With a sentence of twenty years goes felony Brendan provisional nowhere to go

This is a beautiful new start ??, the jailer concludes after a few brief questions to JR. The nineteen-year-old boy has both inside and outside prison no contacts, and have to sit for a few months. That the guard does not know what he's talking about, it soon becomes clear in Son of a Gun. JR is just the perfect criminal accomplice.

With a sentence of twenty years goes felony Brendan provisional nowhere to go, so he sees something in the newcomer in the foreseeable future will again walk around outside the prison walls. JR initially has no desire to work, but soon finds out that he even in the short time he's behind bars, can use the necessary protection with. namely a tree of a guy sees something in the fresh meat that has just come walking in. Moments later thrown aggressive wardrobe over a railing. The deal between JR and Brendan is round.

It for a while remains vague what the deal entails. JR arrives in a beautiful house, receive a thick envelope with money and only get one task: he must ensure that his new phone charged and continues recording when he is called.

The viewer knows at this point virtually nothing of the two main characters and that is exactly where debuting director Julius Avery has been tension. With abrupt time jumps he makes it clear that there is more going on than he shows the audience. Intriguingly especially the extent to which JR and Brendan know what will happen and how well they really know each other. The viewer now looks something like a love-hate relationship in which mutual trust and suspicion continue to follow each other. An entertaining game between Ewan McGregor and Brenton Thwaites.

The power of Son of a Gun is the continuous mysterious tension that hangs over the situations and characters. It's pretty amazing that that intrigues because actually this action thriller a formula drawing in terms of story. Each separate component is a common fact: the forbidden love, the supreme boss who plays double games, wild chases, a sophisticated criminal operation at risk because playing a reckless fool, and so on. But you do have hardly suffered from during the movie. Despite all the clichés Avery knows his film to give a pleasant unpredictable. Until the credits remains thriller for both the viewers and the characters a thrilling cat-and-mouse game.

The books by author Nicholas Sparks serve for years as a grateful source material for many a romantic movie. Since 1999, filmed his stories, with a relatively high The Notebook in 2004. Although the films become so much begin to resemble each other that even the movie posters are difficult to distinguish, the public seems far from Sparks tired. The Longest Ride is already the tenth film adaptation of his work, and number eleven in production today seems Hollywood still not enough to get.

On a spontaneous trip to a rodeo met art student Sophia rodeo rider Luke. The two feel instantly attracted to each other, but because Sophia plans after leaving her studies to New York for her dream job, their first date immediately their last. When the two come into contact with the old Ira, however their life changes completely. Ira ?? s memories of his wife Ruth inspire Sophia and Luke give each other a chance.

If Sophia sighted Ira letters reads that he wrote to his wife, the story jumps back in time. The young couple in love, engaged and married, but their happiness is brutally disrupted by World War II. Although the storyline around Ira and Ruth is only a reference for the life of Sophia and Luke, their story is much better advantage. A little corny, their romance, but it fits well with the sepia toned setting of the forties. Huston and Chaplin are charming as the shy Ira and more determined Ruth, and they make the highs and lows of their marriage the few important moments in the story.

If the history of Ira and Ruth will be placed on a siding, The Longest Ride loses much of its charm. Not only resemble the struggles of Sophia and Luke but small beside those of the older couple, but their relationship is also unconvincing. Opposites attract, but even if the two know each other better, it appears that they do not have much in common. Sophia likes Lukes work too dangerous, while Luke takes the art world but pretentious. What they see in each other outside each photogenic faces will be nowhere visible. The attraction and repulsion of the two produces boredom rather than gripping drama, especially since the end in spite of everything is not difficult to guess.

Ultimately offers The Longest Ride exactly what to expect from a Nicholas Sparks adaptation falls. The protagonists are photogenic, their true love conquers all and neatly groomed cinematography gives it an appropriate romantic atmosphere. With Sparks ?? common theme of a love that survives the years is nothing wrong, but the clichéd story remains the only in beautifully packaged sentiment, rather than actual drama. Distinguish themselves from other Sparks adaptations does not do this operation, let alone its genre contemporaries, but the fans will adopt satisfied walk out of the room.