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7 TH DAY MOVIE SONG DIRECT DOWNLOAD

Posted on 00:38 by jozz belly

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Friday, 18 July 2014

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Posted on 22:43 by jozz belly

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Wednesday, 16 July 2014

Transformers: Age of Extinction Movie review 2014.In theatres now

Posted on 22:11 by jozz belly

Transformers: Age of Extinction Movie review

Transformers: Age of Extinction, 2014.
Directed by Michael Bay.
Starring Mark Wahlberg, Victoria Summer, Stanley Tucci, Kelsey Grammer, Nicola Peltz, Jack Reynor, Titus Welliver and Li Bingbing and featuring the voice talents of Peter Cullen, Frank Welker, John Goodman, Ken Watanabe and Mark Ryan.

SYNOPSIS:
An automobile mechanic and his daughter make a discovery that brings down the Autobots – and a paranoid government official – on them.

During my screening of Transformers: Age Of Extinction I could hear a man a few rows away from me talking out loud. I looked over and saw he was telling the kid behind him to stop kicking his chair; the kid didn’t hear him at first so he spoke a bit loud and the message was understood. It dawned on me at this point that this brief dialogue between two strangers had captivated my attention in a way the action on screen had failed to for the past two hours.
I welcomed the distraction. Finally something was happening in the room which wasn’t a total bore. I kind of hoped the person behind me might start kicking my chair too, but they were selfishly well behaved and that brief respite away from the film was denied.
Never has a film shown us so much yet, at the same time, given us so little as Transformers: Age Of Extinction. Director Michael Bay throws everything at the screen during a running time longer than any of his three previous entries in the series, using up every last cent of the reported $200+ million budget to deliver state-of-the-art special effects which must have taken each of the creative artist all of the talent and skill to design and create, but fails to meet even the most basic, entry-level results you would expect. Bay’s attitude towards this forth film is strikingly lackadaisical for a man who has become the king of pushing the limits of on-screen chaos (or ‘Bayhem’ as it has become known); whereas before directors like Peter Berg or Zack Snyder have clearly been influenced by (or plaintively copied) his style, Bay has now made a film which looks like a imitation of his own style.
There is not one scene of innovative action or style in Transformers: Age Of Extinction which Bay has become famous for. I have often said ‘love him or hate him, no one does carnage like Bay’ but with his latest film he’s simply phoned it in which is something he couldn’t be accused of before. Each set piece is the same as the last in terms of look, setting, execution, lack of tension, lack of excitement, and lack of awe. As much as I disliked the last Transformers film, it did have a five minute sequence of sheer brilliance as a skyscraper collapses and the humans must hang on for dear life and Bay showed his best action direction since The Rock 15 years before. Bad Boys II was a nasty, gross film but damn it if that highway chase with the car transporter isn’t still one of the most pulse-pounding and innovative car chases I ever seen. Even the first Transformers film had some decent sequences before it gets out of control, showing the audience CGI magic the likes of which we’d not seen before.
Yet Bay offers us precisely nothing here except his complete lack of understanding as to what makes an action sequence work. There is no tension, there is no build-up or gradual escalation, and there are no stakes. Sadly he seems to think shooting at the magic hour automatically makes a scene resonate with emotion but it’s all for effect and never for story with Bay. Moreover, with everything looking so false and fake for the majority of the film, the sunsets and red skies have no appeal and look as flat as the rest of the film.
Moreover, the film not only causes chaos in Chicago again but moves the action to Hong Kong for no other reason than to sell tickets in Asia. OK, this is a wise move from a financial perspective on Paramount’s part but Bay takes absolutely zero advantage of the change of location. In a James Bond or Mission: Impossible film the film makers would make the sequences unique to the locations, but in Transformers it’s just another load of tall buildings to destroy. And the product placement is obscene throughout the film without the slightest attempt to make it part of the film. I won’t lay all the blame on Bay here but someone needs a slap across the face for forcing this level of blatant and constant brand exposure into any movie.
At 166 minutes, the film is agonisingly too long for the story it is trying to tell, but what makes it even worse is the screenplay by Ehren Kruger, the man who penned the previous two films in the series. In the hands of Kruger and Bay the film easily has at least one awful moment during every minute of screen time; whether it is a camera angle or movement which makes no sense in context with the scene, and atrocious line of dialogue, awful acting, an attempt at humour which falls flat, a music cue which makes you cringe, character motivations which are idiotic even for this franchise, or making the plot (such as it is) become ever more unfathomable. That’s a minimum of 150 uniquely awful moments if you minus the final credits.
I couldn’t list all the issues I had with the film because my memory is actively pushing them out as I write this review, but here’s some which are proving hard to forget:
The language is revolting for a film aimed at kids and the ‘family ticket’ with Transformers saying ‘bitch’ ‘ass’ ‘I really want to kill someone’ ‘I want some scalps’ and a human dropping the F-bomb and advising to run over innocent people whilst they make an escape.

The inclusion and discussion of statutory rape in a film about aliens which transform into cars.

The objectification of yet another female lead.

Why do we need to see a man’s burnt corpse in this film?

Why do any of the humans, and in particular the daughter and boyfriend, go to Hong Kong? What purpose can they possibly serve?

Eye gouging and violent fist fights in a film based on toys and cartoons.

A Transformer smoking a metal cigar – How and Why?

Optimus Prime can fly – Why was this not used before?

Who are the massive robots and why do they transform into dinosaurs and how can they breathe fire?

The entire plot. Nothing makes sense.

Transformers: Age of Extinction Movie Review

Cast:Mark Wahlberg, Stanley Tucci, Kelsey Grammer
Director: Michael Bay
Writer: Ehren Kruger

SPOILERS ALERT

Crash. Shatter. Boom. Crash. Shatter. Boom. Smattering of silly dialogue. Pretty girl screams: "Dad!" Crash. Shatter. Boom. Silly dialogue. "DAD!!!" Crash. Shatter. Boom.

What? Oh, sorry. We were falling into a trance there.

Which is, dear moviegoer, what may happen to you during Michael Bay's Transformers: Age of Extinction, the fourth Transformers film and, at 165 minutes, precariously close to the three-hour mark that Bay undoubtedly will reach — by our sophisticated calculations - and at the current growth rate, with his sixth installment.

But let's not get ahead of ourselves. Despite what you've just read, this film will likely be a massive hit because by now, if you're buying a Transformers ticket, you surely know what you're getting into, and you want more, more, more. And Bay is the Master of More.

Or just take it from the 11-year-old sitting next to me, who reserved any audible judgment — he, too was in a trance, though maybe from sugar intake — until the moment he saw a Transformer become a dinosaur. Overwhelmed by the pairing, he proclaimed: "That's the sickest thing I've ever seen in my life." It was as if peanut butter and jelly had been tasted together for the first time.

While you ponder where between these extreme reactions you'll fall, a quick update. This time, there's a whole new human cast. Most important, Mark Wahlberg has replaced Shia LaBeouf as, well, Main Human Guy, and the good news is that Wahlberg's grounded quality, rough charm and really nice biceps make him a thoroughly welcome presence. The bad news: He isn't immune to the numbing effects of some desperately cheesy dialogue (Ehren Kruger wrote the screenplay).

A significant part of the movie also takes place in China — clearly a nod to the franchise's huge market there. Whether such obvious wooing of the Chinese audience will work or backfire — the film also includes very obvious placement of Chinese products — remains to be seen.

In any case, we begin in Paris, Texas, where Cade Yeager (Wahlberg), a struggling inventor, is desperately seeking a big discovery. He's also a widowed dad, and super-protective (as the movie incessantly reminds us) of his high-school daughter, Tessa (Nicola Peltz, blond and pretty and ineffective, though the one-note script does her no favors).

One day, Cade buys a rusty old truck. Examining it back home, he soon discovers it's none other than Optimus Prime, the Autobot hero, seriously damaged.

As Cade works on fixing him up, his assistant, wisecracking surfer-dude Lucas (T.J. Miller, mildly amusing), has the dumb idea of calling the authorities. What he doesn't know is that the government — actually, the head of CIA black ops, Harold Attinger (Kelsey Grammer, expertly villainous) — is plotting to destroy all remaining Autobots in favor of a man-made army of Transformers. He's being helped in this endeavor by the shadowy KSI corporation, run by the nasty-but-complicated Joshua Joyce (Stanley Tucci, giving the most entertaining performance in the film).

So now, it's evil humans pitted against the trustworthy Autobots. So much for gratitude. There's also a subplot involving Tessa and her secret boyfriend, Shane (Jack Reynor, underused), whose Irish accent leads Cade to dismissively call him "Lucky Charms" — at least until the two bond in battle.

From here, it's up to you. You can try to follow the ins and outs of the battling forces — robot and human, man-made and alien, ancient and modern — or just watch things crash into each other, blow up, or both.

The obvious question: is it too much for its own good? Bay is very talented at all things visual, the 3-D works well and the robots look great. But the final confrontation alone lasts close to an hour, and at some point, you may find yourself simply in a daze, unable to absorb any further action into your brain.

But one viewer's migraine is another's euphoria. You decide.

Transformers: Age of Extinction, a Paramount Pictures release, is rated PG-13 by the Motion Picture Association of America for "intense sequences of sci-fi violence and action, language and brief innuendo." Running time: 165 minutes. One and a half stars out of four.

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Dawn of the Planet of the Apes” movie review 2014, In theatres now.....

Posted on 22:05 by jozz belly

Dawn of the Planet of the Apes” movie review

Perhaps The Simpsons said it best, when Troy McClure starred in the musical Stop the Planet of the Apes, I Want to Get Off! By that point, the magic of the original film had long since been tarnished by its sequels — there were four of them — which came fast and furious, each more middling than the last as the creation of this new ape world order was explained by way of a time paradox that put the notion of “the chicken or the egg” to shame.

Dawn of the Planet of the Apes

I’ve no issue with Hollywood attempting to tell the PotA story from a different, more plausible point of view. With 2011′s Rise of the Planet of the Apes, director Rupert Wyatt did just that, eking out an emotionally resonant tale of a scientist (James Franco) and Caesar (Andy Serkis, in motion-capture mode), the genetically modified, super-intelligent ape he inadvertently gives rise to. You could forgive the artificial feel of the CGI apes (nothing will ever replace the sheer ingenuity of the original’s makeup) because the core story clutched at the viewer’s emotions as tightly as a hungry chimp clutches a banana.
The sequel, Dawn of the Planet of the Apes ( star

), directed by Matt Reeves, also grips you, but this time in the jaws of boredom. The CGI has improved, the robust action set-pieces are outsized — both a byproduct of an increased budget — but the movie is written as though clichés were the stuff of Oscar gold.

Dawn of the Planet of the Apes

Ten years have passed and an unimaginable number of intelligent monkeys are doing their business in the Muir Woods, where they’ve displayed talent for grand architectural design. When humans — most of whom were killed by the same man-made virus that allowed the monkeys to evolve — reemerge, battle lines are drawn. Who do you think comes out on top? (Hint: “Planet of the Humans” has no zing.) The movie strives for sociological depth in the peace-loving Caesar’s somber realization that not all apes are good and not all humans are bad. A spider monkey could have written a less obvious screenplay.
Dawn exists solely as a plot mover: it needs to force its major players into position for what is currently known on IMDB as Untitled Planet of the Apes Sequel, a title I pray they keep. Eventually, apes will prevail, develop British accents, and clothe themselves in drab-colored leisure suits. Then, Charlton Heston (or maybe Mark Wahlberg) will arrive from the past to bark that now-legendary imperative, “Get your hands off of me, you damn, dirty ape.”
In 1968, the sight of marauding, talking simians on horseback, wrangling humans, was the stuff of which a 10-year-old’s science fiction dreams are made. It was evolution upended, a Darwinian practical joke. But with the Dawn of the Planet of the Apes, the joke’s on us.
Dawn of the Planet of the Apes (rated PG-13 for violence but no monkey business) is now playing at area theaters.
YNOPSIS:
A growing nation of genetically evolved apes led by Caesar is threatened by a band of human survivors of the devastating virus unleashed a decade earlier. They reach a fragile peace, but it proves short-lived, as both sides are brought to the brink of a war that will determine who will emerge as Earth’s dominant species.
dawn_of_the_planet_of_the_apes_43850

There is always a sense of apprehension and cautious pessimism whenever directors and lead actors get shuffled around in the sequel to a commercially and critically acclaimed successful film. Dawn of the Planet of the Apes was fighting an uphill battle on both of those accounts, on top of having some worrisome spots in the trailers featuring gun toting apes on horseback. Would this be a cinematic blockbuster with style and substance – similar to its predecessor Rise of the Planet of the Apes – or would the sequel embrace full-on spectacle?
Thankfully, director Matt Reeves (Cloverfield) and the studios behind the project understood exactly what made the first film such a surprise gem; emotion and the grace to treat the audience to not just a fun time at the movies, but something much deeper below the surface.
Putting that into perspective, when Dawn of the Planet of the Apes reaches its boiling point between the humans and intellectually mutated titular apes, the battle scenes of the war actually fill the viewer with sadness, and the sensation that the turmoil could have been avoided, rather than use the war as a vehicle to showcase entertaining and impressive looking action sequences. That’s not to say the action isn’t fun, but like its predecessor, Dawn of the Planet of the Apes manages to capture a humanistic quality that successfully engages the audience into the story.
Before all of the extended action sequences and Hollywood blockbuster theatrics, the film manages to spend around 90 minutes building its characters – both humans and apes – and the growing tensions between the two factions. Perhaps what is most fascinating is how the film actively tries to subvert cornering its major characters into clichés. Gary Oldman for example plays a leader to the remaining ALZ-113 virus immune survivors, but he isn’t a stereotypical villain that is distrusting of the apes for over-exaggerated reasons. It’s actually a shame he wasn’t given more screen time, because what he does with this time given to flesh out his back-story and motives is phenomenal.
It doesn’t end with just Gary Oldman either, as again pretty much every character pivotal to the eruption of the inevitable war has justifiable reasons for the way they think and their actions. After having witnessed all of the torture Koba had suffered through at the hands of humans in the preceding film, it’s understandable why he may feel betrayed at times in response to Caesar allowing the humans into their homely woods so that they can start up a hydroelectric dam and give the city of San Francisco power. It’s admittedly somewhat of a cliché plot device, but the excellent execution is the difference maker.
When something is given a greater context, it’s simply just easier to look past the fact that part of the plot you are seeing is textbook Hollywood 101. In the case of Dawn of the Planet of the Apes, it’s hard not to let your mind wander off into drawing parallels between the escalation of the turmoil between humans and apes, to that of real-life political struggles going on in the world today. Ultimately, you just want to see factions find common ground and band together to collectively make the world a better place, not witness distrust and miscommunication that leads to a never-ending series of violence. And when war unfortunately breaks out, your faith in the human race – or in this case both humans and apes – dwindles a bit. All you’re left with is chaos that could have been avoided if we were more willing to trust each other.
That’s what makes Dawn of the Planet of the Apes stand out as a provocatively entertaining summer blockbuster, but far from the only reason the film is such a masterpiece. Simply put, this movie has the most stunning CGI ever put forth into a film; if it doesn’t win a few Oscars for special effects something is wrong with the Academy. Dawn of the Planet of the Apes is the only movie in existence where the CGI can actually take the viewer out of the experience, not because the special effects are clearly animated, but because it’s astonishingly unbelievable that you know what you’re seeing isn’t real, yet it may as well be. The apes are seriously that detailed in both their appearance and animation. Furthermore, they are also highly distinguished from one another, making it gloriously simple to tell the difference between say, Caesar and Koba.
The motion capture is truly outstanding, as well as all of the performances from revered motion capture actors such as Andy Serkis. If there were ever a performance to come along that could present a case for a motion captured performance to be eligible for an Oscar, it’s Andy Serkis as Caesar. He will make you feel every struggle, emotion, and challenging decision that must be made.
If you couldn’t tell, Dawn of the Planet of the Apes is more than your average summer blockbuster, it’s a phenomenal piece of socially relevant story-telling that just happens to look gorgeous and be endlessly entertaining. Hail Caesar!

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Saturday, 5 July 2014

Neymar got injured & ruled out of the World Cup with back injury

Posted on 23:01 by jozz belly

Brazil star Neymar ruled out of the World Cup with back injury

Neymar's exit from the World Cup due to a back injury left Brazilians shocked and angered on Friday, darkening the mood after the hosts' 2-1 win over Colombia in the quarter-finals had sparked nationwide celebrations.
The loss of their star player has dented Brazil's chances of winning a record-extending sixth World Cup, and first on home soil, and left Brazilians wondering who can replace him for Tuesday's semi-final showdown with Germany.

Neymar is stretchered off after suffering the injury Photo: AFP

"Neymar fractures vertebra and is out of the Cup," the country's three main newspapers headlined in their online editions, completely overshadowing accounts of the thrilling 2-1 victory over Colombia.

The papers published blow-by-blow diagrams of the play in which Neymar was kneed in the back by Colombian defender Juan Zuñiga, burying coverage of the stunning free-kick by David Luiz that sealed Brazil's victory.
"This is terrible news. The worst possible news. Neymar is so important to us," said student Fabian Ruiz, 19, walking with friends down a street in Belo Horizonte, dressed in Brazil's trademark canary yellow shirts and quaffing beer from cans.
"Without him, the other players will have to fight more. It is going to be so difficult against Germany now."
A large crowd of fans wearing Brazil shirts gathered outside the hotel in Fortaleza where Neymar was taken after the match. As he was being taken in on a stretcher, they chanted: "Força Neymar," or, "Be strong Neymar."
Social media was flooded with messages about the incident, with many Brazilians calling on world soccer's governing body FIFA to punish Zuñiga in the same way Uruguay striker Luis Suarez was penalized for biting an Italian player.
One columnist went so far as to describe the challenge as a "savage attack."
"Neymar out of the Cup because of cowardice and foul play by the Colombian player," Fabricio Tavares, a Brazilian university professor, wrote on Facebook, echoing a common view heard on streets and in bars around Brazil.
Wishes for a speedy recovery poured in from all over, including Argentine playmaker Lionel Messi, Neymar's team-mate at Barcelona.
Even Brazil's President Dilma Rousseff used her Twitter account to call on Brazilians to unite around Neymar and the national team.
Argentine soccer great Diego Maradona also lamented Neymar's injury, telling Venezuela-based Telesur TV network: "It concerns not only the Brazilian people but all of us who love football. It was his World Cup, in his country. He had great hopes."
At a bar in Sao Paulo, couples were still dancing late on Friday night to celebrate the win over Colombia, but the news of Neymar's injury dampened the mood.
"We were so happy but now it is sad. Very sad," said Monica Ferreira, 27, who watched the game at the bar with friends. "He is our best player. We love him because he plays so hard when he puts on the Brazil shirt."
Some fans thought Brazil's chances were over without Neymar.
"He is our best player. I don't think we can win the Cup without him," said a distraught-looking Eduardo Gomes, a 33-year-old fan, as he texted to find out more about Neymar's injury, drinking beer with his girlfriend sitting on his knee.
Other fans, more optimistic about their country's chances, said Brazil could pull it together and play even better without Neymar, suggesting the team had relied too heavily on him.
"At this point I don't really feel that we need him so badly," said Jair de Souza, a Sao Paulo doorman who heard the news on the radio. "It's shocking but the guys have handled worse pressure."
Narcisio, a waiter at a sushi restaurant in Brasilia, said there were other good players waiting in the wings.
"Today Neymar did not play well and our team still performed well," he said. "If we get past Germany, the Cup is ours."

Brazil forward Neymar has been ruled out of the World Cup after fracturing a vertebra in his back in the closing stages of the 2-1 quarter-final win over Colombia in a major blow to the host nation.
Neymar, who has scored four goals in the tournament, will miss the semi-final against Germany in Belo Horizonte on Tuesday (Wednesday AEST) and the final should they progress. He is expected to be out for several weeks.

Ruled out: Marcelo gestures over his injured teammate Neymar. Photo: Reuters

"Unfortunately, he's not going to be able to play," said Brazil team doctor Rodrigo Lasmar.
"It's not serious in the sense that it doesn't need surgery, but he'll need to immobilise it to recover," Lasmar said after the player was taken straight to hospital from the stadium in Fortaleza.
Neymar, Brazil's poster boy and one of the world's most marketable players, has been driving his country's bid for a sixth world title with his goals and creative talent.

Back injury: Neymar will play no more part in the World Cup. Photo: AP

He went down after a challenge by Colombia's Juan Zuniga in the 88th minute and looked to be in considerable pain after what turned out to be a cracked third vertebra.
"It's a normal action, I tried to shadow him," defender Zuniga told reporters. "I was not thinking of hurting him. I was defending my country's colours."
"On the pitch I'm defending my shirt, my country, but I didn't expect him to fracture a vertebra. He is a great talent for Brazil and for the world," Zuniga said.

Brazil blow: Neymar is carried off on a stretcher. Photo: Getty Images

Neymar was taken straight to hospital as Brazilians across the country cheered their team's success on home soil before the news of his injury put a damper on celebrations.
"We'll miss him," teammate Oscar said. "Whoever comes in in his place has to play as part of the team and beat Germany.
"The best thing we do is play as a team and I just hope that whoever comes in plays well," the attacking midfielder said.

Brazil's Neymar collides with Colombia's Juan Cuadrado.

Click for more photos

World Cup 2014: Brazil v Colombia highlights

Brazil's Neymar collides with Colombia's Juan Cuadrado. Photo: AP

The 22-year-old, who plays for Spanish club Barcelona, had to be carried off on a stretcher and was replaced by defender Henrique for the final minutes of the game.
Brazil captain Thiago Silva, who will also miss the semi-final after being booked, refused to blame Zuniga for the injury.
"Zuniga is not a bad guy. But at that moment he wasn't very prudent, he could have held up a bit, fouled in a different way."
He said now was the time for Brazil players to come closer together and show even more solidarity on the pitch.
"In those times it is when the team shows its strength," he said.
"Neymar is a very important guy for our group, we depend a lot on him. But potentially, this situation can mark a revolution for us, like 'let's win the Cup for Neymar'. This could help bring together the team even more," he said,
Many Brazil fans had gathered outside the Fortaleza hospital, shouting "Forca Neymar" (be strong Neymar) as the player was being wheeled into the building.
Neymar also received support from the country's president, Dilma Rousseff, who tweeted: "Like all Brazil I am one of those cheering from the sidelines for our star Neymar to get better.

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