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DOWNLOAD MOVIE Little Fish Just $2.99 for a complete movie! No additional software or browser plug-ins required! You can play them for unlimited number of times whenever you want. Downloaded movies will work perfectly on any PC, DVD player, PDA etc.
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Little Fish Reviewed By Trevor Gensch Posted 09/07/05 10:25:03

"Australian film-making is finally growing up (again)" (Average)

Best Australian film since Lantana? Perhaps. Intelligent, mature and a lot more worthy than most Australian fare? Absolute-a-frigging definately!Little Fish throws a lot at you in its first 20 minutes or so. So much in fact it can be a bit overwhelming and certainly worthy of a second viewing.In the time it takes for the first act to finish, we have been introduced to a family torn apart by drugs, personal tragedies, shattered dreams and the unique pain that can only be experienced by a group of people holding each other together by a bond of blood and love.The character at the core of all these dispirate emotions is Tracy (Cate Blanchett), a woman trying to make some forward progress in a world that seems intent on holding her back. She can’t get the finance to buy the video store she has worked at for four years, and is teetering on the edge of the abyss as her whole world closes in around her.Tracy is a caring woman at heart, and she lovingly tends to the welfare of her mother’s former boyfriend, Lionel (Hugo Weaving), a former AFL player who is now a hopeless heroin addict.An old flame comes back into her life in the form of Jonny (Dustin Nguyen - yes, the same Dustin Nguyen from 21 Jump Street no less). He wants to take up where they left off four years before, but the pain of the car accident that made her brother an amputee still lingers painfully - Jonny was driving the car. Jonny was always a bit of a shady character, and his return as a supposedly professional, suit wearing man masks his true intent - to take up where he left off in the drug trade.This is only a sample of the often depressing and bleak characters we share some time with in Little Fish. Those looking for a happy ending or a heart-warming tale will come away disappointed after seeing this film.The performances overall are reasonably solid, with the standouts being Cate Blanchett and Hugo Weaving. The time they share on screen (which for the most part is all staged within his dilapidated unit) are heartfelt and moving. You genuinely feel the pain that Hugo’s character is feeling - a man who wants to kick the drug but is let down by his lack of resolve and willpower.The main performers are also supported by a stellar support cast, most notably Noni Hazlehurst as the mother and Sam Neill playing a retiring "drug lord". Dustin Nguyen as the love interest fails to convince though and is probably one of the weaker links in this otherwise solid family drama.It’s a slow paced film but one that builds to a quite satisfying climax. You are never really sure where the story will take you, and that positively adds to its overall effect.
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DOWNLOAD MOVIE Planets, The Just $2.99 for a complete movie! No additional software or browser plug-ins required! You can play them for unlimited number of times whenever you want. Downloaded movies will work perfectly on any PC, DVD player, PDA etc.
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Planets, The
War of the Planets Reviewed By David Cornelius Posted 11/15/05 07:44:40

"There’s awful, there’s gawdawful, and then there’s ‘War of the Planets.’" (Total Crap)

2005 has turned out to be a banner year for Bad Movies. In addition to the handful of worse-than-usual theatrical releases we’ve been handed lately, we’ve also seen a parade of worse-than-usual direct-to-video junk. Let’s put it this way: when a movie that has Jerry Springer as the President of the United States is one of your better direct-to-video titles, something’s gone horribly wrong.Add to this list “War of the Planets,” a homemade schlocker from director/producer/writer/actor/composer/photographer/etc. Mike Conway. The film was produced for a light $27,000 in 2003 under the title “Terrarium;” it sat, like most no-budget films do, in indie limbo for years, with Conway retooling the editing and the special effects, until Lions Gate picked it up this year to be a cheap video quickie, rechristening the work with a more familiar-sounding, more sellable title.Consider this: Conway thought naming his sci-fi thriller “Terrarium” was a great idea. And sadly, it remains one of his better ones. Ouch.The film ultimately is a throwback to those wonderful 1950s, where any schmuck with a camera and a few grand could slap together a genre film to sell to the drive-in crowd. These days, when so many B pictures are modestly budgeted and suffer only from their own ridiculousness (or, at least, the casting of Armand Assante), it’s refreshing to see a film reach beyond generic suckiness and dive head-first into complete ineptitude. Pay attention, class, for this is as bad as they come.The first chunk of the movie - just a few minutes, but it feels like a flippin’ eternity - provides the backstory of a fifteen year mission into deep space, where an Earth-like planet has been discovered, ready for colonization. We meet our heroes, a collection of second-string community theater players and friends-of-the-director making their acting debut; this may not seem like a big deal, considering how many other homemade productions use amateurs, but once you slowly realize that this film has been designed to be actor-centric, you’ll understand why these early scenes are a warning, a flashing neon sign reading “Abandon Hope, All Ye Who Enter Here.”A seemingly endless series of I-can’t-believe-they-thought-they-could-get-away-with-this special effects shots later (seriously, the CGI is something an eighth grader would whip up on his home computer), we finally get to the story proper. It seems the spaceship has crashed on the distant planet, and the astronauts awaken from their cryo-sleep to find one shipmate dead, and what appears to be the de-helmeted version of Ro-Man from “Robot Monster” stalking their ship.Let me repeat. “War of the Planets” features, as its alien monster, a dude in a gorilla suit.Wow.Anyway. I want to praise Conway here for doing one thing right. In these early scenes, he realizes that fifteen years of suspended animation would leave the astronauts’ bodies atrophied; as such, for the first half hour of the film, the cast remains essentially trapped by their own selves, unable to escape or fight back. It’s rare that a film of this scale would get its science right, and the idea of a filmmaker using such a gimmick to create claustrophobic terror is commendable.Or, at least, it would be, if Conway had any storytelling skills. Which he does not. For yet another flippin’ eternity, we’re stuck watching this collection of overactors and underactors spew laughable dialogue and, in between the Space Gorilla attacks, wax philosophic about what personal demons drove them to volunteer for a mission that would separate them from their homes for possibly the rest of their lives. To see a mediocre actor bungle his way through an attempt at heartfelt emotion over the memory of his kidnapped daughter is one thing; to follow it with screams of “Leave him alone, Sasquatch! Come and get me, you hairy bastard!!” is something else entirely.Mercifully, our valiant heroes manage to escape their cryo-chambers, elude Ro-Man, and work their way outside… where they discover that their ship has been encased in glass, and aliens (which, by the way, look even more ridiculous than the Pajama People from “Signs,” if such a thing were possible) are apparently studying them like creatures in a zoo. Hence, the original, horrible title.Of course, it only gets sillier and sillier, the plot becoming increasingly nonsensical, the acting increasingly embarrassing (do check out Timothy S. Daley’s portrayal of the rugged captain - his stumbling non-responses to every emotional situation are Bad Movie nirvana). Oh, and there’s an infinite supply of Casio-quality synthesizer music for you, too.Conway eventually writes himself into a corner with this one - with no way back to Earth, no help possibly coming, and a planet full of hostile Pajama People and Space Gorillas out there, how could this story possibly resolve itself? After spending 82 minutes with this effort, one’s only hope is, obviously, for a slow, violent death to all the major characters, but no, we don’t even get that. What we get instead is perhaps the least satisfying of all possible outcomes, saved only by the fact that the last line of the film is delivered in such a ham-fisted way that it’s impossible not to leave this film giggling. Well, I guess has some redeeming qualities after all.It’s movies like this that make me wish that “Mystery Science Theater 3000” was still on the air. Oh, what Mike and the Bots could have done with a junker like this. This is 82 minutes of utter lousiness, delivered right to your television set. Either avoid like the plague, or rent it immediately, depending on what kind of evening you prefer.
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DOWNLOAD MOVIE Fifth Element, The Just $2.99 for a complete movie! No additional software or browser plug-ins required! You can play them for unlimited number of times whenever you want. Downloaded movies will work perfectly on any PC, DVD player, PDA etc.
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Fifth Element, The Reviewed By Slyder Posted 04/24/01 12:42:27

"Interesting, And Colorful Too" (Worth A Look)

I came upon this film, again through my dad, while passing through one of the cable channels on our TV set a while ago. And after the movie ended, we were quite pleased of what we saw. I personally enjoyed the film, and I still find it hard to believe that writer-director Luc Besson wrote the script when he was 13, but hey, what’s wrong with that? I began writing a novel since I was 17, and I’m still working on it. I’ll let you know when I’ve finished it. Anyways, it was an enjoyable movie.Two hundred and fifty years in the future, life as we know it is threatened by the arrival of Evil. Only a religious cult, that at first worshipped aliens before the future -when they are revealed as aliens- know that they possess the only weapon against it. The four elements of life, that lay alongside a fifth element. And only the fifth element (played by Milla Jovovich) can stop the Evil from extinguishing life, as it has done every five thousand years. She is helped by ex-soldier, current-cab-driver, Corben Dallas (played by Bruce Willis), who is, in turn, helped by talk show radio host Ruby Rhod (Chris Tucker), and along for the ride are Father Vito Cornelius (Ian Holm), who is the guide of the fifth element on earth and the main priest of the religious cult. But for her to work, they need to find and retrieve the four other remaining elements, which are stones, so the cycle can be complete. Unfortunately, Evil is being assisted by Mr. Zorg (Gary Oldman) and his alien mercenaries, the Mangalores, who both seek to profit from the chaos that Evil will bring, but only if they find the stones for him. The very first appreciative things in the movie are the set decorations and the costumes. They’re colorful enough to give the atmosphere of a comic sci-fi flick, which was a nice and interesting touch. The music also helped since it’s very 23rd century too. One of the main ideas of the script will catch enough attention towards some people, like my dad and me, to make it a totally fun subject to discuss and compare. Now I’m not talking about the part of when evil returns, but about the religious people serving aliens, calling them "my lord," and worshipping them. It kind of brings you back into the long-discussed topic of the days of Moses and Ezequiel, and if God was God itself or an alien. If you’re keen enough, you’ll catch that amidst the fun and the suspense of the opening scenes, and discuss it along later. Though later in the film, a flaw appears, since it’s confusing that father Vito and his followers still worship the aliens, despite the time that they live in and the people’s knowledge that they’re aliens, not gods. I would’ve walked out of the sect a long time ago the first minute I found out about this.Another one of the little flaws that I caught was that the alien costumes, despite everything else, they looked unrealistic, and in fact didn’t look like aliens at all, but more like people in costumes. That kind of took the fun of many scenes, especially the Mangalore scenes, since they really looked fake. In most of them, if it wasn’t for the action, it brought a good chuckle. Plus, Zorg’s pet also didn’t look that real. The futuristic settings of the movie give you some remembrance feeling as if you were looking at a more modern and more realistic version of The Jetsons. High rise buildings above the smog, and air freeways of flying cars buzzing one over another. Not that they’re wrong though, but it sure looked interesting. The performances were okay; Bruce Willis was basically his average, no question about that. Ian Holm and Gary Oldman were of course great as always, although Oldman eclipses Holm in a way that he basically steals the show in almost every scene that he’s in, despite his accent. Milla Jovovich did his best in a tough role as the fifth element, but didn’t seem to pull it off as she was behaving too childishly. Chris Tucker as talk radio host Ruby, really got into my nerves and his acting really annoyed me. And as you can see in the film, he also annoyed Bruce.In the end, it’s basically a typical Sci-Fi action comedy, with some good twists and great colorful settings. It’s not that good of a movie but it still worth watching since its funny and entertaining. The only thing to watch for here is Tucker, who I really wanted him to fuck off and die, but that’s me. Lets see later how do you do, and feel.
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DOWNLOAD MOVIE Flags of Our Fathers Just $2.99 for a complete movie! No additional software or browser plug-ins required! You can play them for unlimited number of times whenever you want. Downloaded movies will work perfectly on any PC, DVD player, PDA etc.
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“The right picture can win or lose a war.”

The Movie:
There’s no denying the impressive breadth of Clint Eastwood’s ambition in making two back-to-back WWII films, Flags of Our Fathers and Letters from Iwo Jima, each telling the story of the same infamous battle but from different perspectives. It’s a conceit that had been attempted previously within individual movies, notably 1970’s Tora! Tora! Tora! about the Pearl Harbor attack, but dividing the two sides into their own separate films enhances the purity of vision of each, presenting each viewpoint in its entirety without having to constantly switch back and forth between them. Unfortunately, anyone who’s seen the two will tell you that the American half of this diptych, Flags of Our Fathers, is certainly the weaker of the pictures artistically. While that’s true, it’s the combination of the two halves that make a unified whole stronger than either piece individually. Watching Flags of Our Fathers first makes Letters from Iwo Jima a richer, more involving experience.

Based on the non-fiction book by James Bradley, whose father participated in the famous flag-raising on Mt. Suribachi captured in the iconic photograph, Flags portrays a generation of young American men eager to fight for their country and save the world, unsure and unprepared for the horrific conflict in front of them. What seemed surely to be an overwhelming force of American might and technological superiority invaded the tiny Pacific island of Iwo Jima to face 12,000 Japanese defenders packed into an 8 square mile area, dug in, fortified, and proud to die protecting their sacred homeland. The battle was prolonged and bloody, thousands of men on each side torn to pieces in grisly combat. Eastwood stages the assault with imposing passion and realism. The extensive visual effects convincingly recreate the scale of the invasion, and the director never shies away from the grittier aspects of war.

But this isn’t just a combat picture. The movie also attempts to tell the story of the flag-raising itself, or rather flag-raisings, and the implications and aftermath of their public exposure. The initial squad of soldiers sent to mount a flag on the mountaintop did so as ordered, only to have it taken down and replaced with a larger flag set up by another squad. It was this second flag that was caught on film by photographer Joe Rosenthal and distributed worldwide as a symbol of American victory and hope. Three of the soldiers in the photo (the three not killed in subsequent fighting) were promptly shipped back home to America to go on a promotional tour to sell government bonds and raise money for the war effort. Faced with sudden fame and labeled heroes by a grateful public eager to shake their hands, these young boys were paraded around the country as mascots, ordered to sell a story written for them regardless of the truth. On the one hand, their performances did genuine good in raising money desperately needed by the military, but on the other hand they also trivialized the real tragedy of the war at a time while their brothers were still being killed in vicious combat. Each man faced this moral quandary in his own way: one with stoic conviction, one with enthusiastic attention hogging, and one wracked with guilt.

It’s juicy material, and the movie has very noble intentions in tackling it. The problem is that the screenplay by William Broyles Jr. (Jarhead) and Paul Haggis (Million Dollar Baby) is basically a mess. The picture begins and ends with sequences set in contemporary times where the elderly soldiers recount their stories, the war a giant flashback between these bookends. Within this are a further series of flashbacks and flash-forwards to various points during the invasion, before the men shipped out, during the bond tour, and at many other times throughout their lives. The structure is needlessly complicated and confusing, the constant jumping around making it hard to get a handle on who the characters are. Worse, the characters themselves are thinly sketched stereotypes with only the faintest hints of depth or complexity. Though the performances by the likes of Ryan Phillippe, Jesse Bradford, Adam Beach, Barry Pepper, and others are solid, we barely get to know who these men are, and often have trouble telling them apart from one another. Phillippe’s character, “Doc” Bradley, is the least defined of all, which is strange considering that he’s meant to be author James Bradley’s father so you’d expect him to play the most important role in the picture. The dialogue in non-combat scenes is clunky and unconvincing. Eastwood’s direction throughout the movie is assured, but too many of the domestic scenes are uncharacteristically melodramatic, especially the grating voiceover and cloying flash-forwards to the present day, which foist on us a tedious subplot about author Bradley writing the book and some really drippy father/son bonding crap that just has no place in this film. At a little over two hours in length, the movie also feels at least half an hour too long.

On its own, Flags of Our Fathers is a well-intentioned but deeply flawed war film. It has some terrific sequences, but is burdened with a problematic script and lack of focus. As the first half of an important pairing with the superior Letters from Iwo Jima, however, it takes on greater meaning and resonance. Put together, the two works form a fascinating portrait of an important moment in world history.

The HD DVD:
Flags of Our Fathers has been released on the HD DVD format as a 2-Disc Special Edition by Dreamworks Home Entertainment (distributed by Paramount Home Entertainment). A comparable Blu-ray edition is also available. Due to complicated financing arrangements, the movie’s Japanese counterpart Letters from Iwo Jima is distributed by Warner Home Video, who have released that film on both High Definition formats on the same day that Dreamworks released Flags.

The Flags disc automatically opens with a lengthy HD DVD promo that can fortunately be skipped but is a nuisance. If you should pause or fast-forward/rewind the movie during playback, a timeline meter will appear on screen to tell you how far along you are.

HD DVD discs are only playable in a compatible HD DVD player. They will not function in a standard DVD player (unless the disc is a Combo release that specifically includes a secondary DVD version) or in a Blu-Ray player. Please note that the star rating scales for video and audio are relative to other High Definition disc content, not to traditional DVD.

Video:
The Flags of Our Fathers HD DVD is encoded on disc in High Definition 1080p format using VC-1 compression. The movie is presented in its theatrical aspect ratio of approximately 2.40:1 with letterbox bars at the top and bottom of the 16:9 frame.

Paramount and Dreamworks deliver a truly stunning High-Def transfer for Flags. The picture is razor sharp with a terrific amount of detail. The movie has an intentionally bleached photographic style, largely desaturated but with tightly controlled use of colors, which is captured on disc with the utmost precision. Black levels and shadow details are richly defined, lending a solid sense of depth. The minimal presence of film grain is well compressed and never noisy. There’s not a sign of edge enhancement or digital compression artifacting anywhere to be found. The video on this HD DVD is simply perfect.

The Flags of Our Fathers HD DVD is not flagged with an Image Constraint Token and will play in full High Definition quality over an HD DVD player’s analog Component Video outputs.

Audio:
The movie’s soundtrack is provided in Dolby Digital Plus 5.1 format. Paramount has yet to support the lossless Dolby TrueHD format (as Warner offers on the Letters from Iwo Jima HD DVD), but even so there’s no faulting the quality of the sound mix here. War movies like this offer a virtual playground for sound designers, and the battle scenes in Flags create an incredibly directional and immersive soundfield. Planes swoop from speaker to speaker, rifles crack, and explosions rock the subwoofer. Sound effects are crisply recorded and delivered with excellent fidelity. Dialogue is perhaps a little low in the mix and the non-combat scenes are much quieter than those during the invasion, thus making the action scenes almost deafeningly loud in comparison, but I’m sure that was intentional. This is a very impressive audio track.

Subs & Dubs:
Optional subtitles - English, English captions for the hearing impaired, French, or Spanish.
Alternate language tracks - French DD+ 5.1.

The bonus features on Disc 2 offer the same subtitling options as the feature on Disc 1.

Extras:
The bonus features on this HD DVD title are duplicated from the DVD edition, though all are presented here in true High Definition video using VC-1 compression. All of the supplements from the 2-Disc Special Edition DVD have carried over.

There are no supplements on Disc 1. Aside from the movie itself, everything else is found on Disc 2.

• An Introduction by Clint Eastwood (5 min., HD) - The director explains how he was affected by the book, some of the background of the story, his attempt to capture a generation, and what it was like visiting Iwo Jima (”It’s not a place for sissies”, Eastwood declares).
• Words on the Page (17 min., HD) - Author James Bradley talks about his father and his inspirations for writing the book. His father never once discussed the war or the flag-raising: “My dad had a lot not to talk about”. Screenwriters William Broyles Jr. and Paul Haggis are also interviewed.
• Six Brave Men (20 min., HD) - Profiles of the real men the story is based on.
• The Making of an Epic (30 min., HD) - A fairly good overview of the project’s origins, Spielberg’s role as producer, working with Eastwood on set, casting, costumes, production design, editing, military technical advisors, staging the battle sequences, and shooting in Iceland.
• Raising the Flag (3 min., HD) - The historical accuracy of the re-creation is analyzed.
• Visual Effects (15 min., HD) - Effects artists from Digital Domain stress their emphasis on photorealism for this project. Many before-and-after comparisons are shown. The scale of the visual effects work in the finished film is quite amazing.
• Looking into the Past (9 min., HD) - Vintage newsreel footage of the battle on Iwo Jima and the war bond tour.
• Theatrical Trailer (2 min., HD).

Note that Flags of Our Fathers and Letters from Iwo Jima were also released together on DVD in a 5-Disc Commemorative Collector’s Edition box set that contained an exclusive “Heroes of Iwo Jima” bonus disc. The contents of that extra DVD (an A&E Channel documentary) are not included in the HD DVD edition of either film.

Final Thoughts:
Although I had some issues with Flags of Our Fathers as a movie, the HD DVD edition has sterling picture and sound quality, as well as an impressive selection of bonus features in true HD video. Even with its flaws, the movie is an essential preamble for the superior Letters from Iwo Jima, and the combination of the two together make an indispensable package. For that reason, Flags comes highly recommended.

Related Articles:
Letters from Iwo Jima (HD DVD)
Jarhead (HD DVD) - William Broyles Jr.
Million Dollar Baby (HD DVD) - Clint Eastwood, Paul Haggis
We Were Soldiers (HD DVD) - Barry Pepper, war
HD Review Index
High-Def Revolution - DVDTalk’s HD Column
Toshiba HD-A1 HD DVD Player

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DOWNLOAD MOVIE Executive Decision Just $2.99 for a complete movie! No additional software or browser plug-ins required! You can play them for unlimited number of times whenever you want. Downloaded movies will work perfectly on any PC, DVD player, PDA etc.
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Executive Decision Reviewed By Rob Gonsalves Posted 01/13/07 09:47:24

"Boring, but at least Seagal isn’t in it much." (Pretty Bad)

‘Executive Decision‘ is as bland as its title. What’s more, it finally gives us what Hollywood has been threatening for years, the movie nobody was waiting for: ‘Airport ‘96.’It’s got everything — the mad bomber; the plucky stewardess; the Who’s Who passenger list (though this movie uses character actors, not faded stars as in the Airport series); the hero who knows how to do everything except land a plane, which of course he’s called upon to do.The plot is one of those bewildering pieces of cheese about terrorists and anti-terrorists, all of whom have huge guns and identical constipated expressions. A famous terrorist has been arrested, and his cohorts hijack an airliner and demand that America set the terrorists free. Or else what? Well, there’s a nerve-gas bomb on the plane, ready to detonate when it lands in Washington. Kurt Russell, as some sort of fancy intelligence agent, is the only one smart enough to figure out this plan. He and a pack of commandos (led by Steven Seagal) decide to take another plane up and break into the airliner. I’d just as soon not go into how they do it, because it’s complicated and probably the most entertaining section of the movie. After that, though, Executive Decision loses altitude fast.The two or three remaining members of the Steven Seagal Fan Club should know that his presence in the movie is grossly exaggerated in the ads. Great character actors like J. T. Walsh sit around, obviously bored and wondering when they’ll get to do anything. Joe Morton (as an injured commando) spends most of the film on his back. Halle Berry (as the plucky stewardess) looks anxious. Oliver Platt, who tries to disarm the bomb, sweats a lot and chews a straw. Marla Maples Trump shows up, too, as another stewardess. That’s how you really know this is Airport ‘96. As he proved in StarGate, another throwback to ’70s schlock, Kurt Russell has a way of shouldering a big retro load like this without too much strain. He’s not bad here; as an actor, he always projects solid common sense and intellect, and he keeps Executive Decision halfway watchable. But you’d hardly know from his bespectacled, buttoned-down performance what a witty actor he can be. Apart from the movie’s specific flaws, there is something distasteful about Hollywood’s insistence on foreign terrorists, especially after the extreme reality slap in Oklahoma City. Executive Decision has an odd and bitter element: The title refers to the government’s decision to destroy the airliner — with 400 innocents aboard — before it can touch down and release the nerve gas. The movie is full of toxic gas itself. It demonizes both foreigners and the U.S. government in a way that reminded me of the militant paranoia of Rambo — the definitive Reagan-era fantasy.‘Executive Decision‘ would fit better in any era but this one. It’s for people who still want to believe the enemy isn’t us.
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DOWNLOAD MOVIE Chocolat Just $2.99 for a complete movie! No additional software or browser plug-ins required! You can play them for unlimited number of times whenever you want. Downloaded movies will work perfectly on any PC, DVD player, PDA etc.
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Director Lasse Hallstrom has the distinguished honor of being the director of my pick for the least deserving Best Picture nominee for the last two years (including Cider House Rules). There’s no question of his talent, as both films are very well made, but there’s also no question that Miramax pushed both films with finesse, scoring their eighth consecutive film to be in the top five choices. OK, enough of this sounding like a bad review, Chocolat is still enjoyable entertainment made with professional ease.

Set in 1959 in a small French town, Vianne (Binoche, Blue) and her young daughter have just moved in and started their own chocolatery. There is something special in the ingredients of this chocolate which causes people to lose their inhibitions, and this does not go unnoticed by the mayor of the town (Molina, Magnolia), who sees Vianne as an agent of the devil, trying to cause immorality amongst his townspeople. He sets about trying to get people against her, and enacts laws in an effort to shut her shop down. She allies herself with a group of "pirates" which furthers the efforts against her, while she tries her best to help the ailing people of her town.

It’s hard to watch Chocolat on its own terms, since it seems to push its theme of self-expression vs. religious conservatism with almost every scene in a plainly obvious way. Advocacy against repressive life is certainly nothing new in cinema or literature, and this makes Chocolat nothing more than a well-made film with a derivative theme. Not really as distinctive as the last film to push the same envelope, Pleasantville, Chocolat still is perfect in its cast of actors and in the use of lush cinematography and music, so much so that it still makes this oft told tale enjoyable.

Chocolat is a solid production of a superficial story; just don’t let the Best Picture nod fool you into thinking it’s going to be a great film. Just like real chocolate, it’s a tasty morsel that satisfies for the moment, but definitely far from a satisfying meal.

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DOWNLOAD MOVIE Back to the Future Part III Just $2.99 for a complete movie! No additional software or browser plug-ins required! You can play them for unlimited number of times whenever you want. Downloaded movies will work perfectly on any PC, DVD player, PDA etc.
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Back to the Future Part III (1990) / Comedy-Sci Fi

MPAA Rated: PG for language and some violence Running Time: 118 min. Cast: Michael J. Fox, Christopher Lloyd, Mary Steenburgen, Thomas F. Wilson, Lea Thompson, Elisabeth Shue, James Tolkan, ZZ Top, Flea Director: Robert Zemeckis Screenplay: Bob Gale

 

Back to the Future Part III is the third and final installment of the popular trilogy, this time going to the past, to Hill Valley of 1885.  Those that despised the second film for its darkness generally applaud this sequel for bringing back the sense of fun again, while for others it is a quaintly amusing diversion that isn’t quite as interesting as the other two films, but still entertains.  Part III was shot directly after Part II wrapped, and the laid back approach here was probably due to needing a change of pace from the frenetic nature of the second film.  It serves as an attempt to finally put to rest the series for the fans, while also working as a funny send-up of old Hollywood Westerns, including a very generous homage to Clint Eastwood that’s a hoot in itself. The film starts with Marty (Fox, Bright Lights Big City) in 1955 reading the letter from Doc (Lloyd, Back to the Future) that he had accidentally been transported to the year 1885.  Due to the archaic technology, Doc isn’t able to get back to the future, but is content to spend the rest of his life in the Old West, urging Marty not to come back for him.  However, Marty decides not to heed Doc’s advice when he discovers Doc’s tombstone lists his death as only several days after he wrote the original letter.  Using the DeLorean that Doc had secretly hidden for decades, Marty is able to return to the Old West, but due to damage to the car’s fuel tank that leaves it empty, there is no way to get the time machine to accelerate to the needed 88 mph for a time jump.  With Doc’s death imminent, Marty must find a way to keep themselves alive and think of some way to get the car up to speed, while Doc finds potential true love in the arms of a local woman (Steenburgen, Melvin and Howard) whose life he saves. I realize that any film dealing with time travel is bound to leave many with headaches, but there are a few things that occurred to me when watching Part III that did bother me, and I’m sure I’m not the only one who was confused by these things.  First, the solution as to the DeLorean’s fuel problem should be apparent to anyone who remembers that there should still be another instance of the DeLorean still in town  the one Doc had hidden only weeks before Marty’s arrival from the future.  I suppose one could make the argument that tinkering with the hidden DeLorean would mean Marty would not be able to traverse back in time in the future, but it still would have been nice if this loophole were resolved.  Another problem is that we know that Clara Clayton is the person for which Clayton’s Ravine is named when she falls and dies from her accident there, but we had already established that Clara also had written the words on Doc’s tombstone, which would have been impossible if she had died at the time she was supposed to, a few days earlier.  One could argue that this Clara could have fallen into the ravine at a later date and preserved the history, but again, this is a confusing aspect that could have been resolved easily.  Then there is the matter of how Marty just so happens to be an expert at horse riding, which he seems to do so effortlessly throughout Part III. Despite these nitpicks, Back to the Future III is still an entertaining final chapter and must see viewing for anyone who has seen and enjoyed the previous entries in the series.  It should never be seen without first viewing the other two films within a reasonably short period of time beforehand, so make sure you watch the first two films with as much attention to detail as you can for the full effect.  Cast chemistry and terrific characterizations all make this seem almost effortless in its ability to charm, making it nearly impossible to dislike.  Credit Gale (Interstate 60, Used Cars) and Zemeckis (Romancing the Stone, What Lies Beneath) for being able to sustain all of the energy and let us leave the saga with a smile on our faces. 
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DOWNLOAD MOVIE Twister Just $2.99 for a complete movie! No additional software or browser plug-ins required! You can play them for unlimited number of times whenever you want. Downloaded movies will work perfectly on any PC, DVD player, PDA etc.
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I knew when I saw the description in the TV guide that this was a winner,
then I forgot it was on. Luckily my friend sent me a text to say "This is
SO ’so bad its good’, I may pee"

What higher praise can there be!

This movie was nearly as funny as Speed 2 (we were nearly thrown out of the
cinema for that one - did no-one else know it was a comedy?)

All that was missing here was George Kennedy. Although it did have Carl
Lewis!!

and did anyone else pick up on the irony/symbolism of the kids playing
‘Twister‘? Fantastic.

Get in some pizza and plenty of alcohol, you won’t have a better evening’s
entertainment!!

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DOWNLOAD MOVIE Striptease Just $2.99 for a complete movie! No additional software or browser plug-ins required! You can play them for unlimited number of times whenever you want. Downloaded movies will work perfectly on any PC, DVD player, PDA etc.
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Synopsis: Striptease tells the story of a young woman(Demi Moore) who is forced to work as a Stripper…ahem dancer in order to support herself & her daughter. All the while fighting for custody of her young daughter who is now in the custody of her reprobate, theiving husband (Robert Patrick). In the midst of attempting to gain her daughter’s custody she becomes embroiled in a murder mystery at the hands of a very slimy Congressman’s henchman. Did I mention that the congressman(Burt Reynolds) has the hots for her as well? well he does & in a big & perverse way! Add a formidable bouncer in the person of Ving Rhames, a Homicide cop(Armand Assante) on a mission of mercy & lots of naked dancing women & you have the very heart of striptease!

Audio: The audio is a 2 channel stereo platform that adequately presents the audio effects of the film. The soundtrack was in a word jamming! lots of Eurythmics, Prince & a lot more music that will keep your system humming quite nicely.

Video: The video is a widescreen non-anamorphic presentation. There were no imperfections of any kind noted.

Extras: There are none.

Overall: High drama, this is not, but, I don’t think you’ll see Burt Reynolds this funny in anything else he’s ever done! I have to admit that Demi Moore looked incredible in this movie. But then again so would I if I had a personal trainer & $12 million dollars for a movie! I have never been a fan of her acting, that is until GI Jane. There, she acted her butt off. Here, she just shows her butt off! this is a funny film. Not all the time but sporadically. At the risk of sounding redundant, Reynolds really had me screaming! Especially with the vaseline joke. Is it worth buying, no. but it is worth checking out if you are in a particulary silly mood.
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DOWNLOAD MOVIE Weight of Water, The Just $2.99 for a complete movie! No additional software or browser plug-ins required! You can play them for unlimited number of times whenever you want. Downloaded movies will work perfectly on any PC, DVD player, PDA etc.
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Weight of Water, The
Maybe it's too "European" for me. I mean it's pretty slow, ponderous,
portentous, and moody. It's also confusing, partly because the cuts
back and forth between the current and past stories take place at
awkward times and partly because the editing of the modern climax
leaves me in doubt about exactly what the heck HAPPENED and in fact,
even who SURVIVED.

I've always kind of enjoyed Katheryn Bigelow's work. It's commercial,
but man does she have an eye for the camera. In "Blue Steel" the lens
lingers lovingly over a pistol's contours as if the two objects wanted
to get it on.

But here, well, I can't help wondering if she overdosed on a full
sleepless weekend of Ingmar Bergman.

The historic part first. I liked it. It reminded me a little of
"Babette's Feast." The life is one of hard work and infrequent bare
wooden pleasures. Bigelow does a splendid job of visualizing this
nearly joyless existence and the acting is unimpeachable on the part of
everyone concerned, especially Sarah Polley who is given a pinched
wind-reddened face and a delivery that never deviates from the tone of
a casual remark. She is what is known as repressed. It's like watching
a boil grow as her emotions simmer. As in a Bergman film there's a lot
of sex around here. Not just ordinary marital bliss, which never seems
much fun, but homosexual and incestuous too. The final confrontation
between the three women has Polley sitting in a bed with her
sister-in-law and being accused of corrupting her. I can't get over the
way Bigelow and Polley handle this important scene. Polley, previously
the epitome of emotional restraint, glares at her accuser from under
her tousled blonde hair, her blue eyes now big and blazing with anger,
lighted from above so that they seem to glow from within the shadow of
her brows. Finally Polley's character seems fully alive although mad.
The story is a success in almost every respect.

Then there is the modern story of four amateur sailors come to
investigate this century-old murder case. There's a lot of sex in this
part too. Well — let's face facts. With Elizabeth Hurley in a major
role, you get sex whether you want it or not. What a succulent morsel!
To imagine Hurley chaste is like trying to imagine the young
Ann-Margaret as a nun. Not that I mean to knock her. She's never
delivered a better dramatic performance. Catherine McCormack has a
better, more complex role, and she delivers too. She doesn't exude
sexuality the way Hurley does but her beauty is more subtle and more
enduring, the kind of woman you must get to know to appreciate. Sean
Penn is unconvincing as a lapsed poet. The other guy seems a nice
enough fellow but I'm not sure why he's around except maybe to
introduce a fourth character on whom suspicions can be cast. This is a
plot in which people sit around ogling one another and intuiting so
many things about the other characters, without actually voicing them,
that it's enough to make Henry James roll over in his grave. Somehow –
I'm just guessing at this — McCormack identifies with the repressed
Polley. When Penn approaches McCormack in the deserted library stacks
and tries to make love to her up against the tomes, she balks and says,
"I can't do this." I suppose this is to be taken as repression rather
than just a lack of desire to perform this kind of acrobatic pas de
deux while standing up. (Penn may be a poet but he's no gentleman.)
There's also the evidence of identification provided by McCormack's
drowning hallucinations about coming face to face with Polley's smiling
corpse underwater. But that's about the only parallel I can see, if in
fact it exists. It would have been easier to follow if McCormack had
bopped Hurley over the head and flung the slut overboard, but that
isn't what happens.

The score is as moody as the picture. Lots of cello leads in the
orchestration, although not Bach, as in that Bergman movie about sin
and guilt and incestuous sex among family members on an isolated
island. Nobody can criticize the photography though. In these
latitudes, even in midsummer, the sun is never high in the sky but the
weather is usually clear and windy, or at least it was during the
summer I spent in Digby. It's a truly beautiful climate and it's
thrilling to see it so well captured on screen.

If you're caught in a storm offshore in a sailboat and lose your
engine, can't you throw over a bow anchor and ride it out? Or, failing
that, a drogue?

I don't know. But then there are a lot of things about this movie that
I didn't get.

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