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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TRANSFORMERS 2 NOW AVAILABLE

Here is the summary for the movie Transformers 2 from imdb

The battle for Earth has ended but the battle for the universe has just begun. After returning to Cybertron, Starscream assumes command of the Decepticons, and has decided to return to Earth with force. The Autobots believing that peace was possible finds out that Megatron's dead body has been stolen from the US Military by Skorpinox and revives him using his own spark. Now Megatron is back seeking revenge and with Starscream and more Decepticon reinforcements on the way, the Autobots with reinforcements of their own, may have more to deal with then meets the eye.

Here is a review for the movie Transformers 2 from dvdtalk

In 1995, director Michael Bay, untested and hungry, helmed his first feature, the action comedy "Bad Boys." It was a lean, stylish production desperate to please. In 2003, after years fattening himself on blockbuster box office returns and industry deification, Bay directed "Bad Boys II," and it was a vast facial blast of overconfident overkill -- a joyless, humorless, bloated carcass of an event movie. After the domestic financial crumbling of his 2005 picture, "The Island," Bay was again in a difficult position where he needed to prove his worth. Out of the ashes came "Transformers." While hardly a mid-budget, no-expectation gamble like the original "Bad Boys," the film nevertheless relied on Bay's capacity to temper his proclivity for grotesque visual disorder, putting the needs of sci-fi adventure and crowd-pleasing theatrics above his diseased lust for claustrophobic, hyper-edited shenanigans. The semi-minimalist (for Bay) effort was rewarded with over 700 million dollars in worldwide box office returns. This leads up to the sequel, "Transformers: Revenge of the Fallen," and, my dear readers, it's "Bad Boys II" all over again. Nothing kills the euphoric buzz of exceptionally articulated carefree mindlessness quite like a newly emboldened Michael Bay.

Now off to college, Sam (Shia LeBeouf) has discovered a shard of the AllSpark in his old clothes, which, upon touch, imprints the skittish young man with a series of mystifying symbols that he can't get out of his head. Coming to his aid are the Autobots, led by Optimus Prime (voiced by Peter Cullen), who have joined forces with the U.S. military to find and destroy errant Decepticons. Sam's path leads to a secret history of the Transformers on Earth thousands of years old, revealing the Dynasty of the Primes, and its power mad defector, The Fallen (Tony Todd). When Prime is sidelined by a reborn Megatron (Hugo Weaving), it's up to Sam, girlfriend Mikaela (Megan Fox), former Sector Seven employee Simmons (John Turturro), roommate Leo (Ramon Rodriguez, the movie's most egregious casting mistake), and old military friends (Josh Duhamel and Tyrese Gibson) to team up and thwart The Fallen's plan to reclaim his throne and steal the Energon-producing power of the Sun from Earth through the use of the prized Matrix of Leadership key.

Weary and bruised, but smiling, I came out of "Transformers" flabbergasted over how Bay could manage to muzzle himself to such a degree that his giant robot war movie felt pleasurable, not assaultive. He turned an impossible live-action proposition into a swell bit of explosive escapism, noticeably keeping the odious Bayisms in play throughout the film, but dialing down his habits just enough to appreciate a breath of fresh air. "Revenge of the Fallen" sets out to destroy that phenomenal progress. Cocksure about what audiences demand from a "Transformers" picture, Bay drops any tinge of restraint like a bad habit and lurches forward into his old stomping grounds of excess and idiocy. Invention, or at least detectable visual moderation, has been punted out of the insufferable "Revenge" equation. This one is strictly dedicated to Bay's ego.

"Transformers" was certainly no delicate art film, but there was a charitable feeling of the unexpected layered over a 140-minute-long running time that was stimulating, a sensation immediately swollen tenfold for any fan of the mid-80's Hasbro toy line. "Revenge" reduces the widescreen awe to a barely audible squeak, placing greater emphasis on comedy. Yes, comedy. For reasons that completely escape my mental perimeter, Bay and his writers have decided that, while we all go to these pictures for the enormous robot fights, we stay for the laughs. This leaves the dead space between action beats reserved for rear nudity from Turturro, "twin" jive-talkin' Autobots Mudflap and Skids (triggering an uncomfortable Jar-Jaresque racial stereotyping alarm), a reveal of testicles on the Constructicon behemoth Devastator, extended time with Sam's stridently unfunny parents Judy (Julie White) and Ron (Kevin Dunn), Decepticon spy Wheelie and his leg-humping desires, a Rainn Wilson cameo, and a stuffy GWB-age government official caricature tossed in to challenge the allegiance between human and Autobot. If you're not laughing by now, I'm with you. Bay is persistent about making jokes the focal point of the show, often abandoning the majesty of the concept to gather cheap laughs. It's a crime. "Transformers" had its fun and a fair share of dud gags, but the stupidity is cranked here beyond all practical intent.

When the Autobots and Decepticons are permitted their swirly, slashy moments of private-property-trashing combat, "Revenge" stages the metallic crunch suitably, using the addition of new Transformer faces to repaint the violence. There could be an entire movie made from Optimus Prime and his soldiering ways (Cullen is a masterful voice actor), but "Revenge" never chases the concept. Instead, the screenplay is littered with needlessly complex narrative detours, leading to the useless introduction of The Fallen character. With plenty of gas in the tank left to fuel the antagonistic Megatron/Starscream relationship, not to mention the endearing protector pairing of Sam and Bumblebee, it comes across as foolish for Bay to introduce a plethora of new faces when the old faces still retain plenty of potential for superb screen conflict and bonding. But this is a film that thinks two male dogs humping each other is comic gold, making it clear to me that perhaps Bay doesn't care much about juicy intergalactic, shape-shifting interaction, but more about the potential marketing tie-ins that breast feed his bank accounts.

I write about this film like it personally insulted my mother, yet I can't help but feel totally deflated by the filmmaking apathy of "Revenge." The feature is Bay trudging through his hoary, heavily rehearsed motions of explosions upon explosions; reducing fantastical globetrotting plotting to a repetitive yawn; fetishizing military weaponry, personnel, and casualty with porn-like visual perfectionism; objectifying women like there's no tomorrow, including a perpetually moist Megan Fox (playing a character with apparent access to lip gloss and push-up bras in the desert wilds of Egypt) and Isabel Lucas, here poorly portraying a human Decepticon Pretender; and encouraging Shia LeBeouf to spaz it up to the nth degree (his specialty). It's takes 150 minutes (it'll feel like a long weekend, guaranteed) for "Revenge" to organize its hilariously complicated storyline, with at least 149 minutes devoted to anesthetizing, tongue-twisting exposition. It's a lot of needless baggage for a "Transformers" film to clutch, and it all crumbles into a numbing mush about halfway through, when it's clear Michael Bay isn't going to chip in the proper effort to keep this once promising franchise headed in a suitably dignified and fist-pumpingly thrilling direction.

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ANGELS AND DEMONS NOW AVAILABLE

Here is the summary for the movie Angels and Demons from imdb

When a murder of a physicist, Leonardo Vetra, finds a symbolist, Robert Langdon, and Mr. Vetra's daughter, Vittoria, on an adventure for a secret brotherhood, The Illuminati. Clues lead them all around the Vatican, including the four alters of science, Earth, Air, Fire and Water. An Assassin, working for the Illuminati, has captured four cardinals, and murders each, painfully. Robert and Vittoria also are searching for a new very destructive weapon that could kill millions. Written By XXDustfingerXX

Despite his notorious relationship with the Church, Harvard symbologist Robert Langdon is once again called upon to decipher the clues to a catastrophic conspiracy. The Pope has died, and before conclave can begin to determine his successor, the four preferitti (primary hopefuls for the papacy) are kidnapped. An ominous threat of their hourly demise, along with the complete annihilation of Vatican City, is issued as an elaborate revenge scheme for a persecuted group known as the Illuminati. With their meager time limit steadily counting down, Langdon, accompanied by beautiful physicist Vittoria Vetra, must travel throughout Rome to unravel the carefully hidden signs that will lead them to a terrifying adversary, a harrowing discovery, and the shocking truth. Written by The Massie Twins

The Pope died and the conclave has been called for. Four candidates were chosen. However, before the voting, the 4 candidates are killed one by one. The killer leaves clues that seem to say that he/she is from the Illuminati. Strangely though, the Illuminati was long thought to be extinct. Who is the mastermind? Who revived the Illuminati? What do they want? Written by Ryanking

Here is a review for the movie Angels and Demons from dvdtalk

Light the torches and sharpen the pitchforks, I enjoyed "The Da Vinci Code." While long-winded, Ron Howard's version of the Dan Brown best-seller provided a lovingly smothering mood of daredevil exposition and for-fans-only historical minutiae. Even if I didn't seize the scholarly passion burning behind the dialogue or comprehend the larger religious misconduct of the plot, I enjoyed the cinematic bluster of the work and appreciated how Howard took the time to preserve the experience for the fanatics. Plus, a heaping dose of star power from the stately Tom Hanks never hurts, unless Nora Ephron is directing. "Angels & Demons" rolls up to bat three years after "Code" stormed the box office, and while Howard's promise of a snappier pace is kept, it's hard to sense much of a seismic difference between the two films. But that's fine by me.

When the Large Hadron Collider, assisted by the nervous Vittoria Vetra (Aylet Zurer, "Munich"), breaks down a minute amount of antimatter into three canisters for scientific testing, one of the containers is quickly stolen by a rogue group called the Illuminati. A secret society bent on disrupting the Vatican's postmortem search for a new pope, Illuminati agents plant the canister in a hidden passage of Vatican City, kidnapping four cardinals and threatening to destroy those gathered to mourn. To help investigate the crime, Robert Langdon (Tom Hanks) is reluctantly brought in by church officials who hope his decoding skills will lead the proper authorities (including Stellan Skarsgard) to the bomb. Set loose in the labyrinthine city, Robert finds assistance from Camerlengo Patrick McKenna (Ewan McGregor), a kindly papal assistant eager to stamp out the Illuminati threat. Armed only with his wits, Robert plunges into the hunt for the cardinals and the antimatter, stumbling upon larger revelations that challenge the worlds of religion and science.

A fun fact about "Angels & Demons" is that the material was actually published before "Da Vinci Code," making this Vatican vacation Langdon's debut adventure. Well, leave it to Hollywood to rework the facts, and now "Demons" is a sequel, with Langdon suffering the damning glare of a wounded Catholic Church, forced to engage the professor's abyssal knowledge base to combat long forgotten enemies. It's the first of many changes to Brown's work, with the primary goal of "Demons" to keep matters trucking along at all costs.

Perhaps spooked by the outspoken critics of "Da Vinci Code," Howard has opened up the throttle some with "Demons," questing to balance Brown's dizzying barrage of clues and symbols with a traditional, snappy thriller perspective. Obviously this is a workmanlike effort from Howard, who appears intent on keeping fans satisfied with his pedantic take on Langdon's escapades, dialing down expected hysteria to maintain a sane rhythm, which could read as inertia to the less invested. Howard passes on a hyper approach to imagine "Demons" as durable continuation of "Code," wading further into the warm waters of split-second decoding, random fact spewing, and the occasional burst of violence.

The difference between "Demons" and the big screen version of "Code" is spied early on, and I don't mean the loss of Langdon's ludicrously overanalyzed mullet. Howard engages a suspense mode right off the bat with the film, and the story delivers with kidnappings, sizzling elemental branding irons, poisonings, Illuminati gunplay, and a Billy-style "Family Circus" map run all over Vatican City as Robert and Vittoria sniff out clues amongst the religious and artistic paraphernalia. With the ticking clock being the fading battery on the antimatter bomb (hey, at least there's something to ratchet up the tension), "Demons" is pleasantly spry, even with literal shovelfuls of exposition thrown recklessly into the engine of the feature to power its increasing absurdity. But a sense of reality has never been a concern for Howard. He's making an adult-minded moviegoing event, and a fulfilling one at that.

It's science vs. religion battling it out for control of the universe in "Demons," and Howard handles the war superbly, keeping the hot-potato debate to a dull roar, with considerate pleas for attention emerging from both sides. The commentary is a genuinely compelling component of the narrative, and the screenplay imparts a commendable perspective for both minds, making Langdon a reticent warrior for truth and study, not a colossally educated hitman with his sights trained on the Catholic Church. I wouldn't brand "Demons" an exhaustive mental exercise, but the debate between science and religion urges the material away from slipping into a dull routine of peril and tongue-twisting monologues.

Again, "Demons" is not far in tone from "Da Vinci Code," and visually the two pictures are siblings, both backed triumphantly by composer Hans Zimmer, who recycles his transcendent, what-moviegoing-is-all-about "Chevaliers De Sangreal" closing track from "Code" cleverly throughout the new film. "Demons" also offers a heightened sense of danger, full Vatican immersion, and another confident Tom Hanks performance for returning guests. A lengthy running time of 135 minutes is a bit of a hurdle, especially in the anything goes final reel that lurches too hungrily for awkward coincidences to sort itself out, but "Angels & Demons" satisfies with familiar dance steps, enhanced by a needed shot of sequelized hindsight.

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ICE AGE 3 NOW AVAILABLE

Here is the summary for the movie Ice Age 3 from imdb

After the events of "Ice Age: The Meltdown", life begins to change for Manny and his friends: Scrat is still on the hunt to hold onto his beloved acorn, while finding a possible romance in a female sabre-toothed squirrel named Scratte. Manny and Ellie, having since become an item, are expecting a baby, which leaves Manny anxious to ensure that everything is perfect for when his baby arrives. Diego is fed up with being treated like a house-cat and ponders the notion that he is becoming too laid-back. Sid begins to wish for a family of his own, and so steals some dinosaur eggs which leads to Sid ending up in a strange underground world where his herd must rescue him, while dodging dinosaurs and facing danger left and right, and meeting up with a one-eyed weasel known as Buck who hunts dinosaurs intently. Written by Theshapeshifter

Here is a review for the movie Ice Age 3 from dvdtalk.

"Ice Age: Dawn of the Dinosaurs" isn't an ambitious, event movie sequel in the same fashion as perhaps "Ice Age: The Meltdown" was softly gunning for. It's more of an agreeable installment of television than a magnificent animated effort. This is not a criticism. In fact, it's perhaps the reason why "Dawn" is such a charming film. With a relaxed mood, a playful cast, and a plot that doesn't sweat itself into a pointless sense of importance, "Dawn" is mild sauce but tremendously entertaining, with an easy-peasy celebratory attitude that extends to the picture's lively 3-D visual scheme.

Now an improbable herd, Sid (voiced by John Leguizamo), Diego (Denis Leary), Crash (Seann William Scott), and Eddie (Josh Peck) are getting ready to settle down as they await the birth of Manny (Ray Romano) and Ellie's (Queen Latifah) first child. Feeling an uninvited vibe, Sid wanders off, stumbling across three dinosaur eggs that he assumes a motherly responsibility for. When the actual dinosaur parent shows up to retrieve the now-hatched offspring, it sends Sid and the babies to a world underneath the ice where dinosaurs and dangerous plant life have survived. Off to retrieve their dim-witted pal, the herd comes across Buck (Simon Pegg), a weasel who roams the underworld on the hunt for the massive dinosaur that took his eye. With Buck as their guide, the herd enters the dino world to rescue Sid, hoping Ellie holds off on labor pains until they can return to their frozen world.

What felt so forced, unpolished, and derivative about 2002's "Ice Age" has been successfully smoothed out during the last two sequels. "Meltdown" turned botched whimsy into a colorful community atmosphere, inviting more characters and humanity to inform a concept that was almost strictly played for tiresome gags the first time around. For the first 15 minutes, "Dawn" endeavors to shake the plot up, sniffing around for something suitably dramatic to coerce the actors to return. The result is a lethargic pass at third-wheel motivations for Diego and Sid that feels harshly manufactured to give the screenwriters something to do. Thankfully, "Dawn" quickly waves off the needless psychological obstacles once the dinosaur adventure begins, settling down to resuscitate old charms and introduce a wonderful new character.

Pilfering cues from Arthur Conan Doyle's "The Lost World," "Dawn" takes the 3-D lead and targets a lively adventure inspiration, plunging into the dino landscape to permit the characters a chance to run through numerous slapstick and action situations. With personalities firmly established, directors Carlos Saldanha and Mike Thurmeier hand "Dawn" over to the colorful locales, dangerous predators, and adorable infant dino shenanigans. The picture doesn't strain to find a higher purpose to justify itself, and the absence of responsibility permits the movie to, gasp, have some fun with itself. Call it one-dimensional, but it's never lazy. "Dawn" enjoys an environment of comfort, allowing the characters to interact without the burden of overt growth. Freshness is actually encouraged by the introduction of Buck, a comedic hunter with a leaf eye-patch who's been lurking solo in the lost world for one too many years. The ensemble of voices makes for a silly good time, but Pegg elevates the material with his take on Buck's simmering madness and swashbuckling, weasel-elastic heroism. He's a welcome addition to this cornucopia of animal neuroses.

"Dawn" flies high on the back of birds, swings low with treacherous dino-bone-bridge challenges (one involving laughing gas), and provides some more time with everyone's (excluding me) favorite punchline, the diminutive, nut-lovin' Scrat. "Ice Age: Dawn of the Dinosaurs" is certainly a familiar cocktail of cartoon accomplishments and luxurious CG vistas, but a cozy one, confident with its brand of humor. The simplicity is refreshing, opening the film up to hundreds of smaller pleasures and laughs, keeping the franchise on solid, inviting ground.

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