WATCHMEN NOW AVAILABLE

Here is the summary for the movie Watchmen from imdb

In a gritty and alternate 1985 the glory days of costumed vigilantes have been brought to a close by a government crackdown, but after one of the masked veterans is brutally murdered an investigation into the killer is initiated. The reunited heroes set out to prevent their own destruction, but in doing so discover a deeper and far more diabolical plot. Written by evan murphy

"Watchmen" is set in an alternate 1985 America in which costumed superheroes are part of the fabric of everyday society, and the "Doomsday Clock" - which charts the USA's tension with the Soviet Union - is permanently set at five minutes to midnight. When one of his former colleagues is murdered, the washed up but no less determined masked vigilante Rorschach sets out to uncover a plot to kill and discredit all past and present superheroes. As he reconnects with his former crime-fighting legion - a ragtag group of retired superheroes, only one of whom has true powers - Rorschach glimpses a wide-ranging and disturbing conspiracy with links to their shared past and catastrophic consequences for the future. Their mission is to watch over humanity... but who is watching the Watchmen?" Written by T-Hen

It's the 1980's and it's a different world. Superheroes have been outlawed, the only ones still in operation under direct control of the United States government. Suddenly, those heroes both still in action and retired find themselves targets by an unseen enemy, who wants to kill them one by one Written by Anonymous

A group of heroes, forced into retirement a decade before are called together once again to investigate the murder of one of their own. What they discover an age-old conspiracy to change the balance of power in a world not different from our own. Written by Kent Sanderson

An adaptation of Alan Moore's landmark comic book series, Watchmen is a story set in an alternative 1985, where the world is ticking closer to the brink of nuclear war, and a plot to eliminate a band of ex-crimefighters is instigated, but why? and by whom? It is up to two of those ex-crimefighters to investigate the plot that seems to go beyond the unthinkable. Written by Ruckwood

Here is a review for the movie Watchmen from dvdtalk

Sooner or later there was going to be a Watchmen movie. It was inevitable. Sure, a lot of people said it was unfilmable; but that wasn't going to stop Hollywood. It was only a matter of time, and a matter of how bad the cinematic adaptation of Alan Moore and Dave Gibbons' classic twelve-issue comic book series was going to be.

Originally published in 1985 and 86 by DC Comics, Watchmen was then, and is still now, a landmark work of the comic book medium. It deserves its status as a true work of literature, and the accolades that have been bestowed on it for the last twenty-plus years. Moore's vision of a world where superheroes are real, and have long been outlawed by the government, was a pivotal point of maturation for a medium long associated with children. Watchmen, along with Frank Miller's Dark Knight Returns, were the comic books that helped lend credence to the adage, "Comics...they aren't for kids anymore."

The film, like the comic book, takes place in 1985 in a United States where a repeal of term limits has allowed Richard Nixon to remain in office for closing in on two full decades, and America in on the brink of nuclear war with Russia. Once a regular fixture in the public eye, costumed crime fighters have all but disappeared from view. As Watchmen starts, the Comedian (Jeffrey Dean Morgan), a former crime fighter and covert government hitman is attacked in his apartment and brutally murdered. The mentally unbalanced Rorschach (Jackie Earl Haley) is convinced that the murder of the Comedian was more than just some random crime--he believes someone is bumping off the last of the costumed crime fighters. Rorschach shares his theory with Dan Dreiberg (Patrick Wilson), who years ago fought crime as Nite Owl; but Dreiberg is not convinced. Meanwhile the nearly all-powerful Dr. Manhattan (Billy Crudup) and his wife Laurie Jupiter (Malin Akerman), better known as the crime fighter Silk Spectre, a career she inherited from her mother (Carla Gugino), are struggling with their failing marriage. At least Laurie is struggling with it. The blue-skinned Dr. Manhattan, who has become increasingly removed from his humanity, is more focused on working on a secret project with Adrian Veidt (Matthew Goode), the multi-billionaire who once fought crime as Ozymandias. Soon it becomes very clear that while Rorschach is delusional, he's not mistaken in thinking that the murder of the Comedian was more than a random crime. There is something very big and very sinister going on, with the lives of perhaps the entire planet hanging in the balance. With this much at stake, Nite Owl and Silk Spectre once again don their costumes and leap into action, eventually joining forces with Rorschach. Meanwhile, Dr. Manhattan, who is essentially the most powerful weapon in the arsenal of the United States, abandons Earth altogether, setting up home on Mars, and creating greater tension in the imminent conflict between America and Russia.

If all of this sounds a bit complex, it is. Watchmen ran for twelve issues, and Moore and Gibbons pack in enough material for almost double that many. As far as comic books go, Watchmen is one of the most dense, multi-layered and intricately structured works ever created. It truly is a masterpiece. And concerns that it could not be translated to film were more than justified--there simply was too much material in the original series to be crammed into one film. So, the question has always been how much of the comic book would make it to the big screen and what sort of liberties would filmmakers take.

Well, with a running time of almost three hours, director Zack Snyder has managed to keep large parts of the comic book intact. Given the constraints of time and how much any one film can contain, Snyder does a commendable job of remaining faithful to the source material. Sure, some elements have been removed altogether, others condensed and a major plot element has been changed in the end, but much of the film is lifted directly from the comic. That said, however, the faithfulness of Watchmen is not always a good thing. Sure the film looks impressive much of the time, and is even effective at various times, but there is still something fundamental missing.

At first it's difficult to pinpoint exactly what's wrong with Watchmen, but at some point, as you're nodding your head and thinking, "this is just like the comic," it becomes clear that the film doesn't have much life of its own--it is missing heart and soul. So much care was put into bringing the story to life and trying to be faithful to the original material that somewhere along the way it seems like people forgot that you need to do more than simply translate what is on the printed page to the moving picture. You need to allow the moving pictures to have their own life, and not simply be an imitation of a previous incarnation in another medium.

There is a bitter irony in the fact that the film hits its greatest stumbling block by appeasing the naysayers who claimed that Watchmen could not be made into a movie. Snyder and his capable crew have given fans of Watchmen a film that at times works slavishly to remain faithful to the original material. Many fans of the comic book will love Snyder for his loyalty to the series. They will think the film is great, because it goes to such great lengths to be just like the comic (aside, of course, from the radically altered ending). But the best cinematic adaptations of other literary works succeed because they have the audacity to be their own thing. The film version To Kill a Mockingbird is, quite frankly, not a very good adaptation of the novel. And the film version of Planet of the Apes is a simply terrible adaptation of the book. But both are incredible movies. Recent examples of films that took extreme liberties in the making the transition from book to screen are Adaptation and Tristram Shandy, both of which strayed incredibly far from where they began. Unfortunately for Watchmen, straying too far from the material, even in an attempt to define itself as a different work created for a different medium, would have probably resulted in crucifixion from the fans.

Another problem with the film is that it doesn't feel as if it exists in a real world. Others films create fantastic worlds that transport the audience to different realities, but Watchmen never feels like more than a really well designed set. You never feel like this world actually exists beyond the confines of a soundstage or a Hollywood studio backlot. The fundamental job of all movies is to make real the world in which they exist, and filmmakers like Peter Jackson and Guillermo del Toro have proven that pretty much anything is possible in that regard, which is part of what makes the "constructed" look of Watchmen so disappointing.

There is a similar problem with the costumes, which at times look really cool (depending largely on the lighting), and at other times look simply ridiculous. The problem with all superhero movies is the ability to sell the silly looking outfits to an audience, and Watchmen is not always successful. By contrast, the X-Men films managed to make those costumes work, as did The Dark Knight. But there are moments where the characters in Watchmen look more like something out of Joel Schumacher's Batman and Robin, a sad state of cinematic crime fighters if there ever was one.

None of this is to say that Watchmen is a bad movie, because it is not. But it is not great either. Instead it is a decent film with some flaws, not the least of which is a pace that starts to drag, and a sexual interlude with Nite Owl and Silk Spectre that is nothing short of unintentionally laughable. But when the film works--really works--it is very entertaining. This is especially true of the sequences with Rorschach, who was the most interesting person in the comic, and remains so in the film. The scenes with Rorschach are among those that remain incredibly faithful to the material, while at the same time really come to life on the screen. Jackie Earl Haley, obscured by a mask for most of the movie, gives the best performance in the film, and at times it's hard to not wonder if the movie would have been better if it was told more exclusively from Rorschach's point of view. Patrick Wilson is also good as Nite Owl; while Cruddup gives a solid performance that is often lost under all the special effects, including his frequently exposed penis (instead of Dr. Manhattan maybe they should call him Dr. Long Island). The rest of the cast, however, is more of a mixed bag.

Entertaining at times, boring at times, laughably bad on at least one occasion, and more than a little ambitious, Watchmen is a film saddled with the tremendous weight of where it came from and the fans it must serve, both casting long shadows that hinder the final film. And again, none of this is to say that this is a bad film. But at some point, as I checked my watch and realized with a certain level of discomfort that there was still over an hour to go, I asked myself a crucial question I often ask while watching films: "Is this a movie I'm looking forward to seeing again?" Unfortunately, my answer pretty much sums it all up: "Not really."

Here is the direct download for the movie Watchmen.

X-MEN WOLVERINE NOW AVAILABLE

Here is the summary for the movie X-Men Wolverine From imdb

In 1845 in North-Western Territory, British North America, young James Howlett (Troye Sivan) sees his father John Howlett (Peter O'Brien) killed by his friend Victor Creed's father, Thomas Logan (Aaron Jeffery). In an act of vengeance, James kills the elder Logan using bone claws which have grown out of his hands. With his dying breath, Logan tells James that he is also his son. James and Victor (Michael-James Olsen) run away, pursued by a torch-wielding mob. They promise to look out for each other.

In the years that follow, adult brothers James (Hugh Jackman) and Victor (Liev Schreiber) are seen fighting together in the American Civil War, World War I, World War II, and eventually the Vietnam War. Their regenerative powers keep them from being killed in the battlefield. James is forced to act as a check on Victor's increasing rage and ferocity. In Vietnam, Victor kills a superior officer after being stopped from raping a girl, and James and Victor are sentenced to death by firing squad, though their unique regenerative abilities keep them alive.

Major William Stryker (Danny Huston) approaches the two mutants and offers them membership in Team X, his elite group of mutants. The team consists of mutants Fred Dukes (Kevin Durand), who's super-strong and invulnerable; John Wraith (Will i Am), who can teleport; Chris Bradley (Dominic Monaghan), a.k.a. Bolt, who can control electricity; expert marksman Agent Zero (Daniel Henney); and mercenary Wade Wilson (Ryan Reynolds), an amazing swordsman who never stops talking. The brothers join the group and are sent to the team's first mission: Invade the headquarters of a diamond trafficking operation in Lagos, Nigeria, to retrieve a meteorite. Afterwards, Stryker and the team brutally interrogate people from a nearby village to learn where the meteorite was found. James is disgusted by the murders committed by his teammates and abandons the group.

Six years afterward, James -- now going by his last name, Logan -- is a lumberjack living with his girlfriend Kayla Silverfox (Lynn Collins). Meanwhile, Victor hunts down and murders Bradley, who works at a circus; Victor mentions that Wade is already dead. Stryker locates Logan and claims that someone is killing members of the now-disbanded team. Stryker asks Logan for help, but is refused. Shortly after, Silverfox is murdered by Victor. Wolverine hunts down his half-brother, but is easily defeated. Stryker once again asks Logan for help, and Logan agrees. Stryker has Logan's skeletal system reinforced with adamantium, a virtually indestructible metal retrieved from the meteorite found by Team X. Before the procedure, Logan asks for his new dog tags to say "Wolverine," a reference to a story that Kayla told him. After the procedure, Stryker orders Wolverine's memory to be erased, but Wolverine overhears this and flees. Stryker orders Agent Zero to hunt him down and take his head off.

An elderly couple, Travis (Max Cullen) and Heather Hudson (Julia Blake), see Wolverine -- who escaped in the buff -- enter their barn. They're wary but welcoming, giving him food and clothing, including a leather jacket of their son's -- and their son's motorcycle. The next morning, both are shot dead by Zero. Wolverine takes out several HMMWVs, a helicopter and Zero himself, then goes to Las Vegas. Wolverine locates former associates John Wraith and Fred Dukes (who is now massively obese from a guilt-driven eating disorder), seeking to learn the location of Stryker's new laboratory. Wolverine learns the disbanded team had been capturing young mutants for Stryker. One of them, Remy LeBeau (Taylor Kitsch), also known as Gambit, escaped the island laboratory and knows its location. Dukes tells Logan that his brother Victor is actually working for Stryker, capturing and killing mutants for him. Meanwhile, Stryker captures a teenaged Scott Summers (Tim Pocock) with Victor's aid.

Wolverine and Wraith locate Gambit in a New Orleans bar. Wolverine talks to Gambit while Wraith keeps watch outside, but Gambit suspects Wolverine was sent to recapture him and, using his ability to charge objects with kinetic energy, throws several playing cards at Wolverine that send him flying through a wall. Outside, Wolverine sees Victor has killed Wraith and taken a sample of his blood. Wolverine fights Victor, only to be interrupted by Gambit. Victor escapes, and after a brief struggle, Gambit agrees to take Wolverine to the mutant prison/laboratory on Three Mile Island. Once there, Wolverine confronts Stryker and learns Silverfox is still alive; Victor faked her death with hydrochlorothiazide. She was keeping track of the mutant to free her sister, Emma Frost (Tahyna Tozzi), who is also in the prison. Wolverine is devastated by this betrayal.

With no more quarrel with Stryker, Wolverine departs. Victor, angered that Stryker let Wolverine go, demands the adamantium procedure. Stryker, however, tells him that he won't survive the procedure and in an act of rage, Victor tries to kill Silverfox. Wolverine hears Silverfox's screams and attacks Victor. Finally having the chance to kill Victor, Wolverine chooses not to give in to his animal instincts and instead knocks him out. Silverfox shows Wolverine to the holding cells, and he frees the mutants there; among them are Emma Frost and Scott Summers.

Panicking, Stryker prematurely activates his newest creation, Weapon XI (Scott Adkins and Ryan Reynolds), a bald, pale-skinned and deformed Wade Wilson, lacking a mouth and with patterns on his skin marking his adamantium bone structure. As the rescue party approaches an exit, it is blocked by Weapon XI, who is under Stryker's control. Wolverine tells them to find a new exit as two blades extend from Weapon XI's arms. The blades are similar to Wolverine's claws, but more like katana swords, Wilson's weapon of choice. Wolverine realizes that this monstrosity is actually Wade Wilson. "Looks like Stryker finally found a way to shut you up," he quips.

Weapon XI, also called Deadpool, is a mutant Frankenstein's monster, with the abilities of several of the killed and captured mutants: Scott's optic blasts, Wraith's teleportation, and Wolverine's healing ability. During the escape, Silverfox is mortally wounded. The other mutants escape through the facility's tunnels, guided by Scott who is unable to tell them how he knows the way out. Emerging from the tunnel, the party encounters a helicopter. Emerging from the helicopter is a familiar figure: Professor Charles Xavier (Patrick Stewart), who has guided them to safety and offers them a home at his school.

Meanwhile, the fight between Wolverine and Weapon XI moves to the top of one of the nuclear power plant's cooling towers. Weapon XI overpowers and prepares to decapitate Wolverine, but Victor returns to aid his brother. Wolverine and Victor, now working together, are able to decapitate Weapon XI, sending its head, still firing optic blasts, down into the cooling tower. Wolverine coldly informs Victor that despite his help, their relationship is over. Victor reminds him that as brothers, they can never be finished, and jumps off the the cooling tower. The damage from the optic blasts causes the cooling tower to collapse, but Wolverine is saved by Gambit.

Wolverine asks Gambit to ensure the prisoners are safe, while he returns to find Silverfox, who stayed behind because she was wounded. As he carries her to safety, Stryker shoots him in the back with an adamantium bullet. Wolverine tries to kill him but is shot in the head, knocking him unconscious.

Silverfox uses her powers of persuasion to order Stryker to walk away until his feet bleed, then dies from her injuries. Gambit returns to assure Wolverine that the mutants are safe, but due to amnesia caused by the brain damage the adamantium bullets inflicted, Wolverine does not remember anything (this was Stryker's intention, knowing that even the adamantium bullets could not kill Logan). Gambit tries to get Wolverine to come with him, but he declines. Gambit wishes Wolverine good luck before departing, and Wolverine flees the scene as the ambulances and police arrive.

The film has several additional scenes during and after the credits. The first of these scenes plays a few seconds into the credits, and depicts William Stryker walking down a road. Due to Silverfox's order, the toes of his shoes are torn and bloody from walking for so long. A military vehicle drives up behind him and he is apprehended by military police for questioning about the death of General Munson. (Stryker murdered the general earlier in the film in order to protect his vendetta against mutants.)

Depending on which theater the movie was shown in, one of two possible endings then appears following the credits. In the first ending, Weapon XI's hand reaches out from the rubble of the nuclear complex to touch his severed head. The second alternate ending shows Logan drinking at a bar in Japan. The bartender asks if he is drinking to forget; Logan replies that he's drinking to remember.

Here is a review for the movie X-Men Wolverine from dvdtalk

The bottom line on "X-Men Origins: Wolverine" is this: if you found any morsel of entertainment value out of 2006's "X-Men: The Last Stand," then "Wolverine" will be painless to digest. If you found "Last Stand" to be a drooling cinematic rape of a near-brilliant franchise, "Wolverine" is going to feel like further salt in the wound. While I recognize the multiple fandom violations of "Last Stand," I found it to be a lively thrill ride with an abundance of mutant vs. mutant action to sufficiently numb the brain. "Wolverine" is less triumphant as multiplex junk food, but still retains a satisfying lunacy and even more mutant monkey business to relish.

Born in the 19th century, Logan/Wolverine (Hugh Jackman) has forged a life of aggression with brother Victor/Sabretooth (Liev Schreiber), taking the mutant siblings on a ride of world wars and bloody heroism, only in Victor's case, the courage has gradually twisted to villainy. When fiendish William Stryker (Danny Huston) comes calling to form a special covert team of mutants (including wil.i.am, Dominic Monaghan, and Ryan Reynolds as the sword-happy Deadpool), the brothers sign up, but Logan soon develops a distaste for governmental terrorism. Retiring to Canada with love Kayla Silverfox (Lynn Collins), Logan is pulled back into Stryker's deceptions when it's revealed that Victor has gone rogue, murdering his old mutant conspirators, with his brother next on the list. Agreeing to Stryker's demand for an excruciating adamantium makeover, Logan turns his body and bone-claws into metal, hoping his new defense will put an end to Victor's reign of terror.

The cruel "Last Stand" comparison is an apt one to make, since the "X-Men" franchise slowly dissolved into a primitive cartoon once director Bryan Singer walked away after his virtuoso work on the first two features. Without his nuanced touch, these movies have been stripped of their regality and turned into action fodder for pre-teen boys to emulate in the backyard, and simpleton entertainment for message-board mooks to ironically mock. "Wolverine" squeezes the franchise for the basic routines of mutant combat and operatic slashes of betrayal, leaving behind any opportunity to return the series to the intelligent comic book escapism it started out as. Those days are long gone, and now all the franchise wants to do is make noise.

While crippled by severe filmmaking blunders, "Wolverine" remains a sweet piece of hard candy, nourished by an incredibly fluid summer movie pace and an edict that demands an explosion every 15 minutes. Unlikely director Gavin Hood (the sensitive "Tsotsi") is wise to keep the train moving at all costs, trusting sheer velocity might help to counteract the film's enormously inane screenplay. Credited to writers David Benioff and Skip Woods, "Wolverine" is a disaster whenever the characters pipe up, inviting monosyllabic exchanges and verbose, on-the-nose exposition that's completely unnecessary. A visual feast, the film is best communicating through sweaty body language and bountiful special effects, but Hood insists on a running commentary, and it grows progressively more infuriating as the film unspools. The dialogue is either teeming with clichés or insultingly idiotic, at times feeling like the actors are merely reading a transcription of the film's international release subtitles.

Listen, with Jackman oiled up and growly, Schreiber licking his fangs and jagged fingernails, and a host of other mutants scurrying around for screentime (the list includes Blob, Agent Zero, Emma Frost, Cyclops, Bolt, Kestral, the almighty Gambit, Kegel, Fingersnaps, and Peppers - the last three I just made up), do we really need an endless stream of one-liners and overly descriptive monologues to pad the film? "Wolverine" is a wonderfully bright and beautiful picture to watch. The garrulous dialogue just smothers any potential fun. It adds up to clumsy storytelling that kicks the legs out from under the feature.

"Wolverine" is a cluttered film, but it stays moderately focused, primarily due to the raw, knowing performance from Hugh Jackman. This is arguably his greatest screen role, and Jackman appreciates what audiences are dying to see from Wolvie, which includes the adamantium blades, partial nudity, bushy mutton chop sideburns, and a facial gallery of grimaces and grunts. The actor delivers big on the grit of the character, adding a new dimension of breathless betrayal as Wolverine is hit below the belt from all sides in this new adventure. It's a joy to watch Jackman bring the role to life again, and while this is his fourth time with the "X-Men" franchise, the actor seems more energized than ever to wrestle with stuntmen and fly through the air, slicing everything in his path. His gusto is contagious, constantly lending "Wolverine" thunderous highlights it doesn't always earn on its own.

What exactly are Stryker and Victor up to? Well, it all comes down to a mutant brawl on the lip of a nuclear reactor, which perfectly sums up the bigness Hood is searching for and occasionally achieves. Staying true to the title, "X-Men Origins: Wolverine" gives the audience a solid backstory to the character's mutation, his code name, and his lifelong pledge of solitude. There's plenty of action to gorge on too, along with a few surprises for die-hard fans. It's all so plastic and forgettable, but for the 100 claw-popping minutes immersed deep in Wolverine country, the film remains palatable. Heck, if the actors didn't bother to speak at all, I'm convinced there's a masterpiece to be found in here somewhere.

Here is the direct download for the movie X-Men Wolverine.

X-MEN ORGINS WOVERINE NOW AVAILABLE

Here is the summary for the movie X-Men Wolverine from imdb

Wolverine lives a mutant life, seeks revenge against Victor Creed (who will later become Sabretooth) for the death of his girlfriend, and ultimately ends up going through the mutant Weapon X program.

Hugh Jackman reprises the role that made him a superstar as the fierce fighting machine who possesses amazing healing powers, retractable claws and a primal fury. Leading up to the events of X-Men, X-Men Origins: Wolverine tells the story of Wolverine's epically violent and romantic past, his complex relationship with Victor Creed, and the ominous Weapon X program. Along the way, Wolverine encounters many mutants, both familiar and new, including surprise appearances by several legends of the X-Men universe whose appearances in the film series have long been anticipated. [D-Man2010]



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THE MOVIE W NOW AVAILABLE

Here is the summary for the movie W from imdb

A chronicle on the life and presidency of George W. Bush.

Here is a review for the movie W from dvdtalk

A George W. Bush bio-pic in the calloused hands of filmmaker Oliver Stone provides so much promise, it'll make your head throb to simply consider the potential. Would "W." be flat-out character assassination? A screwball farce? A diseased ode to the haunted mind of a controversial president? Turns out, after all the hand-wringing anticipation and peanut gallery predictions of malicious liberal content, "W." is total and utter kitten play; a softball portrait of Bush that resembles more of a nutty community theater production than a typical scorching Stone project. Nevertheless, the unnervingly ordinary path taken by Stone exposes something completely unanticipated: sympathy.

Written by Stanley Weiser ("Wall Street"), "W." isn't structured as a typical bio-pic. Stone goes more for a "greatest hits" assembly, using the dubious planning stages of the Iraq War with confidants Condoleeza Rice (a virtually unrecognizable Thandie Newton), Donald Rumsfeld (Scott Glenn), Karl Rove (Toby Jones), Colin Powell (Jeffrey Wright), and Dick Cheney (Richard Dreyfuss) as the home base of the picture. From there, the narrative bounces throughout time to survey Bush's Yale frat-pledging years, his limited patience with jobs, sating a desire to run a baseball team, the wooing of Laura Bush (Elizabeth Banks), his ascension to Texas leadership, and the feeding of a lifelong combustibility with parents George Sr. (James Cromwell) and Barbara (Ellen Burstyn).

There's no rolling sense of pace holding the film together, instead "W." aims for an episodic approach to hunt a deeper understanding of what demons propelled Bush from a spoiled young man to the presidency. It's one hell of a story, yet Stone seems afraid to get his hands dirty. In 1995's "Nixon," the director found a particular respectful wavelength to approach a poisonous regime, while keeping a dense psychological framework alive even through the most iconic historical situations. "W." doesn't share that same passion. Stone shuffles away from his bag of visual tricks to shoot the picture with startling straightforwardness, eschewing camera pizzazz and editing subtext to stay close to Bush, abandoning all artistic flourishes. It creates an interesting tension at first, especially with so much dead, eerily silent (a minimal amount of music is used for the picture) space allowed for Brolin to deliver career-best work as Bush, but the inertia soon catches up with the film.

Perhaps it's unfair to criticize Stone for his ambivalence toward Bush, yet that very restraint eventually overcomes the film, checking off familiar moments in history (the pretzel choke, the "Mission Accomplished" debacle) with plodding execution. There's no spinning-plate craftsmanship or meticulous political satire to be dissected in the picture, which favors only mild, ineffective comedy with Bush's famously inarticulate ways and grave examination of familial discord.

The roaring, enduring confrontation between Bush Sr. and Bush Jr. is primarily where Stone rests between bouts of historical recreation. This is the psychological meat of the film, presenting Bush's indefatigable attempts to win fatherly approval while fighting the legacy of the Bush name. Bush Jr. was a party boy at heart, apathetic toward responsibility, turning to booze for consolation. "W." turns the president into a sensitive man of perplexed intention, falling into his political successes almost accidentally, hoping only to impress his father. The Shakespearian war of wills between the two Bushes conjures the film's most evocative moments, observing the fragility of Bush Jr. and how it informed his rise to power. Again, Stone treats the man with outrageous kindness when evisceration is certainly easier, spotlighting the vulnerability of Bush to best reassess what has occurred in the country over the last eight years.

Pushed through production this year at a lightning pace, "W." is overlong and winded at 125 minutes, was visibly neutered to meet a PG-13 rating, and lacks a concentrated editorial polish along the lines of Stone's previous motion pictures. It's a messy film of contorted faces and stained lives, but certainly Stone deserves some credit for tackling Bush with such reserve. Assembled from both fact and fiction, "W." doesn't throw the book at George W. Bush; the picture presents a whole new angle to the man that's fascinating to reflect on, trapped in a glacial, flavorless film that undermines such a valiant take on a legendary figure of division.

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WALL-E NOW AVAILABLE

WALL-E NOW AVAILABLE ONLINE

HERE IS THE SUMMARY FOR THE MOVIE WALL-E FROM IMDB

In the distant future, a small waste collecting robot that slowly begins to become sentient inadvertently embarks on a space journey that will ultimately decide the fate of mankind.

HERE IS A REVIEW FOR THE MOVIE WALL-E FROM DVDTALK


Pixar as a formidable storytelling machine is not an entity I'm entirely comfortable with. The studio has turned itself into a faceless animation brand name, and while I can't argue the box office numbers, I'm not buying the artistic results. "Wall-E" is Pixar's biggest creative gamble in over a decade; a genuine cinematic leap of faith. However, the ambition doesn't match the outcome, and while "Wall-E" dances whimsically, it's a plodding, frighteningly hypocritical, and forbidding film that trips over its fogged intentions at every dreary turn.

It's 800 years into the future, and Earth is left in a pile of ruins, with garbage piled as high as skyscrapers and the landscape a sickly shade of brown. The last robot left on the planet is Wall-E, a compactor machine who dutifully carries out his business cleaning up the land while he dreams of companionship, fueled by repetitive screenings of "Hello Dolly" and indulging his childlike curiosity whenever he can. Sent to Earth to retrieve signs of life is Eve, a probe droid who Wall-E is instantly smitten with, and the two form a startling bond. When Eve finds a plant sample on the dead planet, she's snatched back to the pathetic remnants of the human race for questioning, leaving Wall-E ready to hitch a ride off Earth to remain with her.

It's easy to become wrapped up in the light show director Andrew Stanton ("Finding Nemo") fires off with "Wall-E." It's a film seemingly constructed with a mind toward pure simplicity: our hero, Wall-E, is a robot who only speaks in electronic tones, participates in plenty of slapstick inquisitiveness, and all he wants is love. It's a veritable Pixar to-do list of elementary visual gags, and "Wall-E" indulges every scrap of physical comedy available for the first third of the picture (nearly completely free of dialogue), even handing the robot a traditional best pal of sorts in a loyal cockroach. This is the comfortable, reassuring padding that Pixar could accomplish with their eyes closed, with Wall-E decked out in full cute mode to help ease the audience into this bleak, post-apocalyptic world that few G-rated animated projects would dare consider.

Where "Wall-E" heads next is sure to divide audiences. Following Eve into space, Wall-E boards the "Axiom," a huge cruise space ship that's home to the loose ends of the human race. You see, in the 700-years since mankind bolted from Earth, they've evolved into overweight blobs of pudding, nurtured by the Buy-N-Large Corporation who use humans to feed the endless, aggressive cycles of profitable consumption, leaving them helpless and totally enslaved to commercial trends. The human characters are obese nincompoops who've lost the ability to walk eons ago, puttering around on floating chairs waiting impatiently for their next needless desire to be force fed to them by the all-powerful corporate machine.

Here's where I remind everyone this is a Pixar/Disney picture. Pixar/Disney. Decrying greed.

It's a pretty ballsy move to create a film condemning the culture of gluttony and corporate insatiability while indulging in those practices to market a film (kids, make sure to buy a Wall-E toy on the way out!), and it opens a can of worms that Stanton has no idea how to properly sort to dramatic satisfaction. "Wall-E" paints in massive brush strokes, attempting to educate younger audience members with horrific vistas of a polluted, wasted Earth and the overall piggish behavior of the humans, while also making sure Wall-E is endearing enough to use on games, toys, and stuffed animals so all concerned make a mint off of vulnerable family audiences.

If "Wall-E" was a scrappy independent film emerging from, say, the great Ralph Bakshi, the contrast and violent condemnation would've been a total gas. Coming from Pixar/Disney, it feels... discourteous, or, at the very least, corrosive and incompetent. The overall finger of intolerance is wagged with gale force winds here; a fascinating momentum lost on a picture easily 30 minutes overlong. "Wall-E" doesn't have much adventure on its mind, nesting comfortably in the details of cutesy robot behavior and mad lunges toward audience sympathy, but there's no dramatic spine keeping the film a riveting sit. Still, Stanton pushes forward, drawing out Wall-E's lust past the expiration date and into full-out repetition.

I'm the first guy to applaud a Pixar film not entirely swathed in cliché, but the spark of the film is in constant threat of being snuffed out by the habitual elongation of the ice-thin story. I wasn't moved by Wall-E's Chaplinesque mishaps and intergalactic dreams, just agitated that Stanton doesn't take the character past infantilization or offer something more than pratfalls for our hero to undertake. Wall-E's shtick tires quickly.

To some, Wall-E is an adorable character with rich emotional professions, and that's all the cinematic nutrition they need from this picture. I craved that sensation while watching "Wall-E," but it never arrived. Instead I was left bored and insulted by a misguided, preachy film riddled with absurd messages and run into the ground by complete storytelling lethargy. But that Wall-E sure is cute, huh?

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WILD CHILD NOW AVAILABLE

Here is the summary for the movie Wild Child from imdb

Sixteen-year-old Poppy Moore (Emma Roberts) has always got what she wanted and lives a pampered life in her L.A. world. Though she's handed credit cards with unlimited balances and surrounded by countless hangers on, Poppy can't escape the mounting frustration she feels with her family situation and she makes sure everyone knows it. After an over-the-top prank pushes her father (Aidan Quinn) one step too far, Poppy is shipped off to an England/English boarding school.

Finding herself in a foreign world of early curfews, stern matrons, and mandatory lacrosse, the United States|American princess has finally met her match: a school of British girls who won't tolerate her rebellious ways. Under the watchful eye of the school's headmistress (Natasha Richardson) and surrounded by a new circle of friends (Josie, Kate, KiKi & Drippy), Poppy begrudgingly realises her bad-girl behavior will only get her so far. But just because she must grow into a fine young lady doesn't mean this Wild Child won't be spending every waking hour shaking up a very proper system. Poppy Moore starts Abbey Mount as she means to go on-her way,or no way.

Realising her Dad's not coming back to get her, and having nowhere to fit in, room-mate Kate tells Poppy she'll have to get herself expelled. Later that night, Poppy reads a book (Alice In Wonderland - her punishment for fighting) with a lighter when her room-mates sneak up on her with torches, and offer their help. They give their ideas on how she can get expelled, and act on them as a group, and let her take the blame. This brings the girls closer, but Poppy still wants to leave. When none of the plans to get Poppy expelled are working the girls realise they will have to go all out and hit the headmistress closer to home by snogging her son Freddie, which is completely forbidden by the school. After some flirting, Freddie asks Poppy out on a date, during which they kiss. Before going out with Freddie, Poppy is so excited she doesn't log off the computer, and runs off. Harriet takes her revenge on Poppy by rewriting her emails to best friend Ruby, and sticks one on the girls' door, suggesting that Poppy is just using them and is faking the friendship. Harriet also rewrites an email about Freddie, stating Poppy's plan to kiss him only to get expelled and that she thinks he is a loser.

Coming back from her night out, Poppy is ready to confess she's actually happy, to find the girls upset. They read the email to her and leave. Upset, Poppy goes to see Freddie but he has found the email about him also and feels betrayed. Poppy, with no one else to turn to, sneaks down to the cook's room to use the phone and rings Ruby, who it turns out is sleeping. Even more alone, Poppy starts playing with her lighter, setting a curtain alight. Hearing footsteps, she quickly puts out the fire and runs off. A few minutes later, she looks out her window to see a fire, and wakes Kate and the rest of the school. After the fire is put out, Freddie looks at the damage and finds her lighter. He gives it back to her, refusing to listen to what happened. Poppy goes to the headmistress and confesses. Poppy also asks Mrs. Kingsley to give a letter to Freddie apologizing and confessing her feelings about everything.

While waiting for the Honour Court which will decide if she should be expelled, she finds a picture of her Mum and the lacrosse team. Poppy sits with the picture when Freddie finds her crying. After a heart to heart, they are friends again. At the Honour Court, Poppy tells her story while her room-mates find out Poppy was out with Freddie when the email was sent, and Harriet was the only one around. Going to the court,they get the whole school to confess they were present at the fire. Harriet then lets slip about Poppy's lighter being used to start the fire, which only Poppy and Freddie knew about, and accidentally confesses to restarting the fire after Poppy successfully put it out. Poppy is innocent. The movie is left off where Harriet is expelled, and Poppy will remain at Abbey Mount.

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WANTED NOW AVAILABLE

WANTED NOW AVAILABLE ONLINE

HERE IS THE SUMMARY FOR THE MOVIE WANTED FROM IMDB

"Wanted" tells the tale of one apathetic nobody's transformation into an unparalleled enforcer of justice. In 2008, we're introduced to a hero for a new generation: 25 year old employed slacker, WESLEY GIBSON. Wes is the most disaffected, cube-dwelling, clock-punching drone this planet has ever known. His boss chews him out hourly, his girlfriend ignores him routinely, and his life plods on in interminable boredom and routine. Everyone knows this disengaged slacker will amount to absolutely nothing, and so does he, until he meets the sexy, foxy woman named FOX, and then everything changes. Wes' estranged father is murdered, and the deadly Fox recruits him into The Fraternity, a secret society that trains him to avenge his father's death, by unlocking his dormant powers. And oh boy does he have powers, as she teaches Wes how to develop his lightning-quick reflexes and phenomenal agility, he discovers that The Fraternity lives by an ancient, unbreakable code: to carry out the death orders given by emotionless Fate itself. Wes, with his wickedly brilliant and sexy tutor, plus the paternal guidance of The Fraternity's enigmatic leader, SLOAN, young Wes grows to enjoy all the strength and success he ever wanted. But, slowly, he realizes there's more to his dangerous associates than meets the casual eye. And, as he wavers between new found heroism and vengeance, Wes will come to learn what no one can ever teach him; that he alone controls his destiny. Written by Orange

A young man finds out his long lost father is an assassin. And when his father is murdered, the son is recruited into his father's old organization and trained by a man named Sloan to follow in his dad's footsteps.

HERE IS A REVIEW FOR THE MOVIE WANTED FROM DVDTALK

It's not the familiarity that ultimately undoes "Wanted," but its uncharacteristic reserve. A back-flipping action bonanza, "Wanted" is an adult cartoon, taking acts of death-defying stupidity to their most illogical extreme, and that's exactly where this outlandish visual buffet should stay.

Trapped in a dull life with a soul-crushing cubical job, a cheating girlfriend, and no money, Wesley Gibson (James McAvoy) is lost in his own life, unable to claw his way out from underneath his depression. Into his world comes Fox (Angelina Jolie), who takes Wesley to meet Sloan (Morgan Freeman), a secretive man who oversees The Fraternity: a collection of highly-trained, super-human assassins. After learning that his father's death has left him a spot on the team, Wesley reluctantly undergoes tests of strength and endurance, pushing himself to unleash his extraordinary gifts. Now fully settled into his new life as a hunter, Wesley learns some ugly truths about The Fraternity that force him to confront those he trusts most.

"Wanted" is one of those high-octane, fist-pumping, soda-hurling experiences that make summer multiplex entertainment so much fun. Director Timur Bekmambetov assaults the screen with bracing visuals, taking great stock in bullet-time theatrics and CG-enhancements to a point where "Wanted" feels just like an animated movie. It's not an especially intellectual motion picture, but more an optical flame-thrower for the first hour, with the director pulling out all the stops to announce "Wanted" as a film cocked and loaded with exclamation points pointed in all directions.

Betmambetov's previous films, the Russian fantasy two-pack "Night Watch" and "Day Watch," allowed the filmmaker to sharpen his visual effect skills, and all that exhaustive training comes out to play during "Wanted." The film is teeming with Betmambetov fingerprints, from a fixation on uneasy textures to the lawless action, playing acceptably into the director's field of vision. He's having ball with his English-language debut, falling in love with The Fraternity world: the textile factory/slaughterhouse base of operations, the health-replenishing wax baths the assassins take to cure wounds, and the sheer ballet of bloodshed as the warriors engage in hyper-warfare by "curving" bullets and nailing gravity-defying kill shots. It's a tapestry of absurdity, yet the director shapes it into a spellbinding sit for the first hour, gulping down the nonsense with a completely convincing photographic bravado.

Following Wesley as he grows from "Fight Club" mouse to "Matrix" lion is a far more enchanting arc than it has any right to be, if only because Betmambetov keeps the film's outlandishness out in front to stun the viewer, while the rest of the film breakdances like a madman to keep the pace at top speed. The filmmaker is dealing with ridiculously clichéd visual gimmicks, but there's a consistency to "Wanted," a veritable fantasy world created, that helps to swallow the malarkey that's routinely offered by the camera.

Would you believe The Fraternity actually receives their kill assignments from a mystical loom that foretells destinies? It's that level of reality that Betmambetov saves from complete laughter with his visual ferocity.

However, what goes up must come down. Once "Wanted" moves over to the second half, the picture strangely begins to buy into itself, turning an agreeably violent, heavily caloric distraction into a battle of fates as Wesley starts to take his role in The Fraternity very seriously. Once "Wanted" becomes a tale of revenge instead of discovery, the whole film deflates into over-plotted nonsense. The fun is scooped right out of this sucker, replaced with a punishing sense of obligation, where the filmmaker tries to overcome the movie's newfound solemnity with a late-inning presentation of excessive, nasty violence and multiple explosions.

Let's just say the climax of "Wanted" involves epic posturing of familial revenge, a deafening Busby Berkeley-style shoot-out, and an army of lethal rats, their bellies filled with peanut butter and explosives.

It's disappointing that "Wanted" abandons its sense of humor, but that doesn't completely rob the picture of some wildly infectious material. It doesn't maintain its pitch, but "Wanted" is still a rewarding rocket-powered ride of escapism, damn near-perfect lunacy at times.

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