Watch Fathers and Daughters (2015) Full Movie Online For Free Without Download

Fathers and Daughters is a drama movie directed by Gabriele Muccino.

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What's Going On?

UPDATE: The first of the "new projects" listed below can now be revealed - I have officially become part of the ScreenRant News Team!

You'll find my news items handily catalogued under my contributor tag, HERE. If you want to keep my content chugging, here's a brand new and simple way to do so: Share the HELL out of these posts to social-media, Twitter, Facebook and wherever else you may want to. Cheers!

(original post appears below)

Hello, friends!

So. Some changes are afoot, and it's time for a quick update. This technically should have been up sooner, but I was working a convention all weekend. Anyway...

You may have noticed that there wasn't a new episode of IN BOB WE TRUST this weekend. That wasn't an oversight - there wasn't one produced. IBWT and ALL-NEW GAME OVERTHINKER are both taking a bit of a hiatus. There won't be new episodes of either series for a time, and at this point I can't specifically say when they'll be back or in what form.

Don't freak out.

Here's the thing: The reality of Internet-based original programming is in the midst of a major evolutionary shakeup. As original web creators consolidate and grow bigger, in tandem with major media companies becoming increasingly part of the equation; the old model for web video i.e. self-producers making episodes week-to-week on their own self-determined schedule is gradually giving way to a more traditional TV-style "seasonal" model whereby shows come and go in arranged runs. You'll note, for example, that ScrewAttack's DEATH BATTLE is currently taking its break, and popular series like EPIC RAP BATTLES OF HISTORY have adopted the seasonal model to increase their production caliber and accommodate their live shows.

So it also goes for independent producers like myself: IN BOB WE TRUST and GAME OVERTHINKER were produced for a set run with ScrewAttack, that first run has concluded and now they're on break; while fans of ScrewAttack's broader content-library have no doubt taken note that BEST/WORST EVER and TOP TEN have started back up again. So goes the cycle. I can't say when my two series will return at this point, or in what form: It's possible that IN BOB WE TRUST (for example) might find a different homebase in the interim. It's also possible (again, for example) that you might see me on ScrewAttack with another brand-new series. All I can say on that front is that you should stay tuned.

Especially since that's far from all I've got going on :)

There are (at least) two major new projects I've currently got in production, at least one of which you should be hearing about very soon and another which is going to substantially expand my footprint in multimedia; so stay tuned for news on both of those fronts.

Finally, tops on my 2016 "to-do" list is to replace this blog (which is, I'm aware, very out of date for the kind of operation I'm increasingly running here) with a more functional, modern website. So keep an eye on that as well (especially if you've got experience in building professional sites and have anything to reccommend.)

As ever, while I'm aiming every day to once again be supporting myself and my work through regular employment in my chosen field(s), the new media landscape remains a tricky place in that regard. If you'd like what I'm putting out and would like to help ensure that I can keep providing it for you, please consider joining (or increasing!) support for The MovieBob Patreon.

Stay tuned!

Watch Crossroads (I) (2002) Full Movie Online For Free Without Download

Crossroads is an american film directed by Tamra Davis.

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REVIEW: 13 HOURS - THE SECRET SOLDIERS OF BENGHAZI (2016)

The only thing anyone seems to want to know about 13 HOURS is whether or not it’s “political.” To me, that’s a stupid question – everything is political to one degree or another, and even if you try to not engage in such consciously people are going to read a political dimension into whatever they want to no matter what.

Same goes for the actual events (the 2012 attacks on a U.S. diplomatic outpost in Benghazi, Libya) being dramatized: There shouldn’t really bemuch of a political dimension to an attack on a diplomat beyond “that’s not how you express whatever grievance you happen to have,” but everyone knows there will be anyway. What makes Benghazi especially irritating in terms of politicized tragedy is that it isn’t even politicized in an appropriate or meaningful way: There are real, serious questions to be asked and issues to be raised about these events, in terms of whether “we” (the U.S./West) should intervene in situations like Libya, why or why not, broader foreign policy, etc; but the only thing anyone in U.S. political circles has actually come to care about is whether or not Benghazi can/will/should be used as a cudgel with which to beat back the presidential candidacy of then-Secretary of State Hillary Clinton.

Which, of course, begs a question of its own: Who’s going to be more obnoxious about 13 HOURS? Your racist, Trump-supporting/Fox-watching uncle on Facebook – or your overzealous bro’gressive cousin who keeps insisting you “FEEL THE BERN!!!!!” on Twitter?

As such, it would’ve been impossible for 13 HOURS to be fundamentally “apolitical” since even saying “it was sad that these people died” implies (fairly or not) a certain level of sympathy (if not explicit “support”) for they’re having been there in the first place which is essentially the key (non-sensationalized) political issue of the entire incident. And yet the film and director Michael Bay will almost-certainly be given positive marks (even in otherwise negative reviews) for “not being political,” on the grounds that they’ve managed to resist including a cutaway of a fiendishly-grinning Hillary explicitly ordering her underlings to feed the Americans to attackers before tossing a symbolic plastic army-man into her cartoonishly-oversized fireplace while lounging on a blood-red velvet couch sipping martinis with Huma Abbedin.

Not that it matters, of course: The mere existence of 13 HOURS as a button-pushing action-melodrama designed to make you sad (Michael Bay has somehow managed to go 11 movies before finally presenting a scene of an American flag being slow-motion shredded by a terrorist machine-gun) will likely be more than enough to guarantee that Fox, talk-radio and the Breitbart thugs to order their low-information hinterland acolytes to symbolically pack theatres over the next few weeks. Which is sort of darkly amusing, since the main thing that will end up distinguishing 13 HOURS from previous recipients of artificial right-wing box-office-inflation like PASSION OF THE CHRIST and AMERICAN SNIPER is that 13 HOURS isn’t a complete a total piece of shit.

It’s certainly not a great film, don’t misunderstand: This isn’t an especially well-made or important film, but it is a engaging and technically-superior action film that serves as a reminder that whatever else you think of Michael Bay when he shows up to work there are just certain things he does better than anyone else in the business; and lavishing near-pornographic love on depictions of high-end military machinery and the men wield it doing what they’re (both) built for in extended action setpieces is one of them. Whether or not it’s ghoulish to use a major recent tragedy like Benghazi as fodder for what’s effectively BLACK HAWK DOWN: THE ALL MONEY-SHOTS VERSION, it’s hard to deny – this guy can shoot the hell out of a firefight.

Dramatically, though, it’s another matter entirely. I don’t know or care to know Bay’s politics, but whatever they are the film stops short of assigning specific blame for the lack of manpower/support that dooms the victims of the attack apart from infrequently hammering that yeah, someone probably should have sent more men and/or guns. Apart from that fact being a likely disappointment to the Fox News crowd and a relief to the Clinton campaign, it’s net-effect for the film is that there’s an lack of dramatic tension visceral enough to compliment the action: Morally reprehensible or not, the “Evil Queen Hillary cravenly sacrified Our Boys to The Enemy!!!” version of this story would’ve at least been more narratively compelling than “Fighting men get the shit end of the stick – what else is new?,” which is where 13 HOURS decides to plant its slow-motion waving flag, save for the (theoretically) notable detail that there’s aren’t your typical fighting men.

Indeed, the one respect in which 13 HOURS opts to feign toward novelty is in offering what’s likely the first unambiguously-heroic portrait of private military contractors (read: mercenaries) in a modern/post-9/11 setting. In lieu of focusing on the diplomatic outpost housing ambassador Chris Stevens (the initial target of the attack), the story centers on a team of soldiers-for-hire stationed nearby as security for a covert CIA operation that’s technically not supposed to exist; a scenario which briefly threatens to present an intriguing dillema: These guys have the firepower, manpower and proximity to potentially rescue the diplomats and hold back the attack; but if they go active they risk causing an international incident by revealing their and The Agency’s technically-illegal presence in Benghazi.

Unfortunately, neither Bay nor the film seem particularly interested in any real exploration of that. The mercs are our heroes because they’re story has the most action-ready material and because they allow what would otherwise be a grueling siege/survival horror show to be fronted by quintessential embodiments of the Michael Bay hero: Hulking slabs of muscle hauling immense high-end weaponry with faces concealed behind indistinguishable beards and varying styles of mirrored sunglasses, with any potential narrative shading regarding their war-for-profit employment status repeatedly undercut in favor of reminders that they were soldiers, SEALs, Marines, Rangers etc beforehand.

Instead, the drama sets up a disappointingly rote dichotomy between the mercs and their CIA/State Department charges on an overstated-feeling class-divide: The Agents are all snobby, Ivy League-educated know-it-alls who are overconfident that they’ve “got this” and don’t need these boorish musclebound cavemen around getting the way; while the warriors are all noble, jovial ‘bros overflowing with common sense and working-class resolve, with David Costabile in the Walter Peck role as a dismissive/arrogant CIA Chief.

Sure, one get’s what they’re going for here and it’s hard to argue that there isn’t a growing respect/experience divide between soldiers and those issuing orders in the 21^stCentury military, but 13 HOURS version of it is Saturday morning cartoon-level business, to say nothing of how it (however inadvertently) plays into the stereotype of American soldiers as low-intelligence brutes when in fact U.S. military enlistees are (percentage-wise) better educated than the civilian population overall. It also, unfortunately, means that Chris Stevens is basically a non-entity in the story: They obviously can’t include “the” martyr of Benghazi among the snob meanies, but Bay clearly has zero interest in the heroics of anyone who isn’t hauling the latest and greatest in munitions or who doesn’t look like one of the guys from Altered Beast one power-up away from werewolf-mode; so Stevens is relegated to being a symbolic MacGuffin of only slightly greater import than the aforementioned bullet-riddled flag.

Still, once the actual siege and shooting gets underway and Bay is in his element, it’s hard not to be impressed. There’s enough deliberate chaos on display (that no one seems to know what’s going on or how to discern enemies from local-friendlies is a recurring theme) to mistake some of the bigger moments for examples of the time-filling hyperactive nonsense that clogs up the TRANSFORMERS movies, but overall Bay has seldom had better restraint and control of action geography or composition. The firefights are among the best-looking since ACT OF VALOR (though here going for glossy, high-contrast stylization as opposed to stark realism) and the big blowouts are seriously impressive – though it may have been a miscalculation to blatantly recycle the infamous “bomb’s eye view” shot from PEARL HARBOR in a key moment. It's enough to make you wish, again, that Bay actually had something to say with all this - especially when you run into interesting but out-of-place feeling sequences like the "fun" he seems to have with the idea that the attackers are wielding heavy-arms they don't actually know how to use versus a sudden left-turn wherein the anonymous enemy casualties are mourned by their loved ones.

In the end, I almost found myself wishing the film was actually worse so there’d be more interesting things to say about it. As I said before, if Bay was (visibly) setting out to make the anti-Obama-but-really-anti-Hillary hitpiece many assumed 13 HOURS would be, there’d at least be no shortage of material to chew over; and since the AMERICAN SNIPER crowd is all-but assured to treat it like one anyway so we’re going to drown in thinkpieces no matter what. Someday, Michael Bay is going to land on a story that actually compels him and also lines up with his aesthetic impulses and surprise everybody, but this isn’t the one.

2015 Oscars - Whatever

So we're doing this again? Okay.

This is a frustrating year for the Oscars, which is to say more frustrating than previous years where you're at least garaunteed the spectacle of being annoyed that no one can seem to decide whether to name each year's show for the (current) year that the ceremony airs or the (previous) year that the nominated films are from, which only becomes more confusing as we proceed on into this continuing business of many of the nominees not coming out beyond NY or LA qualifying runs until February or later. Instead, this year's added frustration is about a lack of obvious "villains" - as ever, there are plenty of snubs to be bitter over, but not a lot of obviously "bad" calls to redirect that bitterness onto.


Well, almost none. Pretty-much every nomination for THE DANISH GIRL could be handily scrubbed, and the Acting noms are overstuffed with "Award Fave" names turning in middling work (Cranston, Fassbender) - which is puzzling, since everyone is so sure DiCaprio is finally going to win (Christian Bale "Dude, here you go - now dial it back, we'd like you to make it to middle-age!"-style) they could've easily packed some more interesting choices in around him just for show. Meanwhile, Rooney Mara and Cate Blanchett wound up with the Best/Best-Supporting split for CAROL, which will now accelerate the debate over what to do about nominations for romance movies where two partners have equal-scale roles in an era where we're only going to see more same-sex pairings; which is interesting because I have no idea what the solution is.

The elephant in the room will once again be a look of diversity in the major categories, though I'd (gently) offer that it's less of a surprise this year: Like it or not, The Academy was never going to nominate TANGERINE and Academy Boomers by and large likely looked STRAIGHT OUTTA COMPTON and wondered why they'd received a screener for something that looks/sounds to them indistinguishable from RIDE ALONG or a FRIDAY sequel - sucks, but there it is. BEASTS OF NO NATION wasn't going to get in because there's a substantial animus on the studio/producer side of the industry toward Netflix's potential negative impact on the theatre business. The "Great Brown Hope" for 2015 would've been CREED, and the studio never understood what they had with that movie until it was too late: They figured they had a "budget" answer to the STAR WARS/JURASSIC WORLD nostalgia-sequel trend at best, never once considering that Coogler and company were going to deliver one of the year's best films.

Anyway...

BEST PICTURE:
The Big Short
Bridge of Spies
Brooklyn
Mad Max: Fury Road
The Martian
The Revenant
Room
Spotlight

Sucks that CAROL isn't here, ROOM is overpraised, otherwise hard to be annoyed by any of this. BRIDGE OF SPIES will be retroactively declared the best movie of 2015 once people see it, a'la SHAWSHANK in '94. Glad to see two sci-fi movies make the cut, rooting for THE MARTIAN, won't be as annoyed as some others when it turns out to be SPOTLIGHT, worried that THE REVENANT will win because Innaritu's ego is quite big enough as it is, thank you.

BEST ACTOR:
Bryan Cranston - Trumbo
Matt Damon - The Martian
Leonardo DiCaprio - The Revenant
Michael Fassbender - Steve Jobs
Eddie Redmayne - The Danish Girl

DiCaprio is going to win, though he already should have for WOLF OF WALL STREET. This is probably the worst major category this year: Cranston and Fassbender were both middling to miscast and Redmayne continues his streak as the most overpraised flat-out bad actor working.

SUPPORTING ACTOR:
Christian Bale - The Big Short
Tom Hardy - The Revenant
Mark Ruffalo - Spotlight
Mark Rylance - Bridge of Spies
Sylvester Stallone - Creed

I feel like Stallone has this, "win for the career" style, even though he was legitimately excellent in CREED. But Rylance wowed everyone in BRIDGE and The Academy loves theatre mainstays who make late cinematic bows, plus BIG SHORT is the big out of nowhere Awards Circuit darling of the year and The Academy does love Christian Bale.

BEST ACTRESS:
Cate Blanchett - Carol
Brie Larson - Room
Jennifer Lawrence - Joy
Charlotte Rampling - 45 Years
Saoirse Ronan - Brooklyn

This feels like where Blanchett will win for CAROL being "snubbed" otherwise. Jennifer Lawrence (or at least her "people") are likely praying that she doesn't get it, with JOY being widely dismissed otherwise and the backlash-bomb primed and ready now that "My daughters really love Katniss" isn't going to be there to absorb it anymore.

SUPPORTING ACTRESS:
Jennifer Jason Leigh - The Hateful Eight
Rooney Mara - Carol
Rachel McAdams - Spotlight
Alicia Vikander - The Danish Girl
Kate Winslet - Steve Jobs

I feel like this is going to Vikander. The movie is bad, but she's good in it and (more germane to the discussion, sadly) she's the current-model "smokin' hot chick who can actually act" for the Awards Circuit. My preference would be for Leigh to take it, both as HATEFUL EIGHT's only major representative and because if we're going to hand DiCaprio an Oscar for having a rough shoot on REVENANT an actress who also spent most of a Western being cold, blood-drench and beaten-up.

BEST DIRECTOR
Adam McKay- The Big Short
George Miller - Mad Max: Fury Road
Alejandro G. Innaritu - The Revenant
Lenny Abrahamson - Room
Tom McCarthy - Spotlight

It's bullshit that Ridley Scott isn't here (to say nothing of Spielberg!), but that's what happens when A.) everyone already knows you're great and B.) you opt to not actually DO anything great for almost a decade. Miller is the sentimental favorite here, but I'm feeling like this is going to McKay. BIG SHORT has been really well-recieved and he in particular is a popular, well-liked figure in the industry for awhile now. Just please, please not Inarritu again - and I liked the movie, too!

CINEMATOGRAPHY
The Hateful Eight
Sicario
The Revenant
Mad Max: Fury Road
Carol

Should be MAD MAX, will probably be REVENANT, HATEFUL could sneak in because fellow DPs adore the 70mm revival. Honestly they're all worthy choices here, not a bad pick in the bunch.

EDITING
The Big Short
Mad Max: Fury Road
The Revenant
Spotlight
Star Wars: The Force Awakens

MAD MAX should take this one walking away, but I have a suspicion that STAR WARS is going to roll right over all the technical categories.

ADAPTED SCREENPLAY
The Big Short
Brooklyn
Carol
The Martian
Room

Tough one. Had been feeling like this is where CAROL would get it's "sorry for no best picture" heat, but The Academy clearly really, really loves THE BIG SHORT.

ORIGINAL SCREENPLAY
Bridge of Spies
Ex Machina
Inside Out
Spotlight
Straight Outta Compton

SPOTLIGHT will take this one. Would prefer BRIDGE OF SPIES.

BEST ANIMATED FEATURE
Anomalisa
Boy and the World
Inside Out
Shaun the Sheep Movie
When Marnie Was There

Good lineup. I honestly, at this point, think INSIDE OUT is actually marginally better overally than ANOMALISA, but I think ANOMALISA will win based on animation folks loving the idea of the medium getting to bask in Kaufman's "grownup indie" cred - plus the movie is really good.


The Academy Awards will be take place February 28, 2016.

Watch Little Boy (2015) Full Movie Online For Free Without Download

Little Boy is a US-American-Mexican film drama made in 2015. Director was the Mexicans Alejandro Gómez Monteverde. The music was composed by Stephan Altmann and Mark Foster.

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To play Little Boy full movie at full-screen size, click the arrow button located at the far bottom-right corner of the stream (video). Please let us know via comments if the stream is working or not.

Watch The Runner (I) (2015) Full Movie Online For Free Without Download

The runner is an american film directed by Austin Stark.

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