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DOWNLOAD MOVIE Bobby 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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After a fairly terrible year in 2005, it should come as no surprise
that it took another teaming with Writer/Director Adam McKay to score
Will Ferrell another hit. Sure, Wedding Crashers did so much better
than anyone would have ever expected, but all he had was a cameo very
late in the film. His most successful film before that was Anchorman:
The Legend of Ron Bergundy. The comedy and chemistry was excellent in
that film, and even with the really lame material, made the film work
in so many ways. Now we have Talladega Nights: The Ballad of Ricky
Bobby. While not necessarily being a better film than Anchorman, it
still ranks as a very positive improvement from the rest of the films
Ferrell has been doing as of late.

Ever since he was a child, Ricky Bobby (Ferrell), wanted to go fast.
After one of the fastest "growing-up" sequences I have ever witnessed
in a film, we zip right into the action as Ricky is part of the pit
crew for a NASCAR driver. After the lazy driver leaves halfway through
a race, Ricky takes his place and manages to do so well, that he
replaces him. Soon after, he is winning tournaments left and right, and
even gets his best friend Cal (John C. Reilly) in as his partner on the
track, helping him to win the races (and in turn, win second place
after Ricky during the races). Ricky is leading the high-life, but
after a few issues on the track, the team he works for decides to hire
a gay Formula 1 racer from France, Jean Girard (Sacha Baron Cohen), to
help shake things up.

The film is much in the same formula as Anchorman, only set more in the
satirical world of NASCAR. There are the obvious stereotypes thrown
around about the stupid, hick Americans who are into the sport, and of
course, all of the sponsorships and such that go into it. These
stereotypes are obvious from the get-go, and after awhile, are not too
jarringly distracting. They work well coupled in with the rest of the
story, and unlike Anchorman, the film actually feels like it has heart
and has some fairly dramatic moments (as best as can be used in an
obnoxious comedy). Of course, that's not to say that there are not a
whole whack of outrageously offensive jokes and crude humour (the
majority of which are absolutely hilarious). It is instead, a great mix
of all sorts of elements that work on-screen for the actors and for the
film itself.

A lot of the scenes are funny in themselves, but I find most of the
humour to come from the minor quips the characters throw at each other.
It is obviously not totally improvised, but the outtakes during the
credits show just a few of the extra lines that are spouted by the
characters. It worked in Anchorman, and it works just as good here.
Unfortunately, there are a few too many jokes that just fall flat (a
lot of Cohen's stuff just did not do it for me), and not nearly enough
laugh-out-loud moments. There are plenty of moments of hilarity anyway,
but there is room for improvement here and there.

Of noteworthy achievement are the ways the scenes involving the race
cars were filmed. They look absolutely awestriking during the races,
and look even better during the brutal car crashes. If there was
anything that could take away from the comedy in the film, it would be
the amazing shots McKay and Company create in the NASCAR races.

There is a little too much seriousness in some scenes however. It was
great to see the film becoming more than just a stupid comedy, but
there was a bit too much of it in some scenes. It drags the film out a
bit, and makes it longer than it probably should have been. In some
instances, it felt intensely long, but in others, it felt brisk and
fast-paced. It all depended scene-to-scene, so it definitely could have
been so much worse. Another thing I disliked, much like Anchorman
again, was the fact that many of the scenes in the trailer were not
even in the movie. Many of the money-shot, hilarious scenes, were in
both, but some of the little ones did not make the jump to the final
product. Is it negative to almost assume there are going to be tons of
deleted scenes on the DVD (and potentially enough to make a whole other
film out of them?). We'll just have to see.

The acting out of everyone is solid, and almost everyone feels perfect
in their roles. Ferrell is always great as screwball characters like
Ricky Bobby, and he proves himself once again in the role. He has just
enough edge and charisma to pull the character off without making him
too much of a joke. Reilly nearly steals the show away from him as Cal,
the even more dim-witted and bizarrely spoken best friends. Almost
everything he says hits dead-on, and the chemistry between the two is
just great. Cohen is alright in his role, although he feels a little
too over-the-top for his own good. Supporting turns from Michael Clarke
Duncan, Jane Lynch, Amy Adams, Greg Germann, Ted Manson and Leslie Bibb
are all great in their roles, but Gary Cole stands out as Ricky's
dead-beat and drunk/stoned father. His performance is electric, and
undoubtedly causes the most laughs of anyone in the cast.

While not as good as Anchorman was, this film still is a hell of a
funny movie with some great performances. It may be a little silly, and
some jokes may fall a bit flat, but if you are a fan of Will Ferrell,
then he is back. And in top form to boot.

8/10.

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DOWNLOAD MOVIE Half Light 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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Half Light Reviewed By Scott Weinberg Posted 02/13/06 20:46:05

"Yawn: The Movie" (Pretty Bad)

Cinematic Sominex that feels like it was tailor-made for immediate simultaneous broadcast on the Lifetime Channel and the Oxygen Network, Half Light is a thriller with no thrills, a drama with no drive, and a romance with no heart. Ridiculously overused plot devices, blatantly bland concepts, and effortlessly predictable occurences … those it’s got in spades.Demi Moore, apparently free of all that "career resurgence" that her performance in Charlie’s Angels 2 provided, stars here as world-famous novelist Rachel Carlson, a woman shattered by the accidental drowning of her young son and looking for a big healthy dose of solitude in her big creepy cottage inside a deserted Scottish village. Which is on an island.Why authors struck by family tragedies seem predisposed towards holing themselves up in isolation is anybody’s guess, but I think it comes from the fact that screenwriters are lazy.So if you’ve already assumed that A) Rachel starts seeing visions of her dead son, B) that she begins writing with next to no trouble at all, and C) she finds a young Oyrish lighthouse keeper to warm her bed at night, then you’ve probably already seen all the movies that writer/director Craig Rosenberg has.To be fair, the movie is packed with beautiful and majestic vistas of the small Scottish village (even though Half Light was shot in Wales). Unfortunately, Mr. Rosenberg is so smitten with his exteriors that he lingers endlessly on the sweeping exposition shots, all of which are set to the strains of the weepiest violin strains and tinkly piano-doodlings this side of Musical Purgatory.On and on plods Half Light, doling out perhaps one identifiable plot point every 9.5 minutes. There are numerous flashbacks and ponderous dream sequences that punctuate the airy narrative, but they add very little emotional resonance while making a chore of a movie feel a whole lot longer. The still-lovely Ms. Moore does a fine job with a single-note character, although asking a veteran actor to pull off a role like this is like asking an old-school baker to make you one single cookie.Bottom line? Half Light is a movie that trots out the old "You can’t have talked to [Character X] last night! [Character X] has been dead for seven years!" schpiel, and treats the thing like it’s still got some juice in the batteries.I just don’t get it. Demi Moore could have signed on for any variety of studio flicks after Charlie’s Angels 2, yet her next effort is an obscure, no-name, and rather boring psycho-thriller that nobody will express a whole lot of interest in. Maybe the gal needs a new agent or something, but I’d like to see her make a real comeback someday soon.( ? Review reprinted from DVDTalk, with permission from the author (me) and the DVDT management. For the full DVD specs on this particular movie, please visit www.DVDTalk.com and get friendly with the search bar.)
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DOWNLOAD MOVIE Analyze This 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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Analyze This Reviewed By Erik Childress Posted 02/15/00 15:24:00

"DeNiro and Crystal Are Perfect" (Worth A Look)

Analyze This (*** ?) - Analyze This was like a breath of fresh air for me. In saying that, I?m referring to the films I?ve seen thus far in 1998, which until this weekend, could only recommend a mere three - and we?re just starting March. The movie has its laughs spread out early on, but then really took me over as I was laughing and laughing hard.De Niro is essentially playing an archetype of every single mobster or mob-related character he?s ever played - and he plays it straight which is terrific. Billy Crystal fans have been waiting for this film from him for about five years after a string of major disappointments from a major talent. He has a lot of fun with the role and every single moment between him and DeNiro produces at least one huge laugh. Lisa Kudrow is relegated to just a prop character, not really given much to do at all - to the point that her character could have been left out of the script. Some good build-up scenes with her family are abandoned for the third act. This isn?t the most original concept in film, though it may seem so. There are numerous similarities to another funny film, a made-for-cable film called The Don?s Analyst with Robert Loggia as the mobster and Kevin Pollak as the shrink. There are also similar themes on HBO?s The Sopranos. There?s a lot that could have been added to this material to really push the envelope on making fun of earlier mob movies - but what we?ve got here is good stuff. Funny stuff. How can you resist seeing DeNiro cry? The moment he first breaks down in the film is truly classic.This is probably more like a three-star film the more I think about all the little things that could have pushed this into the area of a true screwball classic, but in a movie year like 1999, thus far, it?s as close to a 3 ?-star film as you can get. I liked it a lot.
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DOWNLOAD MOVIE Bandits 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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After submerging myself finally into Time Bandits, perhaps too late (or
too soon, if I had kids maybe it would’ve been a different experience),
I found it reminded me of a live-action version of one of these
animated adventures I would watch on TV as a kid, where a child would
be brought into a fantastical universe away from his dull, ordinary
existence, with strange friends/characters, and then go on adventures.
In a couple of small ways its even palatable to the Terry Jones/Jim
Henson collaboration Labyrinth. But the difference here is that it is
fused with some more mature humor and some darker elements. In a way
this is what the college-age fans of Monty Python in the 70’s must have
seen as the perfect film to take their kids to see in the 80’s. Terry
Gilliam, co-writer/director (co-written with fellow Python Michael
Palin), knows how to entertain, and many sequences are terrific. It’s a
shame that some of them were not as much, and a little spotty. The
sheer zaniness though, and the will for Gilliam to keep throwing visual
gags and intense, fun imagery, keeps it never boring.

It’s without a doubt that Time Bandits is in a sense a more
‘mainstream’ (err, accessible) picture than many of Gilliam’s other
works, mostly because it tries to reach into the imagination in all
people, young and old. Kevin (Craig Warnock, a good straight-character
for the audience amid all the ruckus), is in a land of his own
imagination, until a group of pillaging dwarfs (played by the likes of
David Rappaport and Kenny ‘R2-D2- Baker) traveling through time with a
stolen map with gaps through time provided by a crazed ’supreme being’.
They visit Napoleon (Ian Holm, an ingenious role), Robin Hood (John
Cleese), and by accident King Agamemnon (Sean Connery, an unexpectedly
cool role). But when the Evil Genius (David Warner, one of the funniest
performances of the film) knows they have it, he’ll do anything to lure
them in to get it from them.

This leads to a climax that in a darker, more scrambled way, reminded
me of the climax of Blazing Saddles. There, like in this film, the
story almost runs off the tracks, as many parts of history come into
play with the forces of good versus evil. It does come to a satisfying
conclusion, but in a small way is almost too much. Pauline Kael’s
comment that "the film suffers from a surfeit of good ideas" is not
without some truth. There are so many jokes, so much imagination, so
much creativity, its like a tipping scale that balances back and forth,
rarely in the middle, of how affecting it is. For children, therefore,
it is a sure bet, because children (for all of the modern corporate
grabbing and testing of material) thrive on material like this, where
the appearance of a comedian like Michael Palin in two separate,
hilarious roles, doesn’t matter as much as the sheer one-of-a-kind
nature of everything put together. Some of the film is violent (as when
the Evil Genius blows things up randomly), but always like a cartoon;
one can sense the animation influence in the style’s bones.

And that is what separates this film from the other films and shows I
saw as a child, that there is this need on the part of the filmmaker
not to stick to anything really expected, while still in a ‘once upon a
time’ framework. Some jokes may not be funny to kids until they get
older, but images like the giant trudging slowly through the water, the
dwarfs in a peril in the cages, the pageantry of the Greek sequences.
It’s all delightful, but also a little overwhelming, and of course a
bit much on the first go-around.

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DOWNLOAD MOVIE Auto Focus 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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Reviewed by Glenn Erickson

They used to say that Martin Scorsese made films about people we didn’t want to know. Paul Schrader
seemingly keeps remaking Bresson’s Diary of a Country Priest - his movies focus mostly on
stories about self-destructive
men with questionable goals, who are blind to their own weaknesses. Auto Focus is one of
his best pictures, an unblinking look at the secret life of a sex addict. Greg Kinnear glows as
the friendly star who just doesn’t understand why his ‘hobby’ is such a problem for other people;
Schrader tells his
slick, unpleasant tale with just enough critical distance to avoid charges of exploitation.

Synopsis:

Successful disc jockey and family man Bob Crane (Greg Kinnear) becomes a star with
the TV comedy Hogan’s Heroes, and the fame brings him opportunities to indulge his darker
side. Abetted by a video technician, John Carpenter (Willem Dafoe) eager to hitch up with a girl-bait
celebrity, Crane frequents strip clubs and is soon having sex nightly with pickups he and his new
buddy bring back to Carpenter’s pad. Already a collector of sex magazines, Crane buys new portable
videotape equipment, and becomes a sex addict, taping and reviewing his endless orgies. Losing all
perspective, the star with the squeaky-clean image throws away two marriages along with his
career, all the while never understanding what the problem is.

Paul Schrader’s movies about tainted sinners are ultimately moralistic, but still leave
us feeling like bathtubs with dirty rings. His consistent choice of stories & characters suggests
that he considers himself in a purgatory called Hollywoood, trying to atone for some sin earlier
in his life.

In Auto Focus, the director finds material perfect to his tastes. Jake LaMotta was like a
beast-man in a classic tragedy, and we cried for him when he trashed the only symbol of his
struggle, his championship belt. Bob Crane’s tragedy is more down-to Earth and less dramatic.
Celebrity and wealth combine to free a straight-laced family man’s proclivities for unrestrained
sex. Most middle-class adulterers are quickly curbed by all kinds of limits - financial,
emotional, etc. With
the money and the sex attraction afforded by his role in a lame network comedy, Crane went
with the flow and found he liked it - by night a jackrabbit playboy, by day a church-going
Republican.

Crane’s post-murder (1978) unveiling as a secret sexaholic revealed deep contradictions that
Auto Focus, to its credit, manages to retain as the center of its story. Crane sees no
conflict between his ‘healthy interest’ in women, and his love of his wife and family. Repeatedly
finding his sex magazines, and finally his secret stash of orgy photos, Crane’s wife Anne (Rita
Wilson) doesn’t share his notions of honesty. His only real friend, and then only because of their
shared interests, is the leechlike hanger-on John Carpenter, a video and stereo technician to the
stars who loves Crane’s ability to attract unlimited numbers of attractive women.

The first part of Auto Focus is like a living version of one of those old Cad -type men’s
magazines, the ones read by Marty’s hard-up bachelor friends. Crane at first protests that
he’s a married man, but finds he has no internal barriers to a wild life of unrestrained sex.
Considering the Hollywood babes at his disposal, who could resist? Crane
and Carpenter don’t concern themselves with the hedonistic selfishness of it all - using other people,
remembering their partner’s names just long enough to greet them at the door.

Even the most modest celebrities often fall victim to an egocentric blindness to the rest of the world,
losing perspective on their position, and how their actions are perceived by others. Crane went
way off the deep end, hiding his escalating video orgies so poorly, he must think his wife and
friends are fools. He’s surprised to find that being caught with boxes of scummy sex magazines is
considered questionable, and scoffs at this agent Lenny (Ron Liebman)’s sincere concern that he’s
literally screwing
up his career. Moving into the post - Hogan’s 70s, we see Crane and Carpenter taking their
parties on the road with Crane’s little theater act, and the intially impressive sex partners
degenerate into whoever can be induced to remember his celebrity.

Finally they’re scoring on the ’swinging singles’ circuit, with partners so plain, the sex
itself has to be the only draw. Strung out and middle aged, the pair are so sex obsessed, they
masturbate in front of one another without even thinking about it;
Crane blows an already pitiful cooking show gig by sexually harassing an audience member - on
camera. A chance at a comeback in Disney movies is short-circuted by his private life, but
he still has no perspective, no inkling of anything wrong with his behavior - it’s all
self-indulgence on the part of a guy to whom nobody ever said No. “What’s the matter? People
always liked me. That’s what I am.”

Schrader deals with the murder finale very nicely, leaning toward the main suspect (the case was
never solved) but keeping things somewhat ambiguous. Crane has a last-night talk about needing to
straighten out and leave ‘the life’ behind, but that might have been the way he talked for years.
It’s a good and honest movie, but will still be harsh and unpleasant to many viewers, and offensive
to those pre-opposed to its content. Crane and Carpenter aren’t judged outright, but it’s the little
attitudinal details that condemn them. They don’t merely love sex, they get their giggles from
being randy rakes who can knock down their conquests like tenpins, all the time marvelling at
how stupid the women are. When things go bad for their sex games, their essential hatred is
expressed more directly.

Willem Dafoe’s lowlife techie may have been an easy role to play, but Auto Focus takes care
not to
give him undue blame for what was really a partnership. It’s a good portrait of the show-biz fringe
dweller who marks his success by the celebrities he hangs out with (Bob Crane? Richard Dawson? not
very high of an aim) while otherwise suffering constant petty humiliations. Theirs is more of a
marriage than Crane had with his wives - they do more living and ’sharing’ together. When Crane
belittles him, Carpenter’s inner rage makes perfect sense.

The creepiest thing about Auto Focus is how it focuses the Playboy fantasy of available
playmates with consumer affluence, in particular, fancy stereos and the then-new videotape
equipment. A
college buddy of mine once had a weird part-time job in the Playboy Mansion, carefully recording
Hugh Hefner’s favorite films with an unwieldy reel-to reel VTR. He saw no evidence of Hefner using
the equipment for anything else, and concluded that although Hef may have had a lot of girlfriends,
he kept his life in reasonable balance.

There’s so much nudity in Auto Focus, that almost the whole picture is a ’sexual situation.’
Schrader’s chosen sicko this time doesn’t smoke or drink to excess. Much of America will quickly
decide that the show is straight exploitation, simply based on its plot description. I didn’t think
it was sleaze, but I’m not sure it was particularly enlightening either, except to what was
once called prurient interest.

---

Sony’s slick DVD of Auto Focus presents its colorful photography and smooth lounge score by
Angelo Badalmenti in an attractive package, starting with the arresting title sequence.

The main extra is a serious docu on the real Bob Crane murder case that goes into great detail with
the crime and the mishandling of the case for decades thereafter. Actual police files and courtroom
videotape are used - how did anybody get clearance for all this? - and family members, policemen,
prosecutors and defense lawyers are all on camera with pungent opinions. It provides a perfect
companion to the film, by showing the miserable legacy an unsolved murder can leave.

The disc is packed with more material, especially a record number of commentaries for a film with
such a disappointing boxoffice run (see below). Savant only sampled them; with 6 additional hours of
audio content, viewer curiosity will hopefully be satisfied. The five deleted scenes are the
readily disposable kind.

---

On a scale of Excellent, Good, Fair, and Poor,
Auto Focus rates:

Movie: Excellent, but not recommended for all

Video: Excellent

Sound: Excellent

Supplements: Two part docu on the Bob Crane murder scandal, Commentary by Greg
Kinnear and Willem Dafoe, Commentary by Paul Schrader, Commentary by producers Scott
Alexander and Larry Karaszewski and Writer Michael Gerbosi, trailers, deleted scenes,
Making-of featurette

Packaging: Amaray case

Reviewed: March 17, 2003

---

[Savant Main Page][Savant Links] [Article Index] [Review Index] [Savant 5 Year Report]

DVD Savant Text ? Copyright 2003 Glenn Erickson

Go BACK to the Savant Main Page.
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DOWNLOAD MOVIE Tears of the Sun 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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Tears of the Sun (2003) / War-Action MPAA Rated: R for violence, some brutality and language Running time: 118 min.

Cast: Bruce Willis, Monica Bellucci, Cole Hauser, Johnny Messner, Tom Skerritt    Director:  Antoine Fuqua Screenplay: Alex Lasker, Patrick Cirillo

 

 

Bruce and co. are sent on a special-ops mission into the Nigerian jungle with a simple mission to get an American (by marriage), and any other "non-indigenous" people out of there before the newly empowered rebel forces slaughter the village they are in.  The mission is simple, but compromised when Bruce begins to soften to the laments of the Nigerian people that the woman refuses to leave behind.  With the rebel forces hot on their tails, they must complete their mission, while also attempting to deliver the village to safety.

TEARS OF THE SUN is a good film in all respects except it needed a a more intriguing story.  There really isn’t anything bad about the film otherwise.  Bruce Willis gives a good, gritty, and low-key performance.  The supporting cast are all very capable.  Antoine Fuqua’s direction continues to impress.  Good locale work, a nice score, and terrific costumes. 

All of the pieces were in place, except for the script.  There isn’t much in the way of character development, and what little story there is feels too simplistic to maintain a high interest level.  There’s very little dialogue, but there is a lot of action, although it’s more a standard war type of action than, say, DIE HARD.

If you like war flicks without a convoluted, politically-tinged story, TEARS OF THE SUN has plenty of solid, and mostly realistic, fighting.  Don’t expect the chilling realism of BLACK HAWK DOWN or the character-driven wackiness of THREE KINGS.  This is a so-so idea for a movie, like Moses’ tale in "Exodus" without the spectacle, that is only elevated into something more due to the professionalism of all involved.  Expect no greatness, and you’ll be rewarded with competent filmmaking with the only message being that inaction is just as harmful as abetting those who would do evil.

P.S. — For those of you confused because TEARS OF THE SUN was supposed to be the secondary title to DIE HARD 4, I should tell you this is not a DIE HARD movie, nor was it really intended to be one.  This was actually a film which had the original title of MAN OF WAR, but Bruce like the TEARS title, so apparently there was some deal made where it could be used as the title in agreement for Bruce doing DIE HARD 4.  Although, it’s now doubtful if DH4, if there ever is one, will need the title since it seems farfetched that it will still be set in the jungle as originally planned, or risk further confusion.

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Cradle 2 the Grave Reviewed By EricDSnider Posted 07/03/03 17:15:00

"Good dumb fun." (Average)

I don?t know why directors even bother including Jet Li?s reaction shots in movies. Regardless of what other people in the scene have said or done, Li?s face will have the same expression: stony indifference, followed by reluctant butt-kicking. He is a handsomer, calmer version of Jackie Chan.?Cradle 2 the Grave? plays to Li?s strengths ? ultra-cool demeanor and extraordinary fighting skills ? and wisely avoids his weakness in the area of emotive dialogue. It pairs him with his ?Romeo Must Die? co-star, rapper DMX, and reunites both with ?Romeo? director Andrzej Bartkowiak, whose penchant for testosterone-rich filmmaking (he gave us Steven Seagal in ?Exit Wounds,? too) comes to full fruition here.Li plays Su, a Taiwanese Intelligence agent who has come to Los Angeles in search of a batch of mysterious black diamonds ? deadly in the wrong hands ? that have gone missing. Begrudgingly, he joins forces with Tony Fait (DMX), the leader of a well-organized gang of high-tech jewel thieves whose daughter has been kidnapped by yet another group of bad guys who want the diamonds for their own nefarious purposes.Evil is a question of degrees here. Fait is a thief, yes, but he gives his daughter pretty necklaces and says prayers with her at bedtime. The REAL bad guys, on the other hand, slap little girls around and occasionally kill people.Fait?s crew includes the amusing Anthony Anderson as the requisite guy-who-will-put-on-disguises-to-provide-distraction, and Gabrielle Union (?Bring It On?) as the requisite hot-woman-who-uses-sex-to-distract-people. Tom Arnold is on board, too, as a pawnshop owner with ties to the underworld.The film gets sillier as it goes, leaving reality behind and venturing into full-fledged outrageousness. Witness the cross-cutting between two scenes: In one, Fait is leading police and others on a high-speed ATV chase through L.A., captured by news cameras and viewed live by his kidnapped daughter, whose abductors are not so inhuman as to have denied her TV privileges; in the other, Su is taking on all comers, including a midget referee, at an underground fight club so brutal that spectators hold plastic sheets over their heads to avoid being spattered with blood. (If Britney Spears were the star of this movie, the bad guys would own an underground karaoke bar; since it?s Jet Li, it?s a fight club.)My other favorite scene has the bad guys demonstrating the powers of the black diamonds for the world?s top black-market arms dealers, in what amounts to a trade show attended by the Legion of Doom.Soon enough, people are delivering lines like, ?It?s time to end things MY way,? and, ?You were lucky last time; you won?t be lucky again.? It?s all an exercise in high-energy absurdity; the question is how seriously the film wants us to take it. Well, in Jet Li?s impenetrable expression I see a man who is aloof to his surroundings. And if the star doesn?t think any of this matters, why should we?
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DOWNLOAD MOVIE Practical Magic 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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Practical Magic Reviewed By Erik Childress Posted 02/17/00 05:16:34

"What’s the Point?" (Pretty Bad)

Practical Magic (* ?) - What was the point of this film? And that?s a legitimate question - because what is the point?Is the film supposed to be about two complete opposite sisters who happen to be witches and the lives they have to lead? How about the plot that kicks in about the abusive boyfriend, who gets killed, brought back to life, killed again, and then starts tormenting and possessing the sisters? What about the romantic angle of Sandra Bullock?s character, who, about an hour into the film, starts to like a detective investigating the case of the missing boyfriend? This film wants to be about so much that it blows every possible angle which could have made an interesting flick. There?s nothing interesting about the witchcraft aspect - especially since that?s supposed to be the main focus of the film - because there really isn?t a whole lot of witchcraft going on - a subject much more interesting in the mediocre The Craft and the far superior The Witches of Eastwick. The film isn?t very funny and I think it was meant to be a comedy. The human drama isn?t that well developed because the dead boyfriend interrupts that flow and decides to turn the film into a half-assed version of The Frighteners whenever it feels like it. And the romantic angle doesn?t really spark because it?s too little and way too late into the film for me to care.This is just a mess of a movie that needed another rewrite or ten before it got my money.
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DOWNLOAD MOVIE Natural Born Killers 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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Features: Widescreen Letterboxed - 1.85:1. English (Dolby Digital 5.1). Subtitles: English, Spanish, French. Commentary by director Oliver Stone. Production notes. Theatrical trailer. Over an hour of haunting bonus footage, extra scenes and lost performances. Behind-the-Scenes Making-Of NBK.

The Movie:
First of all, if you’ve seen Natural Born Killers you already know if you’re going to buy this DVD. Stone’s film so polarized the viewing public that nothing I say here will sway your opinion (if you already have one.) Now that I’ve gotten that out of the way, on to the review!

Natural Born Killers is the story of a modern day Bonnie and Clyde who venture across the country on a killing spree, becoming worldwide celebrities in the process. The lead rolls are played with great aplomb by Woody Harrelson (in his first major roll after the Cheers) and Juliette Lewis who bring these most loathsome characters to life. Unfortunately, their performances don’t seem to be able to save this muddled film.

Stone’s basic thesis is that the American obsession with crime, fed by an over exuberant media, has fostered an atmosphere in which violence itself is a valid form of expression. That’s a message that should ring true for many people but Stone’s ham-handed delivery gets in the way. His stance is so clear that unless you fall asleep in the first five minutes you won’t fail to miss it. Natural Born Killers is intended to be a satire but the subject matter is used as a bludgeon leaving little room for levity. In my estimation Stone fails to give his audience credit for being intelligent enough to draw their own conclusion and instead opts to force his message down their throats.

Compounding the problem is Stone’s schizophrenic use of the film medium itself. From the get go he switches relentlessly back and forth between black and white, 16mm, 8mm and video leaving little chance for the viewer to settle into the flow. He presents us with rear screen projections, blue screen mats, full-fledged CGI and even imagery projected on buildings. I couldn’t help getting the feeling that Stone was trying broadcast on whatever frequency David Lynch seems to be tuned into and failing miserably.

Nevertheless I was able to enjoy some aspects of the film. Quentin Tarantino originally scripted Natural Born Killers (though it went through many other hands before shooting began) and there are moments when his clever dialogue shines through. In addition I found the performances by Robert Downey Jr. and Tommy Lee Jones to be very funny and well crafted.

The Picture:
Because of the frenetic cutting between various media it’s a little hard to get a handle on the overall video quality. Some of the scenes are intentionally grainy and others look washed out. Still others make use of fog filters and postproduction effects. After accounting for this intentional mish mash it seems to me that the picture quality is very good. The color levels are pleasant and not over saturated, the skin tones are right on and the black and white footage seems crisp and clean. I was unable to detect any appreciable artifacts from the DVD compression process.

The Sound:
Natural Born Killers sports a Dolby Digital 5.1 sound track but it was a bit of a disappointment. I found the soundfield to be somewhat flat and not very broad. The surrounds came into play on only the most rare of occasions which is a shame considering all the action on screen. The LFE channel gets a workout with gunfire and explosions but it’s left hanging out to dry without the support of a better overall mix.

The Extras:
There are several extras on this disc. First of all there’s a short documentary on the making of Natural Born Killers and the controversy it caused. This production is a softball effort that only scratches the surface of the story behind the film. Next there’s a screen specific audio commentary track by Stone. This too is a little disappointing. Stone spends way too much time explaining his message and not enough discussing the production and the differences between this director’s cut and the MPAA approved R rated version. Several cut scenes are included, each with an optional introduction by the director. This is the most insightful extra as it shows how the film evolved in postproduction. There’s also an interesting alternate ending. Finally you’ll find the original theatrical trailer and several bonus trailers from other Trimark releases.

Conclusion:
Natural Born Killers probably sparked more controversy than was justified by the content of the film. It’s far from the bloodiest or the most offensive movie you’ll ever see but it certainly isn’t for everyone. If you’re a Stone fan you’ll want this one in your collection and if you saw it in the theater and liked it you’ll probably get a kick out of the feature packed DVD. If you’ve never seen the film before I recommend that you rent it first and see if it’s to your liking.
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DOWNLOAD MOVIE Laramie Project, 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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Laramie Project, The Reviewed By Todd LaPlace Posted 03/22/06 04:32:19

"Laramie sparkles, but ?Laramie? doesn?t." (Average)

My first exposure to ?The Laramie Project? was through a theater company in Ohio. It was a small production, with a cast of eight actors playing all 50-some roles. Even jumping back and forth between supportive, antagonistic and indifferent, all eight managed to perfectly capture the spirit of the play and the real emotions behind it. As a movie, ?The Laramie Project? misses most of that spirit. The story is still genuinely strong, but while the play felt real, the movie seems false. I feel like I?m watching fiction, when I should be watching reality.In theory, ?The Laramie Project? may be the perfect movie. There are, of course, great movies that are pure popcorn entertainment, but ?Laramie? is different. The story, based on a play of the same name, never deals directly with the tragedy of Matthew Shepard?s murder, but interacts with the situation around the tragedy. The Tectonic Theater Project, a theater company founded by Moises Kaufman, also the film?s director, conducted more than 200 interviews with the people of Laramie, Wyoming shortly after the attack and around the time of both trials. The entire play and screenplay is a compilation of quotes from those interviews, which gets closer to the tragedy than any depiction of Matt himself ever would have. It?s a story, even four years after the incident, that needs to be told, as the issues of gay rights continue to be at the forefront of a national debate. With all that said, ?The Laramie Project? may be an important movie, but it?s not a great one. The film turns the whole situation into an overwrought melodrama. The film is filled with excessive landscape shots and quick cuts and layered shots that do little more than fictionalize the story. During the trials, the courtrooms are filled with the townspeople interviewed, even though many have little connection to the case outside of also being gay. It?s possible, of course, that they were there, but through it all, the scenes still feel false. The film does a disservice to the Tectonic Theater Project, Kaufman, the play and, most of all, Matt, because all are worth more than this movie gives them credit for.A big part of the problem is the star-studded cast that litters every scene with this false melodrama. When the film dramatizes the interview with Matt Galloway, a bartender at the Fireside Bar, the place where Matt met up with accused killers Aaron McKinney and Russell Henderson, we don?t see a bartender. We don?t see the last bystander that saw Matt alive. We see ?Dawson?s Creek?s? Pacey Witter. We see Joshua Jackson. We don?t see the limo driver that took Matt to gay bars in Fort Collins, Colorado. We see Steve Buscemi. The exact same statements can be said for Christina Ricci, Janeane Garofalo, Camryn Manheim, Laura Linney, Mark Webber, Ben Foster, Terry Kinney, Amy Madigan, Jeremy Davies, Clea DuVall, Nestor Carbonell, Dylan Baker and Peter Fonda. None of the actors turn in bad performances. On the contrary, all of them, especially Ricci, Madigan and Davies, are genuinely gifted actors, especially in this film. There is an honest sense of deep-seeded connection; these actors want to get this story told as much as anyone, but they?re not the ones to tell it. The talent may have given the film an extra boost and, hopefully, a few more viewers, but the whole affair sacrificed quality in order to get there. The movie is good, but the play is great. ?The Laramie Project? deserved better.There?s a line in ?The Laramie Project? that perfectly demonstrates why the movie is so important. Real Wyoming resident Murdock Cooper said, ?I’m not excusing their actions, but it made me feel better because it was partially Matthew Shepard?s fault and partially the guys who did it … you know, maybe it?s fifty-fifty.? If the movie can change one person?s beliefs, it was worth making. I just wonder how many more people may have been affected if it had been made well.
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