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DOWNLOAD MOVIE Red Planet 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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Friday November 10, 2000      If looks were everything, “Red Planet” would have it made. On the visual level, this space epic is completely convincing in its depiction of the barren landscape of Mars, the mission there to save mankind from an over-polluted Earth, and all the elaborate equipment and technology involved in the undertaking. ADVERTISEMENT      When it comes to special effects, the filmmakers have spared no expense. But when it comes to the story, audiences have been shortchanged. “Red Planet” plays flat: There’s precious little sense of adventure, suspense or excitement and no sense of fun. Chuck Pfarrer and Jonathan Lemkin’s script and Antony Hoffman’s direction is as mechanical as all the machinery involved.      In voice-over, mission commander Kate Bowman (Carrie-Anne Moss) tells us that by 2025 Earth has become so polluted that a project has been launched to harvest algae on Mars to generate enough oxygen to make it habitable. By 2056, as Earth continues to die, oxygen readings suddenly cease transmitting. Hence Bowman and her fellow astronauts–mechanical systems engineer Gallagher (Val Kilmer), scientific analysis team leader Burchenal (Tom Sizemore), Air Force captain Santen (Benjamin Bratt), youthful scientist Pettengil (Simon Baker) and chief science officer Chantilas (Terence Stamp) take off for Mars, along with AMEE, a robot that looks like a giant metallic spider.      A solar flare cripples the ship, which leads to a crash-landing of its shuttle containing the crew, leaving Bowman alone in the space ship. One catastrophe leads to another and on to the eerie truth of what happened on Mars with Kilmer emerging as the superhero who must solve the crisis on Mars and try to get back to the ship alive.      There’s no denying that as space exploration has become a reality, it gets tougher to make space adventure movies because filmmakers feel pressured to be as authentic as possible–something that George Melies didn’t have to contend with nearly a century ago when he made his timelessly delightful “A Trip to the Moon.” The scarcely unique problem with “Red Planet” is that the technology, much of it incomprehensible to the layman, overwhelms plot and characterization. Moss, fresh off “The Matrix,” and the seasoned Kilmer manage a strong, credible presence, even overcoming a first encounter that has Kilmer inadvertently happening upon her in the nude as she steps out of a shower. (She orders him to think of her as he would a sister!)      Sizemore, playing a crude but decent guy, is solid, but Bratt has little chance to register anything except machismo, and Baker, a lack of confidence and cowardice. This crew is on the whole so lacking in personality that it seems conceivable that “Red Planet” might just play better with the dialogue track turned off. Red Planet, 2000. PG-13, for sci-fi violence, brief nudity and language. A Warner Bros. presentation in association with Village Roadshow Pictures and NPV Entertainment. Director Antony Hoffman. Producers Mark Canton, Bruce Berman, Jorge Saralegui. Executive producers Charles J.D. Schlissel, Andrew Mason. Screenplay by Chuck Pfarrer and Jonathan Lemkin; from a story by Pfarrer. Cinematographer Peter Suschitzky. Editors Robert K. Lambert, Dallas S. Puett. Visual effects supervisor Jeffrey A. Okun. Music Graeme Revell. Costumes Kym Barrett. Production designer Owen Paterson. Art director Catherine Mansell. Set designer Judith Harvey. Set decorator Brian Dusting. Running time: 1 hour, 34 minutes. Val Kilmer as Gallagher. Carrie-Anne Moss as Bowman. Tom Sizemore as Burchenal. Benjamin Bratt as Santen. Simon Baker as Pettengil. Terence Stamp as Chantilas.
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DOWNLOAD MOVIE Like Mike 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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Like Mike Reviewed By EricDSnider Posted 07/04/02 15:49:21

"A surprisingly enjoyable and non-stupid little movie." (Worth A Look)

"Like Mike" appeals to young viewers without talking down to them, provides a few uplifting messages, and is generally a pleasant 100-minute diversion. It contains no real profanity and not a hint of crudeness. It’s a wonder it ever got made.Take, for instance, the scene where polite orphan Calvin Cambridge (Li’l Bow Wow) has discovered the joys of room service by gorging himself in a swanky hotel. He feels sick and heads for the bathroom, where whatever vomiting there is occurs noiselessly and discreetly behind a closed door, without so much as a belch being forced upon the viewer. The film has managed to find humor elsewhere, without resorting to gross tricks that even the animated features these days all seem required to include. If a movie has to be wholesome OR enjoyable, I’d rather it be enjoyable. But when one comes along that’s both, I’m glad to recommend it."Like Mike" is such a film — aimed squarely at young boys, to be sure, but not intolerable for adults. In Li’l Bow Wow, who I’m told is a rap star in real life, we have a young actor who is completely devoid of the brag and swagger that characterize most of his hip-hop colleagues. He’s earnest and unassuming — good qualities for a person, as well as for the character he plays.That is the aforementioned Calvin, a 14-year-old Los Angeles orphan with pigtails (?) who lives in a group home run by an unscrupulous villain (Crispin Glover) and filled with cast-off children like himself. He would like to be a good basketball player, but he is short and rather unskilled. Until, that is, the day he happens upon an old pair of sneakers once owned by Michael Jordan. He rescues them from a telephone wire just as lightning strikes it, killing him instantly.No! I kid the li’l guy. The lightning imbues the shoes with the very essence of Michael Jordan, I guess; the film is not specific on the science involved. (Perhaps his powers being transferred to an old pair of shoes is why MJ did so poorly in his most recent comeback effort.)Anyway, Calvin discovers the sneakers’ special powers when, during a half-time exhibition, he gets a chance to go one-on-one with NBA star Tracey Reynolds (Morris Chestnut). He destroys Reynolds him, and as a stunt, the team owner (Eugene Levy) signs Calvin on as a player.Thus begins an uneasy relationship between Calvin and his new mentor, Tracey, who is understandably perturbed at having to baby-sit a 4′8" orphan when the team’s on the road. Thus also begins the standard trouble between Calvin and his friends back at the orphanage, who of course feel he has changed since becoming a celebrity. And if any villain can get his hands on those shoes, it will all be over…!I like children’s movies where the adults are kind. The team owner is slick but not exploitative; the coach (Robert Forster) is downright fatherly; and Tracey grows to like the kid. Only Crispin Glover’s evil orphan master is menacing, but he’s such a joke — what else can Crispin Glover be, at this point? — that it adds an element of fun, rather than discomfort, to the mix. What could have been a Dickensian (or Roald Dahl-ian) dark tale of children in a grown-up world is instead just a sweet-hearted romp without any real danger.There is a rather awkward sequence where Calvin risks his career to help Tracey avoid being suspended, and another scene with a goony procession of would-be adoptive parents that is too farcical to fit with the rest of the film. Those are mistakes. But otherwise, this is such a wide-eyed, good-natured movie that you can’t help smiling along with it.
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DOWNLOAD MOVIE Harry Potter and the Goblet of Fire 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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“Dark and difficult times lie ahead. Soon we must all face the choice between what is right and what is easy.”

The Movie:
When it comes to the Harry Potter movie franchise, viewers tend to divide into two camps. There are fans of the J.K. Rowling books who cherish the first two Chris Columbus films for their word-by-word faithful illustrations of the author’s text, regardless of pacing or storytelling faults, and who generally dislike Alfonso Cuar

DOWNLOAD MOVIE Wild Hogs 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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Not a good movie, but also not without a certain entertainment value, Wild Hogs makes up for paltry plotting and shallow characterizations with the help of charismatic comedic actors and some cute and clever scenes interspersed at just enough regular intervals to make it palatable enough for fans of the leads.  In many ways, it’s the City Slickers formula all over again: toss in some likeable but long-in-the-tooth personalities, add some ingratiatory scenes where they are taken out of their natural element, have them interact with an assortment of kooky supporting characters, and oodles and oodles of forced male bonding.  Formulaic it may be, but it works in its own fashion.  With only a bit more thought as to the main plot, Wild Hogs might have had a chance to go from a bad-but-cute entertainment to one of the more pleasant comedy diversions of the year. This shaky plot involved four middle-aged friends from Ohio who find themselves in need of a spark to their lives, having become complacent by settling in to career and family duties that have all but eroded at their formerly cool reputations.  Frustrated that they’ve become the kind of men they swore they’d never be, they decide to hop on their motorcycles for a one-week road trip to the California coast — no cell phones, no significant others, and no predermination — just the open road and a desire to feel a sense of freedom for a little while.  Plenty of calamities occur along the way, not the least of which comes in the way of a gang of real bikers known as the Del Fuegos, who make them pay their toll for daring to pose as a biker gang.  Disrespected, but determined not to punk out, the Wild Hogs strike back, only to find that they’ve shaken up a hornets nest that they may not be able to escape from. Although relatively inoffensive as far as off-color comedies go, those sensitive to such things should be warned that the film is full of some spicy sexual dialogue and more than its share of gay jokes, mostly at the expense of the four bonding brothers on bikes.  One should note the reputation of director Walt Becker, who has often crossed the line in terms of dipping in the homophobic gags for easy laughs in such sophomoric efforts as Van Wilder and Buying the Cow.  As dated as some of these jokes may be, they do deliver some of the more memorably funny gags, and along with the usual slapstick scenes of the men falling off their bike or crashing into things, the age and friendly familiarity of the performers allows them to get away with most of it without coming across as too crass or insulting to mar the overall vibe of the adventure. Wild Hogs is mostly just a collection of comic scenes involving four buddies with different personalities getting into all sorts of trouble, and while it is in this mode, it does offer some modest enjoyment.  Eventually, these scenes solidify into a predictable battle for who has the biggest balls with the Del Fuegos, and while these scenes don’t equal the laughs or fun quotient of the build-up, by this point in the film, we like the four heroes just enough to want to see them gain the upper hand in the end.   Still, while it may deliver enough of a good time for mainstream multiplex audiences, Wild Hogs is mostly disposable, and it certainly isn’t likely to rescuscitate the careers of its waning box-office performers.  However, if you’re a die-hard fan of the stars, it’s probably worth a look to see Travolta (Lonely Hearts, Be Cool) , Lawrence (Big Momma’s House 2, Rebound) or Allen (Zoom, The Shaggy Dog) in something that captures why they’ve lasted as long as they have even after continuously making terrible movies that people still flock to just to see them.  With classic rock tunes, some fine capturing of the allure of great American outdoors, and actors who look like they’re genuinely having a good time (a rare treat, given their recent track records), it’s easy to overlook the lack of wit in the screenplay in exchange for some sporadically-amusing, escapist laughs.  Definitely not for refined tastes (these viewers will no doubt define Wild Hogs as “pig slop”), this is fast food entertainment for audiences who enjoy dining at the greasiest of greasy spoon diners from time to time. Qwipster’s rating: 
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DOWNLOAD MOVIE Perfect Stranger 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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You can forget trying to closely follow a mystery-thriller once you find out that three separate endings are rumored to have been filmed, each with a different character revealed as the culprit.  This is one of those films where everyone, including the third guy on the elevator in the blue suit who has no speaking lines in the film might have committed the deed.  In fact, that guy on the elevator would be a hell of a lot more plausible than the one they ended up choosing. I’m not sure if test audiences were the ones who decided on which ending they preferred, but one thing is clear: I never want to see the endings that were ditched if this was the best of the bunch. Halle Berry (X-Men: The Last Stand, Catwoman) stars as hotshot NYC newspaper reporter Rowena Price, who writes under a male pseudonym, David Shane, to protect her investigative work. After suffering the disappointment of her latest expose being buried by her paper, as a closeted US Senator pays his way into hushing a male intern set to reveal an affair with him, she effectively leaves and begins an investigation of her own into the culprit behind the death of a childhood friend, Grace, who had been corresponding through steamy e-mails with someone of great wealth and influence (Aycox, Slap Her She’s French). Along with her computer-guru assistant (and not-so-secret stalker), Miles (Ribisi, The Dead Girl), she follows a lead that leads her to the corporate offices of megabucks ad exec, and part-time philanderer, Harrison Hill (Willis, Grindhouse).

Working as a temp in the office, she can keep a close eye on Hill while he keeps an eye on her, regularly coming around to see if he can catch a score with the lovely new girl in the office, under the name of Katherine Pogue. Between correspondence online (under another assumed name), she begins to dig the dirt she needs in order to blow the lid off of the unsolved mystery, but the closer she gets, the more dangerous things become. What starts out as a potentially fruitful, if standard, thriller involving the assuming of different identities and new techniques in investigative journalism (Google searches, virtual tours, text messages, firewalls, online chat) falls completely apart once the wheels are set in motion before finally derailing and going out in a fiery blaze of incredulous story developments and sheer plot gimmick ineptitude. Halle Berry is a good actress who seems hell-bent on wasting her talent and beauty in throwaway roles that require minimal effort. Frankly, she isn’t much of a factor in the film at all, although being in nearly every scene, as the role requires her character to be a complete dimwit in nearly all matters, despite having the reputation for being the most savvy, street-smart reporter working in the world’s largest market for news. While I appreciate that makers of today’s thrillers are bringing them up to the times with the use of the internet and messaging devices in order to exchange information, why in the world is it always so difficult to represent any of them accurately in films? Miles is some sort of prodigy because he can hack into nearly anyone’s online account provided they instant message or email him, and even ghost their identity at will. The guy is a stud obviously wasting his life moonlighting as an unemployed reporter’s bitch.  He can take a small sample of someone’s voice, and then he uses that sampling in order to make software that has no voice capabilities (like IMs) simulate that voice.  It is also pitch perfect depending on context — how does it know? He could make millions with this technology — maybe then Rowena would give him the time of day he so desperately seeks!

IM chat responses are always instantaneous — just type in your text and the response is forthcoming just as soon as you press enter. I must be talking to all of the wrong people online, as it sometime takes several friggin’ minutes to get a response when I type to someone (you all know who you are)! Hill catches on that he’s being had when he spies a text message on Rowena’s cell phone from Miles that says her name in the message — do people EVER put someone’s name (real or otherwise) when texting someone on their cell? Talk about convenient plot contrivances.  Due to potential spoilers, I won’t even go into the laughability of Miles’s home work environment, except to say that, for a guy so interested in internet security, he literally screams out for someone to come look at his "secret" computer system where he keeps his most private pictures and chat.  Of course, in regular movie fashion, it is unlocked, with no files encrypted, and potentially incriminating evidence placed conveniently, and ostentatiously, right on the desktop. The end of the film defies all sense of logic, but I can’t really figure out how to talk about it without major spoilers. Suffice it to say, when we finally learn who has done it and why, it makes the previous 90 minutes of film virtually worthless. Basically, the screenwriters make no effort on telling a story in a manner which pleases — they think that the sole determinant for a good mystery is that they completely fool the audience by making the culprit the least likely candidate to have committed the murder. Not so. This person’s behavior throughout the film makes absolutely no sense when viewed in the context of the revelation.

A flashback, which is lifted right out of Hitchcock’s Marnie, is supposed to appease us for never being given enough clues to even remotely have a chance to figure it out for ourselves.  In fact, you can spot how dumb the makers of this film must think audiences are by how many flashbacks they use of things we’ve already seen within the movie, some mere minutes after they’ve occurred.  Note to the producers: we, the audience, aren’t confused because we’ve forgotten the pertinent details, we’re confused because we remember them.  The explanations make no sense because they are inconsistent with what has come before. If there’s anything I learned from the film, it is this: if you find out a person has committed a murder in order to stop from being blackmailed, don’t reveal to this person you know. If you make the mistake of revealing it, don’t try to blackmail this person yourself. However, if you absolutely must blackmail this person, do not do so when this person’s hands are within reach of a large butcher knife, especially when there are no witnesses around. Given the track records of the actors in Perfect Stranger, it’s not really a surprise to see them making a bad movie. What is difficult to comprehend is that James Foley, director of such entertaining and savvy dramas like Glengarry Glen Ross and After Dark My Sweet, could make a movie not even worthy of watching even if admission were free. Yes, it’s that bad.

With all of the wrangling over which end to choose, they didn’t choose my personal pick — none at all. I’d rather leave the question of the killer left open and just go to end credits than be deliberately insulted with such a ludicrous explanation that left me livid enough to start yelling to people how wretched the film is even though they had no intention of seeing it to begin with. Perfect Stranger is perfectly dreadful.   

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DOWNLOAD MOVIE Con Air 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 Session

Sally: “Hello everyone, and welcome to another meeting of Cinema Trash-Lover Anonymous. It seems we have a new participant this evening, so let’s all welcome him.”

Scott: “Hi, everybody. My name’s Scott Weinberg and … I love Con Air. I’ve tried everything, honestly. Self-medication, hypnosis, Scorsese marathons… Nothing works. Every time I see more than 11 seconds of Con Air, I just have to sit down and watch the whole loud, stupid, ridiculous thing. So I thought group therapy might help…”

(Stunned silence)

Sally: “Now now, let’s be supportive here. Glen, for example, really loves… What was it, Glen?”

Glen: “Krull. So what? Peter Yates is underrated. Liam Neeson’s in it. You wanna make something of it?”

Sally: “No, no, Krull’s fine, Glen. Love that Glaive. And what about you, Dawn. Would you care to introduce yourself?”

Dawn: “I swear I’m never leaving the house again.”

Scott: “What?”

Dawn: “Who’s ready to party on the big boat besides me?”

Sally: “Oh, yes. Dawn speaks only through the dialogue of Speed 2. She’s made remarkable progress.”

Scott: “Good to meet everyone, but I think I might need a level 9 intervention here. I mean … Con Air.”

Sally: “Scott, knowing you have a problem is half the battle. Why not explain where you think this affliction comes from.”

Scott: “It was supposed to be just another action movie. Nicolas Cage is a super-macho army-dude who gets thrown into prison after killing this asshole in self-defense. I just couldn’t believe it…”

Sally: “Well, you know it’s just a movie…”

Scott: “Yeah, but it was so unfair. And his wife was so hot.”

Sally: “So he’s sent to prison.”

Scott: (openly weeping) “Yeah. And while he’s in prison his really smokin’ hot wife has their baby, and get this: on the day he’s supposed to be released, he ends up on a hijacked plane full of, like, 10 really colorfully disgusting bad guys. I mean they’re rapists and lunatics and…”

Sally: “And Nicolas Cage has to find a way to survive.”

Scott: “Oh, if only! He also has a best friend dying of insulin shock, a lady guard threatened with rape every 19 minutes, and a Colombian drug cartel to quash! Seriously, there’s enough stuff in here for 11 Simon West movies.”

Sally: “So why is it that you find yourself drawn to this particular film?”

Scott: “It’s just awesome. Con Air is pretty grim and violent, but it has a really twangy comic-book sensibility, too, as if the filmmakers realized ‘Hey, if we’re going to make an outlandish action flick, let’s make it rrrreally outlandish.’ Plus, and I know you’re gonna think I’m insane, but…”

Sally: “Go on. It’s OK.”

Scott: “I think it’s actually pretty … clever, too.”

(Muffled chuckles fill the room.)

Scott: “I know, I know. It’s shameful. But the screenplay, which I hear was cobbled together by about seven screenwriters, actually has quite a lot of zing and wit.”

Sally: “It’s the Cusack factor, isn’t it?”

Scott: “It’s gotta be. I mean, it’s fun to see Cage in a mullet and emoting like a Louisiana inbred, but there’s something so enjoyably bizarre about seeing John Cusack glib his way through a mega-wacky Jerry Bruckheimer action flick. And the guy has some fun with it, too, like he knows he’s way out of his element.”

Sally: “Your chart says you have an extreme weakness for big ensembles and grizzled character actors. This might help to explain why…”

Scott: “Oh don’t even get me started. Malkovich, as head scumbag Cyrus Grissom, is the most hilariously evil villain this side of Clarence Boddicker. The guy gets four consecutive death scenes, so you just know he’s evil. And he’s got henchmen galore! A devious master racist (Ving Rhames), an oily slasher (Steve Buscemi), a hillbilly pilot (M.C. Gainey), a vile rapist (Danny Trejo), a nasty thug (Nick Chinlund), a tiny cross-dresser (Renoly Santiago), a two-bit crackhead (Dave Chappelle)…

Sally: “That’s a lot of villains, to be sure, but…”

Scott: “I know, right? And it’s all up to mulleted Nic Cage and snarky office-guy Cusack to save the day. Plus there’s Star Trek guy (Colm Meaney) as a pompous ass and a really hot co-worker (Angela Featherstone) who serves no real purpose in the movie at all…

Sally: “OK, so you like the admittedly silly concept, and you’re a big fan of the ensemble casting. There’s nothing too crazy about…”

Scott: “Sally. Have you actually seen Con Air?”

Sally: “No. I don’t much care for R-rated movies.”

Scott: “OK, well, this is easily one of the silliest action flicks ever made. I swear: the flick plays like it was originally intended to be done as a cartoon. Everything is beefed-up, broad, and … almost satirical in delivery. It’s not exactly a spoof of action flicks, but everyone involved clearly has tongue wedged firmly within cheek.”

Sally: “So you think…”

Scott: “Oh, and the score. Love the Con Air music. Honest.”

Sally: “OK, that’s fine, but…”

Scott: “Don’t judge me.”

Sally: “We’re not…”

Scott: “Yes! Yes, I know I have a problem! I fully acknowledge that Con Air is to cinema what Garfield’s Coloring Book Volume 4 is to literature! I’m sick, help me!”

Sally: “Look, Scott, you obviously have some real problems. Your file indicates that you also enjoy watching Resident Evil, Deep Rising, Charlie’s Ang…

Scott: “Someone unlock these handcuffs. I know my rights.”

Sally: “Scott, we have a standard test regarding people afflicted with Con Air Syndrome, and here it is: The song that plays just as the end credits roll, I believe it goes “How Do I Live Withouuuutt Youuuuu?” — what do you think of this song?”

Scott: “I don’t have to answer these questions. I’m from Philadelphia, you know. Birthplace of…”

Sally: “Answer the question.”

Scott: “Look, I’ll be OK. Someone go get my Amadeus DVD. Pizza’s on me.”

Sally: “Scott, the Live Without You song? Please?”

Scott: “OK OK, I like that awful freakin’ song, too! It’s like the perfect cornball icing on the ultimate cheeseball cake! I’m sorry! Look, forget Con Air! Let’s talk about Schindler’s List! That’s a good movie! I can have good taste sometimes!”

The DVD

Video: The anamorphic widescreen (2.35:1) transfer is a marked improvement over the previous “bare-bones” release … but we’ll further define the term “bare-bones” in just a few seconds.

Audio: Dolby Digital 5.1 Surround Sound, which I like to play extra-loud when nobody’s home. Optional English subtitles are available if you blow your eardrums out while watching Con Air.

Extras: OK, so get this: The previous release of Con Air came with a theatrical teaser and a trailer. Fans of the flick would surely rejoice given such riches. Naturally, we expect a new “unrated extended edition” to come packing a few extra goodies. Nope.

Not even the two trailers from the previous release have been included here! All we get are some Disney previews for Pirates of the Caribbean: Dead Man’s Chest, Grey’s Anatomy S1, Glory Road, Annapolis, Crimson Tide: Extended Edition, and Enemy of the State: Special Edition — and I bet you good money that those last two have a Con Air trailer on ‘em!! Grrrr.

Oh, and as far as the “new stuff” that’s always wedged back into a movie when a studio wants to make a few extra nickels, Con Air Extended offers the following stuff. (And I spotted all this stuff instantly, which should tell you how many times I’ve seen Con Air in the past several years.)

(Extended version “spoilers” may be found in the following ramble:)

Early in the flick, Poe’s eventual attacker says something snide about his lovely Tricia — something nastier than in the theatrical cut. There’s also a glimpse of Poe getting arrested that wasn’t there before, as well as a sequence in which Baby-O (Mykelti Williamson) rescues Poe from a burning cell during a prison riot. There are some tweaks made to Dave Chappelle’s dialogue, and a little extra back-story on how Poe once killed a prison bully called “The Giant.” Danny Trejo gets to deliver an extra dose of rapist ugliness, and there’s also a semi-pointless conversation between Cusack’s & Featherstone’s characters. Colm Meaney gets an extra moment to ruminate over the death of his DEA agent, Cage shares a few extra words with prison guard Bishop, Garland (Buscemi) gets to kill a guard (off-camera, but unexpected!), and Bishop shares a quick exchange with con-pilot Swamp Thing. There’s also a moment of looting when the cons land at Lerner Field, and a good deal of extra interplay between Poe and his buddy Baby-O.

The theatrical cut of Con Air runs 115 minutes; this one goes for 122.

Final Thoughts

You’ll be happy to know that after a month-long diet of Kubrick, Hitchcock, and the Coen Brothers, I was released from the Home for the Criminally Schlock-Addicted, and have since gone on to recommend films as varied as The Proposition, The Notorious Bettie Page, and United 93.

(Silent Hill and Poseidon were pretty awesome, too, but don’t tell my therapist I said that.)
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DOWNLOAD MOVIE Million Dollar Baby 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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What can be said about Clint Eastwood that hasn’t been said before? That he’s American film’s last and best classicist, a 74-year-old director who’s aged better than a “Sideways” Pinot Noir? That his increasingly fearless and idiosyncratic choice of material has made him more of an independent filmmaker than half the people at Sundance? That he continues to find ways to surprise audiences yet remain inescapably himself? It’s all true, and never more so than in Eastwood’s latest, “Million Dollar Baby.” ADVERTISEMENT Perhaps the director’s most touching, most elegiac work yet, “Million Dollar Baby” is a film that does both the expected and the unexpected, that has the nerve and the will to be as pitiless as it is sentimental. A tale of the power and cost of dreams set in the unforgiving world of professional boxing, it’s got some of the emotional daring of the great melodramas of Hollywood’s golden age, when films considered it a badge of honor to wear their heart on their sleeve. “Million Dollar Baby” also reconfirms what “Mystic River” and its Oscars for Sean Penn and Tim Robbins made clear: that Eastwood, despite his legendary no-nonsense style, has become a gifted director of actors. It’s not just the exceptional work by costars Hilary Swank and Morgan Freeman that stands out here, it’s Eastwood’s own performance, in some ways the most nakedly emotional of his 50-year career. As with “Mystic River,” Eastwood has started with commanding material, a debut collection of short stories by the late F.X. Toole called “Rope Burns,” which was published in 2000 when its author, a trainer and licensed cut man for more than 20 years, was 70 years old. A writer whose knowledge of boxing was matched by his lean skill with words, Toole, like Eastwood, was a traditionalist who saw value in the old ways. Paul Haggis, a writer with extensive television credits, including creation of the acclaimed “EZ Streets,” adroitly combined two of Toole’s stories into the “Million Dollar” script, using the narrator of one to tell the tale of the second and fleshing it all out with touches that rarely seem extraneous to the story’s main drive. Eastwood, who has perhaps the best eye in the business for the kinds of roles an aging star should be playing, is Frankie Dunn, a trainer and manager who owns a ramshackle gym in downtown L.A. all too appropriately named the Hit Pit. Cantankerous as well as querulous, Frankie Dunn still manages a contender or two, but his reluctance to push his top man for a title fight speaks to a sense of pulling back, of disconnecting from life. He is painfully but apparently permanently estranged from his only child, a daughter, and he only goes to church to wind up the priest. Studying Gaelic is his sole pleasure and, with a single exception, ring rust has formed on his personal relationships. That exception would be his right-hand man, Eddie “Scrap Iron” Dupris (Freeman), an unflappable blind-in-one-eye former boxer who has run the Hit Pit day-to-day for 17 years. It’s Dupris’ extensive voice-over that gives us the context for the unfolding story, garnished with home truths about boxing gleaned from Toole’s stories. Eastwood and Freeman not only share similarly laid-back styles, they’ve worked together before, in Eastwood’s “Unforgiven.” Seeing them trying to genially out-underact each other is one of “Million Dollar Baby’s” most satisfying pleasures; a scene in which they share a conversation about, of all things, socks, is a master class in how understated acting can be used to magnificent effect. Into this hermetic world comes Maggie Fitzgerald, a completely different type of person. A hardscrabble young woman well aware of her white trash background, Maggie has focused her entire life on a single goal: having Frankie Dunn mold her into the best fighter she can be. Boxing, she says, is “the only thing I ever felt good doing,” and giving up on that feeling is out of the question. Both physically and psychologically, Swank, who put on 17 pounds of muscle during three months of boxing training, inhabits this role as she has no other since “Boys Don’t Cry,” for which she won an Oscar. Her Maggie has a feral intensity that combines with a heartbreaking eagerness and a megawatt smile to devastating effect. This is not an actress for surfacey roles; Swank’s gift is bringing complete believability to the most extreme, most willful and passionate of characters. Maggie’s determination notwithstanding, Frankie Dunn, traditionalist that he is, does not believe in training women to box, calling it “the latest freak show out there.” He’s dismissive of her chances for success in the plainest language he can find. Of course, it’s a given, especially with the looming possibility of a surrogate father-daughter relationship, that Frankie will relent and take her on, but rather than being the end of their story, that is the merest beginning. Like many directors who work into their 70s and beyond, Eastwood has made his style even more direct and pared down, focusing on what’s important, on telling the story he wants to tell in the most effective, most unadorned way. There’s nothing glib or trendy about “Million Dollar Baby“; the movie is in no hurry getting started, and it even takes a leisurely detour into the story of a fighter named Danger that it could have done without. But by the time Frankie and Maggie begin training together in earnest, we are completely invested in their story, willing to go with it no matter where it takes us. Eastwood’s belief in and loyalty to a below-the-line team that has been with him for years is a key factor in his ability to work so efficiently and so well. Cinematographer Tom Stern has collaborated with him for more than 20 years, editor Joel Cox for nearly 30, and 89-year-old production designer Henry Bumstead has said, “I wouldn’t work for anybody else at this age.” Whether Eastwood himself will want to be working that long is a fascinating question. If he were of a mind to go out on a classic high note, “Mystic River” would have been a good choice, but finding in “Million Dollar Baby” something that touched him, something he could handle beautifully, he went for it. Now, thanks to his great and ever-increasing skill, it touches us as well. ‘Million Dollar Baby‘ MPAA rating: PG-13 for violence, some disturbing images, thematic material and language. Times guidelines: Considerable boxing violence, unsettling adult subject matter and situations. Clint Eastwood…Frankie Dunn Hilary Swank…Maggie Fitzgerald Morgan Freeman…Eddie “Scrap- Iron” Dupris Warner Bros. Pictures presents, in association with Lakeshore Entertainment, a Malpaso/Ruddy Morgan production, released by Warner Bros. Producer-director Clint Eastwood. Producers Albert S. Ruddy, Tom Rosenberg, Paul Haggis. Executive producers Gary Lucchesi, Robert Lorenz. Screenplay by Paul Haggis, based upon stories from “Rope Burns” by F.X. Toole. Director of photography Tom Stern. Editor Joel Cox. Costume designer Deborah Hopper. Music Clint Eastwood. Production designer Henry Bumstead. Art director Jack G. Taylor Jr. Set decorator Richard C. Goddard. Running time: 2 hour, 12 minutes. In selected theaters.
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DOWNLOAD MOVIE Match Point 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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Woody Allen’s latest film, “Match Point,” is a complex ironic romantic thriller set among Britain’s young upper crust.  It is one of his best in recent years among a series of uneven directorial efforts and is clearly the work of a master filmmaker.  Thematically, the film recalls his earlier “Crimes and Misdemeanors,” especially with an allusion established in the film’s opening shot to the role that luck plays in life.  The film is superbly directed, perfectly paced, and Allen evokes wonderful performances from his excellent cast. 

 

When former tennis pro Chris Wilton (Jonathan Rhys-Meyers) is hired as a tennis coach at an exclusive London club, he becomes fast friends with his client, Tom Hewett (Matthew Goode), who shares his love of opera.  Chris’s impeccable manners and posh accent enable him to assimilate easily into Tom’s well-to-do family and their social milieu, and despite the subtle vibe of calculated upward mobility, he always appears genuinely sincere as do his interests in opera and literature.  Almost immediately, he catches the attention of Tom’s attractive sister, Chloe (Emily Mortimer), who spots her future husband and takes him quickly to bed.  The fly in the ointment arrives with the appearance of Tom’s fiancée, aspiring American actress Nola Rice (Scarlett Johansson), who is a sexy, moody, neurotic with a drinking problem.  Chris’s instant erotic attraction to her results in their having an impetuous fling against both their better judgments.  When Tom breaks off his engagement with Nola for other reasons, she disappears abruptly much to Chris’s dismay.  However, when she turns up later unexpectedly, she and Chris reignite their relationship, and the story takes a serious turn in a disastrous direction.

 

The script is tight, polished, and well written, and the story flows smoothly.  Although pierced with ironic humor, it assumes a serious tone as it explores themes of morality, intimacy, jealousy, neurosis, romantic love, and duplicity that are common to Allen’s films.  The writing is sharp, witty and perceptive. The dialogue is realistic.  And the characters are psychologically believable and mesh perfectly with the English settings. The plot turns resemble a tennis match where often luck as much as strategic thinking and physical prowess determines which player (or character) wins or loses.  While none of the characters are deeply developed, they nevertheless have substance and seem motivated by their desires and inner impulses rather than simply the dictates of the story.  Chris is undoubtedly the most well delineated character, but even with him, we are never completely sure of his motivations. He seems to slip conveniently into marriage with Chloe and then equally facilely into the comfortable, well paying job his father-in-law (Brian Cox cast against type as an amusingly smooth man of means) arranges for him.

 

Fate enters the picture when Nola reappears in his life.  While he is unable to get his own wife pregnant, Chris has no problem impregnating Nola, and then finds himself trapped in a moral dilemma:  if he does the right thing, he loses his luxurious lifestyle; if he doesn’t do the right thing, he still loses it because Nola will expose him.  So he does the unthinkable, especially for someone in whom we never sense any blind ambition or burning determination that would motivate the cold, calculating, and ruthless course of action he undertakes.  Yet, his homicidal enterprise is consistent with his self-motivated and egocentric character.  As a former tennis pro who left the circuit because he was aware of his limitations, he is equally aware now that he has been extraordinarily fortunate in both his marriage and his job, and he is unwilling to let it all be taken away from him.  Rather than exploring a specific social milieu or group of characters as Allen has done in previous films, the story focuses on making an abstract point about the role of luck in life.  The carefully contrived way in which Chris escapes the consequences of his actions builds slowly and keeps you guessing where it’s going.  Indeed, it has Hitchcockian overtones in its ironic suggestion that success and justice are due entirely to chance. 

 

Cinematographer Remi Adefarasin does an exemplary job of capturing the upscale locations, sumptuous backdrops, and moody gray skies of London and the English countryside.  Jim Clay’s production design is stylish and sophisticated.  Jill Taylor’s costume design matches the characters’ quirky personalities perfectly.  As usual, Allen’s selection of music to accompany his personal vision of the world is exceptional and captures the film’s emotion and color precisely, including well chosen excerpts of Italian grand opera from Verdi to Rossini and Donizetti that hint at the tragic direction the film will eventually take.

 

“Match Point” is Allen’s twisted version of Dostoevsky’s “Crime and Punishment.”  The film also takes its inspiration visually and/or thematically from work by directors as distinctly different as Ingmar Bergman (“Wild Strawberries”) and Josef Von Sternberg (“American Tragedy”).  The film’s ending is at once shockingly clever and morally repulsive, and perhaps reflects Allen’s personal view of the cynical times in which we live.  The intriguing storyline, solid performances, and Allen’s decision to liberate himself from NYC’s Upper East Side to explore new territory in a completely new setting make this a refreshing, ingenious, and stimulating film.  In a recent interview, Allen stated, “I feel less comfortable when I’m doing dramatic things.  But that’s my real aspiration, my secret dream.  I wish I had been a tragic poet instead of a minter of one-liners.”  In “Match Point,” a cinematic morality tale driven by lust, murder, and fate, he has realized his ambition brilliantly in a surprising and welcome return to form.

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DOWNLOAD MOVIE Transporter 2 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 was a little skeptical about seeing Transporter 2 in theaters a few months ago, but it wasn’t because I don’t like the occasional popcorn movie; after all, I have Deep Blue Sea on the same DVD shelf as Ikiru. It was because I hadn’t seen the first film in the franchise, though my friends assured me I’d get a quick explanation on the way to the theater and I could jump right in.

They were right, but most fans of “leave your brain at the door” movies shouldn’t be surprised; after all, these time-killers don’t attempt to get by on story alone…and God help them if they do. Transporter 2 basically sits right in the middle of both camps: it doesn’t take itself too seriously, but it’s nothing we haven’t seen before. After all, you can only see so many rich, good-looking foreign guys resorting to kidnapping, extortion and terrorist activity to become even richer before you start to wonder if these people grow on trees.

Instead, let’s take Transporter 2 for what it is: a series of decent action sequences tied loosely together by a weak story and thin dialogue. It’s not the first movie to do this and won’t be the last, but it’s still not a terrible way to spend 90 minutes. The fight scenes (choreographed by Corey Yuen) are fast and brutal, while the car chases are equally impressive—though both suffer from unconvincing CGI at times. Even so, Transporter 2 is easy to get lost in, but equally easy to forget once it’s over.

This time around, our hero Frank Martin (Jason Statham) has changed from a somewhat believable “delivery man” into a nigh-invincible superhero

DOWNLOAD MOVIE Big Bounce, The Just $2.99 for a complete movie! No additional software or browser plug-ins required! You can play them for unlimited number of times whenever you want. Downloaded movies will work perfectly on any PC, DVD player, PDA etc.
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Big Bounce, The

One of the many reasons that people enjoy reading Elmore Leonard is for the observations made by the colorful characters, and the asides they make are just as enjoyable as the overall story itself.  Films based on Leonard’s books have transferred well in recent years — Out of Sight, Get Shorty, Jackie Brown — made by directors who understand that proper use of dialogue will draw the attention of audiences into the characters, and once those characters see action, we know them well enough to be interested in anything they do or say after that point. 

The Big Bounce is the second time the Elmore Leonard novel of the same name has been made, the first in 1969, starring Ryan O’Neal.  That film was a critical failure and this 2004 version doesn’t fare too well either, despite having a very talented cast and nice locale work to bolster it.  The central problem?  Too much filler, not enough substance.  While the more successful Leonard adaptations have had their moments of interesting dialogue, they were always done while ensconced in a forward moving plot.  The Big Bounce, as adapted by Sebastian Gutierrez (Gothika), has almost no story to it at all, finally getting around to some plot developments in the last third.  By that time, it’s too little too late. 

Owen Wilson (Shanghai Noon, Zoolander) plays Jack Ryan, a beach bum who ekes out a living in Hawaii performing small-time jobs like B&E’s (breaking and entering) and getting in and out of trouble with the law.  A local district judge (Freeman, Shawshank Redemption) sees Jack needs a break, offering him a place to stay and some cash to be the handyman for some bungalows he owns.  In the meantime, Ryan gets romantically involved with Nancy (Sara Foster, in her debut), the current trophy girlfriend of Ray Ritchie (Sinise, Of Mice and Men) a dangerous high roller in the area, who has a scheme of her own to snatch $200,000 from her verbally abusive man.

The Big Bounce starts off well, establishing its characters and sense of style early, with Wilson delivering his usual off-the-wall quips aplenty.  It doesn’t take long for us to meet all of the main players, most of them within the first fifteen minutes.  The problem is that once we know who these people are and their respective situations, the film treads water for over an hour, showing us the same people doing the same things over and over.  The plot never moves forward, and in fact, is barely even dealt with, shelved in order to try to gain some meager chuckles with Wilson playing Romeo with Foster, in addition to having some hackneyed confrontations with some of the other would-be suitors.

So, we have a good cast, punchy direction by George Armitage (Grosse Pointe Blank), and the usual funky music punctuating the segue scenes, all typical for a Leonard adapted flick.  With all of the positive attributes, it’s a shame there wasn’t anywhere they could go with the material.  The Big Bounce is a nice looking nothing of a movie, so lackadaisical, you’ll probably zone out before the halfway point is reached.  Not to worry, though.  Since nothing’s going on for most of it, you could probably nap for an hour and still have enough information to know what’s going on during the final scenes, if you even care.  The Big Bounce lives up to its name by falling back to earth every time it looked like it was going to take off.

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