The Cabin in the woods

But from that premise The Cabin in the Woods sets up a high-energy and electric game of chess with its audience, setting up every trope of its creepy-house genre, tearing it apart, and then going even deeper into a central mystery that only gets more satisfying as it goes. Goddard and Whedon's script functions both as a haunted-house movie-- there are great moments of tension throughout-- and a spirited romp right past the genre, held together by an impeccable sense of humor and a constant ability to surprise. The central characters aren't quite as interesting as they ought to be, and the story wraps up with a little more whimper than bang, but those are minor tradeoffs for a movie that's otherwise such a ball.

Even when the story sticks firmly in standard horror territory, this particular group of attractive kids is especially fun to spend time with. Our bookish heroine (Kristen Connolly) sets up a nice rapport with her blond bestie (Anna Hutchison), who in turn quickly establishes a believable relationship with her jock boyfriend (Chris Hemsworth). Add in a bookish guy love interest (Jesse Williams) and a stoner dork (Fran Kranz) and you've got a deliberate assortment of horror movie stereotypes, but the actors commit nicely even as Goddard and Whedon's clever writing pushes it all just over the edge into satire.

What happens from there? You'll have to see it, and you really have to see it if you love horror, hate horror, or have any interest in seeing how the genre can function as a playground for something completely fresh. Richard Jenkins and Bradley Whitford are involved, though in roles that are more fun to discover as you go along-- they do get a lot of the best jokes, though, and their scenes show a lot of Goddard's skill in handling the rhythm of a scene. He does plenty of showing off elsewhere, though, making a really elegant transition from writer to director by handling the narrative of every scene, dishing out scares and laughs and even dramatic heft by knowing where to take the audience at every turn.

                                                http://discoverthecabininthewoods.com/

act of valor

An unprecedented blend of real-life heroism and original filmmaking, Act of Valor stars a group of active-duty U.S. Navy SEALs in a film like no other in Hollywood's history. A fictionalized account of real life Navy SEAL operations, Act of Valor features a gripping story that takes audiences on an adrenaline-fueled, edge-of-their-seat journey. When a mission to recover a kidnapped CIA operative unexpectedly results in the discovery of an imminent, terrifying global threat, an elite team of highly trained Navy SEALs must immediately embark on a heart-stopping secret operation, the outcome of which will determine the fate of us all. Act of Valor combines stunning combat sequences, up-to-the-minute battlefield technology, and heart-pumping emotion for the ultimate action adventure film-showcasing the skills, training and tenacity of the greatest action heroes of them all: real Navy SEALs

http://actofvalor.com/



Project X

It's a "one crazy night" film. And the crazy night in question involves the life-changing birthday party of not-exactly-popular Thomas (Thomas Mann). Held while his parents are out of town and planned with horny, frenzied energy by his bad-influence friend Costa (Oliver Cooper), the event quickly turns from typical teenage debauchery into an insanely hyperactive fantasia of escalating destruction, an Apocalypse Now of property damage and throw-up. Like what would happen if the bad behavior cult film Over the Edge were even harsher and a comedy, the action here presents itself as more immediate and dangerous thanks to you-are-there cinematography that can be traced directly back to artists like Larry Clark, Terry Richardson, Ryan McGinley and Ed Templeton, guys who pointed their cameras, documentary-style, at the young, sexy, wasted and irresponsible.
Everything on screen feels dirty and ready to burst with horrible consequences. And that's what makes it so wrong and seductive. It taps into every young person's anxiety over feeling left out while the cool kids are doing something better across town, as well as the innate need to feel that you've participated in something epic and legendary. Consequently, there will be plenty of adults who'll freak out over the nonjudgmental tone the movie affords its characters' puke-centric activities, and they're probably the same adults who've made The Hangover movies a big hit.
Funny thing about that: Todd Phillips is the man behind this and those Hangover films. And if you go all the way back to his first feature, the documentary Hated about self-destructive punk rock legend G.G. Allin, you'll see Phillips' fascination with young people who push things too far. As producer of this first effort from director Nima Nourizadeh, you can feel his guiding hand shoving everything over the cliff. There's no such thing as too much for him and probably the only reason there are no scenes of people setting their own hair on fire while eating potato chips that are also on fire is because some knucklehead already did that on YouTube and now it's boring.

http://www.imdb.com/title/tt1636826/



Silent House

Olsen plays a young woman helping her father and uncle clean up their old abandoned house so that it can be sold. The electricity is out and the windows are boarded up, so they navigate the multi-story, no-light-zone with handheld lanterns even though it's the middle of the day. Nothing to be afraid of, until thumping noises coming from empty rooms disrupt the domestic task at hand, Dad and Uncle Whatshisname keep finding mysterious photographs that they won't show to Olsen, one of her childhood friends shows up and speaks cryptically about the past, Uncle Whatshisname runs off after arguing with Dad and then Dad disappears, too. And that leaves one woman all alone in a dark house.
But is she alone? Is there a stranger in the house? Where did everybody else go and why? What's real and what's not? And how come she can't seem to leave and just run off for help? The answers to those questions, as I mentioned earlier, require no real digging on the part of the audience because the film lurches to an intelligence-insulting halt in its final 15 minutes and makes literal everything that was suggested in the first 70 minutes, answers every "But what about...?" question you were mentally tallying and turns cathartic and obvious when ambiguity and sustained uncertainty would have been just fine. More than just fine -- necessary.

But Olsen is great, delivering a panicked, hyperventilating performance that'll remind you of Audrey Hepburn in Wait Until Dark and the shrieking, under-appreciated Sheryl Lee in Twin Peaks: Fire Walk with Me. And for that first hour or so of unrelenting mystery and blackness, the movie itself, in the hands of Open Water directors Chris Kentis and Laura Lau, keeps its grip right around your throat. The last thing I was hoping for was an easy way out, for Olsen and for the audience. I'd rather leave a horror film feeling bad or creeped out than comforted and taught lessons about -- well, I can't exactly say. But trust, its ending is as annoying as its beginning and middle are frightening. What makes horror horrifying is unrelieved tension, so when that gets tossed out all you're left with is counting the minutes until it's over

 http://www.imdb.com/title/tt1767382/

The Lorax

This expanded, 3D version of The Lorax opens, after a brief intro from the stump-sized creature himself (voiced by Danny DeVito), with a gigantic musical number that announces the story's intentions as something aggressively different than Seuss laid out in his book and also as something true to its spirit. The environment is post-destroyed here, and an all-plastic world has sprung up in its place. This time around, though, the profit comes from the sale of clean air in an endless cycle of ruin and commerce. There's even a big song about corporate greed to make sure you don't mistake the job-creators for good guys.
When a young boy named Ted (Zac Efron) learns that he can restore the planet with the last remaining tree seed, the opposition is loudly fact-challenged (resorting to calling photosynthesis a lie) and, when that doesn't work, plain old menacing.
Which all means that conservative pundit Lou Dobbs is correct, this movie is trying to hook kids on environmentalism. And more power to it. It's frankly refreshing to see an animated family film take a clear side on an issue that affects every living creature on the planet instead of conceding that both sides have equivalent points to make. Call it An Inconvenient Truth for children, intelligently and entertainingly executed, firmly committed to science, reality and the common good. And best of all, nobody's making you take your children to see it if you happen to disagree with its stance. Atlas Shrugged, Part 1 is now available on DVD, after all. The little ones will love that.
                                           http://www.theloraxmovie.com/index.php#/splash

21 jump street

The 21 Jump Street television show existed to combine two things that everybody likes: cop stories and young, hot actors/actresses. If memory serves, it wasn't much more than that. Now our visual landscape is saturated with police procedurals starring people who are easy on the eyes--and the genre is so exhausted that some of them are psychics or talk to dead people. Because of this, I was less than excited to see this big-screen version of the '80s show. But 21 Jump Street beats you to the punch by calling itself out for being recycled and ridiculous, and then proceeds to be one of the most surprising comedies since The Hangover. There are a few simple reasons that it works.
Most importantly, it acknowledges how lame reboots are by nature, and how rarely they honor the original. Although I don't want to reveal any of the good stuff in the plot (and there's plenty more than the trailer suggests), the movie borrows the wafer-thin premise of the show and that's about it. Schmidt (Jonah Hill) and Jenko (Channing Tatum) are two rookie cops who get assigned into an undercover detective project to bust up a drug ring in a high school, and who better to throw some shade than Parks and Rec's Nick Offerman as the underwhelmed police chief? Past that lies some sharp comedy chops on everyone's part.

Co-directors Phil Lord and Chris Miller are the gentlemen responsible for Clone High and Cloudy with a Chance of Meatballs, which were both also surprisingly good TV shows and films that came out of nowhere to delight us. They expertly navigate these self-aware comedic waters, bringing out the best in actors like Ice Cube as a surly police captain and Brie Larson as the sweet girl next door. Hill and Tatum as unlikely cop partners feels as fresh as it did when Eddie Murphy was doing it with Judge Reinhold. That's quite an achievement these days.

http://www.imdb.com/title/tt1232829/

Wrath of the Titan

This movie is after Clash Of The Titans ten years from it, hates is trying to get  sues power and  make a world into a hell so, sues is in hell trapped by his sons that betrayed him, so he asked  peruses  to come rescue him to save him to his power don't get stolen.

 It comes out on march 30th, 2012

the  director is  Jonathan Liebesman