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actionmovies201   , 29

from Perth

Tracers Full Movie – New Action Movie Reviews And Wath Full Movie


https://www.youtube.com/watch?v=VJSoN7X8TvY is an American action thriller film, action movies 2015 directed by Daniel Benmayor and co-written by Kevin Lund, Leslie Bohem, Matt Johnson, Matthew Johnson and T.J. Scott. The film stars Taylor Lautner, Marie Avgeropoulos, Adam Rayner and Sam Medina. The film was released in 2015.

Link watch full: https://www.youtube.com/watch?v=VJSoN7X8TvY

Leaping through skylights and surfing down stairs, Taylor Lautner and his parkour crew elevate old-fashioned cat burglary to a feat of high-speed, anti-gravity showmanship in “Tracers,” a project that takes what’s anarchic about the sport and runs, jumps and double-somersaults with it. The plot may be as creaky as an old-timer slinking across rooftops in a black turtleneck and domino mask, but the acrobatic stunts more than compensate, many of them performed by Lautner himself. After 2011’s “Abduction” cast his drawing power into question, this youth-skewing, VOD-driven release could be the “Twilight” star’s last gleaming.


Shot on the streets of New York in summer 2013, director Daniel Benmayor’s fleet-footed thriller curiously took its time reaching screens, outlasting the reported offscreen romance between its two leads — Lautner and Marie Avgeropoulos — before finally opening in France and via an exclusive deal with DirecTV weeks ahead of its Saban Films-backed domestic bow. If marketed correctly (no small feat for the relatively inexperienced distrib behind Hilary Swank starrer “The Homesman”), there’s no reason it couldn’t top the $20 million gross of Sony’s “Premium Rush.”

Conceived in the same B-movie mold, “Tracers” centers on a daredevil bike messenger, this one named Cam (Lautner), who depends on his quick wit and nimble agility to outmaneuver a group of heavily armed criminals. After a run-in with a mysterious “traceur” (as parkour practitioners are called) derails a delivery, leaving his bike totaled and his mind unable to think of anything else — not even the $15,000 he inexplicably owes Chinatown’s most unforgiving gang boss — Cam scours the parks to find the girl who knocked him off his feet.

When Cam does locate her, the nearly feral Nikki (Avgeropoulos) races up a cherry picker, propels herself across a parking-garage roof and disappears into thin air — the sort of demonstration, typically limited to street-dance movies and high-school musicals, sure to leave any lad smitten. An orphan with nothing to remember his parents by but his dad’s broken-down muscle car, Cam forgets his debts and focuses on learning parkour. From the looks of it, Lautner did the same, flaunting moves few actors his age could manage — which nearly compensates for the absent, glassy-eyed blankness he brings to the pic’s emotional scenes.

Nikki belongs to an unusual surrogate family, mostly runaways shepherded by a shady adoptive father named Miller (Adam Rayner). Cam wants in, first as an excuse to get close to this wild spirit, but also because he senses that there’s serious money to be made doing Miller’s bidding. Like him, the gang makes deliveries, only in their case, the loot is illicit and the missions off the books, like breaking into a police warehouse and stealing evidence — the sort of assignment that might have taken place in agonizing slow-motion for maximum suspense in a classic heist movie, ratcheted up here to breakneck speed.

On one hand, it seems perfectly reasonable that a criminal mastermind might seek out such acrobats to do his bidding. That said, it’s not terribly practical for them to go vaulting about like a bunch of over-caffeinated sugar gliders. Sure, it’s cinematic, but it also seems a near-certain way to get caught, which might explain why their missions are constantly going awry, forcing Cam and his cohorts to flee at top speed, while men with guns chase them up stairs, down fire escapes and across obstacle-course rooftops.

If you think the stunt work is impressive, it’s worth considering what the limber camera crew had to accomplish in order for the handheld rig to keep up. Credit d.p. Nelson Cragg and the second-unit crew with the film’s restless, immersive involvement in the action, whether circling Cam and Nikki at a rave or mirroring the characters’ most daunting tricks. So while Lautner is to be admired for his physical commitment to the role, the below-the-line team lighting, shooting and choreographing his moves deserves equal credit. The film wouldn’t have worked without such a versatile team, which otherwise operates without a trace.

Source by: Action movies 2015

Sniper Legacy - Action Movies 2014 Full Movies English – Review

Sniper Legacy - Action Movies 2014 Full Movies English – Review

"https://www.youtube.com/watch?v=BWKIF4cSJoc" (2014) is a poor B movie. I don't have problems to watch B movies from time to time, but they should be done good, and if the director can't handle B movie, he will not going to have a big career. I loved the first "Sniper", it was one of my childhood movies along side with Rambo etc. - it was a very good thriller. I kinda also liked "Sniper Reloded", it was good fun. Now with "Sniper: Legacy" - it's not fun movie at all. It's badly written - i couldn't understand what was happening actually in this movie, it so badly edited / directed and written that i was confused through all movie - really, it's not that this movie has got complicated plot, i think it tried to have one, but in the end the whole plot is just a mess without any real suspense. And if you don't have suspense in a movie about snipers, than you are in a bad company with picture. Even Tom Berenger was a disappointment, he was totally not the character i remembered from the first Sniper, it's was more like a cameo for 10-12 min.

Overall, you can safely skip this movie, it's not worth your time.

Bonus movies: https://www.youtube.com/watch?v=8fe_6BjEzAs

Source: Action Movies 2014

Horror Movies 2014 - Way of the Wicked- Action Movies 2014

https://www.youtube.com/watch?v=8fe_6BjEzAs is a 2014 American horror movies  that was directed by Kevin Carraway. The film had its internet premiere on April 30, 2014 in China and was released onto DVD in the United States on May 20 of the same year. It stars Christian Slater and the story surrounds a young boy who may or may not be the Anti-Christ.


I wasn’t really that familiar with Way of the Wicked but when I got my hands on a copy I thought that it sounded pretty promising. I did a little research on it online before I watched it and saw that the majority of the reviews for it were less than sparkling. Still, I went into it with an optimistic attitude and gave it a shot, and I’m glad that I did because when everything was said and done I ended up really digging it.

Overall I thought that it had an interesting premise. It reminded me a lot of the forgotten (and mostly unappreciated) film Fear No Evil from 1981 mixed with Carrie with some subtle slasher flick elements thrown in for good measure. I genuinely enjoyed the story and it held my attention the entire time, something that a lot of movies I’ve seen of late have failed to do. I thought that it was well-written and entertaining and I had a great time watching it.

I liked the fact that it contained a little bit of mystery as well. It keeps you guessing about a number of things and I had a blast trying to put all the pieces together before all was eventually revealed at the end. Is Robbie really the Antichrist? Is he behind the bizarre murders and overall creepy happenings that seem to take place whenever he is around (and sometimes even when he isn’t)? What is really the deal with the priest (who is a little creepy in his own right) who is obsessed with Robbie and why is he so convinced that he is the ultimate evil? If you enjoy a healthy dose of mystery (and an equal helping of suspense) with your horror films then this is the movie for you.

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There is a nice little twist toward the end that I thought worked quite well. To be honest it really isn’t that hard to figure out if you pay close attention to the rest of the movie (I saw it coming fairly early on) but it still rocks and I dug it. Some other online reviewers have complained that it was way too easy to figure it all out and while part of me is inclined to agree with them I still have to give props to writer Matthew Robert Kelly because I think it is still effective regardless. I thought that it was a nice touch and leaves things wide open for a sequel. I know that I wouldn’t mind seeing a continuation of the story and think that it has real potential to be awesome if it is done correctly.

I also really liked the characters as well. Vinnie Jones is incredibly likable as the main character of John. It was a little weird at first seeing him as a caring single father with a teenage daughter because of the roles I am used to seeing him in (I will probably always see him as the Juggernaut from the X-Men) but he manages to pull it off quite well. I thought his complicated relationship with his daughter Heather (which goes from bad to worse once Robbie enters the picture and becomes her love interest) was interesting and believable.

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Christian Slater is actually pretty good as well as Father Henry, who is basically Dr. Loomis to Robbie’s Michael Myers. My favorite character without a doubt though was Robbie (played brilliantly by Jake Croker) who was creepy as hell and cryptic one minute and a little sad and depressing the next. I really liked him even though he is essentially the villain of the film and I was actually rooting for him for most of the movie (especially when he is being bullied by Heather’s so-called friends who are all a bunch of assholes who all end up getting what they deserve). All in all I really liked most of the characters (with the exception of Heather, who was a little too whiney and wishy-washy for my taste) and thought that the cast did a great job of bringing them to life.


In my opinion Way of the Wicked was pretty damn good. I have no idea why it there are so many negative reviews for it floating around the Internet as I thought that it was one of the better horror movies that I have seen recently. I enjoyed it and I think that most viewers will too if they give it a chance. Check it out, you may be pleasantly surprised

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Source by: Horror Movies 2014

Riddick (2013) And Saving Private Ryan (1998) - Movie Review | Best Movie Of Vin Diesel

Riddick (2013) And  Saving Private Ryan (1998) -  Movie Review | Best Movie Of Vin Diesel

1. https://www.youtube.com/watch?v=MmTFCw13vKE  was financed independently on a reported budget of $40 million in which Vin Diesel had to leverage his own house to help finance the film. Production began in Vancouver in the fall where all the principal photography was shot on sound stages using the digital backlot technique. On October 29, 2011, production on the film was shut down due to a completion bond running out of money.The crew was kicked out of the facilities and Vin had to advance funds for the crew until the back loans were secured. However, on November 27, 2011, it was reported that the issues with the funding were resolved, and that production on the film was scheduled to continue December 28, 2011 in Montreal. David Twohy shot the film on Arri Alexa's digital cameras because of the post production pipeline over the course of 47 days. In 2012 Riddick entered post-production, using small visual effect houses Riddick was able to manage on it's relative small budget and still have 900 vfx shots. David pulled 14 hour days in post trying to complete the film, and picture locked it the spring. Accordiing to Katee Sackhoff who plays the merc Dahl in the upcoming movie, the reasons for Riddick's R-raiting came from a scene where you can see a side of her breast, and the heavy f-bombs they use repeatedly in the movie. There’s a shitload of blood and there’s little pieces of nudity, here and there. There’s my nudity too, but it’s side boob, for three to five seconds. It’s not that big of a deal. It’s mostly for the language. My character and Matt Nable’s character say fuck, like every other word. It’s kind of fantastic, actually. He must have said fuck 15 times, in every single scene. It’s pretty awesome. So, it’s mostly for language. - Katee Sackhoff

2. When soldiers are killed in ''  https://www.youtube.com/watch?v=HZDqWxBCUYI '' their comrades carefully preserve any messages they left behind. Removed from the corpses of the newly dead, sometimes copied over to hide bloodstains, these writings surely describe some of the fury of combat, the essence of spontaneous courage, the craving for solace, the bizarre routines of wartime existence, the deep loneliness of life on the brink. Steven Spielberg's soberly magnificent new war film, the second such pinnacle in a career of magical versatility, has been made in the same spirit of urgent communication. It is the ultimate devastating letter home.

Since the end of World War II and the virtual death of the western, the combat film has disintegrated into a showcase for swagger, cynicism, obscenely overblown violence and hollow, self-serving victories. Now, with stunning efficacy, Mr. Spielberg turns back the clock. He restores passion and meaning to the genre with such whirlwind force that he seems to reimagine it entirely, dazzling with the breadth and intensity of that imagination. No received notions, dramatic or ideological, intrude on this achievement. This film simply looks at war as if war had not been looked at before.

Though the experience it recounts is grueling, the viscerally enthralling ''Saving Private Ryan'' is anything but. As he did in ''Schindler's List,'' Mr. Spielberg uses his preternatural storytelling gifts to personalize the unimaginable, to create instantly empathetic characters and to hold an audience spellbound from the moment the action starts. Though the film essentially begins and ends with staggering, phenomenally agile battle sequences and contains isolated violent tragedies in between, its vision of combat is never allowed to grow numbing. Like the soldiers, viewers are made furiously alive to each new crisis and never free to rest.

The film's immense dignity is its signal characteristic, and some of it is achieved though deliberate elision. We don't know anything about these men as they prepare to land at Omaha Beach on D-Day, which might make them featureless in the hands of a less intuitive filmmaker. Here, it means that any filter between audience and cataclysm has effectively been taken away.

The one glimmer of auxiliary information is the image of an elderly visitor at a military cemetery, which opens and closes the film (though these brief sequences lack the film's otherwise shattering verisimilitude). Whoever the man is, he sees the gravestones and drifts into D-Day memories. On the evidence of what follows, he can hardly have gone to sleep since June 6, 1944, without reliving these horrors in his dreams.

Though ''Saving Private Ryan'' is liable to be described as extremely violent for its battle re-enactments, that is not quite the case. The battle scenes avoid conventional suspense and sensationalism; they disturb not by being manipulative but by being hellishly frank. Imagine Hieronymus Bosch with a Steadicam (instead of the immensely talented Janusz Kaminski) and you have some idea of the tableaux to emerge here, as the film explodes into panoramic yet intimate visions of bloodshed.

What's unusual about this, in both the D-Day sequence and the closing struggle, is its terrifying reportorial candor. These scenes have a sensory fullness (the soundtrack is boomingly chaotic yet astonishingly detailed), a realistic yet breakneck pace, a ceaseless momentum and a vast visual scope. Artful, tumultuous warfare choreography heightens the intensity. So do editing decisions that balance the ordeal of the individual with the mass attack under way.

So somehow we are everywhere: aboard landing craft in the throes of anticipatory jitters; underwater where bullets kill near-silently and men drown under the weight of heavy equipment; on the shore with the man who flies upward in an explosion and then comes down minus a leg; moving inland with the Red Cross and the priest and the sharpshooter; reaching a target with the savagely vengeful troops who firebomb a German bunker and let the men burn. Most of all, we are with Capt. John Miller (Tom Hanks) in heights of furious courage and then, suddenly, in an epiphany of shellshocked confusion. Never have Mr. Hanks's everyman qualities been more instantly effective than here.

When the battle finally ends, there are other unfamiliar sights, like the body of a soldier named Ryan washed up on the beach amid fish. (The film's bloody authenticity does not allow false majesty for the dead.) Next we are drawn into the incongruously small-scale drama of the Ryan family, with three sons killed and only one remaining, lost somewhere in Normandy. Miller and his unit, played with seamless ensemble spirit by actors whose pre-production boot-camp experience really shows here, are sent to find what the captain calls ''a needle in a stack of needles'' and bring him home alive.

  In another beautifully choreographed sequence, shot with obvious freshness and alacrity, the soldiers talk while marching though the French countryside. On the way, they establish strong individual identities and raise the film's underlying questions about the meaning of sacrifice. Mr. Spielberg and the screenwriter, Robert Rodat, have a way of taking these standard-issue characters and making them unaccountably compelling.

Some of that can also be ascribed to the fine, indie-bred cast that includes Edward Burns (whose acting prospects match his directing talents) as the wise guy from Brooklyn; Tom Sizemore as the rock-solid second in command; Giovanni Ribisi as the thoughtful medic; Barry Pepper as the devout Southern sharpshooter; Jeremy Davies as the timid, desperately inadequate intellectual; Vin Diesel as the tough Italian, and Adam Goldberg as the tough Jew.

As the actors spar (coolly, with a merciful lack of glibness), the film creates a strong sense of just how different they are and just how strange it is for each man to find himself in this crucible. Yet ''Saving Private Ryan,'' unlike even the best films about the mind-bending disorientation of the Vietnam War, does not openly challenge the moral necessity of their being forced to fight. With a wonderfully all-embracing vision, it allows for patriotism, abject panic and everything in between. The soldiers' decisions are never made easily, and sometimes they are fatally wrong. In this uncertainty, too, ''Saving Private Ryan'' tells an unexpected truth.

The film divides gracefully into a string of well-defined sequences that lead inexorably to Ryan. Inevitably, audiences will know that he is played by Matt Damon and thus will be found alive. But the film still manages to create considerable suspense about when and how he will appear. When it finally comes, Mr. Damon's entrance is one more tribute to Mr. Spielberg's ingenious staging, catching the viewer utterly off-guard. There's the same effect to Ryan's impassioned reaction, in one of many scenes that prompt deep emotion, to the news that he can go home.

Though ''Saving Private Ryan'' features Hollywood's most durable contemporary star in its leading role, there's nothing stellar about the way Mr. Hanks gives the film such substance and pride. As in ''Apollo 13,'' his is a modest, taciturn brand of heroism, and it takes on entirely new shadings here. In Miller, the film finds a plain yet gratifying complex focus, a decent, strong, fallible man who sustains his courage while privately confounded by the extent that war has now shaped him.

''Back home, I'd tell people what I do, they'd say, 'It figures,' '' he explains to his men after an especially troubling encounter. ''But over here, it's a big mystery, judging from the looks on your faces. I guess that means I've changed over here. I wonder sometimes if my wife is even going to recognize me, whenever it is I'm going to get back to her. And how I can possibly tell her about days like today.''

Among the many epiphanies in ''Saving Private Ryan'' are some especially unforgettable ones: the anguished ordeal of Mr. Davies's map maker and translator in a staircase in the midst of battle; the tranquil pause in a bombed-out French village, to the strains of Edith Piaf; the brisk way the soldiers sift through a pile of dog tags, momentarily forgetting that each one signifies a death. A man driving a tank looks up for a split second before a Molotov cocktail falls on him. Two of the film's principals huddle against sandbags at a critical juncture; and then, suddenly, only one is still breathing.

The sparing use of John Williams's music sustains the tension in scenes, like these, that need no extra emphasis. But ''Saving Private Ryan'' does have a very few false notes. Like the cemetery scenes, the capture of a German soldier takes a turn for the artificial, especially when the man expresses his desperation through broad clowning. But in context, such a jarring touch is actually a relief. It's a reminder that, after all, ''Saving Private Ryan'' is only a movie. Only the finest war movie of our time. 

''Saving Private Ryan'' is rated R (Under 17 requires accompanying parent or adult guardian). Its graphic war scenes depict maimed bodies and shockingly sudden death. Young children aren't ready for it. Teen-agers who would think nothing of watching a grisly horror film will think more if they see this. 
Source frome: Action Movies 2015

Top Ten Best Action Movies

Listed here are the ten best action movies that got our exhilarating and also the dynamite exploding. We love to action movies and have seen hundreds of our lives. https://www.youtube.com/watch?v=MniQn1T5_00

10. Robocop: A cop is transformed after he's brutally murdered execution style by way of a notorious gang leader. He gets to be a super crime fighter, a Robo Cop that is mostly machine by incorporating remnants of his human memory/life. This film had lots of innovative fight scenes with robots, when that was the massive craze and robots were just becoming known in the late 80's. Interestingly, Darren Aronofsky has been hired to film the remake, and Aronofsky is a great director (The Fountain, The Wrestler, Requiem for any Dream). action movies 2015 full movie english

9. Commando: Among Arnold's earlier films inside the 80's, the title speaks for itself. Schwarzenegger is on a mission to return his kidnapped daughter, and not even an army will stand it his way. "You know after i said I'd kill you last... I lied." This is Arnold doing what he is doing best, shooting machine guns and blowing stuff up. A film where you don't have to think.

8. 007: An execllent film with suspense and excitement. The Jason bourne team is stealthy and sneaky. Suspended above lasers detection and securing until she orgasms being an elevator rockets on the ceiling. This message will self destruct in five seconds.

7. Rocky: You gotta love that one, "Yo Adrian!". Rocky Balboa may be the prototypical Philly Boxer, he don't know much, but they can fight. This series was filled with excitement with the exception of Rocky V, that one sucked. However with Rocky manages against fighters like Apollo, Clubber, and Drago, there's plenty of boxing action!

6. The Transporter: Fast cars, fast fighting, and hot women. What could be better? Very little, "The Transporter" has everything and like to show off. The vehicle chase scenes and fight choreography are to be admired. The plot is intriguing too, women, will be the package to be delivered.

5. Rambo: An ex special forces guy who can remove a whole police department with a rock plus some sharp sticks. The Rambo series show us by investing in enough perseverence and makeshift technology, one man could be "an army of one". A very important factor you won't want to do is get on Rambo's bad side. And yes they've made too many in the series, Stallone obviously never says die.

4. Aliens: The second and resurrection films on this series were well done. The Aliens depicted over these films are not to be messed with. They are scary looking and will haunt your dreams. Only flamethrowers plus a helluva great deal of ammunition will require them down. As well as then once you shoo them, there may be acid splash back towards you. Only Ripley appears to learn how to drive them down, and possibly like she's carrying one of these inside her, and so they wouldn't like to kill their very own. These Aliens are similar to worker ants only much larger and far deadlier. The hierarchy is the same though.

3. Predator: How would you kill what you can't see? Arnold thinks "if it bleeds we could kill it". Easier said than done because the Predator lives for the hunt and wants humans for trophies. His technology is vastly better than the measly humans, but lucky for them he'll fight on their own level for "honor". This is the only weakness that allow Arnold to get a sporting chance.

2. Terminator: First Schwarzenegger plays a cyborg from the future links to kill Sarah Connor, then in T2 he plays one that comes to save Jon Connor to address for the proof against Sky Net. I'm not sure why but I always think that this apocalyptic scenario is definitely possible with your technology available. Most of us await to see whether Terminator: Salvation would have been a blockbuster or a failure.

1. Die Hard: "yippy ka yay" This film has action ingrained in their cellophane. Almost certainly the most effective action film ever. An NYPD cop is held in Nakatomi plaza having a bunch of terrorist who hold his wife's co workers hostage at throughout an office party. John McClane slips away once they seize control, and seems to undermine and wipe out the terrorist one by one. John McTiernan directed this film along with the Predator film, and does a flawless job.