MUSIC AND LYRICS NOW AVAILABLE

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• Cheery Alex Fletcher lives comfortably in Manhattan off the residuals from his 80's pop success and reprising his hits at school reunions, theme parks, and state fairs. But those gigs are declining, so he jumps at the chance to write a song and record it with reigning teen idol Cora Corman. Trouble is, he's good at melodies but needs a lyricist and has less than a week to finish. Enter Sophie Fisher, subbing for a friend who waters Alex's plants; she's a pretty good poet, quick witted, and could do it, if she'd agree. But there's some sort of shadow over her head that Alex may not be able to charm his way past. And what if they do get a song written, what then? Written by {jhailey@hotmail.com}

• In New York, the washed-up singer Alex Fletcher has a decadent career singing his old hits in amusement parks, school reunions or dinner parties to survive. In the 80's, he was a successful singer of the band POP with Collin Thompson, but when his partner split, his solo-career was a complete failure. His manager and friend Chris Riley schedules a meeting with the successful teen singer Cora Corman and Alex has a chance to be promoted in a show if he delivers a new song for Cora's concert in the end of the week. Alex has difficulties to put lyrics in his melody, but he accidentally discovers Sophie Fisher, who is temporarily watering his plants and proves to be a sensitive poet and efficient lyricist. Their song is approved by Cora, but they disagree about her interpretation, while they fall in love for each other. Written by Claudio Carvalho, Rio de Janeiro, Brazil

HERE IS A REVIEW FOR THE MOVIE MUSIC AND LYRICS FROM DVDTALK

• Hugh Grant has starred in a few clunkers in his day, but his track record with romantic comedies is surprisingly solid. I suspect this is because he seldom deviates from the characters he's best at: smart, self-deprecating, a little bumbling, and endlessly charming. He can rattle off a sardonic aside so quickly that the other characters don't even notice he's made a joke.

• It's no surprise, then, that "Music and Lyrics" is a frothy, funny, frivolous affair, largely because of Grant's contributions. His costar is Drew Barrymore, whose positive qualities I have never been able to ascertain, and while her character is (typically) loopy and off-kilter in a movie-character sort of way, she's rather endearing, too. They're a better pair than you'd expect them to be, especially given the 15-year age difference between them.

• Grant plays Alex Fletcher, keyboardist for the fictional '80s pop band Pop! and now generally referred to as "the other guy from Pop!" (see also: Andrew Ridgeley, "the other guy from Wham!"). The lead singer went on to solo fame and fortune, while Alex now does state fairs and Knott's Berry Farm and other medium-paying, semi-demeaning gigs. And he's content to do so. He makes a decent living, no one expects much of him, and the whole "retro" thing means a lot of 40-year-old women are thrilled to see him shake his booty when he performs at their 20-year class reunions. He's perfectly fine with being a has-been.

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WE OWN THE NIGHT NOW AVAILABLE

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HERE IS THE SUMMARY FOR THE MOVIE WE OWN THE NIGHT FROM IMDB

• A New York nightclub manager tries to save his brother and father from Russian mafia hit men.

HERE IS A REVIEW FOR THE MOVIE WE OWN THE NIGHT FROM DVDTALK

• A Shakespearian battle of wills and conscience form the heart of "We Own the Night." A testy, mournful drama, "Night" crackles with the kind of hard-edged ideas of street justice and criminal panic that don't come around often enough. It's a sensational picture, best received by minds open to generous cinematic brush strokes of right and wrong.

• The year is 1988, and Bobby Green (Joaquin Phoenix) is a small-time club promoter unknowingly working for Russian gangsters. His estranged family, brother Joseph (Mark Wahlberg) and father Burt (Robert Duvall), are New York City cops looking to take down a drug-running associate of the club. Asking for Bobby's cooperation with the investigation, the club wizard is caught between the power of success and the love of his floozy girlfriend (Eva Mendes), and the police blood that flows in his veins. When the Russians start to make destructive moves toward Bobby's family, he finds his choice already made for him.

• In "The Yards" and "Little Odessa," writer/director James Gray revealed his attraction to the criminal underground; how crossroads of faith and judgment shaped his characters as they fought to defend their mistakes and hope to correct their wayward lives. "We Own the Night" continues that exploration, only now on a more mythical playing field. It's cops vs. bad guys on the coke-lined gutters of New York City, and Gray brings a bleak enormity to it all that's difficult to resist.

• Reteaming Phoenix and Wahlberg after their work together in "Yards," "Night" is simply an actor's dream, allocating meaty roles to the cast that require bold proclamations of distress and disbelief. Phoenix is especially exceptional, extracting areas of torment in Bobby that help Gray's script find the reality it needs to keep dishing out larger-than-life sequences of revenge. Wahlberg and Duvall hold the smaller roles, but their performances ring with a level of steel blue loyalty that positions the film into unbelievable moments of violence and tragedy.

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A MIGHTY HEART NOW AVAILABLE

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HERE IS THE SUMMARY FOR THE MOVIE A MIGHTY HEART FROM IMDB

• The film is based on Mariane Pearl's account of the terrifying and unforgettable story of her husband, Wall Street Journal reporter Danny Pearl's life and death.

HERE IS A REVIEW FOR THE MOVIE A MIGHTY HEART FROM DVDTALK

The Movie:

• Perhaps the most surprising thing about A Mighty Heart -- aside from its effective reminder that Angelina Jolie is much more than just sexy tabloid fodder -- is how utterly unsentimental it is. In telling the horrific real-life story of Daniel Pearl, the Wall Street Journal reporter kidnapped and murdered in 2002 by Al Qaeda terrorists in Pakistan, the filmmakers wisely eschew the temptation to preach or crank up the melodrama. As a result, they have fashioned a work of considerable pathos and power.

  In that respect, A Mighty Heart is a fitting companion piece to Paul Greengrass' spellbinding United 93. Not only do both films tackle the rawness of 9/11 and its legacy, but tng. As a result, audiences sense the urhey do it with almost clinical precision. Like Greengrass, A Mighty Heart director Michael Winterbottom employs a documentarian approach augmented by uneven handheld camerawork and naturalistic lightigency of the events that unfolds onscreen.

  Our perspective is through the eyes of Daniel Pearl's wife, Mariane. The couple live in Karachi, Pakistan, where Danny, as the WSJ's South Asia bureau chief, is covering the aftermath of the September 11 attacks. He has one day left in the city, and he has scrambled to set up a final interview with an elusive Islamic leader. Mariane, five-months pregnant with their first child, goes about her daily routine. Danny has told her he expects to be home a little late, but Mariane grows alarmed when he doesn't make it back in time for a dinner party.

  Hours tick by, and Mariane comes to the frightening realization that her husband has been kidnapped. She must suddenly adapt to a new reality as her home is converged upon by Pakistani and American investigators who go through the difficult, but critical, process of collaboration.

  The bulk of A Mighty Heart is a police procedural -- and a damn fine one, at that. Winterbottom and screenwriter John Orloff stitch together a dizzying tapestry of potential suspects and suspected connections, false leads and dead ends. Rumors abound, with the facts of Danny Pearl's kidnapping obscured by a wealth of geopolitical considerations. Winterbottom ratchets up the tension by vividly capturing the daily grind of activity in Karachi -- the traffic jams, the bustle on the streets, the cacophony of sounds -- heightening our dread that there is no way that police will be able to find the kidnappers in time to save their hostage.

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THE COMEBACKS NOW AVAILABLE

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HERE IS THE SUMMARY FOR THE MOVIE THE COMEBACKS FROM IMDB.

• Coach Fields (David Koechner) is pathetic. He has the distinction of being the worst coach in the history of sports anyone can recall. A loser of enormous proportions, the incompetent and seemingly hopeless coach is convinced by fellow coach Freddie Wiseman (Carl Weathers) to return to the field for one last shot. Assuring his long suffering wife (Melora Hardin) that he will not ignore his family, Coach moves them to Plainfolk, Texas where he hopes to redeem himself and his reputation. Here he begins yet another attempt to improve his abysmal record - this time as the coach of the football team at Heartland State University. But he is saddled with a team of misfits - most of whom don't know the difference between a line of scrimmage and a line at the cafeteria. Coach is in serious need of some real talent to beef up his line-up and finds his number one recruit on the university's baseball diamond. The ever-so-handsome Lance Truman (Matthew Lawrence) brings with him a distinguished award winning career - albeit for the most dropped balls - as well as determination.

• Coach convinces Truman to join the team as quarterback, and the young athlete comes on board despite the objection of his father (Nick Searcy). Wearing jersey #1 is Trotter (Jackie Long), the bling-wearing, girl magnet wide receiver who can actually catch and run with the ball, as long as his oversized ego does not get in the way. The biggest bruiser of the team is Buddy Boy (George Back), but he turns out to be more warm and cuddly than the mean sonofabitch that Coach longs for. The rest of the team includes the upbeat and handsome, Aseel Tare (Robert Ri'chard), who is always ready for action despite an uncanny tendency for injury; tattooed and angry Jorge Juanson (Jesse Garcia) who has a chip on his shoulder, and the delusion of being from the barrio; Jizminder (Noureen DeWulf), a beautiful, British-Indian soccer player, who takes on the role of kicker and is the only female player on the otherwise all male squad; and lastly, is the runt of the group, Randy (Martin Spanjers), who is always begging for a chance to play despite his miniscule stature, and lack of any discernable football skills...unless you count moxie. Serving as Coach's right hand man is IPod (Jermaine Williams), although he is often misunderstood, the good-hearted, music listening IPod keeps the team smiling.

• Although the team and townsfolk are leery of the newcomer's approach, the Coach uses his unorthodox methods to whip this group of rag-tags into shape - both on and off the field. While the audience follows their winding road to the playoffs, the film pokes fun at the clichés and conventions of other sports flicks. And the team does make progress, so much so that they actually make it to the South-Southwest Conference Championship at the 2nd Annual Toilet Bowl. Facing their fiercest opponents yet and yearning to win the big game, The Comebacks face off with the Lone Star State Unbeatables.

• And as every great sports team has always done, The Comebacks use ingenuity and unorthodox measures in the final showdown where the best team wins. Written by Fox Atomic

HERE IS A REVIEW FOR THE MOVIE THE COMEBACKS FROM DVDTALK

• Emboldened by their alarming success with "Date Movie" and "Epic Movie," 20th Century Fox has ordered up another round of lampooning that doesn't send-up its targets as much as it tweaks, ever so slightly, established buffoonery. The bottom line is, "The Comebacks" is a loathsome filmgoing experience, created by the brain-dead for the brain-dead.

• After decades of coaching travesties, Lambeau Fields (David Koechner) has been offered a football slot at Heartland University. Assembling a ragtag group of kids to play for him, Fields takes the squad and teaches them the basics of inspirational sports movies, along with the requirements that their grades must be atrocious and their drinking out of control. Spending the season trying to shape these losers into a winning team, Lambeau finds his greatest challenge is to beat his old assistant coach (Carl Weathers) at the 2nd Annual Toilet Bowl.

• Full disclosure: I was the guy who liked director Tom Brady's previous feature film, "The Hot Chick." I'm not proud of it, but there was something sinister and astute in the way "Chick" broke down the absurdity of the female teenage years. I wasn't expecting Brady to follow-up "Chick" with this monstrosity of spoof; a gluttonous, lazy collection of lifeless callbacks and uneventful sight gags, parodying films that were already skating on the thin ice of legitimacy.

• Unlike most of this new trend of pea-brain, dime-store lampoons, there's not one overall picture "Comebacks" is riffing from. Instead, the feature cherry picks its targets from all over the cinematic map. There's a little "Radio" to be found in the character of iPod (try to guess what they call his specialty dance!), some "Friday Night Lights" in the fringes of verbally abusive, cross-dressing football fathers, a huge lift from "Stick It" (going against the established rule that films satirized should be pictures people have actually seen), and assorted nuggets from "Field of Dreams," "Rocky Balboa," "Invincible," "Miracle," and "Dodgeball."

• Strangely, Brady isn't always convinced his audience is grasping the target, so he'll have one of the characters state the name of the movie in their dialogue ("Don't go all 'Blue Crush' on me," "This is my 'Gridiron Gang'"), presumably for the younger viewers who will be the majority to actually pay to see this garbage.

• Not convinced "Comebacks" is witless, charmless, laugh-free creation? Check this comedy cameo list out: Andy Dick, Bradley Cooper, Will Arnett, Dax Shepard, Eric Christian Olsen, Finesse Mitchell, Drew Lachey, Stacey Keibler, and Frank Caliendo (doing his tired John Madden impression for umpteenth time). Wow. It's like a who's who of the dreadfully unfunny.

• Still not convinced? Brady calls in Dennis Rodman to appear as Lambeau's basketball-dominating prison warden. I think the child sitting behind me put it best when he turned to his parent and asked, "Who's that, mommy?"

• Toss in a teeth-grinding non sequitur musical number set to Journey's "Don't Stop Believin'," a couple of bus-speeding-through-the-frame-and-striking-a-character gags, various moments of Koechner with a strange flop-sweat look on his face as though he knows he's in the middle of a career-ending turkey, not one, but two jokes about the Duke University lacrosse team, and voila! You have one of the worst excuses for a mainstream comedy to be found this year.

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