99 english movie review

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99 – The Definitive Story of Manchester United’s Iconic Treble-Winning Season - to Launch May 17th on Prime Video Worldwide

Season of conflict, drama and miracles told by those who were there, including Sir Alex Ferguson, David Beckham, Andy Cole, Gary Neville, Phil Neville, Peter Schmeichel, Paul Scholes, Teddy Sheringham, Ole Gunnar Solskjaer, Dwight Yorke and many more

99 to launch exclusively on Prime Video worldwide on May 17 th , ahead of the 25th anniversary of the historic ‘treble’

Watch Trailer HERE See Still Imagery HERE

99, a new three-part documentary series that celebrates the year Manchester United won the treble, is set to premiere next month on Prime Video globally. An official trailer released today offers a first look at the series, which tells the remarkable story of how, in 1999, Manchester United made football history by winning the Premier League, FA Cup, and UEFA Champions League.

The documentary follows the astonishing road to greatness with untold stories from inside the team, revealing the dressing room conflicts, personal struggles and miraculous moments behind the legendary season, which culminated in the most unbelievable comeback victory in football.

Despite dominating domestic football during the 90s, manager Alex Ferguson was yet to restore Manchester United’s European glory when in 1999, it arrived in an unprecedented fashion. In just ten days, Ferguson’s team of home-grown talent and international stars won three trophies, the Premier League, the FA Cup and the UEFA Champions League; achieving the first ‘treble’ in English football history. This destiny hung in the balance until the final moments of the 1999 UEFA Champions League final, when Manchester United capped off their incredible season, scoring two goals in stoppage time. 25 years later, filmmaker Sampson Collins, with access to the team and new revelations and footage from inside the dressing room, explores the excitement, unparalleled determination, and miraculous twists of fate leading up to the remarkable achievement.

99 is produced by John Battsek’s Ventureland, in association with Studio 99 and Buzz16. Director Sampson Collins’ three-part documentary series with contributions from Sir Alex Ferguson and the 1998/99 Manchester United players and coaches, will leave viewers in awe of a legendary season of football.

The series joins Prime Video’s collection of exclusive sports documentaries and docuseries including: Ronnie O’Sullivan: The Edge of Everything , All or Nothing: Arsenal , We Are Newcastle United , That Peter Crouch Film , Rooney , Ben Stokes: Phoenix from the Ashes , Sir Alex Ferguson: Never Give In , and more.  This is alongside a wide selection of live sport on Prime Video globally, including Premier League football in the UK, UEFA Champions League football in Germany and Italy, as well as the UK from August 2024, Wimbledon in Germany and Austria, Ligue 1 football and Roland-Garros tennis in France, New Zealand Cricket in India, NFL Thursday Night Football in the United States and more.

Prime members will be able to watch 99 anywhere and anytime on the Prime Video app for smart TVs, mobile devices, Fire TV, Fire TV stick, Fire tablets, games consoles, on Virgin’s V6 TV Box, the TalkTalk TV set top box, Sky Q, Apple TV, Chromecast, BT TV, or online at www.amazon.co.uk/primevideo. In the Prime Video app, Prime members can download the film on their mobile devices and tablets and watch anywhere offline at no additional cost. Prime Video is available in the UK and Ireland at no extra cost to a Prime membership for just £8.99 a month or £95 per year. New customers can find out more at amazon.co.uk/prime and subscribe to a free 30-day trial.

For 99 media enquiries: [email protected] [email protected]

For Prime Video media enquiries: [email protected]

Notes To Editors

Credit 99 is available exclusively on Prime Video on 17th May when all three parts will drop globally.

99 - Full Synopsis 1999 was a year of ground-breaking success for England’s biggest and most powerful football club, Manchester United. Despite dominating domestic football during the 90s, manager Alex Ferguson was yet to restore Manchester United’s European glory when in 1999, glory arrived in an unprecedented fashion. In just ten days, Ferguson’s team of home-grown talent and international stars won three trophies, the Premiership, the FA Cup and the European Champions League; achieving the first ‘treble’ in English football history. This destiny hung in the balance until the final moments of the 1999 Champions League final, when Manchester United capped off their incredible season with the most unbelievable comeback in football history, scoring two goals in stoppage time. 25 years later, filmmaker Sampson Collins, with access to the team and new revelations and footage from inside the dressing room explores the excitement, unparalleled determination, and miraculous twists of fate leading up to the remarkable achievement.

Following the treble in ‘99, Manchester United was elevated to new heights. The club became a global brand with one of the largest fan bases worldwide; Alex Ferguson became ‘Sir’ Alex Ferguson and cemented his place as one of the greatest managers of all time; David Beckham’s superstar football and celebrity status soared. Approaching the 1998/99 season however, such scenes were a pipe dream. United had been stunned by a new force in the Premiership, Arsène Wenger’s Arsenal, who as reigning champions were looking to create a new era in English football. At the start of the season, summer scandal surrounded young Beckham, whose World Cup red card brought only more unwanted media attention to Ferguson’s team. At the same time, United appeared to lack the quality required to win in Europe following the departure of French superstar, Eric Cantona. 1999 therefore presented a fascinating story for Collins, who interviewed the team in search of the answer to how it all happened.

The three episodes of the series are divided by the three trophies but they shift back in time to deliver the powerful character arcs of players like Andy Cole and to exhibit the characteristic United spirit which goes back to the era of iconic manager, Sir Matt Busby, and was in the late 90s epitomised by Ferguson’s home-grown talent known as the Class of ‘92. Director Sampson Collins’ access to the team allowed him to discover the players’ psychological intensity, their commitment to never giving in no matter what, and their willingness to risk everything to make history. It is the stories the players share with Collins which gives the series more depth than just a retrospective documentary about a good football team. Weaving their personal stories into the journey of the season, Collins shows how their mentality pushed them through dire situations to achieve the miraculous comeback victories witnessed throughout the series and which makes 99 so dramatic. 

About Studio 99 Studio 99 is a full-service content studio with the mission of producing content for a global audience. The studio operates both Editorial and Commercial Production alongside a full suite of brand and communications campaign planning and execution.

The Editorial production company specialises in developing premium, bluechip documentary features, series and formats for global platforms and networks. Completed projects include Fever Pitch: Rise of the Premier League for the BBC that premiered in August 2021, Fever Pitch: The Battle for the Premier League for Paramount+ that premiered in May 2023 and Save Our Squad with David Beckham for Disney+ that premiered in November 2022. Recently launched on Netflix is Beckham - charting the life and career of David Beckham, directed and produced by two Oscar-winners: Fisher Stevens and John Battsek. The series became the most watched Netflix show in the UK, USA and Australia within 24 hours of launch and has received a BAFTA nomination for the “Memorable Moment Award.”

Currently in production are an ESPN 30 for 30 series as well as World War Shoe: Adidas vs Puma (Working Title) for Disney+ that explores the historic sporting rivalry between the two brands.

Studio 99’s creative agency delivers a full service offer to clients from creative and brand strategy through to campaign execution. Partnered with DBVL’s communication and digital teams it creates content for David Beckham’s 150m global social media followers and generates full scale media coverage with campaigns, marketing and digital management. Studio 99 is part of the Authentic Studios Group.

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99 Review: Nostalgia rekindled in this faithful remake of 96

Rating: ( 3.5 / 5).

The beauty of screenplay, storytelling, performance and direction all came together in the Tamil movie, 96 . It is no wonder then that Preetham Gubbi has stayed true to the original in this largely faithful remake.

Cast : Ganesh, Bhavana, Shamikshaa, Hemanth, Ravi Shankar Gowda Director : Preetham Gubbi

The original story by C Prem Kumar was a standout. The biggest challenge Preetham faced was not just replicating it but also casting the right actors. In this regard, he has not erred as Ganesh and Bhavana prove they were cut out for this romantic story.

The film revolves around Ramachandra Thirthahalli aka Ram (Ganesh), a freelance photographer. After a visit to his high school, his '99 batch plans a reunion. During the get together, he meets his school sweetheart, Janaki aka Jaanu (Bhavana). While both were in love during their school days, they never expressed their feelings to each other and ultimately, circumstances tore them apart.

The rest of the story goes back and forth, from school and college days to the present, showcasing their love and encounters, marriage to others, and their longing for each other. The magic of screenplay is crucial for such a subject, and Preetham Gubbi succeeds in captivating the audience in this conversational romantic drama. 

He also recreates the freshness of the original with elan. A relatable story of long lost love,  99  is elevated by the music by Arjun Janya. All the songs -- Heege Doora, Navilugari, Aniurthide, Nee Gnyapaka -- are soulful and are neatly woven into the story. It sets the right mood, and is captured beautifully by cinematographer Santhosh Rai Pathaje.

Ganesh is the perfect lead and stands out with his expressions and emotions. The script demands the actor get the right feel of longing for his beloved, and Ganesh delivers exactly this. Sagacity, innocence, courage, hesitation, craving -- all of these are blended in the right proportion in his acting. Adding a physical transformation on top of these is proof of the actor’s exemplary dedication.

Bhavana, who shares an equal amount of screen space, matches Ganesh’s performance in every way. Her expressions of love and pain, and the way she portrays a married woman rekindling her lost love are all well crafted.

School days and happy memories are mostly brought through Samikshaa and Hemanth, who play Bhavana and Ganesh's younger versions. Watching them is akin to taking a nostalgic trip to our own good old days. The episodes with the relationship calculator (Flames), the ink mark, preserving memories with dried flower kept between pages -- all take you back in time. Ravi Shankar Gowda, P D Satish and Jyothi Rai, who are part of this relatively small cast, bind the knots between the lead characters.  

99 is a beautiful story of the pangs of a long lost love, and it's one that's made for both the young and the old.

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Review: Long before Bond, ‘The Ministry of Ungentlemanly Warfare’ kicked off British covert ops

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Guy Ritchie’s latest, the cumbersomely titled “The Ministry of Ungentlemanly Warfare,” is at once his “Inglourious Basterds” and his “Dunkirk.” With his adaptation of the 2016 nonfiction book “The Ministry of Ungentlemanly Warfare: How Churchill’s Secret Warriors Set Europe Ablaze and Gave Birth to Modern Black Ops” by historian and war reporter Damien Lewis, Ritchie borrows Quentin Tarantino’s winking postmodern retro style to pay homage to real-life British war heroes with the same reverence that Christopher Nolan paid to the heroes of Dunkirk.

The prolific Ritchie started out with cheeky crime comedies ( “Lock, Stock and Two Smoking Barrels,” “Snatch” ) and has dabbled in historical bombast ( “King Arthur,” “Sherlock”), Disney remakes (“Aladdin”), contemporary thrillers ( “Wrath of Man,” “The Covenant”) and, to diminishing returns, more recent crime comedies (“The Gentlemen,” “Operation Fortune: Ruse de Guerre” ). But he finds a nice groove with this entertaining World War II not-quite-comedy. There’s a glee in the Nazi killing and an exceptionally dry humor that is English through and through, but Ritchie strikes a tone that rides the line between self-serious and self-consciously humorous.

If Tarantino uses a stylistic pastiche of 1960s and ’70s exploitation films and spaghetti westerns in order to rewrite history to his own liking, Ritchie borrows Tarantino’s approach to perform a kind of pulpy myth-making and celebrate a group of undersung real-life war heroes (who may have inspired Ian Fleming’s James Bond). The score by Christian Benstead is all Ennio Morricone -style whistles and guitars.

Though it is not named as such in the film, which is heavily imagined and fictionalized with the addition of a few new characters, the script, which is by Paul Tamasy, Eric Johnson, Arash Amel and Ritchie, essentially follows the 1942 special-operations mission known as “Operation Postmaster.” Concerned about the interference of German U-boats throttling England’s ability to receive supplies, Winston Churchill ( Rory Kinnear in the stiffest makeup job seen in some time) gives the go-ahead for Brigadier Gubbins’ “M” to hire the right man to target an Italian freighter loaded with U-boat supplies. Cripple the U-boats, open the channel.

The right man for the job is the incarcerated Gus March-Phillips (Henry Cavill), and he assembles his team of expert rapscallions, including Danish warrior Anders Lessen (Alan Ritchson), explosives expert Freddy Alvarez (Henry Golding) and Irish sailor Henry Hayes (Hero Fiennes Tiffin). On the way to the Spanish island of Fernando Po, off the coast of equatorial Africa, they’ll have to make a stop to pick up Geoffrey Appleyard (Alex Pettyfer), imprisoned as a POW in a Nazi outpost on La Palma, in the Canary Islands.

Their liaisons on the ground in Fernando Po are the British secret agents Heron (Babs Olusanmokun) and Marjorie Stewart (Eiza González) a half-Jewish actor and singer trained in the spycraft of seduction, whose target is a sadistic, high-powered Nazi named Luhr (Til Schweiger). They also have an ally in the Eton-educated “Prince of Fernando Po” Kambili Kalu (Danny Sapani) and his private militia.

While Ritchie structures the film around tense conversations and bursts of violence, “The Ministry of Ungentlemanly Warfare” is a bit languidly paced in between and isn’t that suspenseful. In an opening sequence, we see our ad-hoc special forces team dispatch a group of German sailors with a bit of amateurish theater and a dose of their signature firepower. No one breaks a sweat, no one raises their voices, they never run out of ammo and even in extreme situations there’s time for droll Britishisms, smarmy jokes and homoerotic ribbing.

Ritchie positions these heroes as highly capable and utterly untouchable warriors, mowing down Nazis without ruffling their mustache hairs (hot tip: don’t Google these guys if you want to keep the good times rolling). It’s all a part of the fantasy he spins through style and reference. This isn’t an authentic representation of World War II, it’s an imagining of what this story would be like told in a ’70s exploitation flick. It’s the kind of movie that would star Rick Dalton, the character played by Leonardo DiCaprio in “Once Upon a Time… in Hollywood.” González isn’t miscast as English spy Marjorie Stewart because she’s playing the kind of actress who would play Stewart opposite Dalton.

Even if the heavy stylization leaves the film feeling a bit arch, there’s a real affection that comes through in Ritchie’s homage to these early special-forces soldiers, making them larger-than-life cinema heroes and letting the audience in on the fun. You’re only left wanting more time with this team. Who knows, maybe Ritchie will rewrite history to his liking if there’s another installment of ungentlemanly warfare.

Katie Walsh is a Tribune News Service film critic.

'The Ministry of Ungentlemanly Warfare'

Rating: R, for strong violence throughout and some language Running time: 2 hours Playing: In wide release Friday, April 19

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S-99 Movie Review

Pradip Bhat

I am Pradip Bhat, and I work as a senior content writer. My job is ...

Senior Content Writer

• Critic Review
• User Review

C AST & C REW

M ORE C AST & C REW

• Yatheesh Chindam
• Nandini Chindam
• Music Director:
• Vijay Kurakula
• Jagan Mohan Chindam
• Stunt Director:
• Wing Chan Anji
• Production Designer:
• Pranathi Chindam
• Supporting Actor:
• Allu Ramesh
• Dayanand Reddy
• Chakrapani Ananda
• Chatrapathi Shekar
• Swetha Varma

Following retirement from espionage, Agent S 99 lives a quiet and secluded life. However, a journalist, who has exposed the dirty trade of Taluk Dar Pasha, is in danger, forcing S 99 to come out of retirement and do all that he can to keep her safe. Will he succeed?

Star Performances

Jagan Mohan Chindam is the reason why this film works. Despite the not-so-impressive ambiance of the film, he somehow manages to make this film slightly watchable.

A former secret agent tries to lead a quiet life. However, one bad guy tries to harm an honest person doing his/her duty, and the secret agent is forced to return to action. Hmmm, where have we heard this before?

Oh wait, that’s the basic plotline of most of the movies done by Bruce Willis/Jason Statham in the latter part of their lives! On paper, the movie ‘S 99’ looks like a screenplay left out from their archives, adapted later into a Telugu film!

Going by the initial stills, there should be little to no expectations, especially regarding the visuals and the editing of the film. However, is the narrative good enough? Surprisingly, the answer is yes, but not very much. If you’re a fan of some over-the-top action spoofs, you can opt for this film. On that note, Jagan Mohan Chindam has done a decent job.

The acting performances in this film are far from bad. However, they’re not completely outstanding either, just sandwiched in the middle. This is why the movie ‘S 99’ packs some punch, even if just for basics. The runtime is also not very long, which means that the audience can enjoy the experience of some content.

However, that is it. In terms of technicality, the film is far from impressive. The effects are rudimentary, and even the action scenes are not nuanced in any way.

What's There?

• The entertainment quotient of the narrative
• Some performances, especially from Jagan Mohan Chindam

What's Not There?

• Not-so-great screenplay
• Rudimentary visual effects
• Action scenes that go over the top

‘S 99’ is not something out of the blue. A predictable plot, followed by effects that appear straight from the movies of the early 2000s. However, some acting performances, coupled with a few entertaining scenes, salvage the film to a large extent. If you want some mindless entertainment, you can give this film a try!          

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‘V/H/S/99’ Review: Death on the Way to DVD

The long-running horror anthology has a new installment.

By Jason Zinoman

The problem with being buried alive, dramatically speaking, is that it’s hard for things to get worse. When screaming in a coffin, the sound of rain and dirt pitter-patting above, how do you raise the stakes?

In “Suicide Bid,” one of the gooey, squirmy shorts in “V/H/S/99,” the solid fifth installment of the found footage anthology series, Johannes Roberts, its writer and director, finds a way. While not wildly original, his jack-in-the-box surprises are skillfully, tautly executed. If you have a taste for schlock with shocks, this works.

When “The Blair Witch Project” popularized the found footage genre, the most maddening question in horror shifted from “Why did those fools go into that dark room?” to “Why don’t those idiots turn off the camera?” Rarely was there a great answer, but terror-addicts will overlook a lot of contrivances if you can scare or gross them out enough. While the “V/H/S” franchise has always been uneven, last year’s “V/H/S/94” was its best, featuring a cleverly shot entry in a funeral home by Simon Barrett and a giddily unnerving movie in the sewer movie by then-newcomer Chloe Okuno, whose latest feature “ Watcher” has gotten raves.

Building on that success, “V/H/S/99” smartly dispenses with the wraparound plot that was always the worst part of all its predecessors, but finds a creative if unnecessary connective tissue. The shorts are better tied together by how they subvert current 1990s nostalgia, digging into the darkest side of Y2K and Woodstock 99 and other cultural artifacts from the final decade of the last millennium.

The director Maggie Levin sharply captures, skewers and celebrates the atmosphere of the Generation X indie music scene in “Shredding,” about a band that revisits the site of a concert disaster. In an idea so perfect it makes you wonder why you haven’t seen it before, “Ozzy’s Dungeon,” directed by Steven Ellison, a.k.a. Flying Lotus, explores the ugly undercurrents of the popular kids game show “Double Dare” where contestants were regularly humiliated by being splashed with colorful liquids (Steven Ogg is an ominously oily host). “Gawkers” performs a similar unpacking, but with “American Pie”-like comedies, but the creepy voyeurism of teenage boys receives a slithery comeuppance.

These revenge stories move methodically from the familiar to the monstrous. They lean into gore, excess and, critically, smirking humor. A commitment to its staticky, period-appropriate aesthetic is the only thing its artists take deadly seriously. Sometimes, the playfulness tips over into goofy camp as in the final short “To Hell and Back,” whose title tells you the plot but whose vibe is amateurish haunted house. Still, in the right mood, even that can be dopey fun.

V/H/S/99 Not rated. Running time: 1 hour 49 minutes. Watch on Shudder.

Jason Zinoman is a critic at large for The Times. As the paper’s first comedy critic, he has written the On Comedy column since 2011. More about Jason Zinoman

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The English review – Emily Blunt’s sweeping western is a rare, sensational masterpiece

Hugo Blick’s revelatory series is a gorgeous, glorious new take on the old west – a lawless land where no one can hear you, or anyone in your way, scream

F irst and foremost – don’t let the moony opening of The English (“It was in the stars … And we believed in the stars, you and I”) put you off. It is completely unrepresentative of the six hours that follow and I want you to follow them.

The English ( BBC Two ), written and directed by Hugo Blick, is a revisionist western further revised. We are in 1890, the last days of settlement of the old west and our all-but-silent hero is Eli Whipp (Chaske Spencer), a Pawnee native and former scout for the US army cavalry – doubly displaced by the settlers’ theft of his homeland and what his people see as his betrayal of it. He is on his way to Nebraska to stake a claim to the acres he is owed for his army service, despite warnings that the white men in charge will never honour their debt.

Our heroine is Lady Cornelia Locke (Emily Blunt), who arrives at a remote hostelry in Kansas from England, on the trail of the man she holds responsible for her son’s death. There she finds the manager, Mr Watts (Ciarán Hinds, in the most terrifying of all his terrifying modes), in the process of torturing Eli. She tries to buy his safety but is beaten for her trouble. It becomes clear that news of her vengeful intentions has gone before her and that Watts is under instructions to kill her. The murder will be pinned on Eli.

One semi-mutual rescue and at least four bloody deaths later, their fates – along with his quest and her revenge narrative – have become firmly intertwined. As they cross the plains in search of their different ideas of peace, the relationship between these two lost and harrowed souls becomes deeper and more tender in a way that avoids and transcends mere romance. By the end it is infused with yearning, that rare and vanishing sensation in a world where nothing is forbidden any longer, which helps give the series the edge of grandeur the genre always seeks.

The plot surrounding the emotional core is convoluted. I have faith that were I to map all its parts it would make perfect sense but I would genuinely need to sit down with a paper and pencil, and possibly a cartographer, to do so.

But it doesn’t really matter. What matters is that along the way we meet a plethora of picaresque characters (special mention to Nichola McAuliffe as the murderous Black Eyed Mog) who evoke the pitilessness of the old west and illustrate Blick’s consideration of how many of us would remain sane, and morally sound, in a lawless land where – for hundreds of miles at a time – no one could hear you, or anyone who got in your way, scream.

What matters is that the dehumanisation and massacres of the Native Americans, upon whose suffering the New World was built, is not forgotten but ever present, in Eli’s story, in the charred remains of encampments, in the cruelty of old soldiers they meet, in the stories of the people they seek shelter with. It’s not the wholesale corrective some will want, but you could say the frontier is being moved.

What matters is that although you might lose track of the details, the plot never becomes impenetrable or the performances less than compelling. Spencer, best known for playing the werewolf Sam Uley in the Twilight movies, is a revelation – strong and silent, but also seething with frustration, intelligence, grief and the rage of a good man forced into terrible compromises. Blunt is at her best yet, giving us a woman made brave and undauntable by resolve, powered by a secret whose late reveal ties much of what was beginning to feel like sprawl back tightly together again.

And then there’s Rafe Spall as David Melmont, with a performance just this side of demented, and quite perfect as a truly diabolic villain – the kind who can reach across the open plains to master the lesser fiends, the willing weak and the good men with no choice and cast the net around an approaching nemesis and bring her down.

Blick’s script is as spare and gorgeous as the landscape. If he could have spent some of the time afforded the plot machinations on interrogating more intensively the myths of the Old West, the colonial impulse, the difference between retribution and justice and the other questions his western raises, the ambition that is everywhere in it would have been even more gloriously realised. But it remains a sweepingly wonderful thing.

The English is screening on BBC Two in the UK and streaming on Amazon Prime Video in Australia.

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99 Movie Review: 99 Movie

99 review 2.5/5 & rating. watch 99 official trailer video, listen songs, movie news updates, movie review and checkout public movie reviews soon., 99 review {2.5/5} & review rating.

The very thought of going to the cinemas gives you a high. The past five Fridays have been very unsettling, witnessing a few inconsequential releases, with the viewer looking everywhere but at the theatres. The practice of going back to a dark auditorium, the aroma of popcorn and samosas, comes to an end with 99, which opens at plexes and single screens, both.

99, helmed by Raj Nidimoru [Raj] and Krishna D.K. [D.K.], is a good looking film with some smart moments thrown in, towards the second hour mainly. In fact, it takes time to grasp things, the characters, the plotline. Besides, Raj and D.K. take their own sweet time to establish the characters, set things up and come to the point.

99 actually takes off in the second hour. From the time the lights are dimmed [post interval] to the time the lights are lit again [conclusion of the film], 99 keeps you engrossed in most parts.

The only problem is, it's too slow-paced at times and lengthy too, towards the penultimate moments. Just when you thought that the film has ended, another chase follows, which eventually leads to the finale.

Final word? 99 is smart, good looking and interesting, in parts. Quite a ride this, if you don't go with much expectations!

99 is set in 1999. It's about two crooks [Kunal Khemu, Cyrus Broacha], who run the illegal SIM card duplicating business and who get embroiled in a major mess when they rob a car and worse, meet with an accident. The car belongs to a bookie/gangster [Mahesh Manjrekar], who asks them to reimburse the amount.

What follows is a big chase, from the streets of Mumbai to Delhi, with a number of characters now entering the story.

99 isn't Raj and D.K.'s debut film, but it's their debut film in Bollywood for sure. The best part is, the director duo come up with fresh ideas to make it look different. For instance, the characters that you watch in 99 have been witnessed a zillion times before, but the small-time crooks [Kunal, Cyrus], bookie/gangster [Mahesh Manjrekar], match fixer [Vinod Khanna], habitual gambler [Boman], his cheerless wife [Simone Singh], slimy bookie/recovery agent [Amit Mistry], an over-the-top Bhojpuri film actor and the hotel manager [Soha] appear so different. They're definitely not caricatures. Even otherwise, the approach to the story [Raj, D.K., Sita Menon] and the execution of the subject is a notch above the ordinary.

Notwithstanding the plusses, Raj and D.K. ought to know, being avid movie buffs themselves, making the viewer impatient isn't a positive sign. The film is sooooo slow [intermittently boring too] at times that it tests your patience. The film vacillates constantly, from energetic moments to tepid/boring stuff. Also, ideally, the film should've had a running time of 90 minutes [99 minutes, if the makers preferred], not 2 + hours.

There's not much scope for music in the film and the song-pieces are well integrated in the plot. Rajeev Ravi's cinematography is eye-catching. Dialogues are well penned. Special mention must be made of the beginning titles, which are innovative. Cheragh Todiwala's editing is perfect in several scenes [sample these sequences: Kunal enters Vinod Khanna's suite in the hotel or the chase at Palika Bazaar towards the climax - well filmed, well edited sequences], but loose at times too.

99 is embellished with fine performances from an ensemble cast, but the one who stands out is Boman Irani. Here's a master stroke from this accomplished actor, yet again. Kunal Khemu is only getting better and more confident. The new look [hairstyle] suits him well. Soha is evolving into a fine actress. She's highly competent this time. Cyrus Broacha is, expectedly, funny and controlled. Film-makers have one more alternative while casting now.

Vinod Khanna is wonderfully relaxed, so is Mahesh Manjrekar. Simone Singh does well. Amit Mistry is exceptional. Here's a talent that needs to be lapped up!

On the whole, 99 appeals in parts, more towards the second half. The film holds appeal for the youth and should find patronage from this faction of moviegoers at multiplexes mainly.

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Common sense media reviewers.

Vampire tale is extremely gory but fun, smart; swearing.

A Lot or a Little?

What you will—and won't—find in this movie.

Just because someone has acted badly in the past d

Joey has learned from her past mistakes and is att

Of the nine characters who appear on screen, four

Extreme blood and gore. Severed head, headless cor

One character misinterprets another's intentions a

Constant extreme language includes "f--k," "mother

Characters drink heavily from a well-stocked bar a

Parents need to know that Abigail is a horror movie about a team of kidnappers whose target turns out to be a ballet-dancing child vampire (Alisha Weir). It's well-made and even a little funny, but it's also extremely gory. Expect lots of vampire violence, blood and gore spewing everywhere, someone falling…

Positive Messages

Just because someone has acted badly in the past doesn't mean that they'll continue to do so, so it's not necessary to punish all past transgressions. Appreciate and celebrate people's efforts to improve themselves. Forgiveness is important.

Positive Role Models

Joey has learned from her past mistakes and is attempting to do the right thing. She's brave and cunning and continues in the fight when the chips are down. Despite the fact that she's participating in a kidnapping, she puts her skills to good use and hopes to earn the right to return to her family.

Diverse Representations

Of the nine characters who appear on screen, four are White men. One is Abigail (Irish actor Alisha Weir), and two others are women, including Melissa Barrera, who was born in Mexico, and Kathryn Newton, who's White. Two others are Black men (William Catlett and Giancarlo Esposito). All of the characters are on screen enough to have their own backgrounds and agency.

Did we miss something on diversity? Suggest an update.

Violence & Scariness

Extreme blood and gore. Severed head, headless corpse. Characters explode, spewing blood and gore everywhere. Character falls into a swimming pool filled with partial dead bodies, gore, muck, buzzing flies, etc. Vomiting/spewing blood. Woman is violently thrown around, bashed against walls and windows, choked, stabbed, etc. A person's face is partially chewed off; he gurgles and collapses. Guns and shooting, threatening with guns. Young vampire girl is shot and has her hand burned off by sunlight. Stabbing with metal cross, stake. Child injected with knockout drug. Vampires bite characters in the neck, leading to gory wounds. Characters fall from high places and crash to floor. Character rages with anger. Violent story told about characters being torn limb from limb.

Did you know you can flag iffy content? Adjust limits for Violence & Scariness in your kid's entertainment guide.

Sex, Romance & Nudity

One character misinterprets another's intentions and comes on to her a little too strong; she reacts angrily. Character draws a penis on a passed-out character's face.

Did you know you can flag iffy content? Adjust limits for Sex, Romance & Nudity in your kid's entertainment guide.

Constant extreme language includes "f--k," "motherf----r," "s--t," "bulls--t," "Jesus f---in' Christ," "a--hole," "bitch/son of a bitch," "dumbass," "ass," "d--k." Middle-finger gestures.

Did you know you can flag iffy content? Adjust limits for Language in your kid's entertainment guide.

Drinking, Drugs & Smoking

Characters drink heavily from a well-stocked bar and sometimes drink directly from the bottle. Smoking pot. A character is said to be a recovering drug abuser and is referred to as a "junkie."

Did you know you can flag iffy content? Adjust limits for Drinking, Drugs & Smoking in your kid's entertainment guide.

Parents Need to Know

Parents need to know that Abigail is a horror movie about a team of kidnappers whose target turns out to be a ballet-dancing child vampire ( Alisha Weir ). It's well-made and even a little funny, but it's also extremely gory. Expect lots of vampire violence, blood and gore spewing everywhere, someone falling into a pool filled with dead bodies, a severed head and a headless corpse, biting, stabbing, vomiting blood, bite wounds, burn wounds, and more. A woman is thrown around, slammed against walls and windows, and choked and characters -- including a child -- are threatened with guns and other weapons. Language is constant and extremely strong, with uses of "f--k," "motherf----r," "s--t," "bulls--t," "a--hole," "bitch," etc. Characters drink, sometimes to excess, and one smokes pot. One person misinterprets another's intentions and comes on too strongly, a character draws a penis on another person's face while they sleep as a prank. To stay in the loop on more movies like this, you can sign up for weekly Family Movie Night emails .

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Based on 4 parent reviews

A bloody good time (literally)

What's the story.

In ABIGAIL, a team of criminals -- code-named Joey ( Melissa Barrera ), Frank ( Dan Stevens ), Sammy ( Kathryn Newton ), Peter ( Kevin Durand ), Rickles ( William Catlett ), and Dean (Angus Cloud) -- are hired for a kidnapping. Their target is Abigail ( Alisha Weir ), the young, ballet-loving daughter of a rich and powerful man. The team pulls off its assignment easily and take their target to a remote house, where they're met by Lambert ( Giancarlo Esposito ). He tells them to keep an eye on Abigail, to wait for 24 hours, and to not disclose any personal information to one another. They're left with food and a fully stocked bar, and they begin to pass the night. But there's something they don't know about Abigail.

Is It Any Good?

Using a simple setup with a few clever twists, this gory, slick vampire movie layers in horror and humor in a most appealing manner, moving with ease and confidence almost the entire way. With Abigail , co-directors Matt Bettinelli-Olpin and Tyler Gillett , of the collective known as Radio Silence, add another winner to their distinctive filmography. It recalls elements of their earlier movies Ready or Not , which was set in a large, opulent mansion, and Scream VI , which had a bloody showdown in a large, beautiful theater. But this one adds in supernatural elements and a gleeful excess of gore.

The filmmakers establish a tone that incorporates humor without distracting from the true horror of the situation. It doesn't undercut or betray anything; the elements are melded together gracefully. There's time to build characters -- or at least enough that we know how we feel about them. And everything is clear and fluid; there's never any junky camerawork or cheap short cuts. It's entertaining throughout, except for a few small quibbles. In the final act, there's an overcooked element -- best not revealed -- that detracts from the quality of the story. And then there's Abigail herself, who's at least a couple of centuries old, spending all that time in the body of a small girl. Movies like Near Dark and Interview with the Vampire have also introduced characters who suffer gravely from a curse like that -- being an experienced person in an inexperienced body -- but Abigail never addresses this concept. Still, there's enough here to make this nail-and-neck-biter well worth recommending.

Talk to Your Kids About ...

Families can talk about Abigail 's violence . How did it make you feel? Was it exciting? Shocking? What did the movie show or not show to achieve this effect? Why is that important?

Is the movie scary? What's the appeal of horror movies ? Why do people sometimes like to be scared?

Did you notice diverse representations in the movie? What about stereotypes ?

How is forgiveness demonstrated in the movie? Why can it be so difficult to forgive people?

What's the lasting appeal of vampire stories? Why do viewers never seem to tire of these monsters?

Movie Details

• In theaters : April 19, 2024
• Cast : Melissa Barrera , Dan Stevens , Kathryn Newton
• Directors : Matt Bettinelli-Olpin , Tyler Gillett
• Inclusion Information : Female actors, Latino actors
• Studio : Universal Pictures
• Genre : Horror
• Topics : Monsters, Ghosts, and Vampires
• Run time : 109 minutes
• MPAA rating : R
• MPAA explanation : strong bloody violence and gore throughout, pervasive language and brief drug use
• Last updated : April 20, 2024

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Tv/streaming, collections, great movies, chaz's journal, contributors, the english.

“The English,” a new six-part mini-series on Prime Video, is a Western about outsiders made by an outsider. There’s always a bit of a different flavor when someone not from the United States tackles the most homegrown of genres, the Western. And one can feel the influence of Sergio Leone and the Spaghetti Western all over Brit Hugo Blick ’s captivating drama, a show that bursts out of the gate with two of the best episodes of TV this year before getting a bit too languid and talky in its mid-section. Thankfully, it regains its footing, and never loses its visual confidence or style even through the slow stuff. This is a drama about lands shaped by violence and eroded by vengeance, a genre exercise with fantastic performances and film-caliber technical elements. Western fans definitely won’t want to miss it.

After a prologue that details the tumultuous state of existence in middle America in 1890, “The English” thrusts its two protagonists together in a long scene of fateful twists. Lady Cornelia Locke ( Emily Blunt ) arrives in the United States to avenge the death of her son but is immediately threatened by greedy, violent criminals played marvelously by Toby Jones and Ciaran Hinds . As she’s thrown from the carriage to Hinds’ feet, she sees the figure of a beaten man hanging at the edge of the property. It is Eli Whipp ( Chaske Spencer ), a Pawnee ex-cavalry scout who now intends to get his promised land from the government he fought for even though he knows in his heart that he’s unlikely to get it easily. These are both people pushing back against a broken system, one that rewards the greedy and the unjust, and they will end up essentially on the road together to a small town called Hoxem, Wyoming.

This mini-Deadwood in Wyoming is led (barely) by a sheriff named Robert Marshall ( Stephen Rea ), who is stumped by a series of local murders that may involve a young widow named Martha Myers ( Valerie Pachner ). As everything builds toward a series of revelations and showdowns in Hoxem, familiar faces pop up including memorable turns by Rafe Spall and Gary Farmer (so good on “Reservation Dogs”). Much of “The English” consists of long dialogue exchanges punctuated by extreme violence. It’s a fascinating equation as this is essentially a show about people who believe that they will only get what they want by force and yet it’s also remarkably rich in dialogue and character interaction. The opening episode conversation between Hinds and Blunt over a dinner table that includes prairie oysters (look it up) isn’t as self-aware as Quentin Tarantino but recalls similar exchanges in his films like “Django Unchained” and “ Inglourious Basterds ”—scenes in which you know all the witty back and forth is probably going to end in bloodshed.

Blick sometimes indulges a bit too much in these lengthy exchanges, especially in episodes three and four, and he allows the storytelling to get cluttered in flashbacks when the season needs to be building momentum after its explosive opening episodes. However, through it all, the show remains a visually engaging experience. Blick and his team are very interested in iconic Western imagery—silhouettes against a big blue sky, close-ups of furtive eyes, etc.—but also in digging beneath the imagery to the truth of a land of broken promises, both those made to the people told they could start a new life there and the ones whose land was stolen. Late in the season, someone speaks of the difference between traveling with hope vs. just traveling without fear, and it feels like a show about a time in America when hope was in very short supply. Some travelers to new communities like Hoxem may have traveled without fear, but it wasn’t because they hoped for a bright future as much as they had no other choice.

Even as “The English” sags a bit in terms of storytelling, the performances remain stellar through the season. Hinds and Jones have a blast in their episode, and Rea is typically strong, but the show belongs to Blunt and Spencer, who are both phenomenal. Blunt has always been able to balance vulnerability and strength, and those two traits exist in the same beat in some of her choices here in a captivating way. Spencer understands how to carry regret in his body and his tone, capturing a man who may be numbed by what he’s seen perpetrated on his people but hasn’t allowed that to overwhelm his decency. They both have such wonderful voices, which give “The English” the air of classic genre cinema at times if you close your eyes. Every time that Blunt and Spencer start volleying dialogue, it's easy to just get lost in this show. 

The streaming mini-series has become such an oversaturated field that something like “The English” could get lost in the crowd. Like the characters it profiles, it deserves a chance at happiness and to carve out some of the landscape for itself.

Premieres on Prime Video on Friday, November 11 th .

Brian Tallerico

Brian Tallerico is the Managing Editor of RogerEbert.com, and also covers television, film, Blu-ray, and video games. He is also a writer for Vulture, The Playlist, The New York Times, and GQ, and the President of the Chicago Film Critics Association.

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For readers of Alexandre Dumas’ novel, extravagant French adaptation “ The Three Musketeers – Part II: Milady” packs its share of surprises: killing off important characters, sparing others and reimagining allegiances that have stood for nearly two centuries. For viewers of “Part I: D’Artagnan,” however, this swashbuckling sequel feels totally in keeping with what came before. Even the twists track, paying off what amounts to a nearly four-hour investment (not counting however many months audiences may have waited to see how the story ends).

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Bourboulon isn’t the first filmmaker to split Dumas’ novel down the middle. Half a century earlier, Richard Lester directed back-to-back features, dubbed “The Three Musketeers” and “The Four Musketeers” — though the latter was rechristened “They Call Her Milady” (“On l’appelait Milady”) in France, suggesting a precedent for accentuating Green’s character in the second half. She’s an infinitely more interesting source of obsession for D’Artagnan than Constance, who comes across as beatifically banal as played by Khoudri here. That in turn makes D’Artagnan’s efforts to rescue her seem rather uninspired, as if he could be doing something better with his time — like lusting after Milady.

In this telling, Constance stumbled upon the perpetrators of the plot to assassinate the king just before the first part ended, which at least imbues the character with a certain value. Still, it’s far more exciting to see D’Artagnan and Milady together, as they are early on, fighting side by side for a change. Bourboulon’s big innovation in these films can be seen in his action sequences, which typically unfold via elaborate oners — dynamic set-pieces designed to look as though they were captured in a single unbroken shot.

During an early escape, the camera chases after D’Artagnan, running along the lofty fortress parapet. When the young hero finds himself cornered, the lensman plunges right behind brave D’Artagnan into the moat. The effect is far more immersive than most adventure movies, which use quick cutting to place viewers in the fray. The way DP Nicolas Bolduc shoots these well-choreographed, minimally edited sequences, we feel like participants in the action, as in a knife fight that comes just a few scenes later, where the nimble camera is at knee level when D’Artagnan drives a blade through his opponent’s leg.

The other musketeers have less to do this time around, though each remains sworn to protecting the honor of others. Porthos has fallen in love with Aramis’ sister, Mathilde (Camille Rutherford), and together the two confront the cad who took advantage of her. In a rather confusing (but nonetheless exciting) subplot, Athos risks his life to rescue a comrade strapped to a wooden cross. He too has unfinished business with Milady — which remains the case all the way to the end, suggesting a thread that could inspire an off-canon “Part III,” should Bourboulon care to continue the epic.

Stateside, subtitles tend to relegate movies to art-houses, where the kind of young audiences most likely to appreciate such showy theatrics rarely set foot. Like last year’s “Napoleon,” this is megaplex entertainment at its most grand. Still, it would take some clever marketing to transform this import into a “Parasite”-style phenomenon, even if both well-made offerings have the same quality: They fill an entertainment niche that American movies have all but abdicated.

Reviewed online, Dec. 19, 2023. Running time: 121 MIN. (Original title: “Les trois mousquetaires: Milady”)

• Production: (France-Germany-Spain-Belgium) A Samuel Goldwyn Films (in U.S.), Pathé (in France) release of a Dimitri Rassam, Jérôme Seydoux presentation of a Chapter 2, Pathé Films, M6 Films production, in co-production with Constantin Films Produktion, ZDF, Deaplaneta, UMedia, with the participation of OCS, Canal+, M6, in association with Ufund, with the support of La Région Île-de-France, La Région Bretagne in partnership with the CNC, BNP Paribas. (World sales: Pathé, Paris.) Producer: Dimitri Rassam. Co-producer: Ardavan Safaee.
• Crew: Director: Martin Bourboulon. Screenplay: Matthieu Delaporte & Alexandre de La Patellière, based on the novel by Alexandre Dumas. Camera: Nicolas Bolduc. Editor: Célia Lafitedupont. Music: Guillaume Roussel.
• With: François Civil, Vincent Cassel, Romain Duris, Pio Marmaï, Eva Green, Louis Garrel, Vicky Krieps, Lyna Khoudri, Jacob Fortune-Lloyd, Éric Ruf, Marc Barbé, Patrick Mille, Julien Frison. (French dialogue)

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