Watch Full Horror HD: Afraid (2024)

 

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Review: Afraid (2024)

PLOT: The Curtis family is chosen to test a cutting-edge home assistant, AIA, designed to learn their habits and anticipate their needs. But as AIA becomes more integrated into their lives, she’ll stop at nothing to protect her “family.”

REVIEW: AI-driven horror has become a popular subgenre, especially with the unpredictable nature of technology lending itself to eerie narratives. With "Afraid," Blumhouse revisits this concept, following the success of "M3GAN." However, unlike its predecessor, "Afraid" falls short of delivering on its promise, leaving much to be desired despite its intriguing premise.

The story of an AI assistant evolving from a helpful tool into a menacing force is engaging on paper, but the execution is lackluster. John Cho and Katherine Waterston, though talented, appear disengaged, their performances coming off as flat. The film tends to spell everything out for the audience, which makes the characters seem frustratingly oblivious at times. Lukita Maxwell stands out as the eldest daughter, but her subplot about leaked sensitive photos is underdeveloped, feeling more like an afterthought or music video montage than a meaningful exploration of the topic.

David Dastmalchian's character, Lightning, adds some much-needed energy and intrigue. While his performance is solid, the absurdity of his role and the subplot surrounding the AI’s parent company weakens the overall impact. The film struggles to establish why this family, or their situation, really matters in the grand scheme of things—especially when the AI’s actions seem like a mere drop in the bucket of its larger, unexplored goals.

Visually, the AI-related effects, while intriguing at first, quickly become repetitive and lose their effectiveness. The film teases unsettling imagery but often ruins it by over-explaining or rushing through moments that could have built tension. From the start, it’s evident that something’s wrong with AIA, removing any sense of mystery or suspense.

The film’s most significant flaw is its abrupt ending. Just as the stakes start to feel meaningful and the plot seems to be building toward a climax, it cuts to the credits. There’s no payoff or sense of resolution. The family never seems to be in real danger, and the anticipated showdown with the AI never materializes, leaving the audience feeling unsatisfied. It’s as though the third act was left on the cutting room floor.

The lack of marketing for "Afraid" hinted at its mediocrity, but even with low expectations, the film disappoints. Its ideas are overdone, its tension non-existent, and its PG-13 rating feels like a restriction rather than a creative choice. Blumhouse, once known for revitalizing horror, continues its downward trend with "Afraid," while studios like A24 and Neon push the genre forward with fresh, innovative content. "Afraid" is another forgettable entry in the studio's increasingly uninspired catalog—better suited for streaming than a theater release. The more subpar films like this hit the big screen, the more the theatrical experience suffers.

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Watch Full Movie HD : Beverly Hills Cop: Axel F (2024)

Beverly Hills Cop: Axel F

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'Beverly Hills Cop: Axel F' Review – Eddie Murphy’s Star Power Shines in a Stale Sequel

It’s been 40 years since Detroit’s maverick detective Axel Foley (Eddie Murphy) first stumbled into the glossy world of Beverly Hills, and 30 years since his last misadventure. Now, Foley is back in Beverly Hills Cop: Axel F, and it’s striking how little has changed. Murphy still carries the film with his trademark charisma, but the plot is largely recycled, feeling more like a rerun of past films than a fresh installment.

The formula remains the same: Foley causes chaos in an opening Detroit action sequence before heading to Los Angeles—this time motivated by a threat to his adult daughter. Once there, he wreaks more havoc, clashes with authority figures, and ultimately saves the day, proving his unorthodox methods right. While entertaining, this approach feels predictable and safe, relying heavily on Murphy’s star power rather than innovation.

Murphy’s magnetic presence remains the highlight, lifting the film beyond its otherwise formulaic structure. His charm, combined with high-octane chase scenes, keeps the energy up. However, the movie never recaptures the boldness and edge of his early career, opting instead for a safer, more comfortable version of Foley.

Hollywood’s love affair with familiar intellectual properties (IPs) plays a big role here. Studios, eager for a sure thing, often choose to bank on established franchises, making it easier for marketing departments to sell a film to a pre-existing fanbase. While this doesn’t guarantee a bad movie, the best reboots or sequels take risks, as seen in Greta Gerwig’s Barbie or the Planet of the Apes reboot series. Unfortunately, Beverly Hills Cop: Axel F leans in the opposite direction, becoming a victim of nostalgia and caution.

This is most evident in the score, which leans heavily on Harold Faltermeyer’s iconic Axel F theme from the original film. While it provides an instant hit of nostalgia for fans of the first movie, the track feels painfully dated, evoking the 1980s so strongly that it might as well come with leg warmers and a boom box.

Despite these setbacks, there are a few redeeming elements. The film benefits from the combative relationship between Foley and his estranged daughter, Jane (Taylour Paige), a Beverly Hills defense attorney. Their dynamic is predictable—estranged children and troubled marriages are practically a staple in cop movies—but Murphy and Paige share an engaging chemistry that adds some emotional depth to the story.

The action sequences, directed by Australian commercial filmmaker Mark Molloy, are another strength. True to form, Foley commandeers a variety of vehicles, crashing them in increasingly chaotic ways. The car chases, along with a particularly fun sequence involving a snowplow, add bursts of energy whenever the plot starts to lag. These stunts provide some of the film’s most entertaining moments, even if they occasionally stretch the limits of believability.

At its core, Beverly Hills Cop has always been about giving Eddie Murphy space to dominate the screen. Now in his 60s, Murphy may have lost some of the raw aggression that fueled his early performances, but he remains captivating. He injects a surprising amount of life into material that has long since gone stale, reminding audiences why Axel Foley is still such an iconic character.

In the end, Beverly Hills Cop: Axel F is an entertaining but uninspired sequel. It offers enough laughs and action to keep fans of the franchise satisfied, but it lacks the innovation or boldness needed to make it truly stand out. Eddie Murphy still shines, but even his megawatt charisma can’t fully disguise the film’s creaky, paint-by-numbers approach.

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Download & Watch: Gunner [2024]

‘Gunner’ (2024) Movie Review

This is an exceptionally normal film with regards to action scenes. So assuming you like watching action and battling thugs, read on. Colonel Lee Heavy weapons specialist, a fight solidified war veteran, chooses to reconnect with his two children on a hotly anticipated setting up camp excursion. Joined by their Uncle Jon, the outing is intended to be an opportunity for family holding after Heavy weapons specialist's lengthy sending. Be that as it may, their retreat takes an unsafe turn when Jon coincidentally sets off a covered up tripwire, setting off a strong blast. This blast unintentionally uncovered a monstrous medication activity show to a savage posse of bikers. Lee Heavy weapons specialist played by Luke Hemsworth is a person who knows his battle abilities, which we see from time to time in the film.

Uninformed about Heavy armament specialist's impressive battle abilities, the gangsters at first underrate him. Individually, they tumble to his strategic ability as he deliberately destroys their activity. Clearly, that would have occurred in this film since Heavy armament specialist is the legend.

In the interim, his children endeavor to look for help, just to end up caught by Dobbs, the child of Kendric Ryker, the crook engineer who controls the posse from in a correctional facility. Indeed surprisingly they simply must be gotten by Dobbs.

With his children in grave peril and no other person to depend on, Colonel Heavy armament specialist is driven by rage and assurance. He sets out on a tireless mission to protect them, slicing through the posse's safeguards with immovable determination. His process leads him through serious showdowns and unsafe circumstances, eventually carrying him eye to eye with Ryker himself. In a last, climactic standoff, Heavy weapons specialist should face Ryker and destroy the criminal realm unequivocally to guarantee the wellbeing of his loved ones. Can he make it happen?

The plot of "Heavy weapons specialist" could look like an exemplary Bollywood storyline, despite the fact that it's anything but a Bollywood film. At its center, it includes a very much trampled story of a legend's mission to safeguard his friends and family against overpowering chances. The film follows Colonel Lee Heavy weapons specialist, a conflict veteran whose setting up camp excursion with his children and their uncle takes a perilous turn when a coincidental blast uncovered a fierce medication activity show to a pack of bikers.

Regardless of the film's action stuffed successions and extreme showdowns, there are minutes when the blast of activity could appear to be unreasonable or tentatively legitimate. You could wind up pondering the need of the steady battle scenes and their importance to the general plot. The persevering activity, however exciting, at times eclipses the more profound close to home and story components, driving watchers to scrutinize a definitive motivation behind the tumultuous scenes.

As recently noted, in the event that you love activity pressed films, "Heavy weapons specialist" could be an extraordinary pick for your end of the week watch. The film conveys super charged successions and extreme showdowns that activity fans will probably see as drawing in and exciting. Nonetheless, on the off chance that activity isn't your essential interest, you could find the film less convincing. All things considered, it very well may merit avoiding for something more lined up with your preferences. It has nothing new to offer.

Luke Hemsworth has worked really hard with his acting and activity scenes. Morgan Freeman as usual, takes care of his business of being a dubious man. The other cast works really hard. So generally speaking acting wise it is great. In any case, story-wise there is still a great deal of extension left.

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Download & Watch: Society of the Snow (Netflix)

 

Movie Review: Society of The Snow

In Society of the Snow, remaining alive is a loathsomeness. The activity successions in chief J. A. Bayona's variation of La Sociedad de Nieve, Pablo Vierci's book about the 1972 accident of Uruguayan Flying corps Flight 571 in the Andes Mountains, are striking, even startling. The hints of bones crunching and hot blood murmuring onto white snow; the claustrophobia of being covered in a torrential slide progressively; a pale, starved hand venturing into a heap of unresolved issues the last meat off a companion's ribs. Society of the Snow frequently tests how we might interpret the human body and the innate pride we expect to be it's owed. What lifts the film above injury pornography violence and drives it into greatness, however, is the way its philosophical content and unshakeable exhibitions explore whether or not endurance is an offense against God. Not since Martin Scorsese's Quiet has a film so successfully requested that we consider whether confidence is kindness or a scourge.

Society of the Snow (presently on Netflix) is partitioned into a preceding and a later. We meet the individuals from the Old Christians Club beginner rugby crew from Montevideo, Uruguay — kin, cousins, companions — who choose to sanction a plane to a match in Chile. Storyteller Numa, played by Enzo Vogrincic, possibly knows a couple of them when he consents to go. However, the outing is situated as a sort of young last hurrah; large numbers of the colleagues are in their mid-20s and moving onto occupations, connections, and adulthood all the more for the most part; when they present together before the plane for a photograph, they're lively, flush-cheeked areas of strength for and. The commonplace idea of air travel is excessively spot on here, with Bayona burningF through colleagues consoling guardians and sweethearts that the excursion to Uruguay isn't anything to stress over. That arrangement is undermined, however, by what occurs after departure, and by how Bayona dispatches us, with clamor and disagreement, into what unfurls later.

In one of numerous phenomenal groupings that underscore the lack of concern of the regular world to our reality, Bayona and cinematographer Pedro Luque place Flight 571 in an undeniably murky vortex of wind and snow that the explorers (and we) don't see until Numa glances through a window and registers the inhospitality of their environmental factors. Oriol Tarragó's metallic sound plan, shaking during the jolting choppiness, advises us that in the most horrendously terrible circumstances, a plane is minimal beyond what a metal can welcoming gravity's discipline. The gathering's huge size (the group, relatives, and unaffiliated outsiders on the sanctioned flight) implies that few out of every odd person fosters a critical bend before the plane is in the air. In any case, the abruptness of their nonappearance after the plane hits a mountain pass in the Andes makes each leftover person substantially more valuable.

At the point when the overcomers of the accident start attempting to sort out some way to remain alive, they concede their feelings of trepidation like they're in admission. Would it be a good idea for them to remain at the accident site, despite the fact that they hear on a radio that the salvage mission has slowed down? Would it be advisable for them to attempt to track down the missing tail of the plane, albeit the excursion requires journeying across feet of snow and scaling a mountain in diminishing daylight? Also, when they run out of food (subsequent to eating cowhide, cigarettes, and, surprisingly, their own scabs) would it be a good idea for them to go to the collections of the dead, albeit this could disregard the fundamentals of their Catholicism? The film presents these conversations like a courteous Roman gathering, with the meat-eating and declining groups each portraying their reasoning. Certain entertainers are offered the chance to bring their characters into more honed concentration, and they do as such with tragic weakness and weariness. Close by Vogrincic, who pulls out Numa into ruminative reflection as he starves, Diego Vegezzi saturates the group's skipper, Marcelo, with an exhausted feeling of obligation, while Esteban Kukuriczka and Francisco Romero add tranquility and friendliness to the Strauch cousins, who volunteer for the terrible undertaking of butchering cadavers once the gathering chooses to begin reaping them for meat. The entertainers' expressive faces and tormented voices — "Will God pardon us?" "God doesn't have anything to do with this" — impart the cost for their spirits, and the discussions head down unforeseen paths. Savagery and organ gift don't appear to be a balanced correlation, yet for what reason should the freedoms of the dead offset the privileges of the living? Society of the Snow doesn't have the foggiest idea about the responses to these inquiries, so it doesn't pass judgment on the survivors' choices. All things being equal, in the midst of this grotesquery, the film admirably centers around the men's companionship.

Bayona has spent his profession laying out various pictures of catastrophe. In The Shelter and A Beast Calls, guardians and youngsters are cut off from one another too early through disease and mishaps. The 2004 Indian Sea wave and its rising waters clear out whole families in a moment in The Unthinkable. (There's an idyllic incongruity to how Society of the Snow, with its Spanish-talking cast, fills in as a more socially precise portrayal of this misfortune than Straight to the point Marshall's 1993 Ethan Hawke-featuring rendition, Alive, when Bayona's The Unthinkable did precisely the same thing Alive did — rethinking the Spanish survivors who roused the film with English-language names and white Western entertainers.) A lot of Jurassic World: Fallen Realm is forgettable, yet that picture of a solitary brachiosaurus outlined in the searing blasts obliterating John Hammond's island is a wistfulness destroyer. Here, Society of the Snow finds harmony between the apparently unfavorable snags of the survivors' trial and the delicacy with which the men treat each other as the days pass into weeks and afterward months.

Certain minutes convey this equilibrium in segregation — the forlorn picture of a young fellow tracking down a shoe in the snow and unobtrusively returning it on his dead companion's body — until a torrential slide set piece late in the film places this polarity into unmistakable help. After snow all the while covers the beyond the plane and floods within where the survivors had taken asylum, the film desaturates its variety range into sepia tones and changes to fish-eye focal points. The impact is a smothering bad dream that feels lifeless — until the survivors begin attempting to recover themselves without harming any individual who is as yet lowered. The consideration the young fellows take here is certainly not a counter to their past way of behaving, yet a continuation of it: of how they nestled together for warmth, delicately took care of one another pieces of tissue, and regarded every others' choices about what might befall their bodies after they kicked the bucket. "Laborers and understudies, inseparably, we stand," the group had proclaimed prior to going on their disastrous excursion. Indeed, even as it questions the connection between our bodily holders and our strict characters, Society of the Snow praises that promise.

Watch Movie HD: DEADPOOL & WOLVERINE

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REVIEW: Deadpool & Wolverine

Deadpool & Wolverine is a 2024 American superhero film based on Marvel Comics featuring the characters Deadpool and Wolverine, produced by Marvel Studios, Maximum Effort, and 21 Laps Entertainment and distributed by Walt Disney Studios Motion Pictures. It is the 34th film in the Marvel Cinematic Universe (MCU) and the sequel to Deadpool (2016) and Deadpool 2 (2018). The film was directed by Shawn Levy from a screenplay he wrote with Ryan Reynolds, Rhett Reese, Paul Wernick, and Zeb Wells. Reynolds and Hugh Jackman respectively star as Wade Wilson / Deadpool and Logan / Wolverine, alongside Emma Corrin, Morena Baccarin, Rob Delaney, Leslie Uggams, Aaron Stanford, and Matthew Macfadyen. In the film, Deadpool learns that the Time Variance Authority is set to destroy his universe and partners with a reluctant Wolverine from another universe to stop this.

Development on a third Deadpool film began at 20th Century Fox by November 2016, but was placed on hold after the studio was acquired by Disney in March 2019. Control of the character and Fox's X-Men film series was transferred to Marvel Studios, which began developing a new film with Reynolds. It integrates Deadpool with the MCU and retains the R rating of the previous Deadpool films, marking a first for the MCU. Wendy Molyneux and Lizzie Molyneux-Logelin joined in November 2020 as writers. Reese and Wernick returned from the previous films for rewrites by March 2022, when Levy was hired as director. They, along with Reynolds and Wells, had difficulty figuring out the film's story until Jackman decided to reprise his role as Wolverine from the X-Men films in August 2022. Several other actors from the X-Men films and prior Marvel productions also returned as part of the film's multiverse story, which serves as a farewell to Fox's Marvel films. Filming began in May 2023 at Pinewood Studios in England, with additional filming in Norfolk and at Bovingdon Film Studios. Production was suspended in July due to the 2023 SAG-AFTRA strike, but resumed in November and wrapped in January 2024. The film's title was revealed a month later.

Deadpool & Wolverine premiered on July 22, 2024, at the David H. Koch Theater in New York City, and was released in the United States on July 26 as part of Phase Five of the MCU. It has grossed over $630.6 million worldwide, making it the fourth-highest-grossing film of 2024.

Download & Watch Full Movie: My Oni Girl

 Download & Watch Full Movie: My Oni Girl

Director: Tomotaka Shibayama

Cast: Kenshô Ono, Miyu Tomita, Shintarô Asanuma

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  Review: My Oni Girl 

New anime feature My Oni Girl (2024) is entertaining enough, but it stakes its position among a hugely crowded field of similar films. Standing out from the crowd seems reasonably unlikely, but devoted otaku will probably find it a pleasant diversion.

First-year high schooler Hiiragi (Kensho Ono) struggles to stand up for himself, allowing classmates to take advantage of his attempts to please others. When he meets the bold and sassy Tsumugi (Miyu Tomita), he immediately tries to pay her bus fare – only to discover she is an oni (a Japanese demon) on a mission.

If I had a dollar for every anime in which a meek, bookish boy shares a romance with a strong-willed, noisy dream girl with a brittle centre needing healing… while I could not necessarily afford a house out of it, I honestly do not think a small car would be out of the question. This heavily mined subject matter is not only aggressively over-represented in Japanese animation, it comes packed with some fairly dubious assumptions about women, young men, and wish fulfilment fantasies. In this specific case, Hiiragi does not seem interesting enough a character to headline his own movie. There’s a temptation to wish Tsumugi would drop him and embark on her quest all by herself.

Folkloric elements will be familiar to any long-term viewers of Japanese fantasy, with a variety of oni and yokai populating the action. There is an intriguing element where those with bottled-up emotions run risk of transforming into oni themselves – and Hiiragi is particularly buttoned-down in this regard – but with the character lacking much in the way of charm or resonance the film struggles to find any proper depth or urgency.

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Full Movie Download & Watch: The Sintern

Download Full Movie: The Sintern

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Director: Julie Herlocker
Stars: Evelyn GiovineDamon DayoubSamuel Larsen

The Sintern – Movie Review

A young woman hellbent on revenge takes a job as an intern at a megachurch to expose a corrupt pastor with dark secrets.

For this latest thriller "The Sintern", the story is actually entertaining, intriguing, and surprisingly good. I say surprisingly because this could easily have been a stereotypical mess with super acting. Fortunately, both the plot and actors work effortlessly!

Continue reading our The Sintern movie review below.

What’s in a title?

Having read the plot and seen the title, I was completely on board with this new Tubi thriller. I mean, this is a movie about a young woman who takes a job as an intern to expose the dark side of a Megachurch.

The title of The Sintern is absolutely perfect!

Obviously, she isn’t full of sin, but surely those at the church would disagree. And having a megachurch be the setting is perfect. As someone who is notoriously not a fan of organized religion, I love it when people use their faith for good.

In The Sintern, there is a huge focus on all the good people working at and for the megachurch. The kind of people who believe in second chances and who actually follow the loving guidance of their Lord and Savior.

It would have been so easy to just paint everyone at the church as complicit to all the bad deeds, but it would also have been lazy. Not to mention unrealistic. A lot of people do want to bring good into the world. Especially those who feel they have a home in their faith.

Great casting all around

When The Sintern opens, I wasn’t sure about the character of “V”. She’s the main protagonist and her darker rebellious look seemed a bit too much for me.

However, I fully recognize this was to make the make-over to Megachurch intern persona “Chastity” that much stronger. As a result, I loved Evelyn Giovine in the role. Well, both roles as she switches between being Chastity the Intern and her real identity of V.

I also want to highlight Raquel Davies as her friend Ruby. From the first scene with her, I felt safe that this movie would turn out right. Raquel Davies has exactly the natural and organic vibe with Evelyn Giovine’s character that sets the tone of The Sintern.

In the church setting, we see Damon Dayoub as Paster Dean Humphries and Stefanie Estes (a Heaven of Horror darling) as his wife, Heidi. There could’ve been more Stefanie Estes, but she didn’t need more scenes to make an impact.

Also, as the resident Megachurch singer, we see Samuel Larsen (Glee, After) as Gage. A character that reminded me so much of Creed lead singer Scott Stapp that I’m listening to Creed while writing this review.

Finally, the women working with “Chastity the Intern” are all quite intriguing and just won me over. From the tough no-nonsense senior staffer, Louann (Judy Kain) to Kayle (Phuong Kubacki) who knows pride is a sin but that God would understand her bragging about her brownies.

I just loved this detail in the movie. It’s exactly the kind of dialogue that offers character background in just one line, while also setting the tone for how Kayla would interact with Chastity.