DARK KNIGHT DVD QUALITY NOW AVAILABLE

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HERE IS THE SUMMARY FOR THE MOVIE THE DARK KNIGHT FROM IMDB

Batman raises the stakes in his war on crime. With the help of Lieutenant Jim Gordon and District Attorney Harvey Dent, Batman sets out to dismantle the remaining criminal organizations that plague the city streets. The partnership proves to be effective, but they soon find themselves prey to a reign of chaos unleashed by a rising criminal mastermind known to the terrified citizens of Gotham as The Joker. Written by Peteagassi

With just one year passed after taking out Ra's Al Ghul's plan to have Gotham eliminated and the mysterious disappearance of Dr. Jonathan Crane AKA the Scarecrow, after the city was nearly plundered with his toxins, Bruce Wayne and his vigilante alter-ego the Batman, continue the seemingly-endless effort to bring order to Gotham, with the help of Lt. James Gordon and newly appointed District Attorney Harvey Dent, but a new threat has now emerged into the streets. The Dark Knight faces a rising psychopathic criminal called The Joker, who's eerie grin, laughter, and inhuman morality makes him more dangerous than what he has yet to unleash. It becomes an agenda to the Batman to stop the mysterious Joker at all cost, knowing that the both of them are in the opposite line. One with no method at all and seeks to see the world plunge into the fire he has yet to lit. One who represents the symbol of hope and uses his own shadow to bring the peace and order he has yet to accomplish on doing. Written by Anonymous

Set within a year after the events of Batman Begins, Batman, Lieutenant James Gordon, and new district attorney Harvey Dent successfully begin to round up the criminals that plague Gotham City until a mysterious and sadistic criminal mastermind known only as the Joker appears in Gotham, creating a new wave of chaos. Batman's struggle against the Joker becomes deeply personal, forcing him to "confront everything he believes" and improve his technology to stop him. A love triangle develops between Bruce Wayne, Dent and Rachel Dawes. Written by Leon Lombardi

HERE IS A REVIEW FOR THE MOVIE THE DARK KNIGHT FROM DVDTALK

You might not think it possible for a character that is pushing 80 years-old to have as much energy in his old bones as Batman does in his latest screen epic, The Dark Knight, but that is just not the case. In his follow-up the franchise re-energizing Batman Begins, director Christopher Nolan takes the Caped Crusader to places never before explored in film, and seldom touched upon even within the comics. The result is a superhero film unlike most other superhero films--a grim, often unrelenting tale of moral ambiguity about men driven by convictions so intense it compromises their sanity.

With masked vigilante Batman (Christian Bale) striking fear into the hearts of criminal throughout Gotham City, it looks like there may actually be hope for the city that has been plagued by rampant crime and a corrupt police department. But despite his best efforts, Batman has not been able to stop all crime, especially those committed by a psychotic criminal who calls himself the Joker (Heath Ledger). Horribly scarred, and hiding behind poorly applied clown make-up, the Joker brings a wave of senseless terror to the streets of Gotham the likes of which have never been seen before. When he offers the leaders of all the crime syndicates his services in dealing with Batman, Joker sets the stage for a brutal war that will leave much of the city burning and in ruins.

Meanwhile, Bruce Wayne is looking for a reason to retire from his career as Batman, so he can pursue the love of his life, Rachel Dawes (Maggie Gyllenhaal). But before he can give up fighting crime forever, Bruce Wayne must find a new hero to replace Batman. Wayne sees such a hero in Harvey Dent (Aaron Eckhart), the crusading district attorney who also happens to be his rival for the love of Rachel. Romantic rivalry notwithstanding, Batman prepares to let Dent lead the charge in cleaning up the streets of Gotham City. Unfortunately, the Joker has other plans, and as he steps up his war to destroy Batman, he adds several others to his death list, including Dent, Rachel and James Gordon (Gary Oldman), Batman's closest ally on the police force. This leads to an epic showdown that is brutally violent both physically and mentally, that will take an incredible toll on all the key players.

Arguably one of the best comic book movies to date, The Dark Knight is certainly the best Batman movie to date. Just as Batman Begins drew from some of the best eras of Batman--primarily his early days in the late 1930s, his classic 1970s tales by Denny O'Neil and Neal Adams, and Frank Miller's seminal interpretations (both Batman: Year One and The Dark Knight Returns)--so to does The Dark Knight take from the best interpretations of the Caped Crusader. When Batman ventures off to Hong Kong to retrieve a criminal who could help bring down Gotham's crime families, it recalls the re-invention the character underwent in the 70s with O'Neil and Adams. Likewise, Batman's bordering-on-insanity pursuit of justice owes much to Miller's work. But the film's crowning achievement--the Joker--comes straight from the character's most earlier exploits, when he was little more than a deadly enigma.

It is difficult to separate all of the hype surrounding the death of Heath Ledger, who died shortly after he finished filming, from the hype surrounding what truly is a stunning performance. In much the way Brandon Lee's overshadowed the initial release of The Crow, so too has Ledger's death threatened to overshadow The Dark Knight. But his performance simply refuses to be obscured by the tragedy that surrounds it. Ledger is, for lack of a better term, absolutely brilliant and almost unrecognizable, giving a stunning performance as "an agent of chaos" that sets the tone for the film, and helps put the "dark" in The Dark Knight. And make no mistake; this film is not only dark, it is depressing and disturbing as well. It is also bordering on brilliant.

Ledger's performance is the highpoint of The Dark Knight, but the film is filled with other great work by an incredible cast. Oldman is terrific as soon-to-be Commissioner Gordon, and both Michael Caine and Morgan Freeman give solid performances as Alfred and Luscious Fox. Even Tiny Lister gives a great performance in what could have easily been a throwaway role. And of course there is Bale, who manages to give Bruce Wayne the depth that he lacked in the hands of George Clooney and Val Kilmer.

Having resurrected the franchise with Batman Begins, Christopher Nolan has taken the series to new heights. Nolan has crafted a taut film noir that has disguised itself as an action thriller. Exploring the fine line that separates good and evil, The Dark Knight revolves around Batman as much as it does the Joker and Harvey Dent--who is destined to become a rather gruesome looking Two-Face--with a surprising amount of attention also paid to Jim Gordon. The result is an ensemble film that traverses rugged moral terrain, making The Dark Knight the comic book movie equivalent to L.A. Confidential.

HERE IS THE DIRECT DOWNLOAD FOR THE MOVIE THE DARK KNIGHT.

90210 SEASON 1 NOW AVAILABLE

Here is the summary for the show 90210 Season 1 from imdb

Tabitha (Mills?), the matriarch of the family, is a 60ish actress (and alcoholic), who was very famous during the 1970s. Her son, Harrison "Harry" Wilson, a graduate of West Beverly Hills High, decides to move back to 90210; accepting a position as the principal at his old high school. His wife, Debbie Wilson, is a photographer. Written by Anonymous


Here is the direct download for the show 90210

Episode 1

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GOSSIP GIRL SEASON 2 NOW AVAILABLE

Here is the summary for the show Gossip Girl season 2 from imdb

Welcome to New York's Upper East side where the wealthy and connected mingle at benefits and try to deal with their always dramatic love lives, not to mention picking colleges. Blair Waldorf is the so-called toast of adolescence in her world; she and her friends, Kati Farkas and Isabel Coates, go to a prep school and fancy parties with their rich parents. Blair is envied by her adversaries because she is thought to have the perfect life, not just because of her gorgeous boyfriend, Nate Archibald, but because she's also planning on getting into her dream college,Yale. With everyone worried about college(or procrastinating on worrying, which everyone seems to be doing), and senior year dragging along, her seemingly perfect life is interrupted by her ex-best friend, the beautiful Serena van der Woodsen, coming back into town after getting kicked out of boarding school. Serena comes back into her life, and into the eyes of Blair's boy friend. When everything Blair knows starts to fall apart, everyone will realize that her life is far from perfect. Will life in the the Upper East Side redeem itself of what it's really supposed to be? Or will the false facade reveal that the rich have the same problems as the not so rich (Jenny and Dan Humphrey), if not more. And just maybe Jenny and Dan are all the more happy with their simple, not so expectant lives. Written by Jessica Cymerman

The beautiful Blair Waldorf is the toast of the adolescent population of Manhattan's Upper East Side, envied by her friends and the adversary of many fellow rich girls. Her ideal world begins to collapse, however, when her ex-best friend, freshly excluded from her previous boarding school, enrolls at Blair's private school. Written by hiphiplady

Here is the direct downloads for the show Gossip Girl Season 2

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EAGLE EYE NOW AVAILABLE

Here is the summary for the movie Eagle Eye from imdb

Jerry Shaw (Shia LaBeouf) returns home after the mysterious death of his successful twin brother. He and a single mother, Rachel Holloman (Michelle Monaghan), find out that they have been framed as terrorists, and they are threatened into becoming members of a cell tasked to assassinate a politician.

Here is a review for the movie Eagle Eye from dvdtalk

A high-tech paranoia thriller with severe terrorism and patriotism overtones, "Eagle Eye" will be best remembered as the film where director D.J. Caruso sold his soul to the wicked Hollywood machine. An empty calorie, implausible action film with the sort of visual diarrhea most associated with Jerry Bruckheimer and Michael Bay, "Eagle Eye" squanders a stunning start on a wheezing screenplay obese with mass stupidity and grand theft movie.

Reeling from the death of his twin brother, Jerry Shaw (Shia LeBeouf, in full slack-jawed, sprinting mode) has returned to his apartment only to find a wealth of terrorist machinery waiting for him and federal agents on their way (Billy Bob Thornton, Rosario Dawson). Contacting him on his cell phone is a female voice (Julianne Moore) with specific instructions for escape, using all means of technology to guide Jerry to an unknown destination. Teamed up with frightened single mother Rachel Holloman (Michelle Monaghan), the unlikely pair is forced to carry out several crimes as they make their way across state lines toward Washington D.C., and the possibility of a cataclysmic terrorist strike, orchestrated by an unknown, all-knowing force.

The premise for "Eagle Eye" hinges on our intimate world of cell phones and security cameras, and how that casual invasion of privacy could be used against us by any force, be it friend or foe. Of course, Hollywood doesn't have the greatest track record when it comes to making cutting-edge gadgetry the stuff of classic thrillers, yet "Eagle Eye" gets off to a fantastic start, setting up Jerry as a target for a mysterious terrorist organization who knows his every move and perhaps every thought. The character has no way out of his predicament, and fighting the menacing entity only makes matters worse. Caruso achieves an enveloping sense of hopelessness and tension for the story, nicely captured in LeBeouf and Monaghan's twitchy performances. "Eagle Eye" opens with a bang, with passable characterization and a few pulse-quickening developments that prey upon current terrorism fears.

However, "Eagle Eye" is not an understated, worrisome thriller. It's an action fiesta, and Caruso, flush from his sleeper success with last year's "Disturbia," feels confident enough to try a plethora of big-budget stunts on for size. Unfortunately, Caruso isn't interested in breaking new ground, instead he sets up a formulaic game of "Mouse Trap" for the characters, stealing from the big Bay book of blow-em-ups to lazily engage the audience in a manner they're used to. After such a promising launch, the picture swerves toward complete visual incomprehension, with the editing rhythms cranked to an infuriating blur, the cinematography assuming trendy acid-washed colors and lighting schemes, and Caruso electing noise over skill.

It's truly a Michael Bay film, frosted with a tuneless score by Brian Tyler, themes of a threatened America, and a porno-style dissection of military and political might. Caruso isn't exactly Fassbinder, but much was expected of him after his stellar work on 2002's "The Salton Sea." "Eagle Eye" is junk food, but worse, it's comatose, predictable, and a facsimile of nearly every action film over the last 10 years, down to a multitude of repetitive, zoom-happy car chases. There's a whole world worth scrutinizing for every last drop of paranoia and corruption, and all Caruso wants to do is crash a dealership worth of cars. What happened to this guy?

Another quandary facing "Eagle Eye" is logic. It's certainly a pip to watch Jerry and Rachel scurry around under the watchful stare of the troublemakers in charge, allowing the film plenty of room for sizable product placement and significant hysteria. Unfortunately, the actual Eagle Eye of "Eagle Eye" isn't nearly as fantastic, fearsome, or devious as it should be. Actually, it's quite laughable, but for the sake of those sensitive to spoilers, I'll leave it with this: it seems the screenwriters loved "2001," "WarGames," and "The Terminator" so much, they decided to pluck what they needed to fill their own creative pockets, even cribbing from Hitchcock for the grand finale.

"Eagle Eye" is a major disappointment, taking a topical (albeit heightened to a comical degree) technological subject and turning it into action pabulum for a saturated market.

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SOUTH PARK SEASON 12 NOW AVAILABLE

Here is the summary for the show South Park from imdb

South Park is an animated series featuring four foul-mouthed 3rd graders, Stan, Kyle, Kenny and Cartman. The show is set in the Colorado town of South Park where weird things keep happening, whether its being abducted by aliens or avoiding Kyle's little brother Ike. The show is based on the short film by Trey Parker and Matt Stone, "The Spirit of Christmas". Written by Losman {losman@express-news.net}

Here are the episodes for Season 12 of South Park

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SAW V NOW AVAILABLE

Here is the summary for the movie Saw V from imdb

Forensics expert Hoffman goes on the hunt in order to protect the secret that he is the newest person to carry on Jigsaw's legacy.

Here is a review for the movie Saw V from dvdtalk

There's a certain part of me that's envious of the average "Saw" fan. I truly wish I could appreciate this horror franchise on a more visceral level, screaming along with the rest of the crowd as mayhem arrives, lives are ended, and Jigsaw's legacy is twisted further into a mind-bending puzzle only the most patient out there have kept up with. It's criminal that I refuse entrance into the club, but, then again, when I view a "Saw" movie all I can see are bargain-basement production values, abysmal acting, and a soggy narrative that's spun completely out of control. The only elements holding the franchise together at this point are the blind enthusiasm of horror nuts, truckloads of distraction, and the forgiving nature of the Halloween season.

Detective Mark Hoffman (Costas Mandylor) is being prepped for hero status after his takedown of Jigsaw (Tobin Bell), thus ending the string of crude murders that plagued the city. The only person alive to challenge Hoffman is Agent Strahm (Scott Patterson), who barely survived a Jigsaw trap and is now ready to uncover the truth behind Hoffman's clandestine activities. Chasing the clues, Strahm gets closer to the horrors of Jigsaw's legacy, while Hoffman ventures back into his own past and the events that introduced his evil ways.

Not to rock the boat here, but I consider last year's "Saw IV" to be the finest installment of the series so far, contorting itself hilariously into a shell game of a motion picture, perhaps best titled "Saw 3.5" for comfort. With a genuine actor (Patterson) slapping the film awake and director Darren Lynn Bousman taking a few minor chances with the plot, "Saw IV" was garbage, but not a hideous proposition quite like the other volumes of this rancid franchise. For "Saw V," Bousman is off to directorial purgatory, replaced by series production design vet David Hackl, who sticks uncomfortably close to the "If it ain't broke..." motto during his face time with Jigsaw.

It's actually somewhat startling to watch "Saw V" behave more like a dopey detective story than the hardcore horror extravaganza fans have come to expect. Either the mythos of Jigsaw is becoming too complicated to shoehorn in some gore sequences or perhaps the producers are finally growing weary of repeating themselves with increasingly ridiculous torture devices. Either way, "Saw V" is a sedate feature film, spending more screentime tracking Hoffman's footsteps with Strahm than snuggling up to bloody entrails. The change is refreshing, as is the loss of Bousman, but the restraint only lasts for a few breaths. After all, there's a legacy of blood to protect here.

A sophisticated Jigsaw trap subplot weaves throughout "Saw V," returning to the "Saw II" aesthetic of strangers (including Meagan Good and Julie Benz) duking it out for precious remnants of life. How it ties to the rest of the story is spoiler territory, but it's clear imagination is running low for the death set-pieces, with explosions and low-light executions replacing the splatterfest that once was.

"Saw V" feels like a transitory piece to clear a way for next year's "Saw VI." Hackl chucks in plenty of inexplicable material ready to be explored a year from now, teasing the audience with characters and props that feed the haphazardly constructed arc being assembled by the producers, who resort to time travel once again to pad out the running time to 85 minutes. Not only is "Saw" losing its taste for blood, it can't stay in the present, leaping back and forth through the sequels to shake the audience off the narrative's trail. A trail, mind you, that doesn't actually lead anywhere in "Saw V" except to absurd backstory and the chance to spend more time with Bell as Jigsaw (pass).

"You won't believe how it ends" is the official tagline for "Saw V," but the real question is, will you care? Admirers will undoubtedly fling themselves at the feet of anything the producers dream up, but more careful viewers might be starting to question the validity of this ongoing story: a five-film-too-long journey that has never felt more arbitrarily plotted than in the final 10 minutes of "Saw V."

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WWE SUMMERSLAM III 1990 NOW AVAILABLE

Here is the summary for WWF Summerslam III 1990 from IMDB.

WWF Title (Cage Match) The Ultimate Warrior vs. Rick Rude, WWF Intercontinental Title: Mr. Perfect vs. The Texas Tornado, WWF Tag Team Titles (2 out of 3 Falls) Demolition vs. The Hart Foundation, Hulk Hogan vs. Earthquake, Randy Savage vs. Dusty Rhodes, Jake Roberts vs. Bad News Brown, Power & Glory vs. The Rockers, The Warlord vs. Tito Santana, The Orient Express vs. Nikolai Volkoff & Jim Duggan, Written by Anonymous

Here is a review of WWF Summerslam III 1990 from TvRage.com

Power and Glory (Hercules and Paul Roma) defeated The Rockers (Shawn Michaels and Marty Jannetty) (6:00) by Countout....Intercontinental Heavyweight Title Match: Kerry Von Erich pinned Mr. Perfect (5:15) to win the Intercontinental Title....Sherri Martel defeated Sapphire by forfeit....Warlord pinned Tito Santana (5:28)....World Tag Team Title Match (Best 2 out of 3 Falls): The Hart Foundation (Bret Hart and Jim Neidhart) defeated Demolition Smash and Crush to win the titles. Crush pinned Hart (6:09). Demolition was Disqualified (10:06). Hart pinned Crush (14:24)....Jake Roberts beat Bad News Brown (4:44) by Disqualification....Jim Duggan and Nikolai Volkoff defeated The Orient Express (Sato and Tanaka) (3:22) when Duggan pinned Tanaka....Randy Savage pinned Dusty Rhodes (2:15)....Hulk Hogan beat Earthquake (13:16) by countout....World Heavyweight Title Match (Steel Cage Match): Ultimate Warrior defeated Rick Rude (10:05) in a "steel cage" match to retain the title.

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MY BEST FRIEND'S GIRL NOW AVAILABLE

Here is the summary for the movie My Best Friend's Girl from imdb

Tank (Dane Cook) is put to the ultimate friendship test when his best friend Dustin (Jason Biggs) hires him to take his ex-girlfriend Alexis (Kate Hudson) on a lousy date just to show her how great her former boyfriend is. When Alexis finds Tank more fascinating she decides that she wants Tank, and wants to take him to a wedding instead of Dustin. Dustin tries to become more like Tank in an attempt to get Alexis back. In the meantime, Tank is trying to make Alexis like Dustin again, but Dustin is trying to mess up the wedding and ruin Tank's and Alexis's relationship at the same time.

Here is a review for the movie My Best Friend's Girl from dvdtalk


The more Dane Cook craves leading man status and comedy credibility, the more it eludes him.

"My Best Friend's Girl" is Cook's third attempt to turn himself into box office gold, and he's wised up for this effort, luring Kate Hudson and her fan base into the fold for this round of slapstick. However, there could be a supporting turn from Will Smith, gas gift cards under every theater seat, and certified proof who killed JFK revealed only after the end credits and it still wouldn't salvage Cook's remarkable ability to select the worst possible starring vehicles for himself. "Girl" is just another step in the multiplex mangling of Cook's once proud name.

Dustin (Jason Biggs) is a lovesick stooge who pines daily for his ex-girlfriend, Alexis (Kate Hudson). Hoping to win her back, Dustin asks loutish friend Tank (Dane Cook) to take Alexis out on a hideous date to show her how good she had it when she spent time with a nice guy. The plan immediately backfires when Alexis becomes involved with Tank, sending Dustin into a tailspin where he reconsiders his polite attitude towards women. Now stuck with a girlfriend, Tank finds he's falling in love with Alexis, a perfect contradiction to his professional lothario ways. As the two try to preserve a relationship, Dustin grows increasingly disgusted, leading Tank to reconsider his errant ways.

It just isn't enough for Dane Cook to make lousy comedies ("Employee of the Month," "Good Luck Chuck"), the man now has his own formula for failure. The screenplay by Jordan Cahan is programmed to follow the basic Cook rules: introduce obnoxious bastard, challenge obnoxious bastard, and have obnoxious bastard redeemed. It's a template followed to the letter in "Girl," a terrifically awful comedy that doesn't even desire to be funny after introductions are made. The picture depends completely on Cook's whiplash way with a punchline, and if that's the only thing propping up the jokes, the audience might as well pack up and head back home after the opening titles.

Controversial statement coming: Cook can be hilarious. There, I said it. I'm simply mystified with his big screen acting selections. "Girl" is an unimaginative, careless romantic comedy that prides itself on vulgarity and sincerity, mixing the qualities to putrid results. Cook made up his mind long ago that he wants to be taken seriously as a leading man. "Girl" is a sort of predictable malarkey that kills careers; it's a calculated attempt to woo the men with genital-based humor and tickle women with some romantic jousting. The formula has worked before, but Cahan's script is a simpleminded effort perfect for anyone who's never actually seen a movie before, and who does the production rope in to direct? Howard Deutch, the mastermind behind "Grumpier Old Men," "The Odd Couple II," and "The Whole Ten Yards." Why not let Cook helm this junk himself?

There's really not much to say about "Girl" outside of the basics: it's an outrageously unfunny picture, the sex jokes reek of a fifth-grader script polish, the romantic beats have been photocopied from other screenplays, and the production brought in Jason Biggs to score extra laughs. I think just including the name "Jason Biggs" and the word "comedy" in the same sentence makes this review illegal in 17 states. He's awful, Hudson is bored trying to decode a brazenly one-note character, co-star Lizzy Caplan is somewhere in orbit doing her best Andrew Dice Clay impression, Alec Baldwin (as Tank's revolting father) is making an alimony payment, and Cook finds himself hilarious when he's actually quite the opposite in a very vivid manner.

When "My Best Friend's Girl" stops the laughs completely to sort out the emotional shards left behind by Tank's destructive mission, it comes off like an elaborate prank played on a viewer to watch the movie take itself so seriously, as though an earlier scene of Tank simulating cunninglingus with a piece of dinner-special fish never even existed. I'm supposed to care about these characters now? If Cook wants to make a comedy, he should just make a goddamn comedy. Injecting sickening artificial sentiment into everything he does only hastens his eventual cowboy ride into cultural obscurity, it doesn't prevent it.

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PRIDE AND GLORY NOW AVAILABLE

Here is the Summary for the movie Pride and Glory from imdb

A saga centered on a multi-generational family of New York City Police officers. The family's moral codes are tested when Ray Tierney, investigates a case that reveals an incendiary police corruption scandal involving his own brother-in-law. For Ray, the truth is revelatory, a Pandora's Box that threatens to upend not only the Tierney legacy but the entire NYPD.

Here is a review for the movie Pride and Glory from dvdtalk

"Pride and Glory" is undeniably routine, wading into murky New York police drama waters with little hesitation. However, it takes only a minute to shake off the convention and welcome what director Gavin O'Conner is constructing here: a pummeling story of corruption and relations, spread across the battlefield of the unforgiving city. "Glory" is a marvelous installment of the psychologically tortured cop genre, and whatever it lacks in innovation it makes up in emotionally searing, superbly smashmouth execution.

When four New York City police officers are found dead in an apartment with criminal ties, a task force is assembled to catch the killers. Leading the charge with some reluctance is Ray Tierney (Edward Norton), a timid cop brought back into fold of the homicide squad to join his father Francis Sr. (Jon Voight), brother Francis Jr. (Noah Emmerich), and brother-in-law Jimmy (Colin Farrell). Gathering clues, Ray tugs at a string of corruption running through the department, a string tied to Jimmy and his elaborate schemes to cover his crooked path. Once the investigation starts to unravel the force, it places Ray in a difficult position, compelled to choose between the tolerant police code of his family and the demands of justice.

Shot splendidly with crisp winter bite by cinematographer Declan Quinn, "Pride and Glory" sends the viewer into the jaws of the city, where the battle between cops and robbers is a messy pursuit, often pushing the patience of the law to unfortunate ends. O'Connor uses the bitter streets as a chess board for this sprawling family story, mixing the irritability of domestic troubles with a developing sense of procedural misery as Ray inches closer to a suspect he can't bring himself to arrest. "Glory" is one of those massive Shakespearian clashes between aggressive relatives burning through long-held feuds, yet O'Connor doesn't indulge in the hysteria of the moment; instead, he prefers to observe growing, unavoidable despair.

Gathering a group of hot-blooded Irish cops to play around with the topic of corruption doesn't slow down O'Connor's imagination. The director appreciates the formula and spends two hours trying to subvert expectations with impressively composed character interaction and harrowing scenes of emotional fragility. "Glory" is about the cops, not the crimes, and how they cope with themselves when they've accepted their compromise of honor. Everyone has their cross to bear, and O'Conner maintains the boiling points masterfully: Ray is weary, lonely, and persistent with his investigation; Francis Jr. has worked hard to reach a level of authority, only to see his force succumb to the temptations of crime, not to mention nursing a wife (Jennifer Ehle, in a ghostly, heartbreaking performance) stricken with cancer; Francis Sr. watches helplessly as his sons walk away from the league of cops he romanticized (a boozed-soaked holiday scene with the character admiring his family is the film's finest moment); and Jimmy is the desperate outsider, building a future for his family on dangerous ground, soon consumed with paranoia as suspicion falls on his men.

Winding through a series of harrowing turns in the investigation, horrific scenes of interrogation, and the psychological torment inflicted on the accused, "Glory" works itself up into a suffocating lather. O'Connor works hard to construct a tight web of police lingo and tough guy posturing; if your antennae are tuned to this sort of cinema, "Glory" is a superlative demonstration of a brotherhood-of-the-badge stranglehold, rooting itself in outstanding character composition to alleviate the worry of cliché. It's a wonderfully compelling drama, bruised to near-perfection.

O'Connor gives himself over to frenzy for the final act, and the slip in judgment dents the film's overall impact. In keeping matters intimate, "Glory" is able to pass off impressive composure which bleeds into sharp flashes of violence. Once the action hits an unsteady, frantic level of streetwise panic, the picture loses layers of authenticity in its pursuit of a blockbuster closure. O'Connor finds a few knuckle-sandwich surprises within a deflating final reel, and it's enough to work the lapse in judgment down. It's a small piece of unnecessary indulgence in an otherwise exceptional, thick-skinned cop drama.

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SEX DRIVE NOW AVAILABLE

Here is the summary for the movie Sex Drive from imdb

Eighteen-year-old Ian Lafferty sets out on a cross country drive with his best friends Lance and Felicia in order to lose his virginity to a red-hot babe he met on the Internet. But the journey, filled with hilarious misadventures and raunchy escapades, teaches all three more than they expected about life and love. Randy, raucous and unexpectedly romantic, Sex Drive follows three friends on the road trip of a lifetime! Ian Lafferty (Josh Zuckerman) can't seem to catch a break. He's taunted by his cocksure older brother Rex (James Marsden), shown up in the romance department by his 14-year-old younger brother and humiliated by his job at a mall donut shop. But Ian's biggest problem is that he's about to start college as a virgin! Getting nowhere with the girl of his dreams and longtime best friend Felicia (Amanda Crew), Ian resorts to the Internet for dates. He soon hooks up with Ms. Tasty, a flaming hot blonde who can't wait to get busy. The only catch: Ian has to drive 500 miles from Chicago to Knoxville to consummate the deal. Egged on by his devil-may-care pal Lance (Clark Duke), Ian risks life and limb by appropriating The Judge, Rex's prized vintage Pontiac GTO. With Lance and Felicia in tow, he hits the road for a one-time rendezvous that will rock his world! Car trouble, a stint in the pokey, a buggy tow with an Amish farmer (Seth Green) and an afternoon at a roadside carnival all complicate Ian's journey. As he presses on to get to Knoxville before Ms. Tasty gives up and goes home, the trio's trail of mayhem closes in on them with hilarious consequences. Will Rex find Ian before he reaches Nirvana? Will a cuckolded husband exact revenge on Lance just as he seems to have found true love? Will Ms. Tasty live up to her Internet profile? Will Ian realize what he really wants? And most importantly, Will Ian, Felicia and Lance survive the bumpy road to adulthood with all its unexpected twists and turns?

Here is a review for the movie Sex Drive from dvdtalk

The curse of "American Pie" strikes again with "Sex Drive," a dreary teen comedy that attempts to pass off an endless series of bodily function jokes as a screenplay. It's dated, humorless, and miscast all around, not to mention homophobic, ineptly written, and on top of all that holds great disdain for its characters. It's the latest in a long string of teen sex comedies where the audience just might find themselves rooting for the STDs.

Ian (Josh Zuckerman) is a high school loser, unable to lose his virginity while watching his slovenly friend Lance (Clark Duke, officially the 10,000th young ironic hipster actor working today) nail all the ladies. Meeting a willing girl online, Ian finds his chance to reach out to the opposite sex, electing to steal his bullying brother's (James Marsden) vintage car and travel with Lance and crush Felicia (Amanda Crew) across a few states to reach his destiny. Hitting the road, everything that could possibly go wrong in fact does go wrong, leading the trio on a Midwestern adventure interacting with sarcastic Amish folk (Seth Green), interstate street racers, and jealous rednecks.

Yes, "Sex Drive" uncomfortably mirrors the 1985 Rob Reiner film "The Sure Thing." It's a rather unabashed lift, but even comparing Reiner's mischievous film to bottom-feeding malarkey like "Drive" is insulting. "Drive" is a teen comedy on auto-pilot; it's a paint-by-numbers directorial effort from Sean Anders, who cobbles together bits of Hughes, Reiner, and a whole lotta Weisz to fashion an unimaginative decent into the fears and urges of a young man's virginal soul.

Truthfully, there's not a moment here the audience hasn't seen before in bawdier, better films. "Drive" is lazy with its naughty bits, going for shock value over careful orchestrations of humiliation, and blunt obscenity over generous writing. Glory hole encounters? Radiator-cooling urination? Embarrassing semen messes? Anders can be as lascivious as he likes, but at least be funny with this parade of clichés. "Drive" is the type of film that doesn't just allow exposed elderly testicles to creep out the room, there must be an extreme close-up of said testicles as well. That aesthetic consumes the direction, robbing the picture of any mischief. Subtlety is not an Anders specialty.

With the film in constant pursuit of bathroom humor to exploit, the cast is left to carry most of the "heart" Anders and co-writer John Morris lazily write their way toward. It isn't enough to call the "Drive" screenplay predictable: it's a veritable photocopy of previous teen hits. The romantic dynamic between Ian, Felicia, and Lance is as contrived as can be, only half-heartedly sold in the finished film with a few googly eyes, some trendy emo rock (Fall Out Boy cameos), and a bizarre bonding point (a rural "shoe" tree) to make the loving connections and, more accurately, the contractual page count.

Also of mild annoyance are the references peppered throughout the film. A few ("Top Gun," Steve McQueen) that feel mighty false in a world of characters born in 1991.

Surely if "Drive" had better actors, the results might've been less plastic. With Zuckerman doing his "everyteen" Hollywood casting call impression, Crew unenthusiastically trying to communicate adoration for these nitwit men her character has to choose from (guess which one she picks), and Duke merging irksome Stifler one-liners, loathsome Rainn Wilson deadpan, and unintentionally hilarious Carol Brady hair into the least believable playboy the screen has witnessed since McLovin, "Drive" is drained of its last hope for imagination.

It's the mission of "Sex Drive" to be juvenile, stupid, and relentlessly horny, and there's nothing explicitly wrong with that. However, we live in a world with a thousand films just like it. "Sex Drive" is monotonous genre leftovers, a lethargic film coasting on the triumphs of previous horndog celebrations, without any distinctive personality to separate the wheat from the chaff.

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SOUL MEN NOW AVAILABLE

Here is the summary for the movie Soul Men from Imdb

Two former backup soul singers, Louis (Samuel L. Jackson) and Floyd (Bernie Mac) who have not spoken to each other in 20 years reluctantly agree to travel across the country together to a reunion concert to honor their recently deceased lead singer (John Legend). Cleo (Sharon Leal), a beautiful young woman who is believed to be Floyd's daughter, accompanies them as a new singer.

Here is a review for the movie Soul Men from dvdtalk

While not his last feature film, the late Bernie Mac is served well by the comedy "Soul Men," putting in a feral performance that brings out the old Mac we all fell in love with long ago. It's a shame the movie can't live up to his spirit, trading comedic momentum for a story nobody is going to care about. Still, the laughs are plentiful for 45 minutes, and that's all this movie needs to please.

As 1970's R&B sensation The Real Deal, Louis (Samuel L. Jackson) and Floyd (Bernie Mac) ruled the radio backing up star Marcus Hooks with their velvety vocals. Decades later, Floyd is retiring and Louis is trying to keep out of prison, with both men still nursing resentment over their awful breakup. When Hooks dies, a memorial concert is booked, with a request for the The Real Deal to reunite and perform. Sensing an opportunity to relive their glory years, the cranky old men agree to team up, crossing the country by automobile to make a date at the Apollo Theater. Along the way, Floyd and Louis find themselves reconnecting through the music and stage moves of yesteryear, soon encountering a possible daughter in Cleo (Sharon Leo), the love child of a former group member.

Director Malcolm D. Lee is perhaps best known as Spike Lee's cousin, only the more serious statements of race and world relations elude his touch. This Lee loves his slapstick, and "Soul Men" is an amusing offering of the silly stuff, using the ample gifts of the leading men to land some big smiles.

It should come as no surprise that Mac and Jackson work beautifully together. With both actors skilled at extracting laughs and firing rounds of profanity in increasingly inspired ways, the duo makes "Soul Men" a welcome prospect. Just how much chemistry they share is the real surprise of the film. Playing round after round of verbal tennis, Mac and Jackson form a believable bond without help from the bland screenplay, using Lee's patience with screen mischief to get to the core of partnership that makes up the heart of the feature. After years of Cosby domestication, the old Bernie Mac erupts in "Soul Men," showcasing the actor back to his old wild-eyed, forked tongue self. Jackson matches Mac well, embracing his own soul-patched brand of contempt and bravado, which bounces well off Mac's sensitive insanity. Even better, the two actors don't embarrass themselves onstage, busting out some smooth Temptations-inspired moves and tentative vocals that maintain the illusion of a once mighty music industry force.

With Lee allowing "Soul Men" to chase bawdy antics for the boys, especially the Viagra-chomping Floyd and his string of sexual partners (including Jennifer Coolidge and, of all people, Vanessa del Rio), the mindlessness of the film is hospitable, broadly playing up road trip setbacks and brotherly communication problems between Floyd and Louis. It's only a matter of time before Lee shoehorns a story into the film, using a question mark of paternity, medication misdirection, and pursuit by Cleo's thug boyfriend to embellish what should rightfully be a wafer-thin comedy. The new weight of contrivance is deadly to the film's essence, stopping the laughs for excess characterization that isn't welcome. Had the writing worked into edgier, smarter terrain over formulaic dribble, perhaps the journey of The Real Deal might've been something to cheer for.

"Soul Men" treats the music genre with respect, and a nice cameo from Isaac Hayes lends the proceedings a jolt of royalty, even if the aftertaste is a bit ghoulish (a scene with Mac trapped in a coffin is equally uncomfortable). This is a funny picture, just not a consistent one, starting Bernie Mac's good-bye tour on a delightfully rowdy note, while reminding the viewer that as hilarious a man as he was, Mac had lousy taste in screenplays.

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CITY OF EMBER NOW AVAILABLE

Here is the summary for the movie City of Ember from imdb

For generations, the people of the City of Ember have flourished in an amazing world of glittering lights. But Ember's once powerful generator is failing ... and the great lamps that illuminate the city are starting to flicker. Now, two teenagers in a race against time, must search Ember for clues that will unlock the ancient mystery of the city's existence, and help the citizens escape before the lights go out forever. Written by Fox Walden

Here is a review for the movie City of Ember from dvdtalk

"City of Ember" is a sci-fi fantasy film with forbidding apocalyptic overtones, extravagant set design, and an edge that mixes high-flying questing with significant ecological worry. It's a film Terry Gilliam used to make before his artistic abilities flatlined: a striking adventure for families that dares to challenge the senses with atmosphere that isn't always sunny, backstory that isn't neatly cubed for mass consumption, and youthful performances that attain dramatic weight. Even housed in an imperfect cut, "City of Ember" is one of the best family films of the year.

While the world neared the end of days, the nameless Builders took humanity underground, erecting the city of Ember: a community powered by a massive hydro-electric generator and ruled by a series of mayors (Bill Murray, in dramatic mode). Now over 200 years old, Ember is falling apart with generator malfunctions that leave the citizens in the dark for frightening stretches of the day. Trying to fit into their newfound professional roles in Ember, teens Lina (Saoirse Ronan, "Atonement") and Doon (Harry Treadaway, "Brothers of the Head") submit themselves to the numbing grind of the city, only to come across an escape plan left behind by the Builders. Racing against the clock, Lina and Doon attempt to decipher the written code before Ember self-destructs, stumbling upon a great deal of governmental corruption they can barely believe.

Adapted from the popular novel by Jeanne Duprau, "City of Ember" is a terribly condensed motion picture. A natural flow of story is absent from the movie, as director Gil Kenan (the charming "Monster House") and screenwriter Caroline Thompson try to maintain a ripping pace to Lina and Doon's underground discoveries. The price for this brevity is a loss of epic scope, reducing "Ember" to breathless exposition without the desired time to sit down and take inventory of characters, motivations, and this incredible world. While I haven't read the Duprau book, the film appears pared down from a longer, more patient cut, especially around any plot details that dwell on the adults of Ember (including Tim Robbins, Martin Landau, and Mary Kay Place).

Narrative shortcomings aside, "Ember" packs quite a visual punch, courtesy of Kenan and his gifted crew. Shunning a potential torrent of special effects, the actual city of Ember is built on stages, giving the screen beautiful scale and an impression of reality that's crucial to embracing a grave movie like this. It's a colossal production, and the effort exposed in the Gilliamesque (or perhaps Jeunet and Caro) details is remarkable, with terrific rusted and soiled landmarks, along with the weathered, knitted look of the Ember inhabitants. Kenan masterminds a real world for the audience to invest in, and "Ember" is simply gorgeous to behold, if you like your kid movies with a little more bruising than normal.

The second half of "Ember" is pure action mode, following Lina and Doon as they make a break for the outside world. After a period of expositional bondage, the film takes off like a rocket as our heroes climb all over Ember's hidden passages, board a potentially life-threatening flume ride, and search the tattered map for the secrets their cryptic ancestors waited an eternity to reveal (shades of "The Goonies"). Obviously, with the heart pumping and Kenan permitted to embrace more fanciful visuals, "Ember" starts to come into its own.

Without spoiling anything, "Ember" closes on a wonderfully poetic note, unusual for a family film and positively foreign to me after last week's reprehensible "Beverly Hills Chihuahua." Offering a powerful metaphorical presentation of life under environmental pressure, superlative performances from the cast (Ronan is a gifted actress), and visual gymnastics that return a sense of awe to the movie theater, "City of Ember" might be short on narrative depth, but it's long on satisfaction.

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HIGH SCHOOL MUSICAL 3 NOW AVAILABLE

Here is the summary for the movie High School Musical 3 from imdb

As seniors in high school ,Troy and Gabriella struggle with the idea of being separated from one another as college approaches. Along with the rest of the Wildcats, they stage a spring musical to address their experiences, hopes and fears about their future.

Here is a review for the movie High School Musical 3 from dvdtalk

Presenting a movie like "High School Musical 3: Senior Year" to film critics is a bizarre situation. Let's be real here: nobody who wants to see the feature will care what other people think about it, and most strangers to the "HSM" franchise wouldn't be caught dead watching it. It's an either ya do or ya don't proposition.

It's the senior year for the East High Wildcats, and futures beyond high school hallways and lunchroom gossip are being planned. For Troy (Zac Efron), Gabriella (Vanessa Hudgens), and Chad (Corbin Bleu), the road to adulthood is complicated, involving painful choices in both life and love. With the year winding down, Gabriella encourages everyone to sign up for the spring musical, putting the kibosh on brat Sharpay's (Ashley Tisdale) plans to topline her own show, with supplementary help from brother Ryan (Lucas Grabeel). With the days ticking away to graduation, the group works out the moves for the big show, while Troy and Gabriella contemplate the concept of college careers away from each other.

I only recently came into the "HSM" franchise, and, believe me, it was kicking and screaming. However, what I discovered under the toxic Disney marketing blitz was an exquisitely candied, wholesome series of dance movies, reinforced with exceptional choreography and performances marked by thousand-mile-wide smiles and nimble footwork. The first two Disney Channel "HSM" installments were earnest and cheery, qualities that matched their small screen origin wonderfully. It's the multiplex for "HSM" this time out, for financial and sentimental reasons that make perfect sense. It's a pleasure to report that "Senior Year" is a lovely send off for the original cast of the series, giving the core audience exactly what they crave from an "HSM" film, only now director/choreographer Kenny Ortega has a few more bucks to spend indulging his glittery imagination.

The upgrades to "Senior Year" are felt immediately, with more intricate lighting schemes around East High and on the stage, sophisticated production numbers for the cast to tumble around in, and the introduction of three new cast members to take over for the inevitable "HSM 4." It feels a tad underhanded to pipe in new characters within a film created solely to say good-bye to audience favorites, but that's how Disney business struts, baby. It's a shame the new Wildcats, Tiara Gold (Jemma McKenzie-Brown), Jimmie Zara (Matt Prokop), and Donny Dion (Justin Martin), are exceptionally uncharismatic clones, leaving their scenes a slow death in an otherwise peppy film.

Beyond the new faces, "Senior Year" plays like an amplified version of the previous "HSM" films. The songs, while remaining frightfully glossy and generic, reach out a little further to express romantic sentiments and troubled thoughts. The dancing is plunged into with a generous hunger (the Efron/Bleu junkyard sequence for "The Boys Are Back" is a real triumph); Ortega channeling the gods of Berkeley, Fosse, and Kelly to construct intricate foot parades for the camera, with special emphasis on theatrical scenery to reinforce the high school musical atmosphere of "High School Musical" (something that was woefully missing from "HSM 2").

The cast also seems to have their batteries charged to capacity, especially Efron (he of greasy hair and bulging muscles) and Hudgens (she of inviting smiles and virginal hypnosis), who return to the forefront of this final installment with a syrupy relationship arc that puts pressure on the Troy/Gabriella pairing. To college or not to college isn't a fresh pathway for drama, but "Senior Year" gets surprising mileage out of the difficult choices that face our heroes. It's a thoughtful way to break up the hyperactive dancing, even if it isn't challenged beyond the norm.

Ortega is wise to lead "Senior Year" down familiar roads for the fanatics, showcasing enough electric showmanship, shirtless Efron, and tearful farewells to supply the faithful a sizable reward for their loyalty. All the essentials on are display, just widened and softened a bit for the big screen.

Living in a moronic "Step Up" world of drearily sexualized hipster dancing and manufactured anti-establishment attitudes, the skim milk allure of "HSM" is appreciated, offering something of a throwback to the sunny day spirit of a Garland/Rooney musical. "Senior Year" has a genuineness about it that's wonderful to observe and provides the original cast a platform for a marvelous, bouncy final bow.

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HOUSE NOW AVAILABLE

Here is the summary for the movie House from imdb

In rural Alabama, two couples find themselves in a fight for survival. Running from a maniac (The Tin Man) bent on killing them, they flee deep into the woods and seek refuge in a house. They soon realize the killer has purposely lured them to this house and that they are now trapped. As they huddle around an old fireplace, a tin can falls through the chimney. Scrawled on its side is a message from the killer, establishing his House Rules. The rules call for their deaths unless they kill at least one of the four. They have less than 12 hours to find a way to survive. At sunrise the game is over and everyone dies if the killer's demands aren't met. What they quickly learn is that the only way out... is in. But going further into this house--where unknown challenges await them--is equally deadly. Written by Anonymous

Two couples finding their way to different location both find their cars to be wrecked and ran from the wreckage. Both couples find their way to this House in which a few back woods inhabitants live... none are taken for more then they appear... until... a can is sent down the chimney in to the house. It is sent by and evil sadistic "Tin Man" the house rules... "Welcome to my house. House rules: 1. God came into my house and i killed him. 2. I will kill anyone who comes into my house as i killed God. 3. Give me one dead body and i might let rule two slide. GAME OVER AT DAWN." The couples are sent into a raging search to find a way out or find who should be killed. They meet up with a little girl along the way. Susan. Is she the one... but she will help them out... by digging into their hearts... or will she? Written by A huge peretti dekker fan

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OFFICE SPACE NOW AVAILABLE

Here is the summary for the movie Office Space from imdb

Peter Gibbons, thanks to a hypnotic suggestion, decides not to go to work at the same time his company is laying people off. When layoffs affect his two best friends, they conspire to plant a virus that will embezzle money from the company into their account. Written by Foggy

Peter Gibbons just can't seem to catch a break. His girlfriend is cheating on him, he has an obnoxious neighbor, and he's completely miserable with his job as a small cog in a company called Initech. Then he visits a hypnotherapist, who dies just after putting Peter into a state of complete bliss. Free of worrying about making a living, he no longer feels the need to keep his job, just as the company is going through a massive downsizing. However, his new attitude only makes him more valuable in the company's eyes, and his friends Michael and Samir are fired instead. Together, they scheme to plant a virus inside Initech's computer system that will pull money into their own account. Written by rmlohner

Here is a review for the movie Office Space from dvdtalk

The Movie:

"Office Space" was released in the early weeks of 1999 with little fanfare and not much advertising. The movie was quickly bumped out of theaters and ended up with a gross of a little over $10m. The movie then became an enormous hit on DVD, and the cult following the film has attracted has only grown since.

Directed by Mike Judge ("Beavis and Butthead"), "Space" stars Ron Livington as Peter, a worker at a generic tech company as software engineers. He's introduced in the middle of morning traffic, veering between lanes to try and get ahead, but only finding himself still locked in the bumper-to-bumper traffic. Looking over to the side of the road, he spots an old man with a walker who looks like he's getting to his destination faster than Peter is. Once he arrives at work, he is told by three different managers that he forgot to add the new cover letter to his report.

Deeply dismayed with his current employment ("I was sitting in my cubicle today and realized that every single day of my life has worse than the day before it, so every single day that you see me is on the worst day of my life."), he eventually agrees to see an occupational therapist recommended by his irritable girlfriend. When the therapist has a heart attack in the middle of the treatment, Peter has something of a "break" - he decides to persue his dreams of doing nothing ("I did absolutely nothing, and it was everything I thought it could be.") He sleeps late, doesn't come in on weekends if he's asked, and tries to romance the waitress (Jennifer Aniston) at the chain restaurant next door. He's not going to quit - he's just going to essentially stop going.

Meanwhile, "consultants" have been brought in, and everyone knows they're there to decide who stays and who goes. Peter, who strolls in without a care, ends up managing to impress them enough not only to not fire him, but to actually give him a promotion. Despite that, Peter and friends Michael (David Herman), and Samir (Ajay Naidu) decide to go ahead with a plan to take money from the company through a program that will take off little bits of change from every transaction. Needless to say, it doesn't go according to plan.

Full of quotable lines and hilarious moments, "Office Space" gets all the details right and the laughs do often operate on the fact that almost everyone finds themselves at a job like this at one time or another (I once worked at an office doing data entry and no one really told me what to do. While I worked there for an entire Summer, I didn't find out until the last day that I had been doing an aspect of the job wrong for months. Every day, every one went to their cubicle and there was barely any communication.) However, the film's spin on office culture is funny and sharply realized, with "we all have wanted to it at one time or another" moments like when the three take the troublesome printer out behind the office and destroy it. The film's use of rap music is also nothing short of priceless.

The performances are terrific, as well. Gary Cole's boss is a classic character, droning out every word of every sentence and offering a flat, insincere thanks when he snares someone to come in to work additional hours on the weekend. Livington is a great "everyguy", and Naidu and Herman are superb as his co-workers. Aniston makes something out of a pretty minimal part, and convincingly plays an average girl tired of having to wear "flair" on her uniform at the restaurant. Finally, Stephen Root ("Newsradio") is amusing as quiet, mumbling worker Milton (the film is based on Judge's "Milton" animated shorts).

"Office Space" is shot in a pretty minimalist way by Judge (his first live-action effort), but the characters and dialogue work supremely well and absolutely carry the movie.


The DVD

VIDEO: "Office Space" is presented by Fox in 1.85:1 anamorphic widescreen (the previous DVD edition was non-anamorphic), "Office Space" still isn't the strongest movie visually, but the picture quality is noticably better this time around. Sharpness and detail are improved, as the picture appeared consistently more detailed and crisp this time around.

Additionally, the picture looks smoother and more "film like" here, with no edge enhancement, pixelation or shimmering. There are some moments where some minor specks are spotted on the print, but these are pretty minor and not distracting. Colors appeared somewhat richer here, and black level looked solid. Overall, while the prior release didn't look too bad, I was pleased to see that this new transfer does certainly look better.

SOUND: "Office Space" is presented in Dolby Digital 5.1. This is the same audio presentation as the prior release. Largely a "comedy"-style presentation, the majority of the audio comes from the front speakers, with the surrounds only providing minimal reinforcement. The rap songs on the soundtrack deliver some solid bass, but otherwise this is a fairly straightforward, dialogue-driven audio presentation.

EXTRAS: "Out of the Office" is a nearly 30-minute "look back" documentary that has Judge and the cast talking about their thoughts on the film, their characters and working on the film. It's only in the last quarter of the documentary that we learn more about things like a potential PG-13 rating, the popular Swingline stapler, and the reaction to the movie. The featurette does have some fun interviews with the cast and a few insights, but there's a lot of time spent on praising each other and quite a few movie clips added in. Some outtakes from John C. McGinley are also added in during his segment, and are quite funny.

Also offered here are eight deleted scenes presented in rough form, with no optional commentary. Some of the scenes are quite funny, and I thought a couple should have been included in the movie. There's also the trailer, and some additional DVD-ROM content (audio clips, an interactive game, wallpaper, screensaver and more.)

Final Thoughts: "Office Space" remains a smart and hilarious office comedy, with great performances and memorable characters and dialogue. Fox's new Special Edition doesn't offer much in the way of supplements (a commentary from Judge or the cast would have been nice), but image quality does get a boost here.

Here is the direct download for the movie Office Space.

THE MOVIE W NOW AVAILABLE

Here is the summary for the movie W from imdb

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

Here is a review for the movie W from dvdtalk

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

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

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

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

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

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

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MAX PAYNE NOW AVAILABLE

Here is the summary for the movie Max Payne from imdb

Coming together to solve a series of murders in New York City are a DEA agent (Wahlberg) whose family was slain as part of a conspiracy and an assassin (Kunis) out to avenge her sister's death. The duo will be hunted by the police, the mob, and a ruthless corporation.

Here is a review for the movie Max Payne from dvdtalk

85 minutes long, rated PG-13, released by Fox, directed by John Moore, and a screenplay based on a video game. That's a recipe for disaster, and "Max Payne" is more than happy to fulfill its destiny as a noxious actioner devoid of humanity, elementary cinematic language, and thespian nuance. Once again the game world collides with the multiplex, and once again I question the point of taking an interactive experience and turning it into a conventional feature film, omitting the specificity that made the property viable in the first place.

Mourning his dead wife and baby, detective Max Payne (Mark Wahlberg) has spent the last three years hunting the killers who tore apart his idyllic life. After a chance meeting with a Russian prostitute (Olga Kurylenko), a clue is left behind by her gruesome death, leading Max closer to an energy drug that produces hallucinogenic visions of demons, the possible motive behind the slaughter of his family. Finding little help from former colleagues (Beau Bridges) and police officers (Chris "Ludacris" Bridges), Max forms an alliance with assassin Mona Sax (Mila Kunis), and the two set out to uncover the mastermind behind a recent rash of murders, possibly leading to the solution of Payne's case.

What John Moore brings to the artistic table is visual fetishism. After "Behind Enemy Lines," "Flight of the Phoenix," and "The Omen" remake, Moore has proven himself a meticulous screen stylist, preferring a glossy moment of violence over anything resembling a legitimate emotional reaction. A former commercial director, Moore hasn't bothered to warm up his touch over the years, leaving "Payne" a soulless exercise in empty calorie filmmaking; the background lighting and set design continually take precedence over the actors and ultimately whatever story manages to survive the creative malnourishment.

Moore treats "Payne" as another polished cinematographic playing field, imagining a world where the snow never stops falling (a noticeable continuity nightmare), the locations are ripe with noirish lighting, and the streets are guarded by psychological demons of the night. Moore demonstrates outstanding control over his environments, but holds no fundamental storytelling instincts, spending all of his time perfecting the shots while an entire film leisurely strolls past him with almost nothing to do but stand around and look confused. Moore fumbles "Payne" immediately, excessively clowning around with hackneyed camera and post-production technology, leading to a full mummification of the picture from the surplus of strained gimmickry.

I've only played the "Payne" video game once, and while it satisfied my home console blood thirst temporarily, it certainly didn't scream out for a feature-length film adaptation. Screenwriter Beau Thorne is hopelessly lost trying to dream up a furious, elongated road for Payne, instead falling back on the most eye-rolling scripting clichés to pass time between the action beats Moore works himself into a lather to cover. Corporate conspiracies? Deceptive friendships? Gorgeous 90-pound female professional killers? Surely there could be more to the "Payne" universe than scraps from the "CSI: Miami" reject pile. Thorne barely eeks out a coherent tale of revenge for our hero, forgoing valiant scripting imagination to serve up the same old double-crosses and seedy criminal underworlds.

It should come as no surprise that Moore is terrible with actors as well, ignoring their needs to feed his own plastic precision. The cast is a fairly strange assortment of faces, with Chris O'Donnell, Donal Logue, and Nelly Furtado completing a miscasting arc that includes Kunis, Ludacris, and ultimately Wahlberg. Doing his now infamous tough-guy stance, Wahlberg sleepwalks through "Payne," effectively erasing the reputable work that actor has been putting forth recently. It's tough to fault Wahlberg for his blank stare, since he's competing with Moore and his slackjawed lust for pointless slow-motion, shattering glass, and sexualized bullet discharges.

Coming on the heels of last year's woeful "Hitman" adaptation (oddly, also starring Kurylenko), "Max Payne" further dents the questionable concept of the big screen video game celebration. Here's the ultimate question: would you rather play out the violent wrath of Max Payne or watch some lousy filmmakers turn the world into mounds of formulaic drivel?

Here is the direct download for the movie Max Payne.

THE SECRET LIFE OF BEES NOW AVAILABLE

Here is the summary for the movie The Secret Life of Bees from imdb

Set in South Carolina in 1964, the film is the moving tale of Lily Owens a 14 year-old girl who is haunted by the memory of her late mother. To escape her lonely life and troubled relationship with her father, Lily flees with Rosaleen, her caregiver and only friend, to a South Carolina town that holds the secret to her mother's past. Taken in by the intelligent and independent Boatwright sisters, Lily finds solace in their mesmerizing world of beekeeping, honey and the Black Madonna. Written by Fox Searchlight

Here is a review for the movie The Secret Life of Bees from dvdtalk

"The Secret Life of Bees" is really "Oprah Book Club: The Movie." A sluggish attempt to marry histrionic behavior best left in soap operas with a route story of discrimination and abuse in 1964 South Carolina, the picture is an admirable effort to articulate compassion, but remains lost to a sticky mess of melodrama that devours anything close to a sincere moment.

Living under the tight control of her alcoholic father T. Ray (Paul Bettany), young teen Lily (Dakota Fanning) is dealing with her own guilt over her mother's death and the questions left behind. Leaving T. Ray, Lily and fugitive housekeeper Rosaleen (Jennifer Hudson) hit the road, soon stumbling upon the Boatwright family, June (Alicia Keys), May (Sophie Okonedo), and August (Queen Latifah), and their business of honey production. Joining the women under false pretenses, Lily finds a safe haven amongst the family, who allow the girl an opportunity to find herself and seek out answers to the mystery of her mother while tending to the bees.

Adapted from the best-seller by Sue Monk Kidd, "Bees" doesn't mess around with subtle acts of indignation. Writer/director Gina Prince-Bythewood aims for the inspirational waterworks with this production, reducing an established astuteness behind the camera to play roughly with manipulation. "Bees" doesn't strike me as a particularly reflective concept for a movie, working well-worn lines of racial unrest and southern-fried domestic dispute (Fanning's similar "Hounddog" open mere weeks ago) to middling results, suffocated in overacting and montage-heavy storytelling. It's not that "Bees" lacks comfort, it just accepts artificiality over soulful nuance, deflating the experience to a robotic bore.

Prince-Bythewood has much to cover with "Bees," making room to communicate the sisterhood of Boatwrights and their commitment to spiritual harmony while the outside world dissolves into pure hatred. Unfortunately, the filmmaker dials down the family's personalities to fit more confined, easily digestible narrative spaces, making the hollow performances even more grating. The condensed script doesn't even make much room for Hudson, who becomes the Silent Bob of the troupe, a merciful quality as the director keeps the rest of the gang in perpetual states of crying and/or sermonizing.

"Bees" is kindly enough and perhaps those who desire a less taxing time at the multiplex will swim comfortably along with the melodrama. "Bees" comes across to me as one-half of a movie, buttressed by artifice to see itself to completion, riding the coattails of the source material to blanket the disconcerting surface quality of the film. It's impossible to invest in Lily's distress when she's a threadbare character, let loose in a screen world of ridiculous stereotypes and sun-kissed contrivance. "The Secret Life of Bees" aspires to make the audience weep uncontrollably as the characters find their inspirational path in life, but it'll most likely put everyone to sleep.

Here is the direct download for the movie The Secret Life of Bees.