Ghostbusters or Men In Black?

A hotshot detective who was killed in the line of duty joins a supernatural police force that protects the living from the malevolent souls who have escaped judgment in this adaptation of the popular Dark Horse comic book. Nick Walker (Ryan Reynolds) was a cop with a reputation for getting a results when he was brutally gunned down during a violent raid. The next thing Nick knew, he was sitting in the headquarters of the Rest in Peace Department -- a supernatural police force tasked with arresting lost souls who are hiding out on Earth. His new partner Roy Pulsifer (Jeff Bridges) is a veteran sheriff with a knack for spotting a fugitive soul in disguise. Now Roy and Nick are about to face a menace that threatens to upset the ethereal balance between the physical world and the supernatural realm, and should they fail in maintaining that balance Earth will be flooded with a wave of very angry -- and very powerful -- lost souls. Kevin Bacon, Mary-Louise Parker, and Stephanie Szostak co-star. ~ Jason Buchanan, Rovi

Full of action and Sci-fi will be see in this movie. The cinematic of the movie was great. The monsters was like real and the camera angle really catches the attention of the audience and very breath-taking. 

More on running so many dolly movements should be expected in this movie. The Characters were portrayed very well and the actors fits with their roles.

The story is not original. The concept and the story line is like Ghostbusters with Men in Black.

The setting of the Department was like from Men in Black. Very much alike office of both movie and the characters were like it too and the way they operate. Ghostbusters monster jail was imitated too. But for me this movie is still good. I like the story, cinematic and the concept of how people will see them. If you can't get my point just watch the movie please and always remember, Do not Judge the book by its cover :)

SOURCE: www.fandango.com 

A History Of Violence

The story centres on a midwife, Anna who tends to a pregnant 14-year-old Russian prostitute. The girl dies giving birth to a daughter but leaves a diary that inculpates in her death the Russian gang boss Semyon, a member of the notorious Vory V Zakone criminal brotherhood. Anna, whose late father was a Russian émigré, courageously investigates and meets the paternal Semyon, owner of an opulent restaurant, the Trans-Siberia, near Smithfield Market. She becomes involved with his violent, drunken, sex-trafficking son Kirill, and the family's chauffeur and enforcer Nikolai. An impassive, quietly spoken man, Nikolai hides behind wrap-around dark glasses and brings to mind Churchill's remark that Russia resembles 'a riddle wrapped in a mystery inside an enigma'. It's Christmas week, which in serious movies is a time of stress and irony where goodwill towards men battles with bitterness and malevolence.

First, there is the matter of blood as reality and metaphor. The movie opens with a man having his throat cut in a barber's chair, which is followed by the pregnant prostitute leaving a pool of blood on a chemist's floor and then having a Caesarean in hospital. Another throat-cutting takes place in broad daylight as the victim urinates over a gravestone on his way home from a football stadium. The film's unforgettable climax sees two knife-wielding Chechen criminals in black leather attacking the naked Nikolai in Ironmonger Row municipal steam baths, turning the place into an abattoir as the other bathers run for their lives. It's a challenging scene for Mortensen, infinitely more difficult to play than the naked wrestling match in Women in Love. This leads to a key line in the movie about poetic justice residing in a sample of blood when a DNA test can prove crucial in changing lives and bringing about justice.

Eastern Promises is an exciting story about hypocrisy, decency and different kinds of honour, and about the dark underside of globalisation and multiculturalism. By the excellence of the acting and Cronenberg's attention to detail. It's a chilling, discomfiting picture, and there's a particularly frightening moment when Mueller-Stahl, the brutal patriarch, leaves Anna with the baby in hospital.

SOURCE: theguardian.com