Peer: Transformers: Dark Moon [2011]

15-157mins-Action/Adventure/sci-fi-d. 29 June 2011

Our summer of sequels continue transformers returns to the big screen with their third appearance. After the rather disappointing Transformers: Revenge of Fallen, I must say that my hope was not particularly high for this one.

Dark Moon is set several years after the second film where Sam (Shia LaBeouf) is struggling to get a job and return his life to normal and yet this has still not stopped him from solved the most attractive girl in the city-Carly (Rosie Huntington-Whiteley). At the same time discover the Autobots to a Cybertronian spacecraft crash landed on the Moon during the 1960 's and race against the Decepticons to reach first and protect the secrets it holds. The two angle overlaps and voilà plot is born.

As always, Visual impress and is best in the franchise to date, but I eventually ask myself, what separates this from the previous two, and it led me to this answer-not so much of a difference at all. The Bay has upped the ante somewhat with respect to the amount of CGI he has side paging feature in the film, so expect more fighting, more action and whole lot more slowmo. While many will think much more action, I see it as a part of the problem, however. There are only so many times that I might be impressed by a vehicle turn to something else, in slow motion before it becomes repetitive and I felt I had reached my limit in this film.

Except for the first 10 minutes, which dealt with the space race of the 1960 's, it took a while for the movie to get started. For the last hour or so, however, I enjoy what the film had to offer when it took on a Black Hawk Down kind of persona during the battle scenes in the city.

Several questions I had: 157 minutes the film tends to pull more places and led to a somewhat hasty final scene, which should not have been; element comedy was greatly reduced, despite a cameo from Ken Jeong aka Mr Chow from The hangover; the new love interest impress not with her acting skills at all and was more than likely brought just as the token eye candy viewers, which she succeeded in; and most importantly, the plot had more holes in it than a Swiss cheese, being used as target practice at a shooting range. And it is an understatement. There have also been zero continuity between the trilogy of films so far that do not go well with me.

I was more impressed than I trøde, I would be, but as I said, the expectation had been lowered due to the extremely poor second film. I need to be careful here, because I think the impressive graphics has partially blinded me for the rest of the cracks that appear in the film. I can say is if you enjoyed the first film or as good visual then you will enjoy this one and if you do not have or want an involved and interesting plot that evolves and characters as the movie progresses then you get there here.

Rating: B-

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Movie review: Unknown (2011)

The last time they took his daughter-this time they are searching for his identity. While not an actual sequel to 2008 's popular movie "Taken" follows "unknown", a similar pattern of action and excitement centered around a grizzled fighter trying to stay one step ahead of ruthless villains. Tensions remain consistent and spatte ring of action sequences impresses, yet unknown can not maintain the same level of excitement as its predecessor is due largely in part to a plot that begins to waver with every new reveal. It is certainly not predictable, but rather tired stolen identity and memory loss angle is not nearly as satisfying as the path for rescue and revenge. Liam Neeson proves once again, however, to see him kick ass doesn't get old.

Dr. Martin Harris (Liam Neeson) and his wife Elizabeth (January Jones) arrives in Berlin a biotechnology Summit will feature several high-profile world leaders and scientists. When Dr. Harris realizes he left his briefcase at the airport and attempt to return to it, is his taxi was involved in a car accident, leaving him in a coma. Martin taught at awakening four days later that another man has assumed his identity and that his wife no longer recognizes him. Battling with his fractured memories and surmounting the evidence pointing to his own insanity, begins Harris an exhaustive search for answers that lead him to the cab driver that saved his life (Diane Kruger), a former German intelligence service agent (Bruno Ganz) and those who would try to silence him forever.

The movie opens with a few bizarre random similarities to the incredibly obscure 1991 Tom Berenger movie "Shattered", but then tricks full time in a tight, nerve-wracking mystery which takes identity theft to a whole new level. Doppelgangers, paranoia, overlooked details, memory loss, general confusion and Hitchcockian switched identity dilemmas culminate in a grand conspiracy theory, which is as exciting as it is unlikely. Harris must not only deal with cops, doctors and business relations that do not believe him, but also live in a foreign country with a language barrier, no friends, no place to go and General insulation-plus a pair of assassins. This is an extremely engaging prerequisite of a thriller.

Each character is interesting and is nothing as it seems. The source of infection-fighting destructive car chases (unfortunately topped with CG vehicles) and knife-with murderers, complete the formula for a Liam Neeson actioner, along with the still more generic elements in nightclub locales, suspicious security guards and an attractive woman becomes unwittingly involved in death and mayhem but still expresses uncommon bravery. With some more movies like this will be a regular Neeson action hero.

The Setup is so sensible achieved that even scenes consist of nothing more than the two older men quiet, casual communications manages the thrilling and unpredictable. Unfortunately, it is a difficult Act to follow, so consistency is beginning to falter against the conclusion; legends, videnbegær and motives are revealed as forced, to prevent its enduring power. There is simply no good way to end the unknown without being overly neat and tidy-or at least scriptwriters Oliver Butcher and Stephen Cornwell was unable to come up with a simultaneous adaptation novel "Out of My Head" by Didier van Cauwelaert, a story that desperately wanted to be a movie.

-Massie twins ( GoneWithTheTwins.com )

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Paul Blu-Ray Review

There is little doubt that Simon Pegg and Nick Frost calculated Paul to be an enjoyable romp through the collective memory of all the classic Science Fiction film by Steven Spielberg and George Lucas, and if nothing else it succeeds in becoming a heartfelt love letter to the extra-terrestrial, but as an original comedy from pedigree of Spaced, Shaun of the dead and Hot Fuzz it feels a bit underwhelming.

This is not to say that it is not fun or that it does not play to its strengths; It is not, even if there is such a sense of awareness about prevailing throughout the case that it fails totally abuse you or drawing you. you're still more than happy to take over the legendary ride again because the leads are so friendly and fast moving plot never attempt to be taxing.

Illustrator Graeme Willy (Pegg) together with his childhood friend and collaborator ' author ' Clive Gollings (Frost) has decided to round off your visit to San Diego Comic-Con Convention, by taking a road trip navigate Americas most famous UFO hotspots, including area 51, The Black mailbox and Roswell. While driving their RV through the night, a car pulls out, swerves off the roads and explodes right in front. The duo stop to help and are facing ' Paul ' (Seth Rogen), a very laid-back and uncouth alien who convinces them that he has held prisoner on the ground in the last 60 years and needed their assistance to return home.

In hot pursuit is Special Agent Zoil (Jason Bateman), helped by two inept FBI tenderfoots (Bill Hader, Joe Lo Truglio) which traces them on ' Pearly Gates ' RV ' park where they learn that the trio have stuck with the proprietor's daughter Ruth (Kristen Wiig), a trønde, one-eyed, Creationist Christians who believe that Earth is 4000 years old and could only have been created by intelligent design. It transpires that during Paul's captivity he is aiding the Government in a wide range of scientific efforts; He has even influenced popular culture, and in a funny phone receives cameo Steven Spielberg enthusiastic research material to develop E.T. from him.

Apparently that Paul has the track alignment all its secrets and the Government was planning to dispose of him before he escaped what they don't know is that he has a number of special abilities including trøde bonus system and the power of healing. In a key scene he restores of Ruth bad eye and then telepathically share all its experience with her in order to bring about a sudden shattering of her faith and amusing transformation, as she learns to cuss and do all the bad things the father jealous had hitherto prohibited; so this debate is as meaty as Paul sheep and otherwise broad in view of humor it feels a little in contradiction with the tone of the image.

The last Reel parodies direct E.T. as Paul arranges to meet the Mothership, which takes him home near the landmark, Devil's Tower featured in close encounters of the third kind; It also unmasks a guest villain information, the ' Big Guy ' (Sigourney Weaver) as Special Agent Lorenzo Zoil (groan) reports to. Paul mocking remarks as he boards the spacecraft, all have learned anything from the experience, "be yourself, talk from the heart, some shit like that?" and the lads blithely admit that they feel "a little bit different", but the coda, which plays over the closing credits is much more telling. It shows Willy and Gollings will be heralded by their hero, sci-fi writer Adam Shadowchild (Jeffrey Tambor) as creators of award winning book "Paul" based on their exploits, and it would seem that this desire for a popular and commercial success is what the movie Paul is ultimately all about.

Unfortunately, Paul a victim of its own budgetary requirements in order to create the most convincing computer generated titular character film caves to the necessary slagtetal titty, pot and fart gags at the expense of genuine humor, real suspense and authentic mystery. Having said that I cannot blame Pegg and frost damage for want a big box office hit in order to cement their Hollywood career and, despite the script short comings their on screen chemistry is undeniable.

Universal Pictures Blu-ray release is presented in the original 85-aspect ratio with a full 1080p AVC/MPEG-4 download. Not only is there an incredible amount of detail in Paul's eyes and elongated hand but high definition brings great depth to the broad American landscapes, set the background. DTS-HD 5.1 soundtrack is so crisp and dynamic as you'd expect of a modern sci-fi movie, the sound actually travels most notably when Paul shows its special ability tanks bonus system. There is also a lot of extra material, as we've come to expect from previous Big talk Productions, best is between the Lightning Strikes: The making of ' Paul ', which contains extensive interviews with key actors and creative team.

Paul is not a bad film, but given Pegg and for municipal track record it might have been a really great. I don't mean to belittle the solid work, either Director Greg Mottola (Superbad, adventureland) or reduce David Arnold's (current James Bond composer) original score, nevertheless, one just can't help imagining how much better it could have been with the team's regular director Edgar Wright behind the camera and a loving Kind John Williams theme song!

Steve Exeter is a passionate cinephile and screenwriter, he edits, and regularly contributes to Online-Inquirer newspaper blog site.

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Conviction found DNA, and the missing fat

I see belief, a film from 2010 based on a true story. Hilary Swank as Betty Anne Waters and Sam Rockwell as her brother Kenneth Waters in leading roles. Kenneth were convicted of murder and imprisoned for life. Betty Anne, convinced that her brother innocence, went to Law school and became a lawyer in order to prove his innocence and set him free. The key to this freedom was DNA evidence.

DNA testing was not an available technology at the time, Kenneth was jailed. A hungry policewoman had for promotion and for any price, framed him. Years later, when Betty Anne was a lawyer, she heard about Barry Schecks new work with DNA, and he agreed to work with her. But for DNA testing to be done, had the box original evidence must exist. Betty Anne came across many obstacles to find this evidence, but she would not give up. She finally persuaded officials to search it, will there even and appeal to the clerk, the better character. The evidence was found, and it was a crucial point in winning the case.

Betty Anne's victory was not without its price. She lost her marriage under way, and life was very hard for her, as she struggled to raise her children, work at a bar and study law. With all that stress, well, I trøde, something was missing from the film. And she and her brother had sugary pop in their prison visits in the film. And yet everyone in the movie seemed to have the same things in common. They were all very slim. All except Kenneth ´ s ex-wife that the villain, who was central in his conviction. Although not particularly fat, she was not very thin, and she looked unfit-the modern depiction of the villain, perhaps. When the movie ended, the Viewer is shown the real Betty Anne and Kenneth, and Betty Anne is not as slim as Hilary Swank, with Kenneth is certainly more pleasant than Sam Rockwell.

It is really great movies. I just can't help wishing that more realistic actors used. Real people, who are subjected to so much stress and drinking sugary beverages are chubby. The film is beautifully acted, and directing is excellent. You really inspired with players and feel you are there with them As a doctor dealing with eating disorders and body image issues, I cannot help but know many young woman right looks to Betty Anne as a role model will also look to her as a very slim role model. For some of these young women become Betty Anne's success is synonymous with Hilary Swank super slim figure. These women are easily influenced by movies and pictures depict an unrealistic body shape for them to strive for. I look at a way, when a story is taken from real life on film, it is practically always portrays heroine without fat. Then when the credits rolling at the end, you will also see the actual images or a real video of the heroine, and she is almost always chubbier than the actress who plays her.

My point can be summed up like this. If you have seen or will see this or any other movie based on a true story, get inspiration from the story, and then look at the original person this story is based on. The image is the real image associated with the hero. And Yes, heroes come up with a realistic layers of fat.

If you have not seen the conviction yet, I highly recommend it. Despite my quirky point of view it is a great inspiring movie.

© Suzanne Zacharia 2011. My name is Suzanne Zacharia and I am obliged to spread the word about ways to improve your health, happiness, success and lifestyle. Do you want to use this article? You can, as long as you credit me with it and invite your readers to get my free book "7 real truths of Energy Psychology" http://www.newagetherapies.com/ or on my free course "5 days to change your life" http://www.newageinternationaltraining.com/on.

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Movie review: The Illusionist (2011)-directed by Sylvain Chomet

Magician combines perfectly the unique, detailed visual style of Oscar-nominated animator/writer/director Sylvain Chomet with melancholy, simple and gripping storytelling approach of celebrated writer/director/actor Jacques Tati. Although traditionally animated movie easily could have been a live action work, especially with the main character so closely mimics Tatis own Monsieur Hulot (a single clip from Mon Oncle pays fitting tribute), and the use of a dramatic, tragic, romantic plot that never deviates from reality. It is sometimes sad, the author's humorous and always moving.

An aging magician (voiced by Jean-Claude Donda) in 1960s Paris somberly realizes that his funny handicraft is no longer an exciting art form to the crowds of young people who cheer for opening acts like Billy Boy and Britoons, a stereotypical rock group with elastic hair, colorful costumes and giddy demeanors. When his meeting point tumbles from a classic music hall into a crowded park, he travels to Scotland for work. He is greeted by friendly people and finding little success at a little pub, where he meets Alice (Eilidh Rankin), a young woman working as a maid and innkeeper.

The older man takes a liking to the girl, and treats her to a new pair of shoes. When he collects enough money to return to Paris and try his tricks anew, he takes Alice with him; two share a small apartment (joined by his feisty White Rabbit) and are content with their new father/daughter relationship. While their success never really is waning, the poverty that surrounds them, and the magician slowly but steadily ability to keep a job (let alone a magic-oriented act) in trying times, weigh heavily on their livelihoods.

Chomet's animation and character design is strange enough sightly in the way the characters has too many details (listed as excessive lines) in odd places, such as wrinkles in the face or folds in clothes or crease in the hands. Most of them are quite ugly due to the extreme exaggeration of physical distortions, from high-energy noses placed high on the head that the thinly stretched lips pulled across large teeth, extremely overweight, card and FIR branches, gangly or unbalanced. Facial features are always elongated, misplaced, diminished or maimed in brilliantly stylized manner. With the watercolored backgrounds and equally exaggerated body movements are instantly recognizable Chomets animations.

Dialogue near nonexistence allows the movie to be universally appealing and understandable, with the simplicity of plot involvement in bringing the character designs for the front edge (so also background characters carefully stylised). Some may scoff at the deliberate pace, boring mood or lack of action, but warm acts of kindness and sad emotional stresses are beautifully realized. Magician joins trillingernes Belleville as an amazing masterpiece of illustration, animation, character design and story.

-Massie twins ( GoneWithTheTwins.com )

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Kung Fu Panda 2-more black than white

Perhaps the most important aspect of Kung Fu Panda 2 (and I never trøde I want to write this) is that the series aged with his fans; so much so that I could expect Panda 3 to be the most adult of the series. They have already started, explore more personal themes than the last record, which mainly took the themes of after your hearts and believe in yourself and employed them, the story deepens here, more than one might expect, deals with themes of unrequited love, adoption and acceptance of others. Fantasy in the movie is more important, increased tenfold.

Of course, there is a bit of formula; You cannot escape the fact that it is a kid movie, but it gets further away from the formula drama-murder that inhibited the first film. When I sat in the cinema in 2008, I knew what I was getting. It will be a film about a goofy "man-boy" (Bear-cub?) panda as h formatdate rer not quite who gets a Jungian call to duty to learn kung fu and save his village. Here is the formula page increases in favor of a general story levels and slightly depressing storyline. PO (voiced by Jack Black) finds out that he is adopted and wants to find her biological parents, he is in love with Tigress (voiced by Angelina Jolie), who may or may not share his feelings, and the entire country of China is under attack by a villain who has a gun that shoots a so powerful it wipes out all traces of the kung futhat seems to be the nation's blast bread-and-butter. So go Po and his furious five-Tigress, Crane (voiced by David Cross), Mantis (voiced by Seth Rogen), Monkey (voiced by Jackie Chan) and Viper (voiced by Lucy Liu)-off to defeat it; But how can you use kung fu to stop something that stops kung fu? "By finding inner peace," says Po-mentor, Master Shinfu (voiced by Dustin Hoffman), him. It is heavy.

Kung Fu Panda 2 is more thoughtful than a movie, as this should have the right to be. The story is a kick in the gut if you don't expect it from the beginning, filled with feelings of loss and have no idea where you are, who you are and what you are supposed to do to get back. Imagine someone threaten the things you love most in the world, and the threat is very real, and you do not know how to defend it. It is a quiet films, as well as; the frantic energy of the first one is still here, but spread out enough not to feel as crowded as last time around. Major complaint I had from the first: it's funny, it's cool, it's fun, but it is also very occasionally. This one gets the mix right. Actually, while I enjoy a first, I would go so far to say that this is an improvement: it is more organized, not so hellbent on the easy laugh, and unafraid to dig deeper into its own theories and personality, something that it encourages its viewers to do as well. Parts of the movie could be life lessons.

PO and the furious five find themselves deep in the heart of China, is fighting an ancient evil in the form of Lord Shen (voiced by Gary Oldman), a psychotic peacock that have devised a weapon that would shatter dreams Master Shinfu students by removing their kung fu in order to take over China and then the world. We really have not its full plan for world domination, but we get the immediacy of it he has to first take out the animals, who can beat him. The character is absolutely nightmarish, not just because Oldman provides literally all he can, but the animation that accompanies this outstanding performance is poor stuff dreams are made of, and it is a different voice, I have never heard Oldman do before; He typically use a different voice in each film, he is in, and he always continues to impress me with its scope. Despite the nature of the character, this is one of his finest works in a few years.

Something important to me in the view, which can, unfortunately, goes unnoticed by many is back-and-forward for subtle between computer animation and traditional animation. Flashbacks are a large part of the movie opening credits are rendered in traditional 2D animation, as are most of the memories we see Po remembers. However, can't remember the other characters in 2D. It is an important disjointedness of Note in order to understand fully the sign and the point in the film. When a memory is fully accepted and trøde, you are not from the longer, disjointed, and it becomes part of you-2D to 3D, so to speak. Director Jennifer Yuh deserves more credit than she has probably ever for this.

Animated movies have these days a way to attract larger color tones than they used to. I think this can be traced to Japan's Hayao Miyazaki productions, and the fact that Oscar winners and A-it is important that this cooperation in order to give his English-dubbed cartoons the best treatment, they can get. Look at the list votes for this film and let me know if you are not impressed by the caliber: Angelina Jolie, David Cross, Jack Black, Dustin Hoffman, Jackie Chan, Seth Rogen, Lucy Liu, Jean-Claude Van Damme, Dennis Haysbert, Danny McBride, Michelle Yeoh and Gary Oldman. It seems to be that voice work is almost required to be a name in Hollywood these days; It used to be a death nail. It is not as someone walks through their work, either; each performance is a true performance with characters fully developed, even in bit parts. Mcbrides characters do not have many lines, but I remember him clearly. Same for Chan, Van Damme, et al.. It is an excellent cast, fun with a fully realized screenplay, something rarely kid's film.

Contact ScottMartin@moviesididntget.comauthor:

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Priyanka Chopra-the journey from a Model to a star

Among recent actresses of Bollywood, many may have been a witness to the hard work and talent of Priyanka Chopra and gradual success she had in the industry. This year many upcoming film star in Bollywood Priyanka Chopra with some of the veteran players in the industry. She is an actress, that specific supervisory rules her characters with unmatched finesse and continues to improve with each film. She stands as a tough competitor for his contemporaries and certainly are looked up to as a sexy and stylish actress in the younger generation.

Modelling and Miss India pageant

She was in the limelight from his modelling career onwards. After doing ads for a while, she participated in Miss India Contest in 2000. Although she was runner-up in India, was conspicuous in his international performance she and brought back the Crown of Miss World 2000 to India and was the fourth Indian beauty to own title!

Debut in the film industry

Her Break from modeling to movies was immediate and in 2002, she debuted in the Tamil film Thamizhan named. Not just acting, also sang a song Ulla thai Killadhe in this film. In Bollywood, she came with a big bang with The Hero: Love Story of a spy along with Sunny Deol and Preity Zinta. The film was one of the highest grossing film of the year and her performance received good response. She won the Film fare best Debutant Award for this film. She was also nominate for best supporting actress for the same film. Her following films received mixed response from the public as well as critics, but everyone knew that she was there to stay for a long time.

National Award

In 2004, came the much-acclaimed filmmaker Madhur Bhandarkar's Fashion with Priyanka Chopra and Kangana Ranaut. The film showed a matured actor in Priyanka and Meghna Mathur role was well etched by her. The transformation of a small town girl into a supermodel and slowdown of happy events in the life of the dream city of Mumbai was finely portrayed by her. No wonder, she was awarded Film fare Best Actress Award and also the National Award for best actress in FY 2008.

Upcoming films in Bollywood

Her upcoming films in Bollywood is by establishing her as a reliable actress to stand up to the mark, will be eagerly awaited always by fans and critics. Saat Khoon Maaf, inspired from the short story by Ruskin Bond, the film tells an Anglo-Indian woman who goes on to kill her seven husbands life. It is a thriller and Priyanka appears in seven different roles! Certainly, this one is called as one of the best movies in his acting career.

Other than Saat Khoon Maaf is one of her upcoming films in Bollywood Don 2-The Chase continues with the King of Bollywood, Shahrukh Khan. This stylish suspense films features Priyanka as Roma and is being awaited by fans of both stars.

To get more details on the visit Indian film or to read Bollywood News DoctorFlix.

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The art of darkness-Apocalypse Now and full Metal Jacket

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"War is hell," the cliché proclaims, but it seems to be entertaining hell. Along with other ghastly subjects such as murder and vampirism, war ranks among the most popular and commonly used subject matter of filmed entertainment, and no war has yielded more or better films than the one in Vietnam between 1955 and 1975. Whether detailing the effects of the war by studying its aftermath or getting right into the heart of the battles, the Vietnam War has proven to be a source of boundless interest for filmmakers and moviegoers alike. Perhaps it is the moral ambiguity of Vietnam that makes it the most interesting war for film adaptations, and no films illustrate this ambiguity better than Francis Ford Coppola's Apocalypse Now (1979) and Stanley Kubrick's Full Metal Jacket (1987).

Apocalypse Now was the first and still, arguably, the best film to take place in the midst of the war itself, shot shortly after its ending in the mid-'70s and released on the brink of the Reagan era in 1979. Inspired by Joseph Conrad's 1899 novella Heart of Darkness, Coppola and screenwriter John Milius supplant the metaphorical journey of its central character from 1890s Africa to the Southeast Asian jungle of the 1960s. Intimately tied to this shift in viewpoint is that, while Heart of Darkness's narrator, Charlie Marlowe, begins as a sane and stable man who faces madness and the inherent evil of mankind in the form of Mister Kurtz, Apocalypse Now's narrator, Benjamin Willard (Martin Sheen), has already been driven at least to the verge of madness by his previous Vietnam experience before the beginning of the film. This change of perspective suggests that morality and sanity had become much more tentative and ambiguous in the time of the Vietnam War.

At the 1979 Cannes Film Festival premiere of the film, Coppola stated that "My film is not about Vietnam; my film is Vietnam." We are thrust into a world of madness with no moral center, an apt vision of conditions in the Vietnam War. This intention is evidenced not only by the chaotic and violent nature of the entire film, but also in the decision to make the story's narrator a madman, thereby depriving the viewer of a more traditionally relatable gateway into the film's story.

Just as the film itself "is Vietnam" in macrocosm, three of its central characters also are Vietnam in microcosm: Willard, Colonel Kurtz (Marlon Brando) and Captain Kilgore (Robert Duvall). Willard has been in the jungle so much it has become who he is; in the film, he says of Vietnam: "When I was here I wanted to be there. When I was there, all I could think of was getting back into the jungle." Kurtz and Kilgore are two sides of the same coin, the soldier gone mad from the madness of war. Kilgore is the joyful madman who revels in battle ("I love the smell of napalm in the morning," he says in one of the film's most famous scenes. "Smells like victory") and has managed to keep a tenable position in the military despite randomly decimating entire villages, to the tune of Richard Wagner's "Flight of the Valkyries," for the sole purpose of clearing a neighboring beach so that he and his men can go surfing. Critic Michael Wood, in his article "Bangs and Whispers" from the October 1979 New York Review of Books, asserts that Kilgore should have been the Kurtz figure of the film, a man so flamboyantly insane that he provides a clear counterpoint to Sheen's Willard, but the closer similarities between Willard and Brando's Kurtz hint at a metaphorical journey of Willard into himself, into the darkest reaches of his own soul, that echoes his literal journey downriver to Kurtz's lair. When he completes his assignment by killing Kurtz, he has perhaps silenced the encroaching darkness in his own heart.

Apocalypse Now's overall vision of madness - from Willard to Kilgore to Kurtz, along with fascinating side characters such as Sam Bottoms's LSD-abusing surfer/soldier and Dennis Hopper's fanatical photojournalist - paints a disturbing picture not only of the Vietnam experience, but of all humanity in a world that made the atrocities of Vietnam possible. As Coppola himself says about the making of the film in Fax Bahr, George Hickenlooper and Eleanor Coppola's 1991 documentary Hearts of Darkness: A Filmmaker's Apocalypse, "We were out there with too much equipment, too much money and too much time... and we all went a little insane," which can be seen as an astute criticism of America's position in the war itself. Ultimately, Apocalypse Now is more than merely a war film, which may be why many critics consider it the best war film ever made, and perhaps even the greatest American film of any kind.

Full Metal Jacket has also been "acclaimed by critics around the world as the best war movie ever made," according to Warner Home Video Inc.'s 1990 video release of the film. Though it could be argued that Apocalypse Now is a greater cinematic achievement, it is less tenable to say that it is more true-to-life. Apocalypse Now is highly stylized and subjective, while Full Metal Jacket has a distinct documentary feel, despite its often stunning cinematography and use of stylistic devices such as slow-motion. These approaches reflect the background of each director: Kubrick began with documentaries like "Flying Padre" (1951), while Coppola got his start at B-movie producer Roger Corman's American-International Pictures.

Full Metal Jacket's more objective, realistic perspective also reflects the point-of-view of its protagonist and narrator, Private Joker (Matthew Modine), who goes through Marine training to become a field reporter in Vietnam. Though Joker is a much more sane and rational character than Willard, he too is deeply corrupted by his experience, as he becomes more and more cynical throughout the film. As Joker says at one point in the film, in the persona of John Wayne, "A day without blood is like a day without sunshine." This cynical loss of innocence is a cohesive underlying theme in the film, which, like Apocalypse Now, is a journey into the heart of darkness. This is established in the opening sequence, which shows its various characters having their heads shaved, set to the tune of Johnny Wright's "Hello Vietnam." Full Metal Jacket is, essentially, a coming-of-age story - albeit a very brutal one - that is divided into two self-contained, but connected, stories within the film.

The first story thrusts the viewer into the rigid, violent life of Marine training camp and, though Joker is established as the protagonist from the start, the central character of this first story is actually Leonard Lawrence (Vincent D'Onofrio). Leonard, dubbed "Gomer Pyle" by sadistic drill instructor Sgt. Hartman (R. Lee Ermey), is a classic schoolyard bully's victim: overweight, slow-witted to the point of mild retardation, highly vulnerable and prone to crying under duress. Hartman, as a drill instructor, has made a career of being a bully, and the two immediately fall into this dynamic, with Hartman repeatedly choking, slapping and humiliating Leonard throughout the film. This story arc is easily broken into three acts: Leonard's humiliation, Leonard's education, and Leonard's revenge. Ironically, the completion of Leonard's education is the point at which he goes mad from the humiliation and abuse he has suffered at the hands of Hartman as well as the other recruits. Leonard finally snaps when Joker shows his first sign of corruption: after befriending Leonard and helping to educate him, Joker ultimately takes part in a ritualistic beating of Leonard after he and the other recruits are punished for Leonard's transgressions. At this point, the story moves into its third act, in which Leonard takes revenge on the bullying Sgt. Hartman, whose last words are more unrepentant bullying: "What is your major malfunction? Did your Mommy and Daddy not give you enough love when you were young?" Ultimately, though, Leonard forgives Joker and spares his life before taking his own.

The title of the film comes from this first half, in a soliloquy Leonard gives for his rifle, which represents to him a measure of cleanliness and order in the "world of shit" in which he exists. This basically sums up the theme of the film, which is also indicated in its two-part structure: no matter how disciplined and structured a warrior's training and weapons may be, the war itself is still chaos. This chaos runs rampant in the second half of the film, in which Joker finds himself in the midst of combat, at first as an outside observer reporting what he sees, but ultimately having no choice but to participate in the violence all around him. Like Apocalypse Now's Willard, Joker is somewhat on the fringes of combat, but still deeply effected and corrupted by it; while Willard is a hired killer working outside the main conflict of the Vietnam War, Joker is in the midst of this conflict but, in the beginning at least, does not participate in any killing.

Both films touch on a subject that is mostly avoided or neglected in war films: that of sexuality in wartime. Between Apocalypse Now's aborted Playboy Bunny visit early on in the film and Full Metal Jacket's Vietnamese prostitutes in the second half, both films eloquently illustrate the assertion so eloquently voiced in Chris Hedges's 2002 memoir of wartime journalism, War Is a Force That Gives Us Meaning, that "there is in wartime a nearly universal preoccupation with sexual liaisons." The undercurrent of rape and coercion present in both cases points toward the moral ambiguity of this type of sexuality, which, by extension, shows the questionable morality of war itself.

This ambiguity is also seen in the journeys undertaken by the central characters of each film. In Full Metal Jacket's second story, Joker is given a mission by his commanding officer, Lt. Lockhart (John Terry), which leads him into the heart of darkness, where he faces the ultimate corruption of his own heart (a microcosm for humanity as a whole) when he kills a young female sniper (Ngoc Le) at the end of the film. Like Willard's assassination of Kurtz in Apocalypse Now, this killing is an act of obligation, but both occupy the morally uneasy ground of vengeance; Kurtz's assassination is a cold, detached act of military revenge, while Joker's platoon collectively kills the sniper in a more heated, personal retaliation for her murder of their fellow soldiers. These differing perspectives are reflected in the tone of each film: Full Metal Jacket is a more visceral and real experience than the highly stylized Apocalypse Now.

Full Metal Jacket ends as it begins, with Kubrick's impeccably appropriate musical cues. The diegetic singing of the "Mickey Mouse Club Theme" by the platoon in the film's final shot brings the coming-of-age full circle, and the Rolling Stones's "Paint It Black" over the end credits perfectly mirrors Joker's closing narration: "I am in a world of shit, but I am alive, and I am not afraid." He has clearly reached the heart of darkness; the only remaining ambiguity is whether his lack of fear is a result of his succumbing to the madness of war.

To this day, wars continue to inspire films of varying quality. As long as the world continues to be colored in shades of gray, rather than black and white, the most successful art will always reflect this with a degree of moral ambiguity. Apocalypse Now and Full Metal Jacket have paved the way, and it is to be hoped that future artists will find it, though it is doubtful that any can surpass the artistry of these two great films.

Contact the Author: EzraStead@MoviesIDidntGet.com

Ezra invites you to visit 'Movies I Didn't Get' for latest news in indie film. For more information, reviews and comments check out the fastest growing indie film blog: http://www.moviesididntget.com/

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Movie review: the mechanic (2011)

Underneath his grittier, hyper-violent, modernist shaky-cam exterior is The mechanic still a Jason Statham movies-for better or worse. Remove the faux Tony Scott-film editing techniques and blood-laden frenetic action sequences and you got the infection source of struggle, a scene or two marvelous driving time and the necessary clip of Statham remove his shirt. The brief gratuitous female nudity and the more brutal killing is new, but when you reach the end it feels strangely familiar. Even the interesting twists on the original storyline is cheapened from an unwillingness on the part of creators to commit to something a little different. Still, to see Statham take down a roomful of people or a witness to a car crash via a bus not lost its appeal.

Arthur Bishop (Jason Statham) is a "mechanic", an elite assassin, who has no equal when it comes to killing. He performs his missions quickly, efficiently and without complications. And there is no remorse for them, he kills-until he is ordered to assassinate his best friend Harry McKenna (Donald Sutherland). Stricken with guilt following the performance of his task, Bishop takes Harry's glide son Steve (Ben Foster) under his wing and begins to train him in its deadly trade. As his new students learn quickly merciless art dealing death, begins to realize he is Bishop may have been tricked into killing Harry and Steve begin suspecting his father's demise true perpetrator.

Finally, a Studio brilliant idea to reshape a mediocre film. The original version of The mechanic, made in 1972, starred Charles Bronson; It was so generic it was later reissued as "Killer of Killers." It had very sparse action, little bloodshed and an ambiguous group of mercenaries making cryptic things to a nameless, faceless clothes. Mainly, was all it had going for it a unique, surprise ending. This new version of its predecessor examines weaknesses and improves them: the relationship between the Bishop and Harry are strengthened and made more poignant (along with nice addition of a wheelchair to Sutherland, who instantly grabs more sympathy), violence has tripled and the goodly intensified. There's even a sex scene thrown in to win over audiences itchy for a sampling of each typical R-rated item. Maybe it's just unnecessary surplus tidbit storage of Bishop's first name, Arthur, which sounds tragic dated.

Opening sequence unexpectedly demonstrates hitman's expertise, but fails to be anywhere near as exciting as a Bond or a comparative assassin like Leon. From here, action and suspense increases, the exploitation of Mission: impossible gadgetry and excessively bloody, creative and often humorous exacerbated violence. Stunts and destruction is efficient and fight choreography a clear imitation of The Bourne Ultimatum-a well-orchestrated and monumental improvement over the original. Touch of gentle piano music to contrast mechanics deadly intentions is a welcome inclusion and.

The final notes of the film defends theme "when a killer growing a conscience," resonantly proves that anti-heroes are generally redeemable, even though the cold-blooded killers (but never quite relentless or cruel). The greatest shame, however, is the author of failure to adhere to the original, uncompromising conclusion which was undoubtedly changed to placate viewers and producers that cannot handle the concept of finality.

-Massie twins ( GoneWithTheTwins.com )

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How to book ads: your image will get you working faster than your reading

Most actors I meet who really want to do advertising and not booking jobs do not seem to find out why it is so difficult. They are sent to an audition, work on the copy, go through the process of auditioning and then wonder, "my audition was so good. Why not I book the site?? Or at least get a call back? "

If you want to take some of the mystery of the process, let us examine some basic facts.There are only a couple of reasons why someone gets booked on a major commercial market:

1- You resemble spokesman client had in mind- the corporate guy instead Amex or Citibank.

2- You look like "family member" they attempted to match for group stage-a family dinner at the Olive Garden.

3- You look like "the girl next door" it necessary that their "image"-CoverGirl or ivory, he Suburban Dad build a deck and buy things on The Home Depot, Mom with her children have burgers at McDonald 's.

You have notice of all the examples above, the word "LOOK" was very important. How do you see determines whether you will be thrown. And it includes, how to dress. It is not your BFA degree in acting, your "talent," your good workout in the Meisner, Stanislavsky method or classical theatre. Actually, having over 30% of all advertising not even "lines" you can perform so that your working techniques cannot be considered at all! It is your "LOOK," how you present yourself in those precious 22 seconds or more precisely, the first 4-10 seconds during your SHALE, is so important!

That's when the client, producer, writer and advertising Exec, decide whether to hire you or not! It means that everyone who wants to work in advertising has to look like a model or be perfect?On the contrary, anyone who wants to work in advertising today (with the exception of these "beauty or cosmetic stains for shampoo, lipstick or fashion) see REAL-like a real person. What does "Real"?

A real housewife, mother, father, neighbors in the suburbs, high school coach, a handyman, phone guy, The FEDEX delivery guy, a small shop owner, saleslady at the boutique at the mall, a teenager at the pizza parlor or the children with their parents on the beach or at a picnic-these are all "marketable types" and niches, as most people fit. The less you look like an actor and the more you look like a real person in "Middle America (West of Hudson, to the East of the Pacific) the more you get booked! Advertising meet the average American suburban family, because they are people who buy 95% of goods produced and therefore announced.

But in the commercial world, real people have an attractive or "polished" appearance. This means hair is clean, good character font, trimmed, NEAT. Teeth looking white not ragged, discolored, or unattractive, wardrobe is in lively colors not dark, Dingy, wrinkled or "urban chic". Unless clearly specified in the description to "breakdown", any actor appears to be a captive individual (unless their casts a goth or hipster)-one with tattoos, body armor-piercing, odd-colored hair or a weird haircut will probably not be considered for the job. You get the picture. And there is a professional standard, that even the average person really cannot observe. Casting Directors call it politely "KAMERÆT clear". As an actor, you must understand that advertising is a photogenic medium. You are the subject of how one looks at the camera.

Persons who have a professional look will always book THE JOB of those who do not. This means that you must "spiff up." It is worthwhile, because booking a larger market place which could earn you $ $ $ thousands weekly/monthly in "passive" income as your site visible at national and sometimes global. So get advice from an industry Pro-a commercial Casting Director, a Career Coach, a TELEVISION Director, or Agent before accepting an audition for a commercial.

The default rule is WYSIWYG. What You See Is What You Get. Don't think for one minute that "They" want to rent and "fix" you cut your hair, Polish your teeth, change your clothes. If you present yourself unprofessionally, you won't be hired! If you look at the other side, "perfect" for the character they need to throw, you'll not only be hired, they may even ask you to bring this shirt, sweater or jacket you wore in audition with you to shoot! BINGO! You hit the nail on the head! You've been reserved! You gave them exactly what they needed.

Here are a few camera tips to remember:

1. Don't wear red, black or white for the camera

Red can turn an odd or ugly color camera-from fucshia pink to dark blood, rust, orange or firey red-not attractive for anyone with any coloring and can create a climate of anxiety or fear. Black takes all the energy from the frame of the shot and means something serious or possibly negative-death or depression. NOT wearing black also means not wearing Navy, dark green, dark purple, Brown, dark dark gray. Dark colors will definitely lose you reservation! White creates a "ghost" of green light around you. Looks bad and tell them you are an amateur, not understanding camera work and lighting.

2. bring the HAIRSPRAY and "Fix" your hair problems.

If your hair tends to get in your eyes, whispy, frizzy, uncontrollable or is hanging limply, blocking your face in any way, it will probably cost you reservation. If they can't see your face or your hair is annoying to see while you are watching you read the copy, not the threw you! Girls with long, straggly straight hair sheep almost never booked! Snipping hair, layers, or have it set to use the product so that it hits your face and "float" naturally. Or not waste your time going out with adverts. (Sorry, but it is easier for the guys! For you, do not use too much mousse or product, or you get seems to be greasy or wet!) Remember you are shooting from the waist up, for the most part, so the wardrobe under the waist is not important (exceptions would be an "athletic" or "action" rather than where you may jogging, play tennis or golf. Then dress to full length camera angle).

3. Bring and use powder.

All looks greasy, shiny on the camera. This is how light affects everyone's skin. If you powder (guys too) you need to look more professional. Yes, these details make the difference. But you're saying to yourself-"I did not study the stage play to learn to wear makeup"! No, you don't. But if you want to make money commercial residuals can offer you, Learn! just as you learned dialects, dance, song, stage combat, or wearing 18th century clothing, not to mention different styles of play, to learn to adapt to this area of the performing arts. It is one of several skills to add to your professional bag of tricks. Rewards will be enormous!

Happy an audition and successful marketing!

Gwyn

Gwyn Gilliss is the creator and CEO of TAM, The actor market, a marketing company for actors. They give monthly free seminars/tele-seminars, free marketing weekly tips and access to top photographers, graphic artists and videographers, which gives each tool marketing actor needs. As the foremost marketing Coach and Mentor to players, Gwyns acting career spans several decades, where she appeared on and off B'way, classical roles in American Repertory companies in over 18 contract and recurring roles in daytime and primetime TV, movies and dozens of commercials/networks V.O. 's. She has special Coaching programs for ready-to-manage actors.

Sign up for our free weekly per marketing tips http://thetamstore.com/cart/here:

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Peer: Green Lantern [2011]

12A-105mins-action/crime/sci-fi-17th June 2011

First off, I must say my knowledge about Green Lantern extends as far as knowing that somewhere along the line a ring, a lantern, lots of Greens and a rim is involved, and it is about the movie I knew before even our hero's name so that when I don't know if this made the comic justice and hanging close to the ideas and themes, or the varied wildly. This means on the plus side I get to learn a completely new character from scratch, and this is what I love about movies.

The story follows Hal Jordan (Ryan Reynolds) jet fighter test pilot following in his father's footsteps. However, his life is turned upside-down, when he finds himself face to face with an alien who gives him a ring, which casts him magical powers so that he not only the ability to fly but allow something he imagines to materialise. He, however, is not the only one with a ring, but part of a larger collective known as the Green lanterns who are tasked with looking after the universe and protect it from evil.

Unfortunately, I found the somewhat disappointing, not only in its quantity (there were a lot) but also in terms of its quality. They are available to our Green lanterns options are endless, regardless of what you may think can become reality, it is a dream, scriptwriters anything is doable as long as they could think of it, and yet we are treated to an array of different guns shields and how just a little more thought could have given us so much more. CGI was a massive factor in this film as well as and for the first time in a while I noticed it with effects feeling slightly incomplete occasionally.

The supporting Cast, there was an impressive performance with Mark Strong as Sinestro, who should have had more time on the screen and no poor countries such as the cast went on their parts with a minimum of fuss. Reynolds fits completely not superhero role, but that could just because I can't see past him as any other character than a comedic Van Wilder type.

My main gripe with the film was the characters who were the most underdeveloped-neck friend picking up Hal in his car and said wow when he sees him showing off his suit. It was this, no other point him at all. Even stranger, neck sibling and nephew was at the beginning of the movie and then clips completely from the script for the never to be seen or even heard of again. Also added throat love interest Carol (Blake Lively) look, but no real emotional connection with Hal questioned the inclusion of her at all.

As the enemies go Parallax never had me worried, and I never felt Hal in real problems. Green Lantern has no weaknesses-Superman has Kryptonite, Spiderman has limited powers, but Green Lantern can create anything and go anywhere, which led me to never be affected and thus to a rather average viewing experience. I assume in the lifetime of the comics, there were better villains, there could have been used to the big screen than Hector Hammond (giant head) (Peter Sarsgaard) and parallax (giant smoky header)?

I believe that if this had been released before Thor or X-men: first class then it may have faired slightly better, but it never captivated me in the same way these movies did. It seems to also specify a little more towards the younger generation with a few of the many plot holes for my taste and I just hope that if a sequel comes from this, who am I kidding, when there is a sequel, more effort put into developing the characters. It looks a bit like I hate this movie, but it is not a bad film (remember Catwoman and Daredevil?), it's just I rather save my cash and go with something else instead.

Rating: C+

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Ernest goes to jail movie review

1990 comedy film Ernest goes to jail is distributed by Touchstone Pictures. Its stars include Jim Varney as Ernest p. Worrall/Felix Nash/Auntie layer Nelda, Gailard Sartain as Chuck, Randall ' Tex ' Cobb as Lyle, Bill Byrge as Bobby and Barbara Bush as Charlotte Sparrow. The producers of this film is Coke Sams (tv Hey, Vern, it's Ernest!) and Stacy Williams (Ernest goes to Camp). The Director is John Cherry (Ernest saves Christmas).

The film's story centers on a bank janitor named Ernest p. Worrall. He receives a letter asking him to show for jury duty. Fortunately, he tells his friends Chuck and Bobby. In the courtroom convict notices Rubin Bartlett, Ernest is a deathrow inmate he knows, Felix Nash's spitting image. He requested that the jury see the scene of the crime, which is inside the prison. Clueless janitor is knocked out and Nash assumes his identity, while its twin remains in prison to serve his sentence. The innocent Ernest tells everyone that he is no Nash, but no one believes him. Rubin Bartlett, have been found not guilty, returns to prison to serve out an unrelated sentence. He said Ernest, if he doesn't start acting like Nash, will the real Nash damage them he loves on the outside. In the meantime Note Ernests friends without that he does not seem to be himself, which he plans to rob the Bank he works on. Back in jail realizes the real Ernest that he is in line for the electric chair. The real Ernest are sitting in jail on deathrow, while the false Ernest plan to rob the Bank and flee.

Throughout the entire movie, keeps getting electrocuted Ernest, which makes him magnetically. This is a fun feature to an already-fun films. After he is electrocuted, is all metal objects in the room attracted to him. This happens only in the beginning, when he uses a floor polishes. When he turns it, moved it quickly to withdraw poor Ernest behind the room. He finally turns it off, but not before he accidentally shoots out soapy water over space as he falls on the floor and Lands face down in the. a lamp falls also on the wet floor, kill the janitor. As he gets, chase all metal objects, including some file cabinets, him to secure where his face is caught between two metal drawers, which is magnetically attracted to him.

Another notable electrocution scene is when Ernest is in the electric chair. Instead of killing him, gives him the power to chair throwing electricity, make it easier for him to escape prison by firing electricity on something in its own way, just as guards with guns or metal safety doors.

One of the most interesting character in the movie is Lyle, Ernests cell mate. He assists Nash and Bartlett kidnap Ernest and decorate him in Nash prisoner clothing. But as the movie progresses, instead of a punk to Ernest, like Rubin Bartlett, he takes a liking to him. We can clearly see this after Ernest wins the arm wrestling fight and Bartlett warns him not to talk so much, or his loved ones will suffer. Lyle, instead of pushing Ernest allocated and acting like tough guy Nash other henchman Bartlett is limitations just shoulders when the erroneous catching looks at him. Also when Ernest believe erroneously that he will be let and says how great it is to be alive, could not stand it because Lyle he knows Ernest will soon go to the President. Later, he saves him from Rubin Bartlett.

If you want to wrap, Ernest goes to jail a good-hearted fun movie that will make all viewers laugh until it hurts!

Written by Kevin Dillehay

Kevin t. Dillehay has written nearly a hundred movie reviews from all genres. He provides a unique perspective on the film, you see all the time, but cannot stop and think in terms of depth. You're invited to check out his work http://www.moviefilmreview.com/author/kmonk10on.

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Let's talk about Sex: reflections on sexuality education in the United States

I have often heard it said that there are only two things in life, there are certain; death and taxes. In my life, I have had two more revelations. First is the change inevitable. Secondly, if we pay attention we always find reason to be hopeful, inspiration leads to the next real step and validation, we live with will and do what we are here to do.

Last night while watching the movie, let's talk about Sex, I received exactly as necessary. I love when that happens! I woke up grateful, inspired and energetic at a time when I could very easily become discouraged and frustrated.

Before I get too far into this article, let me tell you where I come from. In the last ten years, I have been teaching comprehensive sexuality education programs starts in elementary school and continues into adulthood. I work with parents to help them better understand teen development and behavior, and improve communication with their children about sexuality and other challenging issues.

I give this film two thumbs. I agree with Hugh Jackman, "whether you have children, teach children or about children above the header ... this movie is a must see." It clearly outlines some key issues to be resolved, if we are to promote healthy attitudes to sexuality while reducing teen and unplanned pregnancy in the United States.

The film highlights the following issues:

~ United States has the highest teenage pregnancy in all the developed countries.

~ Our attitudes to teenage sexuality in the United States is very different than in other developed countries.

~ Sexuality is a tremendous marketing tool; used to sell lots of things in our country and in all types of media. The reality is that sex sells product.

~ Humans are sexual creatures. We are all here because an egg met a sperm. Period Of Time.

~ 80-Five percent of adults in the United States support comprehensive sexuality education for our youth. Science clearly shows that it works. And we do not do this.

~ Religion constitute a major obstacle in the United States for delivery of what we know to be effective; namely, comprehensive sexuality education. At the same time, religious leaders and organizations play a major role in providing new solutions to teenage pregnancy.

~ Even when teens have honest, open relationship with their parents, most teenagers have not been honest with their parents about their sexual activity.

This film outlines clearly the most pressing issues we face to reduce teenage pregnancy in the United States. It reminds me why I am so passionate about my work and clarifies what we can together to prevent us from losing further ground.

It helps to remember that I reflect and share my thoughts about the Let's talk about Sex.

As an educated woman and health professional, I find it astonishing that the United States has the highest teenage pregnancy in all the developed countries. We know what works. We must do it now.

I am amazed that our advertising and media campaigns using sex to sell everything from lipstick to laptop; Yet we live in a society where we are struggling to provide our children with accurate information about their own bodies work and why.

It is ridiculous to 85 percent of us adults in our population supports comprehensive sexuality education for our children, but we are losing ground on this issue, because a small percentage of very verbal and powerful individuals and organisations keep fighting against what we know works, and indeed save our Government billions of dollars each year.

As all this is still engage in sexual behaviour are teenagers, are naturally curious about sex and/or thinking about sex and are afraid or embarrassed to talk about it openly to the people closest to them.

I spend a significant amount of my time helping teens unite the feeling of not being able to talk to their parents about the thinking really what they are really curious about, and they make really to blame. Their guilt borne not those from being sexually active. What they really want is to be able to tell their parents the truth about what they choose and why. Some choose to have the conversation. Some choose to wait to speak with them, We practice often initiate conversation. Some State that they simply cannot for fear their parents will disown them to go against the family's values.

Perhaps the most important issue, as I see it, that seems to beg for so much more attention than we have time or financing with really address correctly, but is perhaps the most important question of all ... love, sound communication and relationship skills. How great would it be to provide a consistent forum and presence to allow kids to get aid to help them understand and deal with all that is happening with them physically and emotionally and learn to grow through it with a great understanding of themselves and others, as well as an appreciation of the miracle that sexuality is and a foundation for healthy respect and connectedness of all levels.

Lately, I have been struggling to identify new funding sources to support this important work, which is in danger. My clinic and outreach program is in NH. We have one of the very lowest teenage pregnancy rates in the United States. We use strategies that have proven effective and endorsed by the national campaign to prevent Teen pregnancy and base all our programs on research-based asset development framework developed by Search Institute called the 40 developmental assets. Rather than having our financing, we should be used as a model for the parts of our country, where the teenage pregnancy rates are high.

Let's talk about Sex did a great job of motivating viewers to take action against becoming a part of the solution! As the credits played, I started brainstorming a list of action steps we can take to help spread the word and increase frequency, reach and scope of the talks, which must be done to make the U.S. Shift to better serve our future generation.

Teenagers in the United States needs your support. It is not enough to say you support comprehensive sexuality education. It's time to take measures to ensure that your children get it! I suggest the following action steps:

~ Watch movie, let's talk about Sex you can buy it on Amazon or stream if free on Netflix by http://www.letstalkaboutsexthefilm.com/to visit

~ Talk about the movie ... with your spouse, your children, your school, district, your community! Check out this Web site, a discussion guide http://www.letstalkaboutsexthefilm.comby.

~ Commit to take measures to create a solution!

~ Find out what your child is learning in school.

~ Evaluate honestly what your child learns from you and if you need support, download it.

~ Start right where you are with your own children and give them effective, comprehensive sex education.

Parents should take an active, consistent and ongoing role to help their children develop an understanding of their bodies and promote healthy sexual decision-making, communication and attitudes that promote healthy relationships for a lifetime.

Trisha works with teenagers, parents and youth serving professionals, one on one, in groups and from a speaking platform for years.

TOP 10 Guide to support and inspire Teens contains ten tips, resources and insight she would like to share to support you in increasing, supporting and inspiring teens to be the best they can be.

Get your free copy http://www.trishajacobson.com/resources.htmlon

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Have ruined YouTube movies?

It is an increasingly familiar phenomenon. From clips online to "red band" trailers, it is possible for movie fans to see large chunks of their favorite film prior to its official release. If they make pilgrimage to the influential San Diego Comic-Con, they can see so many 10 or 20 minute show reels of upcoming deals from studio slate that they could probably stitch together a Frankenstein Monster of a movie, a harlequin bits and pieces.

All part of the marketing strategy of modern film, but perhaps process begins to belittle experiences sit in darkness and expect to be surprised by the latest blockbuster. Have we been so devastated by YouTube, we believe that nothing of viewing ' edited highlights ' out of context or dramatic heft?

PR folk music is, of course, in shops that make even the most mediocre product look enticing, so these previews cover all the coolest explosions in a blockbuster (or the best jokes in a comedy)-the so-called ' money shot '? The very existence of the ' red band ' trailers are designed to ensure that horror films (usually censored by their Runaway set-pieces) do not get left. Trouble is, when you get to see the actual film, you realize that there isn't an awful amount back in the spaces in between!

The second problem is overkill. Exclusivity is fine, except for the PRS is not everything, the accounting regulations on exclusivity. The same clip is fired across the Internet, and it is rare to find a film blog which are not automatically republished it. Fanboys-in constant fear of being left out of the pack-propagating the meme to the point where it becomes meaningless, just a different toxin polluting our capacity to enjoy the movie, when it comes to the last out.

There are a couple of directors who have learned to catering to Comic-Con crowd. Christopher Nolans use of enigmatic Easter egg hunts generate enormous buzz without actually giving something important away. Even when he finally gets to release enhanced recordings-mainly, the opening sequence from The Dark Knight-not the film's overall dilute the narrative effect. Not coincidentally, Nolans last film has been among the largest cinema visits hits in the recent past.

But marketing departments less adept at supplying information to the hungry blogosphere, back-handed attempt to hype is increasingly counter-productive. Maybe before too long, the answer might be to take the radical step of releasing nothing until the movie is released. For the modern audience, the thrill of seeing something genuinely new might be more valuable than even a sneak peek.

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Devil Review

Stars: Chris Messina, Geoffrey Arend
Director: John Erick Dowdle And
Release date: December 21, 2010
MPAA Rating: PG-13

The devil is like an extra long episode of The Twilight Zone. Imagine if you will, five strangers trapped inside a transport information system, elevator. When the lights go out in the lift, something ominous. A detective without trying desperately to set them free and figure out what is the killer. One of the security guards, as driver safety camera inside the lift begins to believe a tale which was told he was a child: that the devil is among them.

M. Night Shyamalan, praised for the sixth sense and ridiculed for the Last Airbender characters, wrote the story, Devil is based on and was also a producer. John Erick Dowdle and known for horror remake quarantine, directed. Cast is an overlay of virtual unknowns without a real role Member in groups.

The devil plays on a number of fears. The idea of being stuck in a limited space, such as an elevator, with other people is unnerving to most. During the film, the audience is fairly fast in the lift with these people and the claustrophobic atmosphere is evident. Becomes trapped in an elevator is bad enough, but when people start to die, all turn against each other. Suddenly it becomes a witch hunt with all accusing the others of being to blame.

Then, which of course is the small matter of being caught with the devil. This should be a frightening experience that will leave us shaken long after we are finished it looks. Unfortunately, it does not happen. There is some violence with some blood, but these moments happen very quickly. This film could have done so much more with this concept, but with its semi-family-friendly PG-13 rating, it can only do so much.

Ultimately Devil feels more like a B-film than anything else. The dialogue can be enforced and generic at times. The film has a special low-budget feel to it, but many movies that takes place in one setting is seen typically as low-budget. It is not a terrible movie, but the terrifying not either. Definitely disturbing, but. For those who expect an m. Night Shyamalan twist, prepare to be disappointed. There is a little something at the end, is a bit of a surprise, but not a major plot twist. This film is believed to be the first installment of a trilogy called Night Chronicles; each is to have a different Director and will be based on among Shyamalan's stories. No word on what the next story becomes. Hopefully, the next movie scarier and rated R.

If you want more great reviews, http://slackers.com/visits!

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Dubai cinemas-the best way of entertainment!

Dubai is famous for its scenic sights and enchanting skyline beautiful place. Tourists in large numbers visit Dubai to experience these enthralling sites. A wide range of entertainment centers are also located in Dubai, who entertains visitors and local people. In addition to these entertainment centres offer Dubai Cinemasalso excitement and entertainment to viewers.

Many cinema centers such as Grand Cinecity, Grand Cineplex, Grand Mercato, CineStar cinemas in Diera City Centre, Lamcy cinemas, Grand Metroplex, etc are only a few of the prominent theaters in Dubai. In addition to local people, visitors can also enjoy good movies and forget about their daily stressful life.

Grand cinemas offer quality entertainment to their viewers. The Hall is stade and attracts people in large numbers. Grand cinemas is phenomenal success and has given way to many more additions to the group. Sustainable growth has been witnessed in the cinema facilities in Dubai.

CineStar cinemas is located inside the Mall of the Emirates. One can shop for a while and then see the movie to culminate day on a happy note. Most of the films gives a positive message to society, but some are through and through entertaining and comedy. People love to watch these movies as they do not have to use their minds and get serious. We just need to Let go of themselves and enjoy thoroughly.

VOX film is another feather in the CAP, as for the entertainment industry. Located in the City Centre, this exceptionally designed cinema offers 4 k Digital projection systems. In this system is the number of pixels, four times more than any other digital cinema in the region in the vicinity. A visitor may experience more enthralling and compelling cinema on these screens. Image quality is impressive, making the experience more exciting.

Passion for cinema reflected everywhere. Rarely, there are people who do not enjoy the film. Cinemas are a source of good entertainment that helps people to forget their concerns and real life for a while, thus, take them to a fantasy land. The Passion of the movie is so great that children and young people starts to imitate their favourite superstars. They walk like you talk like them, wear designer clothes, etc. So far, within limits, it's alright, but sometimes things go out of control and a person gets cut off from reality.

Cinemas are responsible for the offers relaxation for people otherwise preoccupied in their daily monotonous life. Today's highly competitive world, give them no respite and they are forced to work hard to bo pre-built. Watching cinemas occasionally relieve their tension. They feel relaxed and ready to work with double enthusiasm.

It is that despite a huge number of other means of entertainment available these days, charm and excitement of cinemas will not recede. This form of entertainment has carved a niche for himself and continues to entertain people from all walks of life. Dubai cinemas offer the best cinema quality experience for their viewers.

Dubai city information Web site is the best Dubai City Guide, written from a fresh, practical and first hand perspective; provide information about Dubai entertainment, travel Dubai jobs Dubai Sightseeing, hotels, information, and much more.

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Review: Double Dhamaal

It is the season of the sequels! After last week's Bheja FRY 2, which received a response, it was all thanda eyes on double Dhamaal, the sequel to 2007 's comedy Dhamaal. With obvious comparisons in tow manage double Dhamaal to create a resurrection and nr Dhamaal, forget it is double.

The film is like a circus Show, where various artists don different avatars, hit each other, fall, make funny faces and other funny things with the sole purpose of making you laugh. They hit the bull's eye sometimes, sometimes not. Similar is the case with double Dhamaal, where different characters struggle to perk up the movie succeeds in some scenes but fails on the whole.

Director Indra Kumar, with crazy comedies like Ishq and Dil to his name, which was marked with some pretty emotional and romantic moments, tried to meet his fans ' sky-high hopes in double Dhamaal with a stellar ensemble cast, foreign locales and some mad-CAP and adult humor, which certainly makes you giggle but strictly in some parts. Unfortunately, the man went on to make another mindless comedy, there is absolutely no ' hatke.»

What say about the authors admit that they have done their homework well (Read gets inspired by the latest Bollywood comedies) as the film exploits the sexual and adult humor to the kernel. So, be ready for some ' balls ' and ' bead ' rolled on you and do not get zapped, if the names of the characters sound like popular expletives!

We are talking about the story-line, first half looks quite clichéd and predictable, the way Sanjay Dutt plans to trick the four boys and then they decide to take revenge. Post the intermission, the plot begins to show some signs of twists in the tale, but all who come to the fore is the usual jokes, typical funny situations and over the top scenes, which begins to irritate you after awhile. However, the movie boasts a couple of scenes that definitely will tickle your funny bone-gorilla scene coat hanging scene and Spoofs on Guzaarish Taare Zameen Par, and Wanted, deserves a mention here.

Double Dhamaal begins where Dhamaal ends. Four friends of the Dhamaal is back with double Dhamaal-Roy (Riteish Deshmukh), Boman (Ashish Choudhary), Adi (Arshad Warsi) and Manav (Jaaved Jaafrey) is leading a life of impoverishing after donating all their money to an orphanage. They meet supah rich Kabir (Sanjay Dutt) and the two sexy ladies-Kia (Kangana) and Kamini (Mallika Sherawat) and that ignites their desire to lead a luxurious life. And soon, begins the mad race becomes richer, fuller and richer-a race that is marked with silly Event, mistaken identities, parades and lots of tamasha.

As regards the characters, you can say only the saving grace. While Sanjay Dutt delivers what do you expect-nothing more, nothing less, Arshad, is really asardar with his comic timing and dialogue delivery, Riteish takes again cake his performance, especially for his excellent mimicry. Aashish Chaudhary is a revelation as sex-Siren Barbara Horie and makes, but he is just ' ok ' as Boman. Jaaved Jaffrey will win your heart with his weakness, which causes some funny moments. Mallika Sherawat is just a "show piece, ' a sexy. We are wondering if she was like as Hiss-torical Naagin or Kamini? Even the controversial and ' blink and you miss ' bikini law and the expected item number ' jalebi bai ' could not save her sinking characters. Last but not least, could have explored the Kanganas characters, much more. The girl definitely has some comedic sense, which if exploited may well under works.

Music (UN) wise movie doesn't offer anything remarkable minus ' Chal Kudiye ' number of Micah, which may become a party anthem in some days. ' Jalebi Bai, ' which was promoted as a competition to ' Shelia ' Munni, and not even come close to them, the rest of the songs are forgettable, and you will no doubt! Anand Raj Anand has been improved in the past.

A whole, is double Dhamaal a movie for those who are in no mood to deal with ' heavy duty ' stuff and are looking for just any movies to kill three hours with some below the belt humour. A statutory warning from us-A BIG tub of pop corn is a must! After all, you deserve a treat for sitting through the movie!

Rating: 2/5
Star Cast: Sanjay Dutt, Arshad Warsi, Jaaved Jaaferi, Riteish Deshmukh, Ashish Kangna Ranaut and Chowdhry, Mallika Sherawat
Director: Indra Kumar
Author: Tushar Hiranandani

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Best cinemas in Kolkata

Indian cities always fall even without exception, in parentheses, of moderation. Cities an enviable balance between past, present and future, and has something for everyone, regardless of their social or economic background. And cinema halls, one of the few venues entertainment that captures the interest of those who seek the comfort of a routine life and satisfy the insatiable demand from bouncing off the walls of individuals, stand as the major attractions of any urban conglomerate. And Kolkata is no exception.

With bybøre on an uphill road spending ability, has been the demand for luxurious entertainment also yanked on same street. Multiplexes falls smack-center in the middle of pampering recreation.

INOX, one of India's leading cinema hall chains, has created 4 cinema complexes that cater to Kolkatans whose appetite for film is equivalent to a bottomless well. INOX has strategically expanded its reach across the better part of taut yet sprawling city, with a multiplex set up in Rajarhat, in Salt Lake City, on Elgin Road and Maulana Abdul Kalam Azad Sarani. All 4 cinema complexes is a one-stop-shop package, as they are located in Prime shopping centres in the city, giving them an edge over other multiplexes in the city.

Salt Lake City, a satellite city, which houses a sizable chunk of Kolkata IT industries, boast numerous cinema complexes, including RDB Big cinemas and 89 cinemas. 89 Cinemas includes 4 auditoriums equipped with Dolby Digital sound systems, a cine Club, a gaming arcade and restaurants. Addition to the complaint on the spot, found the ample parking space and systems online and tele-ticketing ensure a hassle-free booking procedure. This multiplex is also known as 89 cinemas, Swabhumi.

Encouraged by the success story, the security feature by 89 cinemas, Swabhumi, franchisor launched another multiplex named Dreamplex in the City Center, Durgapur. Dreamplex is home to 3 screens and modern conveniences have film buffs frequenting it.

Globe Theatre, located on Lindsay street, is one of the most popular meeting places for catching films in Kolkata. Situated alongside the busy streets in the new market, has come of them with an open wallet, offers Globe cinema breathing space for hoarse shoppers and worn-out wallets. With 4 monitors as fiction illustrated to the accompaniment of blaring from powerful sound systems, a bar and a restaurant, according to the multiplex, to all parts of society.

Esplanade, the commercial hub of the city, where the Metro Cinema, a popular haunt of Kolkatans is situated. Multiplex is a reputation for screening latest releases and hit movies. Entertainment venues, restaurants and shops, characterises the area around the cinema hall to add to the clock is the charming of the theatre.

Embracing multiplex culture, was Lighthouse cinema-one of the cities oldest cinemas-revised in 2002. What was once an enormous auditorium with a capacity of 1,200, was, lo and behold, transformed into a 2-layer multiplex a superior screen, and a food court on the first floor and a bowling alley and an ice skating rink on the ground floor.

The above is but a fraction of the 30-odd Kolkata cinema halls to satisfy the insatiable demand for Kolkatan fantasy. With managements of Rotator wakes up to the benefits of multiplexes, one can expect to testify to the mushrooming of industry in the near future.

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I am thinking: is comic book movies ruined by actor face-time?

It seems a general trend in comic book movies, regardless of who the character is, the actor portraying he or she needs for a consistent amount of face-time. I began to dwell on this issue recently after watching Spider-Man trilogy. It seemed Tobey Maguire would lose/remove his mask in almost every fight scene? Maguire was constant face time worth ruining your secret identity aspect to Spider-Man characters altogether? Someone would probably recognise Peter Parker in one of these moments from the movies. I hope Sony has learned of this, and we can't see Andrew Garfield loose his mask in each action scene. However, based on his growing fame from his work on social networks, we are likely.

It is not only of Spider-Man franchise, which has been plagued by actor face-time harmful aspect of the character. In 2003, target audiences, which then would have seen Daredevil, what has become a classic comic book movie cliché where superhero removes or input text his mask in the final battle. In Daredevil case, Ben Affleck, the need for face-time, however, was just one of the many questions that are wrong with the film.

X-men franchise had one of the most popular cartoon characters of all time stripped from his mask completely. Yes, I talk about Wolverine. Sure it would have looked a bit daft to have Hugh Jackman is running in a mask, but on the other hand, was the decision for him not to wear a really based on this? Or was it based on the studios don't want to cover one of their high profile actor face? If done right, (Batman Begins style), would have functioned Wolverine wearing a mask on the screen. Especially since mutants would certainly want to keep their identities secret. Wearing masks would have portrayed as beautiful.

It does not seem like the persistent face-time in comic book movies will slow down anytime soon. Anyone who has seen the iron man movie would know the Ol Shell head stops rarely his mask in the films, despite the use of clever camera shot of RDJ inside the helmet. As soon as you look for me to remove his mask or helmet hero, fights over. And in the Iron Man film, the fighting was never long.

There have been a little fan-boy concern over how Chris Attic worth rarely is seen wearing his helmet in the Thor film. For a Nordic God\warrior, wearing a helmet would act as a daily essential. Especially since the minor characters (Heimdall, Royal guards) etc in the film seem to manage it. While I have not seen enough of Captain America: the first Avenger judging, one can only hope Chris Evans loses his helmet, since it is a World War 2 film, Captain America could easily be shot in the head.

This is not a huge problem right now, but with the comic book movie industry thrives, it soon would be.

And don't even get me started on the Ryan Reynolds and his mask in Green Lantern.

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Peer: bridesmaids [2011]

15-125mins-comedy-24th June 2011

Many people describe this as the female version of The hangover. These people, however, forgotten to do one little thing-watch both films! Yes both films focus on preparing for a wedding and contain their fair share of low-brow comedy, but it is where the similarities end.

Bridesmaids follow Annie (Kristen Wiig), maid in honor of her friend Lillian's wedding (Maya Rudolph). While she prepares for the big day, however, that the rest of her life fall apart around her. Her love life is in ruins, and she is struggling to keep on top of bills. All the while, she has created the wedding, organise the bride and compete with the other eccentric bridesmaids to keep things on track.

The main thorn in her side comes from Helen (Rose Byrne), one of Lillians new friends and bridesmaids as Annie sensor takes her friend away from her when she needs her the most. Add to that other colorful bridesmaids Megan (Melissa McCarthy), Rita (Wendi McLendon-Covey) and Becca (Ellie Kemper) with the steady stream of jokes and situations and you get a decent comedy.

What I liked about bridesmaids was that it did not give way all gruesome detail just because the characters were female. Usually, women in film depicted more prim and proper, so it was refreshing to have this change. Some consider some of the scenes that go a little too long, or continue a little too long (one scene in particular started dragging for me) but I felt overall it only on your finger on the head.

Wiig, along with her scrape, impresses in the whole movie shows us that she has a place as a comic actress and add-on by Chris O'Dowd as love interest worked well.

If I were picking fault with the film then was to say that some of the characters doesn't make me want to care so much about what happened with them (but then again this is primarily a comedy, not a drama) especially bride which I never felt that enjoys her wedding at any time. Also, there was probably a few too many sub plots and subplots that could have been shaved by dragging time under 2 hours. Apart from that, I was pretty impressed.

This may be the one set out for females in the audience, but it is highly sack film and. There is a bit of a romcom element, but it takes a backseat to the female main character driven comedy. Some will find jokes distasteful and not rate the film because of this, but I am chuckling away at more than one occasion. Guys, if your current dragged into one ' chick flick ' this year, then make sure it's this one.

Rating: B

For additional reviews feel free to check out http://www.fanaticalaboutfilms.com/:

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Halloween H20: twenty years later

Halloween H20: 20 years later is a 1998 horror thriller released by Dimension Films. Its stars include Jamie Lee Curtis as Laurie Strode/Keri Tate, Adam Arkin as will Brennan, Michelle Williams as Molly, Jodi Lyn O'Keefe as Sarah and Josh Hartnett as John Tate. The authors are John Carpenter (The fog), Debra Hill (Halloween), Robert Zappia (tv home improvement) and Matt Greenberg (reign of fire). The Director is Steve Miner (Friday the 13th part 2 and part III).

This story is a direct continuation of the events of Halloween II, ignores the last three Michael Myers film. He comes to Marion Chambers Witting tonnes House, nurse of his late stretch film Dr. Sam Loomis, to search for a file. The killer finds Laurie Strode's, his younger sister and trøde to have been killed in a car accident. He discovers that she is now living in summer Glen, California under the name Keri Tate. "Keri Tate" is the main mistress to Hillcrest Academy. After killing Marion and two neighbouring boys, Michael steals a car and drive to California to find his sister. Meanwhile in California, has Laurie Strode is struggling to put the events of 20 years ago behind her. She is still haunted and attempts to drown out his memories with alcohol, much to the chagrin of his son John. Her older brother has now reached the school and, after nightfall, sneak in through the front gate. He is now back to kill the sister he could kill 20 years earlier.

A highlight of this last Halloween series is the appearance of Janet Leigh, Jamie Lee Curtiss real life mother and star of the 1960 Alfred Hitchcock classic Psycho. There is a line in the movie, I find quite ironic, if not downright deliberate. It is when Jamie Lee and Janet meet in the parking lot. Norma (Janet) announcing that "Ms. Tate" (Jamie Lee) is quite turbulent, especially around Halloween. After she accidentally startles her, asking her if she a moment can be maternal. It is a little too obvious. But what viewers can't say is that the car that Norma get into is the same car, which she ran in Hitchcock's horror classic. Even number plate is from the era. Some of Bernard Herrman's original score from Psycho can also be heard as Norma talk to Keri Tate.

Another feature proves once and for all that people need to put the past behind you before really move. If someone cares too much about the past, sometimes it comes back to haunt him or her. In Halloween H20, this is literally the case. After she witnessed Michael burning at the end of Halloween II, Laurie Strode had been able to suppress the memories of the traumatic night and was afraid that he was still alive. He came after her again in the hospital after Dr. Loomis shot him six times at the end of Halloween. Granted the incidents as she stands in 1978 was pretty difficult to forget had Laurie to put these terrible images out of his mind, if only for one day. She could not make it so that his older brother did, in fact, return to finish what he had started, thus confirming Laurie worst fears.

If you want to wrap, some believe that Halloween H20: twenty years later was an attempt to revive an old horror franchise, which had slowly die after the last three installments. It may have been true, but the Halloween franchise was still fairly well known then and continues to be today!

Written by Kevin Dillehay
http://www.moviefilmreview.com/Author/Kmonk10

Kevin t. Dillehay has written nearly a hundred movie reviews from all genres. He provides a unique perspective on the film, you see all the time, but cannot stop and think in terms of depth. You're invited to check out his work http://www.moviefilmreview.com/author/kmonk10on.

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Go to the theatre just got easier

A few months ago, my sister and I decided to take a little trip down to our local independent cinema to watch a movie. We checked the film times online, established what we wanted to see, and then made the trip 10 minutes down the road to see the movie. However, upon arrival, we discovered that we had wanted to see the movie was not showing because National Theatre showing it on screen. We really do not think much of it, has selected another film and supervised, instead. It was not until around halfway through the movie, sitting in this small cinema screen with a capacity of only about two hundred, that the idea of National Theatre Company performs in one of these sunk screenshots, or more to the point where it would be impossible.

When I got home, I looked up the NET to see what was happening and turned into one of the largest discoveries in my life, second only to ice cream. I discovered that the National Theatre had started up a new system whereby they would show via live satellite link, various performances from National Theatre Company in the small, independent cinemas around the County and around the world. Not only that, but there were ballet, opera and concerts. There was a whole year's worth of features across all art from around the world and be able to go and see them from my local cinema.

At first trøde I was a bad idea, because if I wanted to go to the theatre, I just wanted to get on the train to London and go. However, the more I thought about it, it got better and better. Firstly, it is significantly cheaper. Ticket prices are about a quarter of the theatre, there is no train ticket is involved, and I would not have to pay to park your car. Moreover, there would be no worry about catching the last train home and places in my movies are by far the most comfortable event places I have ever sat in. In the last three months, I have seen Derek Jacobi in King Leah, Roy Kinnear in Hamlet, the lack of quantity and war horse, and all without leaving my local city!

I think this is really fantastic! I can go to the theatre practically every week in a free, stress cheap way and my local cinema, which is struggling to keep pace with the bigger chains have a life-line drawing in a full House every week.

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Movie review: Gnomeo and Juliet (2011)

Although a scarce few scenes may have you laugh, think not Gnomeo and Juliet at all concerned with entertaining adult audiences drawn to the theater with the target group of small children. Juvenile humor and immaturity run rampant, which makes more annoyingly hyperactive supporting characters, resulting in a tug-of-war between eye rolling and grimacing. Plenty of attention has been given to the texturing and detailing of clay creatures, although the mishmash of ceramic materials, squash and Stretch animation and clanking stone sound effects originate general acceptance as much as rehashed the use of sudden immobility in the presence of humans (at least we are given the basic rules for gnome desirability: a rotund stomach and an tykspidse hat). With tired Matrix parodies, more bland character designs and a flamingo (voiced by Jim Cummings, who reuses its own unique voice of Don Karnage from talespin) and a seed not stop jabbering, it is quite likely that you are begging stops for clock-in and hope it remains faithful to Shakespeare's original Play.

It is love at first sight when blue garden decoration Gnomeo (James McAvoy) meets red lawn ornament Juliet (Emily Blunt). There is only one problem-they belong to opposing factions of ceaseless feud between recreational facilities. As pranks and repayments will continue to escalate among the warring forces, Gnomeo and Juliet realize they must bring the conflict to an end, if they want to find true happiness, and change the tragic fate hit their notes.

Gnomeo and Juliet starts with an amusing pun for a title and just went for it-a feature-length animated film with nothing else than a one-dimensional riff on a universally famous circuses. Situations or even creative jokes about Shakespeare, and armed with the remains of a arktitektur-together, horribly generic rip of the most basic love story, is void of any screen magic without interesting characters in this half-hearted attempts at family entertainment. None of the pieces combine to make even the slightest form of fun; tragedy is included for the sake of staying reminds the source material (and then immediately withdrawn), romance is childish and humor is hopelessly infantile.

There is no shortage of gnome jokes or goofy greetings to Shakespeare, although only one rib is successful (and it is not a parody of American Beauty). Many of the physical gags are repetitive, pie in the face of monkeyshines and other stale attempt obnoxious buffoonery, often accompanied by complex setups for completely independent material. Each supporting characters fight head loosely add comic relief, most of them are tired and humorless, making the reach for laugh exactly far more painful. If lack of amusement is not enough to remind us about other total failure in the animation (such as Planet 51 and battle for Terra), Elton John, who is also Executive produces, stuffed production with inappropriate, out-of-place songs that suck the life from each scene of whimsy and each already humdrum montage.

-Massie twins ( GoneWithTheTwins.com )

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