India, 1. 94. 7: Lord Mountbatten (Hugh Bonneville) is dispatched, along with his wife Edwina (Gillian Anderson), to New Delhi to oversee the country's transition from British rule to independence. Watch Straight Outta Compton (2015) Free. Taking his place in the resplendent mansion known as the Viceroy's House, Mountbatten arrives hopeful for a peaceful transference of power.

Directed by Gurinder Chadha. With Gillian Anderson, Michael Gambon, Hugh Bonneville, Manish Dayal. The final Viceroy of India, Lord Mountbatten, is tasked with.

But ending centuries of colonial rule in a country divided by deep religious and cultural differences proves no easy undertaking, setting off a seismic struggle that threatens to tear India apart. With sumptuous period detail, director Gurinder Chadha brings to life a pivotal historical moment that re- shaped the world. Directed and Produced by Gurinder Chadha.

Written by Paul Mayeda Berges and Moira Buffini (Screenplay). Also produced by Paul Mayeda Berges and Deepak Nayar. Executive produced by Cameron Mc.

• Viceroy's House review: Gurinder Chadha's saccharine Partition drama still educates and entertains Downton Abbey's Hugh.
• Mutants are gone--or very nearly so. An isolated, despondent Logan is drinking his days away in a hideout on a remote stretch of the Mexican border.

Audiences need to be careful about taking a film about the last viceroy of India as history. Loose to the point of being sloppy, with allegedly wacky outtakes before the closing credits that provide a glimpse into the production process.

Cracken, Shibasish Sarkar, Christine Langan, Natascha Wharton and Tim O'Shea.

The House Movie Review & Film Summary (2. In theory, any movie starring Will Ferrell and Amy Poehler—with a supporting cast that includes Jason Mantzoukas, Nick Kroll, Michaela Watkins and Rob Huebel—should be comedy gold. Buy Captive (2015) Movie. In theory, these actors should be able to just show up, be themselves, tap into their formidable improvisational abilities and let the laughs flow freely. In reality, though, movies require scripts. They require actual characters and dialogue and narratives that evolve in ways that are logical, or at least engaging. Because they hardly feel like people—about halfway through, I realized I didn’t even know their characters’ names—the extraordinary scheme they’ve concocted for themselves makes no sense and has no momentum.

It also has no laughs, or at least precious few, which is why a movie with this caliber of star power is being sneaked into theaters without being shown to critics ahead of time. Also in theory, besides being a raunchy, R- rated comedy, “The House” aims to be a movie that reflects our current economic reality, in which it’s not necessarily guaranteed anymore that our kids will go to college, build careers and establish better lives for themselves than we have. But that’s at odds with the way these characters actually live, one of the many glaring inconsistencies that plague “The House.”Ferrell and Poehler star as Scott and Kate Johansen, nerdy suburbanites who live in a spacious home in a charming, leafy village called Fox Meadow. Their teenage daughter, Alex (Ryan Simpkins), has just been accepted to her dream school of Bucknell University. But for some reason, Scott and Kate never set aside any money for her college education; despite their well- off status, it’s unclear what they do for a living, and in an unfunny running bit, Scott is terrible with numbers. So they rely on the annual scholarship the town awards—only this year, soulless city councilman Bob (Kroll) plans to use that money for a lavish community pool. On an ill- advised trip to Las Vegas with their gambling- and- porn addicted pal, Frank (Mantzoukas), they hatch a scheme to create an underground casino in Frank’s house.

He’s in the middle of an ugly divorce, and his angry, estranged wife (Watkins) has cleared out much of the furniture, so there’s plenty of room for a craps table and a roulette wheel and such. Frank even sets up a bunch of safes for stashing the cash. Since they’re the house—and the house always wins—they should make enough money to pay for Alex’s college education in no time. Advertisement. In and of itself, this is not a hilarious premise. Ostensibly, the sight of soccer moms and doughy dads showing up, letting loose and losing their money is intended to provide some knowing laughs: “It’s true! We get old and we get lame.” But “The House” escalates into such debauchery and depravity so quickly, it’s jarring, and it depletes the film of essential comic build- up. All of a sudden, the casino features a fight club between housewives in yoga pants and a spa that provides massages with happy endings.

The clientele includes Wall Street blowhards doing blow on any surface they can find. And the real criminals in town, led by Jeremy Renner in an all- too- brief cameo as a mob boss, show up to shut them down. Cohen cuts so briskly from each scenario to the next that they never register. And the most significant shift of all—the one that occurs within Scott and Kate—is the most extreme and the least plausible. Out of nowhere, she’s smoking pot non- stop and he’s reinvented himself as an enforcer known as “The Butcher.” They start wearing flashy, gangster- style clothing. And in case we couldn’t detect for ourselves that they’ve entered shady territory, the theme from “The Sopranos” plays in the background at one point. This idea of a husband and wife tapping back into their former wild side worked much more successfully in the “Neighbors” movies—especially the first one—because they firmly established who Seth Rogen and Rose Byrne’s characters were, as individuals and as a couple, before they allowed their primal urges to take hold.

Here, Ferrell and Poehler—fellow former “Saturday Night Live” cast members who also co- starred in “Blades of Glory”—barely seem to know each other, much less enjoy any sort of chemistry.“The House” is the rare raunchy comedy that actually could have stood to be a little longer—and not just by padding the running time with outtakes.