Watch Online Self/less (2015) - MovieTimeUs

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Synopsis:

A dying New York real-estate tycoon undergoes a top-secret procedure to transfer his consciousness into the body of a healthy young man, but he discovers that his new life isn't what he expected after learning about the mysterious origins of his new body and an organization that is prepared to kill for its cause. Ryan Reynolds toplines this sci-fi thriller directed by Tarsem Singh (The Cell, The Fall, and penned by screenwriting duo David and Alex Pastor (Carriers).

Review:

They say that money can't buy happiness in life, but for one New York City tycoon, it might be able to buy life itself. That's the premise of director Tarsem Singh's new film Self/less, a muddled mashup of genres that makes the disastrous assumption that the audience will be too brain/less to notice its many preposterous plot points.

(Sir) Ben Kingsley plays Damian Hale, an impossibly wealthy NYC businessman who has devoted his life to making bank instead of raising his daughter Claire (Michelle Dockery), now estranged from him and the director of a nonprofit. Damian is dying from a quickly spreading cancer, the end rapidly closing in with every blood-spattering cough. When someone slips him a mysterious business card claiming to offer a solution to his terminal dilemma, he takes the bait and is soon touring a secret lab in New Orleans with a crazy-smart (emphasis on crazy) scientist named Albright (Matthew Goode). Albright explains that he has developed a way to implant a person's consciousness into a "host" body, thus allowing the dying person a chance to live on with a new identity and face. But this procedure is not for everyone; only the world's brightest minds, he says, are worthy of the process called "shedding." When Damian asks how the host bodies are created, Albright states that they are genetically grown in a lab, not unlike some plants. One can't help but picture a Frankenstein-like Chia Pet that, in addition to a full head of hair, also grows a perfectly functioning brain, complete skeletal system, and all of the muscles and organs necessary to be considered human. Okie dokie.

Despite possessing one of those aforementioned "brightest minds in the world," Hale agrees to the procedure with nary a speck of incredulity regarding the outlandish method of producing a host body. His cancer soon becomes more aggressive, and when the final credits of his life story are about to start rolling, the shedding commences. All it takes is about 15 seconds or so in an MRI-like machine, and Damian is now comfortably ensconced in his cool but rather unsteady new vessel (enter Ryan Reynolds as the host body). As Albright gives him the stats on his new life, one can't help but wonder why the guy would pay all that money just to look like a 35-year-old about to enter middle age instead of someone much younger. And that's just one of the many frustrating questions that the film never sufficiently answers.

While enjoying his new existence as a wealthy New Orleans retiree who plays basketball all day and trolls for chicks at the clubs every night, Damian is also plagued by strange hallucinations (seemingly of another person's life), which can only be controlled by taking a daily pill. His discovery of the real cause of these hallucinations regrettably transforms this film from a potentially intriguing sci-fi thriller into a rock-'em-sock-'em action flick, complete with car chases, shoot-outs, and more than one death by blowtorch.

The overriding problem with Self/less is the lazy storytelling by Singh and screenwriting brothers Alex and David Pastor, who forgo character development and narrative credibility in the arrogant assumption that multiple fistfights and insane car crashes will be enough to satiate the audience. We never really find out why Damian is so jazzed about continuing life on earth, considering that he made a miserable and lonely mess of his first one despite oodles of cash to comfort him. Kingsley's screen time is so woefully brief (he's basically making a cameo appearance) that he isn't given the chance to flesh out Damian beyond giving him a thick New York accent and inserting barely noticeable pauses into his speech. Not that it even matters, since Reynolds doesn't bother to adopt Kingsley's mannerisms or in any way attempt to remind viewers that, underneath those ripped muscles, full head of hair, and Canadian-tinged intonation, there lies a brilliant, cynical seventysomething New Yawker.

While the action scenes are fun to watch, one can't help but feel that Self/less is like sitting through two completely different movies at the same time -- and the better of the two abruptly ends with the shot of Kingsley's body being covered by a sheet following the shedding. Unfortunately, the only thing left for viewers after that is, well ... less.

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Watch Online Kingsman: The Secret Service (2015) - MovieTimeUs

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Synopsis:

Mark Millar and Dave Gibbons' comic series is adapted for the big screen in this Matthew Vaughn-directed action thriller. The story centers on a secret agent who recruits a juvenile delinquent into a top-secret spy organization. Together, they battle a tech genius with diabolical ambitions.

Review:

In order to understand exactly what tone director Matthew Vaughn is going for in his stylish, comic-to-screen spy romp Kingsman: The Secret Service, one need look no further than a scene that takes place approximately halfway through the film. It's a pivotal moment that finds gentleman spy Harry Hart (Colin Firth) posing as a billionaire real-estate mogul in order to get closer to Valentine (Samuel L. Jackson), a popular Internet entrepreneur and suspected supervillain. As the two rivals sit down to share a meal, the topic of conversation shifts to spy films. Asked if he's a fan, Hart says that he is, but with the caveat that the most recent entries in the enduring genre have become "too serious."

Kingsman: The Secret Service is the antidote to all of that seriousness. A rousing dose of retro-fueled fun, replete with sharply dressed secret agents, hi-tech gadgets, lethal henchmen (er, henchwomen), and, of course, a diabolical villain with a secluded mountain-top stronghold, it aims to be the anti-Skyfall -- a sprightly franchise starter that wants to fill the gap that opened up when Q sent Bond on his 23rd assignment virtually empty-handed. Even so, there's one key element of Kingsman that separates it from virtually every spy adventure that has come before, and that difference could be the deciding factor in the future of this potential series.

The Kingsmen are an independent intelligence agency modeled after the Knights of the Round Table. Honor and integrity are among their chief virtues, and each agent takes his and her name from a noble knight of legend. Veteran Kingsman Harry Hart (aka Galahad) is on assignment in the Middle East when he makes a mistake that costs a key teammate his life. Devastated, Galahad bestows the agent's son Eggsy a medal of valor, which entitles him to any favor of his choosing at any point in his life.

The movie then flash forwards to 12 years later, as Galahad learns that another teammate has perished while attempting to rescue a kidnapped college professor (Mark Hamill) in Argentina. Meanwhile, in England, a now teenage Eggsy (Taron Egerton) isn't doing that well. After getting arrested for leading the police on a chase in a stolen car, he remembers the medal and requests his favor. Much to his surprise, Galahad is waiting for him when he exits the station. Impressed by Galahad's fighting skills when confronted by a group of local thugs, Eggsy accepts his offer to try out for the Kingsmen. But he's just one of many young hopefuls competing for a single open slot, and right as their training begins to pick up, charismatic billionaire Valentine initiates an apocalyptic plot to curb global warming with a great cull. Later, as the selection process comes down to Eggsy and one other potential Kinsgman candidate, Valentine makes a move that shakes the organization to its very core as he prepares to set his catastrophic plan in motion.

Watching Kingsman, it's plain to see that Vaughn has taken most of his cues from the colorful, pre-Bourne Identity spy films that favored upbeat escapism over gritty realism. In the wake of turning heads with his freshman crime drama Layer Cake (the movie that helped launch future 007 Daniel Craig to stardom), Vaughn revealed himself to be a capable comic-to-screen adaptor as the director and co-writer of Kick-Ass and X-Men: First Class. He keeps that trend going with Kingsman, successfully creating the feel of an action-packed graphic novel come to life. If it's three-dimensional characters or plausibility that you crave, you might choose to skip this assignment. On the other hand, if it's eye-popping spectacle you seek, Kingsman hits its marks with the style and skill of an expert assassin. By paralleling Eggsy's training with the Kingsmen's fight against Valentine, Vaughn and frequent screenwriting partner Jane Goldman (Kick-Ass, Stardust, X-Men: First Class) fuse the discovery of an origin story with the thrill of a first adventure. It all adds up to a rousing good time -- as long as you can forgive such obvious leaps in logic as how Eggsy managed to learn the Kingsmen's distinctive fighting style while his mentor was in a coma -- and by making Valentine's threat both global and deeply personal (a scene with a child in peril may have sensitive parents wincing), the writers keep the action moving fast enough that we have little time to quibble.

Relative newcomer Egerton carries little baggage with him to the big screen, allowing him to fully inhabit the character of Eggsy and make his transformation into a superspy entirely believable. By contrast, it's precisely our familiarity with Oscar winner Firth that allows his character to command authority as the veteran agent determined to thwart Valentine's plan. And that brings us to Samuel L. Jackson -- gifted with one of the most distinctive voices in cinema, his decision to portray Valentine with a pronounced lisp helps to distinguish the character from his legendary list of big-screen badasses. At the same time, the fun he's so obviously having as Valentine effortlessly transfers to the audience. Michael Caine brings the appropriate amount of gravity to his role as the head of the Kingsmen organization, and it's refreshing to see Mark Strong in a rare good-guy role. His slack is picked up by Sofia Boutella, flawlessly agile as Valentine's alluring, razor-footed enforcer Gazelle.

Making a memorable entrance by slicing a man in half vertically, Gazalle may also be the deciding factor in whether or not the film results in the birth of a new franchise (as it so obviously intends). Outside of the horror genre, it's difficult to cite examples of successful R-rated movie series, and while Vaughn and company should be commended for their uncompromising vision (a hyper-violent church massacre, complete with blowtorches to the face, makes the climactic battle in Kill Bill feel tame despite running half the time), it could also turn out to be the burgeoning franchise's Achilles' heel: Not only will the violence cause some parents to recoil in shock, but in many ways it stands in stark contrast to the film's otherwise playful tone. For grown-ups who savor nostalgia and mayhem, however, this could be just the throwback they've been longing for.

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Watch Online Blackhat (2015) - MovieTimeUs

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Synopsis:

An American/Chinese joint anti-cybertheft task force races to root out an elusive hacker based in Southeast Asia in this Legendary Pictures thriller written, produced, and directed by Michael Mann, and starring Chris Hemsworth.

Review:

Since the beginning of his career, Michael Mann has been, first and foremost, a stylist. His earliest work (Thief, Manhunter, producing TV's Miami Vice) had such a startlingly unique aesthetic -- a slow-burn pace that paired moody music with lurid colors -- that young filmmakers are still aping it 30 years later (with Nicolas Winding Refn's Drive being one of the most prominent examples). Mann's style evolved in the 21st century as smaller digital cameras allowed him to get even closer to his characters and encouraged him to shoot from unexpected places. His cyber-terrorism thriller Blackhat continues this new visual approach.

Chris Hemsworth stars as Nicholas Hathaway, a world-class hacker who, as the movie opens, is serving a lengthy prison sentence for stealing millions from banks. His old college friend Dawai (Wang Lee Hom), a member of the Chinese military and a tech expert, convinces the U.S. government to let Nicholas out of prison so he can help a small squad of American and Chinese security officials; they need his skills to track down a hacker who caused a lethal accident at a nuclear reactor and made millions artificially manipulating the price of soy futures. If they apprehend their target, Nicholas gets his sentence commuted. Working with him and Dawai are Carol Barrett (Viola Davis), an American who must deal with her boss's distrust of both the Chinese and their ex-con collaborator, and Dawai's sister Lien (Wei Tang), a talented hacker in her own right who quickly falls in love with Nicholas.

Mann wastes no time showing off his latest filmmaking tools. His opening shot tracks inside a computer, flying around the inside of a motherboard and through wires representing the Internet itself, so that we can see the virus planted by the bad guy. There's more novelty to come during the fight scenes, which look like they were recorded with the latest GoPro technology; you've never been this close to a guy getting his face smashed in with a table. Throw in a sickeningly fast and shaky foot chase, and there's enough here for Mann's devoted fans to say that the director is still on the cutting edge.

However, for those who found his last two movies -- Miami Vice and Public Enemies -- overly long and crushingly dull, there's nothing here that will change their minds. It's another exercise in tough-guy posturing that lacks the philosophical depth of his best work: Manhunter, Heat, and The Insider. At best, we marvel at what Mann can do while never being involved in what's happening. The exceptions are a brilliantly directed shoot-out that kicks off the movie's final act, and an utterly unique sequence in which Nicholas must don a hazmat suit and enter the irradiated nuclear plant to retrieve some computer hardware.

Hemsworth makes Nicholas a traditional Mann hero: He's taciturn, emotionally detached, and most importantly, lives by a code. He also gets a handful of snappy, action-hero lines to deliver, courtesy of screenwriter Morgan Davis Foehl. Meanwhile, Viola Davis makes sure we know her character is the toughest in the movie, delivering her dialogue with a cool but impassioned authority that instantly makes her the most likable person onscreen.

The 71-year-old Mann used to be able to imbue genre films with real depth thanks to his painterly frames and intellectual obsessions, but he hasn't been in top form for more than a decade. Blackhat might be his best work since Collateral, but that still doesn't mean it's compelling or interesting.

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Watch Online Nightcrawler (2014) - MovieTimeUs

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Synopsis:

An ambitious young crime journalist probes the dark underbelly of L.A. in this cynical urban drama that marks the feature directorial debut of film writer Dan Gilroy (Real Steal, The Bourne Legacy). Lou Bloom (Jake Gyllenhaal) is a petty thief in search of a payday when he stumbles onto the scene of a grisly car accident, and witnesses seasoned "Nightcrawler" Joe Loder (Bill Paxton) gathering video footage for a local news broadcast. Convinced that this is a career he could excel at, Lou promptly purchases a police scanner and a cheap video camera, and hits the streets. In short order Lou has hired an assistant (Riz Ahmed) to help him navigate the city streets, and started selling footage to local TV producer Nina (Rene Russo), one of Joe's regular buyers. A fast learner with an eye for detail, Lou isn't above manipulating a crime scene in order to get a picture that tells a story. When Lou beats the police to the scene of a deadly home invasion in an affluent neighborhood, however, his shocking footage catches the attention of two homicide detectives who suspect he's hiding evidence that could be crucial to their investigation. But that very footage may be just what Lou needs to enter the big time.

Review:

Imagine Travis Bickle transplanted into the world of Paddy Chayefsky's Network, and you'll start to get a feel for the creepy, deeply cynical tone screenwriter Dan Gilroy establishes in his feature directorial debut Nightcrawler, a scathing condemnation of contemporary broadcast journalism starring Jake Gyllenhaal as a parasitic freelance news videographer whose chilling lack of ethics gives him a distinct upper hand over the competition.

Lou Bloom (Gyllenhaal) is a petty thief in search of a payday when he stumbles onto the scene of a grisly car accident, where he witnesses seasoned "nightcrawler" Joe Loder (Bill Paxton) gathering video footage for a local news broadcast. Convinced that this is a career he could excel at, Lou promptly purchases a police scanner and a cheap video camera and hits the streets. In short order, he hires an assistant (Riz Ahmed) to help him navigate the city and starts selling footage to TV producer Nina (Rene Russo), one of Joe's regular buyers. As a fast learner with an eye for detail, Lou isn't above manipulating a crime scene in order to get a picture that tells a story. When he beats the police to the scene of a fatal home invasion in an affluent neighborhood, however, his shocking footage catches the attention of two homicide detectives who suspect he's hiding evidence that could be crucial to their investigation. But that footage might be just what Lou needs to enter the big time.

In the world of the 24-hour news cycle, the fight to maintain viewership is fierce. Every day, reporters and news directors walk a precarious tightrope between reporting and exploitation. But when do they cross an ethical line, and what are the dangers if they do? These are just a few of the questions Gilroy flirts with in his caustic, blackly comic script for Nightcrawler. Immediately establishing Bloom as a cunning sociopath in the menacing, nocturnal opening scene, Gilroy then methodically draws us into the character's unscrupulous headspace by revealing him to be a man completely devoid of any and all moral boundaries: His singular ambition leaves no room for empathy, sympathy, or remorse. In Gyllenhaal,Gilroy finds an actor whose talent for displaying the full spectrum of the character's misanthropy borders on cinematic alchemy.

It isn't easy to make an audience want to spend time with a person as detestable as Bloom, and in keeping with the film's subject matter, Gyllenhaal makes the character so unrepentantly audacious that the viewer effectively becomes the same kind of rubbernecker whom Nina counts on for her ratings. It's a precarious balance to strike for a film that seemingly exists to highlight how easily the news -- and in turn, the viewer -- can be manipulated, but Gyllenhaal commands our attention with his strikingly gaunt appearance and too-quick smile, making us wonder just how far his character will go to find success. Of course, it doesn't take long to get an answer to that question, and even as Gilroy's screenplay begins to settle into the motions of a more traditional thriller, supporting players Russo, Ahmed, and Paxton are effective in their roles as the unwitting pawns in Bloom's nefarious game. Having returned to the screen in 2011's Thor following a brief hiatus, Russo is compelling in her role as an aging TV news producer who's acutely aware she's on the lowest rung of the ladder. Try as Nina might to maintain a steely exterior while dealing with the calculating Bloom, Russo brings the icy character's vulnerability to the surface in ways that highlight her young counterpart's complete detachment from humanity. Paxton is at his cocky best as the nightcrawler Bloom models himself after, and as Bloom's harried assistant, Ahmed represents the closest thing this movie has to a moral compass and a sympathetic character.

Yes, once Bloom captures the chilling aftermath of a violent home invasion, Nightcrawler loses some of its edge by morphing into a more conventional thriller. But it's a testament to Gilroy's firm grasp of his themes regarding the media and society that he ultimately brings them full circle for the film's uncompromisingly bleak denouement -- one that drives home the fact that we should always be conscious of the media we consume and where it comes from. It may not be a pleasant message to hear, but thanks to Gilroy's skillful writing and Gyllenhaal's fearless performance, it's as difficult to look away from as the nightly news.

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Watch Online The Equalizer (2014) - MovieTimeUs

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Denzel Washington is the main reason to see Antoine Fuqua's bold and brutal crime drama, based on the hit but long-forgotten CBS series that ran on the network from '85 to '89, about a former secret agent who dispenses vigilante-type justice on behalf of defenseless, ordinary folks. Washington, who won an Oscar for Fuqua's Training Day, delivers a perfectly modulated, slow-burn performance that lifts this otherwise conventional genre piece into an engaging entertainment that will please the core audience who turned Taken and Liam Neeson's other action-oriented vehicles into global successes.

The movie begins with a quote from Mark Twain: "The two most important days of your life are the day you were born and the day you find out why." Apparently, Washington's Robert McCall was born to not only be a guardian angel for down-on-their-luck good people, but also to unmercifully slaughter bad guys with ordinary objects, from corkscrews to hedge clippers, and take delicious delight in doing so -- as he does repeatedly over the film's two-hour-plus running time.

The story is simple enough. McCall works at Home Mart, a Home Depot-like store in Boston, where he jokes that his previous occupation was as a Pip, one of the backup singers/dancers for soul legend Gladys Knight. He even does a few cool dance moves to better sell the lie to others. But McCall suffers from insomnia, so each night he heads down to a local diner (that looks like it was designed by Edward Hopper) to sip tea and read classic literature. Another early morning regular is Teri (Chloë Grace Moretz), a young prostitute who dreams of becoming a singer. When Teri is roughed up by Slavi, her Russian pimp (Justified's David Meunier), and lands in a hospital, McCall pays him a visit and offers to buy Teri's freedom for 9,800 dollars. Slavi refuses, of course, but soon wishes he had accepted when McCall kills him and a roomful of his cohorts in a brisk 19 seconds. (McCall times everything, from grooming to gutting bad guys.) Unfortunately, Slavi's boss is the head of the Russian mob, and he doesn't appreciate that his illegal business ventures have been interrupted by the deaths. Soon, McCall is the target of a top Russian assassin.

While The Equalizer carries the name of a bygone TV show, its real roots stretch back to such 1970s hits as the Death Wish and Walking Tall movies, in which justice was served with brutal, deadly force. It also plays like a good-old-fashioned shoot-'em-up, in which the audience can't wait until the good guy straps on his gun belt, mounts his horse, and rides into town to dispense with the outlaws. Even the ragged font Fuqua uses for the opening-credits sequence evokes a Western theme.

Yes, The Equalizer is predictable and it gets more ludicrous as it goes along, especially in the final, expertly staged set piece in which McCall turns the Home Mart into a house of horrors for the gangsters. It also defies belief that McCall is never questioned by the police in any of the killings, even though he is on surveillance footage and a coworker eventually witnesses his skill with a nail gun. But there is no arguing that this slick, solidly built action yarn delivers the goods. While it may not be as prestigious as Washington and Fuqua's previous outing, it is equally as entertaining.

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Watch Online San Andreas (2015) - MovieTimeUs

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Nature begins rebelling against the state of California during the first scene of San Andreas, and she does not relent for almost two straight hours. The film itself is an onslaught of special effects, panicked citizens, and, of course, explosions. There is no subtext here: Chaos reigns supreme as rescue pilot Ray Gaines (Dwayne Johnson) tries to save his daughter from the constant barrage of mayhem brought on by a series of catastrophic earthquakes. Although it takes place in a real-life setting, San Andreas fits in the tradition of apocalyptic natural-disaster flicks like The Day After Tomorrow (2004) and 2012 (2009); it's an unapologetically bombastic exploration of Murphy's Law. This is a summer movie through and through, with zero subtlety and a ton of wide shots of buildings getting bashed, crashed, and mashed.

In terms of gratuitous destruction, the effects and camerawork in San Andreas are truly outstanding. Johnson may have earned top billing on the posters, but the demolition of the Bay Area takes center stage. The filmmakers clearly know what their audience are buying tickets for, and most of the movie is dominated by large structures toppling over in loud and aesthetically impressive fashion. Ray and his soon-to-be-ex Emma (Carla Gugino) journey through this calamity by land, air, and sea as they search for their daughter Blake (Alexandra Daddario).

Viewers will be mesmerized by the extreme carnage and the shots of buildings collapsing as the fault literally tears and splits the ground. Sure, it's not so much style over substance as style instead of substance; the results, though, are certainly something to behold for anyone who craves spectacle in his or her summer cinema. A considerable amount of credit and respect should be given to the sound-effects and production-design departments, which are largely responsible for making San Andreas' visuals a cinematic achievement.

During the dialogue-driven parts of the movie, however, the myriad special effects are not enough to overcome the lackluster character work and writing. Director Brad Peyton (previously best known for Cats & Dogs: The Revenge of Kitty Galore) will no doubt get more chances to helm blockbusters in the future, but he is clearly too preoccupied with capturing physical wreckage in this film. That's to the detriment of the actors, who are forced to overemote in order to compensate for their characters' lack of depth. Everything we are supposed to feel and understand about the Gaines and those in their orbit is explicitly stated, including how the death of their first daughter broke up their marriage. None of these characters have any nuance, and as a result, there's a clear lack of authenticity in the actors' line readings and their emotional reactions to anything that isn't immediately hurtling at them. There's damage to the Bay Area, to be sure, but there is also a great deal of wreckage in any scene dominated by conversation. That's especially disappointing coming from screenwriter Carlton Cuse, one of the co-creators of the masterful and thematically rich television series Lost.

The lead in this all-flash, crackerjack thriller is Johnson, whose often-wooden acting is counterbalanced by his natural charisma, earned from his time as the hugely popular professional wrestler "the Rock." As a result, he is perfectly suited to deliver lines that wouldn't be out of place in a high-school creative-writing course (amusingly, the camera typically zooms in on his stoic face whenever he has to say another groaner). Johnson's presence reminds us not to take San Andreas too seriously, and to just sit back and be entertained. While he'll never win any awards for his acting, here's hoping that more blockbusters cast him to run around onscreen during disasters. Gugino, who worked with Johnson before in Faster and Race to Witch Mountain, does exactly what she's expected to with her boxed-in role: scream, look scared, and shed some tears.

Alexandra Daddario is serviceable as Blake, who has clearly learned a lot from her dad about disaster scenarios and how to be prepared. The presence of Ben (Hugo Johnstone-Burt), a prospective employee at Emma's boyfriend's firm, gives viewers at least one fully developed character beyond the Gaines clan. Ben and his adorable younger brother/skilled wingman Ollie (Art Parkinson) are genuinely sympathetic, especially as Ben begins to fall for Blake. Johnstone-Burt and Parkinson are two bright spots here, and audiences will hopefully see more of them in future films worthy of their acting chops.

But the acting honors in this movie go to Paul Giamatti, playing a Cal Tech professor and seismology expert who frantically tries to warn California's citizens of the impending doom heading for them. The former Oscar nominee is a pro, and he elevates every single scene he is featured in. Although the film often seems like the most expensive natural-disaster PSA of all time, his presence and commitment to craft allow the sound and fury of San Andreas to signify slightly more than nothing. Explosions become less thrilling the more viewers see them, and anyone expecting more than a sugar rush should search for other fare. As far as eye candy goes, however, San Andreas' visuals are pretty sweet.

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Watch Online The Boy Next Door (2015) - MovieTimeUs

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Toss most of director Rob Cohen's films into a pot, stir them around a bit, and what you end up with is a batch of alpha-male soup with testosterone as the main ingredient. The man behind The Fast and the Furious, XXX, and the depressing serial-killer flop Alex Cross seems more than a little obsessed with aggressive male dominance -- and he indulges himself once more in The Boy Next Door.

The average girl might consider it a dream to live next door to a teenage hunk who, if she's lucky, would attempt to seduce her with his adorable, lopsided smile and pecs-for-days physique. But if that hunk is also a sociopathic stalker and the "girl" is actually a fortysomething high-school teacher and single mom, that dream can devolve into night terrors pretty quickly. So it goes with The Boy Next Door,Jennifer Lopez's latest starring vehicle, which comes on the heels of her quasi-successful comeback as a judge on the waaay-past-its-prime American Idol. Lopez portrays Claire Peterson, the separated mother of a teenage son named Kevin (sweetly played by Ian Nelson), who is deeply affected by his parents' split. Claire seems to be incapacitated when it comes to pulling the trigger on her marriage to philandering husband Garrett (John Corbett of Parenthood and Sex and the City), no matter how many times her best friend Vicky (Kristin Chenoweth) reminds her of his cheating ways. Once you suspend your disbelief that anyone would want to cheat on J. Lo (she of the flawless olive skin and enviable, age-defying figure), Lopez (barely) manages to convince us that Claire is feeling old and insecure. She sips wine and cries after her husband talks of revisiting the city of his affair, albeit for business. Now that her defenses are properly down, cue the aforementioned hunk next door. Noah Sandborn, played by relative newcomer Ryan Guzman, is charmingly assertive at first: He coyly tells Claire that she's sexy, befriends Kevin, and generally kisses up -- he's basically a better looking Eddie Haskell. But Eddie would never do to Mrs. Cleaver what Noah ultimately has in mind for Claire. He recently moved in with his sickly uncle after his own parents died under mysterious circumstances the year before. Upon meeting, it takes approximately 30 seconds for Claire to begin unabashedly gawking at 19-year-old Noah, who quickly capitalizes on this situation.

Director Cohen and screenwriter Barbara Curry (a former trial attorney) seem to have little concern for the glaring double standard here. If the gender roles were reversed, the seduction scenes would be considered exploitative and creepy, and the high-school teacher would be excoriated and then dismissed as nothing more than a pervy, middle-aged guy with zero self-control.

The plot here is so formulaic that one could almost picture Curry filling in the blanks on a standard-issue stalker-movie template: "(Claire) breaks into (Noah's) house and finds a creepy shrine to her in the (basement)." It's like Mad Libs for screenwriters.

There are some bright spots to The Boy Next Door. Lopez's acting has markedly matured since she last played the victim of an obsessed stalker, in 2002's Enough. While she might be too pretty for the role of Claire, she has an appealing ease about her when she talks to her son, and she can muster a believable level of outrage when she sees her world start to implode.

The best scene in the film is elevated by a cinematic choice that can be considered (almost) inspired. A psychotic Noah is calmly talking to Vicky, who is out of the shot. As he speaks, the camera zooms out so slowly and painstakingly that the viewer will want to cover his or her eyes in order to deal with the tension of what's about to be revealed; unfortunately, the rest of the movie isn't able to sustain that level of suspense and intrigue. It's better to cover the eyes in fear than to not want to look at the screen in the first place. 

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Tags:
high-school | seduction | stalker | teacher | Age Disparity Romance | Betrayal | Crimes of Passion | Dangerous Attraction | Infidelity | Mental Breakdown | Mind Games | Stalkers | Voyeurs | Wolf in Sheep's Clothing

Watch Online Jurassic World (2015) - MovieTimeUs

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Brothers Zach (Nick Robinson) and Gray (Ty Simpkins) are too young to remember the opening of the first, doomed Jurassic Park. Maybe that's why they're not terribly concerned when, one winter vacation, their parents shuttle them off to a visit with their Aunt Claire (Bryce Dallas Howard). She's the operations manager at Jurassic World, the Costa Rican island resort financed by New Agey CEO Masrani (Irfan Khan), whose philosophy of "embrace uncertainty" is a lot more unnerving when he's piloting the helicopter you're riding in. His vision for the revamped and rebooted Jurassic World includes an on-site gene-splicing laboratory headed by Dr. Henry Wu (B.D. Wong, reprising his cameo role from the original movie), as well as a behavioral-science facility where raptor whisperer Owen Grady (Chris Pratt) is examining the intelligence of animals previously thought to be untamable.

But despite the scientific high-mindedness and the triceratops-calf rides in the petting zoo, Jurassic World is primarily a theme park whose theme is carnivorousness, where the big-ticket attractions involve copiously toothy behemoths chomping down on tethered goats and gutted sharks (the latter bait possibly a dig at Jaws, executive producer Steven Spielberg's other vacation munch-fest) And just as your average theme park needs to upgrade its premium roller coaster from season to season, Jurassic World has decided that its next big draw is Indominus rex, a mammoth new species engineered from genetic this 'n' that. (Their specimen is female, a choice that might have less to do with gender politics in Hollywood and more with the difficulty of animating a Full Montysaurus while keeping a PG-13 rating.) They've built her a fortified pen she can't escape, which makes one afternoon's discovery of claw marks all the way up and over the concrete barrier somewhat alarming.

After a series of increasingly anemic sequels, the Jurassic Park franchise has roared back to life, even though nothing in director Colin Trevorrow's prior work indicated a knack for big blockbuster fare (his only notable credit, aside from some web shorts and a documentary that's been pulled from distribution, is helming 2012's oddball indie comedy Safety Not Guaranteed). But his vision forJurassic World is enchanting, gratifying, and sure-handed in a way that's uncannily like Spielberg's early period, back when Spielberg was the '80s king of the gee-whiz blockbuster and movies likeRaiders of the Lost Ark (1981) were massive, four-quadrant hits. His Indiana Jones and the Temple of Doom inspired the creation of the PG-13 rating, an attempt to create a classification for films that were neither for all ages nor adults only; ironically, Jurassic World finds the perfect balance within that rating between excitement and terror (with the exception of the unjustifiably prolonged -- and arguably misogynistic - death of one female character toward the end), creating an experience that's appropriate for all but the youngest viewers.

Why haven't there been more blockbusters as good as Raiders? Well, Spielberg had Harrison Ford in his prime at his disposal, which is a hard act to top. But Trevorrow has Chris Pratt, and that's almost as good. With The Lego Movie, Guardians of the Galaxy, and Jurassic World already under his belt,Pratt has won the Triple Crown of Summer Flick Leading Men: He's the dude you want as your boyfriend or your dad or you just want to be, a Navy scientist who rides motorcycles, devastates the ladies with his lopsided grin, and charms velociraptors with nothing more than a dog trainer's clicker and a measured stare. After one close scrape, a panting kid turns to Pratt and asks, "Can we just come with you from now on?" You said it, kid.

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Tags:
dinosaurs, scientist