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DOWNLOAD MOVIE Stark Raving Mad Just $2.99 for a complete movie! No additional software or browser plug-ins required! You can play them for unlimited number of times whenever you want. Downloaded movies will work perfectly on any PC, DVD player, PDA etc.
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The Movie:

Seann William Scott (American Pie, Road Trip) plays Ben McGewen,
a small time hustler who owe a huge sum of money to a mobster, Gregory
(Lou Diamond Phillips.)? Gregory will forgive the debt if Ben steals
an ancient Chinese statue from a bank vault.? If he fails, Gregory
will kill him.? As the movie begins, six months of planning are about
to pay off.? Ben rented a club that is next door to the bank, and
is going to hold a rave.? While the people are dancing the night away,
he and his team are going to circumvent the security, blow a hole in the
basement wall, sneak into the bank, and steal the statue.? Unfortunately,
everything that can go wrong does.

I was fairly apprehensive when I received? this disc to review.?
I hadn’t heard a lot about this movie, but it was supposedly a heist movie
that was funny.? It was released straight to DVD in the US.?
And it stared Stifler from American Pie.? Ohh, that didn’t sound good.

Don’t get me wrong, I liked Scott in American Pie and Road
Trip, but he’s played the exact same role in just about every movie
he’s been in.? So I was expecting this to be a wacky comedy that was
pinned onto a crime backdrop.? I was wrong.? This is first and
foremost a drama, that just happens to be funny.? Scott does a great
job as Ben, much better than I imagined.? He plays his character with
the right amounts of confidence and worry.? He doesn’t overact, or
play up the humor in the roll, which would have been easy to do.

The movie itself is very entertaining.? There is a lot of humor
in this drama, but that doesn’t distract from the seriousness of the situation.?
Its about equal parts of Fight Club and James Bond with a little
bit of After Hours thrown in, for good measure.? The movie
has a fast pace and the plot travels forward at a good clip but not so
fast that it becomes hectic.

Lou Diamond Phillips was excellent as Gregory, the gangster boss.?
He plays the role of a powerful and sadistic crook very well.? Gregory
is calm and genteel at times, and psychotic at others.? Phillips is
able to fold both those traits into a single character and make it seem
natural.? Dave Foley, of Kids in the Hall fame, is good in his supporting
role as an FBI agent also.

One thing that I was really happy to see was an accurately depicted
rave.? It doesn’t happen often.? The played the right type of
music (not pop stuff you’d hear on a radio) and the club was dark.?
I hate when directors stage raves in brightly lit rooms and the latest
top ten hit blaring.? It just isn’t like that.? Haven’t these
guys ever been to a club?

The movie’s style was very reminiscent of a music video.? There
was a lot of quick cutting, abrupt zooms, and many jump cuts.? This
worked splendidly giving the movie a kinetic feeling, just like being at
a rave.? The co-writers/directors created a great feel for the film.

I really only have two grips with the movie.? The first is the
title.? Stark Raving Mad could be anything, but with Scott’s
name attached, it implies wild and wacky party humor, which the film isn’t.??
I realize the creators wanted to make a play on words with the rave in
the movie, but I think they made a poor choice.

The other thing that didn’t work for me was character of Ben’s friend,
Rikki.? I never did understand why he was involved.? Timm Sharpe
does a good job as the bumbling sidekick, but it just wasn’t realistic
that someone would trust their life to this nervous, twitchy, idiot.?
I thought the movie would have been tighter without this character.

Overall, this is a very enjoyable film.? It’s not a great cinematic
achievement by any means, but it is a really fun movie.? The plot
is strong enough to hold your interest, and the script manages to be funny
without turning the whole production into camp. The ending worked perfectly
too.

?

The DVD:

---

Audio:

You can view this DVD with either an English or French 5.1 mix.?
The sound quality is good.? No distortion or noise, and the dialog
is reproduced accurately.? The mix on this movie is excellent.?
Too often the rear channels are used for big explosions and loud party
scene, but ignored during the rest of the time.? That doesn’t happen
with this movie.?? There is music coming from all five speakers
for the scenes that take place in the club, of course, but it doesn’t collapse
into a stereo mix once the flashy scenes are over.? There is sound
emanating from the rear channels for most of the movie.? It does a
very good job of putting the viewer in the middle of a scene.

Video:

This movie is in widescreen and enhanced for 16:9 televisions.?
The video quality was pretty good.? Taking place in a club at night,
just about all of the scenes are dark, as the directors intended.?
So colors are not bright and things aren’t vivid, but they are accurately
reproduced.? The blacks are dark black, and a good amount of detail
is visible in the shadows.? There were a few minor digital artifacts
lurking in the backgrounds, but they were very minor.

The Extras:

Behind the Scenes:? An eight
minute feature were the actors talk about their characters.? Better
than the average fluff piece, but there’s not a lot of in depth interviewing
you can do in eight minutes.

Commentary:? The two people
who wrote and directed the film together, Drew Daywalt and David Schneider,
are joined by Seann William Scott for the commentary track.? The three
of them do a good job commenting on the film.? They give a lot of
background information on the actors in the film and tell a lot of anecdotes
about the shoot.? There is not a lot of technical information given.?
They do manage to talk through the whole film with nary a break, and managed
to be amusing throughout.

Story Boards:? Story board
drawings to four scenes from the movie.

There is also a trailer to the movie.

Final Thoughts:

I was suprised at how much I enjoyed this movie.? It’s not great
art, but neither are the James Bond movies.? Seann William Scott does
a surprisingly good job.? If you are in the mood for a good, fun romp,
you should check this movie out.? Highly Recommended.
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DOWNLOAD MOVIE Desperate Hours Just $2.99 for a complete movie! No additional software or browser plug-ins required! You can play them for unlimited number of times whenever you want. Downloaded movies will work perfectly on any PC, DVD player, PDA etc.
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The Desperate Hours (1990)

Reviews/Film;

New Version Of a Classic

LEAD: ”Mendacity is the great sin that’s destroying America,” says an escaped convict played by Mickey Rourke. He is being pursued by Lindsay Crouse, as an F.B.I. agent with a generic Southern accent, though the setting is Utah. It sounds like a bad, newly discovered Tennessee Williams script, but it’s not.

”Mendacity is the great sin that’s destroying America,” says an escaped convict played by Mickey Rourke. He is being pursued by Lindsay Crouse, as an F.B.I. agent with a generic Southern accent, though the setting is Utah. It sounds like a bad, newly discovered Tennessee Williams script, but it’s not. This is Michael Cimino’s updated, garbled remake of the 1955 film ”Desperate Hours,” in which Humphrey Bogart and three equally tough cohorts hold a nice middle-class family hostage.

In this new, upwardly mobile version, Mr. Rourke actually puts on a tuxedo for dinner. He seems more polite and less psychopathic than when he is playing more normal men. Mimi Rogers and Anthony Hopkins play an estranged couple who patch up their marriage through the ordeal. She looks a little too calm; he tears into lines as if he were King Lear on the heath.

What has been lost is more than Bogart’s gritty presence. The claustrophobia and the twisting false endings that allow William Wyler’s original version to hold up today has been replaced by a house with distracting, ornate furnishings, and a scene in which one of the criminals runs through a river against a pretty mountainous backdrop while ”Red River Valley” is heard on the soundtrack. This is no more sensible than it sounds.

It has been a long road down for Mr. Cimino, from ”The Deer Hunter” through ”Heaven’s Gate,” and on to ”The Sicilian.” It’s hard to imagine that what comes next could be more misguided than ”Desperate Hours.”

”Desperate Hours” is rated R (”Under 17 Requires Accompanying Parent or Adult Guardian”). It includes violence and nudity.

Desperate Hours

Directed by Michael Cimino; written by Lawrence Konner and Mark Rosenthal, and Joseph Hayes, based on the novel and Broadway play by Mr. Hayes; director of photography, Doug Milsome; supervising editor, Peter Hunt; music by David Mansfield; production designer, Victoria Paul; produced by Dino De Laurentiis and Mr. Cimino; released by MGM/UA. Running time: 105 minutes. This film is rated R.

Michael Bosworth…Mickey Rourke

Tim Cornell…Anthony Hopkins

Nora Cornell…Mimi Rogers

Chandler…Lindsay Crouse

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DOWNLOAD MOVIE Tamara Just $2.99 for a complete movie! No additional software or browser plug-ins required! You can play them for unlimited number of times whenever you want. Downloaded movies will work perfectly on any PC, DVD player, PDA etc.
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Originally destined for an unceremonious and immediate “direct-to-video” release, Tamara has earned its fair share of internet fanboy buzz over the past few months, thanks partially to the Lions Gate folks having their finger on the horror-geek pulse, but mainly because the lead actress is a stunningly sexy femme fatale who plays a murderous mega-witch super-bitch from beyond the graaaaave.

Penned by Final Destination scribe Jeffrey Reddick, Tamara is nothing more than Stephen King’s (or more specifically, Brian De Palma’s) Carrie gussied up for a new generation of horror-lovin’ moviegoers. As such, Tamara looks, sounds, and feels like just about every single “high school misfit wreaks unholy revenge” flick ever made, from Evilspeak to Christine and from Massacre at Central High to Laserblast. (Basically: this one old-school horror concept.)

Dusted off and dressed up for a modern generation of inevitably sarcastic, dismissive, and angst-laden teenagers, Tamara works well enough for what it is … which, admittedly, isn’t all that much, but there’s a spark of stylish creativity that runs through the flick, and it’s one that the hardcore horror fans will come to enjoy — even if it doesn’t become one of their very favorite “under the radar” genre confections.

The plot’s as simple as the recipe for peanut butter & jelly: A mousy, nerdly, and facially unpleasent nerdette earns some vicious bile from her school’s “cool kids,” mainly because she just penned a newspaper article about a steroids scandal that’s shaken the school’s athletic department. So the evil kids do what anyone would do after being fingered for steroid abuse: they trick the reporter into visiting a motel room and they videotape the gal getting naked and trying to seduce the English teacher she adores.

Needless to say, things get out of control, poor Tamara ends up with a cracked-open skull, and the half-dozen tormentors conspire to bury her corpse and, y’know, act like they didn’t just cause the horrible death of a 17-year-old girl.

Fortunately for Tamara, she has a surprisingly powerful gift for the art of witchcraft, which allows her to not only attend school the day after her own murder, but also to wreak all sorts of gruesomely wonderful revenge on the bastards who done her wrong. And wreak she does.

Also for some reason, Tamara doesn’t just wipe the dirt out of her hair and climb into a classroom. Nope, this re-animated demoness returns to school looking like she just fell out of a 60% off sale at Hot Topic. Frankly, the post-death version of Tamara is so damn sexy they could have called her movie Hellbait.

With this familiar (yet comfortably entertaining) concept now laid out, Mr. Reddick and director Jeremy Haft try to infuse a few jolts of creativity into their flick. Tamara, you see, doesn’t just want to kill her tormentors and woo the dreamy English teacher. No, she aims to have her tormentors terrorize, mutilate, and murder themselves … and as far as that English teacher’s pregnant young wife is concerned, well, let’s just say Tamara’s not a big fan of the gal.

As relatively stylish on the surface as it is resoundingly familiar beneath, Tamara should prove more than serviceable enough for the hardcore horror fans, none of whom will be stunned to learn that the DVD is coming courtesy of the gorehound’s best friend: Lions Gate Films. And while Tamara lacks the original spin on an old concept that something like Lucky McKee’s May exhibits, there’s still just enough for the genre geeks to get behind for 90-some slick minutes.

---

(Review reprinted from eFilmCritic.com, because I felt like it!)
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DOWNLOAD MOVIE Young Adam Just $2.99 for a complete movie! No additional software or browser plug-ins required! You can play them for unlimited number of times whenever you want. Downloaded movies will work perfectly on any PC, DVD player, PDA etc.
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WHAT’S IT ALL ABOUT?

A subtly fascinating period noir, David Mackenzie’s Young Adam is a meditative, character-focused film that burrows quite effectively beneath your skin, chilling you as you discover more and more about the casual moral bankruptcy of its central character. It’s the kind of fearless, quiet mystery yarn that requires your patience as a viewer but rewards you with a haunting psychological payoff. The movie is also filled with sweaty, grimy sex and genuine, down-and-dirty eroticism.

And yet the DVD arrives in a cloud of controversy. Stamped in theaters with the insufficiently supported NC-17 rating, Young Adam arrives on DVD stamped with an R rating. The film has been cut to achieve the less restrictive rating, but apparently the single NC-17-worthy sequence?a scene of oral sex performed on a woman?has been relegated to the disc’s Special Features section. In the film itself, you still get a good look at Ewan McGregor’s uncircumcised willie, and you still get lots of full-frontal nudity from both involved actresses. So, I ask, What’s the difference between having the original cut of the film intact on this DVD and relegating one naughty sequence to somewhere else on the disc? I can’t find information about whether further cuts were made to the DVD version of Young Adam, but the decision to simply move the sequence strikes me as Blockbuster/Wal-Mart-inspired lunacy.

The film begins on a bleak morning, perhaps 40 years ago, in Scotland. Joe Taylor (McGregor), a soft-spoken wanderer who’s currently employed on a barge piloted by Les (Peter Mullan, of Session 9) and Ella (Tilda Swinton, of The Deep End) Gault, notices a lingerie-clad female corpse floating near the barge. Joe and Les contact the authorities, and the body is taken away, but Joe seems subtly affected by the incident. Soon, as the barge goes about its age-old business, ponderously navigating the narrow canals between Edinburgh and Glasgow, we find there’s more to Joe than his bland surface might suggest. As he begins seducing the hard, disillusioned Ella, we learn, in an extended series of flashbacks, about a stormy relationship shared with a woman named Cathie (Emily Mortimer). And it’s not long before the film is drenched in sex, both in the present and in the past. It seems Joe can think of nothing else, and his flesh-obsessed actions seem tied directly to the discovery of the body and the investigation about who allegedly committed the murder.

Shot on location in Scotland, aboard an actual barge, Young Adam approaches its story and characters claustrophobically. It often seems as if we’re embedded inside Joe’s skull as we watch his actions play out, as if we’re privy to a whispered, monotone voiceover that isn’t actually there. The Scotland setting is dreary and cloudy, contributing excellently to the mood and pace of the film, as well as Joe’s murky fa?ade. Young Adam is most certainly a film about character?it’s not exactly filled with explosions and spectacle. It requires you to pay attention to its details and make sense of its nonlinear progression of its plot. (The screenplay is written by Mackenzie, based on the novel by Alexander Trocchi.) Nevertheless, it’s rewarding in the way a good mystery novel is, one you might curl up with on a dark, quiet night. And the film ends on a chilling note of moral horror that manages to leave you thinking about the film, and Joe, long after the end credits roll.

Young Adam wouldn’t be nearly as effective as it is without the fearless performances of its cast. McGregor proves to be a powerful internal actor in this role, and Mullan exudes period gruffness. Swinton is open and brave with her body as well as her soul, diving headlong into a strong role that asks a tremendous lot of its performer. And gorgeous Mortimer is a ray of troubled sunshine amidst the ghastly proceedings.

HOW’S IT LOOK?

Columbia/TriStar presents Young Adam in a pretty good anamorphic-widescreen transfer of the film’s original 2.35:1 theatrical presentation. It’s a murky, grainy affair, and my first impression was “Yuck.” But that may have been part of the director’s intentions. Although detail is fine (excellent in close-ups and soft in backgrounds), the image has a washed-out sepia look. Some of the grain is significant, particularly in bright scenes. I noticed minor debris, as well as mild edge halos, minor ringing, both of which are moderately distracting in outdoor shots.

HOW’S IT SOUND?

The disc’s Dolby Digital 5.1 track offers effective depth and clear dialog with no discernible distortion at either end. I was quite impressed by the surround activity, which has a terrific, immersive quality. Listen for it in the creaking of the boat and in the score.

WHAT ELSE IS THERE?

First of all, be ready for a forced trailer for Baadasssss! before you get to the menu. Once you get past that and into the Special Features section, you’ll find a fair array of supplements, including two commentary tracks.

First up is a Commentary by Director David Mackenzie, Editor Colin Monie, Production Designer Laurence Dorman, and Actress Tilda Swinton, and I would say it’s the more involving and informative of the two. The participants talk at length about the shooting of the film on location in Glasgow, and about the complexities of plot and character. It’s a low-key listen, but I enjoyed the back-and-forth banter. It’s not the most entertaining audio track in the world, considering its soft-spokenness, but if you like the film, you’ll enjoy the conversation.

Faring not quite as well is a separate Commentary by Director David Mackenzie, in which he goes into more depth about the characters, story, casting, and production. There are long silences between monotone bursts of information. (Here’s an example of the character of this track: “I’ve always liked that shot?” ?long pause?) He essentially spends a lot of time talking about his intentions, and frankly, I thought the first track provided enough of that.

Next is the aforementioned Extended Scene, which is apparently the reason the film earned an NC-17 rating in theaters. It gives you a more revealing look at the first sexual encounter between Ewan McGregor and Tilda Swinton’s characters on the riverbank. It’s a 3-minute-long scene extension.

The Ewan McGregor Original Passage Narration is three snippets of cut narration totaling about 30 seconds. Much as the case with Blade Runner, this voice-over material was deemed superfluous and cut out. Two of the snippets involve Swinton’s character, and the other is about the moon.

Under Previews, you’ll find trailers for Young Adam (in 2.35:1 anamorphic widescreen), Baadasssss!, Big Fish, Carandiru, The Mother, and Spring, Summer, Fall, Winter?and Spring.

WHAT’S LEFT TO SAY?

Despite the apparent censoring of Young Adam for the Blockbuster/Wal-Mart crowd, the entire film does appear to be here, and it’s presented well on disc. Image and sound quality are good, and supplements are modest but informative. Give it a shot.
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DOWNLOAD MOVIE English Patient, The Just $2.99 for a complete movie! No additional software or browser plug-ins required! You can play them for unlimited number of times whenever you want. Downloaded movies will work perfectly on any PC, DVD player, PDA etc.
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English Patient, The Reviewed By Rob Gonsalves Posted 02/02/07 10:44:49

"Solid old-Hollywood-style moviemaking." (Awesome)

There seems to be no middle ground with Michael Ondaatje’s popular novel ‘The English Patient’: either you can’t put it down, or you put it down after two pages and never pick it up again. As someone in the latter group, I was still eager to see the film version. Often, the most compulsively readable books become unwatchable movies (’Sleepers’), while the most wildly unreadable books blossom into enthralling cinema (’Naked Lunch’).Writer-director Anthony Minghella’s film of The English Patient makes me want to take another crack at the book. I’ve read that Minghella is faithful to Ondaatje’s plot and time-hopping narrative, and he has found visual equivalents of the famously luscious prose that hooked so many readers (and stood between me and the story). The mysteries and surprises are still there (I will reveal none), but the romance is more central. At its core, this is the story of a man who risks everything and loses it. We meet the "English patient" of the title (Ralph Fiennes), burned almost beyond recognition after his plane is shot down in the North African desert during World War II. In the last days of the war, he is tended in a wrecked monastery by the kindly nurse Hana (Juliette Binoche). He says he remembers nothing; his frequent flashbacks prove otherwise. The patient, it turns out, is a Hungarian count named Alm?sy. Before the war, Alm?sy works with British cartographers mapping the sands of the Sahara. There he meets the alluring but married Katharine (Kristin Scott Thomas). A howling sandstorm finds them cooped up tight in a jeep; it’s the start of a beautiful relationship, and a neat metaphor for the way their lives will continue to be sand-blasted by the fates. Half of the movie is Alm?sy’s bed-ridden reverie, and I expected the nurse Hana to fall in love with her scarred but yearning patient, competing with Katharine’s memory. Not so. Instead, Hana finds love with the sensitive mine-patroller Kip (Naveen Andrews), and Willem Dafoe turns up as a saturnine thief who warns Hana not to put a halo on Alm?sy any time soon. Minghella, best known for the honestly moving Truly Madly Deeply, doesn’t shy away from overwhelming romance; he runs toward it with a clear head. And clear eyes: photographed by John Seale, this is easily the most ravishing film of the year. The sand seems to drench the actors in deep golden light; the sky is a rich, muted blue, like a still and suspended sea. If there’s a flaw, it lies with Binoche, a capable but rather opaque actress (as she was in Blue). Otherwise, the cast is impeccable. Kristin Scott Thomas finally gets the major role she deserves, and she plays it eagerly and elegantly. Ralph Fiennes, playing both an evasive, obsessed lover and a shattered wreck of a man, powerfully fuses Alm?sy’s past and present.Alm?sy thinks he can read anything: foreign languages, maps, Herodotus, people. What he can’t read, tragically, is himself. And in the end he is a map of scars read by Hana. Some would credit Ondaatje for the compelling story. Duly noted. But praise is equally due Anthony Minghella for making it a fine movie.
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DOWNLOAD MOVIE Gigli Just $2.99 for a complete movie! No additional software or browser plug-ins required! You can play them for unlimited number of times whenever you want. Downloaded movies will work perfectly on any PC, DVD player, PDA etc.
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The Movie:





I like Jennifer Lopez (although much more as an actor than a singer.) Ben Affleck has become a better actor over the years. However, it was sometime a couple of years ago that they became “Bennifer”, a deeply disinteresting creature fed by weekly press stories and scandals. “Bennifer” made US Weekly happy, as it gave the magazine something to put on their cover several times.



Yet, the combination of their who-cares-when (a year of “will they or won’t they?” extended the issue far, far over the line into irritating) marriage and tremendously bad buzz made “Gigli” the explosion of the “Bennifer backlash”. A film that only made a fraction of its budget, “Gigli” was in-and-out of theaters in days, but its impact on the careers of both stars was felt for months afterwards.



The film stars Affleck as Larry Gigli (pronounced Gee-lee, like “Really”), a low-level mob inforcer who finds that his latest job is to look after (read: take) the mentally handicapped younger brother of a Federal Prosecutor. In one of the film’s many laughable moment, he simply walks into the kid’s classroom and walks out with him - no one questions his actions. Not trusted by his superiors, a lesbian hit-woman, Ricki (Lopez) is sent to watch Larry…watching Brian. Thrilling, no? There’s nothing else to it.



Watching “Gigli“, it’s amazing that anyone thought the material was filmable. The film’s one main running gag is that no one can correctly pronounce Larry’s last name. The picture rambles on aimlessly, with random conversations about male organs verus female, mob people using word-a-day books and Jennifer Lopez’s butt, which has a supporting role. And hey, there’s Christopher Walken - albeit briefly. Al Pacino also shows up for a few minutes, but Walken’s near-genius little performance certainly is the best of the handful of star cameos in the film.



“Gigli” is an interesting beast, a film without much plot, structure, style or good dialogue. It takes a terrible idea for a scene or two worth of movie and tries to stretch it out to 124 endless minutes by inserting awful, embarassing conversations about male-female relationships (”I’m the bull, you’re the cow!”), spouted by a real-life couple who share surprisingly little on-screen chemistry. While Affleck’s dopey bewilderment occasionally clicks for a laugh or two against Lopez’s calm, cool demeanor, this is largely a laugh-free movie (a trip to Larry’s mother’s (Lainie Kazan) house is particularly dull) that doesn’t seem to know whether it wants to be a comedy or drama - it skips between the two randomly.



People will likely flock to “Gigli” once it hits video stores, just to see if it’s really as bad as ts supposed to be. I’ll save you the two hours and few bucks: it is. I couldn’t sit through the film without getting up several times, including two short walks. The two leads do give it try - Affleck plays tough, yet stupid for laughs decently (one can easily sense he’s not taking the film seriously), while Lopez tries for a nice, subdued performance. Still, the romance falls flat (and that’s the core of the film), the dialogue is unbelievably bad and there’s only a thin thread of plot to be found.




The DVD



VIDEO: “Gigli” is presented by Columbia/Tristar in 2.35:1 anamorphic widescreen and 1.33:1 full-frame. The anamorphic widescreen presentation seemed slightly rushed, as the pairing of both versions on one side of a dual-layer disc did add up to a few issues with the picture quality. Sharpness and detail remained a bit off, as the picture looked moderately well-defined, but often a hair short of meeting its full potential.



Edge enhancement is present in several scenes - while never terribly irritating, its presence is a slight (maybe in this case, welcome) distraction. Some light compression artifacts also showed up in a couple of the film’s darker/low-light scenes. The print seemed to be in fine shape, with no noticable specks or marks.



The film didn’t offer a particularly vivid color palette, with colors remaining low-key throughout the film, despite the sunny locations. Colors remained accurately rendered throughout, with no issues.



SOUND: “Gigli“’s Dolby Digital 5.1 presentation showed little ambition, with little in the way of surround use, even for light ambience. The film’s offbeat score was the only element of the soundtrack that got much focus, getting a little bit of reinforcement from the rear speakers, but that was about it. Audio quality was decent, as dialogue remained depressingly clear, while music and sound effects remained clean.



EXTRAS: Trailers for “Gigli“, “Anaconda”, “Main in Manhattan” and “Mona Lisa Smile”.



Final Thoughts: Dreary, painfully dull and livened only by a few minutes of Christopher Walken at his absurd best, “Gigli” is a very tough 124-minute sit. The DVD offers little in the way of supplements and average audio/video. Not recommended.



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DOWNLOAD MOVIE Lloyd Just $2.99 for a complete movie! No additional software or browser plug-ins required! You can play them for unlimited number of times whenever you want. Downloaded movies will work perfectly on any PC, DVD player, PDA etc.
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Dumb and Dumberer: When Harry Met Lloyd (2003)

FILM IN REVIEW; ‘Dumb and Dumberer: When Harry Met Lloyd‘

Directed by Troy Miller

PG-13, 82 minutes

Arriving just in time to put the lie to the notion that this is a summer full of nothing but sequels is ”Dumb and Dumberer: When Harry Met Lloyd.” Directed by Troy Miller (”Jack Frost”), the film is, in fact, a prequel, to resurrect an already antique neologism (coined, if memory serves, for the 1979 ”Butch and Sundance: The Early Days”).

To the extent that it possesses a narrative line at all, ”Dumb and Dumberer,” which opens today nationwide, tells the story of the fateful first encounter between Harry Dunne and Lloyd Christmas, the two lovable morons of the 1994 runaway hit ”Dumb and Dumber,” in which they were played, respectively, by Jeff Daniels and Jim Carrey.

Set in a high school in Providence, R.I., in the 1980’s, ”Dumb and Dumberer” imagines young Lloyd as the son of the school custodian (Luis Guzmán) and Harry as the home-schooled offspring of a single mom (Mimi Rogers), making his debut in public education. They meet when, turning a corner at high speed, Lloyd runs into Harry and knocks him down, chipping his front tooth on Harry’s rock-solid forehead.

The buddies are recruited into a special education class being run as a grant-grabbing scam by the high school’s corrupt principal (the reliable Eugene Levy) and his mistress, the dimwitted matron of the school cafeteria (Cheri Oteri). Jessica (Rachel Nichols), a blond knockout who is the star reporter of the school paper, smells a rat, and enlists the boys in her campaign to bring the principal to justice.

Credit must be given to the casting director, John Papsidera, for finding two young actors, Derek Richardson as Harry and Eric Christian Olsen as Lloyd, who bear amazing resemblances to their adult counterparts. With his hair dyed black and trimmed in the bowl cut Mr. Carrey made famous, Mr. Olsen is particularly convincing as the young Lloyd, drawing on the same reservoir of Jerry Lewis grimaces that inspired Mr. Carrey in the initial outing.

Unfortunately, Mr. Miller and his writing partner, Robert Brener, do not do nearly as convincing an impersonation of Peter and Bobby Farrelly, the brothers who wrote and directed ”Dumb and Dumber” and have since gone on to bigger budgets and higher fees (”Me, Myself and Irene,” ”Shallow Hal”), if not necessarily better work.

While ”Dumb and Dumber” possessed a bracing, genuine vulgarity, this new film is more often merely disgusting as it piles up jokes involving various bodily discharges and the unpleasant things that can be done with them. The Farrelly brothers appear to have had no involvement with this project at all, and judging by how conspicuously low their union-mandated credit appears in the end titles — ”based on characters created by” — it looks as if they have done their best to distance themselves from it. The impulse is understandable.

”Dumb and Dumberer: When Harry Met Lloyd” is rated PG-13 (Parents strongly cautioned) for crude humor and mild expletives. DAVE KEHR

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Sadly, I have to agree with the majority of viewer comments so far. As
much as I enjoyed Blackadder and think that Ben Elton is an intelligent
and genuine human being with a good, if patchy, track record, for me
Blessed fails on all levels.

Primarily consisting of irritatingly smug middle class characters
delivering deeply obvious and unfunny lines in a stilted way that made
the performances in Ever Decreasing Circles seem like Lenny Bruce on
crack, perhaps the worst sections involved the occasionally hapless
depictions of musicians in a recording studio, which seemed to be based
on half-remembered episodes of Rock Follies.

In many ways, it’s sad to see someone who subverted and refreshed the
nature of sitcom in the 1980s produce such a dated, tired, clichéd and
hopelessly out of touch series. Constantly at odds with the way real
people live, speak and look, it appears that Elton’s art has turned
into everything The Young Ones seemed to be fighting against.

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Sixth Sense, The

The Sixth Sense ***1/2 (out of 5) (1999)

Cast: Bruce Willis, Haley Joel Osment, Toni Collette, Olivia Williams, Glenn Fitzgerald

Directed by M. Night Shyamalan

It’s been so long since the horror genre has had a good movie that when one finally came down the pike it was bound to get too much praise. The supernatural thriller in question is THE SIXTH SENSE, and for some reason there is a large element of the United States population with which this well-made but gimmicky movie struck a serious nerve, even leading to it garnering an Academy Award nomination for Best Picture (which goes to show how weak 1999 was for films).

THE SIXTH SENSE deals with a child psychologist named Malcolm who has a night of tragedy when one of his patient’s kills himself in his house. After that night, Malcolm’s existence was never quite the same, and years later he encounters another young boy he perceives to have the same problems as the patient he lost before. Thinking he can make things right again if this time he helps the boy, Malcolm takes it upon himself to get to know the boy, who is having terrifying visions of “dead people”.

THE SIXTH SENSE features quality acting by Osment as the young boy, and Collette as his mother. Willis does an adequate job in not hamming things up and is surprisingly tolerable for the entire film. Shyamalan sets the right moods at the right times, and outside of a needless “surprise” ending, gets the most of the quality screenplay. The film does tend to be overly manipulative of the audience, and probably those viewing it who are fooled will think it’s better than it really is, but credit the film for at least being able to hold the attention of most for the entire duration. Sadly, it’s one of only two horror movies made in the 90s (SCREAM is the other one) that is any good.

Back to Qwipster’s Movie Reviews

 

 

 

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Pathfinder Reviewed By EricDSnider Posted 04/13/07 15:00:00

"It’s the Vikings vs. the Indians in the 900 A.D. Super Bowl." (Pretty Bad)

Has there ever been a good movie about Vikings? Or a good movie set circa 1000 A.D.? I’m hard-pressed to think of any. I guess that period wasn’t called the Dark Ages for nothing. Like a black hole, it was so dark, no film-worthy stories could escape!This latest laugh-out-loud disaster is "Pathfinder," a remake of a (supposedly very good) 1987 Norwegian film that’s been transferred to America and rendered hysterically bad by music-video director Marcus Nispel and screenwriter Laeta Kalogridis ("Alexander," "Night Watch"). This is pure cheesy spectacle, as bad as anything you’d find on "Mystery Science Theater 3000," and with plenty of absurd dialogue for the hecklers to ridicule.The time is actually about 900 A.D. (600 years before Columbus, we’re told; I’ve done the math myself), and the place is somewhere on North America’s Atlantic coast, evidently fairly far up north, because sometimes there is snow. And I don’t mean sometimes during the year, I mean sometimes during the movie. They’ll be walking through snow in one scene, then suddenly they’re on dry land in the next. But anyway, a peaceful village of harmless natives adopts a Norse-looking boy who was left behind by his Viking relatives when they came over and tried to slaughter all the Indians. Now, why you would take your 10-year-old son with you on an Indian-slaughtering trip, I don’t know. Maybe babysitters were hard to come by in 10th-century Scandinavia. Anyway, point is, the kid grows up to be buff and smooth-chested and called Ghost (Karl Urban). His name is mentioned only once in the film, which is once more than anyone else’s name is ever used. Seriously, I watched the closing credits, and I’m like, "Starfire? Blackwing? Gunnar? Ulfar? What good does it do to tell us their names NOW, when the stupid thing is over with?"AAAAAANYWAY, Ghost is grown up now and fully assimilated into the native village, and he has a crush on the pretty girl (Moon Bloodgood) who lives in the next village over, several miles away. Her dad is the Pathfinder (Russell Means, who was also in a 1996 TV movie called "The Pathfinder"), a title bestowed upon whoever … finds … the path … or something. He’s getting on in years, his best path-finding days now behind him, so they’re looking for his replacement. Ghost isn’t eligible, though, probably because he’s white, though that’s not the reason Pathfinder gives. Instead, he states the movie’s theme for us: "You are still haunted by the demons of your past. Until you face them, you will never know who you really are." (Hey: At least he has a name. I’m just sayin’.)So then the Vikings come back, some different ones this time, and they wipe out Ghost’s village. This makes him angry. He rushes to the other village, the one with the hot chick, to warn them. He shows them the metal sword he swiped from the intruders, and says the bad guys wear armor that make the natives’ arrows and rocks useless. Everyone is awe-struck by the sword, which Ghost wields as expertly as a trained fighter, despite his having been in America for 15 years and not having seen one in all that time.Ghost and Hot Chick and various others realize they’ll have to use cunning, not weaponry, to defeat their hairy, armor-clad Norse invaders. To that end, they quickly devise elaborate booby-traps in the jungle, snares that would take days to create but that they manage to put together in a matter of an afternoon. The film then becomes part "Rambo," part "Apocalypto," as Ghost leads his tiny band of fighters to war against the Vikings.The Vikings, who speak subtitled Norse while the natives speak English (naturally), keep referring to the Indians as "savages." We are supposed to see the irony in this, given that the natives are actually quite civilized while it is the Vikings who are brutal and murderous. And sure enough, we DO see the irony, because the film beats us over the head with it constantly.Two of the film’s most unintentionally funny moments happen when Ghost is asleep. First, when he’s a kid, and his adoptive mother gazes lovingly at him while he slumbers, she says, "Who are you, little one?" And then as an adult, when he’s sleeping off the effects of an injury he received in battle, the Hot Chick strokes his cheek and says ponderously, "What is it you dream of?" LOL.The film clearly wants to be taken seriously as the story of a man searching for his identity, but I cannot see how anyone involved thought that was possible. The action sequences are cut in a frantic, incoherent fashion (which is a shame, since Daniel Pearl’s steel-gray cinematography is actually quite lovely at times). The dialogue is hilarious and shallow, and the graphic violence is dispensed casually, as if it doesn’t matter, which is seldom the hallmark of serious filmmaking. Karl Urban is as dull an action hero as ever there was, and his twice-shouted epiphanic declaration, "I know who I am!" is snicker-inducing, not stirring. It is a film to be laughed at, if it is to be watched at all.
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