HIT MOVIEZ

GET A CLUE NOW AVAILABLE

2008-08-07T12:33:00.002-04:00

GET A CLUE NOW AVAILABLE ONLINE

HERE IS THE SUMMARY FOR THE MOVIE GET A CLUE FROM IMDB

"Get a Clue" follows the exploits of a young girl, Lexy, who is a privileged twelve year old who has spent her entire life amongst the wealthy and elite of Manhattan. Clad in Prada, she prides herself on her ability to get the scoop and serve it up in her school's gossip column. When a photo she has taken of her teachers is published in the city's daily paper, things start getting weird. A teacher goes missing and she along with her working class family friend, Jack, set out to solve the mystery. What follows is an action-packed adventure laced with mystery and drama. Written by Dave Goldblum {dgweb@mac.com}

Get A Clue tells the story of a budding teen-aged gossip columnist working for her high-school newspaper. When a teacher disappears from campus, Lexy changes hats and becomes an investigative reporter. Teaming up with Jack (Bug Hall, "Adam Szalinski" in Honey, We Shrunk Ourselves and "Buster Stupid" in The Stupids), a hard-nosed reporter from her paper, Lexy will work to sniff out the villain, uncover the mystery, and rescue her teacher. Written by LLROCKS

HERE IS A REVIEW FOR THE MOVIE GET A CLUE FROM DVDTALK

The Movie: Done after "Parent Trap", but before "Freaky Friday" and her current blond twig state, "Get a Clue" stars Lindsay Lohan as Lexy Gold, an upper-class New Yorker who goes to the privileged Millington private school. She has an interest in journalism and remains a know-it-all about fashion, communicating via webcam with her friends about what they're going to wear that day. Early in the picture, Lexy gets a story about her teacher (Ian Gomez) published in the city's Daily Examiner. However, the next day the teacher's car is found floating in the East River and the teacher is nowhere to be found. The police question Lexy, but she doesn't have any idea what happened and wants to help find what happened to him. So, Lexy enlists the aid of Jennifer (Brenda Song), Gabe (Ali Mukaddam) and and Jack Downey (Bug Hall) in order to help track down her missing instructor. The main suspect is Miss Dawson (Amanda Plummer), who apparently had feelings for Mr. Walker (Gomez). Once the group actually sets out in Manhattan in order to try and crack the case, it's surprising that the movie doesn't pick up more than it does. The characters are largely one-dimensional, as Lexy and her friends mostly spout "hip" phrases and aren't very engaging. The screenplay doesn't provide much in the way of comedy, as the picture proceeds along fairly uneventfully. There's no real "twists" or surprises here, and the whole enterprise is directed with about as much energy and visual style as your average sitcom. The performances were average at best, especially Lohan, which is surprising after her excellent effort in "The Parent Trap". Song is really present to not do much more than talk about outfits, while adults Gomez and Plummer hardly get any screen time. Overall, this was a mediocre Disney Channel effort, and not something Lohan will likely want remembered. The DVD VIDEO: "Get a Clue" is presented in 1.33:1 full-frame by Disney, despite the fact that the alternate ending's presentation suggests that the movie was originally shot in approximately 1.78: widescreen. Picture quality was fine, with decent (although slightly inconsistent) sharpness and detail, as well as only a couple of traces of shimmer and pixelation. Colors were bright and vivid, but slightly smeary on a couple of occasions.

SOUND: "Get a Clue" is presented in Dolby Digital 5.1. The surrounds kick in slightly for some reinforcement of the music, but the sound design is otherwise pretty bare-bones, with dialogue remaining the focus. Audio quality was fine, with clear dialogue and crisp music. As one would expect, there's really nothing in the way of low bass.

EXTRAS: An alternate ending is included that runs over 20 minutes. The ending is pretty similar, but there's a different villian. Final Thoughts: An uninspired little detective caper, this might make for an okay rental for kids, but it's otherwise pretty uninvolving. The DVD edition provides satisfactory audio and video, along with a couple of supplements.
HERE IS THE DIRECT DOWNLOAD FOR THE MOVIE GET A CLUE.

TENACIOUS D PICK OF DESTINY NOW AVAILABLE

2008-08-07T12:23:00.008-04:00

TENACIOUS D PICK OF DESTINY NOW AVAILABLE ONLINE

HERE IS THE SUMMARY FOR THE MOVIE PICK OF DESTINY FROM IMDB

This is the story of a friendship that changes the course of rock history forever, of the fateful collision of minds between JB and KG that led to the creation of the precedent-shattering band Tenacious D, and of the two heroes' quest to find the fabled Guitar Pick Of Destiny... Written by Anonymous

HERE IS A REVIEW FOR THE MOVIE PICK OF DESTINY FROM DVDTALK

Whether you've become familiar with "mock rock" outfit Tenacious D during their HBO series (airing sporadically from 1997-2000), their full-length debut album (2001) or the two-disc Complete Masterworks DVD (2003), they're certainly an easy act to remember. Comprised of actors / musicians Jack Black (High Fidelity, Mars Attacks!) and Kyle Gass (Jacob's Ladder, Elf), this two-man supergroup dubbed itself "The Greatest Band in the World" soon after its formation in the mid 1990s. Their goofy, lowbrow lyrics may trick casual fans into thinking "The D" is purely a joke act---and to be fair, nearly all of their material is completely tongue-in-cheek---but make no mistake about it, Black (AKA "JB" or "Jables") and Gass (AKA "KG" or "Rage Kage") are both talented musicians, songwriters and performers. Remember: great satire is only possible if you actually respect and understand the source material. Here's looking at you, Date Movie.

Tenacious D in The Pick of Destiny (2006) brings the band's legacy to the big screen; luckily, it's everything you'd expect it to be: lowbrow, self-assured and full of catchy hooks. In no small part, it serves as a travelogue of The D's origin story and early adventures...with plenty of details embellished, of course. Our story begins as young JB (Troy Gentile, who also portrayed a young Black in Nacho Libre) grows increasingly frustrated with his Bible Belt parents and their anti-rock ways; seeking advice from Black Sabbath's Ronnie James Dio (below left), JB begins a journey to find his future partner-in-crime. Our heroes finally meet in Venice Beach and eventually begin their training while focusing their sights on The Pick of Destiny, an all-powerful guitar pick made of Satan's own tooth.

Tucked inside the film's free-wheeling, musically-charged exterior, however, is a fairly basic road trip story that sees our heroes looking to score rent money. They've got to rescue The Pick from the guarded interior of Sacramento's Rock & Roll Museum---but it's really not the pick itself that they're seeking, it's the success that will hopefully follow. Through hallucinations, a daring heist, a car chase, the Valley of the Shadow of Death and a "rock-off" with Beelzeboss himself, The D take their schtick one step farther with a bigger budget, a few recycled gags...and, of course, non-stock rocking. Part Bill & Ted, part Blues Brothers and part Pee-Wee's Big Adventure, The Pick of Destiny isn't entirely original but it is pretty darn entertaining. If you've heard their material, it shouldn't be a surprise.

Directed and co-written by Liam Lynch (Jesus Is Magic, TV's Sifl & Olly), The Pick of Destiny plays its tarot cards right during most of the 94-minute running time. The episodic pacing is fairly standard for a road movie, hitting plenty of right notes early and keeping the laughs coming throughout. Featuring appearances by famed rockers Ronnie James Dio, Meat Loaf and Dave Grohl as well as longtime D pals Tim Robbins, Ben Stiller and others, it should keep plenty of die-hard fans happy without (hopefully) scaring off too many outsiders. Though it didn't exactly set the box office on fire last November, The Pick of Destiny is a predicable yet satisfying comedy that doesn't take itself too seriously.

Presented on DVD by New Line Home Entertainment (and as part of their Platinum Series line, no less), you'd never suspect The Pick of Destiny tanked by what we get here. Fans can look forward to an excellent technical presentation, while a host of entertaining extras provide plenty of support. All things considered, it's a well-rounded package that does the film plenty of face-melting justice. Let's take a closer look, shall we?

Video & Audio Quality

Presented in its original 1.85:1 aspect ratio and enhanced for widescreen displays, The Pick of Destiny looks surprisingly good from start to finish. The film's warm color palette appears consistent and natural, black levels are solid and no major digital problems (edge enhancement and pixellation, for example) are on display. Long story short: comedies usually don't look this strong, so fans should be pleased with New Line's respectable efforts.

The audio is presented in robust Dolby 5.1 Surround EX and DTS-ES 6.1 mixes (as well as a more modest 2.0 track), all of which pass with flying colors. Obviously, such a musically-driven effort needs to have plenty of power behind it; luckily, all the channels are put to good use on many occasions. The film's non-stop dialogue is clean and clear throughout, while never fighting for attention during the frequent sonic assaults. Optional English and Spanish subtitles, as well as Closed Captioning support, are available during the main feature.

Menu Design, Presentation & Packaging Seen above, the animated menu designs are basic and easy to navigate. The 94-minute main feature has been divided into 14 chapters, while no obvious layer change was detected during playback. This one-disc release is housed in a standard black keepcase and includes a matching slipcover and promotional insert.

Bonus Features Though everything is squeezed onto one disc, there's plenty to dig through after the closing credits. Leading things off is a pair of Audio Commentaries; the first features stars Jack Black and Kyle Gass, while the second features director Liam Lynch. As expected, Black and Gass offer an entertaining and laid-back commentary, dishing out plenty of interesting tidbits and casual banter that D-sciples should appreciate. Lynch's track is a bit more low-key, but his frankness is appreciated; though this obviously isn't a technical tour-de-force, it doesn't overlap with the first track as much as you'd think. It's odd that all three participants weren't recorded together, but fans shouldn't mind the choice.

Tying in nicely is a Behind-the-Scenes Documentary (23:08, below left); it's a fairly standard featurette in most respects, touching on the film's pre-production, band history, cast, script and so on. The charisma of Black and Gass help to speed things along nicely, while comments from crew members and cast are also appreciated.

Also included is a collection of Deleted & Extended Scenes (16 clips with optional intro by director Liam Lynch, 30:09 total), including a longer version of the car chase, an alternate ending and a few minutes of outtakes. Everything here is worth checking out at least once, but it's easy to see why some of it didn't make the final cut.

Fans can also look forward to a small chunk of Studio Footage (21:34) featuring The D and composer John King goofing around in the studio...and occasionally laying down a few tracks, slowly but surely. Also here is a Music Video (2:25) for the title track, as well as a brief Featurette (4:44, above right) covering the music video's production; both are short and to the point, featuring additional comments by director Lynch and a few extras.

Closing things out is a handy Jump To A Song feature, allowing direct access to any of the film's 12 major music cues (including a "Play All" option), as well as the film's Theatrical Trailer (1:31) and Teaser Trailer (1:46). Also included is a handful of Sneak Peeks at current and upcoming New Line DVD releases, including Pan's Labyrinth.

All extras are presented in anamorphic widescreen and most include optional English subtitles. Since most major studios don't go the extra mile, it makes The Pick of Destiny seem that much more polished in comparison.

HERE IS THE DIRECT DOWNLOAD FOR THE MOVIE PICK OF DESTINY.

THE BABYSITTERS NOW AVAILABLE

2008-08-07T12:09:00.002-04:00

THE BABYSITTERS NOW AVAILABLE ONLINE

HERE IS THE SUMMARY FOR THE MOVIE THE BABYSITTERS FROM IMDB

A teenager turns her babysitting service into a call-girl service for married guys after fooling around with one of her customers.

HERE IS THE DIRECT DOWNLOAD FOR THE MOVIE THE BABYSITTERS.

GET SMART NOW AVAILABLE

2008-08-07T09:19:00.000-04:00

GET SMART NOW AVAILABLE ONLINE

HERE IS THE SUMMARY FOR THE MOVIE GET SMART FROM IMDB

Bungling secret agent Maxwell Smart, also known as Agent 86 for CONTROL, is on a mission to battle the forces of their evil crime nemesis known as KAOS with his more-competent partner Agent 99, (whose real name is never revealed) at his side. When the headquarters of U.S. spy agency Control is attacked and the identities of its agents compromised, the Chief has no choice but to promote his ever-eager analyst Maxwell Smart, who has always dreams of working in the field alongside stalwart superstar Agent 23. Smart will do whatever it takes to thwart the latest plot for world domination by KAOS. Written by Anthony Pereyra {hypersonic91@yahoo.com}

HERE IS A REVIEW FOR THE MOVIE GET SMART FROM DVDTALK

"Missed it by that much!" is the classic line from the "Get Smart" television series and could easily describe the latest big screen incarnation. A woefully uneven motion picture, "Smart" is a misfire, but not entirely ineffective.

When Siegfried (Terence Stamp), the leader of KAOS, engineers a massive plan to sell nuclear weapons to all of America's enemies, it's up to the agents of CONTROL to stop him. However, almost all of those agents have been assassinated, forcing The Chief (Alan Arkin) to promote analyst Maxwell Smart (Steve Carell) to spy duty as Agent 86. Paired with Agent 99 (Anne Hathaway), the duo partake in a little globetrotting to sniff out KAOS's plans, while a peculiar competitive/romantic chemistry forms between them. When matters go from bad to worse, it's up to 86 and 99 to thwart KAOS's evil scheme and save the world from certain doom.

Based on the marvelous 1960's Bond satire show, the big screen "Get Smart" voyage has a devil of a time trying to decide what sort of film it wants to be. The television series was a slapstick creation, though frosted with black humor and now quaint cold war undertones. "Get Smart" the movie is trying to play by more predictable multiplex rules, and the result is a schizophrenic affair that reaches for belly laughs, shovels in famous references, and stages blow-em-up action choreography all at the same time.

Director Peter Segal is trying to pull off too much with "Smart." It's a complex take on a simplistic series, attempting to find some action heat beneath all the silliness. Segal certainly has great ideas for bullet-dodging set-pieces, but the picture indulges mayhem much too often, inadvertently handicapping Carell and the cast, who have the unfortunate task of keeping things light in a film that doesn't allow much time for such luxuries.

A "Get Smart" movie without laughs? A strange concept, but one this feature almost achieves. Don't get me wrong, Carell makes for a fine Smart, picking up nicely where Don Adams left off, though a resuscitation of Adams's more famous catchphrases feels a little superfluous. Carell finds new verve inside of the character, removing his dim-wittedness and replacing the void with an intriguing confidence. The actor is home with Smart, sharing pleasing chemistry with Hathaway and Arkin (who nearly steals the movie) and, aside from the painful series references, makes the character his own. Granted, it's a carb-panicky, anal analyst take on Smart, but it's not a methodical piece of Adams mimicry, and that's a blessing.

There are fragments of satisfying absurdity that poke through the smoke Segal leaves behind, but it's not enough to make for a rewarding sit. "Smart" is chasing too many differing tones and nothing clicks, leaving the film a pile of unfinished moves. It's a distracting aesthetic, lessening the impact of the comedy and action by trying to please every member of the audience.

Perhaps the television "Get Smart" wasn't a diamond of quality, but there was a certain indefatigable silliness about it the film doesn't know how to recreate. It forces the production to employ standard summer fare moves, and it robs this eager film of delight. "Get Smart" isn't bad, just underwhelming, trying on too many tones without seeing any of them to satisfying conclusions.

HERE IS THE DIRECT DOWNLOAD FOR THE MOVIE GET SMART

THE LEGEND OF BLOODY MARY NOW AVAILABLE

2008-08-06T20:19:00.002-04:00

THE LEGEND OF BLOODY MARY NOW AVAILABLE ONLINE

HERE IS THE SUMMARY FOR THE MOVIE THE LEGEND OF BLOODY MARY FROM IMDB

Ryan (PAUL PREISS) has been plagued with nightmares since the night his sister Amy (RACHEL TAYLOR)went missing 8 years earlier after playing the game "Bloody Mary." Amy had stumbled onto a website on the Internet (www.marked4mary.com) about a witch called Bloody Mary (CAITLAN WACHS) and a game to summon her evil spirit. Now a senior in college, Ryan is reaching a mental breaking point from the years of stress and guilt from his sisters disappearance. His girlfriend Rachel (IRINA COSTA) frustrated herself at Ryan's emotional distance and self pity, calls for help to a former professor of Ryan's, Father O'Neal (ROBERT J. LOCKE). Father O'Neal is both a priest and a archaeologist who decides to help Ryan end his tormenting grief by using his detective skills and wit to figure out what exactly happened to Ryan's sister, and uncover the truth to the Legend of Bloody Mary. Written by Anonymous

HERE IS THE DIRECT DOWNLOAD FOR THE MOVIE THE LEGEND OF BLOODY MARY.

MAMMA MIA NOW AVAILABLE

2008-08-06T08:40:00.000-04:00

MAMA MIA NOW AVAILABLE ONLINE

HERE IS THE SUMMARY FOR THE MOVIE MAMA MIA FROM IMDB

The story of a bride-to-be trying to find her real father told using hit songs by the popular '70s group ABBA.

HERE IS A REVIEW FOR THE MOVIE MAMMA MIA

It was only a year ago when I suffered utter disdain for "Hairspray," a shrill, over-directed musical comedy that I found merciless in its unpleasantness. Turns out all it was missing was the music of ABBA; "Mamma Mia!" is the same vintage of shrill, over-directed musical comedy, yet it breaks free of self-conscious bondage to kick off a suitably electrifying big-screen pajama party of dancing, singing, and devotion to all things Europop.

Working herself into a stupor trying to hold her idyllic Greek island hotel together, Donna (Meryl Streep) is preparing for the wedding of her daughter, Sophie (Amanda Seyfried), inviting her old friends (Christine Baranski and Julie Walters) down for the celebration. However, Sophie has plans of her own, sending invitations to three of her mother's past lovers (Pierce Brosnan, Colin Firth, and Stellan Skarsgard) to find out which man is her real father. Donna, thunderstruck over seeing these eager candidates back in her life, immediately panics and spends the long weekend trying to avoid a total meltdown as the rush of memories overwhelms her and complicates the festivities.

Approaching "Mamma" is a problematical prospect: to enjoy it to the fullest extent you must a) love ABBA and b) have some working knowledge of the Broadway show on which this film is based. Without these components in place, "Mamma" is going to feel endless, dreadfully over-caffeinated, and perhaps downright childish. It would be a dream for everyone to participate in the picture and come out with an engorged heart and a Google map to the nearest glitter boutique, but let's get real here: "Mamma" is not for every taste.

Gussied up and streamlined for its big-screen debut, director Phyllida Lloyd (who directed the stage version as well) has refocused the colossal energy of the piece, attempting to strategically portion it out for painless multiplex consumption. In any incarnation, "Mamma" is a bullet train of candied romantic stupefaction, lending inescapable yearn to the characters through the application of bubblegum love songs, set against an impossibly heavenly Greek locale. On the stage, the musical strived to evoke Donna's trials with swift timing, song cues that preyed upon the element of surprise, and bellowing audience reaction. The film doesn't share such comfort, and while it hasn't been exhaustively reimagined, it's been pleasingly filled out to create a more encompassing experience for all.

What this "Mamma" has to deal with are bona fide cinema stars, not comprehensively-trained theater actors, so "Mamma" pumps up the soundtrack, offering improved sonic depth to help out the less musically-inclined talent. Make no mistake, performers like Streep and Seyfried belt out the hits like heavyweight champs, able to follow the twisty ABBA melodies without being thrown off course. Streep especially winds up for the tunes, hurling her whole body into every lyric while Lloyd sprints around trying to find angles to best beautify the performance. The boys can barely keep up with her, but I was particularly smitten with Brosnan, who doesn't possess golden pipes (quite the opposite, actually), but gives his singing a fighting shot, helped out significantly by the enhanced soundscape and the contact high from Streep's keyed up performance.

Special praise must be reserved for Seyfried, who captures Sophie's bewildered state of panic and gentle paternal desires with uncharacteristic polish, considering the actress has previously made a career for herself in unremarkable teen fluff. It's the first adult performance from Seyfried, and she anchors the picture with a small, doe-eyed window of emotional reality. It's vulnerable, stirring work I hope to see more of. Seyfried nearly steals the movie away from the pros.

"Mamma" is all about vitality, and the picture is legitimately exhilarating at times, turning songs such as "Dancing Queen" into massive island-wide dance numbers, or giving the critical "Voulez-Vous" number a whirling quality to match the chaotic requirements of the scene. Lloyd isn't an innovative filmmaker, but her instincts and history with the show serve the film extraordinarily well, underlining the participatory nature of the production at crucial intervals, making sure the audience is still along for the ride. However, her inexperience with filmmaking hurts the picture's early going, as scenes with Donna and best pals Rosie (Walters) and Tanya (Baranski) are sold with a blood-curdling shrillness that was expected on stage, but odious on the screen. Trust me, while the initial moments are played for maximum sun-baked squeak, the picture eventually catches on and settles down to a more harmonious roar.

Of course "Mamma" lurches for the throat with its high-flying, bell-bottomed feistiness (a quality that extends into the blinding end credits). It's a musical hell-bent on extorting smiles; an infectious piece of 1970's hokum played at a vociferous, yet agreeable pitch. "Mamma" is intended only for the open-hearted, as cynics will find no island of comfort here. Watching the film rear back and launch constant fireworks of joy is a wonderful thing to behold, positioning itself as an ideal summer diversion to counteract all the cartoons and superheroes. "Mamma Mia!" is a heavy dose of syrup, but it stomps proudly and effectively, delivering huge on promises of ABBA-approved bliss.

HERE IS THE DIRECT DOWNLOAD FOR THE MOVIE MAMMA MIA.

WANTED NOW AVAILABLE

2008-08-06T08:37:00.000-04:00

WANTED NOW AVAILABLE ONLINE

HERE IS THE SUMMARY FOR THE MOVIE WANTED FROM IMDB

"Wanted" tells the tale of one apathetic nobody's transformation into an unparalleled enforcer of justice. In 2008, we're introduced to a hero for a new generation: 25 year old employed slacker, WESLEY GIBSON. Wes is the most disaffected, cube-dwelling, clock-punching drone this planet has ever known. His boss chews him out hourly, his girlfriend ignores him routinely, and his life plods on in interminable boredom and routine. Everyone knows this disengaged slacker will amount to absolutely nothing, and so does he, until he meets the sexy, foxy woman named FOX, and then everything changes. Wes' estranged father is murdered, and the deadly Fox recruits him into The Fraternity, a secret society that trains him to avenge his father's death, by unlocking his dormant powers. And oh boy does he have powers, as she teaches Wes how to develop his lightning-quick reflexes and phenomenal agility, he discovers that The Fraternity lives by an ancient, unbreakable code: to carry out the death orders given by emotionless Fate itself. Wes, with his wickedly brilliant and sexy tutor, plus the paternal guidance of The Fraternity's enigmatic leader, SLOAN, young Wes grows to enjoy all the strength and success he ever wanted. But, slowly, he realizes there's more to his dangerous associates than meets the casual eye. And, as he wavers between new found heroism and vengeance, Wes will come to learn what no one can ever teach him; that he alone controls his destiny. Written by Orange

A young man finds out his long lost father is an assassin. And when his father is murdered, the son is recruited into his father's old organization and trained by a man named Sloan to follow in his dad's footsteps.

HERE IS A REVIEW FOR THE MOVIE WANTED FROM DVDTALK

It's not the familiarity that ultimately undoes "Wanted," but its uncharacteristic reserve. A back-flipping action bonanza, "Wanted" is an adult cartoon, taking acts of death-defying stupidity to their most illogical extreme, and that's exactly where this outlandish visual buffet should stay.

Trapped in a dull life with a soul-crushing cubical job, a cheating girlfriend, and no money, Wesley Gibson (James McAvoy) is lost in his own life, unable to claw his way out from underneath his depression. Into his world comes Fox (Angelina Jolie), who takes Wesley to meet Sloan (Morgan Freeman), a secretive man who oversees The Fraternity: a collection of highly-trained, super-human assassins. After learning that his father's death has left him a spot on the team, Wesley reluctantly undergoes tests of strength and endurance, pushing himself to unleash his extraordinary gifts. Now fully settled into his new life as a hunter, Wesley learns some ugly truths about The Fraternity that force him to confront those he trusts most.

"Wanted" is one of those high-octane, fist-pumping, soda-hurling experiences that make summer multiplex entertainment so much fun. Director Timur Bekmambetov assaults the screen with bracing visuals, taking great stock in bullet-time theatrics and CG-enhancements to a point where "Wanted" feels just like an animated movie. It's not an especially intellectual motion picture, but more an optical flame-thrower for the first hour, with the director pulling out all the stops to announce "Wanted" as a film cocked and loaded with exclamation points pointed in all directions.

Betmambetov's previous films, the Russian fantasy two-pack "Night Watch" and "Day Watch," allowed the filmmaker to sharpen his visual effect skills, and all that exhaustive training comes out to play during "Wanted." The film is teeming with Betmambetov fingerprints, from a fixation on uneasy textures to the lawless action, playing acceptably into the director's field of vision. He's having ball with his English-language debut, falling in love with The Fraternity world: the textile factory/slaughterhouse base of operations, the health-replenishing wax baths the assassins take to cure wounds, and the sheer ballet of bloodshed as the warriors engage in hyper-warfare by "curving" bullets and nailing gravity-defying kill shots. It's a tapestry of absurdity, yet the director shapes it into a spellbinding sit for the first hour, gulping down the nonsense with a completely convincing photographic bravado.

Following Wesley as he grows from "Fight Club" mouse to "Matrix" lion is a far more enchanting arc than it has any right to be, if only because Betmambetov keeps the film's outlandishness out in front to stun the viewer, while the rest of the film breakdances like a madman to keep the pace at top speed. The filmmaker is dealing with ridiculously clichéd visual gimmicks, but there's a consistency to "Wanted," a veritable fantasy world created, that helps to swallow the malarkey that's routinely offered by the camera.

Would you believe The Fraternity actually receives their kill assignments from a mystical loom that foretells destinies? It's that level of reality that Betmambetov saves from complete laughter with his visual ferocity.

However, what goes up must come down. Once "Wanted" moves over to the second half, the picture strangely begins to buy into itself, turning an agreeably violent, heavily caloric distraction into a battle of fates as Wesley starts to take his role in The Fraternity very seriously. Once "Wanted" becomes a tale of revenge instead of discovery, the whole film deflates into over-plotted nonsense. The fun is scooped right out of this sucker, replaced with a punishing sense of obligation, where the filmmaker tries to overcome the movie's newfound solemnity with a late-inning presentation of excessive, nasty violence and multiple explosions.

Let's just say the climax of "Wanted" involves epic posturing of familial revenge, a deafening Busby Berkeley-style shoot-out, and an army of lethal rats, their bellies filled with peanut butter and explosives.

It's disappointing that "Wanted" abandons its sense of humor, but that doesn't completely rob the picture of some wildly infectious material. It doesn't maintain its pitch, but "Wanted" is still a rewarding rocket-powered ride of escapism, damn near-perfect lunacy at times.

HERE IS THE DIRECT DOWNLOAD FOR THE MOVIE WANTED

SCORPION KING 2 NOW AVAILABLE

2008-08-05T23:27:00.004-04:00

SCORPION KING 2 NOW AVAILABLE ONLINE

SO FAR THERE IS NO INFO ON THIS MOVIE EXCEPT IT COMES OUT LATER THIS MONTH HERE IT IS THOUGH. IT IS THE SEQUEL TO SCORPION KING WITH THE ROCK.

HERE IS THE DIRECT DOWNLOAD FOR THE MOVIE THE SCORPION KING 2.

HELL BOY 2 NOW AVAILABLE

2008-08-05T23:26:00.000-04:00

HELL BOY 2 NOW AVAILABLE ONLINE

HERE IS THE SUMMARY FOR THE MOVIE HELL BOY 2 FROM IMDB

The mythical world starts a rebellion against humanity in order to rule the Earth, so as Hellboy and his team returns they must save the world from the rebellious creatures. Now, as the creatures who inhabit the spiritual realm gear-up for an all out attack on the human plane, the only one capable of saving the Earth is a tough-talking hellspawn rejected by both worlds. Written by Anthony Pereyra {hypersonic91@yahoo.com}

HERE IS A REVIEW FOR THE MOVIE HELL BOY 2 FROM DVDTALK

2004's "Hellboy" was a sprawling, mysterious, comical, slimy, and idiosyncratic monster movie. "Hellboy II: The Golden Army" has all of those qualities and one more: restraint. Well, at least a newfound sense of limitation; this sequel overdoses in a big way on fantasy tangents, yet, unlike the earlier picture, it clicks together with a greater, more direct geek panache.

On orders to keep his crimson mug out of the public eye, facing the domestic wrath of pyro-ready girlfriend Liz Sherman (Selma Blair), and trying to console amphibious friend Abe Sapien (Doug Jones, in both body and voice this time out) as he explores love for the first time, Hellboy (Ron Perlman) has a full dance card of problems. When ancient royalty Prince Nuada (Luke Goss) rises up to seize control of a magical crown that controls the all-powerful robotic Golden Army, it's up to Hellboy and the BPRD to stop him. However, as the human-friendly demon gets closer to killing Nuada, he's forced to reconsider his place in the world, and where his allegiance truly lies.

It goes without saying these days that writer/director Guillermo del Toro has one of the most powerfully erect imaginations in the entertainment business. His insatiable desire for all things supernatural is a stunning obsession, leading to a career slanted toward the continual evocation of the unreal. The effective "Blade II" aside, "Hellboy" was truly del Toro playing in a conventional Hollywood sandbox, and it seemed to wear him down. For a film sporadically delightful and containing unforgettable characterization, "Hellboy" felt hopelessly immobile, losing itself entirely to the excesses of genre requirements in the final reel, stealing the small handfuls of glee almost accidently left behind.

It's interesting to note that "Golden Army" is del Toro's first film since his 2006 triumph "Pan's Labyrinth," and a familiar fantastical blood still courses through his veins. The new Hellboy adventure plays as though it was made by a man emboldened by his recent directorial choices, taking a beloved franchise and embracing it with every bit of love and newfound power he could muster. "Golden Army" is an uninhibited snapshot of del Toro's gummy ambitions, now allowed a proper big-ticket budget to imagine worlds beyond our own, creatures of every possible angle and temperament, and a threat worth summoning building-smashing bravery to fend off.

However, as boundless as del Toro's gusto is, he's still short a certain ability to rein all of his ideas in and sharpen his storytelling skills to a fine, effective point.

"Golden Army" loves its monsters: there are creatures stomping over nearly every frame of the film, filling this expanded world with a community of hostile outcasts to find a more suitable context for our hornless hero. The make-up and CG work in the film are outstanding, but it comes at a crushing price: it distracts del Toro. With a veritable "Muppet Show" of goblins and assorted blobs running around, the director becomes enamored with every Forrest Ackerman detour, often applying brakes to the film to monitor the horror, which effectively loosens the already threadbare tension of the film (the Nuada subplot is a dud). There's little doubt del Toro puts on one helluva show, but he's a kid in a candy store in every release, absent a specific discipline that could merge wondrous beastly expressions with a rigid pacing and exhaustive dramatics.

Could you imagine "A New Hope" set entirely inside the Mos Eisely cantina? "Golden Army" comes dangerously close to that unpleasant aesthetic too many times.

Once del Toro is pried away from his fiendish vices, "Golden Army" reveals itself to be a wonderfully touching character odyssey for Hellboy, as he struggles with his place among the humans, not to mention his difficulty expressing love for Liz. Perlman is just so positively perfect in this role that every scene with Hellboy that doesn't involve things going kablooey is a delight, furthering the soul-searching needed to temper the outrageousness of his exterior. The director even manages to sneak in magnificent, beer-fueled bonding time between Hellboy and Abe, refreshing the friendship between "Red" and "Blue," while also giving the fish-man a little more to do with a bizarre, yet quite fruitful romantic subplot. There's also a new boss for the BPRD in Johann Kraus, a steampunk-inspired creation who looks like a robot and speaks with a goofy "Hogan's Heroes" German accent (voiced by Seth MacFarlane), who brings fresh energy into the film. An energy that takes a good half of the movie to compute, but eventually falls into line with del Toro's exaggerated comedic beats.

I enjoyed "Golden Army" much more than the original "Hellboy," but the concept still needs a fixation outside of ghouls and goblins. The moments that light up this sequel are the personal asides, infusing resplendent warmth that del Toro could manipulate even further for maximum investment. Surely "Golden Army" fulfills every sci-fi fantasy around, but watching Hellboy find his purpose, contemplate his newly complicated future, or recall his past (a lovely prologue shows the character a curious boy in a veritable Jean Shepherd Christmas card) is where the real awe of the premise is found, not by dancing the "Monster Mash" until your eyes bleed.

HERE IS THE DIRECT DOWNLOAD FOR THE MOVIE HELL BOY 2.

SPACE CHIMPS NOW AVAILABLE

2008-08-05T23:23:00.000-04:00

SPACE CHIMPS NOW AVAILABLE ONLINE

HERE IS THE SUMMARY FOR THE MOVIE SPACE CHIMPS FROM IMDB

Ham III, the grandson of the first chimp astronaut, is blasted off into space by an opportunity-seeking senator. Soon, the fun-loving chimp has to get serious about the mission at hand: Rid a far-away planet of their nefarious leader. Fortunately for Ham III, two of his simian peers are along for the ride. Written by IMDb Editors

Two NASA chimps that are sent to a galaxy far, far away. One chimp has "The Right Stuff," and the other, a good natured goofball, has "The Wrong Stuff." The simian slacker becomes a reluctant hero and learns the true meaning of courage as he and his crewmates, the fearless Lt. Luna and their uptight commander, Titan, risk everything in an effort to save the peaceful inhabitants of a distant planet from the evil dictator Zartog. Written by Anthony Pereyra {hypersonic91@yahoo.com}

HERE IS A REVIEW FOR THE MOVIE SPACE CHIMPS FROM DVDTALK

"Space Chimps" is many things, but the one advantage it lacks is a sizable budget. If you're a respectable production that wants to be taken seriously and can't even scrounge up the coin to license Yello's 1985 hit "Oh Yeah," instead electing to use a tinny sound-alike...that should be the first clue that something is seriously awry with the movie.

Grandson to a famous simian who long ago heroically launched into space, Ham (voiced by Andy Samberg) is stuck in the circus, shot out of a cannon nightly to painful results. Recruited by the government to take part in a new space mission, Ham is thrown together with fellow chimps Luna (Cheryl Hines) and Titan (Patrick Warburton) and sent into training. Their mission is to travel into deep space, enter a wormhole, and explore an alien world. Once arrived, the situation swiftly unravels, forcing the hairy explorers to band together to battle Zartog (Jeff Daniels), a local who's taken control of a previous NASA exploration vehicle and rules the land with his metallic might.

"Space Chimps" isn't exactly the level of quality animated filmmaking audiences might expect in the summer season. It's a modest production from Vanguard Animation, sent into the multiplex wilds to vacuum up the dollars that haven't already been collected by Pixar. "Chimps" is really just one lucky DVD production that has fallen haphazardly into a theatrical release, and the experience watching it reinforces this sentiment with exceptional force.

I will write this about the picture: it plays better as it goes. Not many films can claim such progress, but "Chimps" does; taking its sweet time to grow on the viewer. To get there one must ignore the crude animation, awful lip-sync, and the minefield of dud jokes, and that journey is tiring. "Chimps" is certainly a sincere production, following closely to the simple edict of entertaining families. That's nothing to be ashamed of, but the picture is uninspired and complacent with bizarre pop culture references (an "Axel F" callback, really?) and anemic plotting, never challenging itself with a more confident tone or skillful comedic voice.

Thankfully the voice cast at least adds some spice to this tasteless cartoon broth. The production uses Samberg's wiseacre charms to moderate use, overextending the comedian with instruction to fill every silence in the film with a quip (his aim is so-so). Better is Daniels as the dim-witted heavy, strangling his squeaky voice to a charming degree. Also fun in a small role as a tiny, incandescent alien aid to the chimps is Kristin Chenoweth, who was born for voicework and gives the picture a proper spark right when it needs it the most.

As bland matinee diversions go, "Space Chimps" isn't the worst thing to plop your child in front of, but it's hardly worth the hundreds of dollars it takes to get a family to the movie theater these days. It's a banana-popping, planet-hopping fantasy more suited for DVD, where the budgetary and narrative limitations aren't so harshly felt.

HERE IS THE DIRECT DOWNLOAD FOR THE MOVIE SPACE CHIMPS

STEP BROTHERS NOW AVAILABLE

2008-08-05T23:19:00.002-04:00

STEP BROTHERS NOW AVAILABLE ONLINE

HERE IS THE SUMMARY FOR THE MOVIE STEP BROTHERS FROM IMDB

Brennan Huff (Will Ferrell) is a thirty-nine-year-old who has never left home and lives with his divorced mother, Nancy Huff (Mary Steenburgen). Dale Doback (John C. Reilly) is a forty-year-old who also has never left home and lives with his widower father, Dr. Robert Doback (Richard Jenkins). Both of them are unemployed and have been living off the goodness of their parents their whole lives. Nancy meets Robert; they fall in love, marry, and move into Robert's home. The two sons are forced to live together in the same room as step brothers. Brennan and Dale initially hate each other, but find out that they are not too different. They are like 12-year-olds trapped in adult bodies who haven't grown up and live in their own little worlds. They become best friends, and then their parents decide to kick them out, because they are getting a divorce. They set up job interviews, but to no avail. Their lives are about to change, and they must grow up. Douglas Young (the-movie-guy)

HERE IS A REVIEW FOR THE MOVIE STEP BROTHERS FROM DVDTALK

"Step Brothers" is a terrifically amusing movie, but it never reaches pulse-quickening hilarity. It's a confusing misfire, considering this is the new Will Ferrell film, reteaming with longtime collaborators John C. Reilly and director Adam McKay, and plays with a story that requires the star to act like a huffy child for 90 minutes. Seriously, it's damn strange that "Brothers" isn't funnier.

When their parents (Mary Steenburgen and Richard Jenkins) marry after a whirlwind courtship, 40-year-old slackers Dale (John C. Reilly) and Brennan (Will Ferrell) are forced to become step brothers. At first, the men hate each other, irritated that their easygoing lives have been disrupted by mandatory interaction. However, when Dale stands up to Brennan's bullying younger brother Derek (Adam Scott, nailing his antagonist role superbly), the men bond immediately, kicking off a relationship that threatens to destroy the house and the newlywed bliss contained within. Offered an ultimatum to either get jobs and grow up or be thrown out, Dale and Brennan panic, fearful of adult lives and the challenges they bring.

Surely "Step Brothers" was catnip to Ferrell and Reilly. Working off their own story idea, the film is little more than a chance for the actors to romp around like kids, exploring their childlike nature to expected slapstick standards. Director/co-writer McKay need only turn on the camera to capture this superficial examination of Peter Pan syndrome, leaving the heavy lifting to the actors as they wrestle around the frame, trying to outwit each other with improvisations. It's a fetching package, as Ferrell and Reilly are sparkling jewels of immaturity, attentive to every last moment of tantrums and resentment.

What's changed in this particular brew is the R-rating. For "Anchorman" and "Talladega Nights," the productions were pinned down by PG-13 limitations, forcing McKay and Ferrell to carefully work around blunt obscenity to make their smuttier points. "Step Brothers" heads in the opposite direction, indulging every possible pop of profanity, even asking Jenkins and Steenburgen to cuss like sailors to compete with the rest of the cast. Much like the upcoming "Pineapple Express," the deluge of potty-mouth punches grows tiring and ineffective in a hurry. It's hard not to sound like an old fuddy-duddy here, but the actual act of swearing just isn't enough to extract laughs.

"Step Brothers" is consumed with shock value, with Brennan forced to lick dog feces or use his testicles to abuse Dale's prized drum set, and it dilutes the viewing experience. McKay shows miserable judgment and timing here, passing on the chance to erect a sublime domestic disturbance comedy about maniacal grown children to dumb the material down to toxic base sensibilities. Where's the fun in that? "Step Brothers" is often lost at sea, paddling helplessly amongst its own needless vulgarity. There's nothing wrong with stupid, as long as there's a little more to the show than that.

Saving the film from McKay are the actors; while they're pitched at a deafening level of infantile babbling, they really help "Step Brothers" find something of a fruitful comedic bounce. Ferrell and Reilly are a wonderful team, elated to be capturing the harmony of two men who refuse to grow up. It's all "Star Wars" shirts, bunk beds, Steven Seagal bonding, and whispered bedtime arguments for Dale and Brennan, and the actors capture the impish spirit of being nine-years-old and trapped in an aging body. The duo remains strong here, even when they lay on the more exhaustive qualities of profane behavior.

I certainly laughed while watching "Step Brothers," and to the less sensitive (a.k.a. drunk, stoned), McKay's blunt execution will probably find a perfect home. What nags at me is the plot and casting, which form a perfect launching pad for something demented and delirious to emerge, and while "Step Brothers" touches inspired insanity intermittently, it never stays put, resulting in a picture of pleasing bedlam, but never consistent bedlam.

HERE IS THE DIRECT DOWNLOAD FOR THE MOVIE STEP BROTHERS.

HAROLD AND KUMAR 2 NOW AVAILABLE

2008-08-05T21:15:00.000-04:00

HAROLD AND KUMAR 2 NOW AVAILABLE ONLINE

HERE IS THE SUMMARY FOR THE MOVIE HAROLD AND KUMAR 2 FROM IMDB

Follows the cross-country adventures of the pot-smoking duo as they try to outrun authorities who suspect them of being terrorists when they try to sneak a bong on board their flight to Amsterdam.

HERE IS A REVIEW FOR THE MOVIE HAROLD AND KUMAR 2 FROM DVDTALK

Right from the start I'm stating that I detested this needless "Harold & Kumar" sequel. However, I'm well aware that it will absolutely delight the franchise's core group of fans, so please, for the love of all that's holy, do not step an inch further in this review if you cherished "Harold & Kumar Go to White Castle."

Off on a special trip to Amsterdam to chase after a loved one, Harold (John Cho) and Kumar (Kal Penn) board a plane and settle in for the nice, long trip. Impatient, Kumar whips out his smokeless bong in the bathroom, which onboard security mistakes for a bomb and swiftly arrests the duo on severe terrorism charges. Sent to Guantanamo Bay by nightmarish government agent Ron Fox (Rob Corddry), the duo manage to escape quickly, only to find help in America scarce as they creep along the backwoods of the country getting into all sorts of scrapes and racially-charged situations.

I'd assumed I would never have to write this, but I miss the confident directorial touch of the guy who made "Dude, Where's My Car?" The reigns of "Guantanamo Bay" have been passed down to the writers of "White Castle," Jon Hurwitz and Hayden Schlossberg, and the transition is a sloppy one. I wasn't too enamored with "White Castle," but it had some faint charms and the good sense to quit while it was ahead. "Guantanamo Bay" is nonstop procession of grim material, hinged on the sweaty prayer that the target demo will be too high to notice they're being fed nearly the exact same jokes.

Remember how awesome it was to see Neil Patrick Harris as himself, only himself with raging substance abuse problems and a penchant for risky sex? How funny Kumar's anthropomorphic bag of weed love interest was? Well, they're back in "Guantanamo Bay," along with a horde of conventional pot jokes and shock value nonsense that's marinated in desperation. Hurwitz and Schlossberg don't actually have a story for their sequel, so they bury the material in disorganized ideas, one of the larger ones concerning some swipes at Bush's America and the overzealous, clueless means of patriotic defense after 9/11. Coming so soon after Jenna Jameson's left-hook "Zombie Strippers!," "Guantanamo Bay" is another silly comedy that attempts to sneak in big-boy political ideas about governmental corruption under the guise of oral sex jokes and Corddry's obnoxious performance, which is so frantic and unfunny, it's nearly mime-like in execution.

The other unfriendly angle of "Guantanamo Bay" is the picture's slathering of racial humor. I realize the jokes are meant to be harmless by their obvious pronunciation, but it doesn't take long for the bits to wear down the intended joviality of the film. The directors are looking to flabbergast with sight gags like Fox using grape soda to make an African-American suspect talk, or spilling a bag of pennies to make two Jewish characters sweat during an interrogation; it all comes off as childish, even for a juvenile film like this. I always thought the idea of a sequel was to try and top the original film, but "Guantanamo Bay" is even more careless than "White Castle."

The rest of the film is the stuff one would expect walking into a "Harold & Kumar" sequel: gratuitous nudity (the pair stumble upon a "bottomless" party), over-explained jokes, massive ADR sweetening of humor, Penn and Cho further developing their comedic infertility, and lots of tiresome gay panic situations. What's less expected is an extended riff with a makeup-enhanced George Bush lookalike; a gag that would've been better sold if the actor looked less like Freddy Kruger and more like the President. You can add it to the alarming pile of misfired satire left to rot in the sun by the filmmakers.

Of course, getting upset with "Guantanamo Bay" is fruitless, since most fans couldn't care less about actual scripted quality as long as Kumar passes gas at inopportune times, Harris downs a mouthful of mushrooms and rides a unicorn, and the occasional joint is worked over. If I laughed a handful of times during "White Castle," I found myself without a single solitary chuckle during this painfully slapdash and uninspired sequel.

HERE IS THE DIRECT DOWNLOAD FOR THE MOVIE HAROLD AND KUMAR 2.

FREDDIE PRINCE JR SIGNS WITH WWE

2008-08-02T15:29:00.002-04:00

FREDDIE PRINCE JR SIGNS A DEAL WITH WWE

HERE IS THE ARTICLE ON FREDDIE JOINING THE WWE AS A WRITER

Prinze, Jr. Joins WWE Creative Team
July 30, 2008

STAMFORD, Conn, July 30, 2008 – Freddie Prinze, Jr., a long-time fan of World Wrestling Entertainment®, joins WWE®’s creative team. Prinze, Jr. will now have a behind the scenes role contributing to WWE’s weekly television and pay-per-view programs.

“Freddie Prinze, Jr.’s passion, energy and creativity make him an excellent fit for WWE,” said Chairman Vince McMahon.

"Bringing on board an experienced Hollywood writer, actor and producer like Freddie Prinze, Jr. will only increase the level of entertainment to millions of viewers and passionate WWE fans every Monday on USA," said Chris McCumber, Executive Vice President Marketing Digital & Brand Strategy, USA Network.

WWE’s programming is seen weekly by nearly 15 million viewers in the United States alone, and in 130 countries around the world (Monday Night RAW®, ECW® and Friday Night SmackDown®)

X-FILES 2 I WANT TO BELIEVE IS NOW AVAILABLE

2008-08-02T06:56:00.003-04:00

X-FILES 2 I WANT TO BELIEVE IS NOW AVAILABLE ONLINE

HERE IS THE SUMMARY FOR THE MOVIE X-FILES 2 FROM IMDB

When a group of women are abducted in the wintry hills of rural Virginia, the only clues to their disappearance are the grotesque human remains that begin to turn up in snow banks along the highway. With officials desperate for any lead, a disgraced priest's questionable visions send local police on a wild goose chase and straight to a bizarre secret medical experiment that may or may not be connected to the women's disappearance. Its a case right out of The X-Files. But the FBI closed down its investigations into the paranormal years ago. And the best team for the job is ex-agents Fox Mulder and Dr. Dana Scully, who have no desire to revisit their dark past. Still, the truth of these horrific crimes is out there somewhere...and it will take Mulder and Scully to find it!

HERE IS A REVIEW FOR THE MOVIE X-FILES 2 FROM DVDTALK

Hard to believe, but it's been a full decade since the last "X-Files" picture, "Fight the Future," hit the big screen to enthusiastic response, plunging the then-running television series even further into ferocious alien disturbances and its own vast sci-fi mythmaking quest. It's a different world for the "X-Files" brand these days, and "I Want to Believe" reflects the change of pop culture weather, turning inward to produce a spooky drama for the fans this time around, not multiplex mass acceptance.

When an F.B.I. agent goes missing after a violent attack, the bureau (including Amanda Peet and Xzibit) turns to Father Joseph Crissman (Billy Connolly), a convicted pedophile with psychic abilities who can sniff out the body parts left behind by the unknown assailant. Finding a dead end in the case, attention is focused on Fox Mulder (David Duchovny), the former "X-Files" believer turned recluse after being stripped of his credibility. Mulder is reluctant to assist in the investigation, and probes ex-partner Dana Scully (Gillian Anderson) for advice. With the clock ticking, the duo is pulled into the case when a second person is abducted.

"Fight the Future" led off with a literal bang before assembling a tight, forceful tale of conspiracy theories, aliens, bees, and black oil, enthusiastically playing into established "X-Files" parameters while remaining a well-executed horror/action creation to please those new to the labyrinthine franchise. "I Want to Believe" isn't as generous this time around to the newbies, with series creator Chris Carter grabbing directorial control and crafting a feature that stands out from the congested summer blockbuster environment by remaining alarmingly unflappable and looking to provoke not with ghouls, but with studious questions pitting science vs. religion.

Now this is the part where readers will surely tense up and hold their breath hoping I won't spoil the movie. I wouldn't dare. However, I can write that "Believe" is a provocative picture that gives serious weight to critical medical and religious issues, using Scully's role as a skeptical medical expert at a professional turning point to broaden the feature's thematic search for faith and all its unbecoming perversions. It's not profound sermonizing, but it eats away at a majority of the running time, leaving Scully and Mulder gasping for belief as they try to hold steady to the controversial paths they're drawn to.

It's a captivating exploration for an "X-Files" film, but does it equate to a rollicking time at the movies? Not exactly.

Carter has made a commitment to a more cerebral adventure for his characters, fixating on the discomfort between Mulder and Scully as they assume their old responsibilities. This uneasiness extends to the screenplay, which is heavy with expositional speeches, rendering the film stiff and overindulged at certain points. Since the television series was killed in 2002, it's to be expected that the producers would find it difficult to recharge rusted geek zeal, trying to rekindle the poised passion between Mulder and Scully, but often leaving the film slavish to discussion, not action. Carter, who's never directed a feature film before, almost seems terrified to spin "Believe" into something befitting a traditional widescreen release, perhaps fearing any deviation from the rhythms of the T.V. show would quickly spiral out of his control.

The lack of deliberate thrills isn't a complaint, just an occasional mild annoyance, with "Believe" sticking with spooky happenings and faltered interpersonal communication. It's a mysterious film, building dread through brutal kidnapping, displays of Bryukhonenko-inspired horrors, and the Crissman character, who Carter employs as the critical figure of eerie face-value judgment. It takes nearly an hour for "Believe" to work up a sweat; the film favors the tempo of the series, not the bombast of the screen. Fans are sure to drink up every last frame. The less inclined might be checking their watches with increasing regularity.

While I wasn't electrified by "Believe," I was immensely satisfied with Carter's intent, and his appreciation for Duchovny and Anderson, who really shines as Scully is dragged through a vigorous questioning of self. "I Want to Believe" is not a feature that provides instant results; instead, even with a handful of faults, it gets under the skin, offering the faithful a rewarding odyssey with these unlikely knights of the unknown.

HERE IS THE DIRECT DOWNLOAD FOR THE MOVIE X-FILES 2.

THE MUMMY 3 NOW AVAILABLE

2008-08-02T06:01:00.002-04:00

THE MUMMY 3 NOW AVAILABLE ONLINE

HERE IS THE SUMMARY FOR THE MOVIE THE MUMMY 3 FROM IMDB

The blockbuster global "Mummy" franchise takes a spellbinding turn as the action shifts to Asia for the next chapter in the adventure series, "The Mummy: Tomb of the Dragon Emperor." Brendan Fraser returns as explorer Rick O'Connell to combat the resurrected Han Emperor (Jet Li) in an epic that races from the catacombs of ancient China high into the frigid Himalayas. Rick is joined in this all-new adventure by son Alex (newcomer Luke Ford), wife Evelyn (Maria Bello) and her brother, Jonathan (John Hannah). And this time, the O'Connells must stop a mummy awoken from a 2,000-year-old curse who threatens to plunge the world into his merciless, unending service. Doomed by a double-crossing sorceress (Michelle Yeoh) to spend eternity in suspended animation, China's ruthless Dragon Emperor and his 10,000 warriors have lain forgotten for eons, entombed in clay as a vast, silent terra cotta army. But when dashing adventurer Alex O'Connell is tricked into awakening the ruler from eternal slumber, the reckless young archaeologist must seek the help of the only people who know more than he does about taking down the undead: his parents. As the monarch roars back to life, our heroes find his quest for world domination has only intensified over the millennia. Striding the Far East with unimaginable supernatural powers, the Emperor Mummy will rouse his legion as an unstoppable, otherworldly force...unless the O'Connells can stop him first.

HERE IS A REVIEW FOR THE MOVIE THE MUMMY 3 FROM DVDTALK

The latest "Mummy" film, coming a full and unforgiving seven years after the last "Mummy" film, is actually not much of a film at all: it's a deafening, blinding department store Blu-ray demo reel that's spun wildly out of control. It takes a herculean effort to be known as the least appetizing entry in the "Mummy" franchise, but then again, a studio isn't exactly fishing for quality when they hire Rob Cohen to direct.

Now retired from their adventuring days, Rick (Brendan Fraser) and Evelyn O'Connell (Maria Bello, replacing Rachael Weisz) watch as their son Alex (Luke Ford) continues on their reckless, globe-trotting ways. When Alex uncovers the lost tomb of Emperor Han (Jet Li) and his Terracotta Army, it reawakens the fierce ruler from the afterlife, sending him on a quest for immortality. With a new mummy on the prowl, Rick, Evelyn, Alex, nightclub owner Jonathan (John Hannah), and a spiritual warrior (Michelle Yeoh) team up to prevent Han from reaching Shangri-La and ruling the world with his infinite undead army.

Considering 2001's "Mummy Returns" grossed more than its 1999 predecessor, it boggles the mind to consider how Universal Pictures just simply sat on their hands and watched the demand for a new chapter in the O'Connell family saga wither away through a miserable spin-off (2002's "The Scorpion King") and the merciless passing of time. I mention the long absence because "Tomb of the Dragon Emperor" spends an inordinate amount of expositional time reminding the viewer what once lit up the imaginations of past summer moviegoing crowds, as if completely panicked nobody will remember that once upon a time Brendan Fraser plus undead CG demons equaled box office gold.

While I was no fan of "Mummy" and downright loathed the wretched "Returns," "Tomb" takes the franchise to a stunning new low. Director Rob Cohen (you know, the visionary who made "Stealth," "Fast and the Furious," and "xXx") replaces Stephen Sommers here, and if there's one guy who could make Sommers appear as cinematically resonate as Spielberg, it's Cohen. As lead-footed a filmmaker as the factory churns out, Cohen picks up on the same beat of noise pollution that was left hanging in 2001, only he manages to craft a sequel more obnoxious and defeating than previously anticipated.

It's a rotten, stubborn directorial endeavor, and since Cohen has little appreciation for legitimate big screen magic, "Tomb" suffocates under the filmmaker's bile-slicked mandate that every single frame must contain a screaming or explosive element. "Tomb" is a hallow fireworks display (often literally), using the characters as anonymous action figures instead of trying to hammer out a decent narrative to employ their established appeal. The sense of archeology and sun-baked puzzling from the previous films is rubbed out, as are the wide open spaces, replaced in "Tomb" with tight, unconvincing sets plucked right out of a Sci-Fi Channel Original.

Perhaps Weisz made the right decision to bolt when she could, though her warmth and romantic glow is missed from the inert picture. Bello isn't a satisfying replacement; she's woefully miscast trying to match Fraser with limp quips and dreadfully-accented exhilaration, missing the doe-eyed fairy dust Weisz sprinkled before.

And speaking of replacements, how is the audience supposed to believe the pre-teen, thoroughly British Alex of "Returns" grows up to be a twentysomething American cowboy/tomb raider in the new film? Ford's dreadful attempt to swallow his native Australian accent doesn't help the transition. Neither does the fact that Fraser and Ford look like brothers, not father and son. Ah, but I'm sniffing around for logic, and that's the wrong course for a "Mummy" movie.

The "Tomb" journey sends the characters to the Himalayas, where they battle Han's goons with the help of a few towering Yeti (who apparently feed on a steady diet of American football), allowing Cohen to blow his sets up; to the streets of Shanghai, where Cohen can smash cars and blow them up; and finally the Chinese countryside, where Han's CG soldiers fight a different set of CG soldiers. And yes, Cohen blows more things up. The man loves all things that go boom. It's a repetitive cycle that pushes the actors to the background, even reducing Li and Yeoh to mere cameos (watch out, the marketing is deceptive) when those two icons should've been front and center for the entire run of the film.

The world didn't need a third "Mummy" motion picture, and it certainly didn't need one that descends further into mindless action and insipid screenwriting. "Tomb of the Dragon Emperor" is a terrible film, but even more insidious, it makes one wish for the good old days: when Stephen Sommers found time to ruin summer entertainment through his own brand of blaring, big screen misery; when the mummy was played by a doughy, hairless, spray-tanned, completely unthreatening South African actor; and when Brendan Fraser was actually considered a humorous presence by a select few.

There's the magic of Rob Cohen for you: he makes awful extraordinarily nostalgic.

HERE IS THE DIRECT DOWNLOAD FOR THE MOVIE THE MUMMY 3.

MADE OF HONOR NOW AVAILALBLE

2008-08-01T17:43:00.000-04:00

MADE OF HONOR NOW AVAILABLE ONLINE

HERE IS THE SUMMARY FOR THE MOVIE MADE OF HONOR FROM IMDB

Made of Honor revolves around Tom and Hannah, who have been platonic friends for 10 years. He's a serial dater, while she wants marriage but hasn't found Mr. Right. Just as Tom is starting to think that he is relationship material after all, Hannah gets engaged. When she asks Tom to be her "maid" of honor, he reluctantly agrees just so he can attempt to stop the wedding and woo her. Written by Orange

HERE IS A REVIEW FOR THE MOVIE MADE OF HONOR FROM DVDTALK

At this rate, it looks like the entire cast of "Grey's Anatomy" will eventually have an awful wedding movie to call their very own. Coming right off the heels of Katherine Heigl's unwatchable "27 Dresses" is Patrick Dempsey's "Made of Honor," and it's as robotic and tedious as can be expected from fluffy summer-weekend counterprogramming.

A womanizer who lives by a series of strict rules of feminine engagement, Tom (Patrick Dempsey) can't wait to spend quality time with his long-standing best friend, Hannah (Michelle Monaghan). When Hannah heads off to Scotland on an extended business trip, Tom comes to the realization he can't live without her. When she returns, Tom is ready to admit his attraction, only to find Hannah has found a fiancé (Kevin McKidd) and wants Tom to be her maid of honor. Accepting the responsibility only because it offers a shot to disrupt the engagement, Tom faces a huge speed bump in his plan when it's revealed that Hannah's new love is just about perfect in every way.

Actual human characters are in short supply in "Honor," and heaven knows this material could use any speck of unpredictability it could locate. It's a mechanical romantic comedy, meant to trigger wedding day goosebumps and leading man heart palpitations in the audience, but there's no pizzazz to "Honor," and it features a complete absence of inspiration. It's a lazy picture, and, even worse, it's difficult to sit through. A simple love story shouldn't feel like a prison sentence.

Perhaps equating "Honor" to jail time is an inch too harsh, but watching the filmmakers lead the material through every possible cliché is discouraging. There are some jewels to be mined in the film, especially scenes with Tom's gender-confused role as maid of honor. The concept swings open large comedy doors that should rightfully exploit the situation for every last bachelorette party faux pas, but "Honor" only wants to make sexual preference jokes and take hoary bridesmaidzilla jabs. Dempsey is breezy enough in the role and appears ready to jump off the page and liven up the proceedings, but he's held down by director Paul Weiland, who has some strange ideas of what makes for a giggly, romantic night at the movies.

Let's just say that glow-in-the-dark anal sex toy sight gags fail to conjure up a desired mood of friendly, good-natured fun.

Much like "27 Dresses," the predictability of the material is exasperating. Weiland is terrified to challenge anything in the script, and he gives himself over to the most moronic ideas of conflict, chipping away at basic (and needed) relationship logic to make it all fit together. Traditionally, cliché can be subdued by some fragment of imagination, but once Tom finds himself off on a horse to stop a wedding in the finale, all hope is lost that anyone associated with the production was interested in elevating the material to either funnier or more emotional ends.

Again, Dempsey is good here, and shares pleasing chemistry with the adorable Monaghan, but it's hard to isolate their obvious allure when "Made of Honor" remains such a blinding display of loathsome formula.

HERE IS THE DIRECT DOWNLOAD FOR THE MOVIE MADE OF HONOR

ANACONDAS 3 NOW AVAILABLE

2008-07-31T16:06:00.002-04:00

ANACONDAS 3 NOW AVAILABLE ONLINE

HERE IS THE SUMMARY FOR THE MOVIE ANACONDAS 3 FROM IMDB

A mercenary-for-hire accepts a mission from a billionaire to capture a dangerous snake that could possibly help cure a terminal illness.

HERE IS THE DIRECT DOWNLOAD FOR THE MOVIE ANACONDAS 3.

IRON MAN NOW AVAILABLE

2008-07-31T08:27:00.000-04:00

IRON MAN NOW AVAILABLE ONLINE

HERE IS THE SUMMARY FOR THE MOVIE IRON MAN FROM IMDB

Tony Stark (Robert Downey Jr.) is the CEO of Stark Industries which produces advance weapon systems for the U.S. military. Tony's father started the company after WWII, and after his death Tony inherited the company, worth billions. Tony lives the life as a hard drinking, rich playboy ladies man, but he is also a genius who has invented many high-tech items for the company. Tony flies to Afghanistan to demonstrate a new weapons test to the army. On his way back to his plane, his convoy is attacked by terrorists, and Tony is wounded by a Stark Industries missile. Tony is captured and held hostage in a cave with Raza (Faran Tahir), a doctor who saves his life. The terrorists force Tony and Raza to reproduce the new destructive Jericho missile Tony was demonstrating from parts of other weapons. Instead, Tony decides to build a suit of armor with Razas help. The suit gives Tony the strength and protection to be able to escape the terrorists. Back in America, Tony builds a better suit of armor which gives him superhuman strength with the ability to fly. With the help of his personal assistant Pepper Potts (Gwyneth Paltrow) and Jim Rhodes (Terrence Howard), Tony vows to protect the world as Iron Man. Douglas Young (the-movie-guy)

HERE IS A REVIEW FOR THE MOVIE IRON MAN FROM DVDTALK

Superheroes have been young, mutated, and alien, but they're rarely fortysomething billionaires with a taste for one-night-stands, metallurgy, and scotch. Perhaps this is why "Iron Man" is so effective, taking well-worn feats of courage and subverting the candied results with a pinch of adulthood and plenty of acidic humor. The feature doesn't quite leap off the screen, but it's a wonderful ride.

A brazen war profiteer overseeing his own weapons industry, Tony Stark (Robert Downey Jr.) is pushed to reassess his life when violently taken hostage in the Middle-East and fitted with a powerful magnet-like device to keep shrapnel out of his vital organs. Hoping to abandon the mass-death game, Tony turns inward, creating an intelligent suit of armor that he trusts will assist him in reclaiming the world he's helped tear apart. With the help of faithful assistant Pepper Potts (Gwyneth Paltrow) and military pal Jim Rhodes (Terrence Howard), Stark works to perfect his suit; however, when business partner Obadiah Stane (Jeff Bridges) learns of Stark's ambitions, he sets in motion a plan to harvest the playboy's new powers for himself.

Downey Jr.? Paltrow? Bridges? Howard? A voice cameo by Paul Bettany? Well, director Jon Favreau was certainly doing his homework when stitching together his fourth filmmaking effort, "Iron Man." Easily the best ensemble to hand-hold a funny book to the big screen, the cast makes all the difference in the world between "Iron Man" sinking into medium-awareness mediocrity and smashing ahead as a top-tier adaptation, capable of big summer-movie thrills and sharp, sarcastic laughs. It's a strange brew, but Favreau is an ideal cook, and takes impressive command over this strange superhero property, pulling together an unexpected film that intends to play by caped, hands-on-hips standards, but has a much better time messing around with convention.

Stark isn't the typical character for a comic book metamorphosis, and Downey Jr. is certainly not the first actor that springs to mind when considering the tenets of truth and justice; yet the crooked casting works in favor of "Iron Man." Downey Jr. is a scream here as the blithe Stark, lording over his empire with a boozy grin; a womanizer with impeccable publicity and a constant circle of yes men, Downey Jr. does an impressive job humanizing Stark beyond the frown lines. His character arc is an intriguing one, taking Stark from a coin-hungry jet-setter to a man concerned with his legacy of violence, and willing to reach beyond himself to right his extensive wrongs. Stark is no saint, and his ballooned ego is a plot point Downey Jr. tees up with brilliantly, playing off his cast with rat-pack ease, and sharing touching chemistry with Paltrow. He's perfect in this role.

Because "Iron Man" is an origin tale, Favreau tries to unearth any moment of goosebumpy goodness he can find between exposition sequences, but the pickings are slim. Following Stark through his incarceration in Afghanistan, his renunciation of industrialism, and the creation of the famous red and gold suit, the picture is allowed short bursts of excitement and, heavens, they are tremendous moments. Watching Stark test his various suits, getting used to their spastic capabilities are the highlights of the picture, merging special effects and generous actor beats into an entertaining whole. Trouble only arrives when Favreau becomes too enamored with this world, which leaves the 125-minute running time too sludgy in the midsection of the film, rendering the climatic fight between Iron Man and villain Iron Monger stunningly ineffective. Perhaps Favreau, a gifted director, didn't realize how sharply executed Stark's earlier scenes of trial and error were, leaving the end of the film a payoff letdown, but still worthy of a few superb metal-crunching money shots.

If the enthusiastic crowd I caught "Iron Man" with was any indication, there are plenty of obscure comic book references packed into the picture to please long-standing fans, while the overall film remains more accessible than I was expecting. "Iron Man" is a high-quality entry in the superhero genre, and while it doesn't scream sequel at the end, Favreau is generous with dangling plot threads, and with all that origin nonsense out of the way, Tony Stark is poised to continue on into one heck of a sequel.

HERE IS THE DIRECT DOWNLOAD FOR THE MOVIE IRON MAN.