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DOWNLOAD MOVIE Butterfly Effect 2, 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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Butterfly Effect 2, The

The original The Butterfly Effect was the brainchild of writer-directors Eric Bress and J. Mackye Gruber, who had previously written a sequel for another gimmicky series in Final Destination 2.  There’s more than that connection to link these two different series, as both feature sequels that are only tangentially related to the others, essentially remakes more so than continuations of previous storylines.  The problem with a film like The Butterfly Effect 2 is that, unlike the gory, humorous Final Destination series, there really isn’t much joy in the plot itself after understanding it the first time.  Since we all know where it’s going, we have little vested interest in the artificial storyline, and without any humor or titillation to speak of, it’s little more than a mechanical, joyless regurgitation, except with no-name stars and lesser production values.

This episode, wholly unrelated to the first film, features Eric Lively (Speak, The Pact) portraying Nick, a 20-something man on the verge of a personal and professional boom.  It’s his girlfriend Julie’s (Durance, "Smallville") birthday, and as special as he wants her day to be, he must unfortunately head back to work, as he is jockeying for a big promotion, and doesn’t want the job handed to someone seen as more loyal to the company.  Tragedy strikes when he loses control of the car, causing the big rig behind him to smash into his SUV, killing off Julie, his potential promotion, and his happiness.  A year passes and he is still not over the event, but he has begun to feel strange effects in the pictures he looks at, finally culminating in regressing himself back into the moments depicted in the photos, this time with the ability to change his future.  However, when he returns to the present, Nick doesn’t always like what he finds.

Given that I didn’t really enjoy the first film, it shouldn’t come as a surprise that I also don’t have much love for this very redundant sequel.  The short summation is that it is essentially the same movie with different characters and situations, and instead of a diary, the time-travel is done through photographs.  Even if you did like the first film, I can’t really understand what would appeal to you about seeing it done again, as the script by Michael Weiss (Crocodile, Octopus) gives no new twists on the formula, and doesn’t ever try to explain how such a bizarre phenomenon could actually happen and why.

Since I can’t recommend the film to people that liked The Butterfly Effect, the only audience out there that I could see actually finding this story intriguing would be those that have never seen the original but find the premise interesting.  About the kindest thing I can say about this rehash is that it isn’t as dark in its tone and themes, making it much easier to take for those squeamish about sadistically repugnant scenes of child abuse.  I should point out that, even if I had never seen the original, it is highly doubtful that this would have actually thrilled me as a standalone entry enough to give this a higher rating than I have here.

I suppose there is an irony in knowing that this sequel/remake is the opposite of the main premise of the film.  In the fictional story, someone goes back to relive the same events but takes a different direction; in the reality of this sequel, the makers of The Butterfly Effect 2 have chosen to relive different events and choose the same direction.  Regardless of the differences, both the fiction and the reality do come up with the same conclusion:- going back and reliving past events doesn’t always produce better results in the present.

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DOWNLOAD MOVIE Replacements, 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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The players of professional football go on strike with four weeks to go in the season and the owners decide to call in replacement players to finish out the year.  Gene Hackman (Under Suspicion, Enemy of the State) plays the coach of one of the teams, and he assembles a ragtag group, including a washed up superstar college QB (Reeves, The Matrix), an ex-con RB (Jace, Cradle 2 the Grave), and a bunch of others who have lots of raw talent but not the ability to have made it pro.  They have to win three of the next four games to make it to the playoffs.

The Replacements is a predicable comedy with little new to offer, but I do have a bit of a soft spot for these kinds of eccentric ensemble sports movies (Major League comes to mind).  It’s always fun to watch, even if it isn’t what one might call great, and it’s definitely entertaining enough for football fans who aren’t looking for anything other than some fun escapism. 

The cast is likeable, with Hackman and Jack Warden (While You Were Sleeping) giving relatively good performances despite some occasionally trite dialogue. Keanu Reeves and Orlando Jones (Liberty Heights, Bedazzled) aren’t as annoying as you’d expect since they don’t dominate screen time.  Terrific cinematography by Tak Fujimoto (The Sixth Sense, Devil in a Blue Dress) and a great score by John Debney (End of Days, Dick), along with solid use of popular music all enhance the look and feel of real football.  Cartoonish and hokey, but likeable all the same.

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DOWNLOAD MOVIE Die Hard 2 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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Although sequels usually suffer from the rule of diminishing returns, director Renny Harlin was actually able to bring something new and exciting as he took over the helm of the second film, released 11 years ago in 1990. Bruce Willis returns again as John McClaine, police officer and one-man fighting machine. Again, it’s Christmas Eve and again, officer McClaine is in the wrong place at the wrong time. He’s come to pick his wife up at the airport, while elsewhere terrorists lead by Colonel Stewart (William Sadler) are attempting to take over the runways. Unless their demands (including the release of a drug lord on his way in for trial) are met, then chaos will begin. McClaine wants to be involved and won’t take no for an answer - his wife is on one of the planes, circling the runway in the middle of a blizzard.



This time, the action is a bit more spread out as McClaine has to run around the airport and the bowels and runways, as well as some of the surrounding area. He’s also got to deal with the head of airport security (Dennis Franz) who won’t begin to realize what’s actually going on till matters get worse. To give Franz credit though, he actually makes this cliched kind of character basically entertaining and not totally irritating. As for the return of this kind of ludicrous action story, Harlin (as usual) does a very nice job at quickly setting the story up and then moving along at such a quick pace that most won’t have much time to focus on disbelief.



The only element where the story falls somewhat flat is the villian. Sadler has an intense and threatening presence, but his character never really seemed that fully realized. Willis, as always, has a perfect combination of everyman and action hero that makes him an entertaining lead for this kind of action film, although he hasn’t done this kind of thing quite as well or sharply in recent films. His ultra-seriousness in “Armageddon” made the dramatic moments slightly untintentionally funny, for example.



Still, “Die Hard 2” is one of those rare sequels that, while not superior to the original, still is able to come up with some lively moments and enough slight differences to make for a slightly fresh effort.




The DVD



VIDEO (Layer Change: 49:54): Released a couple of years back by Fox in a serviceable, but not great, non-anamorphic edition, they have taken steps to improve the image quality here, presenting the film in a cleaner, crisper and smoother 2.35:1 anamorphic edition that is a noticable improvement over the original edition, much like the anamorphic edition for the first film was more enjoyable than the first edition of that film. Sharpness and detail here are improved, as is the amount of depth and clarity to the image, which looks consistently well-defined.



Where I usually discuss image flaws, there’s really not much to talk about. A scene or two appeared a little bit grainy, but that was about it. Print flaws are nonexistent - the image remains completely free and clear of marks and scratches; I didn’t even notice a speckle. Edge enhancement and pixelation are also absent, making for a completely natural, clean image that looked superb.



There’s not a particularly strong color palette for the movie, but what colors are on display looked accurate and natural with no flaws - occasionally, colors looked slightly smeary on some of the film’s previous editions. Pleasantly, even the few darkest scenes in the movie looked cirsp and well-defined. Certainly, this edition of the film is superior to any of the previous editions in terms of quality and praise to Fox for such fine work.



SOUND: “Die Hard 2“, like the rest of the series in these new special editions, is presented in both Dolby Digital 5.1 and DTS 5.1 audio. There are stretches of “Die Hard 2” that involve discussions between the leads or other subtle moments that have the audio mainly focused in the front. During the action-heavy moments though, of which there are plenty, the listening space wakes up quite well as surround use is quite agressive during several of the more intense sequences, although the surrounds do remain mono. Still, none of these problems made the experience suffer much at all - it still remained an entertaining time as even the subtler sounds like the cold whip of Winter winds were nicely convincing.



Audio quality throughout the picture remained crisp and clean with good fidelity and occasional strong bass. Overall, I remain oddly a little more impressed with the audio experience offered by the first film (I still remain amazed by the sonic force of an explosion mid-way through that film that shook the room), but still, this is certainly a well-done, above-average presentation for its time. Both the DTS and Dolby Digital 5.1 presentations do generally sound similar, but the DTS presentation does offer a slightly crisper, fuller sound that’s prefered - it’s certainly not a night & day difference, though.



MENUS:: Like the other editions of the series, Fox and DVD producer David Prior have but together some fantastic animated menus that cover the particular “theme” of the movie - this time, the main menu revolves around an airport tower, looking out, while the options are displayed on the control panel.



EXTRAS::



Commentary: This is a commentary from director Renny Harlin, who has done a couple of commentary tracks before (”Deep Blue Sea”, “Cliffhanger”), but this is easily his best “commentary work”, as he seems more energetic and enthusiastic about sharing information about the making of this picture, even welcoming the audience to the movie at the begining. He does something that a few directors do when they record tracks and it makes it a more enjoyable experience. It’ll sound weird, but there are some directors who simply seem to be talking to the screen, but there are some directors who really seem like they’re sharing and attempting to engage the audience who’s going to be listening to this track and Harlin does that here. He shares an excellent amount of information about the production, discussing several interesting and occasionally fascinating stories about what happened during shooting. He also suprisingly shares his opinions on language at one point, talking about how characters these days should be able to express themselves more intelligently. Several other insightful topics are also covered, such as how Harlin had to handle the workload of two films (”Ford Fairlane”) almost at once. A strong track well worth a listen.



Television Special/Featurette: This is a twenty-three minute feature that was produced for Fox stations. It’s occasionally very informative about how certain scenes were shot, but there’s quite a bit of irritatingly promotional bits with annoying, corny narration to sit through. In this section there’s also a four minute featurette which is essentially an extended trailer.



Trailers/TV Spots: Four trailers and one TV Spot are included.



Deleted Scenes: Four deleted scenes are provided, but none of them really would have added anything to the movie but additional running time.



Visual Effects: There are five scenes in all; the first two (”The Ejector Seat” and “Airport Runway”) provide breakdowns of how the effects were done - for example, “Ejector Seat” compares the storyboards with the green-screen and the final shot; you see one, then the other, then the final scene. The other three sequences (”Chopper”, “Airplane Models” and “Wing Fight”) are presented with before & after split-screen comparisons.



Behind The Scenes: Two featurettes are included that detail how the scenes were accomplished - a shorter 4 minute featurette called “Breaking The Ice” is included with a nearly 8 minute featurette about the conveyor belt sequence (”Chaos On The Conveyor Belt”). Also in this sequence is a storyboard-to-film comparison for the “Skywalk Ambush” sequence.



Interviews: Promotional interviews with Harlin and villian Sadler.



Final Thoughts: “Die Hard 2” doesn’t quite reach the heights of the original, but at least it has a good sense of what it is and provides some strong thrills and well-done action. Fox’s DVD also provides very good video and relatively good audio quality with some strong (and some not quite as interesting) extra features. Recommended.



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DOWNLOAD MOVIE Gosford Park 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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I find myself in the minority in my opinion of last year’s Best Picture nominee “Gosford Park“. While I’ve warmed up to the picture in the viewings since my original one a couple of weeks before the film’s release, I still have reservations about the film. The movie stars a legion of British (and some American) actors (Charles Dance, Kelly Macdonald, Helen Mirren, Jeremy Northam, Clive Owen, Ryan Phillippe, Maggie Smith, Derek Jacobi, Emily Watson and Kristin Scott Thomas). Guests are gathering at the house of Sir William McCordle for a weekend of hunting and chat. Upstairs, the guests are gathering and settling in, while downstairs, the servants are hard at work.



The setting is an enormous English mansion which has been lavishly dressed for the picture. McCordle (Michael Gambon) and wife Lady Sylvia (Kirstin Scott Thomas) are heading the affair, while guests include Ivor Novello (Jeremy Northam) and producer Morris Weissman (Bob Balaban). Downstairs participants include: Weissman’s “valet” (Ryan Phillipe), the maid (Kelly MacDonald) of the Countess (Maggie Smith) and head housemaid Elsie (Emily Watson), among others.



The film’s first 90 minutes simply has the film following various conversations between the guests in the house. While the performances from a top-notch cast are quite good, there’s little focus or development of each of what seems like around 25 speaking parts. While there are sharp exchanges of dialogue and impressive period details to appreciate, “Gosford Park” attempts to sustain itself on characters alone and not enough of them are well-developed enough to gain an interest in; it needs a few more elements: a little more drama, a little more intensity, a little more sharp humor. As is, several minutes of the opening 90 could have been deleted to assist the pace, which starts to lose forward momentum at points.



Eventually, “Gosford Park” turns into a murder mystery once the characters have all been introduced. Even so, the characters seemingly go on about their business afterwards while a bumbling investigator attempts to wrap-up the case. The performances in the film are mixed, with Emily Watson being my favorite of the enormous cast. As with the rest of the cast, she doesn’t have much to work with, but she gives the role enough energy and depth to get interest. Maggie Smith is also wonderful, while Helen Mirren and Kelly MacDonald are also very good. I found little interest in most of the rest of the characters, some of which (Bob Balaban’s producer character) might have been improved had they been given more focus.



The film functions respectably as an examination of British society at the time, but I found screenwriter Julian Fellowes’ DVD commentary discussion of the same topic far more interesting and informative. I can appreciate some of the film’s performances, the production design, cinematography and a few other aspects of the film, but I’m still a little surprised that the film gained a Best Picture nomination. Upon another viewing, I find the film a bit more involving, but I still think it suffers from some noticably slow moments early in the film and not enough focus on the main characters to hold interest.




The DVD





VIDEO: “Gosford Park” is presented by Universal in 2.35:1 anamorphic widescreen. Andrew Dunn’s cinematography can appear somewhat drab at times, but this transfer accurately shows what I viewed in the theater late last year. Sharpness and detail are very good, although not great. This is not a sleek picture in appearance and the slightly soft, smooth and crisp image still is very pleasant.



Problems were really quite minimal. Some minor and intentional grain is visible on a fairly frequent basis, but this was hardly a concern. A couple of instances of slight edge enhancement were also noticable, but not very bothersome. No pixelation was seen and print flaws were minimal, as only a few little specks were seen.



The film’s natural color palette was nicely rendered here, never appearing smeared. Black level was solid, while flesh tones looked accurate. A solid effort.





SOUND: “Gosford Park” is presented in Dolby Digital 5.1. The film’s audio is a few steps beyond what one might expect from a largely dialogue-driven feature. Although many scenes are dialogue and score-driven, an enjoyable amount of ambient sounds enter in during several scenes. Surrounds provide some light ambience and score, but aren’t used agressively. Dialogue remains clear and crisp throughout, although the accents may be a bit difficult to understand for some.



MENUS: Nicely animated main menu with clips in the background. Animated transitions to sub-menus are also included.



EXTRAS:



Commentary: This is a commentary from screenwriter Julian Fellowes. I must say, I’d be very surprised if there is another commentary this year that is as informative, interesting and enjoyable as this one. I still do not consider myself a fan of this picture, but I did gain a new appreciation for the amount of period detail that went into this picture that I was not previously aware of. For the nearly 150 minute running time, Fellowes offers a complete discussion of the British society and class system of the time. While some may not warm to the idea of commentary as history lesson, Fellowes offers this material in an enjoyable manner and offers additional stories from his own life. Little in the way of technical details are found here, but Fellowes discusses the period in a manner that’s fun and very informative. A superb commentary and a very worthwhile listen.



Commentary: This is a commentary from director Robert Altman and production designer Stephen Altman. This track, on the other hand, is a more subdued and general discussion of the story, along with some production details. While this certainly isn’t a bad commentary, I really didn’t think it was as interesting as the screenwriter’s commentary. This one seems rather slow, where I felt the nearly 2 1/2 hour screenwriter’s discussion went by very quickly.



Making Of: This is, surprisingly, a very good “making of” documentary and not the usual “promotional” fluff that simply tells us about the story of which we’ve just watched. Interviews with Altman and many of the actors discuss character, the history of the period and what it was like to work with one another. In-between are some moderately enjoyable behind-the-scenes clips of the cast at work. Overall, I got a nice sense of how the filming went and how Altman works. The documentary runs just short of 20 minutes.



Question and Answer Session: This is a 24-minute piece that has director Altman, screenwriter Fellowes, producer David Levy and actors Bob Balaban, Jeremy Northam, Helen Mirren, Ryan Phillipe and Kelly MacDonald. The actors and filmmakers discuss the movie (this took place after a screening on March 8th at the Academy of Television Arts & Sciences Foundation) and then answer questions from the audience members.



Deleted Scenes: This section offers 20 minutes of deleted footage with optional commentary. Some mildly interesting moments are contained within, but most of this seemed like minor conversations that were unnecessary.



Authenticity Of “Gosford Park“: This is an excellent 8-minute featurette that offers interviews with director Altman, screenwriter Fellowes and the film’s several consultants who were former servants.



Also: Trailer for “Gosford Park“, cast/crew bios, soundtrack promo and a promo reel for other Universal titles.





Final Thoughts: “Gosford Park” still isn’t my cup of tea, but I liked it a bit more the second time. Interestingly enough, I found the commentary by screenwriter Julian Fellowes more interesting and entertaining than the movie. The DVD is clearly a winner and something that fans of the film will certainly enjoy, offering a very good presentation of the film and extras that cover every aspect of the film. The screenwriter’s commentary by Fellowes is especially fantastic. Certainly recommended for fans of the film or the genre; others who haven’t seen it may want to try a rental first.

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DOWNLOAD MOVIE Lethal Weapon 3 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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Lethal Weapon 3 *** (out of 5) (1992)

Cast: Mel Gibson, Danny Glover, Joe Pesci, Rene Russo, Stuart Wilson

Directed by Richard Donner

LAPD officers Riggs and Murtaugh are back, trying to take down an undercover gun smuggling operation from within their own department. Murtaugh is days from retiring, Riggs meets his dream woman in the form of IA officer Russo, and Pesci reprises his role as Leo Getz.

The magic is still here in this third outing and the film oozes chemistry galore between the lead actors. LW3 is just as much fun as the previous two films, and entertaining enough to recommend, even though the main storyline and bad guys are the worst in the series. Pesci is back, although a little more annoying than funny this time around, and Russo is terrific as a lethal weapon in her own right. Watch for the characters and funny moments and forgive the idiotic plot and you’ll have another good time with Riggs and Murtaugh.

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DOWNLOAD MOVIE BloodRayne 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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Bloodrayne Reviewed By Rob Gonsalves Posted 05/22/06 11:54:28

"This was my first Uwe Boll film ? weep now for my lost innocence, please." (Total Crap)

When the credits proudly announce "Special Appearance by Billy Zane," you know you’re in trouble.Zane, however, is actually pretty funny in BloodRayne, a witless action-vampire flick based on a video game. He plays Elrich, some sort of elite vamp who mostly sits in his study and acts snarky. "Would you stop throwing things at me?" he deadpans at a minion who has tossed a scroll and, earlier, a severed head onto his desk. Zane’s dialogue is the only evidence I could find of credited screenwriter Guinevere Turner, who wrote the ’90s lesbian indie film Go Fish and has contributed to Showtime’s The L Word. Well, that and the scene wherein the half-vamp heroine Rayne (Kristanna Loken) seduces a female vampire only to chomp her throat.BloodRayne is the latest in director Uwe Boll’s ongoing crusade to take horror-oriented video games (House of the Dead and Alone in the Dark were his previous efforts) and suck all the life out of them. I’ve played BloodRayne, and its cut scenes are better than anything in the movie. The plot manages the dubious feat of being both dumb and complicated, like the worst James Bond movies, when all it’s really about is stopping king-shit vampire Kagan (Ben Kingsley) before he can gather three ancient body parts that can make him invulnerable. Kagan (no relation to Fagin, whom Kingsley played in 2005’s Oliver Twist) is essentially The Master from Buffy’s first season, with the Darth Vader spin of also being Rayne’s father (he raped her human mother). Rayne, for her part, is essentially a distaff Blade, only without the impressive arsenal (she could use a Whistler).But don’t let the presence of fanged bloodsuckers fool you: BloodRayne is really no more a vampire film than Grandma’s Boy is. It’s a derivative quest film, with Rayne accompanied by a motley crew (Michael Madsen, Michelle Rodriguez, and Matt Davis) as she searches for the elusive items ? an eye in a monastery, a heart in a box underwater. As she collects these items, her energy points go up ? uh, I mean her powers become greater (she can tolerate water, which once scorched her flesh). Unfortunately, Kristanna Loken’s acting becomes no greater. Then again, Maria Falconetti at her peak couldn’t do much with the lines Loken and everyone else (except Billy Zane) are given, and poor Michelle Rodriguez tries hard to maintain some sort of period-appropriate accent but winds up defaulting to her sullen mode. (She and her Girlfight director Karyn Kusama ? who came a cropper with Aeon Flux ? need to reunite fast and stop faffing about with dorky girl-power fantasies that are really about giving teen boys a peek.)This was my first Uwe Boll film ? weep now for my lost innocence, please ? and he’s every bit as inept as I’d heard. His fight scenes are the worst kind of editing-room cheating, meant to cover for actors who haven’t been trained to wield anything more intimidating than a cell phone. Rayne begins the movie as a carny freak, and her escape from that degrading life is shown in a confusing flashback while she’s escaping. Yeah, it didn’t make sense to me either. Loken’s topless sex scene with Matt Davis — clang, clang against dungeon bars (ooh, how medievally erotic!) — might join Elizabeth Berkley’s Showgirls pool-thrashing in sex-scene infamy. Blood squirts and spurts everywhere, a tribute of sorts to the sanguinary game, only the blood looked more realistic there. Meat Loaf collects a check for a couple of scenes as a vamp libertine; Geraldine Chaplin ? whose father Charlie is not, let’s hope, following her career from the afterlife ? pops in as a fortune teller who fails to tell Kristanna Loken not to sign on for any more Uwe Boll movies based on video games.As it happens, Loken is due to appear in Boll’s "In the Name of the King: A Dungeon Siege Tale" in December 2006. Mark your calendars.
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DOWNLOAD MOVIE Shallow Ground 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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Shallow Ground is a film that looks and feels bigger than it really is - for being an Independent Film and what Sheldon Wilson (Director) and his crew was able to do was amazing.. kind of like the “Little Engine that Could,” no matter what was thrown at them, they kept chugging along.

Even though I do applaud the effort of Sheldon and his team - in trying to bring something fresh to a sometimes-repetitive genre, but no matter how much I praise the work that was put into this film and no matter how much I really wanted to love Shallow Ground – it ended up being a film filled with one too many plot holes, as well as  one with poor execution (of certain parts) of the story line.  It ended up to much for me to overcome, so instead of loving this film, I only ended up liking Shallow Ground..

In Shallow Ground: A naked teenage boy covered in blood appears at a remote sheriff’s station one year after the brutal unsolved murder of a local girl. Now sheriff Jack Shepherd, guilt ridden over the girl’s murder must confront his own demons as he desperately searches for the boy’s true identity and possible victims. Little does Jack realize that he had started down a path that will bring him face to face with an unthinkable horror. Before sunrise the living will pay for the pain the dead have suffered…

The overall acting in Shallow Ground was pretty good. What one may think as being a weakness in most independent films - it really was not with this one. Rocky Marquette did an excellent job at playing “The Boy” - for one who have little to no lines, his presence in the film came off the strongest of all the characters. He kept me intrigued and wanting to know more about the mystery surrounding him. Lindsey Stoddart (Deputy Laura Russell) and Stan Kirsch (Deputy Stuart Dempsey) both were also both pretty much solid in the roles (Lindsey, please pin the hair back) and helped keep the movie together. Now the one character I did have a problem with was one of the lead characters Timothy V. Murphy (Sheriff Jack Sheppard). I feel it was more of him being “mis-casted” then his actual acting that turned me off. He was the only one that had an accent (and it was heavy at times) and with the whole story revolving around a small tight-nit town (one in which I pictured you were born there and you die there) he was just out of place. I was never able to overcome the accent and that lead to him being unbelievable and one of the small downfalls to this film.

Outstanding! I cannot express how much I was impressed with the SFX in this film. With what they were able to do with the blood - making it an actual character in the film was amazing. Before seeing this film, I’ve watched the behind the scenes clip (here on this site) about the blood effects and then seeing it on screen - I was still floored. The other make-up and prop effects was “spot-on” too.. from the sliced up faces to the fish hooked wearing corpses - ACE!

For his first major feature film - Sheldon Wilson is on the right track. I’ll be curious to see how he handles other feature films and grow as a director. Shallow Ground is a film whose parts are greater than the whole and there was just to many little things that kept this film from being more than just average. Sheldon weaves a story that is very deeper than one initially thinks.. connecting the dots and taking the viewer along on a surprised filled ride - but it is the execution of some of these plot points is where Sheldon fails to capitalize on, example: The deputy quickly figuring out that certain features from all the missing persons make out the face of “The Boy” - great idea, unbelievable in execution. How the killer ties into everything - great idea, unbelievable in execution (cannot comment more on this.. don’t want to reveal a spoiler), and the “red herring” was really unnecessary (in my point of view).. didn’t add anything to the film. Another problem I had with the film was with some of the pacing. Shallow Ground starts off intense.. very kick ass, only to be slowed down to a crawl - and this uneven pacing is throughout the film - it might tend to frustrate some (it did me).

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DOWNLOAD MOVIE Valiant 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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I’m pretty sure that the point of computer-generated animation is not to make the audience feel as though it’s been trapped inside a large plastic box for an hour and a half, but given how often I stumble out of theaters gasping for air lately, it seems that way. The trouble with technology is that it too often gets in the way of artistry or dispenses with it altogether. This is the big problem with “Valiant,” an English-produced CG animated feature about World War II homing pigeons that would have been much better served had it been stylishly drawn cell by cell — a thought that occurred to me as I passed a framed set of gorgeously expressionistic cells from the original “101 Dalmatians” on my way out of the building on the Disney lot. Instead, “Valiant” looks cheap, garish and less than cutting-edge. Talk about revenge of the nerds. ADVERTISEMENT The story of a runt pigeon named Valiant (voice of Ewan McGregor) who dreams of joining the Royal Homing Pigeon Service, an elite squadron of messenger pigeons assigned to relay messages between the British and the French Resistance, “Valiant” is an unconscionably dreary and amateurish-looking thing, and the rote plot and annoyingly predictable script — a compendium of bird puns, mostly — don’t work nearly hard enough to make up for the hammy awfulness of the images. For one thing, the pigeons look not even remotely like pigeons. If I had to guess as to the origin of their species, I’d say they were the product of the unholy union between a handful of British A-listers and a gaggle of turduckens, but I’d rather not speculate. Rendered in hideous, ’80s-era pastels and looking oddly oil-slicked, as though fresh from a cruise on the Exxon Valdez, the pigeons exist in a depressing artificial universe in which it’s nearly impossible to distinguish interiors from exteriors, day from night. The backgrounds are flat and static, and the camera appears to have been nailed down to prevent it from defecting to Pixar. Instead of good character and scene design, we’re given pointless, hyper-realist close-ups of feathers. Instead of panoramic, well-populated shots of Trafalgar Square, pigeon capital, incidentally, of the world, we get a close-up of a granite pedestal and a single grubby pigeon. (Sure is nubby, though.) For a movie that traffics in bird puns as though they were the last word in kinder humor, a bird’s-eye view of the square, the city, is sorely missing. The story begins when Valiant’s town is visited by the heroic Wing Commander Gutsy (Hugh Laurie), who is recruiting badly needed pigeons shortly before the invasion at Normandy in 1944. With the encouragement of the peg-legged publican Felix (John Hurt), Valiant goes off to London, where he meets a repellent con-pigeon named Bugsy (Ricky Gervais, in full David Brent mode) and signs up. After a brief training period, the less-than-elite Squad F — which includes the aristocratic Lofty (Pip Torrens) and the hooligan brothers Toughwood (Brian Lonsdale) and Tailfeather (Dan Roberts) — is shipped off to France, where a downed pigeon named Mercury (John Cleese) has been taken prisoner by the nefarious German Falcon Von Talon (Tim Curry). Inspired by true-ish events (the British military did indeed use messenger pigeons during the war and even had a medal specifically for heroic animals), “Valiant” wants to be the “Saving Private Ryan” of animated war movies. Instead (and the characters are just as hard to tell apart) it’s their “The Great Raid.” ‘Valiant‘ MPAA rating: G Times guidelines: Contains some scary moments for very young children. Released by Buena Vista Pictures Distribution. Directed by Gary Chapman. Produced by John H. Williams. Original story by George Webster. Screenplay by Jordan Katz and George Webster and George Melrod. Music by George Fenton. Editor Jim Stewart. Animation director Richard Purdum. Director of photography John Fenner. Running time: 80 minutes. In general release.
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DOWNLOAD MOVIE 8 Mile 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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8 Mile Reviewed By Rob Gonsalves Posted 12/30/06 02:55:05

"Bland, cautious Eminem semi-biopic." (Average)

‘8 Mile,’ the major acting debut of Eminem (n? Marshall Mathers III), isn’t nearly as bad — or, for that reason, as crummily enjoyable — as the only previous film starring debut of a white rapper, ‘Cool as Ice’ with Vanilla Ice. (I make that comparison with all the authority, and shame, of someone who actually rented ‘Cool as Ice.’)This is a grim, serious, half-decent fictionalized account of the days before Eminem was Eminem — before he splattered himself onto the American consciousness with "My Name Is" ("Hi kids! Do you like violence?" he began. "Wanna see me put nine-inch nails through each one of my eyelids?") and just kept going. Love or hate Eminem, he’s a virtuoso of invective, with an intricate command of rhyme and a formidable eye for obscenely surreal detail.The movie, which recasts Eminem as Jimmy Smith Jr., a.k.a. "Rabbit," tames him considerably and dulls his edge. It’s not till the climax, when Rabbit faces off in a battle of rhymes against various nemeses, that we really get a sense of Rabbit’s (and Eminem’s) heartless, weightless style — a battering ram that hits you so fast you don’t notice you’re bleeding. For most of the film, Rabbit mopes around in godforsaken areas of Detroit with his friends when he’s not clashing with his trailer-trash mom (Kim Basinger, overselling her lower-class twang), doting on his much younger sister (Chloe Greenfield), or standing around and facing in the general direction of Brittany Murphy as a local aspiring model who takes a shine to him.Murphy’s character is in the movie to show that (A) Rabbit is heterosexual and (B) whether it’s your bingo-playing, jerk-magnet mom or a hot number who’ll drop her panties for you — or whomever else — in a heartbeat, you can’t trust women. (Rabbit’s little sister gets by because she can’t be more than six years old.) Aside from a clumsy tryst at the factory where Rabbit works and a couple of conversations, there’s nothing going on between these two, so when he finds her in flagrante delicto with a local braggart (Eugene Byrd) who’s been promising to get Rabbit some free studio time, Rabbit seems less angry and disappointed with her than he is with the braggart.Working from an Eminem-approved script (by Scott Silver) that can only be called cautious, Curtis Hanson steps up to the material with every ounce of bleak verisimilitude this gifted director (L.A. Confidential, Wonder Boys) can muster. It helps, too, that his cinematographer is Rodrigo Prieto, who worked magic on Amores Perros and here paints with a bucket of deep rich grays and blues. 8 Mile feels like a real movie only because Curtis Hanson never treats it as anything less than a real movie. It’s the sort of film that can deepen your admiration for Hanson even if the film’s content doesn’t sway you: Faced with an Eminem project, Hanson damn near turns it into a Curtis Hanson drama, with all his recently acquired respect for quiet moments and character-driven conflict.Still, you leave 8 Mile thinking you’ve seen probably the most sober-sided, technically accomplished take on the Underdog Transcends Humble Roots genre since Saturday Night Fever, and even that movie had the escapist dazzle of the disco. Even in the scenes where Rabbit proves his virtuosity, 8 Mile comes out of the despair and rage of the powerless, and even though Hanson’s skill keeps things moving, the film is really no more than a two-hour prelude to a climax in which our hero … rhythmically tells people off. Eminem isn’t terrible in his many non-rapping scenes, but then the script protects him to the extent that he never really has to express anything other than occasional anger; he stands apart from his own story, uncommitted to the emotions in the drama, as if showing vulnerability would make him a "bitch."If Jimmy had been allowed to be as funny and complex as Eminem’s rhymes often are, "8 Mile" might’ve been something more than a genre film within a genre film: Underdog Director Transcends Humble Script.
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DOWNLOAD MOVIE Terminator 3: Rise of the Machines 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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Terminator 3: Rise of the Machines (2003) / Action-Sci Fi MPAA Rated: R for strong violence, language and brief nudity Running Time: 110 min.

Cast: Arnold Schwarzenegger, Nick Stahl, Claire Danes, Kristanna Loken, David Andrews Director:  Jonathan MostowScreenplay: John D. Brancato, Michael Ferris

 

 

When you’ve got a billion dollar franchise on your hands, chances are you’re not going to let it sit on the shelves too long.  Even if you can’t get the visionary director of the first two films, there’s still potential gold in them there hills, and by gum, they have got to be had.  But there’s a problem here, because if you don’t have a visionary, you don’t have a vision, and with a $170 million dollar budget at stake, it’s too risky to go in without a solid game plan.

The game plan from the get-go is to try to recreate the vision that James Cameron had for his sequel Terminator 2: Judgment Day and try to top it.  Keep Schwarzenegger as the good Terminator, craft a bad Terminator that’s even more menacing than the T-1000, and blow everyone away with stunts and special effects to try to make the first two films pale in comparison.

T3 isn’t really a bad sequel, and probably the kind of film you’d expect when the original creators have washed their hands of the project from inception.  However, when you follow one of the best sequels in movie history in T2, anything less than earth shattering brilliance is not allowed.  People were genuinely content with how things stood, and if we’re going to dance the dance one more time, there better damn well be a good reason.

There isn’t.  With T3 we see the replacement of James Cameron as the director to Jonathan Mostow, competent but as of yet unspectacular, whose only previous claims to movie making fame were the good but less-than-stellar suspense-action films U-571 and Breakdown.  If that drop in inspiration wasn’t significant enough, the chore of writing the script has also been given to the writing team of John D. Bracato and Michael Ferris, who collaborated on the far-fetched thrillers, The Net and The Game.  Then, Linda Hamilton isn’t on board, nor is Edward Furlong.  What you are left with is Arnie, a sky’s-the-limit budget, and a formula laid out by the predecessor so that they could play things as safe as possible by adhering to it at all costs.

T3 takes place roughly ten years after we’ve last seen John Conner, who has lived a rogue existence now that he has been contented that Judgment Day has been averted.  Or so he thinks, until several young men and women around the city start getting picked off one by one by a powerful new Terminator, the T-X, which has the power to shape shift as well as control other machines.  Another T-800 "Model 101" model Terminator has also come back to play the role as protector of John and his potential future wife, Kate, and it is his sole mission to make sure that they survive the impending doom that is to befall the rest of mankind.  However, this doesn’t sit well with John and Kate, who have about three hours to try to change destiny, against the seemingly insurmountable odds and against an unstoppable, omni-powerful opponent that will not rest. 

Although T3 is a clearly inferior sequel to the other two that come before it, it does have a couple of things that make it a tolerable viewing even if it falls short creatively.  First, the special effects are phenomenal, with a couple of action sequences that are nothing short of breathtakingly rendered.  It’s truly an eye-candy lovers delight.  Second, it does have a good sense of humor.  Not all of the jokes are funny, but plenty of them are, and even if the main plot isn’t engaging enough for us to care one way or another, at least there’s some choice fun to be had along the way. 

The bad news is that, try as they might, they couldn’t keep boredom from setting in because the main ideas are just woefully inadequate.  While the effects and stunts leave a lasting impression visually, somehow they don’t manage to actually help the story or plot.  We don’t care about the characters enough to really feel on the edge when their lives are in jeopardy, and probably wouldn’t shed a tear should they meet an unfortunate demise.  Contrast this to T2, which left a lump in many a person’s throat as the two main machines went to battle for the fate of humankind.  We marvel at the the level of explosions, carnage, and mayhem, yet we never truly connect with them enough to make us feel the danger we are supposed to. 

There are stints where T3 looks like it’s on the verge of going somewhere, yet it always falls back to gratuitousness in effects and action to try to build upon.  The first two films in the series laid the groundwork by providing characters we care about and a fate we were invested in wholeheartedly…we actually believed that everything hung in the balance at all times.  T3 is all backwards, because everything is built around the stunt pieces, and the characters are dwarfed in comparison, almost included merely as the vehicle to show more amazing visual effects and things blowing up. 

For fans of the series, who undoubtedly will still go to watch this film even though they may have reservations, I would only recommend to view T3 as a "What if…" movie rather than a direct sequel.  Otherwise, it’s no different than a Terminator itself, a mechanical construct whose only drive is to deliver its mission, feeling no emotions and possessing not even a trace of a soul.

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