ICE AGE 3 NOW AVAILABLE

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

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

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

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

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

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

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

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

Here is the direct download for the movie Ice Age 3.

INTO THE BLUE 2 NOW AVAILABLE

Here is the summary for the movie Into the Blue 2 from imdb

A pair of professional divers are hired to find Columbus' hidden treasure.

Here is a review for the movie Into the Blue 2 from dvdtalk

I was surprised to find that I enjoyed the first Into the Blue. It made good use of its beautiful beaches and underwater scenery, featured an entertaining cast, and packed in some surprisingly intense action (the final explosion pushes the movie's PG-13 rating). Logic dictates that if I wanted to watch Into the Blue again, I'd rent Into the Blue, but the producers of Into the Blue 2: The Reef are clearly hoping I'll watch this sequel instead, which is almost identical to the original, only dumber, without the Hollywood megastars and visibly cheaper.

Sebastian (Chris Carmack, less brick-brained than he looks on the DVD cover) and Dani (Laura Vandervoort, poor man's Charlize Theron) are personal diving instructors in one of those beachy, sunny places you see in movies, and although they look like models, have a rock-solid relationship, own their own business and have a comfortable home in said beachy, sunny place, they're unsatisfied -- they need something more. "More" means money and a bigger boat, so when a rich entrepreneur (David Anders, looking like a British Neil Patrick Harris) and his martial artist girlfriend Azra (Marsha Thomason) show up asking to hire them for a week, they jump at the chance. Unfortunately, while they claim to be looking for the same, nearly-mythical sunken ship Sebastian's been hunting his whole life, they're really looking for two mysterious boxes dumped by a dim lackey during a Coast Guard search, and if they don't find it soon, everyone will end up sleeping with the fishes. "It's that plain and simple," they explain, "except it's not so plain, nor so simple, is it?"

Right away, I noticed something unique about Into the Blue 2: the complete and utter shamelessness with which it rips off the original. Around 80% of the film is almost completely indistinguishable from the first movie: I'm guessing if anyone can detect a noticeable difference between the main characters in the two films other than their names and actors playing them, MGM will send them a special medal. Surprisingly, this DTV rehash was helmed by Stephen Herek, director of Bill and Ted's Excellent Adventure (a personal favorite), and the Mark Wahlberg movie Rock Star. John Stockwell, director of the first picture, was the screenwriter of Rock Star, so maybe he recommended Herek for the job, but all Herek does is try to ape the first movie's cinematography, and despite the emerald oceans and underwater action, he doesn't have the personal connection that Stockwell (also the director of Blue Crush) seems to have to the ocean. Herek's compositions lack scope and style, his current idea of comedy is awful (an angry girlfriend yells faster and faster until she's literally fast-forwarded) and the rest of his directorial arsenal consists of beach volleyball shaky-cam and useless split-screen photography.

If you can look past the unoriginality, the movie's next problem isn't that the script or acting are particularly or outstandingly awful, but the combination of the two is an exercise in personal aggravation. I always hate it when radio voice over actors pretend to be on-the-street interviewees by attempting to recreate conversational imperfections, and Into the Blue 2 is painfully similar. The screenplay is packed with Generic Movie Dialogue, right down to the annoyingly "perfect" touches of cuteness and sarcasm, and Carmack and Vandervoort plow through it with sitcom efficiency. The result is a horrible, tone-deaf attempt to reverse-engineer energetic life and spontaneity where none has ever existed, and it grated on me from beginning to end.

The film is also populated by useless characters. The film wants to be date-friendly, so we meet Mace and Kimi (Michael Graziadei and Mircea Monroe, respectively). They're the comic relief couple: Mace keeps getting caught flirting, and Kimi throws his stuff out and challenges the flirters to catty volleyball games (hilarious!), and each time they fight or get in a wacky mishap, we get separate girl-talk/guy-talk bonding scenes with one of the main characters. Worse, rival diver Avery (Rand Holdren) seems to serve the same purpose as both of them, acting like a meathead and having girlfriend problems whenever he pops up, not to mention a secondary villain (Geoff Heise) who's got barely six minutes of screen time. The way these characters are all tied into the third act is extremely strained, and most of them could have been condensed or written out. I also learned while searching the net for the DVD back cover that Audrina Partridge, Parvati Shallow and Amanda Kimmel are actually stars of shows like "The Hills" and "Survivor" making useless cameo appearances. I didn't notice watching the movie, and now I'm stuck knowing it forever.

At least during the third act, things start to become unintentionally funny. There's a scene where it turns out that not one but four people are apparently hiding away on Sebastian's tiny boat (it's like a clown car!), the world's quickest hypothermia recovery ever, a thug foiled by his inability to swim (clearly meant to be serious) and it's hard to keep a straight face during some slow-motion, collapse-to-the-knees melodrama. The villainous plot is also ridiculous. There was a time when the "hired gun" bad guy mentality was interesting because it made them unpredictable. These days, it's a sign of screenwriter laziness: the filmmakers don't know why someone would want to nuke Hawaii, but neither does the character! People who like movies that proclaim themselves to be Unrated will also enjoy the pointless nudity and occasional language.

Watching Into the Blue 2, I had the sinking suspicion that I wasn't viewing a movie at all, but a movie-like paste ground up from the remains of an actual motion picture. This is a DVD designed to appear on Amazon, IMDb and Netflix as a movie You Might Like because you saw the original. Who knows, maybe someone out there will actually enjoy the movie for the nearly nonexistent qualities it has to offer, but you can probably hold off until they've got it in pill form; movies are so much easier to digest that way!

The DVD, Video and Audio
20th Century Fox sent over one of their customary screener discs, so instead of the case, which should have white and blue artwork, I got a white paper sleeve. The upside is I don't have to be excruciatingly aggravated by the fact that they've placed the wrong names over the wrong people, which would be easily fixed by flipping the image, but people who design DVD cover artwork don't think like that.

Since I've got a screener, I also have no grade available for the video, because I don't think Fox wants me to grade the pixelated, watermarked image presented on this disc. The audio might be okay, and I've got lots to say about the terrible, terrible pop music peppering the soundtrack, but all the same, I'll hold off. The retail disc will feature a 1.85:1 anamorphic widescreen transfer, 5.1 English audio and English subtitles. The menu is simple, but it makes the movie look like it's for three-year-olds. Not every menu can make you feel immature...

The Extras
"Get Wet" (11:42) is the first of two featurettes, and I was shocked to find they were actually kind of entertaining. Maybe my brain was just numbed by the feature film, but it's actually kind of fun watching the actors learn how to scuba-dive, talk about the challenges of filming underwater and interacting with the marine life. It's also surprising to see that the cast is fairly charismatic when they're not acting in a bad movie. The other featurette, "Run For Your Life" (6:42) focuses on the movie's foot chase, and is equally likable, although Herek reveals he was trying to pay homage to Run Lola Run. Uh huh.

Lastly, "Back to the Beach" (1:40) is billed as a music video, but it's actually a short montage of B-roll from the beach volleyball scene. There is also a gallery of trailers, including The Betrayed, Dead Like Me: Life After Death (also by Herek) and Hit and Run. No theatrical trailer is included, nor do you get any subtitles or captions.

Conclusion
"Call me crazy, but this doesn't suck!" proclaims Sebastian. I disagree. Until someone invents a Sci-Fi (er, excuse me, SyFy) Channel counterpart that plays bad beach thrillers instead of bad mutant bug movies, you can definitely skip taking a dip in Into the Blue 2's low-budget waters.

Here is the direct download for the movie Into the Blue 2.

IGOR NOW AVAILABLE

Here is the summary for the movie Igor from imdb

"Igor" is a playfully irreverent comedy that brings a new twist to the classic monster genre. In a world filled with Mad Scientists and Evil Inventions, one talented evil scientist's hunch-backed lab assistant has big dreams of becoming a Mad Scientist himself and winning the annual Evil Science Fair. Written by Exodus

Here is a review for the movie Igore from dvdtalk

A routine CG-animated family film offering, "Igor" does have the novelty of being something darker to offer the little ones as the Halloween season begins to creep into view. Embracing monster movie motifs from the classic era of cinema, "Igor" has charm but misses a grand opportunity to evoke the world of James Whale when it would rather crib blatantly from Tim Burton.

In a far away land called Malaria, evil deeds are encouraged by King Malbert (voiced by Jay Leno) and his population of mad scientists. With the help of their assisting Igors, the scientists are preparing for the annual fair to show off their accomplishments, and the cunning Schadenfreude (Eddie Izzard) is ready to take home the gold again. When Igor (John Cusack) finds his dimwitted master Dr. Glickenstein (John Cleese) killed by his own stupidity, the brilliant young college-educated toady fills in with a special offering: a humongous disfigured monster named Eva (Molly Shannon). Created for nefarious purposes, Igor is shocked to find Eva is a kindly soul who wants nothing more than to become an actress, encouraging the jealous wrath of Schadenfreude and his shape-shifting girlfriend, Jaclyn (Jennifer Coolidge).

While I'm positive it was created with the best of intentions, it's nearly impossible to examine "Igor" and not notice the serious "Nightmare Before Christmas" similarities that litter the motion picture. The parallels are drawn most severely in the angular, ghoulish character designs, with the animation a near photocopy of Burton's cult classic, viewed most uncomfortably in the King Malbert character. It's truly difficult to register the connection as tribute or robbery, and it pulls apart what little fun there is to savor in "Igor."

Step beyond the mimicry, and "Igor" has other problems to solve, including an irreverent tone lifted from "Shrek" (a screenwriting quirk that needs to be flushed from family films permanently) and some curious targets for jokes, one itchy riff pointed at a Malaria school for blind kids. There's some great discomfort there.

However, "Igor" has some spring to its step courtesy of the Louis Prima soundtrack and the voice cast, who put in a game effort trying to accurately navigate the screenplay's sense of humor and keep character arcs clear as a bell. Cusack and Shannon impressed me the most here, making for a sweet odd couple (she's as big as a house, he's about as tall as the doorknob), with Cusack showing atypical interest in maintaining an upbeat delivery. Special support comes from Steve Buscemi and Sean Hayes as Igor's previous failed monster experiments, which come to the aid of their creator with a healthy offering of slapstick and sarcastic wit.

Frantically directed by Anthony Leondis ("Lilo and Stitch 2"), who slings the camera around as if this was a jackhammer Michael Bay animated production, "Igor" has a few fine moments of macabre mischief to enjoy before mediocrity sets in, along with a huge amount of distasteful chaos. "Igor" is crafty, just never triumphant or enchanting, trying too hard to ape previous morbid comedies and not focusing on the obvious problems at hand.

Here is the direct download for the movie Igor.

IRON MAN NOW AVAILABLE

IRON MAN NOW AVAILABLE ONLINE

HERE IS THE SUMMARY FOR THE MOVIE IRON MAN FROM IMDB

Tony Stark (Robert Downey Jr.) is the CEO of Stark Industries which produces advance weapon systems for the U.S. military. Tony's father started the company after WWII, and after his death Tony inherited the company, worth billions. Tony lives the life as a hard drinking, rich playboy ladies man, but he is also a genius who has invented many high-tech items for the company. Tony flies to Afghanistan to demonstrate a new weapons test to the army. On his way back to his plane, his convoy is attacked by terrorists, and Tony is wounded by a Stark Industries missile. Tony is captured and held hostage in a cave with Raza (Faran Tahir), a doctor who saves his life. The terrorists force Tony and Raza to reproduce the new destructive Jericho missile Tony was demonstrating from parts of other weapons. Instead, Tony decides to build a suit of armor with Razas help. The suit gives Tony the strength and protection to be able to escape the terrorists. Back in America, Tony builds a better suit of armor which gives him superhuman strength with the ability to fly. With the help of his personal assistant Pepper Potts (Gwyneth Paltrow) and Jim Rhodes (Terrence Howard), Tony vows to protect the world as Iron Man. Douglas Young (the-movie-guy)

HERE IS A REVIEW FOR THE MOVIE IRON MAN FROM DVDTALK

Superheroes have been young, mutated, and alien, but they're rarely fortysomething billionaires with a taste for one-night-stands, metallurgy, and scotch. Perhaps this is why "Iron Man" is so effective, taking well-worn feats of courage and subverting the candied results with a pinch of adulthood and plenty of acidic humor. The feature doesn't quite leap off the screen, but it's a wonderful ride.

A brazen war profiteer overseeing his own weapons industry, Tony Stark (Robert Downey Jr.) is pushed to reassess his life when violently taken hostage in the Middle-East and fitted with a powerful magnet-like device to keep shrapnel out of his vital organs. Hoping to abandon the mass-death game, Tony turns inward, creating an intelligent suit of armor that he trusts will assist him in reclaiming the world he's helped tear apart. With the help of faithful assistant Pepper Potts (Gwyneth Paltrow) and military pal Jim Rhodes (Terrence Howard), Stark works to perfect his suit; however, when business partner Obadiah Stane (Jeff Bridges) learns of Stark's ambitions, he sets in motion a plan to harvest the playboy's new powers for himself.

Downey Jr.? Paltrow? Bridges? Howard? A voice cameo by Paul Bettany? Well, director Jon Favreau was certainly doing his homework when stitching together his fourth filmmaking effort, "Iron Man." Easily the best ensemble to hand-hold a funny book to the big screen, the cast makes all the difference in the world between "Iron Man" sinking into medium-awareness mediocrity and smashing ahead as a top-tier adaptation, capable of big summer-movie thrills and sharp, sarcastic laughs. It's a strange brew, but Favreau is an ideal cook, and takes impressive command over this strange superhero property, pulling together an unexpected film that intends to play by caped, hands-on-hips standards, but has a much better time messing around with convention.

Stark isn't the typical character for a comic book metamorphosis, and Downey Jr. is certainly not the first actor that springs to mind when considering the tenets of truth and justice; yet the crooked casting works in favor of "Iron Man." Downey Jr. is a scream here as the blithe Stark, lording over his empire with a boozy grin; a womanizer with impeccable publicity and a constant circle of yes men, Downey Jr. does an impressive job humanizing Stark beyond the frown lines. His character arc is an intriguing one, taking Stark from a coin-hungry jet-setter to a man concerned with his legacy of violence, and willing to reach beyond himself to right his extensive wrongs. Stark is no saint, and his ballooned ego is a plot point Downey Jr. tees up with brilliantly, playing off his cast with rat-pack ease, and sharing touching chemistry with Paltrow. He's perfect in this role.

Because "Iron Man" is an origin tale, Favreau tries to unearth any moment of goosebumpy goodness he can find between exposition sequences, but the pickings are slim. Following Stark through his incarceration in Afghanistan, his renunciation of industrialism, and the creation of the famous red and gold suit, the picture is allowed short bursts of excitement and, heavens, they are tremendous moments. Watching Stark test his various suits, getting used to their spastic capabilities are the highlights of the picture, merging special effects and generous actor beats into an entertaining whole. Trouble only arrives when Favreau becomes too enamored with this world, which leaves the 125-minute running time too sludgy in the midsection of the film, rendering the climatic fight between Iron Man and villain Iron Monger stunningly ineffective. Perhaps Favreau, a gifted director, didn't realize how sharply executed Stark's earlier scenes of trial and error were, leaving the end of the film a payoff letdown, but still worthy of a few superb metal-crunching money shots.

If the enthusiastic crowd I caught "Iron Man" with was any indication, there are plenty of obscure comic book references packed into the picture to please long-standing fans, while the overall film remains more accessible than I was expecting. "Iron Man" is a high-quality entry in the superhero genre, and while it doesn't scream sequel at the end, Favreau is generous with dangling plot threads, and with all that origin nonsense out of the way, Tony Stark is poised to continue on into one heck of a sequel.

HERE IS THE DIRECT DOWNLOAD FOR THE MOVIE IRON MAN.