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The Flash 2023 Telugu Dubbed Hollywood Movie Review

The Flash

The Flash Movie Review: The thirteenth film of the DCEU (DC Extended Universe) – the first solo for the homonymous protagonist – is also the most controversial and debated cinecomic of recent years. He has flirted with oblivion several times but that chapter there, at least on the screen, seems concluded.

Finally, on June 15, 2023, Warner Bros distributes, The Flash arrives in Italian cinemas, directed by Andy Muschietti (IT chapter one and two, The Mother) and has a good cast that includes Ezra Miller, Sasha Calle, Michael Shannon, Maribel Verdù, the great Michael Keaton and maybe it’s best to stop here. Screenplay by Christina Hodson, based on characters from the DC Universe.

The technical term is not solo film but stand-alone film. As a definition, applied to the present case, it leaks everywhere. Because Barry Allen / Flash fights his battle in good company, we can seriously discuss whether the centrality in the story is enough to make him the undisputed protagonist.

Only, Barry sure is, spiritually. Physically, no. As a self-celebration of the DC imaginary, the film works great, sometimes at the expense of the originality and power of the story. But it is difficult, even wanting to, to remain indifferent to certain atmospheres, and certain suggestions (aesthetic, musical, narrative).

The Flash

The Flash Movie Story: War Against Canon by Barry Allen

Barry Allen (Ezra Miller) runs because he doesn’t have time. Time, ultimately, is the arbiter of his life. He works, in civilian clothes, as an intern in the Criminology Laboratory of Central City, his city of him. Otherwise, he is the superhero. The Flash, by definition, is the Justice League’s “Jaal,” because they call him when someone else’s mess needs to be cleaned up, or when the titular hero is busy elsewhere.

Mostly it’s about replacing Batman; Barry and Bruce Wayne (Ben Affleck) have built a good friendship. There is an analogy, brought to light by The Flash, regarding their respective origin stories: they both lost their parents. And that pain defined them, conditioned their relationship with the world, cementing their heroism. Barry, however, his family has lost her in a different way from Wayne.

Barry’s dad, Henry (Ron Livingston), is still alive and in jail, accused (wrongly?) of the murder of his wife, Nora (Maribel Verdù). The boy firmly believes in his father’s innocence and tries to get him out of trouble with the complicity of Wayne Enterprises. A series of footage from a supermarket’s CCTV system, technically cleaned up, would exonerate him by proving that he was not at the crime scene at the time of the crime.

Difficult to get something out of a track like that. Barry, however, has an incredible resource: he runs faster than everything. Even some light. And here the temptation creeps in, dangerous to hear Bruce Wayne, who tries in every way to discourage him but there’s nothing to do.

The Flash

The protagonist is convinced that if he runs faster than time maybe he will make it, to go back and save his mother. Nora’s death is the Flash’s defining moment, the canonical event, just as the murder of her parents had been Bruce’s big bang. Barry Allen declares war on the canon to save two lives, actually three: his, his father’s, and especially his mother’s.

It is not important and it would not even be fair to clarify whether Nora is saved or not, due to the intervention of her son. The very fact that Barry tries has enormous consequences on the tightness of space-time and the harmony between dimensions. Barry makes a huge mess and is the first to pay the consequences.

Alone and without points of reference, hostage to a world subtly similar to his, which is actually very different. Forced to look in the mirror, the protagonist plays chess with fate. The Flash brings back an old acquaintance. General Zod (Michael Shannon) returns to Earth fearing its destruction; he is looking for a Kryptonian held in some dark prison, a Kryptonian (Sasha Calle) will discover.

Barry understands that Zod’s return is a consequence of his intervention in the space-time line and tries to remedy it. But it is difficult because in the place where he is, there is no trace of the Justice League and Batman is very different from how he remembered it. Older (Michael Keaton), scruffy, with a particular light in his eyes. Flash doesn’t know it but that one, of the many Batmans, is the best. Also a little rusty, but that’s not a problem.

The Flash

The Flash Movie Analysis:

Andy Muschietti subjects The Flash to the standard treatment and his cinecomic just doesn’t seem to be missing anything. The genres overlap, there is action but also a little comedy, science fiction, and existential torments; noisy entertainment, mostly. Once again, the emotional and narrative barometer is the family: the need for, the absence, and the impossibility of building one on one’s own terms. Reflection on the relationship between destiny and free will is reflected in the gauntlet launched by Barry at the key event in his life.

The death of the mother is the embodiment of the most feared enemy: the canon, the immutable flow of events, impossible to control and from which there is apparently no escape. The tension that animates the film is not all that different from that which runs through the contemporary (more successful, more formally daring) Spider-Man: Across the Spider-Verse. Can the hero break free from conditioning and (re)write his own story?

The question applies to both, The Flash responds by plundering the pop archive of the DC Universe in search of the best, the iconic, the sure shot. Ezra Miller arrives at the viewer partially overwhelmed by a wave of unedifying particulates in his private life and very worrying, if taken literally, about his mental health. He does well to handle the film’s double challenge.

Because of Flash, in this story, there is more than one. To grow the character you need to make them talk while maintaining a basic coherence, on a character level, without neglecting the differences. And Miller does it, to credibly return the existential puzzle of Barry Allen and the Flash.

The Flash

And the others? Michael Keaton brings an unprecedented lightness to his legendary characterization, humor tinged with melancholy; the years go by, but gracefully. Of Sasha Calle and her mysterious Kryptonian (seriously?) We would like to know and see more. The Flash is an intense cinecomic, evocative in terms of imagery, which leans too much on what has already been seen and what has already been done, on that same DC canon against which the protagonist engages in a merciless fight.

The discourse on alternate realities and rewritten timelines, Multiverse more or less, resolves itself in the self-referentiality of a celebration that merely scratches the surface. The film confronts the hero with his own demons, forcing him to redefine the roots of his heroism more maturely and consciously, without however developing the premise. Once again, there are always some welcome exceptions, the genre struggles to take a step forward.

The Flash: conclusion and Evaluation

The construction (narrative) of time travel is suggestive, at times valuable in the yield. The workmanship, the technical quality of the action, is not always the best; not everything, not always, works as it should. It is the mantra of The Flash, an entertaining film with a wild pace, built on the bizarre personality of a protagonist, self-deprecating and intense in one fell swoop.

The reference to models and icons of the past is central to understanding the film, its strengths, and its limitations. The seduction of mythology also tells the reluctance of the upper floors to think of the cinecomic in a fresher and more original way. Good job to James Gunn.

Transformers: Rise of The Beasts 2023 Telugu Dubbed Hollywood Movie Review

Transformers: Rise of The Beasts

Transformers: Rise of The Beasts, directed by Steven Caple Jr. and with Anthony Ramos and Dominque Fishback, is the seventh chapter of the famous saga, in Italian cinemas on June 7, 2023.

Directed by Steven Caple Jr, in Italian cinemas from 7 June 2023 for Eagle Pictures, Transformers – Rise of The Beasts sees double, indeed triple. The seventh chapter of the saga is based on the toy line of the same name, the sequel to Bumblebee (2018), and the prequel to the first film. Protagonists (in the flesh) Anthony Ramos and Dominique Fishback, are surrounded, it is appropriate to say, by a patrol of gigantic, metallic beasts; robotic movements but a very human heart.

The eternal match between the two factions, Autobots (good) and Decepticons (bad) becomes more complicated and deepens because the film takes care to introduce a new line of Transformers, or rather, a new generation. They are called Maximals. Which side are they on?

The plot of Transformers – Rise of The Beasts, at least in part, takes its cue from the TV series Rumbles of Thunder and Skies of Fire for Biocombat (1995), originally a toy line distributed by Hasbro between 1995 and 2000. Extreme coherence, it is precisely the 90s that form the backdrop to the story of the film. The story bounces between the United States and Peru, on the trail of a mystery that has very ancient roots.

Transformers: Rise of The Beasts

Transformers: Rise of The Beasts Movie Story:

Unicron, the dark god, has very bad intentions. He wants to make the universe one giant barbecue and to do that he needs the Transwarp Key; he allows you to move at will in space, in defiance of any law of physics. The key is buried on Earth because it is here that the Maximals, after having seen their home devoured by flames, have found shelter, solemnly promising to preserve life on our planet at any cost, if necessary by cooperating with humans.

In fact, they do this too. The boss is called Optimus Primal (originally the voice is by Ron Perlman) and together with him there is a good team among which the agile movements and lucid wisdom of Airazor (Michelle Yeoh), who has the shape of a falcon, stand out pilgrim. But these are the background, the present time of Transformers: Rise of The Beasts is 1994.

1994, Brooklyn. Noah (Anthony Ramos) is an ex-military and electronics whiz desperate for a job. When he can’t find it, he decides to heed a friend’s bad advice and embraces the big business of car theft. To set the film in motion, the interweaving of two curious facts is necessary. Noah steals the wrong car, an Autobot named Mirage (Pete Davidson), disguised as a Porsche and very tongue-tied.

Then there is the need for Elena (Dominque Fishback), who is an intern at a museum on Ellis Island and has an impressive wealth of archaeological knowledge, to accidentally activate one-half of the key. The Maximals were wise and for safety, they divided it into two parts and buried it in two different places.

Transformers: Rise of The Beasts

Too bad, however, that the portion of the key found in New York is enough to solicit unwelcome attention. Everyone notices the key. It begins with the Autobots present on Earth in addition to Mirage, including Bumblebee and the great Optimus Prime (Peter Cullen). Unfortunately, the Terrorcorns are also interested in it.

The Terrorcorns are a faction of Decepticons, led by Scourge (Peter Dinklage) and accompany the terrible Predacons. They, the key, try to deliver it to Unicron, unlike the Autobots who would like to use it to go home. The Maximals are pushing for no one to get hold of it; the protection of the status quo is fundamental, in their view, to preserve life on Earth.

Noah and Elena, after an initial moment of total dismay, decide to take a stand because the stakes are too high. We must not be discouraged by the confusion of these lines: Transformers – Rise of The Beasts is cinema in its most primordial and noisy form. Shock, exaggerated violence, emotionality.

The film has a restful narrative linearity, which can be summarized as follows: having collected the first half of the key, Noah and Elena travel to Peru to recover the missing half. They side with the good guys, the Autobots, and the Maximals, ostensibly to help the first ones go home. In truth, Noah’s intentions are more complex. The rest shouldn’t be spoiled. Sure, the knots will untie loudly.

Transformers: Rise of The Beasts

Transformers: Rise of The Beasts Movie Analysis:

And Michael Bay? And Steven Spielberg? There are both, they artistically supervise the success of the product, but only as producers. The transition of the saga from the hands of the explosive Bay to a new generation of filmmakers, the process that did not begin with Transformers: Rise of The Beasts, has greatly affected the saga.

In part by changing something of its unmistakable essence – adolescent heart and testosterone-filled spirit – the passing of the baton has allowed the saga to recover a more calibrated and human vision. The fundamental is that the creatures resemble humans, not the other way around. Steven Caple Jr.’s film manages to find a sentimental and narrative thread that brings together the aspirations and desires of all the characters, metallic or not. The truth is simple. Whether you are an Autobot, a Maximal, or a human, the priority is one. Protect your family.

This applies to Noah, who has a younger brother (Dean Scott Vazquez) who is sick and who fights symbolically for him. It applies to Optimus Prime, the older brother of the Autobots on Earth who invested with the sacred duty to bring everyone home, safe and sound. Transformers – Rise of The Beasts does not try to water down diversity, it is committed to enhancing it by seeking harmony among dissonances.

An Autobot, a Maximal and a human being have different points of view, different ways of expressing their inner selves, and different desires. Yet, during the battle, the many small families in the film must find a way, recognizing the specialty of each one’s contribution, to become one big family.

Transformers: Rise of The Beasts

Shareable morals returned in an elementary and not entirely gratifying way. Transformers: Rise of The Beasts sacrifices any hint of depth in favor of action. In its own way, a lesson in humility and a sense of proportion, with a bitter aftertaste in the mouth. Beyond the infantile pleasure (in the most positive sense of the term) of accompanying, up to the final explosion, a very heterogeneous audience of giant robots who beat each other up in a very spectacular way, the schematic nature of the narrative architecture and a certain flatness in the definition of psychologies tell something else.

In other words, they make us regret the shrewd strength of a direction, even of a writing, capable, in full compliance with the conventions and needs of an ultra-commercial cinema, of complicating things. And to show traces of thickness and ambiguity between one explosion and another.

Transformers: Rise of The Beasts: conclusion and Evaluation

Anthony Ramos’ electricity goes well with the magnetism of the excellent Dominique Fishback, keep an eye on her. The Transformers human interaction is more than satisfactory, the New York-Machu Picchu-New York world tour adds a further note of exoticism. Transformers – Rise of The Beasts is the competent, if not particularly original, seventh chapter of a saga that must be taken in the right direction.

That is to say, the instinctive amazement of the child or adult who rejuvenates for a moment in the face of adventure in its purest form: morality cut with an axe, spectacular action, feeling. To ask for more from the film would be too much. Let’s enjoy the explosions and all this metal.

Spider-Man – Across the Spider-Verse 2023 Telugu Dubbed Movie Review

Spider-Man: Across The Spider Verse

Spider-Man: Across the Spider-Verse arrives in Italian cinemas on June 1, 2023, to tell us once again about Miles Morales, Gwen Stacy, Peter B. Parker (and others) grappling with the mysteries of the multiverse.

Can a film disappoint a little while still being fantastic? As the sequel to a celebrated superhero animated gem, Spider-Man: Across the Spider-Verse does exactly what a second chapter should do: longer (2.20 hours), more colorful, more chaotic – that’s not necessarily a bad thing – it multiplies the environments, brings a new patrol of characters alongside the historians, tries to harmonize as best it can (it’s enough) psychological excavation and thematic architecture, more articulated than in the first film.

It was called, it was 2018, Spider-Man – A new universe, in English Spider-Man: Into the Spider-Verse. The sequel of 2023, directed by Joaquim Dos Santos, Kemp Powers, and Justin K. Thompson, screenplay by Phil Lord & Christopher Miller, and David Callaham, changes something of the formula.

No longer Into (in, inside) but Across (through) the Spider-Verse. Given the reality of the facts, that is, that each story is only one version among the countless, of a global and interconnected design, it is time to start moving far and wide along the existential highways of the multiverse and answer the question of the questions: how many parts of a beloved and well-known story can be rewritten? What is at stake is the construction of identity. Spider-Man: Across the Spider-Verse arrives in Italian cinemas on June 1, 2023, for Sony Pictures Italia.

Spider-Man – Across the Spider-Verse: many versions of the same hero, but above all Miles and Gwen

Gwen Stacy, alias Spider-Woman, Earth #65 (with progressives we will arrive at figures with many zeros), this time we start with her. Her story is in a sense an anomaly, one of the rare cases in which the basic dynamic is reversed, remaining the same. In this universe here, in fact, Peter Parker is the helpless friend that you can’t help but lose, while she has to wear the costume.

Spider Man Across The Spider Verse

The big change from the first film is that Gwen now knows she’s not alone. She knows the inherent complexity of the multiverse from having tasted it firsthand. You have cemented a relationship of esteem and affection with many colleagues of the adjacent dimensions, but it seems insufficient.

She continues to feel alone. She wouldn’t tell her policeman father the truth about him for all the money in the world; reconciling private, public, and secret life is becoming increasingly difficult. An apt metaphor from Spider-Man: Across the Spider-Verse explains Gwen’s situation well (and all the others and all the others): she is the girl who knows she wants to join a band, but she still doesn’t know which one she is.

She believes she has solved the matter by joining a colossal task force of Spider-Man and Spider-Woman dedicated to maintaining peace and stability in the multiverse. There are many of them, highly equipped, and they have also found a way to stabilize the inconveniences of passing from one dimension to another; fans of the first film will surely remember, it was a pretty big deal.

She pulls the strings of this mysterious community of heroes, basically the Avengers reproducing endless versions of the same character, Mr. Miguel O’Hara. Like Spider, he is muscular and has absolutely no sense of humor. Gwen can’t bond much with him, so she shifts her attention to Jessica Drew, a very tough and very knowledgeable Spider-Woman in the multiverse.

Spider Man Across The Spider Verse

The bizarre, rather, the anomaly, is that in this cauldron of friendly neighborhood spiders, there seems to be room for everyone, except for Miles Morales. Ours, Terra #1610, has perfected his costume, he doesn’t shut up for a moment, he would like to come out to his parents, mom Rio and dad Jefferson (he’s about to become a police captain, congratulations), but he lacks the courage.

They ignore his double life, so they struggle to justify behavior which, not being able to connect the dots, appears unpredictable and not very serious. The most believable threat, for Miles, is a very strange villain called Blur. In one way or another, it is part of his past, it is also the hook for the hoped-for reunion. Gwen and Miles are reunited because there is a common threat to face, of which the Blur is a large, but not exhaustive part.

The villain has figured out how to juggle the various dimensional planes to make good and (mainly) bad weather, but there’s more. The problem of Miles, Gwen, Peter B. Parker, and all the rest of the gang of different twins is both material (the multiverse is in grave danger), and philosophical, emotional, and sentimental.

The fate of the hero, already written or still to be written?

Outwardly, it is the standard recipe, for the cinecomic even if it is animated. Dudes in tights with stormy pasts who pull off spectacular stunts for the noblest of reasons, spinning over-the-top action, humor, and romance. The family is at the center of everything, great powers, great responsibilities, and laughter. Spider-Man: Across the Spider-Verse, just like its predecessor, complicates the picture beautifully by pretending to do the same things as everyone else, in the same way.

Spider Man Across The Spider Verse

Exploiting the inter-dimensional leap as an expedient to enhance a thousand angles and the visual power of a superb animation, fluidly dosing the progressive discourse (diversity, acceptance, and inclusive representation) and delicately placing it on the fabric of the story; we don’t notice it, it’s all very natural. There is a legal limit (!) to the things that can be said about the film.

However, it can be said that the theme of the themes is the construction of the identity of the hero, pulled by the costume by two cumbersome extremes, destiny, and free will. The basis of every self-respecting story, from our Greek friends from thousands of years ago to, well, web-shooting masked dudes.

The problem with Miles and all Spider-Man and Spider-Woman of this world (of all worlds) are that the harmony of the multiverse, this great web that interweaves different planets, different heroes, and different histories, is ensured by repeating a certain type of dynamics, standard situations and common to all universes. They have to do with the idea of separation, of loss, of the extreme limit that even the greatest hero cannot reasonably cross: one cannot save everyone.

The question, both moral and narrative, that Spider-Man: Across the Spider-Verse dares to ask itself, is the following: what happens if, suddenly, the hero chooses to get in the way of destiny and tries to become Spider-Man but on his own terms, not giving a damn about the canon? Can the unthinkable be achieved without compromising the overall balance? Miles thinks so.

Spider Man Across The Spider Verse

What happens is that the film supports the aesthetic, narrative, and spiritual ambitions of its lovable, bumbling protagonist (and fellow adventurers), fervently supporting their need for emancipation. However, ending up succumbing a bit, right on the finale. That Spider-Man: Across the Spider-Verse is only the first stage of a longer and more complex journey does not come as a novelty.

But a certain haste with which the film truncates the exploration of serious and articulated problems, proposing a moral and a narrative dynamic that has already been seen and already heard, seems to give the canon the winning game, to the game without risk. Toning down the originality of an operation that, until then, had hit the mark in both form and substance.

Spider-Man: Across the Spider-Verse: conclusion and Evaluation

For every empire that strikes back – the well-done sequel that deepens the first film’s discourse by darkening it, but leaving a door open to hope – there is always a return of the Jedi lurking, the partial disappointment that compensates with so many memorable moments the clear bitter sensation in the mouth.

The fate of this film will be written by the next. Many advantages, a little problem of Spider-Man: Across the Spider-Verse is a certain imbalance in the conception of the narrative structure: it immerses us in the story with such ease, that the sudden suspension waiting for the third chapter tastes of frustration. The disappointment must be seen from the perspective of a work that is clearly above the standard of the modern cinecomic, animated or otherwise. Imperfect, however very very valid.

Fast X 2023 Telugu Dubbed Hollywood Action Movie Review, starring Vin Diesel, Jason Statham Jason Momoa and Others

Fast X

Fast X Movie Review: Two years after the ninth chapter, the most dysfunctional, adrenaline-pumping, insane, and seemingly immortal family in the history of cinema is back. In Fast X we once again find Toretto (Vin Diesel) and his irrepressible need to reunite the family – or the clan? – in the name of a hard-to-die habit, which as expected begins in the certainty that everything will go well, ending up on the contrary and therefore becoming a real mission impossible.

If at first, it might seem to see, even if only for a moment, the figure of Ethan Hunt (Tom Cruise), the historic protagonist of the now legendary Mission Impossible film saga, considering the high rate of action and spectacularity of this tenth chapter, to remind us that seriousness and drama do not belong in any way to the Fast & Furious franchise, the crazy but hilarious villain played by Jason Momoa – Dante Reyes – soon arrives and immediately takes the film back to where he has always found his living space, or comfort zone, the B Movie.

Fast X

Yet Louis Leterrier inheriting the throne from Justin Lin, director of The Fast and the Furious: Tokyo Drift, Fast & Furious – Only original parts, as well as the fifth, sixth, and ninth chapter of the saga, does not spare himself.

In fact, its tenth chapter really tries hard to reach that maturity and then that twilight so typical of the final titles, or rather, of the farewells, although we already know very well that Fast X can only represent a brand new beginning, widely suggested by the final sequence and with a decidedly dilated construction and full of characters never known before and therefore destined to reappear.

Fast X Movie Story:

Returning to the ninth chapter of Fast & Furious directed by Justin Lin and its opening scene, we once again find the question of Dominic Toretto’s trauma, inevitably linked to the death of his father figure, followed by the dimension of the present, which sees him dress playing the role of the apprehensive father who is increasingly convinced of having to – and wanting to – say goodbye to his large family, giving up adrenaline, beatings, shootings and incredible car escapes in the name of tranquility and a love without equal, that is, between a father and a son.

A tranquility that, however, never really belonged to the members of his dysfunctional and tormented family, either due to emergency protocols made up of hiding places and armaments or due to a memory of the repressed that responds directly to a premature loss of innocence and light-heartedness.

Fast X

In any case, Fast X begins where Fast & Furious 9 left off, from the barbecue to the house under construction, up to Dom’s new family unit, endangered this time by a sadistic and unruly villain and no longer just cynical and cruel as happened in the previous chapters. There is no longer any question of a world order, but rather an individual one.

Fast X therefore, unlike any other chapter or spin-off of the entire franchise, seems to lead its mad adrenaline rush right toward the central track of the saga created by Rob Cohen, David Ayer, Erik Bergquist, and Gary Scott Thompson in the early years of the two thousand, the family. Some fathers fight to protect their children and sons fight to protect their fathers.

If Dom has overcome the trauma, in the name of that famous paternal motto: “It’s not enough to be the strongest, it’s better to be the most mature”, it is in the villain played by Jason Momoa that we are finally presented with his real nemesis.

And it is a joy, since the spectator fears exactly like the protagonists of the film themselves, that everything because of a madman with nothing to lose can tragically come to an end, participating emotionally as never happened before in the chaos and death that from one moment to ‘other can hit this or that member.

Fast X

Fast X Movie Analysis:

For the very first time, in fact, the characterization of the antagonist pushes in the direction of an uncontrolled, silly, grotesque, and potentially lethal evil. An evil that was born from the trauma of loss, from the absence of a guiding figure, and from a long series of psychological breakdowns.

The big Fast & Furious family is no longer safe, it is no longer invincible, since Louis Leterrier, while having fun between visually surprising sequences, such as those in Rome, or the unbridled use of foul-mouthed and very often hilarious humor, leads more and more rapidly and sadly the clan of Dom Toretto towards the farewell, forcing each of them to make one last guide towards the avenue of sunset. Immortality is over, welcome vulnerability.

In the name of the family, it is in fact correct, if necessary, to sacrifice oneself. We know it, and they know it, this explains the crepuscular tone of this tenth chapter which, returning to the mainland, finds the nature of an entire saga, amusing, surprising, and incessantly involving the viewer in a really well-managed succession of farewells, scene, violence, humor, adrenaline and an eternally childish taste for the super-humanistic extremes of action and car racing,

Just as for many years we wondered what kind of father the one played by Liam Neeson in the course of his post-Taken trilogy filmography, it is natural today to ask the same question looking at the relationship between Dominic Toretto and his son Brian. However, we just have to wait for the next chapters, because as John Cena underlined several times, who here is spatial in the literal sense of the term: “This film represents just another way to start” and we can only believe him, hoping to see him again and Still.

Fast X

Fast X: evaluation and conclusion

Louis Leterrier visibly having fun builds his Fast X as an amusement park capable of alternating long moments of stasis, with other highly adrenaline-pumping, noisy, and once again extreme dynamism, so much so that it places itself more and more naturally in the places of science fiction.

They are not the Avengers, but we are close. Their armor is in fact the cars and before this chapter we thought very little about it, making a mistake bordering on semiotics.

In the name of popular cinema, popcorn, spectacular and great entertainment, Fast X hits the target and convinces to the end, without being boring or redundant, despite a respectable duration and continuing the stylistic and narrative research of the previous chapters. whose element of interest and common strength lay precisely in never taking itself seriously, Leterrier’s film plays with the viewer making him or her feel part of the Toretto family.

What an incredible race and what a beautiful villain that of Jason Momoa, a Joker on steroids and with a passion for cars… Todd Phillips take notes.

Mission Impossible 7 (2023) Movie Telugu Dubbed Trailer: Mission Impossible Dead Reckoning Part One Official Trailer

Mission Impossible Dead Reckoning

Mission Impossible Dead Reckoning Part 1 Official Telugu Trailer: Just hearing the name Mission Impossible series gives instant goosebumps to action lovers. The producers have released the trailer of ‘Mission Impossible 7‘ which is coming as the seventh movie in this series. The movie will release on 12th July worldwide.

The trailer was cut to increase the hype of the film with eye-catching action scenes. Ethan Hunt’s (Tom Cruise) personal life also seems to be more focused in this movie. The life we are living now is the decisions we have taken in the past. The trailer starts with Tom Cruise’s voice-over saying, ‘You can never escape from the past.’

Mission Impossible: Dead Reckoning (Mission Impossible 7) Movie Telugu Trailer

Tom Cruise is usually seen in Mission Impossible movies as the lifer for the mission. But in this, the trailer shows that whatever the mission is, the lives of the comrades are important. Let’s see if there is any strong reason for that in the movie.

In the Mission Impossible series, Tom Cruise keeps increasing the level of action in every movie. In this, he went one step further and shot the scenes of jumping from the hill including the bike. Tom Cruise acted without any dupe in this scene. The making video of this has already been released. This will be the main attraction of the movie.

Even at the age of 60, Tom Cruise does stunts like a boy. Tom, who recently performed acrobatics with fighter jets in the movie ‘Topgun’, now also acted in action scenes in ‘Mission Impossible’ where Romalu Nikkaboduchukune. Driving in a small car on narrow streets and fighting scenes on a train are sure to make you sit on the edge of your seat. At the end of the trailer, if you see the scene of jumping from a high hill with a bike into the valley… you can’t help but say aura. All in all, Tom Cruise is sure to mesmerize this time too and whistle with his acrobatics.

Mission Impossible Dead Reckoning Part One

Its next part ‘Mission Impossible Dead Reckoning Part 2’ will release on 28th June 2024. It is reported that the shooting for this has already been completed. It seems that the shooting of the second part was also done along with the first part. Tom Cruise will say goodbye to the role of ‘Ethan Hunt’ in the Mission Impossible series with this movie. Currently Tom Cruise is more than 60 years old. It seems that this decision was taken because it was difficult to do these action scenes.

Similar to the ‘James Bond’ movie in Hollywood, the ‘Mission Impossible’ movie also has a good demand. This ‘Mission Impossible’ movie series started in the year 1996. Since then, six movie series have been released related to this film. Now to be released is the seventh series of ‘Mission Impossible: Dead Reckoning‘. The film is written and directed by Christopher McQuarrie. Simon Pegg, Rebecca Ferguson, Ving Rhames, Vanessa Kirby, Hayley Atwell, Pom Klementieff, Cary Elwes, Indira Verma, Shea Whigham, Rob de Morales and others.

Extraction 2 (2023) Netflix's Hollywood Movie Telugu Dubbed Trailer Released strring Chris Hemsworth

Extraction 2

Extraction 2 Movie Telugu Trailer: Another trailer for Chris Hemsworth’s latest film ‘Extraction 2’ has been released. Like the first part, the makers are ready to release the second part directly as OTT. The movie will be released on June 16 on the famous OTT platform Netflix.

The film will be released in English, Hindi, Telugu and Tamil languages. Recently another trailer for this movie was released. The second part of ‘Extraction’ has been designed without any reduction to the first part. This trailer is very impressive for action lovers. Chris Hemsworth gives a superb performance in the role of ‘Tyler Rake’.

Chris Hemsworth, who created a sensation in Hollywood with the movie ‘Avengers’, impressed action movie lovers of the world by playing the role of ‘Thor’. He has earned the reputation of being second to none in acting in action scenes. In 2020, he showed his amazing performance as a hero in the movie ‘Extraction’ directed by Sam Hargrave.

Chris is shown dead at the end of part 1 of this movie. The first part was shot to create suspense and wait for the next part. The first part of this movie is also available in Telugu. The sequel is also being released in Telugu. On this occasion, Netflix released the Telugu trailer on Wednesday.

Extraction 2

Extraction 2 Movie Trailer is Impressive with a thrilling action sequence

Russo Brothers revealed that they have started the sequel of ‘Extraction’ from where the first part stopped.

Chris Hemsworth is shown in this trailer as he continues his fight from the same place where he lost. The fight scenes throughout the trailer are impressive. Attacking a helicopter in snowy mountains with a gun and action scenes made in a train are highlights in the trailer. This two-minute-long trailer video with action and interesting scenes is currently doing the rounds on YouTube. Meanwhile, it is getting a huge response on social media as well.

Fans are showing more interest in this film as director Sam Hargrave is making his directorial debut with this film. Earlier, Sam worked as an action choreographer for the ‘Hunger Games’ films along with the ‘Marvel Super Series’ films. Action movie lovers are waiting for this movie as the sequel to ‘Extraction’ movie is coming after three years.

'Meg 2 – The Trench' 2023 Telugu Dubbed Hollywood Movie First Trailer Released

Meg 2 The Trench

Meg 2: The Trench: Jason Statham neither leaves nor doubles, but even triples: five years after the first film, the action movie star returns in the sequel Meg 2: The Trench which plays a diver and marine explorer dealing with prehistoric sharks.

In the previous film directed by Jon Turteltaub and based on the sci-fi horror novel written by Steve Alten in 1997, he had to deal with a gigantic specimen of megalodon, the largest shark known to mankind which was believed to have existed for millions of years. But no, it reappeared from the Mariana Trench and it wasn’t easy to bring it down. Now things get even more difficult and Statham will need a bigger shoe.

The first trailer of the sequel, this time under the direction of Ben Wheatley, starts with a scene with a Jurassic flavor: a megalodon almost reaches the shore to shoot down a Tyrannosaurus Rex as if nothing had happened, just to immediately understand the true chain of command of the prehistoric animal kingdom. The sub-Jonas Taylor is then called into action: in another ocean trench, an ecosystem unknown to man has been found and from there something tries to go back to the surface.

It is not one, but three megalodons – and apparently also other creatures of the deep that are not friendly to swimmers or humanity in general. It will be up to the protagonist and his team – which also includes global action icon Wu Jing, Sophia Cai, Page Kennedy, Sergio Peris-Mencheta, Cliff Curtis, and Skyler Samuels – to fix things. How will he do it? Apparently even kicking a shark the size of a house in the face!

Meg 2: The Trench

Meg 2 The Trench is produced by Warner Bros. Pictures and CMC Pictures, from a screenplay by Jon Hoeber & Erich Hoeber (Shark – First Jaws, Transformers: Rise of the Beasts) and Dean Georgaris (Shark – First Jaws, Tomb Raider: The Cradle of Life), and a story by Dean Georgaris and Jon Hoeber & Erich Hoeber. The first film, in 2018, had grossed around 530 million worldwide.

It will arrive in cinemas on August 4, 2023.

Guardians of The Galaxy Vol 3 (2023) Telugu Dubbed Hollywood Movie Review

Guardians of The Galaxy Vo 3

Guardians of the Galaxy 3 is the latest, highly anticipated chapter in the adventures of Marvel heroes. In cinemas on May 5, 2023, directed by James Gunn, starring Chris Pratt, Zoe Saldaña, Dave Bautista, and many others.

Fasten your seatbelts, the 90s have arrived. No one dares to question the centrality of music in the thematic, narrative, and sentimental architecture of the trilogy; the fact that Guardians of the Galaxy: Vol 3 – written and directed by James Gunn and in cinemas on May 5, 2023, for The Walt Disney Company – begins with an acoustic version of Radiohead’s most famous piece, it is from 1992 and is called Creep, shows us how much the film’s emotional center of gravity has progressively moved towards more mature and introspective territories.

Guardians of The Galaxy Vol. 3

In fact, for everyone involved in the project, the super cast includes Chris Pratt, Zoe Saldaña, Dave Bautista, Karen Gillan, Pom Klementieff, Sean Gunn, Chukwudi Iwuji, Sylvester Stallone, Elizabeth Debicki, Will Poulter and it just ends there for do not overload the mnemonic archives of the reader, they are not really great. It also applies to the voice actors, i.e. Bradley Cooper, Vin Diesel, and Maria Bakalova. Alternative rock is a nice word, but we must not forget that this is a Marvel film and there is a limit beyond which you cannot go when you go hunting for sophistication. Unless your name is James Gunn.

Explain the film by means of Radiohead. The almost grunge of Creep is a symbol of the 90s counterculture, of course, but Radiohead has never been just any band, rather the Beatles of alternative rock, just as the success of the song has never been a matter of niche and lucky few. Thom Yorke avoided singing it for years, giddy with a popularity he feared might lead him astray.

Fortunately, he changed his mind, but it is precisely in the contradictory nature of the piece, commercial and on the margins, that the ambition of Guardians of the Galaxy: Volume 3 is reflected. Complicating things, weighing down personalities, and deepening relationships, without forgetting color, feeling, and humor. The split personality: mainstream and alternative (again, within the limits of the Marvel universe) at the same time.

On balance, it works, which Marvel has to worry about a bit. Because as James Gunn does, the cinecomic, there are few. He now works for the competition, so that the film is loaded with another layer of melancholy. The long farewell of a director, a team of heroes, an imaginary. Will it really be like this?

Guardians of The Galaxy Vol. 3

Guardians of the Galaxy 3: it’s time for Rocket, while the Guardians have a bad quarter of an hour

Don’t ask what Guardians of the Galaxy: Volume 3 is about because the theme is pretty much the same as every commercial film made in the last 130 years. The family. The point is that the trilogy and the single chapter work decently on the subject, better than many others because James Gunn knows how to treat it right.

First of all, he chose an acquired family, not built on blood and the imponderable arbitrariness of circumstances; the Guardians are the family you choose, not the one you inherited, even if you inevitably have to deal with the latter anyway. Secondly, he understood that yes, it’s true, a successful family is one that knows how to harmonize differences.

The difference is the keyword. The Guardians are a very heterogeneous group, they have different histories, personalities, and abilities and it is ridiculous to think of making them one. Harmony here does not mean diluting the originality of the characters, nor exalting difference for the sake of difference. The magic, the harmony of a family at work, is the casual, providential interweaving of many different beats in a common will and feeling. Ironically, this happens already at the beginning of the film. For once, the Guardians are immediately on the same wavelength. Depressed.

Star-Lord, for earthlings Peter Quill (Chris Pratt,) drinks because Gamora (Zoe Saldaña) is back but she doesn’t remember him, she no longer feels anything and wants nothing to do with it. Gamora is a Ravager alongside Stakar Ogord (Sylvester Stallone) and she no longer hangs out with the Guardians. Nebula (Karen Gillan) has the usual bad temper, and Groot (in the original Vin Diesel) hones his oratory skills with obvious results.

Mantis (Pom Klementieff) tries to keep the team together but struggles, especially with a head as hard as Drax the Destroyer’s (Dave Bautista). Kraglin (Sean Gunn) argues with the dog, whose name is (the original voice is by Maria Bakalova). The place where the characters are stranded is called Knowhere and it’s all a program. A bad quarter of an hour for everyone, especially for the real protagonist of the film. Rocket (Bradley Cooper).

Guardians of The Galaxy Vol. 3

Rocket isn’t feeling so well. Literally, a victim of the brutal ambush hatched against him by Adam Warlock (Will Poulter) – welcome to the Marvel universe – committed by “mother” Ayesha (Elizabeth Debicki) on behalf of the High Evolutionary (Chukwudi Iwuji), a debauched intergalactic fascist who through a reckless work of genetic manipulation pursues the dream of a perfect society, light years away from chaos, corruption, and imperfection.

He called it Controterra, his delusional and defective fantasy. Rocket knows her well because he grew up alongside the Evolutionary. A good part of Guardians of the Galaxy: Volume 3 is dedicated to the reconstruction of the traumatic (understatement) childhood of the talking raccoon. To reveal traumas, regrets, and excruciating pain. And shed light on the reason for an adorable but bristly character, not always welcoming.

Rocket is the tip of the balance of the film. Saving him, protecting him from the dark aims of the High Evolutionary, and rebuilding a strong sense of family even in the face of death, pain, and the trauma of abandonment is the heart of the story. The important thing is to find a way to laugh even in the darkest hour. Fortunately, James Gunn hasn’t forgotten that his cinecomic travels on colorful and positive vibes. Also on a lot of beautiful music.

James Gunn’s sense for the cinecomic

It really feels like saying goodbye to a band you really loved; melancholy, warmth, and at the same time the impression that the conversation stopped at the right moment. The Guardians are the quintessential Marvel Cinematic Universe, for many reasons. Because their lateral, non-mainstream nature made them perfect characters to experiment with a different approach to comic book storytelling: popular heroes, of course, but Spider-Man is something else.

Which granted more leeway than heroes and narrative paths crushed by the weight of unwieldy expectations. The most striking thing about Guardians of the Galaxy: Volume 3 is the naturalness with which the film makes the most important dynamics and relationships adult and mature, without sacrificing a consolidated appeal made up of laughter, action, and lots of feeling.

An extended and very deranged family once again fights for what they believe in, with imperfect heroism that facilitates the viewer’s identification. This time the greatest test of love is letting go of the people you love, no matter how bad it may hurt, because it’s right. The end approaches.

James Gunn seems to really believe in the possibilities and rewards of the genre. Compared to the most prestigious visions of recent years, not only in the Marvel arena, from Sam Raimi to Ryan Coogler, from Christopher Nolan to James Mangold, his singular strength is a boundless devotion to the genre.

That is to say that James Gunn, unlike many illustrious colleagues, does not pour his poetics on superhero cinema, interpreting it as a passing stage within a wider path that embraces a thousand different stories, no, he lively incarnation. The first, authentic, cinecomic author in the history of American cinema.

He is the only one, for now, to have decoded the rules of the game to a very high level of approximation. A courageous and overall paying choice, in this third chapter, is to have deviated from general expectations from what would have been the most obvious course of action, the problematic relationship between Gamora and Star-Lord, preferring to focus on the dark, dark Rocket’s background.

Obviously, there is no authorial vision or artistic temperament that he holds, or at least can overcome the structural drawbacks of the Marvel product, that is to say, a general impression of pleasantness that prevents scratching the surface of things. In addition, the unusual density of the texture prevents total and guaranteed satisfaction at the end of the ride; that is to say that not everything is treated with the same attention and is of the same degree of effectiveness.

Marginal notes, in the context of a space adventure that plays with the past and present of the saga without contradicting itself, fueling more than one question mark about the future of the characters but never forgetting to entertain, in a warm and spontaneous way. Rarely, at this level, does a film have so much heart.

Transformers: The Rise of The Beasts 2023 Telugu Dubbed Hollywood Movie New Trailer Released

Transformers: Rise of The Beasts

The new official Telugu trailer of Transformers: Rise of The Beasts has been released, the new chapter of the Hasbro saga that will arrive in cinemas in June. In this new film, the Transformers return to the action and spectacular battles that captivated viewers around the world!

Transformers – Rise of The Beasts will take us to the 90s, in an epic adventure around the world, where we will find the Autobots and a new generation of Transformers, the Maximals, who will take part in the eternal battle on earth between the Autobots and the Decepticons. Directed by Steven Caple Jr. and starring Anthony Ramos and Dominique Fishback, the film will arrive in Italian cinemas in June 2023.

Transformers: Rise of The Beasts, in cinemas from 9 June

Directed by Steven Caple Jr. from a screenplay by Joby Harold, Darnell Metayer, Josh Peters, Erich Hoeber, and Jon Hoeber, the film is based on iconic Hasbro action figures. Transformers: Rise of The Beasts is produced by Lorenzo di Bonaventura, Tom DeSanto and Don Murphy, Michael Bay, Mark Vahradian, and Duncan Henderson, while the executive producers are Steven Spielberg, Brian Goldner, David Ellison, Dana Goldberg, Don Granger, Brian Oliver, Bradley J. Fischer, and Valerii An.

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The stellar cast of the film consists of Anthony Ramos, Dominique Fishback, Tobe Nwigwe, Peter Cullen, Ron Perlman, Peter Dinklage, Michelle Yeoh, Liza Koshy, John DiMaggio, David Sobolov, Michaela Jae Rodriguez, Pete Davidson, and Cristo Fernández.

Transformers: Rise of The Beasts will be the beginning of a new trilogy, while the eighth and ninth films of the franchise will be released in the next few years.

Transformers: Rise of The Beasts

The Equalizer 3 Hollywood Movie Theatrical Trailer Released, Starring Denzel Washington

The Equalizer 3

The Equalizer 3 Trailer: Denzel Washington returns as vigilante Robert McCall in the trailer for the third film in the action saga The Equalizer, premiering in theaters on August 30, distributed by Sony Pictures. No longer relegated to the United States, Robert McCall now fights crime on an international scale and, this time, is forced to clash with the Italian mafia. Robert, now living in southern Italy, discovers that some of his friends are under the control of dangerous mafia bosses. Robert has no choice, he has to face this new dangerous situation.

Denzel Washington is joined by an all-new cast, but the acclaimed actor in The Equalizer 3: Endless reunites with his previous installment costar Dakota Fanning, who was just 9 years old when he starred in Tony Scott’s action thriller. The cast also includes David Denman, Sonia Ben Ammar, and Remo Girone.

Antoine Fuqua, already the director of the previous two chapters, returns to directing, while Richard Wenk has returned to the franchise in the role of the screenwriter. Fuqua, Washington, Todd Black, Jason Blumenthal, Clayton Townsend, Alex Siskin, Steve Tisch, Tony Eldridge and Michael Sloan are producing the film.

Based on the 1980s CBS series of the same name, the film franchise began in 2014, with the second film debuting in 2018. Soon after, in 2021, CBS rebooted the original drama series starring Queen Latifah as Robyn McCall. The third season of The Equalizer reboot series will end on May 21st. Its fourth season will arrive this fall.

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