THE LITTLE MERMAID DISNEY CLASSIC DIRECT DOWNLOAD

TIMELESS CLASSIC THE LITTLE MERMAID NOW AVAILABLE

THATS RIGHT DON'T YOU WANT TO BE PART OF HER WORLD WELL NOW YOU CAN BY CLICKING ON THE LINK TO WATCH THE FULL MOVIE OF THE LITTLE MERMAID. IT'S ONE OF DISNEY'S BIGGER HITS AND IT STARS A MERMAID NAMED ARIEL WHO WANTS TO FIND LOVE AND TO GO OUT OF THE WATER AND BE HUMAN. SHE DECIDES TO GO OUT ON HER OWN AND ASKS URSULA A WICKED WITCH TYPE CHARACTER WHO CASTS A SPELL THAT MAKES HER HUMAN FOR A CERTAIN TIME.
HERE IS THE SUMMARY OF THE MOVIE THE LITTLE MERMAID FROM IMDB.
Loosely based upon the story by Hans Christian Andersen. Ariel, youngest daughter of King Triton, is dissatisfied with life in the sea. She longs to be with the humans above the surface, and is often caught in arguments with her father over those "barbaric fish-eaters". She goes to meet Ursula, the Sea Witch, to strike a deal, but Ursula has bigger plans for this mermaid and her father. Written by Tim Pickett {quetzal@yoyo.cc.monash.edu.au}

This is the story of a little mermaid named Ariel, who dreams of going on land. When her father, King Triton, Forbids her to go on land, Ariel visits Ursula who her father had banished. Eventhough She helps her get to land, what Ariel dosen't know is that Ursula has plans to destroy her to get revenge on her father. Written by dan0514

HERE IS A REVIEW OF THE LITTLE MERMAID FROM DVDTALK.

Whether you're a die-hard fan or not, there's no doubt that Disney's The Little Mermaid (1989) holds an important place in animation history. Most remember it as a major turning point for the studio's floundering animation department, which suffered through a number of critical and commercial failures during the previous decade. Combining Disney's animal-centric formula with the Broadway music style that made their films so popular in years past, The Little Mermaid was hailed as "a return to form" by most animation enthusiasts, paving the way for later classics like Beauty and the Beast (1991), Aladdin (1992) and The Lion King (1994).

Based upon the 1836 book by Danish author Hans Christian Anderson ("The Emperor's New Clothes", "Thumbelina", "The Ugly Duckling"), Disney's retelling of the classic story varies quite a bit from the original source material; the major difference, of course, is the happy ending...and no bubbly music cues, of course. Still, the overall plot of Anderson's book is preserved: a beautiful young mermaid longs to live above ground, especially after she falls for a human price. After meeting with a sea witch, the young mermaid agrees to trade her voice for a fin-free human body. Here's the other catch: if she can't win the prince's heart, she's doomed. Obviously, many of the darker themes and spiritual elements were removed to transform this into a family film, but the sanitized final product still manages to work on many levels.

For starters, the visuals are as inspired as any of the other successful elements. Loaded with more special effects than any animated Disney film since Fanstasia (1949), the undersea world of The Little Mermaid still looks lively and immersive by today's standards. It's also the first Disney animated film to use the studio's own CAPS (Computer Animated Production System) software, and does so tastefully and sparingly; this system would also be used to greater effect in later Disney films, though it's no longer used by the studio today. Still, the cels are primarily completed in the traditional ink-and-paint method, giving The Little Mermaid a smooth, vintage appearance without looking too dated.

Perhaps the most noticeable highlight of The Little Mermaid, though, is its award-winning soundtrack and score. Boasting a handful of memorable recordings by composer Alan Menken and late songwriter Howard Ashman, The Little Mermaid swam away with a pair of Oscars for Best Original Score and Best Original Song (for "Under the Sea"). Ashman passed away shortly after in 1991, though not before completing the lyrics for Beauty and the Beast's masterful music cues. Thankfully, Menken was still around to add his retrospective thoughts to this new 2-Disc Platinum Edition, including a feature-length audio commentary with the film's two directors.

Though I wasn't completely thrilled with the film upon seeing it in the theater as a ten year-old boy, it's easy in hindsight to see why The Little Mermaid was---and continues to be---such a successful and entertaining animated film. It differs quite a bit from Anderson's original book, but the themes of young rebellion and family acceptance fit the story perfectly; these themes, of course, are elevated even further by the terrific artwork and memorable music. It may not be Disney's finest animated film, but some of its finest films wouldn't have been made without it.

This 2-Disc Platinum Edition is slightly flawed but satisfying, offering a good technical presentation and an entertaining mix of bonus material that fans will enjoy. Even with a few nitpicks (including the blink-and-you'll-miss-it redrawing of this infamous character),it's still a notable upgrade over the original 1999 Limited Issue DVD, a non-anamorphic, barebones release that has long gone out of print. Though most fans of The Little Mermaid have undoubtedly picked up this shiny new release by now, it's still worth a closer look for those on the fence. Shall we?

Quality Control Department

Video & Audio Quality

Presented in a 1.78:1 anamorphic widescreen aspect ratio---slightly modified from its original 1.66:1 presentation, apparently---The Little Mermaid looks very good but not quite excellent. The bold color palette is a real highlight, as the vivid undersea scenes really pop off the screen---but there's a modest amount of color banding, mild pixellation and softness that keeps things from looking better. This is still the best that The Little Mermaid has ever looked (especially since the original release was non-anamorphic), but I was hoping for a slightly more polished presentation.

The audio department tells a similar story, if only due to its abandonment of the film's original presentation. An "Enhanced Home Theater Mix" represents the lone English choice here---and while it's certainly atmospheric and lively, it would've been nice to get the earlier 5.1 mix as well (especially since the packaging lists it!). The dialogue is clean and clear, yet it sounds a bit flat and artificial compared to the fuller, immersive music cues. Many earlier Disney Platinum DVDs have included more than one English mix, so let's hope that this unfortunate trend won't continue. Also included are French and Spanish dubs, as well as optional English captions for the deaf and hearing impaired.

Menu Design, Presentation & Packaging

The menu designs (presented in 1.78:1 anamorphic widescreen, seen above) partially preserve the original poster artwork, offering a clean layout and easy navigation. The 83-minute main feature has been divided into a generous 27 chapters, while no obvious layer change was detected during playback. This two-disc release is housed in a slim double keepcase with colorful artwork and a matching glossy slipcase. Promotional inserts and a DVD Guide are also included.

Bonus Features

Keeping pace with other Disney Platinum Edition DVDs, The Little Mermaid includes plenty of bonus features that the entire family should enjoy. Disc 1 begins with a feature-length Audio Commentary with co-writers / co-directors Ron Clements & John Musker and composer Alan Menken; though recorded together, they're smartly arranged so that each participant's voice comes from a different front channel speaker. The three contributors work together to create an insightful and entertaining track, sharing fond memories and a few production snags to boot. Menken occasionally drifts to the background during several scenes, but he naturally chimes in during the key musical numbers (although an isolated music score with commentary could've worked just as well).

Also included is a Disney Song Selection feature; this lets viewers jump directly to any the film's four major musical breaks, with or without on-screen lyrics. Of lesser interest are a new Music Video for Ashley Tisdale's bland pop version of "Kiss the Girl" (3:30), a Musical Preview for The Little Mermaid III (1:21) and a few other Sneak Peeks of upcoming Disney DVD releases (including new editions of Robin Hood and Pinocchio).

Disc 2 kicks off with interesting extras for animated film buffs in "Backstage Disney". First up is the six-part "Treasures Untold: The Making of The Little Mermaid" (45:25, below left), hosted by several members of the cast and crew. Loaded with vintage art and production footage, this informative documentary also includes chats with Roy Disney, film historian Leonard Maltin, former Disney chairman Jeff Katzenberg, director Nora Ephron and director John Waters (yes, that John Waters!). A good mix of back-patting and self-depracation, "Treasures Untold" sheds light on The Little Mermaid's troubled beginnings, long production and, of course, the role it played in the studio's financial comeback.

Two short featurettes offer more crew insight: the first, "Storm Warning" (8:40), reunites the technical team for a roundtable chat about the film's special effects, many of which were "borrowed" from earlier Disney classics. The second, "The Story Behind the Story" (11:40), compares and contrasts the animated film to Hans Christian Anderson's original book. Both pieces are brief, but offer plenty of interesting information without blatantly overlapping other extras.

Up next is a short animated feature, apparently exclusive to this set: The Little Match Girl (7:10), also originally written by Anderson. Interestingly enough, this short was originally planned to be part of Disney's Fantastia 2000, but was rejected since another Anderson story was already included. It also keeps the heartbreaking original ending intact, so viewers will want to keep a box of Kleenex within arm's reach. The Little Match Girl is wonderful, superbly animated short directed by Disney veteran Roger Allers, and a valuable inclusion to this release.

Closing out "Backstage Disney" is a trio of Mermaid-specific extras, including a viewer-guided Artwork Gallery and an interesting Early Presentation Reel (2:45, above right), as well as the film's original Theatrical Trailer (presented in 1.33:1 pan-and scan, unfortunately).

The next main section is brief but interesting, as viewers are treated to a handful of Deleted & Alternate Scenes (7 clips, 26:15 total), presented in storyboarded and/or rough animated form. Highlights include a slightly different ending sequence, as well as a song demo for the unused "Silence is Golden" (performed by Alan Menken, audio only). While the majority of this rare footage only includes a few minor changes to finished scenes, they're certainly worth a look.

Winding things down is the kiddie section, also known as "Games & Activities". Highlights include the three-part "Under the Sea" Adventure, a 3-D ride through some of the film's memorable locations (with optional commentary); as well as the educational "DisneyPedia: Life Under the Sea" (8:25), an Animal Planet-style look at aquatic life.

Overall, there's a satisfying mix of bonus material on board here. Though the bulk of it is presented in non-anamorphic widescreen (and without optional English captions), many of the clips include helpful introductions from key participants and crew members. All things considered, it's one of the better Disney DVDs as far as extras are concerned.

Final Thoughts

It's not a perfect effort, but Disney's Platinum Edition of The Little Mermaid is a worthy upgrade to the out-of-print Limited Issue release (except in the audio department, perhaps). The film has held up well in the past 17 years, boasting a gaggle of great characters and memorable songs---and the film's historical importance can't be argued, either. This 2-disc release could've used more fine-tuning in the technical department, as the exclusion of alternate audio mixes is just plain lazy. Thankfully, the plentiful extras help salvage the overall presentation, offering plenty of goodies for the whole family. All things considered, The Little Mermaid shouldn't disappoint fans of the film and comes firmly Recommended.

HERE IS A DIRECT DOWNLOAD FOR THE MOVIE THE LITTLE MERMAID PART 1 OF 9

HERE IS A DIRECT DOWNLOAD FOR THE MOVIE THE LITTLE MERMAID PART 2 OF 9

HERE IS A DIRECT DOWNLOAD FOR THE MOVIE THE LITTLE MERMAID PART 3 OF 9

HERE IS A DIRECT DOWNLOAD FOR THE MOVIE THE LITTLE MERMAID PART 4 OF 9

HERE IS A DIRECT DOWNLOAD FOR THE MOVIE THE LITTLE MERMAID PART 5 OF 9

HERE IS A DIRECT DOWNLOAD FOR THE MOVIE THE LITTLE MERMAID PART 6 OF 9

HERE IS A DIRECT DOWNLOAD FOR THE MOVIE THE LITTLE MERMAID PART 7 OF 9

HERE IS A DIRECT DOWNLOAD FOR THE MOVIE THE LITTLE MERMAID PART 8 OF 9

HERE IS A DIRECT DOWNLOAD FOR THE MOVIE THE LITTLE MERMAID PART 9 OF 9

TRANSFORMERS NOW AVAILABLE ONLINE (BETTER QUALITY)

TRANSFORMERS THE MOVIE NOW AVAILABLE ONLINE

THATS RIGHT HERE IS THE MOVIE TRANSFORMERS 2007

HERE IS SOME INFO ON THE MOVIE FROM IMDB AND A FEW OTHER SITES.

A long time ago, far away on the planet of Cybertron, a war was being waged between the noble Autobots (led by the wise Optimus Prime) and the devious Decepticons (commanded by the dreaded Megatron) for control over the Allspark, a mystical talisman that would grant unlimited power to whoever possessed it. The Autobots managed to smuggle the Allspark off the planet, but Megatron blasted off in search of it. He eventually tracked it to the planet of Earth (circa 1850), but his reckless desire for power sent him right into the Arctic Ocean, and the sheer cold forced him into a paralyzed state. His body was later found by Captain Archibald Witwicky, and before going into a comatose state Megatron used the last of his energy to engrave a map, showing the location of the Allspark, into the Captain's glasses, and send a transmission to Cybertron. He is then carted away by the Captain's ship. A century later, Sam Witwicky, nicknamed Spike by his friends, buys his first car. To his shock, he discovers it to be Bumblebee, an Autobot in disguise who is to protect Spike, as he bears the Captain's glasses and the map carved on them. But Bumblebee is not the only Transformer to have arrived on Earth - in the desert of Qatar, the Decepticons Blackout and Scorponok attack a U.S. military base, causing the Pentagon to send their special Sector Seven agents to capture all "specimens of this alien race," and Spike and his girlfriend Mikaela find themselves in the middle of a grand battle between the Autobots and the Decepticons, stretching from Hoover Dam all the way to Los Angeles. Meanwhile, within the depths of the Pentagon, the cryogenically stored form of Megatron awakens... Written by Sivaji IMDBoss

High-school student Sam Witwicky buys his first car, who is actually the Autobot Bumblebee. Bumblebee defends Sam and his girlfriend Mikaela Banes from the Decepticon Barricade, before the other Autobots arrive on Earth. They are searching for the Allspark, and the war on Earth heats up as the Decepticons attack a United States military base in Qatar. Sam and Mikaela are taken by the top-secret agency Sector 7 to help stop the Decepticons, but when they learn the agency also intends to destroy the Autobots, they formulate their own plan to save the world. Written by BRUTICUS!

HERE ARE THE DIRECT DOWNLOADS FOR THE TELESYNC OF TRANSFORMERS THE RATING FOR THE QUALITY IS 7-8 THE SOUND THOUGH IS A LITTLE LOUD IN THE BEGINNING.

HERE IS THE DIRECT DOWNLOAD FOR TRANSFORMERS BETTER VERSION 1 OF 11.

HERE IS THE DIRECT DOWNLOAD FOR THE TRANSFORMERS BETTER VERSION 2 OF 11.

HERE IS THE DIRECT DOWNLOAD FOR THE TRANSFORMERS BETTER VERSION 3 OF 11.

HERE IS THE DIRECT DOWNLOAD FOR THE TRANSFORMERS BETTER VERSION 4 OF 11.

HERE IS THE DIRECT DOWNLOAD FOR THE TRANSFORMERS BETTER VERSION 5 OF 11.

HERE IS THE DIRECT DOWNLOAD FOR THE TRANSFORMERS BETTER VERSION 6 OF 11.

HERE IS THE DIRECT DOWNLOAD FOR THE TRANSFORMERS BETTER VERSION 7 OF 11.

HERE IS THE DIRECT DOWNLOAD FOR THE TRANSFORMERS BETTER VERSION 8 OF 11.

HERE IS THE DIRECT DOWNLOAD FOR THE TRANSFORMERS BETTER VERSION 9 OF 11.

HERE IS THE DIRECT DOWNLOAD FOR THE TRANSFORMERS BETTER VERSION 10 OF 11.

HERE IS THE DIRECT DOWNLOAD FOR THE TRANSFORMERS BETTER VERSION 11 OF 11.

I-ROBOT IS NOW UP

I-ROBOT FEATURING WILL SMITH IS NOW
AVAILABLE ONLINE.

WILL SMITH'S SUMMER BLOCKBUSTER STARING WILL SMITH TAKING ON ROBOTS AND THIS TIME ITS PERSONAL. THE GUY HAS FOUGHT OFF ALIENS AND WON AND NOW HE IS GOING TO BE TAKING ON METAL ROBOTS. IF YOU LIKED TRANSFORMERS THEN YOU SHOULD LIKE THIS MOVIE TOO SINCE THEY BOTH FEATURE BOTS. THIS IS ONE OF HIS TOP MOVIES THAT HE HAS MADE.

HERE IS THE SUMMARY FROM IMDB FOR I-ROBOT.

Set in a future Earth (2035 A.D.) where robots are common assistants and workers for their human owners, this is the story of "robotophobic" Chicago Police Detective Del Spooner's (Smith) investigation into the murder of Dr. Alfred Lanning (James Cromwell), who works at U.S. Robotics, in which a robot, Sonny (Tudyk), appears to be implicated, even though that would mean the robot had violated the Three Laws of Robotics, which is apparently impossible. It seems impossible because.. if robots can break those laws, there's nothing to stop them from taking over the world, as humans have grown to become completely dependent upon their robots. Or maybe... they already have? Aiding Spooner in his investigation is a psychologist, Dr. Susan Calvin (Moynahan), who specializes in the psyches of robots. Written by Austin4577@aol.com

This is the year 2035. Everybody in the world relies on a huge system of robots, which are programmed specifically to help humans and not harm them in any way. But one person does not think that robots are helpful. Chicago homicide detective Del Spooner. but one day, he received a call from the United States Robotics (USR) about a recent death of renowned robot scientist Dr. Alfred J. Laning. Spooner immediately blamed this incident on robots without justifiable reason or proof. Then, he begins his investigation on Lanning's death, only to discover Sonny, a "unique" robot. What Spooner does not realize, is that something is about to happen. Something that is beyond even spooner's wildest dreams. Written by John Wiggins

It's the year 2035, and the community now has the help of robots. These robots have three laws integrated into their system. One, they cannot harm a human being or, through inaction, allow a human being to come to harm. Two, they must do whatever they're told by a human being as long as such orders don't conflict with law one. Three, they have to defend themselves as long as such defense doesn't conflict with laws one or two. One day, the writer of the three laws, Alfred Lanning, apparently jumps out of the tenth-floor window of U.S. Robotics. The majority of the Chicago Police Department believe that he committed suicide, but Detective Del Spooner (Smith), who hates robots, thinks he was murdered, and the number one suspect is a Nestor Class-5 robot who calls himself Sonny. However, if it was Sonny, then that means he would've had to have broken the three laws. With the help of Dr. Susan Calvin, Spooner must now discover the truth before it's too late. Written by Ridley Lavine

HERE IS A REVIEW FROM DVD TALK ON THE MOVIE I-ROBOT
The whole notion of artificial intelligence, robotics and the human desire to play God (if only on a terse, technological level) are the very foundations upon which most of the best science fiction is founded. From the genre's most innovative writers to the pulp popularity of the comic book hack, the desire to recreate man in a mechanical image is the hypothetical Holy Grail of all science and research. The notion of automatons as servants or slaves, helpers or hindrance drives a great many speculative scenarios. And with real life companies such as Honda (inventor of Asimo) and Sony (creator of QRIO) pursuing the personal humanoid market, we will perhaps one day all live in a world where humans and robots live together in peace and positronic prosperity.

But if both fiction and fact have anything to teach us, it's that technology, for all its systematic exactitude, is still an incredibly undiscovered country. For all the good a subservient class of consumer-friendly motorized men would do, there truly could be unforeseen problems that would threaten the very fate of the human race itself. While such a statement seems hysterical at best, and just plain ludicrous at worst, the fact remains that we aren't sure what will happen once our first manmade entity opens its binary eyes, frees its predetermined mind and becomes self aware.

And if I, Robot, the latest film by visionary director Alex Proyas tells us anything, it is that even with a set of strict robotic "laws" in place, the threat from technology is real – and may come from an angle we can't even begin to understand. Had the movie stayed true to this ideal, it would have been a celebration of imagination and invention. Too bad it shambles over into standard Hollywood hype too often to stay solid.

DVD:
It's 2035. Chicago is a massive metropolis on the cutting edge of technology. It is home to U.S. Robotics, main supplier of automatons internationally. The company is preparing to phase out their current NS4 line of 'product' to provide the public with the new, improved NS5 line. It's the dawn of a new age science in society. But then tragedy strikes. Dr. Alfred Lanning, father of modern robotics and founder of USR, dies of an apparent suicide. The police investigate, and at first, it does look like a case of self-destruction. But for Det. Del Spooner, certain facts just don't want to add up. With a natural suspicion bordering on bigotry for all machines, Spooner suggests a robot is responsible. At first, everyone scoffs. USR's product could never hurt a human: there are three laws pre-programmed into every processor that keep the mechanical entities from even considering harming people.

But when a rogue robot named Sonny is discovered hiding out in Lanning's lab, those nagging concerns come to the fore. Spooner will have to fight skepticism in his fellow law enforcement officers, the omnipresent power of USR and his own internal demons to discover the mystery of Dr. Lanning's death, and what part, if any, Sonny played in it. With the help of robot psychologist Susan Calvin, Del needs to uncover the hidden clues and crack this case. The fate of the human race may depend on it.

Visually arresting, philosophically inventive and just the slightest bit silly, I, Robot is a surprisingly good action adventure flick forged out of some contradictory creative resources. On the plus is Isaac Asimov, author of the stories upon which this film is (mostly) founded and creator of the three laws of robotics (along with some help from his editor, John Campbell). A direct response to the misrepresentation of technology in the 20s and 30s as a timebomb waiting to destroy humanity, Asimov hoped to lead the discussion out of the dark ages and into a more enlightened idealism. Joining him on the side of such salient suggestions is Alex Proyas, a fanciful, resourceful director with such cerebral eye candy celebrations as The Crow and Dark City to his credit. Proyas has always professed an undying love for the old-fashioned fiction of the past, a throwback to when fantasy was not solely based in violence and arcane vistas, but ideas and the infinite.

With a sci-fi pedigree as polished as this, and the innumerable advantages of modern moviemaking technology in support, what could possibly go wrong? Frankly, I, Robot provides the proof with rather obvious candidness. First, Asmiov's stories are only the "basis" for this film. You won't find a pissed off policeman, a humorless corporate villain or a robot named Sonny in Isaac's carefully considered canon. No, these elements are obvious inclusions by Hollywood screenwriters Jeff Vintar and Akiva Goldsman. Neither scribe has that stellar a lineage – Vintar worked on the weak Final Fantasy: The Spirits Within while Goldsman is a hack in the most horrible tradition, torturing such tales as Batman and Robin, the revamp of Lost in Space, and the baneful A Beautiful Mind. Together, they create a narrative in which subtlety and sophistication are in short supply as the obvious hand of mainstream meddling steps in to make sure everything is easily digestible and form-fitted to I, Robot's superstar center – a.k.a. Will Smith.

The whole Big Willy jiggy jerry rigging is another potential problem for this robot rumpus. Where once he was a box office God, Smith's track record of late has been rather shaky. Ever since the dunderheaded debacle that was Wild Wild West, Will has seen his Tinsel Town value decline, what with the less than stellar showings for The Legend of Bagger Vance, Ali (Oscar nomination or not, the film is hugely flawed) and the unnecessary sequels to Men in Black and Bad Boys. In many ways, I, Robot continues that retread mentality while marking a kind of comeback for the one-time King of the Fourth of July. As Del Spooner, paranoid police detective with a misplaced hatred of all "canners" (his technic slur for robots), Smith actually shines, toning down the jive-talking jester routine while playing up his more troubled internal issues. Though he does occasionally toss in a misplaced quip here or there, they do feel like extensions of his character's personality, not Schwarzenegger style catchphrases perfectly marketed for mass repetition by middle schoolers. Thankfully, Smith is so near pitch perfect in I, Robot, that he single-handedly provides both the gravitas and gumption needed to make many of the more meandering parts survivable.

Some of that muddle comes from the casting of our remaining leads. The tepid shortcomings are fairly obvious from the very first time we see these performers onscreen. Bridget Moynahan may be someone's idea of a fetching, intelligent cyber geek, but she's nothing more than a blank, bland babe with potential paramour written all over her inarticulate puss. Constantly overshadowed by the hulking hardware she works with, Moynahan's Susan Calvin is really just an expositional device, given no more weight as a three-dimensional being than her necessary place to explain all the robo-speak. Bruce Greenwood has also done better work, be it as President Kennedy in Thirteen Days or as Dennis Wilson in Summer Dreams: The Story of the Beach Boys. Here, he is required to play an unrealistic red herring, an evil corporate crook who may or may not be trying to take over the world. Greenwood sure can grit his teeth and deliver the diatribes with decisive glee, but as a bad guy, he is all suggestion and subterfuge, never really making a menacing impact.

With this confab of humans helming our narrative, it is up to Smith, along with the machinery, to more or less save the day. Though horribly designed (they appear like a combination of the Kaminoans from the second Star Wars prequel, the super intelligent archeologist "aliens" in A.I. and the actual extraterrestrials in James Cameron's The Abyss), they have been retrofitted with a nice perplexing persona. Filled with consideration and condescension, seeming capable of acts both helpful and harmful, these clever creations of physical and digital effects really come alive onscreen. While you may question their components or the manner in which they are made, they do represent a near seamless collaboration between CGI and practical magic. Some of the animation in the action sequences may seem obvious, and we do get far too few human/robot one-on-ones for a film about the battle between man and machine, yet I, Robot still delivers on its summer movie promise. While perhaps not the best example of onscreen automaton (films as far back as Metropolis have offered more visual splendor) Sonny and his ilk are quite articulate in Proyas's world.

Problem is, you can tell that the movie wants to be more than it this. As the title suggests, I, Robot really hopes to debate the ethics in manufacturing identity and line-coding some sort of soul. Peppered throughout the car chases and fanciful fisticuffs are a series of questions about emotional and intellectual 'being', a desire to address the tenuous state of affairs that could result should true artificial freewill ever be made part of an advanced apparatus. Characters constantly discuss this ghost in the machine hypothesis, the notion that any being with basic knowledge will evolve and develop independent of its "programming", yet we never get the intellectual tone that this is actually what is going on in the film.

Instead, I, Robot occasionally feels like yet another variation on the Terminator/Skynet – Zion/Matrix manipulation, a war between mankind and microprocessor for control of the fate of the world. And though it prettys up the proceedings with lots of scrumptious optical luxury, I, Robot never really gets around to dealing with all the unanswered philosophical quandaries. Indeed, this is a movie that begs a basic question that it never gets around to truly dealing with: if humans created these new "lives", should they not pay some price when they inevitably go out of whack.

Indeed, you can occasionally sense the idealistic underpinning of I, Robot bucking like an unbroken bronco as it battles between something truly thoughtful and awe-inspiring and a pure buttered popcorn populist piece of forgettable filmmaking. As a director, Proyas purposefully pushes the harsh bright newness of his Chicago circa 2035. This is not another shadowy noir nocturne like The Crow or Dark City. Hoping to show that the brave world ahead will be more nuanced than outright "new", Alex provides his frames with a palette of gleaming whites and shimmering pastels to suggest infinite hope mixed with the indefiniteness of an ill-defined futurism. While we get the usual goofy car designs and super-sprawling urban skyscrapers (what city planner would ever tolerate a building that's 250 stories tall?) there are also some nice, novel touches (the "house" destroying machine, the killer nanite injection) that expand our horizons and keep us hoping for the best.

And in truth, I, Robot exceeds expectations as often as it fails to meet them. Hinted-at racism is avoided for more futile flashbacks. A passion for retro treats like sweet potato pie is passed off as characterization while a lack of megalomania makes an otherwise powerful person appear passive. The whodunit aspects of the story do keep us guessing, while the action sequences fail to deliver the fear factor necessary to engage us in our hero's possible fate. We never believe our protagonist is in real jeopardy, but otherwise, the set pieces are wonderful bits of adrenaline pumping execution. For every moment that has the potential to preach beyond the blockbuster basics (the broken down bridge horizon in the landfill Lake Michigan, the cruel cube at the heart of all the horror) we are treated to superfluous fluff and maudlin manipulation (the threat to a grandmother, the death of a child) to keep pushing us back into the realm of the ersatz-solid summer seat-filler. One day, someone will craft a truly masterful movie about the plight of robots in the reality of the human race (A.I. is the closest by far). Sadly, I, Robot is a missed opportunity. It is fun to follow along with and never dull or derivative. But when it comes to giving us a glimpse into the future, it's a missing motherboard away from being something truly special.

The Video:
Proyas is truly a painter with his camera, a lensman of incredible skill and awe-inspiring artistic merit. His attention to detail, his desire to fill the frame with as much amazing information as possible is one of the reasons why I, Robot looks so unbelievably good on DVD. The 2.35:1 anamorphic widescreen image radiates with a resplendent amount of color, while contrasts and crispness create untold depth and dramatics. This is basically a reference quality transfer, a picture pulsating with the pictorial passion and presence of its creator. Fox is to be commended for releasing the film in this fine visual form. Part of the joy in experiencing I, Robot is getting lost in Proyas's not too distant future, and this digital presentation allows us the opportunity to do so in astonishing, fascinating freshness.

The Sound:
There are several aural options here, and each one provides a true channel challenging experience – especially during the action sequences. You will feel like you're riding along with Smith as he battles the automobile-attacking robot hordes. While the Dolby Digital 5.1 DTS will definitely be the way to go for those with a high-end home theater, it is only slightly superior to the basic 5.1 configuration. Both offer a clean, crisp set of sonics without any annoying hiss, distortion or dropout. The dialogue is discernable and the various effects really add to the overall experience. As with most big budget Hollywood blockbusters, there tends to be more bombast than muted gradation in the audio (the score is one of the worst over-the-top offenders here), but overall, this is still a marvelous sounding, as well as looking, DVD.

The Extras:
Where Fox truly comes up short is in the bonus features department. Once you get past the trailers and the less than informative 12-minute 'making of' featurette, we aren't left with very much additional content. Proyas and Goldsman do sit down for a feature length commentary and, even with all its self-congratulatory rhetoric, it is still a very informative narrative. Both men have detailed rationalizations for every good/bad idea in the film and the battles between big budget moneymen and individuals flush with imagination is showcased in sensational specificity. Their conversation is filled with spoilers (you should really watch the movie before delving into this alternative audio track) and, on occasion, they do point to problems that could have been overcome with a more 'serious' approach to the subject matter.

Perhaps the most interesting aspect of the commentary is that it was recorded a full five weeks before the film was release theatrically, so both men have only test audience and study reactions to guide their discussion. It would be interesting to see how they responded to the criticism/acceptance the film received once it hit the theaters. Though by no means a comprehensive view of the film, this bonus almost makes up for the lack of any other recognizable content on the DVD.

Final Thoughts:
For a topic area as rich as robots and robotics, it is interesting to note the true lack of any serious, substantial cinematic discussion of their existence. Most film fans had a problem with Stephen Spielberg's A.I. because it focused more on the familial aspects of parenthood and love than the reality of it's loved/hated humanoid minority class. Something like Star Wars tosses off its mechas like so much stand-up, giving them the vast majority of the kooky comic relief instead of integrating them into the social structure. In many ways, I. Robot does feel like a first. It gives us glimpses of how a world would function with artificial beings as part of its population. It deals with – not too deeply, mind you – the ethics involved in giving 'life' to something devoid of the basics of true humanity. And it presents its propositions in a credible, creative manner.

Still, there is a big fat overblown Hollywood blockbuster banging at the door of perception, constantly throwing this entire production off its brain game. If there is a ghost in the machine in this movie, it is the desire to give the mainstream exactly what it wants, to the detriment of even the most interesting ideas. I, Robot is by no means a failure, but it makes us uncomfortable to think of how much better it could have been. Someday, someone will pat the proper homage to Asimov and his philosophies. Proyas and I, Robot only get it part right.

HERE IS THE DIRECT DOWNLOAD FOR THE MOVIE I-ROBOT.

UNBREAKABLE NOW AVAILABLE HERE

UNBREAKABLE IS NOW AVAILABLE ONLINE
ITS A MOVIE STARING SAMUEL JACKSON AND BRUCE WILLIS. BRUCE GETS IN A TRAIN WRECK AND IS THE ONLY ONE THAT SURVIVED AND HE HAD NO INJURIES THAT HE SUSTAINED AND SO JACKSON BELIEVES HE IS A SUPERHERO AND TRAINS WILLIS TO HELP OTHER PEOPLE BY SAVING THEM FROM BAD PEOPLE. THERE IS A BIG TWIST AT THE END AND IF YOU LIKE COMIC BOOKS THEN YOU SHOULD LIKE THIS MOVIE.

HERE IS THE SUMMARY OF UNBREAKABLE FROM IMDB.

This suspense thriller unfolds as the audience is introduced to David Dunn, played by Willis. Not only is he the sole survivor of a horrific train-crash that killed 131 people he doesn't have a scratch on him. Samuel L Jackson plays an obscure character who approaches Dunn with a seemingly far fetched theory behind it all rocketing off an enticing thriller with a sci fi twist Written by Filmtwob {webmaster@filmfreak.co.za}

Security Guard David Dunn miraculously survives a catastrophic train crash outside Philadelphia. Not only is he the sole survivor out of 132 passengers, he also is completely unharmed. A little later, comic book specialist Elijah Price contacts him to confront David with an incredible theory: Elijah, who has been nicknamed "Mr. Glass" due to his more than fragile bones, thinks that David has got all which he himself lacks. The two of them "seem to be linked by a curve, but sitting on opposite ends". First, David does not believe the strange man, but every single thing he had said proves to be true: David has never ever been hurt or sick in his life, his physical strength is larger than normal and he has a skill which others don't. Slowly, David begins to discover the shocking truth behind Mr. Price's assumptions. But after all, David's fate is not only to find his real place in the world. It also is about proving Elijah's theory of his own existence. Written by Julian Reischl {julianreischl@mac.com}

David Dunn's marriage is crumbling, and he's thinking of moving to New York. Then when he's coming home from a job interview, his train derails and he is the only survivor. More than that, he doesn't have a scratch on him. David is contacted by Elijah Price, who runs a comic book art gallery and suffers from a genetic condition that makes his bones very easy to break. Elijah has been a comic book fan all his life, and has developed a theory that they are what remains of an ancient system of storytelling, and the superheroes they are about are based on real people. Elijah believes David may be one of these people. He has hardly ever been injured or sick, and he has tremendous strength, plus an uncanny ability to tell if someone is about to or has done something bad. David doesn't know what to think about the theory, or Elijah himself. However, events soon conspire to convince him he may be a superhero after all. Written by rmlohner

A security guard named David Dunn (Willis) is coming home from work, when the train he is on is suddenly derailed, the train crashes, and he is the sole survivor, out of 132 people. Without a scratch on his body. Soon he is contacted by comic-book store owner Elijah Price (Jackson) whose bones are easily breakable, who claims David is a superhero. Written by neo101

HERE IS A REVIEW FROM DVD TALK ABOUT UNBREAKABLE.

The Movie: Unbreakable was a largely underrated movie that came out late last year from the creator of The Sixth Sense, M. Night Shyamalan. I was not able to see the movie when it came out in the theaters because of a death in the family and I was quite excited to get my hands on this DVD. If you've ever been into comic books or are a former or current comic book collector, you should like this film quite a bit. The two people I watched this with were neither and they both liked it as well. Unbreakable is the story of David Dunn (Bruce Willis), a football security guard that seems to have a normal life. He and his wife (Robin Wright Penn) are on the mend, he's looking into finding a job elsewhere and there's a son in the picture as well. The beginning is set on a train where Dunn is talking to the woman next to him. Next thing you know, the train has derailed. We go to the hospital with the mom and son and find out that David survived the derailment without a scratch on his body while everyone else on the train died. So, why did he live through the train wreck and why, from the best of his knowledge, has he never been sick? This is when we meet Elijah Price, the other main character in the movie. Elijah has a condition where his bones easily break. He owns a comic book shop called "Limited Edition". Elijah is very serious about his trade. A man comes in saying he is buying an art piece for his son who is very young and Wood tells him to get out because the son would not give it the care it needs. Elijah believes everyone has an opposite person in this world that has strengths where the other has weakness. He believes he's found his opposite person in David Dunn. Elijah contacts David about him possibly having superpowers, but David brushes him off. Elijah goes to many lengths, including breaking himself severely, to prove that David does indeed have these superpowers. But does he? That's the setup for the movie. The rest of the movie is David testing out whether he truly has superpowers and what this would mean for his life and his family's life. There are some very shocking and uplifting moments in the film, but you'll have to watch it as I feel I cannot give spoilers out in case people have not watched it. I was really intrigued by the movie and think it is a well written story that moves slowly, but not enough for you to tire of it. At its base, this movie is a character development study and it succeeds well. I've heard the critiques about the swerve at the end. I personally thought the movie ended wonderfully, but it honestly was not as much of a shock as The Sixth Sense was the first time I saw it. I highly recommend this movie and I also highly recommend watching it at least another time just like The Sixth Sense. The DVD Video: This 2.40:1 anamorphic transfer is of excellent quality. The only real "defect" I found were a few hints of shimmering. The color in the movie is very quiet and when there are standout colors they are handled beautifully. The cinematography in this movie is amazing. The beginning train scene with the dialogue and moving camera is brilliant, as is Elijah getting his first comic book as a child. Once you listen to the background stuff on disc 2, you'll love the cinematography even more. Sound: Offered in Dolby Digital and DTS 5.1, as well as Dolby Digital 2.0. The sound is very good and is of much more use than it was in Sixth Sense. The director talks about how he's found that sound is very important in film since Sixth Sense and he certainly uses it to a better degree in this film. The DTS track was a bit cleaner than the DD track, which is normal, but both were very good. Menus: The score is played during the menus and some lines of dialogue flow through the menu. It is well done and easy to navigate. Extras: The second disc is where you will find the extras. They are all pretty good, with one glaring omission that I will explain at the end. Deleted Scenes: There are 7 deleted scenes that you can either do entirely or each scene alone. The director prologues the scenes before they are played. None of them went into the movie for good reason. Although they are wonderful scenes, many of them are redundant with other parts of the movie. I also think many of the scenes could have gone in to replace the original scenes. The Elijah in the circus one is pretty interesting though and looks more into the history of Elijah and his weaknesses than we are given in the movie. Making Of: This is about a 15 minute documentary on the making of Unbreakable. It skims the surface of the movie, but it also takes a few peeks into why the colors are the way they are and how they went about creating the storyboard. It was informative, but there could have been more. The director also talks about this being the first act in a trilogy. He honed it down from a three act story to the first act only. However he makes no indications that we will see the others. Comic Book Documentary: This is about a 20 minute documentary on comic books and heroes from a variety of people. You get such people as artist Alex Ross (from Kingdom Come and who also did the 2 pictures included in the 2-disc set) and writer Frank Miller (Dark Knight Returns, Batman: Year One, Daredevil years ago, etc.) along with many others talking about comic books and what superheroes mean. It is very interesting, but I wish they would have cut that one lady out as she is a bit annoying. Train Station Multi-Angle: This is not a multi-angle version of the train crash in the beginning, but a scene that happens later in the movie. You can watch this with just sound effects, just music or the final full sound cut (all in Dolby Digital 5.1). You can also switch from storyboard to the actual movie clip. It is quite interesting. Unfortunately you cannot switch the sound option on-the-fly once you've started. M. Night Shymalan's Short Film: We get to see one of the director's first short films. I believe it is called Millionaires. He says it is very bad and he is right. He stars in it and it really isn't that long. Basically it is a fight scene done at someone's house when he was younger. It is funny to see how far he has gone from then to now. So, what is the glaring omission I talked about earlier? There is no commentary track. This is VERY disappointing. I would have liked to hear at least the director talk about the movie as it is going along. I have no clue why this was not included, it would have added to this release to understand all the nuances. Final Thoughts: Overall, Unbreakable is a great buy. The movie alone is worth buying. The extras are just an added bonus. I am a bit disappointed by the lack of commentary or more extras (this is the newly christened Vista series after all), but as a whole it is a great buy.

HERE IS THE DIRECT DOWNLOAD FOR THE MOVIE UNBREAKABLE.

HERE IS EVAN ALMIGHTY GOOD QUALITY

EVAN ALMIGHTY IS NOW AVAILABLE FOR DIRECT DOWNLOAD

HERE IS THE MOVIE EVAN ALMIGHTY ITS STARING STEVE CARELL FROM THE OFFICE AND FROM THE HIT MOVIE THE 40 YEAR OLD VIRGIN VERY FUNNY MOVIE AND SO IS THE STEVE. EVERY SHOW AND MOVIE HE IS IN IS SO FUNNY. THIS ONE HE PLAYS A CONGRESSMAN WHO GETS TOLD BY GOD WHO TOLD JIM CAREY IN THE MOVIE BRUCE ALMIGHTY TO BE HIM WELL THIS TIME GOD TELLS CARELL TO BUILD AN ARK BECAUSE A FLOOD IS COMING IN A FEW WEEKS SO CARELL LAUGHS IT OFF UNTIL THINGS HAPPEN. I WONT SPOIL IT FOR YOU JUST WATCH THE MOVIE ITS VERY FUNNY AND ITS A GREAT MOVIE.

HERE IS THE SUMMARY OF EVAN ALMIGHTY FROM IMDB.

The last time we saw Evan Baxter (Steve Carell), he was being tormented by rival Bruce Nolan onscreen, live from their Buffalo TV station. But as time passed and Evan has made up with Bruce, he's gone onto bigger and better things. Newly elected to Washington D.C. as a congressman, Evan has left Buffalo, New York in pursuit of a greater calling. But that calling isn't serving in the illustrious ranks of America's politics, but being summoned by the Almighty himself (Morgan Freeman), who has handed Evan the task of building a new ark, much as Noah did before. With time passing by and his family belittled by Evan's newfound realization, Evan will have to do the work that God has given him in what promises to be an unusual adventure for a man who just wanted to serve his country, might actually be serving humanity. Written by mystic80

HERE IS A REVIEW OF EVAN ALMIGHTY FROM DVD TALK.

So, yeah, it's a big, bloated, crotch-walloping, slapsticked-into-a-coma, yelly, juvenile piece of family entertainment. But at least it's better than "Bruce Almighty."

Now a congressman, Evan Baxter (Steve Carell) has moved his family (including Lauren Graham) to suburban Virginia to start a new life. Ready to take on the world of politics, Evan is visited by God (Morgan Freeman, having a ball), who informs the phobic congressman that's he should build an ark instead. At first, Evan resists. Yet, when the animals start showing up at his door, the lumber dropped off on his lawn, and cursed with a beard and hair that won't stop growing; Evan realizes he must take the role of Noah and build his mighty boat before a promised flood arrives.

"Bruce Almighty" was one of those unexpected disappointments that makes your stomach hurt. It was Jim Carrey playing God, and the film could only eek out 50% blissfully goofy material. The rest was lost to the winds of shoehorned decency; the film growing a needless heart when it needed to flex its funny bone just a little bit longer.

Yet, it made money. Loads of it. But not enough to entice Carrey to come back. Producers being producers, they inched the franchise over a few feet, and here we have Steve Carell in the biggest role of his rather short-lived screen career. Fortunately, Carell is a natural, lending "Evan" the perfect blast of comedic fury to get the job done.

The gift of Carell's performance is that you believe he believes; even surrounded by a plethora of trained animals and subjected to a torrent of Evan-go-boom physical gags, Carell stays crisply focused and determined. He sells the idea that his character is capable of limitless building capability and is genuinely fearful of God's wrath. He's terrific here. I shudder at the thought of the film without his horn-blare touch.

Returning director Tom Shadyac has improved his serve for this sequel, evening out the balance between slapstick and social conscience for "Evan." The film still features plenty of strained obviousness and poorly implemented morals (perhaps fearing the messages of the movie would be lost in the massive scope), yet "Evan" is a slicker piece of direction, with refreshing concern for pace and timing. It's not crafty, pioneering cinema, but compared to "Bruce," "Evan" is a faster, more confident picture. It knows what pleases the crowds and steamrolls through the fluff briskly.

Now I could've done without the countless animal feces gags, the genital-assault humor, and Shadyac's atrocious ear for "inspirational" music (does the world really need a country cover of "Revolution?"), but I did enjoy this big, dumb family film in a big, dumb way. I was even more impressed how "Evan" turns temporarily into an Irwin Allen disaster film in the final act, using impressive special effects and good old fashioned actorly panic to get some use out of that pesky ark.

As a crowd-pleasing, undemanding matinee diversion, "Evan Almighty" is a far more satisfying production than "Bruce," and that, to me, is a great thing. Even if the nonsense gets under your skin from the first frame, it's hard to ignore that Carell is a natural at this leading man business.

HERE IS THE DIRECT DOWNLOAD FOR THE MOVIE EVAN ALMIGHTY.

HARRY POTTER 5, TRANSFORMERS GREAT COPY, EVAN ALMIGHTY AND A LOT MORE COMING THIS WEEK

THIS WEEK I WILL BE ADDING A LOT MORE OF THE GREAT MOVIES COMING OUT YOU GUYS CAN COMMENT ON WHAT MOVIES YOU WANT ANY TIME OF THE DAY AND I WILL TRY AND FIND THE MOVIE LINK AND PUT IT UP. I THINK SOMETIME TODAY I WILL BE ABLE TO PUT UP TRANSFORMERS TELESYNC WHICH IS ALMOST DVD QUALITY AND IT SHOULD BE A GREAT MOVIE I STILL HAVEN'T SEEN I WILL BE PUTTING UP EVAN ALMIGHTY IN A FEW MINUTES AND WHEN POTTER COMES OUT IN A DAY OR TWO I WILL PUT THAT UP AS WELL AS OTHER HIT BLOCKBUSTERS ALL BEFORE MONDAY THEN I WILL BE ADDING MORE THEN TOO.

JUST IN SNL BEST OF WILL FARRELL

THE BEST OF WILL FARRELL VOL 2 NOW ONLINE
THATS RIGHT ITS THE BEST OF WILL FARRELL VOL 2. ITS ABOUT ALL OF WILL FARRELL'S BEST SKITS FROM SNL.
HERE IS A REVIEW ON THE BEST OF WILL FARRELL FROM DVD TALK.

In 10 Words or Less More of Ferrell's funny stuff

The Show
If you didn't catch the first installment of Will Ferrell's best "Saturday Night Live" performances, you probably won't want this one. I only say that because if you didn't pick up the first volume, you probably don't like Ferrell's comedy. He's simply that good. If you enjoy him, you just can't get enough of him. Lion's Gate has met that demand with a second collection of his SNL exploits. The question asked itself though, what was missing from the first set than could be put in the second?

The DVD
The second volume of the greatness that is Will Ferrell looks much the same as the first disc in terms of layout, with title-themed animated menus that allow you access to a play all option, scene selections and extras. Here's what's in volume two:

George W. Bush: Ferrell's excellent imitation of the Buffoon-in-Chief isn't as funny now, as the country struggles under the real thing. You can still appreciate the talent, even if the subject matter is more depressing than funny. You have to like putting Dick Cheney into the Axis of Evil, though.

Show Your Patriotism (with Sean William Scott): A parody of what was acceptable in the name of patriotism in the wake of 9/11, this look at Ferrell's ass will seer into your brain. It's an excercise in "Ferrell flesh" that repeats itself often. A lowest-common-denominator laugh on a purely physical basis.

The Mark Jensen Family Christmas: SNL's love of the puke pipe shows through in this parody of schmaltzy TV Christmas specials. Not the greatest sketch I've seen, and the puke pipe never works just right. At least it's short.

Dr. Surreal: This is one of the funniest sketches I've ever seen on SNL, and I'm not so sure it's on purpose. Ferrell is a strange doctor giving a couple the runaround when they ask about their baby. The whole scene makes no sense, and becomes funny only when Ferrell and Molly Shannon begin to crack, thanks to a great bit by Tim Meadows.

Janet Reno's Dance Party (with Rudy Giuliani): Ferrell's Vera DeMilo-esque imitation of the former Attorney General, placed in the context of a teen dance TV show, is just ridiculous. When she takes on the former mayor of New York in an impromptu boxing match, it goes to another level of insanity.

Frat Boy Randy Graves: Ferrell's manboy persona takes to Weekend Update to talk about President Clinton's legal troubles. Like the frat boys he is making fun of, the act gets annoying quickly.

The Lov-ahs (with Christopher Walken): This is a good example of Ferrell's sexual intellectual, but disappointingly, this is the same sketch seen on the "The Best of Christopher Walken" DVD. If they aren't going to release season sets, they could at least put out as many different sketches as possible.

Ted Brogan (with Charlie Sheen): Rachel Dratch gives birth to a full-grown man, played by Ferrell. There's only one joke here, and it doesn't stretch out well. On the first DVD, it was included as a small clip (of just the actual birth), which was probably the best way to experience it.

Inside the Actors Studio (with Kate Hudson): James Lipton exercises his interviewing expertise on Drew Barrymore. Ferrell's Lipton is one of his best characters, but Hudson's not a great Barrymore. Thankfully, Ferrell is more than capable of carrying the show.

Mr. Tarkanian (with Pierce Brosnan): With Brosnan on a job interview, he watches his potential new boss abuse his employees. Anyone who has interviewed with one boss, only to work for another will enjoy this one. A bit overdone, but it's fun to watch Ferrell lose it.

VH-1 Storytellers: Ferrell and Kattan are Air Supply, and while singing their new song, they find they share more than just a band. Short and relatively pointless.

Wake Up and Smile (with David Alan Grier): When the teleprompter goes down during a morning chst show, chaos reigns supreme, as they don't know what to do when not told. The de-evolution into a post-apocalyptic nightmare is presented by some lame fake commercials. A funny and dark concept that's done very well.

Bill Brasky (with Alec Baldwin): People exaggerate, but not like Brasky's friends. Drinking like fish, they eulogize the giant, coffin-side. A limited concept and not one of Ferrell's best.

Scene on an Airplane (with Toby Maguire): On Maguire's first flight as a co-pilot, he's stuck with a couple of maniacs who insult and abuse the passengers. This is furious

Robert Goulet (with Alec Baldwin): Ferrell's Goulet is a riot, and now he's playing onstage in "Red Ships of Spain" with his two brothers. It just drags on and on, until it finally ends with a wimper. For big Ferrell or Goulet fans only.

Tough as Nails (with Katie Holmes): Ferrell's a movie actor on the rough end of Holmes' assaults, as she grabs his groin again and again with each take. Low-brow laughs.

The Terry Ganter Family Workout: Running under the credits, this scene features Ferrell as an overexcited exercise-show host who injures himself badly and reacts even worse.

The Quality
No complaints here. The video has excellent color, solid blacks and crisp images, while the audio is good 2.0 Dolby Digital. For a clip job from across nearly a decade of cable TV, it looks and sounds great.

The Extras
An automatic photo album includes behind-the-scenes photos and scene stills, while a pair of cut dress rehearsal scenes show that edits are often made wisely. One is a Terence Maddox photo class that intoduces his arch-nemesis Sebastian Clay (Alec Baldwin). Though promising in context, the comedy is lacking. The other is a "real-life" sketch with Kelsey Grammer and Shaquille O'Neal. It's insane, and probably should have been cut, but it could just as easily have been left in for madness' sake. My life will never be the same after seeing it.

Two Ferrell appearances on Conan O'Brien are also included, which may be the best bits on the disc. In the first clip, he appears as a naughty leprachaun, talking about sexy Irish people, while in the other he talk about his wife's Swedish background. Ferrell's at the top of his game when on Conan, getting very loose and very funny.

The Bottom Line
This could have been a better collection, but the quality of the sketches falls short of Volume One. In fact, the absence of any Jeopardy sketches is a major mark against it. If there were better extras, it would help, but as it is, this is a major mis-step for a line that had been cranking out some excellent DVDs.

HERE IS THE DIRECT DOWNLOAD FOR SNL THE BEST OF WILL FARRELL VOL 2.

HOSTEL PART 2 NOW ONLINE

HOSTEL PART 2 NOW AVAILABLE FOR DIRECT DOWNLOAD

YES ITS THE SEQUEL TO THE VERY VIOLENT MOVIE HOSTEL. I HAVEN'T SEEN IT YET BUT I HEAR ITS A GREAT MOVIE AND EVEN MORE VIOLENT THEN THE FIRST MOVIE.

HERE IS THE SUMMARY OF HOSTEL PART 2 FROM IMDB.

Three female college students take a detour from their partying, enticed by a beautiful European woman who promises seclusion, safety and maybe even romance. What they get is a living hell where they are sold to the highest bidder who's fondest wish is to kill them slowly. Hostel 2 also follows 2 American men who, on the flip side of the coin, are willing to pay to join an exclusive club where a life will end at their hands...any way they like. It's a story of human monsters and the almighty dollar as only Eli Roth could tell it. Written by Paul Nomad of Dreadcentral.com

4 beautiful college students are tricked into entering a hostel where the 'hosts' like to torture, rape and murder. Following a geographical tour of Slovakia, three women are lured into a hostel by a handsome young man who sells them to the twisted masters, who tie them up and bring upon an unthinkable world of pain... Written by Anonymous

Three young college students enter a hostel in Slovakia on the behest of a beautiful Eastern European woman... however, following a festival in the small village in which they are staying, the woman are turned over to a group that allows the highest bidder to kill. Written by Anonymous

HERE IS A REVIEW OF THE MOVIE HOSTEL PART 2 FROM DVDTALK.

If you enjoyed "Hostel," last year's torture-porn hit from Eli Roth, then one school of thought says you're bound to enjoy "Hostel Part II," because it's almost exactly the same movie. Another school of thought, however, doesn't like sequels that are merely repeats of their predecessors. That's the school I go to. Roth, raised on the classic slasher series, pays homage to them by retaining one character from the first "Hostel," only to dispatch him within the first 10 minutes. Now we can REALLY get down to business! The Slovakian recreational facility introduced previously is still operating at full capacity. Here men and women from around the globe can pay thousands of dollars for the privilege of torturing and killing a victim in a controlled environment. The victims, generally young backpackers, are plucked from a nearby hostel. We know this already, and if we didn't, we'd start to suspect it when the ominous music blares in conjunction with the first shot of the hostel. Our heroes this time are female -- see, totally different from the first movie, where the victims were men! -- and are three American art students studying in Rome. Lorna (Heather Matarazzo) is nerdy and spacey; Beth (Lauren German) is a rich, smart brunette; and Whitney (Bijou Phillips) is a temperamental blonde. Through an elaborate and implausible plan involving several people pretending to be unconnected to each other but secretly working in tandem, the three girls wind up in Slovakia just in time for the Harvest Fair! And that's where they get abducted. The lesson? Never trust strangers. Also, possibly: Never go to Slovakia during the Harvest Fair. It's like the Eastern European version of Mardi Gras. One thing the sequel does that the first film didn't is introduce us to the torturers, who previously were just nameless sadists. Here they are Todd (Richard Burgi) and Stuart (Roger Bart), both American businessmen. Todd is a testosterone-fueled wannabe tough guy, while Stuart is a pushover who's having second thoughts. The reason you go to a movie like this, of course, is for the thrill of seeing the gruesome violence. In that regard, "Hostel Part II" is both better and worse than its predecessor. There seem to be fewer torture scenes this time around: just one major sequence, really, with a few abbreviated glimpses of others. But what we do see feels, at least to my memory (I have not re-watched the first "Hostel"), to be more distasteful and "offensive," though I realize that word takes on a different meaning in a film where the whole point is to be offensive. Roth breaks one of the unwritten rules of horror films by allowing a child -- a little boy about 8 years old -- to be murdered. It's not shown graphically, but it's there. Do we admire the filmmaker for going against the norm? Or do we point out that it doesn't really take any courage or vision to break a rule like that -- that Roth probably did it just for the sake of doing it? A nude woman sits in a tub and slices open the live nude woman hanging upside-down above her and bathes erotically in her blood. A man's genitals, fully visible to us, are cut off and disposed of. Both of these are unpleasant to watch, but as I said, that's the whole idea. My observation is that if this kind of content doesn't warrant an NC-17 rating, then apparently it is impossible to get an NC-17 rating for violence. Sex, sure. If the torturer had touched that man's penis with anything other than a pair of scissors, that would have been sex, and then the MPAA would have been horrified and given it an NC-17. But since it was only violence, well, hey, there's nothing wrong with that! We'll give it an R, the same rating we gave "Pretty Woman," "Rain Man," "Billy Elliot," and "The Matrix"! But anyway. The MPAA's flagrant and sustained incompetence is a matter for another time. Is "Hostel Part II" any good? Roth's sense of humor is evident in a few instances (though the dialogue lacks the spark of the first film, or of his previous "Cabin Fever"), and he can build tension when he wants to. The problem here is that he usually doesn't want to. There's no suspense over who will wind up in the torture factory, and only a few mild surprises with regard to who lives and who dies and who does the killing. It is little more than a retread of the previous film, which makes it lazy on top of everything else.
HERE IS THE DIRECT DOWNLOAD FOR THE MOVIE HOSTEL PART 2 1 OF 4

HERE IS THE DIRECT DOWNLOAD FOR THE MOVIE HOSTEL PART 2 2 OF 4

HERE IS THE DIRECT DOWNLOAD FOR THE MOVIE HOSTEL PART 2 3 OF 4

HERE IS THE DIRECT DOWNLOAD FOR THE MOVIE HOSTEL PART 2 4 OF 4

BREAKING NEWS: TRANSFORMERS IS AVAILABLE ONLINE AND RIGHT HERE

TRANSFORMERS THE MOVIE NOW AVAILABLE ONLINE

THATS RIGHT HERE IS THE MOVIE TRANSFORMERS 2007 THOUGH RIGHT NOW THE VIDEO QUALITY IS NOT GREAT BUT IN A WEEK OR LESS I SHOULD HAVE A GREAT COPY THAT WILL BE AVAILABLE HERE.

HERE IS SOME INFO ON THE MOVIE FROM IMDB AND A FEW OTHER SITES.

A long time ago, far away on the planet of Cybertron, a war was being waged between the noble Autobots (led by the wise Optimus Prime) and the devious Decepticons (commanded by the dreaded Megatron) for control over the Allspark, a mystical talisman that would grant unlimited power to whoever possessed it. The Autobots managed to smuggle the Allspark off the planet, but Megatron blasted off in search of it. He eventually tracked it to the planet of Earth (circa 1850), but his reckless desire for power sent him right into the Arctic Ocean, and the sheer cold forced him into a paralyzed state. His body was later found by Captain Archibald Witwicky, and before going into a comatose state Megatron used the last of his energy to engrave a map, showing the location of the Allspark, into the Captain's glasses, and send a transmission to Cybertron. He is then carted away by the Captain's ship. A century later, Sam Witwicky, nicknamed Spike by his friends, buys his first car. To his shock, he discovers it to be Bumblebee, an Autobot in disguise who is to protect Spike, as he bears the Captain's glasses and the map carved on them. But Bumblebee is not the only Transformer to have arrived on Earth - in the desert of Qatar, the Decepticons Blackout and Scorponok attack a U.S. military base, causing the Pentagon to send their special Sector Seven agents to capture all "specimens of this alien race," and Spike and his girlfriend Mikaela find themselves in the middle of a grand battle between the Autobots and the Decepticons, stretching from Hoover Dam all the way to Los Angeles. Meanwhile, within the depths of the Pentagon, the cryogenically stored form of Megatron awakens... Written by Sivaji IMDBoss

High-school student Sam Witwicky buys his first car, who is actually the Autobot Bumblebee. Bumblebee defends Sam and his girlfriend Mikaela Banes from the Decepticon Barricade, before the other Autobots arrive on Earth. They are searching for the Allspark, and the war on Earth heats up as the Decepticons attack a United States military base in Qatar. Sam and Mikaela are taken by the top-secret agency Sector 7 to help stop the Decepticons, but when they learn the agency also intends to destroy the Autobots, they formulate their own plan to save the world. Written by BRUTICUS!

HERE ARE THE DIRECT DOWNLOADS TO THE MOVIE THE QUALITY IS NOT THAT
GOOD BUT THIS AN EARLY RELEASE SO PRETTY SOON THEY WILL HAVE A BETTER
ON WHICH I WILL UPDATE WITH.

CLICK HERE FOR PART 1 OF 3 OF THE TRANSFORMERS 2007 MOVIE.

CLICK HERE FOR PART 2 OF 3 OF THE TRANSFORMERS 2007 MOVIE.

CLICK HERE FOR PART 3 OF 3 OF THE TRANSFORMERS 2007 MOVIE.

UPDATE I WILL POST NEWER BETTER QUALITY ONE IN A FEW DAYS.

EVEN BETTER UPDATE: TOMORROW I SHOULD HAVE A BETTER VERSION OUT ON HERE IT SHOULD BE A 8.0 QUALITY OR SO SAYS VCDQUALITY SO STAY TUNED.

FANTASTIC FOUR 2 THE RISE OF THE SILVER SURFER NOW ONLINE

FANTASTIC FOUR 2 NOW AVAILABLE FOR DIRECT DOWNLOAD

THATS RIGHT THE MOVIE THAT IS THE SEQUEL OF FANTASTIC FOUR IS BACK AND THIS TIME THEY HAVE TWO ENEMIES ONE IS THE SILVER SURFER AND THE OTHER IS A FOE THAT THEY THOUGHT WAS LONG DEAD BUT YOU WILL HAVE TO WATCH THE MOVIE TO FIND OUT WHO HE/SHE IS.


HERE IS THE SUMMARY OF THE MOVIE FANTASTIC FOUR 2 FROM IMDB.

With Von Doom back in his homeland of Latveria the fantastic four have new troubles when Galactus has decided that Earth is his next target. When his henchman, The Silver Surfer (Norrin Radd), is sent to Earth he discovers that he's getting more than he bargained for when he encounters the Fantastic Four. But that's not all when Dr. Doom decides that after two years in the homeland he is ready to return. Written by Gharrett Favinger

Everything seems to be going great for the Fantastic Four. Reed and Sue are finally getting married, and things couldn't seem better. However, when the mysterious Silver Surfer crashes things, they learn that they will have to deal with an old foe, and the powerful planet eating "Gah Lak Tus." Written by Joshua Beltran

HERE IS A REVIEW OF THE MOVIE FANTASTIC FOUR 2 FROM DVDTALK.

As far as "sequels to bad movies that no one wanted to see a sequel to" go, "Fantastic Four: Rise of the Silver Surfer" isn't bad. It's a vast improvement over 2005's laughably dim-witted superhero tale, though it still lacks any major high-stakes excitement or surprises. In fact, it's still not very good at all. But at least it's not aggressively stupid! Baby steps, people.

Again directed by Tim Story, who apparently can never turn off the light touch he exercised on the comedies "Barbershop" and "Taxi," even when he should, the sequel begins with Reed Richards (Ioan Gruffudd) and Sue Storm (Jessica Alba) preparing to marry. The Fantastic Four are media celebrities, though, and they live under constant scrutiny, making a private wedding hard to plan. Plus, they're always being pulled away to save the world and whatnot.

Sue, who can turn invisible and make forcefields, wonders if she and Reed and can raise a family under these circumstances. Reed, whose body can stretch unbreakably in any direction, has a hard time getting out of scientist mode and cutting loose. Sue's brother, Johnny (Chris Evans), uses his fame to date supermodels and secure endorsement deals. In fact, call him John: "Focus-testing showed that 'Johnny' skewed a little young," he says. And Ben Grimm (Michael Chiklis), made of rocks and empowered with mighty clobbering capabilities, um, has a girlfriend. That's sort of all that's going on with him.

Into this mildly interesting realm of vague tension comes something slightly more dire: THE WORLD IS GOING TO BE DESTROYED! But don't worry, not yet. In a few days. See, there's this alien being called the Silver Surfer (body of Doug Jones; voice of Laurence Fishburne) who can move through solid things and change matter on a molecular level, and he has a pattern of going from planet to planet, and after he arrives at a planet, eight days later it's toast. So, you know, they'll need to stop him.

(By the way, the Silver Surfer character first appeared in the "Fantastic Four" comic books in 1966. I assume it happened because Stan Lee said, "Hey, you know what the kids are into these days? Surfing! Somebody work on that!")

But what about Victor Von Doom (Julian McMahon), the Four's archenemy, you ask? Turns out he's not as dead as he was believed to be, and now, thanks to his possessing exactly one piece of useful information about the Silver Surfer, the U.S. military is letting him work with the Four on developing a plan to stop the madness. Naturally, he has a double-cross in mind.

The screenplay is by Mark Frost, who cowrote the last one, and Don Payne, who wrote "My Super Ex-Girlfriend." That movie wasn't very good, either, but it had its moments, and bringing Payne onboard puts the "Fantastic Four" on the right track. There are some actual laughs in "Rise of the Silver Surfer," mostly situational, as the superheroes deal with using their powers in an ordinary world. The "Spider-Man" films, in particular, have shown how to mix the comic and dramatic in a superhero story, and it goes a long way toward making your audience feel connected to your characters.

So now that the humor angle is covered, what this franchise needs is to figure out how to raise the stakes and be deeply serious when deep seriousness is called for. Despite the fate of the world being threatened, nothing in the film ever feels tense or important. There are no epic battles, no real life-or-death scenarios. It could easily be a two-part episode of a "Fantastic Four" TV series -- and a blockbuster summer action movie ought to be much more intense than that. These flat, emotionless characters just aren't going to cut it.

HERE IS THE DIRECT DOWNLOAD FOR FANTASTIC FOUR 2 PART 1 OF 2

HERE IS THE DIRECT DOWNLOAD FOR FANTASTIC FOUR 2 PART 2 OF 2.