DISTRICT 9 NOW AVAILABLE

Here is the summary for the movie District 9 from imdb.

The film opens with a documentary-style series of interviews that introduce the situation. Twenty years before, an alien ship is seen coming towards Earth and arrives above Johannesburg, South Africa. It hovers above the city for three months without any contact; eventually humans take the initiative and cut into the ship. They discover a large group of aliens who are malnourished and sick. The aliens are later assessed as apparently being all "workers", with their leadership mysteriously missing (it is hypothesized that a plague may have wiped out all of the leadership-caste). Grainy footage shows part of the ship (supposed to be a command module) falling to Earth, but nobody has been able to find it, leaving the ship inoperable.

The creatures, called "prawns" as a derogatory reference to the sea creature which they resemble, are housed in a government camp. The alien race's true name is never learned they are primarily referred to as "prawns" or, more rarely, "non-humans". Overcrowding and militarization eventually turn the area into a slum known as District 9. A massive black market is set up between the aliens and a group of Nigerians primarily led by Mumbo, a paralyzed warlord. In addition to inter-species prostitution, the Nigerians exchange canned cat food for alien weapons, of which the cat food has a similar effect to catnip on the aliens.

The movie takes place in 2010. Patience over the alien situation has run out and control over them has been contracted to Multi-National United (MNU), a private company that shows little regard for the aliens' welfare. MNU is interested in using the aliens' advanced weaponry, but its integration with alien biology makes it useless for humans.

An MNU field operative named Wikus van der Merwe (Sharlto Copley), is set with a task to move 1.8 million aliens to a new District 10 camp located 240 km from Johannesburg, with help from private security forces working for MNU. While inspecting a suspicious alien residence, Wikus handles an alien device which squirts a dark liquid into his face. He becomes very sick and collects the device as evidence.

A rapid transformation begins to occur, and shortly after exposure to the liquid, Wikus's left arm mutates into a claw exactly like that of a prawn. After collapsing at a surprise party in his house, and a doctor at a local hospital discovers his alien left arm, Wikus is taken into custody and a series of tests and experiments are performed on him; these reveal that his alien DNA allows him to operate alien weapons. The scientists discover that his DNA is currently "in balance" with the alien DNA, which is gradually taking over. They decide to harvest his body for biological material at this critical point, to have the greatest chance of replicating his ability to use alien technology in other humans later. To reduce any side-effects, no anesthetic was used. However, during the attempted vivisection Wikus escapes after overpowering his captors, and flees from MNU.

Wikus seeks refuge in the run-down shack of an alien called Christopher Johnson, the same alien who Wikus attempted to evict earlier, who created the alien device that infected Wikus. The device contains fuel that Christopher scavenged from various alien parts scattered around District 9. It is hinted that Christopher might be a surviving member of the prawn leadership caste, as he shows much more knowledge of how alien technology works, possesses or at least found the command module, and interacts with MNU officials more articulately than other aliens. Although initially hostile towards Wikus, Christopher eventually agrees to help him reverse the transformation if Wikus will retrieve the fuel from MNU labs. Christopher promises to undo the mutation by getting Wikus aboard the mother ship hovering over Johannesburg, and shows Wikus the ship's command module, which has been hidden under his shack.

Wikus steals some alien weaponry from Mumbo and his gang, with Mumbo vowing to capture Wikus and eat his mutated arm (his witch doctor believes this will give him the power to operate the alien weaponry). With Christopher's help they launch an assault on MNU and successfully retrieve the fuel sample. While there, Christopher discovers that MNU has been experimenting on his people. Wikus and Christopher fight their way back to District 9 and Christopher begins preparations to leave. He tells Wikus that he must first return to his home world to seek help for his people before he can cure Wikus. Furious, Wikus knocks Christopher unconscious and powers up the ship himself. The MNU mercenaries target Wikus and destroy one of the command module's engines, causing it to crash land inside District 9.

After Wikus is captured by MNU, a battle between the MNU mercenaries and Mumbo's gang breaks out. After a protracted firefight, the Nigerians capture Wikus. Just before Wikus' arm is chopped off, Christopher's son activates several systems in the mothership, including the autopilot routine of a mechanized battle suit; it slaughters Mumbo and his men after they fire on it. Wikus enters the alien walker battle suit, and after initially attempting to flee, returns and rescues Christopher. Armed with a lightning cannon, tracking missiles, and a high-powered machine gun, Wikus begins to fight the MNU men. After being knocked over by a anti-tank sniper round, he convinces Christopher to return to the shuttle without him, over Christopher's objections. Christopher promises Wikus that he will return in three years to repair his body. Christopher then boards the shuttle and activates a tractor beam which returns the command module to the mother ship.

Wikus is shot in the back and the walker suit ejects him. Wikus, heavily wounded, begins dragging himself away from the leader (and sole survivor) of an MNU squad, but is quickly caught. As Wikus prepares to die, aliens burst out of the surrounding slums and dismember the mercenary.

The film concludes with another series of interviews and news broadcasts, providing human opinions on the events that unfolded. The aliens are successfully moved to District 10, which now has a population of 2.5 million and is growing. One of Wikus' coworkers hacks MNU's database and publicly exposes their illegal genetic experiments. There are many differing theories on Wikus' fate. Some people believe that he either left on the mother ship, is in hiding, was captured by MNU or a government agency. Some interviewees hypothesize that the aliens are planning to return with a full army and declare war on humanity. An interview with Wikus' wife reveals a small metal rose was left on her doorstep (Wikus has earlier demonstrated his affection with handmade gifts). Her friends have told her that it could not have possibly been Wikus, but she appears unsure. In the final scene, an alien with a bandaged left arm is shown in a junk yard fashioning a rose out of scrap metal.


Here is a review for the movie District 9 from dvdtalk.

An electric brew of "Alien Nation" and "The Fly," coated with a viscous layer of social commentary, "District 9" is a volatile action/horror picture with a stupendous visual fingerprint. A barnstorming combat film with flashy weaponry, alien mysteries, and goopy body trauma, the film is destined to become a cult classic -- a largely unapologetic statement of hysteria, flanked by large deposits of geek Spanish fly. However, while there's astounding visual reach, "District 9" is riddled with inconsistencies and a confusing point of view, reducing the heat on this ambitious film, robbing it of a lasting power it should rightfully own.

20 years ago, a massive alien mothership appeared above Johannesburg, South Africa. Inside was a race of dying creatures, soon brought down to Earth by local government and forced to live in a walled off section of the city, dubbed District 9. As the aliens, nicknamed "Prawns" due to their vaguely crustacean appearance, grow in numbers and hostility, the task of relocation to a concentration camp has been handed to the Multi-National United Corporation and its head field operative, Wikus (Sharlto Copley). Entering the vile shantytown, teams of soldiers find the Prawns concocting a secretive plan of attack, with Wikus coming into contact with a mysterious black liquid. Forced to flee when he learns his superiors want to tear him apart for examination, Wikus heads back to District 9, befriending an intelligent Prawn named Christopher.

Based loosely on the events of District Six that occurred in South Africa in the 1970s, "District 9" collects bits of history, sci-fi, and action to build itself a story of man hating alien. An unusual visitation tale, the film seeks to reimagine the ravages of apartheid with an otherworldly angle, positioning the Prawns as the abused culture, separated from the general public, finding their rights refused in the name of governmental protection and handed a war zone for a home. The political and social overtones of "District 9" are straightforward and vividly distributed, integrated cleverly by director/co-screenwriter Neill Blomkamp, who conjures a horrific atmosphere of violence and humiliation as man finds renewed purpose keeping the Prawns at bay.

How this story is captured is where my head starts to spin. Introduced as a documentary, "District 9" is ostensibly telling the story of Wikus and his company man efforts to get the Prawns to their new, vaguely threatening home. Blomkamp arranges faux news footage of the District's violence and community filth, while "interviewing" Wikus's closest associates and superiors. Following the action into the District as Wikus and the soldiers go from door to door to con the residents, the film finds an incredible stride of intrigue and discovery, with Blomkamp parading around some of the finest special effects work of the year to merge the real and the unreal into a singularly disturbing, unsettling event.

The feature soon rudely breaks away from the factual perspective, morphing into direct fiction, as Wikus's accident with the black goo becomes a living nightmare. From there, Blomkamp juggles back and forth between shaky-cam documentary footage and traditional dramatics. It's a hazy perspective that cheats the film out of a compelling identity, making the intention of the footage confusing -- a needless distraction in the middle of overwhelmingly grungy eye candy. Is this a documentary? A dramatization? Blomkamp doesn't answer the questions, leaving various plot-holes behind as he starts to scratch his geek itches.

Adapted from Blomkamp's short film "Alive in Joberg," "District 9" doesn't feel like it was sufficiently inflated to fill a feature-length running time; instead, Blomkamp spackles the cracks in the story with explosions and the grisly wonders of alien machinery, taking an already violent film to the extreme for the final showdown. Bodies are torn apart, Blomkamp's "Aliens" fixation is satisfied, and bullets of every design zip around the frame. Perhaps a majority of the audience won't mind the way "District 9" hops on one foot, as long as the pyrotechnics display is appropriately blinding and the creatures are cool. And they are. Wonderfully so. Blomkamp is a filmmaker to watch, with absurdly precise visual instincts. But "District 9" is his first film and it shows, bloating a fascinating fable to a point of collapse.

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ORPHAN NOW AVAILABLE

Here is the summary for the movie Orphan from imdb

The tragic loss of their unborn child has devastated Kate and John, taking a toll on both their marriage and Kate's fragile psyche as she is plagued by nightmares and haunted by demons from her past. Struggling to regain some semblance of normalcy in their lives, the couple decides to adopt a child. At the local orphanage, both John and Kate find themselves strangely drawn to a young girl named Esther. Almost as soon as they welcome Esther into their home, however, an alarming series of events begins to unfold, leading Kate to believe that there's something wrong with Esther--this seemingly angelic little girl is not what she appears to be. Concerned for the safety of her family, Kate tries to get John and others to see past Esther's sweet facade. But her warnings go unheeded until it may be too late-for everyone. [D-Man2010]

Here is a review for the movie Orphan from dvdtalk

"Orphan" is a seriously tasteless motion picture, but it's equally as spineless. A suspense piece with numerous acts of violence and torment involving children, "Orphan" endeavors to unnerve the audience by hitting below the belt, taking on the taboo concept of kids in peril to come across as provocative and unsettling. Instead, the film mostly bores with its repetition; the little originality it clings to dearly is neutered and slowly drained of shock value by the film's end.

Seeking to fill their life with a new child after the stillborn death of their last baby, couple Kate (Vera Farmiga) and John (Peter Sarsgaard) are looking to adopt this time around, adding to their brood, which already includes Daniel (Jimmy Bennett) and young deaf girl, Max (Aryana Engineer). The couple soon comes upon Esther (Isabella Fuhrman), a gifted nine-year-old Russian girl who's keen to have Kate and John as her parents. Enjoying the initial period of adjustment, Kate soon starts to perceive something evil within Esther, trying to articulate her fears to her doubting husband. When accidents start to occur around Esther and people go missing, Kate is sure her daughter is behind the confusion. Trouble is, there's no one left to believe her as Esther goes about her business charming everyone with her unusually perceptive charisma.

I could see "Orphan" bothering a lot of potential viewers. While a one-dimensional Hollywood horror film peppered with screenwriting stupidity, the film does highlight an inordinate amount of bloodshed and threatening poses featuring the young co-stars of the film. Director Jaume Collet-Serra relishes the heightened circumstances, using Esther's wicked ways to yank gasps out of the audience, toying with the innocence of youth, juxtaposed against the pigtailed antagonist's body count. "Orphan" consists primarily of poor taste, but all would be forgiven had Collet-Serra actually strived to follow Esther's wrath to its natural conclusion. Instead "Orphan" cheats with a clumsy last-act spoiler twist, intended to shotgun some jaw-dropping surprise into the picture, but also to cover its own behind from accusations of unforgivable exploitation.

"Orphan" is B-grade horror entertainment, and Collet-Serra follows the map submissively. After his first-rate work unearthing fresh nightmares in the 2005 "House of Wax" remake, I was disappointed to see the director sleepwalk here. "Orphan" hits every cliché around, with numerous empty calorie boo scares and a liberal dosage of idiocy passed around to all the characters. The suspense electricity of the film is designed to come from Esther's cool menace: the angelic, neatly trimmed dream daughter who also has working knowledge of handguns, murder weapon disposal, and possesses the ability to break her own arm at will. She's the pale nightmare Collet-Serra trusts will go a long way to creeping out the room.

Nicely ornamented with porcelain purity by Fuhrman, the character is nevertheless a figure of high camp, and while the production knows it's pushing easy genre response buttons, there's little inspiration beyond the sheer goofy to hold the film together. It's the "Bad Seed" and Damien all over again (not to mention a retread of 2007's "Joshua," which also starred Farmiga), only here there's a distinct pleasure in staging graphic violence around kids. A slimy sexual element with Esther is introduced as well that might've made for pristine horror fodder had the script maintained some gumption and cheerfully waltzed into a wonderland of sleaze. Instead, it pulls every last punch.

We have Vera Farmiga doing her umpteenth take on wild-eyed big screen panic (she's supremely gifted, but wasted here as the mother-in-the-way), Sarsgaard woefully miscast as a suburban dad (even he refuses to believe the performance), and a screenplay that can't stop recycling moves from other, better horror pictures (bloating the running time past two hours). "Orphan" had a distinct shot at infamy, but the feature lost its nerve on the way to capture ideal disease. Instead, the resolution kicks the legs out from under the entertainment value, leaving Esther a horrific demon without much of a lasting bite.

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G.I JOE NOW AVAILABLE

Here is the summary for the movie G.I Joe from imdb

The film opens in France, in 1641. The Scotsman Klan McCullen has been accused of selling weaponry to both the Scots and French. Rather than being executed for treason, the jury brands his face with a white-hot mask in order to humiliate him. In the near future, weapons expert James McCullen (Christopher Eccleston) has created a nanotechnology-based weapon capable of destroying an entire city. His company MARS sells four warheads to NATO, and the U.S. Army is tasked with delivering the warheads. Duke (Channing Tatum) and Ripcord (Marlon Wayans) are delivering the warheads when they are ambushed by the Baroness (Sienna Miller), who Duke recognized to be his ex-fiancee Ana Lewis. Duke and Ripcord are rescued by Scarlett (Rachel Nichols), Snake Eyes (Ray Park) and Heavy Duty (Adewale Akinnuoye-Agbaje). They take the warheads to The Pit, G.I. Joe's command center in North Africa, and upon arriving rendezvous with General Hawk (Dennis Quaid), the head of the G.I. Joe Team. Hawk takes command of the war-heads and excuses Duke and Ripcord, only to be convinced to have them join his group after Duke reveals that he knows the Baroness. McCullen is revealed to be using the same nanotechnology to build an army of soldiers with the aid of the Doctor (Joseph Gordon-Levitt), planning on using the warheads to bring panic and bring about a new world order. Using a tracking device, McCullen locates the G.I. Joe base and sends Storm Shadow (Lee Byung-hun) and the Baroness to retrieve the warheads with assistance from Zartan (Arnold Vosloo), inflicting casualties on several G.I. Joe soldiers. After a fight, Storm Shadow and the Baroness retrieve the warheads and take them to Baron DeCobray, the Baroness's husband, for him to weaponize and use them to destroy the Eiffel Tower to serve as a showing of the warhead's destructive power. Making their way to Paris, the Joes pursue them through the streets but are unsuccessful in stopping them from launching the missile. Duke manages to hit the kill switch, but in doing so he is captured and taken to McCullen's base under the Arctic. G.I. Joe locates the secret base and fly there as McCullen loads three missiles with nano-mite warheads. After Snake Eyes takes out one, Ripcord pursues the remaining missiles in a prototype Night Raven jet while Scarlett and her group infiltrate the base. While Scarlett and Snake Eyes attempt to shut down the Arctic base, with Heavy Duty leading an attack on Cobra's forces, Duke learns that the Doctor is Rex Lewis, Ana's brother believed to have been killed on a mission led by Duke four years ago. He was trapped in a bunker with Doctor Mindbender (Kevin O'Connor), disfigured in the blast which everyone presumed had killed him. The Baroness tries to free Duke but the Doctor reveals he has implanted her with nano-mites which has put her under his control for the past four years, admitting his amazement that she is resisting the programming. Attempting to kill Duke, McCullen ends up being facially burned as he flees with Rex to an escape vessel. Duke and the Baroness pursue him while the Joes fall back when Rex activated the base's self destruct sequence. Rex then heals McCullen's burned face with nano-mites, encasing it in silver as he christens McCullen "Destro" and assumes the identity of Cobra Commander before they are captured by G.I. Joe soon after. On board the supercarrier USS Flagg, Baroness is placed in protective custody until they can remove the nano-mites from her body. Meanwhile, Zartan, having been earlier operated on by Rex, infiltrates the White House during the missile crisis and assumes the identity of the President of the United States (Jonathan Pryce). [D-Man2010]

Here is a review for the movie G.I Joe from dvdtalk

G.I. Joe: The Rise of Cobra will leap and bound like a solider in an accelerator suit to the hearts of anyone who's ever owned an action figure. At one point, the bad guys' resident ninja assassin Storm Shadow (Byung-hun Lee) is trying to escape the top-secret G.I. Joe underground training facility, and he runs over to an unidentified machine and climbs inside. I can't think of anything more fitting than what happens next: it turns into a jetpack and Storm Shadow flies across the room. While the darkening of the summer blockbuster has produced plenty of good movies, I don't know how anyone could claim to enjoy popcorn films or B-movies and not want to see a ninja flying a jetpack. Forget the overlong, extra-serious Transformers films; this is the finest brand of fun, big-budget schlock.

After a prologue in the 1600s (this movie has a prologue in the 1600s!), we skip ahead to the near future, where a weapons manufacturing company run by James McCullen (Christopher Eccleston) has just finished their latest invention. Using nanobot technology, their missiles will literally consume their targets, whether that means tanks, planes, or entire cities. The first four are packaged and given to the U.S. Military, who sends an entire convoy to deliver them. En route, the deliverymen are attacked by a ship carrying Baroness (Sienna Miller), who attempts to kill everyone and steal the missiles. Soliders Duke (Channing Tatum) and Ripcord (Marlon Wayans) fight back and are prepared to die protecting the payload when General Hawk (Dennis Quaid) and his elite team step in to save them. Duke and Ripcord are taken to the Joes' base, and they join to try and stop the missiles from being stolen again.

The movie's ludicrous imagination kicks in almost immediately. At first, Duke and Ripcord train on fairly standard, if unrealistically advanced courses, like a shooting gallery with holographic targets and in hand-to-hand combat using big, futuristic-looking sticks. Then the movie just cuts to a short clip of Duke piloting an underwater spaceship-looking thing in a miles-long tank filled with giant rings, and my brain was happy to shut off and enjoy the spectacle. Other critics will say it's just like a video game, but it's so unabashedly, gleefully, purposefully like a video game that I kind of think that's the idea. In the accelerator suit chase through the streets of Paris (seen in most of the trailers), Scarlett (Rachel Nichols) flies after Duke and Ripcord on a commandeered civilian motorcycle that magically moves about 300 miles an hour, and all I could think of was driving motorcycles like that in Grand Theft Auto.

Speaking of that chase sequence, it's a jaw-dropping tidal wave of awesomeness, with Duke, Ripcord and Scarlett aided by the silent good-guy ninja Snake Eyes (Ray Park), clinging to the underside of the villains' Hummer as the group causes untold amounts of damage. Cars fly through the air like they're made of paper and buildings are reduced to craters, all at a dizzying, breakneck speed. It even changes method of transport, switching from a car chase to a foot chase without missing a beat. I promise, at the very least, this fifteen minutes alone is worth your hard-earned matinee dollars.

The Joes are all well-cast. Personally, I liked Rachel Nichols and Marlon Wayans, who are both charismatic and have an entirely playful chemistry with each other. I didn't even mind Wayans' cheesy comic relief. His jokes aren't particularly funny, but he doesn't scream for attention the way he has in other movies, and all of his comedy bits put together couldn't take up more than ten minutes. My only complaint is that I'd have liked to see more of Dennis Quaid's General Hawk. There's a scene in the movie that briefly reminded me of Innerspace, and while it's totally not right for the character, I still would have liked to see him slip a bit of "the Tuck Pendleton machine" (zero defects!) into the role.

The good guys are complemented by a solid roster of villains. Christopher Eccleston, as far as I can tell, is supposed to be the main bad guy, and he's good at standing around in fine suits, sneering and being slimy (and when given the chance, he wisely refuses to reveal his evil plot), but for all intents and purposes, I'd say his evildoing in the movie is equal to that of Sienna Miller's Baroness. The shared history she has with Duke is worked in to varying degrees of success over the course of the film, but even without it, she's got more personality than any of the other action-movie villains I've seen this year (both the villains in Wolverine AND Terminator were silent!). Minor spoiler ahead. Skip to the next paragraph to avoid reading it. There's also a psychotic doctor (of course there is!), played by Joseph Gordon-Levitt, and he really dredges up some entertaining evil, covered with creepy makeup and practically cackling some of his lines. The only letdown is he spends most of the movie with his voice altered, which takes away from the experience of seeing him play the role.

It's all about tone, and director Stephen Sommers has it down. I haven't seen Deep Rising, which by several accounts is his most entertaining picture, but I've always thought he deserved a little more credit than he gets. If Sommers made slightly better movies, he'd be a genre favorite on par with Sam Raimi (certainly the directorial style of Van Helsing owes more than a little debt of gratitude to Army of Darkness). Despite rumors he was fired, this is his movie through and through, the kind of movie where a character calmly admires a military complex hidden under the polar ice caps because "It's the perfect hiding place. Undetectable and untraceable," and not because it's totally freaking ridiculous. Sommers even brings a few friends with him, including the reliably weaselly Kevin J. O'Connor, Arnold Vosloo, and another fun cameo I won't spoil. The Rise of Cobra is just like the Joes themselves: gets in, gets the job done, and gets out clean, all because Sommers knows what he's doing. And as they say, knowing...

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BRUNO NOW AVAILABLE

Here is the summary for the movie Bruno from imdb

Brüno is a gay Austrian fashion guru. He has his own fashion based television show, Funkyzeit, the most popular German-language show of its kind outside of Germany. After he disgraces himself in front of his Funkyzeit fan base, he is ruined in German speaking Europe. He decides that in his quest for worldwide fame, he will move to Los Angeles and reinvent himself. Accompanying him to the US is Lutz, his former assistant's assistant. Lutz is the only person left in his circle that still believes in Brüno's greatness. Brüno goes through one reinvention of himself after another, ultimately straying to areas far removed from his own self. Perhaps when Brüno finds an activity that he truly does love, he will also find that über-fame he so desperately desires. Written by Huggo

Here is a review for the movie Bruno from dvdtalk

It appears the trilogy is now complete. After creating starring vehicles for his characters Ali G (2002's "Ali G Indahouse") and Borat Sagdiyev (2006's smash "Borat"), the time has come for Sacha Baron Cohen to allow Bruno an opportunity to carry his own picture. "Bruno" will likely be welcomed by an adoring audience fully equipped to endure the traditional blast of Cohen-approved smut and merciless social commentary, especially after "Borat" turned his obscure antics into box office gold. However, don't hold sudden international success against Cohen's superb modus operandi, who once again tears into a clueless world seeking to mock, celebrate, and disgust anyone who will welcome him.

Watching his success on German television taken away from him, fashion expert Bruno (Sacha Baron Cohen) is ready to make the leap to America. Traveling to Los Angeles with assistant Lutz (Gustaf Hammarsten), Bruno hopes to hit it big on network television, only to watch as his special brand of homosexually charged antics fail to impress American test audiences. Dejected, Bruno travels around the globe trying to make himself famous, finding nooks and crannies of culture to test his charms. Armed with his gumption, his adoptive African baby O.J., and his innate sense of cutting-edge style, Bruno finds he must make peace with himself before he can change the world.

With "Bruno," Sacha Baron Cohen finds his velvet bag of magic tricks nearly empty. With the megaton success of "Borat," the actor is a now a fixture of the media spotlight, unable to hide behind careful disguises and fool unsuspecting victims. To help control the necessity for surprise, "Bruno" is caught somewhere between the faux-documentary shenanigans of "Borat" and the straight-laced comedic stylistics of "Ali G Indahouse." It's a bubbling potion of the staged and the real that supplies a suitable comfort zone for Cohen to manufacture his most outrageous character: a hulking gay fashionista with a tireless libido and a limited appreciation for personal space.

"Bruno" doesn't feature a rigid structure, but merely provides a faint sense of purpose for our Austrian hero to go out into the world and try to spread his special brand of tight-pantsed cheer through increasingly preposterous situations. If Ali G trafficked in B-boy stupidity and Borat represented extreme foreign cluelessness, Bruno is a big gay menace. Using the character's homosexuality as the bayonet on the rifle of satire, "Bruno" is more consumed with stirring up homophobic response than trying to stitch together a consistent feature film. "Bruno" eventually sheds all dramatic pretenses to run free in the fields of Cohen's pervy imagination, sticking the character in impossible situations of conflict to capture the often colorful reactions.

Whether he's enlisting in boot camp, trying to seduce Ron Paul to help market a sex tape, appearing on a Jerry Springeresque talk show to defend his African baby, meeting with Christian homosexual conversion experts, struggling to interview Paula Abdul while using Mexican day laborers as furniture, looking to broker peace in the Middle East, visiting a swinger's party, or assuming disguise as "Straight Dave" and staging a UFC event (taking the sport to its natural conclusion), Bruno is craving fame at any cost. Cohen's enviable energy in the role goes a long way toward smoothing out the rough edges of the filmmaking, working to mold a thin structure of fame-whore ridiculousness to a picture more concerned with gags and punchlines, often accompanied by graphic male nudity. "Bruno" is habitually shocking, especially in the manner it fixates on anal play and the defiant heterosexuality of the marks, but Cohen keeps the horseplay frothy enough to avoid a hate crime mentality.

"Bruno" doesn't break new ground for Cohen and his marvelous comic impulses, but it gives him room to play, and that's just as welcome. "Bruno" contains plenty of belly laughs, audible gasps, and provides a sly refresher on obscene civilian prejudice, drilling to the cancerous heart of intolerance one laugh at a time.

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A PERFECT GETAWAY NOW AVAILABLE

Here is the summary for the movie A Perfect Getaway from imdb

Two pairs of lovers (Zahn & Jovovich, Olyphant & Sanchez) on a Hawaiian vacation discover that psychopaths are stalking and murdering tourists on the islands.

Here is a review for the movie A Perfect Getaway from dvdtalk

Writer/director David Twohy has a lot of tricks up his sleeve with the thriller "A Perfect Getaway," but his ambition is far more compelling than his execution. A cringingly self-aware, painfully verbose, and somewhat smug motion picture, "Getaway" is itching to keep audiences guessing, but it's far more successful at putting viewers to sleep.

Off on a honeymoon in Hawaii, screenwriter Cliff (Steve Zahn) and babyfevered Cydney (Milla Jovovich) are looking for adventure, seeking out a special trail to a secret beach for excitement. Hitting the mountainside, the couple runs into outdoorsy superman Nick (Timothy Olyphant) and his girlfriend Gina (Kiele Sanchez). Striking up a tentative friendship, Nick wins over the gang with his wild stories of near-death experiences and military history. Learning of the presence of a killer on the island, Cliff's paranoia kicks into overdrive, leading him to suspect Nick and Gina of wrongdoing; but another couple (Marley Shelton and Chris Hemsworth) nearby fits the profile, leaving Cliff and Cydney eager to leave the beach before they become the next two victims.

"Getaway" resembles a quickie writing sample meant to capture studio interest with its incredible attention to structure, character, and surprises. Perhaps this is Twohy scaling back his career after hitting a ground rule double with "The Chronicles of Riddick" five years ago, anxious to return to the comfort of a lower budget and reduced expectation to allow some breathing room for invention. To the filmmaker's credit, "Getaway" is always thinking, constantly scoping out angles to fiddle with to hold the viewer in a state of confusion. What sours the milk is Twohy's apparent cleverness, which he unleashes with "Getaway," permitting his own interests to seal off the thrills and chills. Murder has never been so tiresome to observe.

By making Cliff a screenwriter and Nick his in-the-know muse, Twohy sets up a scheme of misdirection, symbolism, and foreshadowing, having the characters complain about Hollywood cliché while Twohy twists the knobs and pulls the levers, submerging the picture in red herrings (Nick calls them "red snappers") and suspicion. It's an irritating post-modern way to conduct business, but Twohy seems proud of his architecture, providing a languid pace of monologuing to keep the suspense at a simmer. Unfortunately, the stalling kills any and all momentum, turning would-be cutthroat danger into a tedious war of words, flung from fantastical stories of accomplishment. It's Twohy's stab at thick characterization to fan off the scent of accusation, and it turns this thriller into a chore to watch.

Even if one buys into the molasses organization of "Getaway" and the campy performances from all the actors, there's still a major bit of business reserved for the last act that's unsettling in its obviousness. Students of thriller cinema will be way ahead of the director by the time the payoff strolls around, and something tells me Twohy welcomes this. Suddenly "Getaway" goes from Hawaiian serenity (gorgeous locales used here) to film-student hysteria, with metaphorical usage of split-screen, graphic violence, and hacky editing bursts to shake the film out of its coma. "Getaway" takes an inordinate amount of time to explain its central twist, and I remain unconvinced anyone will care. Twohy's so enamored with his constipated, methodical approach, he orphans the necessary shock value of the film, robbing his movie of its essential intensity.

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FUNNY PEOPLE NOW AVAILABLE

Here is the summary for the movie Funny People from imdb

George is a very successful stand up comedian who learns that he has an untreatable blood disorder and is given less than a year to live. Ira is a struggling up-and-coming stand up comedian who works at a deli and has yet to figure out his onstage persona. One night, these two perform at the same club and George takes notice of Ira. George hires Ira to be his semi-personal assistant as well as his friend. Written by Anonymous

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With "40-Year-Old Virgin" and "Knocked Up," writer/director Judd Apatow created a special comedic identity that combined slacker geek sentimentality with crude, winding improvisational stings. It suited him well at the box office, but "Funny People" bravely detaches from Apatow's comfort zone, though in a crafty manner that perhaps doesn't provide an intensive genre-shifting challenge for the filmmaker. However, there's just enough of a shove into uncharted waters of callous behavior to maintain an intriguing bite to the essential rolls of laughter.

George Simmons (Adam Sandler) is a stand-up comic who's made it to the big time, becoming a worldwide celebrity through a battery of box office smashes and stage dominance. Diagnosed with a rare blood disease, George is left to contemplate his lonely existence, looking back on ex-girlfriend Laura (Leslie Mann) as a major point of unfinished business in his life. Stumbling upon Ira (Seth Rogen, doing a delightful take on starry-eyed surprise), a struggling stand-up, George finds a makeshift comedic soul mate, taking the inexperienced funny man into his life for jokes and companionship. Still holding onto medical hope, George decides to seek out Laura and sever her seemingly unhappy marriage to Aussie bully Clarke (Eric Bana), while Ira stands in firm protest, but unable to challenge his boss and unwilling to torpedo his amazing show business education.

There's a filmmaking maturation going on for Apatow during "Funny People" that showcases the director looking toward the work of James L. Brooks for inspiration, a man who always treads the fine line between comedy and heartache. In pursuit of his lofty tonal goals, Apatow retreats to his past life as a stand-up comic for support, setting "Funny People" in this world of egos, competition, and anxiety. The insight is outstanding; the picture excels at a lived-in mood of tentative steps between jealous colleagues vying for the spotlight. Instead of a parade of cuddly man-child characters, the feature is populated with the likes of George: a burnt, spent man who wields his power of fame knowingly and selfishly.

Apatow is intrigued with George's anesthetized humanity, and how the man who has everything at his fingertips approaches the finality of death. It's a stunning performance from Sandler (no doubt drawing from his own experience), who imparts George with captivating flavors of bitterness, shame, and work-the-room charm that create a vividly three-dimensional character, avoiding easy answers and certainly swatting down a proper Hollywood arc of redemption. Perhaps this is where "Funny People" might confuse those expecting traditional (and superb) Apatow comfort food. George is a bastard. While he reaches a summit of personal potential, he remains this hardened creature of self-centeredness, emerging from a knowing screenplay that grasps the soul of a comedian and the gig's destructive tendencies. It's a tremendously complex characterization that extends to the supporting cast, who are there to assist with the hoots, but take a few potent moments of discord for themselves.

"Funny People" isn't precious and its luxurious 145 minute running time just flies by. Thankfully, there's a bundle of laughs to help ease into the hazy psychological discomfort, with the entire cast getting in their fair share of punch lines, including amusing supporting work from Jason Schwartzman, Jonah Hill, and Aubrey Plaza. It's wonderful to watch the cast interact so fluidly, yet committed to an awkward sense of detachment that plagues the vocation. "Funny People" nails some priceless clumsy moments through improvs and situational uneasiness, but it's never a sitcom. Apatow finds reality as much as possible, though he indulges his mischievous sense of humor here and there, always to uproarious results.

The film is divided into three distinct acts, giving Apatow some air to suitably build a tangled web of urgency for George and Ira. The first act introduces the relationship between the comics and feels out the death sentence for George; the screenplay hitting bittersweet notes of remorse and frustration for the character. Act two brings George back to Laura's arms, where the comic perceives personal salvation through forgiveness, rekindling a romance that never received its proper closure. It's a lengthy detour, but one that further accentuates George's self-serving attitude and muddled vision of accomplishment. The last act has Apatow searching for an opening to tie dangling plot threads together, but it's rushed and condensed, taking the knots out of the storyline too swiftly, grinding uncomfortably against the rest of the picture's leisurely stroll. Apatow wants to get these characters to a lightning-strike place of realization, but the page is missing fitting motivations, closing "Funny People" on a frustratingly curt note.

It's not a head-snapping change of pace for Judd Apatow, yet "Funny People" is far more acidic and remorseless than anything he's attempted before. It's a terrific motion picture, with keen insight into the mind of the stand-up comic at his most game, blistered, and vulnerable, while remaining true to the spirit of solitude the occupation all but demands.

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HARRY POTTER AND THE HALF BLOOD PRINCE NOW AVAILABLE

Here is the summary for the movie Harry Potter 6 from imdb

In the sixth year at Hogwarts School of Witchcraft, and in both wizard and muggle worlds Lord Volemort and his henchmen are increasingly active. With vacancies to fill at Hogwarts, Professor Dumbledor persuades Horace Slughorn, back from retirement to become the potions teacher, while Professor Snape receives long awaited news. Harry Potter, together with Dumbledore, must face treacherous tasks to defeat his evil nemesis. Written by IMDb editors


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The last time we saw Harry Potter in action, he was engaged in war, suffering a great personal loss that would forever rob him of innocence and compassion toward his enemies. "Harry Potter and the Half-Blood Prince," the sixth film of this long-standing franchise, replaces combat with the electrical storm of teen hormones. It's not as breakneck a change of pace as it sounds, but the new direction helps to further develop the Hogwarts gang past wands and wonder, finding fertile dramatic ground yet again to raise the stakes as Harry takes his first leap toward the ultimate showdown with his nemesis, Voldemort.

Shattered by his last encounter with his enemies, Harry Potter (Daniel Radcliffe) has retreated to the Muggle world to collect his thoughts. Urged by Dumbledore (Michael Gambon) to return to Hogwarts, Harry accepts the offer and is soon reunited with pals Ron (Rupert Grint) and Hermione (Emma Watson). Also encouraged to return to school is Potions Professor Horace Slughorn (Jim Broadbent), who holds a special key to Voldemort's weakness in his collected memories. Harry, convinced by Dumbledore to retrieve Slughorn's secrets, uses a special potions book once owned by the mysterious Half-Blood Prince to excel in class, thus gaining access to his teacher's confidence. Along the way, Harry, Ron, and Hermione are confronted with an outbreak of romance at Hogwarts, longing to communicate their deepest expression of affection to those they've developed feelings for.

A television director with obscure credits to his name, David Yates took the "Potter" reins with the last installment, "Order of the Phoenix," and brought the series to an all-time high. He brilliantly wove teen angst, swelling dread, and special effect radiance into an exceptional sequel, finding his footing quickly. "Half-Blood Prince" returns Yates to the director's chair, only now there's little rage to exploit, and the luster has worn off the wide-eyed awe. "Prince" is the next logical step for the knotty "Potter" narrative, slamming the brakes on any violent momentum to dig around the hearts and minds of the characters.

There's no outrageous detour with "Prince" that would alienate fans of author J.K. Rowling's fantastical world. The "Potter" producers are smart enough not to upset the applecart at this point, providing a smooth transition away from the urgency of "Phoenix" to care for the adolescent curiosity of the Hogwarts class. Sacrifice comes with a narrowed dramatic scope, casting aside many of the familiar faces to keep attention locked on the primary narrative forces. "Prince" loses a warm feeling of academic community, especially during fleeting moments of classroom hijinks, but it's a necessary maneuver to break ground on the complex romantic construction needed to make the next two-parter feature (due out in 2010 and 2011) emotionally resonate.

Instead of Harry and the gang dealing with textbooks, they now have to fiddle with crushes and love potions, introducing such terms as "snogging" to a chiefly virginal demographic who adore these feature films. "Prince" finally does something with the flirtations between Ron and Hermione, allowing Grint and Watson an opportunity to tango with teen-centric stabs of petty jealousy and comical miscommunication. As always, the actors make pure joy out of their second-banana roles. Harry finds his wand glowing for Ron's little sister, Ginny, played wonderfully stuffed with guarded tenderness by Bonnie Wright. "Prince" locates streams of comedy to splash around in with the infatuation subplots, turning Hogwarts into a "Saved by the Bell" episode, through I site that example with the best possible intent. After watching the actors mature throughout five previous films, it's a treat to see their flowering sexuality come to fruition in "Prince," though keeping to strict PG standards: lots of hand-holding, tearful frustration, and inarticulate professions of love.

Of course, there's evil lurking in the picture as well, and while Voldemort doesn't make an appearance this time around, the Death Eaters are well represented, led by hopping madwoman Bellatrix Lestrange (Helena Bonham Carter, stealing her scenes once again). Pulling Draco Malfoy (Tom Felton, finally permitted more acting than simple scowling) into the gang, the Death Eaters provide the essential tension, nursed gorgeously by Yates, who shows tremendous affection for their wicked, stormcloud-swirling ways. Even without big bad V around, "Prince" uncovers a great deal of suspense from Dumbledore's history with a young Tom Riddle, and how that unnerving union brought about unspeakable horrors. Gambon is a miracle in "Prince," articulating such vivid dimensions of sorrow and solitude for Dumbledore, encouraging Harry's development into a heroic hunter.

Welcoming the return of Luna Lovegood (how I adore this character), Quidditch, and everyone's favorite sourpuss, Snape (Alan Rickman), "Prince" stays firmly rooted in caloric Potterverse goodies. Yates once again brings out the best in the exposition-intense material, and while he's not permitted the same amount of apocalyptic fury as before, he stylishly crafts a consistent, riveting, and optically stupendous (cinematography by Bruno Delbonnel is incredible) sequel that generously refreshes unions that have made the series an enduring pleasure.

However, there's a price to be paid for the sentimental sojourn: "Prince" is the first "Potter" film to lack proper closure (even faithful readers might feel stunned by the brevity of the third act). No wistful train platform goodbyes, no sensational battles, and no heartening "see ya next year" sentiments. "Harry Potter and the Half-Blood Prince" closes with something of a doomsday cliffhanger. While other films would be strung up and set on fire for such an offense, this franchise has earned the right to step back and build a healthy pocket of steam, galloping toward a showdown with Voldemort that's now fully primed to explode.

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WATCHMEN NOW AVAILABLE

Here is the summary for the movie Watchmen from imdb

In a gritty and alternate 1985 the glory days of costumed vigilantes have been brought to a close by a government crackdown, but after one of the masked veterans is brutally murdered an investigation into the killer is initiated. The reunited heroes set out to prevent their own destruction, but in doing so discover a deeper and far more diabolical plot. Written by evan murphy

"Watchmen" is set in an alternate 1985 America in which costumed superheroes are part of the fabric of everyday society, and the "Doomsday Clock" - which charts the USA's tension with the Soviet Union - is permanently set at five minutes to midnight. When one of his former colleagues is murdered, the washed up but no less determined masked vigilante Rorschach sets out to uncover a plot to kill and discredit all past and present superheroes. As he reconnects with his former crime-fighting legion - a ragtag group of retired superheroes, only one of whom has true powers - Rorschach glimpses a wide-ranging and disturbing conspiracy with links to their shared past and catastrophic consequences for the future. Their mission is to watch over humanity... but who is watching the Watchmen?" Written by T-Hen

It's the 1980's and it's a different world. Superheroes have been outlawed, the only ones still in operation under direct control of the United States government. Suddenly, those heroes both still in action and retired find themselves targets by an unseen enemy, who wants to kill them one by one Written by Anonymous

A group of heroes, forced into retirement a decade before are called together once again to investigate the murder of one of their own. What they discover an age-old conspiracy to change the balance of power in a world not different from our own. Written by Kent Sanderson

An adaptation of Alan Moore's landmark comic book series, Watchmen is a story set in an alternative 1985, where the world is ticking closer to the brink of nuclear war, and a plot to eliminate a band of ex-crimefighters is instigated, but why? and by whom? It is up to two of those ex-crimefighters to investigate the plot that seems to go beyond the unthinkable. Written by Ruckwood

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Sooner or later there was going to be a Watchmen movie. It was inevitable. Sure, a lot of people said it was unfilmable; but that wasn't going to stop Hollywood. It was only a matter of time, and a matter of how bad the cinematic adaptation of Alan Moore and Dave Gibbons' classic twelve-issue comic book series was going to be.

Originally published in 1985 and 86 by DC Comics, Watchmen was then, and is still now, a landmark work of the comic book medium. It deserves its status as a true work of literature, and the accolades that have been bestowed on it for the last twenty-plus years. Moore's vision of a world where superheroes are real, and have long been outlawed by the government, was a pivotal point of maturation for a medium long associated with children. Watchmen, along with Frank Miller's Dark Knight Returns, were the comic books that helped lend credence to the adage, "Comics...they aren't for kids anymore."

The film, like the comic book, takes place in 1985 in a United States where a repeal of term limits has allowed Richard Nixon to remain in office for closing in on two full decades, and America in on the brink of nuclear war with Russia. Once a regular fixture in the public eye, costumed crime fighters have all but disappeared from view. As Watchmen starts, the Comedian (Jeffrey Dean Morgan), a former crime fighter and covert government hitman is attacked in his apartment and brutally murdered. The mentally unbalanced Rorschach (Jackie Earl Haley) is convinced that the murder of the Comedian was more than just some random crime--he believes someone is bumping off the last of the costumed crime fighters. Rorschach shares his theory with Dan Dreiberg (Patrick Wilson), who years ago fought crime as Nite Owl; but Dreiberg is not convinced. Meanwhile the nearly all-powerful Dr. Manhattan (Billy Crudup) and his wife Laurie Jupiter (Malin Akerman), better known as the crime fighter Silk Spectre, a career she inherited from her mother (Carla Gugino), are struggling with their failing marriage. At least Laurie is struggling with it. The blue-skinned Dr. Manhattan, who has become increasingly removed from his humanity, is more focused on working on a secret project with Adrian Veidt (Matthew Goode), the multi-billionaire who once fought crime as Ozymandias. Soon it becomes very clear that while Rorschach is delusional, he's not mistaken in thinking that the murder of the Comedian was more than a random crime. There is something very big and very sinister going on, with the lives of perhaps the entire planet hanging in the balance. With this much at stake, Nite Owl and Silk Spectre once again don their costumes and leap into action, eventually joining forces with Rorschach. Meanwhile, Dr. Manhattan, who is essentially the most powerful weapon in the arsenal of the United States, abandons Earth altogether, setting up home on Mars, and creating greater tension in the imminent conflict between America and Russia.

If all of this sounds a bit complex, it is. Watchmen ran for twelve issues, and Moore and Gibbons pack in enough material for almost double that many. As far as comic books go, Watchmen is one of the most dense, multi-layered and intricately structured works ever created. It truly is a masterpiece. And concerns that it could not be translated to film were more than justified--there simply was too much material in the original series to be crammed into one film. So, the question has always been how much of the comic book would make it to the big screen and what sort of liberties would filmmakers take.

Well, with a running time of almost three hours, director Zack Snyder has managed to keep large parts of the comic book intact. Given the constraints of time and how much any one film can contain, Snyder does a commendable job of remaining faithful to the source material. Sure, some elements have been removed altogether, others condensed and a major plot element has been changed in the end, but much of the film is lifted directly from the comic. That said, however, the faithfulness of Watchmen is not always a good thing. Sure the film looks impressive much of the time, and is even effective at various times, but there is still something fundamental missing.

At first it's difficult to pinpoint exactly what's wrong with Watchmen, but at some point, as you're nodding your head and thinking, "this is just like the comic," it becomes clear that the film doesn't have much life of its own--it is missing heart and soul. So much care was put into bringing the story to life and trying to be faithful to the original material that somewhere along the way it seems like people forgot that you need to do more than simply translate what is on the printed page to the moving picture. You need to allow the moving pictures to have their own life, and not simply be an imitation of a previous incarnation in another medium.

There is a bitter irony in the fact that the film hits its greatest stumbling block by appeasing the naysayers who claimed that Watchmen could not be made into a movie. Snyder and his capable crew have given fans of Watchmen a film that at times works slavishly to remain faithful to the original material. Many fans of the comic book will love Snyder for his loyalty to the series. They will think the film is great, because it goes to such great lengths to be just like the comic (aside, of course, from the radically altered ending). But the best cinematic adaptations of other literary works succeed because they have the audacity to be their own thing. The film version To Kill a Mockingbird is, quite frankly, not a very good adaptation of the novel. And the film version of Planet of the Apes is a simply terrible adaptation of the book. But both are incredible movies. Recent examples of films that took extreme liberties in the making the transition from book to screen are Adaptation and Tristram Shandy, both of which strayed incredibly far from where they began. Unfortunately for Watchmen, straying too far from the material, even in an attempt to define itself as a different work created for a different medium, would have probably resulted in crucifixion from the fans.

Another problem with the film is that it doesn't feel as if it exists in a real world. Others films create fantastic worlds that transport the audience to different realities, but Watchmen never feels like more than a really well designed set. You never feel like this world actually exists beyond the confines of a soundstage or a Hollywood studio backlot. The fundamental job of all movies is to make real the world in which they exist, and filmmakers like Peter Jackson and Guillermo del Toro have proven that pretty much anything is possible in that regard, which is part of what makes the "constructed" look of Watchmen so disappointing.

There is a similar problem with the costumes, which at times look really cool (depending largely on the lighting), and at other times look simply ridiculous. The problem with all superhero movies is the ability to sell the silly looking outfits to an audience, and Watchmen is not always successful. By contrast, the X-Men films managed to make those costumes work, as did The Dark Knight. But there are moments where the characters in Watchmen look more like something out of Joel Schumacher's Batman and Robin, a sad state of cinematic crime fighters if there ever was one.

None of this is to say that Watchmen is a bad movie, because it is not. But it is not great either. Instead it is a decent film with some flaws, not the least of which is a pace that starts to drag, and a sexual interlude with Nite Owl and Silk Spectre that is nothing short of unintentionally laughable. But when the film works--really works--it is very entertaining. This is especially true of the sequences with Rorschach, who was the most interesting person in the comic, and remains so in the film. The scenes with Rorschach are among those that remain incredibly faithful to the material, while at the same time really come to life on the screen. Jackie Earl Haley, obscured by a mask for most of the movie, gives the best performance in the film, and at times it's hard to not wonder if the movie would have been better if it was told more exclusively from Rorschach's point of view. Patrick Wilson is also good as Nite Owl; while Cruddup gives a solid performance that is often lost under all the special effects, including his frequently exposed penis (instead of Dr. Manhattan maybe they should call him Dr. Long Island). The rest of the cast, however, is more of a mixed bag.

Entertaining at times, boring at times, laughably bad on at least one occasion, and more than a little ambitious, Watchmen is a film saddled with the tremendous weight of where it came from and the fans it must serve, both casting long shadows that hinder the final film. And again, none of this is to say that this is a bad film. But at some point, as I checked my watch and realized with a certain level of discomfort that there was still over an hour to go, I asked myself a crucial question I often ask while watching films: "Is this a movie I'm looking forward to seeing again?" Unfortunately, my answer pretty much sums it all up: "Not really."

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TRANSFORMERS 2 NOW AVAILABLE

Here is the summary for the movie Transformers 2 from imdb

The battle for Earth has ended but the battle for the universe has just begun. After returning to Cybertron, Starscream assumes command of the Decepticons, and has decided to return to Earth with force. The Autobots believing that peace was possible finds out that Megatron's dead body has been stolen from the US Military by Skorpinox and revives him using his own spark. Now Megatron is back seeking revenge and with Starscream and more Decepticon reinforcements on the way, the Autobots with reinforcements of their own, may have more to deal with then meets the eye.

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In 1995, director Michael Bay, untested and hungry, helmed his first feature, the action comedy "Bad Boys." It was a lean, stylish production desperate to please. In 2003, after years fattening himself on blockbuster box office returns and industry deification, Bay directed "Bad Boys II," and it was a vast facial blast of overconfident overkill -- a joyless, humorless, bloated carcass of an event movie. After the domestic financial crumbling of his 2005 picture, "The Island," Bay was again in a difficult position where he needed to prove his worth. Out of the ashes came "Transformers." While hardly a mid-budget, no-expectation gamble like the original "Bad Boys," the film nevertheless relied on Bay's capacity to temper his proclivity for grotesque visual disorder, putting the needs of sci-fi adventure and crowd-pleasing theatrics above his diseased lust for claustrophobic, hyper-edited shenanigans. The semi-minimalist (for Bay) effort was rewarded with over 700 million dollars in worldwide box office returns. This leads up to the sequel, "Transformers: Revenge of the Fallen," and, my dear readers, it's "Bad Boys II" all over again. Nothing kills the euphoric buzz of exceptionally articulated carefree mindlessness quite like a newly emboldened Michael Bay.

Now off to college, Sam (Shia LeBeouf) has discovered a shard of the AllSpark in his old clothes, which, upon touch, imprints the skittish young man with a series of mystifying symbols that he can't get out of his head. Coming to his aid are the Autobots, led by Optimus Prime (voiced by Peter Cullen), who have joined forces with the U.S. military to find and destroy errant Decepticons. Sam's path leads to a secret history of the Transformers on Earth thousands of years old, revealing the Dynasty of the Primes, and its power mad defector, The Fallen (Tony Todd). When Prime is sidelined by a reborn Megatron (Hugo Weaving), it's up to Sam, girlfriend Mikaela (Megan Fox), former Sector Seven employee Simmons (John Turturro), roommate Leo (Ramon Rodriguez, the movie's most egregious casting mistake), and old military friends (Josh Duhamel and Tyrese Gibson) to team up and thwart The Fallen's plan to reclaim his throne and steal the Energon-producing power of the Sun from Earth through the use of the prized Matrix of Leadership key.

Weary and bruised, but smiling, I came out of "Transformers" flabbergasted over how Bay could manage to muzzle himself to such a degree that his giant robot war movie felt pleasurable, not assaultive. He turned an impossible live-action proposition into a swell bit of explosive escapism, noticeably keeping the odious Bayisms in play throughout the film, but dialing down his habits just enough to appreciate a breath of fresh air. "Revenge of the Fallen" sets out to destroy that phenomenal progress. Cocksure about what audiences demand from a "Transformers" picture, Bay drops any tinge of restraint like a bad habit and lurches forward into his old stomping grounds of excess and idiocy. Invention, or at least detectable visual moderation, has been punted out of the insufferable "Revenge" equation. This one is strictly dedicated to Bay's ego.

"Transformers" was certainly no delicate art film, but there was a charitable feeling of the unexpected layered over a 140-minute-long running time that was stimulating, a sensation immediately swollen tenfold for any fan of the mid-80's Hasbro toy line. "Revenge" reduces the widescreen awe to a barely audible squeak, placing greater emphasis on comedy. Yes, comedy. For reasons that completely escape my mental perimeter, Bay and his writers have decided that, while we all go to these pictures for the enormous robot fights, we stay for the laughs. This leaves the dead space between action beats reserved for rear nudity from Turturro, "twin" jive-talkin' Autobots Mudflap and Skids (triggering an uncomfortable Jar-Jaresque racial stereotyping alarm), a reveal of testicles on the Constructicon behemoth Devastator, extended time with Sam's stridently unfunny parents Judy (Julie White) and Ron (Kevin Dunn), Decepticon spy Wheelie and his leg-humping desires, a Rainn Wilson cameo, and a stuffy GWB-age government official caricature tossed in to challenge the allegiance between human and Autobot. If you're not laughing by now, I'm with you. Bay is persistent about making jokes the focal point of the show, often abandoning the majesty of the concept to gather cheap laughs. It's a crime. "Transformers" had its fun and a fair share of dud gags, but the stupidity is cranked here beyond all practical intent.

When the Autobots and Decepticons are permitted their swirly, slashy moments of private-property-trashing combat, "Revenge" stages the metallic crunch suitably, using the addition of new Transformer faces to repaint the violence. There could be an entire movie made from Optimus Prime and his soldiering ways (Cullen is a masterful voice actor), but "Revenge" never chases the concept. Instead, the screenplay is littered with needlessly complex narrative detours, leading to the useless introduction of The Fallen character. With plenty of gas in the tank left to fuel the antagonistic Megatron/Starscream relationship, not to mention the endearing protector pairing of Sam and Bumblebee, it comes across as foolish for Bay to introduce a plethora of new faces when the old faces still retain plenty of potential for superb screen conflict and bonding. But this is a film that thinks two male dogs humping each other is comic gold, making it clear to me that perhaps Bay doesn't care much about juicy intergalactic, shape-shifting interaction, but more about the potential marketing tie-ins that breast feed his bank accounts.

I write about this film like it personally insulted my mother, yet I can't help but feel totally deflated by the filmmaking apathy of "Revenge." The feature is Bay trudging through his hoary, heavily rehearsed motions of explosions upon explosions; reducing fantastical globetrotting plotting to a repetitive yawn; fetishizing military weaponry, personnel, and casualty with porn-like visual perfectionism; objectifying women like there's no tomorrow, including a perpetually moist Megan Fox (playing a character with apparent access to lip gloss and push-up bras in the desert wilds of Egypt) and Isabel Lucas, here poorly portraying a human Decepticon Pretender; and encouraging Shia LeBeouf to spaz it up to the nth degree (his specialty). It's takes 150 minutes (it'll feel like a long weekend, guaranteed) for "Revenge" to organize its hilariously complicated storyline, with at least 149 minutes devoted to anesthetizing, tongue-twisting exposition. It's a lot of needless baggage for a "Transformers" film to clutch, and it all crumbles into a numbing mush about halfway through, when it's clear Michael Bay isn't going to chip in the proper effort to keep this once promising franchise headed in a suitably dignified and fist-pumpingly thrilling direction.

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ANGELS AND DEMONS NOW AVAILABLE

Here is the summary for the movie Angels and Demons from imdb

When a murder of a physicist, Leonardo Vetra, finds a symbolist, Robert Langdon, and Mr. Vetra's daughter, Vittoria, on an adventure for a secret brotherhood, The Illuminati. Clues lead them all around the Vatican, including the four alters of science, Earth, Air, Fire and Water. An Assassin, working for the Illuminati, has captured four cardinals, and murders each, painfully. Robert and Vittoria also are searching for a new very destructive weapon that could kill millions. Written By XXDustfingerXX

Despite his notorious relationship with the Church, Harvard symbologist Robert Langdon is once again called upon to decipher the clues to a catastrophic conspiracy. The Pope has died, and before conclave can begin to determine his successor, the four preferitti (primary hopefuls for the papacy) are kidnapped. An ominous threat of their hourly demise, along with the complete annihilation of Vatican City, is issued as an elaborate revenge scheme for a persecuted group known as the Illuminati. With their meager time limit steadily counting down, Langdon, accompanied by beautiful physicist Vittoria Vetra, must travel throughout Rome to unravel the carefully hidden signs that will lead them to a terrifying adversary, a harrowing discovery, and the shocking truth. Written by The Massie Twins

The Pope died and the conclave has been called for. Four candidates were chosen. However, before the voting, the 4 candidates are killed one by one. The killer leaves clues that seem to say that he/she is from the Illuminati. Strangely though, the Illuminati was long thought to be extinct. Who is the mastermind? Who revived the Illuminati? What do they want? Written by Ryanking

Here is a review for the movie Angels and Demons from dvdtalk

Light the torches and sharpen the pitchforks, I enjoyed "The Da Vinci Code." While long-winded, Ron Howard's version of the Dan Brown best-seller provided a lovingly smothering mood of daredevil exposition and for-fans-only historical minutiae. Even if I didn't seize the scholarly passion burning behind the dialogue or comprehend the larger religious misconduct of the plot, I enjoyed the cinematic bluster of the work and appreciated how Howard took the time to preserve the experience for the fanatics. Plus, a heaping dose of star power from the stately Tom Hanks never hurts, unless Nora Ephron is directing. "Angels & Demons" rolls up to bat three years after "Code" stormed the box office, and while Howard's promise of a snappier pace is kept, it's hard to sense much of a seismic difference between the two films. But that's fine by me.

When the Large Hadron Collider, assisted by the nervous Vittoria Vetra (Aylet Zurer, "Munich"), breaks down a minute amount of antimatter into three canisters for scientific testing, one of the containers is quickly stolen by a rogue group called the Illuminati. A secret society bent on disrupting the Vatican's postmortem search for a new pope, Illuminati agents plant the canister in a hidden passage of Vatican City, kidnapping four cardinals and threatening to destroy those gathered to mourn. To help investigate the crime, Robert Langdon (Tom Hanks) is reluctantly brought in by church officials who hope his decoding skills will lead the proper authorities (including Stellan Skarsgard) to the bomb. Set loose in the labyrinthine city, Robert finds assistance from Camerlengo Patrick McKenna (Ewan McGregor), a kindly papal assistant eager to stamp out the Illuminati threat. Armed only with his wits, Robert plunges into the hunt for the cardinals and the antimatter, stumbling upon larger revelations that challenge the worlds of religion and science.

A fun fact about "Angels & Demons" is that the material was actually published before "Da Vinci Code," making this Vatican vacation Langdon's debut adventure. Well, leave it to Hollywood to rework the facts, and now "Demons" is a sequel, with Langdon suffering the damning glare of a wounded Catholic Church, forced to engage the professor's abyssal knowledge base to combat long forgotten enemies. It's the first of many changes to Brown's work, with the primary goal of "Demons" to keep matters trucking along at all costs.

Perhaps spooked by the outspoken critics of "Da Vinci Code," Howard has opened up the throttle some with "Demons," questing to balance Brown's dizzying barrage of clues and symbols with a traditional, snappy thriller perspective. Obviously this is a workmanlike effort from Howard, who appears intent on keeping fans satisfied with his pedantic take on Langdon's escapades, dialing down expected hysteria to maintain a sane rhythm, which could read as inertia to the less invested. Howard passes on a hyper approach to imagine "Demons" as durable continuation of "Code," wading further into the warm waters of split-second decoding, random fact spewing, and the occasional burst of violence.

The difference between "Demons" and the big screen version of "Code" is spied early on, and I don't mean the loss of Langdon's ludicrously overanalyzed mullet. Howard engages a suspense mode right off the bat with the film, and the story delivers with kidnappings, sizzling elemental branding irons, poisonings, Illuminati gunplay, and a Billy-style "Family Circus" map run all over Vatican City as Robert and Vittoria sniff out clues amongst the religious and artistic paraphernalia. With the ticking clock being the fading battery on the antimatter bomb (hey, at least there's something to ratchet up the tension), "Demons" is pleasantly spry, even with literal shovelfuls of exposition thrown recklessly into the engine of the feature to power its increasing absurdity. But a sense of reality has never been a concern for Howard. He's making an adult-minded moviegoing event, and a fulfilling one at that.

It's science vs. religion battling it out for control of the universe in "Demons," and Howard handles the war superbly, keeping the hot-potato debate to a dull roar, with considerate pleas for attention emerging from both sides. The commentary is a genuinely compelling component of the narrative, and the screenplay imparts a commendable perspective for both minds, making Langdon a reticent warrior for truth and study, not a colossally educated hitman with his sights trained on the Catholic Church. I wouldn't brand "Demons" an exhaustive mental exercise, but the debate between science and religion urges the material away from slipping into a dull routine of peril and tongue-twisting monologues.

Again, "Demons" is not far in tone from "Da Vinci Code," and visually the two pictures are siblings, both backed triumphantly by composer Hans Zimmer, who recycles his transcendent, what-moviegoing-is-all-about "Chevaliers De Sangreal" closing track from "Code" cleverly throughout the new film. "Demons" also offers a heightened sense of danger, full Vatican immersion, and another confident Tom Hanks performance for returning guests. A lengthy running time of 135 minutes is a bit of a hurdle, especially in the anything goes final reel that lurches too hungrily for awkward coincidences to sort itself out, but "Angels & Demons" satisfies with familiar dance steps, enhanced by a needed shot of sequelized hindsight.

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ICE AGE 3 NOW AVAILABLE

Here is the summary for the movie Ice Age 3 from imdb

After the events of "Ice Age: The Meltdown", life begins to change for Manny and his friends: Scrat is still on the hunt to hold onto his beloved acorn, while finding a possible romance in a female sabre-toothed squirrel named Scratte. Manny and Ellie, having since become an item, are expecting a baby, which leaves Manny anxious to ensure that everything is perfect for when his baby arrives. Diego is fed up with being treated like a house-cat and ponders the notion that he is becoming too laid-back. Sid begins to wish for a family of his own, and so steals some dinosaur eggs which leads to Sid ending up in a strange underground world where his herd must rescue him, while dodging dinosaurs and facing danger left and right, and meeting up with a one-eyed weasel known as Buck who hunts dinosaurs intently. Written by Theshapeshifter

Here is a review for the movie Ice Age 3 from dvdtalk.

"Ice Age: Dawn of the Dinosaurs" isn't an ambitious, event movie sequel in the same fashion as perhaps "Ice Age: The Meltdown" was softly gunning for. It's more of an agreeable installment of television than a magnificent animated effort. This is not a criticism. In fact, it's perhaps the reason why "Dawn" is such a charming film. With a relaxed mood, a playful cast, and a plot that doesn't sweat itself into a pointless sense of importance, "Dawn" is mild sauce but tremendously entertaining, with an easy-peasy celebratory attitude that extends to the picture's lively 3-D visual scheme.

Now an improbable herd, Sid (voiced by John Leguizamo), Diego (Denis Leary), Crash (Seann William Scott), and Eddie (Josh Peck) are getting ready to settle down as they await the birth of Manny (Ray Romano) and Ellie's (Queen Latifah) first child. Feeling an uninvited vibe, Sid wanders off, stumbling across three dinosaur eggs that he assumes a motherly responsibility for. When the actual dinosaur parent shows up to retrieve the now-hatched offspring, it sends Sid and the babies to a world underneath the ice where dinosaurs and dangerous plant life have survived. Off to retrieve their dim-witted pal, the herd comes across Buck (Simon Pegg), a weasel who roams the underworld on the hunt for the massive dinosaur that took his eye. With Buck as their guide, the herd enters the dino world to rescue Sid, hoping Ellie holds off on labor pains until they can return to their frozen world.

What felt so forced, unpolished, and derivative about 2002's "Ice Age" has been successfully smoothed out during the last two sequels. "Meltdown" turned botched whimsy into a colorful community atmosphere, inviting more characters and humanity to inform a concept that was almost strictly played for tiresome gags the first time around. For the first 15 minutes, "Dawn" endeavors to shake the plot up, sniffing around for something suitably dramatic to coerce the actors to return. The result is a lethargic pass at third-wheel motivations for Diego and Sid that feels harshly manufactured to give the screenwriters something to do. Thankfully, "Dawn" quickly waves off the needless psychological obstacles once the dinosaur adventure begins, settling down to resuscitate old charms and introduce a wonderful new character.

Pilfering cues from Arthur Conan Doyle's "The Lost World," "Dawn" takes the 3-D lead and targets a lively adventure inspiration, plunging into the dino landscape to permit the characters a chance to run through numerous slapstick and action situations. With personalities firmly established, directors Carlos Saldanha and Mike Thurmeier hand "Dawn" over to the colorful locales, dangerous predators, and adorable infant dino shenanigans. The picture doesn't strain to find a higher purpose to justify itself, and the absence of responsibility permits the movie to, gasp, have some fun with itself. Call it one-dimensional, but it's never lazy. "Dawn" enjoys an environment of comfort, allowing the characters to interact without the burden of overt growth. Freshness is actually encouraged by the introduction of Buck, a comedic hunter with a leaf eye-patch who's been lurking solo in the lost world for one too many years. The ensemble of voices makes for a silly good time, but Pegg elevates the material with his take on Buck's simmering madness and swashbuckling, weasel-elastic heroism. He's a welcome addition to this cornucopia of animal neuroses.

"Dawn" flies high on the back of birds, swings low with treacherous dino-bone-bridge challenges (one involving laughing gas), and provides some more time with everyone's (excluding me) favorite punchline, the diminutive, nut-lovin' Scrat. "Ice Age: Dawn of the Dinosaurs" is certainly a familiar cocktail of cartoon accomplishments and luxurious CG vistas, but a cozy one, confident with its brand of humor. The simplicity is refreshing, opening the film up to hundreds of smaller pleasures and laughs, keeping the franchise on solid, inviting ground.

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