SHREK THE THIRD NOW ONLINE

SHREK THE THIRD NOW AVAILABLE ONLINE FOR DIRECT DOWNLOAD

THATS RIGHT ITS THE 3 MOVIE OF THE HIT MOVIE SHREK. IT STARS MICHAEL MYERS AND CAMERON DIAZ AS OGORES.

HERE IS THE SUMMARY OF SHREK THE THIRD FROM IMDB.

When his new father-in-law, King Harold falls ill, Shrek is looked at as the heir to the land of Far, Far Away. Not one to give up his beloved swamp, Shrek recruits his friends Donkey and Puss in Boots to install the rebellious Artie as the new king. Princess Fiona, however, rallies a band of royal girlfriends to fend off a coup d'etat by the jilted Prince Charming.

HERE IS A REVIEW FROM DVDTALK ON THE MOVIE SHREK THE THIRD.

The cast of characters continues to expand in "Shrek the Third," the latest rowdy adventure in the ever-amusing fairy-tale-spoof series. A petulant young King Arthur and a baffled old Merlin are among the new arrivals, while princesses such as Snow White and Rapunzel -- previously referred to but not given much screen time -- get a chance to demonstrate their unique skill sets. (We knew Snow White could summon birds with her voice. Who knew she could make them attack by singing Led Zeppelin's "Immigrant Song"?)

This outing looks toward the next generation, as Far Far Away's King Harold (John Cleese) is dying, and he's named Shrek (Mike Myers) as his heir. The ogre doesn't want the gig, though, and defers to Plan B: a royal nephew named Arthur (Justin Timberlake) who is presently a gawky teenager who gets picked on even by the Dungeons & Dragons geeks. (Shouldn't there be a joke about playing Dungeons & Dragons at a time when there really ARE dungeons and dragons?) Artie doesn't want the job either, once he learns how hard it is, so Shrek has to persuade him, lest he be saddled with it himself.

Meanwhile, Shrek's beloved wife Fiona (Cameron Diaz) is pregnant, sending more ripples of panic into Shrek's green heart. Ogres aren't known for their nurturing, fatherly attributes, after all. Sure, Donkey (Eddie Murphy) and the dragon have spawned a litter of happy, if horrifyingly freakish, donkey-dragon hybrids. But is there any hope for a pair of swamp-dwelling ogres?

Meanwhile (there is a lot of meanwhile in this movie), Prince Charming (Rupert Everett) is enduring nightly humiliation playing himself in a bad dinner theater play. Determined to seize the throne once and for all, he rallies all the other fictional losers -- Captain Hook, Snow White's wicked queen, various witches, and so forth -- and stages a coup while Shrek, Donkey, and Puss-in-Boots (Antonio Banderas) are off looking for Arthur. Fiona, Queen Lillian (Julie Andrews), and their bickering princess girlfriends are tossed into prison.

One of the few film franchises to retain a high level of quality even on the third outing, "Shrek the Third" is loaded as ever with anachronism-based jokes, raucous parodies, and good old-fashioned silliness. It's fast becoming a "Simpsons"-like universe, where any member of the huge cast of characters can get a laugh just by delivering one line. Puss-in-Boots, the great discovery in "Shrek 2," is used (but not overused!) to great effect here, and the Gingerbread Man (Conrad Vernon) has some of the film's funniest non-sequitur moments. (You have not truly lived until you have seen a Gingerbread Man's life flash before his eyes.) Likewise, there are winning cameos from the Three Pigs, Pinocchio, the apple-throwing "Wizard of Oz" trees, and a host of other familiar characters.

That said, it could be that the film (directed by regular "Shrek" contributors Chris Miller and Raman Hui, and written by a gaggle of scribes) emphasizes the auxiliary characters at the expense of the central ones. Fiona, for example, feels like a non-entity in this chapter. That's a shame, considering her relationship with Shrek was the central element of the first two films.

Furthermore, several of the movie's funniest elements -- such as Arthur's high school, where teens talk in a mix of King James English and modern slang, and the gaggle of diva-like princesses (voiced by various "SNL" alum, plus Amy Sedaris) -- are gone before they've fully lived up to their comedic potential. And why go to the trouble of hiring Ian McShane (the terrifying villain on HBO's "Deadwood") to play Captain Hook if you're only going to give him a few lines?

On the whole, there's not nearly as much depth of emotion here as there was in the previous installments. Shrek is supposed to be the giant monster with a soft heart, and while he's as lovable as ever, here the "tender" moments -- as when he mentors young Arthur -- feel obligatory. Which is a fancy way of saying the movie focuses more on laughs than on feelings, which probably won't register as a very serious complaint.

Nor should it, really. It means the film doesn't resonate as a classic, that's all. For giddy, rude, daffy humor, it works just fine. Because really, once you've seen a chorus of frogs singing Paul McCartney's "Live and Let Die" at the funeral for their king, whose body is in a shoebox floating away on a lily pad, what else do you need?

HERE IS THE DIRECT DOWNLOAD FOR THE MOVIE SHREK THE THIRD 1 OF 4.

HERE IS THE DIRECT DOWNLOAD FOR THE MOVIE SHREK THE THIRD 2 OF 4.

HERE IS THE DIRECT DOWNLOAD FOR THE MOVIE SHREK THE THIRD 3 OF 4.

HERE IS THE DIRECT DOWNLOAD FOR THE MOVIE SHREK THE THIRD 4 OF 4.

BOURNE SUPREMACY IS NOW ONLINE

THE BOURNE SUPREMACY NOW AVAILABLE FOR DIRECT DOWNLOAD
WE JUST BROUGHT YOU BOURNE IDENTITY WELL NOW WE BRING YOU THE SEQUEL TO THE BLOCKBUSTER IN THE BOURNE SUPREMACY. JASON BOURNE IS BACK FOR THE SEQUEL AND THAT MEANS IT IS MORE VIOLENT THEN THE FIRST AND I HEAR ITS JUST AS GOOD OR BETTER THEN BOURNE IDENTITY.
HERE IS THE IMDB SUMMARY OF THE BOURNE SUPREMACY.

When a CIA operation to purchase classified Russian documents is blown by a rival agent--who then shows up in the sleepy seaside village where Bourne (Damon) and Marie (Potente) have been living under assumed names--the pair collapse their lives and head out. Bourne, who promised retaliation should anyone from his former life attempt contact, is forced to once again take up his life as a trained assassin to survive. Written by IMDb Editors

Pamela Landy is conducting an operation to find a rogue CIA agent but something goes wrong and her investigation leads her to Treadstone, the group whose members included Jason Bourne, she even finds evidence that Bourne is behind what happened to her operation. But in reality Bourne has been trying to put his life as a CIA man behind him and remember his past with help from Marie. But someone tries to kill him but gets Marie instead. So Bourne sets out on his vow to go after them if they came after him. At the same time, Landy is trying to get Bourne. When Landy and Bourne talk on the phone, he reveals that he was nowhere near her operation and she says that no one is after him. So it must mean that someone else is after him and behind what happened to Landy's operation. Written by rcs0411@yahoo.com

HERE IS A REVIEW FROM DVDTALK ON THE MOVIE THE BOURNE SUPREMACY.
The Movie:

"Who's giving him targets now?" "Scary version? He is."


"The Bourne Identity" became a surprise hit in the Summer of 2002, as it offered a thriller that boasted well-defined characters, a strong plot and an unexpectedly solid performance by Matt Damon, who I don't think anyone would have thought of as an action hero. Doug Liman, who had previously directed the slick smaller films "Swingers" and "Go", also was an unexpected success, shuttling the action along at a rapid pace and also, giving fine balance to the characters and thrills.

At the end of the film, Bourne had found love in Marie Kreutz (Franka Potente), who earlier had accepted Bourne's offer of $20,000 to drive him out of danger. As the second film opens, the two have settled down together and despite some surface assurances that the worst has ended, it isn't over. Another killer (Karl Urban) is tracking Bourne, and, around the same time, Bourne is framed for a crime involving the CIA that he didn't commit.

Despite Bourne's warnings to the CIA in the first picture that he'd come after them if they came after him, the CIA comes back in the picture, lead by Pamela Landy (Joan Allen) and Bourne's old boss, Ward Abbott (Brian Cox). Thinking that the CIA is responsible, Bourne strikes back, with the kind of swiftness and force that his warning in the first film carried. There is, however, an event early in the story regarding a character that is handled so abruptly that it took me out of the film for a little while.

Director Doug Liman did not come back for this time (after problems with the studio on the first film, he returns as a producer here only), although the screenplay has once again been adapted by Tony Gilroy from Robert Ludlum's novel. Director Paul Greengrass, whose tragic and powerful "Bloody Sunday" impressed me, takes over the helm this time around. Where Liman was swift and slick, Greengrass is relentless in his persuit of the action, trying to literally put the audience into the experience of the characters. Both approaches are perfectly fine, although Greengrass's efforts are going to work for some and be too dizzying for others. Personally, I thought it added to the urgency of most of the movie, but took away from a fight scene that seemed too shaky.

Also back from the original film are cinematographer Oliver Wood and composer James Powell, whose propulsive themes (one of my favorite scores of the year, it's somewhat similar to that of the first film) push the movie forward with great intensity. The film's action scenes snap and crackle - despite one that seemed a little too hand-held for it's own good, the action sequences (such as the major car chase) seem fast and chaotic, yet still well choreographed.

The performances are also good. Joan Allen is an excellent actress, but still an inspired, unexpected choice as the CIA operative after Bourne. She provides a stern, convincing performance that I liked a lot. Damon is once again an excellent, quiet spy - the performance isn't showy and Damon's performance says a lot with or without dialogue. The supporting performances are solid, as well.

Overall, I think "Supremacy" doesn't quite match the heights of "Identity", but it's a solid sequel that is smart, exciting and nearly always involving.


The DVD

VIDEO: "The Bourne Supremacy" is presented by Universal in 2.35:1 anamorphic widescreen. Picture quality is mostly first rate, although there's the occasional fault that keeps this from being a flawless effort. Sharpness and detail seemed solid for the majority of the film, although the occasional wide shot and a couple of chaotic moments looked slightly softer in comparison. Most scenes, though, looked crystal clear, with fine details visible.

The picture does show some faults - brief, slight traces of pixelation are glimpsed on a couple of occasions. Light edge enhancement also shows up at times, but it's not distracting. Some slight grain - an intentional element of the photography - is also present at times. The print used looked to be in fine condition, with no specks, marks or other signs of wear. The film's steely, cool color palette looked accurately rendered here, with no smearing or other faults. Flesh tones looked accurate, while black level looked solid.

SOUND: "The Bourne Supremacy" is presented by Universal in Dolby Digital 5.1. Despite being a fairly dialogue-driven film at times, there's elements that really push this soundtrack rather hard. Powell's score is often thunderous, and fully engulfs the viewer. The score really hits hard, sounding full and rich. It also gives a real tension, energy and atmosphere to the film. Surrounds aren't always on, but they do offer some effective sound effects in the action sequences and solid ambience in other sequences.

EXTRAS: Director Paul Greengrass goes solo for an audio commentary on the film. The commentary has some slow moments and Greengrass spends some time narrating the story, but when he does get going, he does do a fine job explaining some of his choices on the look and feel of the film. We also learn more about the production and hear some enjoyable behind-the-scenes tidbits.

Next is about 7 minutes of deleted scenes. Offered without any optional commentary, these scenes offer some fairly interesting moments, but weren't really necessary in the film. "Matching Identities" is a 5-minute look at the casting of the film. "Keeping It Real" is a 5-minute look at the "realistic" feel and visual style of the film. "Blowing Things Up" is a 4-minute look at an explosion sequence and the production behind the scene. "On The Move" is a nearly 5-minute look at the locations.

"Bourne To Be Wild" (geez, who named the featurettes on the disc?) is a nearly 5-minute look at the fight training required for the film. "Crash Cam: Racing Through the Streets of Moscow" and "The Go-Mobile Revs Up the Action" are short pieces that look at some of the driving and stunt work in the film. "Anatomy of a Scene: The Explosive Bridge Chase Scene" looks at the moment where Bourne jumps in front of trains to escape. Finally, there's a look at the work of composer John Powell and cast/crew bios. The movie had a great trailer but it's not included here, unfortunately.

Final Thoughts: While "Supremacy" isn't quite as consistently strong as "Identity", it's a solid sequel that's smart, entertaining and offers fine performances. Universal's DVD edition is a very good release, with strong audio/video quality and a series of generally insightful and entertaining supplements. Recommended.

HERE IS THE DIRECT DOWNLOAD FOR THE MOVIE THE BOURNE SUPREMACY 1 OF 4.

HERE IS THE DIRECT DOWNLOAD FOR THE MOVIE THE BOURNE SUPREMACY 2 OF 4.

HERE IS THE DIRECT DOWNLAOD FOR THE MOVIE THE BOURNE SUPREMACY 3 OF 4.

HERE IS THE DIRECT DOWNLOAD FOR THE MOVIE THE BOURNE SUPREMACY 4 OF 4.

SICKO NOW AVAILABLE

NOW AVAILABLE FOR DIRECT DOWNLOAD SICKO
THATS RIGHT THE NEW DOCUMENTARY FROM MICHAEL MOORE. HIS DOCUMENTARIES INCLUDE BOWLING FOR COLUMBINE AND THE HIT MOVIE FAHRENHEIT 9/11. THIS MOVIE IS ABOUT MOORE FINDING THE TRUTH ABOUT THE HEALTH CARE SYSTEM.

HERE IS THE SUMMARY OF SICKO FROM IMDB.
Writer/producer Michael Moore interviews Americans who have been denied treatment by our health care insurance companies -- companies who sacrifice essential health services in order to maximize profits. The consequences for the individual subscribers range from bankruptcy to the unnecessary deaths of loved ones. Moore then looks at universal free health care systems in Canada, France, Britain, and Cuba, debunking all the fears (lower quality of care, poorer compensation for doctors, big-government bureaucracy) that have been used to dissuade Americans from establishing such a system here. The roots of those health care systems are explored, and our failure to establish free health here care is traced to a) President Richard Nixon's deceptive support of the then-emerging HMOs pursuing huge profits and b) subsequent pressures for Congress to sacrifice sound health care in favor of corporate profit. A group of Americans who became ill from volunteering at 911 Ground Zero, but were refused health coverage for their illnesses, are ferried by Moore to Cuba, where they receive the top-rate, free care one would hope they'd get here at home. In his interviews, historical reportage, and typical sarcastic wit, Moore soundly condemns American health insurance companies and pharmaceutical companies, as well as the politicians who have been paid millions to do their bidding. He makes the case that there is something wrong with Americans that we cannot learn from the successes of other countries in providing better quality-of-health than we enjoy in the USA.
HERE IS A REVIEW OF SICKO FROM DVDTALK.
With Sicko, Michael Moore has very nearly cured himself of what ails him.

His new treatise on the damage greed has done to the United States health care system is a powerful political documentary that drives home its central message without the crazy stunts, manipulative editing, and self-serving comic routines that have made Moore one of our most troubling filmmakers. His daring political mind and his guerilla approach to getting to his subjects earned Moore a reputation as an issues-driven director who stood up to bullies on behalf of the little guy. Unfortunately, somewhere on the road between 1989's Roger and Me and 2004's Fahrenheit 9/11, Moore's shtick started to make it seem like he was more interested in being a comedian than a commentator. As good and fascinating as his movies have been--including Fahrenheit--many moviegoers began to tire of how he put himself in front of the films, overshadowing his own message with contrived situations that seemed designed more to show what a jokester the director was than they were to relay information.

Not so with Sicko. Whether he took the many criticisms to heart or he just understood the gravity of his topic required a less vaudevillian touch, Michael Moore has dialed the old routines way down and for once has trusted his subject to speak for itself.

And, oh, what a subject it is. If Sicko doesn't leave you feeling as if your soul was crushed, you really weren't paying attention. Either that, or you might want to reconsider the whole soul concept from the ground up, because you're missing something.

Moore's targets from day one have almost exclusively been corporations who trample on the common man in the race to make a buck. That includes the government, who quite often are the ones holding the stopwatch, bending the rules to fit the runner who can unload the most pork into the campaign coffers. Sicko provides Moore with the most egregious intersection of big business and big government yet. Moore begins his mission by pondering why so few Americans have health insurance and why the ones that do have such a difficult time getting the care they need. From there, he discovers the links between the private health management companies and how they team with our elected officials to chisel the citizenry out of their benefits while lining their own pockets. The evidence is damning and highly nauseating.

A good portion of the movie follows Moore as he travels to countries with socialized medicine--Canada, England, and France--and debunks the myths about why this form of health care is alleged not to work. Acting as a kind of journalistic detective, we follow Moore as he gathers evidence both concrete and anecdotal. He doesn't set up situations where he can illicit a "Gotcha!" moment from some corrupt corporate stooge with his hand in the cookie jar, but instead lets his curiosity lead him. The doctors and patients in these foreign settings say enough without resorting to trickery.

Not that Moore can completely resist going for the joke. A segment about Hillary Clinton is appallingly cheap, and the much hyped stunt of taking rescue workers from 9/11 to Guantanamo Bay to see if he can get them the same medical treatment afforded to the alleged terrorists detained there borders on the exploitative. Since being barred from places he intends to expose has previously been his stock and trade, the director milks the lack of army response for all its worth--and that ain't much.

Thankfully, where this stunt ultimately takes him is far more valuable. Checking the ailing medical workers into a Cuban hospital and seeing their faces when they finally get the help America has been denying them is emotionally devastating. In this scenario, Moore has shown how far off the mark our nation has gotten. If even Cuba, a country that is supposed to be far less wealthy, less advanced, and crippled by oppression, can pull together to take care of its people, what the hell is the United States of America's excuse for leaving so many out in the cold?

As Sicko ended, I was glad I had not given up on Michael Moore, and even more glad that he hadn't given up on himself. After all the ballyhoo surrounding Fahrenheit 9/11, including awards at Cannes and the Best Documentary Oscar, the director could have tumbled backward into self-parody. Instead, Michael Moore has moved forward and done something important with his art. Sicko is must-see viewing. It's a sharp political commentator finding the true synthesis of method and message. The more people who see the movie, the more that will be outraged, and the less we can duck out of doing something to fix the problems it exposes.

Thank you, Michael Moore. Let the healing continue.

Jamie S. Rich is a novelist and comic book writer. His next book is entitled Have You Seen the Horizon Lately? and is due for release from Oni Press this summer. It follows up on both of his successful books from 2006, the pop-culture hit The Everlasting, and his original graphic novel with Joëlle Jones, 12 Reasons Why I Love Her. Rich is currently writing the ongoing independent comic book series Love the Way You Love.

HERE IS THE DIRECT DOWNLOAD TO THE FULL MOVIE OF SICKO.

ANOTHER GREAT MOVIE STICK IT NOW ONLINE

JUST IN A GREAT MOVIE STICK IT ONLINE NOW

THIS IS A MOVIE CALLED STICK IT, IT IS ABOUT A FORMER GYMNIST WHO QUIT ON THE DAY OF THE OLYMPICS BECAUSE OF SOMETHING THAT YOU WILL HAVE TO SEE TO FIND OUT (I DON'T WANT TO SPOIL THE MOVIE). SHE IS A SKATER GIRL I GUESS YOU CAN SAY AND SHE GETS IN TROUBLE WITH THE LAW AND GET SENT AND FORCED TO JOIN A TRAINING SCHOOL FOR THE OLYMPICS AND HILARITY FOLLOWS.
HERE IS THE SUMMARY OF STICK IT FROM IMDB.

Haley Graham is a former gymnast-turned-juvenile delinquent whom, after one too many run-ins with the law, is forced to enroll at an elite gymnastics academy, the VGA in Houston, Texas which is run by the legendary Olympic gymnast Burt Vickerman. But the rebellious Haley is not welcomed into the academy by the other teenage gymnasts whom despise her for walking out on her Junior Olympic team years earlier during a competition which cost them the gold medal. But Haley is not a docile person either and makes every effort to provoke conflicts with the other girls. Vickerman takes it upon himself to coach Haley in his own way to make her regain her self respect for the VGA's coming spot on the Gymnastic Nationals. Written by Anonymous

Haley Graham is an ex-elite gymnast who, after being on the wrong side of the law just one too many times, she is sent to her idea of juvy - VGA, a.k.a: Vickerman's Gymnastic's Academy. When she shows up she is confronted with lots obstacles including, soda throwing Haley-haters, up-tight ex-fellow gymnasts, EXTREMELY pushy parents and a whole bunch of wedgie causing leotards. Along with her crazy, skater friends, Frank and Poot, she turns the gymnastic world upside down with her rebellious ways and rockin' routines. The film tells you that anyone, I mean ANYONE, can bend the rules just a little bit. (cough cough.) Written by shmatash (shmatash@hotmail.com)

HERE IS THE REVIEW FROM DVDTALKS.
Jessica Bendiger, who wrote the smarter-than-it-should-have-been script for Peyton Reed's cheerleader comedy Bring It On, attempts a two-fer with her directorial effort and, well, she gets points for difficulty but chokes on the dismount.

This time, it's all about gymnastics. The girl-centric, Karate Kid-wannabe plot just begs the question, hasn't there already been a girl Karate Kid movie? Didn't it star Hilary Swank and, you know, suck? The answer is yes, yes and yes, but apparently someone at Buena Vista forgot and made another one.

Missy Peregrym, a graduate of the same genetic research lab that spat out Piper Perabo and Amanda Peet, stars as Haley Graham, a rebellious teen facing time in either a juvenile facility or military school unless she ... trains in gymnastics. Huh? Is this common in the juvenile courts? Are ne'er-so-well youths being sent to cooking school and band camp instead of juvie these days? And, if so, why hasn't Stone Phillips done a searing expose on the subject?

Ah, but Haley was once a world-class gymnast who, of course, walked out of the Nationals two years earlier, leaving her team in the lurch and gaining a reputation as a, um, walker-outter. So her parents and the tough-but-fair juvenile court judge (Polly Holliday -- Flo from TV's "Alice!") make her go back and face her past. Apparently, walking out is as bad as it gets in Gymnasticland, because her bad-girl rep precedes her, and some of the other girls are (gasp!) rude to her. Her new coach also has a rep -- the girls who train at Burt Vickerman's school are known to sustain a lot of injuries (although we never see this problem) and he's known more as moneymaker than a motivator. So when he and Haley butt heads (of course), each learns a valuable lesson about integrity. Or something.

But here's the thing -- Vickerman's played by Jeff Bridges. And it's always delightful watching Bridges work, even when he's obviously slumming. He brings a charming, irascible, well-worn quality to the aging coach, and even when the movie sort of sucks (which is often) the quirky little flavors he brings to the character are never less than brilliant.

Stick It takes a really nice turn in its last act, veering in a very different direction than other flicks of its kind, but it's an uneven sort of development. Bendiger's script and direction belie a desire to make something fresh and new while still sticking to the old template of bad girl learns a lesson/snotty girl becomes her friend/dress-up musical montage in the mall/potential failure then triumph at the competition. And you really can't have it both ways. The gymnastics are cool, Peregrym is almost believable as an athlete (even though she's too tall and her breasts are a tad too big to compete successfully at that level) and, as mentioned, Jeff Bridges is his usual awesome self. Stick It doesn't entirely suck – but it's far from successful, making it a pale imitation of Bring It On that's only good entertainment for less-discerning 'tween gymnastics enthusiasts.

The DVD:
If you're a fan of the film, the DVD is a must-buy -- there are loads of genuinely entertaining extras, so if you or your 13-year-old daughter are nuts for Stick It, you may as well just buy the damn thing now so you can watch it over and over and over.

The video:
It's an absolutely gorgeous transfer, but that should be expected from brand-spanking-new movies at this point -- a clean, crisp anamorphic 1.85:1 picture with excellent color saturation and no noticeable edge enhancement. Really sharp, in every way.

The audio:
The sound is equally good, in Dolby Digital 5.1 surround (English, Spanish or French, with optional subtitles in each language). This isn't an effects-heavy film, but the hip-hop music track is a big part of its appeal, and the sound mix balances big, bold bass lines and dialogue nicely.

The Extras:
First up, there are two audio commentaries, one with writer/director Bendinger and actresses Missy Peregrym and Vanessa Lengies, and another with Bendiger, cinematographer Daryn Okada and editor Troy Takaki. They're pretty standard commentaries, focusing on specifics of the scenes, and how much fun it was to work with everyone, etc. Naturally, the second track is more tech-heavy, which is great if you like that sort of thing.

"Buttaharas," the inevitable blooper reel of gymnasts falling, actors blowing lines and Peregrym making a seemingly endless series of "funny" faces. (3 min.)

"Skinny Fat," offering deleted scenes with optional filmmaker commentary. Most aren't worth the trouble, but one sequence featuring Bridges and the girls making a run to a drugstore is absolutely hilarious. (13 min.)

Music videos for Missy Elliott's "We Run This (Stick It Edit)" and "Crowded" by Jeannie Ortega. Elliott's is cool and cutting edge with terrific dancing, while Ortega's is standard-issue movie clips intercut with her Aguilera-like singing.

"Hard Corps: The Real Gymnasts of Stick It" is just what it says it is, a delightful little snippet introducing the real stunt-double gymnasts. (4 min.)

"The Elites" offers full gymnastics routines -- floor, beam and uneven bars -- by some of the film's stand-in gymnasts. (9 min.)

"The Judges Table" shows the very impressive individual uneven bar routines, in slow-motion, that were used as part of the film's visual effects.(9 min.)

The bottom line:
If you're a grown-up who's hoping this film will be the equal of Bendiger's Bring It On, you'll be disappointed -- as an example of how a good director can make a script sing, you can't do much better than comparing Peyton Reed's direction on that far superior film with Bendiger's here. On the other hand, if you're a girl between the ages of 12 and 15, you'll probably love Stick It, and if that's the case, this DVD release offers a lot of bonus features that you'll adore.

HERE IS THE DIRECT DOWNLOAD TO THE MOVIE STICK IT 1 OF 3.
HERE IS THE DIRECT DOWNLOAD FOR THE MOVIE STICK IT 2 OF 3.

HERE IS THE DIRECT DOWNLOAD FOR THE MOVIE STICK IT 3 OF 3.

JUST IN BORAT NOW AVAILABLE FOR DIRECT DOWNLOAD

JUST IN BORAT AVAILABLE FOR DIRECT DOWNLOAD


JUST FOUND THIS IT IS FROM GOOGLE AND THE VIDEO IS GREAT QUALITY. THE MOVIE I HEARD IS VERY FUNNY. I HAVEN'T SEEN IT BUT I WOULD LIKE TO HEAR FROM YOU GUYS ABOUT WHAT YOU THOUGHT OF IT.

HERE IS THE SUMMARY FROM INTERNET MOVIE DATABASE OR IMDB FOR SHORT.

Kazakhstani TV personality Borat is dispatched to the United States to report on the "greatest country in the world." With a documentary crew in tow, Borat becomes more interested in locating and marrying Pamela Anderson than on his assignment. Written by Anonymous

HERE IS A REVIEW FROM A QUALITY SITE NAMED DVDTALK.COM

Reviewer's Bias*
Loves: Satire, "Da Ali G Show"
Likes: Borat, candid camera footage
Dislikes: Seeing naked old fat guys
Hates: Bigots, morons, bigoted morons

The Movie
Think of the last time a TV show made the leap from the small screen to the movie theater, without the results being essentially crap. Unless the show was used only as inspiration, like the meta-parody Brady Bunch films, quality adaptations are few and far between. The only one I can think of recently is "Jackass," which is really just an oversized, unrestricted version of the show.

So it makes sense that Borat would buck the trend, moving from "Da Ali G Show" to the theaters with remarkable grace, since it shares a lot in common with "Jackass." Hidden camera (usually in plain sight) catch how people react to unusual situations, with some bizarre stunts thrown in. But with Borat, the reactions people have often reveal inner truths about them, normally ones that civilized society has tried to surpress. It's incredible that in this media-savvy day and age that people haven't learned to control themselves around a camera, but that just goes to show how deep negative values like racism, homophobia and xenophobia run. These people simply can't help themselves.

Of course, Borat isn't a sociological experiment. It's a comedy, and a hilarious one, that lets us laugh at human behavior and hthe less enlightened among us. Sascha Baron Cohen, the creative force behind "Da Ali G Show" has managed to craft a pretty solid story behind all the goofy sketches, making more of a cohesive film than Jackass could ever achieve. Borat (Cohen), a television reporter from Kazakhstan, has been sent to New York by his country, with his rotund producer Azamat (Ken Davitian) in tow, to learn about the U.S. and bring that knowledge back to the impoverished former Russian nation. Borat gets sidetracked though, when he discovers C.J. Parker, the buxom star of "Baywatch," and sets out to marry her, taking him and Azamat across America. Along the way, he stops to experience the local culture, including a rodeo, frat boys, southern etiquette and evangelical religion, all in his guise as a naive, offensive foreigner.

Cohen's devotion to his character is what really makes the film work, as he developed Borat into a real, though cartoonish person. Every reaction, every line, makes sense for the character and works in the framework of the story, while he gives Borat a physicality that, though exaggerated, is grounded in the film's reality. You can tell that he's succeeded in making Borat a true character, because even when he's being uncouth, unlikable and simply ridiculous, you still are on his side and believe he knows no better. And in those rare moments of emotion the film offers us, you can actually feel for him. Borat is our hero, no matter what he does, including his time at a Pentecostal service that's at turns insane and sweet, and surprisingly respectful of the faithful in attendance. It shows more self-control than I could when faced with people jumping around like kindergardeners jacked up on Pixie Sticks.

While Cohen earns more than his fair share of laughs, especially during the infamous fight scene with his producer (an amazing segment that is unlike anything you've seen before and features the best use of visual censoring ever), it's the real people in the film who are fascinating. Watching the frat boys who pick up a hitchhiking Borat express their wishes that slavery was legal, or the rodeo crew talking about hanging gay people is an education in how far America still has to go toward any semblance of tolerance. Sure, Cohen's characters are openly bigoted, and especially anti-Semitic, but the people in the film make no attempt to correct him or argue with him, and instead embrace his ideas. It's shocking when you see the crowd at the rodeo cheer Borat's wish that "George Bush drink the blood" of the Iraqi people. It will come to no one's surprise that the film travels across the country through the southern states, but it's still pretty scary to think people are this open about their ignorance.

My only complaint, a minor one at that, is the way the main plot wraps up. In an effort to not ruin it for those who haven't seen the film, Borat's quest comes to an end in a way that's not exactly satisfying, leaving everything hanging in a way. The core audience for this film isn't looking for plot resolution, but considering how the film is built around this element, it would have been nice to bring it to a more interesting and complete finish. As it is, it just feels like another bit on the highly-entertaining string of fun sketches.

The DVD
A one-disc release, this DVD is packed in a standard keepcase with a slipcover that, for once, doesn't repeat the interior art, and hides a great visual joke. The disc, which carries over the cover art joke not just on the disc art, but on the menus as well, has an anamorphic widescreen main menu with options to watch the film, select scenes and check out the special features, where you can adjust languages. Language options include English Dolby Digital 5.1, Spanish, Russian and French Dolby Digital 2.0, and Hebrew (make sure to check out the Hebrew track), with English and Spanish subtitles and closed captioning.

The Quality
There's a variety of camera types used in this film, and some artificial dirt and damage has been added in places, but overall, the anamorphic widescreen transfer looks terrific for a documentary shot run and gun. It's obvious which scenes have received some camera set-up, as they look pristine, while the rest simply look very good. Colors areappropriate , if a little dull, and the image is crisp where it's meant to be. There's no unintentional dirt or damage, and the film is free of any obvious digital artifacts.

The audio is presented in a 5.1 Dolby Digital mix, but the surrounds only really come into play with the film's music. The documentary footage is mainly center-focused when it comes to sound, delivering a clean, distortion-free track that gets the heavily-accented dialogue across cleanly.

The Extras
The paucity of extras on this big-time release reeks of a future double-dip, but, then, I said that about Ocean's Twelve a long while back. Sadly, there's no commentary track here, which could have been fantastic. There's so many situations in this film begging for some background info, but we get nothing. So instead, we start off with a collection of deleted scenes, titled "Censored Footages." There are eight scenes, four of which were cut from the film, while the other four are different pieces of footage that didn't make it into the movie. Each and every one if worth watching, especially the scenes where Borat is pulled over by cops in various cities and the montage of bits that didn't have enough to carry a whole scene (like his visit to a Civil War recreation.) Unfortunately there's no play-all option for the 24 minutes of comedy.

The other section, "Propaganda," features the Global Propaganda Tour, a nearly 17-minute collection of appearances made to promote the film. Included amongst the film festival footage are his stop at the Conan O'Brien show, his sexy time with Jay Leno and Martha Stewart, and his opening scene on "Saturday Night Live." If you like Borat, it's a fun group of clips. Also in this section is a Kazakh commercial for the film's soundtrack and some trailers for other films.

The Bottom Line
For fans of Cohen's sociological explorations of America, as seen on HBO, Borat delivers an extra-large chunk of silliness. For his detractors and all those who tried to sue him, it's another reason to get pissed off. Either way, there's no denying Cohen is a genius when it comes to creating audacious alter-egos. The DVD looks and sounds very good, but is a bit of a disappointment in terms of the extras. That shouldn't stop you from checking it out, but it may make you hold off on a purchase.

HERE IS THE DIRECT DOWNLOAD FOR THE FULL MOVIE OF BORAT.