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DOWNLOAD MOVIE Cry_Wolf 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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Cry_Wolf Reviewed By Todd LaPlace Posted 02/26/07 10:19:51

"Let the wolf have it." (Total Crap)

I?ve got something I need to say to you, ?Cry_Wolf.? I know you think you?re all cool with that little underscore in your title, like you?re somehow hip or ?down? with the teens. But you?re not. You?re actually kinda lame and no one is going to fall for your schtick. Now, not only are you a gutless little horror clich?, but you?re one that was outdated about five minutes after your release.I honestly wanted to get into Jeff Wadlow?s ?Cry_Wolf,? a teen slasher flick that had the potential to be an allegorical slam on modern technology. But more than anything, I was merely distracted by the killer getting the instant message screen name Wolf. How anyone could get such a simple, pure name is beyond me. Unless you misspell some words or attach four random numbers, you?re not getting the name you want. I know that?s not really the point, but when your target audience is so completely familiar with a key element of your plot, you?re destined to be in trouble. This kind of small detail is ultimately going to kill the picture.Not that there was something overly great to kill anyway. Owen (Julian Morris) is a predictably sweet British troublemaker that falls in with the bored rich kid crowd, largely because of his crush on Dodger (the talented Lindy Booth). At a private high school in Virginia, I guess I shouldn?t expect this group to be terribly diverse, but they represent the dictionary definition of clich?. There?s the boring hunky white guy (?Gilmore Girls?? Jared Padalecki); the boring rebel (Jesse Janzen); the boring slut (Sandra McCoy); the boring token black guy (Paul James); the boring overweight outcast (Ethan Cohn); and the boring crafty Asian girl (Kristy Wu). I think I?m falling asleep just talking about them again. Not even Jon Bon Jovi (are the kids still listening to ?Livin? on a Prayer??) as a shady journalism teacher can infuse this dud with any life.Bored with their strict school (sensing the film?s best descriptive word?), the clique decides to take their lying game to the next level. Sparked by the murder of a local town girl, they invent a serial killer, an orange ski mask-wearing, knife-wielding maniac named The Wolf. To pull off the sadistic punk?d on their school, they have Owen forward an e-mail to the entire student body through a master list he shouldn?t have access to. There is something mildly inventive in how they use cell phones, e-mail and instant messaging to spread their brand of mayhem, but it never goes farther than a surface coolness. So many old horror movies are really thinly-veiled covers for discussions of social issues (commercialism in ?Dawn of the Dead,? teenage vice in any ?80s slasher), and it seems like this one could do the same for the abundance of pointless technology that dominates American life, but as the killer starts IMing Owen, the movie just turns into another entry in the gutless PG-13 horror genre.Being a 2005 horror movie, there is obviously going to be a twist ending, and in a complete shock, this one doesn?t disappoint. I?m not sure if I was too bored to see it coming or if it?s honestly crazy-inventive, but indeed I was pleasantly surprised. Of course, you do have to suspend your reason a bit, especially when the epilogue twists things even further, and by that point, it?s the case of too little, too late. If co-writers Beau Bauman and Wadlow could have put a little more time into developing the meat of their script ? and upped the rating ante to R with a little more sex and gore ? and not just stopped with twist , we?d have something a little more salvageable than this forgettable, immensely boring disappointment.One of the film?s taglines ? ?Nobody believes a liar?even when he?s telling the truth? ? is derived from the original fable by Aesop. But I believe it would have been more appropriate to crib from ?The Fox and the Grapes.? ?It?s easy to despise what you cannot get.? Therefore, ?Cry_Wolf? must really hate positive reviews.
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DOWNLOAD MOVIE Coyote Ugly 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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If your idea of a film is Barbie doll girls in skin tight outfits dancing on a bar, then Coyote Ugly is a must-see for you. Sad to say it, but there’s more plot in your average rock video, of which Coyote Ugly never progresses far beyond. What’s most annoying is the wasted opportunity to deliver more, with first-time director David McNally (Kangaroo Jack) showing flashes of talent, and Piper Perabo (The Adventures of Rocky and Bullwinkle, Slap Her She’s French) giving a decent performance despite the shallowness of the part.

The plot? HAHAHAHA!! Why bother with a plot when you have babes?! Well, that must have been said at the screenplay development stage for this film, because if there is a plot, it’s the typical dumb-ass Hollywood kind; a small-town girl goes to the big city to find stardom, but can’t get it through the normal avenues, finally getting it though compromising all of her values. In this case, Piper lands a job in a bar where the bartenders are all lookers who dance and prance for their all-male audience.

So much of this film makes no sense whatsoever that even trying to figure out any character’s motivation would prove a waste of time. Why would a bar become the most popular in town just because of tight clothes and sexy dancing when there are strip joints all over the city that show more? How does the owner of Coyote Ugly find the time or crew to pick up the place after each evening? How does the place even turn a profit when 95% of its patrons aren’t even drinking? Why would a lame rendition of "One Way or Another" by Perabo stop a barroom brawl? What could Piper possibly see in the Australian guy? How could such cheesy music be considered good by ANYBODY?!?

Two words answer all of these questions: Jerry Bruckheimer. Yes, my friends, it’s the producer I love to hate and Coyote Ugly ranks among his very worst productions — and that says volumes. There is absolutely no reason this film needed to be made, and unless you’re a teenage boy who can’t get his hands on some porn, there is even less reason to watch this putrid piece of abominable dreck. Coyote Ugly is strictly for those who think "Baywatch" was one of the finest TV shows of the 90s.

 Qwipster’s rating:
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DOWNLOAD MOVIE Brothers Grimm, 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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Brothers Grimm, The

Terry Gilliam movies are like pizza: even when it’s not that great, it’s still pretty damn good. Or at least interesting enough to warrant a story. Ok, so that’s a terrible analogy, and it doesn’t make too much sense, in metaphor AND grammatical ways. Point is, and this is strictly speaking from an opinion of a man that loves every Gilliam film out there, when he takes a rare misstep, it’s still fascinating to watch, even if afterwards you’re left hollow, wanting a little more something, well, Gilliam. I just got back from The Brother’s Grimm, Gilliam’s latest film, and his first since Fear and Loathing in Las Vegas back in 1998.

After seeing Lost in La Mancha, the heartbreaking documentary chronicling the torturous process of Gilliam attempting to make Don Quioxte and facing every possible hurdle imaginable in only 6 days of production, I’m just glad to see Gilliam behind the camera again. While I liked the film, a lot in some parts to be fair, I felt kind of cheated. As if there was another movie in there that Gilliam really wanted to make, but lost so many battles to the Weinsteins (I heard the film is heavily edited) that he just kind of gave up and was happy to be working again.

The Brothers Grimm tells the story of, well, the Brothers Grimm.(title) Will (Matt Damon) and Jacob (Heath Ledger) travel the country side of a French occupied Germany, conning the local people with what they believe are ghosts and spirits. Kind of like Peter Jackson’s The Frighteners, where Michael J. Fox would trick people into thinking they were possessed. Then, in an act of pure showmanship, the brothers manage to vanquish the evil forces, collecting a heavy fee for their services. (One of their helpers in Mackenzie Crook, from the British version of The Office, and the pirate with the wooden eye from Pirates of the Caribbean). They are caught by Jonathan Pryce, the French commander who presides over the German lands. Pryce offers them a pardon for all they’ve stolen: Ten little girls have gone missing from a local village. The brothers are to find the girls, and calm the townsfolk down.

The townsfolk believe in magic and by bringing in the famous brothers Grimm, their collective minds should be set at ease. The problem arises when the culprit behind the abductions turns out to be the magical 500 year old Mirror Queen (Monica Bellucci. Mmmmmm…..Monica Bellucci). Will skeptic Will Grimm finally believe in the magic he has lied about for years? Will neurotic Jacob finally grow a pair and rise to save the day? Will Monica come over to my apartment, scantily clad, and play video games all night while I drool over her?

Well, the movie answers 2 of these questions. Time will tell on the third. The setting is there for a really great Gilliam film. Fairy tales debunked, creepy woodlands, medieval times. But there’s something lacking. The story itself isn’t all that great. It’s written by Ehren Kruger, who recently wrote Skeleton Key, a film I didn’t like too much, solely based on how poor the script was. There seems, onscreen, to be a struggle between what was on the page and what was in Gilliam’s mind. There are glimpses of genius in images (the film is beautiful to look at) but again, it seemed like it had to keep being reigned in to service the tiny story that was there.

It does have some fun at times, like when it casually throws in “cameos” from fairy tales (I liked the Red Riding Caped Girl, and the appearance of the Gingerbread man, was really cool, if not very strange) while not feeling like Shrek just throwing them in for comedic value. There are also a few good one liners (the one Will says about Jacob’s armor made me laugh quite heartily). But overall, it’s just running back and forth between two locations trying to find new ways to keep such a thin story on screen for two hours. The performances are fine. Matt Damon and particularly Heath Ledger, are great as the brothers, and they have a good rapport.

There’s a trend in Gilliam films to have a pair of protagonists, where one is more of a straight man, and the other is allowed a stranger, wilder performance that overshadows. (Robin Williams to Jeff Bridges in Fisher King. Brad Pitt to Bruce Willis in 12 Monkeys. Benicio Del Toro to johnny Depp in Fear and Loathing, although both those characters were pretty messed up). this one seems to follow that pattern, but Ledger pulls it together, and gives a fun performance that I didn’t expect from him. I like that Heath Ledger guy, I don’t care what anybody else says.

Also good in the cast was Peter Stormare (the wood chipper guy from Fargo) as an Italian torturer who is assigned to tag along with the Brothers to make sure they complete the task. He’s a lot of funny, even if it’s difficult to understand what’s being said. Lena Headey plays the female lead, but I will mention nothing of her as punishment for The Cave, which I viewed earlier this evening. And Monica Bellucci is a good lookin gal, but she doesn’t have all that much to do. Still, she’s hot.

The visuals are fantastic, and pure Gilliam. Like I said, beautiful movie.Good cinematography, and great production design. Although, I speak of framing and composition, and not of the special effects. The CGI is pretty bad, and I sat there in the theater wondering if Gilliam has had much experience with CGI, or if they were rushed on the effects. Or Dimension was being cheap. Either way, the wolf transformation was really cheesy.

And soem of the other CG (except the witch in the beginning) feels kind of like amateur hour. However, the music goes along quite well with the images. Bravo there. The movie is good, don’t get me wrong. I had a reasonably fun time watching it (although there were a bunch of strange people there, dressed in Ren Fair garb, and that made me a little worried. Note to management, I think they were drinking). But I wanted a truly awe inspiring work, not something that felt like a paycheck. I know Gilliam is capable of so much more. Who knows, maybe I’m being over critical. (God forbid, a critic being critical).

I’ll probably see it again, now that I know what to expect, and more importantly what not to expect. I would recommend the film just for the visuals alone, and to let people who aren’t familiar with Gilliam to have a glimpse of greater things. But for those seeking something more from the great man, it looks like we have to wait for Tideland. (Premieres at Toronto Film Fest next month, in theaters this winter).

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DOWNLOAD MOVIE Mad Max 2: The Road Warrior 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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Mad Max 2: The Road Warrior
I think this may be the greatest ‘car movie’ ever made. The chase scenes
are
gritty and thrilling, and quite realistic. None of that ‘car falls over
cliff and blows up’ crap.

In the fighting/war scenes, it plays a perfect balance between hidden
action
and open action, never overselling the gore nor underselling the
violence.

The plot is an excuse to have a long highway battle, but I’m not
complaining. It’s vaguely feasible enough that you don’t worry much about
it, just accept it as a needed background to hang the fun stuff on. Oh, to
be a stunt driver in this movie! Or even to be a mechanic! That would be a
story to tell your children.

This is every driving fantasy I’ve ever had, and played perfectly. I know
that certainly flavors my review, but tell me that movies which are
cathartic for you haven’t affected YOU that way?

Bottom line: thin plot, heavy action, decent characterization. Symbolism
absent, directness the rule of the day. Jump on this bandwagon and ram
something. Fun all the way.

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DOWNLOAD MOVIE Enemy of the State 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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Sigh. I remember the day’s when action films relied on skill instead of explosions. All to often today, the common action film would rather give us numerous big explosions instead of providing us with an intelligent plot that makes the viewer think. 1998’s Enemy of the State, even 8 years later, still holds up as one of the best films of Smith’s career and simply an example of a great action film.

In Tony Scott’s film Enemy of the State, we see a man named Robert Dean (Will Smith). Mr.Dean is a Washington D.C. lawyer whose life is suddenly turned upside down. He is fired from his job and his wife tells him to leave. Dean soon realizes that an old friend passed highly sensitive information onto him. Now Dean must fight for his life while uncovering why these men have ruined his life.

In the beginning of the film, we see a man named Reynolds (Jon Voight) “murder” a very high ranking government official who was opposing a law that would make governmental snooping much easier. We see a little bit later a man named Daniel Vavitz (Jason Lee) whom Dean went to school with. Vavitz is busy watching a tape he filmed of some ducks eating food when he notices a “murder” taking place. Recognizing the murdered man as the high ranking senator, he immediately calls one of his friends telling him what he saw. He decides to make a copy when, Very smoothly I might add, the camera pans to a bunch of people sitting inside what looks to be a typical white van. They are surrounded by a bunch of electronic equipment that apparently assists them in the spying on Vavitz’s conversation. One of the men (Seth Green) picks up the man and calls Reynolds informing him that he is “hearing” this conversation between Vavitz and his friend talking about the murder. Reynolds tells his men to immediately go “fix” this problem. The following scenes introduce Dean into the equation.

There is one scene in particular where we see Dean being confronted by two of Reynolds men at his household. The men question Dean about some “sensitive information” that may have been passed on to him. Dean has no idea what these people are questioning him about. Curious about what they told him about, Dean goes to check the packages he purchased earlier that day only to find nothing. When Dean’s house is broken into, he is made to believe that children are responsible for the break-in. What Dean doesn’t realize is that Reynolds men have now encrypted every piece of equipment in his house with cameras, location or sound devices. The rest of the film introduces Dean to a new character simply named Brill (Gene Hackman) who reveals to Dean that Reynolds is a man who is sneaky, sly and will do whatever is needed to get what he wants done.

Will Smith’s portrayal of Robert Dean may be Smith’s finest role to date. He has such ferociousness for the truth that the audience can’t help but want Dean to succeed. I’ve always felt that Smith is a talented actor (especially in The Legend of Baggar Vance), but he always seems to take these roles that are dull and boring (or maybe as South Park put it, ‘20 Million Dollars Daddy’). Legendary Actor Jon Voight really doesn’t need much explanation here as no matter what role he takes, Voight brings his ‘A’ game certainly raising the credibility of any picture, no matter how dull the film is (evidence in Michael Mann’s 2001 picture Ali). The rest of the supporting cast is solid adding to that credibility level that Voight brings.

Director Tony Scott, despite his newest film D?j? Vu being slightly lackluster, had a role of success in the 90’s with this film, Crimson Tide, and True Romance. Enemy of the State, similar to Smith, may be Scott’s finest direction to date. The film has an eerie feel to it especially in today’s world. Even though the idea of the government knowing more than it tells its citizens is nothing new, Enemy at the State, especially when the film came out in 1998, showcased a whole different ballgame for governmental spying. As I type this right now, the film just turned 8 years old but still contains an extremely important message that makes the film simply excellent and a blast to watch.

Video

Presented in a 1080p, MPEG-2 Encoded, 2:35:1 Widescreen Aspect Ratio, Tony Scott’s Enemy of the State has a transfer that is a huge step over the current SD-DVD.

The film’s print, hovering over the 8 year mark, was recently re-mastered for the 2006 Unrated Edition that hit SD-DVD a few months back. Due to this fact, the image presented here looked cleaner and had an overall sharper feel to it. Color usage, while mostly containing subdued blues and blacks, adhered to the typical Tony Scott visual style. Detail, while not completely improved, still was good as we could notice the little fibers on jackets and the ripples left behind in the water from the ducks in the opening sequence.

I did notice a bit of grain in some of the inner van sequences and a few of the office sequences, but never did the level of grain become overbearing where it generally affected the entire viewing experience. Overall I found the print was in near perfect condition with a bit of grain, excellent use of colors and detail and little to no compression issues. A solid job here Buena Vista.

Audio

Arriving with an English PCM 5.1 Surround Sound Audio Track (48kHz/24-Bit), for such a dialogue heavy film, Enemy of the State really sounded great especially in a few key sequences.

Dialogue was clean and clear with no real instance of it becoming muddled or hard to hear (which was especially pleasant in the final showdown sequence considering all the weapons that were used). Dynamic Range went from excellent (check out the sequence where Jason Lee’s character is being chased. I noticed little discrete effects such as various car’s screeching and birds cawing).

Surround usage is really where this track shines. Pick any real active sequence (my favorite was the scene where Dean was being chased through the hotel) and sit back for a truly aural experience. I loved the attention to detail here as I felt that I was running along side Dean through the tunnel as drivers yelled at Dean to move out of their way. On the soundtrack level, Trevor Rabin’s score adds to that creepy, eerie effect the film gives us. The music was mixed in perfectly with the dialogue and sound effects with neither becoming an issue. Similar to the video, a solid job here Buena Vista.

Special Features

• The Making of ‘Enemy of the State‘: Running around 30 minutes, this making of is fairly standard with cast interviews, production tips from real life spy advisors and a few on set behind the scenes info. Considering my enjoyment of the film, I loved this making of.
• All Access: Showdown: This 11 minute feature focuses on how Director Tony Scott shot the final restaurant sequence. Not wanting to give away the ending of the film for those of you who haven’t seen it, this little feature was definitely interesting.
• Theatrical Trailer: As usual, we get the film’s Theatrical Trailer in full 1080p glory.

Closing Thoughts

Enemy of the State has always been one of my favorite Tony Scott films from the first time I saw in theaters back in 1998. The film trades the typical moronic action formula for a skillful chase thriller. This Blu-Ray release boasts improved video, great audio, but is rather absent in the feature area especially considering this is a BD-50 Dual Layer Disc. You would think Buena Vista could have ported more extras over or came up with some new ones (like a commentary track). Still the provided extras were rather interesting (especially the making of). Considering my immense enjoyment of the film, I’m going to Recommend this title to all action fans as it, 8 years later, still contains an incredibly creepy, eerie story about what our government knows.

Other Related Works

Enemy of the State

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DOWNLOAD MOVIE Dawn of the Dead 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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Dawn of the Dead (2004) Reviewed By Scott Weinberg Posted 03/20/04 19:05:50

"I’m old enough to respect the classics; young enough to dig the new toys." (Worth A Look)

All us movie freaks LOVE to get all huffy-puffy about "The Remakes". They’re cheap, they’re lazy, they’re tacky pieces of self-promotion coasting by on a wave of nostalgia-laced brand-name recognition. But hey, years of unmitigated garbage have taught us to cast a suspicious eye towards any sort of remake, revisit or "re-imaginging". Fortunately the remake machine seems to be on the upswing these days, at least as far as us horror freaks are concerned.This wacky internet thing bulges at the seams every time a new horror remake is announced. Michael Bay is producing a remake of Tobe Hooper’s immortal Texas Chainsaw Massacre? Blasphemy! How DARE he! And what’s this? Universal Pictures is mounting a big-budget adaptation of what’s arguably the Gone with the Wind of horror films: George Romero’s Dawn of the Dead? It’s gonna SUCK! Why even BOTHER…?Right?Perhaps it’s just easier to accept the simple fact that remakes are just like any other ‘genre’ you might enjoy: some of the movies are going to suck, some will be brilliant, and most will fall somewhere in between. I mean, the works of William Shakespeare have seen thousands of "remakes" over the centuries, and we call that High Art. So surely the modern classics of Horror can stand a little modernizations…imitation being oh so flattering, and all that stuff.As someone who considers both The Texas Chainsaw Massacre and Dawn of the Dead brilliant movies and not just great horror films, it’s safe to assume that I was skeptical (yet cautiously optimistic) as this new wave of remakes began to slide down the pike. Marcus Nispel’s Texas Chainsaw Massacre remake managed to be a damn entertaining joltfest in its own right, while never once "disgracing" its source material, as all the gorehound hand-wringers were sure it would.Nispel’s movie gave me high hopes that a newer and sleeker Dawn of the Dead could prove a worthwhile experiment after all. And wouldn’t you know it? These new kids are now 2 for 2.It’s when remakes rely too heavily upon their predecessors that we get uninspired crap like The Haunting or pointless copycatting like Psycho. But David Cronenberg set the standard way back in 1986 when he remade The Fly. Using the campy old classic as a mere jumping-off point, Cronenberg forged some brilliant new ground, resulting in a movie that paid due homage to its father while standing quite capably on its own two feet. (Plus the remake is just plain old better than that silly old "Help Meeee!" chestnut.)So the formula seems to be this: take a great old horror movie that you love, snatch the proper moments and key touchstones that the fans will want to see, and then go out and make your OWN movie. And that’s just what director Zack Snyder and screenwriter James Gunn (with a little help from uncredited wordsmiths like James Tolkin and Scott Frank) have done. The result is a fantastic modern horror flick that clearly holds a lot of respect for Romero’s original, but is itself a new beast entirely.We all know the story by now: End of the world, the streets are packed with cannibalistic zombie corpses, a few lucky survivors end up hiding out inside of a suburban shopping mall. But while Romero’s film was half horror and half social commentary, Snyder’s version is a horror/action combo with a healthy side dish of swanky new blood-splatters.Whereas the earlier legions of undead were content to shuffle around en masse while waiting for some unlucky human to stumble into their paths, the 2004 models are quick and speedy and more than a little persistent. Consequently, some of the movie’s best sequences feel more inspired by Aliens than by a traditional zombie flick. But that’s certainly not a bad thing.If the movie suffers from one glaring deficiency, it’s the intermittent and scattershot way in which the numerous characters are developed. One suspects that Snyder’s first cut ran closer to two hours and that the first scenes snipped (in favor of a snappier pace) were those in which certain relationships were strengthened. Obviously it would be no surprise to learn of an Extended Director’s Cut come DVD time.Here’s the meat: Dawn of the Dead is a harsh and brutal and devilishly nasty little horror movie. It sets a starkly effective tone of impending apocalypse, which serves to make the frequent attacks even more horrific. The flick moves at a lightning pace, the screenplay (barring one odd plot hole involving a sewer system) is tight and twisted, and Snyder’s directorial style is more than a little impressive. (There are a few ‘far-off’ shots that will boggle your mind!) And the whole thing’s capped off with a clever finale; how ‘happy’ the ending is depends on how far you make it into the end credits scroll!Sure, it’s fair to say that Romero’s Dawn will never be surpassed, and that’s probably true. But that doesn’t mean we can’t enjoy a spiffy new souped-up version, given that it’s delivered in winning style.And hey, this one is.The bottom line seems to be that remakes, just like any other movies, deserve to be SEEN before they’re dismissed as shameless and/or pointless. Would you rather have a quality remake or something that’s ‘original’ but crappy? There are dozens of zombie movies out there that AREN’T remakes, and this one’s easily more entertaining than just about all of ‘em.
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DOWNLOAD MOVIE 40 Days and 40 Nights 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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There is a good movie buried deep within “40 Days and 40 Nights“. However, that potentially entertaining picture is covered in the final product, which does have a few moments scattered throughout a lot of bad choices, bad comedy and occasional bad casting. The film stars Josh Hartnett as Matt, a San Fransisco website designer who, as the movie opens, has broken up with girlfriend Nicole (Vinessa Shaw). He goes out and sleeps with a lot of different women afterwards, but only finds his conquests empty and meaningless (in one of the film’s odd attempts at fantasy sequences, Matt sees the ceiling cracking and then just emptyness while with these girls - well, there’s also the sequence where Hartnett’s character swims over a sea of breasts; it’s just that kind of picture). For Lent, Matt decides to give up sex for the period of the title.



There’s a few serious flaws right away. First off, the movie has the two breaking up as the picture opens, which tells the viewer little about what this Nicole actually meant to him. When Nicole returns late in the picture, she’s portrayed as far beyond evil, so what did he like about her in the first place? Second, it’s difficult to feel sorry or sympathetic for the main character, who has women throwing themselves at him once he decides to give it all up for the 40 Days & Nights of the title. Lastly, Hartnett just isn’t funny and has difficulty trying to do any sort of comedy.



Predictable events ensue: at the begining of the 40 days & nights, he meets the girl of his dreams, Erica (Shannyn Sossamon, who has an interesting, attractive look but still hasn’t given an entirely interesting performance - although I suppose her work here is considerably better than her effort in “Knight’s Tale”). Matt, who works at a dot.com, soon finds out that his co-workers and his roommate (Paulo Costanzo of “Road Trip”) have put together a betting pool (given the fact that they’re dot-comers, they’ll probably need the money since it’s doubtful any of these characters would have jobs at this point) that has people (even from other countries, although I’d like to think that they’d have better things to do) wagering whether or not Matt will foul up during the 40 days.



Not only does the film not bring much in the way of originally to the table, it often goes over cliches more than once: instead of the two breaking up at the end of the movie, they have the arguement early on, then get back together and then go through the same thing a few more times - this not only becomes awfully repetitive as the movie goes on, but it starts to seem unrealistic that they’d ever get together. I also started to tire of the fact that, while the film thinks its a romantic comedy, it spends more time at Matt’s dot-com office trying for raunchy humor than actually putting the Hartnett and Sossamon characters together and trying to actually develop their relationship.



As for the raunchy comedy in the film, it’s uninspired at best and seems forced and unrealistic, too. In one of the film’s many scenes that don’t portray women very well, one of Matt’s female co-workers gets on a copying machine in front of Matt and most of the rest of the office and copies her butt, writes her number on it and hands it to Matt, all because she wants to have him fail and win the office bet.



The film’s performances are rather blah, although some of the supporting cast fares better. Hartnett was very good in Sofia Coppola’s “The Virgin Suicides”, but he seems rather dull otherwise, a trend that continues here as he makes an awkward attempt at laughs. Sossamon isn’t given much to do, but she’s attractive and tries to do quite a bit with minimal material. Maggie Gyllenhaal (sister of Jake, who was in “Donnie Darko”) is nice and rather normal (about the only normal character in this picture) as Sossamon’s roommate. Griffin Dunne, an excellent director and actor, finds himself in an embarassing role as Matt’s boss, while also managing to look embarassed throughout many of his scenes.



The film is technically fine, although Elliot Davis continues to be a cinematographer who often overuses filters (worked in “Forces of Nature” and “Happy Campers”, seemed overdone with the blue courtrooms in “I Am Sam” and the yellow and blues seem rather unnecessary here). Still, the San Fransisco locations look perfectly nice and production design (as well as other aspects) was pleasant.



Really, about the best thing I can say about “40 Days and 40 Nights” is that it passes by quickly (although not before a poor and rather strange, unpleasant ending). Hartnett and Sossamon have decent chemistry together, but their relationship is hardly developed, as the film seems more concerned with sex jokes than trying to offer a nicely portrayed romance (see also Amy Heckerling’s “Loser”, which should have been a nice romantic comedy in New York City, but instead fell into idiot slapstick). “40 Days” is a movie that, while rarely succeeding in the comedy department, is often something even worse: a movie which seems to think it’s offering deep, meaningful insights about relationships when it’s completely thoughtless on the topic. A disapointment.




The DVD



VIDEO: “40 Days and 40 Nights” is presented by Miramax in 1.85:1 anamorphic widescreen. This is a perfectly fine transfer; while not entirely perfect, the few flaws present don’t offer much distraction. Sharpness and detail are excellent, with no noticable instances of softness.



Flaws were few-and-far-between, but somewhat noticable - a few instances of artifacts and minor edge enhancement appeared, but were not particularly bothersome. The print seemed to be in excellent condition, with hardly a speck or mark. The film’s color palette remained a bit on the subdued side, but colors were largely well-rendered, with no smearing or other faults. While not an outstanding presentation, it remains nicely above-average.



SOUND: The Dolby Digital 5.1 soundtrack is a fine example of what’s wrong with comedy soundtracks and especially teen films. There’s little concern here about anything aside from the songs on the soundtrack, which are presented at a fairly loud level. Dialogue remains clear, too, but these are characters living in a major city…how about making it sound like one?



MENUS: Subtle animation and some minor film stills try and liven up fairly ordinary menus.



EXTRAS: The disc offers a commentary from director Michael Lehmann, producer Michael London and screenwriter Robert Perez. There’s a lot of talking through this track, but little actual information as the three offer some basic, low-key chatter about the film, but little insight. Rounding out the supplements are the teaser trailer for the film and some of the usual “Sneak Peek” Miramax/Buena Vista trailers for other titles from the studio (including a trailer for “Gangs of New York” that I’d not previously seen).



Final Thoughts: I didn’t entirely hate “40 Days and 40 Nights“, but I’m still unsure why I didn’t. The film certainly had potential to be something considerably more charming and entertaining, although that’s almost completely lost on the filmmakers, who seem largely more interested in bland, largely unfunny sex jokes than showing any real emotion, genuine romance or even crafting enjoyable characters.



Thankfully, the film passes by rather quickly and, while I can pick out a decent supporting performance or two and maybe a couple of okay laughs, I didn’t find anything memorable. Miramax’s DVD edition offers a fine presentation, but little in the way of interesting supplements.



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DOWNLOAD MOVIE Wild Things 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

Since the publication of the award-winning “Where the Wild Things Are”, Maurice Sendak has been a powerful and popular name in the world of children’s literature. Where Sendak’s works are popular for several reason, part of the allure lies in the fact that his books can be enjoyed on many levels, by both adults and children. (Just look at all of the adults who still love “Where the Wild Things Are”). The Scholastic Video Collection now presents animated versions of some of Sendak’s most beloved stories. This new DVD contains “Where the Wild Things Are”, selections from “The Nutshell Kids”, and “In the Night Kitchen”.

(As this DVD contains several different episodes, each will receive a capsule review which includes an overview of the video and audio aspects as well. It can be assumed that these shorts were captured on film for classroom use. Each contains a stereo soundtrack.)

“Where the Wild Things Are” — 7 minutes — This timeless tale is brought to life with a minimalist style of animation. In this story, a young boy named Max is wearing a wolf-suit and acting like a “wild thing”. When he is sent to his room without his supper, Max imagines that he sails across the sea to an island of “wild things” and becomes their king. But, Max soon learns that being a “wild thing” isn’t always fun. There are many ways to “read” this story, but I like to go for the most obvious take, which is that it’s OK to be wild, as long as you know your boundaries. For this version, Sendak’s original art from the book has been brought to life with subtle animation, so basically we have still pictures that offer touches of movement. While this static approach may seem a bit boring to some, it does nothing to sully this classic. The image is slightly grainy and there are some defects from the source print. The audio is fine.

“The Nutshell Kids” — 14 minutes — This section features four musical number from the film “Really Rosie”, with vocals by Carole King. “Alligators All About” is a simple song that uses the alphabet as its basis. In “Pierre”, we meet a boy whose catch-phrase is “I don’t care”, but he then meets a hungry lion who may change that tune. “One was Johnny” is a short and simple song that teaches counting. And finally, there’s the catchy number “Chicken Soup with Rice”. Each piece here is fully-animated, but the drawings aren’t all that great. The video shows a great deal of grain and many defects from the source print, and “Chicken Soup” is blurry at times. The audio is OK, but there is a slight audible hiss.

In the Night Kitchen — 7 minutes — Whereas “Where the Wild Things Are” is odd in a fun way, “In the Night Kitchen” is just plain weird. A young boy named Mickey is awakened by a noise coming from the kitchen. He then falls through the floor, losing all of his clothing in the process. (I’m not making this up.) He lands in the kitchen, which is being staffed by three giant chefs who look like Oliver Hardy. (Once again, not making this up.) The chefs encase Mickey in cake, and then he flies an airplane into a giant bottle of milk. The animation is taking directly from Sendak’s book, but it looks like something from Ralph Bashki. Parents may want to view this one before showing it to the youngsters, as it may be too strange from some kids to handle. On the technical side, the animation looks great and the video shows only a slight amount of grain. The colors are good. The audio shows no overt defects.

Extras

This DVD contains a handful of extras. First, we have a second presentation of “Where the Wild Things Are”, this one offering the narration in Spanish. Next, we have an 6-minute excerpt from the 1985 film “Sendak”, in which the author discusses the origins of “Where the Wild Things Are” and “In the Night Kitchen”. He is very pointed and frank in his speech and it’s hard to not admire his convictions. (And, I learned that he’s not French!) The final extra is not really an extra at all. A “read-along” is offered, but this is essentially the addition of English subtitles on each of the main selections. The subs are the same size as standards subs. They would need to be bigger to be effective as a “read-along”.

It’s best to go into this DVD knowing that there is no big fully-animated version of “Where the Wild Things Are”. (Although, you have to wonder why no one has done this.) The selections contained on this DVD are short and sweet, and serve as a nice introduction to the world of Maurice Sendak.
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Indiana Jones and the Last Crusade is the third, and (so far) the last installment of the successful action-adventure trilogy, and while it doesn’t make the dynamic impact that Raiders of the Lost Ark did upon its debut, you really couldn’t ask for a more crowd-pleasing final chapter. 

Last Crusade begins with River Phoenix (Stand by Me, Explorers) playing a young Indiana Jones, even at a young age, having a thirst for adventure.  His father (Connery, The Untouchables) is obsessed with tracking down any information he can get regarding the whereabouts of the legendary Holy Grail, the cup used by Jesus at the Last Supper, and as a result, little attention is paid to young Indy.  Flash forward to 1938, where Indiana (Harrison Ford, Working Girl) finds that his father has been kidnapped by the Nazis, who are also looking for the Holy Grail, and the legendary powers of immortality it may hold.  Indy and his dad have never quite seen eye to eye, which makes Indiana’s subsequent rescue attempts all the more interesting, as he tries to impress a man who only lives for the Grail.

Spielberg corrects many of the missteps he had made in Temple of Doom, by going in completely the opposite direction, making the adventure about the characters and not the thrills and chills every few minutes.  For the most part, Last Crusade is a much lighter, frothier affair, with even the more menacing parts marked with bits of genuine levity.  Jeffrey Boam (Inner Space, Funny Farm) provides the warmly funny screenplay, and even the cinematography, which ran dark and mysterious in the previous adventures, appears vibrant and colorful.  It’s a kinder, gentler Indiana Jones.

Sean Connery is a perfect addition to the series, playing the part of the unimpressed father beautifully.  Just when you think you’ve seen all there is to see as far as the character of Indiana Jones, out comes another facet, and Harrison Ford does a very commendable job in balancing the Indy we all know from the previous film and the boyish vulnerability whenever he is around his father.  Two of the biggest legends in the world of action flick together on one bill is worth the price of admission at any price.

There is a sense of welcome immaturity to the entire production, letting you know that it’s all in the name of fun.  It’s a loving send off to one of the most beloved characters in movie history, and even if the humor sometimes gets into the realm of corniness, we like the characters so much, even those moments will make us smile.  For every Indiana Jones fan, it’s must-see viewing, literally watching Indy and friends ride off to the sunset together.

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DOWNLOAD MOVIE Cat in the Hat, 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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Cat in the Hat, The Reviewed By Collin Souter Posted 11/24/03 08:41:11

"Wait, it gets creepier…" (Total Crap)

?The Cat In the Hat??and its titular characters? likeness?has the (un)fortunate timing of being released the same week as Michael Jackson?s mug shot. The similarities between these two circus sideshows are eerie. Both could permanently scar the delicate psyches of children across the globe in the same way Pennywise from ?It? or Benigni?s ?Pinocchio? have done in the past. Compare the pictures of Jacko and The Cat by covering the cat?s hat and his lower jaw. Pay close attention to the eyes, the whiteness of the skin, the jet- black hair and the fact that both characters love to play with children. Imagine the Cat wearing lipstick. Now, ask yourself: Do I really want to leave my kids alone with this guy?No. No, you don?t. You must exorcise your will against this sort of celluloid molestation. ?The Cat In the Hat? is a creepy, vulgar and headache-inducing bastardization of the Dr. Seuss classic and should be shelved immediately in case parents decide to sue the studios for child endangerment. Believe me, the studios will need more than ?it?s only 82 minutes? for their defense. But, like the parents who left their kids alone with The Gloved One, the parents who take their kids to this movie are not completely blameless, especially when they have kinder, gentler, smarter choices like ?Looney Tunes,? ?Elf? or ?Brother Bear? to choose from. Of course, because of the unparalleled marketing blitz behind this litterbox bottom feeder, parents will succumb to the weekly popularity contest by choosing hype over substance, a turd over catnip. Once they have the kids settled into their seats and have popped the Aleve pill, parents will notice about 10 minutes in that their kids have become victims. As my fellow colleague Erik Childress asked me while the movie tortured us: ?Are we just lucky that we got to grow up with Spielberg and Dante?? Can today?s children really ?grow up? with this kind of movie? Not when it?s as crass as this. ?The Cat In the Hat? was made with the kind of cynicism that screams out, ?Hey, kids are morons. Let?s make a movie for them and release it during the holidays when they are at their greediest!? Of course, it?s not entirely aimed at children. Mike Myers, who plays The Cat under gobs of make-up (similar to Jim Carry in ?The Grinch?), has a following of teenagers and Gen-Xers alike. The cheerful colors of the set invite the children in, while Myers? shtick of self-aware irony is used to entertain the adults. But there?s no movie here. ?The Cat In the Hat? feels like a desperate exorcise in reading the Seuss book to children, but reading it veeeeeeerrrrrrryyyyyyy, veeeeeeeerrrrrrrryyyyyyy sloooooooooooowwwwwwwwlllyyyyyyyyyy, so as to fill up their time as much as possible without really giving them anything. The story, if you remember, is about a Mom (played in the movie by Kelly Preston) who leaves her two kids alone in the house and a mischievous cat who entertains them and makes a mess of things. That?s fine for a 15-20 minute short, but forcing in sub-plots involving the Mom?s tyrannical, obsessive-compulsive boss (Sean Hayes) and a villainous neighbor/love interest (Alec Baldwin) who wants to send the Mom?s kids to military school completely casts the movie adrift from the mainland of Seuss? sensibilities, charm and wit. It?s padding for padding?s sake and laced with piss/fart/vomit jokes. The actors hired for the job don?t make the chore of watching this movie easier to accomplish. The daughter, Sally, is played by that vacant Stepford child, Dakota Fanning, whose character is supposed to be Little Miss Perfect. Something tells me there?s not a lot of ?acting? going on here. The boy, Conrad, is played by Spencer Breslin, who clearly suffers from Over-Coached Child Actor Syndrome. Kelly Preston shows up, says her lines and cashes the check, all while wondering how on earth Scientology will her guide her through this ordeal. And Alec Baldwin embarrasses himself in a way we haven?t seen since ?Thomas The Tank Engine? (I bet he thought we would have forgotten that by now). Myers is Myers, and it gets pretty tired after the first five minutes. The poor guy hired to direct this is none other than the brilliant production designer Bo Welch, who is responsible for bringing many fantastic worlds to life (the ?Batman? movies, ?Joe Versus the Volcano,? ?A Little Princess,? among countless others). He would seem to be a logical choice in breathing visual life into a Seuss adaptation and the movie looks appropriately colorful and minimal in detail. It?s Welch?s debut as a director, but he has been given such a dismal canvas of screenwriters, actors and overhead to work from that it seems to overwhelm any talent he might have in the coveted director?s chair. It?s a loud, frantic mess of a movie that delivers nothing in the way of emotion or morality.Granted, I gave ?The Grinch? a pass, because I am the most forgiving Jim Carrey fan in the world and at the time I saw it, I walked out a very pleased Jim Carrey fan. I?m sure if I watched the movie again, it wouldn?t hold up. ?The Cat in the Hat? has little to nothing going for it. Like a new Michael Jackson album, it is mass-produced, over-marketed and caters to nobody in particular. Just as Bad and just as Dangerous, but not nearly Thrilling or Invincible. Just a lot of empty noise that doesn?t deserve to fly Off The Walls once it comes out on video. Again, parents, look at The Cat, then at Michael. Once you see the Man In the Mirror, you and yours kids should just Beat It.
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