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A young man is haunted by a number, which happens to be the time he was born at. Can he and his family escape its clutches?

3:33 Movie Review: Horror movie 3:33 is intriguing only up to a point

• Times of India

3:33 - Official Teaser

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• This film marks the first collaboration of uncle-nephew duo Anil Kapoor and Arjun Kapoor. Arjun is the son of Anil’s brother Boney Kapoor. Share
• This film marks the first collaboration of uncle-nephew duo Anil Kapoor and Arjun Kapoor. Arjun is the son of Anil’s brother Boney Kapoor.
• This is the second time Arjun Kapoor is playing a double role, the first being Aurangzeb (2013).
• The song ‘Yamma yamma’ from ‘Shaan’ is sampled in the song ‘Partywali Night' for the film.

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3:33 MOVIE REVIEW CLICK TO RATE THE MOVIE

3:33 is a film written and directed by Nambikkai Chandru, starring Sandy Master and Shruthi Selvam in the lead roles while Mime Gopi, Saravanan, Rama, Reshma, Gautham Vasudev Menon and others play crucial supporting roles. The film is produced by Jeevitha Kishore under the banner Bamboo Trees Production. It has music by Harshavardhan Rameshwar and cinematography by Satish Manoharan. 

Sandy(Kathir) and his family have shifted to a new house and since then they experience weird incidents. Kathir's girlfriend gifts him a new clock which makes a new sound at 3:33 as per Kathir's customised setting. But in addition to that, the starts getting sleep paralysis at 3:33, and it is revealed that the time is the spirit here. Whether he escapes the spirit's wrath or not forms the rest of the film. 

In terms of treatment and the plot line, 3:33 is a very unique film. For instance, the climax is something we've rarely seen in Tamil horror films, and even the usual flashback portions of the spirit is different here. The director doesn't waste time trying to force humour and stays true to the horror genre as much as possible. 

The writing too is fairly solid, with flaws here and there. There are a few logical mistakes that are visible to the plain eye itself. The opening stretch which lasts for around 30 minutes, has a few repetitive scenes where the film has a possibility of losing the viewer's attention. But once the dust settles, there is no turning back. 

Among the performances, Sandy is a surprise revelation. His performance in the emotional scenes is unexpectedly good. It's unexpected not because of doubts in his talent but this is a side of him that has rarely been projected to the public. The rest of the actors do their best but their reactions keep fluctuating between borderline over-the-top and lack of spontaneity. 

The horror portions are interesting after the first 30 minutes once the presence of the spirit is confirmed. But after a point, the narrative becomes slightly predictable. The film which so far tried to avoid all cliches, resorts to jump-scare moments and templates that drive every horror film. It's not sure if the back story of the spirit will convince every one, but it is different for sure. 

The background score by Harshavardhan Rameshwar is refreshing and pulsating. It lifts the film several notches higher. Cinematographer Satish Manoharan and the editor's work complements the writing well. One scene where the camerawork stands out is when a door handle starts shaking, and instead of showing us the door, the camera is placed in the handle's point of view to cover Sandy's reaction. 

This scene is also a testament to the fact that the film is constantly trying to be a better one. It wants us to take it seriously. While it works only half the time in a film that's approximately two hours long, the film can definitely be given a watch for the effort and it won't disappoint you.

3:33 VIDEO REVIEW

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REVIEW RATING EXPLANATION

பிரேக்கிங் சினிமா செய்திகள், திரை விமர்சனம், பாடல் விமர்சனம், ஃபோட்டோ கேலரி, பாக்ஸ் ஆபிஸ் செய்திகள், ஸ்லைடு ஷோ, போன்ற பல்வேறு சுவாரஸியமான தகவல்களை தமிழில் படிக்க இங்கு கிளிக் செய்யவும்      

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3:33 (aka) Moonu muppathi moonu

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3:33 Movie Review

Christening a film 3.33 is an interesting way to torch the lamp of curiosity in the audience. While it gives away that the film has something to do with time, it leaves us wondering as to, whether or not, it will be the third flick of the year based on the time loop concept after Jango and Maanaadu . Debutant film maker Nambikkai Chandru ventures in to Tamil cinema with this experimental drama. 3.33 also marks the debut of yet another popular small screen face as a lead hero. The small screen has offered a ticket to k-town for many artists in recent times and the latest one to have his name in the ticket is choreographer Sandy. In fact, the movie is a mini Big Boss reunion with Reshma Pasupuleti, and Saravanan on board as well. Director Gautham Vasudev Menon has essayed an interesting part in the film. So, how has Sandy’s debut drama as an actor come out? Is it solid enough to chisel a lead hero image for the star in K-town ? To know that let us get in to the movie review.

3 33 Movie New Pictures 01

The film depicts the events that occur around a young man Kathir (Sandy). Kathir moves in to his new home along with his mother (Rama), his elder sister Devi ( Reshma Pasupuleti), and her daughter Nivya . Kathir’s girlfriend (Shruthi Selvam) presents him a clock. He customizes it. Soon Kathir begin to experience eerie activities in the house. Particularly at 3.33. We are bestowed with the cliche scenes of a horror thrillers. Lights flicker, he hears mysterious voices, door knob open on their own, and he has nightmares. None of which the members of the family experience. The family go in search of a solution. A religious man tells them that there are bad vibrations in the house, while a doctor says that he suffers from a psychological issue. Which is true, is there a paranormal force in the house, or is Kathir suffering from a psychological issue, will he be able to find a way out and get to live a normal life, is what makes the rest of the flick.

Of late, many debutant story tellers that venture in to Tamil cinema come in with experimental projects and have fairly enjoyed a decent reception. Debutant film maker Nambikkai Chandru tries to do the same with 3.33. He has not done anything fancy with the plotline but he has made efforts to add interesting elements in to the plot with the budget constrains in mind to pique the interest of the audience. So, he brings in the spooky thing and the time angle. This has worked in favor of him to an extent. Largely in the first half of the film where he tries to lay the foundation for the story to unfold further. He mixes these two factors quite well to keep us guessing on is it a horror thriller or a psychological thriller. Whether it was an accidental occurrence or deliberately planned and executed writing strategy, it does get our attention and keep us invested in the movie.

Director Nambikkai Chandru has done the first part well. But unfortunately, as the film proceeds, he is deprived of ideas and seem helpless as to how to move the flick any further and the entertainer quickly loses stream. He gets repetitive. For instance, Kathir goes to bed, wakes up at 3.33, is scared and anxious, this literally plays in a loop for more than necessary. Also, filling up the paranormal portions with the cliches that we are so used to in Tamil cinema does not help either. Another hole in the already sinking ship is the shoestring budget. Fine it is understandable, but if you cannot even get your artists in to proper make up, does not matter how good your plot is, it is twice difficult to make it watchable.

Choreographer Sandy makes a solid debut as an actor. At no point he gives us the feel of a newbie actor. He is impressive in the character that is both serious and grim. Perhaps, our acquaintance to his jovial side augments a flavor to his performance. It would be interesting to see where he goes from here and his choice of films. Where is director Gautham Vasudev Menon in the film? Having him on the advertising medium turns out to be an attempt to only drive more audience to the theater. Actress Shruthi Selvam does not have much screen time. Still, she makes her presence felt. Big Boss fame actress Reshma Pasupuleti is adequate. The rest of the cast has delivered what was asked of them.

On the technical front, music director Harshavardhan Rameshwar’s songs do not stay in our memory for long. But his background score add value to the film. A predominant portion of the movie is shot inside a house but cinematographer Sathish Manoharan’s frames have ensured that the visuals are not too repetitive. Editor Deepak S Dwaraknath has emphasized the work of his colleague with his sharp cuts.

On the whole, with a little bit of supplementary creativity, tight screenplay and better budget Sandy’s debut drama 3.33 would have been a solid entertainer.

Nenjuku Needhi

Kattam solludhu, you may also be interested in:, oru pakka kathai movie review, darbar movie review, rocketry: the nambi effect movie review, market raja mbbs movie review, super duper movie review, monster movie review, neeya 2 movie review, viruman movie review, leave a comment cancel reply, tamil actress, telugu actress, kannada actress, malayalam actress, bollywood actress.

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One of the toughest challenges for a filmmaker is to take a story to which everyone knows the ending (or at least ought to know the ending) and retell it in a way that puts the outcome in doubt again. Steven Spielberg accomplishes this in this year’s fact-based Cold War tale “ Bridge of Spies ,” and now Mexican director Patricia Riggen does something not dissimilar with a fact-based story of more recent vintage.

“The 33” is a technically impressive simulation of the mine collapse and rescue in Chile in 2010, a cataclysmic event that saw 33 miners trapped underground for a stupefying-seeming 69 days. Their plight became an international cause during that period, and their incredibly improbable rescue was a “whole world is watching” moment on a par with the first moon landing. The movie throws together an international cast that may on first glance strike the movie-savvy viewer as improbable as well: while the English-language production features Antonio Banderas and Lou Diamond Phillips , two actors with obvious Latino bonafides in several departments, in key leading roles, it also has French actor Juliette Binoche and Irish actor Gabriel Byrne in prominent parts, both playing Chileans. It’s a testament to director Riggen’s skill with actors that she makes the ensemble a seamless one. Unless your objections to casting against conventional type are violent ones, there shouldn’t be a problem

A slight problem comes up at the movie’s opening, as the chief characters are introduced in a party scene. One is an elderly miner who’s retiring; another is an experienced fellow who’s asking his buddy and foreman for an extra shift on a day he’s supposed to have off; another is a younger miner who’s about to become a father and who’s looking into getting out of the mining biz as a result. All three of these cases, of course, add to the “what incredible irony” quotient when a chunk of rock two times the mass of the Empire State Building trap them almost 2,000 feet underground, with only three days’ worth of food and water rations in the refuge area where the miners roost.

It’s in the aftermath of the catastrophe that the movie ramps up the suspense and claustrophobia. The story toggles between the mine and the surface world. Below, the miners assess their situation and determine the measure of its true desperation. Above, miners’ families—including Binoche’s Maria, the guilt-ridden sister of a drunkard miner, one pregnant wife, and the competing wife and mistress of one sheepishly rakish worker—demand answers and action. The Chilean government, in the person of a green and earnest minister played by Rodrigo Santoro (“ Che ,” “300”) steps in; Gabriel Byrne’s tough mining engineer thinks the miners are all but dead ducks, and his interactions with Santoro’s character do a good job with explaining just why the chances for a rescue were initially in the vicinity of one percent.

The ensuing action shows how the odds increased. There are a lot of characterizations, and a few character arcs, that the movie takes on, and Riggen doesn’t mind having to do sketches—a more thorough movie would have been, well a mini-series. But it’s a real accomplishment that she keeps the action coherent throughout, and she shows admirable daring at times. The impending starvation of the miners inspires a hallucination dinner scene that’s pretty audacious, and genuinely funny. Anchoring the underground action are the performances of Banderas and Phillips; the former is reliably charismatic as usual, while Phillips provides a bunch of reminders of what a subtle and effective actor he can be. This unabashedly crowd-pleasing movie gets to its uplifting but also somewhat disquieting conclusion and coda (which, as is the custom these days, introduces the audience to the real-life miners) with its integrity intact. As such, it’s a pretty pleasant surprise, and in more than one way. 

Glenn Kenny

Glenn Kenny was the chief film critic of Premiere magazine for almost half of its existence. He has written for a host of other publications and resides in Brooklyn. Read his answers to our Movie Love Questionnaire here .

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The 33 (2015)

Rated PG-13

120 minutes

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3:33 - Official Teaser

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• What is the release date of '3:33'? Release date of Sandy and Gautham Vasudev Menon starrer '3:33' is 2021-12-10.
• Who are the actors in '3:33'? '3:33' star cast includes Sandy, Gautham Vasudev Menon, Shruthi Selvam and Ramya Pasupuleti.
• Who is the director of '3:33'? '3:33' is directed by Nambikkai Chandru.
• Who is the producer of '3:33'? '3:33' is produced by T. Jeevitha Kishore.
• What is Genre of '3:33'? '3:33' belongs to 'Horror,Thriller' genre.
• In Which Languages is '3:33' releasing? '3:33' is releasing in Tamil.

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Common sense media reviewers.

Gripping, intense true ordeal of trapped Chilean miners.

A Lot or a Little?

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

Strong themes of support, teamwork, believing in y

The miners must master their individual demons in

The depiction of the mine collapse is loud, scary,

A husband and wife embrace. A miner is kidded beca

Language includes a few uses of "s--t,"

An alcoholic brings a flask into the mine during w

Parents need to know that The 33 is the intense but inspiring true story of 33 Chilean miners who were trapped underground for more than two months. The collapse of the mine is portrayed in a very tense, scary, loud sequence; later, there are several scenes of interpersonal conflict (which could upset some…

Positive Messages

Strong themes of support, teamwork, believing in yourself, faith against the odds, and persistence/not giving up. Despite the massive odds against them, the miners managed to stay civil and supportive. Above ground, their loved ones vigilantly pressed the government to launch the costly effort needed to rescue them.

Positive Role Models

The miners must master their individual demons in a seemingly hopeless situation, in some cases overcoming the urge to commit suicide. Although egos collide, they share their sparse resources and care for each other.

Violence & Scariness

The depiction of the mine collapse is loud, scary, and realistic, with strong tension/peril, and tons of rocks shifting, falling, and crashing. Men fight as they grow edgier from hunger and fear. The sister of a trapped miner hits a government minister when it first seems no rescue effort will possible. Many scenes of interpersonal conflict.

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

Sex, Romance & Nudity

A husband and wife embrace. A miner is kidded because his mistress lives right near the house he shares with his wife.

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

Language includes a few uses of "s--t," "ass," "hell," "crap," "damn," and "oh my God."

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

Drinking, Drugs & Smoking

An alcoholic brings a flask into the mine during working hours. He later goes through a painful detoxification while trapped.

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 The 33 is the intense but inspiring true story of 33 Chilean miners who were trapped underground for more than two months. The collapse of the mine is portrayed in a very tense, scary, loud sequence; later, there are several scenes of interpersonal conflict (which could upset some kids) as miners struggle to survive with little food and water and as worried loved ones angrily press the government to rescue the trapped men. One character is an alcoholic who goes through detox while underground. Language is infrequent but does include a few uses of "s--t," plus other words. Despite the serious subject matter, the movie has strong themes of support, teamwork, faith against the odds, and persistence, and tweens and up may find the dignity with which most characters conduct themselves uplifting. To stay in the loop on more movies like this, you can sign up for weekly Family Movie Night emails .

Where to Watch

Videos and photos.

Community Reviews

• Parents say (6)
• Kids say (5)

Based on 6 parent reviews

Excellent film!

Really good movie except for couple of kids-shield-your-eyes-and-ears moments., what's the story.

THE 33 miners of the movie's title descend one morning into their place of work, a deep Chilean gold mine. Owing to unsafe conditions, they proceed to endure a collapse that traps them with little food and water for 69 days. The miners understandably view their disaster as a death sentence, fearing their depth will make it impossible for rescuers to find them, never mind dig them out. But their loved ones up above -- with the aid of an idealistic minister of mines -- press the government to move, and worldwide action ensues. International drilling teams bring expert engineers and heavy equipment. Equipment malfunctions and engineers deem the effort hopeless, but perseverance and lucky breaks pay off. Meanwhile, the drama of men who assume they're doomed plays out below, complete with personal tensions, leadership upheavals, and an eventual aura of brotherly support.

Is It Any Good?

No doubt some facts or situations are condensed and compromised in this retelling of the true 2010 event, but the movie is rendered with satisfying sensitivity, art, and passion. In one instance of poetic license, the filmmakers imagine an ecstatic, Last Supper-like moment in which the starving, dirt-painted miners sit at a large table, sharing the few morsels that serve as their once-a-day meal, all hallucinating that their beaming, fresh-smelling loved ones are joining them, bearing bountiful trays of favorite delicacies. (Speaking of Chilean food, empanadas and other classic dishes are everywhere in the movie -- as are touchstones like reporter Don Francisco and the rallying cry of "Chi-chi-chi...le-le-le viva Chile!" -- giving the film a real sense of being grounded in the culture.)

The cast of The 33 is led by Antonio Banderas , who plays practical, diplomatic miner Mario with humanity and intelligence. Lou Diamond Phillips brings gravitas to the role of the mine foreman, who feels responsible for exposing his workers to harm, and Rodrigo Santoro embodies diffidence and moral fortitude, transforming the earnest Minister of Mines into an introverted hero who's able to face down Chile's politically cautious president. Most viewers will know the story's triumphant outcome going in, but that knowledge in no way diminishes the emotions, tension, and suspense achieved by a strong script, intelligent direction, and grounded performances.

Talk to Your Kids About ...

Families can talk about how The 33 creates tension when (in theory) you already know the story's ending. How can fact-based movies maintain/encourage suspense? Does it matter if you know the resolution? Many scenes are scary and/or tense -- but would you consider them violent ? What's the difference in impact between what you see in a movie like this and what you might see in, say, a superhero or horror movie?

How do the miners and their rescuers demonstrate teamwork in The 33 ? Why is this an important character strength ?

How did the scenes of the miners' relatives dealing with fear and anxiety make you feel? Which is harder for you to deal with -- that kind of scene or violent moments? Why?

How did the characters find hope in such desperate circumstances? Do you think they behave in believable ways? How close do you think the movie is to the powerful real story that was in the news for so long? Why might filmmakers change the facts in movies based on real-life events?

What do you notice in the movie that's different from -- or similar to -- your daily life in terms of food, music, and interactions? What details do the filmmakers include to make the movie feel like an authentic Chilean story?

Movie Details

• In theaters : November 13, 2015
• On DVD or streaming : February 16, 2016
• Cast : Antonio Banderas , Juliette Binoche , Rodrigo Santoro , Cote de Pablo
• Director : Patricia Riggen
• Inclusion Information : Latino directors, Female actors, Latino actors
• Studio : Warner Bros.
• Genre : Drama
• Topics : Great Boy Role Models
• Character Strengths : Teamwork
• Run time : 120 minutes
• MPAA rating : PG-13
• MPAA explanation : a disaster sequence and some language
• Award : Common Sense Selection
• Last updated : June 4, 2022

Did we miss something on diversity?

Research shows a connection between kids' healthy self-esteem and positive portrayals in media. That's why we've added a new "Diverse Representations" section to our reviews that will be rolling out on an ongoing basis. You can help us help kids by suggesting a diversity update.

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‘the 33’: film review.

The Chilean mine disaster gets the Hollywood treatment, with Antonio Banderas, Juliette Binoche and Lou Diamond Phillips heading an international cast.

By Sheri Linden

Sheri Linden

Senior Copy Editor/Film Critic

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Harrowing, suspenseful, pitting hope against despair and culminating in a triumph of can-do spirit — the story of the 2010 collapse of a century-old Chilean mine is, for good and bad, the stuff of Hollywood dreams. Director Patricia Riggen finds a rigorous and affecting visual language for The 33 , but she and her international cast are hampered by a screenplay that too often gets in the way of a powerful story.

As it counts down the trapped miners’ two-month ordeal, the film sticks to the formulaic surface, moving among an assemblage of neatly summarized types rather than full-blooded characters. But given how widely watched the real-life events were, the movie arrives with a must-see factor that will serve it well at the box office, at least initially.

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In light of the increasing commercial clout of Spanish-language films, the decision to shoot the movie in English is disappointing. It’s also highly distracting, with an international cast juggling a collection of Spanish accents.

They include Antonio Banderas as Mario Sepulveda , the men’s de facto leader, all action and hope when shift supervisor Don Lucho voices caution and fatalism. Lou Diamond Phillips plays the latter as a man long caught in the middle, determined to protect his men in an ill-maintained mine but feeling powerless in the face of negligent owners. The economic and political aspects of the story are touched upon only glancingly as the screenplay, credited to Mikko Alanne , Craig Borten ( Dallas Buyers Club ) and Michael Thomas , puts emotions front and center. The late James Horner ’s score helps to push the emotional buttons while leaning way too heavily on Andean folk instrumentation.

The heart-tugging story strands unwind in the depths of the mine and aboveground, where the miners’ families set up a makeshift city and Laurence Golborne ( Rodrigo Santoro ), Chile’s young, green minister of mining, oversees the rescue efforts of a team led by chief engineer Andre Sougarret ( Gabriel Byrne ), with James Brolin making a cameo appearance as an American drilling expert.

Among the more distracting elements of the film is Juliette Binoche ’s turn as Maria Segovia , a hawker of empanadas whose troubled brother ( Juan Pablo Raba ) is one of the 33. Her character’s forthright defiance when Golborne shows up feels as forced as the bond they finally forge, not because the actors’ performances aren’t heartfelt but because their interactions are such transparent plot engines — one of which leads to an utterly unpersuasive aha moment in the rescue strategy.

As for the title characters, most are sidelined, as would be expected in such a narrative feature. Ten miners get “storylines,” such as they are, some of them screen-written composites like Raba’s angry alcoholic, who will undergo the DTs, repentance and redemption. There’s a young father-to-be ( Mario Casas ); an unlikely and comical philanderer ( Oscar Nunez , of The Office ); an old-timer with rattling lungs ( Gustavo Angarita ) who’s on his final shift before retirement; and an ostracized Bolivian newcomer ( Tenoch Huerta ).

But mainly it’s “Super Mario and the 32” as Banderas’ character, a natural leader, rations meager food supplies among 33 starving men trapped beneath 700 tons of rock. Mario’s role in the men’s survival could not be more crucial; more than doling out canned tuna, he quells any violent or self-destructive impulses that arise. But his selflessness takes up a lot of space. Made with the cooperation of the miners and based on the book that tells their authorized story, the film somewhat surprisingly follows the news-media template that turned Mario into a star. Phillips’ intriguing Don Lucho, in particular, could have used more screen time, though the movie’s final, potent image belongs to him.

At its best, the dialogue is gracefully pared down, but frequently it lapses into awkward exposition. To counteract this, Riggen smartly uses actual TV news footage, from a wide array of international sources, to explain the rescue mission and to convey how closely a worldwide audience was following the events in Chile.

The movie’s narrative letdowns are especially unfortunate when Riggen, advancing her visual style significantly from previous work ( Under the Same Moon , Girl in Progress ), creates such a strong sense of place, both in the cramped quarters of the mine and the expansive desert where the families keep vigil. Shooting in two working mines in Colombia, the director and her DP, Checco Varese , deliver an immersive sense of what it means to enter the tunnel on a road that burrows 2,300 feet beneath the surface. There’s an obvious but nonetheless deeply affecting spiritual cast to the play of light in the dark cave, the miner’s helmet torches illuminating the skyscraper-size rock that seemingly has sealed their fate.

As for the mine collapse itself, Riggen and Varese capture the enormity of the accident and the ensuing chaos with dynamic work that entails a strong, fluently integrated CGI assist. A shot of the explosion breaking through the placid surface of Chile’s Atacama Desert — the filmmakers used locations not far from where the disaster took place — is exquisite in its terrible poignancy. The superb sound design lends further dimension, not just during the collapse but in the hope-stirring rumbling of the rescuers’ drills trying to reach the men through the rock.

Riggen takes a chance with a fantasy sequence, set to Bellini’s Norma , in which the men imagine that the women they love are serving them delectable meals. Though it’s flagrantly over-the-top, it somehow feels just right. And it makes you wish that Riggen had taken more such risks rather than following the road-to-uplift formula so dutifully.

Production companies: Alcon Entertainment presents a Phoenix Pictures productionCast: Antonio Banderas , Rodrigo Santoro, Juliette Binoche, Lou Diamond Phillips, Gabriel Byrne, James Brolin, Mario Casas, Jacob Vargas, Juan Pablo Raba, Oscar Nunez, Tenoch Huerta, Marco Trevino, Adriana Barazza, Kate del Castillo , Cote de Pablo, Elizabeth De Razzo, Naomi Scott, Gustavo Angarita, Alejandro Goic, Bob Gunton, Mario Kreutzberger Director: Patricia Riggen Screenwriters: Mikko Alanne, Craig Borten, Michael Thomas Screen story by Jose Rivera Based on the book Deep Down Dark by Hector Tobar Producers: Mike Medavoy, Edward McGurn, Robert Katz Executive producers: Carlos Eugenio Lavin, Leopoldo Enriquez, Alan Zhang, José Luis Escolar Director of photography: Checco Varese Production designer: Marco Niro Costume designer: Paco Delgado Editor: Michael Tronick  Composer: James Horner Visual effects supervisor: Alex Henning Sound mixer: Santiago Nunez Casting: Carla Hool

Rated PG-13, 127 minutes

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3:33 am: The Witching Hour

2015, Mystery & thriller, 2h 10m

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3:33 am: the witching hour   photos.

After two years in prison, John moves into a neighborhood and realizes something evil rules the streets there.

Genre: Mystery & thriller

Original Language: English

Director: Daniel Falicki

Producer: Sheri Beth Dusek , Daniel Falicki , Chris Randall

Writer: Sheri Beth Dusek , Daniel Falicki , Anthony E. Griffin

Release Date (Theaters): Jun 22, 2015  limited

Release Date (Streaming): Sep 16, 2016

Runtime: 2h 10m

Distributor: Sector 5 Films

Production Co: Rotomation Pictures

Cast & Crew

Sheri Beth Dusek

Sister Mary

Matthew J. Dennis

John Spinelli

Chris Kotcher

Father Stark

Sgt. Shithead

Mary McGuire-Howing

Charley Vanportfliet

Robert Buegere

James Mason

Bob Buegere

Daniel Falicki

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Anthony E. Griffin

Chris Randall

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The 33 Reviews

• 55   Metascore
• 2 hr 7 mins
• Watchlist Where to Watch

A gripping drama based on the true story of the mission to rescue 33 miners who were trapped in a underground mine for 69 days.

Reviewed By: Tim Holland

True stories of triumph don't come any more Hollywood-ready than the 2010 rescue of 33 Chilean miners, who were trapped 2300 feet below the earth for 69 days after the copper-and-gold mine they were working in collapsed. Thankfully, the inevitable movie of their harrowing ordeal doesn't disappoint. Under the sure-footed direction of Patricia Riggen, the film manages to build intensity and suspense throughout, even though its outcome is already well-known.The 33 begins with a startling statistic: More than 12,000 people die in mining accidents every year. That sobering reminder is then followed by stunning aerial shots of Chile's gorgeous Atacama Desert, where the 121-year-old San José mine is located. Nearby, a retirement party is in full swing for a veteran miner who only has a few more shifts left before calling it a career. It's here that we are introduced to most of the film's major characters: Mario Sepulveda (Antonio Banderas), a stalwart worker and fun-loving husband and father; Álex Vega (Mario Casas), a nervous dad-to-be who begs for an extra shift to help pay the bills; Luis Urzua (Lou Diamond Phillips), a mine supervisor known affectionately as "Don Lucho"; Edison Peña (Jacob Vargas), an energetic Elvis impersonator; and Yonni Barrios (Oscar Nuñez), a philandering husband involved with a feisty mistress. Two other notable workers are Darío Segovia (Juan Pablo Raba), an alcoholic estranged from his sister Maria (Juliette Binoche); and Carlos Mamani (Tenoch Huerta), a young Bolivian who is treated as an outcast by most of his Chilean co-workers. The other miners, regrettably but understandably, are never given a chance in the spotlight due to the time constraints of a feature film.On the morning of August 5, 2010, the miners are dutifully going about their work when a colossal collapse occurs. Boulders bounce around the mine and rush through shafts, threatening everything in their path. The 33 miners quickly retreat via two underground trucks to "the refuge," a schoolroom-like part of the cave that is supposedly equipped with food, medical supplies, and an intercom to the outside. What the men find, however, is a trunk with only a few cans of tuna, some cookies, and condensed milk; an almost bare medical cabinet; and a broken intercom. Even worse, they soon discover that the escape ladders up the "chimneys" were never completed. They're stuck more than 200 stories below ground in near 100-degree heat, with a 700,000-pound boulder twice the size and weight of the Empire State Building blocking their way. Above ground, things aren't going any better for the men. The mine's profit-conscious owner has no intention of mounting a rescue effort, and the government's delayed drilling attempts fail. As the miners carefully ration their supplies and try to keep their wits about them, their families gather outside the mine, set up a tent city, and demand answers. Of course, days turn into weeks of agonized waiting, until finally on day 69 the men are saved by an international rescue effort.Riggen and her trio of screenwriters (Mikko Alanne, Craig Borten, and Michael Thomas) do an excellent job of compacting 69 days into two hours of screentime. And while the story plays out in broad strokes, every moment still manages to feel lived-in and essential -- except for a bizarre fantasy sequence in which the miners imagine their wives, moms, and lovers feeding them, which is so jolting and out of place that it should have been left on the cutting-room floor. It's also disappointing that the movie is in English rather than Spanish, and that some key roles are played by non-Latin American actors, especially Maria (Binoche is French) and a Chilean chief engineer played by Irishman Gabriel Byrne.The movie was shot in two working Colombian mines, and cinematographer Checco Varese uses the dark, cramped spaces to great effect, using minimal light to create a thick, claustrophobic atmosphere that is completely unnerving. Banderas, whose "Super Mario" becomes the group's de facto leader, gives a compelling, commanding performance. And while Mario might be the film's anchor, Phillips' Don Lucho is its soul. Lucho continually alerted his bosses of the mine's hazards, but his concerns went unheeded. He, more than anyone, feels the weight of the tragedy, and Phillips' quiet yet potent performance makes us feel it too.The 33 is a made-for-Hollywood true story that is uplifting, entertaining, and unforgettable; it's a rousing crowd-pleaser that will leave audiences cheering.

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The Tunnel to Summer, the Exit of Goodbyes lacks a key part of an anime romance

This stand-alone movie is gorgeous, but it could be more

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Share All sharing options for: The Tunnel to Summer, the Exit of Goodbyes lacks a key part of an anime romance

Generation after generation, it’s been proven that audiences tend to connect with stories about teenagers bonding over a fantastical experience while dealing with the drama of school and their own lives, whether in a nostalgic Netflix show like Stranger Things or a poignant anime movie like Your Name . Juxtaposing big fantasy stakes with the more relatable stakes of teenage problems adds interesting flavor to familiar stories, and emphasizes how these adolescent problems feel super huge when you’re young.

The Tunnel to Summer, the Exit of Goodbyes , an anime movie from Bleach: Thousand-Year Blood-War director Tomohisa Taguchi , veers closer to Your Name ’s end of the spectrum. Here, the supernatural element is more of a vague concept than a monster that needs defeating. Based on the light novel turned manga of the same name, The Tunnel to Summer, the Exit of Goodbyes is a gorgeous, sweet coming-of-age romance with a dash of science fiction, but it ultimately only scratches the surface of where the story could go.

[ Ed. note: This review contains setup spoilers for The Tunnel to Summer, the Exit of Goodbyes. ]

The Tunnel to Summer, the Exit of Goodbyes follows a high-school student named Kaoru who discovers that an urban legend in his town is actually true. There’s a secret tunnel capable of granting wishes — but at a great cost. Along with aloof new girl Anzu, Kaoru sets out to explore the secrets of the tunnel. Anzu and Kaoru discover that every three seconds in the tunnel equates to two hours outside, hence the mythos around it that says one wish costs a hundred years. Both teenagers have their own reasons for wanting their wishes granted, though neither of them is particularly forthcoming about those wishes. As they investigate the tunnel and test out its time-warping powers, they start to form a friendship.

Their connection drives most of the plot, as they eventually tell each other why they seek out the tunnel’s magic. Anzu and Kaoru both keep their secrets close to their chests, so when they do eventually confide in each other, it’s a blossoming start to what could become a transcendent friendship. But while their connection is sweet, it feels stuck at the beginning, and never quite transforms into a deeper relationship. Even in the movie’s third act, their connection has only just started to hint at something deeper, so when the plot takes a turn, their relationship arc feels unfinished.

The movie’s big bittersweet twist doesn’t have as much impact as it ought to, because up until that point, Anzu and Kaoru only really connect through a tunnel-investigating montage and a handful of prickly conversations. The emotions Taguchi tries to convey in the movie’s last act don’t quite gel, because Anzu and Kaoru’s relationship never gets to a point deep enough to justify that impact.

The tunnel itself is a fascinating plot device. But the best contribution it makes to the movie is as the set for the most stunning scenes. The tunnel is a shallow river lined on either side by glowing golden-orange maples, each decorated with shimmering holographic purple gems. Everything within seems to have its own light, casting the characters in vivid colors. In the tunnel, reality gets a bit warped, as the characters begin to see what they desire and time slows down. The animation is beautiful throughout, especially in conveying atmosphere like the rainy weather and the aquarium Anzu and Kaoru visit on a day off investigating the tunnel. But the tunnel is where the visuals really shine.

There are a lot of lovely working pieces in The Tunnel to Summer , and they almost all work together. Ultimately, the frustrations boil down to how Taguchi uses the tunnel. It’s a gorgeous, compelling plot device, but the reveal of the central duo’s motives for using it comes too little, too late. And the scenes where they run tests, with one person going inside while the other spends hours waiting for them, doesn’t lend itself to really fleshing out a relationship. As brilliantly beautiful as the tunnel moments are, Taguchi overindulges them instead of saving them for moments of impact.

Tunnel to Summer is visually stunning, and on the surface, the story is compelling and just bittersweet enough to be evocative. Ruminate a bit more and peel back the layers, though, and The Tunnel to Summer, the Exit of Goodbyes becomes frustrating, because it could be so much more.

The Tunnel to Summer, the Exit of Goodbyes debuts in theaters on Nov. 3. See the movie’s website for participating theaters.

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Review: 'The Marvels' brings female-centric fun to a cinematic universe that needs it

Posted: November 8, 2023 | Last updated: November 8, 2023

This fall, there’s been much hand-wringing over the state of the Marvel union. In the not-so-distant past, each Marvel movie was an easy slam dunk at the box office, if not necessarily with critics. But things have since been shaky and “The Marvels,” the follow-up to the 2019 film “Captain Marvel” (one of the 10 highest-earning MCU films), has been the recipient of a lot of online ire with regard to the waning days of Marvel madness. The new film, directed by "Candyman" rebooter Nia DaCosta , has the bad luck of unfortunate timing, sustaining the one-two punch of this fevered discourse about a glut of Marvel content and the ongoing SAG-AFTRA strike, which hasn’t allowed the cast to even things out with a promotional charm offensive.

It’s too bad, because “The Marvels” is quite entertaining for the most part, like all the MCU movies tend to be. As with “Captain Marvel,” it is a decidedly feminine project, which can be a tough sell in a cinematic universe largely aimed at young men. But DaCosta is unapologetic in her approach: “The Marvels” is a movie about female friendship, family, fan-girling and flerkittens, lots of flerkittens.

The emphasis on cats in space and a proliferation of side parts gives “The Marvels” a whiff of dated millennialness (which is “cringe,” according to zoomers), and that might be its biggest crime. But at an hour and 45 minutes, it skips along with zippy humor and lightness on its feet.

Much of that energy can be attributed to Iman Vellani , who plays Kamala Khan, a.k.a. Ms. Marvel (you may have seen her on Disney+), whose awe-struck brightness and levity allows her to steal the whole movie out from under star Brie Larson , who reprises her role as Carol Danvers, a.k.a. Captain Marvel. It helps that Kamala is just happy to be superheroing with the big girls; in this sequel, Carol is grappling with the fallout of her actions from the first movie and the bloom is off the superhero rose for her, which could explain the air of awkward discomfort in Larson’s performance.

Teyonah Parris proves to be the heart of the film as Monica Rambeau, the grown daughter of Carol’s best friend, Maria ( Lashana Lynch ), who has passed away from cancer. Carol and Monica have become estranged over the years, while Monica has gained her superpowers (walking through a witch hex on “WandaVision” ) but the multiverse has other plans in store. When Carol touches a glowing intergalactic rip in space-time — a “jump-point” — her powers become entangled with Monica and Kamala. Every time they use their powers, they body-swap, which makes things quite complicated for teenage Kamala, living with her family in Jersey City.

An early fight scene set to Missy Elliott’s “Ratata” features the body-swap confusion, and has a swingy, dynamic flow and rhythm as the trio crashes from outer space to Kamala’s house to Nick Fury’s S.A.B.E.R. space station. DaCosta’s swooping camera dances in time with the actors, and it’s a tremendously energetic and inventive scene.

One wishes the entirety of the movie were this stylistically innovative (there’s also a fun hand-drawn animation sequence that calls to mind the “Spider-verse” movies), but a lot of it suffers from shoddy visual effects detailing battles on anonymous spaceships. Storywise, DaCosta has been saddled with the near-impossible task of making an engaging stand-alone movie deep in the weeds of the MCU that draws together characters and plot-lines from a wide array of movies and television series, while making it legible to folks who might have missed everything on Disney+. That she pulls it off for the most part is a minor miracle.

There’s not a whole lot of gravitas to go around, but DaCosta’s script, co-written with Megan McDonnell and Elissa Karasik, has some startling real-world resonance, dealing with themes of climate apocalypse, refugees and the pillaging of natural resources through war. Our antagonist is Dar-Benn (Zawe Ashton), who seeks to restore her own planet’s environment after Captain Marvel destroyed the Supreme Intelligence. She’s one of those overly sympathetic villains it’s impossible to root against, though, so the stakes of “The Marvels” are pretty low. The film flies but never lets any emotional weight fully land.

Tonally, “The Marvels” embraces the goofy nature of a sci-fi superhero movie aimed at a female audience. There’s a musical interlude featuring K-drama superstar Park Seo-joon, and a scene with a herd of space kittens that makes reference to “Cats.” That kind of sincere and self-deprecating humor is the Marvel hallmark, all the way back to 2008's "Iron Man." If audiences are ready to move on from that, it's no fault of the engaging and earnest “The Marvels.”

This story originally appeared in Los Angeles Times .

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‘Albert Brooks: Defending My Life’ Review: Comedy Meets Integrity

Rob reiner directs this affectionate hbo documentary on the adventurous funnyman, filmmaker and actor..

John Anderson

Nov. 9, 2023 5:47 pm ET

The status of Albert Brooks in American comedy is a curious thing. He is beloved, without ever having been the kind of success that would have pleased his mother. Is that a subtext of “Albert Brooks: Defending My Life”? There are more than a few.

Many of the people whom director Rob Reiner has throwing bouquets during this documentary— Steven Spielberg , Larry David , Jon Stewart , Conan O’Brien and Sharon Stone among them—are all more famous than Mr. Brooks, but genuflect before his comedic genius. Larry David, whose own brand is all about kvetchiness, virtually gushes while recalling a compliment he got from Mr. Brooks. When David Letterman says, “I would rather have Albert’s career than my career,” you believe him. This would be a worshipful obituary, were the subject not still, thankfully, very much with us.

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Movie 43 – review

M ovie 43 is sketchy, in every sense. It's a collection of short comedy films in the manner of the 70s cult classic Kentucky Fried Movie , each with a separate director, in which many very famous actors have been persuaded to take part. It looks like a lot of favours have been called in, from very big names who are being very good sports. It is crass, infantile, grossout, sometimes funny, mostly not, and most of all it's very strange to witness this cameo parade of stars, a substantial proportion of whom have no obvious gift for comedy.

The premise is that a couple of teenagers have fooled another kid into believing that there is an ultra-forbidden movie somewhere on the net called Movie 43; he tries to track it down, and uncovers a series of random filmed scenes – the sketches themselves. Why we couldn't just get the sketches without this pointless and unfunny framing device is a mystery.

The over-the-top approach is established with a scene in which Kate Winslet goes on a blind date with Hugh Jackman , who has a large pair of testicles growing out of his neck. Winslet gives it everything she's got – dismay, polite disgust, climbing panic at realising she is the only one who notices – while Jackman plays it dead straight in just the right way, and there is a kind of outrageous verve in keeping it going as long as they do. But actual laughs are scarce. The other "blind date" sketch with Stephen Merchant and Halle Berry is similar: there are some amiably silly moments, but an eerie silence where the chuckles are supposed to go.

More successful is a very non-PC sketch in which Terrence Howard plays a coach for first black high school basketball team in the US, and has to explain to his timid players that they are bound to win – because they are black.

Like Kentucky Fried Movie, Movie 43 is aimed squarely at the filthy-minded teenage-boy market, but where KFM was teeming with surreal ideas, Movie 43 looks a bit cynical and tired.

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