DISTRICT 9 NOW AVAILABLE

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

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

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

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

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

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

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

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

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

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

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


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

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

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

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

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

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

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

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ORPHAN NOW AVAILABLE

Here is the summary for the movie Orphan from imdb

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

Here is a review for the movie Orphan from dvdtalk

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

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

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

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

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

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

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G.I JOE NOW AVAILABLE

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

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

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

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

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

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

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

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

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

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

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BRUNO NOW AVAILABLE

Here is the summary for the movie Bruno from imdb

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

Here is a review for the movie Bruno from dvdtalk

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

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

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

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

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

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

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A PERFECT GETAWAY NOW AVAILABLE

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

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

Here is a review for the movie A Perfect Getaway from dvdtalk

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

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

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

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

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

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FUNNY PEOPLE NOW AVAILABLE

Here is the summary for the movie Funny People from imdb

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

Here is a review for the movie Funny People from dvdtalk

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

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

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

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

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

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

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

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