The Man from U.N.C.L.E. is a 2015 action-comedy film directed by Guy Ritchie. It is based on the 1960s television series of the same name and stars Henry Cavill and Armie Hammer as two secret agents from opposing sides who must work together to stop a criminal organization from using nuclear weapons. Set in the 1960s Cold War era, the film combines espionage with humor and style, making for an entertaining and stylish spy thriller.

A genuinely suspenseful thriller featuring accomplished actresses in uncharacteristic roles, Hanna combines the considerable talents of Saoirse Roana, notable for her compelling performance in The Lovely Bones, and Academy Award winner Cate Blanchett. No longer a long-suffering ingénue, Ms. Roana plays Hanna herself, "the perfect killing machine," and Ms. Blanchett plays a ruthless intelligence agent with clear family ties to Cruella DeVille, Ma Barker, Catherine Tramell, and other stellar sociopaths. "Please suspend disbelief for Hanna's fundamental premise: Hanna's father, formerly CIA and now resident of Finland's rugged frontier, has trained his daughter to become the consummate assassin. Whether or not you find it plausible, you must admit it's not a bad idea: Who ever would suspect the innocent abroad would be hell-bent on killing? Well, okay, who but Blanchett's character? As Hanna evades capture and approaches her ultimate target, she discovers a character attribute which feels and acts surprisingly like a conscience. Remember the time-honoured themes in modern literature—good versus evil, and character versus his or her own human nature? Hanna updates and intensifies those themes in a well-paced, white-knuckle post-modern, girl-power package.

The Warrior's Way" challenges: Can you survive the love to get to the action?... Who wouldn't want to see Kate Bosworth playing a bad-girl knife thrower in a ninja movie? After all, late adolescent boys can live on reruns of "Blue Crush" for only so long. In "The Warrior's Way" movie, Dong-gun Jang stars as a ninja assassin—reputedly "the world's greatest swordsman"-- grown weary of his deadly craft. When the assassin turns down an assignment, his warrior clan expresses its displeasure by ordering him killed. Naturally, the swordsman seeks sanctuary in the American badlands, where the locals will hardly notice a Korean newcomer in town. Just as naturally, the newcomer falls in love with the knife-thrower and befriends the town drunk—happens every day in the Dakotas. Naturally, the three of them save the swordsman and their town, and audiences may assume they Ginsu happily ever after. After pre-release screenings of "The Warrior's Way" movie audiences generally agreed with the reviewer who said, "If you can bear the hour of 'love story' and the bad acting that goes with it, you can get to some really fun action scenes. Some awesome effects and fighting will jolt you from much of the boredom." When it's all over, "The Warrior's Way" leaves the average guy wondering, "How much do I really like Kate Bosworth?"

Another fairy tale from the Brothers Grimm finds superstar Julia Roberts vying for the attention of the charming prince portrayed by Armand "Armie" Hammer. She is a wicked enchantress, Queen Clementianna who finds herself in a competition over a young orphan's throne and the affection of the handsome young prince Andrew Alcott. eauty wins out in this theatrical version just as it did in the fairy tale and soon the young Snow White is exiled to the forest where man eating beasts want to make dinner out of her. The orphan Snow White is played by Lily Collins (90210, The Blind Side), Armie Hammer (The Social Network, Billy: The Early Years) is Prince Andrew Alcott, Julia Roberts (Pretty Woman, Sleeping With the Enemy) portrays Queen Clementianna, Brighton is played by Nathan Lane of The Bird Cage, Nicholas Nickleby. Filmed in Montreal, Quebec Mirror Mirror brings a famous fairy tale to life with a fresh new look at an age old competition between maturity and fresh blossoming beauty.

Predators movie of the 2010 is better than you can describe that! Perhaps, after "Avatar" released in late 2009 is the first movie that you want to watch and not look the clock, even when it ends. This is absolutely amazing. So if there is still someone else who is able to film it again it is necessary to make it in 3D to collect at least some cash. Action is taken in the best traditions of the genre. History is absolutely competent, not far-fetched. All genre standards are met, and it does not seem secondary. This is absolutely original, beautiful movie, which you can watch without knowing the history of the first "Predator". Although, it features many references to the first "Predator": A Memoir of Guatemala, the skull "outsiders" are present in the parking lot of hunters of prey. Movie definitely made with love to its roots and to the genre as well.

Nicholas Cage proves his special gift for keeping the paychecks coming, teaming up with the director of My Bloody Valentine for Drive Angry 3D, due in theaters early in February, 2011. The promotional materials seem a little ambivalent or ambiguous about the film's supernatural element: Cage supposedly has escaped from Hell to avenge his daughter's murder and rescue his infant grand-daughter from sacrifice at the hands of a devil-worshipping cult. Of course, "The Accountant," one of Satan's executive demons, pursues Cage as he drives angrily across a hostile landscape in hot pursuit of bad guys and redemption. Many of the synopses omit the demonic content, perhaps because it has very little impact on the characters, situations, or plot. Three classic American muscle cars actually star in Drive Angry 3D, exuding at least as much sex appeal as Charlotte Ross, who delivers a soon-to-be-legendary sex-and-violence vignette between Cage's angry driving sequences. What's not to love about a 1964 Buick Riviera, a 1969 Dodge Charger, and a 1971 Chevy Malibu all muscled-up and chromed for the occasion? Regardless of critics' and audiences' reaction to Drive Angry 3D, film historians may use the film as compelling evidence in support of their argument 3D definitely makes a film's imagery more vivid but does not automatically improve its content or redeem it as a work of art.