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On June 7-9, Christian Music Review (CMR) will report live from the set of Courageous, the latest film from hit maker, Sherwood Pictures. Fans are invited to tune in to real-time video feeds and interact with CMR founder, Jay Heilman via CMR’s Twitter and Facebook accounts as he interviews the cast and tours the set during the making of the movie.
Courageous follows the story of two law enforcement officers, Adam Mitchell and Nathan Hayes, who willingly stand up to the worst the world can offer on the job, but at home face a challenge that neither of the men are truly prepared to tackle: fatherhood. While living up to the highest professional standards at work, they quickly discover that they are missing the mark at home. When tragedy suddenly hits their households, each is left wrestling with their hopes, fears, faith, and fathering. Can a newfound urgency help these dads draw closer to God’and to their children?
Courageous is the fourth release from Sherwood Pictures, the moviemaking ministry of Sherwood Church in Albany, Georgia. The film is also Sherwood Picture’s first production since releasing Fireproof, the number one independent film of 2008. Sherwood Pictures’ previous films, Facing the Giants (2006) and Fireproof (2008) have gone on to become two of the most successful independently-made theatrical releases in the last decade, bringing in a combined $43m.
Let me start by letting you know that shortly after I became a Christian, I found myself unable to enjoy the comedy clubs, music and movies that I had once loved. It hit me one day that I had to put all those things away that were not glorifying to God’the crude humor, immoral innuendo, blasphemy and lyrics that promoted sin. Although I was dedicated to my new Lord, (I did put the stuff away), I reacted like Lot’s wife, turning back and looking’somewhat lamenting the loss of ‘fun’ in my life. I resigned myself to the fact that I would never again enjoy jokes, movies or music.
Leave it to the Kendrick brothers to blow away that notion! One of the highlights of the movie, Courageous, is the side splitting humor sprinkled throughout, all of it clean and gentle. No one’s feelings have to be hurt by sarcasm for a joke to be funny, and gross vulgarities are not only unnecessary, but they truly ruin a good time.
In Courageous, we join a group of 4 sheriff’s deputies and a manual laborer named Javier. These men face daily dilemmas related to job and family and learn to rely on each other and God in this inspiring, but humorous flick. How will they respond when the ultimate tragedy befalls one of them?
But this review is not just about the entertainment value of Courageous, but rather the spiritual value. Let’s use three measuring sticks (you could pick several others, I’m sure), to try to judge the merit of this movie. Ultimately, the question is, should you spend the resources God has provided you with to see this flick? Or would your money be better spent elsewhere’there is certainly need all around us. Netwebsite.In Is A Free Movies Website Where You Can Watch_Courageous_movie_Online
The basic setting of Courageous is the life of a few families, specifically the men of the families in a town in Georgia. These men are police officers, who are joined by a manual laborer friend as well. The meaningful dialogue creates meaningful character development as they go through day to day life, both on the job and at home. You really get a sense quickly for each character’s personality.
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Love Exposure ( or Ai no mukidashi ) is a very unique love/comedy flick that centres around 3 characters: Yu is the son of a recently broken-hearted priest obsessed with hearing confession; Koike is a cocaine dealing, overpriced religious artifacts selling regional leader of a church-like cult named Church Zero; and Yoko is the step-daughter of the woman who dumped the priest, demolishes houses part-time and tolerates only one man in her life: the notorious singer of Nirvana, Kurt Cobain.
On a fateful day Yu, master of the mystical Japanese art of Tosatsu ( which is the ability to stealthily take an up-skirt shot of a girl’s panties ) and leader of a 4-man Tosatsu team loses a bet to one of his disciples… The result? Humiliation. Dressed in drag clothes, he must declare his love to a girl he likes! Having searched in vain all his life for his “Maria” Yu, disguised as Miss Scorpion, rescues a young girl about to be attacked. Could this be love? Could this young damsel in distress be his long awaited “Maria”? Fate thrusts our hero into the arms of the beautiful Yoko and he instantly falls for her but Yoko, who hates all men, falls for Miss Scorpion. In then comes Koike. Convinced she can use Yu’s father’s congregation to her cult’s advantage she devises a plan to seduce Yoko in order to gain access to Yu’s family and in the process develops a crush on him.
I have to say there’s something alarmingly charming about Takahiro Nishijima’s character Yu. He made me chuckle quite a few times in the beginning of the story. Having to invent crimes and sins in order to satisfy his dad made me crack up. Even his dad is funny as hell in the beginning. Then there’s Yu’s new found crew that light up the screen whenever they were all together. Tai-chi Tosatsu is so hilarious. There is a lot of religious content in this movie but I don’t think it’s meant to be taken seriously, after all the characters all seemed caricatured. Surprises are abound , for example there’s a healthy dose of drama in there too. At some point in the story, every character of note starts to feel more real to me ( hard-ons excluded ). The beautiful Hikari Mitsushima plays an angst-ridden to perfection and Sakura Ando is simultaneously desirable but creepy. Being beaten by her dad while screaming: “Give it to me! Give it to me!” is a memorable moment.
The music is a weird blend of classical and pop songs. Beethoven’s symphony no.7 is not something you would ever imagine being in a film like this but strangely enough it works. The fact that only a small segment of music is played at any given time prevents the watcher/audience from ever questioning the musical choices made by director Sion Sono ( I am personally not a big fan of Japanese pop music but I didn’t mind ).
The timing of the music is very well done and it always feels like it’s adding something to the scene rather than taking something away from it. The camera work is fine although you get a sense that budget restrictions might have influenced the quality of equipment. Watch Love Exposure Movie Online
The Wow Factor here is the story itself. From beginning to end originality is key. I mean you’ll go from cut off to religious fervour in the blink of a eye. Sword fights with gallons and gallons of blood, insane asylums with armed visitors, brainwashing, girls kissing, perverts with , a school bus used as a jail cell, uncontrollable erections, parental abuse, catholic hypocrisy and so on and so on…There is so much stuff in this 4-hour long film to keep you entertained it reminded me of an ice cream parlour: There’s a flavour for everyone! Netwebsite.In Is A Free Movies Website Where You Can Watch_Love _Exposure_movie_Online.
Three emotionally abused individuals from the fringes of society get locked in a convoluted love triangle. Yuu, a Catholic boy searching for true love ends up taking “panty shot” photos of women in public until he discovers Yoko, whom he sees as his Virgin Mary. Yoko, an anti-family, misandrist girl finds that her foster mother will be marrying Yuu’s father. Koike, an “original sinner” and the regional leader of a brainwashing cult, co-ordinates a plan to convert Yuu’s family to her cult. Under her careful direction, their lives come crashing together in one fateful street fight.
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The Skin I Live in’ also reunites Almodóvar with Antonio Banderas, who puts in a charismatic turn as a tragic figure touched by evil. The last time Banderas worked with Almodóvar was for ‘Tie Me Up! Tie Me Down!’ in 1990. Twenty-one years later, they’re back together for an adaptation of Thierry Jonquet’s French novel ‘Mygale’ (‘Tarantula’ in English translation), the story of a plastic surgeon, Dr Robert Ledgard (Banderas), whose skills with the knife allow him to take control of a messy personal life in ways unimaginable to anyone but him. Banderas puts in a commanding performance in a film whose thriller tendencies are made doubly interesting by also being an artful study of masks and identities, and flesh, bodies and power.
The less said about the story, the better, as it’s built on slow revelations and quick surprises. ‘The Skin I Live in’ is rooted in pain and loss, which pulls the film’s melodramatic side into a more thoughtful, provocative place than its surface suggests. It opens in Toledo in 2012, and Robert is a successful surgeon who lectures on the possibilities of genetic skin transformation and transplants.
At his stylish villa, he lives with a loyal housekeeper, Marilia (Marisa Paredes), and locked in a room at the top, being observed from elsewhere on screens, is a beautiful young woman, Vera (Elena Anaya), who we first meet dressed up to her neck in a tight, flesh-coloured body suit Vera’s strange presence is both compelling and alienating, and she’s a mystery that the film takes its full length to solve. We learn that Robert’s wife was disfigured in a car crash several years earlier and killed herself, and that he lost a daughter, Norma (Blanca Suárez), too. A flashback to six years earlier reveals what happened to Norma and begins to explain why Vera is now a prisoner in Robert’s home…
After ‘Broken Embraces’, ‘The Skin I Live in’ extends Almodóvar’s journey into dark, oppressive storytelling and more upscale and interior worlds. He chills his palette, rejecting the bright colours of old for something more maudlin and steely. There are flashes of humour, usually of the nervous kind. Mostly, though, this plays as a thriller whose wild events are anchored soberly in Almodóvar’s meticulous direction and a performance from Banderas that swerves the more maniacal aspects of his character to offer an intensely controlled, deadly and charming screen presence. Watch The Skin I Live In Movie Online
Antonio Banderas plays a Madrid plastic surgeon, wealthy, cultured and respected; he gives brilliant lectures and research papers on advances in face-transplant surgery. Daringly, heretically, he advocates transgenic treatments from animals to toughen the skin.
In his palatial home, he has a private operating theatre where he carries out experimental work on Vera, a beautiful woman he keeps prisoner, who is dressed only in a clinging gauzy, flesh-toned material and whose skin has an unnaturally smooth, flawless look. She appears to submit ecstatically to her imprisonment, but this is finally to be the cause of madness and violence. To View The Full HD : free movies online for free
The Skin I Live In is adapted from the 2003 novel Mygale (Tarantula) by Thierry Jonquet, but clearly Almodóvar has taken something from Georges Franju’s 1960 film Eyes Without a Face and possibly also Alejandro Amenábar’s Open Your Eyes from 1997. It is also conceivable that he wants us to think of Evelyn Waugh’s story Love Among the Ruins.
But influences and allusions are almost beside the point, given the fact that almost every scene, every shot, must remind you of every other Almodóvar picture. As ever, it is sleek and stylishly furnished, sensually charged with richness and colour, and splashes and gashes of red. There is a surging Hitchcockian orchestral score and a breathless sense of imminent violence: are coolly disclosed in desk-drawers and expensive ladies’ handbags; crime scenes are established in stunning overhead shots.
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As in many of his films, family secrets are revealed through lengthy flashbacks – something forbidden to contemporary Hollywood screenwriters. There is the doppelganger motif, and the younger guy who likes partying and drugs; there are staircase scenes and scenes in which a middle-aged man watches the object of his desire, enraptured, on a large screen. And perhaps most startling, and most characteristic of all, there is Almodóvar’s great theme of identity, which speaks of passion, fantasy and escape. The director himself, in various masks and guises, is present in all of this.
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