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"IF IT'S CRAP, WE WILL TELL YOU!!!

THE HITMAN'S BODYGUARD - HIGH FULL PRICE!!

ATAOMIC BLONDE - LOW MATINEE!!!

DUNKIRK IMAX - FULL PRICE!!!

WAR FOR THE PLANET OF THE APES - HIGH FULL PRICE!!!

SPIDER-MAN: HOMECOMING 3D - HIGH FULL PRICE!!!

BAYWATCH - SOME OL' BULLS@#T!!!

TRANSFORMERS: THE LAST KNIGHT IMAX 3D - LOW MATINEE!!!

BOSS BABY - FULL PRICE!!!

ALL EYEZ ON ME - LOW MATINEE!!!

WONDER WOMAN 3D - HIGH MATINEE!!!

CHIPS - F@#K YOU!!!

ALIEN: COVENANT -  LOW RENTAL!!!

GUARDIANS OF THE GALAXY VOL 2 IMAX 3D - BETTER THAN SEX!!!

FATE OF THE FURIOUS IMAX - FULL PRICE!!!


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Spider-Man: Homecoming Trailer 2

Spider-Man: Homecoming International Trailer

Spider-Man: Homecoming Trailer

SPIDER-MAN: HOMECOMING IMAX 3D

The makers of Spider-Man: Homecoming have remembered something that the makers of almost every other recent superhero film have forgotten. They’ve remembered that if you’re going to tell a story about someone in a skin-tight costume who can throw cars around like frisbees, then it should probably be fun for all the family. That’s not to say that superhero movies can’t be used to lecture us on the international arms trade, or to examine why allies fall out and turn against each other. But sometimes they should return to their comic-book roots, and offer snazzy, buoyant entertainment for children as well as for their parents - and that’s what the latest Spider-Man film does.

Directed by the little-known Jon Watts, and scripted by too many screenwriters to name, it opens with an orchestral arrangement of the web-slinger’s 1967 cartoon theme song (“Does whatever a spider can...”), a burst of finger-clicking jauntiness that turns out to be a statement of intent. This isn’t a drama about 15 demigods squabbling over some sort of cosmic doomsday device, as Marvel blockbusters so often are. It’s a warm, fast-paced coming-of-age comedy about a loveable group of teenagers - one of whom happens to have been bitten by a radioactive arachnid.

The ‘Homecoming’ subtitle has two meanings. First, there’s the high school homecoming dance that Spider-Man/Peter Parker (Tom Holland) may or may not attend. Second, there’s Spider-Man’s arrival in the cinematic universe of the other Marvel movies. In his previous outings - the Sam Raimi trilogy starring Tobey Maguire, and the two Marc Webb attempts with Andrew Garfield - Spider-Man existed in a separate reality from Thor, the Hulk and their fellow Avengers, because Marvel had sold the rights to the character to another company, Sony. But when the last Webb / Garfield film underperformed, Sony agreed to let Marvel Studios take charge of Spider-Man, which is why he turned up in last year’s Captain America: Civil War. Don’t worry, though - Spider-Man: Homecoming doesn’t get bogged down in the Avengers’ convoluted mythos. But there are amusing allusions to Captain America, and there are appearances by Tony Stark/Iron Man (Robert Downey Jr), who sees Spidey as the son he never had. Peter is delighted by this attention. More of a Spider-Boy than a Spider-Man, he is portrayed, charmingly, as a gauche, geekily enthusiastic youngster with a pubescent squeak of a voice. Holland, a fresh-faced British actor with a perfect American accent, was only 20 when the film was shot, and the role fits him as snugly as his red-and-blue spandex.

If Peter idolizes Tony Stark, not everyone is so star-struck. The villain of the piece is Adrian Toomes (Michael Keaton), a blue-collar contractor who is employed to clear up the debris after the Avengers’ city-wrecking conflicts, only to have the job snatched from under his nose by a company co-owned by Stark himself. Understandably aggrieved, Toomes builds himself a gigantic and surprisingly sinister set of robotic wings, and goes into business as the Vulture. Refreshingly, he doesn’t want to destroy the earth or rule the galaxy. He just wants to feed his family by salvaging scraps of alien technology and Iron Man armor and then upcycling them into ray guns he can sell to criminal gangs. His combination of tooth-bearing savagery and lowly, everyman gruffness makes him one of the most memorable baddies in the Marvel rogues’ gallery - and that’s even before you recall that Keaton starred in both Batman and Birdman. It’s to the film’s credit, too, that it doesn’t refer to these earlier roles. Spider-Man: Homecoming isn’t interested in making arch postmodern quips for the grown-ups. It’s interested in making genuinely funny jokes for everyone. Naturally, the plot is leading towards a climactic punch-up between Spider-Man and the Vulture, but in the meantime our hero has plenty of other, smaller battles to keep him occupied. He struggles to control his own superpowers, as well as the gizmo-packed uniform which Stark has designed for him, so there are lots of lighthearted sequences in which he bumbles around New York’s streets and suburbs, knocking over tree houses and crashing through garden fences. He is certainly the most human of Marvel’s Superhumans.

And then there is high school to think about. When Peter isn’t fighting crime, he has to contend with the other students on his Academic Decathlon team, namely the divine Liz (Laura Harrier), the sardonic Michelle (Zendaya), and the resentful Flash (Tony Revolori, the bellboy from The Grand Budapest Hotel) - a non-white ensemble that makes Spider-Man the most multiracial of all superhero films. Also on the team is Peter’s fellow nerd, Ned (Jacob Batalon), who quickly learns what his best buddy gets up to every evening, and whose banter with him gives the film the sweetness and humor of a John Hughes-ish teen comedy: Superbad with superpowers. Overall, The MCU movies have been the decade’s strongest counterbalance against the unrelenting grittiness of superheroes, and Spider-Man is the peak of heroic fantasy fun. He isn’t just a hometown hero New Yorker, actively in love with his city and the people in it. He isn’t just the kid who gets called up to run with the big dogs, or the moral leader who understands the balance of power and responsibility. He’s the avatar for everyone who’s ever daydreamed about not just being tougher than the threats in their life, but also faster, more flexible, and funnier. Spider-Man: Homecoming brings the character back to his basics. In the process, it shows why he’s always been such a popular draw, and it makes a strong argument for a branch of the MCU / Sony Hero verse that operates on a smaller scale than the rest of the world. Here, the small size isn’t just a story necessity, or a franchise strategy. It’s the heart of the story, and an argument for smaller hero stories in general. HIGH FULL PRICE!!!

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War For The Planet Of The Apes Trailer 2

War For The Planet Of The Apes Trailer 1

War For The Planet Of The Apes Teaser

WAR FOR THE PLANET OF THE APES

In a world of cinema where it's incredibly rare for a sequel to live up to its predecessor, it's very hard to believe that a franchise will continually improve. Planet of the Apes has had its ups and downs in the past, but if this recent reboot has taught us anything, it's that Hollywood reboots can be more than worth making. War for the Planet of the Apes closes this trilogy of films in a big, yet tender way, which I feel may divide certain audiences. These films have truly morphed into something completely different than what was presented in 2011's Rise of the Planet of the Apes, but in order to show progression and to deliver on emotion, I truly think they did the best they could've possibly done here. I don't want to overhype this film for you, but War for the Planet of the Apes is my personal favorite of this trilogy and for what it sets out to accomplish, it's a near masterpiece.

If you've found any enjoyment throughout the first two films, here is why this film demands your attention as soon as possible. Without giving away any spoilers, audiences have been wondering if there's going to be any sort of tie-in to the original franchise, tying this trilogy up in a nice bow. All I'm going to say is that fans will be pleased with the decisions that are made throughout the duration of this installment. Picking up many years after the conclusion of Dawn of the Planet of the Apes, Caesar's story has become something much deeper, becoming an ape who is willing to do absolutely everything in his power to protect his kind and his family. Coming across soldiers who are solely around in order to wipe out the rest of the apes, War for the Planet of the Apes really is just a search for these soldiers. Once again, without giving too much away, it also becomes a story of revenge, as well as a story of survival and escape. What pulled me into the film more than the previous two installments though, was the ambitiously present sense of drama. The human cast changes throughout each film, due to the fact that it needs to progress the ape storyline first and foremost.

These movies have always been about the apes and has always made you want to root for them. That being said, the first two films had a human character for Caesar to latch onto, grounding the film in reality (for the most part), but Caesar has become a completely different ape and there aren't very many friendly humans remaining. This makes it very difficult for truces to be made and also opens the door for an endless amount of drama. There are quite a few moments that had me in tears, whether it was due to a death or simply due to the fact they are humanizing these apes so much, to the point that I felt I was watching a three-decade-long arc unfold in front of my eyes, involving talking apes. These films have always had a dramatic side to them, but this is definitely most deep. The trailer for this film make you think you are in for a war feature between apes and humans, and while you may get that throughout the last 10-20 minutes, the title is much more metaphorical than you might've expected.

War for the Planet of the Apes is a drama, plain and simple. It's a character study, as well as a sweeping adventure. This is easily the slowest film in the trilogy, but the final moments of this film would not have felt earned if the movie was a flat-out action movie. This slow tone fit just right and when levity was needed, the movie wasn't afraid to toss in a gag or two. If you're expecting an action film, I suggest not seeing it, or changing the way you see the movie going in. This film is a very heavy piece of drama to take in. There are very few trilogies that get better as each film comes out, but I truly think we have another Lord of the Rings on our hands here. No, the epic-ness and grand scale of the films like that isn't present, but when was the last time that you watched three Hollywood productions that continuously got better than the last? (and have all been great) It's been a very long time. War for the Planet of the Apes truly is a masterpiece. Yes, I can see people being annoyed with a few new character additions, but they didn't really get on my nerves. In fact, one of the new characters actually felt like a breath of fresh air in the midst of such devastation. From terrific motion capture performances, to progressing very well into the classic films, to silence becoming more emotional than any line of dialogue, this film is a true revelation in my eyes. I can't believe how much I loved this film. This is a fantastic trilogy with a perfect and beautiful conclusion. Looking back on it, this film is so well made that I can't get myself to complain about it. For fans of the franchise, I can't recommend this movie enough. HIGH FULL PRICE!!!

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Atomic Blonde: Red Band Trailer

Atomic Blonde: Green Band Trailer

ATOMIC BLONDE

On its own, Atomic Blonde is a stylish, upbeat spy thriller that plays around with some John Wick style tonal depictions (read: dark and violent). Of course the headlines have been accentuating the fact that the central spy happens to be female. And it is true, watching Charlize Theron kick some serious on screen ass is a ton of fun. Leitch's careful and intentional crafting gives her character a sort of realism that doesn't require her to be superhuman who is able to prove herself stronger than any man around her, just a rather strong woman (and she is buffed out here, to be sure) with a particular set of skills and a whole lot of bruises to show for her efforts. Leitch's decision to make this image the opening shot of the film (in both a subtle and not so subtle way) clues us in to the way Lorraine Broughton is going to be portrayed moving forward.

And while the script borrows much for your basic spy/espionage template, it is these choices in direction partnered with Theron's committed performance (her physicality and dedication to the stunts is impressive) that pushes this film above the mark. In the end it is the small things that become the most enjoyable, such as the fusion of music (is this a growing trend?) to match both period and pace. Or the sudden inclusion of an extended, single shot action sequence that runs for a good fifteen minutes. Or even the choice of time and place. Set in the light of the Berlin Wall coming down, for as remarkable as this moment in history is, what surrounds this moment is (perhaps) a diminishing, or unremarkable sense of drama when it comes to the whole spy/espionage thing. But Leitch chooses this setting to offer a bit of a twist on the spy thriller, enough to set it apart as something unique. He uses the setting to examine a once colorful career now being forced to reconcile a more mundane reality, something that the spies of this era likely would have struggled with and even resisted. And by probing this question, this tension, it adds something tangible and compelling to what otherwise would be familiar.

And one final word on Theron. I have heard that she had a bit of an infatuation with the source material on which this film is based (a graphic novel(s)) So much so that she bought up the rights before these novels were even published. Something here taps into her spirit, and you can tell. She shines in the role, and it affords Atomic Blonde an added edge in a genre dominated by Bond. LOW MATINEE!!!

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The Hitman's Bodyguard: Red Band Trailer

THE HITMAN’S BODYGUARD

For your consideration... for Best Titled Film of 2017 (an award category I just now made up), I give you... "The Hitman's Bodyguard" That title says it all in three words - the story is about a hitman and his bodyguard. More importantly, the juxtaposition of character archetypes (the hitman who takes life and the bodyguard who preserves it) is intriguing enough to interest many a Movie Fan - especially with the advertising highlighting co-stars Ryan Reynolds and Samuel L. Jackson - in their first film together.

Plus, there are the cinematic memories the title brings to mind. There have been numerous movies with the word "hitman" in their titles (including in 2015, 2014, 2012, 2008, 2007, 1998, 1997, 1991, 1982 and 1972) and others with a hitman or two as main characters (some of the best: the "John Wick" series, "Run All Night", "The Iceman", "In Bruges", "Mr. & Mrs. Smith", "Collateral", "Road to Perdition", "The Jackal", "Assassins", "Léon: The Professional ", "Pulp Fiction" and "Point of No Return"). All of those contribute pretty well to the images that come to mind when we hear the first part of this film's title.

When we get to "bodyguard", there are also many movies with that word in the title (for example, in 2016, 2012, 2009, 1998, 1992, 1980, 1979, 1966, 1948 and 1933 - one of those years, by the way, being the year of my birth) - along with some about secret service agents (e.g. "Olympus Has Fallen", "In the Line of Fire" and "Guarding Tess") - and one futuristic bodyguard - in "Terminator 2: Judgment Day". The one bodyguard movie that seems to have the most to do with this film is that one from '92, because of the plot and because one of the movie posters for this one features a blue-tinted image of one of the stars carrying the other, like Kevin Costner carrying Whitney Houston in the poster for "The Bodyguard". So, is this one as much fun as that tongue-in-cheek marketing homage implies? For the most part, yes!

Michael Bryce (Reynolds) used to be one of the most sought-after bodyguards on the planet, with a reputation second to none. That is, until he lost a high-profile client. Now the only work he can get is protecting relative unknowns like Richard E. Grant's coked-up businessman-on-the-run. Bryce is still one of the best at what he does, but few will go so far as to trust him with their lives - or with the life of someone important who really needs protecting - unless they're really desperate. INTERPOL agent Amelia Roussel (Élodie Yung) is just that desperate. When her efforts to get jailed hitman Darius Kincaid (Jackson) from London to the Netherlands are compromised, she calls the only person whom she can trust - at least, with this situation. Complicating matters, she hates him, because she used to date him.

Actually, no one in this high-stakes threesome really wants to be around the others, but they need each other. Amelia was dumped by Bryce two years earlier because he believed she betrayed a confidence, leading him to lose that client. She claims she didn't do anything of the sort, so she has hard feelings. When Bryce sees Amelia, he is reminded of his professional fall from grace - and of the love he lost. But he's willing to endure the painful memories and put his life on the line in exchange for Amelia's promise to help him get his AAA executive protection rating back. For his part, Kincaid doesn't think Amelia and her INTERPOL buddies are capable of protecting him, but he has to play by their rules in order to get his beloved, tough-as-nails wife, Sonia (Salma Hayek), out of prison. That's part of a deal he made in exchange for his testimony against the President of the former Soviet Republic of Belarus, Vladislav Dukhovich (Gary Oldman), in his war crimes trial. But when Bryce arrives at the INTERPOL safe house, he and Kincaid recognize each other as long-time rivals, two sides of the same dirty coin, and they almost kill each other right then and there. They can hardly abide each other, but each kind of needs the other.

Amelia leaves Bryce to the task of getting Kincaid to the International Criminal Court in time for his testimony (in about 24 hours), while she goes back to INTERPOL to try to find and plug that leak. Dukhovich's henchmen, led by the brutally determined Ivan (Yuri Kolokolnikov), catch up with Bryce and Kincaid - early and often. As this lethal odd couple (two men with similar skills but very different approaches to life and love) make their way to the Hague, they use (and ruin) multiple vehicles and get into gun battles and close quarters combat... on city streets, down country roads and through the avenues and waterways of Amsterdam, leaving a high body count behind, but never far from danger.

"The Hitman's Bodyguard" is indeed a hit - and deservedly so. The plot is far-fetched (one down-on-his-luck protection agent called upon to escort the only man standing between a war criminal's conviction and his freedom - and so much power and so many resources at the disposal of that eastern European strongman), but most Movie Fans won't mind. This film has a great soundtrack - with songs from the 60s-90s - plus a song written and sung by Jackson himself! - And makes fantastic use of those Dutch locations - setting its impressive action against its beautiful countryside and cityscapes. The action is exciting and virtually non-stop, the car chases are creative and thrilling and the two stars really make this film work. Their comedic chemistry is undeniable, even though Jackson is playing his usual bad-ass with a wicked sense of humor and Reynolds gives us his patented smart-ass with a heart, all while Oldman drags out his often-employed Russian accent and shows us a more powerful version of his "Air Force One" terrorist. It's all good - especially if you like action movies, along with a sense of humor. HIGH FULL PRICE, Motha F@#kaz!!!

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Kingsman: The Golden Circle Green Band Trailer

Kingsman: The Golden Circle Red Band Trailer

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Blade Runner 2049 Trailer 1

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Thor: Ragnarok Trailer 1

Thor: Ragnarok Teaser

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Justice League: Trailer 2

Justice League Trailer 1

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Star Wars Episode VIII Teaser

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Black Panther Teaser 2018