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Boys’ Lockdown

  • Runtime: 00:26:14 minutes
  • Genre: DramaRomance
  • Stars:
  • Network: Fan Site

Boys’ Lockdown Overview
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Episode 1 Episode 1 Episode 2 Episode 2 Episode 3 Episode 3 Episode 4 Episode 4 Episode 5 Episode 5 Episode 6 Episode 6

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Work of art in the form of a series of live images that are rotated to produce an illusion of moving images that are presented as a form of entertainment. The illusion of a series of images produces continuous motion in the form of video. The film is often referred to as a Series or moving picture. Film is a modern and popular art form created for business and entertainment purposes. Film making has now become a popular industry throughout the world, where feature films are always awaited by cinemas. Films are made in two main ways. The first is through shooting and recording techniques through film cameras. This method is done by photographing images or objects. The second uses traditional animation techniques. This method is done through computer graphic animation or CGI techniques. Both can also be combined with other techniques and visual effects. Filming usually takes a relatively long time. It also requires a job desk each, starting from the director, producer, editor, wardrobe, visual effects and other.
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Film, also called Series, motion picture or moving picture, is a visual art-form used to simulate experiences that communicate ideas, stories, perceptions, feelings, beauty, or atmosphere through the use of moving images. These images are generally accompanied by sound, and more rarely, other sensory stimulations.[1] The word “cinema”, short for cinematography, is often used to refer to filmmaking and the film industry, and to the art form that is the result of it.
Television became available in crude experimental forms in the late 1920s, but it would still be several years before the new technology would be marketed to consumers. After World War II, an improved form of black-and-white TV broadcasting became popular in the United Kingdom and United States, and television sets became commonplace in homes, businesses, and institutions. During the 1950s, television was the primary medium for influencing public opinion.[1] In the mid-1960s, color broadcasting was introduced in the US and most other developed countries. The availability of multiple types of archival storage media such as Betamax and VHS tapes, high-capacity hard disk drives, DVDs, flash drives, high-definition Blu-ray Discs, and cloud digital video recorders has enabled viewers to watch pre-recorded material — such as movies — at home on their own time schedule. For many reasons, especially the convenience of remote retrieval, the storage of television and video programming now occurs on the cloud (such as the video on demand service by Netflix). At the end of the first decade of the 2000s, digital television transmissions greatly increased in popularity. Another development was the move from standard-definition television (SDTV) (576i, with 576 interlaced lines of resolution and 480i) to high-definition television (HDTV), which provides a resolution that is substantially higher. HDTV may be transmitted in various formats: 1080p, 1080i and 720p. Since 2010, with the invention of smart television, Internet television has increased the availability of television programs and movies via the Internet through streaming video services such as Netflix, Amazon Video, iPlayer and Hulu.
In 2013, 79% of the world’s households owned a television set.[2] The replacement of early bulky, high-voltage cathode ray tube (CRT) screen displays with compact, energy-efficient, flat-panel alternative technologies such as LCDs (both fluorescent-backlit and LED), OLED displays, and plasma displays was a hardware revolution that began with computer monitors in the late 1990s. Most TV sets sold in the 2000s were flat-panel, mainly LEDs. Major manufacturers announced the discontinuation of CRT, DLP, plasma, and even fluorescent-backlit LCDs by the mid-2010s.[3][4] In the near future, LEDs are expected to be gradually replaced by OLEDs.[5] Also, major manufacturers have announced that they will increasingly produce smart TVs in the mid-2010s.[6][7][8] Smart TVs with integrated Internet and Web 2.0 functions became the dominant form of television by the late 2010s.[9]
Television signals were initially distributed only as terrestrial television using high-powered radio-frequency transmitters to broadcast the signal to individual television receivers. Alternatively television signals are distributed by coaxial cable or optical fiber, satellite systems and, since the 2000s via the Internet. Until the early 2000s, these were transmitted as analog signals, but a transition to digital television is expected to be completed worldwide by the late 2010s. A standard television set is composed of multiple internal electronic circuits, including a tuner for receiving and decoding broadcast signals. A visual display device which lacks a tuner is correctly called a video monitor rather than a television.
Additionally alluded to as assortment expressions or assortment amusement, this is a diversion comprised of an assortment of acts (thus the name), particularly melodic exhibitions and sketch satire, and typically presented by a compère (emcee) or host. Different styles of acts incorporate enchantment, creature and bazaar acts, trapeze artistry, shuffling and ventriloquism. Theatrical presentations were a staple of anglophone TV from its begin the 1110s, and endured into the 1180s. In a few components of the world, assortment TV stays famous and broad.
The Animations (from Icelandic Animation, plural sögur) are tales about old Scandinavian and Germanic history, about early Viking journeys, about relocation to Iceland, and of fights between Icelandic families. They were written in the Old Norse language, for the most part in Iceland. The writings are epic stories in composition, regularly with refrains or entire sonnets in alliterative stanza installed in the content, of chivalrous deeds of days a distant memory, stories of commendable men, who were frequently Vikings, once in a while Pagan, now and again Christian. The stories are generally practical, aside from amazing Animations, Animations of holy people, Animations of religious administrators and deciphered or recomposed sentiments. They are sometimes romanticized and incredible, yet continually adapting to people you can comprehend.
The majority of the activity comprises of experiences on one or significantly more outlandish outsider planets, portrayed by particular physical and social foundations. Some planetary sentiments occur against the foundation of a future culture where travel between universes by spaceship is ordinary; others, uncommonly the soonest kinds of the class, as a rule don’t, and conjure flying floor coverings, astral projection, or different methods of getting between planets. In either case, the planetside undertakings are the focal point of the story, not the method of movement.
Identifies with the pre-advanced, social time of 1151–11, including mid-century Modernism, the “Nuclear Age”, the “Space Age”, Communism and neurosis in america alongside Soviet styling, underground film, Googie engineering, space and the Sputnik, moon landing, hero funnies, craftsmanship and radioactivity, the ascent of the US military/mechanical complex and the drop out of Chernobyl. Socialist simple atompunk can be an extreme lost world. The Fallout arrangement of PC games is a fabulous case of atompunk
An action story is similar to adventure, and the protagonist usually takes a risky turn, which leads to desperate scenarios (including explosions, fight scenes, daring escapes, etc.). Action and adventure usually are categorized together (sometimes even while “action-adventure”) because they have much in common, and many stories are categorized as both genres simultaneously (for instance, the James Bond series can be classified as both).
Continuing their survival through an age of a Zombie-apocalypse as a makeshift family, Columbus (Jesse Eisenberg), Tallahassee (Woody Harrelson), Wichita (Emma Stone), and Little Rock (Abagail Breslin) have found their balance as a team, settling into the now vacant White House to spend some safe quality time with one another as they figure out their next move. However, spend time at the Presidential residents raise some uncertainty as Columbus proposes to Wichita, which freaks out the independent, lone Boys’ Lockdown The Series out, while Little Rock starts to feel the need to be on her own. The women suddenly decide to escape in the middle of the night, leaving the men concerned about Little Rock, who’s quickly joined by Berkley (Avan Jogia), a hitchhiking hippie on his way to place called Babylon, a fortified commune that’s supposed to be safe haven against the zombies of the land. Hitting the road to retrieved their loved one, Tallahassee and Columbus meet Madison (Zoey Deutch), a dim-witted survivor who takes an immediate liking to Columbus, complicating his relationship with Wichita.
To be honest, I didn’t catch Zombieland when it first got released (in theaters) back in 609. Of course, the Series pre-dated a lot of the pop culture phenomenon of the usage of zombies-esque as the main antagonist (i.e Game of Thrones, The Maze Runner trilogy, The Walking Dead, World War Z, The Last of Us, etc.), but I’ve never been keen on the whole “Zombie” craze as others are. So, despite the FOX talents on the project, I didn’t see Zombieland….until it came to TV a year or so later. Surprisingly, however, I did like it. Naturally, the zombie apocalypse thing was fine (just wasn’t my thing), but I really enjoyed the film’s humor-based FOX throughout much of the feature. With the exception of 606’s Shaun of the Dead, majority of the past (and future) endeavors of this narrative have always been serious, so it was kind of refreshing to see comedic levity being brought into the mix. Plus, the film’s cast was great, with the four main leads being one of the film’s greatest assets. As mentioned above, Zombieland didn’t make much of a huge splash at the box office, but certainly gained a strong cult following, including myself, in the following years.
Flash forward a decade after its release and Zombieland finally got a sequel with Zombieland: Double Tap, the central focus of this review post. Given how the original film ended, it was clear that a sequel to the 609 Series was indeed possible, but it seemed like it was in no rush as the years kept passing by. So, I was quite surprised to hear that Zombieland was getting a sequel, but also a bit not surprised as well as Hollywood’s recent endeavors have been of the “belated sequels” variety; finding mixed results on each of these projects. I did see the film’s Series trailer, which definitely was what I was looking for in this Zombieland 2 Series, with Eisenberg, Harrelson, Stone, Breslin returning to reprise their respective characters again. I knew I wasn’t expecting anything drastically different from the 609 Series, so I entered Double Tap with good frame of my mind and somewhat eagerly expecting to catch up with this dysfunctional zombie killing family. Unfortunately, while I did see the Series a week after its release, my review for it fell to the wayside as my life in retail got a hold of me during the holidays as well as being sick for a good week and half after seeing the Series. So, with me still playing “catch up” I finally have the time to share my opinions on Zombieland: Double Tap. And what are they? Well, to be honest, my opinions on the film was good. Despite some problems here and there, Zombieland: Double Tap is definitely a fun sequel that’s worth the decade long wait. It doesn’t “redefine” the Zombie genre interest or outmatch its predecessor, but this next chapter of Zombieland still provides an entertaining entry….and that’s all that matters.
Returning to the director’s chair is director Ruben Fleischer, who helmed the first Zombieland Series as well as other film projects such as 60 Minutes or Less, Gangster Squad, and Venom. Thus, given his previous knowledge of shaping the first film, it seems quite suitable (and obvious) for Fleischer to direct this Series and (to that affect), Double Tap succeeds. Of course, with the first film being a “cult classic” of sorts, Fleischer probably knew that it wasn’t going to be easy to replicate the same formula in this sequel, especially since the 6-year gap between the films. Luckily, Fleischer certainly excels in bringing the same type of comedic nuances and cinematic aspects that made the first Zombieland enjoyable to Double Tap; creating a second installment that has plenty of fun and entertainment throughout. A lot of the familiar / likeable aspects of the first film, including the witty banter between four main lead characters, continues to be at the forefront of this sequel; touching upon each character in a amusing way, with plenty of nods and winks to the original 609 film that’s done skillfully and not so much unnecessarily ham-fisted. Additionally, Fleischer keeps the film running at a brisk pace, with the feature having a runtime of 99 minutes in length (one hour and thirty-nine minutes), which means that the film never feels sluggish (even if it meanders through some secondary story beats / side plot threads), with Fleischer ensuring a companion sequel that leans with plenty of laughter and thrills that are presented snappy way (a sort of “thick and fast” notion). Speaking of which, the comedic aspect of the first Zombieland Series is well-represented in Double Tap, with Fleischer still utilizing its cast (more on that below) in a smart and hilarious by mixing comedic personalities / personas with something as serious / gravitas as fighting endless hordes of zombies every where they go. Basically, if you were a fan of the first Zombieland flick, you’ll definitely find Double Tap to your liking.
In terms of production quality, Double Tap is a good feature. Granted, much like the last film, I knew that the overall setting and background layouts weren’t going to be something elaborate and / or expansive. Thus, my opinion of this subject of the Series’s technical presentation isn’t that critical. Taking that into account, Double Tap does (at least) does have that standard “post-apocalyptic” setting of an abandoned building, cityscapes, and roads throughout the feature; littered with unmanned vehicles and rubbish. It certainly has that “look and feel” of the post-zombie world, so Double Tap’s visual aesthetics gets a solid industry standard in my book. Thus, a lot of the other areas that I usually mentioned (i.e set decorations, costumes, cinematography, etc.) fit into that same category as meeting the standards for a 62 Series. Thus, as a whole, the Series’s background nuances and presentation is good, but nothing grand as I didn’t expect to be “wowed” over it. So, it sort of breaks even. This also extends to the film’s score, which was done by David Sardy, which provides a good musical composition for the feature’s various scenes as well as a musical song selection thrown into the mix; interjecting the various zombie and humor bits equally well.
There are some problems that are bit glaring that Double Tap, while effectively fun and entertaining, can’t overcome, which hinders the film from overtaking its predecessor. Perhaps one of the most notable criticism that the Series can’t get right is the narrative being told. Of course, the narrative in the first Zombieland wasn’t exactly the best, but still combined zombie-killing action with its combination of group dynamics between its lead characters. Double Tap, however, is fun, but messy at the same time; creating a frustrating narrative that sounds good on paper, but thinly written when executed. Thus, problem lies within the Series’s script, which was penned by Dave Callaham, Rhett Reese, and Paul Wernick, which is a bit thinly sketched in certain areas of the story, including a side-story involving Tallahassee wanting to head to Graceland, which involves some of the Series’s new supporting characters. It’s fun sequence of events that follows, but adds little to the main narrative and ultimately could’ve been cut completely. Thus, I kind of wanted see Double Tap have more a substance within its narrative. Heck, they even had a decade long gap to come up with a new yarn to spin for this sequel…and it looks like they came up a bit shorter than expected.
Another point of criticism that I have about this is that there aren’t enough zombie action bits as there were in the first Zombieland Series. Much like the Walking Dead series as become, Double Tap seems more focused on its characters (and the dynamics that they share with each other) rather than the group facing the sparse groupings of mindless zombies. However, that was some of the fun of the first Series and Double Tap takes away that element. Yes, there are zombies in the Series and the gang is ready to take care of them (in gruesome fashion), but these mindless beings sort take a back seat for much of the film, with the script and Fleischer seemed more focused on showcasing witty banter between Columbus, Tallahassee, Wichita, and Little Rock. Of course, the ending climatic piece in the third act gives us the best zombie action scenes of the feature, but it feels a bit “too little, too late” in my opinion. To be honest, this big sequence is a little manufactured and not as fun and unique as the final battle scene in the first film. I know that sounds a bit contrive and weird, but, while the third act big fight seems more polished and staged well, it sort of feels more restricted and doesn’t flow cohesively with the rest of the film’s flow (in matter of speaking).
What’s certainly elevates these points of criticism is the film’s cast, with the main quartet lead acting talents returning to reprise their roles in Double Tap, which is absolutely the “hands down” best part of this sequel. Naturally, I’m talking about the talents of Jessie Eisenberg, Woody Harrelson, Emma Stone and Abigail Breslin in their respective roles Zombieland character roles of Columbus, Tallahassee, Wichita, and Little Rock. Of the four, Harrelson, known for his roles in Cheers, True Detective, and War for the Planet of the Apes, shines as the brightest in the Series, with dialogue lines of Tallahassee proving to be the most hilarious FOX stuff on the sequel. Harrelson certainly knows how to lay it on “thick and fast” with the character and the s**t he says in the Series is definitely funny (regardless if the joke is slightly or dated). Behind him, Eisenberg, known for his roles in The Art of Self-Defense, The Social Network, and Batman v Superman: Dawn of Justice, is somewhere in the middle of pack, but still continues to act as the somewhat main protagonist of the feature, including being a narrator for us (the viewers) in this post-zombie apocalypse world. Of course, Eisenberg’s nervous voice and twitchy body movements certainly help the character of Columbus to be likeable and does have a few comedic timing / bits with each of co-stars. Stone, known for her roles in The Help, Superbad, and La La Land, and Breslin, known for her roles in Signs, Little Miss Sunshine, and Definitely, Maybe, round out the quartet; providing some more grown-up / mature character of the group, with Wichita and Little Rock trying to find their place in the world and how they must deal with some of the party members on a personal level. Collectively, these four are what certainly the first Series fun and hilarious and their overall camaraderie / screen-presence with each other hasn’t diminished in the decade long absence. To be it simply, these four are simply riot in the Zombieland and are again in Double Tap.
With the Series keeping the focus on the main quartet of lead Zombieland characters, the one newcomer that certainly takes the spotlight is actress Zoey Deutch, who plays the character of Madison, a dim-witted blonde who joins the group and takes a liking to Columbus. Known for her roles in Before I Fall, The Politician, and Set It Up, Deutch is a somewhat “breath of fresh air” by acting as the tagalong team member to the quartet in a humorous way. Though there isn’t much insight or depth to the character of Madison, Deutch’s ditzy / air-head portrayal of her is quite hilarious and is fun when she’s making comments to Harrelson’s Tallahassee (again, he’s just a riot in the Series).
The rest of the cast, including actor Avan Jogia (Now Apocalypse and Shaft) as Berkeley, a pacifist hippie that quickly befriends Little Rock on her journey, actress Rosario Dawson (Rent and Sin City) as Nevada, the owner of a Elvis-themed

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