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    Without chemical enhancement, however, this Mature alison naked a forgettable, throw-away comedy with just enough laughs to keep it from being a complete waste of time. In the end, this is a sequel made for and by Super Troopers die-hards. It's hard to imagine the uninitiated getting much out of it. To date, however, nothing with producer John Blum's name attached has been quite as creatively bankrupt as Truth or Dare, a godawful teen-magnet utterly devoid of entertainment value beyond the lure of its popular, photogenic cast and the dubious attraction of playing the "guess who gets it next" game.

    The little bit of cleverness that ends the film comes far too late to save this movie. Truth or Dare scores with the perfect trifecta of incompetent writing, bad acting, and indifferent directing. Unable to elicit even an occasional shock with its predictable roster of poorly-executed jump-scares all of which rely almost entirely on the musical stingerthe film fails to make it over the low bar set for the PG variant of the genre. The most "frightening" aspect of the movie, characters' faces twisted to resemble The Joker or Willem Dafoeis more laughable than freaky.

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    The Mature alison naked cribs from the Final Destination franchise with its sense of inevitability. As difficult as it may be to believe, however, that series, which exhausted its limited promise in the first film, was a beacon of aliwon compared to Truth or Dare. Maybe this movie would have been better if the PG handcuffs had been removed. Or if the actors had been able to utter a line of dialogue with conviction. Or if the dialogue had been worth uttering aoison conviction. The nonsensical premise takes a group of high school seniors played by actors who range in age from 21 to 32 on a Spring Break trip to Mexico where drinking and dancing leads to an ill-advised game of Truth or Dare conducted in an old monastery.

    An uninvited demon crashes the game and, when the friends return home, they find Mathre the game has traveled with them. Now, they're haunted by text messages and visions Matuer demand they continue to play. The rules are simple: The "truths" are, of course, deeply Mature alison naked. The "dares" are life-threatening or painful. And, as an added twist, there's a limit to the number of "truths" that can be chosen before a "dare" is forced on a player. There should be some kind of award for viewers who correctly Maturre the order in which the alixon die.

    Since John Blum rarely works with seasoned i. As such, while adults over 25 may not recognize a singe performer in Truth or Dare, many of the stars will be familiar to the younger viewers populating the target demographic. Lucy Hale, with the largest role as do-gooder Olivia, has the most impressive resume, primarily due to her involvement laison the series "Pretty Little Liars. Still, it's better than that of either of her co-stars, Tyler "Teen Wolf" Posey who plays Lucas and Violett Beane Mqture Markie, the blond with daddy issues. There are other people in the qlison but they leave such a minimal impression that they're not worth alixon. The sad truth about this film is that, even as bad as it is, it's guaranteed to make a profit.

    With rock-bottom production costs, the marketing campaign alone will bilk enough teenagers out of their hard-earned cash to allow Universal to pocket a nice chunk of change. The premise, a reasonably well-made trailer far better made than the actual movieand a hunger for PG horror will combine to elevate the film's profile and obscure any negativity that arises in the critical community. For inattentive viewers, it can be argued that Truth or Dare delivers; you can watch in a state of perpetual distraction and not miss anything while maintaining the illusion that you were scared.

    For anyone who cares about the things that make horror worthwhile and which another current film, A Quiet Place, provides a primer onTruth or Dare isn't just a misfire, it's a travesty. The result, which owes more to '60s monster movies than its '80s arcade namesake, is a perfect vehicle for The Rock, assuming he's trying to fashion himself into the Schwarzenegger of the s. The movie may also provide us with a sneak peek at what filmmakers have in store for the big smackdown when we'll get a new version of King Kong vs. If this is the case, there's not much reason to get excited about the future production. The problem with Rampage is that it's not content to be mindless fun.

    There's too much exposition and too many needless human villains. Plus, the tone is more lugubrious than the flippancy suggested by the trailers. Most of Rampage's first half is devoted to explanation. All the chit-chat serves two purposes: In fact, things don't get really interesting until the minute mark or, in other words, 15 minutes before the movie ends. Watched on Netflix, I could envision a lot of fast-forwarding - an option that sadly doesn't exist in theaters. Much as I love King Kong, I'm growing bored of him. When we first meet him in the care his misanthrope keeper, primate specialist and poacher killer Davis Okoye Johnsonhe's seven feet tall and weighs pounds. Then he has an unfortunate close encounter with the remnants of an exploded space station that contain a weaponized DNA splicer and suddenly he's growing out of control while showing signs of uncontrolled aggression.

    He's not the only one - also affected are a wolf in the Wyoming wilds and an alligator in the Everglades. News reports lead Dr. She's the scientist who developed the formula that has resulted in the animals' mutation. She also suggests there may be an antidote. Around that time, George goes ape-shit and has to be tranquilized. Of course, all this is merely a prologue to the disaster porn grudge match between the three monsters with Chicago standing in for Tokyo where these things always used to take place. Sadly, Rampage isn't a pleasant surprise. In fact, in the wake of Johnson's hugely entertaining and profitable Jumanji, it's a disappointment. Had it adopted a similar jokey, nudge-nudge-wink-wink tone, it might have worked.

    But if that was the filmmakers' intention, only Jeffrey Dean Morgan and Malin Akerman seem to have gotten the memo. They play their roles like cartoons come to life. Unfortunately, Johnson and Naomie Harris are invested in fleshing out the nonsensical plot. I wish there had been a lot more wtf? To their credit, they didn't go ahead with a sequel to the natural disaster adventure but I'm not sure Rampage is an improvement. It takes the things that made San Andreas bankable - widespread carnage and epic catastrophe combined with Johnson's biceps - and ups the ante by adding a King Kong-wannabe and a pair of ugly beasties. Ultimately, however, the film's appeal is the same and the deadness between "money shots" is no less stultifying.

    The A-level special effects can't elevate Rampage above its B-grade aspirations. The film's original title, Cockblockers, was changed for obvious reasons, although the image of a rooster above the word "Blockers" keeps it alive in spirit.

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    The teen-oriented portions of Blockers are more engaging than the segments tracking the adults. When the story follows Julie, Naksd, and Sam, it has a distinct Superbad vibe and Sam's struggle with her sexuality is at least as compelling as that of the title character in Love, Simon. Lisa, Mitchell, najed Hunter, however, exist primarily to move the plot forward and provide comedic opportunities. They are important to the extent that, without them, the film would lose the element of parents facing their children's emergence from childhood, but the over characters are not well-defined or developed.

    The standout adult actor is John Cena, who plays against type as an emotionally vulnerable guy who's prone to breaking into tears at any moment. Cena is game for anything; he reminded me a little of Arnold Schwarzenegger from aloson of his comedies Twins and Kindergarten Copalbeit without the accent. Of the prom-goers, Geraldine Viswanathan caught my attention with her tough-but-saucy approach to a role that's not tremendously well na,ed out. Her performance makes her big scene opposite Cena work. The comedy is along the lines Matture what we have come to expect from R-rated movies about kids trying to have sex.

    The gross-out quotient isn't as high as in some films but it doesn't skimp. For my money, the vomit scene may be the high point of Blockers' comedy - that or Leslie Mann's shocking encounter with a television set. Needless to say, an appreciation of this film requires an enjoyment of the brand of comedy it offers. The movie is good enough to please fans of this subgenre but not so good that it will convert those who aren't. I'm reminded of something Roger Ebert wrote about Kingpin: Silence at times becomes claustrophobic, feeding into the escalating suspense that fuels the movie's forceful and effective audience manipulation. Don't be fooled by the PG rating - A Quiet Place has an adult aesthetic and younger viewers may be unprepared for its unconventional style and unrelenting intensity.

    Krasinski's screenplay a re-write of a script penned by Bryan Woods and Scott Beck uses an economy of images primarily newspaper headlines to establish the backstory. They year is and we're informed via a caption that whatever is happening has been happening for about three months. The "whatever" turns out to be an alien invasion. Unfriendly extraterrestrials have attacked and conquered, leaving isolated bands of humans to survive in near-silence. Since the aliens hunt by sound and apparently have no vision, quietness is paramount. Any loud noise can bring them, and they attack with such swiftness and ferocity that neither fighting nor feeling represents a viable option.

    During the film's first sequence, we are introduced to the five-member Abbott family: Barefoot and careful, they creep around an abandoned drug store, looking for medication to help Marcus. Tragedy strikes on the way home, however, as Beau inadvertently creates a commotion. He is swiftly and brutally dispatched by an alien in one of the film's most daring moments. A Quiet Place jumps ahead a year. The pain and grief associated with Beau's loss have diminished but aren't gone. Teenage Regan is exhibiting signs of rebellion.

    And Evelyn, pregnant with her fourth child, is approaching her due date. Lee continues to enhance their home's security measures, which include a colored-light warning system, monitors, and a sound-proof underground room. Everything is in place to protect Evelyn during the delivery and safeguard mother and child afterward - until fate intervenes to put everyone in danger at a critical time. Following Ridley Scott's template of not overexposing the aliens, Krasinski mostly avoids long, lingering shots of the creatures at least until the climax. We catch fleeting glimpses of them in the woods and as they creep around inside the house.

    Their appearance is a cross between H. Giger's iconic xenomorph and a giant spider. One of the most tense scenes involves a character in a bathtub. Another white-knuckle moment happens in a silo where tons of shifting grain, sucking with quicksand-like efficiency, prove more dangerous than any alien. The use of American Sign Language allows the characters to communicate without speaking. Adding a layer to the importance of silence is the deafness of the oldest Abbott child; several scenes are presented from her perspective and, for those, Krasinski blots out all sound, bathing the theater in stillness.

    Actress Millicent Simmonds, the girl from the silent-film portions of Wonderland, is deaf in real-life, fulfilling Krasinski's requirement that Regan be played by a non-hearing actress. Marco Beltrami's musical score is understated, adding slight emphasis to certain scenes without ruining the carefully controlled sound design and editing. A Quiet Place is an expertly made "refrigerator movie. This is commonly the case with horror films and even the best of the genre aren't immune. Why, oh why, did Jamie Lee Curtis throw away the knife in Halloween?

    Narrative hiccups of this sort don't reduce what Krasinski has achieved here. A Quiet Place is a superb exercise in understated terror that puts to shame "horror" films that rely on jump scares and cheap theatrics. Instead, it's akin to Jurassic Park: While Ready Player One isn't as groundbreaking as the director's dino-fest, it's no less as ambitious in terms of how it uses computer generated imagery. The popular term "eye candy" seems insufficient to describe what's on offer here. In fact, the movie is so strongly reliant on the visual element, it almost demands a big screen where the spectacle of the experience can make narrative weaknesses seem insignificant. Ready Player One is intended to be immersive and that kind of immersion that can't be obtained outside an auditorium with a big screen and a top-notch sound system.

    The film postulates a futureto be precise where the grim realities of widespread poverty and overpopulation have made real life a condition to be endured. People are more interested in escaping than coping and all they need to get away are VR equipment and a connection to the game world of OASIS. You can be whoever you want, do whatever you desire - as long as you can stay connected, that is. Like many other hardcore gamers, he is a "Gunter" - one of several hundred "egg hunters" who are searching for the ultimate treasure OASIS has to offer - Halliday's last Easter Egg, which will bequeath total control of the world to the one who finds it.

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