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Friday, February 13, 2015

First Clip & Images From #Vikings Season 3

First clip and cast photos from Vikings season 3.


Season three of HISTORY’s hit scripted drama series VIKINGS returns on Thursday, February 19 at 10 p.m. ET. The new 10-episode season begins with Ragnar (Travis Fimmel) as King and follows the great responsibility that now rests on the shoulders of the former farmer.

Mercenary” – Thursday, February 19 at 10 p.m. (Season Premiere)
Ragnar and Lagertha’s fleets depart Kattegat once more for Wessex and this time they bring a group to colonize there. King Ecbert hosts the Norsemen and proposes a deal. Despite the misgivings of some of the other leaders, Ragnar leads his forces into battle once more, but this time as allies of Wessex.



See all the photos after the Jump...













With the promise of new land from the English, Ragnar leads his people to an uncertain fate on the shores of Wessex. King Ecbert (Linus Roache) has made many promises and it remains to be seen if he will keep them. But ever the restless wanderer, Ragnar is searching for something more … and he finds it in the mythical city of Paris. Rumored to be impenetrable to outside forces, Ragnar and his band of Norsemen must come together to break down its walls and cement the Vikings legend in history.

The gripping family saga of Ragnar, Rollo (Clive Standen), Lagertha (Katheryn Winnick) and Bjorn (Alexander Ludwig) continues as alliances and loyal friendships are questioned, faith is catechized and relationships are strained. VIKINGS tells the extraordinary tales of the lives and epic adventures of these warriors and portrays life in the Dark Ages, a world ruled by raiders and explorers, through the eyes of Viking society.

New characters introduced this season include:

· Kalf (Ben Robson) – Lagertha’s young, handsome second in command. She is fond of him and trusts him to look after her affairs while she is away, but it is possible that Kalf is more ambitious and calculating than he appears.
· Harbard (Kevin Durand) – A wanderer who turns up unexpectedly in Kattagat when Ragnar and most of the men of the town are away raiding. Harbard will have a profound effect on Queen Aslaug, Siggy and Helga, all of whom have had the same dream, presaging his arrival.
· Emperor Charles of France (Lothaire Bluteau) – A complex, troubled and powerful man who views battling the Vikings as spiritual and earthly.
· Princess Gisla (Morgane Polanski) – The daughter of Emperor Charles and a beautiful, young woman of considerable courage and resolution.

Travis Fimmel continues to lead the stellar cast as the curious warrior Ragnar, along with Katheryn Winnick as Lagertha, an Earl and fierce shield maiden; Clive Standen as Rollo, Ragnar’s impulsive brother; Alexander Ludwig as Bjorn, the intelligent and bold warrior son of Ragnar; George Blagden as Athelstan, a former monk befriended by Ragnar; Jessalyn Gilsig as Siggy, beautiful wife of the late Earl Haraldson; Linus Roache as Ecbert, King of Wessex, a man of strength, knowledge and undisguised ambition; Gustaf Skarsgard as Floki, a genius ship builder and loyal yet sometimes dangerous friend of Ragnar’s; and Alyssa Sutherland as Queen Aslaug, Ragnar’s wife.

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Join @HistoryVikings For #ManCrushMonday To Celebrate Strong Female #Vikings Characters

Season three of HISTORY’s hit drama series VIKINGS premieres this week on Thursday, Feb. 19 at 10 p.m.


Additionally, @HistoryVikings is rallying armies of passionate fans to “raid” popular hashtags on Twitter and Tumblr, beginning with #ManCrushMonday on Monday, February 16 at 1 p.m. If you would like to join in on the social raid on Monday, any of the memes, vines or GIFs of “Lagertha” and other strong female Vikings characters literally crushing men in battle using hashtags #ManCrushMonday and #Vikings.


Fans can go www.hashtagraids.com starting on Monday at 9 am ET to download these materials and more for use on social media.



See all the images after the Jump...







ABOUT HISTORY’S VIKINGS SEASON THREE
Season three of HISTORY’s hit scripted drama series VIKINGS returns on Thursday, February 19 at 10 p.m. ET. The new 10-episode season begins with Ragnar (Travis Fimmel) as King and follows the great responsibility that now rests on the shoulders of the former farmer.

With the promise of new land from the English, Ragnar leads his people to an uncertain fate on the shores of Wessex. King Ecbert (Linus Roache) has made many promises and it remains to be seen if he will keep them. But ever the restless wanderer, Ragnar is searching for something more … and he finds it in the mythical city of Paris. Rumored to be impenetrable to outside forces, Ragnar and his band of Norsemen must come together to break down its walls and cement the Vikings legend in history.

The gripping family saga of Ragnar, Rollo (Clive Standen), Lagertha (Katheryn Winnick) and Bjorn (Alexander Ludwig) continues as alliances and loyal friendships are questioned, faith is catechized and relationships are strained. VIKINGS tells the extraordinary tales of the lives and epic adventures of these warriors and portrays life in the Dark Ages, a world ruled by raiders and explorers, through the eyes of Viking society.

New characters introduced this season include:

· Kalf (Ben Robson) – Lagertha’s young, handsome second in command. She is fond of him and trusts him to look after her affairs while she is away, but it is possible that Kalf is more ambitious and calculating than he appears.
· Harbard (Kevin Durand) – A wanderer who turns up unexpectedly in Kattagat when Ragnar and most of the men of the town are away raiding. Harbard will have a profound effect on Queen Aslaug, Siggy and Helga, all of whom have had the same dream, presaging his arrival.
· Emperor Charles of France (Lothaire Bluteau) – A complex, troubled and powerful man who views battling the Vikings as spiritual and earthly.
· Princess Gisla (Morgane Polanski) – The daughter of Emperor Charles and a beautiful, young woman of considerable courage and resolution.

Travis Fimmel continues to lead the stellar cast as the curious warrior Ragnar, along with Katheryn Winnick as Lagertha, an Earl and fierce shield maiden; Clive Standen as Rollo, Ragnar’s impulsive brother; Alexander Ludwig as Bjorn, the intelligent and bold warrior son of Ragnar; George Blagden as Athelstan, a former monk befriended by Ragnar; Jessalyn Gilsig as Siggy, beautiful wife of the late Earl Haraldson; Linus Roache as Ecbert, King of Wessex, a man of strength, knowledge and undisguised ambition; Gustaf Skarsgard as Floki, a genius ship builder and loyal yet sometimes dangerous friend of Ragnar’s; and Alyssa Sutherland as Queen Aslaug, Ragnar’s wife.

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Movie Review: Kingsman - The Secret Service

Filled with highly-stylized action and great dialogue, Kingsman: The Secret Service goes out of its way to satisfy.

Review by Matt Cummings

We're in sort of a spy genre renaissance these days, populated with so many instant classics that it's not hard to find something for everyone. Whether it's the slow burn brilliance of Tinker, Tailor, Soldier, Spy and A Most Dangerous Man, the frenetic action of the Mission: Impossible franchise, or the stylized darkness of recent James Bond films, the genre buffet is filled with delicious delights. Fortunately, Kingsman: The Secret Service not only deserves a space, but it will blow you head off if you don't.

The world of Brit Gary “Eggsy” Unwin (Taron Egerton) has been one of limitless possibilities but little success. After losing his father at an early age, Eggsy has grown into a precocious teen who blames stuffy aristocrats for his father's death. But the angry and defiant young man doesn't know the truth: that his father was a member of the Kingsman, a privately-funded spy operation with no government oversight that routinely ended global terror threats. One of their top agents Henry Hart (Colin Firth) witnessed the death of Eggsy's father and has kept a close eye on the brilliant boy's struggles throughout the years. When Eggsy lands himself in jail, Hart not only secures an immediate release but offers him a chance for step into his father's shoes as a Kingsman. As he trains and competes against a collection of better-bred candidates, Eggsy learns of a shadowy plot by the lispy billionaire Richmond Valentine (Samuel L. Jackson) to reduce the human population so that global warming can be averted. Together with Hart, Eggsy must track down Valentine before his diabolical plans can be realized.

Kingsman is the kind of film that demands to be seen, not because of some sort of socially-relevant Oscar-worthy message, but because it's just a great time that both pokes fun at the spy genre but also sets new standards for action within it. To say Director Matthew Vaughn has gifted his film with a new level of cool is understating the matter, as it's filled with great 360 pan movements, hyper ramming techniques, and slick spy gadgets that should appeal to casual moviegoers in search of popcorn entertainment. The film - and Vaughn himself - make their point by banking on a familiar type of storytelling, one that we've seen from his Kick-Ass series, now made slick in Kingsman. Whereas the first centered around the ugly world of superhero vigilantism, Kingsman adds layers of rich color to the sometimes overused spy troupes of dastardly deeds, super-villainous leads, and odd henchmen. The result is a film that even breaks the fourth wall by both admitting its Bond legacy and making fun of it at the same time.

Firth is unquestionably a fantastic actor, as his Oscar win for The King's Speech in 2011 was not an accident. Here, he gratiates the screen with a trademark style that nearly made him a Bond years ago when Pierce Brosnan exited the franchise. Firth commands every scene he's in, not because of his bravado but in his ability to make every actor around him better. This helps establish Egerton in early scenes, whose rough-around-the-edges character is refined and sharpened by Hart's piercing and perfectionist style. Even SJF favorite Mark Strong is made better by Firth, who in turn shares his years of cinematic perfection with Egerton as a Kingsman trainer and eventual mission leader. But every great spy film needs a quality baddie, and Jackson's Jay-Z hip-hop imagining of Valentine is a round of clever jokes and brilliant reactions just waiting to be opened. Some viewers might take offense to his on-again/off-again lisp, but it's mixed with some of the best dialogue of the film. Whether it's ordering Big Macs at a lavish dinner or wincing at the sight of spilled blood, Jackson is welcomed comedic relief that seems to happen at just the right time.

But dig a little deeper into Writer Jane Goldman's script (who shares credit with Vaughn) and you'll see good commentary about the lives of the Kingsman that go beyond their classic and elegant suits. Surely they are people as well, dedicated to protecting the motherland at all costs but who also care about one another. Whereas Bond is more of the deadly loner assassin, there's a genuine sense of comradeship among the agents, making their eventual deaths all the more heavy. There's also a memorable team of supporting cast members like Mark Hamill, Michael Caine, and Stephnie Cookson as Eggsy's competition, who add more complex layers to the story. Some of the terrific violence here might offend the uninitiated in its brazenness, but it's all in good hokey fun. Believe me when I tell you tell that some of it is completely insane and intensely comical, yet it all seems to work even when a plot hole is uncovered and quickly dismissed. It's my hope this gets a franchise, as its world building and unique style is just what we need to round out the genre.

Replete with silly stylized action and hilariously over-the-top spy genre dialogue, Kingsman: The Secret Service will satisfy any moviegoers' need for popcorn entertainment. While it's a film best seen in the premium experience, you'll also enjoy the fun dialogue and one of the deepest and talented casts we've seen this year. Whether you're a fan of the spy genre or just love a good old fashion violent time, Kingsman goes out of its way to satisfy.

Kingsman: The Secret Service is rated R for sequences of strong violence, language and some sexual content and has a runtime of 129 minutes.

Discuss this review with fellow SJF fans on Facebook. On Twitter, follow us at @SandwichJohnFilms, and follow author Matt Cummings at @mfc90125.
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Movie Review: 50 Shades of Grey

Bogged down by terrible performances and shoddy direction, 50 Shades of Grey is a Red Room mess.

Review by Matt Cummings

In Director Sam Taylor-Johnson's 50 Shades of Grey, billionaire Christian Grey (Jamie Dorman) 'recruits' virgin Anastasia Steele (Dakota Johnson) to join him in his Red Room of Pain. A victim of a rough early life, Grey wants to get his kink on with the next available woman, but the 15 other slaves he's been with have all come and gone. Enter the frumpy Steele, who gets to interview Grey for the college paper from she is about to graduate. With an instant spark between them, Steele agrees to be slave #16 in Grey's Pleasure Principle, first losing her virginity to him then entering his room for a lot of sexual rumpus. But as Grey's personality begins to come out, Steele finds herself conflicted between the man she now loves and his violent sexual fetishes.

A cultural phenomena that makes little sense to me, 50 Shades is a failure that proudly displays its writing on the wall, like advertising someone's sexual abilities in a bathroom stall. The problems start early for Taylor-Johnson, beginning with his actors. There is little chemistry between Johnson and Dorman, who seem ill-prepared to break down the nuances of their characters; their performances feel like a first script read rather than a well-choreographed dance. There are a couple of moments when their performances click, such as when the two are negotiating their slave contract at a formal meeting (in which she's reading off activities and devices I can't mention here).

The rest of the non-sex time feels tedious and entirely practiced, missing multiple moments for our characters to inhabit themselves with any sense of depth. The usually good Max Martini is relegated to playing a thinly-constructed driver for Grey; his presence does nothing to further the story, and Steele never uses the opportunity to get to know Grey through him. Marcia Gay Harden's appearance as Grey's mother feels rushed, as if she's thrown into the mix for color. With news throughout the the film's production about a lack of spark between the actors - resulting in two sets of re-shoots - it's clear those troubles were never fully resolved.

The source material by E.L. James features some of the worst writing I've ever seen, and the script by Kelly Marcel is slavishly supportive of it. It's highly likely that only truly desperate women would consider Grey's proposal, either because they've lost their job and need room and board at any cost, or because their life has been so dysfunctional that a sexually-dominant man is par for the course. Steele is neither of these, so it makes her consideration feel completely disingenuous, as if she's made drunk by Grey's money and power without realizing what signing on truly means. So when he first deflowers her (yes, she's a virgin at the beginning of this), then turns her to the riding crop, we're left to wonder why. Steele deserves better, but instead chooses the bad boy, not because he's cool or whose kink offers a deeper sexual experience, but because he is bad. Nice choice.

At 125 minutes, 50 Shades also suffers from being too long; Editor Lisa Gunning lets Taylor-Johnson ramble through too much set up that includes Steele's unnecessary relationship with her roommate (played by Eloise Mumford) and a poorly-shot glider scene that was done better in The Thomas Crown Affair. These and many others do nothing to further the plot or the characters, perhaps (unintentionally) showing how much love and freedom Grey does have in his life. Instead, he squanders it with a collection of cinematic scowls and the demand that he must be dominant to be happy. You don't need that extra 20 minutes to make your point, and without it we could have enjoyed a tighter and ultimately stronger production.

Some of the sex scenes have some legitimate steam to them, but Taylor-Johnson doesn't push the envelope quite enough, providing us with an overabundance of Johnson's parts but nothing of Dorman's. In a film like this you have to give both sides their due, and by the time we're done, we've overdosed on Johnson's rail-thin body (that girl serious needs a sandwich) and denied most of Dorman, besides what looks like gunshot wounds all over this chest rather than scars indicative of a sexually violent lifestyle.

There's also nagging technical issues to discuss. I'm sure Taylor-Johnson is a fine director who knows his craft, but in 50 Shades he literally shoots many of his scenes out focus, missing the beauty of the Seattle skyline and even making Grey's Red Room of Pain look more like a commercial for a sex shop rather than highlighting the beauty of his devices or the rich colors of the room. Part of this lies squarely on Gunning, whose edits don't give us enough time to enjoy them. But to have scenes literally out of focus is inexcusable, and they're strewn everywhere like Anastasia's clothing around Grey's apartment.

But more important, 50 Shades misses a golden opportunity to kick open the door on sexual taboo. In a time when fashion and the media encourage women to dress and even act provocatively, 50 Shades does nothing to continue the conversation about the loosening up of our world-famously rigid sexual standards. Instead it furthers the notion that sexual submission/dominance are a dysfunction, enamored by messed-up people who merely like to control and hurt others in the process. For fans of 9 1/2 Weeks, Crash, or Basic Instinct, 50 Shades will feel like some sort of hack production, centered around a cheaply-crafted love story that only shows what happens when good people meet weirdos. Granted, you can only do so much with a book that reads like it was written by a 12-year-old, but any opportunity to improve upon it is ultimately squandered.

In the end, 50 Shades of Grey misses the point about sexual dominance with a wooden cast, poor direction, and a runtime that will leave you yawning in parts. Perhaps future installments will get it right, but considering the source material it's unlikely to happen. In a time when so many of our standards are undergoing significant upheaval, 50 Shades does nothing to set that conversation or direct it any meaningful way.

50 Shades of Grey is rated R for strong sexual content including dialogue, some unusual behavior and graphic nudity, and for language and has a runtime of 125 minutes.

Discuss this review with fellow SJF fans on Facebook. On Twitter, follow us at @SandwichJohnFilms, and follow author Matt Cummings at @mfc90125.
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#BoschAmazon Clips. Available Now On @AmazonVideo

Amazon to Debut its First Original Hour-Long Drama Series Bosch on February 13 in the US, UK and Germany


Following Transparent’s two Golden Globe wins, Amazon’s next original series, based on Michael Connelly’s best-selling books, will debut with all ten episodes available on Prime Instant Video



Primarily based on elements from Connelly’s books City of Bones (2002), The Concrete Blonde (1994) and Echo Park (2006), Harry Bosch’s investigation takes on a life and death urgency when a killer who has confessed to the boy’s murder escapes custody and begins a murderous rampage across Los Angeles. Bosch and the killer are locked in a cat and mouse game, with the killer taunting Bosch as the investigation turns deeply personal. The case unearths Bosch’s buried past as well as entangling his ex-wife and 14-year-old daughter. The season takes the viewer through back streets and neighborhoods of Los Angeles rarely seen on-screen. There have been 19 Harry Bosch novels published since 1992, including 2014’s number-one bestseller The Burning Room.

Bosch stars Titus Welliver (Sons of Anarchy, Argo), Jamie Hector (The Wire), Amy Aquino (Being Human), Lance Reddick (Fringe, The Wire) and Annie Wersching (24, Extant), with Sarah Clarke (24) and Jason Gedrick (Luck), and is Executive Produced by Connelly, Eric Overmyer (The Wire, Treme), and Henrik Bastin of Fabrik Entertainment (The Killing, Burn Notice), a Red Arrow Entertainment Group company



Series guest stars include Scott Wilson (The Walking Dead), Troy Evans (ER), Veronica Cartwright (Resurrection), Abraham Benrubi (The Bridge), Mark Derwin (The Secret Life of the American Teenager), Mimi Rogers (Austin Powers), and Alan Rosenberg (The Guardian)

Amazon today announced it will premiere all ten episodes of its first hour-long drama series Bosch on Friday, February 13 on Prime Instant Video in the US, UK and Germany. Based on Michael Connelly’s internationally best-selling Harry Bosch book series with nearly 50 million copies sold, Bosch stars Titus Welliver (Sons of Anarchy, Argo) as Harry Bosch, Jamie Hector (The Wire) as Jerry Edgar, Amy Aquino (Being Human) as Lt. Grace Billets, Lance Reddick (Fringe, The Wire) as Deputy Chief Irvin Irving, and Annie Wersching (24, Extant) as Julia Brasher, with Sarah Clarke (24) as Eleanor Wish and Jason Gedrick (Luck) as Raynard Waits. The series follows the relentless LAPD homicide detective as he pursues the killer of a 13-year-old boy while standing trial in federal court on accusations that he murdered a suspected killer in cold blood. Guest stars on Bosch include Scott Wilson (The Walking Dead) as Dr. Guyot and Troy Evans (ER) as Detective Johnson, and was developed for television by Eric Overmyer (Treme, The Wire, Homicide: Life on the Streets) and Executive Produced by Overmyer, Connelly, and Henrik Bastin (The Killing, Burn Notice).

Amazon Prime members can watch the first episode of Bosch now on their TVs using the Amazon Instant Video app on Fire TV, Roku, Xbox, PlayStation, Wii, and smart TVs. They can also use the Amazon Instant Video app to watch on mobile devices, including Fire tablets, Fire phone, iPad, iPhone, iPod Touch, Android phones, as well as hundreds of other connected devices—or customers can visit Amazon.com/PIV to watch online. Prime members can add Bosch to their Watchlist and easily access new episodes when they premiere on February 13.

“We had a very strong response to the pilot from our customers and, after years of anticipation from the fan community, we are delighted to launch the complete first television season of Michael Connelly's classic works of LA Noir,” said Roy Price, Vice President, Amazon Studios.

“I am very pleased with season one,” Connelly says. “We have been extremely loyal to the character and city in the books. I think anybody who likes Harry Bosch on the page is going to like him on screen too. Titus Welliver is perfectly cast and viewers are going to be drawn to him whether they’ve read the books or not.”

“With its high production values, star-studded cast and huge fan base already established from the book franchise – Bosch will be the crime drama series of 2015!” added Henrik Pabst, Managing Director at Red Arrow International.

Other guest stars in Bosch include Veronica Cartwright (Resurrection) as Irene Saxon, Abraham Benrubi (The Bridge) as Rodney Belk, Mark Derwin (The Secret Life of the American Teenager) as Captain Harvey Pounds, Mimi Rogers (Austin Powers) as Honey Chandler, and Alan Rosenberg (The Guardian) as Dr. Golliher. The series is co-Executive Produced by Pieter Jan Brugge (Heat, The Pelican Brief) and Produced by Pat McKee (Longmire) and Rachel Rusch (Bill Maher: The Decider). Episodes were directed by Jim McKay, Kevin Dowling, Ernest Dickerson, Roxann Dawson, Matt Earl Beesley, Alex Zakrzewski and Thomas Carter.

About Amazon Studios
Amazon Studios most recently debuted its dramatic comedy Mozart in the Jungle from Roman Coppola, Jason Schwartzman, Paul Weitz, John Strauss and Alex Timbers as well as Jill Soloway’s multi-Golden Globe Award-winning dark comedy Transparent; its first live-action series for kids 6-11, Gortimer Gibbon’s Life on Normal Street; and a second season of the Garry Trudeau political comedy Alpha House. The studio has also launched three additional children’s series, the Annecy International Animated Film Festival Award-winning and Annie Award-nominated Tumble Leaf from Bix Pix Entertainment; Creative Galaxy from Angela Santomero and Out of the Blue Enterprises, the creators of Blue’s Clues; and Annedroids, from Emmy nominated Sinking Ship Entertainment.

Amazon Studios has also announced five additional, original series to debut in 2015 including Michael Connelly’s Bosch; Hand of God from Marc Forster and Ben Watkins; Red Oaks from Steven Soderbergh, David Gordon Green, Greg Jacobs and Joe Gangemi; and kids series Wishenpoof! from Angela Santomero and Out of the Blue Enterprises; as well as a second season of Transparent.

Amazon Studios launched in 2010 as a new way to develop feature films and episodic series—one that’s open to great ideas from creators and audiences around the world. Anyone can upload a script online and Amazon Studios will read and review all submissions. Those who choose to make their projects public can also receive feedback from the Amazon Studios community.

Comprehensive cast and crew information, including bios and filmographies, is available on Amazon's IMDb (www.imdb.com), the world’s most popular and authoritative source for movie, TV and celebrity content.

About Amazon
Amazon.com opened on the World Wide Web in July 1995. The company is guided by four principles: customer obsession rather than competitor focus, passion for invention, commitment to operational excellence, and long-term thinking. Customer reviews, 1-Click shopping, personalized recommendations, Prime, Fulfillment by Amazon, AWS, Kindle Direct Publishing, Kindle, Fire phone, Fire tablets, and Fire TV are some of the products and services pioneered by Amazon.

About Red Arrow International
Red Arrow International is a leading worldwide programming sales-house with a broad selection of scripted, factual and format titles from Red Arrow’s global portfolio of production companies, outstanding third-party creators and digital-content partners.

In addition, Red Arrow International is a prolific co-producer and provides substantial production financing to a wide array of highly acclaimed scripted and non-scripted projects. Recent global highlights include: “Bosch” (Amazon), “Lilyhammer” (Netflix); “Betty White’s Off Their Rockers” (NBC), and “The Taste” (ABC).

With offices in Munich, Los Angeles and Hong Kong, the company has a global reach and distributes content to over 180 territories around the world.

Led by Henrik Pabst, Red Arrow International is part of Red Arrow Entertainment Group, which also includes 13 production companies across 7 countries; Los Angeles based MCN, Collective Digital Studios; and creative partnerships and joint ventures with STV, Screenz, Sync Media and United Artists Media Group (Mark Burnett / Hearst).

Red Arrow Entertainment Group is a wholly owned subsidiary of the ProSiebenSat.1 Group, one of Europe’s leading media groups.

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Fifty Shades Of Grey Review. It's Exactly What It Set Out To Be

Fifty Shades of Grey Review
By: Suepafly


Fifty Shades of Grey since it's release as a book has been a cultural phenomenon selling millions of copies, and igniting countless fantasies. It started out as Twilight fan fiction, and although it really is not well written, it has swept the world and brought many under its spell. The movie hits theaters today, and by many critics its getting killed in reviews, but its exactly what it set out to be. Lovers of the book will enjoy the adaptation, but the uninitiated will be left scratching their heads.



When college senior Anastasia Steele (Dakota Johnson) steps in for her sick roommate to interview prominent businessman Christian Grey (Jamie Dornan) for their campus paper, little does she realize the path her life will take. Christian, as enigmatic as he is rich and powerful, finds himself strangely drawn to Ana, and she to him. Though sexually inexperienced, Ana plunges headlong into an affair -- and learns that Christian's true sexual proclivities push the boundaries of pain and pleasure.

The first meeting between Ana and Christian conveys her awkwardness best and with perfection. She's never been the hot blonde, like the women that work for Christian, or the center of attention, and her clumsiness does her no favors. Ana trips and falls on her face upon stepping into Christian's office, and she is as graceless as can be, yet Christian finds himself intrigued. She's ordinary, guileless and somewhat dull, yet this enigmatic aristocrat with peculiar tastes and dark secrets finds that he cannot stay away. I have to admit that I was most uneasy about Dakota Johnson's casting, but she works, and most of it is in her giggle. When she giggles I believe it. She makes Ana wry but playful, cocky and funny and manages to somehow make it sexy. Sure there's plenty of lip biting and vacant stares, but you've seen Twilight, and well this is a huge part of the character. Thankfully all the “inner goddess” monologue from the book has been completely removed, allowing Ana to have a quirky and fun personality.

Christian is on the opposite spectrum. There's a cool aloofness to Christian that Jamie Dornan displays perfectly. He wasn't my first choice for Christian Grey (Henry Cavill takes that honor) or even my second or third, but his casting was one I fully supported. Since his turn as the Huntsman on Once Upon A Time, Dornan has been a wanted man. Christian has huge walls built around his heart and soul, and yet he has moments of tenderness. Christian disdains love and romance, but creates both without trying. He claims to just want to lure Anastasia to his "red room of pain," as she labels it, a chamber outfitted with whips, chains, handcuffs and other toys. He's got deep seeded issues from a rough start in life, and just can't bring himself to open up to her when she's awake, or even let her touch him in or out of the bedroom.


It's in those scenes when she's trying to get close to him and touch him that are the hardest to watch. Not only do they feel out of place with everything else in the movie, Ana comes off as whiny and Christian as wooden. They don't match the tone of anything else, and seem to be thrown in at will. The chemistry between Johnson and Dornan isn't just strained and nonexistant in these moments, but in the more mundane ones too, but when it counts its there.

While Johnson is going to get much of the praise for the film, its in the bedroom where Dornan's intensity is at its dominating peak, that really makes it all work. There's plenty of steamy moments between the pair but little pay off, sorry not a single O face. The sex scenes are greatly paired down from the book. The much featured elevator scene doesn't go further than it does in the trailer, or the book for that matter. Although Christian says he “doesn't make love, he fucks hard.” that's about the extent of his dirty talk. There's body sweeping views, plenty of thrusting, but a complete lack of Ben wa balls, vibrators and canes.

During the screening one person commented that no self respecting woman would ever let anyone do the things that Christian did. Here's the thing. Ana is torn between a world she doesn't understand and falling for a man she really doesn't know. Being of sound mind and intact virginity, Ana doesn't take Christian's proposition lightly, and google isn't her friend. She doesn't feel comfortable, and isn't able due to a non-disclosure contract, to talk to anyone about what she's about to embark on so she's all on her own with Christian. Her struggle to overcome her aversion to what she perceives as being abused, degraded and isolated just to please her man is the real challenge. Her lack of understanding, and mental preparedness leaves her acting irrational and immature at times. While she is very book smart, she's naive when it comes to love and life. Being young and in love, there's a whole lot that she can be talked into, that anyone could be talked into and Christian Grey is use to negotiating to get what he wants. Say what you will about the domineering Christian, but at least he knows himself. Ana is a blank slate, and wanting to be enlightened but really not prepared for what she's asking for.

Some will see it as glamorizing sexual violence, and implying that women seek to be controlled. Instead I feel that its a twist on traditional gender roles and blurs the lines of transgressive desires. Christian’s sexual tastes are intriguing to Anastasia, but they are the result of deep emotional wounds. He has to control her, and she can't help but to fall for him as she sees glimpses of the tenderness he's capable of and his wounded soul. She tolerates his kind of sex, and even enjoys some of it, but she wants more, and she wants him to want it too. She wonders why he wants to change her, never realizing how much she's changing him, and that is the hook, that kind of love that can heal the past, that can change you for the better.

Fifty Shades of Grey was never meant to be an introduction to BDSM, though there is a dominance/submission relationship. If you're looking for the BDSM 101 movie look further. Nor is it the sexfest that many are expecting. The books themselves may have been labeled "mommy porn" and yes there is a lot of sex, but its really not about the sex, there's a deeper story beyond the sex, and that story is just at its beginning. Fifty Shades of Grey shouldn't be looked at like a trilogy, it really isn't that. Most films in a trilogy are their own films that tell a complete story, but are also linked to a much larger story. Fifty Shades of Grey doesn't tell a full story, it's part one of a miniseries really. The series really is his way, her way, the compromise.

The supporting cast isn't given much, with all the focus on Ana and Christian. For the most part they're well cast, but I would have gone with different choices for Christian's brother Elliot and Ana's roommate Kate. Elliot and Kate will remain of the canvas through both sequels should they remain close to the books. Elliot is too sleazy looking, and didn't work for me at all. Better than the nonexistent parts for anyone outside of Ana and Christian was the music. The song choices were perfect for the film. The haunting tones of familiar songs, showcased the deep obsession and worked well with the blues and reds director Sam Taylor-Johnson utilized to match Ana's emotions.

Fifty Shades of Grey may not be a great movie, really it isn't. But it is exactly what it set out to be. It's fun, it's trashy, its the movie that you'll get teased about and tease your friends about seeing and it does plenty to make you squirm and giggle. Lovers of the book will cherish the adaptation, even though it is very paired down. Newcomers will be left in confusion or wanting more. And well haters are gonna hate, hate, hate. But with two sequels in the works and high presale numbers, Fifty Shades of Grey will have no trouble just shaking it off. Fifty Shades Darker, and Fifty Shades Freed were recently announced, no release dates for either yet.

Discuss this review with fellow SJF fans on Facebook and make sure to follow us at @SandwichJFilms on Twitter, and follow the author Sue Lukenbaugh on Twitter at @suepafly.

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MISSION: IMPOSSIBLE 5 Will Hit IMAX THEATRES GLOBALLY BEGINNING JULY 31st

THE FIFTH INSTALLMENT IN THE “MISSION: IMPOSSIBLE” FRANCHISE, FROM PARAMOUNT PICTURES, SKYDANCE PRODUCTIONS AND BAD ROBOT, WILL BE RELEASED IN IMAX® THEATRES GLOBALLY BEGINNING JULY 31st

Paramount Pictures, Skydance Productions, Bad Robot, and IMAX Corporation today announced that the fifth installment in the blockbuster “MISSION: IMPOSSIBLE” franchise, directed by Christopher McQuarrie and starring Tom Cruise, will be digitally re-mastered into the immersive IMAX® format and released in IMAX® theaters worldwide beginning July 31st.

The new film is produced by Tom Cruise, J.J. Abrams and Bryan Burk. The executive producers are David Ellison, Dana Goldberg and Don Granger of Skydance Productions and Jake Myers. Drew Pearce, Christopher McQuarrie, Will Staples, Laeta Kalogridis & Patrick Lussier and Dylan Kussman wrote the screenplay, based on the television series created by Bruce Geller.

The newest installment reunites Cruise with stars from 2011’s “MISSION: IMPOSSIBLE – GHOST PROTOCOL,” including Jeremy Renner, Simon Pegg and Ving Rhames. Joining the cast is Alec Baldwin, Rebecca Ferguson and Sean Harris.

“IMAX is so important in giving the audience the best experience of the film we have made. I am very happy to have this partnership on the next ‘MISSION,’” said Cruise.

“After the innovative way we worked with our longtime partners Paramount Pictures, Skydance Productions, Bad Robot and Tom Cruise on the record-setting ‘MISSION: IMPOSSIBLE – GHOST PROTOCOL,’ we are beyond thrilled to once again offer audiences The IMAX Experience® of the latest installment of this action-packed franchise,” said Greg Foster, Senior Executive Vice President, IMAX Corp. and CEO of IMAX Entertainment. “This film was literally made for IMAX and summer moviegoing.”
Rob Moore, Vice Chairman of Paramount Pictures said, “Audiences the world over proved with the last ‘MISSION’ that the IMAX experience is not to be missed and so we are all thrilled to again partner with Rich, Greg and everyone at IMAX to bring this next exciting installment to their screens this summer.”
The “MISSION: IMPOSSIBLE” franchise has earned more than $2 billion at the box office, making it one of the most successful franchises in movie history.

The IMAX® release of the latest “MISSION: IMPOSSIBLE “ film will be digitally re-mastered into the image and sound quality of The IMAX Experience® with proprietary IMAX DMR® (Digital Re-mastering) technology. The crystal-clear images, coupled with IMAX’s customized theatre geometry and powerful digital audio, create a unique environment that will make audiences feel as if they are in the movie.

About Paramount Pictures Corporation

Paramount Pictures Corporation (PPC), a global producer and distributor of filmed entertainment, is a unit of Viacom (NASDAQ: VIAB, VIA), a leading content company with prominent and respected film, television and digital entertainment brands. Paramount controls a collection of some of the most powerful brands in filmed entertainment, including Paramount Pictures, Paramount Animation, Paramount Television, Paramount Vantage, Paramount Classics, Insurge Pictures, MTV Films, and Nickelodeon Movies. PPC operations also include Paramount Home Media Distribution, Paramount Pictures International, Paramount Licensing Inc., and Paramount Studio Group.

About Skydance Productions

Skydance Productions tells big stories and creates immersive worlds, producing narratives that span film, television, games and more. Skydance is currently in post-production on a reset of the TERMINATOR franchise, TERMINATOR GENISYS, to be released on July 1, 2015. The company is also in post-production on the latest installment in the highly successful MISSION: IMPOSSIBLE franchise starring Tom Cruise with Chris McQuarrie directing. Additionally, Skydance is currently in production on a disaster film on a global scale titled GEOSTORM written by Dean Devlin and Paul Guyot with Devlin also directing. Skydance will next begin production on STAR TREK 3, the third installment in the JJ Abrams franchise. Simon Pegg and Doug Jung are attached to co-write with Justin Lin to direct. Currently in development is AFRICA, a sweeping epic about paleo-anthropologist Richard Leakey’s battle with ivory poachers that threaten the existence of the African elephant population and the very soul of Africa. Angelina Jolie is attached to direct the film based on Eric Roth’s screenplay. Skydance’s recent releases include JACK RYAN: SHADOW RECRUIT, from director Kenneth Branagh and starring Chris Pine; WORLD WAR Z, starring Brad Pitt and directed by Marc Forster; STAR TREK: INTO DARKNESS, directed by J.J. Abrams and starring Chris Pine and Zachary Quinto; and G.I. JOE: RETALIATION, directed by Jon M. Chu and starring Bruce Willis, Channing Tatum and Dwayne Johnson. Skydance’s previous projects include Christopher McQuarrie’s JACK REACHER, starring Tom Cruise; MISSION: IMPOSSIBLE – GHOST PROTOCOL, starring Tom Cruise and Jeremy Renner; and the award-winning Coen Brothers film TRUE GRIT, starring Jeff Bridges and Matt Damon.

About Bad Robot Productions

Bad Robot was formed by filmmaker J.J. Abrams in 2001. The company has produced television series such as ALIAS, LOST, FRINGE, PERSON OF INTEREST, REVOLUTION, ALMOST HUMAN, feature films such as CLOVERFIELD, STAR TREK, SUPER 8, MISSION: IMPOSSIBLE – GHOST PROTOCOL, STAR TREK INTO DARKNESS, the upcoming STAR WARS: THE FORCE AWAKENS, the latest installment of the MISSION IMPOSSIBLE franchise, STAR TREK 3 and interactive content including the mobile apps SUPER 8 and ACTION MOVIE FX. Bad Robot’s first foray into publishing, S., a novel conceived by Abrams and written by Doug Dorst, was a New York Times Best Seller. Bad Robot is based in Los Angeles and can be followed at twitter.com/bad_robot.

About IMAX Corporation

IMAX, an innovator in entertainment technology, combines proprietary software, architecture and equipment to create experiences that take you beyond the edge of your seat to a world you’ve never imagined. Top filmmakers and studios are utilizing IMAX theatres to connect with audiences in extraordinary ways, and, as such, IMAX’s network is among the most important and successful theatrical distribution platforms for major event films around the globe.

IMAX is headquartered in New York, Toronto and Los Angeles, with offices in London, Tokyo, Shanghai and Beijing. As of September 30, 2014, there were 880 IMAX theatres (751 commercial multiplexes, 19 commercial destinations and 110 institutions) in 60 countries.

IMAX®, IMAX® 3D, IMAX DMR®, Experience It In IMAX®, An IMAX 3D Experience®, The IMAX Experience® and IMAX Is Believing® are trademarks of IMAX Corporation. More information about the Company can be found at www.imax.com. You may also connect with IMAX on Facebook (www.facebook.com/imax), Twitter (www.twitter.com/imax) and YouTube (www.youtube.com/imaxmovies).

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Thursday, February 12, 2015

Win Tickets To An Advance Screening For #HotTubTimeMachine2 In Sacramento

Win Tickets To An Advance Screening For HOT TUB TIME MACHINE 2 on February 18th at 7:00 PM in Sacramento.


Gone, of course, is John Cusack, leaving the Hot Tub Time Machine 2 spotlight on the three time-twisting amigos, Nick (Craig Robinson), Jacob (Clark Duke) and Lou (Rob Corddry), with Adam Scott stepping in as the son of Cusack’s character. Yes, he’s only seven years younger than the man who played his father but, well, there are TIME TRAVEL REASONS to explain this.


There are also time travel reasons to explain their new-found fortunes, because this one sees the crew making like Biff Tannen in Back To The Future 2 and using their time portal to win riches, success and fame. Corddry “invents” the internet and Nick takes credit for writing ‘Call Me Maybe’. But then Lou is shot in the groin by a mysterious attacker and the three decide to head back in time and figure out what happened. Except, partly thanks to them being very drunk, they end up ten years in the future, where everything is different again.


And yet they still have a chance to find the killer, who appears to be from the future. It also gives them a chance to meet the likes of Adam (Scott – see, told you!) and Gary (Jason Jones)


Make sure to LIKE SandwichJohnFilms on Facebook and follow us on Twitter for all your entertainment news and to be to notified about our upcoming Advance Screenings. Also make sure to subscribe and download our Podcast



See how to win tickets after the Jump...

Click HERE to get your tickets

DISCLAIMER: ARRIVE EARLY! SEATING IS FIRST-COME, FIRST-SERVED, EXCEPT FOR MEMBERS OF THE REVIEWING PRESS. THEATER IS OVERBOOKED TO ENSURE A FULL HOUSE. THEATRE IS NOT RESPONSIBLE FOR OVERBOOKING. THIS PASS DOES NOT GUARANTEE ADMISSION AND MUST BE SURRENDERED UPON DEMAND. NO ONE WILL BE ADMITTED WITHOUT A TICKET AND ONLY REVIEWING PRESS WILL BE ADMITTED AFTER THE SCREENING BEGINS. Duplicate passes will not be accepted. Screening passes are non transferable. This ticket is NOT for resale. Reselling of tickets is strictly prohibited and punishable by law. All those found in violation will be prosecuted to the fullest extent of the law. MPAA - No Recording This screening will be monitored for unauthorized recording. By attending, you agree not to bring any audio and/or visual recording device including laptop computers into the theater and you consent to physical search of have against you. Unauthorized recording will be reported to law enforcement and may subject you to criminal and civil liability (including damages up to $150,000). *This includes, by way of example only, smart phones and your belongings and person for such device. If you attempt to enter with a recording device, you will be denied admission. If you attempt to use a recording device*, you consent to your Immediate removal from the theater and forfeiture of the device.

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Win Tickets To An Advance Screening For #HotTubTimeMachine2 In San Francisco

Win Tickets To An Advance Screening For HOT TUB TIME MACHINE 2 on February 18th at 7:00 PM in San Francisco.


Gone, of course, is John Cusack, leaving the Hot Tub Time Machine 2 spotlight on the three time-twisting amigos, Nick (Craig Robinson), Jacob (Clark Duke) and Lou (Rob Corddry), with Adam Scott stepping in as the son of Cusack’s character. Yes, he’s only seven years younger than the man who played his father but, well, there are TIME TRAVEL REASONS to explain this.


There are also time travel reasons to explain their new-found fortunes, because this one sees the crew making like Biff Tannen in Back To The Future 2 and using their time portal to win riches, success and fame. Corddry “invents” the internet and Nick takes credit for writing ‘Call Me Maybe’. But then Lou is shot in the groin by a mysterious attacker and the three decide to head back in time and figure out what happened. Except, partly thanks to them being very drunk, they end up ten years in the future, where everything is different again.


And yet they still have a chance to find the killer, who appears to be from the future. It also gives them a chance to meet the likes of Adam (Scott – see, told you!) and Gary (Jason Jones)


Make sure to LIKE SandwichJohnFilms on Facebook and follow us on Twitter for all your entertainment news and to be to notified about our upcoming Advance Screenings. Also make sure to subscribe and download our Podcast



See how to win tickets after the Jump...

Click HERE to get your tickets

DISCLAIMER: ARRIVE EARLY! SEATING IS FIRST-COME, FIRST-SERVED, EXCEPT FOR MEMBERS OF THE REVIEWING PRESS. THEATER IS OVERBOOKED TO ENSURE A FULL HOUSE. THEATRE IS NOT RESPONSIBLE FOR OVERBOOKING. THIS PASS DOES NOT GUARANTEE ADMISSION AND MUST BE SURRENDERED UPON DEMAND. NO ONE WILL BE ADMITTED WITHOUT A TICKET AND ONLY REVIEWING PRESS WILL BE ADMITTED AFTER THE SCREENING BEGINS. Duplicate passes will not be accepted. Screening passes are non transferable. This ticket is NOT for resale. Reselling of tickets is strictly prohibited and punishable by law. All those found in violation will be prosecuted to the fullest extent of the law. MPAA - No Recording This screening will be monitored for unauthorized recording. By attending, you agree not to bring any audio and/or visual recording device including laptop computers into the theater and you consent to physical search of have against you. Unauthorized recording will be reported to law enforcement and may subject you to criminal and civil liability (including damages up to $150,000). *This includes, by way of example only, smart phones and your belongings and person for such device. If you attempt to enter with a recording device, you will be denied admission. If you attempt to use a recording device*, you consent to your Immediate removal from the theater and forfeiture of the device.

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#SongOne Review. Sets A Melancholy Tone Right Out Of The Gate

Song One Review
By: Suepafly

When a film begins with a man getting hit by a car it's certainly not going to be a feel good movie. Song One sets a melancholy tone right out of the gate, and remains dreary most of the way through, even as it tries for quirky and spontaneous, its too forced and heavy handed, with a lead character that doesn't deserve the praise or attention she's given.

When street musician Henry (Ben Rosenfield) gets struck by a car, his estranged sister Franny (Anne Hathaway) returns home and tries to get to know the brother she turned her back on by rifling through his things. Franny hasn't spoken to her brother in months because she disagrees with his choice to drop out of college and pursue music, but seeing him in a coma, she regrets their fight, and lost time.

Franny looks through Henry's room, discovering things she never took the time to learn about her brother before, like his favorite musician James Forester (Johnny Flynn), and frequenting some of the hot spots around New York that Henry loved. After finding a pair of tickets to an upcoming show of Forester, Franny takes it upon herself to not only attend the show, but to give to Forester one of Henry's songs on a CD after telling him what happened to her brother. To say the least its an awkward exchange, one that Flynn depicts perfectly.

Even after the awkwardness of their meeting Forester comes to Henry's hospital room, and its the beginning of a romance between he and Franny. Henry isn't instantly healed through the power of music, instead Flynn is there to give Franny an outlet for her guilt and anxiety over her brother.

Song One could be a very touching an emotional affair, and yet it lacks anything other than melancholy. Anne Hathaway does little more than bounce between two looks: on the verge of tears, or annoyance, neither of which make the audience sympathetic towards her. One of the many unfortunate things of Song One is that rather than paying any attention to Franny's complete mistreatment of her brother prior to his accident, she is instead celebrated for coming home, never acknowledging that she was the one that completely tore the family apart.

Johhny Flynn has the rocker dreamboat thing down. He's shy, and awkward and just the right amount of insecure. Mary Steenburgen makes an appearance as Franny's mother, and she beautifully tranforms from self-absorbed to gentle and motherly as Franny's character softens up a bit.

While Song One does boast a really good indie sound track, a humorless film too focused on a nearly unlikable character pretty much dooms the entire piece.

Discuss this review with fellow SJF fans on Facebook and make sure to follow us at @SandwichJFilms on Twitter, and follow the author Sue Lukenbaugh on Twitter at @suepafly.

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TV Recap: #Grimm "Maréchaussée"

TV Recap: Grimm "Maréchaussée"
By: Suepafly

A fortune teller is about to get a meeting with the Mummy (guest star Arnold Vosloo). Inside, a woman prepares a wife for what will happen with the reading. She tells her that it is not a guarantee, but that if her husband chooses to come, Laslo will transform into something else, and not to be frightened by his change. The woman goes to check on Laslo, who's reading up on the woman.

Laslo takes the woman by the hand, and begins the spirit summoning. Laslo wargs as the husband arrives. He gives her a blanket message about loving her and missing her. He finishes saying something about her hair. Her husband always liked it long. The husband leaves soon after, leaving the wife begging for more. Laslo says that he felt something was wrong, and he's willing to try again. The wife hands over a huge wad of cash. She saw the change, and she wants Laslo to summon him again. Laslo's assistant tells her that it will take Laslo a few days to regain his strength, but since he's already made contact it will be easier next time. Happy, the wife leaves. The mummy arrives, and the fortune tellers are suspicious, asking what he wants. He's willing to show them as he wargs into a mantacore, and stings them both dead. The mantacore takes a few pictures of his handiwork.

Henrietta chats with Juliette. Juliette doesn't want to learn control of her powers, but to just get rid of them. Henrietta tells her that she can't help her until she knows what she can do. She asks to see Juliette's hexenbeist, but Juliette doesn't know how to bring it forward. Henrietta scares it out of her, and then shows her how to put it away. She needs to learn control. Juliette has only told Shawn about her new form, which Henrietta thinks is wise. Grimms are not normally fond of hexenbeist. She takes a blood sample, and adds a few things to it so that she can figure out just how powerful Juliette is, but it'll take time. Henrietta will get in touch when the test is complete.

Wu takes Hank and Nick to the crime scene. He once visited a fortune teller, and was told he'd be a rockstar. He's very disappointed it wasn't true. They head inside. With cash all over the floor, it wasn't a robbery. If the fortune tellers were any good, they would have seen it coming. The killer walked right in the unlocked floor. The pair head out to question the land lord. He's never had anything like this happen on his properties. The couple had never said anything about any trouble. The landlord will turn over anything he has that may be of help. Wu did find something that may be helpful. The last customer of the night.

Captain Renard gets an email. He sees Viktor's, Adalind's and their guard's passports. He knows they're headed back to Portland.

Nick, Hank, and Wu go to see the widow. She tells the officers how happy her and her husband were before their death. She was referred to the fortune tellers from a friend who had an amazing experience. She tells them how Laslo changed and transformed before her eyes. She got a chance to speak to her husband again. It was an amazing experience and worth every penny.

The Mummy Mantacore sends off an email with his grisly pictures. The Wesen council was the recipient. They had a hit out on Laslo and Mabel, for crimes. The Mantacore is asking to take the bounty up on Casey Darwell, and his endeavors are approved.

Rosalee and Monroe enjoyed their honeymoon, but they're both glad to be home. Monroe wonders if he should call Nick, and thinks its a good idea. Nick, Hank, and Wu give Renard the update. The widow didn't see anything. The killer had to have come in when she left. Monroe calls Nick, and they need his help right away. That didn't take long.

Viktor shows Adalind her new digs. It's a definite upgrade over the dungeon. He shows Adalind his apology, its a stocked closet. She appreciates it, but she wants to get started. The bodyguard thinks that they should lie low. There's knock at the door, and Viktor delights in answering it himself. Renard is there. He's surprised to see Renard so soon. He knows he's in town after the baby, and Viktor knows the baby is with Nick's mom. He's surprised to see Adalind back in town, she was surprised that he stole their baby. Renard reminds Viktor of his threat to their lives, and the life of his mother on his last visit. He underestimated Renard last time. He wonders what the Resistance would think if they knew his betrayal, but Renard has already told them. He makes it clear that he doesn't know where the baby is. Viktor reminds him that he has royal blood in his veins too, no matter how badly he was treated. Renard is off, and Viktor makes lunch plans.

Nick, Hank and Wu show up at Rosalee and Monroe's. They tell them about the Mantacore killing, which doesn't sit well. Mantacores are very hard to kill, and if Laslo and Mabel were exposing themselves they may be on the Wesen Council hitlist. The Wesen Council keeps tabs on Wesen who violate their laws and sometimes enacts Maréchaussée, contract killers. Rosalee asks Nick to stay out of it if it is Maréchaussée, but he's a cop and he can't.

Juliette does some cooking. She concentrates on a pepper mill, trying to use her powers when Nick calls to her. With her concentration broken, she turns towards his voice, and gets hit in the head with the mill. Nick asks her if she's okay, and she lies about how she got hit in the head with the pepper mill.

Casey roughs up his hooker, who is tired for the night. She wants to rest, but Casey wargs and scares the poor girl. She gets back to work, and Casey tells a buyer that he has two hot ones for him when the Mantacore catches up to him. He delivers a sting in the alley, ending Casey's reign, before taking a quick picture for evidence.

Rosalee makes her call. Why does she bother, when has the Wesen council ever been helpful? She reports that there has been Wesen murders, and asks if there is a Maréchaussée. The Council tells her that they will look into her inquiry and let her know.

Captain Renard tells Nick and Hank that Adalind has returned. He wants Nick to warn his mother, and to be careful. Juliette is at work in the vet office, tending to patients. She finishes up with one when Nick calls her to warn her that Adalind has returned, and she needs to be careful. Juliette goes all Hexenbeist over the news.

Nick makes it home before Juliette. He sends a quick message to his mother about Adalind. Juliette storms into the house, she's more than angry, but she's gotten control. Juliette wants to rip her apart, but Nick reminds her that Adalind is a hexenbeist, and more than a little dangerous. Nick's mother sends him a picture of Diana, which is deleted shortly after.

Monroe gets the council call for Rosalee. They get their answer, which is a non answer, warning her to stay out of council business and offer the Grimm no help. They also advise her to not look into the matter further.

Nick and Hank meet Wu at the newest crimescene. The killing looks the same as the fortune tellers. Rosalee calls Nick, and tells him what the council said. The council knows whats going on, and Rosalee and Monroe are worried. Nick tells them to hang back and stay out of it. Monroe wants Nick to find someone else to take up the case, but they both know he can't do that. Monroe tells him to watch his back, the council is already pissed at him, and they'll be further angered by this.

The Wesen Council has made a decision. Alex asks what it is. The older man shares that the council has decided that the Grimm has interfered one too many times. They send the Mantacore Maréchaussée a new bounty. It's for Nick, and it's not nearly enough money as far as I'm concerned.

Hank looks over the case and evidence they have. Wu delivers a new piece for them. There has been a fingerprint pulled from Casey's cell phone, and it has already been traced to a vehicle.

Renard gives Adam all he has on Kelly Burhardt. He needs to find her before Adalind does. He knows that she claims to have gotten far away, but Renard doesn't think she's gone too far. He wants her found, but doesn't want her to know he's found her yet. He warns Adam that she's a grimm as well.

Nick talks to the officer's who've found the vehicles. He tells them to proceed with caution, to watch the man, but not to confront him. Nick, Hank and Wu head out to intercept the killer.

Juliette's bottle pops, and Henrietta looks concerned about the results.

Nick and Hank bust down the door. The man claims to have done nothing wrong, as Nick tries to get him to warg, but Hank holds him back. They arrest him. At the station, Wu wonders if the man is actually the Mantacore since he didn't warg. Nick is sure he is, but because he's a professional, he's cooler under pressure. Nick heads in to interrogate him, and Hank accompanies him. The man confesses to getting a prostitute, but nothing more. He claims to not know anything about Wesen, or warging. They try to figure out what to charge him with. Wu shows them what he has on his ipad. He has pictures of the crime scenes, so they can prove he was at the scene, along with his bounty papers. Wu reveals that there is a bounty on Nick as well.

In his cell, the Mantacore cries. A guard mocks the tears, but when he wargs rather than running, he draws his gun and gets stung. The mantacore grabs the guard's keys and he's free.

Juliette tries out her warging skills, looking at herself in the mirror. She's one ugly beist. Henrietta calls her with the results and she heads straight over. Henrietta has never seen results such as hers. She's very powerful. Juliette claims to not want this, but Henrietta warns her that this is what she is now. Juliette wargs, and Henrietta slaps her. She needs to learn control, but Juliette isn't taking that for an answer. Her blood ate a hole through the table, into the floor and who knows how much further.

Hank and Nick worry about the Maréchaussée, when Wu reports that he's gone. The pair rush down to the cell, and find the down guard. Renard warns that he'll be after Nick now. Nick calls Juliette, to warn her. Juliette needs to talk to Nick too, but now isn't the time, Nick is on his way home. The Mantacore is there, and he takes the phone form Juliette. He tells her that he has no plans to kill her, only the Grimm, but Juliette wants him out of her house. When she gets feisty with him, he decides that maybe the Grimm should come home to find her dead before he kills him. He wargs, and so does she. She thinks that maybe he should be the dead one. The Mantacore puts up a fight, but Juliette plunges his stinger into his chest killing him. Nick rushes though the door and finds Juliette sitting nearby. She tells him that the Mantacore missed, she got lucky. This should have never happened to her, and he vows to protect her. But she's not going to be anyone's victim anymore.

Alex gives the elder council member his news. The Maréchaussée is no more, the mantacore is dead. The man hopes the council isn't angry, Alex tells him he should hope that the Grimm isn't angry.

Discuss this review with fellow SJF fans on Facebook and make sure to follow us at @SandwichJFilms on Twitter, and follow the author Sue Lukenbaugh on Twitter at @suepafly.

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