THE KINGDOM NOW AVAILABLE

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HERE IS THE SUMMARY FOR THE MOVIE THE KINGDOM FROM IMDB

When a terrorist bomb detonates inside a Western housing compound in Riyadh, Saudi Arabia, an international incident is ignited. While diplomats slowly debate equations of territorialism, FBI Special Agent Ronald Fleury (Jamie Foxx) quickly assembles an elite team (Chris Cooper, Jennifer Garner, and Jason Bateman) and negotiates a secret five-day trip into Saudi Arabia to locate the madman behind the bombing. Upon landing in the desert kingdom, however, Fleury and his team discover Saudi authorities suspicious and unwelcoming of American interlopers into what they consider a local matter. Hamstrung by protocol-and with the clock ticking on their five days-the FBI agents find their expertise worthless without the trust of their Saudi counterparts, who want to locate the terrorist in their homeland on their own terms. Fleury's crew finds a like-minded partner in Saudi Colonel Al-Ghazi (Ashraf Barhoum), who helps them navigate royal politics and unlock the secrets of the crime scene and the workings of an extremist cell bent on further destruction. With these unlikely allies sharing a propulsive commitment to crack the case, the team is led to the killer's front door in a blistering do-or-die confrontation. Now in a fight for their own lives, strangers united by one mission won't stop until justice is found in The Kingdom. Written by Universal Pictures

HERE IS A REVIEW FOR THE MOVIE THE KINGDOM FROM DVDTALK

Note to Hollywood filmmaking preachers: we know the "enemy" is just like us, and that we share the same hopes and fears...we get it! "The Kingdom" is a 70-million-dollar lesson in the obvious, costumed up as a brainless action film, but still preoccupied with teaching a master class in being grotesquely manipulative and shamefully transparent.

When a suicide bombing takes down an American community located in the heart of Saudi Arabia, a small FBI taskforce (Jennifer Garner, Jason Bateman, and Chris Cooper), led by Ronald Fluery (Jamie Foxx), is sent in to investigate the remains of the blast site and hunt for the terrorist group responsible. Now inside the country, the freedoms Ronald and his team are accustomed to have been restricted by a new chain of command, forcing the elite squad to use their own tricks and methods of communication to locate the source of the hostility, putting their own lives in the line once enemies find Americans digging around foreign soil.

In several cringing ways, "Kingdom" covers the exact same ground as 1999's "Three Kings." Both films have a lust to be both a strident political statement and jingoistic action blockbuster, but I'm not convinced the mix should be allowed, or perhaps I haven't seen a filmmaker talented enough to pull off such a dichotomy. Here, the director is Peter Berg ("Very Bad Things," "The Rundown," "Friday Night Lights"), who has yet to meet a sickening camera quake or cheap audience-baiting tool he didn't like. Berg is a seasoned vet when it comes to "of the moment" movies, but that doesn't make him competent. It just makes him twitchy and chaotic.

"The Kingdom," however, doesn't offer much chaos for Berg to push around. If you read elsewhere that "Kingdom" is "non-stop action," you have my permission to slap that writer in the face. The picture is actually quite a sluggish production, playing like "CSI: Saudi Arabia," and taking its time trying to pack an elaborate sand castle of a plot containing political intrigue and procedural minutiae. Led by a subtle, refined performance from Jamie Foxx, "Kingdom" has moments of triumphant suspense and affable Team USA bonding, complete with Bateman as the clich�d wisecracking wuss.

Trust me when I write that you've seen this movie before. You've heard this dialogue. You've seen these performances. As a selection of commentary on Middle East politics and social graces, "Kingdom" is not offering anything novel, and what's here is barely of interest. Berg can tart up the film with nauseating shaky-cam work and orgasmic gunfire, but the only ingredient that's going to make the film as relevant and powerful as it is in Berg's head is innovation. "Kingdom" is woefully short-sheeted in that department.

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THE BREAK-UP NOW AVAILBLE

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HERE IS THE SUMMARY FOR THE MOVIE THE BREAK-UP FROM IMDB

• In Chicago, the art dealer Brooke Meyers feels not appreciated and neglected by her immature husband Gary Grobowski, who is partner of his two brothers in a tourism business, and decides to break-up with him to make Gary misses her. Gary misunderstands her true intention, both follows the wrong advices of family members and friends, beginning a war of sexes with no winner. Written by Claudio Carvalho, Rio de Janeiro, Brazil.

HERE IS A REVIEW FOR THE MOVIE THE BREAK-UP FROM DVDTALK


The Movie:

• Starring the latest celebrity couple to be wholly and completely overexposed by the tabloid media, "The Break Up" opens with a scene that will amuse anyone from the South side of Chicago. Gary (Vince Vaughn) sits next to Johnny (Vaughn's BFF Jon Favreau) at Wrigley Field in Chicago. As the Cubs make it obvious on the field that they're not going to the Series in October, Johnny proudly stands up and displays his Sox jersey to those sitting behind them.

• As Gary takes in the loss, he spots Brooke (Jennifer Aniston) sitting down the row. He verbally forces (as Vaughn is capable of) a hot dog down to her. She doesn't want one. He talks her into it. Despite the fact that she's there with someone, he literally gets in her way as she's trying to leave the game and verbally steamrolls her, telling her that, in fact, the guy that she's with isn't the right guy for her. Does he succeed? The montage of photos of the Aniston and Vaughn characters under the credits show that, yep, he did.

• As we learn about the two, we find that they couldn't be more different. He's a tour company guide (and Vaughn's scenes on the bus are priceless; he'd make an ace guide if he ever gives up the whole acting thing), while she works at an elite art gallery. She cooks (Chicagoans will notice that Vaughn brings in a Treasure Island bag early on), cleans and notes how he doesn't listen to her or thank her. She hates his video games (one of the funniest scenes in the movie has Vaughn's character yelling at a little kid via an XBOX Live headset), as well. The movie is certainly one-sided, making Gary almost entirely to blame (although she's wrong for not liking video games - who doesn't like video games?) for the problems in the relationship.

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30 DAYS OF NIGHT NOW AVAILABLE

30 DAYS OF NIGHT NOW AVAILABLE ONLINE

HERE IS THE SUMMARY FOR THE MOVIE 30 DAYS OF NIGHT FROM IMDB

This is the story of an isolated Alaskan town that is plunged into darkness for a month each year when the sun sinks below the horizon. As the last rays of light fade, the town is attacked by a bloodthirsty gang of vampires bent on an uninterrupted orgy of destruction. Only the small town's husband-and-wife Sheriff team stand between the survivors and certain destruction. Written by Risin' Outlaw

HERE IS A REVIEW FOR THE MOVIE 30 DAYS OF NIGHT FROM DVDTALK

"30 Days of Night" has a marvelous premise, a reasonable cast, and a sublime location to play around with. But the producers just had to give the material to director David Slade, a hack filmmaker of the worst kind, who drowns any promise this nihilistic tale of frosty survival held by smothering the picture in excessive, pedestrian visual gymnastics.

In the remote town of Barrow, Alaska, the sun takes a vacation for 30 days every year, leaving the locals isolated from the rest of the world. During this particular permanent night, a group of vampires (led by Danny Houston) swarm the town, gobbling up the locals without fear of sunlight to hinder their efforts. With most of the community reduced to food for the bloodsuckers, it's up to Sheriff Eben (Josh Hartnett), his estranged wife Stella (Melissa George), and a small cluster of Barrow neighbors to survive the month while the vampires methodically stalk them.

Adapted from a well-received (and thoroughly franchised) graphic novel, "30 Days" is a concentrated horror stand-off; a survival tale with fantastical fringes, slicked with waves of blood and gore. The very concept of vampires let loose in a location that contains no sunlight to temper their hunger pains holds fantastic promise. However, "30 Days" as a movie is frustrating, more concerned with artifice than primal scream results.

I place the blame squarely on Slade's shoulders. His debut film, 2006's pedophile yawner "Hard Candy," introduced a director who holds no concept of suspense, only chaos. "30 Days" is another experiment in Slade's theory that tension is not something to nurture, it's something to detonate. After a chilly, epic introduction to the setting and the conflict, it doesn't take long for Slade to start digging into his bag of tricks once the vampire reign commences. A favorite of the director is clichéd open-shutter photography, executed by a cameraman who forgot to pop his seizer medication that day.

Every time a vampire moves, Slade's frame is hurled around, making the film impossible to comprehend at times. He pulled the same tired stunt in "Candy," and it's even more transparent in "30 Days." After nearly two solid hours of ocular abuse, it made me long for the John Carpenter glory years, where a filmmaker would trust his audience enough to allow them to search the details of the screen and encourage their fears, not bury them in noise and beat them into submission.

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