‘Monsters University’ Wins Box Office Scare-Off with ‘World War Z’

One of the biggest moviegoing weekends of the year turned into yet another victory parade for the folks at Pixar, as the new animated prequel “Monsters University” brought in an estimated $82 million in its debut to win the box office crown.

Not that it was easy, as brad Pitt and “World War Z” put up a bigger fight than expected: The much debated zombie thriller, which had been expected to top out around $50 million, instead brought in $66 million for a strong second place debut.

Add in another nice haul for returning champion “Man of Steel” — which slipped to third place despite earning an additional $41.2 million — and you have a weekend that was up 52% compared to the same frame last year thanks to a very strong lineup of new releases.

In fact, the main problem facing movies this summer may be the unusually tough competition, as movies have been opening huge only to be pushed aside by the next big thing. “Star Trek Into Darkness” and “Fast & Furious 6,” for example, both debuted to massive initial numbers, but while their respective totals of $216.7 million and $228.4 million certainly qualify them as solid hits, neither appears likely now to approach mega-blockbuster status. Only “Iron Man 3? has really broken out of the pack, topping the $400 million mark domestically last week.

That trend could mean that the party is short lived for all three of this weekend’s top performers, as the next ten days will see the debut of several major releases including “Despicable Me 2,” “The Lone Ranger,” “White House Down” and “The Heat.” So while the summer is sizzling at the box office, the heat is being spread around.

Enjoy your time at the top, Pixar. It might be shorter than usual this time around.

Here’s a look at the box office top ten, courtesy of Hollywood.com:

1. “Monsters University” – $82m (our review)
2. “World War Z” – $66m (our review)
3. “Man of Steel” – $41.2m (our review)
4. “This Is The End” – $13m (our review)
5. “Now You See Me” – $7.9m (our review)
6. “Fast & Furious 6? – $4.7m (our review)
7. “The Internship” – $3.4m (our review)
8. “The Purge” – $3.4m (our review)
9. “Star Trek Into Darkness” – $3m (our review)
10. “Iron Man 3? – $2.2m (our review)

Categories: News

Tags: Box office, Man of Steel, Man of Steel Box Office, Monsters University, Monsters University Box Office, World war z, World War Z Box Office

Can Movies Save the World? The Best of the 2013 Human Rights Watch Film Festival

Summer is the season of superheroes. We all know this. That new Superman movie is making plenty of money, after all. The comic book takeover of the blockbuster is now so complete that talking about it seems silly. The season’s big budget affairs are also not where to find the most innovative “heroic journey” storytelling. The movie heroes that stick with me from this June weren’t caped crusaders, even the ones with the most effective backstories. They’re the faces of the Human Rights Watch Film Festival, the New York series of which came to a close this past Sunday.

Granted, this might not be immediately obvious from the program. Human Rights Watch, after all, implies a certain moral urgency. These films, mostly documentaries, tell the stories of underprivileged and outright oppressed individuals and communities around the world. It seems much, much more likely that a festival of this character would be full of victims rather than heroes, the very stereotype of the “issue documentary” designed to make you weep and offer your support. Yet, as is often the case, these non-fiction films are far from what you might expect.

Moreover, the simple fact of heroism among these documentaries is only the beginning. We’ve all seen the downtrodden fictional protagonist rise up and claim victory on the silver screen. Watching it unfold in the real world is often emotionally effective but hardly inherently interesting. When Gertrude, a young Cameroonian woman, comes out to the nun that raised her in “Born This Way,” we are touched. Yet the real accomplishment is larger, and is shared by other films in this series. It has nothing to do with the larger-than-life heroics of the fictional superman, and everything to do with humanity itself.

Take “In the Shadow of the Sun.” Harry Freeland’s powerful documentary tells the story of Tanzania’s albino population, a community fighting the worst prejudice imaginable. Local witchdoctors have been spreading a belief that the body parts of albino people will bring good luck and immense wealth. In 2006 this led to the murder of an albino woman, and the problem has only escalated. Against this backdrop of violence, Freeland paints a dual portrait of Vedastus, a teenager trying to complete his education, and Josephat, an activist determined to fight back against the false beliefs that are putting him and his community at risk.

At the core of both “In the Shadow of the Sun” and the situation it confronts is the most basic of human dignities. Albino people in Tanzania are referred to as “white ghosts” and “devils.” At one point Freeland films Josephat talking to one of the offending witch doctors, who quite frankly explains that albinos are not people. This makes Josephat’s mission all the more astonishing. He travels from town to town, introducing himself to the locals and taking their questions en masse in public squares. He is a hero not because he accomplishes superhuman feats, but because he insists on his own humanity.

The courage to tell your story becomes the center of both Freeland’s film and one other, Marc Wiese’s “Camp 14: Total Control Zone.” The latter is a portrait of Shin Dong-Hyuk, a man who was born in and later escaped from the Kaechon internment camp in North Korea. The psychological violence inflicted on the inmates of this prison camp is too complex and disturbing to detail here, but the overall impact is an individual assault on humanity not unlike the social de-humanizing of the albino community in Tanzania. Josephat and Shin have both devoted their lives to conversation, explaining themselves to communities both local and international. Their heroism is in the form of basic human interaction, speaking from the heart.

Crucially, the non-fiction form is the perfect way to engineer this sort of re-humanization of character. While the superhero gets to achieve the height of glory through special effects and a unique backstory, Freeland and Wiese are able to match the natural advantages of the documentary to the simplest of heroic acts. The same is true for “Pussy Riot: A Punk Prayer,” which devotes more time to the court appearances of the three members of the Russian activists than it does to their now-legendary performance. Directors Mike Lerner and Maxim Pozdorovkin present a Russian Orthodox Church that has gone out of its way to treat women as second-class citizens. The result is a society that assumes lunacy and wickedness on the part of those women that fight back (a hardly uniquely Slavic phenomenon).

As a response, Lerner and Pozdorovkin delve into the personal histories of Katya, Nadya and Masha. They interview their parents, explore how they found their way to radical politics, and humanize them in the face of an unfriendly and cold Russian judicial system. Just as outside the courtroom the devout religious crowd is explaining that these women have metaphorically defecated on the heart of Russia. Too often the identities of activists are obscured by simplified and stereotyped perceptions of how they became radicalized. Political discourse falls apart when two sides of an issue stop seeing each other as people, and while these three women have become quite the touchstone of religious anxiety, Lerner and Pozdorovkin are determined to show them as people (and three very different people at that).

The mission statement of Human Rights Watch says quite clearly that the organization’s primary goal is to “protect the human rights of people around the world.” While a festival can hardly arrive on the site of a conflict and mediate, the films that make up this year’s program have done the immeasurably important work of telling the stories of perceived victims and raising them to the level of heroes. And if that isn’t inspiration enough, their engagement with the potential of documentary filmmaking as a form is equally worth celebrating.

Categories: Features

Tags: Camp 14, Daniel Walber, Film festival, Human rights watch, In the shadow of the sun, Pussy Riot, Pussy Riot: A Punk Prayer, The Act of Killing

Fanboy Meets World: 5 Things to Love About ‘After Earth’

Fanboy Meets World is a bi-weekly column that runs on alternate Mondays.

Listen: it’s not like “After Earth” is a good movie. But those of us with a fondness for comics, pulp adventure stories, gizmos, gadgets, gewgaws, fantasy realms and Fiend Folios ought not to turn up our noses. So it was more of a “Medium Willie” Weekend box office-wise, but for Fanboys there’s a lot to love in this unfairly maligned Scientology fable, er, I mean, tale of Father and Son facing obstacles. As a nerd, it is my job to list them.

1.) Smart Fabric

Jaden Smith isn’t running around in the woods in a onesie for no reason. He’s wearing “Smart Fabric” – unitards of the future that change color depending on the situation. At rest, you’re rockin’ something of a “burnt umber” color (if I’m remembering my Bob Ross correctly) but when trouble comes, your outfit turns black. That’s how you know sharp-toothed, stone-throwing monkeys are near. When you are freezing to the point of hypothermia and/or have a bloodstream pumped full of toxins from a mutant leech your clothes turn off-white and light blue, kinda resembling Tron Guy. Whether or not the new color will, you know, warm you up while you are cold remains unknown.

2.) 3D Holograms Everywhere

Will Smith spends most of the film behind a bank of computer screens monitoring Jaden on his quest to find the text-sending doohickey that be their rescue. In comics terms, he’s the elderly Bruce Wayne to Jaden’s Terry McGinnis. (Or the 7-Zark-7 to the G-Force Team if you want to go a little more hardcore.) Readouts with nifty fonts hover around him, making graphs and calculating survival rates as Jaden encounters setbacks. Best, though, are the peripherals that are ubiquitous in the future of “After Earth.” A gray, floppy rubber square is like a portable 3D holo-projectin’ Kindle Fire, making examining spreadsheets look just as cool as travelling faster-than-light. Speaking of which . . .

3.) Traveling

Okay, there’s an awful lot about “After Earth”’s backstory that’s a little vague (and I haven’t had a chance to dig into the paperback of collected prequel stories, even if one is written by my beloved Peter David.) Even though the Earth of “After Earth” was somehow destroyed by the recklessness of man (cue the CNN footage of storms!) humanity figured out a way to exeunt the pale blue dot and relocate to “Nova Prime.” Now, maybe there were generation ships, but the implication is that Mankind cracked the code of achieving superluminal speeds. We see it for a moment when Will Smith’s ranger Cypher Raige (yes! that name!) gives the order to “travel” to avoid getting pummeled by asteroids after a spacequake.

“Traveling” looked to me like an extrapolation of an Alcubierre Drive, a manipulation of spacetime that creates something of a warp bubble or mini wormhole. In the film, “traveling” is kinda like hitting a panic button. Without careful calculations you may wind up anywhere – but there’s no time to lose! – and that’s why our heroes end up on Earth.

4.) Cutlasses

The Rangers of “After Earth” are going to need a badass weapon, and that weapon is called the Cutlass. Cypher Raige’s version is called the C-40 Cutlass and it has 24 different settings. It’s a silver cylinder that pops out blades of varying shapes and sizes from either side, as if to say “screw you, Darth Maul, let’s see how many shapes YOU can make!” It is unclear if the Cutlass reads your mind or just knows when you need to change from a double-edged bastard sword a the humongous collection of sharp radio antennae-lookin’ weapons, but if it also has a leather punch it is the best Swiss army knife in this or any other universe.

5.) Ursas

The big meanies of “After Earth” are fear-sniffing, pincer shooting mammal-chompers that look like a cross between “Starship Troopers”’s arachnids and Peter Jackson’s version of Tolkien’s Shelob. They have a giant eye in the middle with some other little eyes around it and a little gray fur. They skitter and they pierce and they flay and they generally make a mess of things. But if you are brave (stupid?) enough not to be afraid of them they will just walk on by without paying you no never mind. It is to M. Night Shyamalan’s credit that, when the music swells as Jaden Smith just lays there to let a two-ton tarantula walk over him, you don’t crack up that much.

Fanboys, pass up that cool, refreshing glass of Haterade. “After Earth” may be dumb, but it’s our kind of dumb. I’ll be accepting your submissions for “After After Earth” fanfiction at once.

Categories: Columns

Tags: After Earth, Fanboy Meets World, Jaden smith, Jordan hoffman, M. night shyamalan, Planet Fanboy, Will smith

Fanboy Meets World: Why J.J. Abrams Is a Khan Artist

SPOILER WARNINGS LIKE THE GALACTIC BARRIER, YO.

One line. One word, really. Heck, four letters, though four letters stretched out quite a bit. Removing them from the final cut of “Star Trek Into Darkness” would have done a lightyears worth of goodwill for this long time Trek fan. The insistence of Abrams and Co. to stick with their policy of legacy-mining and expecting us to all squee with joy is, at heart, why I’m grousing – even though I admit that, in broad strokes, I enjoyed “Star Trek Into Darkness” a great deal. (My review at ScreenCrush, if you are interested.)

It goes like this: there are a number of really annoying little things about this movie, and you can find an exhaustive list of quibbles at the bottom of this post.

But first we need to focus on the biggest disaster, of course, is deciding to shoehorn the “known” bad guy Khan into the mix. Because everybody knows Kirk and Khan are matched enemies, even people (like Abrams) who don’t watch “Star Trek.” It’s perfect marketing. (Although Abrams, being an M Class nincompoop, decided to kneecap his own movie by keeping this secret. The moment when Benedict Cumberbatch says “My name is Khan” is the worst of both worlds. Fans get annoyed by the obvious, while non-fans – unaware that Khan didn’t have a fake identity in the original, and unfamiliar with what the name portends – say “so?” and “who?” unsure why there was this whole mystery to begin with. )

Prima facie it is a failure. Khan’s Eugenics War is supposed to take place in the 1990s, and his banishment on the Botany Bay took place prior to the destruction of the USS Kelvin in the 2009 reboot. This means that it existed before the timeline split.

Does this mean that I refuse to accept another actor playing Khan? No, I’m not a complete mental patient. But Khan Noonien Singh is supposed to be a Sikh from northern India. Ricardo Mantalban of Mexico City could at least pass. Benedict Cumberbatch of London, England does not. (Those who read the trades know that Abrams’ first choice was Benecio Del Toro, which shows a somewhat lazy attempt to get it half-right. When Del Toro passed there were rumors about Edgar Ramirez and Jordi Molla – nothing, however, about Indian actors, but come on . . . it’s not like India has one of the world’s most thriving film industries or anything.)

ALL OF THE ABOVE. ALL OF THIS I WOULD BE WILLING TO SUSPEND MY DISBELIEF AND ACCEPT. WE’RE GOOD SO FAR UNTIL. . .

The line.

The yell.

The howl.

It wasn’t enough that the focus group-based crypto-creation machine knows as Bad Robot decided to take the easy route and stick Khan in this movie. They had to go “full retard.”

When Kirk dies at the end (but just for like five minutes, because no one would ever accuse this group of having the courage of its convictions) Zachary Quinto’s nu-Spock, unable to contain his Earth emotions, starts to tremble and quake as Michael Giacchino’s score rumbles until finally. . . “KHAAAAAAAAAAAN!”

It’s an insult. And an embarrassment. It makes Jake Lloyd saying “Yippiee!” sound like Peter Finch’s monologue from “Network.”

It hurts because this movie can’t just appropriate the character Khan from the originals, it has to go and appropriate the “meme,” too.

“Khaaaaaaaan!” as rallying cry is a relatively recent creation, egged on by a “Seinfeld” episode from 1996. I didn’t see “Khaaaaaaaan!” on a T-shirt until 2008 or so (and, believe me, I would have noticed.) It began as a bit of a goof. A play on Shatner as a lovable and, let’s face it, not-always-great actor. It’s as much a play on Denny Crane and the Priceline Negotiator than it is on actual “Star Trek.”

(To be fair to Shatner, there is the theory that Captain Kirk is quite aware of his “overacting” in this scene, as it is Kirk’s intention to fake Khan into thinking that he’s truly won by stranding him on Regula, whereas the Enterprise’s captain actually has an ace up his sleeve. I strongly suggest you read my 2009 interview with “Wrath of Khan” director Nicholas Meyer for a full breakdown of all this.)

You can practically see Abrams in story meetings, sixteen cellphones held by assistants up to his head as he closes deals on television shows, saying “yeah, yeah, we gotta have the line!” with no actual understanding about what it means – how, to fans of “Star Trek,” this little bit of ridiculousness is our ridiculousness, and to do a clip and paste of it into the emotional death-by-radiation scene is an atrocity.

There’s another problem. Quinto doesn’t nail it. Quinto is a decent enough actor, about as good of a Nimoy proxy as we’re likely to get. But there’s a reason he’s segued his “Star Trek” fame into producing whereas nearly everyone else in the crew has taken leading roles in mainstream pictures.

The Bad Robot team probably expected hoots and hollers from fans when Quinto delivered the line. My gut tells me that test audiences never gave it – which is why there isn’t room for a beat afterwards (the action cuts mid-scream to the Vengeance smashing into the Enterprise while both ships are in Earth’s stratosphere.)

The lack of reaction (and I’ve seen the film with audiences twice) is, I’m guessing, a mix of Quinto’s middling delivery and the fact that, in the context of this film, it doesn’t make a lick of sense. Khan isn’t really the one responsible for Kirk’s death. Kirk had to go fix the reactor core because of cumulative damage from throughout the film – damage that started with Admiral Marcus’ sabotage.

Quinto could just as well be shouting “MAAAAAAAARCUS!!!!” or at least “MAAAAAAARCUS AND KHAAAAAAAAAAN WORKING IN CONJUUUUUUUUUUUNCTION!” But he doesn’t, because it’s important to get the meme in there, because the people in charge of this movie really and truly don’t get it.

There’s something they teach you in any creative program: kill your babies. Sometimes you have to cut out great stuff for the sake of the larger piece. You’d think “Star Trek Into Darkness,” a film that cut the COLON out of the title, would know how to make a cut. But this line, this word, these four letters remain in the finished film. If it were gone I may would have been able to ignore all the other problems in the film – or at least accept them a little easier. I still like “Star Trek Into Darkness” a great deal, because Abrams knows where to put the camera and, with the exception of this beat, all the performances are great. But this is because I have the ability to root out the good parts in a movie, even when I’m being khanned.

And now, bring out the quibbles!

** World-building problems like: why would a Federation hospital, even in England, have the monarchial name “Royal” associated with it?

** Story beats like Nero’s 25-year wait from 2009's “Star Trek” that were probably explained in earlier versions of the script, but were removed so this movie could zoom at Warp Factor 6, like: If Section 31 was just blown to bits, how did “John Harrison” find the transwarp beaming device after the bombing? And if he didn’t, then what was in that black bag that Kirk was focusing on? And how did Kirk just contact Scotty on his communicator without patching through to Uhura’s communications array? And how did they get from Kronos to Earth in only, like, 45 seconds of warp?

** Inexplicable gales in logic, like: why would a new super torpedo, even if it runs on some new, undetectable fuel source, have ROOM to let you just, you know, crack it open and stick a giant 20th Century cryotube inside of it? How is this efficient design?!??!?

** Moments of great disrespect to the audience, like: Why wouldn’t Carol Marcus just, like, wait 30 seconds to get undressed, or step in another room? (Answer: super bowl ads demand a panty shot, but we Trekkers should demand more!)

** Moments of great disrespect to the legacy of “Star Trek,” like: Carol Marcus implying that Kirk the Jerk pulled a “love ‘em and leave ‘em” on Christine Chapel. Pardon me? Christine Chapel? You mean . . .Gene Roddenberry’s wife? If this isn’t Abrams and his gang “marking their territory” on Roddenberry’s version of “Star Trek” in the most disgusting, phallocentric way, then I don’t know what is! (Eh, I’ll allow that Abrams, who time and again in interviews has proven he doesn’t know, and doesn’t care, about “Star Trek” history didn’t mean it this way. But someone should have spot-checked this and changed the pointless fan-wank namedrop to somebody else.)

Categories: Columns

Tags: Fan Rant, Fanboy Meets World, J.j. abrams, Jordan hoffman, Khan, Star trek, Star Trek Into Darkness

First Trailer for ‘Thor: The Dark World’

[From MTV] With “Iron Man 3? a little more than a week away, Marvel has already given us a look at our next trip to the universe of superheroes and villains. The first teaser trailer for “Thor: The Dark World” premiered in the early hours of the morning, and even though the preview clocks in at just under two minutes, we can already see a much different adventure for the Norse god.

“Thor: The Dark World” picks up after the events of “The Avengers.” Thor (Chris Hemsworth) has returned home to Asgard, but a new force threatens both the god’s home world and Earth. As it’s revealed near the end of the trailer, Thor must turn to his brother and rival Loki (Tom Hiddleston) for assistance when trying to save the Nine Realms from the dark elves.

Natalie Portman makes a welcome return to the Marvel universe as Jane Foster, Thor’s Earth-bound love, who finds herself in Asgard shortly after the start of the preview. A menacing voice over from the film’s main baddie, the dark elf Malekith, played by “G.I. Joe: The Rise of Cobra” actor Christopher Eccleston, suggests that Jane may stand directly in harm’s way with only Thor to protect her.

Read more at MTV, and be sure to check out the brand new trailer, embedded above!

Categories: No Categories

Tags: Marvel, Thor: The Dark World, Trailer

Weekly Trailer Report: ‘World War Z,’ ‘Warm Bodies’ and More

The weekly trailer report is here, and with it, a host of new movies to excite your eyeballs and brain cells.

A few big budget blockbusters, including the Brad Pitt zombie outbreak film “World War Z,” and the continuation of Channing Tatum’s star power takeover in “G.I. Joe Retaliation,” hit the airwaves. Also up is the latest Steven Soderbergh film about the dangers of psychiatry and medication, “Side Effects.”

Action makes a strong showing with Andy Garcia as an ex-CIA operative on a dark mission in “A Dark Truth,” and Arnold Schwarzenegger returns to the screen as a sheriff up against a hostile drug lord in “The Last Stand.” There’s plenty of horror for the shock enthusiasts among us, including a Santa Claus killer in “Silent Night,” Elijah Wood making an appearance as a slasher in “Maniac” and a case of creepy kids ruining a couple’s vacation in “Come Out and Play.”

The much lauded documentary “West of Memphis” gets a trailer, and smaller indie gems such as the zombie love story with a twist, “Warm Bodies,” the dark murder romantic comedy “Country Cottage,” the biopic about the life of a Brazilian soccer star, “Heleno,” and the quirky film about an Italian horror film sound effects producer, “Berberian Sound Studio,” flourish.

As always, we want to hear what gets your pulse pounding, so let us know which of these films excites you.

‘Warm Bodies’

When a zombie falls in love with a girl, their romance may shake up the undead world in a way that’s never been seen before.
Starring: Nicholas Hoult, Teresa Palmer and John Malkovich
Release Date: Feb. 1, 2013

‘Jurassic Park 3D’

The 20th anniversary of “Jurassic Park” sees the film about a dinosaur theme park gone wrong with a 3-D release!
Starring: Sam Neill, Laura Dern and Jeff Goldblum
Release Date: April 5, 2013

‘World War Z’

A United Nations employee struggles in his attempts to stop a violent zombie outbreak across the globe.
Starring: Brad Pitt, Mireille Enos and David Morse
Release Date: June 21, 2013

‘Side Effects’

In this thriller from director Steven Soderbergh, a married couple deals with the fallout of the wife’s prescription drug problem as the husband is released from jail.
Starring: Rooney Mara, Channing Tatum and Jude Law
Release Date: Feb. 8, 2013

‘G.I. Joe Retaliation’

The G.I. Joes are at it again in their battle against Cobra, but also face extreme measures from within their own government.
Starring: Channing Tatum, Dwayne Johnson and Ray Park
Release Date: March 29, 2013

‘The Last Stand’

A sheriff and his staff are all that stand between an escaped drug warlord and freedom.
Starring: Arnold Schwarzenegger, Eduardo Noriega and Forest Whitaker
Release Date: Jan. 18, 2013

‘Maniac’

NSFW: A horror film revolving around the quiet owner of a mannequin shop and a beautiful young artist who seeks his assistance and unwittingly unleashes his urge to kill.
Starring: Elijah Wood, America Olivo and Liane Balaban
Release Date: Dec. 26, 2012

‘A Dark Truth’

An ex-CIA operative is called back into duty when an explosive secret is uncovered in Ecuador.
Starring: Andy Garcia, Eva Longoria and Forest Whitaker
Release Date: Jan 4, 2013

‘Heleno’

A dramatic biopic revolving around the life of tragic soccer star Heleno de Freitas.
Starring: Rodrigo Santoro, Priscila Assum and Othon Bastos
Release Date: Dec. 7, 2012

‘Cottage Country’

An intended country proposal gone wrong leads to murder in this dark comedy.
Starring: Malin Åkerman, Lucy Punch and Tyler Labine
Release Date: TBD

‘Silent Night’

A serial killer Santa is on the loose in a small Midwestern town, much to the chagrin of local law enforcement.
Starring: Jaime King, Malcolm McDowell and Ellen Wong
Release Date: Nov. 30, 2012

‘Escape from Planet Earth’

An animated adventure that finds an alien astronaut in deep trouble when he responds to an SOS from a hostile planet.
Starring: Brendan Fraser, Sarah Jessica Parker and James Gandolfini
TV Release Date: Feb. 14, 2013

‘West of Memphis’

A documentary exploration of the mishandling of the case against the West Memphis Three.
Starring: Jason Baldwin, Damien Wayne Echols and Jessie Misskelley
Release Date: Dec. 25, 2012

‘Come Out and Play’

A horror thriller that tracks a couple on vacation who visit a strange island and face terrifying consequences.
Starring: Daniel Giménez Cacho, Ebon Moss-Bachrach and Vinessa Shaw
Release Date: TBD

‘Berberian Sound Studio’

In this horror comedy, life begins to imitate art as a sound engineers works on the sound effects for an Italian horror film.
Starring: Tonia Sotiropoulou, Toby Jones and Susanna Cappellaro
Release Date: TBD

Categories: Columns, Trailer Roundup

Tags: A Dark Truth, berberian sound studio, Come Out and Play, Country Cottage, Escape from Planet Earth, Heleno, Maniac, Silent Night, The Last Stand, West of Memphis, world war z, Warm Bodies, Berberian Sound Studio, World War Z, A Dark Truth, Come Out and Play, Escape From Planet Earth, Heleno, Maniac, Silent Night, The Last Stand, West of Memphis

FILM YOU GOT SERVED: BEAT THE WORLD

Tanggal Rilis :10 June 2011
Jenis Film :Drama
Diperankan Oleh :Tyrone Brown, Mishael Morgan and Nikki Grant
Ringkasan Cerita FILM YOU GOT SERVED: BEAT THE WORLD :

Three dance crews prepare to do battle at the international Beat the World competition in Detroit. In the final showdown to become world champions lifelong hopes, dreams and even lives, are at stake.

Download Film You Got Served: Beat the World

Download Files: Part1 – Part2 – Part3 – Part4 525MB  BRRip | Mediafire

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