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DOWNLOAD MOVIE Magic Roundabout, 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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Magic Roundabout, The Reviewed By Trevor Gensch Posted 08/16/05 14:56:14

"It’s a kids movie for goodness sake. Just enjoy it." (Awesome)

I had a great time reading all the UK reviewers frothing at the mouth in their utter loathing for this film, but it ain’t that bad…The Magic Roundabout is the big screen version of the beloved 50s/60s stop motion TV series for children of the same name. It seems that if you were a kid in the UK at the time you have fond memories of this show.Now I am over the other side of the world in Australia, and my memories of this series are pretty sketchy. It had a roundabout, a big shaggy dog and was quite whimsical. But from then on I get a bit hazy and it all starts to blur with other series like The Wombles.So I approached this film with an entirely open mind - knowing that of course it would be different to the series it is based on but still a lot of fun.Not according though to the reviews I have read. It seems that they were all kids back in the 50s and 60s so regard any reimagining of their fondly held childhood experiences to be something akin to heresy. Words like "fiasco", "over-done" and "featureless" and phrases like "spectacularly tiresome" and "bland as cellophane" abound in these peoples dark mutterings.I think by now you have realised that this is not the impression I got when watching the film for the first time. I was with my two young children, 4 and 6 years old, who hadn’t seen the original tv series at all.The genius that makes the whole film work is the combination of child-like wonder, cartoony menacing villains and celebrity voice casting.There is a lot to love about this film, it is filled with a colourful array of characters that are brought to life by some inspired voices from some familiar names, and some unfamiliar.We have Bill Nighy playing a perpetually stoned rabbit, Joanna Lumley as an opera-singing cow, and Jim Broadbent as a love-struck snail. Adding their assistance to this already stellar line-up are some relative newcomers to the film and animation world; Kylie Minogue as young Florence, and Robbie Williams as our intrepid sugar-loving Dougall.Much of the criticism levelled at this film seems to be its wild deviation from the tv series in terms of plot and feel. Granted, the whole thing is just a chase film with some flimsy excuses for set pieces thrown in, but what matters is that The Magic Roundabout still has its heart in the right place. Layered in behind this modern interpretation is something warm and inviting that even for somebody like myself, relatively unfamiliar with the television version, can still resonate meaning.Any film adaptation of material like this is always going to be derided for deviating too far from its source; but making a 90 minute film about a dog that loses a hat would not make for the most enthralling cinema experience.For any perceived shortcomings the film may have it more than makes up for in some exciting new characters. This is nowhere better shown than by the addition of the evil Zeebad (voiced by a gleeful Tom Baker, having more fun with this role than should be allowed), brother of Magic Roundabout inhabit Debadee. He wants to turn the entire world into a cold, desolate wasteland, more suited to his chilly demeanour. Baker plays Zeebad as a totally insane, over the top villain that delights children and keeps the adults amused too (describing the different ways he will serve up our heroes on his dinner plate are a delight to watch). The asides by the main characters too are designed to keep otherwise fidgety adults happy while their kids enjoy the colourful visuals and other such distractions. By expanding the limits of the format, The Magic Roundabout can also expand its horizons and deliver a solid, 90 minute film.When it comes right down to it, The Magic Roundabout is a lot of fun. Dazzling animation, smart direction and choice of shots and vibrant voice acting by an eclectic range of stars. Forget about nostalgia, forget about your often inaccurate childhood fondness. Just enjoy the darn thing.
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DOWNLOAD MOVIE Sublime Just $2.99 for a complete movie! No additional software or browser plug-ins required! You can play them for unlimited number of times whenever you want. Downloaded movies will work perfectly on any PC, DVD player, PDA etc.
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The Movie

In October 24th, 2005, several bands gathered together for a live performance at the Henry Fonda Music Box in Hollywood, CA. The purpose of this live performance was to get together a bunch of bands to pay tribute to the band Sublime, whose lead singer passed away in 1996. The concert also served as a benefit for MusiCare. This tribute performance was recorded and released on DVD and entitled as Look at All the Love We Found: A Tribute to Sublime. In June 2005, an audio CD of a similar nature with a different set of bands covering Sublime songs was released. This DVD is a follow-up and provides fans of punk, ska, and more specifically, Sublime a chance to see several different musical groups perform covers on Sublime’s greatest hits.

The content of the Look at All the Love We Found: A Tribute to Sublime DVD includes a live concert performance with twelve songs, which include individual band performances and group jam sessions. Interspersed throughout the live performance are interviews with Bob Forrest from Thelonious Monster, John, Bert & Dickie from The Ziggens, Scott Russo from Unwritten Law, Murs from Living Legends, Josh Fischel from Bargain Music, AWOL One from The Shapeshifters, Norwood Fisher & Angelo Moore from Fishbone, Raul Pacheco & Wil-Dog from Ozomatli, David Hidalgo & Louie Perez from Los Lobos, 2mex, solo artist, and Ikey Owens, The Long Beach Dub Allstars.

The interviews address topics that include their opinions about Sublime, experiences with the band, their music styles and trying to find the right song to cover, etc, as well as a reading of words from Bradley Nowell by Norwood Fisher. The DVD comes with the option to watch the concert with the interviews or without. The interviews make up approximately ten minutes of the feature’s total runtime of one hour and four minutes. I personally would have preferred to have seen the interviews as an entirely separate featurette to watch apart from the concert. On that note, I am glad they included a concert-only play.

Overall, I was not blown away by the live performance. I think part of the problem is that I am not very familiar with a lot of the bands who performed in the concert, and I am not a huge fan of Sublime’s music either. In the end, the tunes just weren’t as catchy to me and I would much rather hear the songs in their original format conducted by Sublime versus the covers.

Track List

1. “Get Out” performed by Bargain Music
2. “Bad Fish” performed by Long Beach Shortbus
3. “Paddle Out” performed by The Ziggens
4. “Saw Red/Save Me” performed by Unwritten Law
5. “Alphabet Aerobics” performed by Blackalicious
6. “Waiting for My Ruca” performed by AWOL One, Abstract Rude, Daddy Kev, and Josh Fischel
7. “Date Rape” performed by Fishbone
8. “Saturday Night” performed by Ozomatli
9. “Pawn Shop” performed by Los Lobos
10. “Santeria” performed by Stephen Perkin, RAS 1, Eric Wilson, Josh Fischel, Bob Forrest, Ikey Owens, Asdru Sierra, Ulises Bella, Field Marshall Goodman, Norwood Fisher, and Walter Miranda
11. “Doin Time” performed by Stephen Perkin, RAS 1, Eric Wilson, Josh Fischel, Bob Forrest, Ikey Owens, Asdru Sierra, Ulises Bella, Field Marshall Goodman, Norwood Fisher, Angelo Moore, 2mex, Murs, and Walter Miranda
12. “What I Got” performed by RAS 1, Eric Wilson, Josh Fischel, Bob Forrest, Ikey Owens, Asdru Sierra, Ulises Bella, Field Marshall Goodman, Norwood Fisher, Angelo Moore, and Walter Miranda

The DVD

Video:
The video on the DVD is presented in anamorphic widescreen color. The visuals look great with a clean and crisp picture. The lighting was also done nicely and details the performers well.

Audio:
The sound in this concert DVD is provided in 5.1 Dolby digital surround, 5.1 DTS digital surround sound, and 2.0 Dolby digital stereo. In general, the audio track sounds good with vocals and instrumentals coming off rich and vibrant and only a few distortions.

Extras:
For special features, the DVD comes with two music videos, “Pawn Shop” from the release party of the Tribute album with Sublime’s original drummer Bud Gaugh, and “Date Rape” performed by Fishbone, and a slide show with pictures and a narrative about the Sublime tribute.

Also included is a bonus audio CD with Sublime covers “Ebin” by The Banned feat. Chuck D., “Had a Dat” by Dr. Isreal, “Waiting for My Ruca” by Bedouin Soundclash, “Roots of Creation” by Mishka, “Don’t Push” by Mystic Roots Band, “Burritos” by Brain Failure, “Get Out (live)” by Bargain Music, “Date Rape (live)” by Fishbone, and “Waiting for My Ruca (live)” by AWOL One, Abstract Rude, and Josh Fischel.

Final Thoughts:
Originally billed as an audio CD, Look at All the Love We Found: A Tribute to Sublime, was a tribute to Sublime and a benefit concert. Afterwards, another live performance was put together and recorded for a DVD concert with the same title. The concert features bands like The Ziggens, Fishbone, Unwritten Law, and many more performing covers of your favorite Sublime titles. Fans of Sublime and punk/ska music in general should be most interested in this release. I, for one, did not care for the covers and would much rather just listen to Sublime play their hits in the originally released forms. So unless you are a fan of Sublime and the punk/ska genre, this release is probably best worth skipping.
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DOWNLOAD MOVIE Mission, 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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Mission, The

When disaster strikes the first manned crew to Mars in 2020, a rescue team is sent in to investigate. However, complications arise which jeopardize the mission, not the least of which is the appearance of an artificial construct that might be alien in origin on the surface of Mars. Their mission is to retrieve any possible survivors, but the space flight has its share of perils, and now no one may make it back alive — at least they won’t without dealing with what’s on Mars first.

You have to admire director Brian De Palma (Snake Eyes, The Untouchables) and the various screenwriters for trying their hardest to pull out all stops and dazzle us. It’s pretty obvious from the get-go that they felt they were going to make one of the greatest space epics in the history of science fiction cinema. Unfortunately for all involved, and especially to the viewer, it falls substantially short of the mark. That’s not to say it’s bad — well, ok, parts of it are very bad — but it still could have been a serviceable and intriguing tale to maintain your interest even if it never evokes any of the awe it seeks so desperately to inspire. It fails to do even that.

Part of the problem with the film comes from the casting. All of the actors in the film have proven themselves as fine actors in previous films, so there’s no question that it’s a talented group. However,  it’s a group of fine actors stuck in parts that aren’t playing to their strengths, further compounded by the fact that there really isn’t any depth or complexity to any of the roles. Instead of the world’s elite space pioneers, this feels more like a glamour show, with the characters always exhibiting lots of cute smiles and perky charm.  This poor character build up and a serious neglect of realism leads us to not care one way or the other if any of them live or die. Despite being holed up in a space station for many months, the crew remain well-groomed and tanned, with make-up and stylish clothing for much of the trip.  I think De Palma was set on casting anyone with dimples working in Hollywood today, and to hell with what the characterizations might dictate.

With miscast actors and relatively little in the way of character development, the only thing left to commend Mission to Mars for are some impressive special effects and some interesting ideas that, if handled well, should have been mind-blowing.  Sadly, the film lacks the depth in screenwriting to support them.  In its place is a static look and feel to most scenes, with De Palma utilizing very few cuts, setting up his camera from a distance, or sometimes just letting it travel from character to character in one take.  Potentially nifty if he can pull it off, but in this film, De Palma’s masturbatory style only serves to distance us from the characters, literally and figuratively, and we never really feel that sense of inclusion.  We never get to share in their awe, wonder, and despair, despite the cataclysmic events that eventually unfold.

For an action film, it moves too slowly. For a drama, it lacks depth. For a science fiction film, it lacks originality. Special effects can only get you so far, and while it certainly seems like the scenes containing the best of the effects could have been exciting, it’s the in-between scenes that ultimately let them down. De Palma tries so hard to recreate the awe-inspiring dimensions of Kubrick’s masterpiece, 2001: A Space Odyssey, but most viewers will more likely think it’s a lot closer to Barry Levinson’s Sphere.  That’s not a good thing to be when you invest the serious chunk of change they must have to make it.   De Palma might have made himself a nice career imitating the style of Hitchcock, but he’s not nearly the visionary that Kubrick was.

Of course, all might be forgiven if, at the end of our journey, we are treated to a potentially fascinating payoff.  Alas, the ending proves to be the worst part of an already erratic film, and it ultimately sinks it.  I’ll try to avoid spoilers here by just saying that it’s about as hokey, ridiculous, and oddly uninteresting as any ending I could probably imagine, given the fact that it touches on such fascinating things as the origin of life on Earth and the definitive answer to other life existing in the universe.  When you can’t make these eternally-perplexing concepts fascinating, you have a serious problem with your movie.

Mission to Mars, for all of its substantial flaws, is almost an interesting enough film to give a mild recommendation for hardcore sci-fi junkies, but considering what the filmmakers were aiming for, this is one mission that is far from accomplished for anyone else.

 Qwipster’s rating:
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DOWNLOAD MOVIE Holiday, 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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Perfect Holiday, The Reviewed By William Goss Posted 12/13/07 06:01:01

"Not Much Underneath This Christmas Twee" (Pretty Bad)

The slapsticky holiday-set rom-com ‘The Perfect Holiday’ is lame, not strictly in the sense of being exceedingly pathetic – which it is – but more so in the sense that the whole thing could stand to be amputated, for the greater good. It’s not terribly romantic, it’s not terribly funny, and it’s not terribly Christmas-centric, as much as it purports to be all of these things; more often than not, it’s just terribly… terrible.Okay, stay with me here: Gabrielle Union simply wants a genuine compliment from a nice man. Her daughter subsequently asks mall Santa and struggling songwriter Morris Chestnut to grant her wish, which he soon does. The two pine for each other and flirt when they finally meet; however, Chestnut’s concerned for the ethical quandaries of being both a part-time Santa and an inadvertent business associate of her ex, rapper Charlie Murphy. Oh, and all the while, Terrence Howard and Queen Latifah repeatedly appear as a pair of seasonal sprites; he’s naughty, she’s nice.The whole farce kicks off with a fairly chintzy sequence of opening credits in which the animated incarnations of said sprites run amok, and it’s the very first indicator of the very worst to follow. While the perpetually cheerful Latifah acts as producer and finds herself re-collaborating with writer-director Lance Rivera of 2004’s The Cookout, the usually capable Howard has precious little excuse for embarrassing himself so very much in the sourpuss role. (My theory? Whatever pictures Rivera had of him must not have been very hygienic.)Everything else plays out pretty predictably: one of Chestnut’s friends – the big and brash Faizon Love – gets with one of Union’s pals, one of her kids doesn’t care for Chestnut one bit, and all of her children find themselves greeted by Murphy only when the cameras are on him. For some reason, the reliably funny Katt Williams is relegated to the role of straight man to Murphy’s hammy music mogul (whose holiday album lyrics inevitably factor in ho-ho-ho’s), but Chestnut and Union hit it off well enough that the prospect of the film achieving levels of mere toleration becomes an oft-feasible one, only for Latifah and Howard to pop back up and induce a cringe or two as Rivera continues to mistake moronic moments for cute ones. Coincidences and confrontations pile up, with the rote assurance that all frowns will somehow, some way, be turned upside down before the credits roll.It should be bad enough that ‘Holiday’ is somehow hitting screens silver instead of small, but knowing that the much more enjoyable ‘This Christmas’ is likely still playing right down the hall puts it on the losing end of a no-duh decision. However, had it premiered on BET, one could tune in just to witness Howard utter the funniest line in the movie – two simple words delivered so perfectly that the moment alone deserves to be transplanted into a better film, or maybe even a short – and then continue to flip through the channels, allowing every other scene in it to simply slip off into the ether instead down, down, down the box office charts.
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DOWNLOAD MOVIE Big Hit, 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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Big Hit, The Reviewed By Rob Gonsalves Posted 01/02/07 12:32:05

"I still think it’s the worst movie of its decade." (Total Crap)

Is Quentin Tarantino the worst thing to happen to American movies in the ’90s? In a rational, cool-headed moment, you’d probably say no. But after suffering through some of the Tarantinoid rip-offs of the last couple of years — like ‘2 Days in the Valley’ and the abominable ‘The Big Hit’ — you catch yourself wishing that ‘Reservoir Dogs’ and ‘Pulp Fiction’ had flopped, so that no wannabe-hip filmmakers would want to emulate him and no studio would want to bankroll the rip-offs.The Big Hit wants to be ironic and grisly in the tradition of Tarantino, mixing blood ‘n’ guts with knee-slappers (two guys dump trash bags full of severed limbs into a car trunk — that’s the movie’s first shot), but it achieves only a jokey tone of free-floating triviality. The script, by rookie writer Ben Ramsey, is among the most disgraceful screenplays ever to be produced by a major studio (Tri-Star). It plays as if written by Tarantino’s cretinous evil twin — it has no connection whatsoever to life outside video stores, and almost everyone on the screen is annoying and shallow. Mark Wahlberg is the "hero," Melvin Smiley, a soft-hearted hit man who wants to please everyone. "I can’t stand it when people don’t like me," he says — which raises the question of why he got into killing for hire. Essentially, Melvin is Dirk Diggler with a big gun instead of a big schlong; both characters are too sensitive for the callous lives they lead. One gets the impression that Wahlberg is trying to atone for his real-life street-punk background by playing doe-eyed male waifs in movies like this and Boogie Nights. But at least he isn’t actively irritating. No, that honor is reserved for Lou Diamond Phillips, who plays Cisco, Melvin’s duplicitous partner. Cisco kidnaps a Japanese student (China Chow), the daughter of a big executive who’s just gone broke making a flop movie. When Cisco learns that the student is the goddaughter of his menacing boss Paris (Avery Brooks, wasted here), he frames Melvin and spends many scenes flashing his fake gold tooth and beating a certain twelve-letter epithet into the ground. Phillips is doing a Gary Oldman turn (specifically, Oldman’s Drexl the dreadlocked pimp in True Romance), but the problem is that Phillips is to Oldman what Cheez Whiz is to caviar. The director-for-hire here is Che-Kirk Wong, who did the well-respected Jackie Chan film Crime Story, and he throws in a lot of impressive stuntwork. Too bad the unscannable Cuisinart editing turns it into gibberish. The worst thing about the editing is what it leaves in. I, for one, would have deleted each and every frame dealing with Melvin’s fiancée (Christina Applegate) and her dreadful Jewish-stereotype parents (Lainie Kazan and Elliott Gould), as well as the material about his other girlfriend (Lela Rochon), who keeps harping on him to make money to pay her bills. But this is really nitpicking — the entire movie is composed of scenes that go nowhere. For an example of an excellent movie that does everything this film so ineptly tries to do, look at Grosse Pointe Blank, from which The Big Hit swipes so blatantly that John Cusack should get a screen credit. GPB was about something besides hipster irony and farcical violence; The Big Hit is about nothing except cynicism and sensation. It’s the worst of the worst — an example of a new lazy trend in screenwriting, wherein the writer just assembles cool stuff from other movies that he wants to see all together in one movie. Tarantino does that, too, but he can get away with it because he writes sizzling dialogue and rich characters. If only the new hipsters emulated those Tarantinoid trademarks! But skillful characterization — even competent characterization — seems quite beyond them.So I end with another question: ‘The Big Hit’ will very likely be the worst major release of the year, but would I go so far as to call it the worst film of the decade? In a rational, cool-headed moment, I might say no. But I think of ‘Pulp Fiction’ and the great independent-film renaissance it could have inspired, and then I think of miserable shit like this, which is what it actually has inspired … I don’t know; it’s a tough call. What movie of the ’90s could be worse than ‘The Big Hit’?
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DOWNLOAD MOVIE Edward Scissorhands Just $2.99 for a complete movie! No additional software or browser plug-ins required! You can play them for unlimited number of times whenever you want. Downloaded movies will work perfectly on any PC, DVD player, PDA etc.
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The Movie:

Although “Edward Scissorhands” did do very well and has gone on to become a cult favorite, it’s hard to imagine what its road to the screen must have been like. I can only imagine what the pitch must have been like, “ok, well there’s this guy - and instead of hands - get this, he’s got scissors!” I’m only kidding; “Edward” is another wonderful Tim Burton masterpiece, an oddball film with a lot of heart and humor paired with all of the weirdness.

Burton does a wonderful job almost instantly creating tone and atmosphere in this fairy tale; working with production designer Bo Welch(”Men In Black”), he creates a world of its own. The film stars Johnny Depp as Edward, a young man who was created by an inventor(Vincent Price), but not finished, leaving scissors as his hands. For years, he lives in a castle on mountain, looking over a chirpy suburbia not aware of his presence.

…Until one day when an Avon lady named Peg(Dianne Wiest) comes to visit and is kind enough to take him home to the family, which includes Kim(Winona Ryder), who Edward eventually falls for. At first, Edward is popular with the nosy neighborhood, who finds his use in trimming gardens or other items to be quite handy. Soon though, things turn South and opinions on Edward in the neighborhood take a turn for the worse.

Depp is quiet perfection as Edward, and Ryder is strong as the suburban girl as well. Wiest and many of the neighbors are cartoonish, but perfectly drawn. “Edward” is a sweet-natured film with great performances that is certainly one of Tim Burton’s best works.


The DVD

VIDEO: Fox has certainly shown much improvement with their recent efforts; “Edward Scissorhands” isn’t quite as remarkable as some of their other recent titles in terms of video quality, but fans of the movie will certainly find a lot to like with the film’s presentation here - the film’s original 1.85:1 aspect ratio and, as with almost all recent Fox titles, it’s anamorphic. The film is visually fantastic, with the combination of Stefan Czapsky(”Batman Returns”)’s great cinematography and Bo Welch(”Men In Black”), whose production design offers a lot to look at in nearly every frame(he won a British Academy Award for his work here).

As for the disc, there are only a few very minor problems that I found noticeable. There are some traces of pixelation once or twice, but I really didn’t find these too distracting. The print is in impressive condition, with hardly even a tiny mark to be found, and certainly no other noticeable flaws. Shimmering pops up a couple of times, but again, nothing major. The majority of this THX-approved transfer is problem free, and definitely a pleasant viewing experience.

Sharpness is generally good although it does vary a little bit now and again, with some scenes looking slightly soft. Detail is fine as well, and even in the darker or dimly lit scenes, clarity is never lacking. Colors are wonderful, with the neighborhood’s bright color palette looking well-saturated and never showing any signs of problems.

All in all, not quite perfect but still very good work from Fox. This is a THX-approved transfer, and the THX logo does play before the film. The layer change is at 56:51.

SOUND: “Edward Scissorhands” is offered in Dolby Digital 4.0, and the main element of the audio that’s obviously the most important to fans of the movie is Danny Elfman’s wonderful score. It sounds excellent here, mainly coming from the front and sounding dynamic and impressively crisp and clear. Surrounds really don’t come into play very much, and when they do, they mainly just lightly offer Elfman’s score. Dialogue is clear and clean, and although this isn’t a very active or intense soundtrack, fans of the movie will be pleased with the enjoyable quality of the audio.

MENUS:: Although it doesn’t compare to the menus for “The Abyss” or “Independence Day”, the menu work that has been done for “Edward Scissorhands” is some of the most enjoyable, more basic work that the studio has done, with an animated main menu that has animation and a castle background; there is also animation between the main menu and sub-menus. Elfman’s score also plays in the background.

EXTRAS:

Commentary: This is a commentary from director Tim Burton. This is his third commentary recently, along with Paramount’s “Sleepy Hollow” special edition and “Pee Wee’s Big Adventure”, from Warner Brothers. His commentaries are not the best, but there are so many Burton fans out there that probably love to hear from him, so it is a treat that he’s included another discussion here about “Edward”.

Similar to the other commentary tracks he’s done, the track for “Edward” a lot of the times seems rather “scene-specific” where he gives a general idea of his thoughts on a particular scene before another pause of silence. As with the other commentaries, it doesn’t really focus on one particular topic, mainly discussing what happened during filming or what has inspired him. It’s an enjoyable commentary, when Burton’s speaking. There are definitely some noticable pauses throughout the commentary, but what the director does offer is good enough so that most will probably wish he’d talk more.

Isolated Score: This is an isolated score in Dolby 2.0 with a very enjoyable commentary from composer Danny Elfman between the musical passages, where he talks about working with Burton as well as many other topics.

Trailers/TV Spots: 2 Trailers, one English TV Spot and 2 Spanish TV Spots.

Soundbites: Short interview clips with Johnny Depp, Winona Ryder, Dianne Wiest, Tim Burton, Caroline Thompson, Alan Arkin, Vincent Price and Danny Elfman.

Also: Short featurette and concept art gallery.

Final Thoughts: A very well-done film that has great performances and a wonderful look to it; Fox’s DVD edition also is very nice, with good audio/video quality and a handful of enjoyable extra features.

---

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DOWNLOAD MOVIE Just Married 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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Just Married (2003) / Comedy-Romance

MPAA Rated: PG-13 for sexual content, some crude humor and a brief drug referenceRunning Time: 95 min.

Cast: Ashton Kutcher, Brittany Murphy, Christian Kane, David Moscow, David Rasche Director: Shawn Levy Screenplay: Sam Harper

 

 

JUST MARRIED is pleasant enough to sit through, alright.  It’s even moderately amusing from time to time.  I just can’t bring myself to recommending it because… well… there’s just not enough freshness in the material to make it stand out one way or the other.  This film is like 7-11.  It’s convenient for those times when you need it, but it’s not really meant for those who like to shop.  If you need a flick to take your date to, it’s here.  Just don’t go if you are expecting a good movie.

Murphy and Kutcher play Sarah and Tom, opposites in terms of their backgrounds, but you know what they say about opposites and their ability to attract.  Although Sarah’s well-to-do family disapproves of her marrying beneath her, the two are almost inseparable, and they fit so well, they get married in an instant.  On a honeymoon trip though Europe, it’s just one disaster after another, only to be compounded when Peter, the upper-crust former fling of Sarah who still carries a torch for her, shows up to seize the opportunity when the relationship is at a breaking point.

JUST MARRIED is basically the OUT OF TOWNERS for the 16-25 year old crowd, and as tired as the formula may be, it still provides a workable backbone for some comedic moments to emerge.  Most of the laughs come from the energetic leads, and although the two aren’t the most gifted actors for a romance, they do have good comedic timing.  However, the script just isn’t able to deliver as much as it should, and the result feels like a half hour sitcom stretched out to full-length feature proportions with a lot of filler in between the funny parts.

Depending on your tolerance for such material, JUST MARRIED will range anywhere from pleasantly funny to abysmally annoying, so the enjoyment you receive mostly depends on you.  For me, it provides a momentary diversion from the doldrums of life, instantly forgettable once it’s over.

© 2003 Vince Leo

 
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DOWNLOAD MOVIE Looney Tunes: Back in Action 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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“Hey, what do you know? I found Nemo.”





Despite being a financial disaster at the box office, this frenzied animated feature is very enjoyable, underrated fare whose failure to attract an audience remains a mystery. “Back in Action” opens by continuing the war-of-words between Daffy Duck and Buggs Bunny. Continuing history, Daffy’s the one that gets the boot, shown his way off the lot by security guard DJ (Brendan Fraser). After Daffy gets them both into trouble, they’re both shown the door.



DJ’s father happens to be Damian Drake (Timothy Dalton), an actor who happens to be famed for his roles in spy pictures, who also happens to be a real spy. Daffy and DJ head off to Las Vegas to try and rescue Damian from the head of the evil Acme corporation (Steve Martin). On their trail is the head of comedy from Warner Brothers (Jena Elfman) and the rest of the Toons, as she realizes that Daffy is a necessary part of the ‘toon equation - and that she likes DJ - or will eventually come to realize that.



Plot isn’t exactly the film’s strong point - the picture is an example of throwing everything but the kitchen sink at the audience and hoping it will work. Thankfully, with cartoon fan Joe Dante at the helm, the film is mostly successful and occasionally quite hilarious. There’s plenty of sight gags and in-jokes scattered throughout the picture, including one brilliant little moment early on where actor Matthew Lillard is yelled at for his portrayal of Shaggy by the animated Shaggy and Scooby Doo. Frasier pokes fun at his “Mummy” efforts and Jenna Elfman admits that “Dharma and Greg” got really bad after a while (Ok, that last part doesn’t really happen, but one can wish.)



Technically, the picture is first-rate, as the animated characters blend in surprisingly seamlessly with the actors and environments. As for the actors, they’re mostly quite good: Frasier and Martin seem to be having a lot of fun, while Heather Locklear, Joan Cusack and Dalton provide fine supporting efforts. The only one who doesn’t make much of an impression is Elfman. To her credit, she is stuck with a thankless role - she’s the only one who’s required to play it straight in a film where everything’s as over-the-top as possible.



My only considerable issue with “Back in Action” is the length, as the rather thin story and hyperactive presentation do start to wear out their welcome as the 90-minute picture heads towards the wrap-up. Overall, it’s not as inspired as some of the other animated fare today, but I thought this was a fun feature that should entertain most older kids and adults.




The DVD



VIDEO: “Back in Action” is presented by Warner Brothers in 2.35:1 anamorphic widescreen (a very cropped pan & scan version is also available). This was a terrific presentation whose small flaws were balanced out by some superb aspects. Sharpness and detail were certainly stellar, as the picture remained consistently well-defined and crisp.



Colors also looked terrific throughout the show, as the film’s er, cartoony color palette remained vibrant throughout, looking well-saturated and bold. Colors displayed no smearing or other issues, while flesh tones looked accurate and black level seemed solid. Aside from some noticable edge enhancement in a few spots, the film looked wonderful here.



SOUND: Although not an all-out assault, “Back In Action” boasts a suitably cartoony 5.1 soundtrack that often gets the speakers going. Surrounds kick in throughout the film to throw some discrete effects into the ring and generally pull the action further out into the listening space. Audio quality seemed perfectly fine, as dialogue remained clean and natural-sounding, with no distortion or other issues. Sound effects and music remained clear, as well. Bass seemed unexpectedly heavy at times, but I never felt it to be overwhelming.



EXTRAS: Not too much: aside from a brief “making of” featurette, there’s another short piece on the film’s effects, the film’s theatrical trailer and a 10-minute set of alternate scenes, including a completely different opening. An animated short - “Whizzard of Ow” - rounds out the supplemental section.



Final Thoughts: While it eventually starts to get a bit much, this lively Looney Tunes adventure provided a lot of fun, some witty in-jokes and solid laughs. The DVD from Warner Brothers provides excellent audio and video, but only a few minor supplements. Hopefully the film will be a bit more successful on DVD than it was theatrically, where it only took in a fraction of its $80m budget.



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DOWNLOAD MOVIE Windtalkers 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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Windtalkers is one of those utterly predictable and ultimately shallow “war flicks” that tries to put an important face on all the carnage, yet 85% of the movie consists of blood for shock value and explosions for the “gee whiz” factor. Not since the 1985 Oscar-winner Missing in Action 2: The Beginning have I seen this many ridiculous “grenade gags”. You know the drill: hero throws grenade, grenade explodes, several enemies go hurtling through the air like so many screaming baseballs. That the Chuck Norris “grenade gag” occurs about 7 times during Windtalkers is a good indication of how serious-minded the film truly is.

Nicolas Cage (opting to work in blank-eyed zombie mode this time out) plays Sgt. Joe Enders, a commander who recently lost his entire platoon to a wide array of colorful deaths. (It was all his fault, of course.) After stewing about with a bum ear at the local vet’s hospital, Enders is given a new assignment; he’s to be paired up with a Native American ‘codetalker’ who will be able to relay important orders, coordinates, and recipes without them pesky Japanese listening in. Enders is ordered to protect codetalker Yahzee at all costs … unless of course they’re both captured … in which case Enders would be forced to protect the code (ie - kill Yahzee) in overtly dramatic fashion.

Nothing sums up a good war epic like a plot than can be described in one sentence, and Windtalkers nails that one plot device into the blood-soaked ground. It’s obvious that by adding the whole ‘noble savage’ and ‘cure racism through warfare’ themes, the filmmakers were hoping to add a little meat to this essentially insubstantial affair, but the “code” stuff is given perhaps 20 minutes screen time, and the rest of what’s on display isn’t exactly anything to hoot and holler for.

When you say a film has “lots of action,” that’s almost always a compliment. But in the case of Windtalkers, the numerous battle sequences are choppy, uninvolving, and more than a little derivative. Aside from the aforementioned grenade gag, Windtalkers hosts a laundry list of war flick cliches that should have been retired along with Ronald Reagan. If I told you there was one racist soldier who refuses to accept the Navajo soldiers, would that stun you? Or would you make the next logical connection — that the racist soldier would soon be on the receiving end of some good ol’ Navajo heroics. This same exact plot hook is used in every war movie! Do they really think moviegoers sitting through Windtalkers haven’t seen The Patriot or Glory

I digress. Lazy screenwriting is as predictable as tax season — and about as enjoyable. To be completely honest, I find a screenplay littered with one yawning cliche after another an insult to my intelligence, so the ‘other stuff’ better be pretty damn good.

In this case, the ‘other stuff’ is nearly as bad. Though Windtalkers certainly has a copious amount of battleground explosions and flying bullets, very few of these sequences actually manage to pound one’s pulse. There’s the indefinable little internal oomph you get when you’re watching a great action sequence, and I didn’t get that sensation once during Windtalkers. The action scenes seem too polished, too rote, and way too overbaked. Much like in the vastly superior Black Hawk Down, the unending sea of enemies pour forth from the jungle like so many Romero zombies. Our soldiers plow right through them and more pop up.

The performances are uniformly acceptable, with only Cage’s incessant glower a consistent bore. Adam Beach (Mystery Alaska) plays the dimensionless Yahzee with all the charm he can muster, but the character is written to be a Navajo Superman Saint, so he doesn’t have too many shades to work with. Christian Slater (Heathers) adds some color as another ‘code protector’, while Jason Isaacs (The Patriot) shows up just just long enough to make you wish he had more scenes. Likable character actors Peter Stormare, Mark Ruffalo, and Noah Emmerich get to put on camoflague and play War with the big boys. Good for them.

I don’t know why anyone thought John Woo was the right guy for a wartime action drama, but it’s clear that Woo works best indoors … and in Hong Kong. His American films (Face/Off, Broken Arrow, Mission: Impossible 2, Paycheck) fall somewhere between ‘guilty pleasure’ and ‘barely watchable’ — despite what the Box-Office Gods may have to say. (OK, Face/Off is a lot of good, goofy fun; I’ll give Woo that one.) The director’s affinity for ‘operatic carnage’ is given free reign over these WWII battlefields, yet each successive skirmish is as tiresome and paint-by-numberesque as the one before.

The DVD

Video: Anamorphic widescreen (2.40:1) — and pretty damn excellent.

Audio: Dolby Digital 5.1 English or 2.0 French, with optional subtitles in English, Spanish, French, and Portuguese.

Extras

Fans of the film are already well aware that this release marks Windtalkers‘ third different DVD edition.
#1 was a basic bare-bones affair and
#2 was a three-disc Deluxe Edition — but, oddly enough, neither of those releases contained any deleted scenes. And now we know why.

The Windtalkers Director’s Cut comes with an extra 20 minutes of editing room droppings that have been wedged back into the flick in an effort to earn just a few more bucks off this big-time money-loser. (Windtalkers cost about $115 million to make, but didn’t crack $42 million in domestic box office.) In a 47-second introduction from John Woo, the director promises longer battle scenes and further interplay between Cage and Beach. In my opinion, these scenes don’t make a mediocre film any better; just longer.

Ported over from previous releases are a trio of audio commentaries (#1 - Woo and producer Terence Chang / #2 Cage & Slater / #3 original “Windtalker” Roger Willie and advisor Albert Smith), a teaser trailer, a theatrical trailer, and some previews for Die Another Day, Dances With Wolves, and Hannibal.

Final Thoughts

A couple of cool jolts and a few tips of the hat to cinematographer Jeffrey Kimball save this one from being a total disaster. Windtalkers is strictly a ‘going-through-the-motions’ motion picture product, one that’s entirely beholden to earlier (and infinitely better) war films.

This release is simply disc 1 from the previous 3-disc package, period.

If you happen to dig the film more than most people seem to, I’d recommend a Rent It approach for the extra footage; you certainly won’t need it for anything else.
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DOWNLOAD MOVIE Simpsons Movie, 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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Fans of the long-running animated television show should be delighted in seeing their small-screen idols given the big screen treatment, and with a PG-13 rating, getting a bit more ribald in the level of humor than they could with the stringent censorship on TV.  We get to see Bart nude, Homer use his middle finger, Otto take a hit off of a bong, etc.  For those who have followed "The Simpsons" over the nearly 20 years of its existence, I suppose it’s worth the expense to see the characters, who haven’t changed very much since their inception, in a different light.

This exploration into a bit more adult humor and language is about the only thing that sets this film apart, as it feel very much like an extended episode of the TV show in most other respects.  The animation is pretty much consistent with what we’ve seen before, although some CGI elements have been added to some of the scenes to give it a more cinematic look, but they aren’t really necessary or particularly impressive. 

Just as "The Simpsons" show never used a plot except as a springboard to give their characters more jokes, the film version does the same.  The story here is barebones:  Homer dumps a silo of pig poop into the lake, polluting it severely, and causing biological mutations that send the EPA into employing extreme measures to contain it.  The US government decides to seal off the area my putting a giant dome over Springfield, which means that no one can get in or out.  Everyone’s goes raving mad, especially at Homer for causing all of the turmoil, so it’s up to the Simpsons to save face, save their town, and save their family unit.

Reviewing The Simpsons Movie seems a bit futile, as those who love the show will love the film, while those who never acquired a taste for it will not find anything in the film to change their opinions.  A series that has been around as long and has been as popular already has its built-in fan base, and that base probably isn’t going to increase much more than it already has through a movie alone.  If you find yourself watching the TV show reruns, even if you’ve seen them before, and own even one of the seasons on DVD, you’re probably the sort of person that will get a kick out of this bonus episode.

I won’t spoil the film’s best gags by going into great detail, as most of the appeal of "The Simpsons" in terms of humor is in being surprised by the actions or dialogue of the characters.  Even if some of the jokes are not important to the plot, they are the real joy in watching a film like this.  It’s one of those movies where I could reveal every aspect of the plot from beginning to end and not ruin the experience for everyone, but if I rattled off my five favorite quips of the film, people will write me nasty e-mails for ruining their enjoyment of these priceless moments.  In fact, I’m a little miffed that the trailers and ads for the film give away some of the best parts as it is.  Besides, most people reading this review have probably watched at least one episode of the TV show, so I’m sure you know what to expect in terms of what the humor is like.

I like "The Simpsons" TV show, although I can’t say that I am fanatical about it.  Watching so many films doesn’t afford me much time to get into TV anyway, but I do watch an occasional episode here and there.  It’s amusing, often hilarious, although some bits work better than others.  That’s exactly how I feel about this film as well.  It’s worthwhile for the choice laughs, even if it isn’t always consistent the whole way through as to how funny or interesting it is.  There are some lulls, particularly when the plot comes into play, as putting a dome over Springfield isn’t really funny itself, and the events that transpire because of it aren’t the best parts from a comedy standpoint.  I’m not sure I even understand why the dome has been placed over the town with the inhabitants not being evacuated first, but asking for logic in a "Simpsons" story is already too much to think about.  Whether it’s funny or not is the only key.

For those who enjoy the intentionally scattershot nature of the TV show, I would wholeheartedly recommend The Simpsons Movie to you, as the film delivers on everything you’ve come to know and love bout the TV show.   It’s not any better than a typical episode in terms of quality, and probably doesn’t merit that much fanfare, but it does deliver on everything you’d expect so long as you aren’t expecting a huge upswing in laughs.  Those who are more casual in their feelings toward the show may choose to do what they do with the TV counterpart — catch it when there’s not much else out there worth watching.

Qwipster’s rating:
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