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DOWNLOAD MOVIE Click Just $2.99 for a complete movie! No additional software or browser plug-ins required! You can play them for unlimited number of times whenever you want. Downloaded movies will work perfectly on any PC, DVD player, PDA etc.
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Click Reviewed By Scott Weinberg Posted 06/23/06 15:45:57

"Flips from stupid to sappy with the click of a button." (Pretty Bad)

On the one hand you could probably call "Click" better than most of Adam Sandler’s movies — because it has a mildly nifty sci-fi concept. On the other (more accurate) hand you could probably call "Click" worse than most of Sandler’s flicks — because it takes such a potentially clever sci-fi concept and does nothing with it that doesn’t involve fart jokes, hump-happy canines, and really limp slapstick.Digging through the pile of screenplays that Jim Carrey passed on, Adam Sandler came across Click and figured it was just clever enough to be ruined with the addition of the comedian’s patented brand of low-brow dimbulb humor. (Seriously, count how many times the movie re-uses a joke about dogs humping things. It’s freakin’ embarrassing.) In the hands of a filmmaker with even the slightest iota of talent (as opposed to, say, Frank Coraci), Click could have been a perfectly entertaining little sci-fi comedy. But since Coraci is on Sandler’s list of "go-to directors" (a roster that includes names like Dennis Dugan, Steven Brill, and Peter Segal, for some ungodly reason), the Click we’ve been presented with feels like a fairly clever sci-fi comedy that’s been overtaken by children obsessed with farts, boobs, and horny dogs.Sandler plays vanilla architect Michael Newman, a typically harried and stressed-out professional who never misses an opportunity to disappoint his adoring wife and button-cute kids. But after a goofy visit to the "beyond" section of Bed, Bath & Beyond (yes, they’re jamming alleged jokes into the product placement nowadays) Michael becomes the owner of a super-magical remote control. The device allows Mike to skip through life’s boring parts, rewind back through memory lane, and pause when he feels compelled to fart in his boss’ face. Truly, the first two-thirds of Click is a ceaseless carousel of fart jokes, carnally aroused dogs, and more product placement than you’ll find in five random movies.Yeah, that’s the kind of humor level we’re dealing with here — which normally would be par for the Sandler course. The guy’s never met a one-note concept he couldn’t beat into submission through sheer force of flatulence. So after about 85 minutes of gimmicky special-effects gags, limp humor, and painfully push-button "character moments," we’re expecting the flick to start wrapping itself up with just a few more urine jokes and crotch-kicks — but instead of the end credits popping up and allowing us to silently scold ourselves for having dropped another 12 bucks on an Adam Sandler movie, Click (without warning) turns into one of the most shamelessly maudlin and unconvincingly "heartfelt" Capra ripoffs ever made.So the equation is this: Spend 85 minutes mildly chuckling as limp schtick is paraded across the screen — and then spend 30 minutes getting all weepy-eyed as Sandler and Coraci try to turn an extended SNL skit into something in possession of an actual heart and soul. It’s borderline insulting to think that we’re meant to find any of this "wistfulness" even remotely sincere or effective, but there it is all the same. The movie doesn’t even have the sense or courage to simply stick to the low-rent vaudeville material; that the filmmakers feel they’ve earned any sense of emotional poignancy is an absolute farce.The very pretty Kate Beckinsale wanders through Sandler’s wake, careful to never take the spotlight away from the camera-hogging superstar, while the immortal Christopher Walken is given distressingly little to do. And if there’s one universal rule of comedy it’s this: When you get Christopher Walken in your movie, you better give the guy some funny material to work with. Against all odds, Click somehow manages to make even Christopher Walken seem tiresome, and for that I dislike the flick even more.The special effects are pretty cool, so there’s something nice I can say. Walken does earn a few stray giggles, the kiddies are cute, and Beckinsale’s a doll. Other than that, "Click" pretty much stinks across the board. When it’s not being hopelessly unfunny, it’s being shamelessly sappy. It’s a movie that shoots lazily for Capraesque and settles happily for Crapesque.
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DOWNLOAD MOVIE Overboard Just $2.99 for a complete movie! No additional software or browser plug-ins required! You can play them for unlimited number of times whenever you want. Downloaded movies will work perfectly on any PC, DVD player, PDA etc.
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Girl Overboard (1937)

THE SCREEN; Marta Abba’s First Film, Loyalty of Love,’ Opens at The Broadway- ‘Girl Overboard,’ at the Central

Marta Abba’s screen début in “Loyalty of Love,” the Italian film which reopened the Broadway Theatre on Saturday night, is promising, but it is not nearly so felicitous an introduction to the charming Italian actress as “Tovarich,” which is presenting her for the first time to New York’s playgoers. “Tovarich,” of course, is a comedy, and “Loyalty of Love” is tragedy, but that signifies nothing. What does matter is that her picture, unlike her play, has been poorly written and wretchedly produced.

Handicapped by a dull script, inept direction, bad photography and incoherent editing, Miss Abba emerges triumphantly with an eloquent and touching performance. It is a demonstration all the more remarkable because the rôle, in itself, is merely a stereotype of wifely devotion, just as her dramatic scenes are the trite familiars of hundreds of stock melodramas. But there are dignity, honesty and vibrance in her playing, and the screen becomes electric when she fills it.

Barring its period (Italy in 1821) and its historical factor, the plot might have served any prison melodrama. It begins statically and confusedly with the account of a conspiracy to unify Italy and free it from the domination of Prince Metternich of Austria. Count Confalonieri, leader of the movement, has been engaging in another intrigue as well, this with a Polish noblewoman. When he and his fellow-conspirators are taken prisoner and sentenced to die, his wife, forgiving his infidelity, makes every effort to obtain his pardon. It is routine thriller after that, relying for its suspense upon the Countess’s frantic appeals to the Emperor and the Empress, the mad ride to deliver the pardon in time.

A competent Italian cast, overshadowed by Miss Abba’s preeminence, plays this turgid tale to the best of its ability and against the odds imposed by the picture’s technical defects. Too many dialogue titles attest to the over-talkative nature of the film. We shall feel better about Miss Abba when Hollywood takes her in hand. The Broadway Theatre, in case you have forgotten, is between Fifty-second and Fifty-third Streets.

LOYALTY OF LOVE, based on the play, “Count Eagle”; screen play by Rino Alessi; directed by Guido Brignone; produced by Film Production Co., Inc., of Rome. At the Broadway Theatre.

Teresa Confalonieri . . . . . Marta Abba

Princess Jablonowscka . . . . . Elsa de Giorgi

Empress Carolina . . . . . Tina Lottanzi

Count Federico Confalonieri . . . . . Nerio Bernardi

His Father . . . . . Luigi Carini

Prince Metternick . . . . . Luigi Cimara

Baron Salvotti . . . . . Filippo Scelzo

Franz the First . . . . . Riccardo Tassani

Governor of Milan . . . . . Romolo Costa

Field Marshall Bubna . . . . . Achille Maieroni

De Castilla . . . . . Erminio d’Olivo

Major Domo . . . . . Giovanni Barrella

In the definitive words of the currently popular threnode featured by a frog-voiced radio singer, Universal’s “Girl Overboard,” with which the Central Theatre is entering the first-run ranks, is “nuthin’ but a nuthin’,” and a Class B nuthin’ at that. Its most noteworthy feature is that the villainous Sidney Blackmer is dispatched early in this film (murdered with a corsage pin, in fact), whereas in most of Mr. Blackmer’s pictures his is the last malingering corpse to be dumped at the feet of triumphant Justice.

Other features are that Hobart Cavanaugh therein doffs his accustomed Milquetoast mask to become a precocious journalist, that, teamed with Robert Emmet O’Connor, big Ed McNamara has an ingratiating bit as a policeman (he hasn’t been out of the harness since “Strictly Dishonorable”), and that the shipwreck in the picture is an old-fashioned one, in which the passengers beat the members of the crew to the lifeboats. Other than that, the picture simply absolves Miss Gloria Stuart of complicity in film murder on shipboard of Mr. Blackmer, and sees her safely into the arms of Walter Pidgeon, the district attorney.

At the Modern Playhouse

The title of the current Hungarian film at the Modern Playhouse, “Szensacio,” ought to be in the plural, for no fewer than three “sensations” occur simultaneously in the office of the Budapest yellow journal of the film just as the city editor is berating his staff in true Hollywood style for having failed to dig up something hot for the front page.

As a result, to the accompaniment of a deafening belling of telephones, the staff covers for the audience a mine explosion with miraculous rescues; a diverting accident to an author member of the staff, the account of which replaces his daily fiction contribution, and the discovery, during the celebration of Franz Liszt’s birthday, of a previously unreported romance in the composer’s life. Only the cinema can do this sort of reporting job, because, in the case of Franz Liszt, it involves bringing to life a dead era. It is accomplished pleasingly, however, by a cast that includes such Magyar favorites as Ernest Verebes, Irene Agai, Julius Kabos and Ann Smogyi. The director is Stefan Szekely.

At the Teatro Cervantes

Vastly more popular this week at the Teatro Cervantes than the Spanish feature “El Octavo Mandamiento” (”The Eighth Commandment”) are the camera glimpses of the rebellion in Spain, which show the capture of Bujaraloz and Sietamo from the rebels by the loyal Catalonians and the advance of the latter forces almost to the walls of Saragossa.

There was applause left, however, for “El Octavo Mandamiento,” a romantic comedy with a dash of tragedy, imported from Barcelona along with the war scenes. The honors in this tale must go to the veteran Carmen Rodriguez as the prevaricating aunt of a beautiful heiress portrayed by Lina Yegros; but the comedian Luis Villasiul deserves a share of the laurels, too, for his gay unmasking of the deceptions of Tia Carmen which have prevented a poor auto salesman (Ramon de Sentmeant) from winning the spirited Lina. The boy Fernandito does fine work, too, as the lad who, obedient to the Eighth Commandment, refuses to compound the falsehoods which make the early reels go around.

At the Central

GIRL OVERBOARD, from a story by Sarah Elizabeth Rodger; screen play by Tristram Tupper; directed by Sidney Salkow; a Universal production.

Mary Chesbrooke . . . . . Gloria Stuart

Paul Stacey . . . . . Walter Pidgeon

Bobbie Stacey . . . . . Billy Burrud

Joe Gray . . . . . Hobart Cavanaugh

Harvey . . . . . Gerald Oliver Smith

Alex LeMaire . . . . . Sidney Blackmer

Charlie Jenkins . . . . . Jack Smart

“Dutch” . . . . . David Oliver

Molly Shane . . . . . Charlotte Wynters

Sam LeMaire . . . . . Russell Hicks

Sergeant Hatton . . . . . R. E. O’Connor

Captain Murphy . . . . . Edward McNamara

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DOWNLOAD MOVIE Elektra Just $2.99 for a complete movie! No additional software or browser plug-ins required! You can play them for unlimited number of times whenever you want. Downloaded movies will work perfectly on any PC, DVD player, PDA etc.
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Watching
this flick for the first time, I had to keep in mind that 1) based on what i’d read about
it, I had
very low expectations and 2) studios rarely, if ever, get comic book movies right. I
don’t think there’s EVER been a flick that was anywhere near faithful to the source
material and high grossing simultaneously. Even Superman, in my opinion one of
the greatest comic book movies ever made, took a few liberties with Supe’s history
(the reversal of Earth’s rotation
shall not be discussed). During the late
80s/early 90s, DC comics hit the goldmine with Tim Burton’s Batman and Batman
Returns, while Marvel floundered with Captain America and the Fantastic Four. The
aforementioned Batflicks went on to make TONS of money, while the latter
never saw the light of day and was banished to the "direct-to-comic-book-convention-bootleg-video"
market. 

In
the year 2000 however, Marvel stepped up their game with the release of one of their most
popular properties: the X-Men. Yes, there were tweaks to the character’s
histories, but for the most part, Bryan Singer was pretty faithful. Grossing close to half a billion dollars
worldwide, this flick made way for the equally popular and similarly high grossing Spider-Man
- a flick with a slight controversy that many fans overlooked thanks to its
devotion to the source material. After the success of these two flicks, the floodgates opened and it
seemed as if Marvel was on its way to licensing practically every character that’s ever had a solo comic. So far we’ve seen

the Hulk, the Punisher and Blade (3 of ‘em!) hit the silver screen. And that’s just scratching the
surface. There are a lot more Marvel properties either "In
Development" or "In the Planning Stages". On
Valentine’s Day in 2003, Marvel released Daredevil starring Ben Affleck, Colin
Farrell and Jennifer Garner. While I was far from impressed with it, the film went
on to gross $179 million worldwide and i’m guessing Jennifer’s performance
convinced Marvel that Elektra deserved her own flick. 

Two years later, and taking even less of Elektra’s history into account than Daredevil director Mark Steven
Johnson did, Rob Bowman (working from a script written by three writers)
works with what he’s given. However, it’s not much. If you remember, when we last saw Elektra, she was having
her own sai driven
through her by Bullseye (Colin Farrell), possibly killing her. I’m saying
"possibly" since it was inferred at the end of that movie that she left Matt Murdock a token of
her affection on the rooftop where he worked out. But….forget all of that.
That’s not important. In fact, there’s hardly any reference to these events
other than a terribly brief flashback showing Elektra in an
ambulance followed by her sensei Stick bringing her back to life. Through even more
flashbacks, we see Elektra’s training before Stick banishes her for not having a
grip on her violent tendencies. So what does she do? She becomes an assassin for hire. That is, until she takes a contract
requiring her to kill a thirteen-year old girl and her widower father. For reasons
unbeknownst to Elektra at the time, she decides to refuse the contract, instead becoming
their protector. 

There are some fairly obvious plot developments along the way, and the
requisite team of supervillains turns out to be pretty pathetic. They include
such colorfully named villains as Tattoo (a fella whose tattooed creatures on
his body CGI into real life), Stone (a big, brutish guy who’s built as if he’s
made of….stone) and Kinkou (who….umm, broods and can balance a coin on his
hand while walking cool). The screenwriters have also imported a few elements of the comic book:
Kirigi (who seems to have the Jedi power of zipping around from place to place,
as well as the ability to manipulate dry cleaning) and Typhoid Mary, a character
that serves no purpose in this flick other than to inflame teenage libidos
during her kissing scene with Garner (which is a shame since her character is much
more interesting in the comics).

Added to this are Mark Miller (played by Goran Visnjic, who’d be better off
leaving the brat with Elektra and heading back to County General) and his
daughter Abby (an annoying Kirsten Prout). I really couldn’t form a proper
opinion of Visnjic, since his character doesn’t have much to do other than let
the girls fight. Prout, on the other hand, I found to be terribly annoying.
Terence Stamp is on hand to out-"Miyagi" Mr. Miyagi, as he spends his
time getting philosophical when he’s not hustling at a pool hall (another thing ‘ported
over from the comic book). 

Rob Bowman does a capable job directing Elektra, thankfully avoiding
the turning of this flick into a 97 minute infomercial for the soundtrack (like
Daredevil). In fact, I think there might’ve only been one occasion where
a song from the soundtrack was played, and that was in the pool hall. He keeps
the "story" and action moving at a brisk pace, which may be a good
thing since the film comes in at a lean 97 minutes, 8 of which are spent on
blaring the soundtrack during the end credits. In retrospect, it seems as if
there’s more missing from this flick than just the 3 minutes that make up the
deleted scenes. It wouldn’t surprise me if there was a "director’s
cut", ala Daredevil and the Punisher, somewhere down the line.

Video: Elektra is presented in
an anamorphic widescreen 2.35:1 ratio. The DVD looks great,
as it should, with a sharp and colorful picture. The blacks were deep and I
didn’t notice any edge enhancement. 

Audio: Elektra is presented in English 5.1 dts and 5.1 Dolby Digital. There really isn’t
that much of a difference between the dts and the DD. There’s
occasional ambience from the rears during the film and they get quite the workout
during the action sequences, but for the most part the soundtrack sticks to the fronts and center.
They’ve also included French and Spanish Dolby Surround tracks.

Special Features:
With features disappointingly similar to what one might find on a standard
studio Electronic Press Kit (or even a Best Buy giveaway), there’s only one thing on here that might interest fans
who actually buy this disc - a
brief, "blink ‘n ya miss it" appearance by a certain ex of J.Lo’s in
the Deleted Scenes. (C’mon, i’m not giving anything away - Lord knows she has a bunch to choose
from). Each of the three deleted scenes
average a
minute or two and, other than the one I mentioned, they’re really nothing of any
consequence. 

We also get a 13 minute
"Making Of" featurette along with a 1 and 1/2 minute "Comic-Con
Presentation" short. Both aren’t too interesting. The next "special feature", "Inside the
Editing Room", contains four different featurettes, each one clocking
in at roughly 1m 30s. Basically, they’re shorts that were originally posted on
the movie’s website that have director Bowman introducing clips of the film
from…wait for it…inside an editing room. 

There’s also a
Theatrical Teaser and Trailer, as well as a commercial for the Soundtrack. Also, for reasons unexplained [other than
the fact they’re both FOX properties],
they’ve included promos for Seth McFarlane’s "American Dad" and
"Family Guy". Oh, and I nearly forgot — on the Main menu, there’s an
option called Inside Look. Lest you think it might be related to Elektra, it’s
not. It’s two anamorphic trailers for FOX’s forthcoming "Fantastic Four"
and "Mr. & Mrs. Smith". 

Conclusion: It might sound like I have an axe to grind with this flick
(or Marvel). I truly don’t. I’ve been a "Marvel Zombie" for close to
25 years now. I was there when Elektra first appeared, and i’ve hung around ’til
the end of her recent solo series and her current limited series "the
Hand". As Jennifer says during the
"Comic-Con Presentation" featurette, they were making this film "for the
fans" and they "really only want praise from a select group of people;
those who grew up reading Elektra". As one of those people, i’d have to say
I was disappointed. Don’t get me wrong, this flick isn’t Catwoman-bad, it
just could’ve been better.

However, with what little extras this DVD has, the whole thing
smacks of a rush release until a "Director’s Cut" further down the
line. And considering Marvel’s recent track record for "Director’s
Cuts" (Daredevil & the Punisher) and FOX’s penchant for incessant
double dipping (the X-Men 1.5, I, Robot, the Day After Tomorrow & Man On
Fire), as I said, I would not be surprised if they released a director’s cut or fully loaded SE in the near future. If you’re a fan of the
character (or the movie), I’d recommend you Rent It and wait to see.
However, if you can’t wait, make sure you get it cheap. From the story to the extras,
this is one skimpy disc.

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DOWNLOAD MOVIE Ask the Dust Just $2.99 for a complete movie! No additional software or browser plug-ins required! You can play them for unlimited number of times whenever you want. Downloaded movies will work perfectly on any PC, DVD player, PDA etc.
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Lovers of Los Angeles literature and especially the works of John Fante have long anticipated the arrival of the movie version of “Ask the Dust.” That it was entrusted to Robert Towne, of “Chinatown” fame and keeper of a tradition of Southern California writers, has been a source of comfort and high hopes. Thirty years of gestation have produced a film of great beauty with unfulfilled promise — a disappointment, but with much to recommend and be glad about. It is a reverent treatment of the touchstone novel about tyro writer Arturo Bandini and his adventures in the City of Angels that perhaps clings too closely to the original while neglecting the intricacies of its main character. ADVERTISEMENT Colin Farrell stars as the Italian American Bandini, five months removed from Boulder, Colo., and full of youthful bravado. Emboldened by the publication of a short story in a literary magazine, he is inspired and discouraged by his surroundings. The tragic faces of the Midwesterners who’ve come to L.A. seeking sun-drenched asylum and peaceful death haunt him even as he finds insight in their plight. The bright, corrosive daylight of each new morning drives him into the cover of darkness to stare at his typewriter collecting dust blown in from the distant Mojave Desert. Towne acknowledges his literary debt up front, panning from a pile of rotting orange peels that share a dish with cigarette ashes to a book that displays the film’s opening credits on its turning pages. The painted postcard look of the next shot, downtown Los Angeles at night, establishes the film in the fabulist tradition. The camera swoops from high above Chinatown down to Bunker Hill and the sad denizens of the Alta Loma Hotel. The film’s attitude echoes the doomed romanticism of 1930s melodramas. There’s a warmth at the center of its images, courtesy of director of photography Caleb Deschanel and production designer Dennis Gassner, that suggests a longing for the simplicity of the prewar era, the time when orange-crate boosterism met noir cynicism. Where “Chinatown” was all skepticism and corrupted dreams, “Ask the Dust” holds something back for the future. Bandini is shaken to life by his tumultuous encounter with the enchanting Mexican waitress Camilla Lopez, played with intense passion by Salma Hayek. Down to his last nickel, he visits the cafe where she works, and they immediately begin pushing away from one another like strong magnets. Taunted by the Smiths and Joneses back home, Bandini proudly holds onto his name and all its vowels even as he fantasizes about creamy skinned WASP girls. Camilla doesn’t fit his dream and, though drawn to her, he repels her with the same slurs that were hurled at him. Likewise, Camilla imagines marrying an Anglo and shedding her surname, pointing out that Bandini isn’t much of an improvement. The complexities and contradictions in their behavior make more sense in the novel, drawn from the acidic mix of pride and self-loathing. In the film, the reversals feel more abrupt, less clearly motivated. The relationship thus conveys less about the characters and obscures the larger issues of their clashing identities. The character of Bandini is a difficult one. A callow mixture of bluster and uncertainty, he writes to his editor, H.L. Mencken (voiced by film critic and historian Richard Schickel) — J.C. Hackmuth in the book — that he can’t write about love when he has so little experience. The problem with the casting of Farrell, who is otherwise very good, is that he is nearly a decade too old. Moving the romance front and center also diminishes the role the city plays in Bandini’s journey, which is unfortunate because Towne and his crew pull off an amazing cinematic sleight of hand. The film, remarkably, was shot in Capetown, South Africa, where sets representing Depression-era downtown Los Angeles were erected. Specific locales such as Bunker Hill, the Angel’s Flight funicular and the Third Street tunnel are strikingly imagined. There are also good performances to appreciate among the supporting actors, including Donald Sutherland (”Day of the Locust’s ” Homer Simpson), evoking the even darker vision of Nathanael West as Bandini’s neighbor and Idina Menzel (”Wicked”) as the ill-fated inspiration for Bandini’s novel. It’s unlikely anyone other than Towne could have gotten the film made, and we’ll have to be satisfied with the pleasures of his version rather than thoughts of what might have been. One thing that persists from Fante’s novel is the idea of what sets Bandini apart from those who come to Los Angeles to discover their fortune or be discovered themselves. Bandini, as a writer, creates his own destiny and tragic as the outcome may be, he fulfills it. ‘Ask the Dust‘ MPAA rating: R for some sexuality, nudity and language
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DOWNLOAD MOVIE Virus Just $2.99 for a complete movie! No additional software or browser plug-ins required! You can play them for unlimited number of times whenever you want. Downloaded movies will work perfectly on any PC, DVD player, PDA etc.
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Virus
STAR RATING:*****Unmissable****Very Good***Okay**You Could Go Out For A
Meal
Instead*Avoid At All Costs

Yay,what better way to enjoy a Wednesday night in front of the telly than
with a good-old DTV Rutger Hauer movie.Right?Er,sadly no.To start with,the
purpose is kind of defeated when Hauer’s screentime is really limited.But
this is really the least of your problems.Cliched characters,comically low
budget bee effects and laughable dialogue throughout are.Oh,and it’s also
overlong.Just letting you know.*

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DOWNLOAD MOVIE Scary Movie Just $2.99 for a complete movie! No additional software or browser plug-ins required! You can play them for unlimited number of times whenever you want. Downloaded movies will work perfectly on any PC, DVD player, PDA etc.
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A good spoof is hard to find now that Mel Brooks has been preoccupied with Broadway. Earlier this year we had the horrific and anger inducing “Date Movie” which, for your sake, I will not take the time to verbally abuse. Now we have the barely sub-par “Scary Movie 4″, directed by David Zucker (Airplane) and starring Anna Faris (Brokeback Mountain), Craig Bierko (Cinderella Man), Leslie Nielsen (Naked Gun) and Regina Hall (The Honeymooners). The good news is it’s certainly better than both “Date Movie” and even “Scary Movie 3″, but the bad news is that’s not saying much.

Cindy Campbell (Faris) just doesn’t seem to have any luck avoiding evil beings, ghosts, or serial killers. Despite the fact that she has sometimes not even survived past additions to the Scary Movie series, she always returns for the next film with no explanation why. It’s a spoof. Do they really need a reason? In Scary Movie 4, Cindy moves to a new town and finds a job as a housekeeper. Her next door neighbor is Tom Ryan (Bierko), a dock worker who’s failed marriage and ineptitude as a father keeps him on the lookout for the next Ex-Mrs Ryan. And everything seems to be great except for the creepy japanese ghost that lives in her house and the alien Tri-pods that have come to destroy everything in their path. Sound familiar? Of course it does. It’s a spoof movie.

The Scary Movie series has never been that funny. The first two overloaded on being gross for a laugh (anyone remember the geyser of sperm?) and number 3 left me with a very sour feeling. I find it interesting that, to me, Scary Movie 4 is the best of the bunch. Don’t assume that means I’m recommending it. The film does have some pretty hilarious moments, but they have been sparsely scattered amongst a great deal of flat or unfunny scenes.

The film opens in an obvious parody of “Saw”, but this time it is Shaquille O’Neal and Dr. Phil McGraw who are playing the game. Afterwards it cuts to James Earl Jones reciting Morgan Freeman’s lines from ”War of the Worlds” and we get the first real giggle inducing bit when microscopic organisms jiggle, dance, and flash the camera to the tune of “I Like Big Butts”. Some of the other highlights of the film include: an overdose of viagra; the alien crafts being giant (Tr)I-Pods that switch from “Awesome 80s” to “Destroy Humanity”; a ghost victim being used as an office supply; a Dakota Fanning look-alike being struck by lightning (twice) and also by whatever blunt objects imaginable; and the US president’s obsession with a story about a duck.

What kills the movie is it’s lack of energy. I’ve never understood why Anna Farris is one of the only two original cast members to return for each film in the series, because she has always been the most forgettable with her lack-luster ditzy girl impression. The saving grace comes from Regina Hall as Cindy’s sex obsessed friend Brenda. She adds the much needed energy to each scene she is in, which makes it a pity that she isn’t introduced until the movie is half over. I also thought that  Bierko gave a memorable performance as clutzy neighbor Tom Ryan. I’m sure most people will appreciate the scene where he spoofs Tom Cruise’s behavior on Oprah.

Much like most spoofs, every scene seems to be directly taken from the movie it parodies. But it’s when the film breaks the mold and does something unexpected that my interest is peaked. You get a few moments like that from this movie, but usually you’ll be expecting the joke long before you get to it. When Anthony Anderson and friend have a flashback about being two cowboys out in the wilderness…well…you already know where it’s headed. Even the “twist” at the end of the film leaves you feeling cheated.

While “Scary Movie 4″ will not be joining the short list of decent spoof films, it will not be known as one of the worst either. I left the theater feeling unsure exactly how I felt about the film because I at least got a few good laughs in. The movie is average as far as spoofs go. I will give it that honor. At the end of the year, when you think back to your favorite comedies you had seen over the course of it, you might not even remember Scary Movie 4 at all. If you decide you must see it, bring along friends and see it in a crowded theater. The contagious quality of cascading laughter through the room may be the only thing that saves this movie for you.

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DOWNLOAD MOVIE Loose Cannons Just $2.99 for a complete movie! No additional software or browser plug-ins required! You can play them for unlimited number of times whenever you want. Downloaded movies will work perfectly on any PC, DVD player, PDA etc.
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Movie: A lot of movie fans will go see any movie a particular star is in. This is an undisputable fact and is sometimes referred to as a star’s draw: how much money can a movie make based solely on an actor being in the movie? Even stars that often make great movies will sometimes take on a project for financial reasons, never having read the script. Such is the case with a little known movie from 1990, Loose Cannons.

The movie shows a veteran cop, Mac (Gene Hackman), who is saddled with a brilliant partner, Ellis (Dan Aykroyd), that has a personality disorder-whenever he gets stressed, he starts acting like various television characters. Other than that, he’s sharp as a tack but it obviously puts the team in great danger when they begin investigating a case with a lot of hostile bad guys. The team stumbles across a case involving a porn tape made by Hitler (yeah, that Hitler) and it’s political ramifications. The bad guys don’t want the tape released and will stop at nothing to prevent it from being distributed. If that sounds like a clich

DOWNLOAD MOVIE Cinderella Just $2.99 for a complete movie! No additional software or browser plug-ins required! You can play them for unlimited number of times whenever you want. Downloaded movies will work perfectly on any PC, DVD player, PDA etc.
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Based on a true story, Cinderella Man is Hollywood formula filmmaking at its finest.  While there aren’t many major surprises, the film still excels thanks in large part to the professionalism and skill of everyone involved in making it.  It may not give you the most mileage for your dollar, but there’s no doubt that this is one well-oiled machine, intricately constructed with precision and care to be an uplifting, crowd-pleasing triumph.  Even grinches will most likely concede that it works, and works quite well, delivering exactly the right build-up for a riveting finale, and even if you know the full story going in, the pleasure is in the way the story is told, and not just the destination. The film is set in the late 1920s to mid 1930s, where boxer James J. Braddock (Crowe, Master and Commander) has seen his days as a professional boxer collapse when he tries desperately to fight with injuries to his right hand.  The Great Depression is all around, and with jobs as scarce and as low paying as they are, Braddock continues to try to box for money despite losing more often than he wins.  The boxing commission finds out and suspends his license to box, leaving Braddock with a broken hand, a wife (Zellweger, Bridget Jones: The Edge of Reason) and three kids to feed, and not enough money to pay the electricity.  He struggles to keep the family together, piling on grueling days where he will work for hours despite the injury, only to still not be able to cover his debts.  Braddock catches a slight break that would change his life, when his ban on boxing is temporarily lifted so he can be a last minute replacement to fight one of the top contending boxers in the country.  Thus begins a fairy tale story of how one man’s luck can change overnight, through perseverance, hard work, and a willingness to lay everything on the line now that he has something to fight for. Director Ron Howard (The Missing, A Beautiful Mind) scores big going straight to the heart of populist filmmaking, pulling out old-fashioned styles from his bag of tricks to tug at our heartstrings and make Braddock the everyman hero we can all rally behind.  Thanks in large part to a stellar performance by Russell Crowe, Braddock ends up being one of the most brave and entirely likeable characters in recent memory, with situations so heartbreaking that it’s hard not to be emotionally stirred when he finally sees some long overdue success.   The supporting characters are also fantastic.  Renee Zellweger turns what could have been a thankless role as the long-suffering wife and makes her a very sympathetic and influential character in the story.  Paul Giamatti (Sideways, Paycheck) also delivers a great performance as Joe Gould, Braddock’s mentor and manager, who is driven purely out of his love for an honest and noble man, and not for the money.  Craig Bierko (I’m with Lucy, The Thirteenth Floor) beefs up for the role of the daunting champion Max Baer, who is painted to be the heavy of the story, quite menacing and cocky in a way that makes him unlikable, but in a nuanced way that lets you know that underneath the tough exterior, much of it is a lot of bark to antagonize his opponents into fear and intimidation. If there’s a slight weakness to the piece, it’s the pat screenplay, which takes an already inspirational story and dissects it almost completely into a well-established underdog formula like so many other films of a similar nature have been in the past.  While Braddock’s comeback is a matter of public record, this is the kind of movie that still feels very much like a fictional work, with all of the story manipulations and rise-and-fall plotting you would expect, proceeding perfectly according to plan. Still, though it is a mechanical crowd-pleaser underneath, the performances, direction, and the gorgeous music (another fantastic job by Thomas Newman) are so on-target that this is still quite easily one of the best films of 2005.  This is quintessential old school filmmaking that still works well for today’s audiences.  Who says they don’t make ‘em like they used to?

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DOWNLOAD MOVIE City of God Just $2.99 for a complete movie! No additional software or browser plug-ins required! You can play them for unlimited number of times whenever you want. Downloaded movies will work perfectly on any PC, DVD player, PDA etc.
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City of God from my point of view was a film like no other. Never have
I seen a film that comes at you like a wave of hailstones that never
loosens it’s grip for a second. Bearing in mind that this was based on
a true story one can’t imagine the punches it pulls sparing nothing
within it’s grasp.

The film first begins somewhere in the mid eighties accompanied by some
really cool edit shots of group of young outlaws chasing a helpless
chicken through the suburbs of Rio, Brazil thus we stumble upon are
very hero Rocket - aka Buscape, who is caught up in a two way stand off
between the police and outlaws. Then we are whisked back to the 1960’s
as to how it all started. Then begins the narration to inform us (the
viewer), through the humble beginnings of life in 1960’s through to the
present. We are first given the main characters Buscape, who bravely
confesses that he wants to choose an honest life of becoming a creative
photographer rather than ending up choosing a life of crime his older
brother is engulfed in. After a night of holding up a motel, The Tender
Trio begin to disband, leaving all but one to make a true start to
living a decent life with the others to disappear but not without
deadly consequences.

Flash forward a few years later and we see are main protagonist now at
school and still maintaining an honest life but apart from truanting
school, to enjoy life on the beach and determined to lose his virginity
with right girl. Then it’s not too long before we are introduced to a
new set of hoodlums determined to own every piece of the neighbourhood
and drug running business that starts pollute the whole slums. Thus
ensues the long and violent tale of life in the hood.

The one thing that stands out so well in City of God is the
photography, narration and above all razor sharp MTV style editing that
flaws most films with their own styles.

Fernando Meirelles really does ram this film home and paints a really
bleak image of Brazil the world is none to familiar with.

Now with this exploding on to the silver screens the world over this
really does introduce the the new age of independent cinema, Hollywood
certainly didn’t see this once coming - shame on them.

Gracias Deus - Thank God 10/10

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DOWNLOAD MOVIE Kill Bill: Vol. 1 Just $2.99 for a complete movie! No additional software or browser plug-ins required! You can play them for unlimited number of times whenever you want. Downloaded movies will work perfectly on any PC, DVD player, PDA etc.
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Kill Bill: Vol. 1
The Movie:





“Kill Bill” is an explosion of all things Quentin Tarantino. One gets the sense that this is the film that Tarantino - former video store clerk, martial arts fan and “Pulp Fiction” director - has always wanted to make. The picture is unbelievably violent, yet violent in a way so over-the-top that one stops simply becoming grossed out and is able to appreciate the insanely meticulous choreography (by Yuen Woo-Ping, who also worked on the “Matrix” films and “Crouching Tiger, Hidden Dragon”) that went into creating the battles. There’s also Tarantino’s great direction and style. The kind of dialogue that Tarantino has become famous for is in evidence here, if not quite as much as his other films.



The picture revolves around the Bride (Uma Thurman), who was left for dead at her wedding party by Bill and her former associates: hitmen/women called the Deadly Viper Assassination Squad. There’s O-Ren Ishi a.k.a. Cottonmouth (Lucy Liu), Vernita Green a.k.a. Copperhead (Vivica A. Fox), Budd a.k.a. Side Winder (Michael Madsen), and Elle Driver a.k.a. California Mountain Snake (Daryl Hannah).



The picture goes out of order and there isn’t much story beyond the core. Essentially, the Bride wakes up four years after her attack, lying in a coma all that time. Realizing that she’s no longer pregnant and remembering what happened to her, she sets out for revenge, with Vernita Green first in the film, followed by O-Ren Ishi, with a stop at swordmaker Hattori Hanzo (Sonny Chiba) in-between.



The film’s main action sequence, a fight between the Bride and 88 of O-Ren Ishi’s associates, is certainly the finest fight sequence in ages. Although ridiculously gory, the athleticism and skill on display, as well as the lack of CGI (just wire work) are easy to appreciate. Even the black and white moments - done to assist the film in getting an R-rating - work for the picture. Touches of classic score and new pieces by Wu-Tang rapper the RZA serve the emotion of scenes and also serve to get the audience pumped up for the next sequence.



The performances are terrific. Thurman has a terrific mixture of grim determination and dark humor. Lucy Liu is also chilling and fun to watch as Ishi, the new head of the Tokyo underworld. Vivica A. Fox, Sonny Chiba, David Carradine, Daryl Hannah and Michael Madsen turn in very good supporting efforts. Technical credits are also stellar, as Robert Richardson’s cinematography makes for Tarantino’s slickest looking picture, while the director’s usual editor, Sally Menke, handles the material superbly. Production design, costume design and other technical aspects are clearly first-rate, as Tarantino is working with his biggest budget yet.



Although the film’s over-the-topness can go too far overboard at times and character development isn’t quite what it should be, “Kill Bill” remains a splendid mixture of genres that are close to the filmmakers heart. It’s not Tarantino’s best film, but it’s still an intense, fun stunner.




The DVD



VIDEO: “Kill Bill Vol. 1″ is presented by Miramax in 2.35:1 anamorphic widescreen. The picture quality is very good, although it’s a few steps short of greatness. Sharpness and detail are just satisfactory in the presentation - while I remember Robert Richardson’s cinematography looking a tad soft at times theatrically, this presentation seems to be another touch softer.



Softness was a bit of a concern, but thankfully, there were very few other issues with the presentation. Edge enhancement remained brief and slight, while no compression artifacts were spotted. The film’s vivid, bright color palette was superbly rendered, with the golden, warm hues of most of the movie appearing well-saturated and vibrant, with no smearing. This is a fine presentation, although it comes up a little short of what I was expecting.



SOUND: “Kill Bill” is presented in Dolby Digital and DTS 5.1 by Miramax. The film’s sound mix has stretches where the majority of the audio takes place within the front speakers. While these dialogue-driven stretches sound terrific, the presentation really does take off during the action sequences, which have sword slices and other sound effects whipping through the rear speakers. Audio quality is terrific, with clean dialogue, crisp effects and occasional instances of strong low-bass.



EXTRAS: A 22-minute documentary is the main supplemental feature. It offers some interviews, promotes the flick and throws out a couple of decent tidbits about the film’s influences. Nothing too great. We also get performances from the 5, 6, 7, 8’s and trailers for Tarantino movies - including the “Kill Bill” flicks.





Final Thoughts: “Kill Bill Vol. 1″ is lead by a masterful performance from Uma Thurman that perfectly portrays the tone and the style of the movie. While brutal, the action sequences have a real grace to them and the choreography of the major battles is stellar. This is clearly a blend of genres and films that Tarantino loves, but he’s fused these styles together in a way that’s often electric. The DVD doesn’t offer much in the way of supplements, but presents the film with fine audio/video quality. Recommended.



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