Given the megalomaniacs the poor "Minions" have had to work with over the years, it's not really surprising they are a bit flaky! Now, though, they are also rudderless. They have no guiding light. They have to find someone so dastardly to be worthy of their loyalty - but whom? Well, "Kevin", "Stuart" and baby "Bob" find are determined to settle this, and so are easy prey for the scheming "Scarlet Overkill" who has plans to commit the mother of all crimes. Not since George Zucco tried it in 1939 has anyone ever tried to steal the Crown Jewels from the Tower of London. She's tired of playing second fiddle to the men in the criminal fraternity but can her diminutive yellow henchmen facilitate her way to the Queen's throne itself. Loads of daft escapades and some duplicity later things come to an head with Beefeaters, a dungeon, dinky police cars and a good soundtrack to accompany their adventures. It's quite good fun, this, with loads of quickly paced action and some quite wittily scripted scenarios keeping ninety minutes of goggle-eyed action worth watching. The garbled baby-squeak does grate after a while but this is clearly just an introductory means to an end, this film, as the denouement shouts sequel at us and we meet a true nemesis of the law-abiding world.

Funny movie, but I thought it was kind of dumb. The minions did make me laugh a lot but the movie itself I just didn't like that much.

I enjoyed it a lot with my nephews. It's a fun family movie to watch with young'uns and there are some adult flavored jokes here and there.

a nice idea and the animation.the new thing in animation field.a movie that every one should like an kid or old man.

The minions are a nice idea and the animation and London recreation is really good, but that's about it.
The script is boring and the jokes not really funny.

Slumdog Millionaire is one of those movies that really sticks with you. It follows Jamal, a kid from the slums of Mumbai. Watching him go through so much and still come out with hope makes it pretty powerful.
The movie does a great job showing the reality of life for kids in poverty but doesn’t feel like it’s trying to preach. Director Danny Boyle keeps things moving with a fast pace, and the mix of tension, humor, and drama keeps you hooked. The visuals are great too, showing all sides of Mumbai, from the city to the harshness of life in the slums.
Overall, Slumdog Millionaire is a must-watch. It’s raw, emotional, and, at the end of the day, it’s a story about resilience and hope. Perfect for when you want a movie that hits hard but leaves you feeling uplifted.

Dev Patel is great here as "Jamal", a young man from the Mumbai slums who shot to fame by winning the first ever jackpot on the Indian version of "Who Wants to be a Millionaire?" only to be accused of cheating. It's not an unreasonable allegation - this lad comes from a background that suggests little, if any, education and yet he is answering some tough questions that, theoretically, he should not know the answers too. It's during this (actually quite brutal) interrogation, which is interspersed with flashback and with each round of the television quiz, that we discover a little of the childhood and upbringing of this young man and about how he has amassed the knowledge to, legitimately, get the answers correct. It's a story about humanity and decency, this - and the ensemble cast, especially the street urchins, help to deliver an authentic glimpse at not just the poverty in which they lived, but of their sense of community and loyalty to each other as they grew up together. Now there's no point in pretending that the writing is great - it isn't. It's doesn't really allow for any in-depth character development. Somehow, though, Patel's sheer screen presence and optimism, coupled with the overall style of the film cover up for that more than adequately leaving us with a solidly entertaining, occasionally thought-provoking, rags-to-riches story that I suspect many people can readily identify with. It's a bit too long, and maybe the romantic elements could have been ditched, but all told it's still well worth watching.

**John Wick has everything an action movie needs.**
The combat scenes are masterfully choreographed, without those shaky camera moves that most films of the genre love to do. We also have glorious kills, without having to appeal to unnecessary gore.
The plot of this one is a direct sequel to the previous movie - which, eventually, is important to the development of this trama. The characters are great and well-made, mainly Sofia, whom I particularly loved - the movie not only emphasizes her, but her dogs either. And we cannot forget Keanu Reeves, that lives the protagonist and make the scenes in such an organic way - capitally at his age. Dude was just born to this role.
_Originally reviewed on Aug 23, 2019._

Another action packed movie. He's kicking a lot of butte and getting his butte kicked a lot too. Good movie.

Ummmm, wait a minute, what just happened? Where's the cool? Why are all the bad guys comical and unthreatening? What happened to the addictive world-building nuance? Nonstop action isn't a story, it's just a long scene. You need lulls in the action for it to have impact and interest. Driving at two hundred miles an hour along a never-ending straight road is just boring. Please let chapter four revert back to what we love about this world.

How much smashed glass is too much smashed glass? Asking for a friend...
'John Wick: Chapter 3 - Parabellum' is my favourite of the three films from the franchise thus far. It's longer than any of the preceding two, yet I found the pacing in this one to be absolutely spot on. Apart from that, and one or two other things, it is similar to its two predecessors - and that's most definitely a major positive. The look of the films are stunning.
The manic fight scenes remain just as entertaining as before, though I feel like here there's more creativity in using the enviroment around the characters - e.g. with the dogs. It felt like more of the fights had a start/end, whereas before it seemed all rolled into one - to me, anyway. Not that the latter is a bad thing, mind.
This entry I think has my favourite scene of the entire franchise, and it's the near the beginning with Reeves' John and Randall Duk Kim's Doctor. So well shot and edited, made me laugh too! There are many good moments in these films, but that's the standout for me.
Class again is Keanu Reeves, I have nothing more to add to what I've said previously - perfect actor for the role. Elsewhere, cool to have Ian McShane and Laurence Fishburne again, while newcomers Halle Berry, Mark Dacascos and Asia Kate Dillon are all pleasing additions to the series.
There isn't a major gap in-between these films in my mind. I gave the other two 8/10 ratings, but this 2019 release is only narrowly ahead of the flicks from 2014 and 2017. More importantly, though, the franchise as a whole is great fun. Bring on 4 & 5 - and that Berry spin-off, heck gimme the 'Nobody' crossover!

John Wick: Chapter 3 - Parabellum picks up right where the sequel left off, with Wick being excommunicated from the assassin underworld. The bounty is set at $14 million and Wick has an hour to escape the city before his former associates come to collect.
While the plot might not be as strong as the sequel, it continues the same story points seamlessly. This film feels more like a continuation of larger narrative spanning across franchise, rather than separate semi-connected story like the first two. This film is bigger than the last, with vast and diverse landscapes for Wick to create havoc in. The lore of world is expanded showing us more of the assassin leadership and how the chain of command works. All of the new additional characters worked well and were integrated into the story perfectly.
The action is picked up a notch, creating some of the craziest sequences I have ever seen on the screen. The fight inside of the knife shop was insane, it left me with my mouth literally dropping to the floor. It is one of my favorite action sequences in any film. One thing I particularly liked is the sense of desperation and isolation that surrounds our main character. We see John Wick tested to the extremes, pushing the boundaries resulting in creative stunts and tactics to fight off multiple assassins at a time. It was really fantastic. The cinematography was incredible here as well. This film shows that with good choreography and a wide shot, you can create gripping scenes that do not require fifteen different jump cuts. The motorcycle chase has got to be one of the most breathtaking and seamless action sequences I have ever seen.
The acting quality sees a significant increase in quality when compared to the first two entries. Keanu Reeves is still Keanu Reeves, delivering a fairly cheesy and awkward performance, but that is what you come to expect and cherish about this franchise. The addition of Halle Berry and Asia Dillon were fantastic as the both added some serious dramatic acting beats that raised the quality of the film immensely. Berry and Wick had some great chemistry together.
Overall, this film is excellent and if each entry can build upon the last like history has shown, the sky is the limit for this franchise.
Score: 87%
Verdict: Excellent

Part of me wants to pretend that I couldn't find the paper thin plot of the film and rag on it for a complete and total lack of story... but I could follow what little of a plot there was so that would be kind of disingenuous.
Not only that, but it would also be pretending that I didn't know what kind of movie this was when I sat down with my wife to watch it. And, honestly, I can't stand the reviews that take a John Wick film and pretend that they expected something like Chinatown walking in.
You know the ones I'm talking about, those reviews that lament the fact that they got a brainless action movie when they sat down to watch a brainless action movie.
If I said "I'm not that deep" I'd be giving them too much credit. So rather than saying that, I'm going to say that, when I sat down to watch it, I didn't lie to myself and pretend it was going to be anything more than a John Wick film.
What you have is sleek, beautifully choreographed action brought to you in the most brutal of ways and delivered in a form that requires you to suspend your disbelief because it is just the right amount of totally unrealistic.
Does it have a plot? Yeah, but not really. It has just enough of a plot to make a loose story and not so much that it would get in the way of what was promised to be carnage candy.
And, honestly, carnage candy is the promise that the John Wick people gave us and nothing more... and each installment of the franchise delivers on that promise. It never, ever, claims that it is anything more than an action film, and it never, ever pretends to be anything deeper.
It isn't a great film. It never claims to be. But it is a great action film, so you have to take it for what it is.

It's got the curse of the third movie, this - the script has been almost totally sacrificed for the imagery (which for the first 20 minutes is actually quite stunning). The fight scenes seem to go on and on well beyond the point where even Arnie would have been killed. Ian McShane is as wooden as usual; though this time we had (and missed) the chance to lock him in a huge safe. Laurence Fishburne brings a little gravitas to this, but otherwise it's just well beyond the pale, sorry.

Let’s make one thing perfectly clear. This is a movie you watch for the action and not much less. But then, that not really a surprise is it?
The movie takes off literally minutes after the last one ended. John Wick is on the run and that’s the story for most of the movie. Well, not entirely. He does have a plan but first he has to escape the many assassins trying to cash in the 14 million dollar bounty on his head.
This movie is all about action. The movie is R-rated although I honestly do not understand why. Sure there’s lot of action and a lot of killing but still, I wouldn’t say it merits an R-rating and apparently the French ratings organisation didn’t either since here in France it France it got a 12+ rating. That is, it is only restricted for those younger than 12 years.
Anyway, as I wrote above, this movie is all about Keanu Reeves and action. Lots and lots of action which usually ends up in one or more persons getting killed by John or some of his remaining friends.
Is the story and the action realistic? Hell no! But it is fun to watch even though most of the bad guys shoots as accurately as imperial storm troopers. Most of the time at least.
Towards the end I did think it got a bit silly. The fight against Zero and his last two students was pretty rubbish. It was kind of kick, hack and slash for a few minutes and then stand of and wait until the other guy got up again. Then rinse and repeat. Silly indeed.
Also, they could really tone down on the ludicrous survivability of John Wick. I mean, come on! He gets hit by cars and walks away. Not to mention the final scene were he falls something like six seven floors, bounces (and I mean bounces!) off a fire escape and a trash container and apparently survives.
I probably should rate the movie a star less for that kind of stuff but I wont. This is something as refreshing as a Hollywood movie apparently meant to entertain and nothing else. There’s really no political or social preaching or any other such nonsense which is really rare today. That alone gives it a few extra stars in my book.
The movie has a 7.7 rating on IMDb at the time of writing this which is well deserved, even a bit low. Even the rubbish SJW site Rotten Tomatoes claims the movie is “fresh” which is surprising given what I wrote above.
Of course there is a whole bunch of “reviews” that claims it is so bad and so on and so forth. Some of these reviews are actually repeated several times. That really pisses me off since these people seem to write reviews just to complain. It’s the third movie in the Franchise for Christ sake! You knew what you were getting yourself into. Don’t watch the movie if you do not like these kind of movies. Claiming there is no story is bullshit since the first one didn’t really have much more story but then the concept was bit more new of course. Some “reviewer” claimed it was the worst movie he had ever seen. He cannot have seen many movies then. What a load och bollocks!
Bottom line, this was two hours of great entertainment.

**_The franchise keeps getting better_**
>_Igitur qui desiderat pacem, praeparet bellum._
- Publius Flavius Vegetius Renatus; _De re militari_ (4th or 5th century AD)
>_It wasn't just a puppy._
- John Wick (21st century AD)
Directed by stuntmen turned directors Chad Stahelski and David Leitch, and written by Derek Kolstad, the original _John Wick_ (2014) was something of a sleeper hit, earning almost $90 million against a $20 million budget. The 2017 sequel, however, was a bona fide blockbuster, earning $171 million against a $40 million budget. And now we have _John Wick: Chapt__er 3 - Parabellum_, which has maintained the franchise's monetary trajectory, earning $230 million against a $75 million budget. Indeed, _Parabellum_ earned more in its opening weekend in North America ($57 million) than the original did in its entire North American theatrical run ($43 million). The three films were also critical successes, and have come to form the basis for the "Wickiverse"; an expanded universe that includes the forthcoming _Chapter 4_, a spin-off prequel film (_Ballerina_), a TV show (_The Continental_), and two video games (_John Wick Chronicles_ and _John Wick Hex_).
Not bad for a franchise that began life as a story about a guy getting revenge on the thugs who killed his puppy.
Except, of course, it wasn't just a puppy.
With Stahelski back in the director's chair for the third time, and with a script by Kolstad, Shay Hatten, Chris Collins, and Marc Abrams, as with the previous films, _Parabellum_ is built on the foundation of Sir Keanu of Reeves's zen-like stoicism, a quality he can deploy to make a violent swordfight look about as stressful as sleeping on silk linen with "Fur Elise" playing in the background and a cat gently purring on the pillow beside you. And although this third entry in the franchise does flirt with a few themes amidst the mayhem (honour, fealty, destiny), it's not trying to be something it isn't, well aware of its own identity as a completely over-the-top orgy of violence. This is a world wherein even the most innocuous of items can be rendered lethal, and where the endless deaths by gun, knife, fist, dog, horse, motorbike, sword, pencil, and book of 18th century Russian folklore, are so excessive as to transcend any possible accusations of irresponsibility or glorification of violence. In short, the film leans into its status as basically a live-action episode of _Itchy and Scratchy_. Sure, it can become a little repetitive at times, and there's next to no plot or character development, so if you want to be reductionist, you could argue that it essentially gives us more of the same, except bigger, louder, and more elaborate. But that's to ignore how aesthetically accomplished it is, how funny it is, how compelling it is, and how unapologetically entertaining it is.
Beginning only moments after _Chapter 2_ and about a week after _Chapter 1_ (it's easy to overlook the fact that the three _John Wick_ films span two or three weeks at most), _Parabellum_ opens with legendary assassin John Wick (Reeves) attempting to flee New York. Although known as the only assassin ever to have successfully retired from the Assassins' Guild, Wick was pulled back in when the puppy his dead wife Helen (Bridget Moynahan) left him was killed by Iosef Tarasov (Alfie Allen), son of powerful Bratva mobster Viggo Tarasov (the late great Michael Nyqvist). Having killed both Tarasovs, Wick's mission of vengeance ultimately led him to kill Santino D'Antonio (Riccardo Scamarcio), the Camorra crimelord who helped Wick retire several years prior. D'Antonio was a newly elected member of the High Table (the ruling body of the Guild, the members of which are considered off limits), and to make matters worse, Wick killed him on the grounds of the Continental Hotel (an assassins' hub in which violence is strictly prohibited). Declared "excommunicado" by the Table, and with a $14 million bounty on his head, Wick's friend and Continental manager Winston (Ian McShane) gives him one hour's grace before the contract goes live.
Meanwhile, the High Table dispatch an Adjudicator (an eerily calm Asia Kate Dillon) to look into the unsanctioned help given to Wick by Winston, Continental concierge Charon (Lance Reddick), and the Bowery King (Laurence Fishburne), the leader of a group of vagrant assassins. Chiding them for helping Wick, the Adjudicator gives them seven days to either resign their positions or face the consequences. To lead the pursuit of Wick, she hires Zero (a scene-stealing Mark Dacascos), a highly-skilled assassin (and part-time sushi chef), who hates guns and is a huge fanboy of Wick. With every assassin on the planet hunting him, Wick's travels bring him into contact with a litany of underworld characters - there's The Director (Angelica Huston), a former assassin who trained Wick and who currently runs a ballet academy; Sofia (Halle Berry), the manager of the Casablanca Continental, and an old friend who owes Wick a marker after he successfully hid her daughter away from the Guild; Berrada (Jerome Flynn), the assassins' Master of Coin and a member of the High Table; The Elder (Saïd Taghmaoui), the only person above the Table, and who Wick hopes may be able to clear the bounty; the Tick Tock Man (Jason Mantzoukas), an associate of the Bowery King; two of Zero's pupils (Cecep Arif Rahman and Yayan Ruhian), who insist on fighting with honour at all times; and Ernest (Boban Marjanović), a towering assassin and Dante Alighieri aficionado.
Okay, first things first, _Parabellum_ looks absolutely gorgeous. I mean really, really gorgeous. _Chapter 1_ and _Chapter 2_ both looked great, but _Parabellum_ is in another class altogether and is genuinely one of the best looking films I've seen all year. Part of the reason the film looks so good is the symbiosis between the various component parts of the aesthetic - the lush cinematography by Dan Laustsen (_Le pacte des loups_; _The League of Extraordinary Gentlemen_; _The Shape of Water_); the busy production design and complementary art direction by Kevin Kavanaugh (_The Dark Knight Rises_; _Nightcrawler_; _Only the Brave_) and Chris Shriver (_The Lovely Bones_; _The Wolf of Wall Street_; _Ocean's Eight_), respectively; the relatively slow editing by Evan Schiff (_Everly_; _Revolt_; _Proud Mary_); and the complex sound design by Martyn Zub (_Ghost in the Shell_; _Deadpool 2_; _Velvet Buzzsaw_). Everything looks and sounds amazing, working in immersive harmony to ensure the action grabs the viewer's attention and doesn't let go. The first half of the film, which takes place at night in New York, and is essentially one long almost real-time scene, is rain-soaked and bathed in glorious neon (mainly blues, greens, and reds), which reflect off the wetness on the road and bounce back towards their source, creating a dazzling display of light. When Wick nips inside a store, the vibrant colours are pulled out completely, with the brown of the store's walls and cabinets coming to dominate, so when he heads back outside, the richness of the palette really pops. The Moroccan section of the film is predominately gold, brown, and yellow, creating a sense of serenity that contrasts nicely with the hyperactive tone of the New York scenes which surround it.
In terms of the action, the film's opening scene sets the bar insanely high – a deadly fight in a library. The visceral brutality of this scene is emphasised both visually and aurally; when someone gets slammed against a wall or has a hardback book driven into their skull, you really feel the thump on the soundtrack, whilst the close-quarters nature of the combat makes for interesting shot compositions and editing rhythms (as does the fact that Wick is fighting someone over a foot taller than himself). The nature of the fight also leads to some inventive uses of the _mise en scène_, as the combatants are forced to improvise.
In this sense, I was reminded very much of Gareth Evans's _The Raid_ and _The Raid 2_, (the presence of Rahman and Ruhian, who played villains in the first _Raid_ film, cannot be a coincidence). These two films effectively redefined action cinema by shunning the frenetic editing that had become the norm over the previous decade, instead employing longer takes that showcased the performers' physicality. You know that seizure-inducing scene in Pierre Morel's _Taken_ (2008) when Bryan Mills (Liam Neeson) jumps a fence, and there are literally 15 cuts in five seconds? There's none of that in _Parabellum_, with the editing altogether calmer, allowing the audience to focus on the organic progression of the ballet-like hand-to-hand combat, creating what can only be described as a symphony of excessive violence. With Jonathan Eusebio's magnificent choreography paying homage to everyone from Harold Lloyd to Buster Keaton to Andrei Tarkovsky (seriously), _Parabellum_ doesn't just give us rote action scenes, it gives us immersive works of performance art.
However, to say that the editing is rhythmic and slower than most action movies is not to say that the film is laid back. It isn't, and it includes any number of scenes that really shouldn't work, so batshit insane are they. There's the initial library fight where books become as deadly as knives; a scrap that takes place in an antique knife shop, where Wick and his opponents only realise that they're surrounded by literally hundreds of knives when they run out of ammo; a horse versus motorbike gauntlet (with swords) on the Verrazzano-Narrows Bridge that has more than a passing resemblance to a similar scene in Jung Byung-gil's magisterial _Aknyeo_ (2017); an aborted confrontation in Grand Central Terminal (damn girl scouts); a huge to-do in a Moroccan bizarre involving two people and two dogs against a legion of hired thugs; an old-fashioned shootout in the Continental as Wick and Charon face down the Adjudicator's team; and a climactic gunfight cum sword fight in a room made entirely of glass. Subtle it isn't. Entertaining it most certainly is. And the fact that the film can pull off such ludicrous scenes without becoming a parody of itself is as good a testament to the craft on display as anything could be.
Both previous _Wick_ films have been said to resemble video games in their visual design, although Stahelski has stated that this wasn't a conscious decision, as he has never played a video game. Conscious or not, _Parabellum_ is even more indebted to video games than the previous films, not just in its aesthetic, but in some of its narrative beats. For example, each fight is harder than the last (i.e., the difficulty level is increasing), with a few boss fights thrown in for good measure. A scene in a stable where Wick uses a horse to take out two thugs is essentially an environmental assassination straight out of the _Hitman_ franchise (and Wick dresses a lot like Agent 47 too). There's a single driving level (there's always a single driving level), and a non-combat level where Wick must reach his destination before dehydrating. To make it to the final battle, Wick must face down a platoon of heavily armoured soldiers, each of whom requires multiple hits before going down, whilst Wick himself has to pause at one point for a weapon upgrade. Then we have a mini-boss fight, followed by the real boss fight against Zero. The narrative is literally structured like a video game, and has a similarly insane kill ratio to the previous films (he killed around 80 in _Chapter 1_, about 130 in _Chapter 2_, and 94 in _Parabellum_). And this is not a criticism. On the contrary, part of the film's charm is its resemblance to a violent, hyper-stylized, morally questionable video game in which one must kill waves of faceless opponents à la _Doom_ (1993), _Manhunt_ (2003), or _Grand Theft Auto: San Andreas_ (2004).
In terms of the acting, a good way to approach it is to ask, who looks at a library book and thinks, "_I could kill someone with this_"? The answer, of course, is John Wick. And the fact that we go along with such insanity is a testament to both the film itself and Reeves's performance, which grounds even the most ridiculous of scenes, taking everything in his stride as if it's the most normal thing in the world. His serene monotone delivery is also responsible for easily the funniest moment of the franchise thus far. When a thug shoots one of Sofia's dogs (don't worry, it's a non-fatal hit), she goes ballistic, laying waste to everyone around her, despite knowing that there could be serious consequences. Looking at Wick, she points out, by way of explanation/apology, "_he shot my dog_." To which Wick replies, in that half-asleep and still stoned from the night before surfer-dude voice of Keanu Reeves, "_I get it_". That line prompted a few people to applaud at the screening I attended. Of course he gets it. And so do we.
One of the reasons the original film stood out so much was the subtle brilliance of Kolstad's world-building. It wasn't just a movie about a former assassin being pulled back into the trade. Instead, Kolstad created a fascinating underworld featuring an international Assassin's Guild, a hotel for assassins in which violence is prohibited, and even an assassins' currency. In _Chapter 2_, he expanded this further, introducing the person who helped Wick retire, the High Table as the governing body of the Guild, blood markers, and the Bowery King, who seems to operate slightly outside the purview of the Table. _Parabellum_ continues the expansion, introducing the person who trained Wick, the ballet school, the master of coin, the Elder, the adjudication process, excommunication, and deconsecration (when a hub such as the Continental is declared no longer a safe space and no longer protected by the Table). The mythology has deepened with each film, and the fact that it has so many religious overtones drives home the sense of old-world ideologies being applied to people who must be ultra-modern in how they conduct themselves.
Are there some problems? Well, any film this violent is going to have immediate detractors, who will oftentimes speak out against the film without actually seeing it, and of course, there will be cries of "_Hollywood preaches against the 2nd Amendment but then makes movies celebrating the destructive power of guns_." Fair point. But the thing is, the movie doesn't take itself too seriously, nor does it expect the audience to, so the question of its irresponsibility when it comes to violence is kind of a moot point. Of course it's irresponsibly violent. It's supposed to be irresponsibly violent. Does it treat guns and knives fetishistically? Yes, to a certain extent it does. But is it celebrating guns and violence in a realistic socio-political manner? No, not in the slightest.
Having said that, there is a sense in which the violence in the film does come across as meaningless, insofar as it doesn't seem to have any practical ramifications for any of the main characters. John Wick has literally killed over 300 people in the course of a few weeks, but there's not a hint of any kind of psychological consequence. Related to the disassociation that presenting violence like this can have, there's the problem that simply by virtue of logistics, almost all of Wick's opponents are nameless and faceless extras, anonymous hordes there to be killed. Indeed, at one point, Wick is literally pursued by two busloads of such villains (a bit of meta-commentary on the genre, which I personally thought was hilarious). The one criticism that I would definitely echo is that the structure of the narrative is a little awkward, and on several occasions, actions and decisions reached over the course of multiple scenes are simply undone just a couple of scenes later. However, this is a _John Wick_ film, not a Marcel Proust novel. The narrative structure is not really where your attention is supposed to be.
Generally speaking, I don't do blockbusters. I just don't like them, and can rarely get anything from them. I consider the medium of film to be an art form before it is entertainment, and I approach every film from that perspective. But attempting to parse a summer blockbuster in this manner doesn't tend to yield much in the way of interesting analysis. Nevertheless, every year, there are one or two blockbusters that I will go to see. The first such example this year is _John Wick: Chapter 3 – Parabellum_. And I absolutely loved it. Easily the best in the franchise thus far, it's more ambitious, more ridiculous, more violent, and more entertaining than its predecessors. It's also funnier, and the Wickiverse continues to provide a fascinating _milieu_. Sure, themes such as fealty, honour, fate, and religion come and go without much engagement. But, as I've said, that's not what the film is about. It simply doesn't follow the rubric to which others must try to adhere - character development and motivation, a well-structured plot, insightful dialogue, and thematic undercurrents. Instead, Stahelski has crafted an action film that features extraordinary aesthetic elements and a wonderfully vibrant visual design. _Parabellum_ doesn't just unapologetically revel in its excessive violence. It makes art out of its excessive violence.

Not the best of the three movies (so far), but still one hell of a ride and excellent fight sequences. Keanu Reeves once again is in his element, though emotionally not much is asked of him from his character.

John wich Chapter Three, Is the best action shooting movie in 2019

Strong contender for best John Wick movie to date. And that ain't faint praise. I've been strong invested in the franchise ever since it was first announced John Wick would be a playable character in _Payday 2_. Then when I actually watched that first movie? Forget about it. I fuckin' love this guy. And now, here we are with a trilogy cappin' _Parabellum_. Strength to strength to goddamn strength.
_Final rating:★★★★ - Very strong appeal. A personal favourite._

If you enjoy reading my Spoiler-Free reviews, please follow my blog :)
I don’t have a written review for each of the previous films, but I did watch both and thoroughly enjoyed them! John Wick (2014) is one of the best movies of that year and one of the best action films ever. However, John Wick: Chapter 2 (2017) is a bit more convoluted and messy regarding its story and how it brings our protagonist back into the game, but the franchise’s outstandingly choreographed fight sequences still make it tremendously entertaining.
And it’s precisely the mind-blowing, bone-crushing, jaw-dropping, extraordinarily long and brutally choreographed action scenes that make John Wick one of the most badass characters in the history of cinema! The Academy has been looking for something new to make the Oscars more popular, and the creation of new categories has been their number one idea. Well, nothing fits the show better than Best Stunt Work. Obviously, franchises like this one or Mission: Impossible would become major successes at this award show. These two sagas are undeniably the most important and crucial for the survival of truly real action. What you see, it’s what you get.
Nowadays, viewers already have their eyes set to acknowledge everything as CGI or some sort of visual effect. I’ll never forget when I left my Mission: Impossible - Fallout screening and while getting out of the theater, a group of friends was laughing around saying something along the lines of “of course that scene is fake and this moment is CGI, how can you believe that?! You’re such a moron!” They were roasting one of their friends, thinking he was the dumb one when he was probably the one who was laughing the hardest. This definitely leaves me sad. Sad that people won’t realize how incredible movies like these are. How they genuinely work like crazy to provide the audience with real and authentic stunts.
Yes, it’s over-the-top. Yes, CGI and visual effects are still applied, but just to little details like bullets, blood, falls or knife throwing, which never distract you. And yes, it requires the audience to suspend their knowledge of physics in a few particular moments. But that’s the thing: if you’re pumped to watch a third film of a franchise, you’re a fan. You know what it’s about and what’s its tone. John Wick established itself in 2014 as a pure revenge story and an unbelievably realistic action movie, the closest we will ever get to an assassin origin tale. John Wick: Chapter Two deeply explored the institution that governs these assassins and all of the rules that they are bound by. It’s a bit messier than the first one, but it’s still a blast of entertainment.
Parabellum has the best of both installments. It has the best-choreographed action ever seen on a big screen and some of the most impressive camera work I’ve ever witnessed. In addition to this, the narrative makes more sense, and the characters decisions are logically or emotionally justifiable, contrary to the second film. The sound design is powerful, and the cinematography plus the set design look stunning. I would still argue that the pacing could have been better controlled. The transitions between long action sequences and the respective pauses to move the plot forward aren’t always smooth. Some comedy bits that I don’t think they really belong in this saga were added, and while some work just fine, others really don’t fit this world.
Besides that, I don’t really have much to complain about. The cast is absolutely impeccable. Keanu Reeves is battling with Tom Cruise for the biggest action movie star alive. While Cruise puts his life more in risk by performing especially dangerous stunts, Keanu has the resiliency and agility of a beast, providing us with high-speed and hard-to-do fight sequences. Halle Berry (Sofia) is one hell of a surprise! I had no idea she was (still) capable of moving as she does in this film. The stunts that she performs are crazily good! Laurence Fishburne (Bowery King), Ian McShane (Winston) and Lance Reddick (Charon) also have their own shining moments, but Sofia‘s dogs are deadly cute, and they steal the show.
Regarding the action stunts, they’re all pretty memorable. From a throwback to Chapter Two‘s mirror room to an astonishingly riveting chasing scene through the streets of New York, everything Chad Stahelski and his talented crew throw at the audience is absolutely perfect. I also love how the final act resembles the experience of playing a videogame. You know when you have several levels, each of them with their respective boss, but the final boss is at the top of them all? It’s kind of like Legend of Zelda: Ocarina of Time when Link has to eliminate an enemy in each floor in order to move up to the next one until he reaches Ganondorf. It might be the must nonsensical analogy that I have, but it’s what my memory triggered. In the end, there are tons of set pieces for everyone to enjoy.
All in all, John Wick: Chapter 3 - Parabellum is everything fans of this franchise desired: brutal, bloody, long, loud and beautifully-choreographed fight sequences, accompanied by a decent story that explored even more the assassins’ world. Chad Stahelski is a master filmmaker, who knows how an action movie should be filmed. There are no sloppy editing or quick cuts here. Only extensive one-take scenes, filled with outstanding stunt work from a phenomenal cast. Keanu Reeves is one of the most incredible action film stars ever and Halle Berry surprises with her physical abilities. With better control of its pacing and tone (and a bit less defiance of physics), this could have easily been the best action movie of the century. “One of the best” it’s still one hell of a tagline.
Rating: A-

Just like the Matrix series, the John Wick series is the child of; interesting concepts, mediocre direction, bad writing, bad dialogue, fine (ok) acting and good to great fight choreography...
John Wick 3 outstays its welcome and becomes tedious with all the boring twists and uninspired resolutions.
you'll watch it once, forget it ever existed and then never watch it again.

Based around the honest, touching and frequently heart-rending book by Jane Hawking (here played very well by Felicity Jones), this is essentially a story of love and dedication - with one hell of a lot of frustration thrown in too. Eddie Redmayne is superb as the now acclaimed, flawed and often rather unpleasant scientist whose brain was years ahead of it's time; and the drama marries his dedication to his work with his devotion to himself, his family and, of course, to everyone's handling of the increasingly debilitating disease that ultimately denied him just about every aspect of his physical being. It's not a science lesson - never fear, our neurones are left pretty much unchallenged. It is a love story. Not a romance, either - but a depiction of a relationship that thrived, struggled, rose and - ultimately - fell. The intimacies of the photography almost immerse us in their lives as both take a rather stoic, but not always enjoyable, approach to the difficulties faced by all concerned. It is well scripted, the dialogue is sensitive and plausible - and Jóhann Jóhannsson's score augments the visuals aptly too. As biopics go, it comes across as far less speculative; it has an integrity to it that coupled with with two actors at the top of the bill who clearly enjoyed working with each other, gives us a superior drama about two people who were genuinely interested in each other, and who are genuinely of interest to the audience. The supporting efforts from the likes of David Thewlis and Harry Lloyd and from the myriad of actors who portray the couple as they grow up from childhood add well to the overall richness of this - and I thoroughly enjoyed watching it.

'The Theory of Everything' is James Marsh's biopic of scientific genius Stephen Hawking. Eddie Redmayne plays Hawking as we learn about his early days at university, his diagnosis of motor neuron disease, and the rise to his now iconic status. Marsh's direction is very good and he uses many point of view shots to create a huge sense of empathy for the main character. Marsh uses stunning visual effects in order to express Hawking's inner feelings and torment whilst highlighting his genius. The choice of music is also uplifting and echoes the key themes throughout the film.
The screenplay is a really interesting piece of work and tells the story in a funny yet intriguing way. However, it does seem to lack a certain something as it tries to alter the source material in order to create some very conventional scenes.
The performances in 'The Theory of Everything' are truly exceptional. Eddie Redmayne plays Stephen Hawking in a transformational and moving manner. You can barely recognise him as he highlights his illness with complete sincerity and plausibility. Felicity Jones plays his wife, Jane Wilde. I thought her role would be a simple one as she would work off of the powerhouse performance from Redmayne but the way she shows her strength and compassion is very moving and she does an excellent job.
Overall, 'The Theory of Everything' is a fascinating film about a genius as he deals with his dibilitating illness. The maturity of everyone involved in this make it a remarkable movie.
★★★½

Well told picture with amazing Felicity Jones and Eddie Redmayne.
However, the script has been quite modify to adapt it to how the story wanted to be told no matter how many swaps in the time line, omissions or mistakes were introduced.

Rewatching The Chronicles of Narnia: The Lion, The Witch, and The Wardrobe reminded me why it’s such a timeless movie. It still gets me every time, especially the lullaby scene with Mr. Tumnus, played beautifully by James McAvoy, who is one of my favorite actors. Liam Neeson’s voice as Aslan is inspiring and adds so much gravitas to the character. But for me, the standout is Tilda Swinton as the White Witch. Her performance is chilling and commanding, making her one of the most memorable parts of the movie.
The production is top-notch. The visuals are stunning, especially considering it was released in 2005, and they mostly hold up well even now. The costumes and set design are fantastic, capturing the magical and otherworldly feel of Narnia. The soundtrack is another highlight, adding emotional depth to key moments and making the experience even more immersive.
Based on the beloved novel by C.S. Lewis, the film does a good job of sticking to the important plot points while making the story accessible to a new generation. Of course, no adaptation is perfect, but this one stands on its own as a great piece of fantasy storytelling. It’s not just a movie; it’s a journey into a world full of magic, courage, and redemption.
This movie also feels like the perfect pick for the holiday season. It has that warmth and wonder that makes it ideal to watch with family at Christmas. The Lion, The Witch, and The Wardrobe remains a classic, and I can’t recommend it enough for anyone who wants to experience a bit of magic

CS Lewis certainly had one heck of an imagination and it is rarely better exemplified than in this lovely fantasy adventure. Four wartime siblings are evacuated from London to stay with the reclusive "Professor Kirke" (Jim Broadbent) in the relative safety of the English countryside. Once they get there, the housekeeper "Mrs. Macready" (Elizabeth Hawthorne) makes it quite clear that they are to be seen and not heard! Boredom sets in and thus a game of hide and seek seems sensible. "Lucy" takes refuge in an old wardrobe - a wardrobe that has a secret! Much to her astonishment, she finds herself in a snowy land with a single streetlamp and there meets "Mr. Tumnus" (James McAvoy) - a scarf-clad faun. She returns to her brothers and sister and after some convincing, they join her in the wardrobe and all discover the delights and dangers of "Narnia" meeting loads of new friends and a couple of not so nice wolves, too! This is the first of the adventures of the "Pevensie" children in this mysterious land where animals can talk and winter is perpetual under the control of the villainous "White Witch" (Tilda Swinton). They align with "Aslan" the all powerful lion (voiced by Liam Neeson) and have a battle royal to free the kingdom from her icy grip. The CGI isn't, to be honest, great. Indeed, some of the effects are a bit cheap and cheerful for 2005; but the story, settings and characterisations are great - as is Harry Gregson-Williams' eerie and gentle score.

In my last review (which you can find on my Letterboxd), I said _The Lion, the Witch, and the Wardrobe_ was a "nearly perfect film." Well, I am here to say that with this viewing, to me, it is a perfect film.
I used to always think this film was a sort of step below LOTR, and, while LOTR is indeed a masterpiece of cinema, I don't regard this film as lesser.
The movie is just pure magic! Every aspect of the movie (minus the CGI – which doesn't really hold up [except for Aslan] but is still serviceable) is even better with age! And I find myself moved emotionally by more things this time than I ever have watching this film.
The score by Harry Gregson-Williams is just phenomenal. Especially "The Battle" – that goes without saying. But this time, part of the magic and nostalgia I was struck by was the musical piece that sounds like it's a song. The one that plays while the train is leaving London. (I found out it's actually about halfway into the track "Evacuating London.") That magical song, combined with the great camera work by Donald M. McAlpine and the appearance of the movie title makes for feelings of peak nostalgia and magic for me.
Also, this film has one of the best opening scenes of all time. When Netflix (finally) remakes the films, I don't know how they can top this opening.
– In fact, that's another thing about this movie: There are so many things that I don't think any remake could top. Liam Neeson as Aslan, Tilda Swinton as Jadis, the White Witch, and James McAvoy as Tumnus. – Oh, and, though he's not in the book, the centaur, Oreius (played by Patrick Kake), is so cool! Can't top that.
Also, the costuming is excellent – especially for the White Witch – and the gryphons are so cool! The sound design on their shriek gives me chills (in a good way).
And I can't go without saying that this is also an emotional story because of what the story represents, the symbolism of the story.
Edmund represents us – represents me, a sinner. I who have walked in rebellion against God, and who am by nature opposed to God. And as such, I deserve the wrath of God, punishment that He would be fully just to give me. But Aslan represents Jesus Christ. Like Aslan sacrificed himself for Edmund, dying the death he should have died, Jesus sacrificed Himself in our stead, taking upon Himself the wrath of God we deserved, so that “if [we] confess with [our] mouth that Jesus is Lord and believe in [our] heart that God raised Him from the dead, [we] will be saved” (Romans 10:9), we “will not perish but have eternal life” (from John 3:16), and as a result of that faith, “we have peace with God through our Lord Jesus Christ” (from Romans 5:1).
‭‭Ephesians‬ ‭2:1‭-‬10‬
> “[1] And you were dead in the trespasses and sins [2] in which you once walked, following the course of this world, following the prince of the power of the air, the spirit that is now at work in the sons of disobedience— [3] among whom we all once lived in the passions of our flesh, carrying out the desires of the body and the mind, and were by nature children of wrath, like the rest of mankind. [4] But God, being rich in mercy, because of the great love with which He loved us, [5] even when we were dead in our trespasses, made us alive together with Christ—by grace you have been saved— [6] and raised us up with Him and seated us with Him in the heavenly places in Christ Jesus, [7] so that in the coming ages He might show the immeasurable riches of His grace in kindness toward us in Christ Jesus. [8] For by grace you have been saved through faith. And this is not your own doing; it is the gift of God, [9] not a result of works, so that no one may boast. [10] For we are His workmanship, created in Christ Jesus for good works, which God prepared beforehand, that we should walk in them.”

Long bloody title, but a great film no doubt.
I had seen 'The Chronicles of Narnia: The Lion, the Witch and the Wardrobe' before but hadn't watched it for years and years, I remembered the vast majority though - it's a memorable film after all. There's a great battle scene in there, some fun characters and strong effects. It's a tad too long, but not by much.
It has a nice charm to it also, as they set up Narnia excellently. The quartet of children are very well cast, all four of them suit their roles to a T. Georgie Henley is sweet as Lucy, while William Moseley and Anna Popplewell fulfil the roles of Peter and Susan comfortably. Edmund, meanwhile, is of course annoying, but Skandar Keynes does a good job portraying him.
Elsewhere, Tilda Swinton and Liam Neeson are terrific casts as the White Witch and Aslan. Both do great, especially Swinton. James McAvoy, Ray Winstone, Michael Madsen and Rupert Everett are smart choices too.
I've, as far as I'm aware, never seen the two sequels so very much look forward to seeing what they have in store for me. They'll do well to match this first film, that's for sure.

I really quite enjoyed F&F5 (2011), but this one has sunk back into the routine car chase and endless pyrotechnics series of scenarios and despite retaining the stalwarts in Vin Diesel ("Dom"), Paul Walker (“O'Conner”) and the more recent arrival "Hobbs" (Dwayne Johnson) it is all very so what? The germ of the plot is that the gang travel to London to find "Letty" (Michelle Rodriguez), long thought to be dead. Now it appears she is working with the nasty "Shaw" (Luke Evans) - but is she? Who can trust whom? It is refreshing to see that the Metropolitan police are no better at stopping the streets of their city being used as a race track - with carnage ensuing all around; even some big red buses take a hit. We have some fun with a tank, and a plane - indeed it's really only an ocean liner that is missing from this quickly paced, action effort. Sadly for me, Evans is not in the least menacing and the ending just goes on for far, far, too long. I did quite enjoy it on big screen, but I can't think I would ever bother to watch it again.

This is a good movie. It is pretty much what you would expect from a Fast & Furious movie. It could have been a great movie but it is unfortunately dragged down by some of the not too unusual Hollywood stupidity and arrogance towards the viewers.
Vin Diesel and Dwayne Johnson are perfect in their roles as old-fashioned, hard-hitting, fast-driving macho guys. Michel Rodriquez is doing a decent enough job as well but then I do like Michel Rodriquez so… These guys are making a lot of the movie for me. The rest is not bad but more like filling out some empty space compared to Vin and Dwayne.
This is of course a movie about fast driving, action and special effects. In those areas it does not disappoint. There are lots of fast driving and lots of action and special effects. Not all of it is entirely realistic of course. This is rather expected and I can live with it as long as it doesn’t go to far into the realm of ludicrously unrealistic which it, sadly, did towards the end. Although the effects and fights themselves were quite cool the entire flight escape scene was just ludicrous. They were driving at take-off speed, both on the ground and in the air, for how long? 20 minutes? That must have been the worlds longest runway. This is what I call Hollywood arrogance towards the viewers. Do they really think the viewers are so stupid that they will just buy this? Or is it that they themselves are so utterly stupid that they do not realize how utterly wrong the entire thing is? For me this really dragged down an otherwise great movie.
Otherwise the movie is a nice blend between macho talk, action, lots of fast driving, some humor, some more action, some more fast driving and lots of chars getting smashed. In short all the things that make up a good fun action movie. The story itself? Well, as far as I am concerned, fairly standard issue which held the action together reasonably although the basic idea and technical aspects, especially this “EMP chip”, where not very believable.
On the whole, it was a good and enjoyable movie which good have been great if it were not dragged down by Hollywood stupidity.