TWILIGHT ECLIPSE NOW AVAILABLE (NZB FILE)

HERE IS THE SUMMARY FOR THE MOVIE ECLIPSE FROM IMDB

Bella once again finds herself surrounded by danger as Seattle is ravaged by a string of mysterious killings and a malicious vampire continues her quest for revenge. In the midst of it all, she is forced to choose between her love for Edward and her friendship with Jacob -- knowing that her decision has the potential to ignite the struggle between vampire and werewolf. With her graduation quickly approaching, Bella is confronted with the most important decision of her life. Written by Summit Entertainment

Isabella Swan was a normal teenage girl, in a normal world. Until she met Edward Cullen and Jacob Black. Since then she has been up against a Sadistic Vampire, The Volturi and an angry werewolf, Paul. But what lies ahead is something only Edward's 'brother', Jasper Hale, can help the Cullens with. A Newborn Vampire Army created by a Revenge ridden Victoria for what Edward did to her mate, James. 'Mate for Mate' as Victoria sees it. But what she doesn't know is the Cullens have a secret on their side. With Graduation coming fast, Bella gets more and more worried about becoming immortal and the fight. But the real question is: Who will she choose? Written by Jemma From England

Bella and Edward have been reunited, but their forbidden relationship is threatened to be torn apart again with an evil vampire still seeking her revenge. And Bella is forced to choose between her true love for Edward or her friendship with Jacob Black as the struggles between vampires and werewolves continues. But there is still another choice for Bella to make, mortality or immortality? Written by Mel from the United Kingdom.

After the vote about her becoming immortal, Bella realizes graduation isn't too far away and starts to panic. But she has bigger problems arising, her feelings for Jacob, his feelings for her and Victoria. The vampire who is trying to take revenge on her for Edward killing her James. Written by Leslie Cullen

 

HERE IS THE REVIEW FOR THE MOVIE ECLIPSE FROM DVDTALK

After the nausea brought on by 2008's "Twilight," I was stunned to find myself moderately intrigued with the next chapter of the saga, 2009's "New Moon." Director Chris Weitz found something resembling a pulse to the vampire vs. werewolf proceedings, pushing the paralytic material to contentedly mediocre, but encouraging results, ending the event with a cliffhanger -- a question of lifelong commitment that promised the "Twilight" series would soon lead to more challenging demands of drama. Instead of a film with fertile conflict and legitimate swoon, "Eclipse" returns the franchise to square one, booking a bullet train to dullsville as director David Slade replaces Weitz's careful, mournful movement with clunky battle cry theatrics that appear more in line with a shoddy SyFy Channel movie.

After a marriage proposal from Edward (Robert Pattinson) promises a chance for everlasting love and some needed time between the sheets with her chaste vampire boyfriend, Bella (Kristen Stewart) faces some hard domestic choices while contemplating life as bloodsucker. Standing in the way is Jacob (Taylor Lautner), Bella's irritable werewolf pal, who's desperately in love with the drowsy girl, yet can't turn her attention away from Edward for very long. As queen vampire Victoria (Bryce Dallas Howard, thankfully replacing Rachelle Lefevre) prepares a legion of "newborns" for an attack on Forks with help from drone Riley (a vapid Xavier Samuel), Edward and Jacob must put aside their differences to protect Bella, who's caught between the humanity of the werewolves and the mystery of the vampires, with her future happiness on the line.

"Eclipse" should've been a thrill ride of a feature film. After all, Slade is handed perhaps the most volatile and cleanly mapped novel from author Stephenie Meyer's imagination, while building off Weitz's momentum, which propelled "New Moon" to an astronomical box office gross. "Eclipse" is a combat film of sorts, with a massive swing of romantic combustibility to tinker with, while allowing for potentially compelling character depth, as the Cullen clan is probed beyond the stares and lip-licking they were permitted in the previous features. Yet, the new film is a heartless, clumsy motion picture, returning matters to the pedestrian level of director Catherine Hardwicke, who worked deaf, dumb, and blind manufacturing the initial slab of "Twilight."

An erratic visual stylist, Slade ("Hard Candy," "30 Days of Night") tries mightily to color within the "Twilight" lines, but his grasp on the material's "Sweet Valley High" style of romantic aroma is tenuous, and he's unable to shake the actors out of their melodramatic comas. What should've been a heroic film of affection and protection is reduced to a dawdling, exposition-heavy slog, retracing several plot points from the first two films while barely making any headway of its own. Slade has his trusty cinematographic urges and the most action-intensive script of the three films, but the creative effort is indistinguishable -- the director is comfortable in studio employee mode, doing nothing to keep the performances from becoming tic-heavy embarrassments and the action a crunching blur of suspect special effects. Slade can't tame "Eclipse" or find an artful tone, instead crudely filling the film with a broken iPod of tuneless soundtrack cuts to provide atmosphere, while grinding the story down through a tedious routine of swoon and quarrel.

Love it or hate it, but "New Moon" maintained an intriguing sense that something epic loomed on the horizon for these characters. "Eclipse" turns that anticipation into unintentional comedy.

The storytelling's concrete boots are one thing, but "Eclipse" also manages to make Bella one of the most reprehensible characters of the film year, and yes, I've seen "Sex and the City 2." Nursing feelings of affection for both Jacob (he of gym rat abs and intense body heat) and Edward (he of locks and access to diamonds), Bella doesn't play the turmoil sly; instead, the stammering high school graduate plays her monsters off each other, silently delighting in the war of flared-nostrils and graceless acting she's created. Bella often snuggles up Jacob in front of Edward during "Eclipse," making one feel sorry for the sparkly vampire, who wants to take a wife and spend eternity with his beloved girl, while she suffers through half-hearted commitment issues the script merely employs to display Lautner's body and Pattinson's pout. Considering her status as the main character of the franchise and the keeper of its heart, it's interesting to see each film make Bella into an even bigger creep than previously imagined, with "Eclipse" turning the indecisive heroine into a mean-spirited provocateur unworthy of all the attention lavished on her.

Honestly, I have no idea why any of these creatures make such a fuss over this dead-eyed, dithering bore of a woman. We're talking werewolves and vampires. By now, you'd think the franchise would provide a decent reason as to why these fools put so much on the line for a girl who can barely wait to get out of her boyfriend's line of sight before cuddling with his rival. The delicate dance of romantic one-upmanship is given Crayola shadings by Slade, who turns the romantic trio into a Bermuda Triangle of relationship absurdity.

Hitting up "Eclipse" for Howard and her interpretation of the wicked Victoria? I'm sorry to report that the character's been reduced to 10-minute-long cameo, with "Eclipse" spending more time with Riley and the growing vampire army. What a waste of a perfectly ridiculous red fright wig (heck, everyone seems to be ornately bewigged in the film). An appearance from Dakota Fanning and her mincing Volturi gang is also blessedly short. Without Michael Sheen to anchor the majesty of the fanged star chamber, the group is nothing more than a cruddy Cosplay effort, with Fanning about as intimidating as a Wet Seal cashier. Another new character is Bree, a tween newborn Edward's family takes pity on. Jodelle Ferland brings little to the role besides an unconvincing reading of fear, with the character's very introduction a mystery Slade isn't aware he needs to solve.

A few more helpings of "Twilight" remain (the final book, "Breaking Dawn," is being divided up into two pictures), leaving the rather anticlimactic ambiance of "Eclipse" puzzling. The climax is a deafening clash of vampires and werewolves, with severed diamond limbs and vampiric gymnastics soaring around the frame, but a genuine build up to a prolonged grand finale arriving in 2011? Not on Slade's mind. It's for the best, really, as any sense of hope appears to hurt the "Twilight" saga more than it helps. 

HERE IS THE DIRECT DOWNLOAD FOR THE MOVIE ECLIPSE

INCEPTION (2010) NOW AVAILABLE ONLINE (NEWZBIN FILE)

HERE IS A SUMMARY FOR THE MOVIE INCEPTION FROM IMDB

Dom Cobb is a skilled thief, the absolute best in the dangerous art of extraction, stealing valuable secrets from deep within the subconscious during the dream state, when the mind is at its most vulnerable. Cobb's rare ability has made him a coveted player in this treacherous new world of corporate espionage, but it has also made him an international fugitive and cost him everything he has ever loved. Now Cobb is being offered a chance at redemption. One last job could give him his life back but only if he can accomplish the impossible-inception. Instead of the perfect heist, Cobb and his team of specialists have to pull off the reverse: their task is not to steal an idea but to plant one. If they succeed, it could be the perfect crime. But no amount of careful planning or expertise can prepare the team for the dangerous enemy that seems to predict their every move. An enemy that only Cobb could have seen coming. Written by Warner Bros. Pictures

HERE IS A REVIEW FOR THE MOVIE INCEPTION FROM DVDTALK

If you haven't seen Inception yet, then stop reading this review.

I'm serious. Get up now and go see the movie. My review will still be here when you're done, but you only get one chance to see Christopher Nolan's remarkable mind-bender fresh. Inception is one of those movies that is going to be so much better the first time the less you know, and anything I say from here will only serve to lessen your experience.

So, close the laptop, shut down the monitor, and go to the theatre.

I'll wait.

You back? Yeah? Good.

Christopher Nolan's Inception may be the most satisfying movie I've seen all year. I hesitate to call it a perfect film, as that's a pretty precarious limb to walk out on, but this is about as close to perfect as you're going to get. I can't think of anything wrong with this movie: no performance that hit a bum note, no story point that seemed out of place, no pandering to market research. Hell, I don't even think I saw one instance of product placement. Leonardo DiCaprio never eats a Subway sandwich, Ellen Page never has a Coke to go with that adorable smile.

Inception is, essentially, a science-fiction suspense thriller. It stars the aforementioned Mr. DiCaprio as Cobb, an expert at extraction--which in this world means he goes into a target's dreams and uses the mental landscape to trick him into giving up his secrets. Doing so is a team effort, involving architects to build the dream world and technicians to run the machines that link up the shared consciousness. Nolan has described it as a Jungian version of Rififi, and that's not a bad way to sell it. Though I might have gone with The Grifters, as the set-ups Cobb and his people create are more like long cons than heists. Create a scenario that the mark will believe, and then direct him where you want him to go.

Naturally, there are some practical applications in industrial espionage, a competitor can send an extraction team to find out what a business mogul is up to. Just such a mogul fends off Cobb and his boys, only to turn around and hire them to pull off the impossible. Saito (Ken Watanabe, Letters from Iwo Jima) is a Japanese tycoon with concerns in global energy, and he wants Cobb to infiltrate the subconscious of a rival (Cillian Murphy, Red Eye) not to take data out, but to leave it behind. Inception: to inspire an idea where previously there was none. It's the holy grail of mental games. The mind will search for the origin of the thought and discard it if it doesn't believe it's one of its own.

Cobb assembles a team of four for the mission: his regular second, Arthur (Joseph Gordon-Levitt, Brick); Eames (Tom Hardy, Bronson), an expert forger; Yusuf (Dileep Rao, Avatar), a chemical specialist; and a newbie architect named Ariadne (Ellen Page, Whip It). As if fans of Greek mythology couldn't tell by the name, Ariadne is an especially good choice because she is an expert at mazes--both building them and traversing their intricacies. This backfires on Cobb, as Ariadne's the only one to realize he's trapped in his own labyrinth of guilt and thus a potential liability. Past misdeeds and a wife missing in action (played with smarts and the occasional sinister glee by Marion Cotillard) haunt the head man, and this mission may be as much about solving his own hang-ups as it is getting Saito what he wants.

That's the basic plot of Inception. Digging into it further would be a Herculean task, and as noted at the outset, would spoil most of the fun. Nolan has written a multi-layered script. Behind each secret is a more important secret, and for every clever concept he tosses at the viewer, he's got three more waiting around the corner. As a narrative, Inception is a thing of beauty. There are so many interlocking pieces, a less capable director wouldn't be able to handle it. They'd rely on the weirdness of dream imagery and convoluted fake science to carry the story (you know, like Paprika). Not Nolan. The dreams are his tools, and though he twists and bends them, he ultimately puts every device to its proper use for building his yarn. Inception will keep you guessing, but it never leaves you behind. Nolan's storytelling is as accessible as it is confounding. It seems so effortless, and yet, how did I get so tense watching it?

Visually, the director and his regular cinematographer, Wally Pfister, bring the world of Inception to life in such a way that the cracks between reality and illusion never show. The computer graphics are imperceptible, even when they are as audacious as a city curling in on itself. In other words, you will believe your eyes.

It also helps that the cast of Inception is so incredible. There is no lesser player in this game. Nolan has picked actors who are reliable for their quality, yet also never complacent. It's hard to single out any one. Ellen Page and Joseph Gordon-Levitt both turn in intelligent, confident performances, with Gordon-Levitt having the added distinction of delivering an impressive physical performance, as well. Ken Watanabe's commanding presence works well against Cillian Murphy's façade of the same, Tom Hardy is surprising and fun as the most playful member of the group, and Marion Cotillard is alluring and even scary. They all provide DiCaprio with excellent support, and yet he doesn't let them do any lifting he should be doing himself. One of the more interesting leading men in Hollywood, he grows more capable with each starring role. To stick with the mythological connotations, he is the Atlas on whose shoulders the world of Inception rests, and he is more than up to the load.

For as much as I want to encourage people to walk into Inception cold so that every surprise is still a surprise, it's not a movie that relies on a single trick or twist. It's not a film you'll never want to see again after you've learned its secrets. On the contrary, Inception has so much going on, it's going to be a film worth revisiting over and over just to watch how it all works. Hell, as soon as it was over, I would have been just fine had the projectionist started it again from the beginning. This is one dream I'd be more than happy to have reoccur.

Jamie S. Rich is a novelist and comic book writer. He is best known for his collaborations with Joëlle Jones, including the hardboiled crime comic book You Have Killed Me, the challenging romance 12 Reasons Why I Love Her, and the 2007 prose novel Have You Seen the Horizon Lately?, for which Jones did the cover. All three were published by Oni Press. His most recent project is the comedy series Spell Checkers, again with Jones and artist Nicolas Hitori de. Follow Rich's blog at Confessions123.com.

HERE IS THE DIRECT DOWNLOAD FOR THE MOVIE INCEPTION

NEW FILM KICK ASS NOW AVAILABLE

KICKASS NOW AVAILABLE ONLINE HERE IS THE PREVIEW FOR KICK ASS FROM IMDB

Dave Lizewski is an unnoticed high school student and comic book fan with a few friends and who lives alone with his father. His life is not very difficult and his personal trials not that overwhelming. However, one day he makes the simple decision to become a super-hero even though he has no powers or training. Written by Daniel J. Leary

Dave Livewski is a regular high school student who loves comic books. One day he is inspired by all these comic books to become Kick-Ass, a superhero with no powers. Later, he is joined by Red Mist, Hit Girl and her father Big Daddy and they form a vigilante team, fighting drug dealers and vandals. Written by Max Bastow

HERE IS THE REVIEW OF THE MOVIE KICKASS FROM DVDTALK

"Kick-Ass" exceeded my expectations. One could chalk it up to my intense dislike for the source material, an 8-issue comic series from Mark Millar, that really made me weigh heavily whether I should give this movie the time of day. In the end, the track record of the director, Matthew Vaughn was enough to get me into that theater seat. Fortunately for fans and non-fans alike, "Kick-Ass" manages to find a happy medium between the c-rate source material and a very competent action-comedy. The film begins like most superhero movies, with the origin of our hero, Dave Lizewski (Aaron Johnson), your average "invisible" awkward high schooler. A number of factors influence his decision to don a costume and attempt to fight crime. Dave, under the mantle of Kick-Ass, soon experience all the effects of why there are no superheroes.

From here, the movie departs reality, and like any real superhero, our protagonist is officially called to action due to traumatic events (a point our hero and narrator slyly mocks on his first attempt). Quickly moving from breaking up fights and finding lost pets, Dave uses his alter ego as a way to win the heart of his crush, Katie, who believes Dave to be her gay friend. Enter Hit-Girl (Chloe Moretz) and Big Daddy (Nicolas Cage) and, to borrow a phrase from the great Jim Ross, "business is about to pick up." Unfortunately, "Kick-Ass" is nearly two hours long and amidst the gold of the movie is a lot of silver. "Kick-Ass" on a whole is an above average movie and it is a testament to Vaughn's skill that he makes Millar's source material watchable without a lot of eye rolling. Gone are entirely one-note characters, side plots which go nowhere, and sophomoric humor that tries too hard.

Vaughn's film fleshes out the characters of the movie quite nicely, boldly taking one of the original comic's only memorable plot points and spoiling it up front, instead using it to make the intentions of this strange cast of characters feel just a little bit more plausible. The villain of the film, Frank D'Amico and his family are still thinly written characters, but thanks to a great performance by Mark Strong and the film's willingness to not hide the villain as some shadowy force, he becomes a character to be feared, even if you already know how events will play out. On the flipside though, Kick-Ass himself still feels underwritten. The viewer becomes apart of both his lives, but the character often is nothing more than the butt of joke after joke, deviating only to deliver a pithy one-liner and the occasional "holy crap" moment.

What makes "Kick-Ass" come off as a better movie than it actually is comes in the form of Hit-Girl and Big Daddy. Vaughn's adaptation is quite different from Millar's, but it's all for the better. They get the best lines, best scenes, and best back-story; as a result, whenever they are on screen, "Kick-Ass" feels like one of the best offerings of the superhero genre. When they're absent, things are back to being just ok. Nicolas Cage delivers another "out there" performance, selling the most absurd and shocking scenes with perfection. When he's in character as Big Daddy, he lends a performance that just doesn't work on the printed page, delivering lines echoing Adam West's Batman. Chloe Moretz is nothing short of amazing and horrifying as pre-teen homicidal maniac, with the mouth of a sailor.

When Hit-Girl is on the job, Vaughn delivers some of the most amazing action set pieces I've seen. A pitch-black assault in the film's final act should easily cement its spot in the history books of action sequences. Lit solely by gunfire, first-person night vision shots, and one final trick I won't spoil, it's brutal and will leave your jaw on the floor. Its spectacle is easily topped in the final action scene, but the sense of importance and emotion is never recaptured. Moretz deserves all the kudos in the world for portraying a sadistic killing machine, who, deep down, is still a little girl with a heart in the quiet moments.

There's a lot more to "Kick-Ass" than what I've said, but that's one of the film's biggest faults. It's a movie that should be easy to describe, but gets too bogged down by quantity instead of quality. Unfortunately, that quantity is so tightly weaved together, that the fat couldn't be trimmed without starting from square one. That blame falls back on the shoulders of Millar as this movie is skeletally a strong adaptation of his work, but work that isn't that good to begin with. Matthew Vaughn and company did the best with what they had, put their own mark on the package, and have provided audiences with a (darkly) fun film. The audience I was with was committed to the movie and some of that good cheer made the experience much more memorable, but that good cheer doesn't make "Kick-Ass" a better movie.

HERE IS THE DIRECT DOWNLOAD FOR KICKASS.