CHALET GIRL NOW AVAILABLE (NZB FILE)

HERE IS THE SUMMARY FOR THE MOVIE CHALET GIRL FROM IMDB. 

Pretty tomboy Kim Matthews, 19, used to be a champion skateboarder - but now she's stuck in a dead end job trying to support her Dad. Opportunity comes knocking in the form of a catering job in the one of the most exclusive chalets in the Alps. At first, Kim's baffled by this bizarre new world of posh people, champagne and skiing - but then she discovers snowboarding, and the chance to win some much-needed prize money at the big end-of-season competition. But before she can become a champion again, Kim's going to have to dig deep to overcome her fears. Hard enough, without the complicating factor of Jonny, her handsome - though spoken for - boss... Written by Official site

HERE IS THE DIRECT DOWNLOAD FOR THE MOVIE CHALET GIRL.

BATTLE LA NOW AVAILABLE

HERE IS THE SUMMARY FOR THE MOVIE BATTLE LA FROM IMDB

A Marine platoon faces off against an alien invasion in Los Angeles. 

HERE IS A REVIEW FOR THE MOVIE BATTLE LA FROM DVDTALK.

"Battle: Los Angeles" isn't an alien invasion film, it's a military picture with the occasional alien appearance. The marketing trumpets a global perspective on trespassing extraterrestrials, but the picture actually takes place almost entirely in Santa Monica, boiling down a sense of massive widescreen scope to a few city miles, placing the audience into the driver's seat as a besieged platoon attempts to defend themselves against an unknown enemy. "Independence Day" this picture is most certainly not.
Aliens have attacked Earth, leaving the locals stunned and shaken as vicious armies rise from the oceans to begin their extermination of human life. On the ground, a team of Marines has been assembled to help evacuate Santa Monica before it's blasted into oblivion to halt advancing alien activity, with Staff Sergeant Michael Nantz (Aaron Eckhart) called back into duty after a troubling history in Afghanistan. Storming the city, the platoon encounters numerous alien warriors and ships armed with immense firepower and technical superiority. Struggling to survive, the team comes across a few frightened civilians (including Bridget Moynahan and Michael Pena) they must protect, finding the road to rescue blocked by a relentless enemy that's difficult to kill.
The concept behind "Battle: Los Angeles" is to take a sci-fi premise and shape it into modern militaristic mayhem, with director Jonathan Liebesman ("Darkness Falls," "Texas Chainsaw Massacre: The Beginning") deploying ceaseless amount of shaky-cam stylistics to pound the viewer over the head with an impression of front line realism. It's a concentrated effort to turn the movie into sensory overload, excitedly mimicking brutal Iraq War videos viewed on the news and internet. It's a tricky concept, and one that's not especially novel, but Liebesman is committed to the cause. He wants you to feel trapped in the middle of the action. He wants you to feel the heat of combat on your cheeks. Apparently, he also wants you to barf up your popcorn, with a quaking camera aesthetic that's intolerable to endure at times, with every last twitch of movement covered by a swaying frame.
"Battle: Los Angeles" is a lot of noise covering for very minimal substance. There's a script credited to Christopher Bertolini, but I don't exactly understand what he's responsible for. The dialogue and plot highlight a hornet's nest of clichés, pulled from every last war film, spending the opening 15 minutes of the feature developing faceless characters of no discernable personality before the carnage begins. Only Nantz is handed an arc to explore, but it's a hoary beast concerning a broken leader rekindling his inner fight, rising to lead his boys to victory. The rest of the platoon is filled with unknown actors counted on to continually scream and grunt, waiting for their eventual death at the hands of a special effect. Instead of intensely investing in the Marines and their individual quirks (think "Aliens"), Liebesman plays the group as nondescript as possible, hunting for sobering realism while sacrificing engaging cinema along the way.
The same emptiness carries over to the enemy. The invaders from outer space are never revealed in full, reduced here to a squishy suit of organs and bio-weapons, viewed primarily in the distance to save on visual effect fees. There's no defining moment where the Marines examine alien details, allowing the viewer a full appreciation of the growing threat. The baddies are an unexplained menace, with a true operational dissection likely saved for the sequels. They have laser guns and space ships, and they excel at reducing Los Angeles to rubble. However, the film never feels like war. It feels like a pedestrian video game. There's no cinematic spirit or personality to delight in, with the picture one mindless display of scurrying and screaming after another. The effect is more numbing than rousing.
"Battle: Los Angeles" finally hits a more blockbuster tone in the final act, where the squad takes on an enormous alien control ship using all of their resources and military instinct. It's a case of too little too late, breezing past a substantial threat (or final boss level) to madly dash toward the anti-ending, where the story intends to carry on into numerous sequels, maybe exploring skirmishes in additional Los Angeles suburbs, I don't know. Perhaps if more concentration was put into building an engrossing, impassioned first installment, this allegedly global invasion would be an event worthy of a franchise. Instead, "Battle: Los Angeles" is a tiresome fireworks display starring a cast of cardboard cutouts, quick to make a visceral fuss but frustratingly negligent when it comes to providing a reason to care.
HERE IS THE DIRECT DOWNLOAD FOR THE MOVIE BATTLE LA (NEWSBIN FILE).

KILLZONE 3 NOW AVAILABLE

HERE IS THE DESCRIPTION FOR THE GAME KILLZONE 3 FROM AMAZON  

Award-winning multiplayer mode returns with an even more robust feature set

100% PlayStation Move compatibility throughout the game

New compelling features like: a new brutal melee system, the ability to carry 2 primary weapons and increased vehicle gameplay

Face off against new Helghast enemies armed with more powerful weapons and abilities

Full 3D compatibility takes immersion to new heights, delivering a 'boots-on-the-ground' experience like no other

HERE IS A REVIEW FOR THE GAME KILLZONE 3 FROM IGN. 

A lot of games can place you in first person and put a gun in your virtual fingers, but few of them manage to make you feel like you're in the shoes of a person, that you're more than just a moving camera.
It's this idea that separates a run of the mill first-person shooter from what I like to think of as a first-person experience. And Killzone 3, Sony's latest PlayStation 3 exclusive, is definitely the latter. Every action you do in Killzone is immersive; the combat more intense and savage than other shooters. It's this design that makes Killzone 3 so engrossing and fun despite its weak story. With the fantastic pacing and set pieces in the campaign, along with the improved, fun multiplayer, Guerilla's crafted a must own for PS3 shooting enthusiasts.


Killzone 3 is all about a war between two factions of humans. On one side, we have the ISA, the good guys with human faces; on the other side are the Helghast, the red-goggled, mask-wearing enemies who are hell bent on subduing the rest of the universe. Killzone 3 picks up right where two left off, with a small group of ISA soldiers struggling to survive after being effectively cut off and left on the hostile Helghan homeworld. Throughout it all, you play as Sev, the returning hero from the second game, who is out to do as much damage to the enemy as he can before he's caught, killed or rescued.

I won't spoil the story, but I was disappointed with where it went and how uninteresting it was. Killzone 3 jumps around in time regularly, constructing a narrative that gives a good reason to explore different parts of the Helghast homeworld, but it's not engaging. In general, the story feels like an afterthought, like it was figured out after the team planned out a series of cool levels and were forced to figure out a way to tie them altogether. It would have been nice to see Guerilla explore the themes of hopelessness as the ISA struggle to survive in hiding on a hostile planet, but instead Killzone 3 basically glosses over this with a quick fade out and a cut scene. This liberal use of fading between scenes, along with the occasional hiccup when loading, broke me out of the experience repeatedly, exacerbating the generally boring story.
The characters of Killzone are one-dimensional. From our hero, Sev, to the evil Helghast leaders, you pretty much have their personalities pinned from the first moment they swagger onto the screen. The interplay between characters is totally predictable, and we're never given a view of the complex dynamics we might expect out of soldiers at war or a moment of pause or regret about how things play out. Unlike Captain Templar from the original Killzone, there are no likeable characters in Killzone 3. Sure, they're charming in a brutish fashion, but Sev and the rest of the ISA feel more like unthinking meatheads than soldiers dealing with a life or death situation and a feeling of abandonment. They just aren't people you can identify with in any significant way.

Yes, it looks this good.

Story and characters aside, Killzone 3 succeeds as a superb first-person shooter. Guerilla has once again proven that they know how to make the most visceral feeling first-person combat on the market. The controls are considerably tighter than they were in two, but I love how everything you do in Killzone 3 still feels like there's momentum behind it. From climbing ladders to running to slamming into cover, Killzone 3 makes you feel like your character is grounded in the world around him. Even shooting feels more real thanks to the weight and swing of the weapon – but not at the cost of overly floaty controls. Killzone 3 also does a nice job at breaking up the levels between sections where you're on foot, and where you're kicking ass in a super powered vehicle. While the entire game is very linear, Guerilla's done a great job at varying what you're doing just enough from moment to moment to keep you from seeing behind the curtain too much. Each skirmish is so intense, and so visually satisfying, that I'm often too engrossed to think about the story or how I'm being funneled in a very specific direction.
Killzone 3 is beautiful and easily amongst the best looking games on PS3. But what makes its gorgeous environments so important to its design is that it makes the combat more immersive. Enemies are animated so that they realistically fall off railings or cliffs, your own soldiers die in agony as they're cut down by enemy fire, and the environments Sev is fighting through are haunting because they look so plausible. These are not the fantastic alien worlds of a game like Halo; these are dwellings where humans once lived and where humans are now dying in vicious, hate-filled combat. It's strange that crumbling concrete and twisted pieces of rebar can be so awe inducing, but they resonate because they're grounded in scenes we've all seen before in our own world, helping make this war somehow more easily identified with.


Killzone 3's single player is good despite the story, but the reason it's a product worth holding onto is for the multiplayer. The three modes are all fun to play, offering both standard Team Deathmatch and more objective-driven options (including the new Operations Mode, where the highest rated players get to see themselves in cut scenes between objectives). And the revamped leveling system – where leveling means getting points you can use to buy what you want, rather than using a class to unlock abilities for just that class – is a welcome change. Occasional moments of slow-down are likely to occur in larger matches, but make no mistake: this is one of the better multiplayer games available to PS3 owners, and those who enjoyed Killzone 2 online have a lot to look forward to.

F**king jet packs, son!

Outside of the single player and multiplayer, there's an option to tackle the campaign via local co-op play (where the hell is the online, Sony?), an option to play multiplayer with bots, an option to play with Playstation Move controls, and an option to use a 3D TV if you're wealthy enough to be a part of the future. The Move controls are functional but in no way superior or better than an analog controller, while 3D is...well…3D. Yay?

Closing Comments

Along with its fun multiplayer, Killzone 3 is so enjoyable because it’s not just a shooter, it’s an experience. Guerilla has crafted scene after gorgeous scene that made me feel like you’re a part of a brutal, human war that is somehow fantastic in setting but also eerily reminiscent of the wars we see on TV. Combine this with the superb pacing and you have a campaign that’s totally fun despite its boring characters and uninspired story. This may not be the best game on the PS3, but it’s a fantastic option for shooter fans, and the type of title that non-PS3 owners are sure to envy.

HERE IS  THE DIRECT DOWNLOAD FOR THE GAME KILLZONE 3 (NZB PS3 FILE)

MLB THE SHOW 11 NOW AVAILABLE

HERE IS THE SUMMARY FOR THE GAME MLB THE SHOW 11 FROM AMAZON 

New Analog Stick Controls - pitching, hitting and fielding

2 Player Co-op - 2v2 available within the same room

Deeper Player Progression in "Create a Player" Mode

Weekly Challenges - weekly scenarios tied to real life MLB events

Showcase Technology with 3D functionality and PlayStation Move Support

HERE IS A REVIEW FOR THE GAME MLB THE SHOW 11 FROM IGN

MLB 11 The Show is set again to provide fans with an unparalleled baseball experience with even more features and modes destined to quicken the heart, raise the stakes, and hurl you further into the true MLB baseball experience. Leading off on the new features set for PS3 is the addition of the Pure Analog Control System, which includes analog controls for hitting, pitching, and throwing, adding more precision and accuracy to all three disciplines. Next up is the newly added Co-op Mode, which allows up to four-player offline or online cooperative play where gamers can split duties covering either the infield or outfield. The fifth generation of Road to The Show returns in version 5.0 bringing a new interactive slider set to the Create Player process, new training modes triggered by the Player Performance Evaluator, Minor League substitution logic improvements, advancement system improvements that now compare your stats versus your competition in the organization, and the new No Assist Fielding option to make the fielding experience even more realistic. And for the fully immersive big league experience, Additional new features MLB 11 offers options for stereoscopic 3D functionality in all modes and PlayStation Move motion controller support in the Home Run Derby mode.

HERE IS THE DIRECT DOWNLOAD FOR THE GAME MLB THE SHOW 11 (NZB PS3 FILE)

AVRIL LAVIGNE'S NEW ALBUM GOODBYE LULLABY NOW AVAILABLE

HERE IS THE TRACK LIST FOR THE ALBUM

 Here’s the tracklist for Goodbye Lullaby:
1. Black Star
2. What The Hell
3. Push
4. Wish You Were Here
5. Smile
6. Stop Standing There
7. I Love You
8. Everybody Hurts
9. Not Enough
10. 4 Real
11. Darlin
12. Remember When
13. Goodbye
14. Alice (hidden track)

HERE IS A REVIEW FROM AMAZON OF THE ALBUM

Product Description

2011 release, the fourth album from the Canadian Pop diva. Two years in the making, Lavigne worked with longtime collaborators Deryck Whibley, Evan Taubenfeld and Butch Walker, as well as songwriter/producer Max Martin. Lavigne continues to share her personal experiences through her writing and music, and Goodbye Lullaby is a further evolution of this, propelled by a more raw and organic sound.
HERE IS THE DIRECT DONLOAD FOR THE AVRIL'S NEW ALBUM

THE ADJUSTMENT BUREAU NOW AVAILABLE

HERE IS THE SUMMARY FOR THE MOVIE THE ADJUSTMENT BUREAU FROM IMDB. 

The affair between a politician and a ballerina is affected by mysterious forces keeping the lovers apart.

HERE IS A REVIEW FOR THE MOVIE THE ADJUSTMENT BUREAU FROM DVDTALK
The struggle to retain free will takes a strangely spiritual turn in "The Adjustment Bureau," a generally lively film that plays with questions of self while sprinting through a Philip K. Dick theme park of the unreal and the intimidating. Think of it as "Love Story" meets "Total Recall" and "Dark City," which doesn't quite do justice to the moviegoing experience at hand, but comes close to describing the idiosyncratic, highly cinematic world writer/director George Nolfi generates here for his filmmaking debut.
David Norris (Matt Damon) is an aspiring politician looking to climb his way up the Washington ladder and make a difference in the world, despite his occasionally reckless personality. On the eve of his greatest public failure, David meets Elise (Emily Blunt), a spirited dancer who sparks immediate chemistry with the fallen man, only to scurry away after making a profound impression. When they meet again by chance, David seizes the opportunity, attempting to woo Elise for good. Unfortunately, this pairing interferes with a plan of fate set by The Chairman, who oversees humanity via assistants known as The Adjustment Bureau -- a group of formally dressed men out to correct deviations in the master plan of life, sent out to stop David and Elise from falling in love. Made aware of their presence by a sympathetic employee (Anthony Mackie), David sets out to protect his future by challenging the mysterious system.
"Adjustment Bureau" is an odd film, but Dick was an ingenious writer, penning this short story in 1954, which has been exhaustively reimagined for its big screen debut. Nolfi (who previously co-scripted "Ocean's Twelve" and "The Bourne Ultimatum") pushes for a more emotional connection, softening the chilly nature of the tale with a pronounced sense of humor, while encouraging his gorgeous stars to make blissful music together as David and Elise fiddle around with their highly unusual courtship. It's a story of love and paranoia, wonder and choice, asking provocative questions of humanity while sustaining a rousing sci-fi edge. Nolfi deserves plenty of credit for keeping "Adjustment Bureau" as tight and endearing as it is for the first two acts, creating a needed reminder of humankind to balance out the mystery of the antagonists and their cryptic guide to life.
"Adjustment Bureau" is a stylish picture with terrific costuming ideas that place the perhaps heavenly agents in garb associated with a 1950's insurance salesman, giving the growing menace a deliberate feel of an outdated corporation -- an angelic "Mad Men" gathering of snappily dressed hunters who study leather-bound books of fate, imagined here as electronic subway maps of destiny. The look of the film is elegant, wise with NYC locations, and rich with glamour, making the actors look good as the script requests increasingly feverish reactions. Thankfully, there's a fantastic ensemble gathered here to fill out the fantasy, with Damon and Blunt generously sexy and playful as the targeted couple, madly dashing to avoid a cruel separation as the Bureau plays a few dirty tricks to keep the obsessed candidate in line. Also winning are the men in blue, with Mackie unexpectedly sensitive as the true believer of the Bureau, while John Slattery is effectively comical and stymied as the senior agent sent in to clean up David's interaction with the relentless spoiler known as chance.
Also pleasurable is Terence Stamp, who doesn't need much in the way of dialogue to slip into his commanding role as the Bureau's hitman, a ruthless agent sent to hurt David where it counts the most. Stamp brings precise regality and iciness to the supporting role, permitting the film an extra layer of authority.
Nolfi handles exposition wonderfully, teasing the audience with bits of godly reveal, keeping the origin of the Bureau playfully ambiguous, opening the group's true purpose to interpretation. Unfortunately, once the film fully takes to the art of the chase, it runs out of gas, looking to mount a dazzling, portal-leaping conclusion at the very moment the end credits should be rolling. Nolfi doesn't know where to end the feature, which elongates an otherwise spry thriller. Still, there's enough substance and suspense to devour, making the picture an entertaining puzzle with a satisfying command of human need.
HERE IS THE DIRECT DOWNLOAD FOR THE MOVIE THE ADJUSTMENT BUREAU (NEWZBIN)

HALL PASS NOW AVAILABLE ONLINE

HERE IS THE SUMMARY FOR THE MOVIE HALL PASS FROM IMDB.

 
A married man is granted the opportunity to have an affair by his wife. Joined in the fun by his best pal, things get a little out of control when both wives start engaging in extramarital activities as well.

HERE IS A REVIEW FOR THE MOVIE HALL PASS FROM DVDTALK.
I used to believe the 1998 smash, "There's Something About Mary," was the best thing that could've happened to the filmmaking duo, Peter and Bobby Farrelly. I now realize I was wrong. The boys have been chasing that success for over a decade, deploying the once enchantingly comfy Farrelly Formula time and again, looking for that elusive box office champion that could restore luster to their tarnished brand name. "Hall Pass" is quite possibly their least organic offering to date, coldly calculating shock value and emotional connection to piece together yet another feature film that'll make the audience shift from uncomfortable laughter to tender appreciation.
As two married schlubs with sex constantly on the brain, Rick (Owen Wilson) and Fred (Jason Sudeikis) are faced with fading unions, losing wives Maggie (Jenna Fischer) and Grace (Christina Applegate) to the demands of motherhood and age. When their childish antics finally step over the line, the ladies decide to give the guys a "hall pass," allowing them one week to act like ravenous single men without fear of judgment or reprisal. Confronted with their wildest dream come true, Rick and Fred embark on a weeklong series of misadventures, desperate to find willing women, but mostly encouraging trouble, making them reconsider what's truly important in their lives.
On paper, the merging of the Farrellys and a boisterous sex comedy likely registered as a can't-miss proposition. After all, the duo has strutted down this road before, leaving them highly skilled in the art of the guffaw with an emotional chaser. Unfortunately, "Hall Pass" is a robotic effort, guided by the brothers in an insincere manner that suggests career panic over true comedic bravery. It's a gross-out enterprise that's largely miscast, overly schticky, and morally disoriented, assuming it's dishing up universal truths on the routine of marriage when it actually feels like a tepid basic cable sitcom, down to the hideously bright cinematography from Matthew Leonetti.
The screenplay offers the Farrellys a playground of opportunity, supplying a plot that follows two idiots as they descend into the wasteland of the single scene, populated with untouchable young things, feisty cougars, and fellow geezers looking to score easy sex. Expecting something charmingly deranged from the directors, "Hall Pass" instead plays it all with crushing familiarity, capturing Rick and Fred as they devour pot brownies, strike out with rancid pick-up lines, and come face to face with male nudity. I wasn't expecting a semi-sequel to "The King's Speech," but surely the Farrellys could be more imaginative than having one of Fred's conquests spray diarrhea all over his bathroom or include a shot in which a close friend enjoys a bowel movement on a sand trap. And don't even ask about the oral sex term "fake chow," which seems pulled from a particularly lame Google search adventure.
"Hall Pass" is uninspired, but it's not without laughs. In fact, when the picture settles down to survey the leads navigating the single scene as old men, the Farrellys land a few silly punches, with Wilson and Sudeikis effectively registering comic frustration as married men incapable of growing up. The infantile behavior works in small fragments, but it's often pushed aside for the shock value bits, many of which feel old hat to a filmmaking team that once drizzled semen on Ben Stiller's ear. "Hall Pass" pushes too hard to stun, making its excesses irksome, smothering the clear potential of the premise.
In keeping with the Farrelly Formula, the screenplay eventually demands the audience feel for these characters, softening Rick and Fred while giving their spouses their own hall pass subplot, as the ladies face temptation with minor league baseball professionals. The directors adore their warmth, but there's no place for it here, creating blunt edges as "Hall Pass" jerks from fecal jokes to refreshed declarations of love. The effort is worthless, futilely attempting to nurture a conscience from the wreckage of a dirty movie, perhaps proving the Farrelly Brother moviemaking template is now officially beyond repair. 


 HERE IS THE DIRECT DOWNLOAD FOR THE MOVIE HALL PASS (NEWZBIN FILE)

I AM NUMBER FOUR NOW AVAILABLE

HERE IS THE SUMMARY FOR THE MOVIE I AM NUMBER FOUR FROM IMDB

John is an extraordinary teen, masking his true identity and passing as a typical high school student to elude a deadly enemy seeking to destroy him. Three like him have already been killed ... he is Number Four. 

HERE IS A REVIEW FOR THE MOVIE I AM NUMBER FOUR FROM DVDTALK

It was bound to happen sooner or later. With "I Am Number Four," Hollywood attempts to branch out to other genres to find a new "Twilight" -- something with heavy romantic and superhuman overtones that could be massaged into a brand new franchise to take over the hearts and wallets of teens when the sparkly vampires take a bow in 2012. Though dealing with intergalactic invasion, corporeal powers, and laser guns, "I Am Number Four" is a relatively tame creation, lacking a thunderous, textured cinematic quality that would separate it from the average ABC Family movie.
An alien from the planet Lorien, Number Four (Alex Pettyfer) has come to Earth to hide from a vicious enemy known as the Mogadorians. Guided by protector Henri (Timothy Olyphant), Four is working his way through adolescence, finding himself in possession of several "Legacies" that offer him exceptional powers. Settling into a quiet life in the suburb of Paradise, Ohio, Four comes across fellow teen Sarah (Dianna Agron) at school, enchanted with her sense of kindness and photographic poetry. Unfortunately, there's little time for love, as the Mogadorians, with their fearless leader Commander (Kevin Durand), draw near, forcing Four, human pal Sam (Callan McAuliffe), and huntress Number Six (Teresa Palmer) to fight back, working to gain full control over their Legacies.
Based on the best seller from author Pittacus Lore (a pen name for writers Jobie Hughes and James Frey), "I Am Number Four" has all the required ingredients for a modern teen movie. There's a mysterious, hunky lead character of limited sexual threat and startling powers; huge amounts of knotted backstory with puzzling names and purposes to sort out (often unsuccessfully) during the course of the movie; and there's a heavy fantasy angle that bleeds into swoony romantic yearn between two teens unable to consummate their love due to villainous interference. Certainly director D.J. Caruso ("Eagle Eye") isn't going to pooh-pooh any similarities made between "Twilight" and his film. Why throw away such amazing box office potential?
"I Am Number Four" is a children's film, too frail to find an awesome voltage that would lend it a truly epic stance. Instead, it's a surprisingly drab creation, following Four as he feels out the limits of his Legacies (interpreted here as glowing hands and telekinesis), deflects trouble from school bullies, goes all angsty on guardian Henri, and struggles to maintain a love connection with Sarah. It's ultimately a protracted and uneventful origin tale, but that's not made immediately clear, as Caruso seems to be building toward a colossal showdown between Four and the Mogadorians (goofy creatures who have gills located right next to their noses) for the future of Earth. The clash does finally arrive in the final act, but it's an absolute snoozer set inside a high school, showcasing limp stunt choreography, unimpressive special effects, and truly random acts of CGI-laden heroism. "I Am Number Four" is a tease, promising muscular genre goods it never delivers, led by a painfully robotic performance from English actor Pettyfer, who spends the entirety of his screentime fussing with his unconvincing American accent.
With comatose cinematography, Durand cringingly overacting like a lunatic in the one-note villain role (he gives the same garish performance in every movie), and a script that's sculpted solely for hardcore fans, "I Am Number Four" is often more irritating than involving. The kicker comes at the end, which really isn't a satisfying conclusion, but a ballsy, shameless cliffhanger for a sequel. Caruso could've at least attempted a vague sense of finality to show some genuine respect to his audience, but closure won't encourage people to follow Four again in a few years. Considering how uneventful the first installment is, I'd be shocked if we ever hear from these characters on the big screen again.
HERE IS THE DIRECT DOWNLOAD FOR THE MOVIE I AM NUMBER FOUR

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DELL STUDIO XPS 8100 DESKTOP

Discover a more immersive media experience with the Dell Studio™ XPS™ 8100 desktop, designed to keep you front and center of all the action.

• Intel^® Core™ i5 and Core i7 processors
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HERE ARE MORE SPECS ON THIS FINE COMPUTER

Immerse Yourself

Transform your screen into the ultimate entertainment empire with the new Dell Studio XPS 8100. This sleek and sophisticated desktop boasts new Intel Core i5 and i7 processors, 3D capabilities and stunning graphics options, and new THX TruStudio PC sound for enhanced music and movies with plenty of room for expandability. Its confident design will leave you speechless, while its powerful features will keep you coming back for more.

Transform Your Media

Dive deeper into your media with enhanced graphics and hi-definition (HD) capabilities while condensing it all using a general-purpose graphics processing unit (GPGPU)-enabled graphics solution and optional CyberLink MediaShow Espresso.

Stunning Graphics
Watch your screen transform into life-like reality with standard ATI 4350 graphics or optional ATI HD 5770 1 GB GDDR5. Choose from NVIDIA® GeForce® GT220 or NVIDIA GeForce GTS240 and NVIDIA GeForce GTX260 with 3D³ capabilities. Enjoy HD imagery and world-class performance with lightning-fast video and image processing. And for a more intense gaming experience, accelerated PhysX™ gaming effects provide a dynamic, larger-than-life impact.

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Convert your movies and other large HD content to a smaller size with optional CyberLink MediaShow Espresso paired with a GPGPU-enabled graphics solution. Scale down content to fit devices such as MP3 players, mobile phones or whatever digital device you own, so that you can take your favorite media wherever you go. Optional CyberLink MediaShow Espresso offloads the most intensive processing tasks from the processor to the graphics processor for quicker transcoding of your media content — taking care of all the heavy lifting.

THX TruStudio PC sound
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The Dell Studio XPS 8100’s sleek and streamlined design isn’t just for show — every curve and contour was built for convenience and durability. Its angled stature provides easy access from above, while its recessed media tray offers two convenient USB ports for your portable devices. The media card reader and power button are also located on the top for easy-reach access. And it doesn’t stop there. The new look of the Dell Studio XPS 8100 desktop is tailored in pure white with metallic silver accents.

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Equip yourself with a pair of stylishly modern active shutter glasses, a lightweight alternative to the traditional 3D glasses with adjustable nose pieces to fit over prescription lenses. And they’re fully untethered, giving you a free range of motion up to 15 feet through the wireless IR signal.

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NVIDIA software automatically transforms hundreds of PC games into a full stereoscopic 3D experience. Experience rich, immersive gaming with stunning realism supported by the latest graphics technology including NVIDIA PhysX, Microsoft^® Windows Vista^® and DirectX^® 10.

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Intel i5 and i7 Processing
The new Intel i5 and i7 processors are designed for faster multitasking, digital media creation and gaming.
Turbo Boost Technology
When your most demanding applications need your attention, Intel^® Turbo Boost Technology dynamically speeds up the processor frequency for an increased level of performance, ensuring your demands never go unmet.
Hyper-Threading Technology
Go further without leaving your chair. Intel Hyper-Threading Technology maximizes performance with an eight-threaded capability on four cores, so you can multitask with greater efficiency than ever before. (Hyper-Threading Technology is only available with the Intel i7 processor).
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The dual-channel Dual Data Rate 3 (DDR3) memory offers a higher bandwidth than DDR2 that enables the Dell Studio XPS 8100 to work at a faster performance rate with increased responsiveness. It comes equipped with four dual in-line memory module (DIMM) slots for expandability — so as your needs increase, there’s always room for more.

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TRON LEGACY NOW AVAILABLE ONLINE

HERE IS THE SUMMARY FOR THE MOVIE TRON LEGACY FROM IMDB.

The son of a virtual world designer goes looking for his father and ends up inside the digital world that his father designed. He meets his father's creation turned bad and a unique ally who was born inside the digital domain of The Grid.

HERE IS A REVIEW FOR THE MOVIE TRON LEGACY FROM DVDTALK

The original TRON is a hard-to-believe movie, in the sense that the unprepared viewer must wonder what compelled anyone to write such an odd project, much less convince others to bankroll developing it, casting it, shooting it, and releasing it in theaters nationwide. The concept of being sucked into a computer is simple enough, but writer/director Steven Lisberger's idea to visualize programs in the image of their programmers, trapped in a civil war with more powerful programs, in a strongly religious allegory, is a far-out idea. And that's before one takes into account Lisberger's unique-yet-bizarre back-lit photo-animation cinematography that made characters like Kevin Flynn (Jeff Bridges) and TRON (Bruce Boxleitner) glow with light from the inside. Whether or not it is even harder to believe that 28 years later, Disney has revived TRON as the next blockbuster franchise, is up for debate, but here it is, the studio's winter tentpole for 2010, in high-tech 3D.

In the first film, Flynn entered the computer and battled the evil, egotistical Master Control Program for evidence that an exec had stolen several of his video game creations (and, somewhat inadvertently, for the freedom of all programs inside the system). Shortly thereafter, now the head of ENCOM, Kevin promises his young son Sam that they'll visit "The Grid" together, right before he vanishes without a trace for 20 years. Present-day Sam (Garrett Hedlund) has his father's company at his disposal, but instead of helping or seriously hurting the computer giant, he drops in for a yearly prank intended to remind the board of his father's wishes, while at the same time spitting in the face of the world that seems to have taken the old man away. Following 2010's stunt, Kevin's old friend and TRON programmer Alan (Boxleitner) drops by to let Sam know that a mysterious page came from his father's dilapidated arcade, sending him to investigate. There, Sam discovers an unexpected ticket onto "The Grid", and a surprise reunion with his disappeared dad (still embodied by Jeff Bridges).

In 2008, Disney premiered a two-minute trailer at Comic Con without warning, surprising an audience unaware a TRON sequel was officially in production. The stunt was magic, but sadly, it seems the studio's headway ended there. The screenplay for Legacy, by Edward Kitsis and Adam Horowitz ("LOST"), is sorely lacking in the kind of dizzying, stand-up-and-cheer thrills that trailer provided, instead choosing to leisurely rebuild the TRONiverse for a new, 21st-century audience. The opening and closing thirds of Legacy are, at the very least, acceptable, providing enough material for the audience to chew on, but the middle is an action-free grind that threatens to bring the film to a dead halt. It doesn't help that Bridges, seemingly given free reign to re-interpret Kevin Flynn however he wanted, loses some of the intended emphasis on plot points in a cloud of Zen-isms. It's not hard to connect A to C as the film progresses, but a faster, snappier journey would've been preferable.

Still, Legacy gets by on a similar sense of unexpected invention as its predecessor. At the center of the film is CLU, a program created by Kevin in Lisberger's picture. Since programs don't age, director Joseph Kosinski and the tech wizards behind-the-scenes have devised a computer-generated time machine meant to digitally de-age the actor so he can play opposite himself. Most of the "present day" material is significantly eerie, if not particularly close to perfection, but several flashback sequences (usually featuring both a de-aged Bridges and the CLU character outfitted in a leather jacket) look terrible, damaging the illusion. One can only imagine how cool the effect would be if it worked perfectly, but on the whole, it's just barely more compelling as a groundbreaking attempt at what technology might do in the future than a massive failing of the film, thanks in no small part to Bridges. As Kevin, he shares some solid scenes with Hedlund, and has an appealingly spaced-out attitude, but the actor definitely seems to relish playing such a bizarre villain, giving CLU a menacing spark that pulls the whole role across the rough patches.
As for Kosinski, his dazzling, commercial-slick visuals are being touted as worth a look even by most of Legacy's most violent detractors. He does admirable things with the 3D (which is subtle, but used to good effect) and handles the action well enough (an aerial battle, as Star Wars-influenced as it is, is a nice kick in the pants), but as a TRON fan, it's less the look than the feel of the universe that drew me in. As one of those "hard-to-believe" movies, there's something so specific about seeing the unexpectedly unbelievable world of TRON that Lisberger envisioned, and Legacy captures the same tone. Whether that has anything to do with Kosinski is debatable, but it's there. It sounds like thin praise, but like its predecessor, Legacy is a flawed attempt to make something unique, which, in spite of some clunky craftsmanship, succeeds in a way that seizes the imagination. I'll be the first to admit that the journey appeased me more as a fan of the franchise than a film critic, but if the world of TRON is, as Flynn puts it, "a place I thought I'd never see", it's hard not to relish such a lavish, stylish invitation to go back.

HERE IS THE DIRECT DOWNLOAD FOR THE MOVIE TRON LEGACY.

LITTLE FOCKERS NOW AVAILABLE ONLINE

HERE IS THE SUMMARY FOR THE MOVIE LITTLE FOCKERS FROM IMDB

Family-patriarch Jack Byrnes wants to appoint a successor. Does his son-in-law, the "male nurse", Greg Focker have what it takes?

HERE IS  A REVIEW FOR THE MOVIE LITTLE FOCKERS FROM DVDTALK.

There's a bit of medical anal play tucked snugly into the first five minutes of the sequel, "Little Fockers." No greetings and salutations, just, boom, right into the butt to give the fanbase exactly what they want. Skillful writing, sharp comedic performance, and endearing domestic reflection are tossed aside here, permitting the picture a wide berth to engage the autopilot function and make these millionaires even richer. Who needs a challenge at this point? Just comedically snake a tube up a stranger's ass, and watch the box office light up with willing customers. What better way to spend the holiday season.
When heart problems force him to consider the next in line to lead the Byrnes Family, Jack (Robert De Niro) is reluctant to make his hapless son-in-law, Greg (Ben Stiller), the "Godfocker." Raising twins with wife Pam (Teri Polo), Greg is having trouble juggling the demands of home life and his work as a nurse, a problem exacerbated by the forward attitude of pharmaceutical rep, Andi Garcia (Jessica Alba). Hoping to guide his family his own way, Greg finds his efforts thwarted by Jack's parental vision, his own growing paranoia, and the reappearance of Kevin (Owen Wilson), who's back to stealthily seduce Pam. While hopeful for the new generation of Fockers as they apply to a prestigious private school, Jack can't help but insinuate himself in Greg's life, creating tension as the flustered nurse falls in and out of wacky adventures and misunderstandings.
2000's "Meet the Parents" (yes, it was that long ago) was a solid 45 minute idea that's somehow been stretched into three feature films. Originally a zany vehicle for De Niro to play his bruiser image for laughs, the Focker saga has found greater inspiration in the staging of gross-out incidents, more consumed with delivering literal gags than comedic ones. "Little Fockers" keeps the tradition alive with puke, fart, and erection encounters, placing tremendous emphasis on simplistic jokes that pander rabidly to the lowest common denominator. It was passable merriment in "Meet the Parents," mildly irritating in "Meet the Fockers," but it's become downright repugnant for "Little Fockers."
Though the directing credit is awarded to Paul Weitz ("About a Boy," "American Dreamz"), there's little sense of artistic guidance here. Weitz is trapped in pure sitcom mode, arranging the mishaps and humiliations with all the excitement of a man sweating to please his demanding producers. Whatever life was available in the series before is long gone for "Little Fockers," which is about as uninspired as a second sequel can be. Jack and Greg still passive-aggressively locking horns? Check. Kevin still a romantic rival? Check. Comedic mileage still pulled out of the iffy Focker name? Check. Writing on the level of a rejected "Three's Company" script? Check. Throw in Deepak Chopra and Harvey Keitel cameos, Jessica Alba hopped up on pills stripping down to her underwear and hurling herself into a muddy hole, and some heart attack jokes (oh, the hilarity), and "Little Fockers" is a parade of randomness searching for a reason to be.
The cast looks bored out of their minds, downshifted into paycheck speed with acting that only requires grimaces and bug-eyed reactions. Granted, a script that includes a moment where Greg is forced to inject adrenaline into Jack's penis to quell an overly medicated erection wouldn't inspire professional confidence in any actor, but the sleepy eyes of sequelitis are rampant among the cast, who go with the flow knowing this malarkey already worked twice before. Only Alba generates smiles in the film, playing up the revolting spunk of a desperate sales representative -- she's all knuckle bumps and creepy nicknames, and 1000 times more alert than the rest of the ensemble. "Little Fockers" needed more of her energy.
If you happen to be attending the picture to watch Barbara Streisand and Dustin Hoffman reprise their roles as Greg's sexually active parents, I'll rip the band-aid off now: they're barely in the picture. "Little Fockers" doesn't make room to play around with the big Fockers, pushing the screen legends to the background, leaving more time for Greg to get his face barfed upon. Yay. Even more insulting, the actors barely share any scenes together, as Hoffman was added into the film at the last minute, having skipped principal photography for reasons I now understand. Giving Roz a sex education talk show and sending Bernie to "Spain" only ruins the magic of the pairing, forcing Weitz to scramble to maintain their chemistry without the actual participation of the actors.
"Little Fockers" is utterly lazy and unfunny, cooked up to cash in on a wheezy franchise built out of cheap thrills. What's missing here is a sense of family, especially after three pictures, rewarding the viewer with a full sense of domestic unity from an acquainted bunch of actors. Instead, there's another round of insipid gags performed by a revolving door troupe more interested in the zeros on their paycheck than the quality of their cinematic output.

HERE IS THE DIRECT DOWNLOAD FOR THE MOVIE LITTLE FOCKERS.

GULLIVER'S TRAVELS NOW AVAILABLE ONLINE

HERE IS THE SUMMARY FOR THE MOVIE GULLIVER'S TRAVEL.

Travel writer Lemuel Gulliver takes an assignment in Bermuda, but ends up on the island of Liliput, where he towers over its tiny citizens.

HERE IS A REVIEW FOR THE MOVIE GULLIVER'S TRAVEL.

Perhaps I'm not up on my Jonathan Swift as well as I should be, but was there actually a scene in the novel, "Gulliver's Travels," where our titular hero, after spotting an inferno raging in the heart of the Lilliput kingdom, decides the only act of firefighting he's capable of is to urinate all over the building and surrounding Lilliputians, creating a drippy, yellow mess? A climatic musical number where Gulliver leads the Lilliputians in a hopping rendition of Edwin Starr's "War"? A scene where a Lilliputian soldier is accidentally plunged into Gulliver's anal cavity after the giant is knocked to the ground?

I need to read this book again.

A slacker content with his life in the mailroom of a local newspaper, Lemuel Gulliver (Jack Black) is unwilling to break his routine, including a reluctance to ask editor Darcy (Amanda Peet) out on a date. When a change in management pushes Gulliver out of his comfort zone, the frightened doofus decides to plagiarize a few travel books to score a writing gig, thus impressing Darcy. Sent into the Bermuda Triangle to report on spooky happenings, Gulliver is sucked into a water vortex and shot to the land of Lilliput, where the residents are no bigger than the size of his hand. Branded a beast and locked away by foul security chief Edward (Chris O'Dowd), Gulliver finds a friend in Horatio (Jason Segel), a local branded a traitor for falling in love with Princess Mary (Emily Blunt), whom Edward is fiercely protective of, much to her annoyance. Soon winning over the Lilliputians with his sheer size and security skills, Gulliver becomes the focus of the kingdom, while Edward, jealous and suspicious of the visitor's mounting lies, plans a robotic revenge.

It's not the crudeness that defines the unpleasant viewing experience of "Gulliver's Travels," but the sickening feeling that a major opportunity for a big-budget special effects adventure has been wasted on producers who didn't even try to come up with a clever way to return Swift's 1726 novel to the screen. Instead, the film is a Whitman's Sampler of Blackisms, asking the gifted comedian to supply the least amount of effort (basically requiring the removal of clothes), while extensive CGI assumes command, providing a wonderland of small people engaging in small business. It's tilt-shift eye-candy, but a feature film that's wholly depressing to sit through.

It's awful to find Jack Black relegated to playing a caricature of himself, rolling around the frame in full man-child mode, trying to sell new catchphrases as Gulliver charms the Lilliputians with his fraudulent stories of previous adventures (basically reworking plots from his favorite 20th Century Fox movies), enjoying the fruits of their speedy construction skills. There's little challenge for Black here, and definitely no slyness to the writing that could wake up the proceedings, with the aforementioned ass plunge sight gag emblematic of the writing gifts on display here. Black's sleepwalking, coasting on established charms, playing to the kids with mannerisms and vocal inflections we've all seen dozens of times before.

The pain intensifies with the rest of the ensemble, highlighting gifted comic actors like Segel, O'Dowd, Blunt (stealing scenes here), and Billy Connolly (As Lilliput's king) floundering for funny, hung out to dry by director Rob Letterman ("Monsters vs. Aliens," "Shark Tale"), who doesn't have the bravery to color outside of these dreary lines. The filmmaker wastes a wonderful cast on nifty looking, but hollow theatrics, caught up in spectacle (enhanced marginally by a 3D conversion) when hearty laughs should've been top priority.

If the whole shebang wasn't disheartening enough, "Gulliver's Travels" actually has the audacity to condone plagiarism in the end, as our hero is showered with rewards for his lies. Not only is the film nearly laugh-free, but completely irresponsible as well. The ethical core of the feature is smaller than the Lilliputians. 

HERE IS THE DIRECT DOWNLOAD FOR THE MOVIE GULLVER'S TRAVEL.

THE FIGHTER NOW AVAILABLE ONLINE

HERE IS THE SUMMARY FOR THE MOVIE THE FIGHTER

A look at the early years of boxer "Irish" Micky Ward and his brother who helped train him before going pro in the mid 1980s.

HERE IS A REVIEW FOR THE MOVIE THE FIGHTER

"The Fighter" doesn't flourish as an original offering of filmmaking. It's an underdog story of sporting glory, seen in hundreds of motion pictures throughout the years; it's also a tale of brutes dreaming and failing each other in a harsh working class corner of Boston. Again, been there, done that. Where "The Fighter" retrieves inspiration is found deep within its heart, dissecting the lives of "Irish" Micky Ward and his brother Dickie Eklund with an aim for intimacy, more curious about human interaction in the heat of conflict than a routine staging of the comeback blues. It's an agitated picture that, much like its real-world inspiration, has enormous spirit to overcome its dreary familiarity.
In Lowell, Massachusetts, Dickie Eklund (Christian Bale) is a legend. A former boxer who famously knocked down Sugar Ray Leonard, Dickie is a manic machine who adores two things: his pugilist brother Micky (Mark Wahlberg) and crack, a drug habit that's reduced him to a wisp of a man. Facing a dire future after his latest fight goes horribly awry, Micky is confronted with the toxicity of his enormous family, including his mother and manager, Alice (Melissa Leo). Looking to make a change for himself, spurred on by the support of girlfriend Charlene (Amy Adams), Micky attempts to break away from his family's control, an act that sends the boxer to victorious heights, but threatens to shun Dickie and crush his intense world of brotherly adoration.
Faced with a script of proven clichés, director David O. Russell ("Three Kings," "I Heart Huckabees") pulls "The Fighter" from his gut, grabbing the grit of the city and the pain of the characters with both hands, reworking tired elements into something fresh and unexpectedly humorous. It's a heroic submission of direction in the manner it brings everything to life, zeroing in on the veneer of familial harmony between the brothers to read further into these broken lives, breathing some needed oxygen into a tale otherwise bewitched by "Rocky" residue. The picture has a cracking pace, lively characters bloated with Boston bile, and a sense of neighborhood imprisonment, shaping an encrusted reality to balance out the Cinderella story.
While the boxing scenes maintain a punishing visceral feel of punches, showcasing a rich command of the sport's body language, "The Fighter" is more of a character piece observing two brothers at war with themselves. Outgrowing his suffocating family, Micky is facing a new dawn for his career, away from the embedded perception of empowerment he's received from those who stand to gain financially from his fighting. Reclaiming his skill with the help of clear-thinker Charlene, Micky steps into the unknown, turning his back on his brother, shattering the diseased routine of their lives. On the other side, Dickie is a mess, devoting his prime adult years to crack, which has rendered him an emaciated wreck clinging desperately to past glory. He's all heart, but lost to drugs, leaving him in a frenzied state that poisons his brother's shot at a lasting career.
The complex psychological interplay between the siblings is a believable yin yang of desperation, featuring two performances that rise to the occasion, each actor putting forth a specialized physicality that's as expressive as any line of dialogue. Wahlberg admittedly receives the short end of the dramatic stick, as his screen time is devoted primarily to humiliation and speed bag concentration. Bale's the barnstormer here, radically altering his appearance to fit into Dickie's itchy skin. It's a macabre thespian effort, with Bale's sunken face a haunting image that's difficult to shake. Portraying the dying light within Dickie, Bale delivers monumentally committed work, fleshing out a difficult role of earnest troublemaking. Russell adores the actor's oddity, clearly more interested in Dickie's madness than Micky's rebirth.
Also of note is Amy Adams's performance as Charlene, who brings a startling sense of command to the nothing girlfriend role. Throughout the film, Russell finds plenty of knuckle-cracking Boston attitudes to exploit, most emanating from Micky's cabal of gruff, stiff-banged sisters, yet Adams reaches a unique area of appreciation, deploying her best tough cookie impression while retaining her character's feisty supportive nature. While the boys are allowed to chew scenery, Adams brings forth a raw, understated feeling of inspiration, enriching the creaky narrative mechanics.
"The Fighter" is enhanced by a killer soundtrack of propulsive songs, edited with a pure eye for pounding rhythms, and shot with an evocative sense of neighborhood politics and boxing authenticity. Control of the picture slips away from Russell at times, who's so wrapped up in velocity that a few clumsy performances manage to slip by him, along with a smattering of cartoon antics as the story comes to a boil. I'll chalk it up to enthusiasm, which is an understandable sin. Without that pronounced verve, "The Fighter" would be nothing but aggravating banality.

HERE IS THE DIRECT DOWNLOAD FOR THE MOVIE THE FIGHTER.