“Ben & Jody”
If you haven’t seen it “Philosophy copy” Also Its sequel, Don’t worry. The third film in the series, Ben & Jody, by Indonesian director Anga Dwimas Sasonko, offers a lot of joy as a statement of independent anti-capitalist and environmentalist.
Ben (Chiko Jericho) is on the verge of opening a new luxury café, where a group of lawless loggers led by villain Ah Tubir (Yayan Ruhian) kidnaps Jody (Rio Dewant) to strike against deforestation and relocation. I learned that I stopped it. Of the local villagers. When he steps into the jungle and finds a friend, Ben is captured, but with the help of another prisoner, he escapes with Jody. After the flight, Ben and Jody encounter a matriarchal village led by two sisters, Rinjani (Hana Marasan) and Tambora (Agnini Hake), trying to find their imprisoned father.
The two men help, but Sasonko thankfully doesn’t move the woman around. The best fighting choreography features sisters while Ben and Jody occupy the background of adorable bromance. The film is also visually appealing, with cinematographer Arnand Pratikto taking advantage of the devastating effects of Spike Lee’s popular double Dolly-style camera move.
Another sequel that requires little background knowledge is the horrifying but comedy thriller of the underground world directed by Japanese director Kan Eguchi. In this work based on the manga series, hitman Akira Sato (Junichi Okada) is living a semi-retired life with his partner Yoko (Fumino Kimura). However, although unknown to Sato, Uchiho (Shinichi Tsutsumi), a ruthless gangster disguised as a disability rights activist, is looking for him.
Uchiho further refines his public personality by taking care of Hinako (Yurina Hirate), a teenage wheelchair user whose parents were killed by an assassin. However, Naiho is a predator who is actually being captured. And when Sato becomes friends with Hinako, her mission is to release Hinako.
“The Fable” features complex killings, like the bulldozer used to hang a man on a freshly opened grave, but the biggest impression is the humor that destroys the guts of the movie. If you’re a fan of manga comedy, Eguchi’s movies are catnip. Sato is a perfect restless hero with both the ability to kill someone within 6 seconds and his love for soap opera.
This film by Chinese writer and director Yang Feng, during the Sino-Japanese War (1937-45), is a group of resistance miners and train workers fighting for China’s independence. It is the story of the Shandong Railway Corps.
Faction leader Hong (Zhang Hanyu) dispatches unlikely fighters, such as drunken station operators, to gain the trust of Japan and intercept intelligence documents. However, the arrival of the malicious Hirokazu Fujiwara (Hiroyuki Mori), who was tasked with ending the progress of the Railroad Corps, poses a new challenge. Hong performs four dangerous missions to undermine the occupied Japanese soldiers.
Aside from the shooting battles reminiscent of film noirs of the 1940s, what’s exciting is the scale of “Railway Heroes.” The snow-covered set is full of extras, the exact period details provide a tactile texture, and the large set pieces give the story a spectacular quality. The director’s rigorous vision is best felt in the final showdown of claustrophobic passenger cars. There, Hong and Hirokazu exchange slow-motion bullets.
A man singing in a tree was suddenly killed by a strange shooter. Later that night, an opium dealer robbed and killed her husband and wife. On their faces, the two are separate tragedy. Still, a unique antique salesman named Siddharth (Harshvardhan Kapoor) may be involved in both.
Set in the desert region of Rajasthan in northern India in 1985, this new western revenge by Large Sin Shodary is a terrifying, relentless adventure with few winners. Hiding behind the quiet and amiable appearance of Siddhars is the terrifying brutality of sadness. When he has not fallen into the target wife, he is torturing her husband and his friends on distant cliffs by driving spikes into their feet.
This muscular movie loves the sound of crushing bones and doesn’t squeak visually. The practical effects of make-up work and scooped scratches are delicious and dangerous. Equally effective is the outlaw environment created by Chaudhary. Ajay Jayanti’s score is reminiscent of the spaghetti of the 1960s westerns, such as “The Gangan of the Sunset”. Anil Kapoor, on a motorcycle, on the other hand, resembles the “rogue” Marlon Brando. With its collection of influences, “Tar” becomes an original reinvention of the classic genre to clearly tell the story of India.
“Wolf Hound”
Set in 1944, this fictional World War II story has unique assumptions. A group of German soldiers, known as the KG200, are flying captured American and British aircraft for use as Trojan horses in a larger plan to destroy London. American pilot Captain David Holden (James Mazulow), who fell behind the enemy, evaded another prisoner of war German pilot (Trever Donovan) if he wanted to give the Allies a chance to win. You must release the band of prisoners and destroy the Nazi Air Force Base. war.
For combat movie lovers, this film directed by Michael B. Jordan offers a concrete thrill by relying on the practical effects of its complex fighting dogs. Instead of using clunky computer graphics (some of which use visual effects fire) to recreate the battle in the air, Chait impresses with real aircraft and Westley Gathright’s tactile filming and Janina Maria. Combining traditional editing to build an intoxicating air action that brings people back to their peak in the Hollywood war movies of the 1950s.
