To continue reading the review and all of the highly detailed, scene-by-scene listings of the sex, nudity, profanity, violence and more (15 categories): or Just $7.95/month or $47/year I have subscribed to ScreenIt for more than a decade. I check in every week to take advantage of their amazing services. Not only does their site provide a glimpse of exactly what content a movie offers, I've found the ?Our Take? reviews and ratings for each movie to be right on the money every single time. I've referred dozens of friends to this service because my #1 resource for deciding whether or not to show a movie to my kids, or to see one myself, is ScreenIt.com! Josh Nisbet Director, State of CA Public Sector I signed up to get Screen It weekly reviews a long time ago, when my kids were young and I wanted to know more about movies before we went to a theater or rented. Now one child is in law school, other in undergraduate, and I still read the weekly Screen Its! It helps me know what my husband and I want to see or rent, and what to have waiting at home that we all will enjoy when my "kids" come home. I depend on Screen It reviews. They usually just present the facts and let me decide if the movie is appropriate or of interest for my family and me. Thank you for providing that service, Screen It! Patti Petree Winston Salem, NC I have 4 children who are now in college. thanostv signed up for Screen It when my children were pre-teenagers. Often my children would ask to see a movie with a friend and I wished I could preview the movie prior to giving permission. A friend told me about ScreenIt.com and I found it to be the next best thing to previewing a movie. The amount of violence, sexual content, or language were always concerns for me and my husband as we raised innocent kids with morals. We constantly fought the peer pressure our kids received to see films that in our opinion were questionable. With the evidence we received at Screen It, our kids couldn't even fight us when we felt a film may have been inappropriate for them to watch. Thank you, Screen It. Continue to make this helpful service available to everyone, but especially the young parents. Christine Doherty Machesney Park, IL Screenit.com is an amazing resource for parents, educators, church groups or anyone who wants to make an informed decision whether a movie is suitable for their viewing. The reviews and content descriptions are so detailed I am mystified how the reviewers can put them together. Scott Heathe Vancouver, BC I love screen It! I don't know what I would do without it. It is well worth the membership. Before we take our son to the movies we check it out on screen it first. Thank you SO much for making it. Keep up the good work & keep 'em coming!!! Patrina Streety Moreno Valley California

?But that?s what it?s like in the source material!? is a frequently used defense of subpar film adaptations, but here?s hoping Keiichi Sato and Yasushi Kawamura?s computer-generated ?Gantz: O? represents a departure from the original ?Gantz? comic (written by Hiroya Oku, adapted for screen by Tsutomu Kuroiwa). Otherwise it suggests strongly that all copies of the hugely popular manga should be shot into the sun. The film peddles an incoherent, paper-thin notion of heroism and a regressively gendered vision of an alien-monster-infested Japan, and while it?s possible that superfans might find it an acceptable addition to the canon and embrace its overtly video-game aesthetic, it seems unlikely to find much traction outside of the Japanese gaming/manga community. And those within it should really expect more, too.

The film opens mid-battle, as a young woman in a high-tech form-fitting catsuit cowers behind an overturned car in Tokyo?s Shibuya district. She is being menaced by a giant Orc-like monster ? the irreconcilable clash between the fantasy aesthetic of the ?Warcraft?-style creatures, the futurist sci-fi of heroes? suits and weaponry, and the slick, contemporary locations is jarring from the off. The woman is Reika (voiced by Saori Hayami), who serves no narrative purpose except to have unfeasibly shiny, liquid hair and unfeasibly large breasts. Mystifyingly, the women?s combat suits appear to have the tensile strength to stop bullets and save the wearer from being crushed by giant troll-heads, but offer very little in the way of bosom support, resulting in a lot of localized jiggling.

Reika is saved by ?teammate? Kurono (Yuki Kaji), who then determines to face the monster alone. ?You don?t have to do it!? she wails. ?Who else is there?? Kurono replies, and he?s right: There is no one around of the right sex and age bracket to make a viable hero. He kills it, but is also killed. Reika is sad, but her hair is great, and her breasts magnificent.

They are reluctant players in a game run by a large black orb that issues instructions and keeps score. Somehow, when you die (Reika was in a car accident, her ineffectual older teammate Suzuki, voiced by Shuichi Ikeda, had a stroke), you materialize, healed, in a featureless office where you meet your team, get your catsuit and get sent out against the clock to defeat a bunch of enemies. Fail and the whole team buys it. Succeed, and you accrue points which can be used to escape the game, upgrade your weaponry or resurrect a dead teammate (oops, there go the stakes!). But the dead Kurono was their leader, so it?s a good thing that in a Tokyo subway station, similarly strapping young male Kato (Daisuke Ono) gets viciously stabbed to death, and can be co-opted onto their team.

How the resurrections work, what happens to the dead bodies, how the players are chosen, what they do in between games, and who exactly they?re playing for remain deeply unfascinating mysteries. More fundamentally, the battles take place in real Japan and are reported on by the real news as unprecedented alien attacks. But the game has been going on a long time, so who or what did they fight before? And why have the players themselves, who are occasionally caught on camera, not been recognized and the game exposed? They can?t all have been so unlucky as to have had their sole close relative turn away from the television at the exact moment they were filmed katana-swording a big ugly beastie, can they? To think about ?Gantz: O? at all is to overthink it.

The team are dispatched to Osaka, where they must face down not only myriad new monsters, including one who seems vanquished only for its eye to morph into a breast (which must be spectacular in 3D) as it takes the form of a giant naked woman made up of the writhing forms of hundreds of other naked headless women, they also face a rival Gantz team. But that does give Kato the chance to fall for Anzu (M.A.O), a romantically forward mother-of-one with a laser lasso weapon and a lovingly rendered thigh gap. While fighting monsters who are declared dead more times than cinema has been in 2016 (an argument for which ?Gantz: O? makes a compelling case), only to rise again with additional wings or horns or whatever, Kato still has time for the old boy-meets-girl, girl-dies, boy-wins-arcane-afterlife-game-and-uses-points-to-bring-her-back story.

The preposterous illogic, manufactured dilemmas, subterranean stakes, unearned sentimentality, and unquestioned sexism might be marginally more forgivable if ?Gantz: O? looked good. But aside from some inventive creature design, the cheap, dead eyes and sterile plasticity of the CG humans suggests we?re no closer to bridging the uncanny valley than we were 15 years ago when the first all-CG ?Final Fantasy? movie came out. No doubt the majority of the intended audience weren?t even born in 2001 and are accustomed to this visual style from their computer screens and console games. But this is supposed to be cinema, and if people are only as good as the art they consume, it?s a matter of some urgency to supply the teenage boys of today ? the men of tomorrow ? with https://www.thanostv.org/movie/gantz-o-2016 than ?Gantz: O,? a film in which its deemed OK, perhaps even witty, to have one of your two sole female characters referred to in the closing moments not by her name, but by her nickname: ?Jugs.?

Review by Adam Tyner | posted May 10, 2018 | E-mail the Author [click on the thumbnail to enlarge] It's a page out of history [click on any of these thumbnails to enlarge] Howl's Moving Castleany [click on the thumbnail to enlarge] [click on the thumbnail to enlarge] (and also voicing Gorilla Grodd for the first time) tl;dr (...although that's an option too, if you want it.) [click on the thumbnail to enlarge] (SDH for the English adaptation as well as a proper translation of the Japanese audio) [click on the thumbnail to enlarge] New York Comic Con Presents Batman Ninja : Screenwriter Kazuki Nakashima, character designer Takashi Okazaki, and director Junpei Mizusaki are joined by English screenwriters Leo Chu and Eric Garcia for this NYCC panel. Among the topics of discussion here are the genesis of Batman Ninja, the perception of Batman in Japan, how the filmmakers honored these characters while still giving them a unique spin very much their own, what the most difficult character was to direct, the score by Y�go Kanno, and how the fight choreography draws in part from live-action reference footage. Chu and Garcia delve into the challenges of adapting Batman Ninja into English, especially given that animation can sometimes be underway before even the Japanese dialogue is written. The English language voice actors weren't ready to be announced as this panel was underway, which does put a damper on the conversation. The panel discussion is followed by a Q&A session. Batman: Made in Japan : The first of Batman Ninja's featurettes focuses primarily on character design, and I particularly enjoyed hearing what elements ? whether ThanosTV 's from history or from your favorite Batman comics ? helped to shape the look of these characters. For example, Lord Joker draws in part from Dutch colonialists, while Robin's hairstyle mirrors that of Daigoro in . [click on the thumbnail to enlarge] East/West Batman : While "Made in Japan" concentrates on character design, "East/West Batman" delves into most everything else: how key elements of the Dark Knight translate so wonderfully to Japanese storytelling, how deeply the premise draws from history, the exploration of what Batman is when stripped of his arsenal and technology, cross-cultural influences, how the sound design extends to the thoughtful use of silence, the film being driven more by its visuals than by its narrative, and...hey, video game boss intros and colossal robot battles! soHighly Recommended.

You think you know someone, and then they do something that makes you re-evaluate everything you thought was true.

Take Paul Feig. For years now I?ve known him as the dapper director of ribald, rewatchable comedies that feature Melissa McCarthy ? Bridesmaids, The Heat, Spy, Ghostbusters. And then he comes out with A Simple Favour, which is funny in a North by Northwest kind of way ? only occasionally, and always darkly.

It stars Anna Kendrick, who always seemed like your sister?s flighty best friend, forever late for a plane or singing along to some cheesy pop hit ? yet here she is doing everything short of donning a deerstalker to solve an elusive mystery.

It also stars Blake Lively, who hails from Los Angeles but looks like she might have been manufactured there, with her coltish figure and poreless skin. But it turns out she has hidden dramatic reserves as well.

And there?s Henry Golding, whom you either know from Crazy Rich Asians or not at all, so new to the North American scene is he. I haven?t had time to develop an opinion, beyond making sure he wasn?t some computer-generated algorithm of handsomeness. But from his role here it?s clear that even if he?s artificial, his intelligence isn?t.

Those are the main pieces of the puzzle. The great thing about A Simple Favour is that it never feels like you?re in possession of every piece; more than halfway through its two-hour run it?s still doling out information, and toying with what you think you already know.

The story, which drags the audience in sideways, like a drunk telling a half-forgotten joke, features Kendrick as Stephanie, a single mom who functions as an efficient, one-woman PTA, and runs a YouTube channel on which she makes healthy snacks and adorable crafts.

She meets bad-mom Emily (Lively), who drinks and swears and seems to walk around backed by French pop songs from the ?50s. Emily treats her as though she?s an adorable dog who?s followed her home, and Stephanie is content to play the role.

But when Emily suddenly vanishes after asking the ?simple favour? of looking after her child for a few hours, Stephanie keeps up the good-dog routine, following Emily? thanostv ? which inevitably brings her into close contact with the woman?s husband, a one-hit novelist who is either a bookstore cardboard cutout of himself, or is also hiding his own dark secrets.

A Simple Favour was written by Jessica Sharzer ? her credits include eight episodes of the TV anthology series American Horror Story ? and adapted from a first novel by Darcey Bell that looks to be Gone GirlmeetsThe Girl on The Train. So we have a mystery/thriller book, adapted by a horror writer and then turned over to an eccentric comedy director.

No wonder it feels like a supernatural ghost story one minute, a detective noir the next, and unexpectedly a comedy, as when Stephanie suddenly goes off on a snooty designer (Rupert Friend) for whom Emily worked ? works? There?s a great portion of the film where we?re not sure if she?s alive or dead or perhaps undead.

But even while the characters are flailing, the filmmaker remains very much in control, tweaking the comedic and dramatic timing just so. There?s some excellent use of dialogue over flashbacks, indicating that Stephanie may not be the most reliable narrator, but allowing us two choices as to which part of her story to believe.

Feig has never made a sequel ? The Heat 2 has been announced, but will apparently be more of a spinoff, since star Sandra Bullock has said she won?t come back for it. And with A Simple Favour he delivers quality entertainment, frothy and fun and a little naughty ? and sequel-proof. Nice to know there are some things about him we can rely on.

No clich�s are avoided in the pleasant, if relentlessly adorable ensemble comedy Dog Days, in which no less than four pooches are featured before the opening credits are even finished rolling. Straight away a question is posed: ?What is it about dogs that bring us such enjoyment?" Well, when was Watch Dog Days 2018 bit you? And when was last time life or another human took a chomp out of you? In Dog Days, the trying lives of a bunch of vanilla-flavoured Los Angeles dog owners are reflected in their hairy little friends. When a widower?s pug goes missing, for example, his lament for the absent dog represents the other hole in his life. So, in a story that is predictable, the metaphors are a little on the snout. And the best laughs don?t come from the main characters, but from bit players Tig Notaro (as the straight-faced pet psychiatrist) and Phoebe Neidhardt (as the effervescent, over-sharing television weather girl). Still, Dog Days, directed by actor Ken Marino, satisfies on a sentimental level, which is all that it ever was meant to do.

Teen Titans Go! To The Movies will be overlooked by many because of its kid-centric charms, but it delivers laughs in a pretty significant way.

The executives at Warner Bros. are currently in the process of re-tooling their DC Films brand, which is perfectly fine by me. DC has a treasure trove of interesting characters, and good superhero movies have proven to be box office bonanzas for Hollywood. When something like Avengers: Infinity War earns the GDP of a small country in three weeks, other studios are going to want a part of that action.

But what if DC just stuck to comedic takes on the superhero genre?

While this sounds like a preposterous idea, it might not seem so outlandish after Teen Titans Go! To the Movies. Following in the satirical footsteps ofThe LEGO Batman Movie, this feature-length adaptation of the popular Cartoon Network TV show is extremely witty, wonderfully concise, and shamelessly silly. It?s unafraid of gearing its goofy charms towards the youngest of audiences, but it?s also equipped with just enough incisive, clever material to delight parents and superhero fans alike. Even if you?ve never seen an episode of the show (I?ve never been a fan), this movie will win you over with its inspired lunacy.

The Teen Titans ? Robin (Scott Menville), Beast Boy (Greg Cipes), Raven (Tara Strong), Cyborg (Khary Payton), and Starfire (Hynden Walch) ? may be super, but they?re not all that heroic. The Titans spend their days lounging around, while the real heroes like Superman (Nicolas Cage) and Wonder Woman (Halsey) do the hard work. Most of the Titans could care less about their joke status within the superhero community, but Robin is an exception.

In this meta DC world, superhero movies are just as popular as they are in our universe. The Titans are blocked from the star-studded premiere of the new Batman flick, which intensifies Robin?s desire to have a movie of his own. Iconic director Jade Wilson (Kristen Bell) is sending movies about Alfred and the Batmobile into production, but a film about the Titans is just a bridge too far.

If the Titans want their own movie, they?ll have to do something heroic for a change, fighting an arch-nemesis or saving someone in need. Robin finds a villainous foe in Slade (Will Arnett, who voiced the Caped Crusader in last year?s LEGO Batman), a masterful criminal with a shady evil plan. But as Robin devotes his time and energy to the quest for a movie, the young hero slowly finds himself losing touch with his family of misfits. Can Robin push aside his ego before it?s too late?

Teen Titans Go! To the Movies is the kind of wacky, infinitely energetic bit of animated fun that I would have simply adored as a young kid. It?s so loaded with movie references and unexpected bursts of absurdity, focusing less on concrete narrative logic and more on expert comic sequences. This is Deadpool for the elementary school demographic, and even as the film dips into more serious territory on occasion, it maintains a spirit of unabashed goofiness.

Although Teen Titans Go! gears its jokes towards younger audience members, I have to wonder if they?ll understand much of the humor. After all, unless you?ve seen the extraordinarily violent Batman v Superman: Dawn of Justice, a joke about the infamous Martha connection will fly right over your head. When Deadpool rattles off witty references to the Avengers andX-Men movies, it works because that audience is entrenched in the world of comic books and superheroes. Here, https://www.thanostv.org/movie/teen-titans-go-to-the-movies-2018 of those jokes is a little more shaky.

Ultimately, Teen Titans Go! includes just enough whip-smart satire to please hardcore fans and adults, while still maintaining the core spirit of the story. Fans will burst out laughing at a Back to the Future-inspired sequence (one that applies the classic Alan Silvestri musical theme), while kids will enjoy the interactions between the Titans. Like Chris McKay did with last year?s LEGO Batman, directors Aaron Horvath and Peter Rida Mitchell balance parody and emotional weight with ease.

Plus, it helps when you have a film with this much raw kinetic momentum. Teen Titans Go! lacks the fluidity of something like Brad Bird?sIncredibles 2, but that?s not necessarily a requirement in this realm. The film often feels like a comic book brought to life, channeling the old-school spirit of the original Batman show with its over-dramatic punching effects and inspired bits of action.

To sum it up in a single word, Teen Titans Go! is zany, and that sense of nuttiness is practically contagious. What could have felt exhausting actually had me grinning from ear to ear. It also functions as a unique kind of eye candy, delivering appealing visuals to go along with the spirited madness. The film convincingly creates its own world; it works as both a twisted rendition of the Warner Bros. backlot and a glorious fantasy of a superhero utopia.

Did I mention it?s also a musical? Teen Titans Go! isn?t content to just feature big time-travel sequences and non-stop jokes about the current state of superhero cinema. No, this is a movie that injects a random musical number every once in a while, solely for the purpose of keeping things unpredictable. It sounds ridiculous, but it?s a brilliant choice by Horvath and Mitchell. Give me more superhero musicals, please.

Teen Titans Go! To The Movies will be overlooked by many because of its kid-centric charms, but it delivers laughs in a pretty significant way. The Titans are dumb and big-hearted, which is a near-perfect combination for this kind of silly animated B-movie. Their idiocy is just plain irresistible, and it?s easy for me to see the rebellious appeal of the show now.

The Titans push lots of buttons on their quest for laughs and superhero legitimacy, and if you?re in the right mood, that bold, sarcastic sensibility will make you fall in love with them.

What did you think of Teen Titans Go! To The Movies? Are you a fan of the Cartoon Network TV show? Let us know in the comments below!

Teen Titans Go! To The Movies was released in the U.S. on July 27. For full release information, click here.

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