PROBLEM CHILD NOW AVAILABLE

PROBLEM CHILD NOW AVAILABLE ONLINE

HERE IS THE SUMMARY FOR THE MOVIE PROBLEM CHILD FROM IMDB

A young boy is just short of a monster. He is adopted by a loving man and his wacky wife. The laughs keep coming as the boy pushes them to the limits. Written by Glenn J. Schworak {glenn@g-world.com}

Meet Ben and Flo Healy! They want a young child of their own, but Flo is incapable of having a child herself. Enter Junior, a little monster who has been to foster parents' homes since he was a baby and always made himself get thrown out so one day he goes to the orphanage and causes trouble for the poor nuns (although some of them deserved it). So Ben and Flo go to adopt a child and the administrator, Peabody, cons them into taking Junior off their hands. Junior goes home with the Healys to a nice house which includes a bedroom full of clowns! Ben takes an immediate love to his son, no matter what the horrible things he does, even though he injured his grandfather, a bigoted politician, really turned a birthday party into a "blast", sicks a bear onto campers on a camping trip, and even goes on a joyride with convicted killer Martin Beck! Written by Dylan Self {robocoptng986127@aol.com}

HERE IS THE DIRECT DOWNLOAD FOR THE MOVIE PROBLEM CHILD.

PHONE BOOTH NOW AVAILABLE

PHONE BOOTH NOW AVAILABLE ONLINE

HERE IS THE TRAILER FOR THE MOVIE PHONE BOOTH







HERE IS THE SUMMARY FOR THE MOVIE PHONE BOOTH FROM IMDB

A slick New York publicist who picks up a ringing receiver in a phone booth is told that if he hangs up, he'll be killed... and the little red light from a laser rifle sight is proof that the caller isn't kidding. Written by Ryan McIntosh {Ryanmcintosh01@hotmail.com}

Stu Shepard is a fast talking and wise cracking New York City publicist who gets out of trouble and lies with his clever charm, connections, and charisma. Stu's greatest lie is to his wife Kelly, who he is cheating on with his girlfriend, Pam. Upon answering a call in a phone booth in belief it is Pam, Stu is on the line with a dangerous yet intelligent psychopath with a sniper rifle. When realizing it is not a joke, Stu is placed in a powerful mind game of wits and corruption. The New York City Police eventually arrive thereafter and demand Stu comes out of the phone booth- but how can he when if he hangs up or leaves the booth he will die? Written by commanderblue

Stu Shepard (Farrell) is an arrogant publicist who thinks he has the whole world in his hands. Every day he uses the same phone booth to call the woman (Holmes) he is cheating on his wife (Mitchell) with. But on the last day, before this particular phone booth is demolished, the phone rings. Stu naturally answers the phone, only to find the caller (Sutherland) on the end is an invisible sniper who knows everything on Stu, including his relationships. The caller now has Stu as his hostage, who demands he comes clean with his wife. Written by FilmFanUK

Stuart hasn't been totally honest. In fact, he's about the most dishonest man you'll meet. Everyday, at the same time, he goes to a phone booth in NYC to call his girlfriend, so that his wife can't trace the phone call. Today is no longer just an ordinary day. Now, someone's calling him, leaving his life on the line. Written by Mac The Movieguy

A fiendish publicist finds himself being held hostage in a phone booth by an extreme moralist who watches his victim's every move through the scope of his high-power sniper rifle, while speaking to the publicist via the phone booth. The caller prides himself on using force to punish corrupt people by forcing them to admit all of their lies and sins through mental games, or killing them. At the same time, he eliminates other people as well; everyday people who are guilty of brutal dishonesty and/or corruption, such as a murderous street pimp and a pushy pizza man (all of which, if you look hard enough in the film, have a guilt link). The caller himself is corrupt, and uses it defeat other corruption. It is evil fighting evil in the phone booth. Written by Flotis

HERE IS A REVIEW FOR THE MOVIE PHONE BOOTH FROM DVDTALK

The Movie: I like the idea of films shot withiin a very short shooting schedule. More planning seems necessary, and fat is trimmed. Edward Burns shot "Sidewalks of New York" in a matter of 17 days, which seemed like an impressive time, given the look and overall quality of the production. However, last year a director topped that speed - and it was certainly the one I'd least expect. Although the simple plot attracted a series of stars and directors, including Michael Bay, Jim Carrey, Will Smith, it was Joel Schumacher, the much-hated director of the last two "Batman" pictures and the terrible recent "Bad Company", who shot "Phone Booth", an 81-minute thriller, in a matter of ten days. "Phone Booth" focuses on a fairly simple morality tale: Stu Shepard (Colin Farrell) is a fast-talking, slick PR rep who has a beautiful wife (Rhada Mitchell) and a girlfriend/client (Katie Holmes). He calls his girlfriend from one of the last remaining phone booths in the city at the same time each day. One particular day, he is rude to a pizza delivery person while making the daily call. When he hangs up the phone with his girlfriend, the phone rings again. Stu answers the phone, only to find that a sniper is focused on the booth - one who knows a great deal about him and how he's been cheating on his wife. When things get worse, the police are called in, lead by a captain (Forest Whitaker) who demands that Stu hang up the phone and step out of the booth - something he can't do. Although the simple premise doesn't suggest much success, the film keeps throwing in new turns and the filmmakers do much to help things remain involving. Cinematographer Matthew Libatique, who worked with Schumacher on the similarly low-budget "Tigerland", not only gives the film a surreal, gritty look, but the camera movement gives the film an urgency and intensity. Harry Gregson-Williams, whose tense score added to "Spy Game", brings a similarly dark, sleek techno sound to his work here that adds suspense. The performances are stellar, as well. Farrell, who Schumacher found for "Tigerland", is suitably intense in the role, portraying the fast-talking Stu in the early scenes and the panic of the booth sequences. Sutherland's digitally altered (or at least it sounds as if some work was done) voice is remarkably menacing. Forest Whitaker provides good support, while Katie Holmes and Rhada Mitchell are enjoyable in their few scenes. Overall, "Phone Booth" isn't without some concerns (the film zips past a few plot holes), but it's a good, tense (and unique) thriller that moves along rapidly at 81 minutes. The DVD VIDEO: "Phone Booth" is presented by 20th Century Fox in 2.35:1 anamorphic widescreen and 1.33:1 full-frame. Each of the two editions have their own single-layered side of a dual-layer disc. Matthew Libatique's dark, gritty cinematography looks quite nice on this transfer, which only shows a few very minor concerns. Sharpness and definition looked very strong, as fine details were often visible and sharpness remained consistent.

Compression artifacts weren't spotted, but a tad of edge enhancement was spotted here and there. Although nothing too considerable, enough to be worth noting. The film's color palette remained cold, blue-tinted and subdued throughout, but appeared accurately rendered. Overall, aside from a couple of issues, the picture looked superb and similar to what I saw theatrically.

SOUND: "Phone Booth" is presented by 20th Century Fox in Dolby Digital 5.1. While not quite demo material, this is a fun and entertaining sound design done by Tim Walston ("The Fast and the Furious", "The Core") and the rest of the film's sound artists. There are noticable sound effects in the surrounds as the film zips in from a satellite in the opening of the film, as well as ambience in the rear speakers during several scenes. However, the most effective part of the soundtrack is Sutherland's voice, which often fills the room. Audio quality is superb, as Gregson-Williams's score sounds dynamic and deep throughout, while dialogue and effects remained crisp and clear.

EXTRAS: Commentary: Director Joel Schumacher provides an audio commentary for the film. This is an okay commentary, but I was hoping for something more. The director does touch on the topic of trying to shoot a movie in about 10 days, but I was hoping for more details about the planning that has to go into a production like that. The director instead spends much of the time discussing casting, acting and character issues. Although he does add a touch of humor and presents these topics in an interesting manner, I was hoping for something more technical in this case. Also: Trailers for Fox's "Garage Days" and "Phone Booth". Final Thoughts: A tense and effective thriller, "Phone Booth" is fast-paced, involving and offers a strong lead performance from Farrell. Fox's DVD doesn't present much in the way of supplements (a documentary about how the film was able to be shot in 10 days would have been nice), but does present the film with very good audio/video quality. Recommended.


HERE IS THE DIRECT DOWNLOAD FOR THE MOVIE PHONE BOOTH.

GRAND THEFT AUTO IV REVIEW FROM IGN.COM

HERE IS THE REVIEW FROM IGN.COM FOR GRAND THEFT AUTO IV

April 25, 2008 - Criminals are an ugly, cowardly lot more worthy of pity and disdain than admiration. This is what you'll learn playing through the single-player campaign in Rockstar's Grand Theft Auto IV. The series cheered (and criticized) for glorifying violence has taken an unexpected turn: it's gone legit. Oh sure, you'll still blow up cop cars, run down innocent civilians, bang hookers, assist drug dealers and lowlifes and do many, many other bad deeds, but at a cost to main character Niko Bellic's very soul. GTA IV gives us characters and a world with a level of depth previously unseen in gaming and elevates its story from a mere shoot-em-up to an Oscar-caliber drama. Every facet of Rockstar's new masterpiece is worthy of applause. Without question, Grand Theft Auto IV is the best game since Legend of Zelda: Ocarina of Time. You play as Niko Bellic, an Eastern European attempting to escape his past and the horrors of the Bosnian war. He arrives in Liberty City to experience the American dream, only to discover his cousin, Roman, may have fibbed a bit in his tales of success. Starting from nothing, Niko makes a living as a killer and enforcer, a bad-ass foreigner who appears to have no morals. The longer we stay with Niko, the more we see that there is a broken human being inside, one who would give anything to escape the person he once was.
Be sure to watch the debut video review here. Don't worry, GTA's famed over-the-top action and tongue-in-cheek humor are intact, but there is a new level of sophistication in the characters and the game world that raises the story above the norm. As Niko becomes mired in the death throes of American organized crime, he begins to become more self-aware. Niko's struggles with his ruthless nature never inhibit the gameplay, but instead enhance the emotional gravity of a brilliant storyline. The more absurd the action becomes, the greater we feel the very real pathos of Niko Bellic. Much of the credit goes to the artists at Rockstar North who created as believable a city as possible. Liberty City is inspired by New York, but not beholden to it. While there are many parallels, Liberty exists in its own universe and rightfully so. Many open-world games have cities that feel as if they existed only from the moment you first turned on your console, but Liberty City looks lived in. It's an old city and each block has its own vibe and its own history. Drive around Liberty City and you'll be able to identify each individual block. Though Liberty is filled with brownstones and a myriad of similar brick buildings, you can tell one from the other, just as you can in New York. Go to an affluent neighborhood and the street is likely to be newly paved, the pedestrians better dressed, the cops more plentiful. But head to Dukes or Bohan and you'll find streets nearly stripped of asphalt, homeless people wandering about aimlessly and criminals preying on the weak.

Niko is fresh off the boat.

Watch the people and you'll witness some amazing things. At one point, I saw a woman stopped at a light, looking in the rearview mirror right before she was rear-ended by a man ogling a girl on the street. The man got out of his car and went to the woman, checking to see if she was okay. This had nothing to do with Niko or a single action I took. These were the citizens of Liberty City going about their day. And it was just one moment in a day full of incidents. Hang in one area of the city long enough and you'll see how traffic and pedestrian flow changes as the day progresses. When it rains, people bring out umbrellas or shield themselves with a newspaper and run for an awning. Cops chase petty thieves unaware that walking down the street is Niko Bellic, cold-blooded killer. There's a perfect balance of mumbling doomsayers to remind you that the reason this city never sleeps is because it's full of nut jobs. People go about their day, only altering course when Niko inserts himself into their lives with his crappy driving or excellent marksmanship. Liberty City isn't as big as San Andreas, but is far denser. There's a lot to see and do and, like New York itself, very little wasted space. When you enter buildings, there are no load times -- you open the door and you're on your way up a flight of stairs to the roof. The only frustration is that there are literally thousands of buildings in the city, but most of them cannot be entered. With the exception of some clearly marked entertainment hot spots and mission-specific areas, there's nothing to indicate which buildings are open for business. So you might find yourself walking into a lot of doors trying to find which one will magically open. It's a little much to expect to have the interiors of every building rendered, but that doesn't make it any less bothersome that you can't go where you please. The idea of a "living, breathing city" has always been somewhat of a joke in gaming. Every city in the past has felt artificial in some way. But Liberty City feels like a real place. And its history is built not only into the architecture and the people, but even in the music. There are more than 200 songs in GTA IV and many of them were recorded or remastered with specific references to Liberty City. You'll hear songs on the Classics station referencing the city, as if to suggest there's decades of history built into the culture. The soundtrack is an unbelievable blend of rock, pop, reggae, R&B and hip-hop. But more astounding is how well the songs and the DJs blend into the city itself.

You never have to be alone. A high-priced call girl is always at the ready.

It's this level of integration that makes Liberty City such a believable place. You won't just hear "America's Next Whore" advertised on the radio; you'll see posters when walking down the street and spot ads on the Internet. GTA IV takes aim at all of the modern forms of communication. Along with radio stations (a staple of the series) there are full programs and ads you can watch on TV and a fully browseable Interweb. You could lose hours of your day surfing the 'net. That may mean sorting through junk mail, clicking on random links, using Love-Meet.com to find dates, or reading the news. There are multiple websites that cover news based on missions Niko's completed. You can read different takes on these events if you want to get an idea of how your actions are perceived in different political corners. You might never bother looking at all, but like so much of GTA IV, there are dozens of hours of content waiting to be either discovered or ignored.

"The idea of a 'living, breathing city' has always been somewhat of a joke in gaming. Every city in the past has felt artificial in some way. But Liberty City feels like a real place."

To make itself more modern -- as opposed to Vice City and San Andreas which were "of an era" -- the focal point of Niko's world is his cell phone. You'll receive calls and text messages from friends and business associates on your phone. This is the mission delivery system. You may launch into a mission just by answering a call, but more often you will be directed to meet at a specific location to initiate your next objective. Or you might just have a conversation that serves no purpose other than to deepen the characterization of Niko, his friends, or even his enemies. The good news is that, just like in real life, you can talk on the phone while driving your bus through a police blockade.

The explosions are wicked.

The phone is also used as an organizer to remind you of critical events (dates with slutty online girls) and can be customized with new ringtones and wallpapers. And just as in modern life, the phone can become a nuisance. Date Carmen and she will constantly be ringing your digits and sending texts checking in to make sure you aren't sleeping with some other girl. Yes, there are needy people even in Liberty City. You'll also get casual calls during missions. You can always ignore the ring or you can pick up. It's most likely a friend calling and asking to hang out. GTA is a clever game brimming with hundreds of thousands of lines of dialogue and Niko will almost certainly have a pun-laced response to turn down a pal if he's in the middle of a helicopter dogfight. This doesn't mean you shouldn't give your potential friends the time of day. Throughout Niko's journey you'll have the opportunity to strengthen your bond with some of the people you meet. It's not necessary to take your Jamaican braddah Little Jacob out for a drink or game of pool when he calls, but doing so is to your benefit. If someone likes you enough, they'll give you access to their special ability. For Little Jacob, that means being able to call him day or night for discounted weapons. Packie, the angry Irish wannabe mobster gives you car bombs. Dwayne sends a pair of his homies to assist you on missions. The benefits of taking friends out on the town go beyond these tangible attributes. Friends also provide commentary on life, the city, Niko, and the story. None of it is essential to completing the game, but all of it is fascinating. The dialogue in GTA IV is rich, funny, brilliant, insightful, and engaging. So many times your reward for beating a mission isn't a new weapon or an elaborate cinematic cut-scene -- it's just dialogue. That is often reward enough.

"There are cringe-worthy conversations, where you see Niko being sucked into the depravity of these peoples' lives to earn a few bucks or gain a long-sought revenge."

There are a number of places you can take your friends when you go out on the town and you should base your decision on what they might enjoy. There are mini-games for darts, pool, and bowling. But you can also check out the god-awful cabaret or watch one of several comedy sets by Ricky Gervais and Katt Williams. Perhaps the most challenging (but satisfying) activity is going drinking. Your level of drunkenness is relative to the person you take out. Little Jacob and Dwayne aren't so bad, but take a sweet lass like Kate out and she'll have you (literally) falling over yourself. When drunk, it's difficult to walk and even more of a challenge to drive. You don't have to drive drunk (in fact, it might make you ill doing so as the camera sways as if you're out at sea), but it's fun to give it a try. Drunk friends tend to be more revealing as well. Kate will tell you what she really thinks of you with just a few drinks. If that doesn't weaken your self esteem, nothing will. The only issue with making friends is that it's a distraction from the main story. For the first time in a GTA game, the story is actually a greater draw than city exploration. That's not to say driving around the city hunting for Easter Eggs isn't enjoyable, but the story is so compelling, you may find yourself singularly focused till its conclusion. The wild cast of characters is part of the reason things are so entertaining. The voice acting is top notch and the characters are each immediately identifiable and unique.

You don't need a posse to rule the streets. Just a bat and balls of steel.

Some are loveable, but there are many who are despicable. There are cringe-worthy conversations, where you see Niko being sucked into the depravity of these peoples' lives to earn a few bucks or gain a long-sought revenge. That's a credit to the writing, to make what would normally just be some thug you're doing missions for earn your contempt. That's a mark that you care for Niko; that the story has gotten to you. There aren't many games that can pull that off. As an added twist, GTA IV gives you occasional morality choices. There are people that you don't have to kill in a mission and you can decide whether or not to waste a bullet. These events don't change the plot or open new missions later on. Occasionally it affects dialogue, but more often it is simply the game asking what kind of person you are. And there are some gut-wrenching decisions you make at points that create an emotional response I never imagined I would get from a Grand Theft Auto title. There is one significant choice you make towards the end of the game that opens a new path and an alternate ending. There are two worthwhile endings to uncover and are incentive for playing through a second time just to see how much more depressing life in Liberty City can get. There are more than 90 story missions that will take anywhere from 25-45 hours to complete depending largely on your skill level. I was certain that the missions would get repetitive at some point, that sooner or later it would get redundant. It never does. Though many missions boil down to the same basic parameter -- go to location, kill people to get to target, chase target, kill target -- it never feels repetitive. The locations of missions, the variety in the enemies, the dynamic aspects of the AI, and the dialogue keep GTA IV from ever feeling stale. In fact, this is a game that can be enjoyed with multiple playthroughs. It's just that good. The best mission comes close to the halfway point, when you and Packie McCreary decide to rob a bank. In what becomes the recurring theme for Niko Bellic, everything about the job goes wrong. The cops have the bank surrounded and there's no easy way out. Instead, you and the gang must battle through the streets and into the subway to escape. It's a lengthy, epic fight that I could replay a dozen times and still enjoy. A great deal of that pleasure is due to the refined combat system. Though Grand Theft Auto has always been about action, it has never provided a great targeting system. That has finally, truly changed with GTA IV. Hold down the trigger and you can lock on to an enemy (or civilian). You'll see an indicator of their health. You can adjust your aim slightly with the thumbstick so that nudging up a little can help you earn some headshots. Partially depress the trigger and you have free aim, which is great for targeting tires or specific body parts. With skill, you can take down enemies faster in free mode. But auto aim is a great help in larger battles or for those who aren't as adept with a controller.

GTA IV plays out like a high-octane action flick. Michael Bay just got served.

Better is the cover system. Tap the right shoulder button and you'll take cover behind the nearest object. If you see it in the environment, you can probably take cover behind it. That includes walls, dumpsters and cars. You can aim while in cover and when you hold the trigger to fire, you'll pop and shoot. You can also blind fire rather effectively with any weapon -- including an RPG. The cover system is fairly smart, so if you want to move from one side of a door to the other, just push towards where you want to go and tap the cover button. This also works when you are fairly far from cover. Niko will roll or perform a slick slide to get to safety quickly. There is a stickiness to the cover system similar to Gears of War, but since the cover button isn't tied to your run button, you never accidentally enter cover. While GTA doesn't have many issues, I will admit that the cover system is not perfect. There are times where you will take cover on the wrong side of a corner, leaving you exposed. These instances aren't too common, but over the course of dozens of hours, you'll certainly encounter them. You also un-stick from cover when you use your phone, which can sometimes make calling Dwayne for backup or Carmen for a health boost a little trickier than necessary.

"The best mission comes close to the halfway point, when you and Packie McCreary decide to rob a bank. In what becomes the recurring theme for Niko Bellic, everything about the job goes wrong. The cops have the bank surrounded and there's no easy way out."

Most games with a cover system make the mistake of turning cover into the central focus of gameplay. But cover in GTA IV is more of a natural progression needed to facilitate heightened AI. Enemies have a variety of AI protocols. Some are cowards (gotta love the fat cops running for the hills when you start killing the boys in blue), most try to avoid being shot by taking cover, and a few still stand in the open. If the AI is going to be able to hide behind cars and other parts of the environment, it's only fair that players have the same ability. You don't have to use cover if you don't want to. I'm sure there is some way to beat missions just by running and gunning. After all, this is still GTA. There's no one right way to beat a mission. You're free to get creative. But ignoring the cover system is like never stealing a car. This is a major piece of the game. Use it often, because it works well and it's certain to keep you alive longer. The cops aren't about to let Niko run through the city with guns blazing, even if he is capping bad guys. Sooner or later, you'll run afoul of the law. The wanted system has been revised and makes for more dynamic chase scenes. When you're wanted, your radar displays the police search parameter. The smaller the wanted level, the more local the search. Your goal is to get out of that circle and avoid being seen by the cops. Get spotted and the circle re-centers on your new location. This becomes more of a challenge when you reach three stars, because a police helicopter appears. This eye in the sky has an easier chance of spotting and following Niko -- and directing other cops to your location. Unless you want to be O.J., you need to change directions, get out of the sight of choppers, switch cars or go on foot. Whatever you do, avoid line of sight, because once a cop sees you, you're location is reported and the search changes its focus. This makes escapes from four stars and higher incredibly intense. Pay 'n' Spray shops still exist, but must be entered when cops aren't looking. To be honest, I used this one time in 40 hours. It's an outdated idea in some ways and more a nod to GTA's of old than a great resource. The new wanted system puts an emphasis on your driving and navigation skills. Fortunately, you can set a waypoint on the map in the pause menu and get an adaptive GPS-guided route. This same system is used to guide you through missions. There is never a point in GTA IV where you have to wonder where to go or what to do next.

"That a game with great AI, an awesome physics engine and a detailed open world, runs so well and with such short load times is a technical marvel."

I should mention that the driving has also seen an upgrade from past Grand Theft Autos. Rockstar's RAGE engine coupled with NaturalMotion's Euphoria engine creates a game world with some stunning physics. Each brand of car handles differently (you can actually see the suspension in action as you make sharp turns). What will really surprise people is that these physics work with characters while in cars. So Niko's weight shifts to one side as he makes a turn and his head snaps forward when he slams the brakes. There is also a full neurological system built into Niko so that his body knows how to react to other objects. At one point I drove an ambulance off a high stunt jump. The cinematic camera swung around to show Niko taking his hands off the wheel and covering his face before impact.

Is it suicide if you take someone with you?

You will see the effects of NaturalMotion throughout the game, whether it's how bodies react when you slam your car into them or the way a gangbanger leaps away from a grenade. The physics system is the connective tissue that grounds the action into something resembling reality. And it's one of the main factors that makes GTA such an impressive-looking game. Past GTA titles have had mild-to-serious framerate issues and technical glitches, because the games were trying to do far more than the PlayStation 2 could handle. While GTA IV is pushing the PS3 and 360 to the limit, it also runs amazingly well. Sure, there are framerate hitches here and there and (particularly on 360) there is some texture pop-in, but it actually runs better than I expected. That a game with great AI, an awesome physics engine and a detailed open world runs so well and with such short load times is a technical marvel. For that, I can forgive framerate issues and some noticeable aliasing.

The world is yours online.

The art team gets major kudos for creating a living world. There is great texture work in the environments, a nice field-of-vision blur of buildings in the distance, some excellently modeled cars, ball-jarring explosions, phenomenal water effects and one interesting-looking Eastern Euro for a lead character. Sure, it's not a game that runs perfectly all the time, but the technical elements almost never get in the way of the gameplay. For those wanting to know which version looks better, the edge goes to the PS3. The textures and framerate are comparable, but the PS3 has far less pop-in. The 360 has richer colors, but the PS3 has better anti-aliasing making it look a little cleaner. Because GTA IV can preload onto the PS3 hard drive, the in-game loads are faster. Don't worry Xbox owners, the load times are rarely more than 30 seconds and don't occur very often. The slight visual edge goes to PS3, but the 360 is no slouch. Either version will do you proud. If you're wondering which version to buy, the best suggestion is to consider what your friends will purchase. That's because online multiplayer has made its way into GTA IV and it is awesome. And, like all great things, it's best played when drunk and with as many friends as possible. Multiplayer is accessed via your phone from the single-player game. Everything is active in Liberty City online -- the cops, pedestrians, traffic, and weather. And yes, the entire city is open to you and 15 of your closest friends. To keep you and your pals from getting separated, GTA IV offers a party system. The party lobby is actually set in the outskirts of Liberty City. You're given plenty of guns and some vehicles to mess around with. You can stay and fight or run around the city if you like while waiting for the host to set up a match. And boy, are there a lot of options to choose from.

A meeting of the online minds.

There are more than a dozen multiplayer modes if you count team and free-for-all variations. The bread-and-butter of multiplayer is Free Mode. This is a no-rules game that drops you into Liberty City with up to 15 other people to do as you please. You can invent your own custom games, waste time shooting one another or explore the city. As with almost all of the multiplayer modes, there are loads of options for the match. Turn on cops and each player will get their own individual wanted level. Set the time of day, weather, flow of traffic, weapons available -- there's very little you can't customize. Free Mode taps into the very core of GTA gameplay, which is to run around the city causing mayhem. Only now you can do it with 15 other like-minded individuals. There are a number of other creative multiplayer offerings. The standard Deathmatch and Team Deathmatch can be interesting, since the cover system often slows the game a bit so it isn't as fast-paced as something like Quake. Unless, of course, you choose "all rockets" in which case death will become you many, many times. Mafiya Work has you and your competitors receiving phone errands from a mob boss. First to complete a mission scores some cash. Car Jack City has players vying to steal specially marked cars and return them in as pristine a condition as possible to a drop off point. Turf War is your standard capture-the-point. Or if you like vehicles you can try out GTA Race, which is like any other racing game except you can get out of your vehicle, jack your competitor's car and finish the race in any way you like -- or just blow up other people for the hell of it.

"Everything is active in Liberty City online -- the cops, pedestrians, traffic, and weather. And yes, the entire city is open to you and 15 of your closest friends."

And then there is Cops n' Crooks, the best of the objective-based multiplayer games. This has two teams, one side lawmen, the other hoodlums. The crooks are trying to get to a randomly selected extraction point and the cops are trying to arrest them with bullets. This mode forces teamwork, as both teams must strategize on the fly and rely on one another to assist in navigation. It's a fun, addictive mode that will likely be the most popular of the team offerings. On top of the various competitive modes, there are also three co-op offerings. These three "modes" are missions similar to what you might experience in the single-player game. Niko doesn't exist in multiplayer, but you still get cut-scenes and some unique dialogue wrapped around some fun missions. Co-op supports up to four players and only has some minor variables. Your objective never changes nor do the locations. You can up the difficulty and add more traffic if you want a challenge, but none of the co-op missions struck me as anything worth playing more than a couple of times. It's nice to have, but probably won't be what gamers buzz about when discussing GTA multiplayer. As with just about every game, there are both ranked and unranked matches. Ranked matches are the only way to progress up the ranking system (from 0-10). Progressing up the ranks not only makes you feel better about yourself, but it opens up new clothing and accessories to better customize your character. There's not a lot of pull to rank up, though, because many of the modes don't use your custom character. The co-op modes and Cops n' Crooks use a different cast, so if those tend to be your primary focus, having new outfits for a character you never see isn't going to mean much. I won't go so far as to say that GTA IV is the best multiplayer out there, but it's definitely among the best. Having Liberty City in full effect and only seeing occasional instances of slowdown is a real treat. When a few million people load hop online, it's anyone's guess how the game will hold up, but from my experience, playing with 16 people in Free Mode only caused occasional hiccups. Certainly not enough to make me stop playing.

Closing Comments
Grand Theft Auto III was a revolutionary title, one that inspired a whole new generation of 3D action games. Grand Theft Auto IV is just as big a leap forward, though perhaps in subtler ways, and sets a new benchmark for open-world games. Everything in GTA IV works in harmony. The story would be nothing without the city; the city gains realism from the physics engine; the physics compliment the improved AI; the AI would make no sense without the new cover system. And on and on. There is no one major weak aspect.

A "10" is not a score we give out very often. In fact, the last time we gave a 10 to a console game was Soul Calibur in 1999. A 10 doesn't mean a game is perfect -- it means a game is pushing boundaries, expanding a genre, and doing many things to a level so far above and beyond its competitors that they overshadows any flaws. Certainly, GTA IV has some issues, the most noticeable being the occasional flaw in the cover system, but there are many more pieces of GTA IV that are better than anything I've seen from a game in the past decade. We don't give 10s often -- just to games that merit the score.

THE GRAND NOW AVAILABLE

THE GRAND NOW AVAILABLE ONLINE

HERE IS THE SUMMARY FOR THE MOVIE THE GRAND FROM IMDB

An improvisational comedy using a handful of actors playing characters competing in an actual poker tournament.

HERE IS THE DIRECT DOWNLOAD FOR THE MOVIE THE GRAND.

SUPERHERO MOVIE NOW AVAILABLE

SUPERHERO MOVIE NOW AVAILABLE ONLINE

HERE IS THE SUMMARY FOR THE MOVIE SUPERHERO MOVIE FROM IMDB

Super is as super does: Finally, the guys behind the outrageously silly "Scary Movie" franchise have used their own 'special powers' to spoof superhero movies. After being bitten by a genetically altered dragonfly, high school loser Rick Riker develop superhuman abilities like incredible strength and armored skin. Rick decides to use his new powers for good and becomes a costumed crime fighter known as "The Dragonfly." However, standing in the way of his destiny is the villainous Lou Landers. After an experiment gone wrong, Lou develops the power to steal a person's life force and in a dastardly quest for immortality becomes the supervillain, "The Hourglass." With unimaginable strength, unbelievable speed and deeply uncomfortable tights, will the Dragonfly be able to stop the sands of The Hourglass and save the world? More importantly, will we stop laughing long enough to notice?

HERE IS A REVIEW FOR THE MOVIE SUPERHERO MOVIE FROM DVDTALK


In a year that's already felt the release of "Meet the Spartans," it's telling to write that "Superhero Movie" is in serious contention to be the worst picture of 2008. I mean, a feature would have to be just mind-bogglingly inexcusable to match the crater of awful left behind by "Spartans" in January, yet "Superhero" comes close, too close, to making the race for the bottom a dead-heat.

Average high school loser Rick Riker (Drake Bell) is in love with his neighbor Jill (Sara Paxton), tormented by bullies, and was recently bit by a genetically-modified dragonfly during a science field trip. Now endowed with superpowers he doesn't understand, Rick assumes the identity of "The Dragonfly" and attempts to bring justice to Empire City. With the help of his Uncle Albert (Leslie Nielsen) and Aunt Lucille (Marion Ross), Rick learns the meaning of responsibility, but his world changes when the supervillain Hourglass (Christopher McDonald) rises to power, bent on killing the masses to make himself immortal.

While "Superhero" is a spoof picture, it has the advantage over the seizure-inducing "Spartans" by generally sticking to a specific pool of movies to lampoon, instead of flailing around like a crank addict high-fiving every single pop culture monstrosity of the last calendar year. The aptly-titled "Superhero Movie" takes on...well, superhero movies, with emphasis on the 2002 blockbuster, "Spider-Man." Yeah, that's right; the picture makes fun of a movie that's now six years old. This is only the beginning of the moldy nightmares "Superhero" provides.

While boasting the participation of satire king David Zucker (who produces), "Superhero" was actually born from the mind of writer/director Craig Mazin, who already worked the comic-book hero bit with 2000's painfully unfunny "The Specials." Mazin, who also had a hand in writing the last two "Scary Movie" pictures, is man with a plan, but absent the slightest molecule of cleverness. I'll give him this: "Superhero" isn't scattershot, just humorless to a demonic degree, and insultingly reliant on potty jokes to pander to the soft brains who found "Alvin and the Chipmunks" too highfalutin.

Right from the start of the picture, it's obvious Mazin is one unfunny bastard. "Superhero" is a film that loves when characters pratfall on poop, get dry-humped by animals, or are continually farted upon. That's the spectrum of humor offered here, and the picture is relentless inserting bodily function gags wherever it can, often passing up potential for true parody just to add a fecal punctuation mark where nobody asked for one. The superhero material is quickly secondary to Mazin running around trying to appease kids in the audience with tedious vulgarity.

The rest of "Superhero" is just as wretched, stitching together a spoof of comic-book movies with minimal attention to giggle detail. While "Spider-Man" is the main course of the script, "Batman Begins," "Fantastic Four," and "X-Men" are also given their own split-second shots to the chest. The rest of the script is simply overturning pop culture mainstays such as MySpace, ubiquitous iPod usage, and the insanity of Tom Cruise. There's even an Enron joke. Talk about cutting-edge comedy.

Since it contains perhaps the silver screen's longest flatulence joke (criminally involving Marion Ross), "Superhero Movie" deserves a special place in the burning fires of Hell, where lazy writing, insipid direction, and an unforgivable eagerness towards bottom-feeding stupidity can roast along with the rest of the spoof genre's recent offerings.

HERE IS THE DIRECT DOWNLOAD FOR THE MOVIE SUPERHERO MOVIE.

ARCHOS 605 MEDIA PLAYER ADDING ADOBE FLASH PLAYER 9 TO THE PLAYER

HERE IS A PRESS RELEASE FROM ARCHOS ON THE NEW IMPROVEMENTS TO THE PLAYER

WATCH FAVORITE ONLINE VIDEOS ON ARCHOS PORTABLE MEDIA PLAYERS WITH NEW ONLINE VIDEO BREAKTHROUGH ARCHOS Portable Devices are the First to Play Nearly Every Online Video through Adobe Flash Player 9, Stream Windows Media Video 9 and Offer New Web TV and Radio Plug-In NEW YORK – April 22, 2008 – Today’s most popular TV shows are watched by millions online through their computers, laptops and mobile phones. For the first time, TV fans can catch up on full-length TV episodes, music videos, sporting events, news, Web TV shows, and even favorite radio stations on the Web for free, through ARCHOS Portable Media Players (PMPs). With wireless access and the highest quality 4.3- and 7-inch screens of any portable player on the market, ARCHOS brings true mobile entertainment to consumers wherever they go. ARCHOS introduces the first PMP to support the nearly ubiquitous Adobe® Flash® 9, Windows Media Video® (WMV) 9 and ON2 video formats, letting consumers enjoy the millions of online video and Flash games available on the Web. Through a simple firmware update of the ARCHOS 605 or 705 WiFi devices, consumers will be streaming YouTube videos, watching TV shows and catching up on the latest news in no time. ARCHOS also introduces unparalleled access to Web TV shows and radio stations through the availability of a Web TV and Radio plug-in for its award-winning wireless PMPs. The $19.99 plug-in will be available at www.archos.com. “ARCHOS was founded on the principle of providing consumers the most compelling mobile entertainment experience possible, and our Web TV and Radio plug-in, along with Flash 9 support, is proof that we continue to deliver on this,” said Henri Crohas, founder and CEO of ARCHOS. “With more than four in five U.S. adults viewing an online video last year, the time is right to give consumers access to the content they want wherever they are, without requiring downloads, subscriptions or separate players to view the video they want.” Only Portable Media Player to Fully Support Adobe® Flash® 9 Unlike competitive players, ARCHOS does not require consumers to purchase TV episodes for download or through a subscription service, but rather allows them to watch their favorite online videos and TV shows directly from the Web for free – just as they would on their laptop. By combining Adobe® Flash® Player 9 quality and compression—a two-fold improvement over Flash® Player 7—with the 800x480 resolution of ARCHOS touch-screen displays, the viewing experience is crystal clear and incredibly fast. Adobe® Flash® Player can be used to view both live and on-demand media and entertainment on sites such as CBS, NBC, FoxNews Digital, PBS, MTV Networks, BBC and more. The technology also powers the video capabilities of popular social networking sites including YouTube and MySpace. Hometown TV and Radio from Anywhere in the World With the new ARCHOS Web TV and Radio plug-in, consumers can access more than 9,600 Web radio stations, 600 Web TV stations and 110,000 podcasts streamed live over the Internet to their ARCHOS devices. TV and radio fans can also search for radio or TV stations by city, country, station genre, etc., ensuring they’re always in touch with their hometown stations, news or events wherever they are in the world. Different from online video streamed primarily in Flash, Web TV consists of TV channels that exist only on the Web, traditional stations that simulcast live online, traditional stations that make selected content (such as news) available on demand at their Website, and traditional TV stations offering extra content exclusively for their Website. Web Radio listeners will experience traditional radio stations simulcast online, independent Web radio stations, and extra content on-demand from traditional stations. Pricing and Specifications The ARCHOS Web TV and Radio plug-in will be available next month for $19.99 and can be downloaded from www.archos.com or directly from the ARCHOS Content Portal on the device. The plug-in works with the ARCHOS 605 WiFi, 705 WiFi, and ARCHOS TV+ models. Support for Flash 9 and WMV9 will also be available next month through a firmware update for Web browser plug-in at no additional cost. ARCHOS announced separately today a host of new software and services that enhance the entertainment value of their Generation 5 line. The new ARCHOS GPS In-Car Holder for the 605 WiFi portable media player brings entertainment and navigation together in one device for consumers for the ultimate road trip companion. The new TVportation feature brings live television streamed from the ARCHOS TV+ to any wireless-enabled device, including ARCHOS players, smartphones, laptops and computers anywhere in the world. All ARCHOS players support open standard video, audio and photo formats—MPEG-4, WMV, H.264*, MPEG-2*, stereo MP3, WMA, protected WMA, WAV AAC, AC3*, JPEG, BMP, PNG, and RAW with embedded JEG thumbnail. About ARCHOS ARCHOS introduced the hard-drive-based MP3 player with the Jukebox 6000 in 2000, and since that time has revolutionized consumer electronics devices. The company introduced the portable video player in 2003 and was the first to bring TV recording, wireless and touch screens to the portable media player. ARCHOS’ award-winning products let consumers enjoy movies, photos, video, music and television anytime, anywhere. Established in 1988, ARCHOS has offices in the United States, Europe and Asia, and is quoted on Compartment B of Euronext Paris, ISIN Code FR0000182479. More information is available online at www.archos.com.

HOTTIE AND THE NOTTIE NOW AVAILABLE

THE HOTTIE AND THE NOTTIE NOW AVAILABLE ONLINE

HERE IS THE SUMMARY FOR THE MOVIE THE HOTTIE AND THE NOTTIE FROM IMDB

Nate moves to L.A. to track down Cristabel, the woman he's been in love with since childhood, only to discover that his plan to woo her only has one hurdle to overcome: what to do with June, Cristabel's ever-present, not-so-hot best friend? What's even more complicating is Nate's growing feelings for June, whose true beauty starts to emerge.

HERE IS A REVIEW OF THE MOVIE THE HOTTIE AND THE NOTTIE FROM DVDTALK


As if the title alone wasn't enough to lock this loathsome feature film in a trunk and sink it to the bottom of the ocean, it also stars Paris Hilton. The mere mention of her name is enough to make one break out in hives, but the everlasting media whore isn't the worst thing about "Hottie," and that, my friends, is a shocking turn of events.

Nate (Joel David Moore, "Grandma's Boy") is a loser who wants to reverse the tide of his failed relationships by chasing after childhood love, Cristabelle (Paris Hilton). Attempting to woo her, Nate is promised carnal delights if he can find a boyfriend for Cristabelle's total opposite: the disgusting June (Christine Lakin). Balding, and cursed with rotting teeth and braidable body hair, hooking June up is a tall order, and as Nate goes about getting a man interested in her, he finds she's much more than fungal toenails and unibrow. She's all woman, and as the layers of ick are peeled away, Nate's has serious doubts which girl he's actually attracted to.

And before anyone e-mails me: yes, a studio is actually attempting to put this picture into theaters.

It's almost needless to describe how awful "Hottie" is. It's a total and complete misfire of intention and execution; an utterly worthless, unfunny sack of pain that doesn't deserve anyone's time or attention. It's best to ignore it, like one might avoid say the plague or a "Two and a Half Men" studio taping. Oh yes, it's that bad.

However, to lunge at Hilton's throat for this botched abortion is too easy and truly not where this trail of tears leads. The culprit is Joel David Moore, an actor who, for some unknown reason, was told early on in his career that he was funny, and now we all have to pay for this demonic miscalculation of talent.

Moore fancies himself the comedic conductor of "Hottie," improvising and stuttering his way through scenes, as if the film was entirely dependent on his spastic participation and nonstop nasal line-readings. I haven't seen much of Moore in dramatic settings, and lord only knows why James Cameron dropped the actor into his upcoming blockbuster "Avatar," but there's one feeling I hold without a drop of doubt in my mind: Joel David Moore is comedy poison. They should make it illegal for this guy to pursue the funny business.

Past Moore, there's director Tom Putnam and writer Heidi Ferrer. Putnam comes off as low-budget lackey, who stumbled into this somewhat high-profile gig by accident. His direction reflects a man who shouldn't be chasing filmmaking as a full-time gig. To him, if the action in the frame isn't repulsive (lots of gross-out humor here), it just isn't worth committing to film. Ferrer is the more fascinating trainwreck of this production. Writing a fable where a woman is unable to prove her worth until she conforms to mainstream ideas of beauty, Ferrer sets her own sex back 40 years with this turkey, not to mention her unease with originality and fear of wit.

Yes, "Hottie and the Nottie" is as ghastly as it sounds. The picture attempts to mask the stank with copious amounts of bronzed, jiggly Paris flesh, but let's get real here: been there, done that. At this point, Paris is never going to be a respectable actress, and her appearance in the film signals an astonishing lack of imagination and basic design of competence from the production. So, one can imagine the disgust of watching of movie where she's the best thing in it.

HERE IS THE DIRECT DOWNLOAD FOR THE MOVIE THE HOTTIE AND THE NOTTIE.

I AM SAM NOW AVAILABLE

I AM SAM NOW AVAILABLE ONLINE

HERE IS THE SUMMARY FOR THE MOVIE I AM SAM FROM IMDB

Sam Dawson has the mental capacity of a 7-year-old. He works at a Starbucks and is obsessed with the Beatles. He has a daughter with a homeless woman; she abandons them as soon as they leave the hospital. He names his daughter Lucy Diamond (after the Beatles song), and raises her. But as she reaches age 7 herself, Sam's limitations start to become a problem at school; she's intentionally holding back to avoid looking smarter than him. The authorities take her away, and Sam shames high-priced lawyer Rita Harrison into taking his case pro bono. In the process, he teaches her a great deal about love, and whether it's really all you need. Written by Jon Reeves {jreeves@imdb.com}

HERE IS A REVIEW FOR THE MOVIE I AM SAM FROM DVDTALK

The Movie: I'll state this before I start in with my review of "I Am Sam": the tearjerker is - and probably always will be - my least favorite genre. Although I often give these films a chance, they continue to underline emotions and themes, using music and other elements to pull at the heartstrings instead of letting the actors create compelling and sympathetic characters on their own. While "I Am Sam" is a well-meaning piece of work, director Jesse Nelson falls into many of the same traps that lead these films down the wrong path. The film stars Sean Penn as Sam Dawson, a mentially handicapped adult who earns a living by working as a janitor at the local Starbucks, where his suggestions are appreciated by customers. Fortunately and unfortunately for Sam, he suddenly finds himself a father after having a one-night stand with a homeless woman who was simply looking for a place to live. Sam clearly loves his daughter, but he finds himself ill-equipped to to care of her - once she reaches the age of eight, she also has a greater intellectual capacity than her father. When the Department of Children & Family Services gets word of the situation, a ruling is handed down that states that Sam is not capable of caring for his child. Destroyed, Sam finds himself on the doorstep of highly regarded attorney Rita Harrison (Michelle Pfeiffer) and begs for her to defend his ability to care for her daughter. While she originally doesn't want anything to do with the case, Sam provides a compelling enough case that she takes on the struggle. Clearly, "I Am Sam" devotes itself to wringing emotions out of every sequence, which makes otherwise fine performances seem less powerful. The film strains so hard to tug at the heartstrings that it begins to have the opposite effect, distancing itself from an audience that likely begins to realize that it's clearly being pushed and pulled. An example of this is the film's reliance on music - either the quirky score or a soundtrack full of Beatles tunes is playing far too often - how about letting the actors have a moment without the soundtrack intruding, telling us how to feel? Director Nelson and cinematographer also make an odd choice to shoot many scenes with a handheld camera. While I felt this worked in the more intense drama "Changing Lanes" recently, "I Am Sam" is a more simple piece where this choice feels awkward and unnecessary. The duo have also gone a bit overboard in terms of style, shooting the courtroom scenes with an overly and obviously cold look. As for the performances, I generally enjoyed all of them, if I certainly didn't think anyone of the cast members has their finest hour within. Sean Penn gives a convincing and strong performance; although it's rather obviously a bid for awards notice, he gives a strong and fairly sincere performance. Pfeiffer really doesn't have much to do within the confines of a pretty stereotypical character, but she hits all the notes fairly well. Young Dakota Fanning as Lucy really gives the finest of all of the performances, showing genuine emotion and remaining cute without being seriously annoying. Even Dianne Wiest sneaks in as Sam's next-door neighbor, who offers one of the film's few touching scenes as she speaks in the courtroom on Sam's behalf. "I Am Sam" proceeds as if the filmmakers clearly believe that the situations presented are deeply emotional and genuine - yet, the film does not succeed nearly as well as it probably could or should have due to the fact that the filmmakers desperately try to wring emotions out of the audience and offer predictable situations. A better, less forced screenplay and a different approach to the material would really have made for a more effective and less "Lifetime Channel" movie. The DVD VIDEO: "I Am Sam" is presented in 1.85:1 anamorphic widescreen by New Line. New Line, from the begining, has shown a commitment to presenting films in their original aspect ratio and with strong image quality than has never been inconsistent. Concerns about stylistic choices by the filmmakers aside, "I Am Sam" is another in a long line of terrific presentations from the studio. Sharpness and detail are exceptional throughout the movie, which appears crisp, smooth and wonderfully well-defined from begining to end.

As for flaws, there really wasn't anything of much concern at all. The picture did show slight grain during a few moments and a tiny touch of edge enhancement, but otherwise remained free of faults. No pixelation was seen and no pirint flaws in the way of specks or marks were noticed. Colors remained rich and vivid throughout, appearing bright and well-saturated, although crisp and cold during the more depressing courtroom moments. Black level remained solid, while flesh tones usually appeared accurate. Another excellent presentation from New Line, although I wasn't expecting any less.


SOUND: "I Am Sam" is presented in Dolby Digital and DTS 5.1 by New Line. Clearly, there isn't much of a need with a film like this for very dynamic audio or agressive surround use. The soundtrack full of Beatles tunes really gains the most attention in the soundtrack, filling the room and sounding crisp and clear. There's a few instances of nice ambience, but mostly, the film stays dialogue and music-driven, with little else. Both soundtracks remained very enjoyable, although the music seemed slightly warmer and more pleasant in DTS.

MENUS: A cute, subtly animated main menu is included. Additionally, transitions to sub-menus are nicely done and sub-menus are also creatively designed.

EXTRAS: Commentary: This is a commentary from director Jessie Nelson. She provides a perfectly enjoyable discussion of the movie, providing insight as to why she chose to film certain scenes a certain way or how the characters chose to play a moment. While I didn't always agree with her choices, she at least provides a compelling and interesting arguement for how she approached many elements of the movie. A very enjoyable commentary that provided solid analysis and some entertaining stories. Becoming Sam: Aside from the fact that they create beautiful transfers of the movies that they release on DVD, New Line has also shown a great understanding of what audiences want to see and hear in supplemental features. "Becoming Sam" is more of the same, as the documentary does not simply restate the story or promote certain elements. Instead, the filmmakers and actors sit down to discuss their history with the project, from the inital inspirations that lead to the screenplay to the pre-production (casting), to details about filmmaking and more. Admittedly, there is some "I always wanted to work with" and "so-and-so is wonderful", but for the most part, this is a solid piece that clearly covers all aspects of the film well. The documentary is 42-minutes long; different pieces of the documentary can be played specifically or the documentary can be played as a whole. Also: 7 deleted/alternate sequences; theatrical press kit (bios/text info) and the trailer. Final Thoughts: "I Am Sam" certainly boasts a talented cast, but I felt they didn't really get a chance to shine. New Line's DVD edition is up to the standards of their usual "Platinum Series" releases, with excellent audio/video quality and fine supplements. The DVD is certainly recommended as a purchase for those who enjoyed the movie - those who haven't seen it and are interested should try it as a rental first.


HERE IS THE DIRECT DOWNLOAD FOR THE MOVIE I AM SAM.

MEN IN BLACK NOW AVAILABLE

MEN IN BLACK NOW AVAILABLE ONLINE

HERE IS THE SUMMARY FOR THE MOVIE MEN IN BLACK FROM IMDB

Men in Black follows the exploits of agents Kay and Jay, members of a top-secret organization established to monitor and police alien activity on Earth. The two Men in Black find themselves in the middle of the deadly plot by an intergalactic terrorist who has arrived on Earth to assassinate two ambassadors from opposing galaxies. In order to prevent worlds from colliding, the MiB must track down the terrorist and prevent the destruction of Earth. It's just another typical day for the Men in Black. Written by Keyser Soze

Based off of the comic book. Unbeknownst to other people, there is a private agency code named MiB. This agency is some kind of extra terrestrial surveillance corporation. Then, one of the agency's finest men only going by the name "K", is recruiting for a new addition to the agency. He has chosen James Edwards of the N.Y.P.D. Then, one day, a flying saucer crashes into Earth. This was an alien a part of the "Bug" race. He takes the body of a farmer and heads to New York. He is searching for a super energy source called "The Galaxy". Now, Agents J and K must stop the bug before it can escape with the galaxy. Written by John Wiggins

The adventures of two federal agent men Agent Kay and Agent Jay also known as "The Men in Black," who keeps an eye on aliens in New York City must try to save the world after the aliens threaten to blow it up. Jay and Kay's mission is to foil the plot by tracking down the terrorist, thereby preventing the earth from being destroyed. Written by Anthony Pereyra {hypersonic91@yahoo.com}

In present-day America, Agent K is a member of an organization that has been keeping track of extra-terrestrial aliens on Earth for over 40 years. When K finds himself in need of a new partner, a brash NYPD detective, James Edwards fills the position, becoming Agent J. Armed with space-age technology (which J barely understands) and their razor-sharp wits, J and K investigate a newcomer who is bad news for Earth. Written by David J. Gannon {dganno01@exch.eds.com}

HERE IS A REVIEW FOR THE MOVIE MEN IN BLACK FROM DVDTALK

The movie

We all know that the headlines about aliens in the supermarket tabloids are nonsense, right? Of course... complete nonsense. We all know that humans are the only intelligent species living on the planet Earth. And even if the truth is entirely different, well, the average person just isn't ready for it. Enter the Men in Black: the ultra-top-secret government agents who deal with aliens each and every day... all without the average Joes of the world knowing anything about it. Saving the world from alien scum? Sure, no problem... it's all in a day's work for Agent Kay (Tommy Lee Jones) and his new recruit Jay (Will Smith).

Men in Black has a number of characteristics of that familiar beast, the "summer blockbuster." Over-the-top action sequences! Dazzling special effects! Excitement! Humor! Coolness! The question is, can these elements be made to fit together into a film that actually stands firmly on its own as entertainment? The answer, in this case, is a firm "yes."

This was actually the second time I'd seen Men in Black, and I was impressed by how well the film held up to a repeat viewing. It's a fun film; it's a film with loads of cool visual effects; it's a funny film; it's also a very well-made film, with many little details dovetailing to create the overall effect. I'd hazard a guess that director Barry Sonnenfeld, scriptwriter Ed Solomon, and the rest of the filmmakers knew exactly what they were aiming for. Either that, or it was a very happy accident; in any case, Men in Black is a deftly constructed film that hides a lot of polish and style underneath its fast-paced action and humor.

Men in Black is intelligently written; not only do extremely funny one-liners abound (many delivered in a great deadpan performance by Tommy Lee Jones), but the inherent absurdity of the film's premise is richly mined over the course of the film. It helps tremendously that, in making a film that's both a comedy and an action movie, that the filmmakers didn't forget about plot (the one thing that tends to get thrown out the window in large action flicks). The plot is actually quite clever, refreshingly so; the different pieces of the story, including Jay's recruitment, are woven nicely together and all make sense as they fit together. I also appreciated the way the film avoided certain clichéd plot turns; Linda Fiorentino is given a solid supporting role as Dr. Weaver, and contributes nicely to the action plot without any obligatory romantic sub-plot (hurrah!).

The overall tongue-in-cheek style is exceedingly well done. I couldn't really put my finger on it, but something about the humor reminds me of the kind of absurd humor in Douglas Adams' Hitchhiker's Guide to the Galaxy. (In fact, the filmmakers slid in a little homage to Adams: the song sung by a group of aliens passing through one scene is the "Betelgeuse Death Anthem" from the Hitchhikers' TV show.) It's a deadpan style of humor that presents the viewer with a world (and a universe) full of utterly ridiculous things that are taken entirely seriously by the characters.

To top it off, Men in Black is exactly as long as it needs to be, at 98 minutes, and not a minute longer. It's refreshing to see an action film that's paced so well: the action sequences are used but not overused, and the plot moves along at a brisk pace. Along the same lines, the special effects and fantastic aliens are used with exactly the right amount of restraint: often enough that we have many moments of "Oooh" and "Ahhh" and laughter, but not so much that we ever get used to their presence and take them for granted. The scenes in the MIB headquarters are effectively precisely because they combine the blasé attitude of the staff, routinely managing alien affairs, with our own goggle-eyed wonder.

The DVD

This single-sided, dual-layer DVD is packaged in a keepcase, which is then (annoyingly) surrounded by a cardboard sleeve with exactly the same cover art and technical information as the keepcase. The sleeve is a generic Superbit sleeve with Men in Black labels slapped on; the only thing it does is waste paper.

Video

Men in Black appears in its original widescreen aspect ratio of 1.85:1, and is anamorphically enhanced. The bit rate on this DVD is, indeed, "super," clocking in at an impressive average of 11.3 mb/s, and it's amply demonstrated in the high level of detail in the transfer, and the overall attractive appearance of the film. The only fault that I saw in the transfer was a very small amount of noise in one or two scenes. If there was any edge enhancement here, it was minor enough to completely slip past me.

All in all, the transfer offers a very attractive presentation of the film Colors are superb, looking bright and vivid but also very clean; black levels are solid and always look appropriately rich and dark; contrast is handled very well throughout the film. The print is in extremely good condition and free of print flaws.

Audio

The soundtrack choices here are a Dolby 5.1 and a DTS track. The sound overall is very good, with dialogue and effects always being crystal-clear. Danny Elfman's entertaining musical score is nicely balanced with the rest of the track, backing up the action but never overpowering it. Those viewers with the luxury of not having any neighbors will be able to appreciate the full-blast audio power of some of the action scenes; even the loudest parts of the soundtrack remain correct-sounding, with no distortion. Those of us less lucky folks, who don't want to scare the wits out of the nice elderly couple on the other side of the wall, might have to turn down the volume a notch during those scenes, but will be able to appreciate the fullness and balance of the soundtrack overall.

The score for audio isn't quite as high as it could have been, pretty much because the surround sound isn't used quite as extensively or effectively as it could be. That's not to say that we don't get some nice immersive effects, and in fact the four stars I've awarded indicate that the audio experience is excellent.

Subtitles in English, French, Spanish, Portuguese, Cantonese, Mandarin, Korean, and Thai are also included.

Extras

There are no special features included on this DVD... which is normal for a Superbit presentation, which boasts that the lack of special features allows the full disc space to be devoted to the film's audio and video, thus allowing for the highest quality of transfer.

That's a great idea... except when it's not true.

The transfer is indeed an outstanding one, with a very high bit rate (11.3 mb/s on average); it's pretty much as good as it's possible to get. But of the 9 GB of space on the DVD, only about 6.5 GB are occupied by the film. This leaves about 3 GB that could have been used for something else... like a decent load of special features (which, after all, don't require the same high audio/video quality as the film) without having the slightest effect on the quality of the film's transfer. In other words, the "no extras" on this Superbit is simply a result of the series' gimmick: there is absolutely no reason, technically speaking, why we couldn't have gotten this outstanding transfer and some special features as well.

Final thoughts

Men in Black is a funny, entertaining, and overall just plain fun movie, and one that stands up remarkably well to repeat viewing. Several different editions of the film have been released, including a Deluxe Edition that includes a slew of special features. I can't comment on the differences in transfer quality; on its own merits, the Superbit looks outstanding, and offers a DTS track as well as a 5.1 track. I'm giving it a "highly recommended."

HERE IS THE DIRECT DOWNLOAD FOR THE MOVIE MEN IN BLACK.

THE DEPARTED NOW AVAILABLE

THE DEPARTED NOW AVAILABLE ONLINE

HERE IS THE SUMMARY FOR THE MOVIE THE DEPARTED FROM IMDB

Two just-graduated officers from Massachusetts State Police Academy follow opposite sides of the law: William Costigan is assigned to work undercover with the Irish mobster Frank Costello to get evidences to arrest him. His true identity is only known by his superiors Dignam and Oliver Queenan. The protégée of Costello, Colin Sullivan, is promoted in the Massachusetts State Police and is the informer of Costello. Each police officer gives his best effort trying to disclose the identity of the other "rat". Written by Claudio Carvalho, Rio de Janeiro, Brazil

Billy Costigan, a young man from a crook family, wants to do redeem the Costigan family by joining the cops. However, the cops see him as the perfect mole because of his crook family, so they send him undercover to the Irish Mob. Meanwhile, Frank Costello, the mob boss, sends in Colin Sullivan to become a cop for the opposite purpose. Both get caught up in their double lives and become obsessed with finding the other mole, as does Costello and Queenan, the heads of each side. Written by hnt523

Years ago, a powerful Irish mafia figure placed a small selection of his youngest, brightest men into the Massachusetts State Police Academy as cadets. Their purpose is to eventually rise within the prestigious ranks of the state police department, to serve as the eyes and ears of their boss. While somewhere else, a young cadet was assigned with an equally dangerous task: infiltrate the Irish syndicate headed by the man sending in his own to the Massachusetts State Police. Now, one cadet is an up and coming police official with a torn allegiance to his job and to the criminal mastermind that put him there. While the other cadet is the trusted number two of that man, only finding his professional duties are becoming blurred with his current state. But new clues have lead to unfortunate discoveries, when both sides realize they're being watched by the enemy. It's now all just a matter of time before the men assigned to find out whose the infiltrator, could come to a bloody end when someone's identity may be revealed. Written by mystic80

In South Boston, the state police force is waging war on Irish-American organized crime. Young undercover cop Billy Costigan is assigned to infiltrate the mob syndicate run by gangland chief Frank Costello. While Billy quickly gains Costello's confidence, Colin Sullivan, a hardened young criminal who has infiltrated the state police as an informer for the syndicate, is rising to a position of power in the Special Investigation Unit. Each man becomes deeply consumed by his double life, gathering information about the plans and counter-plans of the operations he has penetrated. But when it becomes clear to both the mob and the police that there's a mole in their midst, Billy and Colin are suddenly in danger of being caught and exposed to the enemy-and each must race to uncover the identity of the other man in time to save himself. But is either willing to turn on the friends and comrades they've made during their long stints undercover? Written by Anonymous

Revolves around a rivalry between the Massachusetts State Police and an Irish-American gang. A gangster is chosen to infiltrate the state police while a young police officer is chosen to infiltrate the gang. When their paths cross, what will be the result? Written by Ninja01

HERE IS A REVIEW FOR THE MOVIE THE DEPARTED FROM DVDTALK

Two dozen films under his belt, and Martin Scorsese can still crank out a gem worthy of comparison with "Taxi Driver," "Goodfellas" and "Raging Bull." "The Departed" doesn't have quite the same air of brilliance about it as those classics did, but it sure comes close.

It's a remake of a 2002 Hong Kong action flick called "Infernal Affairs," which was an hour shorter and several fathoms shallower. It was a devilishly clever story about a police department and an organized-crime ring battling each other, both unaware that they had rats in their midst -- i.e., an undercover cop had infiltrated the gangsters, and a gangster had managed to become a cop. It's a great little movie with a great premise.

Scorsese, with screenwriter William Monahan ("Kingdom of Heaven"), has taken that caper's basic framework and injected some humanity into it. Where the original was concerned primarily with the mechanics of the plot, "The Departed," set now on the mean streets of Boston, gives real weight to the characters. It examines the two double agents' conflicted emotions. It allows the gravity of the situation to sink in, refusing to let it be just a cool crime flick.

Yet it's also a pretty cool crime flick. Just think of the intricate possibilities in such a twisted set-up: Billy Costigan (new Scorsese favorite Leonardo DiCaprio) is a screw-up from the wrong side of the tracks who, against all odds, becomes a state police officer. Given Costigan's unsavory background, Chief Queenan (Martin Sheen) and his abusive right-hand man Dignam (Mark Wahlberg) figure he'd make a believable undercover agent, so they send him into the bowels of a mafia operation run by Frank Costello (Jack Nicholson). Meanwhile, Costello long ago took a fatherless boy under his wing and taught him the family business of extortion and violence. The boy is Colin Sullivan (Matt Damon), and he's just graduated from the academy to become a state police officer, upholding the law while continuing to keep Costello informed of any police activity that relates to him.

Consider what will happen when the police department suspects they've got a rat in their midst and Sullivan -- who IS the rat -- is assigned to figure out who it is. He can't confess, obviously, but he can't report back and say he came up empty, either. He has to finger someone.

Imagine the parallel scenario in Costello's camp. He thinks one of his guys is disloyal to him. But how does a gangster run background checks on his thugs? How do you ferret out a snitch when your whole operation is based on deceit and corruption?

The plot is a work of beauty in its own right, for which most of the credit goes to the Hong Kong filmmakers who originated it. Scorsese brings out subtle themes, though, effortlessly creating this hostile world of casual racism and casual violence and making it seem both extraordinary and believable.

The film is all about communication, or the lack of it. One side of the law-enforcement team doesn't know what the other side is doing, Sullivan doesn't know one of his fellow cops has been sent into Costello's den, the Feds who know who the undercover officers are won't tell anyone else. Both Sullivan and Costigan must send furtive text messages to their secret bosses to keep them apprised, all the while trying not to be discovered by the people around them.

And like a lot of Scorsese's movies, "The Departed" is ultimately about masculinity, too. Crime and crime-abatement are both boys' clubs, and there's barely a female character to be found in the film. The only significant one, a police shrink played by Vera Farmiga, gives Costigan and Sullivan an outlet to do something they can't do with other men: communicate. Even within the police department there are figurative pissing matches and actual fist-fights between guys who are supposed to be on the same team yet who let pride and machismo determine their behavior.

The acting is sharp all around. Your skepticism of "Titanic" pretty boy Leonardo DiCaprio will hopefully have worn off by now so you can appreciate Costigan's increasing horror at the things he sees while in Costello's employ, his commitment to police work wavering as he fears he may never get out of this undercover operation. Note also how Matt Damon's unflinching two-facedness starts to crack as things get hairy in the film's last act. Admire Martin Sheen and Mark Wahlberg as two good cops, and Alec Baldwin as a tart-tongued fast-talking federal agent, able to be funny and menacing simultaneously.

And then dish yourself up a huge helping of Jack Nicholson as Costello. Viewed at first only in shadows, often shot from low angles to emphasize his power, sporting a goatee that makes his waggling eyebrows seem all the more satanic, Costello is the devil himself. He lives a life of pure debauchery (money, drugs, women, murder), enjoying evil for all it's worth. Nicholson plays the role to the hilt, reveling in the character's monstrosity without ever going over the top. Like Scorsese, Nicholson is a senior citizen who proves occasionally that he's still got the touch.

"The Departed" is the rare Hollywood feature that appears to have been made by someone who actually understands the language of film, who can do things with light and shadows, with camera positioning, with sound and music, to create feelings. That's to say nothing of Scorsese's knack for drawing pitch-perfect performances from his actors, as already noted. This is an excellent film, a throwback to the grittier, more substantial crime dramas of the '70s, and a reminder that movies can have weight to them and still be enjoyable as entertainment.

HERE IS THE DIRECT DOWNLOAD FOR THE MOVIE THE DEPARTED.