Last Passenger (2013) Plot & Review

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THE SUMMARY

: The title of the movie is The Last Passenger. Dr. Lewis Shaler is a widower. He has a son named Max, and they are traveling to London by using the transport train late at night. Lewis is working in a particular hospital. He leaves his son to his grandparents to observe the accidents that occurred in the hospital as he was called for duty. When his son Max open the spills of coffee, it accidentally touched the coat of Sarah Barwell Lewis. Sarah was embarrassed and required Max to pay for the cleaning of her coat. After some time, they had to expand their exchange of words, talking, and until they feel attracted to one another. Sarah went outside the house, and she saw the train being stopped. She apparently sees and fixing the breaks of the train. After fixing the breaks and when the train continues to move, she saw a certain man crawling on the said tracks. Sarah wanted to seek the train guard and crews to help the man missing on the train. Moreover, the train still continues to move and does not stop at any station. Max tried to contact the driver and inquire about the number of passengers on board. Sarah contacted her company Jan Klimowski, Peter Carmichael, and Elaine Middleton, to help one another to stop the train. After some time, they found that the train has no breaks. Until they knew that the driver is suicidal. ABOUT THE MOVIE CHARACTERS - It is a Hollywood movie. - It was co-written by the director Andrew Love - The screenplay and producer are once and based named on the Britlist - A Britlist is one of the film industries in the United Kingdom. - The situation has been set up intelligently and efficiently. - Sarah Lewis is the remaining passenger on the train. - The doctor (Father of Max) rushed to go to the hospital for his emergency influx of patients - Max (Joshua Kaynama), the young son of the widower doctor - Sarah (Kara Tointon) is the event planner - Pater (David Schofield), the snappish businessman - Jan (Iddo Goldberg) Considered as the suspiciously hostile construction worker - Elain (Lindsay Duncan) She is a kindly grandmother. - The Guard (Samuel Geker-Kawie) the one who spies the man crawling ABOUT THE PRODUCERS & NEWS Director: Omid Nooshin Angus Hudson. Is the one who enhanced the movie in terms of widescreen lensing. Opens April 25 (Cohen Media Group) Production: NDF International Cast: a. Dougray Scott b. Kara Tointon c. Iddo Goldberg d. David Schofield e. Lindsay Duncan f. Joshua Kaynama g. Samuel Geker-Kawie Screenwriters: a. Omid Nooshin b. Andrew Love Producers: a. Ado Yoshizaki Cassuto b. Zack Winfield Executive producers: a. Michiyo Yoshizaki b. Carola Ash c. Kwesi Dickson d. Stephen Margolis e. Steve Norris f. Nick Smith g. Fumio Nagase h. Mike Runagall Director of photography: Angus Hudson Editor: Joe Walker Production designer: Jon Bunker Costume designer: Ali Mitchell Composer: Liam Bates Rated R, 97 min.

ABOUT THE REVIEWS: - It is completely considered as unremarkable. The highlight is the event of every pedestrian's nightmare. The train is at its super speed, which hurtling towards in impending doom. - One of the best and potential UK cinemas that inspired by mundane British. The setting is very well and amusing. And all odds are properly delivered. - The best movie with good antithesis. A cluttered action and Overloaded Hollywood movie that is seldom seen nowadays. - It has a series of twists as the convicted criminals run off the trails. It can make you laugh and feel the tension. - The one who produced has a comprehensive knowledge of a special effects and movie actions. And is bravely uncomplicated - The first film, of Nooshins, who became fully propulsive. It merely focuses on red herrings. The close cells are very good. And the clock ticking would drive you into action scenes. - Smartly and brilliantly done. One of the best non-blockbusters suspense genre which any other can't give to Hollywood movie series - One of the recommended movies to getting out together by friends and family - The perfect scene enhances and how to trick if there are precautions in a train - The Last Passenger can give you more insights on how to deal with several techniques in moments of rescuing in an accident not just in a train - Scott's is excellently gripper as the indie thriller. He can actually handle any action roles in the movie - The thriller is focusing on a runaway-train, though, and before entering the Board Station, the viewers have been compelled with many characterizations. One of the best British produced film. - A great film in the cinema. - One of the lessons during the late-night journeys. - The Last Passenger will promise you to break your rules in life as you see a person who is in need of help. - It can give you full imaginative perception in real life. - On the climax, it has more suspense actions. - Smartly and intelligently acted on each character. Though it has a small budget, anyone should not pre-imagined what he/she can do when accidents come your way - One-of-a-kind movie for adults to give a due course on the matter of carrying the passengers. - One of the Campy-B movies. It can give a greater aesthetic and inspiring actions. - Very stylish and ambitious and ultimately entertaining. - One of the modest thrills in terms of a ride with more than 90 minutes long movie. - You will be keeping track of the tense scenes. - It can test your credibility in a compromising situation. - The Finale is very good and excellently acted. - Lesson: Stay on the rail tanks if the train has lost its breaks. - It can enhance your imaginary vision to create your own climax. - It can increase your knowledge in rare situations of life. - It can be your guide to believe that anyone has a smooth heart to help another for the greater good. - As a commuter on late night's journey, you have to be close with your co-passenger if a specific situations and incidents come on your way. In the end, you'll be having a helping hand. In this movie, the plot or climax has been made to make the viewer get triggered, excited, and suspense. It can sometimes give the real meaning of being a human about helping another who is in a hostile situation. The movie can leave you lessons to grab every opportunity on the part of the passenger's need. In overall ratings, it has been placed at least 8.7 over 10 ratings. The ratings come from the pensive people who were focusing on flaws of the movie. According to them, The Last Passenger can be a love story as it centered on many morals dilemmas and filled with generous ideas and comedic genius no matter how critical the movie is. In every conversation of Lewis and Max, it gives the viewer a simultaneous chemistry and thriller scenes. This movie is above average when it comes to challenging situations and entertaining the value. It can sometimes give full connection by the audience and characters with a series of scenes in every genre of the movie.

RockNRolla (2008) Plot & Review

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Guy Ritchie has been getting a bad rap ever since the his impressive double header of Lock, Stock and Two Smoking Barrels and Snatch turned into the double whammy of becoming Mr. Madonna in 2000 and directing Swept Away in 2002. Ritchie was quickly heading for the bargain bin after that romantic comedy became a universal joke, topped as a target of derision perhaps only by Gigli. He returned to gangster fare with Revolver in 2005, but even with star and Ritchie alumnus Jason Statham, the film wasn't well-received. So here we are three years later with yet another gangster-studded film, RocknRolla, this time with posterboy Gerard Butler in a leading role.

Well, the good news is that this marks a return to the London underbelly that was laid down by Lock and Snatch: RocknRolla could rightfully be called the third film in a Ritchie trilogy. The bad news is that it's a whole lot of flash and not much substance. Not that people go to Ritchie's films expecting a dissertation on the human condition, but his movies do at least require you to follow along closely due to their labyrinthine plots. RocknRolla is no different, and although Butler seems to be the face of the film, he's simply part of a large ensemble cast, and not the strongest player.

The basic plot of the film involves One-Two (Butler) and his partner Mumbles (Idris Elba) as two low-rent hoods who spot a good real estate investment. They partner with a mob boss (Tom Wilkinson) with deep pockets to get things rolling, but he turns around and double-crosses them, and they owe him some serious dough. Meanwhile, the same mob boss gets involved with a Russian billionaire in a similar real estate deal. The Russian's accountant (Thandie Newton) steps in and double crosses the Russian, and so you've got your basic mafia triangle of X owes money to Y who owes money to Z.

As it turns but, the Russian loans his mystical good luck painting to the mob boss as a show of good faith, and this painting soon becomes the focus of the film once it is stolen by the mob boss' stepson, Johnny Quid. The rest of the film turns into a search for the painting, which moves from character A to B to C with fluid ease, and there's a violent conclusion that ties everything up, for the most part. The main problem with the film is that you just don't care for most of the main characters, which isn't that surprising when you consider a cast this large. However, The Big Chill also has a large cast, and you certainly care for people in that movie. (Also, I've just realized that comparing a Guy Ritchie movie to The Big Chill is probably one of the signs of the impending apocalypse.)

The real stars of the film are Toby Kebbell, who plays the heroin-thin rockstar Johnny Quid in a loving homage to Sid Vicious (or to Gary Oldman in Sid & Nancy); Tom Wilkinson as the chrome-domed, Ray-Ban wearing crime boss Lenny Cole; and Mark Strong as Archie, Lenny's right-hand enforcer. Honestly, you could have replaced Butler's character with a dozen different actors, and these three actors would have shone just as brightly, despite being in an ensemble piece. Not that Butler isn't competent. His portrayal of the criminal who just can't seem to get things right isn't nearly as over the top as King Leonidas, and he's at his best in this movie when not in an action heavy vignettes. There's an amusing scene where Thandie Newton and Butler are dancing at a wannabe rave thrown by Newton's posh (but gay) husband. Their dancing is about on par with Marcia Brady's "thumb dance" from The Brady Bunch. You can't hear them over the din of the party, so you're treated with cartoonish subtitles throughout the scene.

Most of the humor in the movie comes from a pair of Russian hitmen who just won't die, no matter what happens to them in one of the most amusing chase sequences I've ever seen, and from the awkward situation Butler's character is put in after his best mate and fellow hood Handsome Bob confesses his love to him. Ritchie from the Lock, Stock days probably wouldn't have approached a scene (and the ensuing scenes in which Butler may, or may not have helped his buddy out before a prison stint) seriously, but the 2008 version of the director decided it could be both amusing and touching. Ritchie told us that this film is meant to have at least one sequel, and you can read all about that in our upcoming interview. If Lock, Stock and Two Smoking Barrels still stands as Ritchie's strongest film, with Snatch in second place, RockNRolla feels like a strong third in this trinity, and returns Ritchie to form. At the very least, it's a fun leadup to Sherlock Holmes.

Nothing but the Truth (2008)

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The inclusion of Alan Alda as a fashion-obsessed high-powered defense attorney does make one wonder. Inspired by the Judith Miller/Valerie Plame/Scooter Libby CIA leak affair, the film begins with a disclaimer informing us that we're about to watch a work of total fiction inspired by real events, and this is more than just a token protection against libel. In fact, the way Lurie distorts and embroiders on top of the framework of an actual political scandal is stunning. Drastically rewriting very recent history in order to transform the CIA agent into a dirty-mouthed martyr, the journalist into a 1st Amendment saint who sacrifices her family and freedom in order to protect a source, and the vice president's chief of staff into a boozy Judas who merely confirms what the reporter already learned from an even more untouchable source, Truth is jaw-droppingly over-the-top in ways that are all good for a laugh, but don't amount to much in the way of serious critique. Lurie's shocking liberties might need to be seen to believe, but I'll spoil them anyway, because they're just too much fun. If you don't want to know, don't click through the link.

In the real world, of course, the journalist was accused of using her platform to prop up the Bush administration's specious evidence suggesting that war must be waged against Iraq in retaliation for the World Trade Center attack, and the CIA agent was outed in order to discredit the arguments of her husband, a foreign ambassador who wrote an editorial claiming his own fact finding missions had proven the evidence against Iraq to be false. In Lurie's alternate universe version, President Lyman (Lie Man, get it?) is shot but survives to wage war against Venezuela in retailiation for the assasination attempt. Vera Farmiga's Plame stand-in Erica goes to Venezuela and comes back to report that she can find no evidence that the country was involved. After war is waged anyway, Erica's husband writes a couple of editorials restating her case publicly. Kate Beckinsale's Rachel, a political reporter for a major newspaper, writes a story about Erica's true identity, and is immediately rounded up by Matt Dillon's "Pat Dubois, federal prosecutor." Despite the help of Alda--who takes one look at Schwimmer and says, "I'm putting you in touch with my tailor"--Rachel is thrown in jail for refusing to reveal her source.

A former entertainment reporter and the creator of the lady president TV series Commander in Chief, Lurie seems primarily concerned with the political ideology that could lead to the imprisoning of journalists under the notion that national security should be placed above constitutional protections, and the media climate that could allow a without outrage. He thus does all he can to ensure that our sympathies will lie with the journalist by swapping identifying details. Where real-life imprisoned reporter Miller was a seasoned journalist with a much-older spouse, Lurie brings us a pretty young mother who seems relatively happy dividing her time between the newsroom and suburban complacency with a young son and novelist husband (David Schwimmer in schlubby cad drag). Miller was derided in the press and accused of only withholding her source to protect the Bush administration, Kate Beckinsale's Rachel gleefully tells her editor early in the film that her story will "bring down the White House."

Even if she disputed the administration's evidence, Erica is coded as a loyal cog in the governmental machine which the film seems to be trying to turn the impartial viewer against. "Your paper has been trying to fuck my husband ever since he spoke out against this administration!" she screams when Rachel confronts her at her daughter's soccer game--oh, did I fail to mention that the CIA agent has been turned into a soccer mom? And that her daughter is the same age and goes to the same school as the journalists son? Yeah. Anyway, after she's outed in the newspaper, Erica goes to Rachel's house and first acts all chummy in the hopes of getting Rachel to reveal her source. "I know about keeping secrets," she says, which seems to be her own version of "off the record." When Rachel refuses, Erica calls her "an unpatriotic little cunt." (This Erica is quite a piece of work. She keeps saying that she doesn't understand why the journalist would be doing this to her, being that their kids go to the same school. She also says "fuck" a lot, which I'm sure is not at all a lazily conceived character tic designed to inform us that this broad doesn't play by the rules.)

There's something sort of brilliantly underhanded about the way Lurie twists this series of incidents which the average American citizen probably couldn't even explain in depth (I know I'm a little fuzzy on the finer details), and turns it into a women in prison movie about unsurmountable maternal instinct. The majority of the film is devoted to Rachel sacrificing one aspect of her life after another in order to protect her source, to the point where her steadfast refusal to squawk becomes inexplicable. After several months in the slammer, her allies in the media forget about her. While she is behind bars, her husband takes her lawyer's advice and gets a better suit -- and then gets a girlfriend. After an unsatisfying conjugal visit reveals the irreperability of her marriage, Rachel gets into a catfight with a fellow inmate and is beaten half to death. Just then, Randy Quaid shows up as the vice president's chief of staff, and admits that he told Rachel about Erica whilst drunk at a suburban garden party--but only because Rachel asked.

In real life, Miller never revealed her primary source but was set free after several months, while Dick Cheney's consigliere Scooter Libby was convicted of obstruction of justice for his role in the leak but served no time. In Lurie's version, Rachel agrees to a plea that will send her to prison for two years without having to reveal her source, and in a final scene flashback, we learn that Rachel got her first inkling of Erica's true identity from Erica's own daughter. This explains why Rachel kept asking about the little girl, particularly after Erica was assasinated by a member of a right wing fringe group. She gave up everything in order to protect a child! Who is now an orphan! Maybe because of her! This is probably a metaphor about how the children, who are our future, will be better served by a free press than by warmongering and paranoia. But by that point, my brain was so scrambled from all the cussing and hair pulling and laugh-out-loud swerves into hysterical historical revisionism that all I could do was giggle. Nothing But the Truth was the most fun I've had at Toronto this year, but I get the feeling that it probably shouldn't have been.