QUARANTINE NOW AVAILABLE

Here is the summary for the movie Quarantine from imdb

Television reporter Angela Vidal (Jennifer Carpenter) and her cameraman (Steve Harris) are assigned to spend the night shift with a Los Angeles Fire Station. After a routine 911 call takes them to a small apartment building, they find police officers already on the scene in response to blood curdling screams coming from one of the apartment units. They soon learn that a woman living in the building has been infected by something unknown. After a few of the residents are viciously attacked, they try to escape with the news crew in tow, only to find that the CDC has quarantined the building. Phones, Internet, televisions and cell phone access have been cut-off, and officials are not relaying information to those locked inside. When the quarantine is finally lifted, the only evidence of what took place is the news crew's videotape. Written by zjohnson

Television reporter Angela Vidal (Carpenter) and her cameraman (Harris) are assigned to spend the night shift with a Los Angeles Fire Station. After a routine 911 call takes them to a small apartment building, they find police officers already on the scene in response to blood curdling screams coming from one of the apartment units. They soon learn that a woman living in the building has been infected by something unknown. After a few of the residents are viciously attacked, they try to escape with the news crew in tow, only to find that the CDC has quarantined the building. Phones, internet, televisions and cell phone access have been cut-off, and officials are not relaying information to those locked inside. When the quarantine is finally lifted, the only evidence of what took place is the news crew’s videotape. Written by Screen Gems.

Here is a review for the movie Quarantine from dvdtalk

Most audience members stumbling into "Quarantine" will have no idea it's a remake of a 2007 Spanish horror film titled "Rec." I can't blame anyone for their ignorance, since the original picture never broke through to America due to distribution disinterest, and that's a cryin' shame. "Rec" was a beautiful chiller, constructed with resourcefulness and genre filmmaking wizardry that instilled a modest concept with the right amount of armrest-ripping content to fuel nightmares for weeks. "Quarantine" is the unavoidable American replica, only this version has ingested a bottle of idiot pills and washed it all down with a full glass of directorial incompetence.

Sent on an assignment to cover a night at the average Los Angeles firehouse, T.V. personality Angela (Jennifer Carpenter) is stuck reporting on the mundane details of fireman life. Becoming frustrated with her botched attempts to add some spice into this monotonous story, Angela's fortunes change when a call arrives requesting emergency assistance at an apartment complex. Tagging along with her newfound friends (including Jay Hernandez), Angela and her cameraman Scott (Steve Harris) head into the building, only to be quickly sealed in by faceless government officials. Now trapped with angry cops (Columbus Short), paranoid residents (Rade Serbedzija), and an anxious medical professional (Greg Germann), Angela and her roving camera discover the true reason for the quarantine...and it's hungry for flesh.

There's nothing broad to be found in "Quarantine" that directly separates it from "Rec." Director John Erick Dowdle (of the unreleasable "The Poughkeepsie Tapes") crafts a straightforward copy of the Spanish film, preserving the same plot and scare beats, but altering the corners of the writing to put his fat stamp on the picture. To Americanize "Rec," "Quarantine" introduces crude sexual tension between Angela and the firemen, and turns our camera-ready hostess from a frustrated lifestyle reporter to a veritable sorority pledge, with Dowdle encouraging Carpenter to play daft instead of confident, ultimately reducing Angela's role in the overall scheme of things.

The changes are minor, but they do add up, wandering away from "Rec" in all the wrong ways. The original film spent some time with the characters, "Quarantine" quickly sets up the humans as zombie food, with little development beyond differing puncture wounds. "Rec" was a multi-layered visual piece of broadcasting verisimilitude, resembling a chaotic news explosion; the remake retains an unacceptable glossy look, highlighting the already recognizable cast as humdrum actors, not frantic citizens trapped in Hell. Also, while "Rec" didn't win any awards for steady cinematography, director Jaume Balaguero and Paco Plaza composed carefully for maximum suspense and exposition. Dowdle just throws his camera around arbitrarily, with huge sections of the film lost to inane handheld blur and iffy technical believability. In other words, "Rec" invited the viewer to get lost in the terror. "Quarantine" can't stop reminding everyone that it's just a dopey movie.

Reviewing "Quarantine" on its own merits is a difficult challenge, since "Rec" is as close to perfection as fright films get these days. To the uninitiated, the remake will be easy enough to swallow, with plenty of cheap boo scares and hysterical Carpenter overacting to justify the price of admission. For "Rec" fans, there's no reason to return to this story, since Hollywood has drained the tension away, replacing Spanish innovation with American stupidity.

Here is the direct download for the movie Quarantine.

KIT KITTREDGE NOW AVAILABLE

Here is the summary for the movie Kit Kittredge from imdb

'Kit Kittredge: An American Mystery' centers around a young living in the struggles of the Great Depression. 10 year old Kit lives in a boarding house her parents own in Cincinnati, Ohio. She has a passion for writing, & dreams of having something of hers put in the local paper someday. With the help of her friends, Sterling & Ruthie, will her dream finally come true? Written by wgdpink

The film focuses on Kit Kittredge, who grows up in the early years of the Great Depression. Written by anonymous

Here is a review for the movie Kit Kittredge from dvdtalk

It's easy to see that "Kit Kittredge" is after family audiences. It's a harmless tale told without a lick of objectionable content, sure to offer relief to many parents unwilling to subject their children to the heated warfare of lowbrow summer entertainment. However, as generous in spirit as "Kittredge" is, it's an absolute chore to sit through for anyone not plugged into the "American Girl" franchise hoedown.

Watching her family hope to make ends meet during the Great Depression, Kit Kittredge (Abigail Breslin) remains courageous, even trying to score work with the local paper writing about matters of the unemployed. When her father (Chris O'Donnell) heads out of state to find work, it forces Kit's mother (Julia Ormond) to take in eccentric boarders (including Stanley Tucci, Joan Cusack, and Jane Krakowski), most of which have great distaste for the hobos that fill the manual labor jobs of the neighborhood. One of the homeless kids, teenager Will (Max Theroit), is a friend of the Kittredges, and when he's accused of theft, Kit springs into action, trying to uncover the clues that will clear Will's name and save the family home from foreclosure.

"Kittredge" is born from the popular "American Girl" doll line, which gives young girls (and Marie Osmond types) a chance to experience life from a different era and perspective. It's an interesting concept for a toy, and if there's anything to outright praise about the "Kittredge" movie, it's the obsession with Depression iconography. The picture is all soup lines, chicken-feed-bag dresses, and the use of "hobo" as the ultimate four-letter word (seriously, these characters wield the term like a switchblade).

Director Patricia Rozema embraces the era and manufactures an agreeable cardboard backdrop for Kit and her adventures, but she overdoses on the earnestness, turning Kit into a blinding beacon of one-dimensional goodwill and kid-sized worry. "Kittredge" has been drained of complexity to satisfy the wee ones in the audience, and I'm absolutely fine with that; what troubles me about the picture is its amplified presentation. The cast is all wildly gesticulating arms and heavily-pronounced melodrama, while the plot itself is pulled straight from a "Scooby-Doo" episode, with slapstick bad guys and cartoonishly greedy motivations. Rozema pitches everything to the rafters, turning the picture into a sugary, aggravating caper.

The perky pinch is also felt by Breslin, pushed here by Rozema to give an adult performance dancing across the emotional rainbow, but she's too limited to have much effect. Breslin is entering the Dakota Fanning phase of her career: the place where studios lust after her name, thus pressuring the actress to take roles beyond her skill level. Breslin sells the earnestness of Kit, but not the gravity, and her performance is cringingly robotic as a result.

"Kit Kittredge" is hopelessly vanilla entertainment, and while it's sure to please some matinee attendees, it's going to feel like a demonic endurance ritual to the less inclined.

Here is the direct download for the movie Kit Kittredge.

PINEAPPLE EXPRESS NOW AVAILABLE

PINEAPPLE EXPRESS NOW AVAILABLE ONLINE

HERE IS THE SUMMARY FOR THE MOVIE PINEAPPLE EXPRESS FROM IMDB

Lazy court-process clerk and stoner Dale Denton has only one reason to visit his equally lazy dealer Saul Silver: to purchase weed, specifically, a rare new strain called Pineapple Express. But when Dale becomes the only witness to a murder by a crooked cop and the city's most dangerous drug lord, he panics and dumps his roach of Pineapple Express at the scene. Dale now has another reason to visit Saul: to find out if the weed is so rare that it can be traced back to him--and it is. As Dale and Saul run for their lives, they quickly discover that they're not suffering from weed-fueled paranoia: incredibly, the bad guys really are hot on their trail and trying to figure out the fastest way to kill them both. All aboard the Pineapple Express. Written by Anonymous

HERE IS A REVIEW FOR THE MOVIE PINEAPPLE EXPRESS FROM DVDTALK

We all have nights in our past that have become legendary in their telling, nights out with friends that grow epic the more the story is repeated. Nights where we felt like anything could happen and even though anything might not have, the mythology is that it did. Few of us get to make movies about such nights, however, and now writers Seth Rogen and Evan Goldberg have managed to pull off two. First was Superbad, their high school comedy about boys on a quest to get laid; second on deck, the new film Pineapple Express. While a stranger animal than its predecessor, more adult and more all over the place, Pineapple Express proves Rogen and Goldberg have more than one hit in them, and it continues the impressive winning streak of Judd Apatow as a producer.

Pineapple Express hinges on one night, but it's actually more like the longest 48 hours in the life of process server and marijuana aficionado Dale Denton (Rogen) and his goofy dealer Saul (James Franco, probably best known as Harry Osborne in the Spider-Man movies). Working a late evening trying to serve a subpoena, Dale witnesses an Asian hitman being murdered by a drug trafficker (Gary Cole) and a dirty cop on his payroll (Rosie Perez). It's a scene straight out of Cassavetes, even down to the ridiculously designed California home. Pineapple Express is the Killing of a Chinese Bookie of marijuana comedies--both naturalistic and improbable, its narrative strangely fractured but somehow coming together anyway.

In a panic, Dale tosses his ever-present joint out the window, leaving a trail for the killer to find. It turns out that the bad guy, Ted, is the man two rungs up the ladder from Saul, and the only inventory of a special strain of pot called Pineapple Express to trickle down the food chain has gone to Saul. Recognizing his wares, Ted sends a couple of thugs (Kevin Corrigan and The Office's Craig Robinson) down the supply line, putting the stoned pair on the run for their lives.

Much of the humor of Pineapple Express is derived from Dale and Saul trying to put together a plan and then execute it. Saul's fuzzy logic fuels Dale's paranoia and the two end up lost in the woods, locked in a car chase while driving a stolen police cruiser, and being chased by the shotgun-wielding father of Dale's underage girlfriend. (The angry daddy is a hilarious cameo by Ed Begley Jr.) The film is directed by David Gordon Green, whose previous four features have all been realistic dramas shot in a sparse, understated style. (His most recent work was Snow Angels, one of the best films of the year.) In his first comedic turn, Green manages to adapt his leisurely, 1970s verite style to the stoner comedy. It turns out his southern drawl storytelling is perfectly suited to capture the cannabis haze. The same skill that allows him to guide actors through emotionally wrenching scenes in his dramas allows him to create a comfortable space for Rogen and Franco to operate in, and Green lets their scenes run long, giving them the time to work their magic on the dialogue.

Fans of Freaks and Geeks will enjoy seeing Rogen and Franco back together again. While Rogen has been showing his comedy chops in movies like Knocked Up over the last couple of years, Franco has largely been making overly earnest dramas. It's fun to see him cut loose, and he relishes the language of Rogen and Goldberg's script, getting more comedy out of subtly mis-chosen words than a lot of comedians get out of perfectly structured jokes. With his laid-back manner and Rogen's manic anxiety, the two actors form a classic comic duo, like Abbot and Costello, Spade and Farley, and other skinny/fat comedy teams. The proceedings also spark up every time the guys run into Red (Danny R. McBride, The Foot Fist Way), the middle-man between Saul and Ted. Sexually ambiguous, Buddhist, and altogether absurd, Red is an hysterical third wheel, alternating between jokes both rude and oddly calming.

As the plot of Pineapple Express progresses, the script's ADD should have caused the film to derail at some point. David Gordon Green keeps control, though, and he is able to jump from the broad satire of the movie's cold opening to buddy humor and then to slapstick without ever faltering. There are some knock-down, drag-out brawls in this movie that will have you cringing even while you laugh. Seth Rogen taking a flying ash tray to the head is comedy gold, as is James Franco driving a cop car with his foot sticking out the windshield. By the final act, when the convoluted storylines of Ted's war with the Asian drug cartel converges with the hunt for Dale and Saul, all logic is tossed out the window and Green just goes for it. Pineapple Express turns into a free-for-all parody of action comedies, comparable to Hot Fuzz for the sheer geeky detail of the farce. The fight goes on forever, the gun supply is unlimited, and the script even makes fun of its own lack of definition (no one knows what nationality "the Asians" really are, they are just Asian). Some might sniff that the giant shootout that takes up the whole last quarter of the movie is an immature excuse for a bunch of friends to goof around with guns and play-fight, but that conveniently ignores that this is the point entirely. Pineapple Express is about friendship, sticking together, and having a laugh while you do all the crazy stuff you would never do if the other guy wasn't egging you on.

When it's done poorly, pot humor can grow old quick, but Pineapple Express transcends the whole "dude, I have the munchies/my fingers are huuuuuge" norm and just goes gonzo. It practically invents its own genre, a Dadaist mash-up of B action movies and bawdy comedies that those of us who grew up in the '80s saw time and time again in heavy rotation on cable. Written smartly, directed with an assured style, and performed by some of the best comedians of our day, this Pineapple Express takes off like a shot and strikes every target. Get your tickets now.

Jamie S. Rich is a novelist and comic book writer. His current novel is entitled Have You Seen the Horizon Lately? and was released by Oni Press in the summer of 2007. It follows up on both of his successful books from 2006, the pop-culture hit The Everlasting, and his original graphic novel with Joëlle Jones, 12 Reasons Why I Love Her. Rich is currently writing the ongoing independent comic book series Love the Way You Love.

HERE IS THE DIRECT DOWNLOAD FOR THE MOVIE PINEAPPLE EXPRESS.