Ted (Seann William Scott) is done. Since his wife left him, he has decided that there is nothing left to live for, and he is prepared to kill himself. He only has one thing he wishes to do before he ends it all: get back at all the people who have wronged him over the years. Be it an old school teacher who he felt was too hard on him, or a school bully who made his life miserable, Ted intends to give them hell. That is, until he starts to learn just how much people change over time, and how change itself is something worth living for. Now, at the darkest moment in his life, can Ted really change, and learn the truth about life, love and friendship?
Continue: Just Before I Go Trailer
Following the destruction caused by Optimus Prime's benign Autobots and, their nemeses, the evil Decepticons led by Megatron, the US government have decided to sever ties with the Autobots in a bid to reclaim their crumbling world. After a while, it seemed that they had indeed disappeared completely but Cade Yeager, a struggling inventor who is desperate to put his daughter Tessa through college, is about to make a discovery that would change his life forever when he uncovers the unusual metal properties of the new vehicle he has bought. It isn't long before the government and the Decepticons are swooping in on Cade's home, demanding to know where he is hiding Optimus Prime; America wants to destroy the living machines despite the Autobots past help, and the Decepticons simply want to destroy everything. If the humans want to survive, their old friends may be their only hope.
It's been four years since the disastrous conflict between the benevolent Autobots, led by Optimus Prime, and the evil Decepticons, led by Megatron. Now, it appears that the US government is no longer willing to work alongside the Autobots and instead long for Earth to be reclaimed by mankind. Cade Yeager is an inventor who is struggling to find the money to get his daughter Tessa through college, but he's about to make the breakthrough of a lifetime when he discovers that a vehicle he has newly purchased is made from no ordinary metal. On realising that he is housing Optimus Prime in his workshop, the government and the Decepticons are quick to attack, though when it becomes clear that Megatron is still hellbent on taken over Earth, he must band together with Optimus to save themselves and everybody else on the planet from total extinction.
Continue: Transformers: Age Of Extinction Trailer
Lars von Trier's peculiar compulsion to humiliate his heroines (and by extension the actresses who play them) has finally crescendoed to a deafening din of indiscriminate, exasperating martyrdom in "Dogville," a daring experiment in heightened performance and minimalist filmmaking that is fatally undermined by the Danish writer-director's conceit as a narrator.
His last four movies ("Breaking the Waves," "The Idiots," "Dancer in the Dark" and now "Dogville") have all dealt largely with the psychological (and sometimes physical) torture of vulnerable female protagonists. While his storytelling and cinematic style are almost always compelling, he's never seemed so arbitrary in his sadism than in this allegory of a beautiful, 1930s flapper fugitive hiding from the mob in a ragged, remote, austere Colorado mountain hamlet, where the tiny populace goes from distrustful to accepting to maliciously cruel on little more than von Trier's say-so.
Played with discernible dedication by Nicole Kidman, Grace is a porcelain enigma of self-flagellation so determined to escape some kind of shadowy past that, in exchange for the skeptical township's shelter, she agrees to indentured servitude -- doing handy work, favors and manual labor one hour a day in each of the seven households. She gradually comes earn the friendship of all -- even those most reluctant to accept her.
Continue reading: Dogville Review
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