NBA 2K13 NOW AVAILABLE ONLINE

HERE IS A SUMMARY FOR THE GAME NBA 2K13 FROM IGN

For its 2K13 edition, the NBA 2K franchise is back and bigger than ever.

HERE IS THE REVIEW FOR THE GAME NBA 2K13 FROM IGN

Competition, according to free market economic principles, makes the dueling products better as each pushes to outdo the other. And thus, we consumers are the ultimate winners. But what if your chief – and really, only – rival kept finding new and astounding ways to spin out, leaving you as the only car on the road? Would you kick back, ease off the gas a bit, and set the cruise control? Would you keep the pedal to the metal anyway? Or would you drop the top, start turning down new streets, and see where the open road takes you?

NBA 2K13 unquestionably takes the latter path, lacing the latest version of its annual basketball simulation with wild features that, rest assured, take nothing away from the already stellar pro-hoops gameplay. Some of the new additions are great, while others you can live without, but, in the end, 2K13 is the pinnacle of basketball gaming on this generation of consoles.

A Court Fit for a King

2K13 has the cajones to mess with its tried-and-true simulation gameplay a bit. The pacing, flow, and feel all remain impeccable. The post-up game is not only playable but enjoyable. The big change is the right thumbstick-based Dribble Stick, which marries the Freestyle controls of last generation’s NBA Live titles with the existing NBA 2K Isomotion control scheme. Shooting is now accomplished by pulling in LT/L2 in combination with a right stick directional press. It certainly takes getting used to given the years of shooting without an additional trigger pull, and odds are you will, like me, occasionally forget and fail to take a wide open shot you meant to attempt. But you’ll eventually get used to it and grow to like the added dribble controls, as they’re not nearly as arcade-y as they were in NBA Live’s heyday, but still add an extra layer of player control to the gameplay.

2K13’s biggest problem – particularly with the Dribble Stick – is that none of its new features are explained well, if they’re explained at all. You’re never given a proper tutorial on the critical new dribble moves. Rather, the first time you start up the game, you’re treated to a screen that essentially says, “You can control your dribble with the right stick now. Wiggle it and see what happens!” So too are Signature Skills practically kept shrouded in secrecy unless you study the list of them in the main menu.

Signature Skills assign star players up to several of a couple dozen “plus” traits, be it Corner Specialist (added accuracy when shooting threes from the corners), Finisher (better chance of making shots with defender contact), etc. Because they’re passive and mostly invisible, you probably won’t notice them unless you play MyCareer, where you’ll spend your VC points – credits earned for anything you do in the game – to add them to your budding pro baller.

Speaking of which, the series’ interface continues to be an archaic, convoluted mess. Some menus can’t be backed out of, while save screens stupidly leave you at the save menu even after you’re done saving – rather than taking you back to a menu where you can actually do something. Better to enjoy 2K13’s commendable gameplay and suffer through a poorly designed interface than vice versa, but still, how many years has it been like this now?

Barkley. Bieber. ‘Bron. It’s the NBA on NBC!

Yes, I did in fact invoke Justin Bieber’s name in the context of a basketball video game review. And it’s not a joke. The teen pop star leads a 2K13 Celebrity team that includes JB Smoove, Bow Wow, and others. They’ve got a ridiculous 97 team rating, and so you can take the 1992 Dream Team – a glorious addition – head-on and give them a run for their money, as odd and completely impossible as that sounds.

Meanwhile, MyPlayer has taken on a slightly more personal, RPG-like role. It’s as engaging as last year, with your custom baller able to participate in a rookie game, get drafted (complete with a David Stern handshake at the podium), and develop your skills with experience. But now you can even request sit-downs with your general manager, in which you’re free to be good (i.e. compliment the organization) or evil (request that your coach be fired). Your choice of words can be hilarious, and depending on what you say, your standing amongst your teammates, the media, and the fans will be positively or negatively affected.

On the Xbox 360 side, there’s even Kinect voice support. It proves most useful for substitutions; just say, “Bring in Bryant” and you’ll see Kobe get up off the bench and head to the scorer’s table to check in at the next dead ball. I couldn’t, however, get a technical foul called on myself no matter how off-the-handle I flew after a questionable foul call.

Ah yes, and I’d be remiss if I didn’t mention Jay Z – particularly since his name is in large font on both the front of the box and the main menu title screen. The Brooklyn Nets owner is credited as the game’s executive producer, and, like Bieber, his presence is also not a joke. The soundtrack is of Hova’s choosing, and while I won’t go so far as to say it actively makes the game better, it certainly fits. What does make 2K13 legitimately better is Jay’s pre-game intro packages, which mix music videos with slick gameplay footage to get you hyped up. It works – these impressively produced segments lend each on-court match an added importance and enthusiasm.

Game On

The NBA 2K series is also slowly evolving into a virtual hoops museum, too. Not only are NBA Legends teams like Jordan’s dynasty-era Bulls, Magic’s Lakers, Bird’s Celtics, and now Iverson’s 2000 76ers in the game, but so too are both the 2012 gold medal-winning Team USA basketball squad and the original 1992 Dream Team. Even Charles Barkley – who hasn’t licensed his likeness to a video game since the Sega Genesis days – signed up. It’s an appealing inclusion, though it begs for a full-blown Olympic tournament mode for both the 1992 and 2012 Summer Games.

Even if you ignore 2K13’s weird sideshows and look past its convoluted menus, its core beats with the heart of a champion. With such smooth, realistic gameplay held together by truly astounding presentation – meaning Jay Z’s intros, the series’ dead-on perfect animations, and note-perfect commentary – it’s hard not to love and appreciate NBA 2K13 if you have any affinity for pro basketball whatsoever.

It’s both scary and exciting to think how good a game we might get if NBA 2K actually had a serious competitor pushing it to new heights. But even when left with a clear, unobstructed path to the basket, 2K13 throws down a monster jam with this year’s edition – probably the last one developed solely for this generation of consoles. It’s obviously the best hoops game out there, and it might even be the best sports game of all, period.

CLICK HERE FOR THE DOWNLOAD LINK FOR THE GAME NBA 2K13.

RESIDENT EVIL 6 NOW AVAILABLE

HERE IS THE SUMMARY FOR THE GAME RESIDENT EVIL 6 (IGN SUMMARY)

It has been ten years since the Raccoon City incident and the President of the United States has decided to reveal the truth behind what took place in the belief that it will curb the current resurgence in bioterrorist activity. Due to be by the President's side is his personal friend and Raccoon City survivor, Leon S. Kennedy, but when the venue suffers a bioterrorist attack, Leon is forced to face a President transformed beyond recognition and make his hardest ever decision. At the same time, Bioterrorism Security Assessment Alliance member Chris Redfield arrives in China, itself under threat of a bioterrorist attack. With no country safe from these attacks and the ensuing outbreaks, the entire world's population is united by a common fear that there is no hope left.

Resident Evil 6 promises yet another dramatic, frightening experience blending action and survival horror. In a first for the franchise, RE 6 sees series favorites Leon and Chris come together to face this unprecedented threat. They are joined by new characters, each with their own unique perspective and involvement, in this relentless outbreak enacted on a global scale.


HERE IS THE REVIEW FOR THE GAME RESIDENT EVIL 6 FROM IGN

Undone by its ambitious attempt to pack four game experiences into one, resident evil 6 suffers from a bit of an identity crisis. At times it very much embraces its old school heritage, pitting its heroes against horrific creatures in the darkest, filthiest locales imaginable. Tension is palpable thanks to production values that reach new heights for the franchise. Yet it simultaneously attempts to be the largest, most action-packed entry in its history, betraying the aforementioned strengths. Lengthy firefights, driving sequences and other ill-conceived ideas grind the game's incredible moments to a halt. The result is something erratic and never sure of itself, delivering brilliance one moment and something far less interesting the next.

At the heart of Resident Evil 6 are the game’s four campaigns and seven lead characters. Rather than weaving these characters and stories along a singular campaign, Capcom diffuses them across four individual threads, each with its own beginning and end. This singular choice defines everything about this game, highlighting both its greatest accomplishments and remarkable shortcomings.

Resident Evil6’s over-the-top world is built piece-by-piece through itsfour storylines, which cleverly integrate with each other. Questions aren’t necessarily answered until the entire plot emerges through different perspectives, and the realization that the game’s designers deliberately held something back to unleash it during a later campaign makes the effort of pushing through four individual campaigns worth it. It’s remarkable to enter a scene, realize its place in the larger timeline, and get a payoff for something that was merely hinted at during an entirely different character arc. There’s a cumulative narrative effect that occurs here, one that wouldn’t be possible if Capcom chose a different path.

Yet the layered narrative sometimes works against the gameplay. As the campaigns cross paths, the game forces players to replay sequences - including some lengthy encounters that really ought to be played once and only once. There is nothing gained from this repetition, as the only story revelations come from cutscenes and dialogue - not in-game action. A game that thrives on the stacked benefit of multiple perspectives manages to forget how that negatively impacts the actual experience of playing through encounters repeatedly.Every storyline in this game, through a combination of great environments, great enemies and a carefully cultivated sense of wide-eyed, B-movie horror, has situations so memorable that they’ll be seared into your brain. It’s hard to forget the first time you’re crushed by the relentless, beastly Ustanak, or watch a creature spew out C-virus gas in a crowded area, turning dozens of trapped human survivors into flesh-eating zombies. These moments come frequently, often serving as vivid, gory reminders of the game’s tense storytelling prowess.

That notion of repetition shines light on the most basic element of Resident Evil 6’s biggest shortcomings – it’s actually too big. Each campaign in this game contains moments of sheer excellence, but these are dragged down by the poor design of others. Chris’s spectacular confrontation with a massive snake in a shabby Chinese apartment is preceded and interrupted by lengthy, monotonous gunfights on rooftops and a rather uninteresting fight against a helicopter. Jake and Sherry escape and engage threats by riding motorcycles and snow mobiles, making their thrilling, futile attempts to stop the Nemesis-like Ustanak significantly less rewarding. This mix of highs and lows is not only confusing, it’s downright frustrating.

“

Each campaign in this game contains moments of sheer excellence, but these are dragged down by the poor design of others.

Early on, different types of gameplay and tones of horror are established for each campaign. When the game’s design works within these core competencies, it is absolutely a great experience. The elimination of Chris’s team by an overwhelming, reptilian threat. Jake and Sherry repeatedly fleeing from the Ustanak. Leon and Helena surviving the ravaged Tall Oaks or uncovering the twisted secrets of an underground laboratory. Ada attempting to solve elaborate, convoluted puzzles in the belly of a submarine. These experiences stand apart from each other while remaining true to the beating heart of the Resident Evil franchise in their own unique way.

Capcom would have done itself a world of good by simply understanding these individual storylines do not exist in a vacuum and don’t need to be the same in terms of volume or length. Rather than trying to force diversity into each campaign through blatantly protracted action sequences, the development teams should have understood the campaigns feel freshest if they maintain a sense of purpose. This is not the first title in the franchise to attempt “non-traditional experiences,” like taking the helm of a vehicle, but by virtue of its scope, it becomes the most excessive offender.

Over the past 15 years, Resident Evil has created its fear through one central tenant - you have guns and possibly allies, but the creatures you face are so powerful that none of these odd-eveners matter. The mutant and militant J’avo creatures more or less throw that out the window. Suddenly you’re engaging in firefights with soldiers that have machine guns, sniper rifles and rocket launchers - plus helicopters and tanks. This isn’t the first time we’ve seen some of these in a Resident Evil game, but it’s never been so pervasive. The implementation of a cover system and move-and-shoot controls add to this overall shift for the franchise, making it less about its core principles and more about trying to be something it’s not.

“

This time, your ally will actually be useful, assisting you when necessary and not taking your resources.

The game does offer vast improvements in terms of cooperative experience - online or off. Resident Evil 5 was notorious for its vacuous AI partner system. This time, your ally will actually be useful, assisting you when necessary and not taking your resources. That’s not to say the system is perfect. It’s not uncommon for you to issue an order only to have it ignored, or to stand waiting at a door for what feels like an eternity while your partner is seemingly missing in action. Playing with a friend, who can now drop in and out of your game at any time, will solve some of this, but once again exposes the weaknesses of Capcom’s buddy-focused direction for the Resident Evil franchise. Tense or terrifying moments give way to a feeling of safety with the added company. It’s hard to worry about a threat when your buddy is just around the corner to save you.

Other online additions feel superficial, particularly compared to the vast scope of the core campaign. Mercenaries Mode returns, allowing ‘skill points’ earned in its time- and score-based gameplay to be applied to its own unique upgrades, or to the core campaign’s. Tying the two experiences together will certainly provide some incentive to some. Agent Hunt Mode, meanwhile, allows you to take on the role of an enemy in a random online player’s game, but the implementation of enemy combat and camera control is so haphazard there’s little point in indulging.

Some of Capcom’s greatest successes are more immediately noticeable thanks to some incredibly strong world, lighting, and creature design. Outside of the return of the franchise’s iconic zombies, which are a bit faster and more capable than in past iterations, Resident Evil 6 features an all-new roster of monsters. This was a bold move, one that adds a much-needed element of unpredictability to the campaigns. In fact, some of these creations - like the zombie-spawning Lepotitsa, or relentless Rasklapanje - rank among some of the best designs and concepts in the history of the franchise - no small feat for a series famous for the quality of its enemies.

Atmosphere is the essence of the Resident Evil series. A powerful environment, full of detail and depth, pulls you in, creating a sense of history and life while also amplifying the emotional reaction. There’s a reason settings like the Spencer Mansion from the first Resident Evil or Rapture from Bioshock prove so memorable. Those games wouldn’t be nearly as powerful without those locales. In fact much of their experience relies upon them. Resident Evil 6 has no shortage of these types of great set pieces, ranging from cities under siege to dark, vast catacombs to cramped, cluttered high-rises.

These aesthetics mostly succeed thanks to an emphasis on strong lighting effects. Serving as a stark contrast to Resident Evil 5’s sun-soaked locales, this sequel often opts for much darker scenery, pushing the overall visual fidelity through an increased emphasis on shadows and moody illumination. The result is an experience that has an immediate impact on the player, but the increased lighting design does have some unfortunate consequences. Background objects, textures and NPCs often take a noticeable dip in quality, sometimes to the point of distraction. Yet as a whole, Resident Evil has rarely felt so alive.

Evolution and ambition are only natural for a franchise as old as Resident Evil, as is the need to respect a long-lasting legacy and the fans that have come to appreciate it. But in trying to serve all masters, Resident Evil 6 loses focus and fails to accurately assess which of its elements are truly worthy of being included. When this game is at its height, it sets new standards for the series in every way. Unfortunately, there are no shortage of lows either, taking what could have been an excellent experience and making it something considerably lesser.

CLICK HERE IF YOU WANT TO DOWNLOAD RESIDENT EVIL 6 (NEWZBIN FILE).

SCREAM 4 NOW AVAILABLE (NZB FILE)

HERE IS THE SUMMARY FOR THE MOVIE SCREAM 4 FROM IMDB. 

Ten years have passed, and Sidney Prescott, who has put herself back together thanks in part to her writing, is visited by the Ghostface Killer.

HERE IS A REVIEW FOR THE MOVIE SCREAM 4 FROM DVDTALK.

 Fifteen years ago, Scream was the antidote to the teen slashers of the 1980s. Sure, it certainly wasn't the first film to combine audience savvy with meta commentary, but Scream's influence permanently affected the horror genre. Now, in 2011, Scream 4 arrives promising new rules for a new decade, suggesting innovation and inspiration provided by the Asian remake craze, torture porn, and reboots. Instead, the best thing about the new film is its insistence on preserving the formula that made it popular in the first place. As they say, the more things change, the more they stay the same.

Once again, the film reunites survivors Sidney Prescott (Neve Campbell), Gale Weathers-Riley (Courteney Cox), and Dewey Riley (David Arquette) in the town of Woodsboro. It's the last stop on a nationwide tour promoting Sidney's book about her experiences, but before she can sign a single copy, dead bodies start turning up and all-too-familiar feelings start flooding back. Among the targets: Sidney's cousin Jill (Emma Roberts), her friends Kirby (Hayden Panettiere) and Olivia (Marielle Jaffe), and local film nerds Robbie (Erik Knudsen) and Charlie (Rory Culkin).

With reboots and revivals in vogue, it seems like a given that Scream 4 finally got the greenlight with the idea that Craven and his original cast could revitalize the brand, allowing Dimension to bring the Scream to a new generation. Instead, it's a relief to discover that the screenplay by original writer Kevin Williamson is pointedly focused on Sidney, Gail, and Dewey, and remains refreshingly faithful to the tone and style of the original films. There's one swipe at torture porn and an even better jab at remakes, but Williamson doesn't seem that interested in what's been going on in the genre since Ghostface last graced the silver screen. The script is careful to tread the line between heightened and over-the-top: any horror that has changed as a reaction to older trends is inherently meta, and it'd be easy for looping back even further to become obnoxious. Instead, Williamson saves his poison pen for a wicked, inspired ending; viewers may guess the "who", but it's the "why" that makes it work.

In terms of direction, Craven brings his A-game. The original Scream made waves for its violence, which holds up even today as excruciatingly brutal. Scream is bloody, no doubt about it, but it's less the splatter and more the almost sadistic glee with which Craven pummels some of its victims that keeps the original shocking. This new sequel never climbs to the same level of ferociousness, but Craven isn't pulling his punches, either, splattering bedroom walls with a ridiculous amount of blood. Whether the entrails and grue are a comment on today's movies or just an attempt to keep pace with them isn't clear, but a bit of vagueness can be forgiven thanks to a gleefully inventive pre-title sequence that's worth the price of admission alone, several clever nods to the original Scream, and at least one good-natured pot-shot at one of his Dimension contemporaries in the credits of the original Stab (although, I'd be lying if I said I didn't miss "Red Right Hand.").
Had Scream 4 been Scream 3, well, that'd be about as good as one can expect a horror trilogy to get. Despite a long gestation period, all of the nonsense with Miramax and the Weinstein Company, screenwriter scuffles (Williamson was apparently irked by Weinstein requests and jumped ship mid-production), Scream 4 is not only the second-best in the series, but also the best slasher movie in at least a decade. On one hand, the quality of the slashers of late -- Prom Night, anyone? -- makes that a low standard, but it's also telling: they really don't make slashers anymore. And in that sense, Craven and Williamson have accomplished something even more than a thoroughly satisfying series of films: they've brought the whole genre full circle.

CLICK HERE FOR A NEW LINK TO DOWNLOAD SCREAM 4 

CHALET GIRL NOW AVAILABLE (NZB FILE)

HERE IS THE SUMMARY FOR THE MOVIE CHALET GIRL FROM IMDB. 

Pretty tomboy Kim Matthews, 19, used to be a champion skateboarder - but now she's stuck in a dead end job trying to support her Dad. Opportunity comes knocking in the form of a catering job in the one of the most exclusive chalets in the Alps. At first, Kim's baffled by this bizarre new world of posh people, champagne and skiing - but then she discovers snowboarding, and the chance to win some much-needed prize money at the big end-of-season competition. But before she can become a champion again, Kim's going to have to dig deep to overcome her fears. Hard enough, without the complicating factor of Jonny, her handsome - though spoken for - boss... Written by Official site

HERE IS THE DIRECT DOWNLOAD FOR THE MOVIE CHALET GIRL.

BATTLE LA NOW AVAILABLE

HERE IS THE SUMMARY FOR THE MOVIE BATTLE LA FROM IMDB

A Marine platoon faces off against an alien invasion in Los Angeles. 

HERE IS A REVIEW FOR THE MOVIE BATTLE LA FROM DVDTALK.

"Battle: Los Angeles" isn't an alien invasion film, it's a military picture with the occasional alien appearance. The marketing trumpets a global perspective on trespassing extraterrestrials, but the picture actually takes place almost entirely in Santa Monica, boiling down a sense of massive widescreen scope to a few city miles, placing the audience into the driver's seat as a besieged platoon attempts to defend themselves against an unknown enemy. "Independence Day" this picture is most certainly not.
Aliens have attacked Earth, leaving the locals stunned and shaken as vicious armies rise from the oceans to begin their extermination of human life. On the ground, a team of Marines has been assembled to help evacuate Santa Monica before it's blasted into oblivion to halt advancing alien activity, with Staff Sergeant Michael Nantz (Aaron Eckhart) called back into duty after a troubling history in Afghanistan. Storming the city, the platoon encounters numerous alien warriors and ships armed with immense firepower and technical superiority. Struggling to survive, the team comes across a few frightened civilians (including Bridget Moynahan and Michael Pena) they must protect, finding the road to rescue blocked by a relentless enemy that's difficult to kill.
The concept behind "Battle: Los Angeles" is to take a sci-fi premise and shape it into modern militaristic mayhem, with director Jonathan Liebesman ("Darkness Falls," "Texas Chainsaw Massacre: The Beginning") deploying ceaseless amount of shaky-cam stylistics to pound the viewer over the head with an impression of front line realism. It's a concentrated effort to turn the movie into sensory overload, excitedly mimicking brutal Iraq War videos viewed on the news and internet. It's a tricky concept, and one that's not especially novel, but Liebesman is committed to the cause. He wants you to feel trapped in the middle of the action. He wants you to feel the heat of combat on your cheeks. Apparently, he also wants you to barf up your popcorn, with a quaking camera aesthetic that's intolerable to endure at times, with every last twitch of movement covered by a swaying frame.
"Battle: Los Angeles" is a lot of noise covering for very minimal substance. There's a script credited to Christopher Bertolini, but I don't exactly understand what he's responsible for. The dialogue and plot highlight a hornet's nest of clichés, pulled from every last war film, spending the opening 15 minutes of the feature developing faceless characters of no discernable personality before the carnage begins. Only Nantz is handed an arc to explore, but it's a hoary beast concerning a broken leader rekindling his inner fight, rising to lead his boys to victory. The rest of the platoon is filled with unknown actors counted on to continually scream and grunt, waiting for their eventual death at the hands of a special effect. Instead of intensely investing in the Marines and their individual quirks (think "Aliens"), Liebesman plays the group as nondescript as possible, hunting for sobering realism while sacrificing engaging cinema along the way.
The same emptiness carries over to the enemy. The invaders from outer space are never revealed in full, reduced here to a squishy suit of organs and bio-weapons, viewed primarily in the distance to save on visual effect fees. There's no defining moment where the Marines examine alien details, allowing the viewer a full appreciation of the growing threat. The baddies are an unexplained menace, with a true operational dissection likely saved for the sequels. They have laser guns and space ships, and they excel at reducing Los Angeles to rubble. However, the film never feels like war. It feels like a pedestrian video game. There's no cinematic spirit or personality to delight in, with the picture one mindless display of scurrying and screaming after another. The effect is more numbing than rousing.
"Battle: Los Angeles" finally hits a more blockbuster tone in the final act, where the squad takes on an enormous alien control ship using all of their resources and military instinct. It's a case of too little too late, breezing past a substantial threat (or final boss level) to madly dash toward the anti-ending, where the story intends to carry on into numerous sequels, maybe exploring skirmishes in additional Los Angeles suburbs, I don't know. Perhaps if more concentration was put into building an engrossing, impassioned first installment, this allegedly global invasion would be an event worthy of a franchise. Instead, "Battle: Los Angeles" is a tiresome fireworks display starring a cast of cardboard cutouts, quick to make a visceral fuss but frustratingly negligent when it comes to providing a reason to care.
HERE IS THE DIRECT DOWNLOAD FOR THE MOVIE BATTLE LA (NEWSBIN FILE).

KILLZONE 3 NOW AVAILABLE

HERE IS THE DESCRIPTION FOR THE GAME KILLZONE 3 FROM AMAZON  

Award-winning multiplayer mode returns with an even more robust feature set

100% PlayStation Move compatibility throughout the game

New compelling features like: a new brutal melee system, the ability to carry 2 primary weapons and increased vehicle gameplay

Face off against new Helghast enemies armed with more powerful weapons and abilities

Full 3D compatibility takes immersion to new heights, delivering a 'boots-on-the-ground' experience like no other

HERE IS A REVIEW FOR THE GAME KILLZONE 3 FROM IGN. 

A lot of games can place you in first person and put a gun in your virtual fingers, but few of them manage to make you feel like you're in the shoes of a person, that you're more than just a moving camera.
It's this idea that separates a run of the mill first-person shooter from what I like to think of as a first-person experience. And Killzone 3, Sony's latest PlayStation 3 exclusive, is definitely the latter. Every action you do in Killzone is immersive; the combat more intense and savage than other shooters. It's this design that makes Killzone 3 so engrossing and fun despite its weak story. With the fantastic pacing and set pieces in the campaign, along with the improved, fun multiplayer, Guerilla's crafted a must own for PS3 shooting enthusiasts.


Killzone 3 is all about a war between two factions of humans. On one side, we have the ISA, the good guys with human faces; on the other side are the Helghast, the red-goggled, mask-wearing enemies who are hell bent on subduing the rest of the universe. Killzone 3 picks up right where two left off, with a small group of ISA soldiers struggling to survive after being effectively cut off and left on the hostile Helghan homeworld. Throughout it all, you play as Sev, the returning hero from the second game, who is out to do as much damage to the enemy as he can before he's caught, killed or rescued.

I won't spoil the story, but I was disappointed with where it went and how uninteresting it was. Killzone 3 jumps around in time regularly, constructing a narrative that gives a good reason to explore different parts of the Helghast homeworld, but it's not engaging. In general, the story feels like an afterthought, like it was figured out after the team planned out a series of cool levels and were forced to figure out a way to tie them altogether. It would have been nice to see Guerilla explore the themes of hopelessness as the ISA struggle to survive in hiding on a hostile planet, but instead Killzone 3 basically glosses over this with a quick fade out and a cut scene. This liberal use of fading between scenes, along with the occasional hiccup when loading, broke me out of the experience repeatedly, exacerbating the generally boring story.
The characters of Killzone are one-dimensional. From our hero, Sev, to the evil Helghast leaders, you pretty much have their personalities pinned from the first moment they swagger onto the screen. The interplay between characters is totally predictable, and we're never given a view of the complex dynamics we might expect out of soldiers at war or a moment of pause or regret about how things play out. Unlike Captain Templar from the original Killzone, there are no likeable characters in Killzone 3. Sure, they're charming in a brutish fashion, but Sev and the rest of the ISA feel more like unthinking meatheads than soldiers dealing with a life or death situation and a feeling of abandonment. They just aren't people you can identify with in any significant way.

Yes, it looks this good.

Story and characters aside, Killzone 3 succeeds as a superb first-person shooter. Guerilla has once again proven that they know how to make the most visceral feeling first-person combat on the market. The controls are considerably tighter than they were in two, but I love how everything you do in Killzone 3 still feels like there's momentum behind it. From climbing ladders to running to slamming into cover, Killzone 3 makes you feel like your character is grounded in the world around him. Even shooting feels more real thanks to the weight and swing of the weapon – but not at the cost of overly floaty controls. Killzone 3 also does a nice job at breaking up the levels between sections where you're on foot, and where you're kicking ass in a super powered vehicle. While the entire game is very linear, Guerilla's done a great job at varying what you're doing just enough from moment to moment to keep you from seeing behind the curtain too much. Each skirmish is so intense, and so visually satisfying, that I'm often too engrossed to think about the story or how I'm being funneled in a very specific direction.
Killzone 3 is beautiful and easily amongst the best looking games on PS3. But what makes its gorgeous environments so important to its design is that it makes the combat more immersive. Enemies are animated so that they realistically fall off railings or cliffs, your own soldiers die in agony as they're cut down by enemy fire, and the environments Sev is fighting through are haunting because they look so plausible. These are not the fantastic alien worlds of a game like Halo; these are dwellings where humans once lived and where humans are now dying in vicious, hate-filled combat. It's strange that crumbling concrete and twisted pieces of rebar can be so awe inducing, but they resonate because they're grounded in scenes we've all seen before in our own world, helping make this war somehow more easily identified with.


Killzone 3's single player is good despite the story, but the reason it's a product worth holding onto is for the multiplayer. The three modes are all fun to play, offering both standard Team Deathmatch and more objective-driven options (including the new Operations Mode, where the highest rated players get to see themselves in cut scenes between objectives). And the revamped leveling system – where leveling means getting points you can use to buy what you want, rather than using a class to unlock abilities for just that class – is a welcome change. Occasional moments of slow-down are likely to occur in larger matches, but make no mistake: this is one of the better multiplayer games available to PS3 owners, and those who enjoyed Killzone 2 online have a lot to look forward to.

F**king jet packs, son!

Outside of the single player and multiplayer, there's an option to tackle the campaign via local co-op play (where the hell is the online, Sony?), an option to play multiplayer with bots, an option to play with Playstation Move controls, and an option to use a 3D TV if you're wealthy enough to be a part of the future. The Move controls are functional but in no way superior or better than an analog controller, while 3D is...well…3D. Yay?

Closing Comments

Along with its fun multiplayer, Killzone 3 is so enjoyable because it’s not just a shooter, it’s an experience. Guerilla has crafted scene after gorgeous scene that made me feel like you’re a part of a brutal, human war that is somehow fantastic in setting but also eerily reminiscent of the wars we see on TV. Combine this with the superb pacing and you have a campaign that’s totally fun despite its boring characters and uninspired story. This may not be the best game on the PS3, but it’s a fantastic option for shooter fans, and the type of title that non-PS3 owners are sure to envy.

HERE IS  THE DIRECT DOWNLOAD FOR THE GAME KILLZONE 3 (NZB PS3 FILE)

MLB THE SHOW 11 NOW AVAILABLE

HERE IS THE SUMMARY FOR THE GAME MLB THE SHOW 11 FROM AMAZON 

New Analog Stick Controls - pitching, hitting and fielding

2 Player Co-op - 2v2 available within the same room

Deeper Player Progression in "Create a Player" Mode

Weekly Challenges - weekly scenarios tied to real life MLB events

Showcase Technology with 3D functionality and PlayStation Move Support

HERE IS A REVIEW FOR THE GAME MLB THE SHOW 11 FROM IGN

MLB 11 The Show is set again to provide fans with an unparalleled baseball experience with even more features and modes destined to quicken the heart, raise the stakes, and hurl you further into the true MLB baseball experience. Leading off on the new features set for PS3 is the addition of the Pure Analog Control System, which includes analog controls for hitting, pitching, and throwing, adding more precision and accuracy to all three disciplines. Next up is the newly added Co-op Mode, which allows up to four-player offline or online cooperative play where gamers can split duties covering either the infield or outfield. The fifth generation of Road to The Show returns in version 5.0 bringing a new interactive slider set to the Create Player process, new training modes triggered by the Player Performance Evaluator, Minor League substitution logic improvements, advancement system improvements that now compare your stats versus your competition in the organization, and the new No Assist Fielding option to make the fielding experience even more realistic. And for the fully immersive big league experience, Additional new features MLB 11 offers options for stereoscopic 3D functionality in all modes and PlayStation Move motion controller support in the Home Run Derby mode.

HERE IS THE DIRECT DOWNLOAD FOR THE GAME MLB THE SHOW 11 (NZB PS3 FILE)

AVRIL LAVIGNE'S NEW ALBUM GOODBYE LULLABY NOW AVAILABLE

HERE IS THE TRACK LIST FOR THE ALBUM

 Here’s the tracklist for Goodbye Lullaby:
1. Black Star
2. What The Hell
3. Push
4. Wish You Were Here
5. Smile
6. Stop Standing There
7. I Love You
8. Everybody Hurts
9. Not Enough
10. 4 Real
11. Darlin
12. Remember When
13. Goodbye
14. Alice (hidden track)

HERE IS A REVIEW FROM AMAZON OF THE ALBUM

Product Description

2011 release, the fourth album from the Canadian Pop diva. Two years in the making, Lavigne worked with longtime collaborators Deryck Whibley, Evan Taubenfeld and Butch Walker, as well as songwriter/producer Max Martin. Lavigne continues to share her personal experiences through her writing and music, and Goodbye Lullaby is a further evolution of this, propelled by a more raw and organic sound.
HERE IS THE DIRECT DONLOAD FOR THE AVRIL'S NEW ALBUM

THE ADJUSTMENT BUREAU NOW AVAILABLE

HERE IS THE SUMMARY FOR THE MOVIE THE ADJUSTMENT BUREAU FROM IMDB. 

The affair between a politician and a ballerina is affected by mysterious forces keeping the lovers apart.

HERE IS A REVIEW FOR THE MOVIE THE ADJUSTMENT BUREAU FROM DVDTALK
The struggle to retain free will takes a strangely spiritual turn in "The Adjustment Bureau," a generally lively film that plays with questions of self while sprinting through a Philip K. Dick theme park of the unreal and the intimidating. Think of it as "Love Story" meets "Total Recall" and "Dark City," which doesn't quite do justice to the moviegoing experience at hand, but comes close to describing the idiosyncratic, highly cinematic world writer/director George Nolfi generates here for his filmmaking debut.
David Norris (Matt Damon) is an aspiring politician looking to climb his way up the Washington ladder and make a difference in the world, despite his occasionally reckless personality. On the eve of his greatest public failure, David meets Elise (Emily Blunt), a spirited dancer who sparks immediate chemistry with the fallen man, only to scurry away after making a profound impression. When they meet again by chance, David seizes the opportunity, attempting to woo Elise for good. Unfortunately, this pairing interferes with a plan of fate set by The Chairman, who oversees humanity via assistants known as The Adjustment Bureau -- a group of formally dressed men out to correct deviations in the master plan of life, sent out to stop David and Elise from falling in love. Made aware of their presence by a sympathetic employee (Anthony Mackie), David sets out to protect his future by challenging the mysterious system.
"Adjustment Bureau" is an odd film, but Dick was an ingenious writer, penning this short story in 1954, which has been exhaustively reimagined for its big screen debut. Nolfi (who previously co-scripted "Ocean's Twelve" and "The Bourne Ultimatum") pushes for a more emotional connection, softening the chilly nature of the tale with a pronounced sense of humor, while encouraging his gorgeous stars to make blissful music together as David and Elise fiddle around with their highly unusual courtship. It's a story of love and paranoia, wonder and choice, asking provocative questions of humanity while sustaining a rousing sci-fi edge. Nolfi deserves plenty of credit for keeping "Adjustment Bureau" as tight and endearing as it is for the first two acts, creating a needed reminder of humankind to balance out the mystery of the antagonists and their cryptic guide to life.
"Adjustment Bureau" is a stylish picture with terrific costuming ideas that place the perhaps heavenly agents in garb associated with a 1950's insurance salesman, giving the growing menace a deliberate feel of an outdated corporation -- an angelic "Mad Men" gathering of snappily dressed hunters who study leather-bound books of fate, imagined here as electronic subway maps of destiny. The look of the film is elegant, wise with NYC locations, and rich with glamour, making the actors look good as the script requests increasingly feverish reactions. Thankfully, there's a fantastic ensemble gathered here to fill out the fantasy, with Damon and Blunt generously sexy and playful as the targeted couple, madly dashing to avoid a cruel separation as the Bureau plays a few dirty tricks to keep the obsessed candidate in line. Also winning are the men in blue, with Mackie unexpectedly sensitive as the true believer of the Bureau, while John Slattery is effectively comical and stymied as the senior agent sent in to clean up David's interaction with the relentless spoiler known as chance.
Also pleasurable is Terence Stamp, who doesn't need much in the way of dialogue to slip into his commanding role as the Bureau's hitman, a ruthless agent sent to hurt David where it counts the most. Stamp brings precise regality and iciness to the supporting role, permitting the film an extra layer of authority.
Nolfi handles exposition wonderfully, teasing the audience with bits of godly reveal, keeping the origin of the Bureau playfully ambiguous, opening the group's true purpose to interpretation. Unfortunately, once the film fully takes to the art of the chase, it runs out of gas, looking to mount a dazzling, portal-leaping conclusion at the very moment the end credits should be rolling. Nolfi doesn't know where to end the feature, which elongates an otherwise spry thriller. Still, there's enough substance and suspense to devour, making the picture an entertaining puzzle with a satisfying command of human need.
HERE IS THE DIRECT DOWNLOAD FOR THE MOVIE THE ADJUSTMENT BUREAU (NEWZBIN)

HALL PASS NOW AVAILABLE ONLINE

HERE IS THE SUMMARY FOR THE MOVIE HALL PASS FROM IMDB.

 
A married man is granted the opportunity to have an affair by his wife. Joined in the fun by his best pal, things get a little out of control when both wives start engaging in extramarital activities as well.

HERE IS A REVIEW FOR THE MOVIE HALL PASS FROM DVDTALK.
I used to believe the 1998 smash, "There's Something About Mary," was the best thing that could've happened to the filmmaking duo, Peter and Bobby Farrelly. I now realize I was wrong. The boys have been chasing that success for over a decade, deploying the once enchantingly comfy Farrelly Formula time and again, looking for that elusive box office champion that could restore luster to their tarnished brand name. "Hall Pass" is quite possibly their least organic offering to date, coldly calculating shock value and emotional connection to piece together yet another feature film that'll make the audience shift from uncomfortable laughter to tender appreciation.
As two married schlubs with sex constantly on the brain, Rick (Owen Wilson) and Fred (Jason Sudeikis) are faced with fading unions, losing wives Maggie (Jenna Fischer) and Grace (Christina Applegate) to the demands of motherhood and age. When their childish antics finally step over the line, the ladies decide to give the guys a "hall pass," allowing them one week to act like ravenous single men without fear of judgment or reprisal. Confronted with their wildest dream come true, Rick and Fred embark on a weeklong series of misadventures, desperate to find willing women, but mostly encouraging trouble, making them reconsider what's truly important in their lives.
On paper, the merging of the Farrellys and a boisterous sex comedy likely registered as a can't-miss proposition. After all, the duo has strutted down this road before, leaving them highly skilled in the art of the guffaw with an emotional chaser. Unfortunately, "Hall Pass" is a robotic effort, guided by the brothers in an insincere manner that suggests career panic over true comedic bravery. It's a gross-out enterprise that's largely miscast, overly schticky, and morally disoriented, assuming it's dishing up universal truths on the routine of marriage when it actually feels like a tepid basic cable sitcom, down to the hideously bright cinematography from Matthew Leonetti.
The screenplay offers the Farrellys a playground of opportunity, supplying a plot that follows two idiots as they descend into the wasteland of the single scene, populated with untouchable young things, feisty cougars, and fellow geezers looking to score easy sex. Expecting something charmingly deranged from the directors, "Hall Pass" instead plays it all with crushing familiarity, capturing Rick and Fred as they devour pot brownies, strike out with rancid pick-up lines, and come face to face with male nudity. I wasn't expecting a semi-sequel to "The King's Speech," but surely the Farrellys could be more imaginative than having one of Fred's conquests spray diarrhea all over his bathroom or include a shot in which a close friend enjoys a bowel movement on a sand trap. And don't even ask about the oral sex term "fake chow," which seems pulled from a particularly lame Google search adventure.
"Hall Pass" is uninspired, but it's not without laughs. In fact, when the picture settles down to survey the leads navigating the single scene as old men, the Farrellys land a few silly punches, with Wilson and Sudeikis effectively registering comic frustration as married men incapable of growing up. The infantile behavior works in small fragments, but it's often pushed aside for the shock value bits, many of which feel old hat to a filmmaking team that once drizzled semen on Ben Stiller's ear. "Hall Pass" pushes too hard to stun, making its excesses irksome, smothering the clear potential of the premise.
In keeping with the Farrelly Formula, the screenplay eventually demands the audience feel for these characters, softening Rick and Fred while giving their spouses their own hall pass subplot, as the ladies face temptation with minor league baseball professionals. The directors adore their warmth, but there's no place for it here, creating blunt edges as "Hall Pass" jerks from fecal jokes to refreshed declarations of love. The effort is worthless, futilely attempting to nurture a conscience from the wreckage of a dirty movie, perhaps proving the Farrelly Brother moviemaking template is now officially beyond repair. 


 HERE IS THE DIRECT DOWNLOAD FOR THE MOVIE HALL PASS (NEWZBIN FILE)

I AM NUMBER FOUR NOW AVAILABLE

HERE IS THE SUMMARY FOR THE MOVIE I AM NUMBER FOUR FROM IMDB

John is an extraordinary teen, masking his true identity and passing as a typical high school student to elude a deadly enemy seeking to destroy him. Three like him have already been killed ... he is Number Four. 

HERE IS A REVIEW FOR THE MOVIE I AM NUMBER FOUR FROM DVDTALK

It was bound to happen sooner or later. With "I Am Number Four," Hollywood attempts to branch out to other genres to find a new "Twilight" -- something with heavy romantic and superhuman overtones that could be massaged into a brand new franchise to take over the hearts and wallets of teens when the sparkly vampires take a bow in 2012. Though dealing with intergalactic invasion, corporeal powers, and laser guns, "I Am Number Four" is a relatively tame creation, lacking a thunderous, textured cinematic quality that would separate it from the average ABC Family movie.
An alien from the planet Lorien, Number Four (Alex Pettyfer) has come to Earth to hide from a vicious enemy known as the Mogadorians. Guided by protector Henri (Timothy Olyphant), Four is working his way through adolescence, finding himself in possession of several "Legacies" that offer him exceptional powers. Settling into a quiet life in the suburb of Paradise, Ohio, Four comes across fellow teen Sarah (Dianna Agron) at school, enchanted with her sense of kindness and photographic poetry. Unfortunately, there's little time for love, as the Mogadorians, with their fearless leader Commander (Kevin Durand), draw near, forcing Four, human pal Sam (Callan McAuliffe), and huntress Number Six (Teresa Palmer) to fight back, working to gain full control over their Legacies.
Based on the best seller from author Pittacus Lore (a pen name for writers Jobie Hughes and James Frey), "I Am Number Four" has all the required ingredients for a modern teen movie. There's a mysterious, hunky lead character of limited sexual threat and startling powers; huge amounts of knotted backstory with puzzling names and purposes to sort out (often unsuccessfully) during the course of the movie; and there's a heavy fantasy angle that bleeds into swoony romantic yearn between two teens unable to consummate their love due to villainous interference. Certainly director D.J. Caruso ("Eagle Eye") isn't going to pooh-pooh any similarities made between "Twilight" and his film. Why throw away such amazing box office potential?
"I Am Number Four" is a children's film, too frail to find an awesome voltage that would lend it a truly epic stance. Instead, it's a surprisingly drab creation, following Four as he feels out the limits of his Legacies (interpreted here as glowing hands and telekinesis), deflects trouble from school bullies, goes all angsty on guardian Henri, and struggles to maintain a love connection with Sarah. It's ultimately a protracted and uneventful origin tale, but that's not made immediately clear, as Caruso seems to be building toward a colossal showdown between Four and the Mogadorians (goofy creatures who have gills located right next to their noses) for the future of Earth. The clash does finally arrive in the final act, but it's an absolute snoozer set inside a high school, showcasing limp stunt choreography, unimpressive special effects, and truly random acts of CGI-laden heroism. "I Am Number Four" is a tease, promising muscular genre goods it never delivers, led by a painfully robotic performance from English actor Pettyfer, who spends the entirety of his screentime fussing with his unconvincing American accent.
With comatose cinematography, Durand cringingly overacting like a lunatic in the one-note villain role (he gives the same garish performance in every movie), and a script that's sculpted solely for hardcore fans, "I Am Number Four" is often more irritating than involving. The kicker comes at the end, which really isn't a satisfying conclusion, but a ballsy, shameless cliffhanger for a sequel. Caruso could've at least attempted a vague sense of finality to show some genuine respect to his audience, but closure won't encourage people to follow Four again in a few years. Considering how uneventful the first installment is, I'd be shocked if we ever hear from these characters on the big screen again.
HERE IS THE DIRECT DOWNLOAD FOR THE MOVIE I AM NUMBER FOUR