Release : 2010-01-14
Genre : Action, Science Fiction, Thriller
Runtime : 118 minutes

Storyline

After the Apocalypse Eli (Denzel Washington) holds the secrets to saving the world in his sacred book. As Eli fights his way across the country he stumbles upon a small town run by Carnegie (Gary Oldman) and is asked to join the community after showing his explosive strength in a bar brawl. As soon as Carnegie learns of the treasure Eli holds a battle begins.

Some will kill to have it. He will kill to protect it.

Release : 2012-05-25
Genre : Action, Comedy, Science Fiction
Runtime : 106 minutes

Storyline

Agents J (Will Smith) and K (Tommy Lee Jones) are back...in time. J has seen some inexplicable things in his 15 years with the Men in Black, but nothing, not even aliens, perplexes him as much as his wry, reticent partner. But when K's life and the fate of the planet are put at stake, Agent J will have to travel back in time to put things right. J discovers that there are secrets to the universe that K never told him - secrets that will reveal themselves as he teams up with the young Agent K (Josh Brolin) to save his partner, the agency, and the future of humankind.

They are back... in time.

Release : 2012-09-21
Genre : Action, Science Fiction
Runtime : 95 minutes

Storyline

In the future, America is a dystopian wasteland. The latest scourge is Ma-Ma, a prostitute-turned-drug pusher with a dangerous new drug and aims to take over the city. The only possibility of stopping her is an elite group of urban police called Judges, who combine the duties of judge, jury and executioner to deliver a brutal brand of swift justice. But even the top-ranking Judge, Dredd, discovers that taking down Ma-Ma isnt as easy as it seems in this explosive adaptation of the hugely popular comic series.

Judgement is coming

I like this movie more than the one with Silvester Stallone. Nice slowmotion shots and a good story for an action movie.
This film blow me away! I was not expecting this, a cop (a judge) based in the future with high violent's and great characters. You will think you will hate Dredd but you wont.
I think this adaptation of the Judge Dredd comics books are a much more how most people probably would expect that a Judge Dredd movie should be, especially compared to the rather disappointing 1995 version. That of course means that the movie is quite violent. Anyone who has ever read the comics should not be surprised about the fact that this movie is mostly about taking out the bad guys, and if you cannot take out the bad guys using violence then just use more violence.Except for a few gripes that I will come to I quite liked this movie. The plot is a fairly simple one but it is also a plot that I would not have been surprised to find in one of the 2000 AD comics. It is a quite suitable plot for a Judge Dredd movie. The plot centres around the drug Slo-Mo which slows down your perception of time. This of course gave the director carte blanche to use extreme slow motion effects which could have been quite annoying if overdone. I think it is used quite well in this movie though. I especially liked the effects on the people standing behind the door that Dredd blew in at the beginning of the movie.Judge Dredd himself is well played by Karl Urban and, thankfully, he does not remove the helmet in this movie. Im sure it was done to satisfy Stallones ego in the 1995 movie and it was one of the things that ruined it. Judge Dredd is not supposed to remove his helmet, period. Ma-Ma is also a quite okay bad guy for this movie. Sufficiently psychopathic yet intelligent and rational enough to make a believable, at least as believable as a Judge Dredd villain can be, adversary to Dredd.I have a few gripes about the movie though. My main gripe is that it is not the ultra-modern city from the comics, at least from the comics that I have read since I have not read them all. It is more of a bunch of mega-scrapers spread out among the city slum that is left from today and still looks very non-futuristic. The initial chase scene is done using an old Volkswagen van for Christ sake. I really did not like that and, as far as I am concerned, it lost a star for that. If I remember the comics correctly MegaCity One was built more or less on top of the old ruins.Another thing that I did not like was the crooked judges. Ii is possible that they used the concept of a bad judge in some of the comics, I do not remember, but I still did not like it. The judges are supposed to be above ordinary people. I am sure that they could have come up with some other plot element than that.Anyway, the bottom line is that I quite enjoyed the movie. The fact that the DTS-HD Master Audio sound on my Blu-ray copy was excellent did add to the enjoyment of course. The surround and LFE effects was quite powerful yet balanced so they did not cause my somewhat weak subwoofer to go into resonance. Very enjoyable movie evening indeed.
About a million years ago (1980-85ish), when I was a boy, I bought a comic each and every week called 2000AD. And I loved it. I mean, properly LOVED it. The flagship strip in this publication was (and all these years later, remains) Judge Dredd. The titular lead character (his name, a play on that of novelty UK ska/reggae artist Judge Dread - who himself lifted the moniker from a Prince Buster tune - although there any similarity ends, absolutely) was a "Judge", a one-tier law enforcement agent with the authority to arrest, charge, try and sentence perpetrators of crime on the spot (including issuing the death sentence, a sentence dealt out frequently), operating in the early 22nd century in Mega City One, a post-apocalyptic overpopulated dystopian conurbation stretching from Boston to Washington DC. A grim, violent piece, it nevertheless managed to mine some gallows humour from the ultra-right wing dispensing of justice, especially as doled out by our perpetually helmeted Dirty Harry-style anti-hero (of course, Harry Callaghan was constantly railing against the system. Not so Joe Dredd; he WAS the f*cking system).There were many different colourful characters within the pages of 2000AD but Dredd was by far the favourite (generally speaking; My personal favourite was Strontium Dog, followed closely by Nemesis the Warlock and The A.B.C. Warriors) and was always the one most ripe for a possible movie adaptation somewhere down the line. And so it was that in 1994 promising British director Danny Cannon was attached to direct Judge Dredd - the next Sylvester Stallone movie. D'Oh! Anyway, the movie was released in 1995 and it was pretty-much a travesty, top-to-bottom. Cannon, it appeared, was simply hired to be Stallone's bitch, and despite the thing looking the part (the art department deserve some props for that film, you know) Stallone seemed determined to kick any in-place mythology straight in the bin if he didn't fancy it (Dredd never takes his helmet off, because the law is faceless, or something; Stallone takes his helmet off. Judges don't have relations with one another; Dredd develops a love interest with comic strip regular Judge Hershey. Thuggish recurring anti-hero Fergee is reduced to comic relief, major MAJOR Dredd arch-enemies The Angel Gang are reduced to one-scene throwaways and a robot looking A LOT like Hammerstein from The A.B.C. Warriors is introduced for no good reason whatsoever).And that, it seemed, was that. Nice one, Sly.Until now. Finally, almost two decades of time and blockbuster, money-spinning superhero comic adaptations at the cinemas seems to have washed much of the foul stench of Sylvesters "oeuf de poo-poo" away, and for the final flush, here at last is the reboot: Dredd, starring Karl Urban (The Bourne Supremacy, Doom) and directed by Pete Travis (Vantage Point, Endgame) with a budget half that of its turkey-basted predecessor (more like a quarter when adjusting for inflation). So, what's it like? Well, if you're a fan of the source material you're going to have to throw out all of your notions of what Dredd and his Mega City environment should look like. Although neither nailed it aesthetically, the Cannon/Stallone movie looks the part more than this one. Until someone wants to commit Avatar-sized monies to the project, I don't know if anyone will ever truly nail it. No, this one is a rough and dirty thing, reminiscent of the sort of nasty, faceless sh*tholes you'll find in the Death Wish franchise of movies. Still, beauty's only skin-deep, they say, and what's important is that this movie captures the eighties vision of dystopian future in exactly the manner that Judge Dredd the comic strip did all those years ago. It "feels" like Judge Dredd, in a way that the Stallone movie never did, despite oh-so-many more bells and whistles.The plot? The plot is simplicity itself. Dredd is assigned to accompany and evaluate new recruit Anderson (Olivia Thirlby), a mutant who failed the Judge's aptitude test by a hair's breadth but who possesses a remarkable psychic ability to read peoples' minds, which the Justice Department obviously would want to exploit, IF Dredd decides that she can cut it as a Judge. Out they go to investigate a triple gangland-style execution in the Peach Trees city block, one of the thousands of futuristic high-rises that can hold 70,000 inhabitants, many of whom never have to leave the block in their entire lives. This particular block is ruled over by drug boss Ma-Ma (Lena Headey, 300), who ordered the executions. In an early exchange, Dredd & Anderson capture one of Ma-Ma's goons, and Anderson ascertains via her psychic skills that this particular goon was among those directly responsible for the executions. They decide to take him back to the Hall of Justice for questioning so's they can get the goods on head honcho Ma-Ma and her drug-traffiking industry but before they can do so, Ma-Ma seizes control of the security department of the block, locks the entire place down trapping the judges inside, and tells everybody inside to either help her kill the judges or get the f*ck out of her way; anyone helping the judges can expect to be killed too. So, Dredd and Anderson can either hide out until backup arrives, try to break out of the block somehow, or go up the building and after Ma-Ma, to kill her before she kills them. Which of those options do you suppose our man is going to go for?In many ways, this film could've been called "Anderson" rather than "Dredd" (though obviously that wouldn't have been as marketable) since it's Anderson - played to just the right tone by Olivia Thirlby - who grows throughout this movie. And that's as it should be with Dredd: he DOESN'T change, he DOESN'T grow. He is a rock, a constant. Karl Urban - a childhood fan of Dredd himself - understands this and plays him to perfection (WITHOUT removing his helmet once; again, as it should be. Poxy Stallone). He's Robocop, without the warmth. For me though, the standout is Lena Headey. I wasn't enamoured at all with the idea of a "new" character as the main antagonist, and some whore-turned-druglord just smelled like that first "market" scene in Hannibal to me. But she's brilliant, really vicious. And the drug that Ma-Ma is pushing - Slo-Mo, which causes users to experience time at a tiny fraction of its real speed - allows us to view things through the eyes of the users, which in turn allows for some excellent slow-motion ballets of gruesome violence. And whilst the gore stays just-about on the cartoonish edge of things, this IS a very, VERY gruesome movie. About as gory as I've ever seen outside of the horror genre. But it moves at a real lick, it never lets up and it's all done and dusted inside the 90-minute mark. Lovely.As of this writing, Dredd hasn't made its money back at the cinemas; a shame for a film that has had largely positive reviews and word-of-mouth. Still, it'll definitely go into the black when the DVD/blu-rays are released in the next couple of weeks, and that'll hopefully trigger a sequel or even the trilogy that writer Alex Garland wants to make. According to him, Dredd III - if it gets that far - will feature the Dark Judges. And that thought makes me quiver with excitement, like a boy reading his first copy of 2000AD, a million years ago.

Release : 2001-07-15
Genre : Action, Adventure, Science Fiction, Thriller
Runtime : 92 minutes

Storyline

In need of funds for research, Dr. Alan Grant accepts a large sum of money to accompany Paul and Amanda Kirby on an aerial tour of the infamous Isla Sorna. It isn't long before all hell breaks loose and the stranded wayfarers must fight for survival as a host of new -- and even more deadly -- dinosaurs try to make snacks of them.

This time, it's not just a walk in the park!

Release : 1990-03-30
Genre : Action, Adventure, Comedy, Science Fiction, Family
Runtime : 93 minutes

Storyline

A quartet of mutated humanoid turtles clash with an uprising criminal gang of ninjas

Heroes in a half shell!

Release : 2013-06-21
Genre : Action, Drama, Horror, Science Fiction, Thriller
Runtime : 116 minutes

Storyline

Life for former United Nations investigator Gerry Lane and his family seems content. Suddenly, the world is plagued by a mysterious infection turning whole human populations into rampaging mindless zombies. After barely escaping the chaos, Lane is persuaded to go on a mission to investigate this disease. What follows is a perilous trek around the world where Lane must brave horrific dangers and long odds to find answers before human civilization falls.

Remember Philly!

Release : 1999-05-19
Genre : Action, Adventure, Science Fiction
Runtime : 136 minutes

Storyline

(32 Years Before Episode IV) Stranded on the desert planet Tatooine after rescuing young Queen Amidala from the impending invasion of Naboo, Jedi apprentice Obi-Wan Kenobi and his Jedi Master discover nine-year-old Anakin Skywalker, a young slave unusually strong in the Force.

Every generation has a legend. Every journey has a first step. Every saga has a beginning.

If it were the first "Star Wars" movie, "The Phantom Menace" would be hailed as a visionary breakthrough. But this is the fourth movie of the famous series, and we think we know the territory; many of the early reviews have been blase, paying lip service to the visuals and wondering why the characters aren't better developed. How quickly do we grow accustomed to wonders. I am reminded of the Isaac Asimov story "Nightfall," about the planet where the stars were visible only once in a thousand years. So awesome was the sight that it drove men mad. We who can see the stars every night glance up casually at the cosmos and then quickly down again, searching for a Dairy Queen."Star Wars: Episode I--The Phantom Menace," to cite its full title, is an astonishing achievement in imaginative filmmaking. If some of the characters are less than compelling, perhaps that's inevitable: This is the first story in the chronology and has to set up characters who (we already know) will become more interesting with the passage of time. Here we first see Obi-Wan Kenobi, Anakin Skywalker, Yoda and R2-D2 and C-3PO. Anakin is only a fresh-faced kid in Episode I; in IV, V and VI, he has become Darth Vader.At the risk of offending devotees of the Force, I will say that the stories of the "Star Wars" movies have always been space operas, and that the importance of the movies comes from their energy, their sense of fun, their colorful inventions and their state-of-the-art special effects. I do not attend with the hope of gaining insights into human behavior. Unlike many movies, these are made to be looked at more than listened to, and George Lucas and his collaborators have filled "The Phantom Menace" with wonderful visuals.There are new places here--new kinds of places. Consider the underwater cities, floating in their transparent membranes. The Senate chamber, a vast sphere with senators arrayed along the inside walls, and speakers floating on pods in the center. And other places: the cityscape with the waterfall that has a dizzying descent through space. And the other cities: one city Venetian, with canals, another looking like a hothouse version of imperial Rome, and a third that seems to have grown out of desert sands.Set against awesome backdrops, the characters in "The Phantom Menace" inhabit a plot that is little more complex than the stories I grew up on in science-fiction magazines. The whole series sometimes feel like a cover from Thrilling Wonder Stories, come to life. The dialogue is pretty flat and straightforward, although seasoned with a little quasi-classical formality, as if the characters had read but not retained "Julius Caesar." I wish the "Star Wars" characters spoke with more elegance and wit (as Gore Vidal's Greeks and Romans do), but dialogue isn't the point, anyway: These movies are about new things to look at.The plot details (of embargoes and blockades) tend to diminish the size of the movie's universe--to shrink it to the scale of a 19th century trade dispute. The stars themselves are little more than pinpoints on a black curtain, and "Star Wars" has not drawn inspiration from the color photographs being captured by the Hubble Telescope. The series is essentially human mythology, set in space, but not occupying it. If Stanley Kubrick gave us man humbled by the universe, Lucas gives us the universe domesticated by man. His aliens are really just humans in odd skins. For "The Phantom Menace," he introduces Jar Jar Binks, a fully realized computer-animated alien character whose physical movements seem based on afterthoughts. And Jabba the Hutt (who presides over the Podrace) has always seemed positively Dickensian to me.Yet within the rules he has established, Lucas tells a good story. The key development in "Phantom" is the first meeting between the Jedi Knight Qui-Gon Jinn (Liam Neeson) and the young Anakin Skywalker (Jake Lloyd)--who is, the Jedi immediately senses, fated for great things. Qui-Gon meets Anakin in a store where he's seeking replacement parts for his crippled ship. Qui-Gon soon finds himself backing the young slave in a high-speed Podrace--betting his ship itself against the cost of the replacement parts. The race is one of the film's high points, as the entrants zoom between high cliff walls in a refinement of a similar race through metal canyons on a spaceship in "Star Wars." Why is Qui-Gon so confident that Anakin can win? Because he senses an unusual concentration of the Force--and perhaps because, like John the Baptist, he instinctively recognizes the one whose way he is destined to prepare. The film's shakiness on the psychological level is evident, however, in the scene where young Anakin is told he must leave his mother (Pernilla August) and follow this tall Jedi stranger. Their mutual resignation to the parting seems awfully restrained. I expected a tearful scene of parting between mother and child, but the best we get is when Anakin asks if his mother can come along, and she replies, "Son, my place is here." As a slave? The discovery and testing of Anakin supplies the film's most important action, but in a sense all the action is equally important, because it provides platforms for special-effects sequences. Sometimes our common sense undermines a sequence (for instance, when Jar Jar's people and the good guys fight a 'droid army, it becomes obvious that the droids are such bad fighters, they should be returned for a refund). But mostly I was happy to drink in the sights on the screen, in the same spirit that I might enjoy "Metropolis," "Forbidden Planet," "2001: A Space Odyssey," "Dark City" or "The Matrix." The difference is that Lucas' visuals are more fanciful and his film's energy level is more cheerful; he doesn't share the prevailing view that the future is a dark and lonely place.What he does have, in abundance, is exhilaration. There is a sense of discovery in scene after scene of "The Phantom Menace," as he tries out new effects and ideas, and seamlessly integrates real characters and digital ones, real landscapes and imaginary places. We are standing at the threshold of a new age of epic cinema, I think, in which digital techniques mean that budgets will no longer limit the scope of scenes; filmmakers will be able to show us just about anything they can imagine.As surely as Anakin Skywalker points the way into the future of "Star Wars," so does "The Phantom Menace" raise the curtain on this new freedom for filmmakers. And it's a lot of fun. The film has correctly been given the PG rating; it's suitable for younger viewers and doesn't depend on violence for its effects. As for the bad rap about the characters--hey, I've seen space operas that put their emphasis on human personalities and relationships. They're called "Star Trek" movies. Give me transparent underwater cities and vast hollow senatorial spheres any day.3.5/4-Rodger Ebert

Release : 2006-06-28
Genre : Action, Adventure, Fantasy, Science Fiction
Runtime : 154 minutes

Storyline

Set 5 years after the end of Superman II, the film begins when Superman returns to discover his absence allowed Lex Luthor to walk free, and that those he was closest too felt abandoned and have moved on. Luthor plots his ultimate revenge that could see millions killed and change the face of the planet forever, as well as ridding himself of the Man Of Steel.

Release : 2014-08-08
Genre : Action, Adventure, Comedy, Fantasy, Science Fiction
Runtime : 101 minutes

Storyline

A group of mutated warriors face off against an evil kingpin who wants to take over New York.

Mysterious. Dangerous. Reptilious. You've never seen heroes like this.

Release : 2015-02-06
Genre : Action, Science Fiction
Runtime :

Storyline

In a universe where humans are near the bottom of the evolutionary ladder, a young destitute human woman is targeted for assassination by the Queen of the Universe because her very existence threatens to end the Queen's reign.

Release : 2005-05-19
Genre : Action, Adventure, Science Fiction
Runtime : 140 minutes

Storyline

(19 Years before Episode IV) Three years after the onset of the Clone Wars, the Jedi Knights have been leading the clone army into a galaxy-wide war against the Separatists. Only by embracing the Dark Side can Anakin Skywalker end the war and -- He believes -- Save the woman he loves.

The saga is complete.

George Lucas comes full circle in more ways than one in "Star Wars: Episode III -- Revenge of the Sith," which is the sixth -- and allegedly but not necessarily the last -- of the "Star Wars" movies. After "Episode II" got so bogged down in politics that it played like the Republic covered by C-Span, "Episode III" is a return to the classic space opera style that launched the series. Because the story leads up to where the original "Star Wars" began, we get to use the immemorial movie phrase, "This is where we came in."That Anakin Skywalker abandoned the Jedi and went over to the dark side is known to all students of "Star Wars." That his twins Luke Skywalker and Princess Leia would redeem the family name is also known. What we discover in "Episode III" is how and why Anakin lost his way -- how a pleasant and brave young man was transformed into a dark, cloaked figure with a fearsome black metal face. As Yoda sadly puts it in his inimitable word order: "The boy you trained, gone he is, consumed by Darth Vader."As "Episode III" opens, Anakin Skywalker (Hayden Christensen) and his friend Obi-Wan Kenobi (Ewan McGregor) are piloting fighter craft, staging a daring two-man raid to rescue Chancellor Palpatine (Ian McDiarmid). He has been captured by the rebel Gen. Grievous (whose voice, by Matthew Woods, sounds curiously wheezy considering the general seems to use replacement parts). In the spirit of all the "Star Wars" movies, this rescue sequence flies in the face of logic, since the two pilots are able to board Grievous' command ship and proceed without much trouble to the ship's observation tower, where the chancellor is being held. There is a close call in an elevator shaft, but where are the guards and the security systems? And why, for that matter, does a deep space cruiser need an observation tower, when every porthole opens on to the universe? But never mind.Back within the sphere of the Jedi Council, Anakin finds that despite his heroism, he will not yet be named a Jedi Master. The council distrusts Palpatine and wants Anakin to spy on him; Palpatine wants Anakin to spy on the council. Who to choose? McDiarmid has the most complex role in the movie as he plays on Anakin's wounded ego. Anakin is tempted to go over to what is not yet clearly the dark side; in a movie not distinguished for its dialogue, Palpatine is insidiously snaky in his persuasiveness.The way Anakin approaches his choice, however, has a certain poignancy. Anakin has a rendezvous with Padme (Natalie Portman); they were secretly married in the previous film, and now she reveals she is pregnant. His reaction is that of a nice kid in a teenage comedy, trying to seem pleased while wondering how this will affect the other neat stuff he gets to do. To say that George Lucas cannot write a love scene is an understatement; greeting cards have expressed more passion.The dialogue throughout the movie is once again its weakest point: The characters talk in what sounds like Basic English, without color, wit or verbal delight, as if they were channeling Berlitz. The exceptions are Palpatine and of course Yoda, whose speech (voiced by Frank Oz) reminds me of Wolcott Gibbs' famous line about the early style of Time magazine: "Backward ran sentences until reeled the mind."In many cases the actors are being filmed in front of blue screens, with effects to be added later, and sometimes their readings are so flat, they don't seem to believe they're really in the middle of amazing events. How can you stand in front of exploding star fleets and sound as if you're talking on a cell phone at Starbucks?"He's worried about you," Anakin is told at one point. "You've been under a lot of stress." Sometimes the emphasis in sentences is misplaced. During the elevator adventure in the opening rescue, we hear "Did I miss something?" when it should be "Did I miss something?"The dialogue is not the point, however; Lucas' characters engage in sturdy oratorical pronunciamentos and then leap into adventure. "Episode III" has more action per square minute, I'd guess, than any of the previous five movies, and it is spectacular. The special effects are more sophisticated than in the earlier movies, of course, but not necessarily more effective.The dogfight between fighters in the original "Star Wars" and the dogfight that opens this one differ in their complexity (many more ships this time, more planes of action, more detailed backgrounds) but not in their excitement. And although Lucas has his characters attend a futuristic opera that looks like a cross between Cirque de Soleil and an ultrasound scan of an unborn baby, if you regard the opera hall simply as a place, it's not as engaging as the saloon on Tatooine in the first movie.The lesson, I think, is that special effects should be judged not by their complexity but by the degree that they stimulate the imagination, and "Episode III" is distinguished not by how well the effects are done, but by how amazingly they are imagined. A climactic duel on a blazing volcanic planet is as impressive, in its line, as anything in "Lord of the Rings." And Yoda, who began life as a Muppet but is now completely animated (like about 70 percent of what we see onscreen), was to begin with and still is the most lifelike of the non-humanoid "Star Wars" characters.A word, however, about the duels fought with lightsabers. When they flashed into life with a mighty whizzing thunk in the first "Star Wars" and whooshed through their deadly parabolas, that was exciting. But the thrill is gone.The duelists are so well-matched that saber fights go on forever before anyone is wounded, and I am still not sure how the sabers seem able to shield their bearers from attack. When it comes to great movie sword fights, Liam Neeson and Tim Roth took home the gold medal in "Rob Roy" (1995), and the lightsaber battles in "Episode III" are more like isometrics.These are all, however, more observations than criticisms. George Lucas has achieved what few artists do; he has created and populated a world of his own. His "Star Wars" movies are among the most influential, both technically and commercially, ever made. And they are fun. If he got bogged down in solemnity and theory in "Episode II: Attack of the Clones," the Force is in a jollier mood this time, and "Revenge of the Sith" is a great entertainment.Note: I said this is not necessarily the last of the "Star Wars" movies. Although Lucas has absolutely said he is finished with the series, it is inconceivable to me that 20th Century-Fox will willingly abandon the franchise, especially as Lucas has hinted that parts VII, VIII and IX exist at least in his mind. There will be enormous pressure for them to be made, if not by him, then by his deputies.4.5/5- Rodger Ebert

Release : 2003-10-26
Genre : Action, Adventure, Science Fiction, Thriller
Runtime : 129 minutes

Storyline

The human city of Zion defends itself against the massive invasion of the machines as Neo fights to end the war at another front while also opposing the rogue Agent Smith.

Everything that has a beginning has an end.

And so the much-hyped Year Of The Matrix comes to an end. Truthfully, though, the real Year Of The Matrix was 1999, when the groundbreaking original proved to be the right film in the right place at the right time. Tapping into the cultural zeitgeist and Y2K fears about the power of machines over mankind, The Matrix not only revitalized slo-mo action sequences with its 'bullet-time' style, it had a political relevance that already seems dated in a 21st century world dominated by a war against terror, not technology.The Matrix Reloaded, for all its faults, did try to up the ante, both in its creation of a wider Matrix myth and its budget-heavy effects. Revolutions, however, is content to follow in its wake, the final couple of hours of a four-and-a-half hour slab to which the original movie, in the makers' minds, is but a pre-title sequence. Granted, there's less philosophical babble and more emphasis on action in Revolutions, but the Wachowskis, having backed themselves into pseud's corner, can only deliver with a formula where spectacle and pretentiousness follow on from each other in steady succession. Gut thrills and intellectual stimulation are never integrated as one.Revolutions' sustained action set-piece - the Sentinels' attack on Zion - is undeniably exciting, but it sure doesn't feel like an episode from a close sequel to the original Matrix. For a start, Zion was off-screen for the entire first movie. Secondly - and dramatically more importantly - this centerpiece relegates the main characters to, at best, mere bystanders. Neo and Trinity are off on a mission of their own. Morpheus - now dressed in what looks like a burgundy Benetton jumper rather an outfit consistent with his standing as the coolest dude on (or under) the planet - takes a literal backseat to Niobe's driving. Instead, the key players are the Kid, whose backstory is apparent only to those dedicated enough to watch The Animatrix cartoons, and Mifune, whose on-screen impact is unfortunately as brief as it is memorable.That such a primary scene is completely filled with secondary characters isn't just disappointing - it's damaging, because it draws attention away from the protagonists' climactic acts. Basically, this is the bit you remember, more than Neo's vital conversation with the Wizard Of Oz-like face of the machines or his up-in-the-air fisticuffs with Smith (a fight whose sfx impact has dwindled following Reloaded's Burly Brawl).Some viewers will indeed be completely satisfied, their questions answered, as the final credits roll, but they're the ones who have done their homework. Without filling in plot gaps by watching The Animatrix or playing derided computer game Enter The Matrix, a sense of confusion reigns. And those who are confused can't emotionally engage with the characters, thus rendering any amount of sacrifices and love themes null and void. In the original film, the casual viewer could relate to a slave race of pod people and their need to be freed, but the Wachowskis seem to have moved the goalposts as the story has progressed, sidelining what began as a focal point of the plot.In other words, few box-office-storming blockbusters have been aimed so consciously at such a narrow and precise cult audience. The Year Of The Matrix will be remembered as an indulgence for fans, while the original movie will be affectionately held as a separate entity by a bigger crowd.Verdict - What once represented the future of science fiction cinema has become little more than a solid genre offering. But, hey, it wasn't supposed to be the Second Coming, was it? Oh, hang on...3/5- Empire Magazine

Release : 1997-06-20
Genre : Action, Crime, Fantasy, Science Fiction, Thriller
Runtime : 125 minutes

Storyline

Along with crime-fighting partner Robin and new recruit Batgirl, Batman battles the dual threat of frosty genius Mr. Freeze and homicidal horticulturalist Poison Ivy. Freeze plans to put Gotham City on ice, while Ivy tries to drive a wedge between the dynamic duo.

Strength. Courage. Honor. And loyalty.

Release : 2016-05-27
Genre : Action, Adventure, Drama, Fantasy, Science Fiction
Runtime :

Storyline

One of the most powerful super villains, Apocalypse emerges and threatens to destroy the planet and its up to the X-men to stop him, with help from some of their old foes.

Release : 2004-06-11
Genre : Action, Adventure, Science Fiction, Thriller
Runtime : 119 minutes

Storyline

Five years after the events in sci-fi film Pitch Black, escaped convict Riddick finds himself caught in the middle of a galactic war waged by Lord Marshal, the leader of a sect called the Necromongers. Riddick is charged with stopping the Necromonger army, all while rescuing an old friend from a prison planet and evading capture by bounty hunters.

All the power in the universe can't change destiny.

The movie could be about anything and I would like it. It is Vin Diesel!!

Release : 2000-07-14
Genre : Action, Adventure, Science Fiction
Runtime : 104 minutes

Storyline

Two mutants, Rogue and Wolverine, come to a private academy for their kind whose resident superhero team, the X-Men, must oppose a terrorist organization with similar powers.

Evolution Begins

Release : 1992-06-19
Genre : Action, Crime, Fantasy, Science Fiction, Thriller
Runtime : 126 minutes

Storyline

Having defeated the Joker, Batman now faces the Penguin - a warped and deformed individual who is intent on being accepted into Gotham society. Crooked businessman Max Schreck is coerced into helping him become Mayor of Gotham and they both attempt to expose Batman in a different light. Selina Kyle, Max's secretary, is thrown from the top of a building and is transformed into Catwoman - a mysterious figure who has the same personality disorder as Batman. Batman must attempt to clear his name, all the time deciding just what must be done with the Catwoman.

The Bat, the Cat, the Penguin.

Release : 2003-06-20
Genre : Action, Science Fiction
Runtime : 138 minutes

Storyline

Bruce Banner, a genetics researcher with a tragic past, suffers an accident that causes him to transform into a raging green monster when he gets angry

Unleash the hero within