HERE IS EVAN ALMIGHTY GOOD QUALITY

EVAN ALMIGHTY IS NOW AVAILABLE FOR DIRECT DOWNLOAD

HERE IS THE MOVIE EVAN ALMIGHTY ITS STARING STEVE CARELL FROM THE OFFICE AND FROM THE HIT MOVIE THE 40 YEAR OLD VIRGIN VERY FUNNY MOVIE AND SO IS THE STEVE. EVERY SHOW AND MOVIE HE IS IN IS SO FUNNY. THIS ONE HE PLAYS A CONGRESSMAN WHO GETS TOLD BY GOD WHO TOLD JIM CAREY IN THE MOVIE BRUCE ALMIGHTY TO BE HIM WELL THIS TIME GOD TELLS CARELL TO BUILD AN ARK BECAUSE A FLOOD IS COMING IN A FEW WEEKS SO CARELL LAUGHS IT OFF UNTIL THINGS HAPPEN. I WONT SPOIL IT FOR YOU JUST WATCH THE MOVIE ITS VERY FUNNY AND ITS A GREAT MOVIE.

HERE IS THE SUMMARY OF EVAN ALMIGHTY FROM IMDB.

The last time we saw Evan Baxter (Steve Carell), he was being tormented by rival Bruce Nolan onscreen, live from their Buffalo TV station. But as time passed and Evan has made up with Bruce, he's gone onto bigger and better things. Newly elected to Washington D.C. as a congressman, Evan has left Buffalo, New York in pursuit of a greater calling. But that calling isn't serving in the illustrious ranks of America's politics, but being summoned by the Almighty himself (Morgan Freeman), who has handed Evan the task of building a new ark, much as Noah did before. With time passing by and his family belittled by Evan's newfound realization, Evan will have to do the work that God has given him in what promises to be an unusual adventure for a man who just wanted to serve his country, might actually be serving humanity. Written by mystic80

HERE IS A REVIEW OF EVAN ALMIGHTY FROM DVD TALK.

So, yeah, it's a big, bloated, crotch-walloping, slapsticked-into-a-coma, yelly, juvenile piece of family entertainment. But at least it's better than "Bruce Almighty."

Now a congressman, Evan Baxter (Steve Carell) has moved his family (including Lauren Graham) to suburban Virginia to start a new life. Ready to take on the world of politics, Evan is visited by God (Morgan Freeman, having a ball), who informs the phobic congressman that's he should build an ark instead. At first, Evan resists. Yet, when the animals start showing up at his door, the lumber dropped off on his lawn, and cursed with a beard and hair that won't stop growing; Evan realizes he must take the role of Noah and build his mighty boat before a promised flood arrives.

"Bruce Almighty" was one of those unexpected disappointments that makes your stomach hurt. It was Jim Carrey playing God, and the film could only eek out 50% blissfully goofy material. The rest was lost to the winds of shoehorned decency; the film growing a needless heart when it needed to flex its funny bone just a little bit longer.

Yet, it made money. Loads of it. But not enough to entice Carrey to come back. Producers being producers, they inched the franchise over a few feet, and here we have Steve Carell in the biggest role of his rather short-lived screen career. Fortunately, Carell is a natural, lending "Evan" the perfect blast of comedic fury to get the job done.

The gift of Carell's performance is that you believe he believes; even surrounded by a plethora of trained animals and subjected to a torrent of Evan-go-boom physical gags, Carell stays crisply focused and determined. He sells the idea that his character is capable of limitless building capability and is genuinely fearful of God's wrath. He's terrific here. I shudder at the thought of the film without his horn-blare touch.

Returning director Tom Shadyac has improved his serve for this sequel, evening out the balance between slapstick and social conscience for "Evan." The film still features plenty of strained obviousness and poorly implemented morals (perhaps fearing the messages of the movie would be lost in the massive scope), yet "Evan" is a slicker piece of direction, with refreshing concern for pace and timing. It's not crafty, pioneering cinema, but compared to "Bruce," "Evan" is a faster, more confident picture. It knows what pleases the crowds and steamrolls through the fluff briskly.

Now I could've done without the countless animal feces gags, the genital-assault humor, and Shadyac's atrocious ear for "inspirational" music (does the world really need a country cover of "Revolution?"), but I did enjoy this big, dumb family film in a big, dumb way. I was even more impressed how "Evan" turns temporarily into an Irwin Allen disaster film in the final act, using impressive special effects and good old fashioned actorly panic to get some use out of that pesky ark.

As a crowd-pleasing, undemanding matinee diversion, "Evan Almighty" is a far more satisfying production than "Bruce," and that, to me, is a great thing. Even if the nonsense gets under your skin from the first frame, it's hard to ignore that Carell is a natural at this leading man business.

HERE IS THE DIRECT DOWNLOAD FOR THE MOVIE EVAN ALMIGHTY.

HARRY POTTER 5, TRANSFORMERS GREAT COPY, EVAN ALMIGHTY AND A LOT MORE COMING THIS WEEK

THIS WEEK I WILL BE ADDING A LOT MORE OF THE GREAT MOVIES COMING OUT YOU GUYS CAN COMMENT ON WHAT MOVIES YOU WANT ANY TIME OF THE DAY AND I WILL TRY AND FIND THE MOVIE LINK AND PUT IT UP. I THINK SOMETIME TODAY I WILL BE ABLE TO PUT UP TRANSFORMERS TELESYNC WHICH IS ALMOST DVD QUALITY AND IT SHOULD BE A GREAT MOVIE I STILL HAVEN'T SEEN I WILL BE PUTTING UP EVAN ALMIGHTY IN A FEW MINUTES AND WHEN POTTER COMES OUT IN A DAY OR TWO I WILL PUT THAT UP AS WELL AS OTHER HIT BLOCKBUSTERS ALL BEFORE MONDAY THEN I WILL BE ADDING MORE THEN TOO.

JUST IN SNL BEST OF WILL FARRELL

THE BEST OF WILL FARRELL VOL 2 NOW ONLINE
THATS RIGHT ITS THE BEST OF WILL FARRELL VOL 2. ITS ABOUT ALL OF WILL FARRELL'S BEST SKITS FROM SNL.
HERE IS A REVIEW ON THE BEST OF WILL FARRELL FROM DVD TALK.

In 10 Words or Less More of Ferrell's funny stuff

The Show
If you didn't catch the first installment of Will Ferrell's best "Saturday Night Live" performances, you probably won't want this one. I only say that because if you didn't pick up the first volume, you probably don't like Ferrell's comedy. He's simply that good. If you enjoy him, you just can't get enough of him. Lion's Gate has met that demand with a second collection of his SNL exploits. The question asked itself though, what was missing from the first set than could be put in the second?

The DVD
The second volume of the greatness that is Will Ferrell looks much the same as the first disc in terms of layout, with title-themed animated menus that allow you access to a play all option, scene selections and extras. Here's what's in volume two:

George W. Bush: Ferrell's excellent imitation of the Buffoon-in-Chief isn't as funny now, as the country struggles under the real thing. You can still appreciate the talent, even if the subject matter is more depressing than funny. You have to like putting Dick Cheney into the Axis of Evil, though.

Show Your Patriotism (with Sean William Scott): A parody of what was acceptable in the name of patriotism in the wake of 9/11, this look at Ferrell's ass will seer into your brain. It's an excercise in "Ferrell flesh" that repeats itself often. A lowest-common-denominator laugh on a purely physical basis.

The Mark Jensen Family Christmas: SNL's love of the puke pipe shows through in this parody of schmaltzy TV Christmas specials. Not the greatest sketch I've seen, and the puke pipe never works just right. At least it's short.

Dr. Surreal: This is one of the funniest sketches I've ever seen on SNL, and I'm not so sure it's on purpose. Ferrell is a strange doctor giving a couple the runaround when they ask about their baby. The whole scene makes no sense, and becomes funny only when Ferrell and Molly Shannon begin to crack, thanks to a great bit by Tim Meadows.

Janet Reno's Dance Party (with Rudy Giuliani): Ferrell's Vera DeMilo-esque imitation of the former Attorney General, placed in the context of a teen dance TV show, is just ridiculous. When she takes on the former mayor of New York in an impromptu boxing match, it goes to another level of insanity.

Frat Boy Randy Graves: Ferrell's manboy persona takes to Weekend Update to talk about President Clinton's legal troubles. Like the frat boys he is making fun of, the act gets annoying quickly.

The Lov-ahs (with Christopher Walken): This is a good example of Ferrell's sexual intellectual, but disappointingly, this is the same sketch seen on the "The Best of Christopher Walken" DVD. If they aren't going to release season sets, they could at least put out as many different sketches as possible.

Ted Brogan (with Charlie Sheen): Rachel Dratch gives birth to a full-grown man, played by Ferrell. There's only one joke here, and it doesn't stretch out well. On the first DVD, it was included as a small clip (of just the actual birth), which was probably the best way to experience it.

Inside the Actors Studio (with Kate Hudson): James Lipton exercises his interviewing expertise on Drew Barrymore. Ferrell's Lipton is one of his best characters, but Hudson's not a great Barrymore. Thankfully, Ferrell is more than capable of carrying the show.

Mr. Tarkanian (with Pierce Brosnan): With Brosnan on a job interview, he watches his potential new boss abuse his employees. Anyone who has interviewed with one boss, only to work for another will enjoy this one. A bit overdone, but it's fun to watch Ferrell lose it.

VH-1 Storytellers: Ferrell and Kattan are Air Supply, and while singing their new song, they find they share more than just a band. Short and relatively pointless.

Wake Up and Smile (with David Alan Grier): When the teleprompter goes down during a morning chst show, chaos reigns supreme, as they don't know what to do when not told. The de-evolution into a post-apocalyptic nightmare is presented by some lame fake commercials. A funny and dark concept that's done very well.

Bill Brasky (with Alec Baldwin): People exaggerate, but not like Brasky's friends. Drinking like fish, they eulogize the giant, coffin-side. A limited concept and not one of Ferrell's best.

Scene on an Airplane (with Toby Maguire): On Maguire's first flight as a co-pilot, he's stuck with a couple of maniacs who insult and abuse the passengers. This is furious

Robert Goulet (with Alec Baldwin): Ferrell's Goulet is a riot, and now he's playing onstage in "Red Ships of Spain" with his two brothers. It just drags on and on, until it finally ends with a wimper. For big Ferrell or Goulet fans only.

Tough as Nails (with Katie Holmes): Ferrell's a movie actor on the rough end of Holmes' assaults, as she grabs his groin again and again with each take. Low-brow laughs.

The Terry Ganter Family Workout: Running under the credits, this scene features Ferrell as an overexcited exercise-show host who injures himself badly and reacts even worse.

The Quality
No complaints here. The video has excellent color, solid blacks and crisp images, while the audio is good 2.0 Dolby Digital. For a clip job from across nearly a decade of cable TV, it looks and sounds great.

The Extras
An automatic photo album includes behind-the-scenes photos and scene stills, while a pair of cut dress rehearsal scenes show that edits are often made wisely. One is a Terence Maddox photo class that intoduces his arch-nemesis Sebastian Clay (Alec Baldwin). Though promising in context, the comedy is lacking. The other is a "real-life" sketch with Kelsey Grammer and Shaquille O'Neal. It's insane, and probably should have been cut, but it could just as easily have been left in for madness' sake. My life will never be the same after seeing it.

Two Ferrell appearances on Conan O'Brien are also included, which may be the best bits on the disc. In the first clip, he appears as a naughty leprachaun, talking about sexy Irish people, while in the other he talk about his wife's Swedish background. Ferrell's at the top of his game when on Conan, getting very loose and very funny.

The Bottom Line
This could have been a better collection, but the quality of the sketches falls short of Volume One. In fact, the absence of any Jeopardy sketches is a major mark against it. If there were better extras, it would help, but as it is, this is a major mis-step for a line that had been cranking out some excellent DVDs.

HERE IS THE DIRECT DOWNLOAD FOR SNL THE BEST OF WILL FARRELL VOL 2.

HOSTEL PART 2 NOW ONLINE

HOSTEL PART 2 NOW AVAILABLE FOR DIRECT DOWNLOAD

YES ITS THE SEQUEL TO THE VERY VIOLENT MOVIE HOSTEL. I HAVEN'T SEEN IT YET BUT I HEAR ITS A GREAT MOVIE AND EVEN MORE VIOLENT THEN THE FIRST MOVIE.

HERE IS THE SUMMARY OF HOSTEL PART 2 FROM IMDB.

Three female college students take a detour from their partying, enticed by a beautiful European woman who promises seclusion, safety and maybe even romance. What they get is a living hell where they are sold to the highest bidder who's fondest wish is to kill them slowly. Hostel 2 also follows 2 American men who, on the flip side of the coin, are willing to pay to join an exclusive club where a life will end at their hands...any way they like. It's a story of human monsters and the almighty dollar as only Eli Roth could tell it. Written by Paul Nomad of Dreadcentral.com

4 beautiful college students are tricked into entering a hostel where the 'hosts' like to torture, rape and murder. Following a geographical tour of Slovakia, three women are lured into a hostel by a handsome young man who sells them to the twisted masters, who tie them up and bring upon an unthinkable world of pain... Written by Anonymous

Three young college students enter a hostel in Slovakia on the behest of a beautiful Eastern European woman... however, following a festival in the small village in which they are staying, the woman are turned over to a group that allows the highest bidder to kill. Written by Anonymous

HERE IS A REVIEW OF THE MOVIE HOSTEL PART 2 FROM DVDTALK.

If you enjoyed "Hostel," last year's torture-porn hit from Eli Roth, then one school of thought says you're bound to enjoy "Hostel Part II," because it's almost exactly the same movie. Another school of thought, however, doesn't like sequels that are merely repeats of their predecessors. That's the school I go to. Roth, raised on the classic slasher series, pays homage to them by retaining one character from the first "Hostel," only to dispatch him within the first 10 minutes. Now we can REALLY get down to business! The Slovakian recreational facility introduced previously is still operating at full capacity. Here men and women from around the globe can pay thousands of dollars for the privilege of torturing and killing a victim in a controlled environment. The victims, generally young backpackers, are plucked from a nearby hostel. We know this already, and if we didn't, we'd start to suspect it when the ominous music blares in conjunction with the first shot of the hostel. Our heroes this time are female -- see, totally different from the first movie, where the victims were men! -- and are three American art students studying in Rome. Lorna (Heather Matarazzo) is nerdy and spacey; Beth (Lauren German) is a rich, smart brunette; and Whitney (Bijou Phillips) is a temperamental blonde. Through an elaborate and implausible plan involving several people pretending to be unconnected to each other but secretly working in tandem, the three girls wind up in Slovakia just in time for the Harvest Fair! And that's where they get abducted. The lesson? Never trust strangers. Also, possibly: Never go to Slovakia during the Harvest Fair. It's like the Eastern European version of Mardi Gras. One thing the sequel does that the first film didn't is introduce us to the torturers, who previously were just nameless sadists. Here they are Todd (Richard Burgi) and Stuart (Roger Bart), both American businessmen. Todd is a testosterone-fueled wannabe tough guy, while Stuart is a pushover who's having second thoughts. The reason you go to a movie like this, of course, is for the thrill of seeing the gruesome violence. In that regard, "Hostel Part II" is both better and worse than its predecessor. There seem to be fewer torture scenes this time around: just one major sequence, really, with a few abbreviated glimpses of others. But what we do see feels, at least to my memory (I have not re-watched the first "Hostel"), to be more distasteful and "offensive," though I realize that word takes on a different meaning in a film where the whole point is to be offensive. Roth breaks one of the unwritten rules of horror films by allowing a child -- a little boy about 8 years old -- to be murdered. It's not shown graphically, but it's there. Do we admire the filmmaker for going against the norm? Or do we point out that it doesn't really take any courage or vision to break a rule like that -- that Roth probably did it just for the sake of doing it? A nude woman sits in a tub and slices open the live nude woman hanging upside-down above her and bathes erotically in her blood. A man's genitals, fully visible to us, are cut off and disposed of. Both of these are unpleasant to watch, but as I said, that's the whole idea. My observation is that if this kind of content doesn't warrant an NC-17 rating, then apparently it is impossible to get an NC-17 rating for violence. Sex, sure. If the torturer had touched that man's penis with anything other than a pair of scissors, that would have been sex, and then the MPAA would have been horrified and given it an NC-17. But since it was only violence, well, hey, there's nothing wrong with that! We'll give it an R, the same rating we gave "Pretty Woman," "Rain Man," "Billy Elliot," and "The Matrix"! But anyway. The MPAA's flagrant and sustained incompetence is a matter for another time. Is "Hostel Part II" any good? Roth's sense of humor is evident in a few instances (though the dialogue lacks the spark of the first film, or of his previous "Cabin Fever"), and he can build tension when he wants to. The problem here is that he usually doesn't want to. There's no suspense over who will wind up in the torture factory, and only a few mild surprises with regard to who lives and who dies and who does the killing. It is little more than a retread of the previous film, which makes it lazy on top of everything else.
HERE IS THE DIRECT DOWNLOAD FOR THE MOVIE HOSTEL PART 2 1 OF 4

HERE IS THE DIRECT DOWNLOAD FOR THE MOVIE HOSTEL PART 2 2 OF 4

HERE IS THE DIRECT DOWNLOAD FOR THE MOVIE HOSTEL PART 2 3 OF 4

HERE IS THE DIRECT DOWNLOAD FOR THE MOVIE HOSTEL PART 2 4 OF 4

BREAKING NEWS: TRANSFORMERS IS AVAILABLE ONLINE AND RIGHT HERE

TRANSFORMERS THE MOVIE NOW AVAILABLE ONLINE

THATS RIGHT HERE IS THE MOVIE TRANSFORMERS 2007 THOUGH RIGHT NOW THE VIDEO QUALITY IS NOT GREAT BUT IN A WEEK OR LESS I SHOULD HAVE A GREAT COPY THAT WILL BE AVAILABLE HERE.

HERE IS SOME INFO ON THE MOVIE FROM IMDB AND A FEW OTHER SITES.

A long time ago, far away on the planet of Cybertron, a war was being waged between the noble Autobots (led by the wise Optimus Prime) and the devious Decepticons (commanded by the dreaded Megatron) for control over the Allspark, a mystical talisman that would grant unlimited power to whoever possessed it. The Autobots managed to smuggle the Allspark off the planet, but Megatron blasted off in search of it. He eventually tracked it to the planet of Earth (circa 1850), but his reckless desire for power sent him right into the Arctic Ocean, and the sheer cold forced him into a paralyzed state. His body was later found by Captain Archibald Witwicky, and before going into a comatose state Megatron used the last of his energy to engrave a map, showing the location of the Allspark, into the Captain's glasses, and send a transmission to Cybertron. He is then carted away by the Captain's ship. A century later, Sam Witwicky, nicknamed Spike by his friends, buys his first car. To his shock, he discovers it to be Bumblebee, an Autobot in disguise who is to protect Spike, as he bears the Captain's glasses and the map carved on them. But Bumblebee is not the only Transformer to have arrived on Earth - in the desert of Qatar, the Decepticons Blackout and Scorponok attack a U.S. military base, causing the Pentagon to send their special Sector Seven agents to capture all "specimens of this alien race," and Spike and his girlfriend Mikaela find themselves in the middle of a grand battle between the Autobots and the Decepticons, stretching from Hoover Dam all the way to Los Angeles. Meanwhile, within the depths of the Pentagon, the cryogenically stored form of Megatron awakens... Written by Sivaji IMDBoss

High-school student Sam Witwicky buys his first car, who is actually the Autobot Bumblebee. Bumblebee defends Sam and his girlfriend Mikaela Banes from the Decepticon Barricade, before the other Autobots arrive on Earth. They are searching for the Allspark, and the war on Earth heats up as the Decepticons attack a United States military base in Qatar. Sam and Mikaela are taken by the top-secret agency Sector 7 to help stop the Decepticons, but when they learn the agency also intends to destroy the Autobots, they formulate their own plan to save the world. Written by BRUTICUS!

HERE ARE THE DIRECT DOWNLOADS TO THE MOVIE THE QUALITY IS NOT THAT
GOOD BUT THIS AN EARLY RELEASE SO PRETTY SOON THEY WILL HAVE A BETTER
ON WHICH I WILL UPDATE WITH.

CLICK HERE FOR PART 1 OF 3 OF THE TRANSFORMERS 2007 MOVIE.

CLICK HERE FOR PART 2 OF 3 OF THE TRANSFORMERS 2007 MOVIE.

CLICK HERE FOR PART 3 OF 3 OF THE TRANSFORMERS 2007 MOVIE.

UPDATE I WILL POST NEWER BETTER QUALITY ONE IN A FEW DAYS.

EVEN BETTER UPDATE: TOMORROW I SHOULD HAVE A BETTER VERSION OUT ON HERE IT SHOULD BE A 8.0 QUALITY OR SO SAYS VCDQUALITY SO STAY TUNED.

FANTASTIC FOUR 2 THE RISE OF THE SILVER SURFER NOW ONLINE

FANTASTIC FOUR 2 NOW AVAILABLE FOR DIRECT DOWNLOAD

THATS RIGHT THE MOVIE THAT IS THE SEQUEL OF FANTASTIC FOUR IS BACK AND THIS TIME THEY HAVE TWO ENEMIES ONE IS THE SILVER SURFER AND THE OTHER IS A FOE THAT THEY THOUGHT WAS LONG DEAD BUT YOU WILL HAVE TO WATCH THE MOVIE TO FIND OUT WHO HE/SHE IS.


HERE IS THE SUMMARY OF THE MOVIE FANTASTIC FOUR 2 FROM IMDB.

With Von Doom back in his homeland of Latveria the fantastic four have new troubles when Galactus has decided that Earth is his next target. When his henchman, The Silver Surfer (Norrin Radd), is sent to Earth he discovers that he's getting more than he bargained for when he encounters the Fantastic Four. But that's not all when Dr. Doom decides that after two years in the homeland he is ready to return. Written by Gharrett Favinger

Everything seems to be going great for the Fantastic Four. Reed and Sue are finally getting married, and things couldn't seem better. However, when the mysterious Silver Surfer crashes things, they learn that they will have to deal with an old foe, and the powerful planet eating "Gah Lak Tus." Written by Joshua Beltran

HERE IS A REVIEW OF THE MOVIE FANTASTIC FOUR 2 FROM DVDTALK.

As far as "sequels to bad movies that no one wanted to see a sequel to" go, "Fantastic Four: Rise of the Silver Surfer" isn't bad. It's a vast improvement over 2005's laughably dim-witted superhero tale, though it still lacks any major high-stakes excitement or surprises. In fact, it's still not very good at all. But at least it's not aggressively stupid! Baby steps, people.

Again directed by Tim Story, who apparently can never turn off the light touch he exercised on the comedies "Barbershop" and "Taxi," even when he should, the sequel begins with Reed Richards (Ioan Gruffudd) and Sue Storm (Jessica Alba) preparing to marry. The Fantastic Four are media celebrities, though, and they live under constant scrutiny, making a private wedding hard to plan. Plus, they're always being pulled away to save the world and whatnot.

Sue, who can turn invisible and make forcefields, wonders if she and Reed and can raise a family under these circumstances. Reed, whose body can stretch unbreakably in any direction, has a hard time getting out of scientist mode and cutting loose. Sue's brother, Johnny (Chris Evans), uses his fame to date supermodels and secure endorsement deals. In fact, call him John: "Focus-testing showed that 'Johnny' skewed a little young," he says. And Ben Grimm (Michael Chiklis), made of rocks and empowered with mighty clobbering capabilities, um, has a girlfriend. That's sort of all that's going on with him.

Into this mildly interesting realm of vague tension comes something slightly more dire: THE WORLD IS GOING TO BE DESTROYED! But don't worry, not yet. In a few days. See, there's this alien being called the Silver Surfer (body of Doug Jones; voice of Laurence Fishburne) who can move through solid things and change matter on a molecular level, and he has a pattern of going from planet to planet, and after he arrives at a planet, eight days later it's toast. So, you know, they'll need to stop him.

(By the way, the Silver Surfer character first appeared in the "Fantastic Four" comic books in 1966. I assume it happened because Stan Lee said, "Hey, you know what the kids are into these days? Surfing! Somebody work on that!")

But what about Victor Von Doom (Julian McMahon), the Four's archenemy, you ask? Turns out he's not as dead as he was believed to be, and now, thanks to his possessing exactly one piece of useful information about the Silver Surfer, the U.S. military is letting him work with the Four on developing a plan to stop the madness. Naturally, he has a double-cross in mind.

The screenplay is by Mark Frost, who cowrote the last one, and Don Payne, who wrote "My Super Ex-Girlfriend." That movie wasn't very good, either, but it had its moments, and bringing Payne onboard puts the "Fantastic Four" on the right track. There are some actual laughs in "Rise of the Silver Surfer," mostly situational, as the superheroes deal with using their powers in an ordinary world. The "Spider-Man" films, in particular, have shown how to mix the comic and dramatic in a superhero story, and it goes a long way toward making your audience feel connected to your characters.

So now that the humor angle is covered, what this franchise needs is to figure out how to raise the stakes and be deeply serious when deep seriousness is called for. Despite the fate of the world being threatened, nothing in the film ever feels tense or important. There are no epic battles, no real life-or-death scenarios. It could easily be a two-part episode of a "Fantastic Four" TV series -- and a blockbuster summer action movie ought to be much more intense than that. These flat, emotionless characters just aren't going to cut it.

HERE IS THE DIRECT DOWNLOAD FOR FANTASTIC FOUR 2 PART 1 OF 2

HERE IS THE DIRECT DOWNLOAD FOR FANTASTIC FOUR 2 PART 2 OF 2.

NEW MOVIE JUST IN THE DEVIL WEARS PRADA

NEW MOVIE THE DEVIL WEARS PRADA NOW ONLINE

JUST IN WE HAVE THE MOVIE DEVIL WEARS PRADA STARING PRINCESS DIARIES STAR ANNE HATHAWAY AND MERYL STREEP AND SHE PLAYS THE VILLIAN IN THE STORY.

HERE IS THE SUMMARY OF THE DEVIL WEARS PRADA BY IMDB.

In New York, the simple and naive just-graduated in journalism Andrea Sachs is hired to work as the second assistant of the powerful and sophisticated Miranda Priestly, the ruthless and merciless executive of the Runway fashion magazine. Andrea dreams to become a journalist and faces the opportunity as a temporary professional challenge. The first assistant Emily advises Andrea about the behavior and preferences of their cruel boss, and the stylist Nigel helps Andrea to dress more adequately for the environment. Andrea changes her attitude and behavior, affecting her private life and the relationship with her boyfriend Nate, her family and friends. In the end, Andrea learns that life is made of choices. Written by Claudio Carvalho, Rio de Janeiro, Brazil

The story tells the professional adventure of Andrea, whose greatest dream is to become a journalist. Andrea gets a job in the fashion industry through Runway magazine, the most famous of its type, to make ends meet. But Andrea won't develop her writing skills in the magazine, but her talents as the editor in chief's assistant, Miranda. The problem is that Miranda is a merciless, posh and cruel woman, making the experience a living hell for the girl. The environment in the place will be cold and extremely critical with the physical appearance. The girl will have to change her simple and plain style, for a more trendy and elegant one, in order to gain the acceptance of her ruthless boss and colleagues, specially Emily, her unpleasant workmate. Despite everything against Andrea in the office, she will consider the experience as a challenge, drastically changing her clothes and self-image, with the help of Nigel, the magazine's art director. Nevertheless, the job becomes extremely demanding, because of Miranda's tough work rhythm and nearly impossible tasks, leaving Andrea without a private life with her boyfriend, family and friends. Maybe the old Andrea has gone, now more preoccupied about her image and her future in the magazine. Written by Alejandro Frias

Miranda Priestley, of "Runway" magazine tears up the landscape as a demanding fashion editor. She is a terror to everyone who is around her as is quickly depicted in the opening scenes of the movie. Her first assistant strives to please her and tries to emulate her, but one can sense that she is not quite as hard as she tries to put on. Into this mix comes a young woman who knows nothing of the fashion industry, has never read the magazine, and doesn't know who Miranda Priestley is. She only sees this as a stepping stone to another journalism position. Showing no fashion sense and immediately scorned by everyone, Miranda nonetheless hires her as the second assistant. When Miranda demands that she obtain the next unpublished Harry Potter manuscript, you can sense that she is trying to force her to quit, but it makes the young woman dig in to please her boss. With the help of one of the magazine's fashion editors, she gets a complete makeover and a new security. However, with her new appearance and the demands placed on her, she starts to lose her friends, family and her live-in boy friend. As she is whisked away to Paris with Miranda and faces all of the glamor that could be hers, including a flashy if not artificial freelance journalist, she is forced to make the decision of where she wants to be in her life. Written by John Sacksteder {jsackste@bellsouth.net}

HERE IS A REVIEW FROM DVD TALK ON THE MOVIE THE DEVIL WEARS PRADA.

The Movie

Talk about defying expectations � I sat down earlier this year to watch The Devil Wears Prada fully anticipating that I'd be bored out of my mind by this chick-lit adaptation. Was I ever wrong: Meryl Streep delivered a performance that had people talking Oscar in June, director David Frankel (who cut his teeth on several HBO series, including "Entourage" and - you guessed it - "Sex and the City") somehow managed to make this fluffy dramedy about couture seem effortless and actually engage this reviewer, who could care about who's wearing what and even elicit a scene-stealing performance from the terrific Emily Blunt, who more or less thieved The Devil Wears Prada right out from under Anne Hathaway's nose.

If nothing else, The Devil Wears Prada was a light-as-air antidote to the humdrum sequel-infested summer, a breezy, date night cinch that actually holds up upon repeated viewings, proving that screenwriter Aline Brosh McKenna did a very solid job extracting the humanity from Lauren Weisberger's acclaimed roman-a-clef about her tour of duty with Vogue magazine's editatrix Anna Wintour (upon whom Streep may or may not have based her character, wink wink, nudge nudge). And again, upon revisiting the film for this review, it's clear that Streep, at the very least, should be considered a dark horse Oscar candidate for a deeply human portrayal that, in lesser hands, would've been the unpleasant caricature of a stone-cold bitch.

Hathaway stars as perky, idealistic J-school grad Andrea (Andy for short) Sachs, who's landed in New York City with ambitions towards a career in the world of magazine journalism � a slight detour is in order, however, as Andy finds herself serving as an assistant to Miranda Priestly (Streep), one of the most feared and respected editors in the business. As her haughty co-worker Emily (Blunt) informs her, if she can last a year with Miranda, Andy can land a job at any magazine she chooses. Disgusted with the uptight, glitz-obsessed world of fashion but determined to stick it out, Andy desperately tries to hold on � not only to her job, but also her sense of self, as she slips ever deeper into the seductive, glamorous world of haute couture. Her boyfriend Nate ("Entourage" star Adrian Grenier) feels her job is changing her while Nigel (a fantastic Stanley Tucci), Miranda's right-hand man, encourages the young woman to embrace her sense of adventure. Building to a poignant climax at the height of the Paris showcases, The Devil Wears Prada has some bittersweet reality to mix in with its flighty fantasies, underscoring that success very nearly always comes at a heavy price.

I can't really underscore enough just how much fun and how touching The Devil Wears Prada really is � aside from Streep's commanding, humanistic performance as the iron maiden of magazines, much of the cast makes this film soar; arguably, the one weak link would be Hathaway herself. While she makes for a convincing clothes horse, Hathaway can't really handle the shifts in tone from bubbly to sober � surprising, considering that her work in Brokeback Mountain was some of her strongest to date and called upon her to tap into a much more difficult range of emotions. Nevertheless, The Devil Wears Prada is an effervescent delight, a film that will surprise you and deliver one of the year's most rewarding entertainments. Remember, you can't always judge a magazine by its cover.

The DVD

The Video:

The Devil Wears Prada arrives on DVD sporting a very clean, crisp 2.35:1 anamorphic widescreen transfer � colors are vivid and rich, blacks are inky and sharpness is excellent. There were a few instances of video noise and a little smearing, but this is quite likely due to the fact that Fox provided a check disc for review rather than final product. Should any significant video issues arise once I've assessed the final retail version, I'll amend my review accordingly.

The Audio:

The well-chosen pop songs and atmospheric city streets provide plenty of work for this lively Dolby Digital 5.1 soundtrack � dialogue is heard clearly and without distortion, while the immersive New York City and Paris scenes feel vibrant. A French Dolby 2.0 stereo soundtrack and a Spanish Dolby 2.0 stereo soundtrack, with optional English and Spanish subtitles, is also available.

The Extras:

20th Century Fox serves up a sizable helping of supplements that are Devilishly enjoyable: an overstuffed commentary track featuring Frankel, producer Wendy Finerman, costume designer Patricia Field, screenwriter Aline Brosh McKenna, editor Mark Livolsi and director of photography Florian Ballhaus kicks things off � it's an appropriately chatty, light listen, with plenty of information and camaraderie; it's clear these filmmakers had a great time putting this project together. Five featurettes � the 12 minute, two second "The Trip to the Big Screen"; the six minute, 25 second "NYC and Fashion"; the eight minute, 45 second "Fashion Visionary: Patricia Field"; the two minute, 53 second "Getting Valentino" and the two minute, 36 second "Boss From Hell" � cover everything from adapting a novel to film and the dazzling array of costumes to New York City's relationship with the fashion industry and securing the climactic locations in Paris. Fifteen deleted scenes, all presented in anamorphic widescreen and Dolby Digital 5.1 or with optional Frankel/Livolsi commentary, are included, playable separately or all together for an aggregate of 21 minutes, 35 seconds. A mildly amusing five minute, nine second gag reel, also presented in anamorphic widescreen and Dolby Digital 5.1, is here with trailers for The Devil Wears Prada and The Illusionist, TV spots for The Family Stone and In Her Shoes and a promo for The Devil Wears Prada soundtrack completing the disc.

Final Thoughts:

The Devil Wears Prada is an effervescent delight, a film that will surprise you and deliver one of the year's most rewarding entertainments. It features a few tremendous performances � a sure-to-be-nominated Meryl Streep, a scene-stealing Emily Blunt and a fantastic Stanley Tucci. Remember, you can't always judge a magazine by its cover. Highly recommended.

HERE IS THE DIRECT DOWNLOAD TO THE MOVIE THE DEVIL WEARS PRADA.

HERE IS AN ARTICLE FROM DIGITALTRENDS ABOUT E3 DAY ONE

METAL GEAR SOLID 4 SWERVES INTO FIRST PLACE AT E3

Coverage of Konami's Metal Gear offerings at E3, as provided by DT's on-the-floor guy Tim Stevens.

Metal Gear has always been one of Konami's most important properties. It started out in 1987 with the classic first title on the NES, and since then has ballooned into a hugely popular franchise thanks to the Metal Gear Solid games. In the past few years Konami has started a tradition, showing some flashy new Metal Gear Solid trailer at each E3, a trailer that will attract hundreds to their booth whenever it rolls, and this year is absolutely no different.

The big news this year is of course Metal Gear Solid 4: Guns of the Patriots. Set sometime after the events of Metal Gear Solid 2: Sons of Liberty,MGS4 takes place in a bleak future, where war is waged for countries by third-party corporations. Only hints of storyline have been revealed at this point, but by the sounds of things an alliance of those third-party corporations has risen up to threaten the world, and playing as an older, grayer Snake (as well as possibly a few other characters), you'll be called upon to stop that threat.

The game is not playable yet, but the thrilling and lengthy trailer shows off some very impressive graphics, all purportedly rendered in real-time by the PS3. An action-packed sword-fight featuring Raiden from MGS2 taking down a hoard of walking tanks is about as intense a moment ever depicted in videogames, and the trailer also features some of series producer Hideo Kojima's patented humor.

But, this was far from the only Metal Gear-related item at the show. Konami is also launching the first proper Metal Gear Solid title on the PSP, called Portable Ops. The Acid games on the PSP have been fun, but haven't done much for gamers craving traditional Metal Gear-style action. Portable Ops takes place between the latest Metal Gear title, Snake Eater, and the original, helping to fill in some of the questions raised there. (You can see sample screens here and here.)

Additionally, Konami will be launching an interesting project called simply Metal Gear Solid: Digital Graphic Novel. This is basically the story of Metal Gear Solid told via comic book on UMD, merging simple animations and great sound effects with a gorgeous, hand-drawn look. It's an odd concept, and one that sounds like a bad idea, but when you see it in motion it's actually very compelling.

The UMD comic will be out this June, while you'll have to wait until sometime this winter for Portable Ops. As far as Metal Gear Solid 4 goes, all we know is to expect a release sometime in 2007.

SHREK THE THIRD NOW ONLINE

SHREK THE THIRD NOW AVAILABLE ONLINE FOR DIRECT DOWNLOAD

THATS RIGHT ITS THE 3 MOVIE OF THE HIT MOVIE SHREK. IT STARS MICHAEL MYERS AND CAMERON DIAZ AS OGORES.

HERE IS THE SUMMARY OF SHREK THE THIRD FROM IMDB.

When his new father-in-law, King Harold falls ill, Shrek is looked at as the heir to the land of Far, Far Away. Not one to give up his beloved swamp, Shrek recruits his friends Donkey and Puss in Boots to install the rebellious Artie as the new king. Princess Fiona, however, rallies a band of royal girlfriends to fend off a coup d'etat by the jilted Prince Charming.

HERE IS A REVIEW FROM DVDTALK ON THE MOVIE SHREK THE THIRD.

The cast of characters continues to expand in "Shrek the Third," the latest rowdy adventure in the ever-amusing fairy-tale-spoof series. A petulant young King Arthur and a baffled old Merlin are among the new arrivals, while princesses such as Snow White and Rapunzel -- previously referred to but not given much screen time -- get a chance to demonstrate their unique skill sets. (We knew Snow White could summon birds with her voice. Who knew she could make them attack by singing Led Zeppelin's "Immigrant Song"?)

This outing looks toward the next generation, as Far Far Away's King Harold (John Cleese) is dying, and he's named Shrek (Mike Myers) as his heir. The ogre doesn't want the gig, though, and defers to Plan B: a royal nephew named Arthur (Justin Timberlake) who is presently a gawky teenager who gets picked on even by the Dungeons & Dragons geeks. (Shouldn't there be a joke about playing Dungeons & Dragons at a time when there really ARE dungeons and dragons?) Artie doesn't want the job either, once he learns how hard it is, so Shrek has to persuade him, lest he be saddled with it himself.

Meanwhile, Shrek's beloved wife Fiona (Cameron Diaz) is pregnant, sending more ripples of panic into Shrek's green heart. Ogres aren't known for their nurturing, fatherly attributes, after all. Sure, Donkey (Eddie Murphy) and the dragon have spawned a litter of happy, if horrifyingly freakish, donkey-dragon hybrids. But is there any hope for a pair of swamp-dwelling ogres?

Meanwhile (there is a lot of meanwhile in this movie), Prince Charming (Rupert Everett) is enduring nightly humiliation playing himself in a bad dinner theater play. Determined to seize the throne once and for all, he rallies all the other fictional losers -- Captain Hook, Snow White's wicked queen, various witches, and so forth -- and stages a coup while Shrek, Donkey, and Puss-in-Boots (Antonio Banderas) are off looking for Arthur. Fiona, Queen Lillian (Julie Andrews), and their bickering princess girlfriends are tossed into prison.

One of the few film franchises to retain a high level of quality even on the third outing, "Shrek the Third" is loaded as ever with anachronism-based jokes, raucous parodies, and good old-fashioned silliness. It's fast becoming a "Simpsons"-like universe, where any member of the huge cast of characters can get a laugh just by delivering one line. Puss-in-Boots, the great discovery in "Shrek 2," is used (but not overused!) to great effect here, and the Gingerbread Man (Conrad Vernon) has some of the film's funniest non-sequitur moments. (You have not truly lived until you have seen a Gingerbread Man's life flash before his eyes.) Likewise, there are winning cameos from the Three Pigs, Pinocchio, the apple-throwing "Wizard of Oz" trees, and a host of other familiar characters.

That said, it could be that the film (directed by regular "Shrek" contributors Chris Miller and Raman Hui, and written by a gaggle of scribes) emphasizes the auxiliary characters at the expense of the central ones. Fiona, for example, feels like a non-entity in this chapter. That's a shame, considering her relationship with Shrek was the central element of the first two films.

Furthermore, several of the movie's funniest elements -- such as Arthur's high school, where teens talk in a mix of King James English and modern slang, and the gaggle of diva-like princesses (voiced by various "SNL" alum, plus Amy Sedaris) -- are gone before they've fully lived up to their comedic potential. And why go to the trouble of hiring Ian McShane (the terrifying villain on HBO's "Deadwood") to play Captain Hook if you're only going to give him a few lines?

On the whole, there's not nearly as much depth of emotion here as there was in the previous installments. Shrek is supposed to be the giant monster with a soft heart, and while he's as lovable as ever, here the "tender" moments -- as when he mentors young Arthur -- feel obligatory. Which is a fancy way of saying the movie focuses more on laughs than on feelings, which probably won't register as a very serious complaint.

Nor should it, really. It means the film doesn't resonate as a classic, that's all. For giddy, rude, daffy humor, it works just fine. Because really, once you've seen a chorus of frogs singing Paul McCartney's "Live and Let Die" at the funeral for their king, whose body is in a shoebox floating away on a lily pad, what else do you need?

HERE IS THE DIRECT DOWNLOAD FOR THE MOVIE SHREK THE THIRD 1 OF 4.

HERE IS THE DIRECT DOWNLOAD FOR THE MOVIE SHREK THE THIRD 2 OF 4.

HERE IS THE DIRECT DOWNLOAD FOR THE MOVIE SHREK THE THIRD 3 OF 4.

HERE IS THE DIRECT DOWNLOAD FOR THE MOVIE SHREK THE THIRD 4 OF 4.

BOURNE SUPREMACY IS NOW ONLINE

THE BOURNE SUPREMACY NOW AVAILABLE FOR DIRECT DOWNLOAD
WE JUST BROUGHT YOU BOURNE IDENTITY WELL NOW WE BRING YOU THE SEQUEL TO THE BLOCKBUSTER IN THE BOURNE SUPREMACY. JASON BOURNE IS BACK FOR THE SEQUEL AND THAT MEANS IT IS MORE VIOLENT THEN THE FIRST AND I HEAR ITS JUST AS GOOD OR BETTER THEN BOURNE IDENTITY.
HERE IS THE IMDB SUMMARY OF THE BOURNE SUPREMACY.

When a CIA operation to purchase classified Russian documents is blown by a rival agent--who then shows up in the sleepy seaside village where Bourne (Damon) and Marie (Potente) have been living under assumed names--the pair collapse their lives and head out. Bourne, who promised retaliation should anyone from his former life attempt contact, is forced to once again take up his life as a trained assassin to survive. Written by IMDb Editors

Pamela Landy is conducting an operation to find a rogue CIA agent but something goes wrong and her investigation leads her to Treadstone, the group whose members included Jason Bourne, she even finds evidence that Bourne is behind what happened to her operation. But in reality Bourne has been trying to put his life as a CIA man behind him and remember his past with help from Marie. But someone tries to kill him but gets Marie instead. So Bourne sets out on his vow to go after them if they came after him. At the same time, Landy is trying to get Bourne. When Landy and Bourne talk on the phone, he reveals that he was nowhere near her operation and she says that no one is after him. So it must mean that someone else is after him and behind what happened to Landy's operation. Written by rcs0411@yahoo.com

HERE IS A REVIEW FROM DVDTALK ON THE MOVIE THE BOURNE SUPREMACY.
The Movie:

"Who's giving him targets now?" "Scary version? He is."


"The Bourne Identity" became a surprise hit in the Summer of 2002, as it offered a thriller that boasted well-defined characters, a strong plot and an unexpectedly solid performance by Matt Damon, who I don't think anyone would have thought of as an action hero. Doug Liman, who had previously directed the slick smaller films "Swingers" and "Go", also was an unexpected success, shuttling the action along at a rapid pace and also, giving fine balance to the characters and thrills.

At the end of the film, Bourne had found love in Marie Kreutz (Franka Potente), who earlier had accepted Bourne's offer of $20,000 to drive him out of danger. As the second film opens, the two have settled down together and despite some surface assurances that the worst has ended, it isn't over. Another killer (Karl Urban) is tracking Bourne, and, around the same time, Bourne is framed for a crime involving the CIA that he didn't commit.

Despite Bourne's warnings to the CIA in the first picture that he'd come after them if they came after him, the CIA comes back in the picture, lead by Pamela Landy (Joan Allen) and Bourne's old boss, Ward Abbott (Brian Cox). Thinking that the CIA is responsible, Bourne strikes back, with the kind of swiftness and force that his warning in the first film carried. There is, however, an event early in the story regarding a character that is handled so abruptly that it took me out of the film for a little while.

Director Doug Liman did not come back for this time (after problems with the studio on the first film, he returns as a producer here only), although the screenplay has once again been adapted by Tony Gilroy from Robert Ludlum's novel. Director Paul Greengrass, whose tragic and powerful "Bloody Sunday" impressed me, takes over the helm this time around. Where Liman was swift and slick, Greengrass is relentless in his persuit of the action, trying to literally put the audience into the experience of the characters. Both approaches are perfectly fine, although Greengrass's efforts are going to work for some and be too dizzying for others. Personally, I thought it added to the urgency of most of the movie, but took away from a fight scene that seemed too shaky.

Also back from the original film are cinematographer Oliver Wood and composer James Powell, whose propulsive themes (one of my favorite scores of the year, it's somewhat similar to that of the first film) push the movie forward with great intensity. The film's action scenes snap and crackle - despite one that seemed a little too hand-held for it's own good, the action sequences (such as the major car chase) seem fast and chaotic, yet still well choreographed.

The performances are also good. Joan Allen is an excellent actress, but still an inspired, unexpected choice as the CIA operative after Bourne. She provides a stern, convincing performance that I liked a lot. Damon is once again an excellent, quiet spy - the performance isn't showy and Damon's performance says a lot with or without dialogue. The supporting performances are solid, as well.

Overall, I think "Supremacy" doesn't quite match the heights of "Identity", but it's a solid sequel that is smart, exciting and nearly always involving.


The DVD

VIDEO: "The Bourne Supremacy" is presented by Universal in 2.35:1 anamorphic widescreen. Picture quality is mostly first rate, although there's the occasional fault that keeps this from being a flawless effort. Sharpness and detail seemed solid for the majority of the film, although the occasional wide shot and a couple of chaotic moments looked slightly softer in comparison. Most scenes, though, looked crystal clear, with fine details visible.

The picture does show some faults - brief, slight traces of pixelation are glimpsed on a couple of occasions. Light edge enhancement also shows up at times, but it's not distracting. Some slight grain - an intentional element of the photography - is also present at times. The print used looked to be in fine condition, with no specks, marks or other signs of wear. The film's steely, cool color palette looked accurately rendered here, with no smearing or other faults. Flesh tones looked accurate, while black level looked solid.

SOUND: "The Bourne Supremacy" is presented by Universal in Dolby Digital 5.1. Despite being a fairly dialogue-driven film at times, there's elements that really push this soundtrack rather hard. Powell's score is often thunderous, and fully engulfs the viewer. The score really hits hard, sounding full and rich. It also gives a real tension, energy and atmosphere to the film. Surrounds aren't always on, but they do offer some effective sound effects in the action sequences and solid ambience in other sequences.

EXTRAS: Director Paul Greengrass goes solo for an audio commentary on the film. The commentary has some slow moments and Greengrass spends some time narrating the story, but when he does get going, he does do a fine job explaining some of his choices on the look and feel of the film. We also learn more about the production and hear some enjoyable behind-the-scenes tidbits.

Next is about 7 minutes of deleted scenes. Offered without any optional commentary, these scenes offer some fairly interesting moments, but weren't really necessary in the film. "Matching Identities" is a 5-minute look at the casting of the film. "Keeping It Real" is a 5-minute look at the "realistic" feel and visual style of the film. "Blowing Things Up" is a 4-minute look at an explosion sequence and the production behind the scene. "On The Move" is a nearly 5-minute look at the locations.

"Bourne To Be Wild" (geez, who named the featurettes on the disc?) is a nearly 5-minute look at the fight training required for the film. "Crash Cam: Racing Through the Streets of Moscow" and "The Go-Mobile Revs Up the Action" are short pieces that look at some of the driving and stunt work in the film. "Anatomy of a Scene: The Explosive Bridge Chase Scene" looks at the moment where Bourne jumps in front of trains to escape. Finally, there's a look at the work of composer John Powell and cast/crew bios. The movie had a great trailer but it's not included here, unfortunately.

Final Thoughts: While "Supremacy" isn't quite as consistently strong as "Identity", it's a solid sequel that's smart, entertaining and offers fine performances. Universal's DVD edition is a very good release, with strong audio/video quality and a series of generally insightful and entertaining supplements. Recommended.

HERE IS THE DIRECT DOWNLOAD FOR THE MOVIE THE BOURNE SUPREMACY 1 OF 4.

HERE IS THE DIRECT DOWNLOAD FOR THE MOVIE THE BOURNE SUPREMACY 2 OF 4.

HERE IS THE DIRECT DOWNLAOD FOR THE MOVIE THE BOURNE SUPREMACY 3 OF 4.

HERE IS THE DIRECT DOWNLOAD FOR THE MOVIE THE BOURNE SUPREMACY 4 OF 4.

SICKO NOW AVAILABLE

NOW AVAILABLE FOR DIRECT DOWNLOAD SICKO
THATS RIGHT THE NEW DOCUMENTARY FROM MICHAEL MOORE. HIS DOCUMENTARIES INCLUDE BOWLING FOR COLUMBINE AND THE HIT MOVIE FAHRENHEIT 9/11. THIS MOVIE IS ABOUT MOORE FINDING THE TRUTH ABOUT THE HEALTH CARE SYSTEM.

HERE IS THE SUMMARY OF SICKO FROM IMDB.
Writer/producer Michael Moore interviews Americans who have been denied treatment by our health care insurance companies -- companies who sacrifice essential health services in order to maximize profits. The consequences for the individual subscribers range from bankruptcy to the unnecessary deaths of loved ones. Moore then looks at universal free health care systems in Canada, France, Britain, and Cuba, debunking all the fears (lower quality of care, poorer compensation for doctors, big-government bureaucracy) that have been used to dissuade Americans from establishing such a system here. The roots of those health care systems are explored, and our failure to establish free health here care is traced to a) President Richard Nixon's deceptive support of the then-emerging HMOs pursuing huge profits and b) subsequent pressures for Congress to sacrifice sound health care in favor of corporate profit. A group of Americans who became ill from volunteering at 911 Ground Zero, but were refused health coverage for their illnesses, are ferried by Moore to Cuba, where they receive the top-rate, free care one would hope they'd get here at home. In his interviews, historical reportage, and typical sarcastic wit, Moore soundly condemns American health insurance companies and pharmaceutical companies, as well as the politicians who have been paid millions to do their bidding. He makes the case that there is something wrong with Americans that we cannot learn from the successes of other countries in providing better quality-of-health than we enjoy in the USA.
HERE IS A REVIEW OF SICKO FROM DVDTALK.
With Sicko, Michael Moore has very nearly cured himself of what ails him.

His new treatise on the damage greed has done to the United States health care system is a powerful political documentary that drives home its central message without the crazy stunts, manipulative editing, and self-serving comic routines that have made Moore one of our most troubling filmmakers. His daring political mind and his guerilla approach to getting to his subjects earned Moore a reputation as an issues-driven director who stood up to bullies on behalf of the little guy. Unfortunately, somewhere on the road between 1989's Roger and Me and 2004's Fahrenheit 9/11, Moore's shtick started to make it seem like he was more interested in being a comedian than a commentator. As good and fascinating as his movies have been--including Fahrenheit--many moviegoers began to tire of how he put himself in front of the films, overshadowing his own message with contrived situations that seemed designed more to show what a jokester the director was than they were to relay information.

Not so with Sicko. Whether he took the many criticisms to heart or he just understood the gravity of his topic required a less vaudevillian touch, Michael Moore has dialed the old routines way down and for once has trusted his subject to speak for itself.

And, oh, what a subject it is. If Sicko doesn't leave you feeling as if your soul was crushed, you really weren't paying attention. Either that, or you might want to reconsider the whole soul concept from the ground up, because you're missing something.

Moore's targets from day one have almost exclusively been corporations who trample on the common man in the race to make a buck. That includes the government, who quite often are the ones holding the stopwatch, bending the rules to fit the runner who can unload the most pork into the campaign coffers. Sicko provides Moore with the most egregious intersection of big business and big government yet. Moore begins his mission by pondering why so few Americans have health insurance and why the ones that do have such a difficult time getting the care they need. From there, he discovers the links between the private health management companies and how they team with our elected officials to chisel the citizenry out of their benefits while lining their own pockets. The evidence is damning and highly nauseating.

A good portion of the movie follows Moore as he travels to countries with socialized medicine--Canada, England, and France--and debunks the myths about why this form of health care is alleged not to work. Acting as a kind of journalistic detective, we follow Moore as he gathers evidence both concrete and anecdotal. He doesn't set up situations where he can illicit a "Gotcha!" moment from some corrupt corporate stooge with his hand in the cookie jar, but instead lets his curiosity lead him. The doctors and patients in these foreign settings say enough without resorting to trickery.

Not that Moore can completely resist going for the joke. A segment about Hillary Clinton is appallingly cheap, and the much hyped stunt of taking rescue workers from 9/11 to Guantanamo Bay to see if he can get them the same medical treatment afforded to the alleged terrorists detained there borders on the exploitative. Since being barred from places he intends to expose has previously been his stock and trade, the director milks the lack of army response for all its worth--and that ain't much.

Thankfully, where this stunt ultimately takes him is far more valuable. Checking the ailing medical workers into a Cuban hospital and seeing their faces when they finally get the help America has been denying them is emotionally devastating. In this scenario, Moore has shown how far off the mark our nation has gotten. If even Cuba, a country that is supposed to be far less wealthy, less advanced, and crippled by oppression, can pull together to take care of its people, what the hell is the United States of America's excuse for leaving so many out in the cold?

As Sicko ended, I was glad I had not given up on Michael Moore, and even more glad that he hadn't given up on himself. After all the ballyhoo surrounding Fahrenheit 9/11, including awards at Cannes and the Best Documentary Oscar, the director could have tumbled backward into self-parody. Instead, Michael Moore has moved forward and done something important with his art. Sicko is must-see viewing. It's a sharp political commentator finding the true synthesis of method and message. The more people who see the movie, the more that will be outraged, and the less we can duck out of doing something to fix the problems it exposes.

Thank you, Michael Moore. Let the healing continue.

Jamie S. Rich is a novelist and comic book writer. His next book is entitled Have You Seen the Horizon Lately? and is due for release from Oni Press this summer. It follows up on both of his successful books from 2006, the pop-culture hit The Everlasting, and his original graphic novel with Joëlle Jones, 12 Reasons Why I Love Her. Rich is currently writing the ongoing independent comic book series Love the Way You Love.

HERE IS THE DIRECT DOWNLOAD TO THE FULL MOVIE OF SICKO.

ANOTHER GREAT MOVIE STICK IT NOW ONLINE

JUST IN A GREAT MOVIE STICK IT ONLINE NOW

THIS IS A MOVIE CALLED STICK IT, IT IS ABOUT A FORMER GYMNIST WHO QUIT ON THE DAY OF THE OLYMPICS BECAUSE OF SOMETHING THAT YOU WILL HAVE TO SEE TO FIND OUT (I DON'T WANT TO SPOIL THE MOVIE). SHE IS A SKATER GIRL I GUESS YOU CAN SAY AND SHE GETS IN TROUBLE WITH THE LAW AND GET SENT AND FORCED TO JOIN A TRAINING SCHOOL FOR THE OLYMPICS AND HILARITY FOLLOWS.
HERE IS THE SUMMARY OF STICK IT FROM IMDB.

Haley Graham is a former gymnast-turned-juvenile delinquent whom, after one too many run-ins with the law, is forced to enroll at an elite gymnastics academy, the VGA in Houston, Texas which is run by the legendary Olympic gymnast Burt Vickerman. But the rebellious Haley is not welcomed into the academy by the other teenage gymnasts whom despise her for walking out on her Junior Olympic team years earlier during a competition which cost them the gold medal. But Haley is not a docile person either and makes every effort to provoke conflicts with the other girls. Vickerman takes it upon himself to coach Haley in his own way to make her regain her self respect for the VGA's coming spot on the Gymnastic Nationals. Written by Anonymous

Haley Graham is an ex-elite gymnast who, after being on the wrong side of the law just one too many times, she is sent to her idea of juvy - VGA, a.k.a: Vickerman's Gymnastic's Academy. When she shows up she is confronted with lots obstacles including, soda throwing Haley-haters, up-tight ex-fellow gymnasts, EXTREMELY pushy parents and a whole bunch of wedgie causing leotards. Along with her crazy, skater friends, Frank and Poot, she turns the gymnastic world upside down with her rebellious ways and rockin' routines. The film tells you that anyone, I mean ANYONE, can bend the rules just a little bit. (cough cough.) Written by shmatash (shmatash@hotmail.com)

HERE IS THE REVIEW FROM DVDTALKS.
Jessica Bendiger, who wrote the smarter-than-it-should-have-been script for Peyton Reed's cheerleader comedy Bring It On, attempts a two-fer with her directorial effort and, well, she gets points for difficulty but chokes on the dismount.

This time, it's all about gymnastics. The girl-centric, Karate Kid-wannabe plot just begs the question, hasn't there already been a girl Karate Kid movie? Didn't it star Hilary Swank and, you know, suck? The answer is yes, yes and yes, but apparently someone at Buena Vista forgot and made another one.

Missy Peregrym, a graduate of the same genetic research lab that spat out Piper Perabo and Amanda Peet, stars as Haley Graham, a rebellious teen facing time in either a juvenile facility or military school unless she ... trains in gymnastics. Huh? Is this common in the juvenile courts? Are ne'er-so-well youths being sent to cooking school and band camp instead of juvie these days? And, if so, why hasn't Stone Phillips done a searing expose on the subject?

Ah, but Haley was once a world-class gymnast who, of course, walked out of the Nationals two years earlier, leaving her team in the lurch and gaining a reputation as a, um, walker-outter. So her parents and the tough-but-fair juvenile court judge (Polly Holliday -- Flo from TV's "Alice!") make her go back and face her past. Apparently, walking out is as bad as it gets in Gymnasticland, because her bad-girl rep precedes her, and some of the other girls are (gasp!) rude to her. Her new coach also has a rep -- the girls who train at Burt Vickerman's school are known to sustain a lot of injuries (although we never see this problem) and he's known more as moneymaker than a motivator. So when he and Haley butt heads (of course), each learns a valuable lesson about integrity. Or something.

But here's the thing -- Vickerman's played by Jeff Bridges. And it's always delightful watching Bridges work, even when he's obviously slumming. He brings a charming, irascible, well-worn quality to the aging coach, and even when the movie sort of sucks (which is often) the quirky little flavors he brings to the character are never less than brilliant.

Stick It takes a really nice turn in its last act, veering in a very different direction than other flicks of its kind, but it's an uneven sort of development. Bendiger's script and direction belie a desire to make something fresh and new while still sticking to the old template of bad girl learns a lesson/snotty girl becomes her friend/dress-up musical montage in the mall/potential failure then triumph at the competition. And you really can't have it both ways. The gymnastics are cool, Peregrym is almost believable as an athlete (even though she's too tall and her breasts are a tad too big to compete successfully at that level) and, as mentioned, Jeff Bridges is his usual awesome self. Stick It doesn't entirely suck – but it's far from successful, making it a pale imitation of Bring It On that's only good entertainment for less-discerning 'tween gymnastics enthusiasts.

The DVD:
If you're a fan of the film, the DVD is a must-buy -- there are loads of genuinely entertaining extras, so if you or your 13-year-old daughter are nuts for Stick It, you may as well just buy the damn thing now so you can watch it over and over and over.

The video:
It's an absolutely gorgeous transfer, but that should be expected from brand-spanking-new movies at this point -- a clean, crisp anamorphic 1.85:1 picture with excellent color saturation and no noticeable edge enhancement. Really sharp, in every way.

The audio:
The sound is equally good, in Dolby Digital 5.1 surround (English, Spanish or French, with optional subtitles in each language). This isn't an effects-heavy film, but the hip-hop music track is a big part of its appeal, and the sound mix balances big, bold bass lines and dialogue nicely.

The Extras:
First up, there are two audio commentaries, one with writer/director Bendinger and actresses Missy Peregrym and Vanessa Lengies, and another with Bendiger, cinematographer Daryn Okada and editor Troy Takaki. They're pretty standard commentaries, focusing on specifics of the scenes, and how much fun it was to work with everyone, etc. Naturally, the second track is more tech-heavy, which is great if you like that sort of thing.

"Buttaharas," the inevitable blooper reel of gymnasts falling, actors blowing lines and Peregrym making a seemingly endless series of "funny" faces. (3 min.)

"Skinny Fat," offering deleted scenes with optional filmmaker commentary. Most aren't worth the trouble, but one sequence featuring Bridges and the girls making a run to a drugstore is absolutely hilarious. (13 min.)

Music videos for Missy Elliott's "We Run This (Stick It Edit)" and "Crowded" by Jeannie Ortega. Elliott's is cool and cutting edge with terrific dancing, while Ortega's is standard-issue movie clips intercut with her Aguilera-like singing.

"Hard Corps: The Real Gymnasts of Stick It" is just what it says it is, a delightful little snippet introducing the real stunt-double gymnasts. (4 min.)

"The Elites" offers full gymnastics routines -- floor, beam and uneven bars -- by some of the film's stand-in gymnasts. (9 min.)

"The Judges Table" shows the very impressive individual uneven bar routines, in slow-motion, that were used as part of the film's visual effects.(9 min.)

The bottom line:
If you're a grown-up who's hoping this film will be the equal of Bendiger's Bring It On, you'll be disappointed -- as an example of how a good director can make a script sing, you can't do much better than comparing Peyton Reed's direction on that far superior film with Bendiger's here. On the other hand, if you're a girl between the ages of 12 and 15, you'll probably love Stick It, and if that's the case, this DVD release offers a lot of bonus features that you'll adore.

HERE IS THE DIRECT DOWNLOAD TO THE MOVIE STICK IT 1 OF 3.
HERE IS THE DIRECT DOWNLOAD FOR THE MOVIE STICK IT 2 OF 3.

HERE IS THE DIRECT DOWNLOAD FOR THE MOVIE STICK IT 3 OF 3.

JUST IN BORAT NOW AVAILABLE FOR DIRECT DOWNLOAD

JUST IN BORAT AVAILABLE FOR DIRECT DOWNLOAD


JUST FOUND THIS IT IS FROM GOOGLE AND THE VIDEO IS GREAT QUALITY. THE MOVIE I HEARD IS VERY FUNNY. I HAVEN'T SEEN IT BUT I WOULD LIKE TO HEAR FROM YOU GUYS ABOUT WHAT YOU THOUGHT OF IT.

HERE IS THE SUMMARY FROM INTERNET MOVIE DATABASE OR IMDB FOR SHORT.

Kazakhstani TV personality Borat is dispatched to the United States to report on the "greatest country in the world." With a documentary crew in tow, Borat becomes more interested in locating and marrying Pamela Anderson than on his assignment. Written by Anonymous

HERE IS A REVIEW FROM A QUALITY SITE NAMED DVDTALK.COM

Reviewer's Bias*
Loves: Satire, "Da Ali G Show"
Likes: Borat, candid camera footage
Dislikes: Seeing naked old fat guys
Hates: Bigots, morons, bigoted morons

The Movie
Think of the last time a TV show made the leap from the small screen to the movie theater, without the results being essentially crap. Unless the show was used only as inspiration, like the meta-parody Brady Bunch films, quality adaptations are few and far between. The only one I can think of recently is "Jackass," which is really just an oversized, unrestricted version of the show.

So it makes sense that Borat would buck the trend, moving from "Da Ali G Show" to the theaters with remarkable grace, since it shares a lot in common with "Jackass." Hidden camera (usually in plain sight) catch how people react to unusual situations, with some bizarre stunts thrown in. But with Borat, the reactions people have often reveal inner truths about them, normally ones that civilized society has tried to surpress. It's incredible that in this media-savvy day and age that people haven't learned to control themselves around a camera, but that just goes to show how deep negative values like racism, homophobia and xenophobia run. These people simply can't help themselves.

Of course, Borat isn't a sociological experiment. It's a comedy, and a hilarious one, that lets us laugh at human behavior and hthe less enlightened among us. Sascha Baron Cohen, the creative force behind "Da Ali G Show" has managed to craft a pretty solid story behind all the goofy sketches, making more of a cohesive film than Jackass could ever achieve. Borat (Cohen), a television reporter from Kazakhstan, has been sent to New York by his country, with his rotund producer Azamat (Ken Davitian) in tow, to learn about the U.S. and bring that knowledge back to the impoverished former Russian nation. Borat gets sidetracked though, when he discovers C.J. Parker, the buxom star of "Baywatch," and sets out to marry her, taking him and Azamat across America. Along the way, he stops to experience the local culture, including a rodeo, frat boys, southern etiquette and evangelical religion, all in his guise as a naive, offensive foreigner.

Cohen's devotion to his character is what really makes the film work, as he developed Borat into a real, though cartoonish person. Every reaction, every line, makes sense for the character and works in the framework of the story, while he gives Borat a physicality that, though exaggerated, is grounded in the film's reality. You can tell that he's succeeded in making Borat a true character, because even when he's being uncouth, unlikable and simply ridiculous, you still are on his side and believe he knows no better. And in those rare moments of emotion the film offers us, you can actually feel for him. Borat is our hero, no matter what he does, including his time at a Pentecostal service that's at turns insane and sweet, and surprisingly respectful of the faithful in attendance. It shows more self-control than I could when faced with people jumping around like kindergardeners jacked up on Pixie Sticks.

While Cohen earns more than his fair share of laughs, especially during the infamous fight scene with his producer (an amazing segment that is unlike anything you've seen before and features the best use of visual censoring ever), it's the real people in the film who are fascinating. Watching the frat boys who pick up a hitchhiking Borat express their wishes that slavery was legal, or the rodeo crew talking about hanging gay people is an education in how far America still has to go toward any semblance of tolerance. Sure, Cohen's characters are openly bigoted, and especially anti-Semitic, but the people in the film make no attempt to correct him or argue with him, and instead embrace his ideas. It's shocking when you see the crowd at the rodeo cheer Borat's wish that "George Bush drink the blood" of the Iraqi people. It will come to no one's surprise that the film travels across the country through the southern states, but it's still pretty scary to think people are this open about their ignorance.

My only complaint, a minor one at that, is the way the main plot wraps up. In an effort to not ruin it for those who haven't seen the film, Borat's quest comes to an end in a way that's not exactly satisfying, leaving everything hanging in a way. The core audience for this film isn't looking for plot resolution, but considering how the film is built around this element, it would have been nice to bring it to a more interesting and complete finish. As it is, it just feels like another bit on the highly-entertaining string of fun sketches.

The DVD
A one-disc release, this DVD is packed in a standard keepcase with a slipcover that, for once, doesn't repeat the interior art, and hides a great visual joke. The disc, which carries over the cover art joke not just on the disc art, but on the menus as well, has an anamorphic widescreen main menu with options to watch the film, select scenes and check out the special features, where you can adjust languages. Language options include English Dolby Digital 5.1, Spanish, Russian and French Dolby Digital 2.0, and Hebrew (make sure to check out the Hebrew track), with English and Spanish subtitles and closed captioning.

The Quality
There's a variety of camera types used in this film, and some artificial dirt and damage has been added in places, but overall, the anamorphic widescreen transfer looks terrific for a documentary shot run and gun. It's obvious which scenes have received some camera set-up, as they look pristine, while the rest simply look very good. Colors areappropriate , if a little dull, and the image is crisp where it's meant to be. There's no unintentional dirt or damage, and the film is free of any obvious digital artifacts.

The audio is presented in a 5.1 Dolby Digital mix, but the surrounds only really come into play with the film's music. The documentary footage is mainly center-focused when it comes to sound, delivering a clean, distortion-free track that gets the heavily-accented dialogue across cleanly.

The Extras
The paucity of extras on this big-time release reeks of a future double-dip, but, then, I said that about Ocean's Twelve a long while back. Sadly, there's no commentary track here, which could have been fantastic. There's so many situations in this film begging for some background info, but we get nothing. So instead, we start off with a collection of deleted scenes, titled "Censored Footages." There are eight scenes, four of which were cut from the film, while the other four are different pieces of footage that didn't make it into the movie. Each and every one if worth watching, especially the scenes where Borat is pulled over by cops in various cities and the montage of bits that didn't have enough to carry a whole scene (like his visit to a Civil War recreation.) Unfortunately there's no play-all option for the 24 minutes of comedy.

The other section, "Propaganda," features the Global Propaganda Tour, a nearly 17-minute collection of appearances made to promote the film. Included amongst the film festival footage are his stop at the Conan O'Brien show, his sexy time with Jay Leno and Martha Stewart, and his opening scene on "Saturday Night Live." If you like Borat, it's a fun group of clips. Also in this section is a Kazakh commercial for the film's soundtrack and some trailers for other films.

The Bottom Line
For fans of Cohen's sociological explorations of America, as seen on HBO, Borat delivers an extra-large chunk of silliness. For his detractors and all those who tried to sue him, it's another reason to get pissed off. Either way, there's no denying Cohen is a genius when it comes to creating audacious alter-egos. The DVD looks and sounds very good, but is a bit of a disappointment in terms of the extras. That shouldn't stop you from checking it out, but it may make you hold off on a purchase.

HERE IS THE DIRECT DOWNLOAD FOR THE FULL MOVIE OF BORAT.