DOGMA NOW AVAILABLE

DOGMA IS NOW AVAILABLE ONLINE

HERE IS THE SUMMARY FOR THE MOVIE DOGMA FROM IMDB

The great grand niece of Jesus Christ is enlisted to prevent two angels from reentering Heaven and thus undoing the fabric of the universe. Along the way, she is aided by two prophets, Jay and Silent Bob. With the help of Rufus, the 13th Apostle, they must stop those who stand in their way and prevent the angels from entering Heaven. Written by Jerel Parenton {J.W.Parenton@student.tcu.edu}

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HERE IS A REVIEW OF THE MOVIE DOGMA FROM DVDTALK

The Movie: I remember when I first read the script on the internet for "Dogma". It was a original, wild piece of work and kind of like a great novel, I kept reading it till I'd finished it. Although I kind of enjoy the final product, it's not quite as entertaining as it read on the page. Although director Kevin Smith's movies have always been talky, "Dogma" goes on a little too long at over two hours for its own good.

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NANCY DREW NOW AVAILABLE

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HERE IS THE SUMMARY OF THE MOVIE NANCY DREW FROM IMDB

This movie is about Nancy Drew going to Los Angeles California with her father, who was going there on business. While she was there she happened upon a mystery that involved a murdered movie actress, and her daughter. Nancy found out her her daughter was, when nobody even knew that the actress had any kids, and the actress's daughter inherited all of the actress's money. At the end of the movie, once they got back home, Ned and Nancy kissed for what I think was their first actual kiss, and right after their quick kiss Nancy's father told her that she had a call from some people in Germany, who were talking about the Loch Ness Monster. Written by Action_movie_fan

HERE IS A REVIEW OF THE MOVIE NANCY DREW FROM DVDTALK

Updating the beloved literary icon Nancy Drew to a more modern tango, the filmmakers behind this latest incarnation of everyone's favorite teen sleuth have made a very wise decision: instead of hipping the character up to bend to pop culture conformity, they've kept the character a square, only now she's living in a very round world.

Saying goodbye to her quaint home of River Heights, Nancy Drew (Emma Roberts) is headed to L.A. for the summer with her father (Tate Donovan). Promising her Pop to cap the sleuthing she craves, Nancy's vow is immediately broken when it's revealed the house they're renting has a secret past involving a dead screen idol (Laura Harring), a hidden will, and a daughter (Rachael Leigh Cook) who never knew her haunted mother. With pals Corky (Josh Flitter) and semi-crush Ned (Max Theiriot) in tow, Nancy heads off to solve the dangerous case.

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CASINO ROYALE 2006 NOW AVAILABLE

CASINO ROYALE NOW AVAILABLE ONLINE

HERE IS THE SUMMARY FOR THE MOVIE CASINO ROYALE FROM IMDB

After receiving license to kill from the MI-6, the secret agent James Bond follows his leads and avoids the destruction of the greatest airplane in the world in Miami plotted by the evil banker Le Chiffre to crash the bonds in the stock market and break the air flight company. The banker loses the funds of international terrorist organizations and organizes a poker game in Casino Royale, in Montenegro, to raise the money of the investors. James Bond travels with the British accountant Vesper Lynd to bet and defeat La Chiffre and force him to look for protection with the MI-6, disclosing the names of the terrorists. James wins, but is double-crossed, in a game of betrayals and murders. Written by Claudio Carvalho, Rio de Janeiro, Brazil

James Bond goes on his first ever mission. Le Chiffre is a banker to the world's terrorists. He is participating in a poker game at Montenegro, where he must win back his money, in order to stay safe among the terrorist market. The boss of MI6, known simply as M sends Bond, along with Vesper Lynd to attend this game and prevent Le Chiffre from winning. Bond, using help from Felix Leiter, Mathis and having Vesper pose as his wife, enters the most important poker game in his already dangerous career. But if Bond defeats Le Chiffre, will he and Vesper Lynd remain safe? Written by simon

Casino Royale introduces James Bond before he holds his license to kill. But Bond is no less dangerous, and with two professional assassinations in quick succession, he is elevated to '00' status. Bond's first 007 mission takes him to Uganda where he is to spy on a terrorist, Mollaka. Not everything goes to plan and Bond decides to investigate, independently of MI6, in order to track down the rest of the terrorist cell. Following a lead to the Bahamas, he encounters Dimitrios and his girlfriend, Solange. He learns that Dimitrios is involved with Le Chiffre, banker to the world's terrorist organizations. Secret Service intelligence reveals that Le Chiffre is planning to raise money in a high-stakes poker game in Montenegro at Le Casino Royale. MI6 assigns 007 to play against him, knowing that if Le Chiffre loses, it will destroy his organization. 'M' places Bond under the watchful eye of the beguiling Vesper Lynd. At first skeptical of what value Vesper can provide, Bond's interest in her deepens as they brave danger together and even torture at the hands of Le Chiffre. In Montenegro, Bond allies himself with Mathis MI6's local field agent, and Felix Leiter who is representing the interests of the CIA. The marathon game proceeds with dirty tricks and violence, raising the stakes beyond blood money and reaching a terrifying climax. Written by Krafty

HERE IS A REVIEW FOR THE MOVIE CASINO ROYALE FROM DVDTALK

The Movie:
Much fuss has been made about the latest James Bond action extravaganza Casino Royale "rebooting" the franchise. Daniel Craig steps in as the sixth star to officially play the role, and brings a decidedly grittier, rough and tumble interpretation to the character, in stark contrast to the suave pomposity of the Pierce Brosnan years. The movie takes a back-to-basics approach, stripping away a lot of the silly gadgets, diabolical madmen, and far-fetched world domination plots that have long been the hallmarks of the Bond formula. It's really quite an effective rejuvenation for a series that last tortured viewers with the abhorrent Die Another Day. And yet, to put things into perspective, any long-time fan will recognize that the Bond movies have always progressed in cycles, with each new actor causing their own reboot to bring the styles and tastes of their respective eras to this ever-evolving character. The flamboyant Roger Moore was every bit the right James Bond for the 1970s and early '80s as Sean Connery was for the '60s. Brosnan was a perfect fit for the new metrosexual Bond of the late 1990s, and now we have Daniel Craig putting his own spin on the role. For every generation, their own James Bond.

This certainly isn't the first time the series has course-corrected itself, either. The wretched excess of Moonraker (widely recognized as the very worst James Bond film, yet ironically also the most financially successful of its day) was followed immediately by the streamlined For Your Eyes Only, one of Roger Moore's better pictures. After the idiotic A View to a Kill, Moore retired and Timothy Dalton made the first attempt at a darker, edgier Bond in his two movies. By the '90s, Bond had been upstaged at his own game by imitators such as James Cameron's True Lies that managed to do everything a James Bond movie was supposed to do but bigger and better. In the wake of True Lies, EON Productions, the official gatekeepers of the Bond legacy, set forth to reinvent the series as mega-budget rollercoaster thrill ride with Goldeneye. It was a big hit and ushered forth three more films in a similar vein, each attempting to outdo the last with bigger stakes, bigger set pieces, and more expensive visual effects, until finally climaxing with the ridiculous spectacle of Die Another Day, the worst Bond movie since Moonraker. In recent years, Bond has once more found himself upstaged by an imitator, this time the Jason Bourne pictures starring Matt Damon as a smart, capable, and dangerous secret agent with a no-nonsense attitude. Learning their lesson, EON decided to reset the cycle again by recasting Bond in a similar light, giving us Daniel Craig as a particularly ruthless "blunt instrument", more assassin than spy, and lacking much of the debonair sophistication we associate with the character. When asked if he wants his martini shaken or stirred, this new Bond responds, "Do I look like a man who gives a damn?"

For a movie series so far 21 entries strong, James Bond has always had a shaky sense of continuity. Only on rare occasions would a new movie reference prior events, supporting actors are routinely reused in different roles, and of course Bond himself remains ever changing and ever young. But even so there was always the assumption, with a wink and a nudge perhaps, that each of these movies was in fact a direct sequel to the last and that we were watching the same James Bond in Die Another Day that had lived through the adventures of Dr. No, as screwy as that timeline may seem. Casino Royale is the first Bond picture to officially break that continuity, set in the present day yet offering us a young James Bond on his first mission as a licensed Double-0 agent. The excuse for this is that Casino Royale was actually the first of Ian Fleming's original James Bond novels, but the one whose rights had resided outside of EON's grasp until recently. Previously adapted to film in 1967 as a psychedelic comedy spoof starring David Niven (as Bond) and Woody Allen (as his nephew Jimmy Bond), the title was always the black sheep of the Bond legacy but, with its rights finally falling to EON's control, now came the opportunity to adapt it properly. Much to-do was raised in the publicity surrounding the picture of its supposedly "faithfulness" to the Fleming source, but to be honest it's no more faithful to Fleming than any of the previous Bond movies have been, which is to say hardly at all. The Bond of Fleming's Casino Royale was a gentleman spy, not the bruiser that Craig portrays him as, and certainly not a man who would ever deign to play Texas Hold 'Em poker. The novel was set almost entirely in its title location, and served practically as an instruction manual for how to play baccarat, with just a smidge of espionage thrown in for color. To my recollection, the novel had no car crashes, explosions, chase scenes, or imploding buildings. But you can't really make a $150 million James Bond movie today without those things, so thus we have a hybrid that follows the sketch of Fleming's plot with the details filled in by the trappings a modern audience expects from a Bond film.

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HORTON HEARS A WHO NOW AVAILABLE

HORTON HEARS A WHO NOW AVAILABLE ONLINE

HERE IS THE SUMMARY FOR THE MOVIE HORTON HEARS A WHO FROM IMDB

One day, Horton the elephant hears a cry from help coming from a speck of dust. Even though he can't see anyone on the speck, he decides to help it. As it turns out, the speck of dust is home to the Whos, who live in their city of Whoville. Horton agrees to help protect the Whos and their home, but this gives him nothing but torment from his neighbors, who refuse to believe that anything could survive on the speck. Still, Horton stands by the motto that, "After all, a person is a person, no matter how small." Written by Griffin84


HERE IS A REVIEW FOR THE MOVIE HORTON HEARS A WHO FROM DVDTALK

While the memory of Dr. Seuss remains in a troubling state of cinematic rape, "Horton Hears a Who" is by far the most palatable feature-film contribution created so far. Granted, the other options weren't hard to surpass ("The Grinch," "Cat in the Hat"), but there's an askew pop sensibility that rings throughout the picture, making it disposable, but not without ample charm.

Living in the jungle of Nool, Horton (voiced by Jim Carrey) comes across a speck that emits strange sounds only he can hear. Placing the speck on a clover, Horton begins to hear the voices of the Whos, the population that resides in the speck. Making contact with the Mayor of Whoville (Steve Carell), Horton is delighted to be placed in charge of protecting the speck and finding it a new home. Standing in his way is Kangaroo (Carol Burnett), who lacks faith that other forms of life could live beyond her perception, and mounts a great effort to stop Horton. Simultaneously, the Mayor has to deal with his new reality, while trying to keep the Whos alive as their world is jostled around during the relocation.

Instead of embracing the sweet-natured, slightly-curdled innocence of Seuss's imagination, "Horton" plays more like a Looney Tunes offspring. It's a relentlessly energetic piece from animation vets Jimmy Hayward and Steve Martino (both making their feature-length directing debut), who appear in a panic to stretch the story out to 90 minutes of screentime, piping in a strange carnival of slapstick and expected Carreyisms, hoping to fashion a film with more edge to appeal to modern family audiences.

Things get off on the right foot with narration by Charles Osgood and the design of the dual worlds, taking the flat, spare Seussian cues from the page to the CG-animation world, where the filmmakers give the visuals desired depth and elasticity, while retaining their general oddness. Certainly "Horton" is faithful to the source material in areas of plotting, but the picture is much more sarcastic and goofball, especially in Jim Carrey's "Aladdinesque" performance that has Horton slinging around impressions of Henry Kissinger and bouncing around as though he's hopped up on speed.

That angle of performance is extended to the entire cast, including the likes of Seth Rogan, Will Arnett, Isla Fisher, Jonah Hill, Jamie Pressly, Amy Poehler, and Dan Fogler. Along with Carell, it's an interesting jumble of vocal performances, but the whole affair feels too trendy at times; the picture desperate to appear relevant instead of reaching for a more golden, timeless appeal. A great example of the strange direction "Horton" takes is a mid-movie anime sequence, where our hero imagines himself in a "Pokémon" world fighting off danger from all sides. It's amusing, but feels a little too hip for the room. Another showcase of makeover trouble: Mayor's son JoJo has been turned into a teen emo recluse with a Zac Efron haircut.

While the modern touches induce grimaces, the general tone of "Horton" is pleasant enough to pass for a matinee showing. The central tale of friendship between Horton and Mayor is an enchanting pairing, splintering the film off into two subplots that balance remarkably well, though the edge goes to Horton and his forest friends who both help and hinder his progress. Scrape out a touch of the zany, and it's nice voicework from Carrey and Carell, who provide the film with clever moments of interplanetary communication.

Perhaps running about 20 minutes too long, "Horton" starts to feel a little sluggish searching for a note to end on. The one selected here is a duet of an REO Speedwagon song, effectively scrubbing away whatever whimsical Seussian undertones are left standing by the end credits. As throwaway as it is, "Horton Hears a Who" still shines with a fresh coat of mass-appeal shellac, just don't walk in expecting something as cozy and magical as the original book.

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THE BUTTERFLY EFFECT 2 NOW AVAILABLE

BUTTERFLY EFFECT 2 IS NOW AVAILABLE ONLINE

HERE IS THE SUMMARY FOR THE MOVIE THE BUTTERFLY EFFECT 2 FROM IMDB


Nick Larson and his best friends Trevor Eastman and Amanda are celebrating the twentieth-fourth anniversary of his girlfriend Julie Miller in a beautiful lake on a Sunday morning. Nick is expecting to be promoted in the company where he works, and Julie is planning to move to his place instead of going to New York for her Master degree. However, Nick is called by his colleague Dave Bristol, who is disputing the promotion with Nick, for a meeting with a client. While in the road, Nick has an accident and Julie and his friends die. One year later, Nick finds that he can travel in time and tries to fix the past, with tragic consequences for the future. Written by Claudio Carvalho, Rio de Janeiro, Brazil


HERE IS A REVIEW OF THE MOVIE THE BUTTERFLY EFFECT 2 FROM DVDTALK


The Movie:

The Butterfly Effect was one of the true surprises of 2004. Say what you will but Ashton Kutcher was actually quite good in the film and the story kept you guessing throughout. It took the tired time travel concept and put a pretty interesting spin on it and the end result was an enjoyable and stylish thriller – and now here's the unnecessary sequel!

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88 MINUTES NOW AVAILABLE

88 MINUTES NOW AVAILABLE ONLINE

HERE IS THE SUMMARY FOR THE MOVIE 88 MINUTES FROM IMDB

In Seattle, the successful forensic psychiatrist and college professor Jack Gramm is in evidence since he was responsible for the condemnation of the serial killer Jon Forster, influencing the jury to sentence him to the death row. Jon accuses Jack of manipulation, inducing one witness and sister of one of his victims to testify against him. On the eve of Jon's execution, Jack receives a phone call telling him that he has only eighty-eight minutes of life, while a killer is copycatting Jon, killing women with the same "modus-operandi" and is investigated by Seattle Slayer Task Force. With the support of his former wife and associated Shelly Barnes, the FBI agent and his friend Frank Parks and his assistant Kim Cummings, Jack investigate some weird and problematic students, a security guard of the campus and the woman with whom he had one night stand. Written by Claudio Carvalho, Rio de Janeiro, Brazil

Dr. Jack is a shrewed womanizing Forensic Psychologist and professor working with the FBI in Seattle. A tortured past makes him great at what he does. Jack's past is returning to pull him on another roller-coaster as a killer that he helped to put on death row approaches the last minutes of his life. Written by Miist

A thriller about a college professor who, while moonlighting as a forensic psychiatrist for the FBI, receives a death threat telling him that he has only 88 minutes to live. In narrowing down possible suspects, he frantically seeks to communicate with a problem student, an ex-girlfriend, and a serial killer on death row. Written by Anonymous

HERE IS A REVIEW FOR THE MOVIE 88 MINUTES FROM DVDTALK

That "88 Minutes" is a cruddy, silly thriller is nothing remotely shocking; the genre has been laying eggs for decades. How Al Pacino found himself roped into this wacky movie is another mystery entirely and one that doesn't take much research past the words "yacht payment" to solve.

College professor and forensic psychiatrist Jack Gramm (Al Pacino) has lost his way in a fog of meaningless sexual encounters and bottled grief over the murder of his little sister years ago. After successfully putting serial killer Jon Forster (Neal McDonough) behind bars on questionable evidence, Gramm is riding high as the day of execution has finally arrived. Going about his business, Gramm is notified by cell phone that he has 88 minutes left to live. At first confused, but soon aware of certain danger, Gramm, with the help his students (including Alicia Witt, Leelee Sobieski, and Benjamin McKenzie), attempts to track down the mysterious aggressor while barely surviving several attempts on his life.

Pacino has been involved with some real dogs over the years, but the desperation of "88 Minutes" is quite amazing. Even with a semi-respected director like Jon Avnet ("Fried Green Tomatoes") calling the shots, the picture is toothless thrill ride, using the iffy concept of "real time" cinema to manufacture some suspense, because the screenplay certainly doesn't have a creative bone in its body.

Written by Gary Scott Thompson, "88 Minutes" isn't about clichés, it's about stupidity. The picture seems written to fit a wacky design of suspense in Thompson's head, leaping eagerly over any sort of basic logic. Characters act like they're from another planet, subplots do the hokey pokey in and out of the movie, and there's a strange undercurrent of sexual tension running throughout the picture, aimed directly at Jack. Who am I to discourage the appeal of a leathery sexagenarian, especially one with wildly teased hair that makes him look like the bass player for a Dokken cover band, but there's a time for sexual come-ons and then there's this movie, where Alicia Witt's character begins to disrobe and toss around her strawberry appeal right in the middle of Jack's feverish 88-minute death sentence.

Avent can only hold on for dear life, trying his best to sell the ridiculous scripted turns and performances; still, the entire film has the feeling of a director that knows the ship is sinking. Even by broad pay-cable thriller standards, "88 Minutes" just isn't interestingly constructed, pouring an ocean of red herrings into the mix to keep the audience guessing, withholding a reason to bother figuring this mess out in the first place. It's lazy and boneheaded, clinging to the gimmick of the countdown to help it slip past amazing plot holes, obvious casting (would you believe William Forsythe as a tough cop?), and strange ideas of misdirection.

Obviously Pacino will survive this stinker, and I will admit that his voracious "Pacinoisms" boost the movie's minuscule entertainment factor. Even half-asleep the man remains a compelling screen presence, and it's fun to watch him tolerate the acting of co-stars such as Witt and Sobieski while mentally counting down the days until principal photography wraps. Hey, we all have money to make, so who can blame Pacino for occasionally tossing away every shred of his credibility and hitching his legacy up to a mindless, asinine diversion. Perhaps he thought, and rightfully so, that something this slapdash and laughable would never see the light of day.

HERE IS THE DIRECT DOWNLOAD FOR THE MOVIE 88 MINUTES

HERE IS IGN'S ARTICLE FIRST LOOK OF SMACKDOWN 2009

Many would think after yesterday's WWE SmackDown vs. Raw 2009 announcement and QA blowout there couldn't possibly be any more to say about THQ's tenth entry in the storied series.

They'd be wrong.

Cory Ledesma, THQ senior creative manager, took the stage just after noon at the Swan Hotel in Orlando and laid out the "teaser" for SVR 09 that IGN fans are already busy memorizing -- the company's commitment to improving load times, rebuilding the AI, and so on -- but he also dropped a few unannounced tidbits and gave us our first chance to see the game in action via some prepackaged clips.

First up was how the new tag team features are going to work. If you haven't made your way through all of our coverage, SVR '09 is revamping of how the series handles tag team matches. In a video feature starring Jeff and Matt Hardy against Ken Kennedy and Randy Orton, Ledesma walked us through some of the nifty double team moves the Superstars now have access to. With the opponent on the ground, Matt lifted Jeff, Jeff kicked out his legs, and when Jeff got to the highest point, Matt released his brother for a devastating leg drop. The brothers Hardy pulled off a double-sided Russian leg sweep, and Jeff tripped an opponent before Matt dropped his trusty old fist on the bad guy's head. Although it was quick, we also got to see our first tag team finisher. Matt hit the Twist of Fate, and as soon as the move was over, Jeff was soaring through the air for the Swanton Bomb.

Then, Ken held Jeff against the ropes while Randy talked some trash and slapped the hell out of the Hardy.

The visual delights of the tag team world didn't stop there; throughout the video, the opponent on the outside was able to walk the apron at will so that he could get into position, pump up the crowd or pull of a bind tag. Now, when the ref's getting distracted or you're pulling off a neat double-team move, the camera pulls into the cinematic perspective you're used to seeing for finishers and other animations. There's even a new camera outside the ring that shoots the action from right around the steel steps so you don't lose the action because of the apron getting in your way.

Next on big screen was how Hot Tag works. If you're not familiar with the phrase, you're for sure familiar with the action -- it's when a guy's getting his head kicked in, crawls to his corner, slowly reaches out his hand, makes the tag and the fresh partner comes in and steamrolls everyone. Ledesma said this Hot Tag will be available for the team throughout the entire match, and his video showcased the Hardys pulling it off. Matt stormed into the ring and took out Kennedy, laid out Orton on the sideline and then hit the Twist of Fate on Ken. Of course, the video also showed a scenario when Matt stormed into the ring and Orton reversed the Hot Tag attack when the Hardy boy came to the apron. Apparently, the move isn't foolproof.

The other big part of the presentation focused on Create-A-Finisher. Although Ledesma prefaced the video by saying the option was a work in progress, it still looks pretty damn impressive. As of now, the feature looks similar to the creation features you know and love -- on the left side of the screen, the green guy does whatever moves you're selecting from the right side of the screen. Along the top of the builder is a set of numbers from one to ten that let you know what step you're at in creating your masterpiece. There's also a fraction tracking how much of your 100 percent of move memory you've used.

Down on bended knee.

Each of the moves on the left-side laundry list -- grapples, piledriver positions, etc. -- has a speed attached to it that players can modify at will to make it more dramatic or snappier. In the THQ video, creation focused on creating an F-U Brainbuster and a cradle piledriver for John Cena. The piledriver, a seven-step move, started with the green guy putting the red guy into position, green guy kissing his biceps, green guy lifting the red guy up and rotating just and bit, the green guy cradling the red guy, and then the inevitable drop on the head. Once the moves were completed, they were given to Cena and demonstrated against Orton.

That might not be the most interesting thing to read, but it sure looked good. Although there were cuts in the video so load times and such were impossible to get a read on, the step-by-step addition of moves and adjustments of speed all blended together seamlessly to make the mode seem like it'll be really easy to get into and in-depth with. Your created moves will work in any mode with every Superstar -- created or legit.

When the videos were over, the new news wasn't. Ledesma let us know that there will be an additional 300 motion-captured animations in SVR '09, that Road to WrestleMania will focus on the three months leading up to the big event, that the new tag features work in all tag matches (six-man tag matches were mentioned), and that he's not too worried about that "other" wrestling game coming to the market.

"We're looking into it," he said. "We're not really worried about it"

Ledesma then proceeded to show a photo of a THQ coffee mug sitting on The History of TNA: Year One DVD.

Ouch.

HERE IS AN ARTICLE ON THE NEW TNA IMPACT GAME FOR THE PS3

To the outside world, there probably isn't much of a difference between TNA and WWE. Both are filled with hulking athletes, beautiful women, and unbelievable storylines. However, if you were to try and convince a TNA fan that their favorite federation was the exact same song and dance as Vince McMahon's show, they'd have three words for you. Ultimate X Match. A standard of the X Division, the Ultimate X Match suspends a red X or TNA title belt 15 feet above the center of the hexagonal ring. Four posts have cables draped between them to allow combatants to shimmy out to the center of the ring, grab the prize and win the match.

But it's never that easy. Remember the double-stacked huricanrana from Final Resolution 2005? Remember Homicide hitting AJ Styles with the Gringo Cutter from one of the suspension ropes? Remember the leaps for the titles, the midair punches, the massive bumps -- Ultimate X is TNA, and it's only fitting that the match will be front and center when TNA iMPACT! ships this September for the Xbox 360 and PlayStation 3 (the match is in the PS2 and Wii versions of the game, too, but we didn't see those). Before we get into the backbreaking, high-flying action that's synonymous with Ultimate X, we should give you the basics of TNA iMPACT! The first TNA brawler from Midway, iMPACT! promises 60-frames-per-second action that walks a fine line between being a fighter and being a grappler. The action is fast, fierce and focused on bringing something new to the world of professional wrestling videogames, which has traditionally been dominated by THQ's WWE Smackdown vs. Raw franchise, according to Mark Turmell, Midway design director. "We know we can't compete with Smackdown on features," Turmell said while visiting the IGN office recently. "We really, on this first go, are trying to hang our hats on gameplay." From our hands-on time with iMPACT!, that focus shines through. Whereas the THQ WWE games have moved to a joystick configuration for both movement and grappling, Midway and THQ have opted for a more traditional wrestling game feel. Although it could easily change by the time the game hits stores, your shoulder button/triggers control your running and blocking while the face buttons govern your punches, kicks and the 25 unique grapples of each wrestler.

Give me these boots!

While you're pulling off these super-fluid moves -- seriously, we've seen Homicide wail on Styles in the corner, get put into a belly-to-back hold, reverse a German suplex, and end AJ with a Death Valley Driver without any hiccups -- you're filling up an iMPACT! meter. When the meter is packed, you can press in the sticks and kick off iMPACT! Mode, which allows you to pull off your character-specific finisher. The silhouette to the right of the HUD lets you know how damaged a wrestler's head, midsection and legs are. Beneath that iMPACT! meter and next to the color-coded body is the character's name superimposed over his stun meter. This little rectangle fills with blue as the fighter is beaten. When the beatings stop, the character is stunned for as long as it takes the blue line to dissipate. It's a welcome addition for those of us who are sick of climbing the top rope, launching into a frog splash and catching a knee to the gut from a recovered opponent. iMPACT! also changes the way most people think about submission moves. Rather than pounding buttons at random or swirling sticks, Midway chose to give both people involved with the move a series of buttons to press in sequence. If you've got someone in an armbar and pull off your button presses flawlessly while the other guy flubs it, more pressure is applied. If the opponent pulls off the taps and you screw up, he'll escape.

Now, Midway's admittance that it's focusing on gameplay rather than options shouldn't be taken like the company is throwing in the towel when it comes to bells and whistles. iMPACT! will pack create-a-player, a story mode for your created brawler to go through, tag matches, fatal four-ways, online brawls, and -- as we ranted about earlier -- Ultimate X.

Because we just got a taste of what iMPACT! will truly be like, we're not 100 percent sure how Ultimate X will come together when you're talking about unique moves and character-specific tactics, but as a whole, the match seemed to capture the frantic feel of the real deal. When we took Samoa Joe up against AJ Styles, we saw a number of different ways we could be pulled, slammed and thrown to the ground. We'd climb the turnbuckle, turn toward the X, and begin the hand-over-hand shuffle out to the center of the ring. Styles would grab our feet and spinebust us to the mat. If we were both hanging from one of the cables -- which sag as the wrestlers put their weight on them -- AJ would kick Joe in the gut and send him plummeting face first to the floor.

With our Joe jobbing the night away, AJ's victory was pretty much in the bag. To get the prize down, the character hanging above the center of the screen has to tap a button as the arrow in a small meter goes back and forth in and out of a sweet spot. Stop the arrow in the sweet spot enough, and you'll pull down the X and become king of the castle. Or the ring. Or the mountain. Or the whatever.

When you get your hands on TNA iMPACT! this September, you'll have at least eight arenas to take your opponent to task in -- including the iMPACT! Zone in Orlando, an armory and an outdoor ring in Mexico -- along with 25 in-ring technicians to take to the top. So far, 18 of those brawlers have been announced including: AJ Styles, Samoa Joe, Jeff Jarrett, Sting, Kurt Angle, Abyss, Rhino, Christian Cage, Scott Steiner, Booker T, Tomko, Jay Lethal, Christopher Daniels, Chris Sabin, Alex Shelley, Eric Young, Hernandez and Homicide.

After an hour of playing iMPACT! and listening to Turmell talk old school wrestling games as well as his team's 14-hour days trying to perfect TNA, it's easy to get excited about the product. There are little in-game touches such as how wrestlers drape their arm over a barricade just after being whipped into it and Kurt Angle's American flag-draped entrance, but the big picture we took away from the session was just how good the title looks. It's almost hard to put into words, but the way the sweat on their bodies mixes with the shadows in the ring makes for some truly breathtaking moments.

Just ... just hanging around.

We were taking Sting up against some computer-controlled shmuck, and there were points when we'd throw a punch to the face or kick a guy in the gut and the game would look like TV footage. It's not perfect -- in the build we were playing, legs were going through the apron when the action spilled outside the ring, the lighting would randomly break, and a number of other preview build visual bugs popped up -- but when things were clicking and guys were doing back flips off of the ropes and into neckbreakers, TNA iMPACT! looked really, really good.

There's still seven wrestlers to announce and five months until the game's release, so keep on checking IGN for updates on iMPACT!.

THE RUINS NOW AVAILABLE

THE RUINS NOW AVAILABLE ONLINE

HERE IS THE SUMMARY FOR THE MOVIE THE RUINS FROM IMDB

A group of friends whose leisurely Mexican holiday takes a turn for the worse when they, along with a fellow tourist embark on a remote archaeological dig in the jungle, where something evil lives among the ruins.

HERE IS A REVIEW FOR THE MOVIE THE RUINS FROM DVDTALK

If Herschell Gordon Lewis directed "Little Shop of Horrors," "The Ruins" would likely be the end product. A skin-crawlingly diabolical horror film, "The Ruins" is a sobering reminder that the screen can still generate anxiety on a massive scale when it meets material that takes few prisoners.

On vacation in Mexico, four college students (Shawn Ashmore, Jena Malone, Laura Ramsey, and Jonathan Tucker) meet a German tourist (Joe Anderson) looking to break away from the grind of perfect beaches and bottomless margaritas. Their adventure destination is a lost Mayan temple located in the middle of a dense jungle, and once arrived, the group tragically learns they are not welcome by the vicious locals. Trapped on top of the temple, the students quickly grasp they are not alone, finding the flowers and vines that surround them have a taste for blood. Toying with the group, the flora waits patiently as injury and madness soon settles in, leaving the hapless youngsters with no means of escape.

Adapted by Scott Smith ("A Simple Plan") from his own novel, "The Ruins" is governed by one rule: razor-sharp simplicity. There's no undercurrent of absurd social commentary, no extraneous subplots vying for screentime; "The Ruins" is a straightforward exercise in endurance and disturbing imagery. Not having personally experienced the novel, I didn't sense any gaps in the storytelling, which is a credit to Smith, who overhauled his original plot to streamline the agony. It's a triumphant piece of scripting, securing the tension to the front burners at all times and staging sequences not for their jump-scare potential, but for more gut-wrenching results that will surely leave weak-kneed audience members sprinting for the exits.

Director Carter Smith ("Bugcrush") is game to go where Smith leads and he rarely breaks the film's constant haze of dread. "Ruins" dabbles in psychological torment, yet the heart of this beast lies in old-fashioned displays of gore, with the characters digging around in their own bodies with knives in a pathetic attempt to keep the vines literally out of their system. Certainly this isn't high art, but "Ruins" is near-perfect at manipulating its audience, emphasizing physical threat and consequence, with a profound admiration for armrest-squeezing bodily harm on a level few recent horror productions would dare explore.

The acting by the young leads is better than expected, especially the work committed to the screen here by Laura Ramsey, who is the only member of the cast to reach the next level of despair as the vines attempt to find a warm home under her skin. Smith wisely keeps the actorly hysterics to a minimum, preferring visual communication of suffering that's incredibly more effective riling up the audience than bad actors allowed free reign to act badly.

It could be the steady diet of numbskull horror offerings lately, but I was with "Ruins" for the entire ride, delighting in the merciless direction and fantastical botanical twists with eyes wide open. It's one of those strap-in-and-ride-it-out experiences that are all too rare; forgoing elaborate strands of exposition to settle on more direct lunges of terror. It's a marvelous nightmare machine.

HERE IS THE DIRECT DOWNLOAD FOR THE MOVIE THE RUINS.

TRIPLE H THE KING OF KINGS FULL 2 DVD'S NOW AVAILABLE

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HERE IS THE SUMMARY FOR THE DVD TRIPLE H KING OF KINGS FROM IMDB


There is only one Triple H, and now for the first time ever, The King of Kings reflects on his storied WWE career with new exclusive interviews discussing his biggest matches, moments and rivalries.



HERE IS A REVIEW FOR THE MOVIE TRIPLE H KING OF KINGS FROM DVDTALK

Triple H: the King Of Kings - There Can Be Only One is the latest release showcasing one of the biggest stars working in the sports entertainment today. In his time with the WWF/E, Paul Michael Levesque (Triple H to me and you), has put on some great matches, some that were alright and some that flat out stunk. Okay, so that last one is the "Hog Pen" match included as an extra.

Surprisingly, Triple H: the King Of Kings - There Can Be Only One is only a 2-disc set. I say "surprisingly", because if recent WWE superstar collections were any indication, then this should've been a 3-disc set. I have no idea why there's only two, but I do know his fans will get close to six hours of matches spanning his 13 years with the WWE.

Disc One [2h 57s]:

• the King Of Kings
  
  
• Getting Started - Interested in wrestling from the age of 5 or 6, HHH eventually hooks up with Killer Kowalski thanks to Ted Arcidi. During the first year he wrestles, he meets Pat Patterson, who offers him a development deal with the possibility of joining the WWF. Though it's what he wants, HHH tells him that he's not ready mentally or physically. As he continues to train at his gym, he meets someone from WCW and and spends a year there, until JJ Dillon calls to let him know that Vince is interested in signing him.
  
  
• RAW May 22, 1995 [Hunter Hearst Helmsley vs. John Crystal] [3m 59s] - During his debut match for the WWF, a leaner, thinner Triple H wrestles John Crystal. Wanna have some fun during this short match? Take a drink every time McMahon or Lawler say "Hunter Hearst Helmsley". Actually...don't. You'll be drunk before the next chapter.
  
  
• Pressure - It's All On You & the Workhorse Title - Hunter talks about the beginning of his career in the WWF and how nerve-racked he was wrestling against local guys. He credits Marc Mero as the guy he learned the most from and states how much of an honor it was to win the Intercontinental Championship. I also liked the slight dig at Hogan.
  
  
• WWE Intercontinental Championship Match - RAW October 21, 1996 [Hunter Hearst Helmsley vs. Marc Mero] [10m 50s] - Along with assistance from Mr. Perfect, Hunter becomes the Intercontinental Champion after only a year in the company.
  
  
• Chyna, Curtain Call & the Crown - During this nearly four minute chapter, Triple H talks about how he and Shawn wanted to put together a group and their first encounter with Chyna. He brings up the MSG incident and how, since he wasn't untouchable like Shawn (since he was champ), he ended up taking the brunt of the punishment. Near the end, he talks about becoming King Of the Ring and his refusal to wear the crown that Vince "really wanted" him to wear. How he gets out of it is pretty damn funny. Well, Mick might not have thought so...
  
  
• King Of the Ring Final Match - King Of the Ring June 8, 1997 [Mankind vs. Hunter Hearst Helmsley] [25m 13s]
  
  
• the Transformation - the Amplified Version - Hunter talks about trying to get more of his personality into his character and how DX allowed him to do that. Oh, and how they were constantly chided by Vince while doing their DX schtick on TV.
  
  
• WWE European Championship Match - Wrestlemania XIV March 29, 1998 [Owen Hart vs. Triple H] [17m 55s] - During the preceding chapter, HHH states how he thinks Owen Hart "never even scratched the surface of how good he was". After watching this match, i'd have to agree with him.
  
  
• Elevating the Game - Hunter talks about forming a "new" DX once Shawn leaves due to his injury. He also talks about how he elevated his game by cutting ties with DX on his way to an "Austin"-like level.
  
  
• WWE Championship Match - RAW August 23, 1999 [Mankind vs. Triple H] [13m 15s]- Mick and HHH put on an entertaining match that sees appearances by the Rock, Shane O'Mac and Chyna.
  
  
• Being At the Top - HHH talks about the honor of being chosen to be WWE Champion and how many matches he's had against Stone Cold.
  
  
• No Holds Barred WWE Championship Match - No Mercy October 17, 1999 [Triple H vs. Stone Cold Steve Austin] [26m 33s] - This was a good match, but if you want to see some great HHH matches against Austin, you should pick up Stone Cold's recent collection.
  
  
• McMahon - Helmsley Era [1:53:09-1:56:12] - Hunter talks about the genesis of his feud against Vince (which, by the way, was Chyna's idea). He also discusses the honor he felt at Mick choosing him as his opponent for his "retirement" match and how nervous he was shouldering the responsibilty of putting on a good match for Mick.
  
  
• Career vs. WWE Title Hell In A Cell Match - No Way Out February 27, 2000 [Triple H vs. Cactus Jack] [31m 53s] - Any time you get Mick together with a steel cage and a 2X4 wrapped with barbed wire, you have the ingredients for a good match. During this match, from what I gathered listening to JR, Mick wrestled HHH for a shot at WrestleMania, as well as the WWF Championship. There were a lot of good spots during this match, but for some reason, the piledriver on the announce table made me cringe the most.
  
  
• Injury & Return - Triple H briefly talks about his time wrestling with Austin as the Two-Man Power Trip, which resulted in him tearing his quad during a tag match against Jericho and Benoit.
  
  
• Royal Rumble January 20, 2002 [30-Man Royal Rumble Match] [26m 36s] - Immediately after returning from his quad injury, Hunter takes part in the 2002 Royal Rumble, entering at number 22 (which is, coincidentally, where this chapter starts).

Disc Two [2h 30s] :

• the Return Of Shawn - HHH talks winning the Royal Rumble and reconciling with Shawn after their falling out.
  
  
• 2 Out Of 3 Falls Match For the World Heavyweight Championship - Armageddon December 15, 2002 [Shawn Michaels vs. Triple H] [44m 20s] - One of Triple H's favorite matches, this one starts out as a "Street Fight", then turns into a steel cage match and finally ends as a ladder match. Oh yeah, it's also pretty damn entertaining.
  
  
• the Rise Of Batista - HHH talks about Evolution and its purpose was in the WWE. He also points out that, after Batista defeated him at WrestleMania, he put him over for two straight months afterwards.
  
  
• Hell In A Cell Match For the World Heavyweight Championship - Vengeance June 26, 2005 [Batista vs. Triple H] [34m 29s] - From my review of the Vengeance PPV: "For all the flack that HHH gets for being "Mr. Stephanie McMahon" and hogging up almost all the airtime on every single Raw, I gotta say - he does give it his all in pay-per-view matches. Multiple foreign objects are introduced, and blood is spilled in this entertaining match that is significant since it sets up a lengthy absence for HHH."
  
  
• Wrestling My Idol - Triple H talks about taking some time off to let his neck heal a bit before coming back and entering a feud with his idol, Ric Flair.
  
  
• Last Man Standing Match - Survivor Series November 27, 2005 [Ric Flair vs. Triple H] [32m 48s] - From my review of the Survivor Series PPV: "After I got over the initial shock that this match was so early on the card, I enjoyed watching Flair do what he does best - bleed. Unfortunately, it's nowhere near as good as their "Hell In A Cell" PPV match at the this year's Taboo Tuesday PPV."
  
  
• the Next Generation - HHH shares his thoughts on John Cena and Edge.
  
  
• Triple Threat Match For the WWE Championship - Backlash April 30, 2006 [John Cena vs. Triple H vs. Edge] [25m 57s] - From my review of the Backlash PPV: "Hate to say it, but I enjoyed this match. Well, "enjoyed" might be too strong an adjective, but I didn't skip it and I wasn't watching the clock on my DVD player while they were wrestling. I'm not sure if I said this before, but the only person that bleeds better than Hunter is Flair. That's a complement, in case you were wondering. Oh, and what's up with Cena's submission move? Camel Clutch? Ok. Angle lock? Got it. STFU? Exactly what part of the body does the STFU put enough pressure on to make one submit? Or is it just the way Cena oversells it? Whatever."
  
  
• What's Left To Accomplish? - Well, it's not retiring, that's for sure.

Extras: The following extras are included:

• Hog Pen Match - In Your House December 17, 1995 [Henry O. Godwinn vs. Hunter Hearst Helmsley] [14m 32s] - Guest refereed by Hillbilly Jim, this was a pretty funny match, which culminates with...well, just look at the screencap...

  HHH...facing some of his toughest opponents in a handicap match

  
  
  
• First Professional Match - Burlington, VT November 1, 1992 [Terra Ryzing vs. Flying Tony Roy] (With Commentary by JR & Triple H) [13m 33s] - This was, for me, the most enjoyable match on the set. Not because the wrestling was superb (it wasn't) or the sound and picture were of the highest quality (it isn't). No, this was highly enjoyable because of the commentary by Triple H and JR. During the entire 13 minute match, they banter back and forth, with JR getting specifics out of Mr. Ryzing as they watch the match. It's a shame more of these WWE collections don't have an alternate track like this.

Video: With the exception of his first professional match, Triple H - the King Of Kings' picture was lives up to the WWE's usual standards. Sure, there is some slight pixelization due to pyro and whatnot, but that's to be expected. And with the exception of the interview footage (shot in 1.85:1 letterbox ration), it's presented in the normal WWE full frame 1.33:1 ratio.

Audio: I had no issues with the Dolby Digital 5.1 track.

Conclusion: Putting aside whatever gripes you may have with Triple H - he's "Mr. Stephanie McMahon" and uses it solely to his advantage, for a time there, Monday Night RAW should've been called "the Triple H Show" or that he seems to refuse to put over new talent, etc - the fact of the matter is, he gives everything he has when he's in the ring. From his "slobberknockers" with Flair, Foley and HBK to his ability to make a wrestler like Cena look good, it's clear that he cares about the industry and his place in it. If you have a problem with that, move along. For his fans, this is a no brainer - Triple H: the King Of Kings - There Can Be Only One is a Highly Recommended collection.

HERE IS THE DIRECT DOWNLOAD FOR THE DVD TRIPLE H KING OF KINGS.

CLOVERFIELD NOW AVAILABLE

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HERE IS THE SUMMARY FOR THE MOVIE CLOVERFIELD FROM IMDB

Five young New Yorkers throw their friend a going-away party the night that a monster the size of a skyscraper descends upon the city. Told from the point of view of their video camera, the film is a document of their attempt to survive the most surreal, horrifying event of their lives. Written by Davi Silva

HERE IS A REVIEW FOR THE MOVIE CLOVERFIELD FROM DVDTALK

The emperor has no clothes. Or better yet, the monster has perfect focus?

It's difficult to review "Cloverfield" without at least mentioning the buzz-guzzling hype machine producer J.J. Abrams kicked off with the arrival of the teaser trailer last summer; a cryptic piece of footage that sent the tails of geeks and bloggers everywhere wagging with gale force velocity. It was a tantalizing glimpse of forthcoming havoc. However, now having viewed the entire film, perhaps a peep was all that was needed. Just a preview to get the blood flowing. Basically a 70-minute YouTube video, "Cloverfield" has all the head-rattling jolt and dramatic verisimilitude of a prank phone call.

Assuming the POV of a video camera employed to capture the farewell party for lovelorn Rob (Michael Stahl-David), the night is turned into a living hell when a Godzilla-like creature starts to tear up Manhattan, leaving the city a wide-awake nightmare of decimating army attacks, brutal monster stompage, and assorted 9/11esque references of destruction. With camera in tow, a small group of partygoers scour the city for Rob's spurned ex-girlfriend, finding little hope as the creature's rampage blocks all exits.

"Cloverfield" is an ambitious film, endeavoring to resuscitate the panic of seeing a building-sized creature annihilate a city after decades of bad monster movies have reduced such sights to giggles. Its heart is in the right "Blair Witch" place, but the execution is all wrong (not to mention a little late, coming after doppelganger "The Mist"), reducing the scares to puzzled yawns.

Director Matt Reeves is armed only with a "single" DV camera to cover the action, and while I applaud "Cloverfield" for trying to find ways to widen the scope of such a limited viewpoint, the routes taken are strangely ineffective; it fumbles the wallop of citywide alarm and tarnishes the "reality" this film is so desperate to abuse. The picture's concept is that the audience is watching a video of the monster attack found after the mayhem, but instead of facing that stark viewpoint head on with punishing cinema verite cartwheeling, "Cloverfield" uses painfully obvious editing tricks, employs peculiar time jumps, and introduces the ludicrous idea that the tape in the camera is somehow screwy, which allows for cringe-worthy backstory flashbacks to Rob and his woman in happier times already committed to the cassette. Now there's some serious storytelling desperation at work.

CLICK HERE IF YOU WANT TO READ THE REST OF THE REVIEW FOR THIS MOVIE.

HERE IS THE DIRECT DOWNLOAD FOR THE MOVIE CLOVERFIELD.

DRILLBIT TAYLOR NOW AVAILABLE

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HERE IS THE SUMMARY FOR THE MOVIE DRILLBIT TAYLOR FROM IMDB

Three kids hire a low-budget bodyguard to protect them from the playground bully.

HERE IS A REVIEW FOR THE MOVIE DRILLBIT TAYLOR FROM DVDTALK

I don't know whether to laugh or cry when considering that the best moments within this Owen Wilson comedy are the times when Owen Wilson is nowhere near it. A throwaway experience, "Drillbit Taylor" is undeniably funny, with an aim toward more obscure wells of comedy, but rarely does the star of the show make himself worth the hefty price of admission.

Ryan (Troy Gentile), Wade (Nate Hartley), and Emmit (David Dorfman) are three high school freshmen hoping to skip the cycles of bullying that ruined their junior high years. Upon arrival on the first day, the boys are singled out by Filkins (Alex Frost) and Ronnie (Josh Peck), and immediately become objects of torment. To lessen their load, the boys chip in to hire Drillbit Taylor (Owen Wilson), a homeless man who worms his way into the revenge fantasies of the kids. Now a team of sorts, Drillbit tries to teach the boys lessons of self-defense while deciding if he should remain their friend and pubescent confident or steal everything from their family homes.

It's not that Owen Wilson is a rusted anchor on the momentum of "Drillbit Taylor," but his energy seems to be lacking a certain spark for this enterprise. Co-written by Seth Rogan and co-produced by Judd Apatow, the picture is lost somewhere between being a sharp, insider comedy that's typical terrain for the two aforementioned golden guys and a pedestrian mass-audience babysitter for parents looking to pawn off their pre-teens for a Saturday afternoon. Wilson's uninspired performance is indicative of the tiresome story, which moves beyond laughs at the midway point to address Drillbit's moral crisis between conning the boys and rising up as their true crooked-nose sensei.

Ah, who needs that crud? Just bring the laughs.

Thankfully, "Drillbit" overcomes the sleepy scripting in a hurry, and a majority of the film is a pleasant diversion, sprinkled with some saucy one-liners, hilarious movie homages ("My Bodyguard," "Cape Fear"), and generous fight-club slapstick. The real punch of the film lies in the performances of Gentile, Hartley, and Dorfman, who live up to Apatow's pleasing mandate to depict teenagers as the frail, unnerved creatures they are. The kids are the stars of the show in "Drillbit," showing more comedic range than Wilson, confidently taking over the film during their moments of schoolyard alarm and, for Hartley, humorous depictions of beanpole heroism ("I have reach!").

"Drillbit Taylor" is uneven, and with a little more judicious editing, it could've become a much bolder, considerably more interesting revenge comedy. What's here is a passable good time, with peaks of unexpectedly geeky, inventive jokes. However, the valleys are flooded with abysmal, derivative screenwriting, and it's quite an effort to forgive the filmmakers for even attempting to install a heart in what should rightfully be a ruthless comedy. Bring an extra dose of patience with you, and "Drillbit Taylor" can be quite enjoyable.

HERE IS THE DIRECT DOWNLOAD FOR THE MOVIE DRILLBIT TAYLOR.

VANTAGE POINT NOW AVAILABLE

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HERE IS THE SUMMARY FOR THE MOVIE VANTAGE POINT FROM IMDB

With a Rashomon narrative style, the attempted assassination of the president is told from five different perspectives.

HERE IS A REVIEW FOR THE MOVIE VANTAGE POINT FROM DVDTALK

Neal Moritz is a film producer specializing in high-octane cinema that bends logic, punishes the eyes, and deafens those who sit close to the screen. The calloused hand behind "The Fast and the Furious" franchise, "Stealth," "Torque," and "XXX" now endeavors to take his ADD to the political playing field, shepherding "Vantage Point;" a perfectly goofy thriller that take great pains to pace itself like a bat out of hell. On the day of a crucial terrorism summit in Spain, the President of the United States (William Hurt) is being shuttled to a plaza, guarded by Secret Service agents Taylor (Matthew Fox) and jittery Barnes (Dennis Quaid). Arriving amidst a horde of protestors captured on a cable news network overseen by director Rex (Sigourney Weaver), the President is lead to a stage for an important speech opportunity. In the crowd are Howard (Forest Whitaker), an American tourist with an HD camcorder, Spanish cop Eduardo Noriega, and suspicious attendee Suarez (Said Taghmaoui). When a terrorist attack occurs, it's up to Barnes to piece together the different media and witness viewpoints to catch the bad guys and rescue the President. If you've come to "Vantage Point" looking for a sensitive opinion on the devastation of global terrorism and potential media culpability, than perhaps another, more thoughtful film might better serve those needs. "Vantage" is a straightforward rocket ride; a thriller that contains about as much sociopolitical depth as a crate of Red Bull and a dog-eared copy of Newsweek. At its best, "Vantage" is non-stop entertainment, delivering plenty of bang for the buck. This kind of relentless pacing is always admirable, and director Pete Travis is aware that stopping for a lungful of air would then lead to such irritants as logic and comprehension, and those are two elements "Vantage" recoils from with great horror. This tale is told from several viewpoints, traditionally (and perhaps incorrectly) described as "Rashomon" style, but let's not sully the golden name of Kurosawa when discussing this picture. The gimmick here is that "Vantage" rolls through the same 10-15 minutes of plot before "rewinding" and starting all over again with a different character, slowly lacing the perspectives until the final reel, where the film goes haywire with bullet sprays and chase sequences. It's not as tiring as it sounds; Travis does a commendable job keeping identical pieces of story fresh and usable, though the clunky script by Barry Levy tarnishes the excitement by forcing in unreal amounts of backstory for each role. Do we really care that Howard is having domestic troubles while he waits around for the President to show? It's not a piece of information that affects the finale of the movie, and the script is filled with similar silly stretches of characters explaining their every motive in the precious few minutes of film they have to work with.

I wouldn't describe "Vantage" as a horrible feature, but things sour considerably once film starts to answer its own questions. Travis can't help himself, and begins to treat the audience like complete idiots by instructing the antagonists to smirk Dr. Evil style to the camera and thickly underline the double-crosses as they play out. It's not long before the whole enterprise belly flops into absurdity (if it wasn't there already), topped off with vile, nauseating Bayesque car-chase camerawork and a distillation of good vs. evil that would not feel out of place in a "Popeye" cartoon. It's truly eye-rolling.

Certainly "Vantage Point" is juicy mainstream entertainment not concerned with political nuance, just armrest-gripping thrills. It's a marginally successful attempt to flare up the senses through shocking repetition, but this is Moritz after all, so if you must go, leave your brain at home and sneak in a cocktail to help wash down the nonsense.



HERE IS THE DIRECT DOWNLOAD FOR THE MOVIE VANTAGE POINT 1 OF 3.

HERE IS THE DIRECT DOWNLOAD FOR THE MOVIE VANTAGE POINT 2 OF 3.

HERE IS THE DIRECT DOWNLOAD FOR THE MOVIE VANTAGE POINT 3 OF 3.

RUN FATBOY RUN DVD QUALITY NOW AVAILABLE

RUN FAT BOY RUN NOW AVAILABLE ONLINE

HERE IS THE SUMMARY FOR THE MOVIE RUN FAT BOY RUN FROM IMDB

Dennis is a clueless and slightly overweight guy, who left his pregnant fiancée five years earlier. Every day, Dennis tries to persuade the woman he loves to accept him back into his life, but everyday he fails. When he discovers that Libby has found a partner in the form of American Whit, frustration grows, and Dennis vows, that for once in his life, he will finish something. This something ends up being a Nike River-run in London. With his friends Gordon and Mr. Ghoshdashtidar by his side, Dennis begins training for the marathon he must finish. Written by FilmFanUK

A chunky, clueless guy leaves his pregnant fiancée on their wedding day only to discover -- 5 years later -- that she is his one true love. But in order to win back her heart, he looks to finish his first marathon while making her realize her new man is the wrong guy for her.

HERE IS A REVIEW FOR THE MOVIE RUN FAT BOY RUN FROM DVDTALK

It was expected that after nearly a decade on the blockbuster sitcom "Friends," star David Schwimmer would have at least some sense of comedic rhythm. However, I never expected the guy to direct a British slapstick comedy. Turns out, he does a pretty swell job.

Five years ago Dennis (Simon Pegg) made a horrible decision: he left his pregnant fiancée Libby (Thandie Newton) at the altar. Now a sad sack mall security officer with a smoking habit and 30 extra pounds, Dennis finds his life lacking, but refuses to do anything about it. Into Libby's life comes Whit (Hank Azaria), a handsome financial wizard who is better than Dennis at everything, including long-distance running. Dennis, feeling jealous, agrees to partake in an upcoming marathon to prove his worth to Libby, relying on his gambling friend Gordon (Dylan Moran, "Shaun of the Dead") for support. Trouble is, Dennis knows nothing about running, leaving his training a brutal learning process and a test of commitment.

Co-written by Simon Pegg and Michael Ian Black, it's unsettling at first to observe how wacky a picture "Fatboy" is. Schwimmer has a heavy burden to bear with this screenplay, which overflows with combative situations of outright farce, but he proves himself capable of arranging big screen comedy. It's not an outstanding effort, but a tricky script like "Fatboy" needs someone willing to flow along with the lunacy, and Schwimmer doesn't fight this circus of fears and humiliation in the least.

"Fatboy" is really top notch when it concentrates on silly situations and the myriad of befuddled reactions Pegg and Moran provide. They are an amazing pair of actors, and their interplay gets the material up and moving, hurdling the often needless pit stops of gross-out humor (a splendid blister joke is ruined by a pus-drenched punchline) and the eventual plunge into one-dimensional screenwriting. Schwimmer is wise to keep his camera trained on Pegg at all times, as the actor can make any sequence worthwhile with his unexpected, jittery retorts and reactions. It's an iffy character to play, since, even with full acknowledgement of legitimate fears, Dennis is a bastard. Pegg's interpretation here is miraculous in getting the audience to comprehend his damaging decisions, and Schwimmer's direction reinforces the funny.

There's a wealth of smiles watching Dennis gear up for his marathon debut and the general tightening of his life while dueling with Whit and his surface perfection. Again, Pegg really gives 100% to the character, and the results are a gas. Problems arrive when Pegg and Black want the audience to feel something for Dennis's struggles, going about it the wrong way by backing up the melodrama truck and dumping noxious heartache all over the final act. Pegg's performance is strong enough to convey Dennis's regret, it doesn't need to be underlined, and I detested how the script turns Whit from a believable rival to moustache-twirling villain; the film loses itself to annoying pandering qualities in a desperate last-chance grab to appeal to all audiences instead of intelligent ones. "Run Fatboy Run" is too rich with potential to be fussing around so carelessly with cliché.

HERE IS THE DIRECT DOWNLOAD FOR THE MOVIE RUN FAT BOY RUN.

MEET THE BROWNS NOW AVAILABLE

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HERE IS THE SUMMARY FOR THE MOVIE MEET THE BROWNS FROM IMDB

A single mom takes her family to Georgia for the funeral of her father -- a man she never met. There, her clan is introduced to the crass, fun-loving Brown family.

HERE IS A REVIEW FOR THE MOVIE MEET THE BROWN FROM DVDTALK

Last fall it looked as though Tyler Perry finally made some progress as a filmmaker, retaining his screeching smirk of melodrama, but finding human elements to work with in "Why Did I Get Married?" I just knew it wouldn't last forever, and "Meet the Browns" drags Perry back to the quicksand of laborious storytelling and grandstanding nonsense that's made him a millionaire, keeping close to his pandering roots out of fear of truly spreading his artistic wings.

A single mother of three living in Chicago housing projects, Brenda (Angela Basset) has found herself without a job and her life quickly falling apart. One day a letter arrives informing Brenda that her father has passed, along with bus tickets to Georgia to attend the funeral. Hesitant, she and the kids make the trip, only to find the loutish, backwoods Brown family (including Jennifer Lewis and David Mann) waiting for her. Overwhelmed by the country life and the prying eyes of her extended family, Brenda finds comfort in Harry (Rick Fox), a former pro basketball player looking to help her eldest find a future in hoops, while also laying down some serious woo.

"Married" didn't thrill me, but it demonstrated Perry's willingness to lay off the deafening horn of histrionics and play the story more smoothly, taking a much needed breather from his usual frenzied extremes. "Meet The Browns" refuses to build on this important foundation, with Perry sprinting back to his comfort zone of theatrical adaptation and rafter-quaking performances. It's disheartening to witness.

If you've partaken in the other Perry creations, you've pretty much already seen "Meet the Browns." Perry's not rocking the boat with this feature film, working through a familiar pastiche of broad comedy, squealing performances, and blunt messages on the importance of...well, I'm not exactly sure in this movie. The film appears centered on the theme of trust, but the screenplay overcooks the idea by having Brenda practically convulse anytime she finds herself being offered assistance. There are tangents about the pitfalls of drug dealing, absentee fatherhood, and gambling as well, but Perry isn't able to connect the dots as easily this time around, finding his screenplay too tangled to make sense out of it. Subplots are either left to wither away or they're just bluntly gutted out of the movie, with several sloppy gaps in the story.

Actual narrative doesn't really matter to Perry, since these movies are simply vehicles for actors to scream at the camera. Jennifer Lewis wins the gold star for this production, turning up the treble on her chainsaw voice to cover for a role that quite literally makes no sense. Bassett isn't nearly as piercing, but her insistence that every emotion be conveyed with 100 different facial contortions is exhausting to behold, through she has nice chemistry with Fox, who plays the Perry-mandatory dream hunk role with minimal fuss.

From what I've read, the film version of "Meet the Browns" has been altered considerably from its stage incarnation, and perhaps that's why this movie feels so relentlessly distracted and overweight. The structure is off here; Perry can't settle on an ending, so he includes two of the fairy tale kind, and he volleys between embarrassing punctuations of melodrama and southern-fried slapstick far too wildly, making already ridiculous situations unbearable and downright despicable at times.

As proven through reasonable (not remarkable) box office returns and the venomous mail I receive with each new Perry pan, there's a crowd, an army perhaps, that will soak up anything they're served. Perry might be out to create a community spirit in theaters across the country, but, again, that doesn't excuse his thick-fingered mangling of dramatic expression and his questionable taste in racial caricatures. "Meet the Browns" is a stinker, but at this point, it's like yelling at a brick wall.

HERE IS THE DIRECT DOWNLOAD FOR THE MOVIE MEET THE BROWNS PART 1 OF 2.

HERE IS THE DIRECT DOWNLOAD FOR THE MOVIE MEET THE BROWNS PART 2 OF 2.