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Screen Rant’s Kofi Outlaw Reviews Safe

In Safe, Jason Statham stars as Luke Wright, a former NYPD cop turned cage fighter, whose world is shattered when a Russian mob kills his family and places him under (a very strange) mandate of living exile: the mob will watch Wright’s every step, and kill anyone he gets close to. The imposed purgatory transforms Wright into an alcoholic vagabond, wandering the streets of NYC in misery and isolation.

Things change for the disgraced cop when he runs across a brilliant young girl named Mei (Catherine Chan), who is being pursued by the same Russian mob that killed Luke’s family – and also a Chinese Triad and squad of corrupt cops that Wright disgraced once upon a time. Luke decides to flip the script on all his foes by getting his hands on Mei first, thereby uncovering the secret that has so many bad men chasing the same little girl. But what Luke doesn’t know is that the mystery locked away inside Mei’s genius mind is not only valuable to the crooks, but high-ranking city officials and other shadowy figures – some of whom are tied to Luke’s sordid past.

Safe is the epitome of a “throwback action film.” The movie plays like some over-the-top, all-in-one-night heist flick resurrected from the late ’80s/early ’90s heyday of testosterone-fueled dude movies. It was both written and directed by Boaz Yakin, the filmmaker best known for the feel-good sports drama, Remember the Titans. Yakin’s filmography is filled with evidence that his directorial skills (see: Titans, Fresh, A Price Above Rubies) are better than his writing skills (From Dusk Till Dawn 2, Dirty Dancing: Havana Nights, Prince of Persia), and Safe only serves as further evidence of this disparity.

In terms of direction, Safe is a thrilling and well-choreographed mix of old school and new era action movie making - and Statham pulls off the bone-crunching, face-cracking, martial arts sequences with a swagger that makes one nostalgic for the days of Van Damme and Seagal at their best. Statham is also one of the only leading men of today who can spit cringe-worthy one-liners in a somewhat catchy and funny way – a trademark ability of action veterans like Bruce Willis and Arnold Schwarzenegger. In all honesty, without Statham and all the charisma he brings to the table, Safe wouldn’t even be worthy of a theater screen.

Jason Statham as Luke Wright in 'Safe'

…This is largely because the movie is an absolute mess, as far as story and character go. The premise is straightforward  (catch the little girl), but Luke Wright, as a protagonist, is so full of holes that even a brief second of time spent analyzing him will yield questions raised, but never answered; contradictions never set straight; choices that are hard to understand, and a backstory that is so convoluted by the time the final twists and so-called “reveals” come around, it thwarts any ability to make sense of this character at all. (Luckily(?), the break-neck pace of the film offers almost no time at all to ponder such matters.)

Equally implausible is the general level of mayhem and destruction that is inflicted upon the face of New York City. In a post-911 era, it becomes impossible not to notice that the same people are running through the streets from high-speed chases to gunfights – causing murders and mass chaos – without being swiftly identified and curtailed by the hand of martial law. Of course, an action movie is supposed to stretch reality in this sense – but Safe manages to over-stretch things, thereby snapping us right back into reality as we question the plausibility of what is occurring on screen.

As far as acting goes Statham carries the show, but gets help from Catherine Chan, who shows definite skill as a young lead – with wit and timing that far exceeds her years. She’s a great foil for Luke – not so much a weepy child in distress, more a cunningly shrewd player in a very dangerous game. Between the two of them, Luke and Mei make for solid protagonists, with a charming odd-pair rapport.

Jason Statham and Catherine Chan in 'Safe'

Recognizable faces fill out the supporting cast, including famous character actors like James Hong (Kung Fu Panda) as the menacing leader of the Triad; Reggie Lee (Fast and the Furious) as his ruthless and relentless enforcer; Robert John Burke  (Robocop 3) as a corrupt police captain; Chris Sarandon (The Princess Bride) as the seedy mayor of NYC, and Hell on Wheels star Anson Mount as the mayor’s shady bag man, who knows Luke from way back. In fact, Safe plays like a who’s who of ‘seen him somewhere’ faces that come, go and leave little impression beyond the moment in which Statham’s character dispatches them.

In the end, Safe is probably a safer bet as a rental – but for fans of Statham-brand action flicks (The Transporter, Death Race, The Mechanic, Crank) this movie is pretty much in line with the actor’s other work. It ain’t too smart, it ain’t too sophisticated, but it does have its charm and is entertaining enough for what it is: an action-packed, B-movie experience.

Screen Rant’s Kofi Outlaw Reviews Sound of My Voice

In Sound of My Voice we are confronted with an immediate question of faith, as would-be documentarian Peter Aitken (Christopher Denham) and his girlfriend Lorna (Nicole Vicius) are brought into a local cult to meet its leader, the beautiful and mesmerizing Maggie (co-writer and star Brit Marling). The rabbit hole gets even deeper as Maggie reveals an implausible story to her new recruits: she claims to be a traveler from the future (2054 to be exact), sent back to gather those faithful who are ready to be trained in how to survive (both literally and figuratively) in the harsh era to come.

Peter and Lorna initially enter the cult’s ranks with the shared aspiration of exposing Maggie as a fraud; however, as they become more involved with the group, Maggie’s alluring charisma and unnerving insight begins to lace Peter and Lorna with doubts about her fraudulence, their own relationship, and even their views of who they are as people.

Apr 27, 2012 by Kofi Outlaw 

Screen Rant’s Kofi Outlaw Reviews Sound of My Voice

In Sound of My Voice we are confronted with an immediate question of faith, as would-be documentarian Peter Aitken (Christopher Denham) and his girlfriend Lorna (Nicole Vicius) are brought into a local cult to meet its leader, the beautiful and mesmerizing Maggie (co-writer and star Brit Marling). The rabbit hole gets even deeper as Maggie reveals an implausible story to her new recruits: she claims to be a traveler from the future (2054 to be exact), sent back to gather those faithful who are ready to be trained in how to survive (both literally and figuratively) in the harsh era to come.

Peter and Lorna initially enter the cult’s ranks with the shared aspiration of exposing Maggie as a fraud; however, as they become more involved with the group, Maggie’s alluring charisma and unnerving insight begins to lace Peter and Lorna with doubts about her fraudulence, their own relationship, and even their views of who they are as people.

Sound of My Voice is the first feature-length film by writer/director Zal Batmanglij, and covers much of the same terrain as The Recordist, a short film which marked his first collaboration with Marling. The pair seem most concerned with telling open-ended stories shaded with familiar sci-fi concepts, presented in grounded ways that leave the philosophical quandaries wide open without the necessity for elaborate (or arbitrary) effects or sequences. Of course, fans of the genre who like the aesthetic pleasures of spaceships, aliens, flashy time portals or futuristic technology aren’t going to find much to enjoy in what is ostensibly a stripped-down indie movie with a sci-fi premise.

Batmanglij and Marling’s approach to storytelling is sure to be even more divisive, as much of the film focuses on scenes of the cult gathered together in the basement, as Maggie offers heavy-handed (and often gross) sermons. She claims that hers is a future in which there is no room for self-deception, excess, illusions of luxury or the crutch of technology – basically a reverse method of  critiquing (or even admonishing) the times we live in, and all the misguided things that we believe. Therein lies the real &ldquooint” of Sound of My Voice: to serve as a word of forewarning about the wrong path into an inevitable storm (society’s collapse) – and then, a roadmap for those looking for a new path (as hammered home by the moment when the title is referenced in the actual film).

Nicole Vicius and Christopher Denham in 'Sound of My Voice'

It’s an interesting approach to a sci-fi story – but the film’s thematic accomplishments will largely be overlooked, as most viewers will likely focus on their frustration with how the central mystery of the narrative (is Maggie from the future or not?) is left without resolution – as are the subplots and dangling threads the movie also introduces. These “dropped balls” include two side-stories that run parallel to the main narrative: one involving a little girl at the school Peter teaches at, who continuously exhibits strange, obsessive behaviors; the other is that of a woman named Carol Briggs (Davenia McFadden), who arrives in town claiming to have knowledge of Maggie’s true origins.

Both of these side-stories are important, as they converge with the main thread to create the (sudden and cumbersome) climatic act of the movie – but again, by the time things pull together, most viewers will be frustrated with the fact that the finale only inspires more questions, without concretely answering anything.

To their credit, Batmanglij, Marling and lead actors Denham and Vicius manage to create a truly spellbinding atmosphere for the film. Marling is definitely the standout, effortlessly pulling off the combination of charisma, mystery, allure and sometimes frighting intensity that makes Maggie such a captivating character. If nothing else, Sound of My Voice proves that Marling is capable of breakout stardom – both in front of and behind the camera.

Brit Marling as Maggie in 'Sound of My Voice'

Those who like their endings left open so that they can ponder and theorize about a philosophical story: Sound of My Voice provides a whole lot to mull over and analyze. Those who are not big fans of being left with more and questions than answers, will definitely arrive at disappointment (and scorn) for a film that teased them with so much, only to leave them feeling cheated and confused by the end. Yet and still, Sound of My Voice is an interesting approach to indie sci-fi, created by some bright new talents. It may not be the pinnacle of Batmanglij and Marling’s work together (maybe that will be their already-in-production next film, The East?), but it’s a pretty solid introduction.

Sound of My Voice is now playing in limited theatrical release. It is Rated R for language including some sexual references, and brief drug use.

Screen Rant’s Ben Kendrick reviews The Five-Year Engagement

Judd Apatow has become one of the biggest names in Hollywood comedy – largely because of his ability to blend over-the-top gags with heartfelt character stories. In one way or another – as writer, director, or producer, Apatow has been connected to hits that include Bridesmaids, Pineapple Express, Forgetting Sarah Marshall, Knocked Up, along with plenty more. That said, not every Apatow-produced film has been a slam-dunk with audiences (we’re looking at you Funny People, you too Year One) and, as a result, the filmmaker has seen his fair share of box office (and critical) bombs.

Fortunately, The Five-Year Engagement is set to deliver plenty of fun and heart for moviegoers – since it draws from the traditional, but not yet stale, elements that have made prior Apatow-backed films so successful. The movie offers plenty of awkward and raunchy gags, but never strays too far away from the charming, and at times emotionally draining, core storyline. This isn’t to say that The Five-Year Engagement is depressing – because it’s mostly light-hearted fun – but Stoller doesn’t pull any punches and, despite their love for one another, both Tom (Segel) Violet (Blunt) are faced with more than a few heart-breaking moments.

Of course, the filmmaker’s commitment to the more challenging aspects of love is also the film’s greatest strength. In a genre that’s packed-full of gross-out humor, low-brow gags, or shallow fairytale romances, it’s becoming increasingly rare to find a romantic comedy that’s not just relatable, but also capable of saying something intelligent about modern relationships.

Emily Blunt and Jason Segel in 'The Five Year Engagement'

What’s more “modern” than meeting your soulmate at a “make your own superhero”-themed New Year’s Eve party? The Five-Year Engagement storyline begins as Tom and Violet transition from that chance encounter to an engagement one year later. The pair are flourishing in San Francisco where Tom is quickly rising through the ranks as a chef in one of the Bay Area’s nicest restaurants, while Violet anxiously awaits word from Berkley – where she applied for entry into a graduate program in Social Psychology. However, when Violet gets accepted into Michigan instead, Tom passes on a prestigious Head Chef promotion and the pair move to Ann Arbor so that Violet can complete the two-year grad program. Violet flourishes in Michigan but Tom has trouble finding meaningful work; meanwhile, the pair’s wedding plans are routinely pushed-back. Tom takes the up and downs in stride – until Violet is offered a distinguished fellowship that could keep the pair in Michigan indefinitely.

As mentioned, The Five-Year Engagement is an Apatow-style comedy film at nearly every turn, with a pair of central leads that deliver enjoyable and moving performances – not just setups for comedy gags. Neither Segel nor Blunt are breaking new ground in the roles of Tom and Violet, respectively, but the pair succeed in showcasing a range of emotional moments that never come across as melodramatic or, on the other extreme, hollow. Whether in love or out of love, the dynamic between Tom and Violet never gets stale – even when the couple hangs on the verge of collapse. The result is a captivating look at a relationship between two ambitious young adults who are trying to find the right balance between self-sacrifice and self-destruction – while trying to hold on to that initial spark.

The ensemble bench of supporting talent is equally strong, with appearances from Mindy Kaling, Randall Park, Kevin Hart, Rhys Ifans, Alison Brie, Chris Pratt, Jim Piddock – as well as a handful of other players that moviegoers will likely recognize from their favorite TV shows and films. Not all of the characters get as much time in the spotlight as others, but everyone has a moment or two to shine, and no one is forced into the production just for a cheap laugh. By the end, Ifans’ role as Winton Childs is a little uneven and doesn’t always earn his moments – which makes it hard to interpret the character’s actions at various points (though the actor does a solid job with what he’s given). Brie and Pratt, who play Violet’s sister (Suzie) and Tom’s best friend (Alex), are especially entertaining - showcasing veteran comedy timing and, in the case of Brie, a pretty slick British (and Elmo) accent.

Mindy Kaling, Randall Park, Kevin Hart, Emily Blunt, and Rhys Ifans in 'The Five Year Engagement'

However, like many Apatow-produced movies, some viewers may find that the film’s 124 minute runtime starts to drag by the end. Instead of a traditional three-act structure, The Five Year Engagement more closely resembles a four part project – or, being a little more direct, a film with an overly-long closing act. While the ups and downs of the story are all interesting, packed with solid one-liners and enjoyable comedy set-pieces, as a full movie the overall experience could, for some viewers, become a bit drawn-out. It’s easy to understand why Stoller spent the extra time – because it serves the core storyline – but the movie is likely to feel overly-long (especially because the final half-hour also has fewer laughs per minute).

Despite a few hiccups, it’s easy to recommend The Five-Year Engagement – especially since the film’s shortcomings don’t detract all that much for the overall experience. It’s a bit over-stuffed, but the narrative does come full-circle and successfully balances charming comedy gags grounded in a memorable and contemporary love story.

Is The Five-Year Engagement - directed by Nicholas Stoller (Get Him to the Greek) and starring “camp Apatow” veteran Jason Segel and rising starlett Emily Blunt – another memorable and laugh-out-loud entry in the Apatow’s stable of hits?

The titling of director James McTeigue’s Edgar Allan Poe thriller, The Raven, has no doubt confused plenty of would-be moviegoers ever since the film was first announced back in 2009. Instead of a retelling of Poe’s most famous poem, The Raven is actually a fictionalized narrative centered around the final days of the writer’s life – recasting Poe as a reluctant but brave hero that, along with a determined Baltimore detective, attempts to solve a string of grisly murders.

The re-imagined historical figures genre has become a new testing ground for Hollywood, most notably with Abraham Lincoln: Vampire Hunter on the horizon (FYI: Edgar Allan Poe makes a guest appearance in the novel), where writers can take household names – and put a new, and in theory more exciting, twist on what would otherwise result in stuffier true-life drama (i.e. Steven Spielberg’s Lincoln biopic). As a result, does McTeigue’s The Raven offer both a fun spin on the last days of Edgar Allan Poe – while also delivering an exciting mystery story?

Unfortunately, the  confusing titling of The Raven is hardly the project’s biggest problem – as, despite a mostly competent (albeit sometimes campy) effort from both John Cusack (Poe) and Luke Evans (Detective Fields), the mystery narrative elements, as well as the respective kills, are surprisingly underwhelming. Many expectant moviegoers had been describing McTeigue’s Poe film as Se7en in 19th Century Baltimore but, sadly, The Raven lacks nearly all the aspects that made David Fincher’s serial killer film so captivating – i.e. jaw-dropping reveals, smart twists, and – despite loads of Poe stories to pull from – intriguing murder scenes are all in short supply.

Edgar Allan Poe and Detective Fields investigate 'The Pit and the Pendulum'

As mentioned, The Raven follows the final days of Edgar Allan Poe’s life – presenting the tortured author as a self-absorbed and desperate social outcast whose work was still, at the time, mostly under-appreciated. The only glimmer of light in Poe’s impertinent existence is his furtive lover Emily Hamilton (Alice Eve), the daughter of a retired Colonel and rich Baltimore socialite. However, when a brutal serial killer begins to dispatch victims, by recreating famous murders from Poe’s published stories, including “The Murders in the Rue Morgue” as well as “The Pit and the Pendulum,” the author is thrown into a malicious battle of wits – with life and death hanging in the balance.

Given how many of Poe’s “horror” mysteries have remained iconic staples of literary history, it’s shocking how quickly the film glosses over the few kill sequences that are included in The Raven. Only “The Pit and the Pendulum” delivers truly impactful, and grisly, on-screen action – with the rest of the murders rattling off one after another with hardly any build-up and uninspired on-site drama. However, even the “Pendulum” murder is void of compelling aftermath – since Poe (and the audience) is merely given the next “clue” as if it was an afterthought not an integral part of the current scene. Instead of presenting Poe and Fields as actual investigators on the trail of a serial killer (who walk into a room and actually deconstruct the scene) The Raven quickly devolves into watching the two chase after a shadowy murderer without stopping to let the audience enjoy the mystery as it unfolds piece by piece.

While moviegoers were initially skeptical of Cusack in the role of Poe – especially after Jeremy Renner, Ewan McGregor, and Joaquin Phoenix had all been in talks at one point during pre-production – the Being John Malkovich (and 2012) star isn’t ultimately at fault for the film’s shortcomings. At first, Cusack over-does the tortured genius angle and actually makes the Poe “character” pretty unlikable (especially compared to a similar schtick from Robert Downey Jr. as Sherlock Holmes); however, as the film’s murder plot takes hold, the actor backs off from showcasing his practiced version of Poe and locks into a less ambitious, but more likable, approach – simply reacting to the various in-moment happenings. As a result, while the portrayal is campy and, at times, melodramatic, most audience members will likely be rooting for Poe as the film stumbles into the closing act.

Alice Eve (Emily Hamilton) and John Cusack (Poe) in 'The Raven'

Performances from the supporting cast are, similarly, a mixed bag – Eve as well as familiar faces that include Brendan Gleeson and Kevin McNally are competent enough and don’t distract from the core storyline. That said, none of their characters are nuanced or particularly interesting to watch – and only serve as mouths for exposition or goals/obstacles that Poe and Fields are expected to navigate. Only Evans manages to pull any above surface level emotion out of his character (which should be familiar territory for the actor given his solid work in The Immortals – which also featured a cast full of one-note characters). While Fields is still held hostage by the underwhelming story progression and boring scene work in The Raven, Evans emits just enough charisma in the role to successfully keep things going during a number of dialogue heavy scenes that would have otherwise been cause for eye rolling.

Ultimately, The Raven is just about what most pre-release cynics had been anticipating – a bizarre mishmash of historical elements and subpar on-screen drama capped off with an underwhelming but serviceable performance from John Cusack in the leading role. The project fails to impress at nearly every turn and, for a film with such a rich source material, offers very few surprises, intriguing twists, or interesting murder mayhem. While it’s easy to imagine some movie-lovers could enjoy the film when it hits cable, The Raven is never flitting, still is sitting, still is sitting, And my soul from out that shadow that lies bored on the floor, Shall be interested – nevermore!

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Director duo Peter and Bobby Farrelly has come with a new comedy movie 'The Three Stooges', which aims at eliciting strings of laugh riots from all of us. First time when I heard the movie name, I was quite confused about the genre, whether it is a comedy, a suspense thriller, or a typical romantic movie. The trailers for the movie revealed it a slapstick comedy and people who knew Peter and Bobby Farrelly's movies could guess how successful this movie is going to be.In case you have missed out on the new dose of humor then watch The Three Stooges online. Due to financial dispute with MGM, production of the film, which started in 2009, was left half way. But later on, filming started again and finished on time.

Download The Three Stooges in order to tune in to the movie and enjoy the incessant bouts of comedy involving the three most famous booby guys of the world, Moe, Larry, and Curly. Will Sasso, known for 'Mad TV' and 'Life As We Know It', plays Curly, Sean Hayes famous for 'Will And Grace' comes as Larry and Chris Diamantopoulos noted for 'The Kennedys' portrays the role of Moe.The story revolves round the three guys, who accidentally gets involved in a murder case, while trying to save their orphanage. Download full The Three Stooges, since it seems to be league apart from usual comedy films, and also vouches to allow viewers to laugh their heads off right from the beginning till the end.

The Three Stooges is fun filled biopic recreating the magic of three boneheads on a modern day setup. The story of this film revolves around the lives of three angels from heaven as the nuns like to state them like. The three newborns are left on the doorway of orphanage which is operated by nuns. The newborns are named Larry, Moe and Curly. The newborns look super funny, one is child is having a bowl-shaped haircut, other is having bushy hair that is coming out of his shining bald head and the last one is sporting a retro haircut. Watch The Three Stooges online to find out that the nuns come to know that these kids are gifts of god when Moe pokes one of nuns named Sister Mary-Mangele and she is hurled to the next county.

The next few years also continues with the wrath of the newborns in full blown as the nuns are left injured by the three stooges. Also, the orphanage would be ask to shut down its operations as they are going through severe financial issues. Download The Three Stooges as Larry, Moe and Curly are recruited as the maintenance guys as they would try and save the place from getting closed at any cost. The mission is pretty simple that they would have to raise a whopping sum of $830,000 and this feat they would have to achieve in just 30 days which seems to be a Herculean task for them. They would go all out in the big city for the first time. They are looking for a job which is seemingly difficult for them to get as they would try and get something in order to save the place. Surprisingly, they get a job as a lady named Lydia is offering one to them, all they have to do is commit a murder basically kill her husband who is suffering and they are offered a handsome amount that would save their home. But will they commit the act of killing someone?

In their homage to the classic Three Stooges comedic trio, directors Bobby and Peter Farrelly (Dumb and Dumber) transport bumbling oafs Larry, Curly and their leader Moe into modern times as three strange-looking babes abandoned on the doorstep of an orphanage. For an emotional core, we’re treated to a setup in which a young Moe is nearly adopted by a caring couple – only to be traded for another boy when he insists that his Stooge brothers also be brought along for the good life.

From there the story breaks into three interlocking vignettes presented as individual Three Stooges episodes, in which Moe, Larry and Curly – now grown – embark on a mission to save the bankrupt orphanage by “raising the dough” themselves – a sum upwards of around 800K. Of course, Three Stooges out to do anything for money can only land themselves in trouble, and Moe, Larry, and Curly sure enough land themselves in the murder schemes of a black widow wife (Sofia Vergara) and her snake of a lover (Craig Bierko). But even as the Stooges try to get the dirty work done, they end up doing more damage than anything else – to themselves, to the schemers, anyone in the immediate vicinity, and even to the face of reality television.

What is there to say about The Three Stooges? It’s one of those films that is either going to resonate strongly or not at all, depending on the viewer. The Farrellys certainly hold up their end of the bargain: they lovingly and accurately recreate the comedic stylings of the classic Three Stooges sketches, from the situational premises to the sound effects to the physical comedy. Lead actors Chris Diamantopoulos (Moe), Sean Hayes (Larry) and Will Sasso (Curly) rise to the task equally well, nailing down most of the timing and mannerisms of original Stooges Moe Howard, Curly Howard and Larry Fine.

Diamantopoulos is the best of the trio, managing to actually own the role of Moe as his own, rather than the (albeit skilled) impersonation work of Sasso and Hayes. Still, the trio are certainly worthy of the characters they are paying homage to – they are also, ironically enough, easier to believe than some of the more famous actors once attached to the roles would’ve been (Sean Penn, Benecio Del Toro and Jim Carrey). So, whatever faults Three Stooges might have (the silly story and general absurdity of it all), the acting and overall approach to recreating the classic material aren’t to blame.

The question comes back to tastes. The Stooges were fitting comedy for their day, and even managed to be popular with children for many decades thereafter (myself included). Of course, we now live in very different times, in which edgier material tends to be what passes for comedy; even animated films aren’t above their fair share of adult humor. I have no doubt that The Three Stooges will be funny for young kids (there’s even a ‘don’t try this at home’ warning for them in the end credits) – but older viewers hoping that this film will rekindle that warm feeling they remember from watching the original sketches are not likely to find what they are seeking here. Then again, those with more conservative comedic tastes, who often find themselves turned off by the dirty comedy of our day, might warmly welcome some good-old, (semi-)clean, slapstick funny business. It all depends on the type of viewer you are.

Celebrity cameos in the film are a mixed bag. The nuns at the orphanage include Glee star Jane Lynch, singer Jennifer Hudson, model/actress Kate Upton (seen above, in detail) and Curb Your Enthusiasm star Larry David as the acerbic Sister Mary-Mengele. We also run into Old Spice hunk Isaiah Mustafa, Modern Family star Vergara, and character actors Stephen Collins (No Ordinary Family) and Bierko. These appearances are welcome, and each person gets a chance to poke a little fun at their own personas (with the exception of Collins and Beirko, who once again play the sinister guys).

Later in the film, when the cast of Jersey Shore gets incorporated into the story… well, that’s the kind of heavy-handed, awkward misstep that has separated the Farrelly’s recent works (Hall Pass, The Heartbreak Kid) from their classics (Dumb & Dumber, There’s Something About Mary). As a rule of thumb: you don’t honor something by way of Jersey Shore. YES, the film includes the reality stars as a sly joke about the kinds of people who become pop-culture fixations these days (“Stooges,” get it?) – but it is the kind of distracting element that can (and does) pull a viewer right out of a film.

To the credit of the cast and directors, The Three Stooges is not all terrible. In final breakdown, the three vignettes get weaker as the film goes (and at times drags) on. The first segment at the orphanage comes closest to capturing that “classic Stooges” magic; the second one, set in the real world, is less effective but still has some good sequences (the hospital); but by the time the third act hits, and the trio have their inevitable falling-out, reconciliation, and Jersey Shore experience? That’s about where this film falls short of its honorable intentions.So what does a good 1.5 out of 3 acts equate to in terms of a 5-star rating for a movie? See below.The Three Stooges is now playing in theaters everywhere. It is Rated PG for slapstick action violence, some rude and suggestive humor including language.

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In the comedy American Reunion, all the American Pie characters we met a little more than a decade ago return to East Great Falls for their high-school reunion. In one long-overdue weekend, they will discover what has changed, who hasn't and that time and distance can't break the bonds of friendship. It was summer 1999 when four small-town Michigan boys began a quest to lose their virginity. In the years that have passed, Jim and Michelle married while Kevin and Vicky said goodbye. Oz and Heather grew apart, but Finch still longs for Stifler's mom. Now these lifelong friends have come home as adults to reminisce about-and get inspired by-the hormonal teens who launched a comedy legend.

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The long-running war between the titans and the gods is at its peak, and havoc is unleashed on earth. The gods have been weakened by the lack of devotion among humans, making the stakes grow in favor of the titans. The imprisoned titans and their ferocious leader, Kronos, threaten to escape from the deep-lying dungeons that they have been left to rot in. The sons of Kronos, Zeus, Hades and Poseidon, have abandoned their father, and are now on the side of the gods.Watch Wrath of the Titans online to see what happens next when Hades and Zeus’ godly son Ares switch loyalties, deciding to pair with Kronos, and capture Zeus. This infuriates Zeus’ demigod son, Perseus, who has decided to leave behind his life of raging battles, in live peacefully with his 10-year old son, Helius, as a village fisherman

As you download Wrath of the Titans, you shall see Perseus making the drastic decision of returning to the battlefield, to avenge the disloyalty of his brother and Uncle, and to save his father from their deceit. He is accompanied by the warrior Queen Andromeda, Poseidon's demigod son, Argenor, and fallen god Hephaestus (Bill Nighy) in this treacherous mission. The movie offers a gripping blend of action, adventure, thrill and sci-fi, making for a must-have in every movie buff’s collection. You can watch full Wrath of the Titans to make the most of this superbly-crafted tale by Jonathan Liebesman. The movie’s stunning special effects make it all the more enthralling, while the suspense of who will finally emerge victorious in this war keeps you on the edge of your seat right through the last shot!

Watch Wrath of the Titans online to witness the epic battle between the Titans, Gods and Demigods. Ten years post the first clash, Perseus, the demigod, is living a life of fisherman in a quiet village with his ten-year-old son, Helius. The defeat of the evil Kraken took place ten years ago. The struggle that has commenced again now is again between the Gods and the defeated Titans. Yet again the underworld gofers are back to spread the wrath of the evil on the planet Earth as well as effect purity of heavens. The rage between the Gods and Titans has begun. At the same time, humans are losing faith in the existence and supremacy of Gods.

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Wrath of the Titans picks up about a decade after Clash of the Titans, where we find Kraken-slaying demigod Perseus (Sam Worthington) having traded his sword for the mundane life of a fisherman and father to his son, Helius. (Sadly his wife Io passed away – likely because the actress playing her didn’t return for this sequel).One night, Perseus’ father Zeus (Liam Neeson) appears to tell him of an ominous prophecy: Mankind has moved away from the gods, causing the gods to lose their powers. This loss has consequently weakened the walls of Tartarus, the underworld prison where the Olympians banished the monstrous Titans – including Kronos, the father of Zeus, Hades and Poseidon. Zeus needs help to hold Tartarus together, but Perseus is reluctant to return to battle – that is, until Hades (Ralph Fiennes) and Zeus’ other son Ares (Édgar Ramírez) capture the god of lightning and begin to transfer his life force into the dormant Kronos.

With the fate of the world in the balance, Perseus recruits allies in the form of his old friend Queen Andromeda (Rosamund Pike) and Poseidon’s demigod son Agenor (Toby Kebbell). The trio sets out on a dangerous quest into the underworld to free Zeus, and stop the Titans from breaking free and wreaking havoc upon the world.Clash of the Titans was a somewhat underwhelming affair (read our review), with its wooden acting, formulaic, video game-style progression, poor 3D conversion and action sequences that were more lackluster than thrilling. Wrath of the Titans is indeed an improvement upon its predecessor – but not by much.

Battle Los Angeles director Jonathan Liebesman steps into the director’s chair in place of Clash helmer, Louis Leterrier. The two ultimately prove to be on the same skill level (average), but are slightly different in terms of their shortcomings.Where Leterrier’s signature was stiff and contrived action choreography shot at medium range using wires harnesses and such, Liebesman opts for the same kind of shooting style he used in Battle LA - namely a claustrophobic, over-the-shoulder shaky cam perspective – which will immediately turn off a certain contingent of moviegoers. The action sequences in the first film felt like overly-contrived dance routines, but in Wrath the action (especially in the first half) is a mix of blurry up-close movement and wider tracking shots that put the human actor in the foreground, running toward or away from some CGI creature in a green screen background. Stylistically speaking it’s not very sophisticated, or believable.

Thankfully Liebesman’s guerrilla shooting style relaxes as the film moves into some of the bigger set pieces in the second and third acts, and Wrath of the Titans ultimately manages to end on a much stronger note than it begins, with some epic blockbuster sequences that make smart use of the film’s much-improved 3D format. Sure, seeing Perseus riding Pegasus towards a giant molten lava Titan is almost a carbon-copy of the first film, but Liebesman makes it look good. War simulation is definitely his strong suit.

The acting in the film is slightly better this time – though the script is still pretty formulaic, with dialogue that is wooden at best, cringe-worthy at worst. Liam Neeson and Ralph Fiennes are thankfully given more to work with, as one of the subplots has to do with Zeus and Hades confronting their sibling issues as the time of the gods nears its end. Édgar Ramírez also gets a more Shakespearean (and I use that term very loosely) story arc, playing the god of war as a wounded, rage-fueled man-child with deep-seated daddy issues. Rosamund Pike and Toby Kebbell are good sidekicks, and character actor Bill Nighy (Underworld, Pirates of the Caribbean) shows up for a scenery-chewing cameo alongside a very special guest, which fans of the 1981 original Clash will delight in seeing.

Sam Worthington, on the other hand, is still as wooden and uninteresting as ever. There must’ve been a lot of CGI required to create the actor’s facial expressions in his Avatar alien body, because in every live-action role since then (see: The Debt, Man on a Ledge) Worthington has pretty much proven that his range extends between blank face and feral growl. Wrath of the Titans tries to give Perseus some deeper emotional motivations (family, duty), but the scenes requiring emoting just look flat and even comical set against Worthington’s blank stare. Even Pegasus manages to display more personality – and he’s a flying horse.

The Titans (and all the mystical beasts that come with them) are all well-designed and appropriately menacing – except for the Minotaur in the labyrinth sequence. Thanks to excess shaky-cam, we barely get to see what ol’ horn head looks like. But Kronos, the Chimera, the double-torso demon soldiers – all well done.If you were a fan of the first installment then Wrath of the Titans is going to be a welcome improvement; if you didn’t like the first film, this sequel is not going to reverse your negative opinion. If you’re wondering whether to shill out for the 3D ticket: the last half-hour is worth it, and overall the format is better-utilized, but for most of the runtime it isn’t a necessity.