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Full Movie Name: Bumblebee Hindi Dubbed 2018 English Movie
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Movie Release Year: 2018
Movie Language:  Hindi Dubbed, English Movies
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On The Run In The Year 1987, Bumblebee Finds Refuge In A Junkyard In A Small Californian Beach Town. Charlie (Hailee Steinfeld), On The Cusp Of Turning 18 And Trying To Find Her Place In The World, Discovers Bumblebee, Battle-Scarred And Broken. When Charlie Revives Him, She Quickly Learns This Is No Ordinary, Yellow VW Bug.
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Bumblebee (Stylized As BumbleBee) Is A 2018 American Science Fiction Action Film Centered Around The Transformers Character Of The Same Name. It Is The Sixth Installment Of The Live Action Transformers Film Series And A Prequel To 2007’s Transformers. Directed By Travis Knight In His First Live Action Film And Written By Christina Hodson, The Film Stars Hailee Steinfeld, John Cena, Jorge Lendeborg Jr., John Ortiz, Jason Drucker, And Pamela Adlon, With Dylan O’Brien, Angela Bassett, Justin Theroux, And Peter Cullen In Voice Roles. It Is The First Live Action Transformers Film Not To Be Directed By Michael Bay, Though He Still Acts As A Producer. Principal Photography On The Film Began On July 31, 2017, In Los Angeles And San Francisco, California. Wikipedia





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Full Movie Name: Aquaman Hindi Dubbed 2019 English Movie
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Aquaman is a 2018 American superhero film based on the DC Comics character of the same name, and distributed by Warner Bros. Pictures. It is the sixth installment in the DC Extended Universe (DCEU) and a spin-off of 2017’s Justice League. Directed by James Wan, with a screenplay by David Leslie Johnson-McGoldrick and Will Beall, from a story by Geoff Johns, Wan and Beall, it stars Jason Momoa as the title character, with Amber Heard, Willem Dafoe, Patrick Wilson, Dolph Lundgren, Yahya Abdul-Mateen II, and Nicole Kidman in supporting roles. It is the third live-action theatrical film featuring Aquaman, following Batman v Superman: Dawn of Justice (2016) and Justice League, and the first full-length feature film centered around the character. In Aquaman, Arthur Curry, the heir to the underwater kingdom of Atlantis, must step forward to lead his people against his half-brother, Orm, who seeks to unite the seven underwater kingdoms against the surface world.

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Movie Genres: Thriller, Action, Drama, Crime
Movie Release Year: 2019
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Bad Times At The El Royale Is A 2018 American Neo Noir Thriller Film Written, Co Produced And Directed By Drew Goddard. The Film Stars Jeff Bridges, Cynthia Erivo, Dakota Johnson, Jon Hamm, Cailee Spaeny, Lewis Pullman, Nick Offerman And Chris Hemsworth. Set In 1969, The Plot Follows Seven Strangers Each Hiding Dark Secrets, Who Come To A Head One Night In A Shady Hotel On The California Nevada Border. Wikipedia

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Woman in Black Review
The Woman in Black is a short horror story written by Susan Hill in 1983. First being televised in 1989 by Quatermass and British horror supremo Nigel Kneale, it was also the basis for a highly successful three-man stage adaptation by Stephen Malatratt which has run in Covent Garden and on tour since 89 also. It has now been given a new film treatment by a revitalized Hammer Studio (in conjunction with various funding partners) and stars Daniel Radcliffe, fresh from the Harry Potter series.
Given the story and the reputation of its adaptations, the Woman in Black is a logical choice for a maiden outing by the new Hammer studio; it’s one of the genuinely terrifying ghost stories of its day. Only being aired twice on television (the last time on Boxing Day 1994 at midnight), the Kneale version provided one of the most terrifying moments saw on British television and is still discussed as ‘THAT BIT’ in reverential capitals when discussed by traumatized fans online.

The stage adaptation to has audiences screaming, and although the matinees are usually full of school trips of kids generally amusing themselves by shrieking, I once sat behind a teenager who was reduced to burying his head between his hands and murmuring “no, no, no, no . . .” as the protagonist, Arthur Kipps comes across an open door at Belmarsh a house that has previously been locked and starts to enter.

Given such an impressive track record of terror, how does the latest version measure up? Well, rather well I’m pleased to say. Although more than prepare to dislike Radcliffe and the four facial expressions he used for all the Harry Potter films, he actually does rather well and conveys the haunted and tortured Kipps admirably. Fine support is also on hand from Ciarán Hinds and Janet McTeer.

No doubt heeding the disastrous remake of the other standard of cinematic horror – The Haunting, The Woman in Black utilizes modern CGI effects but keeps these restrained and blended with some genuinely creepy cinematography, lighting, and set design. Most shocks are supplied via the usual “Lewton Bus” technique of something loud suddenly happening, but the climax of the haunting and the confrontation with the Woman in Black herself is expertly handled and proved a little too much for one or two of the 12A audience watching (there have been some comments that despite targeting the captive “Potter audience” brought by Radcliffe, the film should really be a 15 certificate).
The story tells of recently bereaved solicitor Arthur Kipps, who leaves his young son to conclude the legal affairs of an Alice Drablow, a resident of a small coastal town called Crythin Gifford. On arriving at the town and his connection with Drablow’s property – Eelmarsh House – being known, Kipps finds himself shunned by the town inhabitants, all except for Sam Daily, a local landowner, and modernist who doesn’t hold with superstition.

Kipps starts to sense a foreboding presence about the house, hearing the echoes of an accident on the fog-clouded causeway that claimed the life of Drablow’s son; a boy who he later learns was forcibly adopted from Jennet Humfrye, the Woman in Black.

The vengeful spirit of Humfrye starts once again to claim the lives of the townspeople’s children, and having awoken the evil presence from within the house, Kipps soon realizes his own son’s life is in danger unless the mystery can be solved and the murderous Woman in Black put to rest.
Critically, the opening brought in $20 million, much more than the $11 million that had been projected. Part of this is no doubt due to the casting, but it’s also a well delivered and genuinely scary ghost story of the traditional style and can hold its ghoulish head up high in the company of the other adaptations. As a commercial success as well as an artistic one, it also raises the prospect of another resurrection from beyond the grave; a new beginning for Hammer Studios.


If you like the sound of Woman in Black, then check out Insidious on Amazon, another gut-wrenching, jump-out-of-your-seat thriller! Also, don’t forget the Harry Potter saga:
Safe House Review
Lately, when you see Denzel Washington playing the lead in a film you conjure up images of a mediocre thriller, where he solely carries the weak cast along and the whole effort feels like just another attempt to get at the notes in your wallet. It hasn’t really been the same since he starred in Training Day in what seems an age ago. Training Day was a smart and complex thriller, the way they are meant to be, but this has really been lost as of late. Take recent attempts at the genre featuring Denzel; Unstoppable, The Taking of Pelham 123 and other flops like Out of Time.

I didn’t have high expectations going into Safe House, but I was praying that he would bust out of the bad run of films he has been put to in the last 5 years to reinstate my faith in the man. Ryan Reynolds is another name that puts doubt in your mind, and his question performance in the Green Lantern last year was something we’d rather forget. I was hoping that Reynolds would add some credibility to his name after this film.


The good news is, Safe House was great! Although parts of the story had a few holes (albeit you could justify some of them JUST), the actual the storyline was well thought through and the twists and turns really do keep you engaged. It would have been easy for a film like this to get a little too ‘Hollywood’, but kudos to the director for standing his ground.
Safe House had plenty of action, a handful of jump-out-of-your-seat moments, and solid performances from both Washington and Reynolds. Their on-screen chemistry was fairly natural and it is safe to say that this is Washington’s best film since Training Day (although Man on Fire was pretty decent too).


It feels that Washington has exhausted this film niche now, and it is hard to see where he will go next. I’ve never thought of him as having much flexibility in terms of his acting and now is the perfect time for him to diversify. Reynolds is still hot off his ‘sexiest man of the year’ awards in 2011 so I’m sure plenty of scripts are rolling his way for consideration. Let’s hope that whatever they agree to star in next is half as good as Safe House.
Abduction Review
Hot on the heels of the Twilight saga, teenage hormone target Taylor Lautner is being invented as an action hunk for the pubescent market with this latest offering “Abduction”.
The plot is fairly standard, Lautner is your atypical high school kid with a crush on the girl over the road, issues with her Jock boyfriend and keen to have fun with alcohol and Spring Break behavior with his school friends in between a punishing martial arts schedule imposed by his dad.
However, he learns that the people he thought were his mother and father isn’t his real biological parents, shortly before they are killed and he finds himself on the run, pursued by the assassins and the CIA.

It’s standard adolescent wish-fulfillment with Lautner showing his prize-winning martial arts skills off by kicking ass and taking names with an array of bad guys, whilst protecting his childhood sweetheart and becoming her new beau. That said, it’s not done badly and although Lautner still struggles with the finer points of acting aside from a sulky glower, quality support is on hand with the likes of Jason Isaacs, Maria Bello, Alfred Molina, Sigourney Weaver, and Michael Nyqvist (obviously hoping for some mainstream Western recognition in the wake of his role in the Swedish original of Girl With a Dragon Tattoo).
It’s decently paced, there’s enough teenage emotional smoochiness for the army of female Twilight fans to dig (plus Lautner sticks to the sure-fire solution of taking his top off at frequent intervals) and there’s plenty of action and bloodless death to let a younger audience watch and not be horrified. It’s essentially what the action-film-for-youngsters-in-improbable-situations has been doing since the 80’s with “Iron Eagle” (although there’s no dodgy model work or boom mike appearing in the internal shots).

Critically, it’s not been received well . . . perhaps understandably as Lautner’s agent is obviously desperate to launch his post-Twilight career and the film itself doesn’t take any risks and is pretty trying to tick every formula box it can. I’m sure there will be a few more also-rans in Lautner’s film bio before he really hits his stride, but he certainly has plenty of promise as an action star.
My Week with Marilyn Review
Movies that are based on real events tend to be dramatizations of spectacular occurrences or life stories of individuals who achieved great things throughout their lives, but every once in a while a film comes along that chronicles a relatively minor narrative. My Week with Marilyn is a tender and affectionate recreation of just such a tale.

Set in 1957, it is based on the making of The Prince and the Showgirl, a movie that starred Laurence Olivier and Marilyn Monroe, and was filmed in England. Olivier became famously irritated by Monroe’s unreliability, despite his obvious captivation at her charm. Kenneth Branagh gives an excellent performance as the famous actor, treading a fine line between anger and when she does decide to work, simpering gratitude, no doubt designed to make her want to turn up again on time the following day.


Fresh from university, Colin Clark, played by Eddie Redmayne, is tasked with the job of ensuring Monroe turns up on set, but he finds it increasingly difficult to keep her in check. Ever the free spirit, The American actress was never one for itineraries and schedules, and would often find excuses to not show up at all.

One of the successes of My Week with Marilyn is the faithful recreation of 1950s England. The buildings, cars, and clothing all help to give the movie an air of credibility, and the rather quirky way of working that would have come as something of a shock to Monroe, who was obviously more used to the slick production techniques of Hollywood.


Marilyn Monroe was the focal point of just about every film she ever made, and it’s her persona which steals the show in this one, too. Michelle Williams captures her outer beauty and inner confusion perfectly, giving modern-day audiences an insight into just how difficult it was for Monroe to play the superstar while maintaining her personal equilibrium. Williams lost out at the Academy Awards to Meryl Streep’s Margaret Thatcher; in almost any other year, she would surely have walked away with the Oscar.
Horrible Bosses Review
Bateman slaves away at all hours for a promotion that his manager, Kevin Spacey, is dangling in front of him. Sudeikis loves his job, but the death of the manager has seen the bosses’ son, Colin Farrell takes over: a comb-over coke addict who shares none of his father’s values and treats the family company as a cash machine. Charlie Day works as a dental assistant and is being sexually harassed by his boss Jennifer Anniston, a nymphomaniac who is trying to blackmail him into having sex with her before he ties the knot with his fiancée (a fact which earns him no sympathy from his two other friends).
Hailed as a hit black comedy, Horrible Bosses is the story of how a drunken fantasy after work, “You dream about killing your boss too?” becomes a plan of action as the three misfits plan to get rid of the thorns in their side.

Caught in ‘development hell’, the initial script was actually purchased in 2005, until the final list of cast members was decided and filming began in 2010. It’s clear that New Line brought out an A-cast to make this a success, Jason Bateman plays the type of deadpan ‘everyman’ comedy role that he does so well, Jennifer Anniston is a byword for screen comedy and the inclusion of Kevin Spacey, Jamie Foxx, Colin Farrell and Donald Sutherland bring some heavyweight class into their roles.

Overall, the film works and is very funny in places, but lacks the repeat viewing appeal of the standout modern working observation comedy, Office Space (which also coincidentally, stars Jennifer Anniston in a minor role). Bateman and Sudeikis excel, but Charlie Day rather overdoes things as the squeaky ‘kook’, obviously modeling his character on the oddball-of-the-group dynamic seen in the Hangover movies.
Spacey essentially reprises a former role from Swimming With Sharks, although notes in the extras that he plays Dave Harken “without any redeeming qualities”. Anniston goes against type as a potty-mouthed, sultry sex-fiend and Farrell is clearly enjoying himself and one of the funnier characters in the film.
Given the tortuous development of the project, it’s interesting to see what got left out; two (funnier) opening sequences were shot, a fantasy of the demise of Harken was replaced with a less gory one and a hilarious scene with Farrell demanding to know why there is carpet fluff in his sinuses (the bungling trio having knocked over his coke stash in a break-in, and hovering it up in a dust-buster) is gone. Violence and drug references are trimmed back, yet the raunchy bits with Anniston (showing that unlike her face, there are plenty of other parts that haven’t needed the knife) and the locker-room language all remains: clearly this please the studio executives and ticked the boxes for their test audience.

This formula approach makes it funny, intelligently plotted . . . but it lacks the gag-a-minute pace of funnier comedies and shies away from a truly dark examination of dehumanization through work that some other films tackle so well. But if you fancy something amusing that hasn’t been endlessly repeated (like so many of the other film that the principal cast have turned out over the years) you could certainly do worse.
The Pirates! Band of Misfits Review
I’ll keep this one fairly brief as the film didn’t inspire me to write very much. This wasn’t because it was bad, but just because it wasn’t that good. Animated films always have a struggle as they have to appeal to a number of audiences and for it to be a great film, both children and adults have to have a great time.
Pirates! works to an extent on both levels but somehow also misses them both. The jokes are somewhat funny, and the slapstick humor was somewhat enjoyable. It wasn’t overly targeting children but didn’t have a lot of the laughs that adults would be looking for.

The Pirates! left me thinking who it was actually for? Not children? Not Adults? Well, who? The answer is actually fairly straight forward, it targets families and cinema goes who want a light hearted and easy watch. It doesn’t set the mind alight, but it makes a pleasant two hours in the cinema if you’ve exhausted all the other avenues of entertainment over Easter.

The animation was mediocre and so were the gags. I think the storyline was probably its best feature, but a great film has to have more than that. Simply, The Pirates! should be viewed by those not expecting too much, and in return that’s exactly what you will get. A few laughs, a couple of hours of entertainment and no one get hurt. In terms of pedigree, it has been brought to you by the same people who were behind Wallace & Grommit and Chicken Run. You wouldn’t really know it though as it doesn’t really live up to these classics. If you were die-hard fans of these previous offerings then this could be one for you.

Pixar it ain’t, but hey, this isn’t the of the world as avid animation film fans will still have a pleasant enough time watching it.