TWILIGHT NOW AVAILABLE

HERE IS THE SUMMARY FOR THE MOVIE TWILIGHT FROM IMDB

Bella Swan has always been a little bit different. Never one to run with the crowd, Bella never cared about fitting in with the trendy, plastic girls at her Phoenix, Arizona high school. When her mother remarried and Bella chooses to live with her father in the rainy little town of Forks, Washington, she didn't expect much of anything to change. But things do change when she meets the mysterious and dazzlingly beautiful Edward Cullen. For Edward is nothing like any boy she's ever met. He's nothing like anyone she's ever met, period. He's intelligent and witty, and he seems to see straight into her soul. In no time at all, they are swept up in a passionate and decidedly unorthodox romance - unorthodox because Edward really isn't like the other boys. He can run faster than a mountain lion. He can stop a moving car with his bare hands. Oh, and he hasn't aged since 1918. Like all vampires, he's immortal. That's right - vampire. But he doesn't have fangs - that's just in the movies. And he doesn't drink human blood, though Edward and his family are unique among vampires in that lifestyle choice. To Edward, Bella is that thing he has waited 90 years for - a soul mate. But the closer they get, the more Edward must struggle to resist the primal pull of her scent, which could send him into an uncontrollable frenzy. Somehow or other, they will have to manage their unmanageable love. But when unexpected visitors come to town and realize that there is a human among them Edward must fight to save Bella? A modern, visual, and visceral Romeo and Juliet story of the ultimate forbidden love affair - between vampire and mortal. Written by Summit entertainment

Isabella Swan moves to gloomy Forks to live with her father. As she starts her junior year in high school she becomes fascinated by Edward Cullen who holds a dark secret which is only known by his family. Edward falls in love with Bella as well but knows the further they progress in their relationship the more he is putting Bella and those close to her at risk. Edward warns Bella that she should leave him but she refuses to listen and to understand why he is saying this. Bella learns his secret. He is a vampire, however she is not afraid of his blood-thirsty needs and the fact he could kill her at any moment. Bella is afraid of losing him, the love of her life. The thrill begins when a new vampire finds it a challenge to hunt Bella down for her irresistible blood. The game is on and James will not stop until she is killed. Written by courtney

Bella Swan is a clumsy, kind hearted teenager with a knack for getting into trouble. Edward Cullen is an intelligent, good looking vampire who is trying to hide his secret. Against all odds, the two fall in love but will a pack of blood thirsty trackers and the disapproval of their family and friends separate them? Written by LadyN1

Bella Swan was not expecting anything out of the ordinary to happen when she moved to live with her Dad in Forks, Washington. But this where her life truly begins. There she meets Edward Cullen, a mysterious and captivating student at her new high school. Bella soon discovers that Edward is hiding a secret, after he impossibly saves her life from a van with his super-human strength and speed. She is determined to unravel his secret, but the truth is more terrifying than she realized. Edward is a vampire. Any normal person would just keep away from him, but Edward and Bella have fallen passionately and unconditionally in love with each other. And so begins their forbidden relationship between a human and a vampire. But the young lovers soon discover that their troubles are only just about to begin. Written by Mel from the Untied Kingdom.

HERE IS A REVIEW FOR THE MOVIE TWILIGHT FROM DVDTALK

Perhaps the least likely event movie in the history of cinema, "Twilight," after a full year of fire-stoking from fangirls of all ages and lung capacity, finally hits screens to greet its adoring followers, leaving the uninitiated on the outside looking in. However, that's a great place to be when it comes to this impossibly sloppy, incoherent motion picture; the outside leaves plenty of leg room to run screaming from Catherine Hardwicke and her absolute inability to direct a stirring motion picture.

Moving from Phoenix to remote Forks, Washington, Bella (Kristen Stewart, "The Messengers") has quickly found a focal point for her high school awkwardness: Edward Cullen (Robert Pattinson, "Harry Potter and the Goblet of Fire"). A pasty loner with severe social issues, Edward is a mystery to the swooning Bella, leaving the teen girl hopelessly in love with an enigma. When bodies start to pile up in surround counties and Edward saves Bella from certain death, it comes time for the strange boy to reveal the truth: he's a vampire and Bella is his true love. As the duo work around their extraordinary relationship issues, trouble arrives in the form of a rival vampire clan, cursed with James (the woefully insipid Cam Gigandet, "Never Back Down"), a tracker who will not stop until Bella is dead.

I know I'm skating on thin ice to bring any note of condemnation to a franchise that has built a mighty tower of adoration from readers across the globe; author Stephenie Meyer's world of vampires, unrequited sexual thirst, and self-conscious teen emoting has resulted in semi-Potteresque hysteria, extending to the release of this first feature film. However deafening the hype, I found "Twilight" to be a rotten movie, yet the blame for the failure of this tween sleeping pill doesn't completely point toward Meyer's imagination, but Hardwicke's thundering screen cluelessness instead.

After a misfire ("The Nativity Story") and two outright creative fiascos ("Lords of Dogtown" and "Thirteen"), what brought the producers to Hardwicke's doorstep to direct "Twilight" is a mystery for the ages. I'm sure her time spent with young actors was a major consideration, but a film of this scope and sensual edge needed someone capable of communicating thick torrents of bodice-ripper romance and dark, violent tones, blended together to create a magical arena for the characters to work out their Northwestern angst. In place of challenging gloom, Hardwicke gives the material an inflated ABC Family Original treatment, draining the life out of "Twilight" through her sheer inexperience with fantasy and horror. Would you give an all-powerful fantasy franchise capable to producing hundreds of millions of box office dollars to a woman who once bungled the softball story of the Virgin Mary?

Shabbily edited and suffering from Hardwicke's compositional ineptitude, "Twilight" is reduced to a poorly contained unintentional joke. With shirtless vampires running around at Superman speed, Edward rocking goofy Johnny Suede hair, and the picture offering perhaps the worst display of parental indifference I've ever seen, "Twilight" is riddled with secretive passages meant only for lovers of the source material. To the outsider, the whole experience alternates between embarrassing overindulgence and outright boredom, watching a promising concept for teen "Romeo and Juliet" style escapism turn into big screen triviality, with a horde of dreadful actors (Stewart is celebrating her eighth straight year of playing the exact same stuttery, awkward character) and Hardwicke trying to pull together everlasting love with extremely limited artistic means.

"Twilight" doesn't play by standard vampire rules, so ingrained bloodsucker cinema logic is thrown out the window when processing Meyers's pensive creation, as are most concepts of spatial relationships, motivations, and romantic chemistry (sorry folks, but I've seen siblings with more sexual heat than Bella and Edward). "Twilight" just dances where it wants to, assuming most of the audience is filling in the blanks on their own. It makes for an exhaustively moronic final act, where the entire cast suddenly pinballs around the country with minimal explanation, just to arrive at a mirror-filled final vampire showdown location straight out of the directing 101 handbook. Surely the vampires are a more complex bunch than what Hardwicke presents here...at least I hope so. I've never read the "Twilight" books, and if this film is any indication of their treehouse substance and foul whimsy, I have no interest in starting now.

Even with something as labyrinthine as the "Harry Potter" series, there's an effort from the producers, however effective or ineffective, to include everyone in on the adventure. I never felt the same invitation with "Twilight," watching Hardwicke stumble hopelessly around the material, making sure the basics, no matter how clumsy they fit into the overall visual scheme of the movie, are accounted for. Encountering vampires with diamond skin in the daylight, impromptu thunderstorm baseball games, and creepy undead boyfriends who show little regard for matters of nighttime privacy, it's clear "Twilight" is an invitation-only experience, and should elicit the appropriate squeals from the core demographic.

Outside of the indoctrinated, it's a toss-up how this movie will play with the masses, but I have to assume a full two hour blast of traditional Hardwicke blunders and head-slapping "romantic" lines such as "You are exactly my brand of heroin" (huh?) will snap even the most devoted of multiplex wills.

HERE IS THE DIRECT DOWNLOAD FOR THE MOVIE TWILIGHT.

SURROGATES NOW AVAILABLE

HERE IS THE SUMMARY FOR THE MOVIE SURROGATES FROM IMDB.

People are living their lives remotely from the safety of their own homes via robotic surrogates -- sexy, physically perfect mechanical representations of themselves. It's an ideal world where crime, pain, fear and consequences don't exist. When the first murder in years jolts this utopia, FBI agent Greer discovers a vast conspiracy behind the surrogate phenomenon and must abandon his own surrogate, risking his life to unravel the mystery. Written by Touchstone Pictures

HERE IS A REVIEW FOR THE MOVIE SURROGATES FROM DVDTALK

Every couple films, I've noticed something really odd about Touchstone Pictures. I'm not attacking the studio; they've made plenty of good movies and will undoubtedly make more, yet sometimes I feel like they have a computer hidden away on their lot with a fill-in-the-blank interface for "blockbuster" movies. Just type in a mildly clever idea, add some actors (at least one megastar), press "Start" and out pops a pre-packaged motion picture, sealed neatly in clear cellophane, ready to be delivered to audiences with a minimum amount of effort. Surrogates is one of those movies. The idea of a future where people experience life through mind-controlled androids is just good enough to trick innocent filmgoers into thinking it's enough to float a movie, and Bruce Willis has exactly the right kind of broad appeal to draw in any stragglers who aren't quite convinced, but there's no movie here -- just a shell, motivated by the bottom line.

One of the most disheartening things about the film is how disinterested Bruce Willis seems by the endeavor. Playing Greer, the same Tired Movie Policeman from thousands of his other movies, the actor sleepwalks through Surrogates, hitting each emotional note with the lowest amount of required energy possible. I've seen plenty of lame-duck films where Willis' sense of humor and line delivery were enough to elevate the project entire grades at a time, but even at a measly 88 minutes, Surrogates proves too large a bland mass for the actor to overcome. Even Bruce's few moments of clarity are a letdown; they're so infrequent, brief and unrelated, they feel less like a reprieve and more like the film dangling a pipe dream in front of the audience. Curiously, almost all of these moments occur while we're seeing Greer as his CGI-enhanced surrogate rather than the man himself. It's ironic that a movie arguing for real, human emotions over ones experienced via electronic proxy is almost completely ruined by the opposite problem.

Aside from Willis, most of the other actors here are shoved to the side by the film's brief running time. Willis is briefly reunited with his Pulp Fiction co-star Ving Rhames, but Rhames has a thankless role that never develops. Radha Mitchell's character Peters seems less predestined towards two-dimensionality, but there's no room amongst the film's tired murder plot for any backstory on her character's real-life persona. Worst of all, disappointingly, is veteran character actor James Cromwell, barely inhabiting a hackneyed role with even the slightest bit of life. During Cantor's first major scene in the film, he meets with Greer and Peters through a special surrogate, and I'd much rather have watched that actor (who I can't concretely pick out on IMDb) give 110% than see Cromwell giving 0%. The only notable thing about Cromwell's entire participation is how much he resembles James Cameron. Only Rosamund Pike gets enough screen time to create anything for the audience to latch onto, but two of her moments are marred by the movie's goofy science fiction (scoring inappropriate laughter from the audience).

Some elements of the idea are great. Dr. Canter invented the concept of surrogacy with medical intentions, to allow the disabled or injured to experience day-to-day life again, yet the public seems to have adapted it to its current purpose. The film also touches on alternate, feeling-free models of surrogates, how a surrogate can allow people to live a double life (it's the anonymous internet chatroom of the future!), and the tumultuous co-existence of the machines and people who find living through a machine to be an abomination. Screenwriters John Brancato and Michael Ferris have other things in mind, however, and the film focuses on twists and turns that might be more tired and worn-out than Bruce. If there are any grizzled, slightly old-fashioned cops out there without tragic pasts, please report to Hollywood immediately.

For the longest time, I've been defending director Jonathan Mostow's Terminator 3, which I'd thought had plenty of good action, a fun story and a knockout ending (the film certainly sits in the shadow of its predecessor, and it's probably unnecessary, but it's far more entertaining than it gets credit for). Aside from Mostow, Brancato and Ferris also wrote T3, and the fumbles of Surrogates feel like an attempt to recreate the formula. The film's one beam of light is that the action sequences are pretty good, but there are only two of them, and the rest of the direction ranges from mediocre to embarrassing (watching a rack-focus on Greer staring at a symbolic baseball glove actually made me want to groan out loud). As far as a "knockout ending" goes, the film's trailer gives too much away, although the information has been cleverly re-arranged; even the knowledge that the ad features some spoiler-riffic shots won't mean anything until they actually limp on-screen.

Surrogates is a movie that was made from the outside in. At all times it looks like it cost millions of dollars, and never once does that flashy gloss add up to anything creative or interesting. It's a bad sign when the most interesting thing about your movie is that it features actor Devin Ratray, the once and always Buzz McCallister from the Home Alone movies in a cameo as a computer guy. Ratray actually seems enthused to be in the movie, investing a little energy into his two-scene role. I guess he didn't get the memo: this one's just for show.

HERE IS THE DIRECT DOWNLOAD FOR THE MOVIE SURROGATES.

HALLOWEEN 2 NOW AVAILABLE

Here is the summary for the movie H2 (Halloween 2) from imdb

Michael Myers is still at large and no less dangerous than ever. After a failed reunion to reach his baby sister at their old home, Laurie Strode is immediately taken to a hospital to be treated by the wounds that had been afflicted by her brother a few hours ago. However, Michael isn't too far off and will continue his murdering 'Halloween' rampage until he gets his sister all to himself. Written by Anonymous

Here is a review for the movie H2 (Halloween 2) from dvdtalk

First things first: I thought writer/director Rob Zombie's 2007 remake of Halloween was an interesting, brutal alternate-reality version of the Michael Myers story. Many of the complaints I've heard about it are about the changes Zombie made from John Carpenter's 1978 original, which makes no sense at all to me. If you're going to remake a movie, it has to fall somewhere between the two extremes: not-at-all different (The Omen 2006) and so different as to be almost unrecognizable (Dawn of the Dead 2004). The whole point of remaking a movie instead of creating an original work, in my opinion, is to explore an angle that the original movie contained but left untouched. People can claim up and down that the psychology of Michael Myers doesn't need to be explored because it takes away the mystery that, for some, made him terrifying to begin with, but that's a complaint that should be directed at the final product, not Zombie's vision.

That brings us to Halloween II. Let me state in no uncertain terms that unless you understand two facts completely and without reservation, you will probably not enjoy this movie. One: this is a film made by someone with a singular vision. There are no cracks in it into which viewers can slip their own interpretations; this is a movie that really takes an idea and runs with it. Again, whether or not anyone likes it is really a criticism that should be directed at the final product, but either way, the viewer has to be willing to accept what Zombie wants to do or they'll just become increasingly frustrated (something I see has already happened). The second fact should be obvious, but I guess I feel it needs to be stated anyway: this is an extrapolation of everything Zombie did in Halloween 2007. If you didn't like any of that, why would you expect to like any of this? These aren't John Carpenter's versions of Laurie and Loomis, these are a continuation of Zombie's version of them, and he's only taking them farther in new directions.

The first of Zombie's core ideas with the sequel may be the hardest to grasp. Given its psychological nature and the general unwillingness of audiences (including myself) to accept armchair analysis of movie characters, this may be a dealbreaker right off the bat, but it runs through the entire movie. (Spoilers ahead. I'll try to keep them to a minimum, but it's hard to review this movie without them.) Michael (Tyler Mane) have visions of his mother (Sheri Moon Zombie) and a white horse, which Zombie explains using an opening title card as iconography in Michael's waking dream state. Personally, I didn't feel it was that problematic. Not only is this a re-interpretation of the characters to begin with, I've never really thought of Michael as having that distinct a personality. I'm sure the die-hard Halloween fans will get up in arms and email me the numerous details that separate Michael from his illegitimate offspring like Jason Voorhees, but at least one of the elements people are defending seems to be that Michael is a mystery, a blank slate onto which any terrors can be imagined. I suppose those people would be just as quick to argue that sequels, both to the Carpenter original and Zombie's remake, are unnecessary, but the undefined nature of slasher icons like Michael is almost certainly what caused us to get to the twelfth Friday the 13th film. Zombie wants to tell a story, not create an empty, masked killing machine. I hate to keep reiterating this, but whether or not it works is a separate argument; all I'm saying is that Zombie's basic logic seems sound to me.

The second level to this is that Laurie (Scout Taylor-Compton) has her own psychological issues stemming from the events of the earlier Zombie film. In fact, the film even goes so far as to suggest that there's a bit of a mental bond between Michael and Laurie. I'd say it isn't particularly pronounced other than a scene where Laurie becomes sick while Michael is eating, but I'm sure people will make a huge deal out of it. Some of this portion is overdirected, filled with abusive quick-cutting and shots of Laurie screaming, but it leads into Zombie's other idea, which is easier to grasp. Rob has stated in interviews that the heart of the story stems from what it'd be like to learn that you were the sister of Charles Manson, and Halloween II does a good job of presenting this idea to the audience. Sure, the movie doesn't delve particularly deeply into the subject, but even Carpenter's original isn't a deep film, just a creepy one.

Apparently people don't think Zombie's version of Myers is creepy, but I disagree. At the very least, I'd hope even the most fervent 2007 hater would agree that the film had strong visuals, and the sequel is no different. Zombie and cinematographer Brandon Trost have created a number of stunning images, and many of them are equally chilling, especially a nearly silent shot of Michael's silhouette passing by an upstairs window. I also thought that Mane's version of Myers was frightening in his brutality, which has not lessened. Early commenters have already complained about the grunting, but I thought the sight of Myers viciously stabbing someone in a hospital was plenty scary. There's even a moment when Michael is pulling a woman from the cab of a truck that I felt was a bit of a visual homage to the way Michael terrorizes a nurse in the original.

Aside from Zombie's vision, it's nice to see Brad Dourif in a meaty role as Sherriff Brackett, and while there's still a brief, annoying scene at some sort of goth bookstore/coffee bar, both Taylor-Compton and Harris turn in better, more likable performances. I also really enjoyed the Loomis plotline that turns him into a bit of a leech-like, exploitative sell-out, something Malcolm McDowell digs into with relish. But Zombie's vision is all that drives this project, and even though the world seems clearly ready to hate it, I thought it was great. It's a strange, demented vision of Haddonfield that's unlike any of the other Halloween films. To many, this will be a bad thing, and it may even top Resurrection as the most hated entry in the franchise. At least we've traded Busta Rhymes for Weird Al. That's something, right?

Here is the direct download for the movie H2(Halloween 2).

DISTRICT 9 NOW AVAILABLE

Here is the summary for the movie District 9 from imdb.

The film opens with a documentary-style series of interviews that introduce the situation. Twenty years before, an alien ship is seen coming towards Earth and arrives above Johannesburg, South Africa. It hovers above the city for three months without any contact; eventually humans take the initiative and cut into the ship. They discover a large group of aliens who are malnourished and sick. The aliens are later assessed as apparently being all "workers", with their leadership mysteriously missing (it is hypothesized that a plague may have wiped out all of the leadership-caste). Grainy footage shows part of the ship (supposed to be a command module) falling to Earth, but nobody has been able to find it, leaving the ship inoperable.

The creatures, called "prawns" as a derogatory reference to the sea creature which they resemble, are housed in a government camp. The alien race's true name is never learned they are primarily referred to as "prawns" or, more rarely, "non-humans". Overcrowding and militarization eventually turn the area into a slum known as District 9. A massive black market is set up between the aliens and a group of Nigerians primarily led by Mumbo, a paralyzed warlord. In addition to inter-species prostitution, the Nigerians exchange canned cat food for alien weapons, of which the cat food has a similar effect to catnip on the aliens.

The movie takes place in 2010. Patience over the alien situation has run out and control over them has been contracted to Multi-National United (MNU), a private company that shows little regard for the aliens' welfare. MNU is interested in using the aliens' advanced weaponry, but its integration with alien biology makes it useless for humans.

An MNU field operative named Wikus van der Merwe (Sharlto Copley), is set with a task to move 1.8 million aliens to a new District 10 camp located 240 km from Johannesburg, with help from private security forces working for MNU. While inspecting a suspicious alien residence, Wikus handles an alien device which squirts a dark liquid into his face. He becomes very sick and collects the device as evidence.

A rapid transformation begins to occur, and shortly after exposure to the liquid, Wikus's left arm mutates into a claw exactly like that of a prawn. After collapsing at a surprise party in his house, and a doctor at a local hospital discovers his alien left arm, Wikus is taken into custody and a series of tests and experiments are performed on him; these reveal that his alien DNA allows him to operate alien weapons. The scientists discover that his DNA is currently "in balance" with the alien DNA, which is gradually taking over. They decide to harvest his body for biological material at this critical point, to have the greatest chance of replicating his ability to use alien technology in other humans later. To reduce any side-effects, no anesthetic was used. However, during the attempted vivisection Wikus escapes after overpowering his captors, and flees from MNU.

Wikus seeks refuge in the run-down shack of an alien called Christopher Johnson, the same alien who Wikus attempted to evict earlier, who created the alien device that infected Wikus. The device contains fuel that Christopher scavenged from various alien parts scattered around District 9. It is hinted that Christopher might be a surviving member of the prawn leadership caste, as he shows much more knowledge of how alien technology works, possesses or at least found the command module, and interacts with MNU officials more articulately than other aliens. Although initially hostile towards Wikus, Christopher eventually agrees to help him reverse the transformation if Wikus will retrieve the fuel from MNU labs. Christopher promises to undo the mutation by getting Wikus aboard the mother ship hovering over Johannesburg, and shows Wikus the ship's command module, which has been hidden under his shack.

Wikus steals some alien weaponry from Mumbo and his gang, with Mumbo vowing to capture Wikus and eat his mutated arm (his witch doctor believes this will give him the power to operate the alien weaponry). With Christopher's help they launch an assault on MNU and successfully retrieve the fuel sample. While there, Christopher discovers that MNU has been experimenting on his people. Wikus and Christopher fight their way back to District 9 and Christopher begins preparations to leave. He tells Wikus that he must first return to his home world to seek help for his people before he can cure Wikus. Furious, Wikus knocks Christopher unconscious and powers up the ship himself. The MNU mercenaries target Wikus and destroy one of the command module's engines, causing it to crash land inside District 9.

After Wikus is captured by MNU, a battle between the MNU mercenaries and Mumbo's gang breaks out. After a protracted firefight, the Nigerians capture Wikus. Just before Wikus' arm is chopped off, Christopher's son activates several systems in the mothership, including the autopilot routine of a mechanized battle suit; it slaughters Mumbo and his men after they fire on it. Wikus enters the alien walker battle suit, and after initially attempting to flee, returns and rescues Christopher. Armed with a lightning cannon, tracking missiles, and a high-powered machine gun, Wikus begins to fight the MNU men. After being knocked over by a anti-tank sniper round, he convinces Christopher to return to the shuttle without him, over Christopher's objections. Christopher promises Wikus that he will return in three years to repair his body. Christopher then boards the shuttle and activates a tractor beam which returns the command module to the mother ship.

Wikus is shot in the back and the walker suit ejects him. Wikus, heavily wounded, begins dragging himself away from the leader (and sole survivor) of an MNU squad, but is quickly caught. As Wikus prepares to die, aliens burst out of the surrounding slums and dismember the mercenary.

The film concludes with another series of interviews and news broadcasts, providing human opinions on the events that unfolded. The aliens are successfully moved to District 10, which now has a population of 2.5 million and is growing. One of Wikus' coworkers hacks MNU's database and publicly exposes their illegal genetic experiments. There are many differing theories on Wikus' fate. Some people believe that he either left on the mother ship, is in hiding, was captured by MNU or a government agency. Some interviewees hypothesize that the aliens are planning to return with a full army and declare war on humanity. An interview with Wikus' wife reveals a small metal rose was left on her doorstep (Wikus has earlier demonstrated his affection with handmade gifts). Her friends have told her that it could not have possibly been Wikus, but she appears unsure. In the final scene, an alien with a bandaged left arm is shown in a junk yard fashioning a rose out of scrap metal.


Here is a review for the movie District 9 from dvdtalk.

An electric brew of "Alien Nation" and "The Fly," coated with a viscous layer of social commentary, "District 9" is a volatile action/horror picture with a stupendous visual fingerprint. A barnstorming combat film with flashy weaponry, alien mysteries, and goopy body trauma, the film is destined to become a cult classic -- a largely unapologetic statement of hysteria, flanked by large deposits of geek Spanish fly. However, while there's astounding visual reach, "District 9" is riddled with inconsistencies and a confusing point of view, reducing the heat on this ambitious film, robbing it of a lasting power it should rightfully own.

20 years ago, a massive alien mothership appeared above Johannesburg, South Africa. Inside was a race of dying creatures, soon brought down to Earth by local government and forced to live in a walled off section of the city, dubbed District 9. As the aliens, nicknamed "Prawns" due to their vaguely crustacean appearance, grow in numbers and hostility, the task of relocation to a concentration camp has been handed to the Multi-National United Corporation and its head field operative, Wikus (Sharlto Copley). Entering the vile shantytown, teams of soldiers find the Prawns concocting a secretive plan of attack, with Wikus coming into contact with a mysterious black liquid. Forced to flee when he learns his superiors want to tear him apart for examination, Wikus heads back to District 9, befriending an intelligent Prawn named Christopher.

Based loosely on the events of District Six that occurred in South Africa in the 1970s, "District 9" collects bits of history, sci-fi, and action to build itself a story of man hating alien. An unusual visitation tale, the film seeks to reimagine the ravages of apartheid with an otherworldly angle, positioning the Prawns as the abused culture, separated from the general public, finding their rights refused in the name of governmental protection and handed a war zone for a home. The political and social overtones of "District 9" are straightforward and vividly distributed, integrated cleverly by director/co-screenwriter Neill Blomkamp, who conjures a horrific atmosphere of violence and humiliation as man finds renewed purpose keeping the Prawns at bay.

How this story is captured is where my head starts to spin. Introduced as a documentary, "District 9" is ostensibly telling the story of Wikus and his company man efforts to get the Prawns to their new, vaguely threatening home. Blomkamp arranges faux news footage of the District's violence and community filth, while "interviewing" Wikus's closest associates and superiors. Following the action into the District as Wikus and the soldiers go from door to door to con the residents, the film finds an incredible stride of intrigue and discovery, with Blomkamp parading around some of the finest special effects work of the year to merge the real and the unreal into a singularly disturbing, unsettling event.

The feature soon rudely breaks away from the factual perspective, morphing into direct fiction, as Wikus's accident with the black goo becomes a living nightmare. From there, Blomkamp juggles back and forth between shaky-cam documentary footage and traditional dramatics. It's a hazy perspective that cheats the film out of a compelling identity, making the intention of the footage confusing -- a needless distraction in the middle of overwhelmingly grungy eye candy. Is this a documentary? A dramatization? Blomkamp doesn't answer the questions, leaving various plot-holes behind as he starts to scratch his geek itches.

Adapted from Blomkamp's short film "Alive in Joberg," "District 9" doesn't feel like it was sufficiently inflated to fill a feature-length running time; instead, Blomkamp spackles the cracks in the story with explosions and the grisly wonders of alien machinery, taking an already violent film to the extreme for the final showdown. Bodies are torn apart, Blomkamp's "Aliens" fixation is satisfied, and bullets of every design zip around the frame. Perhaps a majority of the audience won't mind the way "District 9" hops on one foot, as long as the pyrotechnics display is appropriately blinding and the creatures are cool. And they are. Wonderfully so. Blomkamp is a filmmaker to watch, with absurdly precise visual instincts. But "District 9" is his first film and it shows, bloating a fascinating fable to a point of collapse.

Here is the direct download for the movie District 9.

SELLING MY CONDO IN DELRAY BEACH FLORIDA 25,000 DOLLARS

HERE IS THE LISTING FOR MY/MY DAD'S CONDO WE ARE SELLING IT FOR 25,000 AND IT IS PRICED ABOUT AVERAGE FOR WHAT IT IS. ITS A 2 BED 2 BATH CONDO IN A 55 + COMMUNITY. THE MLS NUMBER IS R3010665. CALL KEYES AT THE WEBSITE'S NUMBER IF YOU ARE INTERESTED. THE WEBSITE IS


http://keyes.com/search/properties/residential/ListingNo4329293.

ORPHAN NOW AVAILABLE

Here is the summary for the movie Orphan from imdb

The tragic loss of their unborn child has devastated Kate and John, taking a toll on both their marriage and Kate's fragile psyche as she is plagued by nightmares and haunted by demons from her past. Struggling to regain some semblance of normalcy in their lives, the couple decides to adopt a child. At the local orphanage, both John and Kate find themselves strangely drawn to a young girl named Esther. Almost as soon as they welcome Esther into their home, however, an alarming series of events begins to unfold, leading Kate to believe that there's something wrong with Esther--this seemingly angelic little girl is not what she appears to be. Concerned for the safety of her family, Kate tries to get John and others to see past Esther's sweet facade. But her warnings go unheeded until it may be too late-for everyone. [D-Man2010]

Here is a review for the movie Orphan from dvdtalk

"Orphan" is a seriously tasteless motion picture, but it's equally as spineless. A suspense piece with numerous acts of violence and torment involving children, "Orphan" endeavors to unnerve the audience by hitting below the belt, taking on the taboo concept of kids in peril to come across as provocative and unsettling. Instead, the film mostly bores with its repetition; the little originality it clings to dearly is neutered and slowly drained of shock value by the film's end.

Seeking to fill their life with a new child after the stillborn death of their last baby, couple Kate (Vera Farmiga) and John (Peter Sarsgaard) are looking to adopt this time around, adding to their brood, which already includes Daniel (Jimmy Bennett) and young deaf girl, Max (Aryana Engineer). The couple soon comes upon Esther (Isabella Fuhrman), a gifted nine-year-old Russian girl who's keen to have Kate and John as her parents. Enjoying the initial period of adjustment, Kate soon starts to perceive something evil within Esther, trying to articulate her fears to her doubting husband. When accidents start to occur around Esther and people go missing, Kate is sure her daughter is behind the confusion. Trouble is, there's no one left to believe her as Esther goes about her business charming everyone with her unusually perceptive charisma.

I could see "Orphan" bothering a lot of potential viewers. While a one-dimensional Hollywood horror film peppered with screenwriting stupidity, the film does highlight an inordinate amount of bloodshed and threatening poses featuring the young co-stars of the film. Director Jaume Collet-Serra relishes the heightened circumstances, using Esther's wicked ways to yank gasps out of the audience, toying with the innocence of youth, juxtaposed against the pigtailed antagonist's body count. "Orphan" consists primarily of poor taste, but all would be forgiven had Collet-Serra actually strived to follow Esther's wrath to its natural conclusion. Instead "Orphan" cheats with a clumsy last-act spoiler twist, intended to shotgun some jaw-dropping surprise into the picture, but also to cover its own behind from accusations of unforgivable exploitation.

"Orphan" is B-grade horror entertainment, and Collet-Serra follows the map submissively. After his first-rate work unearthing fresh nightmares in the 2005 "House of Wax" remake, I was disappointed to see the director sleepwalk here. "Orphan" hits every cliché around, with numerous empty calorie boo scares and a liberal dosage of idiocy passed around to all the characters. The suspense electricity of the film is designed to come from Esther's cool menace: the angelic, neatly trimmed dream daughter who also has working knowledge of handguns, murder weapon disposal, and possesses the ability to break her own arm at will. She's the pale nightmare Collet-Serra trusts will go a long way to creeping out the room.

Nicely ornamented with porcelain purity by Fuhrman, the character is nevertheless a figure of high camp, and while the production knows it's pushing easy genre response buttons, there's little inspiration beyond the sheer goofy to hold the film together. It's the "Bad Seed" and Damien all over again (not to mention a retread of 2007's "Joshua," which also starred Farmiga), only here there's a distinct pleasure in staging graphic violence around kids. A slimy sexual element with Esther is introduced as well that might've made for pristine horror fodder had the script maintained some gumption and cheerfully waltzed into a wonderland of sleaze. Instead, it pulls every last punch.

We have Vera Farmiga doing her umpteenth take on wild-eyed big screen panic (she's supremely gifted, but wasted here as the mother-in-the-way), Sarsgaard woefully miscast as a suburban dad (even he refuses to believe the performance), and a screenplay that can't stop recycling moves from other, better horror pictures (bloating the running time past two hours). "Orphan" had a distinct shot at infamy, but the feature lost its nerve on the way to capture ideal disease. Instead, the resolution kicks the legs out from under the entertainment value, leaving Esther a horrific demon without much of a lasting bite.

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G.I JOE NOW AVAILABLE

Here is the summary for the movie G.I Joe from imdb

The film opens in France, in 1641. The Scotsman Klan McCullen has been accused of selling weaponry to both the Scots and French. Rather than being executed for treason, the jury brands his face with a white-hot mask in order to humiliate him. In the near future, weapons expert James McCullen (Christopher Eccleston) has created a nanotechnology-based weapon capable of destroying an entire city. His company MARS sells four warheads to NATO, and the U.S. Army is tasked with delivering the warheads. Duke (Channing Tatum) and Ripcord (Marlon Wayans) are delivering the warheads when they are ambushed by the Baroness (Sienna Miller), who Duke recognized to be his ex-fiancee Ana Lewis. Duke and Ripcord are rescued by Scarlett (Rachel Nichols), Snake Eyes (Ray Park) and Heavy Duty (Adewale Akinnuoye-Agbaje). They take the warheads to The Pit, G.I. Joe's command center in North Africa, and upon arriving rendezvous with General Hawk (Dennis Quaid), the head of the G.I. Joe Team. Hawk takes command of the war-heads and excuses Duke and Ripcord, only to be convinced to have them join his group after Duke reveals that he knows the Baroness. McCullen is revealed to be using the same nanotechnology to build an army of soldiers with the aid of the Doctor (Joseph Gordon-Levitt), planning on using the warheads to bring panic and bring about a new world order. Using a tracking device, McCullen locates the G.I. Joe base and sends Storm Shadow (Lee Byung-hun) and the Baroness to retrieve the warheads with assistance from Zartan (Arnold Vosloo), inflicting casualties on several G.I. Joe soldiers. After a fight, Storm Shadow and the Baroness retrieve the warheads and take them to Baron DeCobray, the Baroness's husband, for him to weaponize and use them to destroy the Eiffel Tower to serve as a showing of the warhead's destructive power. Making their way to Paris, the Joes pursue them through the streets but are unsuccessful in stopping them from launching the missile. Duke manages to hit the kill switch, but in doing so he is captured and taken to McCullen's base under the Arctic. G.I. Joe locates the secret base and fly there as McCullen loads three missiles with nano-mite warheads. After Snake Eyes takes out one, Ripcord pursues the remaining missiles in a prototype Night Raven jet while Scarlett and her group infiltrate the base. While Scarlett and Snake Eyes attempt to shut down the Arctic base, with Heavy Duty leading an attack on Cobra's forces, Duke learns that the Doctor is Rex Lewis, Ana's brother believed to have been killed on a mission led by Duke four years ago. He was trapped in a bunker with Doctor Mindbender (Kevin O'Connor), disfigured in the blast which everyone presumed had killed him. The Baroness tries to free Duke but the Doctor reveals he has implanted her with nano-mites which has put her under his control for the past four years, admitting his amazement that she is resisting the programming. Attempting to kill Duke, McCullen ends up being facially burned as he flees with Rex to an escape vessel. Duke and the Baroness pursue him while the Joes fall back when Rex activated the base's self destruct sequence. Rex then heals McCullen's burned face with nano-mites, encasing it in silver as he christens McCullen "Destro" and assumes the identity of Cobra Commander before they are captured by G.I. Joe soon after. On board the supercarrier USS Flagg, Baroness is placed in protective custody until they can remove the nano-mites from her body. Meanwhile, Zartan, having been earlier operated on by Rex, infiltrates the White House during the missile crisis and assumes the identity of the President of the United States (Jonathan Pryce). [D-Man2010]

Here is a review for the movie G.I Joe from dvdtalk

G.I. Joe: The Rise of Cobra will leap and bound like a solider in an accelerator suit to the hearts of anyone who's ever owned an action figure. At one point, the bad guys' resident ninja assassin Storm Shadow (Byung-hun Lee) is trying to escape the top-secret G.I. Joe underground training facility, and he runs over to an unidentified machine and climbs inside. I can't think of anything more fitting than what happens next: it turns into a jetpack and Storm Shadow flies across the room. While the darkening of the summer blockbuster has produced plenty of good movies, I don't know how anyone could claim to enjoy popcorn films or B-movies and not want to see a ninja flying a jetpack. Forget the overlong, extra-serious Transformers films; this is the finest brand of fun, big-budget schlock.

After a prologue in the 1600s (this movie has a prologue in the 1600s!), we skip ahead to the near future, where a weapons manufacturing company run by James McCullen (Christopher Eccleston) has just finished their latest invention. Using nanobot technology, their missiles will literally consume their targets, whether that means tanks, planes, or entire cities. The first four are packaged and given to the U.S. Military, who sends an entire convoy to deliver them. En route, the deliverymen are attacked by a ship carrying Baroness (Sienna Miller), who attempts to kill everyone and steal the missiles. Soliders Duke (Channing Tatum) and Ripcord (Marlon Wayans) fight back and are prepared to die protecting the payload when General Hawk (Dennis Quaid) and his elite team step in to save them. Duke and Ripcord are taken to the Joes' base, and they join to try and stop the missiles from being stolen again.

The movie's ludicrous imagination kicks in almost immediately. At first, Duke and Ripcord train on fairly standard, if unrealistically advanced courses, like a shooting gallery with holographic targets and in hand-to-hand combat using big, futuristic-looking sticks. Then the movie just cuts to a short clip of Duke piloting an underwater spaceship-looking thing in a miles-long tank filled with giant rings, and my brain was happy to shut off and enjoy the spectacle. Other critics will say it's just like a video game, but it's so unabashedly, gleefully, purposefully like a video game that I kind of think that's the idea. In the accelerator suit chase through the streets of Paris (seen in most of the trailers), Scarlett (Rachel Nichols) flies after Duke and Ripcord on a commandeered civilian motorcycle that magically moves about 300 miles an hour, and all I could think of was driving motorcycles like that in Grand Theft Auto.

Speaking of that chase sequence, it's a jaw-dropping tidal wave of awesomeness, with Duke, Ripcord and Scarlett aided by the silent good-guy ninja Snake Eyes (Ray Park), clinging to the underside of the villains' Hummer as the group causes untold amounts of damage. Cars fly through the air like they're made of paper and buildings are reduced to craters, all at a dizzying, breakneck speed. It even changes method of transport, switching from a car chase to a foot chase without missing a beat. I promise, at the very least, this fifteen minutes alone is worth your hard-earned matinee dollars.

The Joes are all well-cast. Personally, I liked Rachel Nichols and Marlon Wayans, who are both charismatic and have an entirely playful chemistry with each other. I didn't even mind Wayans' cheesy comic relief. His jokes aren't particularly funny, but he doesn't scream for attention the way he has in other movies, and all of his comedy bits put together couldn't take up more than ten minutes. My only complaint is that I'd have liked to see more of Dennis Quaid's General Hawk. There's a scene in the movie that briefly reminded me of Innerspace, and while it's totally not right for the character, I still would have liked to see him slip a bit of "the Tuck Pendleton machine" (zero defects!) into the role.

The good guys are complemented by a solid roster of villains. Christopher Eccleston, as far as I can tell, is supposed to be the main bad guy, and he's good at standing around in fine suits, sneering and being slimy (and when given the chance, he wisely refuses to reveal his evil plot), but for all intents and purposes, I'd say his evildoing in the movie is equal to that of Sienna Miller's Baroness. The shared history she has with Duke is worked in to varying degrees of success over the course of the film, but even without it, she's got more personality than any of the other action-movie villains I've seen this year (both the villains in Wolverine AND Terminator were silent!). Minor spoiler ahead. Skip to the next paragraph to avoid reading it. There's also a psychotic doctor (of course there is!), played by Joseph Gordon-Levitt, and he really dredges up some entertaining evil, covered with creepy makeup and practically cackling some of his lines. The only letdown is he spends most of the movie with his voice altered, which takes away from the experience of seeing him play the role.

It's all about tone, and director Stephen Sommers has it down. I haven't seen Deep Rising, which by several accounts is his most entertaining picture, but I've always thought he deserved a little more credit than he gets. If Sommers made slightly better movies, he'd be a genre favorite on par with Sam Raimi (certainly the directorial style of Van Helsing owes more than a little debt of gratitude to Army of Darkness). Despite rumors he was fired, this is his movie through and through, the kind of movie where a character calmly admires a military complex hidden under the polar ice caps because "It's the perfect hiding place. Undetectable and untraceable," and not because it's totally freaking ridiculous. Sommers even brings a few friends with him, including the reliably weaselly Kevin J. O'Connor, Arnold Vosloo, and another fun cameo I won't spoil. The Rise of Cobra is just like the Joes themselves: gets in, gets the job done, and gets out clean, all because Sommers knows what he's doing. And as they say, knowing...

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BRUNO NOW AVAILABLE

Here is the summary for the movie Bruno from imdb

Brüno is a gay Austrian fashion guru. He has his own fashion based television show, Funkyzeit, the most popular German-language show of its kind outside of Germany. After he disgraces himself in front of his Funkyzeit fan base, he is ruined in German speaking Europe. He decides that in his quest for worldwide fame, he will move to Los Angeles and reinvent himself. Accompanying him to the US is Lutz, his former assistant's assistant. Lutz is the only person left in his circle that still believes in Brüno's greatness. Brüno goes through one reinvention of himself after another, ultimately straying to areas far removed from his own self. Perhaps when Brüno finds an activity that he truly does love, he will also find that über-fame he so desperately desires. Written by Huggo

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It appears the trilogy is now complete. After creating starring vehicles for his characters Ali G (2002's "Ali G Indahouse") and Borat Sagdiyev (2006's smash "Borat"), the time has come for Sacha Baron Cohen to allow Bruno an opportunity to carry his own picture. "Bruno" will likely be welcomed by an adoring audience fully equipped to endure the traditional blast of Cohen-approved smut and merciless social commentary, especially after "Borat" turned his obscure antics into box office gold. However, don't hold sudden international success against Cohen's superb modus operandi, who once again tears into a clueless world seeking to mock, celebrate, and disgust anyone who will welcome him.

Watching his success on German television taken away from him, fashion expert Bruno (Sacha Baron Cohen) is ready to make the leap to America. Traveling to Los Angeles with assistant Lutz (Gustaf Hammarsten), Bruno hopes to hit it big on network television, only to watch as his special brand of homosexually charged antics fail to impress American test audiences. Dejected, Bruno travels around the globe trying to make himself famous, finding nooks and crannies of culture to test his charms. Armed with his gumption, his adoptive African baby O.J., and his innate sense of cutting-edge style, Bruno finds he must make peace with himself before he can change the world.

With "Bruno," Sacha Baron Cohen finds his velvet bag of magic tricks nearly empty. With the megaton success of "Borat," the actor is a now a fixture of the media spotlight, unable to hide behind careful disguises and fool unsuspecting victims. To help control the necessity for surprise, "Bruno" is caught somewhere between the faux-documentary shenanigans of "Borat" and the straight-laced comedic stylistics of "Ali G Indahouse." It's a bubbling potion of the staged and the real that supplies a suitable comfort zone for Cohen to manufacture his most outrageous character: a hulking gay fashionista with a tireless libido and a limited appreciation for personal space.

"Bruno" doesn't feature a rigid structure, but merely provides a faint sense of purpose for our Austrian hero to go out into the world and try to spread his special brand of tight-pantsed cheer through increasingly preposterous situations. If Ali G trafficked in B-boy stupidity and Borat represented extreme foreign cluelessness, Bruno is a big gay menace. Using the character's homosexuality as the bayonet on the rifle of satire, "Bruno" is more consumed with stirring up homophobic response than trying to stitch together a consistent feature film. "Bruno" eventually sheds all dramatic pretenses to run free in the fields of Cohen's pervy imagination, sticking the character in impossible situations of conflict to capture the often colorful reactions.

Whether he's enlisting in boot camp, trying to seduce Ron Paul to help market a sex tape, appearing on a Jerry Springeresque talk show to defend his African baby, meeting with Christian homosexual conversion experts, struggling to interview Paula Abdul while using Mexican day laborers as furniture, looking to broker peace in the Middle East, visiting a swinger's party, or assuming disguise as "Straight Dave" and staging a UFC event (taking the sport to its natural conclusion), Bruno is craving fame at any cost. Cohen's enviable energy in the role goes a long way toward smoothing out the rough edges of the filmmaking, working to mold a thin structure of fame-whore ridiculousness to a picture more concerned with gags and punchlines, often accompanied by graphic male nudity. "Bruno" is habitually shocking, especially in the manner it fixates on anal play and the defiant heterosexuality of the marks, but Cohen keeps the horseplay frothy enough to avoid a hate crime mentality.

"Bruno" doesn't break new ground for Cohen and his marvelous comic impulses, but it gives him room to play, and that's just as welcome. "Bruno" contains plenty of belly laughs, audible gasps, and provides a sly refresher on obscene civilian prejudice, drilling to the cancerous heart of intolerance one laugh at a time.

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A PERFECT GETAWAY NOW AVAILABLE

Here is the summary for the movie A Perfect Getaway from imdb

Two pairs of lovers (Zahn & Jovovich, Olyphant & Sanchez) on a Hawaiian vacation discover that psychopaths are stalking and murdering tourists on the islands.

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Writer/director David Twohy has a lot of tricks up his sleeve with the thriller "A Perfect Getaway," but his ambition is far more compelling than his execution. A cringingly self-aware, painfully verbose, and somewhat smug motion picture, "Getaway" is itching to keep audiences guessing, but it's far more successful at putting viewers to sleep.

Off on a honeymoon in Hawaii, screenwriter Cliff (Steve Zahn) and babyfevered Cydney (Milla Jovovich) are looking for adventure, seeking out a special trail to a secret beach for excitement. Hitting the mountainside, the couple runs into outdoorsy superman Nick (Timothy Olyphant) and his girlfriend Gina (Kiele Sanchez). Striking up a tentative friendship, Nick wins over the gang with his wild stories of near-death experiences and military history. Learning of the presence of a killer on the island, Cliff's paranoia kicks into overdrive, leading him to suspect Nick and Gina of wrongdoing; but another couple (Marley Shelton and Chris Hemsworth) nearby fits the profile, leaving Cliff and Cydney eager to leave the beach before they become the next two victims.

"Getaway" resembles a quickie writing sample meant to capture studio interest with its incredible attention to structure, character, and surprises. Perhaps this is Twohy scaling back his career after hitting a ground rule double with "The Chronicles of Riddick" five years ago, anxious to return to the comfort of a lower budget and reduced expectation to allow some breathing room for invention. To the filmmaker's credit, "Getaway" is always thinking, constantly scoping out angles to fiddle with to hold the viewer in a state of confusion. What sours the milk is Twohy's apparent cleverness, which he unleashes with "Getaway," permitting his own interests to seal off the thrills and chills. Murder has never been so tiresome to observe.

By making Cliff a screenwriter and Nick his in-the-know muse, Twohy sets up a scheme of misdirection, symbolism, and foreshadowing, having the characters complain about Hollywood cliché while Twohy twists the knobs and pulls the levers, submerging the picture in red herrings (Nick calls them "red snappers") and suspicion. It's an irritating post-modern way to conduct business, but Twohy seems proud of his architecture, providing a languid pace of monologuing to keep the suspense at a simmer. Unfortunately, the stalling kills any and all momentum, turning would-be cutthroat danger into a tedious war of words, flung from fantastical stories of accomplishment. It's Twohy's stab at thick characterization to fan off the scent of accusation, and it turns this thriller into a chore to watch.

Even if one buys into the molasses organization of "Getaway" and the campy performances from all the actors, there's still a major bit of business reserved for the last act that's unsettling in its obviousness. Students of thriller cinema will be way ahead of the director by the time the payoff strolls around, and something tells me Twohy welcomes this. Suddenly "Getaway" goes from Hawaiian serenity (gorgeous locales used here) to film-student hysteria, with metaphorical usage of split-screen, graphic violence, and hacky editing bursts to shake the film out of its coma. "Getaway" takes an inordinate amount of time to explain its central twist, and I remain unconvinced anyone will care. Twohy's so enamored with his constipated, methodical approach, he orphans the necessary shock value of the film, robbing his movie of its essential intensity.

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FUNNY PEOPLE NOW AVAILABLE

Here is the summary for the movie Funny People from imdb

George is a very successful stand up comedian who learns that he has an untreatable blood disorder and is given less than a year to live. Ira is a struggling up-and-coming stand up comedian who works at a deli and has yet to figure out his onstage persona. One night, these two perform at the same club and George takes notice of Ira. George hires Ira to be his semi-personal assistant as well as his friend. Written by Anonymous

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With "40-Year-Old Virgin" and "Knocked Up," writer/director Judd Apatow created a special comedic identity that combined slacker geek sentimentality with crude, winding improvisational stings. It suited him well at the box office, but "Funny People" bravely detaches from Apatow's comfort zone, though in a crafty manner that perhaps doesn't provide an intensive genre-shifting challenge for the filmmaker. However, there's just enough of a shove into uncharted waters of callous behavior to maintain an intriguing bite to the essential rolls of laughter.

George Simmons (Adam Sandler) is a stand-up comic who's made it to the big time, becoming a worldwide celebrity through a battery of box office smashes and stage dominance. Diagnosed with a rare blood disease, George is left to contemplate his lonely existence, looking back on ex-girlfriend Laura (Leslie Mann) as a major point of unfinished business in his life. Stumbling upon Ira (Seth Rogen, doing a delightful take on starry-eyed surprise), a struggling stand-up, George finds a makeshift comedic soul mate, taking the inexperienced funny man into his life for jokes and companionship. Still holding onto medical hope, George decides to seek out Laura and sever her seemingly unhappy marriage to Aussie bully Clarke (Eric Bana), while Ira stands in firm protest, but unable to challenge his boss and unwilling to torpedo his amazing show business education.

There's a filmmaking maturation going on for Apatow during "Funny People" that showcases the director looking toward the work of James L. Brooks for inspiration, a man who always treads the fine line between comedy and heartache. In pursuit of his lofty tonal goals, Apatow retreats to his past life as a stand-up comic for support, setting "Funny People" in this world of egos, competition, and anxiety. The insight is outstanding; the picture excels at a lived-in mood of tentative steps between jealous colleagues vying for the spotlight. Instead of a parade of cuddly man-child characters, the feature is populated with the likes of George: a burnt, spent man who wields his power of fame knowingly and selfishly.

Apatow is intrigued with George's anesthetized humanity, and how the man who has everything at his fingertips approaches the finality of death. It's a stunning performance from Sandler (no doubt drawing from his own experience), who imparts George with captivating flavors of bitterness, shame, and work-the-room charm that create a vividly three-dimensional character, avoiding easy answers and certainly swatting down a proper Hollywood arc of redemption. Perhaps this is where "Funny People" might confuse those expecting traditional (and superb) Apatow comfort food. George is a bastard. While he reaches a summit of personal potential, he remains this hardened creature of self-centeredness, emerging from a knowing screenplay that grasps the soul of a comedian and the gig's destructive tendencies. It's a tremendously complex characterization that extends to the supporting cast, who are there to assist with the hoots, but take a few potent moments of discord for themselves.

"Funny People" isn't precious and its luxurious 145 minute running time just flies by. Thankfully, there's a bundle of laughs to help ease into the hazy psychological discomfort, with the entire cast getting in their fair share of punch lines, including amusing supporting work from Jason Schwartzman, Jonah Hill, and Aubrey Plaza. It's wonderful to watch the cast interact so fluidly, yet committed to an awkward sense of detachment that plagues the vocation. "Funny People" nails some priceless clumsy moments through improvs and situational uneasiness, but it's never a sitcom. Apatow finds reality as much as possible, though he indulges his mischievous sense of humor here and there, always to uproarious results.

The film is divided into three distinct acts, giving Apatow some air to suitably build a tangled web of urgency for George and Ira. The first act introduces the relationship between the comics and feels out the death sentence for George; the screenplay hitting bittersweet notes of remorse and frustration for the character. Act two brings George back to Laura's arms, where the comic perceives personal salvation through forgiveness, rekindling a romance that never received its proper closure. It's a lengthy detour, but one that further accentuates George's self-serving attitude and muddled vision of accomplishment. The last act has Apatow searching for an opening to tie dangling plot threads together, but it's rushed and condensed, taking the knots out of the storyline too swiftly, grinding uncomfortably against the rest of the picture's leisurely stroll. Apatow wants to get these characters to a lightning-strike place of realization, but the page is missing fitting motivations, closing "Funny People" on a frustratingly curt note.

It's not a head-snapping change of pace for Judd Apatow, yet "Funny People" is far more acidic and remorseless than anything he's attempted before. It's a terrific motion picture, with keen insight into the mind of the stand-up comic at his most game, blistered, and vulnerable, while remaining true to the spirit of solitude the occupation all but demands.

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HARRY POTTER AND THE HALF BLOOD PRINCE NOW AVAILABLE

Here is the summary for the movie Harry Potter 6 from imdb

In the sixth year at Hogwarts School of Witchcraft, and in both wizard and muggle worlds Lord Volemort and his henchmen are increasingly active. With vacancies to fill at Hogwarts, Professor Dumbledor persuades Horace Slughorn, back from retirement to become the potions teacher, while Professor Snape receives long awaited news. Harry Potter, together with Dumbledore, must face treacherous tasks to defeat his evil nemesis. Written by IMDb editors


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The last time we saw Harry Potter in action, he was engaged in war, suffering a great personal loss that would forever rob him of innocence and compassion toward his enemies. "Harry Potter and the Half-Blood Prince," the sixth film of this long-standing franchise, replaces combat with the electrical storm of teen hormones. It's not as breakneck a change of pace as it sounds, but the new direction helps to further develop the Hogwarts gang past wands and wonder, finding fertile dramatic ground yet again to raise the stakes as Harry takes his first leap toward the ultimate showdown with his nemesis, Voldemort.

Shattered by his last encounter with his enemies, Harry Potter (Daniel Radcliffe) has retreated to the Muggle world to collect his thoughts. Urged by Dumbledore (Michael Gambon) to return to Hogwarts, Harry accepts the offer and is soon reunited with pals Ron (Rupert Grint) and Hermione (Emma Watson). Also encouraged to return to school is Potions Professor Horace Slughorn (Jim Broadbent), who holds a special key to Voldemort's weakness in his collected memories. Harry, convinced by Dumbledore to retrieve Slughorn's secrets, uses a special potions book once owned by the mysterious Half-Blood Prince to excel in class, thus gaining access to his teacher's confidence. Along the way, Harry, Ron, and Hermione are confronted with an outbreak of romance at Hogwarts, longing to communicate their deepest expression of affection to those they've developed feelings for.

A television director with obscure credits to his name, David Yates took the "Potter" reins with the last installment, "Order of the Phoenix," and brought the series to an all-time high. He brilliantly wove teen angst, swelling dread, and special effect radiance into an exceptional sequel, finding his footing quickly. "Half-Blood Prince" returns Yates to the director's chair, only now there's little rage to exploit, and the luster has worn off the wide-eyed awe. "Prince" is the next logical step for the knotty "Potter" narrative, slamming the brakes on any violent momentum to dig around the hearts and minds of the characters.

There's no outrageous detour with "Prince" that would alienate fans of author J.K. Rowling's fantastical world. The "Potter" producers are smart enough not to upset the applecart at this point, providing a smooth transition away from the urgency of "Phoenix" to care for the adolescent curiosity of the Hogwarts class. Sacrifice comes with a narrowed dramatic scope, casting aside many of the familiar faces to keep attention locked on the primary narrative forces. "Prince" loses a warm feeling of academic community, especially during fleeting moments of classroom hijinks, but it's a necessary maneuver to break ground on the complex romantic construction needed to make the next two-parter feature (due out in 2010 and 2011) emotionally resonate.

Instead of Harry and the gang dealing with textbooks, they now have to fiddle with crushes and love potions, introducing such terms as "snogging" to a chiefly virginal demographic who adore these feature films. "Prince" finally does something with the flirtations between Ron and Hermione, allowing Grint and Watson an opportunity to tango with teen-centric stabs of petty jealousy and comical miscommunication. As always, the actors make pure joy out of their second-banana roles. Harry finds his wand glowing for Ron's little sister, Ginny, played wonderfully stuffed with guarded tenderness by Bonnie Wright. "Prince" locates streams of comedy to splash around in with the infatuation subplots, turning Hogwarts into a "Saved by the Bell" episode, through I site that example with the best possible intent. After watching the actors mature throughout five previous films, it's a treat to see their flowering sexuality come to fruition in "Prince," though keeping to strict PG standards: lots of hand-holding, tearful frustration, and inarticulate professions of love.

Of course, there's evil lurking in the picture as well, and while Voldemort doesn't make an appearance this time around, the Death Eaters are well represented, led by hopping madwoman Bellatrix Lestrange (Helena Bonham Carter, stealing her scenes once again). Pulling Draco Malfoy (Tom Felton, finally permitted more acting than simple scowling) into the gang, the Death Eaters provide the essential tension, nursed gorgeously by Yates, who shows tremendous affection for their wicked, stormcloud-swirling ways. Even without big bad V around, "Prince" uncovers a great deal of suspense from Dumbledore's history with a young Tom Riddle, and how that unnerving union brought about unspeakable horrors. Gambon is a miracle in "Prince," articulating such vivid dimensions of sorrow and solitude for Dumbledore, encouraging Harry's development into a heroic hunter.

Welcoming the return of Luna Lovegood (how I adore this character), Quidditch, and everyone's favorite sourpuss, Snape (Alan Rickman), "Prince" stays firmly rooted in caloric Potterverse goodies. Yates once again brings out the best in the exposition-intense material, and while he's not permitted the same amount of apocalyptic fury as before, he stylishly crafts a consistent, riveting, and optically stupendous (cinematography by Bruno Delbonnel is incredible) sequel that generously refreshes unions that have made the series an enduring pleasure.

However, there's a price to be paid for the sentimental sojourn: "Prince" is the first "Potter" film to lack proper closure (even faithful readers might feel stunned by the brevity of the third act). No wistful train platform goodbyes, no sensational battles, and no heartening "see ya next year" sentiments. "Harry Potter and the Half-Blood Prince" closes with something of a doomsday cliffhanger. While other films would be strung up and set on fire for such an offense, this franchise has earned the right to step back and build a healthy pocket of steam, galloping toward a showdown with Voldemort that's now fully primed to explode.

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WATCHMEN NOW AVAILABLE

Here is the summary for the movie Watchmen from imdb

In a gritty and alternate 1985 the glory days of costumed vigilantes have been brought to a close by a government crackdown, but after one of the masked veterans is brutally murdered an investigation into the killer is initiated. The reunited heroes set out to prevent their own destruction, but in doing so discover a deeper and far more diabolical plot. Written by evan murphy

"Watchmen" is set in an alternate 1985 America in which costumed superheroes are part of the fabric of everyday society, and the "Doomsday Clock" - which charts the USA's tension with the Soviet Union - is permanently set at five minutes to midnight. When one of his former colleagues is murdered, the washed up but no less determined masked vigilante Rorschach sets out to uncover a plot to kill and discredit all past and present superheroes. As he reconnects with his former crime-fighting legion - a ragtag group of retired superheroes, only one of whom has true powers - Rorschach glimpses a wide-ranging and disturbing conspiracy with links to their shared past and catastrophic consequences for the future. Their mission is to watch over humanity... but who is watching the Watchmen?" Written by T-Hen

It's the 1980's and it's a different world. Superheroes have been outlawed, the only ones still in operation under direct control of the United States government. Suddenly, those heroes both still in action and retired find themselves targets by an unseen enemy, who wants to kill them one by one Written by Anonymous

A group of heroes, forced into retirement a decade before are called together once again to investigate the murder of one of their own. What they discover an age-old conspiracy to change the balance of power in a world not different from our own. Written by Kent Sanderson

An adaptation of Alan Moore's landmark comic book series, Watchmen is a story set in an alternative 1985, where the world is ticking closer to the brink of nuclear war, and a plot to eliminate a band of ex-crimefighters is instigated, but why? and by whom? It is up to two of those ex-crimefighters to investigate the plot that seems to go beyond the unthinkable. Written by Ruckwood

Here is a review for the movie Watchmen from dvdtalk

Sooner or later there was going to be a Watchmen movie. It was inevitable. Sure, a lot of people said it was unfilmable; but that wasn't going to stop Hollywood. It was only a matter of time, and a matter of how bad the cinematic adaptation of Alan Moore and Dave Gibbons' classic twelve-issue comic book series was going to be.

Originally published in 1985 and 86 by DC Comics, Watchmen was then, and is still now, a landmark work of the comic book medium. It deserves its status as a true work of literature, and the accolades that have been bestowed on it for the last twenty-plus years. Moore's vision of a world where superheroes are real, and have long been outlawed by the government, was a pivotal point of maturation for a medium long associated with children. Watchmen, along with Frank Miller's Dark Knight Returns, were the comic books that helped lend credence to the adage, "Comics...they aren't for kids anymore."

The film, like the comic book, takes place in 1985 in a United States where a repeal of term limits has allowed Richard Nixon to remain in office for closing in on two full decades, and America in on the brink of nuclear war with Russia. Once a regular fixture in the public eye, costumed crime fighters have all but disappeared from view. As Watchmen starts, the Comedian (Jeffrey Dean Morgan), a former crime fighter and covert government hitman is attacked in his apartment and brutally murdered. The mentally unbalanced Rorschach (Jackie Earl Haley) is convinced that the murder of the Comedian was more than just some random crime--he believes someone is bumping off the last of the costumed crime fighters. Rorschach shares his theory with Dan Dreiberg (Patrick Wilson), who years ago fought crime as Nite Owl; but Dreiberg is not convinced. Meanwhile the nearly all-powerful Dr. Manhattan (Billy Crudup) and his wife Laurie Jupiter (Malin Akerman), better known as the crime fighter Silk Spectre, a career she inherited from her mother (Carla Gugino), are struggling with their failing marriage. At least Laurie is struggling with it. The blue-skinned Dr. Manhattan, who has become increasingly removed from his humanity, is more focused on working on a secret project with Adrian Veidt (Matthew Goode), the multi-billionaire who once fought crime as Ozymandias. Soon it becomes very clear that while Rorschach is delusional, he's not mistaken in thinking that the murder of the Comedian was more than a random crime. There is something very big and very sinister going on, with the lives of perhaps the entire planet hanging in the balance. With this much at stake, Nite Owl and Silk Spectre once again don their costumes and leap into action, eventually joining forces with Rorschach. Meanwhile, Dr. Manhattan, who is essentially the most powerful weapon in the arsenal of the United States, abandons Earth altogether, setting up home on Mars, and creating greater tension in the imminent conflict between America and Russia.

If all of this sounds a bit complex, it is. Watchmen ran for twelve issues, and Moore and Gibbons pack in enough material for almost double that many. As far as comic books go, Watchmen is one of the most dense, multi-layered and intricately structured works ever created. It truly is a masterpiece. And concerns that it could not be translated to film were more than justified--there simply was too much material in the original series to be crammed into one film. So, the question has always been how much of the comic book would make it to the big screen and what sort of liberties would filmmakers take.

Well, with a running time of almost three hours, director Zack Snyder has managed to keep large parts of the comic book intact. Given the constraints of time and how much any one film can contain, Snyder does a commendable job of remaining faithful to the source material. Sure, some elements have been removed altogether, others condensed and a major plot element has been changed in the end, but much of the film is lifted directly from the comic. That said, however, the faithfulness of Watchmen is not always a good thing. Sure the film looks impressive much of the time, and is even effective at various times, but there is still something fundamental missing.

At first it's difficult to pinpoint exactly what's wrong with Watchmen, but at some point, as you're nodding your head and thinking, "this is just like the comic," it becomes clear that the film doesn't have much life of its own--it is missing heart and soul. So much care was put into bringing the story to life and trying to be faithful to the original material that somewhere along the way it seems like people forgot that you need to do more than simply translate what is on the printed page to the moving picture. You need to allow the moving pictures to have their own life, and not simply be an imitation of a previous incarnation in another medium.

There is a bitter irony in the fact that the film hits its greatest stumbling block by appeasing the naysayers who claimed that Watchmen could not be made into a movie. Snyder and his capable crew have given fans of Watchmen a film that at times works slavishly to remain faithful to the original material. Many fans of the comic book will love Snyder for his loyalty to the series. They will think the film is great, because it goes to such great lengths to be just like the comic (aside, of course, from the radically altered ending). But the best cinematic adaptations of other literary works succeed because they have the audacity to be their own thing. The film version To Kill a Mockingbird is, quite frankly, not a very good adaptation of the novel. And the film version of Planet of the Apes is a simply terrible adaptation of the book. But both are incredible movies. Recent examples of films that took extreme liberties in the making the transition from book to screen are Adaptation and Tristram Shandy, both of which strayed incredibly far from where they began. Unfortunately for Watchmen, straying too far from the material, even in an attempt to define itself as a different work created for a different medium, would have probably resulted in crucifixion from the fans.

Another problem with the film is that it doesn't feel as if it exists in a real world. Others films create fantastic worlds that transport the audience to different realities, but Watchmen never feels like more than a really well designed set. You never feel like this world actually exists beyond the confines of a soundstage or a Hollywood studio backlot. The fundamental job of all movies is to make real the world in which they exist, and filmmakers like Peter Jackson and Guillermo del Toro have proven that pretty much anything is possible in that regard, which is part of what makes the "constructed" look of Watchmen so disappointing.

There is a similar problem with the costumes, which at times look really cool (depending largely on the lighting), and at other times look simply ridiculous. The problem with all superhero movies is the ability to sell the silly looking outfits to an audience, and Watchmen is not always successful. By contrast, the X-Men films managed to make those costumes work, as did The Dark Knight. But there are moments where the characters in Watchmen look more like something out of Joel Schumacher's Batman and Robin, a sad state of cinematic crime fighters if there ever was one.

None of this is to say that Watchmen is a bad movie, because it is not. But it is not great either. Instead it is a decent film with some flaws, not the least of which is a pace that starts to drag, and a sexual interlude with Nite Owl and Silk Spectre that is nothing short of unintentionally laughable. But when the film works--really works--it is very entertaining. This is especially true of the sequences with Rorschach, who was the most interesting person in the comic, and remains so in the film. The scenes with Rorschach are among those that remain incredibly faithful to the material, while at the same time really come to life on the screen. Jackie Earl Haley, obscured by a mask for most of the movie, gives the best performance in the film, and at times it's hard to not wonder if the movie would have been better if it was told more exclusively from Rorschach's point of view. Patrick Wilson is also good as Nite Owl; while Cruddup gives a solid performance that is often lost under all the special effects, including his frequently exposed penis (instead of Dr. Manhattan maybe they should call him Dr. Long Island). The rest of the cast, however, is more of a mixed bag.

Entertaining at times, boring at times, laughably bad on at least one occasion, and more than a little ambitious, Watchmen is a film saddled with the tremendous weight of where it came from and the fans it must serve, both casting long shadows that hinder the final film. And again, none of this is to say that this is a bad film. But at some point, as I checked my watch and realized with a certain level of discomfort that there was still over an hour to go, I asked myself a crucial question I often ask while watching films: "Is this a movie I'm looking forward to seeing again?" Unfortunately, my answer pretty much sums it all up: "Not really."

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