Transformers The Last Knight 2017

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Transformers The Last Knight 2017 Live

Michael Bay seems determined not to abandon the formula that gave so good results ten years ago and after four successful deliveries, this summer will put the finishing touches to the Autobots franchise with what is expected to be the most epic film of all. “Transformers: The Last Knight” will not arrive until next July 28 to Spain, but during the last months have been coming different trailers that confirm the perfection of the most palomitera spectacular action of the saga. It is evident that the fight against the Decepticons is becoming more and more important, and with this fifth delivery we will know the origins of these aliens on Earth and its purposes.

Paramount Pictures has established a clear navigation chart in order to increase the expectation for which it is supposed to be the last installment of the franchise, and it is not surprising that in the absence of three months, a few hours ago the trailer was published movie’s ending. In previous reports we were able to learn more about the arrival of the Autobots to our planet and its first encounter with King Arthur and the Knights of the Round Table. “Transformers: The Last Knight” will be the delivery that delights more in the mythology and lore created by Bay, and this new advance leaves some interesting moments.

Alien Covenant Full Movie 2017

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Ridley Scott, director of the eighth “Alien: Covenant”,  Alien Covenant Full Movie centered around the most horrific space creatures in Moviedom, is returning to the primitive terrors of the 1979 original – accomplishing this by finding something more horrific.

Alien Covenant Full Movie

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The story begins 10 years after the events of “Prometheus”, with a colony ship Covenant going to a new planet – with animated hanging animations, with 2,000 colonists and a crew of 15 in the hanging animation. Incompatible team member android, Walter (Michael Fassbender), an updated version of David, artificial intelligence in Prometheus.

After a cosmic event has damaged Covenant’s sun sails, the crew’s sleep zones are commissioned – while awakening, the defender of the ship, Branson (James Franco), was mistaken for a lead. The second commander, Chris Oram (Billy Crudup) reluctantly took the helm as an assistant to the god’s terraform specialist Daniels (Katherine Waterston). In a crew of married couples, Daniels is Branson’s wife.

Alien Covenant Full Movie The ship received a signal from a planet away from John Denver’s “Take Me Home, Country Roads” melody. Seeing the planet, man’s life can last, and the crew decides to investigate, much closer to the original planet to be exploded.

Once on the new planet, they make two dangerous explorations.Alien Covenant Full Movie One of the familiar breast bursts is a form of alien creatures. The other was David, the long-running David, who described Walter’s respect for the planet’s true threat.

Scott, John Logan (“Specter”, “Skyfall”) and the first shot of Dante Harper (going to the story of Jack Paglen and Michael Green) suddenly go to action scenes that hit the coup from the nervous tension. He also held a series of meetings with characters, scattered amongst space travelers up to Crudup’s devout Christian commander and the malicious pilot Tennessee (Danny McBride), who fought to counter foreign alienation.

Waterston (lastly “Fantastic Monsters and Where to Find It”) handles the Sigourney Weaver mantle well and shows Weaver’s same solution and vulnerability to Ripley’s 79. Nevertheless, the star player is Fassbender, whose dual roles include the longest debate of science fiction: loyalty to robots who know they are superior to the flawed people they serve.

“Alien: Covenant” works so well that it is embarrassing that the final is a fizz; The standard image of special effect fireworks delays seeing that the human observer can come from a parsec. The frustrating ending turns out to be just a good part of a wonderful “Foreign” installment.

The Mummy 2017

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There’s a new Mummy in town, and there’s a lot riding on her bandaged shoulders.

The latest iteration of the classic Universal movie monster isn’t merely a modern rethinking of the 1932 Boris Karloff chiller, nor, thankfully, is it an attempt to reboot the CG Mummy action trilogy that mercifully gasped its last a decade ago.

“The Mummy” 2017 hopes to do for Universal what comic book properties have done for Disney and Warner Bros., start an interconnected “Dark Universe” of monster films that will include Frankenstein, Wolf Man, the Invisible Man, the Creature from the Black Lagoon and, probably, Dracula (there’s a second attempt at “Van Helsing” on the proposed slate).

Responsibility for the overall shape of this endeavor rests with Chris Morgan, the writer-producer who serves similar duties for Universal’s lucrative Fast and Furious franchise, and Alex Kurtzman, who also directed “The Mummy.”Despite projections of a middling domestic opening on the horizon, The Mummy looks to have legs overseas. For years now, Universal has been trying desperately to get a shared universe off the ground, involving their stable of classic monsters. So far, the process hasn’t panned out, but that hasn’t prevented the studio from going all in on the latest iteration of the project. The new franchise will be spearheaded by this weekend’s The Mummy, before a new batch of movies are spun out to form what’s officially called the Dark Universe. Of course, if The Mummy is a flop, then future Dark Universe movies could be put on indefinite hold.

The Mummy 2017 Full Movie

At home in the U.S., the situation isn’t looking so hot for The Mummy. Given its status as a big-budget summer film (starring an A-lister) that’s designed to kick off a franchise, recent projections that The Mummy will open with $35 million domestically (which is down from the projected $40M opening from last month) aren’t so encouraging. With the Wonder Woman movie entering its second weekend and continuing to play very well with both critic and general audiences, The Mummy has little-to-no hope of winning the box office derby this weekend. Of course, international audiences might be more receptive.

In the U.S., Cruise’s star-power has waned over the years. While his films still post solid numbers domestically (especially, the Mission: Impossible movies), he’s found much more success in other countries. South Korea and China, in particular, are lucrative markets that should help The Mummy in its efforts to make enough money to justify additional Dark Universe movies, which is good news for fans of Cruise and Universal’s monsters alike. Depending on what happens once the review embargo for The Mummy drops this week, the outlook for the film may or may not improve over the last few days before its domestic bow.

The Mummy 2017

Warner Bros.’ Wonder Woman headed into its box office opening weekend with a myriad of contrasting projections, with some predicting a debut between $65 million and $85 million, while others projected as high as a $105 million debut. As it turns out, the latter projection was more accurate, with the actual numbers coming in even higher than the estimates, with Wonder Woman earning $103.2 million in its debut. This weekend, the superhero adventure goes up against three wildly different films, Universal’s The Mummy reboot, A24’s thriller It Comes At Night and Bleecker Street’s true story adaptation Megan Leavey. While it may be a closer race than some may expect, Wonder Woman should repeat atop the box office for its second straight weekend with $56.7 million.

Box Office Mojo reports that The Mummy reboot is slated to open in 4,000 theaters, and while both It Comes at Night and Megan Leavey are expected to debut in wide release, no theater count projections were given yet. Both It Comes at Night (86% on Rotten Tomatoes) and Megan Leavey (89% on RT) are critical hits as of now, but The Mummy doesn’t have enough reviews in place quite yet for a Tomato-meter score. We’re predicting that The Mummy will ultimately give Wonder Woman a run for its money, but will come up short with an opening weekend of $45.2 million.

Wonder Woman 2017 Movie

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Perhaps the most remarkable thing about Wonder Woman is how, well, unremarkable it is. After all the stops and starts and frustrations of trying to get a Wonder Woman movie made—a whole, vast system stymied by the idea of one measly female superhero starring in her own movie—Patty Jenkins‘s film is finally upon us. And, well, it turns out it’s just another superhero movie. A good superhero movie, sturdily built and solidly entertaining. But yeah, it’s yet another origin story for one of the comic-book world’s most iconic characters, a formula we’ve seen repeated many times over the past 10 years. Wonder Woman is nothing less and, for the most part, little more than that.

Well, Wonder Woman is “more” in that it’s easily the strongest film DC and Warner Bros. have made since they left Christopher Nolan’s Dark Knight world behind and reimagined Batman and Superman’s exploits as turgid, fascistic operas of destruction. Man of Steel and Batman v Superman: Dawn of Justice—both directed by Zack Snyder, who gets a story credit on Wonder Woman and whose visual stamp is all over the movie—are deeply imperfect films that nonetheless have moments of flickering inspiration. They’re big, overwrought duds, but they’re not outright catastrophes. The most recent DC movie, though, was Suicide Squad, a wretched, hideous, and curiously halfhearted act of aggression that leaves a really nasty stain on the whole series. So, compared to that, Wonder Woman feels like a revelation, a bright and engaging dream delivering us from a nightmare soup of toxic masculinity.

The new Wonder Woman film has most of what Wonder Woman fans would expect from a cinematic adaptation of her comics. There’s Paradise Island, the distant utopia where women warriors live and fight together, sans men. There’s the magic golden lasso which compels people to tell the truth. There are the magical bracelets that deflect bullets (and the occasional World War I shell, since the film is set in that era). Steve Trevor, brave airman in need of rescue? Yep. Etta Candy, jovial sidekick? She’s there. Improbable CGI superfeats? Of course.

Fans of the classic comics may miss a few iconic bits of the Wonder Woman mythos, though. Wonder Woman has some funny repartee, falling in line with other Marvel Cinematic Universe films: at one point, Gal Gadot as Wonder Woman archly explains to Steve Trevor (Chris Pine) that men are necessary for biological reproduction, but not for pleasure. But while there are jokes, the comics’ more whimsical elements have been shelved. There’s no invisible plane. (At least not as far as audiences can tell.). And the Amazons in the film ride normal, everyday horses, rather than giant battle kangaroos.

Battle kangaroos haven’t been part of the Wonder Woman mythos for some 65 years. But in the original 1940s comics, written by William Marston and drawn with elegant stiffness by Harry G. Peter, kangas were one of the most visually distinctive — not to mention gloriously silly — aspects of life on Paradise Island. Amazons rode kangas in their Paradise Island military contests, and they even had special giant sky kangas that could take them to other planets.

Wonder Woman, 2017.

Directed by Patty Jenkins.
Starring Gal Gadot, Chris Pine, Connie Nielsen, Robin Wright, David Thewlis, Danny Huston, Elena Anaya, Ewan Bremner, Lucy Davis, Eugene Brave Rock, Emily Carey, Lilly Aspell, and Saïd Taghmaoui.


Before she was Wonder Woman she was Diana, princess of the Amazons, trained warrior. When a pilot crashes and tells of conflict in the outside world, she leaves home to fight a war to end all wars, discovering her full powers and true destiny.

Gal Gadot impressed in her first, albeit brief, appearance as Diana of Themyscira in last year’s Batman v Superman: Dawn of Justice. Now armed with her whole solo film, Gadot turns up the ante, allowing herself and viewers to really dive deep into the character. She steals the show, conveying Diana’s young naivety and her journey to full-fledged superhero with ease. She really owns the role and delivers many of Diana’s core characteristics: her charisma, compassion, youth and strength. If it already wasn’t clear before, Wonder Woman is not to be trifled with and Gadot makes that abundantly clear.

Chris Pine makes for a compelling second lead as Steve Trevor, an American spy trying to prevent further deaths in war-torn Europe. He’s charismatic and plays the role with some of his usual swagger, yet downplays it to a degree. His chemistry with Gadot also propels the film. They play off each other naturally, making it easy to see how these two very different characters connect with each other. The banter between them is good as well, with most of it feeling organic, though some bits of humour with Diana and Steve, such as whether or not he represents “the average man”, feel a bit forced.

Alien Covenant

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Country: United States
Year: 2017
Category: Horror, Sci-Fi, Thriller
Release Date: 19 May, 2017
Director: Ridley Scott

When the larval alien at last explodes out of a human torso, you may experience, along with the expected jolt of fright, a curious sensation of relief, even affection. So much has changed in the world, and in movies, since the first “Alien” freaked out audiences in 1979, that the appearance of a chittering, scurrying, fast-spawning extraterrestrial predator feels like a visit from an old friend. Humanity may have lapsed into terminal tedium or hubristic stupidity, but that creature, with long, slender limbs and a cranium like a speedskater’s helmet, remains interesting.

The same can be said about “Alien: Covenant,” which follows “Prometheus” in Ridley Scott’s 21st-century refurbishing of the franchise he initiated (with the crucial contributions of Sigourney Weaver and the graphic artist H. R. Giger) almost 40 years ago. It’s an interesting movie. I wish I could be more effusive, but “Covenant,” for all its interplanetary ranging, commits itself above all to the canny management of expectations.

This weekend, it’s all about 20th Century Fox. The studio is in the unusual position of opening two sequels, Ridley Scott’s “Alien: Covenant” and “Diary of a Wimpy Kid: The Long Haul.” With the second weekend of “Snatched” and the long-running “The Baby Boss,” that should give them four titles in the top 10.

Joining the two new titles is “Everything, Everything” (Warner Bros.), an adaptation of the young-adult novel about the first love of a chronically ill teenage girl. Those three, along with the continued strength of “Guardians of the Galaxy Vol. 2” could propel top 10 grosses into a second straight week of improvement over last year. A robust Mother’s Day actually pushed last weekend slightly ahead of 2016’s.

Which is to say the squirm-inducing franchise appears to remain sentient nearly 40 years after “Alien” shocked theater-goers in 1979. This latest R-rated horror extravaganza hails from 20th Century Fox and Scott Free Productions, and stars Michael Fassbender, Katherine Waterston, Billy Crudup, and Danny McBride. The project centers on the crew of the colony ship Covenant who are confronted by life-threatening alien life-forms — and, yes, there will be blood. This, the sixth installment in the Alien franchise (excluding the two Alien vs. Predator films), has been generally celebrated by critics, who are responsible for its 77% “fresh” rating on Rotten Tomatoes.