EASTERN PROMISES NOW AVAILABLE

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HERE IS THE SUMMARY FOR THE MOVIE EASTERN PROMISES FROM IMDB

The new thriller reteaming acclaimed director David Cronenberg with his A History of Violence leading man Viggo Mortensen, Eastern Promises is written by Steve Knight (Academy Award-nominated screenwriter of Dirty Pretty Things). As in the earlier film, director and star together explore the psyche, physicality, and fortunes of a man whose true nature may never be wholly revealed. The mysterious and charismatic Russian-born Nikolai Luzhin (Mr. Mortensen) is a driver for one of London's most notorious organized crime families of Eastern European origin. The family itself is part of the Vory V Zakone criminal brotherhood. Headed by Semyon (Academy Award nominee Armin Mueller-Stahl), whose courtly charm as the welcoming proprietor of the plush Trans-Siberian restaurant impeccably masks a cold and brutal core, the family's fortunes are tested by Semyon's volatile son and enforcer, Kirill (Vincent Cassel), who is more tightly bound to Nikolai than to his own father. But Nikolai's carefully maintained existence is jarred once he crosses paths at Christmastime with Anna Khitrova (Academy Award nominee Naomi Watts), a midwife at a North London hospital. Anna is deeply affected by the desperate situation of a young teenager who dies while giving birth to a baby. Anna resolves to try to trace the baby's lineage and relatives. The girl's personal diary also survives her; it is written in Russian, and Anna seeks answers in it. Anna's mother Helen (Sinéad Cusack) does not discourage her, but Anna's irascible Russian-born uncle Stepan (Jerzy Skolimowski) urges caution. He is right to do so; by delving into the diary, Anna has accidentally unleashed the full fury of the Vory. With Semyon and Kirill closing ranks and Anna pressing her inquiries, Nikolai unexpectedly finds his loyalties divided. The family tightens its grip on him; who can, or should, he trust? Several lives - including his own - hang in the balance as a harrowing chain of murder, deceit, and retribution reverberates through the darkest corners of both the family and London itself. Written by Focus Features

The mysterious and charismatic Russian-born Nikolai Luzhin (Viggo Mortensen) is a driver for one of London’s most notorious organized crime families of Eastern European origin. The family itself is part of the Vory V Zakone criminal brotherhood. Headed by Semyon (Armin Mueller-Stahl), whose courtly charm as the welcoming proprietor of the plush Trans-Siberian restaurant impeccably masks a cold and brutal core, the family’s fortunes are tested by Semyon’s volatile son and enforcer, Kirill (Vincent Cassel), who is more tightly bound to Nikolai than to his own father. But Nikolai’s carefully maintained existence is jarred once he crosses paths at Christmastime with Anna Khitrova (Naomi Watts), a midwife at a North London hospital. Anna is deeply affected by the desperate situation of a young teenager who dies while giving birth to a baby. Anna resolves to try to trace the baby’s lineage and relatives. The girl’s personal diary also survives her; it is written in Russian, and Anna seeks answers in it. Anna’s mother Helen (Sinéad Cusack) does not discourage her, but Anna’s irascible Russian-born uncle Stepan (Jerzy Skolimowski) urges caution. He is right to do so; by delving into the diary, Anna has accidentally unleashed the full fury of the Vory. With Semyon and Kirill closing ranks and Anna pressing her inquiries, Nikolai unexpectedly finds his loyalties divided. The family tightens its grip on him; who can, or should, he trust? Several lives – including his own – hang in the balance as a harrowing chain of murder, deceit, and retribution reverberates through the darkest corners of both the family and London itself. Written by Focus Features

HERE IS A REVIEW FOR THE MOVIE EASTERN PROMISES FROM DVDTALK

There are several moments in "Eastern Promises" that warrant discussion. The bloodletting that opens the film, for example, or the way someone puts out a cigarette with his own tongue before casually cutting up a corpse. You remember things like that. But you will also remember -- and probably discuss in the most depth -- the scene in which a completely naked Viggo Mortensen engages in a brutal hand-to-hand fight in a bathhouse. There are good reasons for Mortensen to be naked in the scene, both thematically and from a story standpoint. The movie was directed by David Cronenberg, whose films are often extreme but seldom gratuitous. Here Mortensen plays Nikolai, a chauffeur for Russian mobsters in London who is well on his way to becoming a wise guy in his own right. Bathhouse meetings are traditional for men in this profession because they allow you to see the tattoos -- and thus the career history, almost like military medals -- of the men you're negotiating with. It also means, in Nikolai's case, that he is completely vulnerable. We've all had nightmares about being naked, but it's usually not the nudity that's alarming; it's the fact that we're naked when we shouldn't be. Imagine being attacked by armed thugs. Now imagine it happens when you're defenseless, nude, and in a slippery room surrounded by hard tiles and sharp-cornered benches. Watching this scene, which would be ghastly even if everyone were fully clothed, you can't help but recoil at the tension of it. That's part of the power of "Eastern Promises," Cronenberg's absorbing and entertaining (yes, entertaining) look at the laws of crime and violence and ethics. So much of what happens is surprising or frightening, but Cronenberg doesn't draw undue attention to that aspect of it. He's just telling a story; this is simply the world of the characters. It's only afterward that you can step back and appreciate just how twisted the whole thing is.

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SUPERMAN DOOMSDAY NOW AVAILABLE

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HERE IS THE SUMMARY FOR THE MOVIE SUPERMAN DOOMSDAY FROM IMDB

When LexCorps accidentally unleash a murderous creature, Doomsday, Superman finally meets his greatest challenge as a champion. Based from the award-winning "The Death of Superman" trilogy.

HERE IS A REVIEW FOR THE MOVIE SUPERMAN DOOMSDAY FROM DVDTALK


The direct-to-video feature "Superman: Doomsday" is the first of three scheduled projects that will retool established characters for older fans, intentionally attracting a PG-13 rating and offering up more mature subject matter, to be released not through Warner Family Entertainment, but through the studio's new Warner Premiere division. It sounds like a good idea: allow the well-respected creative team-up of Warner Bros. Animation and DC Comics the chance to branch out into more complex subject matter, unhindered by the limitations that come with making children's programming. Unfortunately, aside from a very few admirable yet limited exceptions, "Doomsday" doesn't do much with the opportunity at all, while its story disintegrates into such an outright mess that the film ultimately becomes the first all-out flop for the Warner/DC team. (Sure, you can argue that last year's "Superman: Braniac Attacks" was a failure, but that effort was merely forgettable, while "Doomsday" is straight-up bad.) "Doomsday" is Warner/DC's long-awaited attempt to bring the "Death (and Return) of Superman" storyline to the screen. But how do you cram a story that stretched over 38 comic book issues into a movie that runs under 80 minutes? Not very well, apparently. For starters, you know you're in trouble when one of your two title characters is only in a third of your movie - and it's the wrong third. To call your movie "Superman: Doomsday" implies that we'll be dealing entirely with the Doomsday portion of the "Death of Superman" saga, either leaving the "Return of Superman" angle for another film or whipping up some new, non-death ending. (Spoiler alert! In "Death of Superman," Superman died. Go figure!) And what a great film that could have been, with a long, slow build-up to archvillain/megabeast Doomsday's eventual arrival, the entire third act devoted to the mammoth battle between titans. The filmmakers could have even killed off Supes in the end, only to follow with a sequel bringing him back. Instead, we get a movie that wants to squeeze in the whole affair, from "Death" to "Return," but without expanding the running time to fit. This means: Doomsday's arrival is rushed, with very little impact on the viewer; the Superman/Doomsday battle, while impressive, is over all too early, essentially deleting the title character from his own movie; the rush to get on with the funeral and return means Doomsday's defeat is utterly unexplained (he just sort of disappears completely after he's punched out, and the very notion of mentioning what happened to him - or that he even mattered to the storyline! - is forgotten within thirty seconds); the remaining too-tight running time means the "Return" storyline must be massively condensed in all the wrong ways, leaving us bored and frustrated with the mess on hand. (It should also be noted that for all those efforts to tweak the story for movie form, the producers remain too faithful to the parts of the story that don't work. As in: Mullet Superman. Really, Warner Animation? Really?)

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WHITE NOISE 2 THE LIGHT NOW AVAILABLE

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HERE IS THE SUMMARY FOR THE MOVIE WHITE NOISE 2 THE LIGHT FROM IMDB

A man's family is killed and he is brought back from the verge of death, he then realises he can identify people who are about to die.


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