HERE IS A GREAT DEAL ON A COOL DESKTOP FROM DELL

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
• Genuine Windows^® 7 Professional 64-Bit
• With optional 3D, transforming your games into an eye-popping experience 
• THX^® TruStudio PC™ to enhance music and movies, making them sound livelier, clearer, smoother providing a better listening experience
• Stunning, high-performance graphics with ATI HD up to 1 GB graphics double data rate, version 5 (GDDR5)

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.

CyberLink MediaShow Espresso
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
THX TruStudio PC sound enhances music and movies, making them sound livelier — voices and dialogs are clearer, and changes in audio volumes are smoother — and providing a better listening experience and stunning sound.

Striking Physique

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.

Mind-Blowing Experience

Immerse yourself in the new world of 3D — a stereoscopic 3D gaming experience with NVIDIA 3D Vision™ active shutter glasses, the Samsung SyncMaster 2233R2 22-inch flat panel display, genuine Windows^® 7 Home Premium 64-bit and NVIDIA GeForce GTS240 and GTX260 graphics. Your 2D gaming world will never look this good. (3D kit and display are optional.)

Accessorize
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.

Advanced Gaming
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.

Streamlined Power

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).
Smart Expandability
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.

Simple and Smart Services

Dell DataSafe™ Online
Our online backup service offers data protection by enabling customers to back up data to a safe, remote storage site using a broadband connection. Dell DataSafe Online is easy, flexible and secure. After setup, it will automatically back up data and help protect against software, hardware and catastrophic failure.
Dell Remote Access
Enjoy what’s on your home PC from almost anywhere. With Remote Access Basic, you can easily access photos, music, movies and more on your home system using another Internet-connected computer. No more waiting until you get home to get the files you need!
Dell Support Center
Our centrally located, easy-to-use application provides personalized support resources. Conveniently located on your PC’s desktop with quick links to service, support and system resources. Helps keep your system up-to-date and running efficiently through automated fixes for common configuration issues.
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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.