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Jerry is a junkyard worker who attempts to sabotage a power plant he suspects of causing his headaches. But he inadvertently causes his brain to become magnetized, leading to the unintentional destruction of all the movies in his friend's store. In order to keep the store's one loyal customer, an elderly lady with a tenuous grasp on reality, the pair re-create a long line of films including The Lion King, Rush Hour, Ghostbusters, When We Were Kings, Driving Miss Daisy, and Robocop, putting themselves and their townspeople into it. They become the biggest stars in their neighborhood. Written by Anonymous

A small VHS only video store faces foreclosure in a poor community. While watching the store for the owner, a blundering employee's friend accidentally erases all of the tapes. In order to keep their blunder from becoming apparent, the duo of Mos Def and Jack Black begin remaking the films themselves using homemade special effects and outdated filming techniques. Written by RSTX

HERE IS A REVIEW FOR THE MOVIE BE KIND REWIND FROM DVDTALK

Michel Gondry has finally located a script to match his bazooka of whimsy. "Be Kind Rewind" doesn't share the insular, art-school qualities of his previous accomplishments ("Eternal Sunshine of the Spotless Mind," "The Science of Sleep"); instead, the picture is a harmonious callback to low-fi filmmaking and community spirit, allowing Gondry a wide open meadow to let his viral creativity and mischievous determination frolic. It's an unexpected charmer.

Mike (Mos Def) works at a rundown Passaic, New Jersey video store under owner Mr. Fletcher (Danny Glover). Finding his street corner staple is about to be condemned, Mr. Fletcher considers a business of DVDs to keep up with the times. Off on a scouting mission, he leaves Mike in charge, and when newly-magnetized friend Jerry (Jack Black) steps inside the store after an awful power plant accident, they find all the VHS tapes have been erased. Panicked, the duo decide to create their own versions of the films wiped to cover for the loss, offering new "sweded" versions that the locals (including Mia Farrow) love. Now overwhelmed with requests, the team (with Melonie Diaz) hits the streets to shoot their askew take on Hollywood's biggest hits, hoping their popularity will save the store.

I've got nothing against Gondry and his limitless imagination, but there were times during the "Science of Sleep" where it felt like we were seeing the boundaries of his gimmicks; his college-radio creativity that's predictable in its unpredictability. Gondry certainly has a style all his own and while previous efforts might've captured more soulful meditations on the state of the head and heart, nothing he's made to date has demonstrated the bliss of filmmaking quite like "Rewind."

This is a fable, crossing the idea of comforting neighborhood myths with slapstick comedy pulled off with atypical ease by Gondry. "Rewind" is the most relaxed I've ever seen the writer/director, gently massaging the material for nuggets of irreverence and goofy, detail-oriented enchantment. He's deliriously in love with the mom and pop video store memories of days gone by, tenderly launching some jabs at today's Blockbuster mentality and the cold, mass availability of DVDs. For anyone who spent their youth poring over rows of VHS covers in dilapidated strip malls and converted convenience stores, "Rewind" is sure to be a diamond of nostalgia and 2/.99 Tuesday heartache. Gondry evokes the atmosphere of the fragile VHS glory days, while lamenting its demise for stronger, cheaper, more durable technology. It's been a motif in his cinema. If we all lived in Gondry's world, we'd still be listening to Victrolas while watching silent movies. Surely there are days when I couldn't argue with that desire.

The centerpieces of "Rewind" are the sweding sequences, both in their hilarious familiarity and in the sheer creativity Gondry reveals as he turns Hollywood excess and genuine magic into backyard playgrounds for our heroes. Watching Mike and Jerry use Christmas tinsel to recreate the proton streams of "Ghostbusters," spin around a road map to simulate a rooftop freefall for "Rush Hour 2," or out-Kubrick Kubrick with a junkyard "2001" centrifuge jog is highly contagious, resourceful fun, and is unmistakably the place where the film rockets off to another planet of visual invention. Perhaps Gondry has milked this homespun-special-effects teat before, but it's never found such symbiosis with a concept. It's endearing eye candy, especially for film fans, but it's offered in a relatable, piecemeal fashion that makes one want to grab a 1988 video camera and recreate "The Neverending Story" in the family basement.

The warmth extends throughout the entire movie, even climaxing on a gentle Capraesque melody that sends this zany picture out on the perfect note. "Be Kind Rewind" is a valentine to the movies and the powers of big-screen bonds, and I know for me it's the best narrative feature film to ever escape from Michel Gondry's infinite imagination.

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PATHOLOGY NOW AVAILABLE

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HERE IS THE SUMMARY FOR THE MOVIE PATHOLOGY FROM IMDB

Harvard Medical School graduate Dr. Ted Grey arrives at one of the nations most prestigious Pathology programs and is quickly noticed by the program's privileged and elite band of pathology interns who invite him into their crowd. It is also here, where he is introduced to Dr. Jake Gallo, who brings him to a secluded wing, where he and four other indulge in there after-hours, extra-curricular activities...finding ways to commit the perfect murder! Written by suspicious

HERE IS THE DIRECT DOWNLOAD FOR THE MOVIE PATHOLOGY PART 1 OF 4.

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LOST EPISODE 11 SEASON 4 CABIN FEVER NOW AVAILABLE

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HERE IS A SUMMARY FOR THE EPISODE CABIN FEVER FROM TVRAGE.COM

Locke is enlightened as to the whereabouts of Jacob's cabin, and life aboard the freighter becomes perilous.

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DOOM NOW AVAILABLE

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HERE IS THE SUMMARY FOR THE MOVIE DOOM FROM IMDB

Something has gone wrong in a research facility on Mars, and the staff are becoming something unimaginable. All research has ceased and the facility has been placed in quarantine. Dr. Samantha Grimm have called in an elite squad of soldiers led by Sarge and includes Samantha's twin brother, John Grimm. No one is safe inside. As the team advance through the facility, and as they are picked off one-by-one, Dr. Grimm has one question: What exactly has caused this? Written by simon_hrdng

In 2046, something has gone terribly wrong in a research facility on Mars, All experiments have ceased, and communication has failed! The few messages that do get through are less than comforting. It's Level 5 Quarantine, and the only souls allowed in or out are the Rapid Response Tactical Squad--hardened Marines armed to the teeth with enough firepower to neutralize any enemy--or so they think. The researchers at this "Red Planet" station have unwittingly opened a door, and all hell has broken loose! A legion of nightmarish creatures of unknown origin lurks in every corner and stalks the countless rooms and tunnels of the facility, killing what few people remain. A hellish zoo of demons, Imps, Barons and Hell Knights has taken over Olduvai. And they're not giving it back without a fight. Sealing off the portal to Earth, Sarge, Reaper and their mercenary team must use every weapon at their disposal--and some they find along the way--to carry out their orders: nothing gets out alive. Unfortunately, these things never go as planned. Written by Anthony Pereyra {hypersonic91@yahoo.com}

Something has gone wrong at a remote scientific research station on Mars. All research has ceased. Communication has failed. And the messages that do get through are less than comforting. It's a level 5 quarantine and the only souls allowed in or out are the Rapid Response Tactical Squad - hardened Marines armed to the teeth with enough firepower to neutralize the enemy...or so they think. Written by El_Ucca@hotmail.com

In 2046, in a research facility in Mars, some subjects are released and the place is kept in quarantine. A team of Marines, leaded by Sarge, is assigned to rescue the personnel and retrieve the research data, with the support of Dr. Samantha Grimm, the twin sister of the Marine John "Reaper" Grimm. While in the mission, Samantha finds a dark hidden secret about the monsters and the researches. Written by Claudio Carvalho, Rio de Janeiro, Brazil

HERE IS A REVIEW FOR THE MOVIE DOOM FROM DVDTALK

The Movie:

For the one or two of you out there who haven't heard of ID Software's Doom franchise, it was a huge hit when it first came out and for many gamers out there, it was their first experience to the 'first person shooter' premise in which the player takes on the perspective of the character in the game. It was an insanely successful game, in which a space marine took on hordes of demons who had found their way out of Hell and into Mars, it wasted many hours of my college years, and it's gone on to inspire countless knock offs and sequels and now a Hollywood motion picture starring The Rock.

The premise of the film? The Rock is a Marine named 'Sarge' who is in charge of a team that is sent off to investigate an emergency signal that came from a research compound on Mars. Sarge and his crew teleport across space and low and behold, one of the Sarge's men, a Marine named Reaper (Karl Urban), finds that his sister, Samantha (Rosamund Pike), is working there and is the point of contact for them on this mission. As time passes, some of the scientists start turning up dead and the Marines realize that there's a lot more going on here than they first suspected. Something is out there in the hallways of the underground facility, and it's morphing and spreading like some sort of parasitical virus and infecting anyone it comes into contact with – or so they think. Sarge and his rag tag band of soldiers are going to have their work cut out for them as they set out to neutralize the threat by whatever means necessary but as Samantha seems to know, it's not quite all that simple.

There's a twist or two thrown into the storyline that probably won't surprise too many viewers, but for the most part, that's it. Marines show up, people die, a threat emerges, and then it's time to bring on the violence. We're not dealing with a very through provoking movie here and no one is going to really remember this film for its challenging plot and fascinating characters. That being said, Doom is a lot of fun in a big budget B-movie kind of way. The guys behind this project knew they were adapting a video game that was made famous by its gratuitous violence and splattery carnage and despite some rather odd changes to the premise of the game on which it is based, the movie does deliver in that department.

First and foremost are the creature effects, which are actually quite impressive. The monsters were created by blending guys in rubber suits with CGI enhancements and it works really well. Rather than seeing the Marines battle completely computer generated monsters like in films such as Resident Evil, we see the creatures move in a more organic and lifelike fashion which makes the scenes much cooler and much more believable. Add to that the fact that the effects team doesn't shy away from throwing in some nice splatter effects for the gun shot wounds and a few severed limbs and torn torsos during the fight scenes and you've got yourself a movie that, as Chas Balun would say, 'delivers the gory goods' without an abundance of overly slick computer effects (they're there, but they're not as overbearing as you might think).

Performance wise, the movie is completely cookie cutter in nature. The Rock plays exactly the type of character you'd expect him to, he's hammy and tough as nails and he doesn't take any crap from anybody. He spouts off the one liners with scenery chewing enthusiasm and he fits the part of the tough Marine in charge just fine, even if he is a walking, talking cliché in this movie. Karl Urban's character gets a little more development in that we get to see him attempt to rekindle his relationship with his sister so in that regard we care a little more about his character and about Rosamund Pike's character but even with that being said, they're still pretty generic as are the rest of the space Marines sent in to help.

Doom exists to show off the shoot out scenes, and the movie is more or less based around a few violent set pieces highlighted by the 'first person shooter' scene in which Reaper must make his way through the compound and take out as many of the beasts as he can using his gun, a few grenades, and a chainsaw. Fans of the game will geek out over this sequence, the one part of the movie that really feels like the Doom that gamers know and love, and it is a pretty intense and enjoyable sequence as it is here that the filmmakers finally pile on the monsters in the same way that the game did.

The unrated extended version of the film that Universal has released on DVD runs just over twelve minutes longer than the R-rated theatrical cut of the film which adds some gore that was trimmed and a few brief character development extensions. The first person shooter sequence has also been extended to roughly five and a half minutes. The gore makes the action and horror scenes more enjoyable, but the character development scenes don't make the movie any more intelligent or riveting in that regard – the film is still a big, dumb, gory shoot'em up.

While the generic sounding heavy metal soundtrack pretty much clues you in to what is going to happen before it starts to happen and the script is by the numbers and completely generic, Doom provides enough intensity in the shoot out scenes and enough completely enjoyable blood and guts effects that it's easy to turn off your brain and enjoy it for what it is. Sure, it borrows pretty heavily from Aliens and even Resident Evil at times but it's fun and it's entertaining and while more monster mayhem would have gone a long way towards making it a more enjoyable film, as it stands it's a decent guilty pleasure.

The DVD

Video:

Doom gets a very solid transfer that is enhanced for anamorphic sets and retains the original aspect ratio of 2.35.1. The image is very and quite clean and only occasionally exhibits some tiny minor specks of print damage in a couple of the darker scenes. Skin tones look dead on, color definition is top notch, and this is overall a very nice presentation of the film. There is some minor edge enhancement and shimmering in a couple of scenes that is slightly noticeable but it doesn't happen too often, thankfully. With so much of the film taking place in the dark it's important that the black levels be handled properly to ensure that the detail doesn't get lost and the image doesn't become muddied and luckily, the disc comes through in that department. There aren't any issues with mpeg compression and there's a pretty decent level of both foreground and background information in the picture at any given time. There's very little to complain about here, the movie looks great.

Sound:

Equally impressive is the sound mix for the film. Dolby Digital 5.1 Surround Sound mixes are supplied in English, French and Spanish. Optional subtitles are provided in English, French, and Spanish and there is also an English closed captioning option as well. The film benefits from a very active and aggressive sound mix that really does add quite a bit of atmosphere to the movie, especially during the action scenes and the monster attack sequences. Surrounds are used nicely to fill in the soundscape and the subwoofer gives a few nice solid kicks to the proceedings and provides some nice jump scares during the run of the film. Dialogue is never a problem and is always clearly comprehensible, and background music and sound effects are well balanced and mix nicely, never overshadowing what's being said at any given point in time. The shoot-out/first person scene is the most intense, with bullets whipping around you and monsters coming at you from all sides and this mix handles it very well, adding to the fun.

Extras:

Universal has supplied fans with a decent selection of extra features and even if some of them feel very promotional in nature, there's some good information and interesting tid-bits to be found in here. First up is Basic Training, which is a featurette that show us how the producers brought an ex-Marine named Tom McAdams onboard to train the cast members how to behave like real soldiers. We see them take weapons training in which they learn how to handle their firearms, we see them do various tactical team based exercises, and more. It's fairly interesting to see how much emphasis was put on this aspect of the film and how they went about achieving that through this training. Some clips from the feature and a few interview inserts with the cast members discussing their take on what it was like to get the training break up the footage and add some insight to the package.

Do you want to learn how the make up technicians turned The Rock into a monster? Sure you do! And in a five minute featurette entitled Rock-Formation you'll get to see how his tattoos were painted on, how his prosthetics were applied, and how the transformation became complete. It's a brief segment but it's marginally interesting for those into make up effects.

Slightly more interesting in that regard is Master Monster Makers which takes us through the creature design from start to finish. We see how the monsters were first created on paper and then we witness the creation of the suits that the actors wore and then how CGI was integrated with the live actors to create the effects that we see in the finished version of the film. This is pretty interesting stuff, although it's too brief at just under eleven minutes and kind of leaves you wanting more as some of the behind the scenes footage in here is very, very cool.

First Person Shooter is a six minute examination of how the film's most famous scene was developed. The crew talks about some of the challenges that they ran into bringing this to life, how they had to accommodate for a widescreen aspect ratio as opposed to using the fullframe that a computer monitor offers, and how the gun would sometimes block the shots, which is why it's only pulled up when it's needed. This segment also offers you the chance to watch the entire sequence in its entirety outside of the context of the film if you want.

The final featurette is Doom Nation which runs for roughly fifteen minutes. This brief documentary examines the origins of the game, the rise of ID Software, and the impact that it had on the gaming community at large. They cover the humble beginnings, the second game, and of course, Doom 3 as well and the differences between the three installments. A few of the ID Software team are on hand for interviews and it's fun to see them reminisce about the marketing of the game, how shareware played a huge part in its success, and about some of the more unique aspects that made it such a hit.

Rounding out the supplements are the Game On featurette, which is more or less a glorified advertisement for Doom 3, and a playable demo for Doom 3 itself which works only on an X-Box.

Final Thoughts:

While the extra features could have been stronger, the feature is fun in a brainless action-horror-science fiction hybrid kind of way. Fans of the game will enjoy the references that are there and curse the liberties taken with the storyline, but those who just want to see the Rock and a few others shoot up a bunch of monsters in the dark should have fun with it. Universal's release of Doom – The Unrated Extended Edition looks and sounds very good and earns itself a marginal recommendation for fans of the big dumb action movie genre and a solid rental for everyone else. As dumb as it is, it's pretty entertaining stuff.

Ian lives in NYC with his girlfriend where he writes for DVD Talk and for DVD Maniacs. He spends a lot of time wandering around exploring and generally wondering what to do with himself.

HERE IS THE DIRECT DOWNLOAD FOR THE MOVIE DOOM.

THE CABLE GUY NOW AVAILABLE

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HERE IS THE SUMMARY FOR THE MOVIE THE CABLE GUY FROM IMDB

Steven Kovak has been kicked out of his apartment by his girlfriend. Steven has a new apartment, and decides to slip the cable guy (Chip) $50 for free cable. Steven then fakes an interest in Chip's line of work. However Chip takes this to heart trying to become Steven's best bud. When Steven no longer wants to be Chips friend the man who can do it all goes on an all out assault to ruin Steven's life. In the backdrop is the delicate sub-plot of the trial of a former kid star for murdering his brother. Written by Wayne Jamieson {jamtin@OntheNet.com.au}

HERE IS A REVIEW FOR THE MOVIE THE CABLE GUY FROM DVDTALK

The Movie:

"Why should I help you...I gave you free cable."
-Jim Carrey's character in "The Cable Guy".

Many were angered by the results of Jim Carrey's first 20 million dollar paycheck and still, many bring up the film as being Carrey's one failure. Although it didn't quite make the budget back, I think that much of the movie is brilliant satire and that this is the performance from the actor that has the strongest edge to it.

Directed by Ben Stiller, who acted in films like "There's Something About Mary", "The Cable Guy" stars Carrey as Chip Douglas, a rather intense cable repairman who is called in one day to set up the cable in the apartment of Steven Kovacs(Matt Broderick). While it occurs to Steven that his new friend is rather odd, as the film goes on what seemed like the beginings of a friendship becomes the need for a restraining order as Chip places himself into the middle of Steven's life, even telling him how to get back with his girlfriend.

The movie feels rather empty between sequences that are near classic, and some of the funniest bits I've seen from Carrey. Early on in the movie, Chip takes a friendly game of basketball too seriously( he says, "I guess we're playing prison rules now, huh?"). There are other scenes such as a battle at a "Midevil Times" restaurant that parodies a "Star Trek" episode and Chip doing a karaoke jam to "Somebody To Love". As scary as Carrey's character becomes, there are still enough humorous moments and remarks from the character to keep watching. There's also an intensity to whatever role Carrey plays that is at times remarkable. Broderick, on the other hand, plays the character as a little too annoyed and a little boring in the role, looking as if he's feeling overshadowed by Carrey.

"The Cable Guy" isn't perfect, but I certainly don't think it's as much of a failure as most say it is.

The DVD

VIDEO:
Recently Tristar has re-issued "Jumanji", which was one of their first efforts, in a special edition. It was amazing that the picture quality from that early disc still stood up to what the studio does today in terms of quality. "The Cable Guy" was another of Tristar's first DVDs, and the transfer is very impressive. Images are consistently razor sharp on this anamorphic transfer, and clear throughout. Colors are bold and don't suffer from bleeding, and black level is strong. Detail is also very good throughout.

You can choose either the letterboxed edition or the pan/scan version - the pan/scan version is completely useless, as the cinematography uses much of the 2.35:1 frame, as can be viewed on the letterboxed side. There are really no problems with the transfer aside from a few short instances of shimmering. Problems with the print used are non-existent and overall, this is very strong work for one of the early DVD efforts from the studio.

SOUND: Like most comedies, there isn't that much going on with the audio on "The Cable Guy". The audio does have one strong aspect though, and that's the music. Composed mostly of rock tunes, the score sounds well-recorded, clean and dynamic - Filter's "Hey Man, Nice Shot" during the basketball game, for example. There really isn't that much coming from the surrounds, nor does there need to be for most of a movie like this one. Dialogue sounds fine - natural and clean.

MENUS:: As with most of the early menus from Columbia/Tristar, these are painfully basic, with just "buttons" to select for the various options.

EXTRAS:: Nothing.

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PROBLEM CHILD NOW AVAILABLE

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HERE IS THE SUMMARY FOR THE MOVIE PROBLEM CHILD FROM IMDB

A young boy is just short of a monster. He is adopted by a loving man and his wacky wife. The laughs keep coming as the boy pushes them to the limits. Written by Glenn J. Schworak {glenn@g-world.com}

Meet Ben and Flo Healy! They want a young child of their own, but Flo is incapable of having a child herself. Enter Junior, a little monster who has been to foster parents' homes since he was a baby and always made himself get thrown out so one day he goes to the orphanage and causes trouble for the poor nuns (although some of them deserved it). So Ben and Flo go to adopt a child and the administrator, Peabody, cons them into taking Junior off their hands. Junior goes home with the Healys to a nice house which includes a bedroom full of clowns! Ben takes an immediate love to his son, no matter what the horrible things he does, even though he injured his grandfather, a bigoted politician, really turned a birthday party into a "blast", sicks a bear onto campers on a camping trip, and even goes on a joyride with convicted killer Martin Beck! Written by Dylan Self {robocoptng986127@aol.com}

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PHONE BOOTH NOW AVAILABLE

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HERE IS THE TRAILER FOR THE MOVIE PHONE BOOTH







HERE IS THE SUMMARY FOR THE MOVIE PHONE BOOTH FROM IMDB

A slick New York publicist who picks up a ringing receiver in a phone booth is told that if he hangs up, he'll be killed... and the little red light from a laser rifle sight is proof that the caller isn't kidding. Written by Ryan McIntosh {Ryanmcintosh01@hotmail.com}

Stu Shepard is a fast talking and wise cracking New York City publicist who gets out of trouble and lies with his clever charm, connections, and charisma. Stu's greatest lie is to his wife Kelly, who he is cheating on with his girlfriend, Pam. Upon answering a call in a phone booth in belief it is Pam, Stu is on the line with a dangerous yet intelligent psychopath with a sniper rifle. When realizing it is not a joke, Stu is placed in a powerful mind game of wits and corruption. The New York City Police eventually arrive thereafter and demand Stu comes out of the phone booth- but how can he when if he hangs up or leaves the booth he will die? Written by commanderblue

Stu Shepard (Farrell) is an arrogant publicist who thinks he has the whole world in his hands. Every day he uses the same phone booth to call the woman (Holmes) he is cheating on his wife (Mitchell) with. But on the last day, before this particular phone booth is demolished, the phone rings. Stu naturally answers the phone, only to find the caller (Sutherland) on the end is an invisible sniper who knows everything on Stu, including his relationships. The caller now has Stu as his hostage, who demands he comes clean with his wife. Written by FilmFanUK

Stuart hasn't been totally honest. In fact, he's about the most dishonest man you'll meet. Everyday, at the same time, he goes to a phone booth in NYC to call his girlfriend, so that his wife can't trace the phone call. Today is no longer just an ordinary day. Now, someone's calling him, leaving his life on the line. Written by Mac The Movieguy

A fiendish publicist finds himself being held hostage in a phone booth by an extreme moralist who watches his victim's every move through the scope of his high-power sniper rifle, while speaking to the publicist via the phone booth. The caller prides himself on using force to punish corrupt people by forcing them to admit all of their lies and sins through mental games, or killing them. At the same time, he eliminates other people as well; everyday people who are guilty of brutal dishonesty and/or corruption, such as a murderous street pimp and a pushy pizza man (all of which, if you look hard enough in the film, have a guilt link). The caller himself is corrupt, and uses it defeat other corruption. It is evil fighting evil in the phone booth. Written by Flotis

HERE IS A REVIEW FOR THE MOVIE PHONE BOOTH FROM DVDTALK

The Movie: I like the idea of films shot withiin a very short shooting schedule. More planning seems necessary, and fat is trimmed. Edward Burns shot "Sidewalks of New York" in a matter of 17 days, which seemed like an impressive time, given the look and overall quality of the production. However, last year a director topped that speed - and it was certainly the one I'd least expect. Although the simple plot attracted a series of stars and directors, including Michael Bay, Jim Carrey, Will Smith, it was Joel Schumacher, the much-hated director of the last two "Batman" pictures and the terrible recent "Bad Company", who shot "Phone Booth", an 81-minute thriller, in a matter of ten days. "Phone Booth" focuses on a fairly simple morality tale: Stu Shepard (Colin Farrell) is a fast-talking, slick PR rep who has a beautiful wife (Rhada Mitchell) and a girlfriend/client (Katie Holmes). He calls his girlfriend from one of the last remaining phone booths in the city at the same time each day. One particular day, he is rude to a pizza delivery person while making the daily call. When he hangs up the phone with his girlfriend, the phone rings again. Stu answers the phone, only to find that a sniper is focused on the booth - one who knows a great deal about him and how he's been cheating on his wife. When things get worse, the police are called in, lead by a captain (Forest Whitaker) who demands that Stu hang up the phone and step out of the booth - something he can't do. Although the simple premise doesn't suggest much success, the film keeps throwing in new turns and the filmmakers do much to help things remain involving. Cinematographer Matthew Libatique, who worked with Schumacher on the similarly low-budget "Tigerland", not only gives the film a surreal, gritty look, but the camera movement gives the film an urgency and intensity. Harry Gregson-Williams, whose tense score added to "Spy Game", brings a similarly dark, sleek techno sound to his work here that adds suspense. The performances are stellar, as well. Farrell, who Schumacher found for "Tigerland", is suitably intense in the role, portraying the fast-talking Stu in the early scenes and the panic of the booth sequences. Sutherland's digitally altered (or at least it sounds as if some work was done) voice is remarkably menacing. Forest Whitaker provides good support, while Katie Holmes and Rhada Mitchell are enjoyable in their few scenes. Overall, "Phone Booth" isn't without some concerns (the film zips past a few plot holes), but it's a good, tense (and unique) thriller that moves along rapidly at 81 minutes. The DVD VIDEO: "Phone Booth" is presented by 20th Century Fox in 2.35:1 anamorphic widescreen and 1.33:1 full-frame. Each of the two editions have their own single-layered side of a dual-layer disc. Matthew Libatique's dark, gritty cinematography looks quite nice on this transfer, which only shows a few very minor concerns. Sharpness and definition looked very strong, as fine details were often visible and sharpness remained consistent.

Compression artifacts weren't spotted, but a tad of edge enhancement was spotted here and there. Although nothing too considerable, enough to be worth noting. The film's color palette remained cold, blue-tinted and subdued throughout, but appeared accurately rendered. Overall, aside from a couple of issues, the picture looked superb and similar to what I saw theatrically.

SOUND: "Phone Booth" is presented by 20th Century Fox in Dolby Digital 5.1. While not quite demo material, this is a fun and entertaining sound design done by Tim Walston ("The Fast and the Furious", "The Core") and the rest of the film's sound artists. There are noticable sound effects in the surrounds as the film zips in from a satellite in the opening of the film, as well as ambience in the rear speakers during several scenes. However, the most effective part of the soundtrack is Sutherland's voice, which often fills the room. Audio quality is superb, as Gregson-Williams's score sounds dynamic and deep throughout, while dialogue and effects remained crisp and clear.

EXTRAS: Commentary: Director Joel Schumacher provides an audio commentary for the film. This is an okay commentary, but I was hoping for something more. The director does touch on the topic of trying to shoot a movie in about 10 days, but I was hoping for more details about the planning that has to go into a production like that. The director instead spends much of the time discussing casting, acting and character issues. Although he does add a touch of humor and presents these topics in an interesting manner, I was hoping for something more technical in this case. Also: Trailers for Fox's "Garage Days" and "Phone Booth". Final Thoughts: A tense and effective thriller, "Phone Booth" is fast-paced, involving and offers a strong lead performance from Farrell. Fox's DVD doesn't present much in the way of supplements (a documentary about how the film was able to be shot in 10 days would have been nice), but does present the film with very good audio/video quality. Recommended.


HERE IS THE DIRECT DOWNLOAD FOR THE MOVIE PHONE BOOTH.

GRAND THEFT AUTO IV REVIEW FROM IGN.COM

HERE IS THE REVIEW FROM IGN.COM FOR GRAND THEFT AUTO IV

April 25, 2008 - Criminals are an ugly, cowardly lot more worthy of pity and disdain than admiration. This is what you'll learn playing through the single-player campaign in Rockstar's Grand Theft Auto IV. The series cheered (and criticized) for glorifying violence has taken an unexpected turn: it's gone legit. Oh sure, you'll still blow up cop cars, run down innocent civilians, bang hookers, assist drug dealers and lowlifes and do many, many other bad deeds, but at a cost to main character Niko Bellic's very soul. GTA IV gives us characters and a world with a level of depth previously unseen in gaming and elevates its story from a mere shoot-em-up to an Oscar-caliber drama. Every facet of Rockstar's new masterpiece is worthy of applause. Without question, Grand Theft Auto IV is the best game since Legend of Zelda: Ocarina of Time. You play as Niko Bellic, an Eastern European attempting to escape his past and the horrors of the Bosnian war. He arrives in Liberty City to experience the American dream, only to discover his cousin, Roman, may have fibbed a bit in his tales of success. Starting from nothing, Niko makes a living as a killer and enforcer, a bad-ass foreigner who appears to have no morals. The longer we stay with Niko, the more we see that there is a broken human being inside, one who would give anything to escape the person he once was.
Be sure to watch the debut video review here. Don't worry, GTA's famed over-the-top action and tongue-in-cheek humor are intact, but there is a new level of sophistication in the characters and the game world that raises the story above the norm. As Niko becomes mired in the death throes of American organized crime, he begins to become more self-aware. Niko's struggles with his ruthless nature never inhibit the gameplay, but instead enhance the emotional gravity of a brilliant storyline. The more absurd the action becomes, the greater we feel the very real pathos of Niko Bellic. Much of the credit goes to the artists at Rockstar North who created as believable a city as possible. Liberty City is inspired by New York, but not beholden to it. While there are many parallels, Liberty exists in its own universe and rightfully so. Many open-world games have cities that feel as if they existed only from the moment you first turned on your console, but Liberty City looks lived in. It's an old city and each block has its own vibe and its own history. Drive around Liberty City and you'll be able to identify each individual block. Though Liberty is filled with brownstones and a myriad of similar brick buildings, you can tell one from the other, just as you can in New York. Go to an affluent neighborhood and the street is likely to be newly paved, the pedestrians better dressed, the cops more plentiful. But head to Dukes or Bohan and you'll find streets nearly stripped of asphalt, homeless people wandering about aimlessly and criminals preying on the weak.

Niko is fresh off the boat.

Watch the people and you'll witness some amazing things. At one point, I saw a woman stopped at a light, looking in the rearview mirror right before she was rear-ended by a man ogling a girl on the street. The man got out of his car and went to the woman, checking to see if she was okay. This had nothing to do with Niko or a single action I took. These were the citizens of Liberty City going about their day. And it was just one moment in a day full of incidents. Hang in one area of the city long enough and you'll see how traffic and pedestrian flow changes as the day progresses. When it rains, people bring out umbrellas or shield themselves with a newspaper and run for an awning. Cops chase petty thieves unaware that walking down the street is Niko Bellic, cold-blooded killer. There's a perfect balance of mumbling doomsayers to remind you that the reason this city never sleeps is because it's full of nut jobs. People go about their day, only altering course when Niko inserts himself into their lives with his crappy driving or excellent marksmanship. Liberty City isn't as big as San Andreas, but is far denser. There's a lot to see and do and, like New York itself, very little wasted space. When you enter buildings, there are no load times -- you open the door and you're on your way up a flight of stairs to the roof. The only frustration is that there are literally thousands of buildings in the city, but most of them cannot be entered. With the exception of some clearly marked entertainment hot spots and mission-specific areas, there's nothing to indicate which buildings are open for business. So you might find yourself walking into a lot of doors trying to find which one will magically open. It's a little much to expect to have the interiors of every building rendered, but that doesn't make it any less bothersome that you can't go where you please. The idea of a "living, breathing city" has always been somewhat of a joke in gaming. Every city in the past has felt artificial in some way. But Liberty City feels like a real place. And its history is built not only into the architecture and the people, but even in the music. There are more than 200 songs in GTA IV and many of them were recorded or remastered with specific references to Liberty City. You'll hear songs on the Classics station referencing the city, as if to suggest there's decades of history built into the culture. The soundtrack is an unbelievable blend of rock, pop, reggae, R&B and hip-hop. But more astounding is how well the songs and the DJs blend into the city itself.

You never have to be alone. A high-priced call girl is always at the ready.

It's this level of integration that makes Liberty City such a believable place. You won't just hear "America's Next Whore" advertised on the radio; you'll see posters when walking down the street and spot ads on the Internet. GTA IV takes aim at all of the modern forms of communication. Along with radio stations (a staple of the series) there are full programs and ads you can watch on TV and a fully browseable Interweb. You could lose hours of your day surfing the 'net. That may mean sorting through junk mail, clicking on random links, using Love-Meet.com to find dates, or reading the news. There are multiple websites that cover news based on missions Niko's completed. You can read different takes on these events if you want to get an idea of how your actions are perceived in different political corners. You might never bother looking at all, but like so much of GTA IV, there are dozens of hours of content waiting to be either discovered or ignored.

"The idea of a 'living, breathing city' has always been somewhat of a joke in gaming. Every city in the past has felt artificial in some way. But Liberty City feels like a real place."

To make itself more modern -- as opposed to Vice City and San Andreas which were "of an era" -- the focal point of Niko's world is his cell phone. You'll receive calls and text messages from friends and business associates on your phone. This is the mission delivery system. You may launch into a mission just by answering a call, but more often you will be directed to meet at a specific location to initiate your next objective. Or you might just have a conversation that serves no purpose other than to deepen the characterization of Niko, his friends, or even his enemies. The good news is that, just like in real life, you can talk on the phone while driving your bus through a police blockade.

The explosions are wicked.

The phone is also used as an organizer to remind you of critical events (dates with slutty online girls) and can be customized with new ringtones and wallpapers. And just as in modern life, the phone can become a nuisance. Date Carmen and she will constantly be ringing your digits and sending texts checking in to make sure you aren't sleeping with some other girl. Yes, there are needy people even in Liberty City. You'll also get casual calls during missions. You can always ignore the ring or you can pick up. It's most likely a friend calling and asking to hang out. GTA is a clever game brimming with hundreds of thousands of lines of dialogue and Niko will almost certainly have a pun-laced response to turn down a pal if he's in the middle of a helicopter dogfight. This doesn't mean you shouldn't give your potential friends the time of day. Throughout Niko's journey you'll have the opportunity to strengthen your bond with some of the people you meet. It's not necessary to take your Jamaican braddah Little Jacob out for a drink or game of pool when he calls, but doing so is to your benefit. If someone likes you enough, they'll give you access to their special ability. For Little Jacob, that means being able to call him day or night for discounted weapons. Packie, the angry Irish wannabe mobster gives you car bombs. Dwayne sends a pair of his homies to assist you on missions. The benefits of taking friends out on the town go beyond these tangible attributes. Friends also provide commentary on life, the city, Niko, and the story. None of it is essential to completing the game, but all of it is fascinating. The dialogue in GTA IV is rich, funny, brilliant, insightful, and engaging. So many times your reward for beating a mission isn't a new weapon or an elaborate cinematic cut-scene -- it's just dialogue. That is often reward enough.

"There are cringe-worthy conversations, where you see Niko being sucked into the depravity of these peoples' lives to earn a few bucks or gain a long-sought revenge."

There are a number of places you can take your friends when you go out on the town and you should base your decision on what they might enjoy. There are mini-games for darts, pool, and bowling. But you can also check out the god-awful cabaret or watch one of several comedy sets by Ricky Gervais and Katt Williams. Perhaps the most challenging (but satisfying) activity is going drinking. Your level of drunkenness is relative to the person you take out. Little Jacob and Dwayne aren't so bad, but take a sweet lass like Kate out and she'll have you (literally) falling over yourself. When drunk, it's difficult to walk and even more of a challenge to drive. You don't have to drive drunk (in fact, it might make you ill doing so as the camera sways as if you're out at sea), but it's fun to give it a try. Drunk friends tend to be more revealing as well. Kate will tell you what she really thinks of you with just a few drinks. If that doesn't weaken your self esteem, nothing will. The only issue with making friends is that it's a distraction from the main story. For the first time in a GTA game, the story is actually a greater draw than city exploration. That's not to say driving around the city hunting for Easter Eggs isn't enjoyable, but the story is so compelling, you may find yourself singularly focused till its conclusion. The wild cast of characters is part of the reason things are so entertaining. The voice acting is top notch and the characters are each immediately identifiable and unique.

You don't need a posse to rule the streets. Just a bat and balls of steel.

Some are loveable, but there are many who are despicable. There are cringe-worthy conversations, where you see Niko being sucked into the depravity of these peoples' lives to earn a few bucks or gain a long-sought revenge. That's a credit to the writing, to make what would normally just be some thug you're doing missions for earn your contempt. That's a mark that you care for Niko; that the story has gotten to you. There aren't many games that can pull that off. As an added twist, GTA IV gives you occasional morality choices. There are people that you don't have to kill in a mission and you can decide whether or not to waste a bullet. These events don't change the plot or open new missions later on. Occasionally it affects dialogue, but more often it is simply the game asking what kind of person you are. And there are some gut-wrenching decisions you make at points that create an emotional response I never imagined I would get from a Grand Theft Auto title. There is one significant choice you make towards the end of the game that opens a new path and an alternate ending. There are two worthwhile endings to uncover and are incentive for playing through a second time just to see how much more depressing life in Liberty City can get. There are more than 90 story missions that will take anywhere from 25-45 hours to complete depending largely on your skill level. I was certain that the missions would get repetitive at some point, that sooner or later it would get redundant. It never does. Though many missions boil down to the same basic parameter -- go to location, kill people to get to target, chase target, kill target -- it never feels repetitive. The locations of missions, the variety in the enemies, the dynamic aspects of the AI, and the dialogue keep GTA IV from ever feeling stale. In fact, this is a game that can be enjoyed with multiple playthroughs. It's just that good. The best mission comes close to the halfway point, when you and Packie McCreary decide to rob a bank. In what becomes the recurring theme for Niko Bellic, everything about the job goes wrong. The cops have the bank surrounded and there's no easy way out. Instead, you and the gang must battle through the streets and into the subway to escape. It's a lengthy, epic fight that I could replay a dozen times and still enjoy. A great deal of that pleasure is due to the refined combat system. Though Grand Theft Auto has always been about action, it has never provided a great targeting system. That has finally, truly changed with GTA IV. Hold down the trigger and you can lock on to an enemy (or civilian). You'll see an indicator of their health. You can adjust your aim slightly with the thumbstick so that nudging up a little can help you earn some headshots. Partially depress the trigger and you have free aim, which is great for targeting tires or specific body parts. With skill, you can take down enemies faster in free mode. But auto aim is a great help in larger battles or for those who aren't as adept with a controller.

GTA IV plays out like a high-octane action flick. Michael Bay just got served.

Better is the cover system. Tap the right shoulder button and you'll take cover behind the nearest object. If you see it in the environment, you can probably take cover behind it. That includes walls, dumpsters and cars. You can aim while in cover and when you hold the trigger to fire, you'll pop and shoot. You can also blind fire rather effectively with any weapon -- including an RPG. The cover system is fairly smart, so if you want to move from one side of a door to the other, just push towards where you want to go and tap the cover button. This also works when you are fairly far from cover. Niko will roll or perform a slick slide to get to safety quickly. There is a stickiness to the cover system similar to Gears of War, but since the cover button isn't tied to your run button, you never accidentally enter cover. While GTA doesn't have many issues, I will admit that the cover system is not perfect. There are times where you will take cover on the wrong side of a corner, leaving you exposed. These instances aren't too common, but over the course of dozens of hours, you'll certainly encounter them. You also un-stick from cover when you use your phone, which can sometimes make calling Dwayne for backup or Carmen for a health boost a little trickier than necessary.

"The best mission comes close to the halfway point, when you and Packie McCreary decide to rob a bank. In what becomes the recurring theme for Niko Bellic, everything about the job goes wrong. The cops have the bank surrounded and there's no easy way out."

Most games with a cover system make the mistake of turning cover into the central focus of gameplay. But cover in GTA IV is more of a natural progression needed to facilitate heightened AI. Enemies have a variety of AI protocols. Some are cowards (gotta love the fat cops running for the hills when you start killing the boys in blue), most try to avoid being shot by taking cover, and a few still stand in the open. If the AI is going to be able to hide behind cars and other parts of the environment, it's only fair that players have the same ability. You don't have to use cover if you don't want to. I'm sure there is some way to beat missions just by running and gunning. After all, this is still GTA. There's no one right way to beat a mission. You're free to get creative. But ignoring the cover system is like never stealing a car. This is a major piece of the game. Use it often, because it works well and it's certain to keep you alive longer. The cops aren't about to let Niko run through the city with guns blazing, even if he is capping bad guys. Sooner or later, you'll run afoul of the law. The wanted system has been revised and makes for more dynamic chase scenes. When you're wanted, your radar displays the police search parameter. The smaller the wanted level, the more local the search. Your goal is to get out of that circle and avoid being seen by the cops. Get spotted and the circle re-centers on your new location. This becomes more of a challenge when you reach three stars, because a police helicopter appears. This eye in the sky has an easier chance of spotting and following Niko -- and directing other cops to your location. Unless you want to be O.J., you need to change directions, get out of the sight of choppers, switch cars or go on foot. Whatever you do, avoid line of sight, because once a cop sees you, you're location is reported and the search changes its focus. This makes escapes from four stars and higher incredibly intense. Pay 'n' Spray shops still exist, but must be entered when cops aren't looking. To be honest, I used this one time in 40 hours. It's an outdated idea in some ways and more a nod to GTA's of old than a great resource. The new wanted system puts an emphasis on your driving and navigation skills. Fortunately, you can set a waypoint on the map in the pause menu and get an adaptive GPS-guided route. This same system is used to guide you through missions. There is never a point in GTA IV where you have to wonder where to go or what to do next.

"That a game with great AI, an awesome physics engine and a detailed open world, runs so well and with such short load times is a technical marvel."

I should mention that the driving has also seen an upgrade from past Grand Theft Autos. Rockstar's RAGE engine coupled with NaturalMotion's Euphoria engine creates a game world with some stunning physics. Each brand of car handles differently (you can actually see the suspension in action as you make sharp turns). What will really surprise people is that these physics work with characters while in cars. So Niko's weight shifts to one side as he makes a turn and his head snaps forward when he slams the brakes. There is also a full neurological system built into Niko so that his body knows how to react to other objects. At one point I drove an ambulance off a high stunt jump. The cinematic camera swung around to show Niko taking his hands off the wheel and covering his face before impact.

Is it suicide if you take someone with you?

You will see the effects of NaturalMotion throughout the game, whether it's how bodies react when you slam your car into them or the way a gangbanger leaps away from a grenade. The physics system is the connective tissue that grounds the action into something resembling reality. And it's one of the main factors that makes GTA such an impressive-looking game. Past GTA titles have had mild-to-serious framerate issues and technical glitches, because the games were trying to do far more than the PlayStation 2 could handle. While GTA IV is pushing the PS3 and 360 to the limit, it also runs amazingly well. Sure, there are framerate hitches here and there and (particularly on 360) there is some texture pop-in, but it actually runs better than I expected. That a game with great AI, an awesome physics engine and a detailed open world runs so well and with such short load times is a technical marvel. For that, I can forgive framerate issues and some noticeable aliasing.

The world is yours online.

The art team gets major kudos for creating a living world. There is great texture work in the environments, a nice field-of-vision blur of buildings in the distance, some excellently modeled cars, ball-jarring explosions, phenomenal water effects and one interesting-looking Eastern Euro for a lead character. Sure, it's not a game that runs perfectly all the time, but the technical elements almost never get in the way of the gameplay. For those wanting to know which version looks better, the edge goes to the PS3. The textures and framerate are comparable, but the PS3 has far less pop-in. The 360 has richer colors, but the PS3 has better anti-aliasing making it look a little cleaner. Because GTA IV can preload onto the PS3 hard drive, the in-game loads are faster. Don't worry Xbox owners, the load times are rarely more than 30 seconds and don't occur very often. The slight visual edge goes to PS3, but the 360 is no slouch. Either version will do you proud. If you're wondering which version to buy, the best suggestion is to consider what your friends will purchase. That's because online multiplayer has made its way into GTA IV and it is awesome. And, like all great things, it's best played when drunk and with as many friends as possible. Multiplayer is accessed via your phone from the single-player game. Everything is active in Liberty City online -- the cops, pedestrians, traffic, and weather. And yes, the entire city is open to you and 15 of your closest friends. To keep you and your pals from getting separated, GTA IV offers a party system. The party lobby is actually set in the outskirts of Liberty City. You're given plenty of guns and some vehicles to mess around with. You can stay and fight or run around the city if you like while waiting for the host to set up a match. And boy, are there a lot of options to choose from.

A meeting of the online minds.

There are more than a dozen multiplayer modes if you count team and free-for-all variations. The bread-and-butter of multiplayer is Free Mode. This is a no-rules game that drops you into Liberty City with up to 15 other people to do as you please. You can invent your own custom games, waste time shooting one another or explore the city. As with almost all of the multiplayer modes, there are loads of options for the match. Turn on cops and each player will get their own individual wanted level. Set the time of day, weather, flow of traffic, weapons available -- there's very little you can't customize. Free Mode taps into the very core of GTA gameplay, which is to run around the city causing mayhem. Only now you can do it with 15 other like-minded individuals. There are a number of other creative multiplayer offerings. The standard Deathmatch and Team Deathmatch can be interesting, since the cover system often slows the game a bit so it isn't as fast-paced as something like Quake. Unless, of course, you choose "all rockets" in which case death will become you many, many times. Mafiya Work has you and your competitors receiving phone errands from a mob boss. First to complete a mission scores some cash. Car Jack City has players vying to steal specially marked cars and return them in as pristine a condition as possible to a drop off point. Turf War is your standard capture-the-point. Or if you like vehicles you can try out GTA Race, which is like any other racing game except you can get out of your vehicle, jack your competitor's car and finish the race in any way you like -- or just blow up other people for the hell of it.

"Everything is active in Liberty City online -- the cops, pedestrians, traffic, and weather. And yes, the entire city is open to you and 15 of your closest friends."

And then there is Cops n' Crooks, the best of the objective-based multiplayer games. This has two teams, one side lawmen, the other hoodlums. The crooks are trying to get to a randomly selected extraction point and the cops are trying to arrest them with bullets. This mode forces teamwork, as both teams must strategize on the fly and rely on one another to assist in navigation. It's a fun, addictive mode that will likely be the most popular of the team offerings. On top of the various competitive modes, there are also three co-op offerings. These three "modes" are missions similar to what you might experience in the single-player game. Niko doesn't exist in multiplayer, but you still get cut-scenes and some unique dialogue wrapped around some fun missions. Co-op supports up to four players and only has some minor variables. Your objective never changes nor do the locations. You can up the difficulty and add more traffic if you want a challenge, but none of the co-op missions struck me as anything worth playing more than a couple of times. It's nice to have, but probably won't be what gamers buzz about when discussing GTA multiplayer. As with just about every game, there are both ranked and unranked matches. Ranked matches are the only way to progress up the ranking system (from 0-10). Progressing up the ranks not only makes you feel better about yourself, but it opens up new clothing and accessories to better customize your character. There's not a lot of pull to rank up, though, because many of the modes don't use your custom character. The co-op modes and Cops n' Crooks use a different cast, so if those tend to be your primary focus, having new outfits for a character you never see isn't going to mean much. I won't go so far as to say that GTA IV is the best multiplayer out there, but it's definitely among the best. Having Liberty City in full effect and only seeing occasional instances of slowdown is a real treat. When a few million people load hop online, it's anyone's guess how the game will hold up, but from my experience, playing with 16 people in Free Mode only caused occasional hiccups. Certainly not enough to make me stop playing.

Closing Comments
Grand Theft Auto III was a revolutionary title, one that inspired a whole new generation of 3D action games. Grand Theft Auto IV is just as big a leap forward, though perhaps in subtler ways, and sets a new benchmark for open-world games. Everything in GTA IV works in harmony. The story would be nothing without the city; the city gains realism from the physics engine; the physics compliment the improved AI; the AI would make no sense without the new cover system. And on and on. There is no one major weak aspect.

A "10" is not a score we give out very often. In fact, the last time we gave a 10 to a console game was Soul Calibur in 1999. A 10 doesn't mean a game is perfect -- it means a game is pushing boundaries, expanding a genre, and doing many things to a level so far above and beyond its competitors that they overshadows any flaws. Certainly, GTA IV has some issues, the most noticeable being the occasional flaw in the cover system, but there are many more pieces of GTA IV that are better than anything I've seen from a game in the past decade. We don't give 10s often -- just to games that merit the score.

THE GRAND NOW AVAILABLE

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HERE IS THE SUMMARY FOR THE MOVIE THE GRAND FROM IMDB

An improvisational comedy using a handful of actors playing characters competing in an actual poker tournament.

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SUPERHERO MOVIE NOW AVAILABLE

SUPERHERO MOVIE NOW AVAILABLE ONLINE

HERE IS THE SUMMARY FOR THE MOVIE SUPERHERO MOVIE FROM IMDB

Super is as super does: Finally, the guys behind the outrageously silly "Scary Movie" franchise have used their own 'special powers' to spoof superhero movies. After being bitten by a genetically altered dragonfly, high school loser Rick Riker develop superhuman abilities like incredible strength and armored skin. Rick decides to use his new powers for good and becomes a costumed crime fighter known as "The Dragonfly." However, standing in the way of his destiny is the villainous Lou Landers. After an experiment gone wrong, Lou develops the power to steal a person's life force and in a dastardly quest for immortality becomes the supervillain, "The Hourglass." With unimaginable strength, unbelievable speed and deeply uncomfortable tights, will the Dragonfly be able to stop the sands of The Hourglass and save the world? More importantly, will we stop laughing long enough to notice?

HERE IS A REVIEW FOR THE MOVIE SUPERHERO MOVIE FROM DVDTALK


In a year that's already felt the release of "Meet the Spartans," it's telling to write that "Superhero Movie" is in serious contention to be the worst picture of 2008. I mean, a feature would have to be just mind-bogglingly inexcusable to match the crater of awful left behind by "Spartans" in January, yet "Superhero" comes close, too close, to making the race for the bottom a dead-heat.

Average high school loser Rick Riker (Drake Bell) is in love with his neighbor Jill (Sara Paxton), tormented by bullies, and was recently bit by a genetically-modified dragonfly during a science field trip. Now endowed with superpowers he doesn't understand, Rick assumes the identity of "The Dragonfly" and attempts to bring justice to Empire City. With the help of his Uncle Albert (Leslie Nielsen) and Aunt Lucille (Marion Ross), Rick learns the meaning of responsibility, but his world changes when the supervillain Hourglass (Christopher McDonald) rises to power, bent on killing the masses to make himself immortal.

While "Superhero" is a spoof picture, it has the advantage over the seizure-inducing "Spartans" by generally sticking to a specific pool of movies to lampoon, instead of flailing around like a crank addict high-fiving every single pop culture monstrosity of the last calendar year. The aptly-titled "Superhero Movie" takes on...well, superhero movies, with emphasis on the 2002 blockbuster, "Spider-Man." Yeah, that's right; the picture makes fun of a movie that's now six years old. This is only the beginning of the moldy nightmares "Superhero" provides.

While boasting the participation of satire king David Zucker (who produces), "Superhero" was actually born from the mind of writer/director Craig Mazin, who already worked the comic-book hero bit with 2000's painfully unfunny "The Specials." Mazin, who also had a hand in writing the last two "Scary Movie" pictures, is man with a plan, but absent the slightest molecule of cleverness. I'll give him this: "Superhero" isn't scattershot, just humorless to a demonic degree, and insultingly reliant on potty jokes to pander to the soft brains who found "Alvin and the Chipmunks" too highfalutin.

Right from the start of the picture, it's obvious Mazin is one unfunny bastard. "Superhero" is a film that loves when characters pratfall on poop, get dry-humped by animals, or are continually farted upon. That's the spectrum of humor offered here, and the picture is relentless inserting bodily function gags wherever it can, often passing up potential for true parody just to add a fecal punctuation mark where nobody asked for one. The superhero material is quickly secondary to Mazin running around trying to appease kids in the audience with tedious vulgarity.

The rest of "Superhero" is just as wretched, stitching together a spoof of comic-book movies with minimal attention to giggle detail. While "Spider-Man" is the main course of the script, "Batman Begins," "Fantastic Four," and "X-Men" are also given their own split-second shots to the chest. The rest of the script is simply overturning pop culture mainstays such as MySpace, ubiquitous iPod usage, and the insanity of Tom Cruise. There's even an Enron joke. Talk about cutting-edge comedy.

Since it contains perhaps the silver screen's longest flatulence joke (criminally involving Marion Ross), "Superhero Movie" deserves a special place in the burning fires of Hell, where lazy writing, insipid direction, and an unforgivable eagerness towards bottom-feeding stupidity can roast along with the rest of the spoof genre's recent offerings.

HERE IS THE DIRECT DOWNLOAD FOR THE MOVIE SUPERHERO MOVIE.

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The $19.99 plug-in will be available at www.archos.com. “ARCHOS was founded on the principle of providing consumers the most compelling mobile entertainment experience possible, and our Web TV and Radio plug-in, along with Flash 9 support, is proof that we continue to deliver on this,” said Henri Crohas, founder and CEO of ARCHOS. “With more than four in five U.S. adults viewing an online video last year, the time is right to give consumers access to the content they want wherever they are, without requiring downloads, subscriptions or separate players to view the video they want.” Only Portable Media Player to Fully Support Adobe® Flash® 9 Unlike competitive players, ARCHOS does not require consumers to purchase TV episodes for download or through a subscription service, but rather allows them to watch their favorite online videos and TV shows directly from the Web for free – just as they would on their laptop. By combining Adobe® Flash® Player 9 quality and compression—a two-fold improvement over Flash® Player 7—with the 800x480 resolution of ARCHOS touch-screen displays, the viewing experience is crystal clear and incredibly fast. Adobe® Flash® Player can be used to view both live and on-demand media and entertainment on sites such as CBS, NBC, FoxNews Digital, PBS, MTV Networks, BBC and more. The technology also powers the video capabilities of popular social networking sites including YouTube and MySpace. Hometown TV and Radio from Anywhere in the World With the new ARCHOS Web TV and Radio plug-in, consumers can access more than 9,600 Web radio stations, 600 Web TV stations and 110,000 podcasts streamed live over the Internet to their ARCHOS devices. TV and radio fans can also search for radio or TV stations by city, country, station genre, etc., ensuring they’re always in touch with their hometown stations, news or events wherever they are in the world. Different from online video streamed primarily in Flash, Web TV consists of TV channels that exist only on the Web, traditional stations that simulcast live online, traditional stations that make selected content (such as news) available on demand at their Website, and traditional TV stations offering extra content exclusively for their Website. Web Radio listeners will experience traditional radio stations simulcast online, independent Web radio stations, and extra content on-demand from traditional stations. Pricing and Specifications The ARCHOS Web TV and Radio plug-in will be available next month for $19.99 and can be downloaded from www.archos.com or directly from the ARCHOS Content Portal on the device. The plug-in works with the ARCHOS 605 WiFi, 705 WiFi, and ARCHOS TV+ models. Support for Flash 9 and WMV9 will also be available next month through a firmware update for Web browser plug-in at no additional cost. ARCHOS announced separately today a host of new software and services that enhance the entertainment value of their Generation 5 line. The new ARCHOS GPS In-Car Holder for the 605 WiFi portable media player brings entertainment and navigation together in one device for consumers for the ultimate road trip companion. The new TVportation feature brings live television streamed from the ARCHOS TV+ to any wireless-enabled device, including ARCHOS players, smartphones, laptops and computers anywhere in the world. All ARCHOS players support open standard video, audio and photo formats—MPEG-4, WMV, H.264*, MPEG-2*, stereo MP3, WMA, protected WMA, WAV AAC, AC3*, JPEG, BMP, PNG, and RAW with embedded JEG thumbnail. About ARCHOS ARCHOS introduced the hard-drive-based MP3 player with the Jukebox 6000 in 2000, and since that time has revolutionized consumer electronics devices. The company introduced the portable video player in 2003 and was the first to bring TV recording, wireless and touch screens to the portable media player. ARCHOS’ award-winning products let consumers enjoy movies, photos, video, music and television anytime, anywhere. Established in 1988, ARCHOS has offices in the United States, Europe and Asia, and is quoted on Compartment B of Euronext Paris, ISIN Code FR0000182479. More information is available online at www.archos.com.

HOTTIE AND THE NOTTIE NOW AVAILABLE

THE HOTTIE AND THE NOTTIE NOW AVAILABLE ONLINE

HERE IS THE SUMMARY FOR THE MOVIE THE HOTTIE AND THE NOTTIE FROM IMDB

Nate moves to L.A. to track down Cristabel, the woman he's been in love with since childhood, only to discover that his plan to woo her only has one hurdle to overcome: what to do with June, Cristabel's ever-present, not-so-hot best friend? What's even more complicating is Nate's growing feelings for June, whose true beauty starts to emerge.

HERE IS A REVIEW OF THE MOVIE THE HOTTIE AND THE NOTTIE FROM DVDTALK


As if the title alone wasn't enough to lock this loathsome feature film in a trunk and sink it to the bottom of the ocean, it also stars Paris Hilton. The mere mention of her name is enough to make one break out in hives, but the everlasting media whore isn't the worst thing about "Hottie," and that, my friends, is a shocking turn of events.

Nate (Joel David Moore, "Grandma's Boy") is a loser who wants to reverse the tide of his failed relationships by chasing after childhood love, Cristabelle (Paris Hilton). Attempting to woo her, Nate is promised carnal delights if he can find a boyfriend for Cristabelle's total opposite: the disgusting June (Christine Lakin). Balding, and cursed with rotting teeth and braidable body hair, hooking June up is a tall order, and as Nate goes about getting a man interested in her, he finds she's much more than fungal toenails and unibrow. She's all woman, and as the layers of ick are peeled away, Nate's has serious doubts which girl he's actually attracted to.

And before anyone e-mails me: yes, a studio is actually attempting to put this picture into theaters.

It's almost needless to describe how awful "Hottie" is. It's a total and complete misfire of intention and execution; an utterly worthless, unfunny sack of pain that doesn't deserve anyone's time or attention. It's best to ignore it, like one might avoid say the plague or a "Two and a Half Men" studio taping. Oh yes, it's that bad.

However, to lunge at Hilton's throat for this botched abortion is too easy and truly not where this trail of tears leads. The culprit is Joel David Moore, an actor who, for some unknown reason, was told early on in his career that he was funny, and now we all have to pay for this demonic miscalculation of talent.

Moore fancies himself the comedic conductor of "Hottie," improvising and stuttering his way through scenes, as if the film was entirely dependent on his spastic participation and nonstop nasal line-readings. I haven't seen much of Moore in dramatic settings, and lord only knows why James Cameron dropped the actor into his upcoming blockbuster "Avatar," but there's one feeling I hold without a drop of doubt in my mind: Joel David Moore is comedy poison. They should make it illegal for this guy to pursue the funny business.

Past Moore, there's director Tom Putnam and writer Heidi Ferrer. Putnam comes off as low-budget lackey, who stumbled into this somewhat high-profile gig by accident. His direction reflects a man who shouldn't be chasing filmmaking as a full-time gig. To him, if the action in the frame isn't repulsive (lots of gross-out humor here), it just isn't worth committing to film. Ferrer is the more fascinating trainwreck of this production. Writing a fable where a woman is unable to prove her worth until she conforms to mainstream ideas of beauty, Ferrer sets her own sex back 40 years with this turkey, not to mention her unease with originality and fear of wit.

Yes, "Hottie and the Nottie" is as ghastly as it sounds. The picture attempts to mask the stank with copious amounts of bronzed, jiggly Paris flesh, but let's get real here: been there, done that. At this point, Paris is never going to be a respectable actress, and her appearance in the film signals an astonishing lack of imagination and basic design of competence from the production. So, one can imagine the disgust of watching of movie where she's the best thing in it.

HERE IS THE DIRECT DOWNLOAD FOR THE MOVIE THE HOTTIE AND THE NOTTIE.