Friday, June 20, 2008
favorite movie downloads-completely free movie download site
If you type free movie downloads on any search engine you will probably get fed up searching for favorite movie downloads. some sites saying they are giving away free movies.But someone search for free movie downloads,on that kind of a site they might get confused, because they are not giving away free movie downloads. Some other web sites saying they are also giving away free movie downloads.But they are charging some money.But we are giving away absolutely free movie downloads.
The Strangers 2008 review
There’s a remarkable scene in Halloween in which, instead of giving us another amped-up shock tactic, John Carpenter instead has his bogey materialize, slowly and intractably, out of the background shadows. Take that scene and repeat it, from every possible spatial permutation for about 90 minutes, and you have The Strangers, a movie that progresses through its gritty 70’s style horror platitudes with such cold efficiency that, afterwards, a brisk shower may be in order. It isn’t a bad movie per se, and since learning of its creator’s directorial nascence, one’s indignance towards it has abated somewhat. Nevertheless, The Strangers is yet another callous lesson in the existence of evil! without the style, artistry, acting, music, or political / sociological subtext to make it anything more than a kid picking the legs off a grasshopper. And you’re the grasshopper.
From the phoned-in verite of its Handicam laziness to the phoned-in discord of its characterizations, it just feels stale from the outset, as if Vacancy had somehow been pruned of its directorial precision and semiotic heft and then left out under the sun for a few days. It elicits groans with its very first frame, wherein it announces that ‘this is based on a true story!’ (it ain’t), a device that used to devilishly reconstitute the meaning of a film’s violence (see: the original The Texas Chainsaw Massacre and Fargo), whereas now it just comes off as another of cinema’s tired attempts to legitimatize itself by being ‘real.’ Speaking of, one has to come back to that silly Handicam cinematography, which probably does the most to devalue the movie’s icy despair. That camera just keeps a’shake-shake-shakin’ at everything in sight, the end result being nothing beyond jittery eyeballs.
The current swing in horror feels reactionary to the goofy, overplotted messes of yesteryear (the Scream era, if you will), but it’s a flaky solution to start underplotting the genre into oblivion, such that we’re basically just watching nameless meat ground up in the machinations of doomed circumstance. This period is undeniably indebted to the howling madness of 70’s grindhouse (The Last House on the Left, et. al.), and sure, if you have the pebbles to attempt something of that brutality, then by all means. Conversely, what irks about stuff like The Strangers is that, underneath the superficial grit, they’re not at all on the same level: if anything, they’re trying to take the raw horror of grindhouse and make it potable for the mainstream, which continues to come off as misdirected at best, skeezy at worst. Particularly what bothers about The Strangers is how clearly it has taken the template of Michael Haneke’s Funny Games (either version) and diluted it into a simplistic thriller built upon violence and antagonism, the very subject of Haneke’s barbed exegesis (whether it was a successful one or not).
Again, The Strangers isn’t entirely a failure, but it succeeds only within the cramped confines it has established for itself, and its final bleakness feels specious and entirely unearned (the “you were home” explanation all but lifted from Haneke’s B-sides). Granted, one has to admit a certain admiration for any horror movie that can get an opening-night audience to shut the fuck up: the first hour was filled with the expected chortles and gibbering; by the end, not a goddamn peep. Still, bullying an audience into silence only goes so far.
source:http://appreciatinggreattrash.com
From the phoned-in verite of its Handicam laziness to the phoned-in discord of its characterizations, it just feels stale from the outset, as if Vacancy had somehow been pruned of its directorial precision and semiotic heft and then left out under the sun for a few days. It elicits groans with its very first frame, wherein it announces that ‘this is based on a true story!’ (it ain’t), a device that used to devilishly reconstitute the meaning of a film’s violence (see: the original The Texas Chainsaw Massacre and Fargo), whereas now it just comes off as another of cinema’s tired attempts to legitimatize itself by being ‘real.’ Speaking of, one has to come back to that silly Handicam cinematography, which probably does the most to devalue the movie’s icy despair. That camera just keeps a’shake-shake-shakin’ at everything in sight, the end result being nothing beyond jittery eyeballs.
The current swing in horror feels reactionary to the goofy, overplotted messes of yesteryear (the Scream era, if you will), but it’s a flaky solution to start underplotting the genre into oblivion, such that we’re basically just watching nameless meat ground up in the machinations of doomed circumstance. This period is undeniably indebted to the howling madness of 70’s grindhouse (The Last House on the Left, et. al.), and sure, if you have the pebbles to attempt something of that brutality, then by all means. Conversely, what irks about stuff like The Strangers is that, underneath the superficial grit, they’re not at all on the same level: if anything, they’re trying to take the raw horror of grindhouse and make it potable for the mainstream, which continues to come off as misdirected at best, skeezy at worst. Particularly what bothers about The Strangers is how clearly it has taken the template of Michael Haneke’s Funny Games (either version) and diluted it into a simplistic thriller built upon violence and antagonism, the very subject of Haneke’s barbed exegesis (whether it was a successful one or not).
Again, The Strangers isn’t entirely a failure, but it succeeds only within the cramped confines it has established for itself, and its final bleakness feels specious and entirely unearned (the “you were home” explanation all but lifted from Haneke’s B-sides). Granted, one has to admit a certain admiration for any horror movie that can get an opening-night audience to shut the fuck up: the first hour was filled with the expected chortles and gibbering; by the end, not a goddamn peep. Still, bullying an audience into silence only goes so far.
source:http://appreciatinggreattrash.com
Kung Fu Panda Review
"Kung Fu Panda" is a story that almost tells itself in its title. It is so hard to imagine a big, fuzzy panda performing martial-arts encounters that you intuit (and you will be right) that the panda stars in an against-all-odds formula, which dooms him to succeed. For the panda's target audience, children and younger teens, that will be just fine, and the film presents his adventures in wonderfully drawn Cinemascope animation. (It will also be showing in some IMAX venues.)
The film stars a panda named Po (voice of Jack Black), who is so fat he can barely get out of bed. He works for his father, Mr. Ping (James Hong) in a noodle shop, which features Ping's legendary Secret Ingredient. How Ping, apparently a stork or other billed member of the avian family, fathered a panda is a mystery, not least to Po, but then the movie is filled with a wide variety of creatures who don't much seem to notice their differences.
They live in the beautiful Valley of Peace with an ancient temple towering overhead, up zillions of steps, which the pudgy Po can barely climb. But climb them he does, dragging a noodle wagon, because all the people of the valley have gathered up there to witness the choosing of the Dragon Warrior, who will engage the dreaded Tai Lung (Ian McShane) in kung-fu combat. Five contenders have been selected, the "Furious Five": Monkey (Jackie Chan), Tigress (Angelina Jolie), Mantis (Seth Rogen), Viper (Lucy Liu) and Crane (David Cross). Tigress looks like she might be able to do some serious damage, but the others are less than impressive. Mantis in particular seems to weigh about an ounce, tops. All five have been trained (for nearly forever, I gather) by the wise Shifu, who with Dustin Hoffman's voice is one of the more dimensional characters in a story that doesn't give the others a lot of depth. Anyway, it's up to the temple master Oogway (Randall Duk Kim), an ancient turtle, to make the final selection, and he chooses -- yes, he chooses the hapless and pudgy Po.
The story then becomes essentially a series of action sequences, somewhat undermined by the fact that the combatants seem unable to be hurt, even if they fall from dizzying heights and crack stones open with their heads. There's an extended combat with Tai Lung on a disintegrating suspension bridge (haven't we seen that before?), hand-to-hand-to-tail combat with Po and Tai Lung, and upstaging everything, an energetic competition over a single dumpling.
"Kung Fu Panda" is not one of the great recent animated films. The story is way too predictable, and truth to tell, Po himself didn't overwhelm me with his charisma. But it's elegantly drawn, the action sequences are packed with energy, and it's short enough that older viewers will be forgiving. For the kids, of course, all this stuff is much of a muchness, and here they go again.
By Roger Ebert
source:http://rogerebert.suntimes.com
The film stars a panda named Po (voice of Jack Black), who is so fat he can barely get out of bed. He works for his father, Mr. Ping (James Hong) in a noodle shop, which features Ping's legendary Secret Ingredient. How Ping, apparently a stork or other billed member of the avian family, fathered a panda is a mystery, not least to Po, but then the movie is filled with a wide variety of creatures who don't much seem to notice their differences.
They live in the beautiful Valley of Peace with an ancient temple towering overhead, up zillions of steps, which the pudgy Po can barely climb. But climb them he does, dragging a noodle wagon, because all the people of the valley have gathered up there to witness the choosing of the Dragon Warrior, who will engage the dreaded Tai Lung (Ian McShane) in kung-fu combat. Five contenders have been selected, the "Furious Five": Monkey (Jackie Chan), Tigress (Angelina Jolie), Mantis (Seth Rogen), Viper (Lucy Liu) and Crane (David Cross). Tigress looks like she might be able to do some serious damage, but the others are less than impressive. Mantis in particular seems to weigh about an ounce, tops. All five have been trained (for nearly forever, I gather) by the wise Shifu, who with Dustin Hoffman's voice is one of the more dimensional characters in a story that doesn't give the others a lot of depth. Anyway, it's up to the temple master Oogway (Randall Duk Kim), an ancient turtle, to make the final selection, and he chooses -- yes, he chooses the hapless and pudgy Po.
The story then becomes essentially a series of action sequences, somewhat undermined by the fact that the combatants seem unable to be hurt, even if they fall from dizzying heights and crack stones open with their heads. There's an extended combat with Tai Lung on a disintegrating suspension bridge (haven't we seen that before?), hand-to-hand-to-tail combat with Po and Tai Lung, and upstaging everything, an energetic competition over a single dumpling.
"Kung Fu Panda" is not one of the great recent animated films. The story is way too predictable, and truth to tell, Po himself didn't overwhelm me with his charisma. But it's elegantly drawn, the action sequences are packed with energy, and it's short enough that older viewers will be forgiving. For the kids, of course, all this stuff is much of a muchness, and here they go again.
By Roger Ebert
source:http://rogerebert.suntimes.com
Tuesday, June 17, 2008
Atonement review
After enchanting the world with his first feature film, a masterful and refreshing adaptation of the Austen literary classic Pride & Prejudice, the 35-year-old British directorial prodigy Joe Wright again teams up with his star actress Keira Knightley for another accomplished adaptation of a British literary work: Ian McEwan’s Atonement. Closely following the novel (adapted for the screen by playwright Christopher Hampton), Atonement is a fully formed pleasure of a film that only really stumbles in its editing and its closing moments, compressing McEwan’s haunting epilogue into too small a sequence to allow especially those unfamiliar with the novel the time to fully absorb its devastating meaning. Like Pride & Prejudice, this film could prove an awards magnet and do respectable though probably not spectacular business. It opens the Venice Film Festival on August 29. (Minor spoilers follow.)
In the opening sequence set in a children’s room in a splendid mansion in the British countryside circa 1935, the camera pans gently upwards from a trail of animal puppets worthy of Noah’s Ark on the richly carpeted floor to a chair for grownups on which the petite 13-year-old Briony Tallis (Saoirse Ronan) strains herself to reach all the letters on the typewriter on her desk. Accompanied only by the sound of that typewriter and without a word spoken as yet, the director has already established some of the story’s major themes: the importance of writing, the importance of a point of view (in this case the point of view of a child who would like to pretend she is older) and the difficulty for said child to complete the task she has set herself with the means she has chosen, which are made for adults, not children.
Like in Pride & Prejudice, in which for example the dance sequences were completely integrated into the story, Wright again not simply uses period detail to decorate the frame but injects it right into the very fabric of the story, making it an indispensable part of the events that occur rather than an inconvenience that only the art department needs to deal with. This approach even extends to the music, as Dario Marianelli’s lush score playfully incorporates various diegetic sounds, of which the thematically important typewriter is only the most obvious. The work of cinematographer Seamus McGarvey (The Hours) and production designer Sarah Greenwood (Pride & Prejudice) is as sensuous as in Wright's first film.
In adapting the novel, Hampton stays very close to the original and finds place for an amazing amount of detail without making the whole seem cluttered. He also retains the decidedly British flavour of the language and even some of the dialogues in French. Atonement is really two stories in one and these two-stories-in-one in their turn happen on two different planes (the second plane is squeezed into the film's coda). There is the story of Briony’s older sister Cecilia or Cee (Keira Knightley), who has returned from Cambridge and feels increasingly drawn to Robbie (James McAvoy), the son of one of the numerous maids of the Tallis household (Brenda Blethyn), whose college tuition has been generously paid for by the family. Despite the class differences, Robbie seems to feel the same, and during the stifling midday heat of summer electricity crackles between the two as Cee climbs out of the fountain she jumped into to recover part of a broken vase and Robbie cannot do anything but stare.
There is also the story of Briony herself, who sees the events at the fountain from behind a window in the house, not fully understanding what is going and made even more suspicious by a too-candidly phrased apology note Robbie writes for Cee not much later. When events before and during dinner spin out of control, Briony will have accused Robbie of a crime he did not commit, locking him away behind bars for years until he gets an early leave to serve in France in WWII, where the story picks up again as both 18-year-old Briony (now played by Romola Garai) and Cecilia have become nurses in different hospitals and Robbie makes his way to Dunkirk through war-torn France.
As in the book, the film takes care to present the early events from points-of-view close to different characters and Wright and his editor Paul Tothill backtrack several times to show a different take on the same events (most notably the events at the fountain and a continuation of Cee and Robbie’s mating dance in the library not much later). In book-form it is easier to juggle two perspectives at the same time, but on film this does not fully work; is it really necessary for a full understanding of all the characters’ positions to show events twice? A flashback that further explains the relationship between Robbie and Briony is also awkward, inserted at a seemingly random moment that gives it undue prominence as an explanation for later events. Certainly Wright could have relied on his talented actresses to show that their characters are more complex than what this scene suggests?
And what fine actresses they are! Knightley is again in top shape, showing that her Oscar nomination for Pride & Prejudice was no accident, though her character is very different here. She has not a whole lot of material to work with but fills the screen with a magnetic presence (reminiscent of the Hollywood stars of the 1940s and 1950s) that nevertheless leaves her enough room to simply be the character. Saoirse Ronan is equally impressive as the young Briony, while Romola Garai as the older Briony sustains the difficult mid-section of the film with a restrained force that belies the fight being fought in her conscience (her scene with a dying French-speaking soldier, played by Jérémie Renier in a cameo, however, is strangely mute).
But the real revelation of Atonement is James McAvoy (The Last King of Scotland), whose Robbie is so convincing that it is no wonder that Cee doesn’t care he is not from the same class as she is. His natural charm and utterly honest demeanour are a wonder to behold and are especially noteworthy in the film’s single best scene, in which Robbie and Cee meet again for the first time after his imprisonment, in a noisy canteen somewhere in wartime London. Neither of them speaks much, but the way McAvoy and Knightley play the crude, untold emotions of this long awaited and much dreamt about encounter is simply heartbreaking.
It is this scene, combined with the sequence at the fountain that could make Robbie and Cee one of the major romantic screen couples of the new millennium and that sells their entire romance, their tragedy and everything that follows. Even the film’s rushed handling of the coda-with-a-sting cannot diminish the force of these two lovers and their much-earned right to be together, forever.
source :http://european-films.net
source :http://european-films.net
Sunday, June 15, 2008
favorite movie downloads presents favorite movie downloads tips2
favorite movie downloads.blogspot is all about how to find your favorite movie downloads on the world wide web.If you search the term movie downloads on the web there is very little chance you will find good free movie downloads site.So thats why I'm here to help you to find the best movie downloads sites.
There are plenty of movie downloads sites on the planet, so how are we finding the best free movie downloads.The answer is not that simple you need to do lots of searching.After the day there are some probabilities that you will never find any good movie downloads sites.Thats why you need some kind of recommend sites that recommending some good movie downloads.most importantly they should be your favorite movie downloads too.There are some good free movie download sites here.So you should ask, what are these best favorite movie downloads sites.there are lots of forums that share good movie downloads.so you should try some blogs about movie downloads.I will mention some great free movie download sites in upcoming blog post about favorite movie downloads.
There are plenty of movie downloads sites on the planet, so how are we finding the best free movie downloads.The answer is not that simple you need to do lots of searching.After the day there are some probabilities that you will never find any good movie downloads sites.Thats why you need some kind of recommend sites that recommending some good movie downloads.most importantly they should be your favorite movie downloads too.There are some good free movie download sites here.So you should ask, what are these best favorite movie downloads sites.there are lots of forums that share good movie downloads.so you should try some blogs about movie downloads.I will mention some great free movie download sites in upcoming blog post about favorite movie downloads.
Saturday, June 14, 2008
favorite movie downloads
favorite movie downloads.blogspot is all about how to find your favorite movie downloads on the world wide web.If you search the term movie downloads on the web there is very little chance you will find good free movie downloads site.So thats why I'm here to help you to find the best movie downloads sites.
There are plenty of movie downloads sites on the planet, so how are we finding the best free movie downloads.The answer is not that simple you need to do lots of searching.After the day there are some probabilities that you will never find any good movie downloads sites.Thats why you need some kind of recommend sites that recommending some good movie downloads.most importantly they should be your favorite movie downloads too.There are some good free movie download sites here.So you should ask, what are these best favorite movie downloads sites.there are lots of forums that share good movie downloads.so you should try some blogs about movie downloads.I will mention some great free movie download sites in upcoming blog post about favorite movie downloads.
There are plenty of movie downloads sites on the planet, so how are we finding the best free movie downloads.The answer is not that simple you need to do lots of searching.After the day there are some probabilities that you will never find any good movie downloads sites.Thats why you need some kind of recommend sites that recommending some good movie downloads.most importantly they should be your favorite movie downloads too.There are some good free movie download sites here.So you should ask, what are these best favorite movie downloads sites.there are lots of forums that share good movie downloads.so you should try some blogs about movie downloads.I will mention some great free movie download sites in upcoming blog post about favorite movie downloads.
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