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Subscribe to TRAILERS: http://bit.ly/sxaw6h Subscribe to COMING SOON: http://bit.ly/H2vZUn Like us on FACEBOOK: http://bit.ly/1QyRMsE Follow us on TWITTER: http://bit.ly/1ghOWmt Lights Out Official Trailer #1 (2016) - Teresa Palmer Horror Movie HD A woman is haunted by a creature that only appears when the lights go out.

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7 MINUTES Movie Trailer  (Thriller - 2015)

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3 desperate young men are forced to commit a brazen robbery ★Subscribe HERE and NOW ► http://bit.ly/TRAiLERS ★ The Best Thrillers are HERE ➨ http://bit.ly/The-Thrillers After becoming indebted to a psychopathic drug lord, three desperate young men are forced to commit a brazen robbery.

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A menacing porcelain doll comes to life at night to terrorize a young girl, in need of her human body as a gateway to live again. Written, Directed & Produced by Rachel Tatham. Starring: Maddison Andrews, Terry Perkins, Amy Shaw and John Heartstone. WARNING: Audio issue.

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[Warning: some minor spoilers are contained for those who have not yet seen Mad Max: Fury Road.]

"What a lovely day!" proclaims Nicholas Hoult's gleeful War Boy Nux in the early goings of Mad Max: Fury Road. He says this as he's riding his way into a sand storm for whose scale defies words like "epic" and "massive." And in some ways, Nux's exuberant exclamation applies to us as well. Because it is a lovely day to be an action movie fan. Like him, we were racing into a potential massive disaster when we followed Mad Max: Fury Road into the theater, but we came out the better for it.

George Miller's film has had a long, troubled road to get to the big screen. There was a point at which this film was considered doomed, much like Terry Gilliam's attempts to make a Don Quixote movie or Miller's previous troubled film, his Justice League movie. That film died on the vine after various delays and some serious bad buzz. But Justice League: Mortal (as it would have been known) can't hold a candle to the problems that Miller's effort to bring Max Rockatansky back to the big screen endured. Mel Gibson's anti-Semitic DUI rant (along with his age), Heath Ledger's death (he was to play the part after Gibson was dropped), and even 9/11 collapsing the economy and the invasion of Iraq making it a touchy film to shoot all conspired against the film's creation. That the film was even released is a triumph for Miller, who has been seeking to bring his franchise back to theaters for nearly two decades.

But Fury Road isn't just a success because Miller practically willed it into being. That's just icing on the cake. What makes it such an achievement is the fact that it is exactly the kind of action film we need in the current cinematic landscape.

Now to be clear, the action genre is hardly on a decline in recent years. In fact, action movies have generally been on the rise over the last several years to the point that last year they commanded 25.1% of the total domestic box office, the highest since 2003. While it's still early in this year, the current percentage counts at a whopping 33.2%, the highest in well over twenty years.

Of course, those numbers come with some caveats. The first is that money does mean quality or even a good year for action. Flooding the market with action films that all do poorly but on the whole make a large total sum doesn't help anyone; similarly just because Transformers: Age of Extinction managed $245 million domestically and over a billion dollars doesn't make it one of the greatest films ever made, or even a particularly good one.

What's more, over the last several years the action genre has found itself largely propped up by comic book films - the Marvel Cinematic Universe, Fox's X-Men films, Sony's Amazing Spider-Man series, DC's Man of Steel and Batman films and other outliers like Kingsman: The Secret Service, Hercules, 300: Battle of Artemisia and the like. If a successful action film wasn't a comic book, it was likely a sequel to a popular modern franchise such as the Fast & Furious films, The Expendables, Mission: Impossible or Taken. Original films have largely been considered failures or disappointments, with such entries as After Earth, Jupiter Ascending, Chappie and even Edge of Tomorrow being painted with those brushes.

In some cases those failures are justified; for example, After Earth is a terrible film and Chappie was not great and a victim of hideous marketing to boot. But the point seems clear: any attempts for Hollywood to try anything new and different is destined to fail. What successes there have been that managed to be original concepts - films like Lucy, The Raid and John Wick - are considered exceptions to the rule or modest successes at best.

And that's where Mad Max comes in. While it hasn't exactly hit Avengers-style box office records, it's well on its way to landing in the black and George Miller has confirmed that more films in the franchise will be on the way.

So why does this matter? Because Max Max has become a successful film, something which many people at Hollywood studios will tell you is impossible given its history and other factors. More to the point, it succeeded in accomplishing several things which those same people would scoff at. It's an action film that isn't based on a comic book, or indeed any hot property. Of course it's a sequel, but it's a sequel to a franchise that has been dead for thirty years. Common perception is that dead franchises don't get sequels; at best they get reboots. Miller didn't reboot the franchise; he continued the series and did it with a story that defied all the preconceptions that most people in the industry have about action films.

In making Fury Road, Miller created a very unconventional kind of film. This fourth film in the famous Australian franchise is basically a $150 million arthouse post-apocalyptic spaghetti western, a label you can't assign to many other films. The Mad Max franchise has had a nod of respect toward Sergio Leone in the past, but never more strongly than Fury Road. It's not just the visuals of the setting that apply; it's the character archetypes, the plot structure of Max being enlisted (again) to help a group of travelers, the manner and style of dialogue and even the general scarcity thereof. It's a strange, oddly disjointed sort of film from the prologue to the main story, and even stranger because that disjointed feel actually works within the plot. As we're brought from Max's first moments in the film where he becomes a captive of the War Boys into the main story, it's a little jarring to figure out where it fits into the plot...until Nux shows up and takes Max out after Furiosa. Miller asks us to have some patience, and that patience is rewarded. He doesn't have time or the inclination to spoon feed the plot to us in clearly designated lines; he assumes that we know all will be revealed. And it is.

Further challenging the tropes of the action genre, Fury Road didn't let itself off the hook by being "just an action film" in other ways as well. Much has been made about the silly complaints by men's rights activists that Fury Road is just trying to be a "feminist piece of propaganda posing as a guy flick." And make no mistake..."silly" is an understatement. But I'm not interested in wasting time discussing how guys think they're being tricked into seeing a movie that ruins a piece of "American culture" (actually Australian, but thanks for playing). I'm also not interested in talking about strong female characters, in part because that's a topic that is admirably being discussed all over the place right now. What I am interested in discussing is how this film doesn't short any of its characters at all, male or female.

While that "lovely day" quote by Nux may be the film's most marketed quote, the one that most exemplifies it is "We are not things." Said by a couple of characters in the face of the villainous Immortan Joe's slavery, the line can also apply the how all of the characters are treated by the script; they are not things to be maneuvered about but actual fleshed-out roles. When you look at the cast of protagonists in Fury Road, you see two primary male characters in Max and Nux and one primary woman in Imperator Furiosa. All of these characters are treated as full individuals with their own agency, their own motivations and their own histories. We don't know a lot about Furiosa and Nux's back stories, but we know enough to get the emotional connection we need (another spaghetti western influence). This is the kind of thing that is becoming more and more expected of action films, and they're getting better at accomplishing it. What's particularly impressive, however, is that the supporting protagonists get the same treatment. No one is a cardboard cutout; we know exactly what we need to know about Immortan Joe's stolen slave-wives and Furiosa's Green Place allies in the same way that we do the leads themselves. And they all take control of their own destiny, in ways that we might not expect.

And strong characters are just part of this film's appeal. Miller's film is a gorgeous film for post-apocalyptic tales; yes, it cost $150 million but you can see where every penny of that budget went. It's refreshingly unpredictable when it needs to be; while you know that Max is unlikely to die unless Miller really does plan to turn this into a female-led franchise, there is a real sense of uncertainty surrounding the potential fates of any of the other characters. Max doesn't have a flawless track record when it comes to protecting those who need him, a fact Miller punctuates throughout the film by reminders that he's plagued with survivor's guilt. And that means that when they're in the intense action scenes that make up roughly 75% of the film, anyone really is fair game. And that, along with acting that is largely impressive from Tom Hardy and Charlize Theron all the way down to Rosie Huntington-Whiteley of all people, adds some real stakes.

In many ways, Fury Road is a near-perfect action film...and that's why it's so surprising that it's succeeding. As action movie fans, we're used to the films we love being dismissed as lightweights or considered financial disappointments or failures, especially recently. Even Avengers; Age of Ultron is mind-bogglingly being considered "disappointing" by some for the fact that it's only going to be the third to fifth-highest grossing worldwide film of all-time. Mad Max: Fury Road is a film that no one can dismiss. Its quality is so high on the mark that it is the best-reviewed film of 2015 even when you include such dramatic heavyweights as Selma, American Sniper, Kurt Cobain: Montage of Heck and Best Foreign Language Film nominee Timbuktu. It's sparked debate on serious thematic topics in film; it's a film you can enjoy like you would Furious 7 but talk about like you could with Ex Machina. That makes a rare sort of beast, and one that shouldn't be taken lightly.

What's more, Fury Road is an injection of something different in the action franchise. There are no Iron Men, no novels (graphic or otherwise) to compare it to and complain about the differences. (For the record, I am not someone who believes that we're in comic book movie overload but the argument has been made by others.) It isn't a CGI-laden film, mostly done with stunning practical effects and stunt work. It's even different from the slog of most post-apocalyptic film thanks to its glorious color palette. Mad Max: Fury Road is a film that dares to be something entirely new within action films, and that's exactly what the genre needs from time to time. It's needed to remind Hollywood that it can be done, to freshen things up for jaded action watchers and to remind other moviegoers that there may be something more in these films than explosions and one-liners. That's what makes Fury Road one of the best films of the year to date, and the action film that we desperately needed.

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Mad Max: Fury Road - The Action Film We Needed | 411MANIA

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Warning: some minor spoilers are contained for those who have not yet seen Mad Max: Fury Road.] "What a lovely day!" proclaims Nicholas Hoult's gleeful War Boy Nux in the early goings of Mad Max: Fury Road. He says this as he's riding his way into a sand storm for whose scale defies words like "epic" and "massive."

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Anna Hutchison as Emily in the thriller film WRECKER an XLrator Media release. Photo courtesy of XLrator Media.