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Den of Thieves Full Movie


Make like Lot’s wife. Don’t think. Eyes in front. Don’t falter. Even the slightest twitch of cranial activity will ruin Christian Gudegast’s silly caper.

Den of Thieves desperately wants to be Heat or The Killer when it grows up. Instead it’s a daft, distant, drunken cousin to those pictures, but if you studiously avoid thinking about it, you can at least enjoy its moronic antics.

The action unfolds as an Anchorman news team battle between cops and robbers. The cops are – wait for it – even more lawless than their targets. They are a hard-drinking, hard-partying, hard-bodied crew led by a growling Gerard Butler, who stands one eye-patch and wooden leg shy of being a full-blown Pirates of the Caribbean. “Do we look like the types that’ll arrest you?” aaaarghs Butler. “We’ll just shoot you.”

They’re lone wolves. Except in a group. Which one of his guys is Brick? We never find out: the equivalent teams idea gets lost when Gudegast’s screenplay fails to differentiate the players.

We do know that the bad guys are led by Orange is the New Black’s Pablo Schreiber, and include 50 Cent and O’Shea Jackson Jr. The bad guys may rob banks, but, in a non-shock twist, otherwise look to be far more upstanding citizens than the crooks.

“You’re not the bad guys,” stomps Butler: “We are.” Got it.To paraphrase mammies everywhere, if you have nothing nice to say, don’t bother including the nothing female characters, which here run to three minutes of nagging wife, obedient call girls, a shared lap-dancer, and 10 seconds of teenage daughter.

The latter is going to prom, but not until her dad (50 Cent, who is a good deal more convincing than he was while playing 50 Cent in Get Rich or Die Tryin’) and his steroidal buddies surround her unfortunate date in an assertion of their sexual propriety.

Anyways, these bank robbers are, like, the best ever bank robbers; it’s almost as if they’ve taken over the warren of underground tunnels that allowed Gerard Butler to disappear and reappear in jail, court, the mayor’s office, and the zoo (probably) and are now using them against the Scottish star.

The titular thieves (Or are they? Huh? Huh?) have hatched the plan of plans to rob the bank of banks. Their heist and capering is appealingly spliced together by Clint Eastwood’s regular editor, Joel Cox. But you’ll need pixie dust, a stable of suspended disbelief, and a high tolerance of meat-headedness to get along with the rest. Watch out for the dim and wholly unnecessary twist. Eyes in front.

Note to action movie directors: you probably don’t need to tell Curtis “50 Cent” Jackson — juvenile crack dealer turned multi-millionnaire rapper and movie star – how to take a bullet.It was a liberty first-time filmmaker Christian Gudegast felt comfortable taking, however, during the filming of Jackson’s latest movie, gritty heist thriller Den of Thieves.

“There’s a point where I get shot in the film, and I did it and Christian was like, ‘No, you didn’t do that the right way,” Jackson recalled at a press event for the movie in Beverly Hills.“I was like, ‘Trust me, I know what I’m doing.’”

Jackson, raised on the mean streets of Queens by his grandmother after his drug dealer mother’s death in a mystery fire, knows all about how it feels to get shot, of course.On a May evening 18 years ago, he was hit nine times at close range by a drive-by gunman wielding a semi-automatic pistol in the South Jamaica area of Queens.

Shot in the hand, arm, legs, chest, hip and left cheek, he eventually made an unlikely full recovery while the alleged assailant was killed three weeks later.
“After I got shot nine times at close range and didn’t die, I started to think that I must have a purpose in life,” Jackson would later reflect in his autobiography.
Empowered and newly motivated, he left his criminal past behind, started pumping iron seriously and became the health-conscious, entertainment tycoon we know today. Most famous for hit hip hop tracks In Da Club and Candy Shop, the soft-spoken Jackson has become as much a worldwide brand as an actor and musician.

Den of Thieves, his 24th movie, follows the intersecting lives of the major crimes unit of the Los Angeles Sheriff’s Department and the “Outlaws,” an elite band of robbers.The 42-year-old gives a laconic, brooding performance as a disciplined father-of-five who has managed to demarcate his family life and criminal career as the Outlaws’ second-in-command.In real life, Jackson has been frank about his complicated family situation, reportedly paying $12,000 (Dh44,063) a month on child support for his two younger children.

He is estranged from his older son Marquise, publicly disowning him via an Instagram post in October last year, and the pair have sparred on social media.
In Den of Thieves, Jackson gets to deliver one of the movie’s rare humorous moments as the overprotective father who uses the Outlaws to intimidate the boy taking his teenage daughter to the prom.

“Whether you have a female child or not, you can use your imagination and say if that was my daughter, she’d be my little princess,” Jackson said, asked if the scene made him reflect on his own role as a father.

Every member of the main cast were put through a grueling two-week boot camp before filming began in Atlanta to give them a comprehensive understanding of the weapons and how to move with them.

This, of course, would have been a cinch for Jackson, famed for his granite-hard six-pack, and a punishing gym regimen that includes going twice on Sundays.

He is famous for shedding a quarter of his fighting weight of 214 pounds via a nine-week liquid diet to play an athlete who battles cancer in All Things Fall Apart (2011).

Thor Ragnarok

Watch & Download Thor Ragnarok Full Movie Online

Movies in the Marvel Cinematic Universe often come chock full of cameos and Easter eggs, and Thor: Ragnarok was no different in that regard. Director Taika Waititi stole several scenes with his performance as the lovable Korg, but it turns out that he actually teamed up with Thor actor Chris Hemsworth for another cameo that quite literally involved putting their heads together. Check out the newly-discovered cameo, below.We knew Chris Hemsworth and Taika Waititi had grown close over Ragnarok’s production, but this cameo literally joins them at the neck. The first face to pop out on this three-headed is Waiti (the head on the far right), who can be seen staring directly at the back of Korg (also played by Waititi). Then, on the far left side of the creature’s head, the face seems to resemble that of Thor: Ragnarok star Chris Hemsworth — though what he’s looking at isn’t exactly clear.

The head in the middle is the one that fans on Reddit, who initially discovered the image, can’t quite seem to come to an overall consensus on. Some have suggested that the middle head is meant to look like The Wall star John Cena, while others have posited the possibility that it’s actually Marvel Studios president Kevin Feige.

And to think, that’s just the tip of the iceberg in terms of cameos featured in Thor: Ragnarok. In addition to Taika Waititi and Chris Hemsworth, the third entry in the Thor saga also featured cameos by actors like Hunt for the Wilderpeople’s Sam Neil, and Chris Hemsworth’s brother Luke Hemsworth. Then, there was also the widely talked-about cameo by Downsizing’s Matt Damon.

Although the home entertainment release of the flick is coming soon, audiences will have to wait and see if we ever get another Taika Waititi-directed Thor movie in the Marvel Cinematic Universe. The filmmaker joked to CinemaBlend about a possible opening for Thor 4 that would involve a Jurassic Park reunion between Sam Neil, Jeff Goldblum, and Laura Dern, but whether or not Marvel would ultimately go for that much less another Thor-oriented movie remains to be seen. If nothing else, we can presume Thor 4 would feature some fun cameos if it ever comes together.

With yet another Thor: Ragnarok cameo discovered, now is the time to look ahead to guess as to what other cameos may be on the horizon for the Marvel Cinematic Universe’s Phase 3 slate. We won’t have to wait too much longer to know for sure, as Black Panther will debut in theaters later this month on February 16, and Thor Odinson will reunite with the rest of the MCU heroes in the battle against Thanos (Josh Brolin) and The Black Order when Avengers: Infinity War premieres on May 4.

It won’t be long before Marvel’s Thor: Ragnarok becomes available for everyone to own. With the film’s home release arriving in only a few weeks, we can expect the studio to parcel out snippets of the bonus features, including director Taika Waititi’s introduction to the film.

RELATED: Thor: Ragnarok Cast Gets Their Groove On in Gag Reel Highlight Video

The clip, which debuted on io9, is just … the most Taika Waititi thing ever. If you’ve seen the filmmaker’s previous work, like What We Do in the Shadows or Hunt for the Wilderpeople, you’ll watch this with the biggest smile on your face.

In the video, Waititi throws shade at his parents, and at director J.J. Abrams, admit he made the film just for social media fame, and talks about his ambitions for Ragnarok. “There’s monsters, explosions, pretty ladies, handsome men, there’s a Hulk … that’s what we tried to do, and I think we did it,” he says at the end. It is … a lot, which frankly shows why he’s such a perfect fit for Thor in the first place. When you get the home release version of the film, it’s best to play this introduction before you play the new Marvel Studios intro Waititi came up with.

Thor: Ragnarok arrives Feb. 20 on digital, followed March 6 by the Blu-ray and DVD. The film stars Chris Hemsworth, Tom Hiddleston, Cate Blanchett, Idris Elba, Tessa Thompson, Karl Urban, Jeff Goldblum, Mark Ruffalo and Anthony Hopkins.

Its laughs from the start, as Waititi describes that “ultimately [Thor: Ragnarok] is about Thor… Ragnarok… and his journey… to some outer space places.”

The director behind What We Do in the Shadows and Hunt for the Wilderpeople keeps up his classic Kiwi humour, as he explains “people often ask me, ‘why did you become a filmmaker?’. Well the main reason – I just wanted to impress my mum and dad and to show them I’m not a loser.”

“I can get close to being J.J Abrams – I know you wanted him as a son, I’m sorry I’m not J.J Abrams.”

He goes on to cite Abrams directing some of the Star Wars franchise as a reason for wanting to emulate him, interesting as rumours swirl around Hollywood that Waititi himself might have been offered that very role.

Taika Waititi at Sundance
Waititi had some unusual reasons for making the smash-hit superhero film. Photo credit: Getty
Thor: Ragnarok director Taika Waititi has starred in a hilarious new video, promoting the release of the successful superhero movie onto DVD and Blu-ray.

Chris Hemsworth, Mark Ruffalo say Thor ‘best experience on a movie set’
Taika Waititi has Jimmy Kimmel interview crashed by Matt Damon
Its laughs from the start, as Waititi describes that “ultimately [Thor: Ragnarok] is about Thor… Ragnarok… and his journey… to some outer space places.”

The director behind What We Do in the Shadows and Hunt for the Wilderpeople keeps up his classic Kiwi humour, as he explains “people often ask me, ‘why did you become a filmmaker?’. Well the main reason – I just wanted to impress my mum and dad and to show them I’m not a loser.”

“I can get close to being J.J Abrams – I know you wanted him as a son, I’m sorry I’m not J.J Abrams.”

He goes on to cite Abrams directing some of the Star Wars franchise as a reason for wanting to emulate him, interesting as rumours swirl around Hollywood that Waititi himself might have been offered that very role.

Taika Waititi offered Star Wars movie
“Why did I make this film? For kudos. And followers on Twitter,” Waititi adds, also describing the unlikely influence that On Golden Pond and Independence Day had on his smash hit film.
It’s not the first hilarious glimpse at behind-the-scenes of Thor we’ve seen from Waititi. His clowning around was also showcased in an earlier clip Marvel released to tease the film’s upcoming release on DVD and Blu-ray.

Jumanji 2 Full Movie


Jumanji is now the fifth biggest domestic movie of 2017 and the third biggest movie ever in the history of Sony Pictures. The Dwayne Johnson and Kevin Hart-led sequel dropped just 32 percent last weekend, earning another $11 million in U.S. theaters. This film has now grossed more than $352 million in the U.S. alone and an additional $503 million worldwide. (Internationally, it’s the eighth biggest film of last year, ahead of Thor: Ragnarok and just behind Guardians of the Galaxy Vol. 2.) In a year with many disappointing sequels, Jumanji is on that exceeded every possible expectation.

Speaking of sequels that didn’t live up to expectations: Maze Runner: The Death Cure fell to second place on the box office chart in its second weekend in theaters. The film grossed an estimated $10.2 million, dropping nearly 60 percent from the previous weekend. The third film in the young-adult adaptation series will almost certainly be the lowest grossing movie in the franchise.

Third place last weekend went to the one new release in theaters: Winchester, a haunted house movie starring Helen Mirren. In its debut, the horror film grossed just $9.25 million, while CinemaScore voters gave the film a lowly “B-,” suggesting its life in theaters could be pretty brief. (I’m sure its afterlife will be better.) The fourth and fifth spots on the chart went to The Greatest Showman, the surprisingly popular circus musical with Hugh Jackman, and Hostiles, the Western starring Christian Bale. Showman is now up to $135 million in the United States alone.

On a per-screen basis, the biggest movie of the weekend was A Fantastic Woman, the Chilean film about a trans woman dealing with the loss of her partner. Debuting just after its Oscar nomination for Best Foreign Language Film, A Fantastic Woman made about $70,000 at five nationwide locations, for a per-screen average of $14,196. In second place was 24 Frames, the final film from the late Iranian filmmaker Abbas Kiarostami. At one theater it grossed $8,610.

Sony attributed its success for the quarter, which spanned from October through December 2017, to “the strong worldwide theatrical performance of Jumanji: Welcome to the Jungle.” The reboot/sequel, starring Dwayne “The Rock” Johnson, has been a pleasant surprise for the studio, grossing more than $824 million at the worldwide box office. However, most of that will be recorded in the following quarter since it was released globally in January; for Q3, Sony logged $329 million of Jumanji’s box office haul. Blade Runner 2049, which Sony distributed outside of North America, also accounted for $163 million.

Another contributing factor to Sony Pictures’ impressive quarter was the response to Season 2 of The Crown, which helped drive “an increase in sales for Television Productions mainly due to higher subscription video-on-demand revenues.” Other notable mentions include higher advertising and subscription revenues in India due to the acquisition of TEN Sports Network and improved ratings, as well as higher revenues due to the acquisition of Funimation.

It’s quite the turnaround for Sony which had taken a $962 million (¥112.1 billion) impairment charge for its film division for the same fiscal third quarter in 2016, leading to a massive $920 million (¥106.8 billion) loss and sparking speculation that the company was preparing to exit the movie business. Revenue at the film division rose to $2.37 billion (¥260 billion) for the latest quarter, compared to $1.94 billion (¥225 billion) in the year-ago quarter.

The forecast for full-year profits for Sony Pictures remained unchanged at ¥39 billion, or $355 million currently, as the positive impact of Jumanji’s impressive performance is expected to offset the negative impact of lower home entertainment revenue, including DVD and Blu-ray sales

Coco Full Movie


Disney/Pixar’s Dia de los Muertes-themed Oscar frontrunner Coco topped the 45th Annie Awards on Saturday, winning 11 trophies including for best animated feature, direction and writing. The ceremony was held at UCLA’s Royce Hall.Accepting the awards, helmer Lee Unkrich emphasized “building bridges not walls,” while producer Darla Anderson urged inclusion and diversity.

GKIDS’ The Breadwinner won the trophy for best independent animated feature. The pic’s team, including director Nora Twomey, executive producer Angelina Jolie, producer Anthony Leo and lead voice actress Saara Chaurdy, came onstage to accept the award. The audience applauded as Leo noted that it was the first time a winner in the category had a solo woman director.

The Breadwinner, the story of an Afghan girl growing up until the Taliban rule, and Coco are both nominated for the best animated feature Oscar, alongside DreamWorks Animation’s The Boss Baby, Fox/Blue Sky’s Ferdinand and indie Loving Vincent. In four of the past six years, the winner in the best animated feature Annie category went on to win the animated feature Oscar (in 2015, the Annie category was split in two with the addition of the best animated independent feature category).

Oscar-nominated animated short Dear Basketball won the Annie for animated short; Oscar-nominated animated short Revolting Rhymes nabbed an Annie for animated special production; and Weta’s work on VFX Oscar nominee War for the Planet of the Apes collected the Annie for best character animation in a live-action production.

The TV category winners represented multiple productions, led by Disney Mickey Mouse and Samurai Jack, which took home three trophies apiece.

Winsor McCay Awards for career contributions were presented to James Baxter, Stephen Hillenburg and Canadian animation duo Wendy Tilby & Amanda Forbis.

SpongeBob Squarepants creator HIllenburg, who was diagnosed with ALS this past year, was seated and received a standing ovation. Tom Kenny, who is the voice actor for SpongeBob, made the stage presentation and accepted the award.

The Ub Iwerks Award for technical advancement went to TVPaint; a special achievement award was presented to Studio MDHR Entertainment for its 1930s-inspired video game Cuphead; and the June Foray Award for charitable impact was given to animation historian Didier Ghez.

This year, the International Animated Film Society, ASIFA-Hollywood, dedicated its Annies ceremony to veteran voice actress June Foray, who died in July at the age of 99.Coco added $11.6M this weekend in 35 material offshore markets as it strums its way to $500M overseas. The story of Miguel (Anthony Gonzalez) and his musical dreams traveled for the first time to Sweden and Norway this session, opening No. 1 in both. With domestic, the global frame was $13.2M.

In notable new ascensions, Coco is now the No. 4 Disney/Pixar release and the No. 2 Pixar release ever in Korea where the cume is $22.5M.

The story centers on the young Miguel, who wishes to be a crooner just like the late great Ernesto de la Cruz (Benjamin Bratt). But, music is of the devil in Miguel’s family, and de la Cruz is largely to blame for the curse. Following a mysterious and otherworldly chain of events, Miguel meets charming trickster Héctor (Gael García Bernal — voicing himself in the Spanish and English versions). Together, they set off on an adventure of music and mystery, resulting in the most unusual family reunion.

Coco began its otherworldly trajectory back in November, bowing in Mexico to tie into the Dia de los Muertos holiday and going on to become the highest-grossing movie ever in the market (local currency). From there, the adventure continued in the U.S. and other offshore hubs with majors rolled out bit-by-bit (the UK only recently opened).

China was a huge win for the film and for Pixar whose titles have traditionally not found similar favor in the Middle Kingdom as they do elsewhere. But Coco‘s themes of family and the afterlife struck a chord locally. That propelled the box office to $183.5M with a rare extended run granted. Coco should also have the knock-on effect of helping set up The Incredibles 2 in China, mixing recent positive brand recognition with superhero and family themes.

Elsewhere, Miguel and his trusty dog Dante have seen great holds. In Latin America, Coco is still No. 1 this weekend in Argentina, Ecuador, Bolivia and Uruguay. In Chile, the film grew 4% this session with just a 27% drop in France and 29% in Spain.

The Top 5 markets are China ($183.5M), Mexico ($57.8M), France ($32M), Korea ($22.5M) and Spain ($20M).

Among the Annies Coco scooped last night were prizes for Best Animated Feature, Directing, Writing, Production Design, Music and Editing. It previously won the Golden Globe as well as Best Animated Film honors from the National Board of Review and New York Film Critics Circle. It is nominated as Best Animated Feature at the BAFTAs and Oscars.“Coco,” Pixar’s Oscar-frontrunning love letter to Mexico and Día de los Muertos, took animated feature honors Saturday at ASIFA-Hollywood’s 45th Annie Awards (at UCLA’s Royce Hall). GKids additionally earned the independent award for “The Breadwinner,” the powerful Afghan drama, directed by Nora Twomey of Cartoon Saloon, and executive produced by Angelina Jolie.

“Coco,” in fact, swept the Annies with a record 11 wins (including directing for Lee Unkrich and Adrian Molina, writing for Molina and Matthew Aldrich, character animation, character design, production design, effects, storyboarding, voice acting for Anthony Ganzalez as Miguel, music, and editorial).

Pixar’s animated Coco is wholly inspired, from story to design, by the Mexican holiday Dia de los Muertos. And at one point during its development, the film also paid tribute with a showstopping opening.

The uplifting tale (debuting on digital HD platforms Feb. 13, and Blu-ray/DVD Feb. 27) of young Miguel (voiced by Anthony Gonzalez) and his journey to the Land of the Dead to visit his ancestors is full of catchy tunes. Remember Me is up for best original song at the Oscars, where Coco will also compete for best animated movie.

But there used to be a bunch more songs when Coco was envisioned as a wall-to-wall musical, and has the exclusive debut of a scrapped beginning that offered a colorful introduction to Dia de los Muertos and the colorful cinematic world.