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DOWNLOAD MOVIE Ice Harvest, 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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Ice Harvest, The

The Ice Harvest falls into the subcategory of a Coen Brothers film done without the Coens writing or directing.  It seems to be a genre that has been picking up steam recently, as the very Fargo-esque The Big White saw some limited action in Europe.  The Ice Harvest fares better than that misfire, but not really anywhere near the quality of the Coens at their peak.  Although the events that transpire will have you remembering the deliciously dark crime thrillers like Blood Simple and the aforementioned Fargo, these memories will probably have you itching more to revisit those classics, not completely satisfied by the imitation thrills The Ice Harvest throws at you.  It’s passable stuff, but may be too dark and violent at times for some viewers to really see the humor of the situation, so it is recommended with substantial reservations. The premise is simple.  Two sleazy men end up embezzling 2 million dollars from the kingpin of sleaze in town, and find their escape complicated by a variety of situations that come up, including their misdeeds being found out by the man they stole from, and he is none too happy.  Although billed and marketed as a comedy, I feel the need to warn some viewers that The Ice Harvest is more of a thriller with dark comic touches rather than one that goes to tickle your funny bone.  In fact, most of the laughs are of the nervous, comic relief variety, used to temper the heavy doses of sometimes bloody confrontations that occur with increasing frequency as the movie draws to its conclusion.  Black comedy is always a risky business; when it works it is scandalously funny, but there will always be a portion of the audience that just doesn’t find humor in it, and consequently, they will absolutely abhor it.  To those that may choose to see this film based on my recommendation, let me just say, you have been amply warned.

Although technically it is a Christmastime tale, this is as grisly as it gets in that regard, for populist fare anyway.  Good performances and some interesting characterizations are the highlights, although it’s the kind of tale that feels a bit overdone, especially if you’ve seen a noir film or two in your lifetime.  This one’s for genre fans, primarily aimed at cynical viewers that enjoy their thrills sleazy and their comedy ice cold and pitch black. 

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DOWNLOAD MOVIE Payback 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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Payback
Never heard of it? Good. This is your typical straight to video type movie.
While it is watchable, it is so boring, so predictable, and uses about
single cliche in film about corrupt cops & seeking revenge. Be sure to skip
this along and actually find something with REAL actors and a REAL
story.

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DOWNLOAD MOVIE Man, 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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Man, The

Spider-Man 2 is a bit of an oddity for an action-packed superhero summer blockbuster.  Perhaps no other in the genre has ever bothered devoting so much effort into character development, which is quite the gamble when you have a sure thing sequel that would satisfy fans even if it were just a continuation of Spider-Man (2002).  Due to this shift into more drama about the personal life of Peter Parker (Maguire, Seabiscuit), Spider-Man 2 goes at a slower pace than the first film, with a concerted effort by Sam Raimi (A Simple Plan, The Quick and the Dead) to humanize the superhero character in the hope that we actually feel something for the man behind the mask.  Evidence of this comes from just how often Spider-Man removes his mask, a constant reminder that Peter Parker’s heart and mind are there all along.  Of course, if you are going to build up characters this much, you should have a reason, and that reason may be what just might make the Spider-Man franchise do what all other superhero franchises have failed to do — not run completely out of gas after the second film.  Unlike most hit sequels, Spider-Man 2 isn’t trying to be bigger and better, although it does manage to impress on a grander scale in many ways.  To adequately appreciate it, one has to think more in terms of investing for the future.  The character of Spider-Man has been, since his inception in comics from the 1960s, just as much about Peter Parker’s personal foibles as it is about his battles with super-villains.  Behind all of the superpowers is a real young man with real problems, the same problems you and I have.  He has work pressures, financial issues, girlfriend problems, familial responsibilities — not to mention saving the city from a wide array of malevolent forces.  Raimi keeps his film true to the spirit of the Stan Lee/Steve Ditko creation by giving us Peter’s story, which is the fuel that drives the action scenes.  This investment does come at a price early on, as much of the film remains static for a while, setting up situations, characters and the romance, and in fact, things seem like they are going nowhere for some time.  Then, just when you’re lulled into the small stories, the big picture forms, and all of the build-up starts to pay off, not just once, but again and again, until it seems no matter where the story leads, Raimi can do no wrong. Wisely, Raimi fleshes out Peter Parker fully, and all but strips away the background of the main villain of the flick, Dr. Octopus (Molina, Chocolat) — a gamble that eventually reaps big rewards.  Other superhero films do little with their hero after introducing the origin, and afterward, spotlight the villains and their plots to the point where the hero becomes just a means to the villain’s end.  Spider-Man 2 turns this formula completely around, and this move turns out to be the wisest decision of all.  Rather than be a study on the roots of villainy, Spider-Man 2 is about the psyche of the hero — the inner turmoil that goes through the mind of a man with the weight of the world on his shoulders, and his doubts as to whether he can live up to the expectations of his own ideals.  It’s simplistically dealt with, yet still quite resonant.  Once introduced, Doc Ock is just as quickly forgotten, reintroduced later as the catalyst for the loose ends of Peter’s story to come together in a climax with much more than good vs. evil riding on the line.  This is a battle between love vs. loneliness, and duty to self vs. the community.  There is an adage that says that if you want to change the world, you first have to start with yourself.  For Peter Parker, this battle between whether to take care of his own needs over those of people in real peril rages violently within him, to the point where he can no longer seem to function, either as a person or as a hero. Raimi has made a conscious decision to inject humanity into his movie, as we see Spider-Man unmask himself many times throughout the film.  No doubt this was an intentional effort for us to always be aware that the Peter Parker/Spider-Man scenario is not a dichotomy, Jeckyll/Hyde scenario.  Spider-Man is always Peter, and Peter always Spider-Man, not a schizophrenic entity like Batman or a disguised persona like Clark Kent.  We want Spider-Man to be victorious not only because we want good to triumph over evil, but because we also don’t want Peter Parker himself to fail. As much as I love the character of Spider-Man, and want to love the movies based on the comic books, I still am not ready to ditch my credibility as a movie reviewer for the sake of unabashed fanboy-ism.  Doctor Octopus isn’t a very intriguing villain, although certainly formidable, and the artificial intelligence, with mannerisms akin to serpents, given to his lovingly crafted limbs borders on the ridiculous.  The schmaltz effect does sometimes creep in, as when Spidey decides to try to save a child in a burning building, or when some subway commuters decide to return the favor and help protect Spider-Man.  Then there are the incredible coincidences, such as Doc Ock happening to break into the same vault of the bank that Peter and Aunt May are at, or that every super-villain just so happens to have a personal relationship of some sort with Peter Parker in some way. But hey, this is the comic book world, after all, so it’s really a credit to Raimi’s delivery that one might even quibble that things are not always played in realistic fashion.  In a cinematic world full of special effects smorgasbords, all eye-candy and not a heart or mind to be found anywhere, it’s refreshing to see a filmmaker try to make real and heartfelt story out of a mythos that came out of an old-fashioned funny book that told all its tales in 22-page increments. Is the sequel better than the original?  That may be the subject of ceaseless debate, and I’m of two minds about it myself.  Considering that I had proclaimed the first Spider-Man the best superhero film ever made, the fact that I’m conflicted says a lot about Spider-Man 2.  Regardless of the conclusion, at the very least I can state with conviction that this undoubtedly the best sequel of a comic book adaptation ever made.

‘Nuff said, true believers.  Now watch and enjoy.

– Followed by Spider-Man 3.

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DOWNLOAD MOVIE Basic Instinct 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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With “Basic Instinct 2,” the “Basic Instinct” franchise (who saw it coming?) enters its unhinged rococo phase. Set in a carefully curated London, abstracted and glamorized to a fare-thee-well, the new movie makes the original Verhoeven-Eszterhas collaboration look positively Hellenic. It’s just that fancy. Every surface is buffed, shiny, unbelievably expensive — including Sharon Stone herself, who, should the situation arise, could double as her own limited edition action figure. One thing’s for sure, director Michael Caton-Jones has no interest in replicating what by contrast now looks like the vérité grittiness of the first movie, in which the occasional character might have possessed a small apartment, bad clothes or a big butt. His London — a glass-and-steel backdrop for the couture collections of the superrich — makes the San Francisco of the first movie look positively poky. Come to think of it, it makes the whole 1992 notion of superrich look poky, which actually is the most interesting thing about the movie. Were future generations to unearth both DVDs, they’d get a neat lesson in the direction the culture has moved within the interval. Remember when obscene wealth was presented as something to gawk and marvel at? In the first movie, someone tells Michael Douglas’ character that Stone’s character is worth $100 million and he whistles. It seems so long ago. These days, we’re supposed to witness exponential levels of affluence and take them in stride. We’re cool. In “B.I. 2,” psychiatrists and magazine writers kick back and learn Hungarian in multimillion-dollar digs, and nobody bats an eye. That’s because “Basic Instinct 2,” for all intents and purposes, is a luxury goods and services commercial aimed at the top 1 percentile, turbo-charged by generous injections of too-graphic-for-network-TV sex and violence. It’s so 2006. ADVERTISEMENT If the old Catherine Tramell, footloose and panty-free crime novelist and ice-pick murderess, was a femme fatale with a soft spot, the new Catherine Tramell is a robo-vamp who has apparently spent the last decade and a half channeling “Sex and the City.” (Guess which character was her favorite.) We first encounter her as she charges through a tunnel in her Spyker Laviolette at 100 mph, a wasted soccer star gurgling and cooing in the passenger seat. This time, writers Leora Barish and Henry Bean waste no time introducing us to Stone’s privates, so it’s racy in every sense. The car goes off a bridge, and Catherine leaves the immobilized footballer to sink as she floats to the surface of the river like an exterminating angel. Once again, the soccer star’s death mirrors the plot of one of Catherine’s novels, and soon she is being hauled in by the police for questioning. The detective, this time, is no leonine tough guy with a thing for rough sex. He’s a wry, cynical and possibly crooked Det. Roy Washburn, played by a comically mustachioed David Thewlis, who appears to be the only cast member in on the joke. But Catherine has written a book about a cop, as we know. This time, it’s the handsome evaluating shrink who catches her eye. Dr. Michael Glass (David Morrissey) glides along the glossy surfaces of the movie with a lightly concerned look on his face, and, naturally, he has reason to worry. Like Catherine’s last subject, he has a troubled past he’s working hard to move beyond — a patient he vouched for went on to kill his girlfriend. The strain resulted in a breakdown that ended the doctor’s marriage and jeopardized his career. When the production notes describe him as “physically drawn to Tramell and mentally intrigued by her,” they’re not kidding about the mental part. In another sign of the times, the diabolical Catherine’s psychopathic behavior is reduced to a syndrome. She’s a risk addict, you see, and soon she’s going to ask Glass for professional help. (The professional impropriety of treating a patient he has evaluated in court is no match for her scissor-like legs.) When she abruptly terminates therapy, the hangdog stalking begins, as do the mind games — no small feat in a mindless universe. Skulking around her bat lair, and popping up in the most unexpected places modeling backless cat-suits and see-through shirts, Stone plays Catherine as an updated Cruella De Vil with a total disregard for smoking ordinances (anything for art, I guess), slinking and stalking her way through a Byzantine web of plots and couplings involving Glass, his mentor and mother-figure Dr. Milena Gardosh (Charlotte Rampling), his ex-wife Denise (Indira Varma), Washburn and the sleazy magazine writer Adam Towers (Hugh Dancy), who happens to be in possession of some damaging goods on either Washburn or Glass or both. Watching Stone slink along with a diabolical smirk frozen on her face, trailing bodies and clichés, is not, however, without its pleasures. What we may very well be looking at here is another “Showgirls,” a drag camp-fest for the “Baby Jane” crowd, fabulous fodder for future cabaret acts, and a pleasure probably best enjoyed in a crowd — preferably a vocal one. Dead serious and stone idiotic, the only basic instinct in evidence here is desperation. “Basic Instinct 2″ MPAA rating: R for strong sexuality, nudity, violence, language and some drug content
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DOWNLOAD MOVIE Magnolia 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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Paul Thomas Anderson makes a pretty engaging lead in this documentary
about the making of "Magnolia," but the director, Mark Rance wastes a
lot of running time. For example, we are treated to hearing an
orchestra record the score, but why are there no scenes of Anderson and
Jon Brion discussing the score? There are also scenes showing
pre-production meetings, but apart from discussions about difficulties
in scheduling the actors, the rest could be cut in favor of more
Anderson/Robert Elswit footage. I would like to see a doc about Paul
Thomas Anderson in the tradition of "Directed by Andrei Tarkovsky." I
can’t help but feel there is a better doc in the footage not used.

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DOWNLOAD MOVIE Addams Family, 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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Addams Family, The

It might be a step down from the pleasure that was The Addams Family, but this sequel doesn’t miss too far off the mark.  Although darker in nature, with a more adult vibe (this one kicks the rating up to PG-13), once the plot gets rolling, the momentum returns.  While never great, there are some fun moments to be had, especially due to the performances of the lively main players.

In this one, Uncle Fester (Lloyd, Back to the Future Part III) ends up falling for Debbie (Cusack, Working Girl), the Addams’ new nanny taking care of their new addition, Pubert. Unbeknownst to him, Debbie is really a gold digging murderess, out to marry Fester and snatch his cash, after she’s finally done him in. While the adults are clueless, the kids are hip to her schemes, but they can’t do much about it, since they’ve been shipped off to summer camp, where the happy-go-lucky nature of the place doesn’t jibe well with their dark personalities.

It’s hard to go wrong with all of the main players back, and even without a good story, the strength of the original film’s visuals continues here.  The main plot is sporadically entertaining, becoming interesting mostly when Christina Ricci (The Opposite of Sex, Pecker) or Christopher Lloyd take center stage.  The new Addams is meant to give this sequel a new element of cuteness, but this is probably the least effective subplot of the film.  Also on the down side is that, while the Addams Family has always been dark in its humor, there is an element of vicious mean-spiritedness that undercuts some of the scenes, particularly when the siblings are trying to kill one another.  Obviously, they won’t be successful, given the commercial family film nature of it, but these scenes are never as funny as first-time screenwriter Paul Rudnick (In & Out, Marci X) must have thought they would be.

Even with some of the substantial downsides, Addams Family Values maintains an interest level throughout.  The quality of the humor wildly varies, but there is just enough going for it to justify the time spent.  Needless to say, if you didn’t care for the original, you aren’t likely to think this an improvement in any capacity, leaving this recommended strictly for those viewers that just can’t get enough Addams Family antics.

— Followed by a direct-to-video sequel, Addams Family Reunion.

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DOWNLOAD MOVIE Agent Cody Banks 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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Agent Cody Banks Reviewed By EricDSnider Posted 06/30/03 10:55:17

"Malcolm in a muddle" (Average)

Unfortunately for ?Agent Cody Banks,? someone already made a movie about spy kids, and it was called ?Spy Kids.? They even made a second one, called ?Spy Kids 2.? ?Agent Cody Banks? is joining the game at a point when its derivative nature will be obvious to even the stupidest of children.As rip-offs go, it is a fairly innocuous one, though I do think there are more references to Angie Harmon?s cleavage than a kid-friendly PG movie ought to have. Frankie Muniz (TV?s ?Malcolm in the Middle?) plays Cody Banks, a typical teen who gets tongue-tied around girls and is having trouble with math, but who has secretly been trained by the CIA in matters of espionage. Even his parents don?t know about it; we catch a glimpse of it when he rescues a baby from a runaway car, subsequently disappearing into the crowd like an adolescent superhero.Cody is called into action with a special assignment: Get close to Natalie Connors (Hilary Duff), whose scientist father (Martin Donovan) is making breakthroughs in nano-technology ? ?microscopic robots,? we are told, helpfully. In the wrong hands, this technology could endanger the world. Under the tutelage of Bond girl-ish Ronica Miles (Harmon), who insists she is his handler and NOT his partner, Cody embarks on the dangerous mission of talking to Natalie and, even scarier, becoming her boyfriend. There is some comedy in this that will surely appeal to the film?s target audience, who are no doubt intimately and recently familiar with such trauma.On ?Malcolm in the Middle,? Muniz is the straight man amidst other, more colorful characters. Here, he is asked to carry a film ? an action film, no less ? and he simply doesn?t have the personality for it.Speaking of things without personality, let?s talk about the screenplay, which is credited to four writers. It is like ?Spy Kids,? but without the wit or imagination ? or, obviously, the originality ? of that film. It has a darkness that is never fully explored: Cody was recruited by the CIA because they tracked him reading spy magazines and surfing for gadgets on the Internet. He didn?t want the job; he sort of had it thrust upon him. But the reluctant hero theme is underused. Cody Banks ? like the film he stars in ? does nothing more than glide through the motions.
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DOWNLOAD MOVIE xXx 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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It would seem paradoxical that Vin Diesel gains popularity as his movies get worse.  Starting off with his small role in the excellent Saving Private Ryan, then the voice of the Iron Giant in the very good The Iron Giant, a supporting role in the good flick Boiler Room, finally co-starring in the fun schlock film Pitch Black, and he soars in popularity but is still the co-star in the so-so action film The Fast and the Furious.  XXX marks Diesel’s first chance to be the out-and-out star, and if you haven’t guessed by the train of thought from the last sentence, the higher the Diesel, the higher the crap quotient.   Now that the careers of Bronson, Stallone, Van Damme, and Seagal are pretty much over, there has been a void in the lowbrow action genre…that is until now.  Ladies and gentlemen, the new king of bad action cinema for the new millennium has finally emerged, stinking up a theater near you soon.

Diesel stars as Xander Cage, the kind of name no one has in real life but everyone has if they are a bad-ass movie character.  Xander’s nick is "XXX", who has gained notoriety and the love of everyone who watches the X-Games on ESPN2 through his daredevil acts in extreme sports of all kinds.  He pushes his stunts to the limit each time and eludes the law at every turn, a folk-hero for the underground skater/boarder scene everywhere.  This makes him attractive to those who need to use his street-smart skills, and he is forced into a life as a secret agent by another bad-ass, an NSA agent named Augustus Gibbons (Jackson), who sees Xander’s abilities and tough guy attitude as essential for gaining the trust in the street while infiltrating an underground crime operation in Prague.  His goal is to just gather information as to what’s going on, but finds himself getting more involved as he falls for the crime boss’ girlfriend and discovers a plot to destroy the world.

Granted, one isn’t necessarily expecting a great film from the director and star of The Fast and the Furious, so the best we could hope for is to achieve the same level of mindless popcorn entertainment in XXX.  However, too much emphasis was placed on the "mindless" aspect, which is apropos considering screenwriter Rich Wilkes’ previous claims to scripting fame were Airheads and The Jerky Boys.  There is no character development, a laughable plot, some bad one-liners for Diesel, and not a conversation in the entire film that smacked of originality. 

Ah, but who cares about good writing when it’s action that is the real reason to catch XXX right?  If action and explosions are all you are looking for, then XXX does deliver the goods, but the delivery comes too often and doesn’t know when to quit.  Cars don’t just crash, they explode…as does every boat, motorcycle and lawnmower in the film.  It seems there isn’t a single piece of machinery that doesn’t have TNT strapped onto it for the entire movie, and in XXX’s 2 hour running time, probably half of the time is devoted to explosions, fires, and other catastrophic events for our eye-candy viewing pleasure.

For those scenes that don’t offer explosions, XXX delivers more "entertainment" in the form of unrelenting noise.  Bad hip hop, techno and hard rock permeate the soundtrack regardless of location…the United States, Prague, up in the mountains or going down a river.  There is so much loud music and noise everywhere, it’s no wonder Sam Jackson feels the need to attend an opera during one key scene, just to get away from all the ear pollution, and even then it isn’t particularly pleasant or peaceful.

XXX is an overlong, overblown and underdeveloped mess in almost every respect…hyper-kinetic pyrotechnic masturbation formulated to dumb the mind and numb the senses without mercy.  It’s a film so damaging, Vin Diesel may never be able to shake the typecast, and unfortunately this also means a decade of films just like it are already in the works.  Based on Diesel’s devolving track record so far, I shudder to think how bad his movies will get before the end of it because it’s already hard to imagine it getting much worse. 

The name may be XXX, but you’ll walk out of the theater asking YYY??!!!.

– Followed by a sequel, xXx: State of the Union.

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DOWNLOAD MOVIE Business, 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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Business, The

The Business of Strangers – ***1/2 (out of 5)   (2001)

Cast: Stockard Channing, Julia Stiles, Fred Weller, Mary Testa, Jack Hallett

Directed By Patrick Stettner

THE BUSINESS OF STRANGERS marks an impressive debut for its writer-director, Patrick Stettner, who succeeds in both departments, despite a small budget. It just goes to show that you can make an entertaining, and thought-provoking film without outlandish special effects or a lot of hype. Of course, having a great performance by a fine actress like Stockard Channing helps tremendously, too. Channing stars as Julie, a cut-throat business woman who fires a younger female assistant, Paula (Stiles), when her plane is late, leaving Julie to have to give a presentation without the visuals. Instead of a pink slip, Julie ends up getting a promotion, and while doing a little personal celebrating in a bar, she runs into Paula again, waiting for a plane that would not leave until the next day. Julie has a change of heart about the firing, and offers let Paula come back to her hotel for a place to sleep for the night. While there they also run into an acquaintance of Julie’s, Nick, but Paula is leery of him, confiding that Nick had raped a friend of hers while in college. Now Paula concocts a plan for revenge, and wants Julie to be a part. But is Paula getting revenge on Nick, or is it on Julie for humiliating her and trying to turn the tables? THE BUSINESS OF STRANGERS is a short and subtle film, and surprisingly isn’t as much about the issue of rape as it is about the worth of a life spent in the pursuit of a career. Channing is perfect for the role, and is perhaps under appreciated as an actress, worthy of more meaty roles in the future. Stiles also impresses as the younger woman, not really giving away if she is motivated by revenge or if it’s another in a series of thrill-seeking pranks. The titillation factor is pretty high in this film, and the adult situations are very adult, although definitely not overly so for the material. Lesbian undertones persist, which sets up for another possible twist among many as to why the two women do what they do for each other. Credit Stettner for showing restraint in the material, as this could easily have become exploitative, but the envelope never gets pushed to the point of showing sex strictly for sensationalistic pleasures. THE BUSINESS OF STRANGERS is very much recommended for those who like independent films done with professionalism, and especially for the performances of the leads. Smart drama with many moments of subtle wit, making you wish more commercial films could follow the example of not making every sex thriller a trashy affair.

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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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“I’m an obsolete design.”

The Movie:
Looking at all the factors working against it, Terminator 3: Rise of the Machines is a movie that has no business being any good at all. Produced 12 years after the last entry in the series, the new sequel is an obvious cash-in on a franchise that already wrapped up pretty conclusively. Original creator James Cameron had no involvement, star Linda Hamilton dropped out, and even co-star Eddie Furlong had to be replaced due to his notorious personal troubles. The only crucial element to return is Arnold Schwarzenegger, clearly desperate to relive old glories after a career downturn featuring several costly flops such as Batman & Robin, End of Days, and Collateral Damage. What’s more, in the time since the last Terminator, much of the franchise’s humankind-vs.-evil-machines mythology had been successfully copied and expanded upon by the popular Matrix trilogy. The man assigned to revive the series post-Matrix, Jonathan Mostow, previously directed a few competent action movies (Breakdown, U-571), but certainly hadn’t done anything to establish himself as an auteur on the level of James Cameron. It really looked like there was just no way this movie could possibly work. By all accounts, it should have been a complete piece of crap. And yet, somehow, despite all odds, T3 managed to pull through and deliver a surprisingly effective return for the hulking cyborg from the future.

As we last left things, young John Connor and his mother Sarah had successfully stopped Judgment Day, the predestined nuclear holocaust in which intelligent machines would exterminate most of the human species. “The future is not set. There is no fate but what we make for ourselves”, was the mantra Sarah instilled in her son. We pick up more than a decade later and are told that Sarah died of cancer, having lived just long enough to see that Judgment Day didn’t happen. John (currently played by Nick Stahl of Carnivale) now lives a vagabond existence, trying to stay off the grid just in case his mother was wrong. Sure enough, one quiet night in Los Angeles a ball of energy materializes on Rodeo Drive, signaling the arrival of something from the future, and hey it’s a sexy girl this time! Later, a second time portal delivers a familiar Austrian bodybuilder. Following the same formula that worked for T2, the first robot (a T-X model “Terminatrix”) has been sent to hunt and assassinate John, while the second (our pal Arnie) was reprogrammed by the human resistance of the future to protect him. Much shooting, explosions, and metal-on-metal robotic destruction ensues.

Let’s be very clear about this; T3 is not the masterpiece or classic that both of the previous Terminator films were. It’s an unapologetic recycling of the second movie with just enough new elements and twists thrown in to keep things fresh.

The gimmick of a female Terminator sounds pretty corny but actress Kristanna Loken sells it, playing the role with a perfect blend of sex appeal and robotic menace. Her cyborg villain really doesn’t bring anything innovative to the series that Robert Patrick’s T-1000 hadn’t accomplished the last time, but she establishes herself as an effective threat for Schwarzenegger’s outdated T-800 model early on and provides sufficient motivation to propel the plot along. The movie also uses her to set up an interesting feminine dynamic. Loken fills the void of the tough female warrior role left by Linda Hamilton, which is positioned against Claire Danes as a new character in effectively the same position that Hamilton’s was in the first Terminator.

Where Mostow and his screenwriters show their daring is their attempt to reverse the main themes of the second film. T2 ended on a note of hope, telling us that man sets his own destiny and won’t be ruled by fate. T3 takes a much bleaker approach, insisting that Judgment Day can be postponed but not avoided. John’s future is inevitable, and nothing he does can change it. That was a pretty ballsy decision that some fans objected to, but the movie works hard to convince us of its necessity.

Schwarzenegger is in great shape for 56 years-old, and I’ll be damned if he doesn’t look exactly the same in this movie as he did 12 years earlier. Mostow’s direction is slick and efficient. His action scenes don’t have the beauty and elegance of Cameron’s, a trait sorely missed, but he does a perfectly fine job of wrangling the various stunts, explosions, and visual effects into a coherent and exciting package. Nothing here tops anything in the second film the way that T2 took the first Terminator to its next logical level, but in many ways it doesn’t seem like it was meant to. While T2 was a hugely ambitious project, epic in scope and with the length to match, Mostow keeps T3’s running time under 2 hours and structures it as a concise, unpretentious sci-fi action picture.

Sure, there are things to quibble about. The movie has several significant plot holes and violations of the franchise’s established rules. The T-X robot has complex moving parts and chemicals, which the first movie explicitly told us couldn’t be transported in the time portal. She also has the ability to infect other machines with a computer virus, and uses this to control a number of vehicles at once during the movie’s biggest chase scene. Yet, logically, this just doesn’t make any sense. Although contemporary cars use computers in their engines, driving them remains a manual mechanical process. The car’s computer can’t push down the gas pedal or steer. There’s also a scene at the end involving an electro-magnet that only attracts certain metallic objects but not others at the convenience of the plot. Things like these are the result of sloppy screenwriting and could have easily been avoided with some extra polish.

Even so, Rise of the Machines works more often than it doesn’t, which few would have expected. The movie isn’t in quite the same league as its predecessors, but despite everything working against it makes for a surprisingly worthy sequel.

The HD DVD:
Terminator 3 debuts on the HD DVD format courtesy of Warner Home Video. With this release, the entire Terminator franchise thus far is now available on High Definition disc. The first two movies were released on the competing Blu-ray format earlier this year.

HD DVD discs are only playable in a compatible HD DVD player. They will not function in a standard DVD player or in a Blu-Ray player. Please note that the star rating scales for video and audio are relative to other High Definition disc content, not to traditional DVD.

Video:
The Terminator 3 HD DVD is encoded on disc in High Definition 1080p format using VC-1 compression. The movie is presented in its theatrical aspect ratio of approximately 2.40:1 with letterbox bars at the top and bottom of the 16:9 frame.

The video transfer looks terrific. Aside from the curious presence of some speckles isolated to the end credits, the source elements are otherwise spotless (as they should be with a recent movie). I saw no edge enhancement ringing or other digital artifacts. The minor amount of visible film grain is well compressed and never looks noisy.

Some viewers may be disappointed that the picture is slightly soft, but that seems consistent with the film’s intended photographic style. Even if it’s not razor sharp like some movies on the High-Def format, the T3 transfer has a very good sense of texture and detail, evident for example in the clarity of skin pores on the actors’ faces. The picture has great colors and rich black levels with plenty of shadow detail, lending the image depth and a rich, film-like appearance. At its best, the disc makes you feel like you could walk up to the screen and just step into the movie.

The Terminator 3 HD DVD is not flagged with an Image Constraint Token and will play in full High Definition quality over an HD DVD player’s analog Component Video outputs.

The photo images used in this article were taken from the DVD edition for illustrative purposes only, and are not intended to demonstrate HD DVD picture quality.

Audio:
The movie’s soundtrack is provided in Dolby Digital Plus 5.1 format. I was hoping for a lossless Dolby TrueHD track, but there’s little to complain about with the quality of what we’re given.

I’m sure no one will be surprised to learn that Terminator 3 has a hyper-aggressive sound mix featuring tons of directional surround activity and gloriously deep, hammering bass. We should expect nothing less from a recent mega-budget sci-fi movie. Sound effects are all crisply recorded and cleanly reproduced. Dialogue and music are also well integrated into the mix, rarely drowned out by the cacophony of the action scenes. The overall fidelity is fine, though a truly lossless track might have offered just a bit better clarity.

Subs & Dubs:
Optional subtitles ? English, English captions for the hearing impaired, French, or Spanish.
Alternate language tracks - Quebecois French DD+ 5.1 or Spanish DD+ 5.1.

Extras:
The disc automatically opens with a lengthy HD DVD promo that can fortunately be skipped but is a nuisance. Most of the bonus features on this HD DVD title are recycled from the DVD edition and are presented in Standard Definition video with MPEG2 compression. The interactive menus are accompanied by annoying clicking sound effects for every selection that can be turned off if you desire (and I recommend it).

• Cast & Crew Commentary - Director Jonathan Mostow and stars Arnold Schwarzenegger, Nick Stahl, Claire Daines, and Kristanna Loken participate in this audio commentary via separately recorded interviews. The other participants have useful and enlightening things to say, but all anyone will remember from this track are Schwarzenegger’s outrageously sexist digressions about Loken and women in general. “This scene, with the enlargement of the breasts, is fantastic”, gushes the Governor of California, then continues to ramble on and on about the subject for several minutes. It’s a good thing he recorded his segment of the track alone, because I think one of the women would have had to slap him if they’d been in the room.
• Director Commentary - Mostow also delivers his own separate commentary discussing his intentions for the project. He’s quite enthusiastic about the movie and the track is a worthwhile listen.
• Introduction by Arnold Schwarzenegger (30 sec.) ? A pointless clip in which Arnie, looking rather old, explains what DVD bonus features are. Why anyone would need this is a mystery.
• HBO First Look (13 min.) ?Typical promotional fluff, featuring interviews and a plot synopsis designed to hype the movie.
• Storyboards (4 min.) ? A boring comparison of storyboards to the movie’s finished scenes.
• Dressed to Kill (2 min.) ? A brief look at the wardrobe design.
• Sgt. Candy Scene (2 min.) ? A short deleted scene explaining the origin of the T-800 robot’s facial features and Austrian accent. The clip is rather funny but dumb, and clearly didn’t belong in the finished movie.
• Terminal Flaws (3 min.) ? A remarkably unfunny blooper reel.
• Toys in Action (7 min.) ? An extended commercial for the Terminator action figure toy line. The extraordinarily nerdy Todd McFarlane attempts to explain the hard work that goes into designing and sculpting intricate likenesses of the movie characters, and then for the last minute or so gets very defensive (seemingly from out of nowhere) about being a toy-collecting and comic book geek.
• Making of the Video Game (9 min.) ? An extended commercial for the tie-in video game, which looks pretty awful.
• Theatrical Trailer
• PC Game Trailer

Missing from the DVD edition are a T3 Visual Effects Lab section consisting of a few featurettes, and the Skynet Database and Terminator Timeline text trivia notes. The VFX stuff is sorely missed, but the text pages aren’t much of a loss.

New to the HD DVD are:

• Crew Commentary - Jonathan Mostow returns for yet another audio commentary, this time joined by screenwriters John Brancato and Michael Ferris, cinematographer Don Burgess, and production designer Jeff Mann. The track is quite technical but interesting.
• In Movie Experience - Essentially amounting to a video commentary, picture-in-picture boxes alternate between the left and right sides of the screen over the movie image. Some behind-the-scenes footage and storyboards are contained here, rarely connected directly with the scenes they’re played over. Most of the feature consists of talking head interview footage of Mostow repeating things he’d said in the other audio commentaries. The IME content is rather spotty, with a number of gaps, but fortunately the disc has been authored to allow you to skip to each new piece using the Left and Right arrow buttons on the remote. I still find the IME function to be an intriguing innovation for HD DVD, but this isn’t its best implementation.

Final Thoughts:
No, Terminator 3: Rise of the Machines isn’t as good as the previous two Terminator films. However, considering all the reasons why the movie really ought to outright suck, the fact that it doesn’t is quite an achievement in itself. Against all odds and good sense to the contrary, it makes for a pretty worthy extension of a series thought finished. The HD DVD edition has excellent picture and sound, plus three good commentaries and the moderately interesting In Movie Experience feature. The other supplements are junk, but the disc has more than enough good points to merit a high recommendation.

Related Articles:
The Terminator (Blu-ray)
Terminator 2: Judgment Day (Blu-ray)
U-571 (HD DVD)
HD Review Index
Toshiba HD-A1 HD DVD Player

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