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Zmovies The Kid Detective
This is one of the very worst movies I have ever rented.... the acting was terrible, apart from the taxi driver played by Tom Williamson.. what was he doing in a movie as poor as this? Paul Nicholas (who looks a little like Jude Law, but in this case thats as far as it goes..) has the most terrible Northern English accent I have heard. I have not seen or heard of this actor before, but would not go out of my way to see him again, I could have played the part better and I am a five foot 2 female. Jennifer Love Hewitt was perfectly sickly, I am sure I have seen her do better than this. Apart from the awful acting, the storyline was just way too cheesy and it took forever to end, the twist at the end didn't work... it came an hour too late (real time...).
Director: Evan Morgan
Cast: Adam Brody, Sophie Nélisse, Sarah Sutherland, Jesse Noah Gruman, Wendy Crewson, Jonathan Whittaker, Peter MacNeill, Lisa Truong, Sophia Webster, Dallas Edwards, Tzi Ma, Isaac Kragten, Amalia Williamson, Sharon Crandall, Marlaina Andre

Zmovies The Trial of the Chicago 7
The era of illustriousness for the Italian Gialli movies is long over and gone – more than twenty years already, in fact – but ambitious Italian filmmakers occasionally still breeze in to deliver new movies with plenty of echoes to this wondrous sub genre of European horror/thriller cinema. Some fine recent examples of this include "The Unknown Woman", "Eyes of Crystal" and "The Girl by the Lake". Luigi Cecinelli's "Visions" arguably also ranks high amongst these chosen few, although the parallelism between this film and the authentic Gialli of the early 70's is much more subtle and indistinct. Giallo-obsessed freaks, like myself, will undoubtedly spot the likenesses, but to the majority of normal film-loving audiences "Visions" will probably just comes across as a convoluted but solid, suspenseful and very engaging psychological thriller. Andrea Del Monte's script is perhaps slightly over-ambitious and pseudo-intellectual for its own good, resulting into a confusing and improbable finale, but some of the basic plot-ingredients and ideas are deeply impressive. And even though director Cecinelli and writer Del Monte are relatively inexperienced, "Visions" is also a skilfully stylish, coherently structured and adequately shot accomplishment. The opening ten minutes are unquestionably the best and most memorable ones, as they cover the latest onslaught of the smart and seemingly unstoppable serial killer known as "The Spider". In an attempt to rescue several of his captured victims at once, the entire police squad as well as the hostages die an excruciatingly painful death. The traumatized FBI-profiler Dr. Leeman resigns and returns to his previous job; psychiatrist in a private clinic. A certain time later one of his patients, Matt – an amnesia patient recovering from a car accident – accidentally stumbles upon Dr. Leeman's notes and records on The Spider's case and begins to suffer from nightmarish visions that are accurately illustrating the infamous serial killer's deeds. Suspecting some kind of psychic or perhaps even physical link with The Spider, Matt digs deeper into the case, in assistance with a fellow patient, a sexy journalist and eventually even Dr. Leeman himself. "Visions" may seem predictable and fairly obvious straight from the beginning, but there's a lot more than superficially meeting the eye. It's a puzzle gradually getting more difficult to solve with each piece that falls into place and you only comprehend the complete picture when the entire puzzle is solved. Your initial guess regarding the denouement might be correct, but nonetheless there are several twist and turns throughout the film that are simply too complex to predict. I realize this all sounds extremely vague and maybe even bit misleading, but it honestly would be a shame to reveal anything more and risk spoiling a potentially surprising viewing experience. Try and think of "Visions" like some sort of odd but unexpectedly effective crossbreed of "Saw" and "The Usual Suspects". The special effects are top-class and overwhelming, even a tad bit exaggerated sometimes, and there are a handful of moments of grisly violence. Hopefully this clever and zealous Italian production receives a proper distribution, as it deserves a wide audience.
Director: Aaron Sorkin
Cast: Eddie Redmayne, Alex Sharp, Sacha Baron Cohen, Jeremy Strong, John Carroll Lynch, Yahya Abdul-Mateen II, Mark Rylance, Joseph Gordon-Levitt, Ben Shenkman, J.C. MacKenzie, Frank Langella, Danny Flaherty, Noah Robbins, John Doman, Kelvin Harrison Jr.

Zmovies The Mortuary Collection
On the surface, "Women In Trouble", the fifth film from Sebastian Guitterez ("Rise"; co-wrote "Snakes On A Plane") looks like your typical sex comedy, packed with attractive, well-endowed dames. It does have the dames, but they-and the film-are surprisingly three-dimensional and quaint, making the film a must-see.

Circumstances, wacky and serious, locks the film's vignettes, featuring different women, all Los Angeles residents: infamous porn actress Electra Luxx (the impressive Carla Gugino of "Watchmen", "Faster", Sin City", "Sucker Punch" and other films directed by Mr. Guitterez, her longtime boyfriend) learns she's pregnant; her ditzy co-worker Holly Rocket (Adrianne Palicki of "Friday Night Lights: The Series") gets in trouble with gangsters during a "pro gig" with pal Bambi (Emmauelle Chirqui of "You Don't Mess With The Zohan").

Meanwhile, therapist Maxine (Sarah Clarke of "24") gets drunk when she learns her husband (Emmy nominee Simon Baker of "The Mentalist") is having an affair with a patient's mother (Caitlin Keats) from the patient herself, old soul goth gal Charlotte (Mr. Guitterez's niece, Isabella) and flight stewardess Cora (Marley Shelton of "Grindhouse" and "Scream 4") has a Mile High Club fling with rocker Nick Chapel (Oscar nominee Josh Brolin of "Milk") ends gallows funny.

If you're expecting full frontal nudity, forget it, but that doesn't mean "Women In Trouble" is a waste of time. Imagine the sexiness of a soft-core porn film on Cinemax, the female angst from a Lifetime movie and the profane/profound humor of a Kevin Smith film and you have this underdog gem.

With a fun script and tight direction, Guitterez treats his cast pretty well and, while in their roles, they shine in their ups and downs. Also included in the mix are Connie Britton (also of "FNL") as Charlotte's "aunt" who has a dark secret; Rya Kihlstedt as a shotgun-totting, lesbian barkeep; Cameron Richardson as the barkeep's masseuse roommate from Canada and Garcelle Beauvais-Nilon ("The Jamie Foxx Show") as Cora's pal. There's also a Q&A session, post-end credits scroll, involving Electra and Holly with an over-eager Internet reporter (Joseph Gordon-Levitt of "Brick" and "Inception") that starts out a bit weak but ends funny. Ms. Shelton's sister, Samantha, belts out a sweet tune in a bar.

Pretty girls have problems too, and "Women In Trouble" proves that with a thoughtful chuckle.
Director: Ryan Spindell
Cast: Clancy Brown, Caitlin Custer, Christine Kilmer, Jacob Elordi, Ema Horvath, Jennifer Irwin, James Bachman, Barak Hardley, Sarah Hay, Ben Hethcoat, Mike C. Nelson, Brennan Murray, Michael Bow, Tom Woodruff Jr., Bradley Bundlie

Zmovies Kajillionaire
When I was 10 I watched this movie and loved it. When I was 20, I loved it more. This is an almost unknown gem of Soviet cinema, and now I enjoy it even more. The movie is not only a very funny comedy with excellent children and adult actors, but a perfect parody of Soviet life, of the relationship between society and Soviet power. The leader of the camp is so stupid and suspicious, that he turns people one by one to "resistance fighters", living in "illegality". The ordinary "citizens" of the camp don't know who is the informer, but they do their best to help the persecuted ones. In the beginning of the 1960's, Khrushtchev suddenly let to publish one of Solzhenitsyn's books, and to make movies like this -- and then the short springtime was over, and the bold masterpieces like these were buried for the next 25 years under the gigantic heap of dull books and films. If you won't laugh a lot watching this movie, write me angry letters!
Director: Miranda July
Cast: Evan Rachel Wood, Mark Ivanir, Gina Rodriguez, Debra Winger, Richard Jenkins, Adam Bartley, Patricia Belcher, Diana Maria Riva, Madeleine Coghlan, Da'Vine Joy Randolph, Rachel Redleaf, Challen Cates, Steve Park, David Ury, Betsy Baker

Zmovies Shortcut
Like most sitcoms, it takes some time to eventually get into it. I do not really have the patience of watching sitcoms until they are so many episodes in and then watch to catch up and get better understanding. As for those giving it a bad review, same could be said of every other sitcom on television. Everything does not and should not have a "microwave" solution to it. Story lines take time to come together and expecting any show to be a hit from the jump is unrealistic unless obviously, you are a child liking everything sweet from the start. It is beginning to come together and for this reason, I have given it an 8.
Director: Alessio Liguori
Cast: Zak Sutcliffe, Molly Dew, Jack Kane, Sophie Jane Oliver, Andrei Claude, Zander Emlano, Terence Anderson, David Keyes, Matteo De Gregori, Raffaele Buranelli, Teo Achille Caprio, Mino Caprio, Emma Giua

Zmovies A Babysitter's Guide to Monster Hunting
Luis Bunuel, notorious for his use of simple, striking, yet un-cannily affecting surrealism in movies, keeps it down to a lower (yet still imaginative) key for Belle Du Jour. This works though because un-like a film like Discreet Charm of the Bourgeoisie where surrealism was like another character amidst the other character's dreams and nightmares, this one only keeps in surrealism for the sake of the lead character's inner demons poking up through the every-day malaise. This lead, Severine, is played in one of Catherine Deneuve's key career performances, that finds that two-sided-ness she feels while married to her husband Pierre.

She loves him, but there's something that she's not getting out of the marriage that's leaving her empty, aimless, and her fantasies- however in the realm of (dark) fantasy- go to show she needs to do something during the day. She then finds out about a high-class brothel with only a couple of workers already employed. At first reluctant, she gives in to her temptations, serving the odder types of Paris looking for a good time, with one of them, Marcel (Pierre Clementi) falling head over heels for her.

What seemed most intriguing about the film was how Bunuel dealt with the themes- the two crucial ones being morality and sexuality. His imagery is direct, maybe too direct, but it gets its points across with a realism that is alluring and far & away (almost like a satire of such a life). She can't stop what she's started, and she doesn't really know how to end it unless she gets caught.

Then with the sexuality, it's never over-emphasized (i.e. no nudity, outside of a quick couple of shots of nudity), and no one is shown having sex on screen. What comes out is the emotional tally of Severine, the other girls, and the supporting characters that come in and out of the brothel. It may seem dated at moments, and the observatory notes go to making the film seem a tad longer than it is. But never-the-less, Belle de Jour is a worthwhile, memorable effort of the 1960's cinema.

And, at many times, it's quite funny. More than that, a laugh riot.
Director: Rachel Talalay
Cast: Tamara Smart, Oona Laurence, Tom Felton, Troy Leigh-Anne Johnson, Lynn Masako Cheng, Ty Consiglio, Ian Ho, Indya Moore, Alessio Scalzotto, Tamsen McDonough, Ashton Arbab, Crystal Balint, Cameron Bancroft, Anisa Harris, Ricky He

Zmovies 2067
Finding Bliss is promoted almost like a sex comedy, but is not a sex comedy. Instead it is an awkward mix of romantic drama and sex comedy. While trying to do two things, this movie ends up a mess. I don't think it will appeal to wither the male or female demographic. I know that it is a good movie can be equally enjoyed by both sexes, but this tries to combine the genres which have a set audience in mind.

It is a B grade movie. Everything from the acting to the script is amateur. Even Leelee Sobieski has done not done a good job. It feels as if that the whole film was made in a hurry. It has production values of straight to DVD sex comedies. The plot and the characters are not believable either. Everything is just to contrived.

By the way it is not a sex comedy, so if you are expecting that I recommend you watch something else. I have still given it an average rating though, because though it is a cheap B movie, It knows that it is a cheap B movie and doesn't pretends otherwise. There is a small payoff for those who like romantic movies, but I don't think it is worth it to watch the whole thing.
Director: Seth Larney
Cast: Kodi Smit-McPhee, Ryan Kwanten, Sana'a Shaik, Deborah Mailman, Aaron Glenane, Finn Little, Andy McPhee, Checc Musolino, Matt Testro, Damian Walshe-Howling, Leeanna Walsman, Natasha Wanganeen, Rachael Wegener

Zmovies Honest Thief
...not that all Disney films are garbage.

Anyway, I saw "Legend of Boggy Creek" first and absolutely loved the film. When I heard it had 2 sequels, I was ecstatic. I finally found a copy of this and watched it one night. I don't see how they can make a G-rated sequel to a horror film. The original is a movie/documentary about the Fauke Monster, and can scare anyone. "Return" is for kids and should not be watched by anyone. I don't remember the plot too well, as it's been quite some time since I watched it and I will not watch it again, but... It's about these hunters coming to town and they go looking to kill Bigfoot. Three little kids sneek out of the house to stop them. A big monsoon comes through. The hunters get hurt, are saved by the kids. Then they all hide out in a boat with a big piece of tarp on top and try to wait out the storm. Then all of a sudden, Bigfoot comes and does something really sick. I don't wanna ruin the ending for any of yas, but it's not scary. Well....
Director: Mark Williams
Cast: Liam Neeson, Kate Walsh, Jai Courtney, Jeffrey Donovan, Anthony Ramos, Robert Patrick, Birol Tarkan Yildiz, Tazzie, Adam Teper, Jose Guns Alves, Osmani Rodriguez, Janelle Feigley, Devon Diep, Jamie Ghazarian, Michael Malvesti

Zmovies The Call
It wasn't just the use of "Precious" in one of the subtitles -this Ozu film had me thinking in Hollywood mode -wouldn't it be a perfect remake vehicle for Mo'Nique to followup her success in PRECIOUS? This odd way of thinking was not as far out as I first imagined in the early reels -by film's end Ozu had demonstrated a filmmaking format quite similar to that used by Lee Daniels all these decades later.

With such radically different styles it is not obviously apparent, but both films are in essence preachy social statements masquerading as entertainment. As others have mentioned, post-war censorship may have forced this on Ozu, just as having Oprah (not to mention Tyler Perry) and the burden of such a famous best-selling book caused Daniels' film to be so heavy-handed in the Western Union department.

It fascinated me that the settings, dissimilar on the surface (post-war devastated Japan, modern New York City with its suffering underclass) had much in common. The irascible old heroine, who we come to like in spite of first impressions a couple of reels before she becomes a true softie is a tailor-made role for Mo'Nique, softening the rough, rough edges of her legendary PRECIOUS turn. We never got to like her character in PRECIOUS since she was such a monster of an abuser, but we did come to understand her.

Choko Iida is masterful as Tane, who unwillingly takes the lost boy into her care, only to fall in love with him in time-honored Silent Era Pathos fashion. She does plenty of schtick, but keeps it under control in a way Mo'Nique could benefit from, after viewing this movie. Co-star Chishu Ryu, most recognizable cast member due to his classic work in so many famous Ozu films, gets to strut his stuff in a memorable scene leading all his friends in a chant/song with elements of a sea shanty to it -very well-recorded, as is all the dialog, in direct sound.

While this is clearly a minor work in his canon, Ozu's patented visual compositions were a treat throughout, and I especially enjoyed the scene of the two protagonists at a lonely beach (similar to the post-war malaise beach of the all-time classic Gerard Philipe film UNE SI JOLIE PETITE PLAGE, only not as gloomy), which suggested several Japanese paintings I've seen depicted on the nation's postage stamps. When our heroine attempts to abandon the boy there, Ozu so subtly injects his only moving camera shots of the entire film - a lesson to current music-video-addled directors on the power of using camera movements sparingly and only when necessary.

Film missed perfection for me due to its false ending -there is a wonderful buildup and resolution which cried out to be the finish, but is followed by a tacked-on twist ending (not as bad as is done in so many modern horror films, but still way too gimmicky) that tried to make for a bittersweet resolution plus that all-important social commentary on the plight of orphans and kids on their own post-war.
Director: Timothy Woodward Jr.
Cast: Lin Shaye, Tobin Bell, Chester Rushing, Erin Sanders, Mike Manning, Sloane Morgan Siegel, Judd Lormand, Randy J. Goodwin, Brooklyn Anne Miller, Leah Contreras, Toby Leeder, Aidan Bertola, Madeleine Wade, Ciara Hanna, Fred Stoller

Zmovies The Secrets We Keep
There is no doubt that this film is a truly great piece of film-making. Shane Meadows crafts films in the same style as Martin Scorcese. We are given a glimpse into the lifestyle of a group of characters over a short period of time. It is very much a fly on the wall type of movie. The point of these films is to understand the actions of the characters rather than judging their actions. I have no doubt that there will be some people that tag this film as being racist which is rather missing the point.

The film follows Shaun a 12 year old being borough up in early 80's England. He has lost his father in the Falklands war and suffers bullying and isolation until he is befriended by a group of skinheads. The happy band are challenged when Combo is released from prison. Thomas Turgoose is magnificent in the lead role and the direction/screenplay are also spot on the mark. For anybody that lived through the period there are lots of reminders about the period. The film is based on Meadow's own childhood and is quite mesmerising at times.

I was gripped throughout the film and it also gave me plenty to think about afterwards. What more can you ask for when going to the movies? I suppose if you go to the movies for escapism then go watch something else, but if you want a gripping thought provoking drama then it doesn't come much better than this. Outstanding!
Director: Yuval Adler
Cast: Noomi Rapace, Joel Kinnaman, Chris Messina, Jackson Dean Vincent, Amy Seimetz, Miluette Nalin, Madison Paige Jones, Jeff Pope, David Maldonado, Ed Amatrudo, Ritchie Montgomery, Victoria Hill, Thomas Francis Murphy, Rocco Brocato, Jason Boyle

Zmovies Hubie Halloween
Mad Russian/mafiosa/college professor is convinced there is a vein of diamonds under Moscow, but in order to reach it he must risk destroying the city. Unfortunately he needs some of the nano power that his scientists had been trying to harness. Somehow the technology was attached to a car which is given to a young college kid by his dad. In true fashion the kid doesn't completely appreciate his dad until the bad guys kill him (ala Uncle Ben) and he turns to crime fighting using his flying car to fight bad guys.

Odd ball re-imagining of Spiderman but with a super car instead of super powers. It's not bad, far from it, it's just that it just misses being great- the main problem being that it's lift so much of the plots major elements from Spiderman and other superheroes.

I liked it a great deal, but at the same time I really wish it was just a tad more original.
Director: Steven Brill
Cast: Adam Sandler, Kevin James, Julie Bowen, Ray Liotta, Steve Buscemi, Rob Schneider, Maya Rudolph, Tim Meadows, Michael Chiklis, June Squibb, George Wallace, Kenan Thompson, Shaquille O'Neal, Ben Stiller, Jackie Sandler

Zmovies Cut Throat City
He's a shameless fraud who preys on the ignorant and vulnerable. Awful.
Director: RZA
Cast: Eiza Gonzalez, Ethan Hawke, Kat Graham, Wesley Snipes, Keean Johnson, Isaiah Washington, Terrence Howard, Joel David Moore, Shameik Moore, Denzel Whitaker, Andrene Ward-Hammond, Sam Daly, T.I., Rob Morgan, Demetrius Shipp Jr.

Zmovies On the Rocks
*general sort-of spoilers throughout* I wasn't hoping for much with this series, but I was expecting something like a teenager-filled legend of the seeker kind of thing with a bigger budget. This was just...no. I haven't read the books so I can't comment on their relation to the show. However, I can say that they weren't good at all. The first two episodes had terrible pacing; at first nothing was happening and then halfway into episode 2, 2 major characters are revealed without any breathing room or reaction time from the main characters. I'd heard the visuals were good, so i was at least looking forward to that. The location scout did a good job and the cgi artists did more or less OK with what they had (for a TV show) but the whole production design is pretty awful. I'm not sure what they're going for with the elves design-wise but there's a complete lack of any sort of motifs, color scheme, etc, that unifies them and makes them stand apart..other than a sort of vaguely modern 70's flower child look. (still not sure how elves are supposed to be different from humans, other than the really cheap-looking ears, because they never bothered to explain it)

The female characters on this show are treated without respect. We don't know much of anything about their personalities other than they are beautiful and stubborn / reckless. Amberle's characterization is horribly inconsistent, with her being confident of herself to win the Gauntlet one minute, and then two minutes later being bizarrely self-doubting around a guy who she admits to not even liking much. She's also naked, too, for some reason in the scene where she meets Wil, apparently for a cheap laugh at Wil's awkwardness. There's a horribly awkward shoehorned romance between Amberle and a douche bag boy who apparently lacks a single defining characteristic. The flirtation has no relevance to the plot or the characters development whatsoever, and it wastes her screen time.

With Eritrea, they don't say much about her other than that she's "tough," and at one point in episode two she is lashed around the neck with a whip and dragged around, for no reason whatsoever that impacts the plot. The physical brutality with which she was treated is completely brushed off and we see nothing of how this might have impacted her, which is all kinds of disturbing.

The only character with any kind of visible personality is Wil, and though he's much more endearing than the other characters have been so far, his main character trait is awkwardness and nervous quips.

The acting is awful and is most likely a result of lazy directing and bad writing, as we've seen Ivana Baquero before in Pan's Labyrinth light up the screen. I just wish these actors, the women especially, were given more to work with. Also, for a place that's supposed to be *major spoiler* post-apocalyptic Seattle, 99% of the people with speaking roles are white and even with the extras there is little diversity.

I wouldn't be so hard on this if it wasn't apparent they had both a wealth of source material and budget to make this halfway decent. Instead...yeah. The sad thing is this show isn't even fun. Wil is the only character with any sort of sense of humor and even then it's no more ambitious than the whole country-boy-is-confused routine, which, if they don't level up, is going to get really old really fast. There is nothing unique about any of the characters, plot, world-building, or concepts. It looks like a badly rendered video game.

TL;DR: this could've had potential but with episodes 1 and 2 they've just shot themselves in the foot.

I hope there's an attempt to fix at least some glaring problems in the coming season, because it could be okay if they did, but I'm not going to hold my breath.
Director: Sofia Coppola
Cast: Bill Murray, Rashida Jones, Marlon Wayans, Jenny Slate, Jessica Henwick, Barbara Bain, Nadia Dajani, Musto Pelinkovicci, Jules Willcox, Alexandra Mary Reimer, Evangeline Young, Ximena Lamadrid, Grayson Eddey, Mike Keller, Chase Sui Wonders

Zmovies The Doorman
Despite all of the feverish accolades on the box, I found this to be a conventional and dull film. The few scenes of the pagan ritual might be disturbing were there not some sub-portishead music playing on the soundtrack the entire time.The scenes of the gypsys living outside the power plant were grimy and creepy. I was very annoyed by the fact that this film compared itself to the great "The Wicker man." while that film was an attack on Christianity and organized religion, this film seems to just be about how bad and evil the religous cult is which I found kind of silly and reactionary.
Director: Ryûhei Kitamura
Cast: Ruby Rose, Jean Reno, Aksel Hennie, Rupert Evans, Julian Feder, David Sakurai, Louis Mandylor, Hideaki It�, K�la Lord Cassidy, Philip Whitchurch, Andreea Androne, Jamie Satterthwaite, Jo Marr, Andreea Vasile, Raynor van de Water

Zmovies Vanguard
One can write in details about a movie when either it impresses him a lot or when it turns out to be a complete disaster and a great waste of time for the viewer. But it's really tough and also uninteresting to write about a movie which simply leaves you midway and generates a confused kind of impact in the end. TURNING 30 is also one of those few new age movies, which though is based on a relevant and important subject but its end result is nothing more than a below average film made on a fine subject.

No doubt the basic idea behind the film looks like influenced by famous western projects such as BRIDGET JONE'S DIARY and SEX & THE CITY. But in order to create a more philosophical cum controversial kind of a film, its writer and the director move far away from the topic, giving way to the same old Bollywood kind of formulas in its second half.

As per the subject and its language, TURNING 30 is strictly meant for the urban audiences and that too only for the multiplexes. But after watching it, even the multiplex viewers may also feel like having seen something confusing because the film never justifies its meaningful title convincingly. It starts off pretty well with debutant director Alankrita Shrivastava focusing on the right things in the right manner. And its initial reels talk about the subject in a more specific way, with all those bold words and straight forwards dialogues. But later on the focus gets disturbed and one loses interest due to the script returning to the same old plots of the heroine penning a book on her personal experiences and finding her own way in the big bad world.

Ideally, TURNING 30 should have been made on the feelings, thought process and inner mindset of women who have reached that stage and how they tend to tackle the situation in their own way. A mix of 3-4 different stories of few distinctive ladies finding their own way to enter the 30s would have been a great script. But the present movie has only few initial moments talking about the basic theme and then the script starts moving into the same old set patterns post interval. And that's where it all falls flat making no impact of any sort on the viewer. As I felt, it should have been an insightful journey into the mind of lady turning 30 but sadly after its promising start, the film remains limited only to the visible physical changes in the body of a girl and never moves into the soul of an aging female mind anywhere in its latter reels.

Moreover, I simply cannot understand that if the directors of such films are so visionary and thoughtful of making a film on such a novel subject then why on earth they go on adding so many songs into it? Do they still believe that a Hindi Film cannot and should not be made without any songs? At the most, TURNING 30 needed only one song and that too, a sad one with some meaningful lyrics talking about dejection or un- acceptance. But strangely the songs do keep coming in at regular intervals which really are quite disturbing in such concept based movies. And here they even don't have any melody in them to calm you down.

Gul Panag as the leading character of the movie is fine and has broken many of her own set rules of the past in terms of boldness. But the writing gives her no support at all and lets her down completely. Purab Kohli is also good but again his role is not a well defined one in absence of any good reasons given for his coming back to Gul so passionately. Ira Dubey has only got a brief role in which she does well and the rest of the cast is strictly OK with everyone filling their parts to their best.

So, as a subject TURNING 30 had a lot to say and reveal but as a film it doesn't provide you enough explanation of its title theme. Still, if you really want to see it for any specific reason then you may watch it, but only after it gets released in the Home Video market.
Director: Stanley Tong
Cast: Jackie Chan, Yang Yang, Miya Muqi, Lun Ai, Dzavád Ramezání, Ruohan Xu, Zhengting Zhu, Desmond Aldridge, Nicole Atalla, Can Aydin, Sayed Badreya, Ilez Badurgov, Brahim Chab, Barret Coates, Keith Dallison

Zmovies The Last Shift
First off I'm sorry, if you are reading this review you must be contemplating watching this movie. STOP RIGHT THERE. DO NOT WASTE YOUR TIME. I have watched 12 minutes out of 21 and I am still shaking my head as to why I waited 12 minutes, with all thats going on in the world today I wasted 12 minutes of my precious time just so I could waste another 12 minutes writing a review...OK now i hit the submit button and have to write some more about this awful show. Acting, Ha, its like they were playing stupid cause they could, I mean thats the mentality that went into the writing of this show. I just don't know what else to say other then, Watch something else.
Director: Andrew Cohn
Cast: Richard Jenkins, Shane Paul McGhie, Ed O'Neill, Allison Tolman, Da'Vine Joy Randolph, Birgundi Baker, Emily Anderson, Jeff Dlugolecki, Dano Duran, John Gawlik, Holden Ochsenhirt, Deron J. Powell, Cameron Scott Roberts, Cameron Scott Roberts, Bradley Grant Smith

Zmovies Infidel
Bordertown is clearly an attempt by Seth MacFarlane to milk whatever money FOX has left to give him. A cheap knock off of his previous Family Guy, the characters are two-dimensional and bland. The show offers nothing in the way of entertainment.

I remember when my mother would tell me not to watch South Park, because of the bad language, violence and racism. South Park had all those things, but it also had incredible writers who interwove fantastic satire and wit into every episode. Bordertown is the kind of show I expect my mother would not want me watching even today now. Tasteless, lowbrow humour, it feels like it's been written by 15 year old children. I couldn't even finish the first episode. It wasn't that I was offended by anything I heard, but frankly it felt like the show was being racist just for the sake of it.

Barely deserving a 1/10

TL;DR - The worst cartoon you'll never hear of again. Don't bother watching.
Director: Cyrus Nowrasteh
Cast: Jim Caviezel, Claudia Karvan, Hal Ozsan, Stelio Savante, Aly Kassem, Bijan Daneshmand, Isabelle Adriani, Leila Arabi, J.R. Cacia, Hanna Jiryis, Leanne Katkhuda, Hamzeh Shaker Mahadin, Krista Moorman, Peta Sergeant, Nadeem Srouji

Zmovies Follow Me
Maybe it's me … Maybe I'm too unlettered to comprehend the eloquent content or too dumb to appreciate the profound and innovative concept of Sally Potter's "Rage". I am, however, honest enough to openly and unashamedly proclaim that this was, in my humble opinion, one of the dullest and most purposeless movies I've ever seen in my entire life. That is particularly hard to fathom considering the names of some of the cast members involved, like Steve Buscemi, Jude Law, Judy Dench and Dianne Wiest. What were they thinking? Were they also missing the point at first but then decided to accept the offered roles after all because this type of experimental film is good for your career? "Rage" is one-hundred boring minutes of uninteresting people talking directly into the camera and the only damn thing that changes occasionally is the color of the background! The thing they have in common is that they are all working for a fashion house in one way or another, and they vent about all their job-related frustrations against a student/amateur blogger. One tiny little problem, though … nobody is freaking interested in the rants of eccentric, vainglorious, naive and self-indulgent fashion snobs. The raised topics aren't the least bit controversial and none of the monologues are even remotely provocative. The only thing that Sally Potter accomplishes here is stating the obvious. The fashion industry is a tough and competitive, the world's economy is in recession and all people are selfish bastards and too easily blinded by the idea of fame & glory. Big deal! So What! Who cares? Many interviews and monologues are implausible and preposterous. For example, it's very ignorant to assume that everyone working for a supposedly acclaimed fashion company (and only a few days prior to the launch of a new clothing line) is prepared to free some time and talk to a student with a webcam. As a student I had to coordinate an HR initiative for a big company, but I definitely never had the opportunity to have a chat with the general manager, journalists or security personnel. Oh, and Jude Law is the ugliest transvestite I've ever seen. Big fat fail.
Director: Will Wernick
Cast: Holland Roden, Ronen Rubinstein, Pasha D. Lychnikoff, Keegan Allen, Kimberly Quinn, Denzel Whitaker, Emilia Ares, Ravil Isyanov, Dominic Pace, Emily Hinkler, George Janko, Dimiter D. Marinov, Elizabeth Hinkler, Inja Zalta, Daniyar

Zmovies Savage
There are some flaws that are responsible for the -1 from a perfect ten. It's not a perfect show, just a very, very good one.

There are some TV/film clichés, but they're not that many. Some inconsistent behavior from characters that makes no sense. I won't get into them because they would be spoilers.

But it's beautifully written, well-directed and shot.

The actors are very completely convincing.

The way the show is written and structured is less around the life of one person and more about the interconnected lives of people, from detective to garage mechanic to lawyer to CEO and their friends and families.

It's similar to Game of Thrones or Breaking Bad in that way - cause and effect, action and reaction, domino and butterfly effects.

Must watch.
Director: Sam Kelly
Cast: Jake Ryan, John Tui, Chelsie Preston Crayford, Seth Flynn, Haanz Fa'avae-Jackson, James Matamua, Jack William Parker, Alex Raivaru, Olly Presling, Lotima Pome'e, Italiyah Wilson, Eden Flynn, Poroaki Merritt-McDonald, Taiti Ahiao, Tui Rererangi Aitken

Zmovies Enola Holmes
I'm not going to lie, I'd always choose a good period drama should there be one, once I heard the BBC jumped into this I got my hopes up after the almost yet disappointing 2007 adaption but let's be honest, no.

I keep forcing myself to watch, it's... slow, poorly acted, they don't get anything of Russia here, we get no explanation about the events, there is no context, at all. Everything seems forced except for the scenery, as always when it comes to the BBC, it's beautiful and yet nothing, it's lame, 1 episode and half watched and I must say: I don't like it, they could have done more. The cast was good, what happened here? Also, it makes me compare this to the 2007 adaptation for the Rostov's palace is the same they used. Even the furniture, same place, also, I'd like one adaptation to have a brunette Natasha for she was one, I'll keep watching for I promised myself to give it a chance until it ends but I'd not advice anyone to do as well.
Director: Harry Bradbeer
Cast: Millie Bobby Brown, Henry Cavill, Sam Claflin, Helena Bonham Carter, Fiona Shaw, Adeel Akhtar, Frances de la Tour, Louis Partridge, Susan Wokoma, Burn Gorman, Jay Simpson, Margaret Wheldon, Joakim Skarli, Heather Pearse, Paul Parker