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When extremely dangerous spores are found contaminating in an elderly woman's basement, military-led scientists realize they have a potential bio-weapon on their hands. Inadvertently, a group of young adults visit the elderly woman's home and fall prey to this top secret experiment. If the dumbness of that plot synopsis hasn't convinced you yet— then revel in its bogus science, incompetent acting and shoddy-as-fuck production values. Cause that's what you're given in this unintentionally hilarious mess. Some real bottom-of-the-barrel stuff. Say goodbye to character depth as the toxin makes way into their nervous system. Each person's histrionics are a goldmine of laughs. Danny Glover got too old for this shit. Vinnie Jones does scowling Londoner once again. Beverley Mitchell was better in "7th Heaven". They don't get much worse than this.


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• IMDb page: Watch Full Movie Toxin (2015) Free HD
• Rate: (awaiting 5 votes) Your Rating: Saving vote… Deleting vote… /10 total (delete | history) Sorry, there was a problem MOVIEmeter: Down 16% in popularity this week. Toxin 2015 See why on IMDbPro. Director: Jason Dudek Writer: Jason Dudek (screenplay) Contact:View company contact information for Toxin on IMDbPro.Genre:Drama | Horror | Sci-Fi | ThrillerPlot:A pharmaceutical company recruits a well-known scientist to help develop a vaccine against a deadly virus. Toxin 2015 | Add synopsis 
• Genre: Drama | Horror | Sci-Fi | Thriller
• Filming Location: Los Angeles, California, USA
• Director: Jason Dudek
• Stars: Taylor Handley, Danny Glover, Vinnie Jones | See full cast and crew »
• Original Music By: Jim Dooley   

Toxin (2015) Writing Credits By:

(in alphabetical order)

• Jason Dudek  screenplay

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The SpongeBob SquarePants Movie is a 2004 American traditional animated adventure comedy film based on the Nickelodeon television series, SpongeBob SquarePants. The film was directed and produced by series creator Stephen Hillenburg, and stars the regular television cast (Tom Kenny, Bill Fagerbakke, Clancy Brown, Rodger Bumpass and Mr. Lawrence) with guest performances by Scarlett Johansson, Jeffrey Tambor, Alec Baldwin and David Hasselhoff. The plot follows Plankton's plan to steal King Neptune's crown and send it to Shell City; there, SpongeBob and Patrick must retrieve it to save Mr. Krabs' life from Neptune's wrath and their home (Bikini Bottom) from Plankton's plan.

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Previous offers by Paramount Pictures to create a film version of SpongeBob SquarePants were turned down by Hillenburg, but he eventually accepted one in 2002. When the film went into production, Hillenburg and the show's staff halted production on the series after the third season. A writing team—Hillenburg, Paul Tibbitt, Derek Drymon, Aaron Springer, Kent Osborne and Tim Hill—was assembled, conceiving the idea of a mythical hero's quest: the search for a stolen crown which would bring SpongeBob and Patrick to the surface. The film was originally intended as the series finale; however, Nickelodeon wanted more episodes, so Paul Tibbitt assumed Hillenburg's position as showrunner to begin work on a fourth season for broadcast in 2005. During production, Jules Engel, Hillenburg's mentor at the California Institute of the Arts, died; the film was dedicated to his memory.

Tie-in promotions were made by 7-Eleven, the Cayman Islands and Burger King (which decorated some stores with 9-foot (2.7 m) SpongeBob SquarePants inflatable figures). The film was a box-office success (grossing over $140 million), and received generally positive reviews from media fans and critics. A sequel was announced in 2012, and is planned for release on February 6, 2015 the job goes to

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Watch The Babadook Online, Like the elaborate children’s pop-up book that conjures its eponymous bogeyman, “The Babadook” offers a wonderfully hand-crafted spin on a tale oft told, of parent and child in an old, dark house where things go bump (and scratch and growl and hover in the shadows) in the night. Steeped in references to early cinema, magic and classic fairy tales — which, at times, causes it to feel like a scary-movie version of “Hugo” — this meticulously designed and directed debut feature from writer-director Jennifer Kent (expanded from her award-winning short, “Monster”) manages to deliver real, seat-grabbing jolts while also touching on more serious themes of loss, grief and other demons that can not be so easily vanquished. Warmly received in its Sundance preem, where it was snapped up by IFC Midnight, the pic should delight genre aficionados at fests and in niche theatrical play, but may prove a touch too cerebral for “Saw” or “Paranormal Activity”-style crossover play.

The movie takes place nearly seven years after the fatal car accident that killed Oskar (Ben Winspear) as he was rushing his pregnant wife, Amelia (Essie Davis) to the delivery room. Mother and child survived the crash, and as its seventh anniversary approaches, they still live very much in the grip of that trauma. High-strung and emotionally volatile, with a penchant for building homemade weapons and acting out at school, young Samuel (Noah Wiseman) clearly longs for a father figure and feels self-imposed pressure, at age 6, to be his mother’s protector. Amelia, who makes ends meet as an elder-care nurse, can’t even bring herself to celebrate Samuel’s birthday on the actual day, and seems increasingly overwhelmed by the demands of caring for the temperamental tyke.

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The book is set aside soon enough, but the damage has been done. Soon, the sight and sounds of Mr. Babadook begin to haunt the dreams of mother and son alike — or could it be they are actually wide awake? The book is destroyed, but it comes back — in one of Kent’s great, spine-tingling inventions — with new pages presaging a very grim outcome indeed. And slowly but surely, life, which is already fairly off-kilter here, begins to imitate art. (The haunted-book concept is, at least in part, a nod to George Melies’ 1900 short “The Magic Book,” one of a half dozen films by the pioneering “cine-magician” that seem to be playing in a perpetual loop whenever Samuel turns on the TV.)

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The second thing I didn't like was there was just so much pointlessness. When the heroes leave for their mission to assassinate Snow I think that we are finally going to see Katniss take control and stop being a pawn. We are finally going to see her mature and figure out who she's going to love. I'm waiting and waiting for this pivotal moment. I've got no time to grieve for Boggs or Finnick because I'm just trying to hang on to the climax that will make everything worthwhile. It never happens. Peeta and Gale get injured "offscreen". Prim who stayed in the background for most of the book suddenly gets plopped literally right down into the middle of all the action only to die. I'm still thinking there's time for this great climax BUT NO! Once again, Katniss gets injured only this time it's worse. Not only does she watch her sister die but she gets to forever carry scars that will remind her of how her sister died. But, that's not enough. Apparently, Peeta will also carry the same scars, too, only the readers don't even get to read what happen to him. All of this just seemed so pointless. I understand that war is bad and unpredictable but it did nothing to move forward any kind of plot or character development. I just felt like the author was trying to hammer home how terrible war can be but people already know this. This story in my mind should have stayed on track with the character of Katniss. Also, just how many people in a book can be "losing it" at one time? You have Katniss, Peeta, Watch The Hunger Games: Mockingjay Full Movie Finnick and Annie all having mental problems??? That's a bit too much.

Third of all, there were so many things unresolved. The resolution between Katniss and her two men just simply happened by chance it seemed. Gale invented the bomb that killed her sister so she simply picked Peeta. It helped that Peeta moved back to 12 and Gale did not. Would she have tried to find him if he didn't? Did she pick him because he was the only one there? Would she have picked Gale if he moved back? She was never proactive with her choices in the end. Everyone else made all her choices for her. Then there were other characters never fully resolved. Effie suddenly appeared at the end with little written about that. The style team just went away. Gale never really said good bye. There was no scene to find out about how Annie was coping. Her mother had nothing to say to her in the end other than a letter that was never read. Haymitch barely got mentioned once they were back in 12. Johanna had no ending. Peeta should have had plenty to say after what he went through and how Katniss treated him but there was nothing there to reward the readers in the end there, either. Also, the character of Katniss ended up doing pretty much nothing with her life after she stopped being the Mockingjay. Did her life peak at the age of sixteen and after that she did nothing that was meaningful? It seemed she married Peeta because he never left her side and had children for him because it was what he wanted...not her. In the end, she became this hollow shell compared to the girl her took her sister's place in The Hunger Games. She became her mother whom she hated so much in the beginning for "losing it". I didn't even understand why Peeta would want to stay with her in the end. She was nothing like the "Girl on Fire" that he and Gale fell in love with.

Watch The Hunger Games: Mockingjay Full Movie After I read this book I could not stop thinking about it. I couldn't decide if I even liked it or not. I was glad she chose Peeta in the end but that was all I was happy about. I had problems shaking off my feelings of depression. The book itself was depressing but I finally figured out my depression came from how drastically different this book was from the other two. It changed from a story about a unique character put into an impossible situation (Hunger Games and the war),deciding between two equally great men and instead changed into a lame After School Special on how war is bad. I already know this. What I wanted to know was how someone as great as Katniss would handle it. I never found that out because the character that I fell in love with never showed up in this book.

I came to this series late. By the time I heard about it, the entire series had already been written and published. I voraciously read the first two books in this series, and I had high expectations for the final book. Let me say, I am glad I did not have to wait a year for book 3, which was disappointing and left me feeling thoroughly unsatisfied. Here's why.

- Rushed.

As the title of my review suggests, this book reads like Collins had to meet a too-quickly-approaching deadline. It is not the labor of love the other two books were (especially the first). I couldn't believe how much story still had to be closed when I had only 50 pages left to read, and the hurried nature of it all was very disorienting.

- Didn't "sound" like Collins.

This book read as if Collins collaborated with someone else, or even that entire passages were written by another person altogether. It felt choppy, disconnected, and just plain unnerving.

- Lack of focus and odd pace.

So much time was spent on unimportant details (such as Katniss's deciding which boy she loved and trusted), while major plot points (such as the ending with President Coin and Katniss's decision surrounding it) and major character deaths (in particular, Finnick and Prim) were insensitive and glossed over.

- Finnick's death.

Finnick was a main character who was loyal to Katniss and the cause, yet he was killed off in the most infuriatingly unceremonious manner, like it had to be completed in ten words or less. And, no. Annie's pregnancy didn't console me and was pretty meaningless. I would rather Finnick had lived. This was foreshadowing that I missed. Usually if a woman gets pregnant, you know that'll be their consolation because their lover (who's alive now) will probably die later in the book; or, if their lover has already died, you know the woman will magically be pregnant. Some of my friends didn't even know Finnick had died until after all the fighting when Katniss was counting who was left!

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Looking after this particular family, of course, is a full-time job that takes an enormous toll on Jane, whom Jones invests with warmth, spirit and a determination motivated as much by her character’s religious faith as by her love for Stephen. One of the more refreshing aspects of “The Theory of Everything” is the way it acknowledges what it really means to be long-suffering wife, that regular yet often strictly decorative fixture of far too many great-man Hollywood biopics. In Jane’s case, that means fending off nasty rumors and her own undeniable temptations when her church choirmaster, a handsome and sensitive widower named Jonathan Hellyer Jones (a fine Charlie Cox), becomes a close family friend, informal caretaker to Stephen and rowdy father figure to the kids.

The later passages are replete with sniffle-inducing sentiments, underplayed marital tensions and no shortage of amusing jokes, drawing on Stephen’s seemingly bottomless reserves of self-deprecating humor. Eventually the story arrives at the painful matter of the couple’s divorce, in scenes that feel somewhat truncated and show clear signs of genteel narrative airbrushing: Understandably, the filmmakers chose to adapt not Jane Hawking’s angry and controversial 1999 tell-all, “Music to Move the Stars,” but rather her more tempered and forgiving 2008 follow-up, “Traveling to Infinity: My Life With Stephen,” and their sympathies feel more or less evenly divided between two individuals who remain friends even after the end of their marriage.

It’s worth noting that “The Theory of Everything” derives its title from Hawking’s tireless search for a single universal equation that will account for all existence, reconciling quantum mechanics and Einstein’s general relativity; dramatically speaking, the filmmakers seem to have incorporated that principle by extending a generous spirit of inclusion toward nearly everyone onscreen. Admittedly, they can’t resist aiming a few bitchy jabs at Elaine Mason (Maxine Peake), the protective and strong-willed nurse whom Stephen married in 1995 (and whom he divorced in 2006), but even she comes off as well as she could under the circumstances.

Elsewhere, McCarten’s script offers a clipped overview of Hawking’s achievements while keeping the scientific and mathematical discourse at a level that laypeople in the audience will readily comprehend, employing such figures as Cambridge professor and leading cosmologist Dennis Sciama (David Thewlis) to tease out Hawking’s head-spinning notions about black holes, space-time singularities and the boundaries of the universe. Elsewhere, the film resorts to effective if elementary visual associations: A cheerfully blazing fire neatly serves up the second law of thermodynamics, while the sight of Stephen and Jane twirling beside the river Cam playfully and romantically underscores the reversibility of time.

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