CHRONICLES OF NARNIA 2 NOW AVAILABLE

CHRONICLES OF NARNIA 2 NOW AVAILABLE ONLINE


HERE IS THE SUMMARY FOR THE MOVIE CHRONICLES OF NARNIA 2 FROM IMDB

"Prince Caspian" finds the Pevensie siblings pulled back into the land of Narnia, where a thousand years have passed since they left. The children are once again enlisted to join the colorful creatures of Narnia in combating an evil villain who prevents the rightful Prince from ruling the land. Written by Max Davison {RockyHexorcist2785}

The four Pevensie children return to Narnia, only to discover that hundreds of years have passed since they ruled there, and the evil King Miraz has taken charge. With the help of a heroic mouse called Reepicheep, and the exiled heir to the throne, Prince Caspian, they set out to overthrow the King, once again with Aslan's help. Written by comicfan

A year after their first adventure in Narnia, Peter, Susan, Edmund, and Lucy are pulled back in by Susan's magic horn. They find that hundreds of years have passed, and Narnia is now ruled by the bloodthirsty General Miraz, uncle to the true heir, Prince Caspian, now in exile. Now the children must find Caspian and help him depose Miraz...but how will they get home after it's done? Written by rmlohner

HERE IS A REVIEW FOR THE MOVIE CHRONICLES OF NARNIA 2 FROM DVDTALK

I felt indifference to 2005's "The Lion, the Witch, and the Wardrobe," and I feel indifference to its sequel, "Prince Caspian." There's something missing from this franchise, and three years ago the absence of persuasive content was baffling. Now, the clues are more apparent.

When a magical train station whisks siblings Peter (William Moseley), Susan (Anna Popplewell), Edmund (Skandar Keynes), and Lucy Pevensie (Georgie Henley) back to the realm of Narnia, they learn that while one year has passed for them since their last visit, hundreds have gone by in Narnia, and the land is in ruin. Overrun by humans led by villainous King Miraz (Sergio Castellitto), it's up to Prince Caspian (Ben Barnes) to escape the clutches of Miraz and seek counsel with the creatures and leaders that remain in Narnia. Teaming up with the Prince, Peter and the clan decide to fight Miraz for control of the land, while Lucy searches anxiously for signs of the all-powerful lion Aslan (voiced by Liam Neeson).

I'm aware that stepping on the literary throat of C.S. Lewis is sure to provoke a rabid response, but understand that my beef is not with the source material, but with the director of the two "Narnia" films, Andrew Adamson. While surely putting forth a herculean effort to lift these massive fantasy features off the ground, Adamson has a horrible grasp on the drama and performances. Surely "Wardrobe" could coast on the very newness of it all, but "Caspian" is a visual sleeper hold from frame one; a constipated effort to erect widescreen wonderment, yet the production is missing dimension and needed narrative gusto.

"Caspian" handles oddly from the opening sequence, which introduces us to the new "Narnia" look: muddy, low-lit cinematography, which lends the picture a brooding stance, making an already overlong picture feel eternal. While the story might come easy to Lewis devotees, as a film "Caspian" has substantial difficultly arranging itself into a kinetic whole. It takes a good 30 minutes for the film to warm up properly, only to find that Adamson has little interest in his characters, giving mere seconds to important motivations and sweeping Shakespearean dramatic turns that seem critical to the experience.

"Caspian" doesn't feel rushed, just unfinished. Adamson's focus is on the eye-opening, big-bang material, in which Caspian and Peter try to lead Narnia forces of dwarves (played by Peter Dinklage and Warwick Davis), centaurs, and sword-wielding CG mice into battle against Miraz. That's all well and good, but where's the meat here? Where's the connective tissue that the audience can savor while our heroes step into battle? "Caspian" is marked by long stretches of screentime where there's nothing dramatic to grab onto, as though the film was engaged in a dullsville holding pattern while waiting for the next opportunity to declare war. Once it becomes clear that Adamson isn't interested in establishing a human element, the picture becomes a chore to sit through.

The performances don't exactly help matters either, with the Pevensie clan of young actors showing a noticeable lack of panache with these more difficult roles. Truthfully, the kids are completely ineffective, and it cripples "Caspian," which details the once and future kings and queens of Narnia as troubled souls, yet nothing registers in their body language, nostril flaring, or distant stares. I also wasn't thrilled with Barnes as the titular royal heir. It's difficult to get excited about a hero who looks exactly like and seems about as threatening as a Jonas Brother.

"Caspian" is quick to head into battle, and the final hour of the movie is devoted almost entirely to expansive combat arrangements and a marathon one-on-one duel between Peter and Miraz. Admittedly, I was more swayed by this section of the film due to its thankful influx of velocity, but Adamson is hardly serving up anything new here. It's the same war cries and catapult assaults as detailed in such hits as "Lord of the Rings," without anything to single them out for "Caspian." It all speaks to the fatigue of the production's imagination, and while it may entertain the faithful, I doubt it'll inspire more than a drowsy "yip-ee-do" out of the casual viewer.

I suppose I was expecting the next chapter in the Pevensie family adventure story that was promised at the end of "Wardrobe." What "Caspian" ends up becoming is a simpleminded, violent war picture (the film's PG rating is misleading) with minimal effort put into character growth. It's a decent ride for special effects and all things that go boom, but anyone expecting depth here might be better off snuggling up with the original books instead.

HERE IS THE DIRECT DOWNLOAD FOR THE MOVIE CHRONICLES OF NARNIA 2.

QUARANTINE NOW AVAILABLE

Here is the summary for the movie Quarantine from imdb

Television reporter Angela Vidal (Jennifer Carpenter) and her cameraman (Steve Harris) are assigned to spend the night shift with a Los Angeles Fire Station. After a routine 911 call takes them to a small apartment building, they find police officers already on the scene in response to blood curdling screams coming from one of the apartment units. They soon learn that a woman living in the building has been infected by something unknown. After a few of the residents are viciously attacked, they try to escape with the news crew in tow, only to find that the CDC has quarantined the building. Phones, Internet, televisions and cell phone access have been cut-off, and officials are not relaying information to those locked inside. When the quarantine is finally lifted, the only evidence of what took place is the news crew's videotape. Written by zjohnson

Television reporter Angela Vidal (Carpenter) and her cameraman (Harris) are assigned to spend the night shift with a Los Angeles Fire Station. After a routine 911 call takes them to a small apartment building, they find police officers already on the scene in response to blood curdling screams coming from one of the apartment units. They soon learn that a woman living in the building has been infected by something unknown. After a few of the residents are viciously attacked, they try to escape with the news crew in tow, only to find that the CDC has quarantined the building. Phones, internet, televisions and cell phone access have been cut-off, and officials are not relaying information to those locked inside. When the quarantine is finally lifted, the only evidence of what took place is the news crew’s videotape. Written by Screen Gems.

Here is a review for the movie Quarantine from dvdtalk

Most audience members stumbling into "Quarantine" will have no idea it's a remake of a 2007 Spanish horror film titled "Rec." I can't blame anyone for their ignorance, since the original picture never broke through to America due to distribution disinterest, and that's a cryin' shame. "Rec" was a beautiful chiller, constructed with resourcefulness and genre filmmaking wizardry that instilled a modest concept with the right amount of armrest-ripping content to fuel nightmares for weeks. "Quarantine" is the unavoidable American replica, only this version has ingested a bottle of idiot pills and washed it all down with a full glass of directorial incompetence.

Sent on an assignment to cover a night at the average Los Angeles firehouse, T.V. personality Angela (Jennifer Carpenter) is stuck reporting on the mundane details of fireman life. Becoming frustrated with her botched attempts to add some spice into this monotonous story, Angela's fortunes change when a call arrives requesting emergency assistance at an apartment complex. Tagging along with her newfound friends (including Jay Hernandez), Angela and her cameraman Scott (Steve Harris) head into the building, only to be quickly sealed in by faceless government officials. Now trapped with angry cops (Columbus Short), paranoid residents (Rade Serbedzija), and an anxious medical professional (Greg Germann), Angela and her roving camera discover the true reason for the quarantine...and it's hungry for flesh.

There's nothing broad to be found in "Quarantine" that directly separates it from "Rec." Director John Erick Dowdle (of the unreleasable "The Poughkeepsie Tapes") crafts a straightforward copy of the Spanish film, preserving the same plot and scare beats, but altering the corners of the writing to put his fat stamp on the picture. To Americanize "Rec," "Quarantine" introduces crude sexual tension between Angela and the firemen, and turns our camera-ready hostess from a frustrated lifestyle reporter to a veritable sorority pledge, with Dowdle encouraging Carpenter to play daft instead of confident, ultimately reducing Angela's role in the overall scheme of things.

The changes are minor, but they do add up, wandering away from "Rec" in all the wrong ways. The original film spent some time with the characters, "Quarantine" quickly sets up the humans as zombie food, with little development beyond differing puncture wounds. "Rec" was a multi-layered visual piece of broadcasting verisimilitude, resembling a chaotic news explosion; the remake retains an unacceptable glossy look, highlighting the already recognizable cast as humdrum actors, not frantic citizens trapped in Hell. Also, while "Rec" didn't win any awards for steady cinematography, director Jaume Balaguero and Paco Plaza composed carefully for maximum suspense and exposition. Dowdle just throws his camera around arbitrarily, with huge sections of the film lost to inane handheld blur and iffy technical believability. In other words, "Rec" invited the viewer to get lost in the terror. "Quarantine" can't stop reminding everyone that it's just a dopey movie.

Reviewing "Quarantine" on its own merits is a difficult challenge, since "Rec" is as close to perfection as fright films get these days. To the uninitiated, the remake will be easy enough to swallow, with plenty of cheap boo scares and hysterical Carpenter overacting to justify the price of admission. For "Rec" fans, there's no reason to return to this story, since Hollywood has drained the tension away, replacing Spanish innovation with American stupidity.

Here is the direct download for the movie Quarantine.

KIT KITTREDGE NOW AVAILABLE

Here is the summary for the movie Kit Kittredge from imdb

'Kit Kittredge: An American Mystery' centers around a young living in the struggles of the Great Depression. 10 year old Kit lives in a boarding house her parents own in Cincinnati, Ohio. She has a passion for writing, & dreams of having something of hers put in the local paper someday. With the help of her friends, Sterling & Ruthie, will her dream finally come true? Written by wgdpink

The film focuses on Kit Kittredge, who grows up in the early years of the Great Depression. Written by anonymous

Here is a review for the movie Kit Kittredge from dvdtalk

It's easy to see that "Kit Kittredge" is after family audiences. It's a harmless tale told without a lick of objectionable content, sure to offer relief to many parents unwilling to subject their children to the heated warfare of lowbrow summer entertainment. However, as generous in spirit as "Kittredge" is, it's an absolute chore to sit through for anyone not plugged into the "American Girl" franchise hoedown.

Watching her family hope to make ends meet during the Great Depression, Kit Kittredge (Abigail Breslin) remains courageous, even trying to score work with the local paper writing about matters of the unemployed. When her father (Chris O'Donnell) heads out of state to find work, it forces Kit's mother (Julia Ormond) to take in eccentric boarders (including Stanley Tucci, Joan Cusack, and Jane Krakowski), most of which have great distaste for the hobos that fill the manual labor jobs of the neighborhood. One of the homeless kids, teenager Will (Max Theroit), is a friend of the Kittredges, and when he's accused of theft, Kit springs into action, trying to uncover the clues that will clear Will's name and save the family home from foreclosure.

"Kittredge" is born from the popular "American Girl" doll line, which gives young girls (and Marie Osmond types) a chance to experience life from a different era and perspective. It's an interesting concept for a toy, and if there's anything to outright praise about the "Kittredge" movie, it's the obsession with Depression iconography. The picture is all soup lines, chicken-feed-bag dresses, and the use of "hobo" as the ultimate four-letter word (seriously, these characters wield the term like a switchblade).

Director Patricia Rozema embraces the era and manufactures an agreeable cardboard backdrop for Kit and her adventures, but she overdoses on the earnestness, turning Kit into a blinding beacon of one-dimensional goodwill and kid-sized worry. "Kittredge" has been drained of complexity to satisfy the wee ones in the audience, and I'm absolutely fine with that; what troubles me about the picture is its amplified presentation. The cast is all wildly gesticulating arms and heavily-pronounced melodrama, while the plot itself is pulled straight from a "Scooby-Doo" episode, with slapstick bad guys and cartoonishly greedy motivations. Rozema pitches everything to the rafters, turning the picture into a sugary, aggravating caper.

The perky pinch is also felt by Breslin, pushed here by Rozema to give an adult performance dancing across the emotional rainbow, but she's too limited to have much effect. Breslin is entering the Dakota Fanning phase of her career: the place where studios lust after her name, thus pressuring the actress to take roles beyond her skill level. Breslin sells the earnestness of Kit, but not the gravity, and her performance is cringingly robotic as a result.

"Kit Kittredge" is hopelessly vanilla entertainment, and while it's sure to please some matinee attendees, it's going to feel like a demonic endurance ritual to the less inclined.

Here is the direct download for the movie Kit Kittredge.

PINEAPPLE EXPRESS NOW AVAILABLE

PINEAPPLE EXPRESS NOW AVAILABLE ONLINE

HERE IS THE SUMMARY FOR THE MOVIE PINEAPPLE EXPRESS FROM IMDB

Lazy court-process clerk and stoner Dale Denton has only one reason to visit his equally lazy dealer Saul Silver: to purchase weed, specifically, a rare new strain called Pineapple Express. But when Dale becomes the only witness to a murder by a crooked cop and the city's most dangerous drug lord, he panics and dumps his roach of Pineapple Express at the scene. Dale now has another reason to visit Saul: to find out if the weed is so rare that it can be traced back to him--and it is. As Dale and Saul run for their lives, they quickly discover that they're not suffering from weed-fueled paranoia: incredibly, the bad guys really are hot on their trail and trying to figure out the fastest way to kill them both. All aboard the Pineapple Express. Written by Anonymous

HERE IS A REVIEW FOR THE MOVIE PINEAPPLE EXPRESS FROM DVDTALK

We all have nights in our past that have become legendary in their telling, nights out with friends that grow epic the more the story is repeated. Nights where we felt like anything could happen and even though anything might not have, the mythology is that it did. Few of us get to make movies about such nights, however, and now writers Seth Rogen and Evan Goldberg have managed to pull off two. First was Superbad, their high school comedy about boys on a quest to get laid; second on deck, the new film Pineapple Express. While a stranger animal than its predecessor, more adult and more all over the place, Pineapple Express proves Rogen and Goldberg have more than one hit in them, and it continues the impressive winning streak of Judd Apatow as a producer.

Pineapple Express hinges on one night, but it's actually more like the longest 48 hours in the life of process server and marijuana aficionado Dale Denton (Rogen) and his goofy dealer Saul (James Franco, probably best known as Harry Osborne in the Spider-Man movies). Working a late evening trying to serve a subpoena, Dale witnesses an Asian hitman being murdered by a drug trafficker (Gary Cole) and a dirty cop on his payroll (Rosie Perez). It's a scene straight out of Cassavetes, even down to the ridiculously designed California home. Pineapple Express is the Killing of a Chinese Bookie of marijuana comedies--both naturalistic and improbable, its narrative strangely fractured but somehow coming together anyway.

In a panic, Dale tosses his ever-present joint out the window, leaving a trail for the killer to find. It turns out that the bad guy, Ted, is the man two rungs up the ladder from Saul, and the only inventory of a special strain of pot called Pineapple Express to trickle down the food chain has gone to Saul. Recognizing his wares, Ted sends a couple of thugs (Kevin Corrigan and The Office's Craig Robinson) down the supply line, putting the stoned pair on the run for their lives.

Much of the humor of Pineapple Express is derived from Dale and Saul trying to put together a plan and then execute it. Saul's fuzzy logic fuels Dale's paranoia and the two end up lost in the woods, locked in a car chase while driving a stolen police cruiser, and being chased by the shotgun-wielding father of Dale's underage girlfriend. (The angry daddy is a hilarious cameo by Ed Begley Jr.) The film is directed by David Gordon Green, whose previous four features have all been realistic dramas shot in a sparse, understated style. (His most recent work was Snow Angels, one of the best films of the year.) In his first comedic turn, Green manages to adapt his leisurely, 1970s verite style to the stoner comedy. It turns out his southern drawl storytelling is perfectly suited to capture the cannabis haze. The same skill that allows him to guide actors through emotionally wrenching scenes in his dramas allows him to create a comfortable space for Rogen and Franco to operate in, and Green lets their scenes run long, giving them the time to work their magic on the dialogue.

Fans of Freaks and Geeks will enjoy seeing Rogen and Franco back together again. While Rogen has been showing his comedy chops in movies like Knocked Up over the last couple of years, Franco has largely been making overly earnest dramas. It's fun to see him cut loose, and he relishes the language of Rogen and Goldberg's script, getting more comedy out of subtly mis-chosen words than a lot of comedians get out of perfectly structured jokes. With his laid-back manner and Rogen's manic anxiety, the two actors form a classic comic duo, like Abbot and Costello, Spade and Farley, and other skinny/fat comedy teams. The proceedings also spark up every time the guys run into Red (Danny R. McBride, The Foot Fist Way), the middle-man between Saul and Ted. Sexually ambiguous, Buddhist, and altogether absurd, Red is an hysterical third wheel, alternating between jokes both rude and oddly calming.

As the plot of Pineapple Express progresses, the script's ADD should have caused the film to derail at some point. David Gordon Green keeps control, though, and he is able to jump from the broad satire of the movie's cold opening to buddy humor and then to slapstick without ever faltering. There are some knock-down, drag-out brawls in this movie that will have you cringing even while you laugh. Seth Rogen taking a flying ash tray to the head is comedy gold, as is James Franco driving a cop car with his foot sticking out the windshield. By the final act, when the convoluted storylines of Ted's war with the Asian drug cartel converges with the hunt for Dale and Saul, all logic is tossed out the window and Green just goes for it. Pineapple Express turns into a free-for-all parody of action comedies, comparable to Hot Fuzz for the sheer geeky detail of the farce. The fight goes on forever, the gun supply is unlimited, and the script even makes fun of its own lack of definition (no one knows what nationality "the Asians" really are, they are just Asian). Some might sniff that the giant shootout that takes up the whole last quarter of the movie is an immature excuse for a bunch of friends to goof around with guns and play-fight, but that conveniently ignores that this is the point entirely. Pineapple Express is about friendship, sticking together, and having a laugh while you do all the crazy stuff you would never do if the other guy wasn't egging you on.

When it's done poorly, pot humor can grow old quick, but Pineapple Express transcends the whole "dude, I have the munchies/my fingers are huuuuuge" norm and just goes gonzo. It practically invents its own genre, a Dadaist mash-up of B action movies and bawdy comedies that those of us who grew up in the '80s saw time and time again in heavy rotation on cable. Written smartly, directed with an assured style, and performed by some of the best comedians of our day, this Pineapple Express takes off like a shot and strikes every target. Get your tickets now.

Jamie S. Rich is a novelist and comic book writer. His current novel is entitled Have You Seen the Horizon Lately? and was released by Oni Press in the summer of 2007. 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 FOR THE MOVIE PINEAPPLE EXPRESS.

HELLRAISER NOW AVAILABLE

Here is the summary for the movie Hellraiser from imdb

Clive Barker's feature directing debut graphically depicts the tale of a man and wife who move into an old house and discover a hideous creature - the man's half-brother, who is also the woman's former lover - hiding upstairs. Having lost his earthly body to a trio of S&M demons, the Cenobites, he is brought back into existence by a drop of blood on the floor. He soon forces his former mistress to bring him his necessary human sacrifices to complete his body... but the Cenobites won't be happy about this. Written by Ary Luiz Dalazen Jr. {ajr@fortalnet.com.br}

A man finds he is given more than he bargains for when he solves the puzzle of the Lament Configuration - a doorway to hell. But his ex-lover has found a way of bringing him back, and his niece, Kirsty Lawrence, finds herself bargaining with the Cenobites, angels to some, demons to others, whose greatest pleasure is the greatest pain. Written by David Carroll {davidc@atom.ansto.gov.au}

Here is a review for the movie Hellraiser from dvdtalk

The Product:
When Stephen King called then unknown Clive Barker the future of horror, it was an endorsement that turned many a genre fan's cynical head. After all, if the reigning monarch of the macabre thought that this English newcomer was the savior of the medium he helped to popularize, there must have been something to such publicized posturing. Leafing through the young writer's Books of Blood, however, didn't leave many with the same overriding impression. Indeed, Barker frequently came across like H.P. Lovecraft without an internal monologue, and his stories often substituting lashings of gore for anything remotely resembling suspense. In some ways, he was the first crossbreed cyberpunk terror scribe, using the Gothic instead of the technical as fuel for his foul dreams. No, it would take a film to confirm Barker's reputation - and what a film it was/is. Hellraiser may not make a lick of logical sense, or spell out its ideas in huge, embraceable shapes, but in its own insidious way, it illustrated its inherent and undeniable brilliance. That's why it has remained one of the greatest horror films of the last 20 years - even of all time.

The Plot:
Hoping to rekindle his dying marriage, American Larry Cotton brings his frigid British wife Julia back to the UK. Along for the move is independent daughter Kirsty. She's wary of her stepmother and protective of her doormat papa. They decide to take up residence in the old Cotton family abode, and it's clear from the evidence that black sheep brother Frank has been squatting there for several months. This saddens Larry...and enlivens Julia. She had an affair with the sleazy sibling years before, and the thought of his animalist presence brings out long hidden thoughts of sex and seduction. When Larry is injured, bleeding profusely onto the rickety attic floor, he inadvertently resurrects Frank from beyond the grave. Apparently, the pain loving playboy bought a strange puzzle box - the Lament Configuration - while abroad, and in solving it, he summoned the Cenobites, demons who feed on human suffering. They tore him limb from limb. Now, he wants Julia to help him come back to life by bringing potential victims to his lair. There, she will kill them and he will drink their blood. Ultimately, he plans on taking Larry out of the picture as well. Of course, once Kirsty discovers the plot, she will do anything to save her father - including making a deal with these erotic devils.

The DVD:
No matter what Clive Barker thinks (at least circa the year 2000), Hellraiser remains a modern horror classic. It speaks a spook show language all its own, and does something that few fright film are capable of - it reinvents the genre while staying true to the tenets that made said movies important in the first place. Call it a fetishized Frankenstein, a post-modern Prometheus with a perverted, adulterous bent, or Satan's private S&M screed, but there is no denying the film's power. In a situation (cinematically) that constantly overreaches without every achieving its goal, Barker basically damns the torpedoes and embraces the glories of going full bore gonzo. Sure, some of the monster effects are sloppy by 2007 CGI slickness standards, and the origins of the Cenobites (supernatural explorers of the evil and enticing?) can still mandate a massive suspension of one's disbelief. But because of the novelty in the first time filmmaker's approach, because of the underling themes that help to fill in the necessary nuances and blanks, Hellraiser rises and remains at the top. Instead of feeling derivative and dated, a one time innovation that has long since been mimicked into irrelevance, what we have here remains fully aware of its era, and awfully ahead of its time.

One of the things that turns a horror film into a confirmed classic is a connection to recognizable reality. After all, a possessed teenager spewing pea soup and masturbating with a crucifix may seem shockingly otherworldly, but when told within a clear cut context of parent/child confusion, adolescent growing pains, the onset of puberty, and the then popularized generation gap, the atrocities in a film like The Exorcist become an incredibly potent allegory. It's the same with Hellraiser. In essence, Barker is delivering every cuckold's worst nightmare. In his slightly psychotic vision, weak men better watch out - their sexually frustrated wives will kill people to feed a reanimated corpse with flesh-free copulation on its mind. Indeed, the main emblematic elements here are Frank and Julia's unholy trysts. The first occurs during the post-wedding celebration. The next happens right under hubby's blind bat suburban stodginess. While he's mindless watching boxing, or calming his daughter's concerns, his spouse is in the attic, feeding bodies to a horny troll whose out to destroy his life - literally. The notion of illustrating how far adultery can be taken, as well as the notion that said paramours won't be happy until they've stripped the victim of their dignity...and skin, is one of Hellraiser's most potent elements. It turns a standard splatter film into something much deeper.

Then, there is the standard Barker subtext of innocence violated - in this case, the caustic coming of age for budding daughter Kirsty. Sitting precariously on the border between unready and ripe, seeking independence while clinging to absent apron strings, our unlikely heroine becomes the center of some unrivaled dread. Ashley Laurence gives an amazing performance in the movie, moderating between clueless and courageous, smart and scared shitless. Her confrontations with the Cenobites (so inventive they require their own review to discuss) are expertly handled and highly memorable. And since she exudes a kind of untainted virtue, it makes the meeting with undead Frank all the more disturbing. With Clare Higgins and Andrew Robinson rounding out the first rate cast, and Doug Bradley's iconic turn as lead demon Pinhead, Hellraiser harkens back to a time when ideas plus ick created masterful macabre. Sure, it's low to no budget leanings meant that Barker and crew had to cut a lot of corners, and as a novice behind the lens, our director can be forgiven for some not so subtle self-indulgence. But with most of the movies from the era revolving around quipping killers and the standard slice and dice, Hellraiser rests on its unusual and intense laurels - and we respond accordingly.

The Video:
Previous DVD editions of this frequently marginalized movie cannot compare to the job Anchor Bay does this time around. The 1.85:1 anamorphic widescreen image looks marvelous, bright and colorful with lots of defining details. The biggest improvement comes with Kirsty's first encounter with the Cenobites in her hospital room. Where previous versions practically whited-out over the intense lighting and exposure Barker employed, the new transfer is just terrific. It's still stunning, but in a much more manageable way.

The Audio:
Given both a Dolby Digital 5.1 Surround reboot and a standard 2.0 stereo mix, Hellraiser has never sounded better, either. Christopher Young's amazing score, which resembles the sound of the Antichrist's cathedral weeping, is just fantastic, and the dialogue is readily discernible. About the only downside to this otherwise excellent remaster is the exposure of the film's infrequent technical glitches. One occasionally experiences a flat or tinny quality in the sound effects provided via the unforgiving digital medium.

The Extras:
The added content is a mixture, a combination of ported over bonuses from previous releases with three new featurettes created exclusively for this 20th Anniversary DVD. Of the original content, we are treated to an interview with Andrew Robinson ("Mr. Cotton, I Presume?") which offers a great deal of personal insight. Then there is "Actress from Hell", which sees Ms. Laurence discuss the impact the film had on her life and career. Finally, "Helicomposer" allows Young a chance to defend his superb sonic choices. All three Q&As are delightful, and help define the place Hellraiser holds in the hearts of those who made it. There is also something called "Under the Skin - Doug Bradley on Hellraiser" that's not exactly new. It is, however, making its first home video appearance. Everything else is carried over from something else, including an informative behind the scenes documentary ("Hellraiser: Resurrection") and a collection of TV spots, storyboard galleries, still galleries, and DVD-rom screenplays. Perhaps the best left over extra is the full length audio commentary by Barker, Laurence, and moderator Peter Atkins. Recorded in 2000, it is here where we learn of Barker's disdain for the film, Laurence's love of the onset experience, and the nods to other filmmakers (Argento, Fulci) that the director deliberately paid homage to. While not quite as comprehensive as one would hope (both Clare Higgins and Sean "Frank" Chapman are absent), it's still a wonderful wealth of contextual connections.

Final Thoughts:
Thanks to its frightmare eccentricities, lack of ready home theater availability, and a souring via sequels (there have been seven...and counting), Hellraiser has lost some of its legacy and luster over the years. Yet revisiting it outside all the horror geek hullabaloo reveals a certified macabre classic. Easily earning a Highly Recommended rating, it's a film that stands the test of time by constantly beating the continuum at its own reconfigured relevancy. This latest DVD incarnation offers a stellar image, a wonderful sound package, and some priceless moments of bonus feature perception. Sadly, it could all be overshadowed by a proposed remake that is in the works. After two decades of struggle, it seems a shame that the original will be pushed aside by some sloppy, CGI-oriented 'reimagining'. Barker may have been hindered by financial and artistic shortcomings, but the results definitely speak for themselves. Hellraiser is a post-modern masterpiece. It will definitely tear you scary movie soul apart.

Here is the direct download for the movie Hellraiser.

BEVERLY HILLS CHIHUAHUA NOW AVAILABLE

Here is the summary for the movie Beverly hills Chihuahua from imdb

While on vacation in Mexico, Chloe, a ritzy Beverly Hills chihuahua, finds herself lost and in need of assistance in order to get back home.

Here is a review for the movie Beverly Hills Chihuahua from dvdtalk

"Talk to the paw." Yes, that's an actual line from "Beverly Hills Chihuahua," Disney's latest attempt to induce drastic birth control methods in America. I feel like an ogre beating up on such a mindless, semi-harmless production aimed directly at distracting toddlers while moms and dads fight about house payments, but it's difficult for me to condone such unfunny funny business. "Chihuahua" is terrible and kids deserve better.

A pampered pooch, Chloe (voiced by Drew Barrymore) lives a life of California luxury with her owner, fragrance tycoon Viv (Jamie Lee Curtis). Entrusting Chloe to her niece Rachael (Piper Perabo), Viv takes off on business, leaving Rachael stuck bringing the dog along on an impromptu trip to Mexico. Wandering away from her hotel, Chloe is kidnapped and forced to join an illegal dog-fighting circuit. Finding comfort in former police dog Delgado (Andy Garcia), Chloe manages to escape, heading off on a cross-country journey to return home. Back in the states, lovesick Papi (George Lopez) springs into action, crossing the border to find his canine princess.

Had "Chihuahua" been something straightforward, a creation that believes in brevity and the value of an imaginative punchline, perhaps the end product might've found an unexpected rhythm and taken audiences by surprise. What's actually here is a lazy movie that bathes in the stink of inanity, using talking dogs as a way into the hearts of audiences. With the Cesar Millaning of America going on right now, it's hard to argue Disney's creative angle, but did they really need to hire Raja Gosnell to direct? The man who made two terrible "Scooby-Doo" pictures and the loathsome "Yours, Mine and Ours" remake? Was there no one else?

Gosnell is a filmmaking zombie and blankly guides "Chihuahua" through an obstacle course of slapstick, cartoon mischief, and dangerous Mexican stereotyping. I write dangerous because, frankly, I'm not sure if "Chihuahua" actually crosses a line of taste, it just feels wrong. Portraying Mexico as a breeding ground for criminal activity, imagining the local police as incompetent fools, and encouraging lines such as "hold your tacos!," the movie doesn't exactly make a strong case for racial harmony. However, worrying about such touchy matters comes a distant second to the real cancer of the film: it's not funny in the least.

What disturbs me most about "Chihuahua" is how seriously Gosnell takes the movie. This is no farce, it's a character study, with backstory for the dogs, the goofiest being Delgado, who lost his scent after blowing a "Miami Vice" style bust and yearns for its return. Boy, Lassie never had such gravitas. Gosnell has a story to tell here and he's sticking to it, no matter how much it bores the audience to tears. Rolling through backstabbing mice, villainous dog nappers, and the blossoming romance between Rachael and Papi's kindly gardener owner, "Chihuahua" almost doesn't have time for jokes. Did I mention Chloe's discovery of an independent Chihuahua tribe located in hidden Mexican ruins? That the leader of said tribe is voiced by Placido Domingo? There's plenty of strange going on, but still no laughs.

Sure, there's cute dogs to look at, and who doesn't love reducing a once proud culture to a horde of dog-fighting heathens, but the absence of ingenuity, of basic comedic curiosity, is disturbing and worse, frightfully boring. In fact, the only hilarious moment in the film is the epilogue, where Disney, after spending 90 minutes showcasing wisecracking, heroic animals that fight for honor and bust criminals, pleads for audiences to be careful with pet adoptions. Suddenly the film has a conscience. If only it had a brain.

Here is the direct download for the movie Beverly Hills Chihuahua.

HALLOWEEN NOW AVAILABLE

HALLOWEEN NOW AVAILABLE ONLINE

HERE IS THE SUMMARY FOR THE MOVIE HALLOWEEN FROM IMDB

After young Michael Myers killed his older sister one Halloween night he was committed for 15 years to a mental institution were he soon broke out and is in search for his little sister Laurie Strode as he returns back to his home town Haddonfield and finds his sister she and hers friends must put up a battle to survive as Michael Myers tries to kill them. Written by Nick F.

The residents of Haddonfield don't know it yet... but death is coming to their small sleepy town. Fifteen years ago a small six year old boy called Michael Myers brutally slashed his elder sister to death. Locked up till his 21st birthday, he escapes the mental institution that held him for fifteen years and makes his way back to his hometown intent on a murderous rampage pursued by Dr Sam Loomis who is Michael's doctor and the only one who knows Michael's true evil. Elsewhere a shy teenager by the name of Laurie Strode is babysitting on the night Michael comes home... is it pure coincidence that she and her friends are being stalked by him? Written by TheSteph

On Halloween 1963, Haddenfield, 6-year-old Michael Myers (Daeg Farch), estranged and mentally unstable, is imprisoned in Smith's Grove Sanitarium under the care of Dr. Sam Loomis (Malcolm McDowell) for the murders of his mother's (Sheri Moon) boyfriend, his older sister, and her boyfriend. Now, 15 years later, he is accidentally released and now in search of his baby sister Laurie (Scout Taylor-Compton) and Dr. Loomis must warn the residents of Haddenfield and get to Laurie before Michael does. Written by Corey Semple (aka Hairsprayer07)

HERE IS A REVIEW FOR THE MOVIE HALLOWEEN FROM DVDTALK

Before anyone takes a dump all over Rob Zombie's remake of the John Carpenter classic "Halloween," let me remind the picky bastards out there that the last time we saw Michael Myers on the big screen, he was trading karate chops with Busta Rhymes. Yeah, now this update doesn't seem so bad, does it?

As the troubled child in the Myers family (including Sheri Moon Zombie and William Forsythe), Michael (Daeg Faerch) has used his isolation to create a horrifying inner world where he tortures animals and uses masks to accept his evil nature. After slaughtering his family, Michael is sent to a mental hospital where he's put in the care of Dr. Loomis (Malcolm McDowell). After years in his cell, Michael has grown to hulking proportions (now played by Tyler Mane) and manages to escape, heading to his old hometown of Haddonfield to locate his baby sister, Laurie (Scout Taylor-Compton), for his final act of brutality.

Now, to be fair, Zombie's take on the The Shape has nowhere near the quality, durability, or effortlessness of Carpenter's 1978 creation. That being said, there's much to appreciate in this merciless reimagining, but it requires great effort to clear away the expectations that come with a typical "Halloween" movie.

Having been an outspoken critic in the past on the ugly business of turning our screen monsters into misunderstood kittens just to find a new angle to mine for genre gold, I was surprised to find Zombie's attempt to establish a psychological backstory for Myers so engaging. In the new "Halloween," Myers is no longer a mysterious, unstoppable creature of indeterminate sadistic hunger; he now possesses the profile of a classic serial killer, humanizing him to a point where his acts of violence do not emanate from a vague need to scare, but of uncontrollable impulse to destroy. It's a slippery slope to chase this narrative tail, but Zombie shows remarkable tenacity, setting aside the film's first 40 minutes for the effort.

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BLAIR WITCH PROJECT NOW AVAILABLE

BLAIR WITCH PROJECT NOW AVAILABLE ONLINE

HERE IS THE SUMMARY FOR THE MOVIE BLAIR WITCH PROJECT FROM IMDB

Three film students travel to Maryland to make a student film about a local urban legend... The Blair Witch. The three went into the woods on a two day hike to find the Blair Witch, and never came back. One year later, the students film and video was found in the woods. The footage was compiled and made into a movie. The Blair Witch Project. Written by Kevin Overstreet {GrndZero23@aol.com}

Heather Donahue, Michael Williams and Joshua Leonard, student filmmakers, set out to shoot a documentary about a local legend, the Blair Witch. In the forests near Burkittsville, Maryland, many children have vanished in the 1940s and people still avoid going too deep into the woods. So, the party sets out to look for facts that prove the legend, equipped only with two cameras and a little hiking gear. First, they find little piles of stone that must have been arranged artificially, later, they have to admit to be lost in the woods. Eerie sounds at night and more piles of stones in places where they have not been before cause the already desperate group to panic. And one night, days after they should have been back home, Josh disappears completely. Only what has been recorded and filmed with the cameras is found a year later and shows what happened in the woods. Written by Julian Reischl {julianreischl@mac.com}

Three film students set out into the Black Hills Forest to make a documentary on the legendary Blair Witch. Armed with a 16mm camera, a Hi8 video camera, and a DAT recorder, every step, word and sound is captured. After wandering around the Black Hills Forest, Heather, Josh, and Mike are cold, lost and hunted. Finally, one night after the last ray of light had left the forest black, they were never to be seen again. One year later, a bag full of film cans, DAT tapes, and video tapes were found. The behind the scenes, video footage and the film, are cut together, and this is..."The Blair Witch Project." Written by Michael McCaffrey {apollo@chariott.com}

In October of 1994, three student filmmakers hike out to the woods of Blair, hoping to find evidence of a local legend "The Blair Witch". At first, they find nothing except a pile of stones arranged by hand. As the sun goes down, they realize they are lost, but there is little panic. They camp out, and in the middle of the night they see and hear things, things that are not normal. When they awake, they find wooden dolls in cross-like formations. They were not there that night. Then one of the students, Josh, is separated from the group. The other two finally realize that they are in a very serious situation, and that they are being stalked, stalked by something that may be the very thing they were looking for... Written by ipreach4ever

In October of 1994, 3 students go into the woods to find the Blair witch. They find wooden dolls. When the last ray of light leave the forest. The forest is left black. Then, everyone mysteriously disappears. Then a year later, A thousand of film cans, tapes and footages were found. They are combined and made into "The Blair Witch Project" Written by Cheatmaster2006@hotmailcom

HERE IS A REVIEW FOR THE MOVIE BLAIR WITCH PROJECT FROM DVDTALK

What starts off as a deceptively simple little independent film slowly, carefully, turns into one of the most chilling, creepy films in memory. "The Blair Witch Project" has stormed the film industry in the past few months, scaring other studios whose giantically budgeted Summer films were running in fear from the tiny project. The biggest beast that this film has run over would definitely be Jan De Bont's horror update "The Haunting", a picture that's nowhere near as terrifying with it's 70 million in effects compared to this 60,000 dollar piece. It all starts simply enough with three filmmakers getting together to make a short film about a local legend, the "Blair Witch". The group of filmmakers- Heather(cute looking, yet quite bossy and at times annoying, talking incessantly at the other characters). The other two are Mike and Josh, who take care of the sound and camerawork. They start off interviewing the townsfolk, who all play "local people" perfectly, talking about their opinions on the legacy of the local witch, not only entertaining, but they also give us something to go upon as the filmmakers begin their hike into the Maryland woods. If you've never read any other reviews, it's not likely that you've heard how the film begins. We are told at the begining of the picture that these people aren't going to make it out of the woods alive. Even so, when "The Blair Witch Project" really gets intense, we're no less terrified, even knowing that this ain't going to end well. The filmmakers make their way into the woods and slowly, they begin to feel intensely creepy- the forest in autumn seems opressive and alive and the black and white footage are the biggest examples of where the film really begins to feel cold and chilling. After the filmmakers find their first location, they begin to head back, only to find out that they're not quite sure where back really is. What becomes possibly lost soon becomes most definitely lost as the crew camps out for the night. During the first night, the characters become aware of a presence in the woods, at first making slight sounds, but as the days and nights go on, making itself definitely more known. There's a terror in the simplicity of the night scenes as the characters race around, completely in total fear. If anything, I would have liked these scenes to go on longer, really wringing all of the fear out of the darkness. As is, they simply end a little too quickly as we're introduced again to another bleak, hopeless morning for the actors. The first half of the forest scenes are wonderfully acted as the characters slowly lose it as food and supplies run low. Not only that, but a scene of figures made with sticks as well as a pile of stones for each of the characters waiting outside their tents makes it known that the days are no safer than the nights. The handheld camerawork by the 3 actors only puts us further into the reality that this film is presenting. We feel the frustration of these people as the woods seem to go on forever in all directions. The performances are also all fantastic. Where these characters start off as rather unlikable, the sheer fear, terror and sadness that they express as the film goes into it's last quarter makes the film not only chilling, but heartbreaking. The film really creeps into your head as it goes further. The amount of tension that develops as all hope seems lost is 10 times more horrifying than any horror film of the past few years, maybe ever. "The Blair Witch Project" isn't a horror film, though. It's a solid mix of horror and psychological drama and once it gets going, the intensity with a film this small is breathtaking and almost unbearable as the desperation felt by these characters is greater as the nights fall once again. Images from the "Blair Witch Project" still are crystal clear in my mind hours after watching the film and there are sequences in this film that I doubt I'll ever forget. The film may start off slowly, but these scenes aren't without their purpose and once the film gets going, I don't think there's been another film this year this thrilling or original. The performances are perfection getting us involved with these characters down to their last moments. A really well-done film and in my opinion, it's one of the few films this year that's definitely a must see. The DVD VIDEO: Artisan has presented "The Blair Witch Project" in about it's 1.33:1 original aspect ratio. It's a full-frame image, and it was shot that way. The image quality varies throughout the picture and it's an accurate representation of the image quality that I saw last Summer in the theater. Keeping in mind that this is a limited production, this is generally a good looking picture. The outdoor scenes are clear and crisp, with the details of the forest such as the trees remaining clear and not blurred. Colors look natural and accurate throughout the picture as the group wanders through the forest. I really enjoyed the black and white photography in the picture and it looks really quite good here as well.

The film is intentionally gritty looking by design(and by budget). Some of the scenes as night falls and in the total darkness look grainy, but it looked the same way in theaters. There really isn't any problems with shimmering or pixelization that I saw. This may not be a picture with a "big budget" look to it, but I was really pleased how well Artisan has transfered this picture to DVD; it looks clean and really, exactly how it looked in theaters. I've been pleased with what I've seen from Artisan, whose "Joan Of Arc" disc from a couple of weeks ago was really excellent as well. I'm definitely looking forward to seeing future efforts from them.

SOUND: Again, this is a fairly basic production and sound is pretty limited. The scenes as the group gets lost in the woods generally do give the listener a good sense of space and of the forest noises as the actors run screaming through the woods. Dialogue sounds a little thin, but with the kind of budget this film has, it's to be expected. It may sound a little thin at times, but it's still always easily heard.

MENUS: Awesome work on the menus by Artisan. They're fully animated with clips from the film as well as audio from the movie. Totally great way to get into the sort of tone and mood of the picture.

EXTRAS:: Commentary: This is a commentary by directors Daniel Myrick, Ed Sanchez and producers Rob Cowie, Mike Monello and Greg Hale. This is a very fun commentary to listen to and even in the begining, the speakers state, "I hope you guys aren't expecting a serious commentary." The results are the kind of relaxed, fun group commentary that we've heard before on discs like "Cruel Intentions". The group talks quite a bit about the production, talking about the kind of equipment that they used to film the picture and what happened to the stuff they used(one camera was returned to Circuit City.) The group also talks quite a bit about who shot the footage as well as who are some of the actors that were found for the picture. It's interesting to hear about how some of the "townspeople" were found for the film and some are actually actors who were given lines. The stories about where the "locals" were found are definitely fun to listen to. Also fascinating is listening to how the characters were set up as well as the sort of concepts about how the characters were going to interact as the film goes on. Also talked about is the kind of work that the actors had to go through on their own for the picture and how they were controlled by the directors, which is one of the most interesting parts of the commentary, where we're told just what the actors had to go through during the filming of the movie. The group also talks about how they fooled with and scared the actors during the night in great detail. What the group has to say about the way the final scene was filmed was quite cool to listen to as well. This is definitely a fun commentary as the group throws in the occasional joke about the making of the picture. Not only is it really informative about how the picture was made, but it's a lot of fun to listen to. "Newly Discovered Footage":: A scene that really goes deeper into the thoughts of the group about what the "Blair Witch" could be as well as what has gone on so far during their stay in the woods. It's a scene that provides some great dialogue, but at 5 minutes, this scene of the group talking in the tent was likely too long to be in the final film. Curse Of The Blair Witch: This is the entire documentary of the history behind the movie. The opening menu screen for the documentary is quite cool, with audio in the background talking about the missing filmmakers and the curse of the Blair Witch. "Curse Of The Blair Witch" takes the viewer deeper into myth of the "Blair Witch", taking a look at the history behind it all. This is sort of a "documentary inside a documentary", with interviews with people who knew the filmmakers. It's definitely cool idea and I really enjoyed these interviews, which were definitely fun to listen to, and I think that the story that is told here, the kind of background information, is really well written and the documentary as a whole is really well-done and very creative. There are also scenes from the film occasionally as the documentary goes on, as well as "newscast" footage talking about the missing filmmakers as well as historical documents taking a look at just what or who may have been the "Blair Witch". As impressed as I was with the movie itself, I just as impressed with how really well-done this documentary is; it's just incredibly creative and inventive. Apparently, this documentary has aired before, but this is the first time I've seen it and I loved it. "Curse Of The Blair Witch" runs about 45 minutes. Trailers:: 2 teaser trailers and the full trailer for "The Blair Witch Project" and a trailer for the DVD release of "The Stand". "The Stand" trailer is a very cool trailer promoting all of the features of the upcoming DVD. One note: to get to the trailers, click on the stick figure on the "special features" menu. It took me a while to figure out that was where the trailers were located.

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NICK AND NORAH'S INFINITE PLAYLIST NOW AVAILABLE

Here is the summary for the movie Nick and Norah's Infinite Playlist from imdb

It's been three weeks, two days, and 23 hours since Tris broke up with Nick. And now here she is at his gig, with a new guy. How could she have moved on so fast? This begins the night of Nick, Norah and Manhattan. The night of stripping nuns, hotel ice rooms, Russian food, psychotic ex-boyfriends and lovingly trashy ex-girlfriends. It's the night of Julio and Salvatore. The night of holding hands and writing songs and singing in the rain. It's a night they'll never forget. Writen By Anonymous

Here is a review for the movie Nick and Norah's Infinite Playlist from dvdtalk

So, Nick and Nora really like their martinis, right? I mean, really like them. You could say they are living the high life on highballs. That is, until this murder happens, and Nora decides that it would be fun to try to solve it. The murder victim is this really thin guy, and they call him the "the thin man," which a lot of people think is actually a nickname for Nick but that's not true. And--

Wait, wait, wait. Wrong movie. I'm supposed to be talking about Nick and Norah's Infinite Playlist. That's Norah, with an "h." Maybe I'm the one who should lay off the highballs.

William Powell and Myrna Loy have been dispensed with, and they are now replaced with Michael Superbad Cera and Kat The House Bunny Dennings, two cute kids who like to party themselves, so they're all right. Except they are both straight edge, which means neither of them drink, so they aren't exactly the same. Maybe that's why authors Rachel Cohn and David Levithan picked those names when they wrote the young adult novel the movie is based on, they were being ironic. Like naming a killing machine in a war movie "Gandhi."

Anyway, so yes, Nick and Norah's Infinite Playlist was a book and now it's a movie, adapted by first-time screenwriter Lorene Scarfaria and director Peter Sollett (Raising Victor Vargas). It's a totally cute but wholly inoffensive relationship film for teens, and the chemistry between Cera and Dennings is so good and the writing so sweet that it's pretty hard not end up with a smile on your face even as you roll your eyes. Nick is an emo kid who is pining for his lost love, a total skeez named Tris (Alexis Dziena, who played Lolita in Jarmusch's Broken Flowers). He hides in his room and leaves her long, sad voicemails and makes her mix CDs to tell her he misses her. She tosses the CDs in the trash, where they are fished out by her schoolmate, Norah, who thinks Nick has the best taste in music ever.

Cut to later when Norah and her lush of a friend Caroline (Ari Graynor) are in a NY club checking out Nick's band, a queer punk outfit where he's the token straight bass player. As fate would have it, Norah is totally attracted to sad little Nick, but she has no idea that he's Tris' mixtape king. Thus, it's a matter of fate that, in order to prove to Tris that she can get a guy, Norah walks up to Nick and plants a kiss on him. The rest of the night is spent chasing after their favorite band (they are playing a secret gig somewhere in the city and finding them involves following clues), trying to track down the drunk Caroline, and generally struggling to unhook themselves from their respective hang-ups. Nick has to get past Tris, and Norah has to get over being the daughter of a famous music impresario as well as dropping her lame semi-boyfriend Tal (a marvelously douchey Jay Baruchel). It's a good time, watching the kids run through the city, where they always find a parking space and never really run across anyone that is all that threatening in any way. (SNL-cast member Andy Samberg tries to be the crazy threatening guy in one cameo, but his main threat is that one day he will be funny. I'm still waiting for him to carry through with that.)

There isn't much more to it than that. All of the actors are very good, with Ari Graynor winning the MVP award for her spot-on comedic drunkenness. Michael Cera pretty much is sticking to the Paulie Bleecker bit he did for Juno, but I'm not really tired of it yet, so that's all right, too. He has the best lines in the movie, and a lot of them sound like they were either improv or Scarfaria has a really good ear for his delivery style. Nick's bandmates, played by Rafi Gavron and Aaron Yoo, are also fantastic, bringing the right kind of nerdy confidence to the screen to make them believable as Michael Cera's pals. The casting director really deserves extra kudos for those two.

All in all, Nick and Norah's Infinite Playlist whizzes by and entertains as it does, but it's not entirely memorable. From the bland songs that make up the soundtrack to the pedestrian direction (Sollett should work on his comic timing, particularly with more physical scenes), it's all a little easy and carries a whiff of vanilla. Teens will probably like it for its unfettered emotionalism, but anyone with a passing knowledge of these kinds of date movies shouldn't expect any surprises. It is what it is, and thankfully, that's good enough--but only

Jamie S. Rich is a novelist and comic book writer. His current novel is entitled Have You Seen the Horizon Lately? and was released by Oni Press in the summer of 2007. 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 for the movie Nick and Norah's Infinite Playlist.

FACE/OFF NOW AVAILABLE

FACE/OFF NOW AVAILABLE ONLINE

HERE IS THE SUMMARY FOR THE MOVIE FACE/OFF FROM IMDB

Sean Archer, a very tough, rugged FBI Agent. Who is still grieving for the dead son Michael. Archer believes that his son's killer is his sworn enemy, a very powerful criminal, Castor Troy. One day, Archer has finally cornered Castor, however, their fight has knocked out Troy cold. As Archer finally breathes easy over the capture of his enemy, he finds out that Troy has planted a bomb that will destroy the entire city of Los Angeles and all of its inhabitants. Unfortunately the only other person who knows its location is Castor's brother Pollux, and he refuses to talk. The solution, a special operation doctor that can cut off people's faces, and can place a person's face onto another person. Archer undergoes one of those surgeries to talk to Pollux. However, Castor Troy somehow regains consciousness and now wants revenge on Archer for taking his face. Not only is Troy ruining Archer's mission, but his personal life as well. Archer must stop Troy again. This time, it's personal. Written by John Wiggins

Sean Archer is a government agent who for six years has been trying to apprehend terrorist, Caster Troy, who tried to kill him but ended up killing Archer's son instead. When Archer corners Troy, Troy tells Archer that he has planted a bomb that will go off, unless he lets him go but Archer thinks that Troy is bluffing so a fight erupts that leaves Troy comatose. But later when they go through some of his brother, Pollux's things, they discover that Troy was telling the truth. All what they need now is to find out where it is and the only person who knows is Pollux. And the only person that he will talk to about it, is his brother, Caster but unfortunately he is a vegetable. A government official then suggests to Archer that he assume Caster's identity and ask Pollux about the bomb. So she brings him to a doctor who has perfected a method wherein the face of one individual is removed from him and placed on another. Archer agrees. The operation is a success so Archer as Troy goes to the prison where Pollux is being held and successfully gets him to tell him where the bomb is. Meanwhile, Troy who was believed to be comatose awakens and forces the doctor who operated on Archer to place Archer's face on him. He then goes to the prison as Archer and taunts Archer by telling him that he has destroyed all documentation of the operation and eliminated everyone who knew about it. He then takes his brother out and leaves Archer in prison. But Archer somehow manages to escape and is now trying to find someone who will believe and help him, while Troy is plotting something. Written by rcs0411@yahoo.com

An undercover agent takes the physical appearance of an assumed dead terrorist. The terrorist was only in a coma, and he takes the form of the undercover agent. Written by Robert Krzanowski {stonedpsycho@hotmail.com}

FBI Special Agent Sean Archer tries to find a biological weapon placed in Los Angeles by a sadistic terrorist-for-hire and criminal mastermind named Castor Troy. Archer has hunted Troy for the last 8 years, and is consumed by revenge because Troy is responsible for the death of Archer's son. To do this, Archer must "borrow" Troy's face using a surgical procedure to go undercover as Troy, but things go wrong when Troy assumes the identity of Archer. Written by Nick Hawkins {hawkins@aureate.com}

Sean Archer has been chasing Castor Troy to avenge his son's death by the hands of the psychotic terrorist for six years. Now that he killed Castor, Sean must find a biological bomb by assuming the identity of Castor Troy by taking his face and being brought in prison. But Troy, who awakes from his coma, takes Archer's face in order to take revenge on him. Now, Troy turns Archer's life upside down by assuming his identity. Will Archer break free from his prison and get his face back, or will Troy have the last laugh ? Written by Ali Nasser

Sean Archer is a government agent whose son was killed in a terrorist act by Castor Troy. Sean takes on the face of Castpr in a plot to bring down a terrorist group. However, Castor, who was believed dead but merely in a coma, wakes up and does the same. Soon, they are pitted against one another. Written by Laurence Mixson {jarls@datasync.com}

HERE IS A REVIEW FOR THE MOVIE FACE/OFF FROM DVDTALK

Ever since director John Woo left for Hollywood after Hard Boiled blew us all away in 1992, most fans have regarded his domestic output as a pale imitation of "the Hong Kong years". One exception to the rule is Face/Off (1997), a clever tale of role reversal, redemption and revenge. Our subjects are two men on opposite ends of the moral spectrum who switch identities via unusual medical circumstances, resulting in a twisted game of cat-and-mouse peppered with liberal doses of gunpowder. What a predicament!

Originally conceived as a futuristic sci-fi action epic, the project was shuffled around and relegated to the present tense for, among other reasons, budgetary constraints. Woo was eventually brought on to helm the project, having initially turned it down because he wasn't comfortable with the futuristic elements. Luckily, these compromises worked out quite well: the end result was a more emotionally charged yet down-to-earth version of its former self, but would the formula prove successful? The short answer was a resounding "yes", as Face/Off enjoyed a strong performance at the box office and generally positive reviews. Having enjoyed the film during its original theatrical run, I somehow managed not to watch it again during the last decade. Luckily, Face/Off holds up fairly well.

Here's a quick synopsis: our "two men on opposite ends of the moral spectrum" are Sean Archer (John Travolta) and Castor Troy (Nicholas Cage); the former is an obsessed FBI agent whose son was inadvertently killed by the latter, an international terrorist. An early confrontation leaves Troy comatose while a bomb ticks away somewhere in Los Angeles, leaving Archer little chance of infiltrating Troy's inner circle to uncover the bomb's location. He eventually agrees to an unusual facial transplant procedure, as his comatose enemy seems like the perfect candidate to literally "hide behind". The plot thickens: aside from Archer's continued neglect of his wife and daughter, the task of assuming Troy's identity proves almost too much to bear. Without giving too much away, their identities are effectively swapped after Troy proves to be less comatose than originally assumed. Suspension of belief is certainly required to fully appreciate Face/Off...but it's an action film, so what else is new?

Speaking of typical action movie elements, the sheer volume of explosions and gunfire rival most of Woo's past contributions to the genre---but with the increased budget and longer shooting schedule (see also: Mission: Impossible 2), there's a certain polish that often works to Face/Off's advantage. It's hard not to long for the frenzied spontaneity of Hard Boiled, The Killer and A Better Tomorrow, but Face/Off blends Hollywood slickness with Woo's knack for controlled, fluid chaos better than any other of his recent films. Additionally, most of the film's effects are 100% practical, trading in CGI trickery for realistic body doubles and daring stunt work. It's a potent combination, all things considered, and one that hasn't aged much in the last decade.

Clocking in at a daunting 140 minutes, Face/Off could've been trimmed a bit here and there without losing any of its real strengths. Woo clearly focused much of his attention on the film's emotional content, yet it often isn't enough in proportion to the endless shootouts and chase sequences. When the personal drama is present and accounted for, it's usually pulled off quite well; the problem is, most of these domestic issues are given equal attention so none really stand out. Since this is a story based around dual identity and revenge, Face/Off has plenty of balls in the air at once---and it usually does a fine job with the juggling act, but a slightly more streamlined set of supporting characters would've made the film virtually seamless. Still, it's hard to complain when you've got this much action, suspense and drama crammed into one enthusiastic package.

Celebrating its 10th anniversary this year, Face/Off returns on DVD in a polished two-disc set from Paramount, effectively replacing the single-disc version released all the way back in 1998. From top to bottom, there's plenty of good news here: the technical presentation is better than ever, while a slew of retrospective extras supports the main feature quite nicely. Best of all, Paramount has resisted the temptation to slap a ridiculous title on this release; otherwise, this might have been named the "Woo-wee, You Good Lookin'!" Edition. Let's take a closer look, shall we?

Quality Control Department

Video & Audio Quality

Presented in its original 2.35:1 aspect ratio and enhanced for 16x9 displays, Face/Off looks excellent from start to finish. Though the previous disc was never part of my DVD collection, it's obvious that this squeaky-clean transfer is an improvement over the original version. Colors are bold and natural, boasting strong detail and excellent contrast. Digital problems---such as edge enhancement and pixellation, for example---are nowhere to be found, rounding out the visual presentation nicely. Until the delayed high-definition release hits store shelves in late October, this is the best that Face/Off has ever looked.

Equally impressive (if not slightly more so) are the included Dolby Digital 5.1 EX and DTS 6.1 mixes, both of which pack an incredible wallop. Dialogue is clean and clear from start to finish, while the film's numerous action sequences come alive with strong surround activity and plenty of bass to keep your subwoofer happy. There's little else to say here, except that fans of Face/Off will enjoy cranking this up to 11. A French 2.0 dub track is also included, while optional English, French and Spanish subtitles are included during the main feature and bonus material.

Menu Design, Presentation & Packaging Seen above, the animated menu designs are basic and easy to navigate. The 140-minute main feature has been divided into 40 chapters, while no obvious layer change was detected during playback. This two-disc release is housed in an unhinged slim double keepcase; there's no room for an insert, but a matching slipcover is included.

Bonus Features Spread across both discs, the extras for this new edition of Face/Off are surprisingly well-rounded and entertaining. Disc 1 starts off with two feature length Audio Commentaries: one with director John Woo and co-writers Michael Colleary and Mike Werb, and the other with just the two writers. The first obviously focuses more on the director's comments, though Colleary and Werb provide plenty of insight when not fielding questions to Woo. The writer's commentary is a bit more technical, touching on the story development and themes generally unexplored during the first track...along with plenty of anecdotes, of course. Neither commentary lapses into silence very often, but a few stories are repeated along the way.

Also here is a short collection of Deleted & Alternate Scenes (7 clips with optional commentary, 8:18 total), including "Castor Kills the Janitor", "Archer Weeps", "Childhood Lessons", "Hideaway Shootout", "Archer vs. Castor Finale", "Will Dad be Dad Again?" and an alternate ending. It's easy to see why some of this material was cut, but the audio commentary by Woo, Colleary and Werb (recorded separately, in most cases) helps to put everything in the proper context. "Archer Weeps" is probably the only scene that could've been part of the final cut, as this short sequence emphasizes the loss of his son at the hands of Castor. The alternate ending puts a mysterious spin on things, but Face/Off works well enough without the added jolt.

Disc 2 kicks off with "The Light and the Dark: Making Face-Off" (5 parts, 64:02 total), a detailed summary of the film's production. Divided into "Science Fiction / Human Emotion", "Cast / Characters", "Woo / Hollywood", "Practical / Visual Effects" and "Future / Past", there's a nice assortment of cast and crew interviews mixed with plenty of behind-the-scenes footage. Though portions of this documentary seem a bit disjointed---due to the somewhat extraneous section titles, no doubt---"The Light and the Dark" is a satisfying documentary that fans should certainly enjoy. From Woo's original storyboards (above left) to the amazing practical visual effects work, there's plenty of eye candy to gaze upon. Overall, it's a concise and entertaining supplement that partners well with the audio commentaries.

Not to be outdone is "John Woo: A Life in Pictures" (26:06, above right) a relatively short but satisfying documentary about the director's life and work thus far. Featuring plenty of comments by Woo himself, the director shares a few personal stories from his childhood and emphasizes his love for movies, music and art. Most of his recent Hollywood output is touched upon, as are his more notable Hong Kong films. It's a solid enough overview, though most die-hard fans of Woo won't learn many new details.

Closing things out is the film's excellent Theatrical Trailer (2:08), featuring a wonderfully subtle tease that sells the film perfectly. All bonus features are presented in anamorphic widescreen (even the deleted scenes, though a few sequences don't look quite as polished) and everything except the trailer includes optional English, Spanish and French subtitles. It's an entertaining assortment of extras, but the thoughtful presentation makes them all the more satisfying. Compared to the original vanilla disc, fans will be very pleased.

Final Thoughts

Slick, stylish and over-the-top, John Woo's Face/Off is one of the more memorable action films of the 1990s. The conventional cat-and-mouse story is turned on its ear with the reversal of our protagonist and antagonist---and though the opposites are almost cartoonish in their distinction, the jaw-dropping effects work and action sequences help us forget a few snags along the way. Fans of Woo's Hong Kong epics like The Killer and Hard Boiled should be drawn towards the continued themes of justice and dual identity, making Face/Off more of a return to form than anything else in his domestic canon. Paramount's excellent two-disc Collector's Edition celebrates the film's 10th anniversary in style, boasting a top-notch technical presentation and a host of terrific bonus features. All things considered, this is an extremely affordable double dip and an easy blind buy for action fans. Highly Recommended.

HERE IS THE DIRECT DOWNLOAD FOR THE MOVIE FACE/OFF.

JOY RIDE 2 DEAD AGAIN NOW AVAILABLE

Here is the summary for the movie Joy Ride 2 Dead Ahead from imdb

Detours can be deadly! When four friends embark on a road trip to Vegas looking for fun and a few cheap thrills, they have no idea they they’re about to fall into a blood-drenched charnel house of tension, torture and the darkest depths of pure primal fear! After their car breaks down in the middle of nowhere, they must find a way back to civilization. But their plan soon arouses the malice of Rusty Nail – a murderous, vengeful trucker with an insatiable appetite for gruesome mutilation and sadistic pain – and he’ll stop at nothing to ensure they pay their toll…one body part at a time!


Here is a review for the movie Joy Ride 2 Dead Ahead from dvdtalk

The Movie
Bad things come in threes, so just in case you didn't get enough of Fox's awful direct-to-video "UNRATED!" sequels (each packaged in the same "scary" burnt brown tones) of inspired horror films, along comes Joy Ride 2: Dead Ahead to waste more of your time. It follows in the footsteps of The Hills Have Eyes 2, the sequel to the chilling 2006 remake (it ran in theaters, but let's face it--it's a direct-to-video disaster in disguise); and the uninspired, similarly titled Wrong Turn 2: Dead End, the sequel to the fabulous 2003 ode to gritty 1970s horror.

When looked at as a direct-to-video entry, Joy Ride 2 impresses with its look and feel--with a few talented actors and decent production values, it's close to faking a theatrical attitude. It's one of the higher quality cheapies you'll come across, and far better than most other DTV horror films. But that's not saying much--and when compared to truly inspired genre efforts like the original, it's just another cloned sheep in wolf's clothing.

Just like Fox's other two sequel stinkers, Joy Ride 2 borrows heavily from its inspiration--the surprise 2001 hit from director John Dahl (from a script co-written by J.J. Abrams) with Steve Zahn, Paul Walker and Leelee Sobieski. The original was a fun trip that relied on likeable characters and slow-building suspense to engage and spook you, creating scenarios where you actually bit your nails hoping the trio survived. That's not the case here, as a cheap blood-and-guts show eventually hijacks the already-weak sequel.

Melissa (Nicki Aycox) and fiancé Bobby (Nick Zano, to be seen in next year's Final Destination 4) are headed to Vegas for some pre-wedding partying. Tagging along is Mel's sister Kayla (Laura Jordan), who has them pick up her online boyfriend Nik (Kyle Schmid)--a wannabe punk/alterna-boy slacker--on the way. When their '83 Chevy Caprice wagon breaks down, the gang finds an abandoned house along a side road in the desert. They decide to "borrow" the '71 Chevelle they find in the garage to finish their trip, but Mel leaves a note because she's such a sweet gal.

While the four are eating at a diner, Bobby never returns from the bathroom--and Mel gets a phone call from Rusty Nail, the gravelly voiced trucker terrorist from the original. In order to save Bobby (gagged with a remarkably loose cloth that renders him surprisingly mute), the three must follow Rusty's orders, barked out from a CB in the Chevelle (Mel is coined "Goldilocks", this version's Candy Cane). After being forced to destroy their cell phones, the three bears are suddenly at the trucker's mercy. From here, the film continues to copy heavily from the original, including putting the gang through humiliating situations for mere sport and commanding them to open the trunk and glove compartment. Joy Ride 2 gives us the finger even harder by nodding at The Hitcher and (can you believe it) Rebel Without a Cause (!).

Joy Ride 2 is a weak copy, borrowing just enough from the original to make it completely predictable--and taking every other wrong turn to make it nearly unbearable. Most of the main cast can act--Aycock (too good for this film) and Zano do a fine job with what they're given, but Nik is written (and performed) so annoyingly, you'll want him to get nailed immediately--while Kayla's amused attitude at his awful antics makes her equally loathsome.

The film also shows too much of Rusty (mostly in dim lighting), lessening his impact as a spooky presence. His voice also sounds too removed here--it's no where near as creepy as the performance of the talented Ted Levine (the voice in the original). Rusty's rig is equally unimpressive--unlike the menacing presence in the original, it comes across more comical here (the repeated "smoky ears" bit is straight out of a Bugs Bunny cartoon) in an attempt to make the truck its own character.

As the film progresses, the intended scary parts rely too much on tired genre devices, like a torture scene and other gory sequences you can see coming a mile away. For the most part, the gore can't overcome the film's modest budget to truly disgust you (a problem Wrong Turn 2 also suffered), forcing the script to sometimes try and make up for it with stupid zingers (like after a kill copied from the original!): "Hey, did you see the way his jaw dropped?"

Director Louis Morneau--who mined similar territory in DTV entry The Hitcher II: I've Been Waiting--relies on clichéd shots that remove any sense of suspense (you'll easily guess the punch line to the strip tease scene). I also had to rewind a car flip sequence that seems to ignore the laws of physics, and the ending (followed by the requisite epilogue "cliffhanger") is a lame sequence made all the more tame by sudden daylight. As for the opening kill, couldn't she have just ducked?!

The script is also a mess: When Mel falls for Rusty's semantics ("You do what I say, I promise you'll see him again"), you'll want to strangle her. Even worse, it's littered with painfully placed references to "hip" trends in an effort to appeal to the young crowd, like some old timer found a list of "cool stuff" and randomly inserted them into the screenplay, resulting in awkward dialogue: "He's not a serial killer! Trust me...I googled his name and everything!" Also getting shout-outs are MySpace, YouTube, Grand Theft Auto, Punk'd and Rage Against the Machine (and those were just the ones I remembered). And are you kidding me with that ridiculous mortuary scene?! (Who knew it was so easy to just walk into one of those!)

Do yourself a favor and just watch the original again...and brace yourself for the inevitable next year: Identity 2: The Do-Not-Disturb Dead by Dawn Special Unrated Edition.

The DVD

Video:
Fox supplied a screener disc for this review, so it's best to avoid a final verdict on the anamorphic 1.85:1 transfer. There's a gritty look to the image, similar to The Hills Have Eyes films, which may explain the grain.

Audio:
Ditto for the 5.1 surround track, also available in French and Spanish Dolby Surround options. Subtitles are also available in English and Spanish.

Extras:
A few short features lead the way: Joy Ride 2: The Making of Dead Ahead (13:39) features brief interviews with the main cast (and Rusty Nail, still in character), along with director Louis Morneau (who says he was a fan of the original), producer Connie Dolphin and other crew members. "It's a little bit more modern: There's a lot of ideas of being mentally tortured as well as physically tortured," notes Nicki Aycox--an observation I don't agree with, unless the MySpace reference makes it "modern."

The segment has a little plot recitation, and also covers one car-flipping sequence--and the cold Canadian shoot in British Columbia, accompanied by the cast bonding with the small-town locals: "People who really live in the middle of nowhere are funny!" says Laura Jordan with sincerity, and a laugh. "And interesting, and (that) really added to, I think, our experience." Aww...how, um...insulting!

Blood and Guts: The Make-up of Horror (7:10) mostly talks with make-up supervisor Christopher Mark Pinhey, who shares some of the quick shoot's secrets--along with Nick Zano and Kyle Schmid, who share their pain. Also included is a Storyboard-to-Scene Comparison (3:00) for Scene 118, along with trailers for other releases.

Final Thoughts:
Compared to other direct-to-video horror films, Joy Ride 2 has a lot going for it--and it almost gets away with its faked theatrical feel. But compared to truly inspiring thrillers, it's just another unoriginal, predictable knock off, a cloned sheep in wolf's clothing. Unless you're a diehard horror whore, do yourself a favor and just watch the far-superior original again. Skip It.

Here is the direct download for the movie Joy Ride 2 Dead Ahead