not perfect, but delicious.
Movies about foods and chefs are quite popular since the beginning of the cinema. Not only among the food lovers, but the movie fans, critics as well common people decides to book a table at a nearby best restaurant after watching a delicious film like this. At least one movie in every year makes us to talk about the foods for that entire week. Like the Jon Favreau's last year's 'Chef', this is 2015's.
On this theme, movies are always quite similar, except subplots like family, friends and sometimes foods from the different part of the earth as well. This film was not that brilliant when it comes to innovation in the story. The same old chef who comes back strongly after losing everything to get a another star. So what makes this special is that the actors, everyone was awesome. Even in smaller parts, especially the lead one Bradley Cooper makes all the difference.
There was a twist, but it does not make us say wow. Definitely it was a bit fun, filled with some dark humours. The slow, dull storytelling was almost like a soulless product, but anyway, kind of it worked well due to the style of film setting that created to narrate it. Feels like in the many scenes, characters were intensely dragged in like the cameos, otherwise it would have been very plain. Overall, it's not a best food/chef movie I've ever seen, but very much watchable and enjoyable.
7/10

Primal Fear is a masterclass in tension, turning a courtroom drama into a high-stakes thriller under Gregory Hoblit’s sharp direction.
Then there’s Edward Norton, in his very first role, who makes such an impression it’s no surprise he went on to win over 15 awards including a Golden Globe for Best Supporting Actor. Playing Aaron, a timid altar boy with hidden depths. Richard Gere holds his own as the slick defense lawyer, Norton’s layered acting and the intense chemistry between them make this movie unforgettable.
Primal Fear goes beyond a typical courtroom drama, serving up suspense, stellar performances, and production.

I was never the greatest fan of Richard Gere, but this is certainly one of his better performances. He is cocky lawyer "Vail", adept at ensuring his criminal fraternity clients evade justice. When the shocking news that an archbishop has been savagely murdered is announced, he decides on a bit of pro-bono work to defend the young "Aaron" (Ed Norton) against the prosecuting skills of his ex-girlfriend "Janet" (Laura Linney). As the courtroom drama unfolds, though, we soon establish that there are undertones that call into question not just who did what to whom, but also the integrity of the victim and of many of his well-connected associates. The film belongs to Norton, though. As his character develops, with the assistance of probing psychologist "Molly" (Frances McDormand), we discover that there are quirks to his character that this actor delivers superbly. So much falls into place in the last ten minutes, or so, before a denouement that is both unexpected and perversely quite fitting. It is a bit too long, and takes maybe half an hour before it starts to simmer; but once the plot starts to advance in earnest, this becomes a superior crime thriller with twists, turns and strong performances throughout.

It's a society where humanity has been largely subsumed into a digital world; where cyborgs are a norm and where people are now, essentially, dependant on their own technology for just about all aspects of their survival. In this virtual environment, the "Puppet Master" is the kingpin of the criminal world. It knows that by accessing the minds of those connected to the internet, it can obtain lots of juicy information to facilitate a spree of lucrative and threatening crime. Our very thoughts and dreams are now susceptible - and so the government creates "Section 9". Their job is to reverse-engineer some of these hacks and to try and trace the mastermind before it becomes unstoppable. What now ensues is not the finest example of animation you will ever see - indeed some of the artistry is disappointingly basic and linear. What makes this work is a sold story that questions the very soul of what it is to be an human being. It probes what makes us, well, us... Our identity, our personality - all are vulnerable to manipulation here by something adept at capitalising on the flaws and failings of each of us. Once these flood gates are open, is it even possible to arrest it as global interconnectivity makes control nigh on impossible. There are emerging elements of apocalypse to the plot - but they serve to illustrate the dangers of walking into convenience eyes open, but not looking - and there's some potent dialogue here about our complicity in our what could potentially be our own downfall. Can we necessarily spot truth from fiction any more? What is real and what is not? It's not your typical animé, but it does get you thinking and is very much worth watching.

In the 1990s, Ray Kurzweil wrote about his "Singularity" theory - the future when man and computer are wholly merged. His predictions of AI are perhaps only now coming to fruit. This 1995 movie is the original Ghost In The Shell, which I finally watched. Mamoru Oshii's masterpiece, based on a manga by Shirow Masamune, is not only consistent with Singularity theory, but also remarkably prescient. This is the first film to broach the tough question of "what does it mean to be conscious?" in the context of AI (Artificial Intelligence).

Flushed with their success from 1987, our intrepid pair of investigators now find themselves embroiled in a cunning smuggling operation being run, they think, out of the diplomatically protected South African consulate. They think this because a previous raid revealed an hoard of Krugerrand and then "Murtaugh" (Danny Glover) and his family were quite unceremoniously warned to leave well alone. It's drugs that are the focus of their investigation but how is that getting converted into millions and millions of dollars and how is it to be got out of the USA? "Capt. Murphy" (Steve Kaplan) assigns him and his sparky cohort "Riggs" (Mel Gibson) to protect "Getz" (Joe Pesci) who might just have some clues, but he also has some great big targets on his back and it soon becomes quite a perilous detail. Meantime, the abominably smug "Rudd" (Joss Ackland) directs affairs from the safety of his mission so "Riggs", ever the unorthodox, decides the best way to bypass immunity is to seduce his secretary "Rika" (Patsy Kensit). With the body count mounting and the bullets flying, they have to get a move on before their quarry flees for good. I didn't think this was a patch on the first outing for these two. Despite a quietly menacing effort from Ackland, the rest of this is all really predictable and flat. Pesci is about as versatile as a chocolate fireguard and his constant stream of banal dialogue just sucked what little joy there was here for me out of the window. There simply isn't enough Glover and Gibson to keep it entertaining, and even though there are plenty of light-hearted action scenes it's all just gone a bit too old style "Starsky and Hutch". The writing has lost much of it's sharpness and originality and the cheeky, likeable, elements of "Riggs" character have been replaced by something more aggressive and less enjoyable. It's watchable, but already the franchise is beginning to look tired and repetitive.

"Lethal Weapon 2" has a generous selection of set piece action sequences which usually results in the wholesale destruction of property and all in the name of entertainment. These sequences have been exceptionally well executed and they certainly go towards further enlivening what is an already highly entertaining although not particularly memorable motion picture experience. A lot of the carefully constructed scripting used to establish exactly what is going on is all too eagerly disregarded in favour of the much lazier and undoubtedly the more crowd pleasing option of simply blowing things up or killing a lot of people just for the sake of it. Of course it would be nice if this wasn't always the more commonplace approach in a genre film such as this one.

Fun sequel with plenty of action and the teamwork between Gibson and Glover was great. Joe Pesci was fine but kind of got a bit annoying. Still highly entertaining all these years later.

A truly great sequel that expands upon the friendship that was born in the first picture.
Intrepid cop partners Riggs & Murtaugh are on the trail of South African diplomats who are using their diplomatic immunities to engage in criminal activities.
With the success of Lethal Weapon in 1987 it made common sense to follow it with a sequel. All the same elements were in place, cast, director and writers were all back for another slice of buddy buddy action bonanza. The only change of course is the villains, here represented by Joss Ackland & Derrick O'Connor's weasel South African bastardos. Joe Pesci enters the fray as the comical Leo Getz, a Federal Witness that the cop duo have to "babysit" till trial.
Right from the off the tone of the film is set as our ears split and our eyes get dazzled by a high speed car chase. Riggs & Murtaugh are in hot pursuit whilst exchanging a now customary difference of opinion as regards police work. We know they are mates and we know that Riggs is still the lethal weapon and Murtaugh is old school copper. So whilst there's nothing new in that the formula remains the same, the makers do flesh out the relationship more as the film progresses - with one or two scenes absolute gold dust as the boys' lives come under serious threat. We are now, in spite of the carnage that surrounds them, involved with them, yes, such is the charm of their relationship, we do care. It's good writing, regardless of the charges from some quarters that these films are nasty shallow excuses for making money...
It's fair to say that this is Gibson's movie, this is because it's written that way. Some of Riggs' back story is filled in and he even gets a love interest in the slender form of Patsy Kensit. Riggs cracks the jokes and does the outrageous mental stuff, while Glover's (still doing fine work in Gibson's shadow) Murtaugh continues to be the counter opposite, with some of the astute written sequences involving Murtaugh and the South African core of the story being excellently handled by Glover. Regardless of character development and nifty political observations, it's the action that dominates proceedings. Director Richard Donner has a wail of a time putting the cast through their paces. There's explosions, fights, shoot-outs, more high speed pursuits, and on it goes till we get to the finale, and it's a potential cliffhanger one too.
Two more inferior sequels would follow, all of which still made serious money, but this serves notice of the last time that all the elements came together successfully. A stylish Hollywood action comedy with two impressionable lead actors providing a lesson in on screen chemistry success. 7.5/10

"The Return of Jafar" was a disappointment compared to the first film, with one of the major letdowns being Robin Williams not reprising his role as the genie, which was a significant drawback for the franchise.
While I appreciated the continuation of the story and the return of beloved characters, particularly Aladdin, the film fell short in terms of animation quality and overall execution. It felt rushed and lacking the polish and detail that would have elevated it to the level of a new animated classic.
Despite these flaws, I did find some enjoyment in the film and appreciated the effort to continue the story. However, I couldn't shake the feeling that it needed more depth and attention to detail to truly capture and hold the audience's attention.

Not a fan really of the this movie. Mainly because no one can play the genie like Robin Williams can. I found the genie to be pretty annoying in this movie. And he's my favorite character. So that says something.

In September 1939, six days after Britain declared war on Nazi Germany, Charlie Chaplin began filming his next feature. Drawing on the public perception of the similarities between himself and Adolf Hitler - not just his toothbrush moustache but also their upbringings - Chaplin sought to directly parody and attack the German führer and fascism.
In _The Great Dictator_, Adenoid Hynkel (Chaplin) rules Tomania and sets about his conquest of the world. In doing so, he persecutes Jewish people, including a former veteran of World War I who is now a barber (also Chaplin).
Unsurprisingly, the film was a hit on release, resonating well with the anti-Nazi sentiment in both American and British public. Chaplin understood that delivering his political message was so important that he forewent his usual desire for a silent film in order to get his message across.
Sound is used to great effect in _The Great Dictator_. By studying many of Hitler's speeches, Chaplin was able to create a ludicrous, yet believable, gibberish parody of the Nazi leader's oratory style.
Of course, the physical comedy remains, typically reserved for the barber (who may or may not be Chaplin's silent hero, The Tramp). This combination of physical comedy and irreverent one liners together makes the film feel like a very early Carry On.
While _The Great Dictator_ remains arguably Chaplin's best "talkie", it often feels like it is the end of Chaplin's era of classical pantomime. People being hit on the head with a saucepan comes across as a cheap laugh and it is often the verbal jokes that are the cleverest. Overall the comedy has not aged well.
But _The Great Dictator_ was never designed for longevity. It was perfect propaganda for the Allies, released at a perfect point in the War. For that reason, The Great Dictator can only be judged in the context of its release.

Improves upon the first film, which is a rather impressive feat.
I felt thoroughly entertained throughout this. I do like Jason Statham films admittedly, sure he plays very similar roles each time but I find myself enjoying the vast majority of his work. 'Mechanic: Resurrection' is no different.
Statham is excellent as he reprises Bishop. I rate his performance, just like in 'The Mechanic'. I find what Bishop encounters in this film much more riveting than what happens in the 2011 production, it's class watching him go piece by piece; even if you have a fair idea what's going to happen.
The aforementioned lead is notably joined by Tommy Lee Jones (Adams), Jessica Alba (Gina) and Michelle Yeoh (Mei). The latter two are unfortunately pretty basic characters, but Jones is very good in his role - I love the look and behaviour of Adams, entirely thanks to the actor himself. Sam Hazeldine (Crain) isn't a great villain, mind... kinda dull in fact.
I always enjoy seeing films travel the world, as this visits numerous countries including Brazil, Malaysia, Australia and Bulgaria - it allows the story to feel global, as opposed to being limited to a random American state. I like the music, also.
This beats its predecessor, which I did enjoy by the way. I'm not saying it is anything incredible, or even one of Statham's best, but all I can state is that I had a fun time.

A sequel that no one asked for, the first one was alright but didn't even stand out by Statham standards. The sequel isn't quite as 'alright', a bit sloppily put together and not very well thought of but if you liked the original and Statham in general it's still watchable.
5.5/10

**Falling in love is a trap, but some men risk everything for it.**
This is an unexpected sequel. Actually, I was looking for other sequels from Statham's filmography, particularly the third 'Crank'. I think the idea of going for it was good and the film was not that bad, if your purpose of a watch is time pass. The story was so bad, but the filmmaking was excellent. Because it was made by a renowned German director. Only if he had got a better script, the outcome would have been different. So it's the actors and the director makes it watchable. Other than that, this film falls into the average category.
The story follows after Arthur Bishop was found living in Brasil by some people who know him. Then he narrowly escapes from there and lands in Southeast Asia, where he meets Gina, a woman struggling from domestic violence. But he soon discovers that's a setup. After she was taken captive by an international criminal, now he has to follow his instruction to set her free. So the action begins where he takes a series of missions across the globe and how it all ends follows in the rest of the narration,
It's good to see Jason Statham back to his signature role. This is what he's good at. Even if the story is not good, that's okay, because Statham's presence is a very comfortable to watch without any trouble. Jessica Alba as well, I haven't seen her in any major hit film at the recent time. Even though the film was received below average, it kind of puts them both back on the track.
Definitely they both needed this breakthrough. There's a third film is coming, it's not official yet, but the conclusion was a hint where Tommy Lee Jones can be seen in an important role in the next part. You won't like this film, but surely enjoy it if you are a Statham's fan, that's the only reason to go for it.
_6/10_

British badass Jason Statham is back and doing what he does best: kicking butt and taking targeted names in the process. The veteran action star is out for more blood in the labored sequel **Mechanic: Resurrection**. The trouble, however, is that fist-swinging wrecking ball Statham’s taste for boisterous blood in his latest toothless and meandering globe-trotting caper may be in desperate need of a transfusion. Woefully repetitive, aimless, strained and riddled with formulaic sharp-shooting shenanigans, **Mechanic: Resurrection** is yet another bombastic Bond knock-off that synthetically strut its stuff in stunt-driven oblivion. The majority of Statham fans may find this latest installment of **Mechanic** worth tinkering with due to its kinetic action-pack parts in motion with its stylish bald-headed anti-hero at the helm of voyeuristic mayhem. Still, for others the excitable human bullet factor routine that the aging Statham has perfected in his past furious film exploits (read: “The Transporter” film series in particular) is getting long in the tooth as **Mechanic: Resurrection** is yet another familiar and feisty vehicle that the punishing tough guy has predictably driven before.
**Resurrection** is the follow-up to the 2011 blueprint _The Mechanic_ where Statham portrayed a stone-faced iron man “gun-for-hire” whose mission is to travel the world while eradicating high-profiled baddies–a specialty that he mechanically and skillfully carries out with polished precision. Naturally Statham’s charged take as the combative assassin is based upon the 1972 flick _The Mechanic_ featuring the late great gravel-faced action icon Charles Bronson who was no stranger to vigilante-style cinema. Statham’s “take-no-prisoners” approach as the hardened terminator Arthur Bishop is definitely inspired when the English acrobatic avenger is summoned to brandish exotic weaponry, engage in calculating yet cockeyed ways to utilize boobytraps to exterminate his assigned targets and find time to occasionally court the hot chicks that dig his masculine, mischievous charm. No doubt that Statham’s blue-collar Bishop tries to echo the eye-popping sentiments of the aforementioned Bond’s debonair endeavors in intrigue, over-the-top villains, lavish locales and luscious ladies. As for watching the five decade-old adventurous James Bond it feels like an excitable surreal vacation laced with imaginative dare and danger. In witnessing Statham’s stiffened and procedural Arthur Bishop it seems somewhat like an assigned chore in chronicling the gadget-loving gumption of this action-oriented covert clone.
Sure, **Mechanic: Resurrection** derives its occasional chilly appeal from the scenic locations that allows the athletic Bishop to bounce around the globe on an elaborated whim. Plus, some may get an aesthetic rise out of the choreographed in-your-face confrontational fights and showy staged daredevil stunts that feature Bishop’s physical prowess. This is all well and good but the dubious dalliances and action-oriented swaggering that is demonstrated by Statham’s bone-crushing Bishop is rather uneventful and recycled. Unfortunately, **Resurrection** refuses to allow Statham any flexible growth or depth to differentiate his caustic characterization or the high-wire dilemmas beyond the previous antics regurgitated from his earlier copycat fare as _Crank_, _The Bank Job_ and yes…the obvious mention of _The Transporter_ series.
Hit man Arthur Bishop is basking in the scenic Rio de Janeiro surroundings in hopes of drowning out his deadly duties from yesteryear. Soon, Bishop’s wake-up call to resume his treacherous trade in taking out toxic targets is encouraged by his archenemy in warped businessman Riah Crain (Sam Hazeldine). Specifically, Crain wants Bishop to assassinate three persons of interest in particular that has him roaming three different continents. Bishop is not too receptive to getting back in “the grusome game” but of course the crooked Crain has a twisted way of convincing him otherwise. The critical key to changing a reluctant Bishop’s mind was to hit him where is heart hurts…that is, abduct his gorgeous girlfriend Gina (Jessica Alba from “Sin City”).
Holding Gina captive clearly gives Crain the upper hand to urge the beleaguered Bishop to return to the fatalistic fold of his poisonous profession–wiping out the assigned undesirables while making it look like accidental incidents. Thus, Bishop puts on his traveling shoes as he hunts down an imprisoned African warlord, an Australian human trafficker and finally a Bulgaria-based arms dealer Max Adams (Oscar winner Tommy Lee Jones). If and when Bishop delivers his three kills for the ruthless Crain then Gina’s release is assured. It is a no-brainer that Bishop wants to ensure the safety of the exotic beauty Gina.
Alba’s Gina is not the only lovely lady that is attached to Bishop’s hip affectionately. In Thailand, Bishop manages to catch up with another cute bombshell in buddy Mei (martial arts goddess Michelle Yeoh wasted in a transparent role), an innkeeper that worries about her friend’s worldly welfare. Curiously, German director Dennis Gansel’s decision not to give the desirable ageless Asian actress anything to do constructive in this by-the-numbers actioner besides providing sideline concern for Statham’s Bishop is inexcusable. Why not play to Yeoh’s cinematic strengths as a karate-kicking cutie pie with a deadly disposition…you know, what movie audiences have come to expect and cherish about the beautiful Malaysian performer’s film-related credibility? The 1997 Bond film _Tomorrow Never Dies_ effectively used the curvaceous Yeoh to compliment Pierce Brosnan’s Agent 007 so Gansel could not oblige her more on-screen activity with the robotic Statham?
Of course any Statham-oriented movie would not be complete without the arbitrary display of colorful explosions, glorified chases, exaggerated gunplay and a no-nonsense Bishop predictably flexing his acrobatic leaping, climbing, swimming and fighting muscles as if he was participating in his own self-indulgent Olympic games. There is no real rhyme or reason behind Mechanic: Resurrection other than to revisit the nostalgic relevance of Statham’s left-over box office heft from yesteryear. Perhaps the proven off-kilter spark that Statham generated in the Melissa McCarthy well-received espionage laugher _Spy_ could have been injected in this gimmicky and pointless pot-boiler that has all the succulent juices of a dried-up meatloaf. All the challenging stunt work and exquisite locations cannot excuse the lack of lubrication that Mechanic desires in its insipid, loud execution.
There is not much to chew on the bone concerning the so-called return of Statham’s harried hit man that constitutes round two of another dazzling but dense **Mechanic** offering. Alba’s distressed diva is nothing more than stand-by eye candy and the convenient motivating factor for Statham’s/Bishop’s worldwide witch-hunt. Hazeldine’s Crain barely passes muster as a second-rate Bond villain left on the cutting room floor. Jones, who has played wacky villains in the past, merely going through the tiresome motions as pseudo-flashy Max Adams with off-the-cuff irreverence.
Perhaps Arthur Bishop’s glossy gadgets could prevent an unwelcoming third edition of another **Mechanic** entry from blasting away in boorish fashion?
**Mechanic: Resurrection** (2016)
Summit Entertainment
1 hr. 50 mins.
Starring: Jason Statham, Jessica Alba, Tommy Lee Jones, Sam Hazeldine, Michelle Yeoh, Natalie Burn, Yayaying Rhatha Phongam
Directed by: Dennis Gansel
MPAA Rating: R
Genre: Action and Adventure/Suspense Thriller/International Crime Drama
Critic’s rating: * 1/2 stars (out of 4 stars)
(c) **Frank Ochieng** 2016