Category: Hollywood

Day Shift (2022) Netflix Movie | Telugu+Tamil+Hindi+Eng

Day Shift

One of the most striking Netflix releases for this month of August is ‘Day Shift‘, a horror comedy starring Jamie Foxx giving life to a family man who leads a double life. By day he works as a pool cleaner, but his real work comes at night as a vampire hunter.

On paper, ‘Day Shift’ promised to be a hobby as wild as it is fun and end up among the best Netflix movies of 2022-, but, unfortunately, the reality ends up being something different. Yes, he does arouse some sympathy and one never gets bored, but he never manages to fully squeeze what he proposes and ends up staying in a throwaway entertainment instead of a memorable title.


Virtues and limitations of ‘Day Shift’

The truth is that ‘Day Shift’ is a film that oscillates at all times between the simple and the basic. The script by Tyler Tice and Shay Hatten (‘Army of the Dead’) does propose some rather curious ideas, especially in relation to that union of vampire hunters that brings the protagonist upside down, but then he does not have much interest in develop it beyond a handful of jokes of irregular effectiveness.

Here the indisputable axis is the character of Foxx and the compromised situation in which he is that could lead him to lose his family. There ‘Day Shift’ seeks to find that emotional factor necessary to give the film a little more depth, but it is here where everything is more basic. Everything that could be expected from a plot of these characteristics is there, also presented in a quite obvious way and without offering anything to the viewer so that he really cares about what is still the fundamental axis of the story.

Luckily, the presence of humor is a constant and that makes ‘Day Shift’ much more bearable, both when it comes to more typical solutions, such as the fact that Dave Franco’s character is an office rat with zero programming experience. field, as when looking for something more distinctive, here I think mainly of the rare but effective appearances of Snoop Dogg as a highly respected vampire hunter who owes one to the protagonist. There he does achieve a certain balance to avoid becoming burdensome, something that at some point I feared might happen.


It is also true that this causes the most terrifying aspect of ‘Day Shift’ to be diluted, being reduced to very specific moments and turning the threat of vampires into something more typical of an action movie. Be careful, this also leaves some joy like that huge battle in which two brothers participate in fiction, one of them played by Scott Adkins.

It is precisely in the moments of action where the fact that ‘Day Shift’ has a director is more noticeable, because, at times, it almost seems to want to get closer to being an heir to ‘John Wick’. I’m left wondering if those scenes are shot by JJ Perry or the second unit crew, but that’s where the film has some bold staging solutions. 
Day Shift

Then it is true that it does not have the continuity necessary for them to shine globally -perhaps with the exception of the one already mentioned, where the only downside is that it may be too long-, but that is where one can momentarily think that we are facing something More than just a silly thing to hang out with.


Flying low

For the rest, the film does not stand out visually, coming quite close to the Netflix look of worrying more about how it looks good on the most used devices to view its content than about developing its own identity. In other facets, too, there is no special concern because it really looks like a 100-million-dollar movie – how is it possible that this is more expensive than the great ‘Bullet Train’? -, because not even the special effects are very successful.


And it is not because he does not have the opportunity, that on more than one occasion he draws dialogues to explain the different types of vampires that his protagonists have to face, something that should have been used more when he shows them on screen. In the end, when it comes to creatures, quantity is more important than anything else.

What we are left with in the end is a film driven by the presence of a much more inspired and convincing Foxx than in ‘Project Power’, his previous film on Netflix, the right dose of simple but effective humor and the punctual successes in the scenes of action. Of course, I wish I had more than that -at least try to have a little more personality-, but in this case, it is enough to see it and not regret having done it.
Day Shift

In short

‘Day Shift’ promised to be better than it really is, but at least it’s not another one of those downright bad Netflix movies. All in all, you can see if you want to throw yourself on the sofa, enjoy the air conditioning and forget about the tremendous heat outside for a while, because it doesn’t do much more.

Bullet Train (2022) Movierulz Telugu+Tamil+Hindi+Eng

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Bullet Train: For a few years now, summer movie theaters have been falling into a rut where the big premieres are limited to the great delivery of superheroes on duty and a good handful of films for the little ones, displacing other entertainment films proposals to the platforms. streaming, and it’s been a while since we came across a movie like ‘Bullet Train‘, a wild action comedy that, however, does not give up the great show.

From the hand of David Leitch, the hand behind ‘Atomic’ or ‘Deadpool 2’, it is not difficult to imagine what kind of film we are facing, but what is surprising about the project is its high-class casting and a more generous display of media than what we can find in similar offers such as the great ‘Gunpowder Milkshake’ and even the resounding ‘No one’. It is logical to think that these budget steps have to do with the presence of Brad Pitt having a great time, who has probably entrusted the studio to release it globally.


Antidote against Marvel and DC

And it is not little to say in a scenario in which the public has only gone to theaters to see episodes of the Marvel serial, and is still stuck in the idea of ​​​​the blockbuster as part of something bigger that never quite arrives. If the shared universe gimmick allows for interconnections and a much larger story, it also offers a long-term complication and commitment that ends up taking its toll in the fourth phase or the third section of the fifth movement. The cinema has been fed up with itself.

Perhaps that is why this year the most stimulating films of other genres have achieved the strange communion of audiences and critics, with the cases of the supernatural ‘Elvis’, the necessary ‘Everything at once everywhere’ and the vertigo phenomenon of ‘Top Gun: Maverick’, among many other proposals that have responded to the backlash of the monopoly of tights and capes such as ‘Ambulance’ or this ‘Bullet Train’, which rescue modes from another time to spit it back with extra unprejudiced fun.

Leitch’s film continues in the modes of criminal activity with British overtones and Tarantino heritage —those anachronistic labels to introduce the characters—, full of rock music that nobody listens to today and an attitude of a scoundrel movie from the mid-2000s that, however, do not bury most of its virtues: a vertiginous narration, well-constructed characters and a tangled puzzle of situations that generate several lines of simultaneous tension.

The return of crazy Brad Pitt from ’12 monkeys’ and ‘Snatch’

And it is that if the protagonist of Pitt is a weirdo that we want to see all the time, they do not miss his large cast of secondary, such as the memorable Lemon and Tangerine, the fleeting butcher of Bad Bunny, or the enigmatic anime bear. Everyone is on a moving train but there is no situation like ‘Unstoppable’ or ‘Speed’, in fact, part of the fun of development is waiting at each stop to see what surprise awaits the characters.

It’s not a good idea to give away any of the plots, but you can expect a good tangle of crime people interconnected in the most unlikely ways, lots of violence, untimely flashbacks, blood, funny jokes, some not-so-funny, hand fights, knife fights, gunshots, explosions, macabre humor, killers, hit men, slapstick humor, yakuza, cartels, unlikely and well-placed cameos, and an explosion of Kawai imagery to satisfy any otaku.

More than two hours at full speed fly by and that makes us forget during that time that the cinema designed for the big screen has to have a mortgage to a brand or franchise. ‘Bullet Train’ is a necessary gore-filled sprawl that you didn’t know you needed this summer, the backlash to the monolithic cascade of Marvel and DC, and the definitive confirmation that the great show is lived differently on the movie screen and knows otherwise without paying the tithe of superpowers.

Thor: Love and Thunder Movierulz

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Thor: Love and Thunder: Chris Hemsworth finally returned to the big screen and once again put on the suit of the most powerful of the Marvel Studios heroes. With him, many familiar faces from the group that faced Thanos (Josh Brolin) in Avengers: Infinity War and Avengers: Endgame as the Guardians of the Galaxy. 

But also part of his team that was consolidated in Thor: Ragnarok as Korg and Valkyrie. However, the outstanding figure is Natalie Portman. With good villains and the absurd and delirious humor of its director, Taika Waititi, the film works much better in its last stretch.

According to the official synopsis, the film finds Thor (Chris Hemsworth) on a journey unlike anything he’s ever faced: seeking inner peace. The path to get there is narrated with a very good introduction by Korg (Taika Waititi) that serves as a summary of all the adventures of the protagonist so far and in the form of a fairy tale to a group of children (which marks the path and the movie message). 

But the retreat is interrupted by a galactic assassin known as Gorr, the Butcher of Gods (Christian Bale). To combat this threat, Thor leaves the Guardians of the Galaxy, until then his family, to reunite with the Queen of Asgard, Valkyrie (Tessa Thompson), and with a surprise: his ex-girlfriend Jane Foster (Natalie Portman), now It’s Mighty Thor. Together they will seek to take care of the villain on duty.

Perhaps it is the most Marvel Studios movie of this Phase 4. After a start that configures what will be seen in the two hours of footage, Thor: Love and Thunder enters a path of humor, humor, and humor without control, in that there is little to resolve or the presence of a villain who really presents a conflict is almost nil. 

And when he does, it’s not like he feels like a real threat either. I am not referring explicitly to Christian Bale’s performance as Gorr, the Butcher of Gods, who does a great job with a physical performance worthy of his career, but to the space that is given to him in the structure of the film.

The film has other goals: to maintain the humor of Thor: Ragnarok, which was so effective for Marvel that it even made Thor the funniest and most beloved character in the franchise (I risk saying that on a par with Spider-Man and Captain America) throughout Thanos’ stage (the arrival in Wakanda with Rocket and Groot in Infinity War as the moment of greatest splendor). 

In the search to maintain that presence, he lost some of the action (which his previous film did have) and focused on more “human” issues for a god such as love, fatherhood, the passage of time, the losses of his family and friends, etc And that’s where Jane Foster, the always amazing Natalie Portman, comes in, giving the film a bit of fresh air, but also changing the game and the internal dynamic. 

Thor: Love and Thunder turns into a nice romantic comedy to the rhythm of Guns N’ Roses. In any case, the reunion of the ex-partner and the tension placed on the Hemsworth-Portman acting duo that fits so well on the Marvel screen took much of the attention. 

Added to that, Taika’s humor, at times invasive, led the film to go through a fragment of not knowing where it was going. A bit repetitive and even boring. Not even Russell Crowe and his Zeus could save the film in that part. Maybe a little Toothgnasher and Toothgrinder, the funniest goats you’ll see in the movies, but it still felt heavy.

But beyond the exaggerated use of comedy and romantic misunderstandings between Thor and Mighty Thor, the film makes an interesting break near the last third that strikes a balance against so much color and laughter, with a successful scene in which photography stands out ( the film becomes black and white with some flashes of color), the visual effects, the creature, and environment design, the direction, etc. 

Thor: Love and Thunder

From there, the film was another. He used all the potential of taking a story based on comics, he played with the colors, the rhythm, and the shapes. It really felt like something new and it came in handy after a certain monotony that had trapped the film.

After that change, it improved a lot towards closing. Portman and Hemsworth present moments of real encounter and towards the end, Thor becomes the true hero for various reasons that they will discover in the film. Far from feeling like a story full of humor bordering on the absurd, as it mostly was, Thor: Love and Thunder closes its characters with a warm embrace, introduces new ones for what is to come, and returns the God of Thunder to the center of the MCU.

Thor: love and thunder opens on July 7 in theaters.

The Gray Man: Ryan Gosling protagonist of the new official poster

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The feature film, directed by brothers Anthony and Joe Russo, stars Ryan Reynolds and Chris Evans as main actors. The Gray Man is the new project directed by Anthony and Joe Russo (Captain America: Winter Soldier, Avengers: Endgame) who recently made, for Apple TV +, Cherry – Innocence lost starring Tom Holland. 

The unreleased film has at the center of the story a CIA mercenary, Court Gentry aka Sierra Six (played by Ryan Reynolds) who, after discovering some secrets behind the organization, is hunted down by his ex-colleague Lloyd Hansen (who has the face of Chris Evans). As we approach the film’s release date, some communication material has been released, starting with Netflix’s Geeked Week.

The Gray Man arrives on Netflix on July 22, 2022

In particular, as reported by the official NetflixFilm Twitter page, the new poster of The Gray Man (which you can find above, at the bottom of the article) was shared. The very particular poster shows the protagonist with an evanescent effect, while the left side of his figure fades with the colors of the background. 

The writing bearing the title, on the other hand, uses a fairly minimal silver font. Obviously, on the upper side of the image, the names of the main actors of the project are shown. A poster that certainly attracts attention, despite not being particularly original.

The Gray Man is produced by AGBO and Roth / Kirschenbaum Films with a screenplay written by Joe Russo, Christopher Markus (Pain & Gain – Muscles and Money, The Chronicles of Narnia – The Lion, the Witch, and the Wardrobe), and Stephen McFeely ( Thor: The Dark World, Captain America – The First Avenger). 

The feature film, in addition to the aforementioned actors, sees the involvement of Ana de Armas who plays Dani Miranda, Jessica Henwick, Regé-Jean Page (Denny Carmichael), Alfre Woodard who plays Maurice Cahill, Billy Bob Thornton in the role of Donald Fitzroy. The film arrives on Netflix on July 22 with limited theatrical release starting July 13.

Jurasic World Dominion Movierulz Telugu

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Jurassic World Dominion ends – in part – the Jurassic Era that began in 1990 with the novel Jurassic Park by Michael Crichton which in 1993 became one of the most popular films by Steven Spielberg was followed by: The Lost World in 1997 always by Spielberg, based on the second novel of the same name, and 2001’s Jurassic Park 3 directed by Joe Johnston. The original trilogy has decided, starting from 2015, to give rise to a new Jurassic saga focused on the events of the famous Jurassic World park with the events narrated in Jurassic World (2015). 

Jurassic World: The Fallen Kingdom (2018), and Jurassic World: Dominion (2022) directed by Colin Trevorrow. Along with the six films, it is worth mentioning the presence of a delightful Netflix original animated series: Jurassic World: Camp Cretaceous still under construction with four seasons under its belt. With Jurassic World 3, the second trilogy comes to its conclusion in a completely unexpected way. We previewed the film and this is our no spoiler opinion.

The events narrated in Jurassic World: Dominion takes place four years after the destruction of Isla Nublar, dinosaurs live and hunt together with humans all over the world. This fragile balance will reshape the future and determine, once and for all, whether humans remain the dominant predators on a planet they now share with history’s most fearsome creatures.

It is well known that the Jurassic World saga never shone, but despite the ailments of the previous films, the films were ultimately enjoyable and particularly entertaining, albeit far from the concept of “Jurassic Park”. With the ending of the second film, the cards on the table were particularly interesting given the “return” of the dinosaurs to the civilized world, which had immediately winked at the finale of The Lost World in which a t-rex sowed panic in the city, sequence among the most popular of the entire film saga. 

Dominion, starting from these premises, introduces us to a world in which humans, animals, and dinosaurs have learned to coexist in a sort of forced ecosystem with many difficulties. If at the base the concept is interesting and full of creative ideas, the realization and the inventiveness dedicated to the project do not meet expectations in any way, not even thanks to the return of the original cast.

Laura Dern, Sam Neil, and Jeff Goldblum return for the first time since 1993 to chase – and be chased by – dinosaurs but losing quite a few hits. In a period in which the nostalgia effect is abused, Il Dominio, while being able to focus in part on this aspect, decides almost completely to leave it out, leaving the iconic characters of the saga at the mercy of the action without a real backbone or a precise characterization. 

The fault of this is undoubtedly a screenplay aimed much more at entertainment than history. Dominion is in all respects the sequel to the Fallen Kingdom, the story of the young Lockwood, the granddaughter of the co-founder of Jurassic Park, is resumed and deepened, but everything is dealt with in a completely different way from what the films of the saga original and the sequel saga we were used to.

Watching Jurassic World: Dominion will seem to be in front of an action film, in the style of Mission: Impossible or The Bourne Identity with the addition of some dinosaurs in the background. The “human” events have the upper hand, overshadowing what really interests this saga. To make matters worse, those creatures take over so out of focus given the fold of the film that they seem completely useless to the development of the plot. 

Creatures that, due to the continuous genetic changes carried out by humans, have considerably changed their original form, so much so that they seem like real “Fantastic Beasts”. The very realization of the latter leaves in some moments decidedly disappointed if you think about the perfection that the dinosaurs had in the previous films, especially in the first two films of the original saga. 

However, there are still some good action scenes starring the loving Velociraptor chasing the increasingly static Chris Pratt on a motorcycle on what should be the island of Malta that ends up resembling a Moroccan city. The fast pace, a good dose of action, and some well-made sequences are not enough to revive the fortunes of a film whose direction is not very clear. 

Several times during the film, one wonders if what one is watching will actually have a more or less significant value on the implication of the story, a problem that a final chapter should not have. The same characters, completely at the mercy of events, are not very empathetic and devoid of any interest both in staging their story and in transmitting their emotions, a feeling that in turn is reflected on the viewer who comes out weighed down and bewildered.

Jurassic World: Dominion is an odd and hasty conclusion to a trilogy that, although it had never shone over the years, had nevertheless managed to entertain and make spectators dream with the presence of the iconic dinosaurs. The last chapter of the saga decides to take an unexpected path by completely detaching itself from the other films, staging a decidedly out-of-focus story for the type of franchise proposed. 

The same characters, old and new, seem to disappear in the face of a story that prefers to exceed from the visual point of view rather than that of the story. Good action scenes, tight editing, and a few moments of nostalgia (which, if used well, could have made a difference) are not enough to make this final chapter a memorable film.

Top Gun Maverick Movierulz

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36 years after the original film and more than two years after filming ended, the long-awaited Top Gun: Maverick has finally arrived on the big screen. Tom Cruise returns to the role that launched him into the firmament of Hollywood stars with an intelligent work that ranks among the most innovative and successful sequels ever. The film directed by Joseph Kosinski and written by Christopher McQuarrie, Ehren Kruger, and Eric Warren Singer will premiere in theaters on May 21 and 22, with the official release set for May 25. We have reviewed it and this is our opinion.

After more than thirty years of service in the Navy, Lt. Pete ‘Maverick’ Mitchell (Tom Cruise) is right where he wants to be: a brave pilot who can push himself to the limit by courageously testing new aircraft, and trying to dodge career advancement. which would put a brake on his freedom. When called upon to train a detachment of Top Gun Academy students for a specialized mission that no one in the world has ever accomplished, Maverick will meet Lt. Bradley Bradshaw (Miles Teller), nickname ‘Rooster’, the son of the Maverick’s friend, Lt. Nick Bradshaw, aka ‘Goose’. 

Grappling with an uncertain future and the ghosts of the past, Maverick will have to confront his deepest fears to complete a mission that will require a great sacrifice from all who choose to participate. Top Gun was probably together with Rocky IV the film that most defined the American 80s, a decade marked culturally by Reaganian hedonism and politically by the flare-up of the Cold War. 

In this context, the film directed by the late Tony Scott has shaped an entire imaginary made of Ray-Ban Aviator glasses, leather bomber jackets, and romantic motorbike races towards the sunset thus clearing the beauty of the young Tom Cruise. Pressing, visceral, and with a big heart, the 1986 film quickly established itself as one of the benchmarks that future blockbusters would have to contend with in the future.

Now, after a release initially scheduled for 2020 and postponed to 2022 due to the pandemic, Tom Cruise returns as Pete “Maverick” Mitchell 36 years later in a totally different world, or almost. The Navy has changed, technology is gradually giving up pilots in favor of drones, and close air combat – the so-called dogfight – is increasingly far-fetched.

The end is inevitable, Maverick. Your race is doomed to extinction.

The words that Rear Admiral Chester Cain, played by Ed Harris, addressed to Maverick, immediately make it clear how the protagonist – now assumed to be a real legend of the US Navy – is considered the relic of a world that no longer exists. Despite his exceptional service status, Maverick has always gone to great lengths to avoid career advancements, which would otherwise have progressively taken him away from the adrenaline of flying, an element he is not yet ready to give up and which has led him to become a pilot. 

The pilot of experimental aircraft. Despite his reluctance, he is recalled to the Top Gun school as an Instructor following the decisive request of the old friend/rival Tom “Iceman” Kazansky who has become an Admiral of the Pacific Fleet over time. In the new (ill-tolerated) role of teacher Maverick will have to train and select six pilots in a few weeks for a very high-risk mission on the territory of an unspecified “rogue state”.

With such an operation set along the lines of the legacy fuel, the risk of making a story that was a simple carbon copy of the original film full of fan service was just around the corner, but fortunately, this is not the case. The screenplay written by Christopher McQuarrie, who created an artistic partnership with Tom Cruise as effective as it is close-knit, transports the iconic 1986 imagery into modern times, accompanying and adapting it without forcing. 

Among the merits of the film, there is also being permeated by a nostalgia effect which, although present and fundamental to the entire operation, is never invasive or artificial. Element enhanced by a high-impact soundtrack that saw the return of the composer of the first film Harold Faltermayer assisted for the occasion by Hans Zimmer and Lady Gaga, who signed the exciting single Hold My Hand, composed for the release of the film.

Although the narrative revolves around the figure of its twilight protagonist (The choice of using Maverick as a subtitle rather than another or a generic Top Gun 2 is significant) the storytelling is becoming more and more wide-ranging by integrating into an organic and never forced way the relationships with the other characters. The script takes the time necessary to show the various psychologies by triggering a choral story where everyone walks their own narrative path. 

Strengthened by writing that speaks of the military, but not of militarism, this ranges between universal themes such as inheritance, mourning, revenge, and rapprochement. All issues dealt with balance in a path that will represent a sort of trait union between two generations of pilots who must understand and reconnect.

One of these is made up of young pilots who best represent the 1% of the best pilots exited from the Top Gun program, each with a marked personality that will in turn arouse the likes or dislikes of the public, from the contemptuous “Hangman” of Glen Powell to the decided “Phoenix” by Monica Barbaro. 

In this context, we no longer have handsome young drivers competing with each other to establish themselves as the best of the best, but a meeting (and clash) between very different personalities who will have to overcome their limits and team up to succeed in a mission that it will require more than their courage. There is also Bradley “Rooster” Bradshaw, played by the talented Miles Teller, son of the late Goose whose disappearance is still an open wound in the protagonist’s heart. The conflicting relationship between the two will be one of the film’s narrative and emotional epicenters.

It is also hard not to see an extension of Tom Cruise himself in Maverick himself. Two men who do not resign themselves to the passage of time and who look dreamily towards their glorious past, refusing to let it go. Cruise, however, has the merit of proposing an interpretation far removed from the Ethan Hunt of Mission: Impossible. Maverick is still reluctant to take orders and still defends his independence, but he does so with an unfamiliar maturity and awareness. He is a loner who still hides frailties that disappear only when he is in the air and can take a plane to his limits. 

The rest of the cast is well-matched and close-knit, starting with Jon Hamm in the role of Vice Admiral Beau “Cyclone” Simpson, to Charles Parnell in the role of Rear Admiral Solomon “Warlock” Bates, up to Jennifer Connelly in the role of Penny Benjamin, old and Maverick’s new love interest briefly also mentioned in the first film. A special mention is reserved for the announced presence of Val Kilmer returning as Tom “Iceman” Kazanski, the protagonist of what is one of the most touching and self-referential scenes in the film.

But the greatest merit of Top Gun: Maverick is to tell the true adrenaline of a fighter pilot committed to defying the laws of physics in a potentially deadly mission. The vast renunciation of CGI in favor of live aerial shots brings to the stage an action never so lively and vibrant, a real flagship of the film enhanced by the dry and adrenaline-fueled staging of Joseph Kosinski. 

It is the first taste of what it means to fly to the limit we have during training flights, with the first spectacular sequences, shot live onboard the F / A-18E Super Hornet fighters. It is almost inevitable for the spectator not to feel involved in the physical exertion of pilots trying to remain conscious while facing the violent acceleration of gravity. The experience is then made even more immersive by the excellent sound design work, thanks to which we hear the breathlessness of the pilots who are struggling to breathe, with the sounds of the yoke and jets that contribute to composing a sound carpet among the most complete never made.

This display of technique then explodes in all its power in the last epic 40 minutes of the film in an adrenaline rush that takes the experience of on-screen action to levels never seen before in the history of cinema. A sensory tsunami of extraordinary emotional impact that overwhelms the viewer with an experience that is always poised between vibrant excitement and exhausting tension. In the cockpit of fighters, we experience danger through the eyes of the pilots and experience first-hand the fear of not getting out alive, feeling the inexorable weight of choices. In this dynamic, the action takes on a broad epic breath that becomes an integral part of the development of the characters and the plot.

Thanks to all this, the film manages to perform the miracle of being in 2022 which was the first Top Gun in 1986, or a new reference point for the blockbusters to come. With the passing of Tony Scott, to whom the film is dedicated, it was reasonable to expect that a certain idea of cinema – like real fighter pilots – was now close to extinction. They thought about Top Gun: Maverick and his stainless protagonist played by Tom Cruise to dispel all doubts, thus responding to the aforementioned provocation of Rear Admiral Cain:

Maybe so, Lord… but not today.