A NIGHTMARE ON ELM STREET 2 NOW AVAILABLE

Here is the summary for the movie A Nightmare on Elm Street 2 from imdb

A new family moves into the house on Elm Street, and before long, the kids are again having nightmares about deceased child murderer Freddy Krueger. This time, Freddy attempts to possess a teenage boy to cause havoc in the real world, and can only be overcome if the boy's sweetheart can master her fear. Written by David Thiel {d-thiel@uiuc.edu}

Jesse Walsh and his family have moved into Nancy Thompson's old house on Elm Street. No sooner are they moved in than Jesse begins to have horrific nightmares - ones that feature a burned man in a dirty red & green sweater, with knives on the fingers of his right hand. His neighbor & new sweetheart, Lisa, discovers the truth behind Fred Krueger and his horrible murder spree. Freddy vows to take over Jesse's body to continue his vile crimes against the Elm Street residents. Soon, people close to Jesse start dying violently. Will Lisa's love for Jesse be enough to help him overpower the demonic presence inside him? Written by Derek O'Cain

Here is a review for the movie A Nightmare On Elm Street 2 from dvdtalk

Contents: 8 DVDs (Region 1)/Movie Ratings (1-5) "A Nightmare On Elm Street" (1984) [5] "A Nightmare On Elm Street 2: Freddy's Revenge" [2.5] "A Nightmare On Elm Street 3: Dream Warriors" [4] "A Nightmare On Elm Street 4: The Dream Master" [3] "A Nightmare On Elm Street 5: The Dream Child" [3.5] "A Nightmare On Elm Street 6: The Final Nightmare" [2.5] "Wes Craven's New Nightmare" [4] "The Nightmare Encyclopedia" [5] Sound: Dolby Digital (English 5.1 & 2.0 Mono) Aspect Ratios: 1.85:1 (anamorphic widescreen) Special Features:Interactive menus, production notes, 7 theatrical trailers, TV spots, deleted scenes, Audio commentary (Parts 1 & 7), full-length making-of documentary, stills/photos, music videos, DVD-ROM access, 2 3-D glasses (for Part 6 3-D sequence), 36-page color booklet. Plot: Okay, since there are too many movies to go into great detail here, it shall suffice to say that all of them deal with an evil dead dude named Freddy Krueger who haunts unlucky teenagers in their dreams and kills them. Although he is beaten at the end of each movie, Freddy bounces back in the next sequel, ready to dispense horrible deaths and wicked jokes. Naturally, the original and last movie are the best (directed by Wes Craven himself). part 3 was also a lot of fun, directed by Chuck Russell ("The Mask") and co-written by Frank Darabont ("Shawshank Redemption"). The Nightmare Encyclopedia: A special section of this review is dedicated to this mammoth DVD. It features an interactive menu/game called "The Labyrinth"--where the viewers get to spend at least 4 hours (!) through a maze that unlocks many, many, many interesting features (most of which were aforementioned in the "Special Features" section above). Okay, I know what you're thinking: Youssef must have no life and sits in front of his TV going through mazes! No, pal, that's not it; it's a very entertaining--but yet frustrating undertaking going through the Labyrinth. Also, I don't like to lose to a damned 3-D puzzle! Anyway, the documentary, called "Welcome To Primetime," is an excellent look at the "Freddy" phenomenon. All seven films' directors (really 6 directors) are on hand with anecdotes and trivia facts; also, we meet the writers SFX wizards and other key people involved in the series; up to and including many of its stars. Check out the Freddy videos by Dokken and the Fat boys! On the strength of this disc alone, the whole series is a knockout! All in all, New Line really outdid itself in preparing the "Nightmare" series for DVD. Hats off to you folks! It should set the standard by which DVDs are marketed, packaged and sold. If you are to view the entire in one sitting, allow yourself at least 12-15 hours for the viewing. It's good, clean nightmarish fun. Claw on Freddy...claw on!

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NIGHTMARE ON ELM STREET NOW AVAILABLE

NIGHTMARE ON ELM STREET NOW AVAILABLE ONLINE

HERE IS THE SUMMARY FOR THE MOVIE NIGHTMARE ON ELM STREET FROM IMDB

On Elm Street, Nancy Thompson and a group of her friends including Tina Gray, Rod Lane and Glen Lantz are being tormented by a clawed killer in their dreams named Freddy Krueger. Nancy must think quickly, as Freddy tries to pick off his victims one by one. When he has you in your sleep, who is there to save you? Written by simon_hrdng

Nancy is having nightmares about a frightening, badly-scarred figure who wears a glove with razor-sharp "finger knives". She soon discovers that her friends are having similar dreams. When the kids begin to die, Nancy realizes that she must stay awake to survive. Uncovering the secret identity of the dream killer and his connection with the children of Elm Street, the girl plots to draw him out into the real world. Written by David Thiel {d-thiel@uiuc.edu}

In the early 1980's, a psychopath named Freddy Krueger - known as the Springwood Slasher - murdered several children with a glove outfitted with straight razor blades attached to the fingers. When a foolish decision by a judge sets him free, Krueger is burned alive in the boiler room where he worked by an angry mob of the parents whose children he terrorized & murdered. Years after his death, the children whose parents were responsible for Krueger's death - including Nancy Thompson, daughter of the police officer who arrested Krueger - are experiencing terrifying nightmares involving a burned man wearing a glove with razor blades on the fingers. The ghost of Freddy Krueger is haunting their dreams, and when Nancy's best friend Tina dies in her sleep violently during a dream confrontation with Krueger, Nancy realizes she must find a way to stop the evil psychopath's reign of terror - or never sleep again... Written by Derek O'Cain

Freddy Kruger is the substance of nightmares. He always appears strangely dressed and has knives on the fingers of his right hand. A group of four teenagers all begin to have the same strange dreams about Freddy and then one of them is gruesomely murdered in her sleep. The survivors soon realise that if Freddy kills them in their sleep, then they will die in real life too. Thus begins an ordeal of wakefulness as they try to find some way to stop Freddy. Written by Goth {brooks@odie.ee.wits.ac.za}

Nancy and her friends are having violent nightmares which all feature one common element, a disfigured serial killer with a glove made of razors on his right hand. When one of the group is murdered in their sleep. Nancy realises that she must stay awake and try uncover the truth behind this phantasmic killer Freddy Krueger. Written by Action Dan {actiondan@talk21.com}

Nancy is having nightmares, violent nightmares about a mysterious badly burned man with a razor fingered glove on his right hand that calls himself Freddy. When she realizes that her friends are having the same nightmares and that one by one they are being brutally murdered in their sleep she turns to her father who does not believe her and thinks her to be crazy. After she finds out the horrible truth behind Freddy's rampage she decides to take action and bring this dream murderer out of dreamland and into the real world where she can send him straight to where he belongs. Written by SliMSeanY1402@aol.com

HERE IS A REVIEW FOR THE MOVIE NIGHTMARE ON ELM STREET FROM DVDTALK

Features: Widescreen and Fullscreen versions, Audio Commentary, Original Theatrical Trailer, Animated Menus. DVD-ROM: Screenplay, Trivia Game, Cast, Crew and Trivia Information.

The Movie: A Nightmare on Elm Street is the first installment in the long Nightmare series. In the movie, former Child Molester Fred Krueger, killed burned to death by neighborhood parents, returns in the dreams of the children of those parents. He starts killing off their children through their dreams, one by one, in fairly gruesome ways. The movie is good for those interested in a "shock thriller" movie. If you're looking for "traditional" horror look elsewhere.

Picture: The digitally remastered transfer, while having some artifacts, was done well overall, and is much clearer than a video copy I viewed. The movie is presented in either widescreen or fullscreen aspect ratios.

Sound: The sound is offered in a Remastered Dolby Digital 5.1 surround track, or the original mono soundtrack (In Dolby Digital Mono). Both soundtracks are digitally enhanced, to provide great clarity and (the the surround mode) nice effects. They did a very good job of going from a mono source to Surround Sound.

The Extras: I have to give New Line a hand, they did a good job with the extras on this DVD. The choice between mono and surround sound tracks is nice. The original theatrical trailer is presented, as are a host of DVD-Rom features (Screenplay, Trivia Game, Cast, Crew and Trivia Information.) which I could not try due to a lack of a DVD-ROM. However, my favorite extra, audio commentary, is present on this disc, and this commentary is very well done, with actors Heather Langenkamp and Jon Saxon, and Director Wes Craven. I actually found the commentary more interesting than the movie, finding how they did all the special effects so well in a time when effects couldn't be created as easily as they can now.

Conclusion: If you are a fan of this type of movie, or the series in particular, I would recommend this movie. Otherwise, if you are still interested in it, I would tell you to rent it, and watch both the movie and the commentary.

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FRIDAY THE 13TH 2009 NOW AVAILABLE

Here is the summary for the movie Friday the 13th from imdb.

Young friends Whitney (Amanda Righetti), Mike (Nick Mennell), Richie (Ben Feldman), Amanda (America Olivio), and Wade (Jonathan Sadowski) end up missing in the woods near the abandoned Camp Crystal Lake (made famous by the original 1980 film), after allowing their curiosity to get the better of them and visiting the site where a psychopathic killer resides. Six weeks later, Trent (Travis Van Winkle) invites friends Jenna (Danielle Panabaker), Bree (Julianna Guill), Chewie (Aaron Yoo), Chelsea (Willa Ford), Lawrence (Arlen Escarpta), and Nolan (Ryan Hansen) to his father's cabin on Crystal Lake for a weekend of sex, booze, pot smoking, and water skiing. However their seemingly fun weekend soon escalates into a nightmare after lone traveler Clay (Jared Padalecki) shows up looking for his missing sister Whitney. The police have searched with no luck, and Clay is now searching alone. Local citizens have advised Clay not to go into those woods, because anyone who shows up missing is already dead, and he is wasting his time. During his search, one of the students, Jenna, decides to help Clay find his sister, and they go into the woods. They find the abandoned Camp Crystal Lake and search the dilapidated camp house for any signs of his sister. They soon find themselves face to hockey-mask with evil reborn, reimagined, and rebooted, and his name is Jason Vorhees (Derek Mears).

Here is a review for the movie Friday the 13th from dvdtalk

I approach the "reimagining" of the slasher perennial "Friday the 13th" with the same moderately ajar mind I employed to absorb 2007's feverish reworking of "Halloween." After all, there's a mass of sequels already out there that have managed to eat away at the sanctity of the original 1980 film, discovering new depths of awful as the follow-ups tried to cash in on an unexpected smash hit. Remaking "Friday" is not exactly dabbing a mustache on the Mona Lisa, and if embraced on a lowered scale of expectation and artistic requirement, this new spin on an iffy "classic" feels pretty nifty in miniature doses.

Searching the Camp Crystal Lake area to find his missing sister, Clay (Jared Padalecki, "Gilmore Girls") happens upon a group of partying kids (including Travis Van Winkle, Arlen Escarpeta, and always unwelcome Aaron Yoo) looking to spend a lively weekend at a vacation home. Consumed with ample opportunities for sex and drugs, the gang begins the festivities. However, Jenna (Danielle Panabaker, "Shark") is sympathetic to Clay's situation, and as the two set off to investigate the deep woods for any signs of life, they discover the lair of area legend Jason Voorhees, who uses the camp's decaying remains as a killing field for unlucky visitors. Realizing their friends are being systematically murdered by the hockey-masked executioner, Clay and Jenna struggle to escape Jason's wrath, finding clues to survival within the deformed killer's past.

Certainly it's easy to loathe anything emerging from Michael Bay's production company/remake factory Platinum Dunes, especially when the company royally screwed up the "Texas Chainsaw Massacre" back in 2003, turning sincere screen fear into a parade of over-stylized idiocy. While director Marcus Nispel returns from his "Chainsaw" duty (making the horrendous Viking epic "Pathfinder" in the interim), his skills have been sharpened, or perhaps he's met a franchise he can't bungle too badly no matter what he throws at the screen. Either way, "Friday" shows surprising buoyancy in the face of assured failure.

The new "Friday" is much like the old "Friday," only this fresh go-around with the Voorhees legacy is a tad more self-aware with fan requirements and genre staples, turning the finished film into a highlight reel of clichés for the faithful. The nudity (topless water-skiing!), head-splitting bloodshed, and twentysomthing behavioral blunders flow abundantly in the update, keeping on course to tickle those out there that demand horror fit comfortably into tiny boxes of expectation. In fact, most of the "Friday" remake is fueled by this slavish attitude to the so-called "demands" of the film series. Familiarity is perhaps the remake's greatest sin and most celebrated element.

Nispel pays careful attention to the sordid mischief of "Friday," offering tribute to the previous films by sticking to a wheezing formula thousands of movies have stolen for their own profit. It's a tiresome proposition at times, as the screenplay barely rises above monosyllabic dialogue exchanges and colorless character development, while the rest of the movie waits around for the beloved "kills" to roll out. After a 15-minute-long (!) pre-title prologue compacting backstory and location into a tidy opening paragraph, "Friday" settles down with recognizable structure. However, it's the little cracks in the pavement that make the remake come alive.

Nispel is hardly a master suspense craftsman (and heaven help me, somebody get this guy a proper lighting scheme), but he shows off some reasonable flashes of tension. I especially enjoyed how Nispel turns Jason into a swift blunt object that plows through his victims, and not just a humdrum collar to shock the audience with. Stalking his prey absent the normal routine of endless boo scares, Jason is more Bruce the Shark here than his old dilly-dallying ways, sprinting around to perform his finishing moves in ways Nispel executes rather cleverly. It also helps to have some charismatic prey, as both Panabaker and Padalecki make the most of their screentime breathing some life into stock slasher roles.

Filled with references to past "Friday" films, the remake is solely for the fans. I'm sure Bay and Nispel would like to believe they're bringing Jason to a new generation with this feature, but it takes a true Voorheesologist to cleanly decipher the backstory to the character, and the remake doesn't have the patience to fully rebuild Jason from the ground floor. Once "Friday" starts cooking and Jason begins to take down the stoners and horndogs (with machetes, arrows, and antlers), it's amazing to watch Nispel work the knobs as well as he does, staging familiar sights and sound, yet stripping away the stagnancy of it all with little lens-flared tweaks here and there. There were nine "Friday" sequels, and none of them could claim the same freshness.

To anyone who scoffs at the very idea of a "Friday" redux, I agree wholeheartedly. Horror remakes are unnecessary, unforgivable, and often brutal to endure. That said, "Friday the 13th" is an unobtrusive production that dances agreeably with established mythology and immorality to please fans young and old. After turning Jason into a cartoon, a videogame, a demonic worm, and a space monster, I think a little reminder of his woodsy hell-raising salad days isn't such a terrible thing.

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STAR TREK NOW AVAILABLE

Here is the summary for the movie Star Trek from imdb

In the year 2233, the USS Kelvin investigates a lightning storm in space, which the crew soon realizes is a black hole. A massive vessel the Narada emerges, creating an alternate timeline. The Narada opens fire on the Kelvin, inflicting heavy damage. The Narada's captain, Nero (Eric Bana), hails the outmatched Kelvin and demands that its captain, Richard Robau (Faran Tahir), come aboard the Narada via shuttlecraft. Captain Robau agrees and hands command of the ship to his first officer, George Kirk (Chris Hemsworth). Robau orders Kirk to wait fifteen minutes for his signal or else evacuate the ship.

Robau is taken to Nero while the crew of the Kelvin monitors him. It is the Romulan captain's first officer, Ayel (Clifton Collins Jr.), who interrogates him first about a particular ship, which Robau does not recognize, and then about the whereabouts of Ambassador Spock, with whom Robau is also unfamiliar. Upon citing the stardate, Robau is impaled with a teral'n, a pronged blade weapon, by Nero, and the display of his vital signs on the bridge of the Kelvin instantly flatlines; Robau is dead. Kirk orders the Kelvin to open fire. As the situation worsens and he realizes that the damage to the Kelvin is compromising the lives and safety of everyone, he orders the crew to escape pods and shuttles, including his wife Winona (Jennifer Morrison), who is about to give birth.

Kirk tries to plot a collision course with the Narada, but autopilot navigation is offline; he will need to control the Kelvin himself. He orders his wife to leave on the shuttle without him. She protests, but Kirk knows that he has no choice but to stay behind and continue the attack in order to protect the others who are leaving on escape pods. On the shuttlecraft, Winona Kirk gives birth to a baby boy. As the Kelvin destroys the missiles aimed at the shuttles, Kirk can hear his newborn's cries, realizing that he will never meet his son. Just before the Kelvin is about to collide with the Romulan vessel, Kirk asks Winona what they should name their son. She suggests naming him after George's father, but he laughs the suggestion off and says that Tiberius isn't much of a first name. They decide to name him Jim, after Winona's father. Communication is cut off as the Kelvin smashes into the Narada, crippling it for a while and giving the shuttles time to escape.

Approximately ten years later, a young James T. Kirk (Jimmy Bennett) is in Iowa, having taken his stepfather's antique car and racing it down the road while blasting 20th century music. As a policeman (Jeremy Fitzgerald) on a flying motorcycle chases after him, Kirk heads for a quarry and jumps out of the car, moments before it speeds over the edge.

Around the same time on Vulcan (Jacob Kogan), a young Spock is being tormented by bullies (Lorenzo James Henrie, Colby Paul, Cody Klop) who tease him about his mixed heritage, calling his father a traitor for marrying a human mother, whom they call a whore. The three have previously failed to invoke an emotional response in Spock by stirring his human side 34 times before, but this time they take it too far. Their plan backfires, and Spock knocks one of the older boys into a learning pod and beats him in an emotional rage. He is later admonished by his father, Sarek (Ben Cross), who is disappointed at his son's lack of emotional control and tells him that he has a path to choose and that only he can make the decision.

Several years later, Spock (Zachary Quinto) is conflicted about whether he should participate in the Kolinahr the Vulcan ritual aimed at purging all emotions. He talks to his mother, Amanda Grayson (Winona Ryder), about this, and she states that she will always be proud of him, no matter what he decides. Later, Spock stands before a committee on Vulcan. The chairman (Akiva Goldsman) comments on Spock's perfect record in his attempt to gain entry to the Vulcan Science Academy and that his only flaw is that he also applied to Starfleet Academy. Spock explains it was logical to explore all options, which the others agree was logical but unnecessary. They accept him into the Vulcan Science Academy despite his "disadvantage" of being half human. Upon hearing this, Spock declines the appointment and states that he will enter Starfleet Academy instead. Commenting on the fact that he is the first Vulcan to reject an appointment to the Vulcan Science Academy, he sardonically tells the committee that their record is still perfect since he is, in fact, part human.

Meanwhile, in a bar in Iowa, a young Nyota Uhura (Zoe Saldana) meets up with some friends, and while ordering drinks, James Kirk (Chris Pine) introduces himself to her and offers to buy her a drink. He unsuccessfully tries to determine her first name and flirts with her, even though she is not very interested. Kirk reveals he is intelligent, which is more than meets the eye, but another Starfleet recruit (Jason Matthew Smith) has concerns for Uhura. He and three other recruits get into a fight with Kirk and beat him up before a senior officer, Captain Christopher Pike (Bruce Greenwood), ends the fight. Pike sits down with Kirk and tells him that his own dissertation was on the USS Kelvin. Pike attempts to talk some sense into the rebellious young man and to persuade him to join Starfleet, firmly believing that he can do more with himself than be "the only genius-level repeat offender in the Midwest." Kirk does not want to hear it and laughs at the idea of joining Starfleet. However, Pike reminds him that his father saved 800 others, in just 12 minutes of command, and challenges Kirk to do better. Pike also predicts that Kirk could attain the rank of captain and have his own ship in only eight years.

Early the next day, Kirk heads to Riverside Shipyard, where the USS Enterprise is being built, and thinks about what Capt. Pike had told him. He makes the decision to join Starfleet. Pike is surprised to see Kirk turn up to join the new recruits. Giving his motorbike away to the first person who compliments it, Kirk passes Pike, saying he'll graduate in three years instead of four. He enters the recruit shuttle, surprising Uhura, and the recruits who beat him up, the night before. Another man, Leonard McCoy (Karl Urban), also boards the shuttlecraft. Sitting next to Kirk, the somewhat nervous doctor starts ranting about what could physically happen to them should anything go wrong with the shuttle's systems. Kirk is amused and tries to remind him that Starfleet works in space. McCoy explains that he has nowhere else to go, having lost everything he had in a divorce, the only thing he has left are his bones. The two become friends.

Three years later, the Narada is waiting at an unknown part of space. Nero who has lost part of his right ear since his arrival in the past is called to the bridge by Ayel. Suddenly, a black hole temporal disturbance appears and a small starship flies out of the anomaly. Nero recognizes and welcomes the appearance of Ambassador Spock.

Meanwhile, at Starfleet Academy, Kirk is telling McCoy that he is taking the Kobayashi Maru test again the next day, and is certain he will pass it, this time. McCoy is shocked, as nobody passes it, and nobody even repeats it, much less takes it a third time, as Kirk is about to. Kirk then leaves to "study", which actually involves sexual foreplay with an Orion cadet named Gaila (Rachel Nichols) in her dorm room. Suddenly, Gaila's roommate enters, and Kirk is snuck under the bed. Her roommate is Uhura, who talks about a message she decoded about a giant spaceship destroying dozens of Klingon warships. Uhura then hears someone under the bed and outs him. Angry that her roommate brought yet another guy to their room, and even angrier that it's Kirk, she kicks him out.

The next day, Kirk, McCoy, Uhura and a few other Starfleet recruits are in the simulator room, undergoing the Kobayashi Maru test on Kirk's third attempt. Kirk takes a comically casual approach to the test, much to everyone's bewilderment. Everything goes as planned when, unexpectedly, the power systems momentarily fail, and then the attacking Klingon ships' shields go down, and they are promptly destroyed. From the viewpoint above the simulator room, a technician asks someone how Kirk was able to beat this test. The man turns, revealing himself to be Spock.

During an official inquiry, the Starfleet Academy brass informs Kirk that they have received evidence that Kirk entered a subroutine into the computer making it possible for him to win in the simulation, and accuse him of cheating. While Kirk faces his accuser, Spock, and tries to defend himself, the hearing is suddenly interrupted when the committee is informed that the Federation has received a distress call from Vulcan. With the primary fleet occupied in the Laurentian system, Starfleet is forced to commission the Academy cadets and dispatch ships immediately to begin a rescue mission.

Cadets are assigned to ships based on their aptitude, with the most capable cadets assigned to the USS Enterprise, a ship completed so recently that it hasn't even been christened yet. Uhura is originally assigned to the USS Farragut, but complains directly to Spock, citing her numerous commendations and recommendations (many from Spock himself) and insisting she had earned an assignment to the USS Enterprise. Spock suggests that he did not want to suggest impropriety for some reason, but ultimately relents, and re-assigns Uhura to Enterprise. Kirk has been grounded pending a ruling on his inquiry, and is not allowed to board the shuttles and join the mission. However, McCoy takes him to the medical bay, where he injects him with a vaccine, which will temporarily make him ill. Consequently, he is allowed to take Kirk up to the Enterprise on medical grounds.

The Enterprise leaves for Vulcan, but not before helmsman Hikaru Sulu (John Cho) standing in for McKenna, who is ill disengages the external inertial dampener, which had been stopping them from going to warp. Pavel Chekov (Anton Yelchin) uses the comm system to inform the crew about their first mission. There is a massive lightning storm above Vulcan's upper atmosphere, followed by strange planet-wide seismic disturbances. Their orders are to investigate the seismic disturbance, and aid in evacuation of the planet if necessary. After hearing the announcement, Kirk suddenly realizes that the "lightning storm" detected near Vulcan is exactly the same occurrence the Kelvin encountered two decades earlier. Realizing that they are running straight into a Romulan trap, Kirk rushes through the ship to Uhura, despite suffering a bad reaction to the vaccine McCoy gave him: big, swelled up hands and a numb tongue. He asks her about the Klingon distress call she had deciphered earlier, and she confirms that the attackers were Romulan.

Kirk then rushes to the bridge to inform Captain Pike of this. Pike is at first skeptical, but after hearing about the call Uhura picked up, Spock concludes that Kirk's logic is correct. Uhura is placed at the communications console at the bridge as, unlike assigned communications officer Hawkins, she can distinguish Romulan from Vulcan. As they disengage warp drive, the Enterprise finds itself in a debris field of the other seven Starfleet ships which arrived shortly before they did. On direction of Pike, Sulu is able to navigate his way through the debris field with minimal damage. The Narada attacks the Enterprise, which takes heavy damage on the first volley of torpedoes, destroying the sickbay and reducing shields to 32%. But just as they are about to fire again, Nero realizes which ship he is firing at.

He hails the Enterprise and identifies himself. Pike, seeing a Romulan, accuses him of an act of war, but Nero states he stands apart from the Romulan Star Empire. He pointedly greets a confused Spock, and orders Pike to come aboard via shuttlecraft, just like he told Robau. Pike asks if there are any hand-to-hand combat-trained officers on the bridge. Sulu volunteers. Pike gathers Sulu, Spock and Kirk, and begins on his way to the shuttle bay.

Pike promotes Spock to Captain and puts him in charge of the Enterprise. He also commissions Kirk, naming him First Officer, much to Spock's chagrin. Pike outlines his plan to do two things at once: on the shuttle en route to the Narada he will drop Kirk, Sulu and chief engineer Olsen (Greg Ellis) into an orbital skydive. They will land on Narada's drill platform, which is deployed into the Vulcan atmosphere and firing a drilling beam cutting into the planet, causing the seismic disturbances that prompted the original distress signal. They will disable the drilling beam, which is also disrupting transporter operation and communications, and then contact Starfleet to inform them of the incident. If all else fails, they are to fall back to the primary fleet at the Laurentian system. If Pike doesn't come back, they will also need to come get him.

Spock returns to the bridge and checks in on sickbay. He is surprised to hear Dr. McCoy instead of Dr. Puri, the chief medical officer, who was killed in the attack. Spock officially named McCoy the chief medical officer, a fact McCoy had already assumed as he works in the sickbay, heavily damaged and inundated with casualties. Pike arrives on the Narada as the three begin their descent. Sulu opens his parachute first, followed by Kirk. An over-enthusiastic Olsen, wearing a red space suit, waits too long to activate his parachute, and he falls underneath the drill, incinerated by the beam. Kirk lands safely on the platform, and proceeds to fight the first Romulan who attacks him. He reaches for his phaser pistol, but the Romulan quickly knocks it out of his hand, forcing Kirk to use his helmet as a weapon. As Sulu approaches the platform, a second Romulan with a disruptor rifle emerges, and Kirk grapples with him. The resulting disruptor fire shoots holes in Sulu's chute, and he too nearly falls victim to the drill. He uses the parachute's repacking mechanism to pull himself onto the platform, and uses his retractable sword to cut it off to avoid getting pulled onto a flame vent and incinerated. Sulu then swordfights with one Romulan, while the other goes hand-to-hand against Kirk, who is knocked over and left hanging on the edge of the drillhead. Sulu knocks his adversary onto the vent, incinerating him. He then stabs the other one with his sword, and pulls Kirk back to safety. Olsen had the charges they were going to use to destroy the platform, so they take the Romulan's disruptor rifles and proceed to fire on the drill, disabling it.

Ayel reports the drill's incapacitation, but tells Nero that the drill had reached Vulcan's core. Nero orders the release of the "red matter", and the return of the drill. Chekov discovers what the "red matter" is doing: creating a black hole in the middle of the planet. Vulcan will be destroyed in a matter of minutes. Just as Kirk and Sulu are to be beamed off, the drill moves and Sulu falls. Kirk jumps after him. Catching up, Kirk activates his parachute but unable to take the weight of two people, it snaps off. As they can't get a transporter lock, Chekov races to the transporter room and mathematically works out how to do so. The two officers are rescued just before they hit solid rock.

Right after Kirk and Sulu are beamed aboard, Spock beams down to save the Vulcan Council, which includes Sarek and his mother, Amanda. They were taking refuge in a cave which they could not simply beam through. Several of the elders in the Council are killed by falling rocks and statues, but Spock gets five of them to safety, including his parents. As the transporter is about to pick them up, the rock his mother is standing on collapses, causing the transporter to miss her. Spock stands on the transporter pad in shock, having lost his mother.

The Enterprise crew watch in horror as Vulcan implodes into oblivion. Spock records his log entry, stating that over six billion Vulcans were killed, and only around 10,000 remain. He notes he is now a member of an endangered species.

Pike, still a prisoner of the Romulans, is officially listed as a hostage of a "war criminal". Nero asks Pike for the security codes to defense systems around Earth, but Pike refuses to give them to him, disgusted by Nero's act of genocide on Vulcan. Nero speaks about how the Narada, in his time, was a mining ship, and he was laboring to support his wife, who was expecting his child, before they were killed when Romulus was destroyed. He placed blame on the Federation for doing nothing, and accused Spock of betraying them, promising himself retribution. Pike pleads that Romulus still exists, but Nero only knows that his world the Romulus of the future was destroyed, and he intends to destroy every world of the Federation, so that others will know his pain. Forcing a Centaurian slug down Pike's throat which will help coerce Pike to give out the security codes, Nero orders the Narada to continue to Earth.

Spock, now in command of the Enterprise, leads the bridge crew in trying to brainstorm what happened. They have determined that the Narada is heading for Earth. Judging from their "black hole" technology, Spock reasons that the Narada must have travelled back in time from the future. He states that they must regroup with the fleet, but Kirk says that in order to stop Nero they must go after him first. Kirk believes that any delayed action will result in Earth being destroyed. This culminates in an argument which ends in Spock ordering Kirk's removal from the bridge, but Kirk fights off his security escort. Spock ends it by delivering the Vulcan nerve pinch to Kirk, before placing him in an escape pod. The pod is launched and Kirk awakens to find himself on a snow-covered world, known as Delta Vega, another planet in Vulcan's system. Picking up his gear, Kirk heads for the Starfleet station 14 kilometers away. He is chased down by a "polarilla" which is in turn is attacked by an even larger insectoid animal. It chases Kirk into a cave, and when it finally attaches a tendril to catch him, trying to consume him, it is spooked off by an elderly man wielding a lit torch. The man reveals himself to be Spock (Leonard Nimoy), Kirk's old friend, but the latter is skeptical.

Spock melds with Kirk so that he understand why he is here. He explains that 129 years in the future, in the year 2387, an impending supernova of the star Hobus threatened to destroy the home worlds of the Romulan Star Empire and throw off the political balance of the galaxy. Spock developed a stockpile of "red matter", a substance that can be ignited to form a singularity, a black hole that would mop up the matter of the supernova. However, the star exploded while he was en route, and Romulus was destroyed. Spock launched the red matter from his ship, the Jellyfish, to prevent further damage. Immediately, Spock was confronted by a surviving Romulan mining vessel, the Narada, captained by Nero. Spock tried to escape, but fed by the mass of the supernova, the resultant black hole captured both the Jellyfish and the Narada, creating a disturbance in the space-time continuum which sent both ships into the past. The Narada exited over 150 years in the past, where it confronted the Kelvin. Spock's ship entered moments later, but what appeared moments to him, were 25 years after the Narada had entered. Nero then captured Spock's ship, but kept Spock alive, marooning him on Delta Vega, so that he could witness the destruction of his own home planet, Vulcan, just as he had to witness the destruction of Romulus. Kirk explains he was left on the planet by the Spock he knows, who is in command of the Enterprise. The elder Spock is surprised, knowing that Kirk should be in command of the ship. It is then that Spock realizes that when Nero exited the wormhole and confronted the Kelvin, he altered history and created an alternate reality.

Kirk asks Spock whether his father lived in the original timeline. Spock confirms that George Kirk saw his son take command of the Enterprise. Spock leads Kirk to the Starfleet base where they meet this timeline's Montgomery Scott (Simon Pegg): a transporter genius, who was also "exiled" to Delta Vega along with his alien assistant, Keenser (Deep Roy), after beaming Admiral Archer's beagle to an unknown location during a transporter experiment. Spock informs Kirk that he must relieve the Vulcan's younger self of command by provoking him and showing everyone that Spock is too personally and emotionally compromised to lead the mission and captain the ship. Giving Scotty the formula for "transwarp beaming" an operation originally devised by the older Scott Spock sends Kirk and Scotty back to the Enterprise. Not too long after they are transported to the Enterprise, the two are spotted and eventually captured by security personnel, led by the one who got into a bar fight with Kirk three years previously.

They are taken to the bridge where an astounded Spock attempts to find out how the two were able to transport on board the ship while it was in warp. Kirk refuses to answer and recommends Scotty do the same, and then proceeds to ask why Spock doesn't feel any anger or have any emotion over the destruction of his planet and the death of his mother who was murdered. He keeps pushing and provoking Spock until he finally snaps, starts beating on Kirk, then strangling him to the point of nearly killing him, before he is stopped by Sarek. Realizing how far he has gone, Spock relieves himself of duty and leaves the bridge. Kirk assumes command.

Following his outburst, Spock returns to the transporter room, where Sarek talks to him. Spock feels a rage he cannot control over the death of his mother. Sarek says that his mother would have said not to bother controlling it, and admits that he married Amanda because he loved her. Meanwhile, on the Bridge, Chekov figures out a plan to get the Enterprise close to the Narada without them noticing: they can follow the Narada and stop at Saturn's system, remaining undetected by its magnetic field. Spock returns, confirming the logic of Chekov's plan, and offers to beam over to the Narada to get the "black hole device" and save Earth, the only home he has left. Kirk says he will go as well, to rescue Pike.

The Romulan ship deploys its drilling rig directly over San Francisco, and begins to drill its hole near the Golden Gate Bridge. Warping into Titan's atmosphere, the Enterprise indeed remains undetected, and Kirk and Spock beam over to the Romulan ship. Scotty thought he would be beaming them to a remote part of the ship, but it turns out to be an occupied portion. After a brief firefight, Spock uncovers the location of the black hole device and Captain Pike by melding with an unconscious Romulan. When they board the Jellyfish, it recognizes Spock as its captain, and the Vulcan finally figures out what is going on, as the ship's computer confirms its origin stardate as 2387. As Spock commandeers the Jellyfish and blasts its way out of the Narada, Kirk runs into more trouble as he finds the Romulan's "bridge", where Nero and Ayel are waiting. Spock destroys the drilling rig before it can reach Earth's core, then goes to warp, and Nero orders pursuit. Kirk manages to gain control of Ayel's disruptor during a brief fight and kills him. He then heads off to rescue Pike.

The ships drop out of warp, and the Jellyfish turns to intercept and collide with the Narada. Nero orders all weapons to be fired, even though the ship still has "red matter" on it; with his plan for revenge ruined, now he only wants to kill Spock. The Enterprise arrives on scene and destroys the missiles, allowing Spock to carry through with his plan to ram the Narada. Inside the Narada, Kirk finds Pike, alive but injured due to his earlier torture. Scotty successfully beams back Kirk, Pike and Spock from their two different locations, right before the Jellyfish collides with the interior hull of the Narada and explodes.

The explosion of the Jellyfish ignites the entire stockpile of "red matter" on-board, creating a black hole. Kirk offers Nero to rescue the Narada, but Nero refuses, saying he'd rather watch Romulus die a thousand times, than accept his help. Kirk opens fire, blowing the ship apart with phasers and photon torpedoes. The Narada is finally destroyed, but the gravitational pull of the black hole begins tugging on the Enterprise, keeping it from escaping, even with its engines running at warp speed. Scotty ejects the warp core and detonates it near the black hole. The resulting explosion pushes the Enterprise to safety, and the black hole implodes.

On Earth, Kirk is commended and given command of the Enterprise. He relieves Pike, who has been promoted to Admiral and is now in a wheelchair. The elder Spock meets with his younger self and tells him that he helped Kirk directly so the two would form a friendship. The older Spock raises his hand in the familiar position, but notes that the unusual circumstances do not lend themselves to the famous mantra of the original series, so he simply wishes his younger self "Good luck". As the elder Spock leaves to help the remaining Vulcans establish a colony, the younger Spock returns to the Enterprise and asks Kirk if he can serve as his new first officer, to which Captain Kirk agrees and the Enterprise warps away.

Here is a review for the movie Star Trek from dvdtalk

I remmeber sitting in a theater in 2001, watching Peter Jackson's Fellowship of the Ring and thinking that even though I was watching the scene on screen for the first time, I was going to end up seeing it again and again throughout the rest of my life. It wasn't necessarily a personal investment in the movie -- I like Lord of the Rings, but I haven't watched it in a couple of years -- but just an automatic sense that the movie had the right kind of accessibility and skill that would allow it to endure as a true blockbuster. It will be decades before I know if I was really right or not, but I felt the same way watching J.J. Abrams' reboot of the Star Trek franchise, which is action-packed, relentlessly paced, reasonably character-driven, and won't alienate anyone who isn't a hardcore fan of the long-running series.

Such as, well, myself. Until I sat myself in a theater seat to see the new movie, I'd seen about ten minutes of anything Trek in my entire life. Perhaps I was subliminally worried that it'd stack unfavorably atop my already tragic movie-nerd status, but now I'm thinking I've got no choice: one of the best things about the movie, which follows the first voyage of the Enterprise and its intrepid crew, is how it cleverly blends the old with the new; you'll walk out wanting to go see the original series. Sure, the film's central plot device (which I won't ruin) is a catch-all, but the movie makes it feel organic. Fans will find things to nitpick about it (they always do, and, well, already have), but on the whole, it allows the new to be the new and the old to be the old in a way that should at least calm any fires of indignant fury even if it can't extinguish them.

If I had to pick something I was most pleased or impressed by, it was how well-defined the characters are. Obviously, 43 years of history will do that to a franchise, but it's still refreshing how much of the movie's development is aided by strongly defined characters. There are a lot of characters on the bridge, but you'll never confuse Leonard "Bones" McCoy (Karl Urban) with some incidental background character. Certainly, a lot of them cough up some catchphrases that have been burned into pop culture ("Dammit, Jim, I'm a doctor, not a scientist!" and "I'm giving it all she's got, Captain!", among others) to help give each one of them a unique stamp, but the story still gives each one of them a reasonably significant part to play that makes sense and doesn't require any excess exposition.

The most well-defined of them all are of course James T. Kirk (Chris Pine) and Spock (Zachary Quinto), whose competitive relationship is at the heart of the movie. Their performances are both impressive; despite this being both actors' first big movie, they're engaging and natural. It would be easy for the hotshot pilot and intelligent logician to become either annoying or comedic in their execution, and it could have been hard to reconcile their differences in a way that didn't feel necessitated by the mechanics of the movie, but you want to see them work together and become a team because you understand their relationship so well. The movie's opening includes scenes with the characters as children which are much less effective (and probably completely unnecessary -- you could have just cut them entirely and I wouldn't have missed them), which is another testament to Pine and Quinto's charisma.

The rest of the cast is uniformly excellent. I particularly liked Bruce Greenwood as Captain Christopher Pike, who brings a noble, understated sense of strength to the character. It's more than easy to believe that not only is he a Starfleet Captain, but that even a hothead like Kirk would be willing to listen to him. I also came to enjoy Urban's performance as McCoy. At first, he seems a little goofy; his accent seems like one element too many, but as the movie goes on, he grows into it, and he makes a strong impression despite being less prominent in the movie's second half. Anton Yelchin is memorable as Chekov, especially when the character gets a heroic moment. I'd also like to see more of John Cho's Sulu and Simon Pegg's Scotty in future installments (I liked them because I liked the actors, but the characters don't get a lot of time to make an impression).

All this character doesn't make the movie slow, either; this film is wall-to-wall action. There are space battles, chases, bar fights, skydiving, hand-to-hand combat, shootouts and more, all packed efficiently into 126 minutes. Admittedly, Abrams still resorts to shaky-cam techniques every once in awhile (seriously -- I hear this complaint, and make it, about almost every action movie that comes out these days, and filmmakers still use it), but it's a blast nonetheless. It's all very well timed, too, thanks to expert editing by Maryann Brandon and Mary Jo Markey. I can't think of a movie I've seen in a long while that used its time more efficiently than Star Trek. Anyone directing summer movies for 2010 should take note.

I might get flak for saying this, and I hate to compare the two, but bear with me. Star Wars isn't a great film because you learn something about the human condition, the direction is groundbreaking or because it represents some sort of meticulous standard of fine art, but because it's universally entertaining, has memorable characters, and it leaves you wanting more. This new version of Star Trek may very well be that film for the new millennium, with a whole new dimension: that sense of respect and homage it has for the source as they take the franchise in new directions. Sure, it's not an absolutely perfect masterpiece -- depending on which you'd rather hear, the series' Wrath of Khan/Empire Strikes Back has yet to be made -- but it is a pretty flawless summer blast that will undoubtedly be revisited for years to come. As with Lord of the Rings, it will be a long time before I know if I'm right, but right now, I hear Leonard Nimoy speaking those classic lines: "Space: the final frontier", and I'm ready: ready to boldly go wherever Abrams and his crew want to go next.

Here is the direct download for the movie Star Trek.

YEAR ONE NOW AVAILABLE

Here is a review for the movie Year One from dvdtalk

Wow, that was embarrassing. Finally, David Cross has a movie to be more ashamed of than Alvin & the Chipmunks.

Year One should have been called Year Zero or even Year None, because that's how many stars I'm going to give it and that's how many laughs it got out of me. If there is a worse movie this year, I don't want to see it, as this is as low as I care to go. Criticizing what is wrong with a movie as awful as this is a difficult task, because there is very little to hang it on. It's just not funny, plain and simple. Not at all.

The idea here was that Harold Ramis (Groundhog Day) and his pair of writers would shamelessly revisit the sketch-comedy concept of Mel Brooks' History of the World, Part I, but limiting the material to the first book of the Bible. The fact that by no one's count this would actually be "Year One" shows you how little thought was put into the script. Excepting Adam and Eve, wouldn't the oldest person, then, be less than a year old? I'm just throwing it out there, because, you know, it's not even a good title, so I can't see why someone would have ever fought for it. I also realize it's not important, but I had to think about something to keep my mind occupied during this utterly dull piece of dreck.

Jack Black and Michael Cera star as the barely-upright-on-the-evolutionary-ladder versions of Jack Black and Michael Cera, Zed and Oh. Oh is presumably named Oh so that people could be surprised when they see him and say, "Oh!" As the first comedy duo, with Black as the funny fat guy and Cera as the hapless straight man, the two prove once and for all how old their schtick really is. You thought you were sick of Jack Black after just a few years, imagine what it would be like if you had been watching him dance and bug out his eyes since the dawn of time. Personally, I'd accept another worldwide flood if it meant not having to see him in a movie again, but with my luck, some meathead studio exec would market test him as Noah and put him on the Ark. Of course, that would mean we'd suddenly have one jackass two many, but I digress....

The long and short of it is that Zed eats from the Tree of the Knowledge of Good and Evil, as apparently he has lived in the old Garden of Eden all this time and not known it. This gets him banished from his village, and Oh follows him as he explores the world, running into Biblical characters like Cain and Abel (David Cross and Paul Rudd), Abraham (Hank Azaria), and the full population of Sodom, the original Las Vegas as the film not so subtly reminds us. It was pretty clear in the first ten minutes, all the stuff at the village, that Year One was going to be awful, but I held out hope that the oncoming cameos--other pop-ins include Bill Hader, Christopher Mintz-Plasse, Matt Besser, Paul Scheer, and Oliver Platt--would give us the occasional diversion and keep Year One from being a total waste. I mean, seriously, I thought it was impossible to have a bad Paul Rudd cameo, but Harold Ramis is a can-do guy when it comes to pushing quality into the middle of the road--or, in this case, off the road and into a ditch.

I am sure Judd Apatow, who produced this movie (as well as flicks like Walk Hard and Forgetting Sarah Marshall), has great affection for Harold Ramis, but letting him run wild with Year One is not the kind of tough love this filmmaker needs. The failure of this movie rests almost entirely with him. The direction is clumsy and half-hearted. There is no continuity in the editing, close-ups are poorly framed and poorly used, and the film's sense of comic timing is all out of whack. Most of the scenes are slowly paced, and rather than figure out how to get from one skit to the next, Ramis just cuts away, often before any real punch line, quite regularly making it seem like huge chunks of the story are missing. Early in the movie, Michael Cera is attacked by first a snake and then a cougar, and each time, we don't even see him get out of it. It's just, "Oh, look, a cougar," and then cut to, "Gee, that kind of hurt." Even the last scene, which keeps getting longer and longer, another bit getting tacked on just when you think it's over at last, fizzles out instead of delivering a gag. Unsure of what to do, Oh and Zed just walk away. Which makes way for the blooper reel, full of flubs and on-set cut-ups so you can see for yourself just how little anyone cared about this production.

A film with as broad a concept as Year One requires a go-for-broke attitude. This film should have been manic, silly, over-the-top, and raunchy, but instead it's reserved, timid, and narcoleptic. Most of the actors look like they are trapped and are dying to do their day of shooting and just get out, and I have to say, by the end of this, I know how they felt.

By the way, Gene Stupnitsk and Lee Eisenberg, the team who wrote this flop with Harold Ramis, are also writing Ghostbusters III. You may not be afraid of no ghosts, but you should be afraid of that.

Here is the direct download for the movie Year One.

HERE IS A GREAT LAPTOP I JUST BOUGHT

I went to Amazon.com and went looking for a good laptop since my old one crapped out and I wanted to get a new one anyway. So I went to Amazon and found a great Sony Vaio for under 750 dollars with a cool Blu-ray Player in it which is very rare to find. Here it is for you guys.

Here is the description for the awesome computer from Amazon.com

Amazon.com Product Description
Boasting an aesthetic yet functional design, the Sony VAIO VGN-NS290J/L notebook PC brings together stunning imagery, access to all your multimedia, and excellent productivity in an affordable package. The clean lines, textured exterior, and elegant blue coloring gives this laptop a very contemporary feel. And it helps you connect to the world via ultra-fast Draft N Wi-Fi networking (802.11b/g/n) and a 1.3-megapixel MOTION EYE web cam built into the display bezel--perfect for video blogging or chatting with friends and family.

The 15.4-inch display uses Sony's XBRITE-ECO LCD technology so you can see deeper blacks, brighter whites, true-to-life color and razor-sharp detail from almost any angle. It's great for watching movies thanks to the included read-only Blu-ray Disc drive (which is also compatible with burning DVD±RW and CD discs), as well as making your own using the included Sony Movie Story software--just choose the supplied template and professional-looking cutaways, cross-fades and soundtrack syncing are automatically done for you.

This notebook PC is powered by the 2.0 GHz dual-core Intel Pentium T3200, which provides easy multitasking capabilities. Other features include a 250 GB hard drive, 4 GB of RAM (maximum capacity), ATI Mobility Radeon HD 3430 graphics with up to 2040 MB of available memory, ExpressCard 34 slot, Gigabit Ethernet, both Memory Stick and SD card readers, and pre-installed Windows Vista Home Premium (SP1).

This Sony notebook is Energy Star 4.0 certified, and has received a Silver EPEAT designation for meeting standards to help reduce its environmental impact. Additionally, it is RoHS-compliant, effectively reducing the environmental impact by restricting the use of lead, mercury and certain other hazardous substances.

The Basics

• Processor: The Intel Core 2 Duo T6400 processor has a 2.0 GHz processor speed, fast 800 MHz front-side bus (FSB), and 2 MB L2 cache. (An L2, or secondary, cache temporarily stores data; and a larger L2 cache can help speed up your system's performance. The FSB carries data between the CPU and RAM, and a faster front-side bus will deliver better overall performance.)

  With two computational execution cores in a single processor, it provides greater system response when running multi-threaded applications simultaneously with no significant increase in power consumption. It's optimized for multitasking and is ready to support the Microsoft Windows Vista operating system. It can simultaneously run multiple demanding applications--such as graphics-intensive games or serious number-crunching business productivity applications--while downloading music or running virus-scanning security programs in the background. Some of the advanced Intel innovations of the Core 2 Duo processor include:

  • Smart Memory Access: Improves system performance by hiding memory latency, thus optimizing the use of available computer data bandwidth to provide data to the processor when and where it is needed.
  • Advanced Digital Media Boost: Effectively doubles the execution speed for instructions used widely in multimedia and graphics applications.
  • Dynamic Power Coordination: Coordinates Enhanced Intel SpeedStep Technology and idle power-management state (C-states) transitions independently per core to help save power.
  • Deeper Sleep with Dynamic Cache Sizing: Saves power by flushing cache data to system memory during periods of inactivity to lower CPU voltage.
• Hard Drive: The generous 250 GB Serial ATA hard drive (5400 RPM) provides more than enough capacity for storing a large audio and video library, as well as extra space required for video editing. This SATA hard drive also quickens the pace with a higher speed transfer of data--akin to Firewire and USB 2.0.
• Memory: The 4 GB of installed RAM (PC2-5300, 2 x 2 GB) maximizes the capacity of this notebook, and it also offers a quick 667 MHz speed.
• DVD/CD Drive: This Sony notebook is capable of playing back Blu-ray Disc movies in stunning clarity, as well as playing your current library of purchased and burned disc content. This notebook can also write standard DVD and CD media. The BD drive offers a 2x speed for reading BD-R/RE discs and a 2x BD-R/RE DL (dual layer) read speed. It also offers the following write speeds for standard DVD and CD discs: 6x DVD±R DL, 8x for single-layer DVD±R, 6x DVD±RW, 24x CD-R/RW, and 5x for DVD-RAM.
• Keyboard & Mouse: This notebook has a standard 86-key keyboard (2mm stroke and 19.05mm pitch) and electro-static two-button touchpad. Playback controls include play/pause, stop, forward, rewind, AV mode, mute, volume +/-, WLAN/Bluetooth on/off.

The Sony VAIO NS in deep blue.

Screen, Video & Audio
You'll enjoy razor-sharp graphics and widescreen movies with the 15.4-inch WXGA high-definition screen, which has a widescreen resolution of 1280 x 800 pixels--perfect for watching DVD movies the way they were meant to be seen. The XBRITE-ECO technology delivers brilliant colors and stunning clarity with efficient power usage, and it features an anti-reflective coating to minimize reflection and ensure a beautifully clear image from any viewing angle. Video is powered by the ATI Mobility Radeon HD 3430, which provides 2040 MB of total available graphics memory. ATI Mobility Radeon HD 3400 Series graphics processors have breakthrough efficiency, with phenomenal performance-per-watt and energy-saving features. Advance to the power of discrete graphics for HD gaming with best-in-class performance, amazing effects, and lifelike worlds and characters delivering a compelling gaming experience.

Networking, Connectivity & Expansion
Enjoy easy wireless networking with the integrated tri-mode Atheros Draft-N wireless LAN (compatible with 802.11b/g/n wireless networks). Based on the draft 802.11n Wi-Fi specification, it offers up to five times the performance and twice the wireless range as existing 802.11g wireless. It's also backward compatible with 802.11b/g networks (commonly found in home routers and wi-fi hotspots). This desktop also provides ultra-fast Gigabit Ethernet networking (10/100/1000).

This notebook also includes a next-generation ExpressCard 34 card slot (though no PCMCIA slot), which lets you take advantage of thinner, faster, and lighter expansion cards for even more advanced wireless, networking, storage, and security features. Here's the full list of connectivity options:

• 4 USB 2.0 ports for connecting a wide range of peripherals--from digital cameras to MP3 players
• 1 FireWire (also known as IEEE 1394 or i.Link) port for connecting digital video camcorders and other peripherals
• Audio: 1 headphone, 1 microphone/line-in
• Analog video output: 1 VGA
• 1 ExpressCard/34 slot
• Memory Stick/Memory Stick PRO slot (Standard/Duo with MagicGate functionality)
• Secure Digital memory card slot (compatible with MMC cards)
• RJ-45 port for 10/100/1000 Ethernet
• 56K modem port (V.90/V.92)

Operating System
The 64-bit version of Windows Vista Home Premium (with SP1) is the operating system for users with advanced computer needs, and it includes all of the Windows Media Center capabilities for turning your PC into an all-in-one home entertainment center for watching DVD movies and accessing your digital audio library. You can also use Windows Media Center to record and watch your favorite TV shows (even HDTV) and to access new kinds of online entertainment content. Computers that include Windows Vista Home Premium and an auxiliary Windows SideShow display will also allow you to access key data even when your computer is off. It is also easier than ever to share files between other PCs in your household and to manage your laptop computer settings to more securely connect via Wi-Fi.

Every edition of Windows Vista provides the essential tools and technologies to help protect you whether you are browsing the Internet, connecting to a wireless network, or just reading e-mail. All editions of Windows Vista include new tools that can warn you of impending hardware failures long before you have lost any important personal data. And, all Windows Vista editions include parental control features that allow you to manage and monitor your family's use of games, the Internet, instant messaging, and other activities.

Preloaded Software
Microsoft Windows Live OneCare anti-virus and recovery (trial version), Microsoft Works SE 9.0, Microsoft Office 2007 Home and Student (60-day trial), Sony Click to Disk Editor (CD and DVD burning), VAIO Movie Story (video editing), VAIO MusicBox

Dimensions & Weight
This notebook measures 14.2 x 10.63 x 1.5 inches (WxDxH) and weighs 6.4 pounds.

Power
It's powered by the VGP-BPS13/B rechargeable lithium-ion battery, which has a battery life of between 1.5 and 4 hours (depending on usage).

What's in the Box
This package contains the VGN-NS290J/L notebook PC, rechargeable lithium-ion battery, AC adapter, and operating instructions. It is backed by a one-year limited hardware warranty, and Sony offers 1-year of toll-free telephone technical assistance.

Product Description
The 15.4-Inch VAIO NS notebook with Blu-ray Disc technology exemplifies contemporary style in an easy-to-handle mobile PC. Boasting an aesthetic yet functional design, it will turn heads with its unpretentious charm. Enjoy superior performance with an available Intel Core 2 Duo processor. Video message with friends and family with the built-in webcam. And get things done with loads of RAM and ample storage. With its good looks and tools like these, the VAIO NS notebook is a great PC for all your day-to-day computing endeavors.

Here is the direct link to the great computer for you to buy if you want it.

THE HANGOVER NOW AVAILABLE

Here is the summary for the movie The Hangover from imdb

Angelenos Doug Billings and Tracy Garner are about to get married. Two days before the wedding, the four men in the wedding party - Doug, Doug's two best buddies Phil Wenneck and Stu Price, and Tracy's brother Alan Garner - hop into Tracy's father's beloved Mercedes convertible for a 24-hour stag party to Las Vegas. Phil, a married high school teacher, has the same maturity level as his students when he's with his pals. Stu, a dentist, is worried about everything, especially what his controlling girlfriend Melissa thinks. Because she disapproves of traditional male bonding rituals, Phil has to lie to her about the stag, he telling her that they are going on a wine tasting tour in the Napa Valley. Regardless, he intends on eventually marrying her, against the advice and wishes of his friends. And Alan seems to be unaware of what are considered the social graces of the western world. The morning after their arrival in Las Vegas, they awaken in their hotel suite each with the worst hangover. None remembers what happened in the past twelve or so hours. The suite is in shambles. And certain things are in the suite that shouldn't be, and certain things that should be in the suite are missing. Probably the most important in the latter category is Doug. As Phil, Stu and Alan try to find Doug using only what little pieces of information they have at hand, they go on a journey of discovery of how certain things got into the suite and what happened to the missing items. However they are on a race for time as if they can't find Doug in the next few hours, they are going to have to explain to Tracy why they are not yet back in Los Angeles. And even worse, they may not find Doug at all before the wedding. Written by Huggo

Here is a review for the movie The Hangover from dvdtalk

Todd Phillips' The Hangover sets up a premise rife with comic possibilities, and damned if they don't exploit just about every single one of them. It's a ridiculously funny movie, yes--laughs from end to end, with so many good lines that even the day players get some. But it's also a skillful picture, blessed with an ingeniously constructed narrative that keeps the viewer involved while taking full advantage of its gifted cast and their specific comedic mojo.

Doug (Justin Bartha from those horrible National Treasure movies) is about to be married, so he zips off for a Vegas bachelor party with his best buddies Phil (Bradley Cooper) and Stu (Ed Helms). He also brings along his fiancé's brother, the odd (and frequently pantsless) Alan (Zach Galifianakis), for the ride. The quartet checks into Caesar's Palace (after a funny bit where Alan inquires if it was "the real" Ceasar's Palace--"Did Caesar live here?") and go up to the roof for toasts and Jaeger shots. Twelve hours later, they wake up in their trashed suite, in various states of nausea and undress; there's a chicken on the bar, a baby in the closet, a tiger in the bathroom, and Stu is missing a tooth. Oh, and Doug is gone.

The remaining three men spend the next day and a half trying to piece together exactly what the hell happened during their long blackout, and this is where Jon Lucas and Scott Moore's beautifully constructed screenplay really shines; instead of a blow-by-blow orgy of decadence, a la Very Bad Things, it's laid out like a murder mystery. They empty out their pockets to try to piece together exactly what happened when, and as they follow those "clues," it seems like the more they find out, the less they know. That central mystery, and their genuine concern for the well-being of their friend, gives the film a kind of frantic momentum that is missing from most comedies these days, even the good ones (like the charmingly shambling movies from the Apatow factory).

The casting is particularly good here; the three primary actors have terrific chemistry and play well off each other in unique ways. Cooper appears to be having a great time turning his earnest, nice-guy image on its head (to far greater effect than in his over-the-top villainous turn in Wedding Crashers). He's playing the most conventional character of the three, but it's not a simple "straight man" turn; he's reactively funny, in much the way Vince Vaughn was in Phillips' Old School. Helms charms in a performance that burrows deeper than the character's preppy, henpecked surface--he lets you see the party guy that lurks below, so you believe that he really would be friends with these guys (one problem with movies about old friends is that they frequently deal with such one-dimensional types, you can't understand what these people ever had in common). His manic takes and elaborate lies to his emasculating girlfriend are funny, and his impromptu piano tune is a highlight.

But Galifianakis is the break-out star, which is as it should be; he's been given the kind of role that you can't help but steal the movie with. As a diehard fan of his gonzo stand-up work, I've been saying for years that Galifianakis is the closest thing to Andy Kaufman we're gonna see in this decade; he's now got one up on his most clear influence, because Kaufman never made a movie worth a damn. Alan's odd demeanor and occasional non-sequiturs are reminiscent of his stand-up persona, but this is a unique and successful comic creation. Alan is just a little slow, and has an innocence about him, but he's also clearly up for anything--it's the kind of wide-eyed, mischievous man-child role that Belushi used to do so well. He's never off his game in The Hangover; even when he's not the focus of the scene, you're watching him react to whatever else is happening.

The rest of the cast is filled out with some solid, sturdy utility players. Jeffrey Tambor's presence is always welcome, it's nice to see Heather Graham (albeit briefly) in a movie that's premiering in theaters instead of on DVD, and Rob Riggle (from The Daily Show) and Cleo King ("Marcie" from Magnolia) have a very funny bit as the cops whose car has somehow ended up in the boys' possession. Hell, even the detestable Mike Epps gets a couple of laughs and appears briefly enough to keep from doing any real damage.

Phillips continues to immodestly begin his films with the title card "A Todd Phillips Movie" (as opposed to "film"), but his directing has become more confident (even after the misstep of School for Scoundrels). He does a terrific fake-out in the opening credits, starting with a snappy cover of "It's Now or Never" and credits rendered in a flowy, faux-wedding invite font, then switching to foreboding shots of the Vegas skyline and the grim music of Danzig. He doesn't let fancy camerawork get in the way of the jokes, but the film is inventively shot (I especially liked the overnight transition that covers the activity we don't see).

This is not to say that he doesn't occasionally stumble. There is one sequence that doesn't work at all, in which the guys question a doctor who treated Cooper during a hospital visit during their lost evening; the doctor inexplicably chats with the three guys (and the baby) as he performs a full (and I mean full) physical on a dumpy old man. We buy a lot of stretched premises in this movie, but I'm sorry, there's no reason in the world for this guy to let three strangers sit in on his physical, except so Phillips can get a cheap, mean laugh by showing us this poor old dude's bloated, wrinkly ass. This movie is better than that scene.

There are other bits here and there that don't quite work, but even taking those into account, there's an astonishing batting average of successful jokes in The Hangover--and I haven't even mentioned Mike Tyson, or the Rain Man parody, or the tiny naked Asian gangster. Just go see it, is the point. It's tight and fast and clicks along like a good watch--and it's funny as hell.

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TERMINATOR SALVATION NOW AVAILABLE

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Set in post-apocalyptic 2018, John Connor is the man fated to lead the human resistance against Skynet and its army of Terminators. But the future Connor was raised to believe in is altered in part by the appearance of Marcus Wright, a stranger whose last memory is of being on death row. Connor must decide whether Marcus has been sent from the future, or rescued from the past. As Skynet prepares its final onslaught, Connor and Marcus both embark on an odyssey that takes them into the heart of Skynet’s operations, where they uncover the terrible secret behind the possible annihilation of mankind. Written by Warner Bros. Pictures

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The Film:
Back in 1984, James Cameron's low budget sci-fi action film The Terminator seemed to be just about the coolest movie of its time. Borrowing heavily from two classic episodes of the television series The Outer Limits--"Soldier" and "Demon With a Glass Hand"-- Terminator offered the mind-bending tale of a time-traveling killing machine (Arnold Schwarzenegger) sent from the future into the present to kill a woman whose son would lead a rebellion against the machines that overthrow mankind. Much like Ridley Scott's 1979 film Alien, The Terminator kicked off a science fiction franchise that started out strong, hit its apex with the sequel (both Terminator 2 and Aliens were directed by Cameron), and then lost much of its energy--only with the Alien films, there were more sequels and spin-offs to measure the downward spiral.

Twelve years after Cameron's impressive sequel to his original film came Terminator 3: Rise of the Machines. Not nearly as impressive as the first two films, T3 offered a grim final scene that left audiences depressed, but left the door open for future installments. Although the film performed poorly at the box office in the United States, its global haul was impressive, which all but ensured a returned of terminators to the big screen. The problem, of course, is that when films do well overseas, leading to the inevitable sequels geared for a global audience, it almost always means said films will cater to the things that sell well in the worldwide film market--action, explosions, action, violence, more explosions, action and violent action. Sadly, things like story and character development generally take a backseat to the action; the train of thought being that you don't have to speak or understand English to appreciate shit blowing up, and most people don't want to read subtitles when they're watching shit being blown up.

Sadly, it is this sort of global filmmaking strategy that is guiding Terminator Salvation, the fourth film in the franchise that now includes a television series and countless comic books. Set in the not too distant future, when the deadly machines have already overthrown much of the human race. Skynet, the self-aware computer system has struck and continues to strike against the remnants of the human race, using deadly machines to hunt and kill people. John Connor (Christian Bale), is a member of the human resistance, and has been prophesized to be the one person who will destroy the machines. But we all know this, because we've seen all the other movies. This time around, Connor is fighting the good fight, when word gets to him that the terminators have targeted him and a teenager named Kyle Reese (Anton Yelchin). Of course, we all know that Kyle Reese will grow up to be the man Connor sends to the past to protect his mother, and in turn get her pregnant with John. As Connor helps plan a massive assault against Skynet, using a signal transmitter that provides the sort of plot device that can be easily translated to the film's global audience, Reese crosses paths with Marcus Wright (Sam Worthington), a convicted felon that was executed and whose body was donated to science before the rise of the machines. As it turns out, Wright's body was used by Cyberdine, which we all know is the company that designed the machines that destroyed humanity, and through he doesn't know it, he's actually a terminator. All of this plot comes together in an extended chase that is punctuated by lots of explosions, and over simplified ruminations on the humanity of Wright, who refuses to accept his status as a terminator, and instead chooses to fight along side the humans.

Terminator Salvation is a film that is entertaining, but it stops short of actually being a good movie. The script is both heavy-handed and light weight at the same time, and it doesn't deliver anything more than what is needed to keep the franchise alive. The story jumps back and forth between John Connor and Marcus Wright, but the film really is more about Wright than Connor. In fact, there comes a time when the movie starts to feel like perhaps Connor had a smaller role in the original script, but the part was beefed up when Bale signed on. Whether or not that's the case, Connor himself is pretty boring, lacking the sort of gravitas you'd expect from someone who is destined to lead the rebellion against the machines. Wright's character is far more interesting, but his story feels as if it's been trimmed here and there to give more time to Connor, which is part of what weakens the overall story.

As far as big budget summer movies go, Terminator Salvation provides a mildly entertaining distraction, much better than X-Men Origins: Wolverine, but not nearly as good as Star Trek. The script itself is flawed to the point of being weak, but the sensory overlaod caused by McG's hyperactive direction makes it difficult to notice the pedestrian writing. The movie doesn't really suffer from Schwarzenegger not being in it, but it also has problems defining itself as a Terminator flick without him. Schwarzenegger's absence--other than a computer generated cameo--might not be so obvious if the movie itself tried harder to define itself as its own cinematic entity, rather than just another entry in a franchise that is now twenty-five years old. Bale's performance lacks anything of true merit, and he is overshadowed by Worthington, who has his own problems, not the least of which is his Australian accent that comes and goes throughout the course of the movie. Still, Worthington seems to actually be acting, while Bale is clearly figuring out how to spend all the money he was paid for being in the film.

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THE TAKING OF PELHAM 1,2,3 NOW AVAILABLE

Here is the summary for the movie Taking of Pelham 1,2,3 from imdb

Tony Scott directs this remake of the Walter Matthau-starring thriller from 1974 with this Columbia Pictures production that pits a transit cop (Denzel Washington) against a group of hijackers lead by John Travolta, who take over a subway train in order to rake in a hefty ransom. David Koepp (War of the Worlds) is adapting the book by author John Godey. In "The Taking of Pelham 1 2 3," Denzel Washington stars as New York City subway dispatcher Walter Garber, whose ordinary day is thrown into chaos by an audacious crime: the hijacking of a subway train. John Travolta stars as Ryder, the criminal mastermind who, as leader of a highly-armed gang of four, threatens to execute the train's passengers unless a large ransom is paid within one hour. As the tension mounts beneath his feet, Garber employs his vast knowledge of the subway system in a battle to outwit Ryder and save the hostages. But there's one riddle Garber can't solve: even if the thieves get the money, how can they possibly escape?

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Well, the first thing that we have to decide, in approaching Tony Scott's new remake of The Taking of Pelham 123, is that the 1974 original was what it was, and no reimagining is going to touch it. It was, first and foremost, of its time and place--it captured the gritty, trashy, dangerous hellhole of 1970s New York in much the same manner as The French Connection and Klute and Born to Win before it, Dog Day Afternoon and The Warriors and (to the nth degree) Taxi Driver after. It looks and feels and even (thanks to David Shire's brassy, pounding score) sounds like The City, right then. But it was also way ahead of its time; fourteen years before Die Hard, here was the story of a brilliant, accented baddie who took hostages in a public place and whose plans to exchange them for a large sum of cash is thwarted by a dogged, determined public servant. After Die Hard made a mint and we saw its various riffs (Die Hard on a boat, on a plane, on a bus, etc.), no one bothered to make Die Hard on a subway, because it had been done a decade and a half earlier.

Pelham was first remade as a limp TV movie in 1998; it has now been updated and thoroughly reimagined by screenwriter Brian Helgeland (whose name appears on about as many good films--L.A. Confidential, Mystic River --as bad ones--The Postman, Assassins) and director Scott, a filmmaker whose stylistic flourishes have irritated others more than me. I've got a pretty high tolerance for that sort of thing--for my money, the only time he's really gone too far with his tics and affectations was Domino, which was pretty much a lousy movie any way you sliced it (so his flair felt like overcompensation). However, my stomach turned a bit as his Pelham began. The opening credit sequence utilizes blurry photography, slow and fast motion editing, and jittery camerawork--anything, it would seem, to keep us from seeing exactly what the hell is going on. Nothing terrifies Tony Scott more than a static frame. Would this finally be the movie where he went too far, even for me?

Thankfully, no. He settles down once the story gets into motion; his practice of shooting conversations like they're action scenes can get a little wearying, and sometimes you wish he'd just stop moving the damned camera and hold a shot for more than a second and a half. But he does show some restraint in the film's quiet, more contemplative moments, even if he can't resist (at the big climax) shooting a conversation from a chopper.

Say what you will about his extravagancies, but once this thing gets going, it pulls us in--the storytelling is tight, the cuts are surgically precise, and it hums right along. Walter Matthau's transit cop has been transformed into Denzel Washington's Walter Garber (first name changed in tribute to the role's originator), an MTA upper-management type who has been busted down to dispatcher while he's under investigation for taking a bribe. His day at the microphone is disrupted when a group of armed thugs, led by "Ryder" (John Travolta) take over a 6 train; they move it deep into the tunnels and disconnect the front car, while Ryder tells Garber that the city has 60 minutes to come up with $10 million, or they start popping hostages.

That ticking clock--and Ryder's clear lack of hesitation to carry out his threat--gives the picture a tremendous momentum; it spins like a top, propelling breathlessly forward and giving us a snazzy freeze-frame and on-screen text when we need a reminder of how close we are to that deadline. New York viewers will also appreciate how many of the details they get right; early in the film, when Garber is barking out an on-the-fly re-routing, the stops and trains make sense (even if on-train wi-fi access in the early scenes is still a bit of a pipe dream).

The primary divergence between Scott and Helgeland's take and the 1974 original is in the backstories of the two main characters and the relationship forged between them. Matthau and Robert Shaw were given fairly simple characterizations (hard-working cop and bitter ex-military), and their radio communications were mostly centered on the transaction at hand. An actor who so effortlessly projects Washington's strength and intelligence wouldn't quite work in the Matthau role, as originally conceived; in a fine example of tailoring the role to the actor, Washington's Garber has some flaws and real complexities. His falling-star wants to prove himself worthy here (watch the way he tentatively walks out of the command center after he's been dismissed), and creating a situation where his character has something on the line is an ingenious way of raising the stakes.

Travolta, coming off a long line of tepid projects, is clearly having a great time playing a pulpy lowlife, though he's just a wee bit over the top here--he's frequently hyper-active and bug-eyed, and he's not helped much by the fact that much of his dialogue appears to have been re-written by Bobb'e J. Thompson's character in Role Models. But is it meant to be a tough-guy "act"? How meta is this guy supposed to be? Travolta's got some good moments here, so I hesitate to call it a bad performance, per se--I don't know what the hell it is, exactly. What is certain is that Washington brings out the best in him; the scenes where they level with each other, and speak plainly, have the same kind of motivational pull as that terrific first act of Man on Fire.

The expansion of their relationship comes at the cost of the distinctive characterizations for Travolta's accomplices. The only one with any presence is Luis Guzman, and he mostly brings that with him; I'll maintain that there is no film that can't be made better by the introduction of Guzman in a supporting role, and I would say the same about co-star John Turturro, but even he couldn't help Transformers. Point is, we don't even know these guys' names (the original film gave them color coded names--Mr. Grey, Mr. Blue, etc.--but Tarantino already recycled that in Reservoir Dogs). On the other hand, the original film's thin characterization of the NYC mayor as sniveling, sick-bedded weakling is one of its weaker elements; Helgeland's more active mayor is clearly modeled on Bloomberg (down to the subway riding and one dollar annual salary), and James Gandolfini is quietly terrific in the role.

Like so many popcorn directors, Scott lets his film go a good twenty minutes too long--once the clock has ticked out, he can't maintain that energy, and the picture loses steam once it comes up out of the subway. A car chase is cut too jaggedly, to a degree that there's no spatial relationships established and therefore no suspense. And while the final confrontation is pretty damned good, it can't hold a candle to the gotcha brilliance of the original's closing line. But again, I could make disparaging comparisons all day. In and of itself, as a representative of its particular genre (big studio summer action film) in its specific time and place (post-Giulliani, post-9/11, Disneyfied New York), The Taking of Pelham 123 delivers; it's slick and fast and loud and fun to watch, and some summer nights, that's good enough.

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