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February 3rd, 2008 by buymovies

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The tag of Waterworld being Mad Max in the water is an appropriate one, as both films are set in a post-apocalyptic world full of anarchy, eccentric madmen, and vehicular mayhem. The film would become infamous for being grossly over budget (becoming the most expensive film at the time), and when news got out of its production problems, it became a sitting duck for many critics, while American audiences stayed away, assuring its place as one of the biggest box office losers of all time, although it would recoup its money in foreign markets.
For all of its bad reputation, it’s actually not without merit, and it does have some entertainment value strictly as an action flick. Unfortunately, it isn’t strictly targeting action fans, as it has roots in science fiction, adventure, drama and even a little comedy, and along these fronts, the entertainment value is inconsistent at best, or at worst, almost nonexistent.
The setting of Waterworld is a few hundred years from the present (perhaps longer), during a time when the entirety of the Earth is covered by water after the polar ice caps have all melted away. The concept of dry land resides only in myth, and the hottest commodity on the trading market is dirt, which is the latest treasure that the swarthy mariner with no name (Costner, A Perfect World) has a dying community abuzz. When it’s discovered that the mariner has gills and webbed feet, he is decried as a mutation and sentenced to die. However, an iron-fisted opportunist named Deacon (Hopper, Witch Hunt) attacks the sea village (aka the Atoll) moments before his imminent death, and in exchange for their safe passage, the mariner takes on two new passengers on his vessel — a woman named Helen (Tripplehorn, The Firm) and a young girl named Enola (Majorino, Napoleon Dynamite). It seems the girl has a tattoo on her back rumored to be a map to find dry land, and Deacon desperately wants to obtain it, stopping at nothing, including the murder of countless innocents to get the world’s most valued prize.
Shaky science notwithstanding (many have claimed it an impossibility for the entire Earth to be covered in water even if the entirety of the polar caps melt), Waterworld seems the equivalent of a Roger Corman film if he had almost $200 million at his disposal to make one of his pet projects come to life. Perhaps as a low-budget film, this sort of idea would have been enough to be passable as cult science fiction fare, but as a major studio attempt at a summer blockbuster, it’s woefully inadequate. The acting, especially by Hopper, is way over the top, with silly shenanigans and half-baked scientific explanations that make it unsuitable as a film to be taken seriously. A man with a working set of gills, which in most likelihood would take millions of years, isn’t even worth the dramatic license to indulge, especially since it doesn’t even factor in as critically important to the overall story.
Yes, this was a far-fetched crock just from the first idea, and one can only speculate as to why such a lavish production couldn’t have started with securing the rights to a more fully developed screenplay before they even started to engage in their free-spending production. The only elements of the film that work at the level they should are the stunts and swashbuckling action scenes. Alas, those aren’t really enough to keep our interest in a two hour and fifteen minute movie.
Waterworld isn’t as bad as its reputation would have you believe, but it’s also not nearly good enough to qualify as anything more than an extravagant no-brain popcorn flick. If you’re in the mood for escapist adventure and explosive vehicular carnage, this may suit your needs. Even so, The Road Warrior did the same but much better at less that 3? the budget of this overblown, underdeveloped misfire.
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February 3rd, 2008 by buymovies

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A group of government agents approach an apparently reclusive service man
(Billy Blanks)to go undercover at a massive virtual reality centre and
prove
that the martial arts institute inside is actually an illegally run
assasination school,helmed by a very sinister bloke named Warbeck.He,of
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Merhi)and a fairly attractive young blonde.Together,they attempt to stop
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Blanks,a cross between Wesley Snipes and Shadow off TV’S Gladiators ,
seems
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If the scene where he attempts to distract a fuzzy haired heavy from
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He acts like an on screen fight chereographer,fights by simply kicking and
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Van Damme sound like the Queen’s english by comparison.
Both seem to know a thing or two about martial arts,since that’s all they
seem to do towards the rapidly deteriating end but,sadly,all their running
around and fighting is to staggeringly little effect.Since most of it is
computer generated,we also find ourselves contending with some rather
bargain basement effects which are probably all the good of what was in
Johnny Mnemonic.
Having said that,this is far superior to that film,with some colourful
characters,some okay dialogue (’Here’s one opponent you can’t switch
off&#821 and a fairly enjoyable,if overlong , end showdown.
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February 2nd, 2008 by buymovies

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From the very first duet between Frank Sinatra and Ella Fitzgerald (singing “Moonlight in Vermont&#822 Sinatra: The Classic Duets is absolutely indispensable for Sinatra fans. This collection, which highlights the chairman at his peak musical moments (between 1957 and 1960) is a veritable who’s who of popular song, and biggies pitch tune with Ol’ Blue Eyes, making it look all so very easy. To imagine any current popular performer swapping songs with the likes of Peggy Lee or Elvis Presley seems almost unimaginable–everything’s so canned and planned these days that Sinatra and pals appear positively genius.

In this DVD collection culled from Sinatra TV specials and laced with commentary by Sinatra’s family (kid’s Frank Jr., Tina and the boots-were-made-for-walking-a-licious Nancy), 18 performances are presented–all delightful, all moving and dare I say, all brilliant. And with newly re-mastered sound and enhanced picture, some filmed or early taped duets are markedly improved. I now can refer to this DVD over every taped bit of film I dubbed while trying to capture Sinatra in all his on-camera charm.

And on-camera is a wonderful way to experience Sinatra. Sure, he’s terrific on record, but the man who won an Academy Award for From Here to Eternity and impressed in films like The Man with the Golden Arm, The Manchurian Candidate and one of my favorites, Pal Joey is captivating on screen. His ease and charisma bleeds through the screen with such intensity, you’ll catch yourself smiling from his obvious and rascally love for entertaining. His vocal talent is impeccable, but also perfectly sloppy when the time is right and his improv banter between croons is funny and warm. No matter how many purists want to tell you he’s simply easy listening, don’t listen. Sinatra is jazz. In the best sense and all the way.

All the performances are memorable but of the 18, I’ll note the one’s that stuck out most for me. The great Peggy Lee and Sinatra’s rendition of “Nice Work If You Can Get It” begins very laid back and builds into a sexy, velvet number. Sinatra actually seems turned on my Lee (who wouldn’t be?) as they gently banter and sing. The opposite of this is Frank and Ethel Merman doing “You’re the Top” with bombastic glee. Full of humor and in a rumpled suit (he even looks a bit drunk) Sinatra and Merman sing with such good sport, that Merman laughs after Frank exclaims: “Somebody’s hollerin’.”

There’s the crooners: Sinatra, Dean Martin and Bing Crosby–sitting first on a scaffold (then lumbering to the ground) and singing “Together Wherever We Go” like the three street-fighting tenors. Later, Frank will sing with Dean again, only a medley and with cigarettes and highballs (perfect). And adding to the Rat Pack, there’s Frank with Sammy Davis Jr. humorously taking, “Me and My Shadow” to another dimension. Another terrific duet has Sinatra teamed with the rambunctious Louis Prima and Keely Smith. Frank mixes up they’re usual routine (Keely standing bored and bemused) as he continually hogs the mike, keeping Keely from singing.

But one of the greatest moments combines royalty–The Chairman and The King (that would be Elvis Presley). In a TV Special welcoming young Elvis back from his famed army service, Sinatra and Presley swap two of their hits, in unison. Frank sings “Love Me Tender” all punchy, Frank style, enunciating the “LOVE me tender, LOVE me true!” while Elvis dreamily smoothes through “Witchcraft” to a legion of screaming girls. It’s a beautiful moment where Elvis is painfully gorgeous and Frank’s met his separate equal. But Frank gets the best line. When Frank begins shrugging his shoulders to the music and the hip gyrating Elvis attempts to do the same, Frank comments: “We work in the same ways only in different areas.”

The DVD

Video:
Hart Sharp video presents Sinatra: The Classic Duets in Full Screen which fits the package quite fine. These are close shots with singers often shoulder to shoulder. The black and white is crisper than you’ll see in VHS presentations though the Elvis/Frank segment could have used some more work. It still looks faded, but perhaps the print is tough to perfect. From film to video, all in all, the picture quality is nice, if dated, which we’d expect. And the additional color medley with Dinah Shore pops.

Sound:
Sound for Sinatra: The Classic Duets is in Dolby Digital–so much better than the afor-mentioned formats. You can distinctly hear Bing’s boo-boo-boo’s, Louis Armstrong’s sandpaper, Dean Martin’s dreamy slide and of course, all the clever off-the-cuff comments in between.

Extras:
The extras include the option of watching the duets on their own and scrolling through the Sinatra’s children’s musings on dad and all the performers presented (of course all positive). One’s pure performance, the other more documentary style. This is appreciated, especially if you’d like to watch a particular song over and over. Also included is one of Sinatra’s original TV ads for “The Frank Sinatra Show,” a color medley with Dinah Shore and a text commentary track with oodles of information. Not heavy on extras, but we came to this DVD for the songs and songs we happily, get.

Final Thoughts:
Simply joyful and so incredibly impressive, Sinatra: The Classic Duets reveals what REAL show people were, in their time, required to be–Show People. Back then it wasn’t just nice work if you could get it, but if you deserved to get it.

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February 2nd, 2008 by buymovies

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February 1st, 2008 by buymovies

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Lord of the Rings: The Two Towers – ***1/2 (out of 5) (2002)
Cast: Elijah Wood, Ian McKellen, Viggo Mortenson, Sean Astin, Orlando Bloom
Directed By Peter Jackson
Before I begin this review, I feel the need to point out how strong of a fan I am of Tolkien’s original Lord of the Rings trilogy, as well as The Hobbit, and how delighted I am to see it come to life for a new generation. Since I have read each of the books multiple times as a child and teenager, it is a difficult task to try to divorce my opinions about the book and how it relates to the movie as much as I can. Basically, I have to assume I know nothing about the book. I do this for the vast majority of people who read this review that may not have read the trilogy, and are trying to find out if they would enjoy the film on its own. I will say that Peter Jackson has made my task much easier, because his films are not really giving you Tolkien’s original vision but rather an interpolation, extracting elements which are more conducive to the cinematic grandeur than in the hauntingly whimsical adventure that the books they’re based on are.
With this in mind, it’s surprising how much the movie bothers to retain of the book, because it’s hard to imagine that much of THE TWO TOWERS makes sense, with the multitudinous characters and location changes, to someone who has not read it. The first two hours serve mostly as a set-up for the final third of the film, as well as for the final film of the trilogy. So much has been abbreviated that it becomes somewhat difficult to know precisely what is going on at all times. The best we can do is try to get the gist of each scene, and follow the general direction of where things are headed.
It didn’t really need to be this way, as Jackson spends so much time and effort in sweeping cinematography, full of swirling shots around mountains and fortresses, that probably an hour of the three hour running length is only scenes of eye-candy meant to impress us with the beautiful imagery. As lovely as these images are, they do come at the expense of the story, which is as barebones as can be and still maintain a semblance of structure. For the first two hours, it’s a bit of a dry experience, with only Gollum providing genuine moments of interest, probably because his motivation is the easiest to understand.
THE TWO TOWERS directly follows the events of THE FELLOWSHIP OF THE RING, and doesn’t do very much to tell you what came before, so do not watch this without seeing the first film. Here, the fellowship is now fragmented, with Frodo and Samwise following the Gollum to Mordor to destroy the ring, Merry and Pippin have fled into a dangerous forest where they are captured by a large tree creature called Treebeard the Ent, while Aragorn, Legolas, and Gimli, and the obviously not-dead Gandalf, shore up the troops by allying themselves with Theoden, the king of Rohan. They need all the help they can get, as the bad wizard Saruman has created the world’s most impressive assemblage of evil in a mighty Uruk-Hai army that tramples through the lands in their quest for the destruction of Man.
The experience of watching THE TWO TOWERS hearkens back to the feeling of watching TITANIC, not in its story, but in the structure. The first two hours are merely set-up to an inevitable cataclysmic conclusion, so for a while we must be entertained by looking at all of the nice cinematography and special effects that are the backdrop to the story. Admittedly, all of it is very beautifully rendered, and there’s no skimping in the imagery department. Even with all of the impressive sights and sounds, the story doesn’t really draw you in until the events of the final third of the film, with the Uruk-Hai siege of Helm’s Deep. This is the hour that makes the price of admission worthwhile, and just like we were during the crash of the Titanic, we are rapt in silence, mouths agape, in awe of one of the most magnificent battles ever created in the history of cinema.
THE TWO TOWERS is a triumph of special effects and imaginative cinematics, like a moving painting that almost lulls you into thinking you are watching a masterpiece, which some champion the film as being. Don’t believe the hype. Peter Jackson’s vision is impressive, but only a small portion of that of J.R.R. Tolkien’s creation, and so far removed in tone and storytelling, that he is like a little child that is given a bunch of toys to play with, having a grand old time lavishly creating scenarios for his new playthings to battle each other out in extravagant style. Luckily for us, he has a love of adventure and excitement, so even if he is impatient with the poetry and beauty that is part of the joys of reading Tolkien, we are entertained with the colossal clashes of good and evil presented with a ceaselessly feverish intensity.
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February 1st, 2008 by buymovies

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January 31st, 2008 by buymovies

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You begin to wonder how someone as immensely talented as Eddie Murphy (I Spy, The Adventures of Pluto Nash) would be pigeonholed into buddy movies and films like Daddy Day Care, essentially family fare. I suppose given the kinds of things he was involved with in the early 90s, we should be thankful he at least found a niche where he did very little damage to his career and just sought to entertain. Basically, it’s fun to watch Eddie, even in a bad idea for a movie, and Daddy Day Care is certainly no different. It’s a throwaway film, entertaining while it’s playing in front of you, yet doesn’t give you much to think about afterward.
The film kicks off with Eddie and Jeff Garlin (Sleepover, Full Frontal) playing two advertising pitch-men assigned to a no-win product, a breakfast cereal called "Veggie-Os". Of course, the idea tanks, and so do their jobs, and in today’s bad job market, they struggle to find new ones and the bills mount up. Since the local moms have been groveling about the lack of quality day care in the area, Eddie sees an opportunity of starting his own business, and together with Garlin and new hire, Steve Zahn (National Security, Joy Ride), they forge "Daddy Day Care", a place where a kid can be a kid. Trouble brews when rival day care owner, Anjelica Huston (Blood Work, Ever After), begins sending the child services inspector to their doors, in the hopes of raising the bar too high for the men to handle.
I won’t go so far as to say Daddy Day Care is a good film, because clearly it could have been so much better in many areas, but then it never tried to be anything but entertaining. As entertainment goes, it does an adequate job, kind of like the men in the film itself. The kids are "movie kids", either played for cuteness or obnoxiousness, which can be annoying either way, and they do annoy quite a bit here. However, with Eddie in the middle of things, he carries most of the weight on his shoulders in terms of laughs and manages to keep the chaos together.
As Eddie has entered his 40s, he continues a familiar trend among edgy Black comedians, emasculated to become popular to mainstream America. However, Eddie still has enough clout to choose the roles he wants, so he seems to still be pulling the strings. It’s hard to decide now whether Eddie is trying to be the next Bill Cosby, choosing to push forward the notion that African-Americans are not the thugs you see in the media, or the next Richard Pryor, whose wings were clipped by a Hollywood system who saw him as too dangerous to market without watering down his shtick to the point of permanent dilution. Considering how much money his family fare has made thus far, the path looks rosier as the next Cosby for Eddie, which I will respect until the day he makes Leonard Part 6 or Ghost Dad.
– Followed by Daddy Day Camp (2007).
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January 31st, 2008 by buymovies

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January 30th, 2008 by buymovies

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DIVX ($2.99)DVD($4.99)IPOD ($1.99)Video Previews (divx):File NameSize:Video previewBlade (Video Preview).avi15.25 MBDOWNLOADThe most interesting Screenshots for the “Blade” movie: As its title indicates, “Blade: Trinity” brings back Wesley Snipes a third time as the black-leather-duster-clad, half-human/half-vampire dedicated to eradicating full-fledged bloodsuckers, which Blade regards as the scourge of the Earth — as if our planet has any shortage of scourges. As before, Blade is kept alive by Kris Kristofferson’s Whistler, a scientist/father figure who staves off Blade’s blood lust with regular doses of his special serum. The last time around Whistler had moved his lab to Prague, but now it’s in an old warehouse in some large unnamed North American metropolis. In “Blade” (19 Snipes took on Stephen Dorff’s Deacon Frost, a cocky young vampire intent on world rule, and in “Blade II” (2002) joined forces with his sworn enemy, the vampire overlord Damaskinos (Thomas Kretschmann) in combating the Reapers, a race of super vampires intent on destroying all ordinary bloodsuckers, then all humanity. This time Blade must face none other than Dracula (Dominic Purcell), the greatest vampire of all, who has risen from his grave yet again, dug up by the pale dominatrix-like Danica Talos (Parker Posey, amusingly deadpan) and her henchmen Asher (Callum Keith Rennie) and Grimwood (the massive wrestler Triple H). ADVERTISEMENT To take on this scary crew Blade teams up with the Nightstalkers, a group of human vampire hunters led by Whistler’s daughter Abigail (Jessica Biel) and the brash Hannibal King (Ryan Reynolds). Meanwhile Abigail’s blind scientist pal Sommerfield (Natasha Lyonne) is hard at work concocting a brew that, hopefully, finally will solve the vampire problem. As this outline suggests, “Blade: Trinity” has no shortage of dramatis personae — or of fast-paced action. But David S. Goyer, who makes his directorial debut after having written the scripts of all three films inspired by the Marvel Comics series, might better have cut back a tad on the slam-bam stuff, created fewer key characters and concentrated on developing the reflective qualities that gave the first two films, especially the second, the resonance that allowed the “Blade” pix to rise a cut above most action thrillers. Even so, “Blade: Trinity” has the great sleek, dark look of its predecessors and, most important, it has Snipes, a Blade as tough and hard as ever but more aware of his isolation — he doesn’t even have a passing love interest this time out. As commanding as Snipes is, “Blade: Trinity” is not as involving as its predecessors, and Goyer seems increasingly to be primarily writing variations on the original. There’s probably enough ingenuity in the weaponry and mayhem and bleak humor to engage genre fans, but it would be kinder to retire Blade while he’s still at the top of his game than to let him die a slow death of sheer repetitiveness. ‘Blade: Trinity’ MPAA rating: R for strong pervasive violence and language, and some sexual content Times guidelines: Too violent for youngsters Wesley Snipes…Blade Kris Kristofferson…Whistler Jessica Biel…Abigail Ryan Reynolds…Hannibal King Parker Posey…Danica Talos Dominic Purcell…Dracula/Drake A New Line Cinema presentation of an Amen Ra Films production in association with Imaginary Forces. Writer-director David. S. Goyer. Blade character created for Marvel Comics by Marv Wolfman & Gene Colan. Producers Peter Frankfurt, Wesley Snipes, David S. Goyer, Lynn Harris. Executive producers Toby Emmerich, Stan Lee, Avi Arad. Cinematographer Gabriel Beristain. Editor Howard E. Smith and Conrad Smart. Music Ramin Djawadi & Tthe RZA. Visual effects supervisor Joe Bauer. Costumes Laura Jean Shannon. Production designer Chris Gorak. Art directors Eric Fraser, Patrick Banister. Set decorator Tedd Kuchera. Running time: 1 hour, 53 minutes. In general release. online movieBlade avi moviesdivx Blade movieswatch movies onlinefull lenth movieswatch Blade videosvideo download

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watch Inside Man videos online
January 30th, 2008 by buymovies

DOWNLOAD MOVIE Inside Man
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.
DIVX ($2.99)DVD($4.99)IPOD ($1.99)Video Previews (divx):File NameSize:Video previewInside Man (Video Preview).avi20.33 MBDOWNLOADThe most interesting Screenshots for the “Inside Man” movie: What’s going down inside Manhattan Trust’s Wall Street branch may or may not be the usual bank robbery, but “Inside Man,” the crime drama that details those nefarious doings, is careful to keep its distance from your standard heist movie. Smartly plotted by newcomer Russell Gewirtz and smoothly directed by, of all people, Spike Lee, “Inside Man” is a deft and satisfying entertainment, an elegant, expertly acted puzzler that is just off-base and out-of-the-ordinary enough to keep us consistently involved. ADVERTISEMENT The broad outline of “Inside Man,” of course, couldn’t be more familiar. We’re talking perfect-crime territory here, the classic cat-and-mouse encounter between criminal mastermind Dalton Russell (Clive Owen) and Det. Keith Frazier (Denzel Washington), the NYPD operative charged with outthinking the man with the master plan. Screenwriter Gewirtz, though, is not interested in doing anything quite that formulaic. Though its eye is always on the final showdown, his script is especially good at doling out confounding information on a need-to-know basis, providing a multitude of incidents to occupy our minds until all the pieces fall into place. This is one of the rare films Lee has directed without at minimum co-writing the script, and you can see why. Though he has made his own versions of standard Hollywood films before — witness the classic biopic “Malcolm X,” also starring Washington — it’s obvious that Lee is more at home with argumentative, provocative, socially relevant films than he is with this kind of genre material. Which turns out to be a good thing. For though he is perfectly capable of crisply handling nuts-and-bolts action scenes like that of the quartet of robbers securing the bank and taking dozens of hostages, that is never going to be enough to hold Lee’s interest. So the director found ways to be slightly off the mark, from the minor — starting the film with the unmistakable and beautifully disorienting rhythms of Bollywood superstar composer A.R. Rahman — to the major, including the decision to use both Washington and costar Jodie Foster in roles that depart a bit from what they usually do. And what else could the shot of Brooklyn’s legendary Cyclone roller coaster under the opening credits be telling us except that this is going to be quite the wild ride? Lee has also been able to make political points around the film’s edges, to be himself without sacrificing the project’s plausibility in the process. A Sikh hostage complains of police mistreatment and being called “an Arab.” Two police officers have a racially charged conversation. A boy is chided for playing a particularly brutal and insensitive video game. Not to mention that one of “Inside Man’s” themes, the notion of systemic political corruption, doubtless found a receptive audience with the filmmaker. Finally, like any nongenre director, Lee is interested in people, in what they look like and how they act. It’s an interest that exists outside of considerations of suspense, but when characters are made individual, it inevitably means that we worry more about them, which of course heightens tension. One person who is cast exactly to type with excellent results is the redoubtable Owen, who opens the film by looking directly at the camera and saying, as only he can, “My name is Dalton Russell. Pay strict attention to what I say. I choose my words carefully, and I never repeat myself.” What Russell, no paragon of modesty, proceeds to tell us is that he’s planned the perfect bank robbery. The film immediately shows him and his team, all dressed identically in painters’ coveralls, swiftly taking over the bank in question and telling cowed hostages, “My friends and I are making a very large withdrawal. Anyone who gets in the way gets a bullet in the brain.” Charged with negotiating with the man is Washington’s Det. Frazier and his partner, Bill Mitchell (the always convincing Chiwetel Ejiofor). Frazier, however, is not the superstar cop you might be expecting. He is a veteran detective second grade with the slightest hint of a paunch who got the assignment only because the department’s top guy was on vacation. At first the situation develops like any other bank robbery, with Russell eventually demanding the usual fully fueled jet ready to take him and his team out of town. But first the audience and then Frazier begin to sense through the actions of others that there are as yet unnamed factors in play. The first hint of this comes when Arthur Case (Christopher Plummer), Manhattan Trust’s board chairman, is informed of the robbery and says, “Oh, dear God.” He next calls Madeline White (a picture-stealing performance by Foster), who is the ultimate ice-princess power broker in a city of power brokers, and asks for her services. From that point on, “Inside Man’s” plot takes more twists and turns than the venerable Cyclone and includes the interesting technique of periodically flashing forward to police interrogations of the hostages after the siege is over. Like everything else about this engrossing thriller, it’s a tactic intended to keep the audience on its toes, and it does. “Inside Man” MPAA rating: R for language and some violent images download a moviewatch Inside Man full movieslegal movie downloadsdivx Inside Man dvd movieInside Man movie downloadwatch full movie onlineInside Man dvd download

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