WALL-E NOW AVAILABLE

WALL-E NOW AVAILABLE ONLINE

HERE IS THE SUMMARY FOR THE MOVIE WALL-E FROM IMDB

In the distant future, a small waste collecting robot that slowly begins to become sentient inadvertently embarks on a space journey that will ultimately decide the fate of mankind.

HERE IS A REVIEW FOR THE MOVIE WALL-E FROM DVDTALK


Pixar as a formidable storytelling machine is not an entity I'm entirely comfortable with. The studio has turned itself into a faceless animation brand name, and while I can't argue the box office numbers, I'm not buying the artistic results. "Wall-E" is Pixar's biggest creative gamble in over a decade; a genuine cinematic leap of faith. However, the ambition doesn't match the outcome, and while "Wall-E" dances whimsically, it's a plodding, frighteningly hypocritical, and forbidding film that trips over its fogged intentions at every dreary turn.

It's 800 years into the future, and Earth is left in a pile of ruins, with garbage piled as high as skyscrapers and the landscape a sickly shade of brown. The last robot left on the planet is Wall-E, a compactor machine who dutifully carries out his business cleaning up the land while he dreams of companionship, fueled by repetitive screenings of "Hello Dolly" and indulging his childlike curiosity whenever he can. Sent to Earth to retrieve signs of life is Eve, a probe droid who Wall-E is instantly smitten with, and the two form a startling bond. When Eve finds a plant sample on the dead planet, she's snatched back to the pathetic remnants of the human race for questioning, leaving Wall-E ready to hitch a ride off Earth to remain with her.

It's easy to become wrapped up in the light show director Andrew Stanton ("Finding Nemo") fires off with "Wall-E." It's a film seemingly constructed with a mind toward pure simplicity: our hero, Wall-E, is a robot who only speaks in electronic tones, participates in plenty of slapstick inquisitiveness, and all he wants is love. It's a veritable Pixar to-do list of elementary visual gags, and "Wall-E" indulges every scrap of physical comedy available for the first third of the picture (nearly completely free of dialogue), even handing the robot a traditional best pal of sorts in a loyal cockroach. This is the comfortable, reassuring padding that Pixar could accomplish with their eyes closed, with Wall-E decked out in full cute mode to help ease the audience into this bleak, post-apocalyptic world that few G-rated animated projects would dare consider.

Where "Wall-E" heads next is sure to divide audiences. Following Eve into space, Wall-E boards the "Axiom," a huge cruise space ship that's home to the loose ends of the human race. You see, in the 700-years since mankind bolted from Earth, they've evolved into overweight blobs of pudding, nurtured by the Buy-N-Large Corporation who use humans to feed the endless, aggressive cycles of profitable consumption, leaving them helpless and totally enslaved to commercial trends. The human characters are obese nincompoops who've lost the ability to walk eons ago, puttering around on floating chairs waiting impatiently for their next needless desire to be force fed to them by the all-powerful corporate machine.

Here's where I remind everyone this is a Pixar/Disney picture. Pixar/Disney. Decrying greed.

It's a pretty ballsy move to create a film condemning the culture of gluttony and corporate insatiability while indulging in those practices to market a film (kids, make sure to buy a Wall-E toy on the way out!), and it opens a can of worms that Stanton has no idea how to properly sort to dramatic satisfaction. "Wall-E" paints in massive brush strokes, attempting to educate younger audience members with horrific vistas of a polluted, wasted Earth and the overall piggish behavior of the humans, while also making sure Wall-E is endearing enough to use on games, toys, and stuffed animals so all concerned make a mint off of vulnerable family audiences.

If "Wall-E" was a scrappy independent film emerging from, say, the great Ralph Bakshi, the contrast and violent condemnation would've been a total gas. Coming from Pixar/Disney, it feels... discourteous, or, at the very least, corrosive and incompetent. The overall finger of intolerance is wagged with gale force winds here; a fascinating momentum lost on a picture easily 30 minutes overlong. "Wall-E" doesn't have much adventure on its mind, nesting comfortably in the details of cutesy robot behavior and mad lunges toward audience sympathy, but there's no dramatic spine keeping the film a riveting sit. Still, Stanton pushes forward, drawing out Wall-E's lust past the expiration date and into full-out repetition.

I'm the first guy to applaud a Pixar film not entirely swathed in cliché, but the spark of the film is in constant threat of being snuffed out by the habitual elongation of the ice-thin story. I wasn't moved by Wall-E's Chaplinesque mishaps and intergalactic dreams, just agitated that Stanton doesn't take the character past infantilization or offer something more than pratfalls for our hero to undertake. Wall-E's shtick tires quickly.

To some, Wall-E is an adorable character with rich emotional professions, and that's all the cinematic nutrition they need from this picture. I craved that sensation while watching "Wall-E," but it never arrived. Instead I was left bored and insulted by a misguided, preachy film riddled with absurd messages and run into the ground by complete storytelling lethargy. But that Wall-E sure is cute, huh?

HERE IS THE DIRECT DOWNLOAD FOR THE MOVIE WALL-E.

THE ROCKER NOW AVAILABLE

Here is the summary for the movie The Rocker from imdb

The Rocker tells the story of a failed drummer who is given a second chance at fame. Robert "Fish" Fishman is the extremely dedicated and astoundingly passionate drummer for the eighties hair band Vesuvius, who is living the rock n' roll dream until he is unceremoniously kicked out of the band. Twenty years after his rock star fantasies are destroyed, just when Fish has finally given up all hope, he hears that his nephew's high school rock band A.D.D. is looking for a new drummer. They reluctantly make him the newest member of the band, giving him a chance to reclaim the rock God throne he's always thought he deserved, and taking the young band along for the ride of their lives. Written by Fox Atomic

Here is a review for the movie The Rocker from dvdtalk

A pox, a pox I say, on the house of the individual who first told Rainn Wilson he was a funny man. For the inconsiderate moose that decided to open their trap and inspire this actor, I wish them the same discomfort I suffered while watching Wilson's first starring effort, "The Rocker."

Enjoying the rising success of his '80's metal band Vesuvius, drummer Robert "Fish" Fishman (Rainn Wilson) is floored when the band mates (including Fred Armisen, Bradley Cooper, and Will Arnett) fire him. Now 20 years later, Fish is stuck in a series of soul-sucking jobs, living in his sister's attic. When his nephew Matt (Jack Black photocopy Josh Cad, "21") asks Fish to join his band A.D.D. (including Teddy Geiger and the gifted Emma Stone) for a few gigs, the lonely drummer agrees, turning the garage nobodies into chart-topping YouTube stars when footage of his nude rehearsals leaks. Asked to tour, A.D.D. hits the road, offering Fish the rock star lifestyle he's craved for decades, but can his aged, doughy body take the pressures of fame? Will mom Amanda (Christina Applegate, on autopilot) allow Fish to corrupt the band?

Do you really care?

"Rocker" is a mundane comedy, made to be discovered on cable television, where the convention of crotch hits, vomit jokes, nude Rainn Wilson, and storytelling clichés can be absorbed without the pressures of ticket and concession pricing. It's a terrible film and I didn't giggle at all while watching it, but I can see its potential appeal with a distracted home audience who has the option of burning through a checklist of domestic tasks while the picture drones on in the distant background. Gosh, I envy those people.

Unfortunately, I had to sit through "Rocker" as it assembled a laundry list of uninspired humor, often falling back on slapstick 101 nuggets to get a response out of the audience. Anemically directed by Peter Cattaneo ("The Full Monty"), "Rocker" tries to squeeze as much comedic mileage out of Wilson as it can, depending on the actor to stand proudly in front of the camera and mug shamelessly to sniff out any hint of a chuckle. Wilson is enormously grueling to watch here, bouncing around the frame while his co-stars wait their turn for lines. "Rocker" is more of a fall-down-and-go-boom comedy than an inspired send up of rock star rites of passage or hair metal traditions, and that feels like such a waste; especially with cock rock goon Brett Michaels back in the public eye. Surely there's more potential substance to the film than Wilson getting hit in the face with branches, strolling around shirtless (a Will Ferrell staple), falling over his drum kit, or keeping some "lucky puke" in his front pocket?

Sadly, no.

With a comedy cast that includes Wilson, Arnett, Cooper, and Cad, there's already a multiplex version of a Mr. Yuk sticker slapped on this baby. Take the hint.

Here is the direct download for the movie The Rocker.

IGOR NOW AVAILABLE

Here is the summary for the movie Igor from imdb

"Igor" is a playfully irreverent comedy that brings a new twist to the classic monster genre. In a world filled with Mad Scientists and Evil Inventions, one talented evil scientist's hunch-backed lab assistant has big dreams of becoming a Mad Scientist himself and winning the annual Evil Science Fair. Written by Exodus

Here is a review for the movie Igore from dvdtalk

A routine CG-animated family film offering, "Igor" does have the novelty of being something darker to offer the little ones as the Halloween season begins to creep into view. Embracing monster movie motifs from the classic era of cinema, "Igor" has charm but misses a grand opportunity to evoke the world of James Whale when it would rather crib blatantly from Tim Burton.

In a far away land called Malaria, evil deeds are encouraged by King Malbert (voiced by Jay Leno) and his population of mad scientists. With the help of their assisting Igors, the scientists are preparing for the annual fair to show off their accomplishments, and the cunning Schadenfreude (Eddie Izzard) is ready to take home the gold again. When Igor (John Cusack) finds his dimwitted master Dr. Glickenstein (John Cleese) killed by his own stupidity, the brilliant young college-educated toady fills in with a special offering: a humongous disfigured monster named Eva (Molly Shannon). Created for nefarious purposes, Igor is shocked to find Eva is a kindly soul who wants nothing more than to become an actress, encouraging the jealous wrath of Schadenfreude and his shape-shifting girlfriend, Jaclyn (Jennifer Coolidge).

While I'm positive it was created with the best of intentions, it's nearly impossible to examine "Igor" and not notice the serious "Nightmare Before Christmas" similarities that litter the motion picture. The parallels are drawn most severely in the angular, ghoulish character designs, with the animation a near photocopy of Burton's cult classic, viewed most uncomfortably in the King Malbert character. It's truly difficult to register the connection as tribute or robbery, and it pulls apart what little fun there is to savor in "Igor."

Step beyond the mimicry, and "Igor" has other problems to solve, including an irreverent tone lifted from "Shrek" (a screenwriting quirk that needs to be flushed from family films permanently) and some curious targets for jokes, one itchy riff pointed at a Malaria school for blind kids. There's some great discomfort there.

However, "Igor" has some spring to its step courtesy of the Louis Prima soundtrack and the voice cast, who put in a game effort trying to accurately navigate the screenplay's sense of humor and keep character arcs clear as a bell. Cusack and Shannon impressed me the most here, making for a sweet odd couple (she's as big as a house, he's about as tall as the doorknob), with Cusack showing atypical interest in maintaining an upbeat delivery. Special support comes from Steve Buscemi and Sean Hayes as Igor's previous failed monster experiments, which come to the aid of their creator with a healthy offering of slapstick and sarcastic wit.

Frantically directed by Anthony Leondis ("Lilo and Stitch 2"), who slings the camera around as if this was a jackhammer Michael Bay animated production, "Igor" has a few fine moments of macabre mischief to enjoy before mediocrity sets in, along with a huge amount of distasteful chaos. "Igor" is crafty, just never triumphant or enchanting, trying too hard to ape previous morbid comedies and not focusing on the obvious problems at hand.

Here is the direct download for the movie Igor.