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DOWNLOAD MOVIE Land of the Dead 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 in 1968, fledgling Pittsburgh filmmaker George A. Romero unleashed upon an unsuspecting public a low-budget zombie horror picture called “Night of the Living Dead,” which remains one of the scariest movies ever made — in 1999 it was even listed in the National Film Registry of the Library of Congress. Successful sequels followed over the years, and now “George A. Romero’s Land of the Dead” reveals that Romero remains the master of a genre he reinvented. Probably nobody understands better than Romero that he was unlikely ever to equal the fright he stirred up in his first film in depicting a relentless zombie assault on a family holed up in its isolated farmhouse. But Romero is luckily a true visionary, and he has always been able to match bigger budgets with ideas, ingenious plotting and mordant wit. For the energetic “Land of the Dead,” he and his crew have created a darkly textured world in which zombies have been roaming the country for years. ADVERTISEMENT In an unnamed city that resembles Pittsburgh, Kaufman (Dennis Hopper), an archetypal ruthless tycoon, has holed up along with minions and other wealthy types in a brightly lighted tower that dominates the city’s skyline. In this condominium/office building with a luxury mall, the privileged few continue life as they did before the outbreak of the zombies. Sustaining a quality life in the tower requires Kaufman to employ the services of mercenaries headed by stalwart, level-headed Riley (Simon Baker), who wants only to accumulate enough money to head for Canadian wilderness, and his hot-headed second in command Cholo (John Leguizamo). Riley has a loyal sidekick in Robert Joy’s Charlie, a sharpshooter badly scarred on one side of his face from a fire from which Riley rescued him. Also a good shot is Asia Argento’s hooker, whom Riley has also rescued — from a nightclub gladiator cage in which she is pitted against zombies. In their latest raid, however, Riley rightly senses that the zombies, who can be killed only by being shot in the head, are beginning to think and communicate with each other. Big Daddy (Eugene Clark), in fact, a massive zombie — in the film they’re called walkers — is deeply angered by Riley and Cholo’s latest bloody raid. With the volatile Cholo ready to explode if he doesn’t get what he wants and with Big Daddy increasingly capable of leading a walker march on the city, nonstop action kicks in. Romero easily commands an enormous cast, a plethora of action sequences and a cornucopia of special effects — some of them very gory — and creates one darkly dazzling image after another that allows “Land of the Dead” to emerge without any nudging whatsoever as a bleakly humorous, hard-charging allegory about society devouring itself as the chasm between the rich few and the countless poor could scarcely open wider. “Land of the Dead” isn’t that scary, in the sense of evoking spine-tingling terror, but it offers a compelling, striking vision of the near-future that suggests there is in the world today much that’s scarier than zombies. ‘Land of the Dead‘ MPAA rating: R for pervasive strong violence and gore, language, brief sexuality and some drug use Times guidelines: Although there are a couple of eye-poppers, the violence and gore quotient is standard for the horror genre and is not a lingering, morbid nature. But way too intense for children. A Universal Pictures release. Writer-director George A. Romero. Producers Mark Canton, Bernie Goldmann, Peter Grunwald. Cinematographer Miroslaw Baszak. Editor Michael Doherty. Special make-up effects Greg Nicotero and Howard Berger. Music Reinhold Heil and Johnny Klimek. Costumes Alex Kavanagh. Production designer Arv Greywal. Art director Doug Slater. Set decorator Marlene Puritt. Running time: 1 hour, 33 minutes. In general release.
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DOWNLOAD MOVIE Mexican, 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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Mexican, The
This is one of those movies, I guess that some people love and most people
hate. I am the latter of the two people. The trailers do this film no
justice at all since they imply that it will be another ‘Pulp Fiction’ type
movie with stylish characters, witty dialogue, dark humor and over the top
violence played for sinful pleasures and shock value. This film contains
the last of these promises, and that’s about it.

My roommate and his girlfriend, who love this movie made me watch it one
night. Being a huge movie buff, and a fan of Brad Pitt, I had incredible
expectations for this flick, but they were all shot down, beginning with
Julia Roberts’ annoying scene where she tosses all of Brad Pitt’s stuff out
a window in a fit of rage. As I sat there watching this film, the other
couple in the room kept laughing hysterically at the jokes and slapstick in
this film. Needless to say, I sat bewildered as to how anyone can think
this movie is funny, let alone enjoyable. Now, I am one of those people
who
enjoy most movies with over the top silly humor like Monty Python, Road
Trip
or Deuce Bigalow, and I love to laugh for the simple point of laughing,
even
if the material isn’t exactly up to Python brilliance, but how can someone
think that "I need a ride-o in your truck-o to the el town-o" is the least
bit funny? There’s a fine line between juvenile humor (which even the most
serious of us enjoy, even though they don’t admit it) and a pathetic
attempt
at juvenile humor (Enter "The Mexican"). Trust me, this is coming from a
guy who finds humor in almost anything. This movie had me sitting there,
hoping that something entertaining would happen. No such luck
here.

With a film with Brad Pitt and James Gandolfini (and though I don’t like
her, Julia Roberts) one would think that the movie would be good, if not
great. But once again, Hollywood proves that even big budget stars ‘owe
favors’ to producers from time to time (In other words, if the script is
bad, the ‘bigger’ the movie, the harder it will fall). Pitt is an
incredibly annoying and incompetent wannabee gangster who tries to provide
humor for the film, but fails miserably in perhaps his most embarrassing
performance to date. James Gandolfini was probably the best part of this
film, though not saying much as the hitman with hidden secrets. Julia
Roberts made me want to take the television and throw it out the window,
she
played the most annoying character I have seen in quite some time. The
acting and the script are so awful, it will bother you for a while
afterwards and leave a bad taste in your mouth. It’s one of those films
that tries too hard to be good, and wants you to want it to be good or
hopes
that the viewer will be incompetent enough to think it’s good as well
thinking that big budget stars and a misleading trailer will make up for a
cheesy plot, bad acting, a horrible script and bad direction. Come on
guys,
believe it or not people are not stupid. All in all, this is a flick that
is a total waste of time. This movie sucks so bad, it draws all the air
out
of the room and then closes all of the walls around you until you suffocate
from the suckage, as well as the large quantity of cr@p that is hurled at
you from your television set. I have said this for maybe three or four
movies in my life, but this film is pure torture to watch, it provides no
entertainment, and leaves you upset afterwards, after you were looking
forward to a nice evening at home with a fun movie. I rarely say this on
IMDB, but AVOID THIS MOVIE AT ALL COSTS!!!!
1/10.

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DOWNLOAD MOVIE Moulin Rouge! 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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Moulin Rouge! Reviewed By Steve in Prague Posted 11/21/01 21:48:27

"The greatest thing you’ll ever learn..is to love..and be loved..in return" (Awesome)

Without a doubt the greatest motion picture ever made. I am NOT kidding, it does NOT get any better than this…I know I will take a lot of flack for this..people here (and others) will snicker and laugh at my statement..but I stand by it, Moulin Rouge! is the BEST GODDAMN FUCKING MOVIE EVER MADE and if don’t agree with me you can go throw yourself off Charles Bridge.I will set up the plot quickly: Christian (McGregor) comes to Paris to write (it is 1899). He quickly gets caught up in the Bohemian Revolution, getting swept into a stage show under-construction called "Spectacular Spectacular" by none other than Toulesse LaTreac (Lequizomo). The key to staging their show: Satine (Kidman) the Moulin Rouge courtesean who must seduce the Duke (Roxburgh who I SWEAR is really Gary Oldman)at the behest of the Moulin Rouge owner/manager Harold Zeidler (Broadbent, in an Oscar deserving performance).Unfortunately, Satine has consumption, and is dying..unknown to Christian or the Duke. Of course, Christian and Satine fall madly in love and the whole survival of the Moulin Rouge is threatened.Along the way we are treated to countless eye popping, sensory defying musical numbers and surreal images of Paris that cannot be described. The LOOK of this movie is like nothing ever before filmed. EVERY detail, from the dust on the streets to the Parisian skyline. is lovingly depicted in a surreal quasi-paper mache style that could only have come from a brilliant genius or a stark raving madman.The dance numbers defy gravity, the amount of choreography in this film is simply staggering. The two big standouts (from a dance point of view) are the opening "Smells like teen spirit/Moulin Rouge re-mix" and the "Roxanne/Buenos Aries bordello" number towards the end. From a dance point of view, they are simply perfect.The music..where else can "Smells like teen spirit" be PERFECTLY incorporated into a 1900 Paris dance hall? Classic songs from KISS, U2, Elton John, Madonna take on new life and never before thought of meaning. The stringing together of multiple love songs that Christian sings to Satine while on the Paris rooftops is a master stroke.The sets, the costumes, the artistry are all Oscar deserving. There hasn’t been such a spectacle since…since..well since I dont know what but it sure as shit has been a long ass time.The acting is on cue. Nicole Kidman, perhaps one of the worst actresses who has ever lived, SOMEHOW channels Sandra Bernhard’s ghost and delivers a performance that will become a benchmark. Ewan McGregor goes from shy naive poet to full blown warrior for love in such a subtle way that when he does reveal his power it takes you by complete surprise. And James Broadbent as Harold Ziedler almost steals a movie that cannot be stolen. I admit, i have never heard of this old fat man as an actor before, but goddamn does he tear the house down.There is a point in Moulin Rouge! that makes it the best movie ever made. It is a clear, definite moment when the film steps out of the box and touches your life and makes you FEEL for these characters as if they were your own family. It is a moment of such subtle beauty, and passes by so quietly that you dont realize what just happened till after it is over, and then you realize what you are watching is perfection……….Christian is hiding in satine’s dressing room. he has just serenaded "Your Song" to her but the Duke has stormed in. He cannot be caught with Satine or it will destroy everything. In an effort to save him and the show, Satine serenades "Your Song" to the Duke. As Christian sneaks out behind the Duke’s back, Satine sings the line "..how wonderful life is.." while staring intently into the Duke’s eyes..but in the instant she sings, softly, the words "…now you’re in the world.." her eyes, divert, just for a fraction of a second, into Christians..and in that fraction of a second her face shows us what we already know but what she couldnt admit until that moment..that she loves him, and always will.I’ve seen this movie 4 times, and EACH time that scene happens at least one person in the theatre said outloud.." thank god she looked at him".This movie is a triumph.it deserves EVERY Oscar it is eligible to be nominated for..and if it doesn’t win them all, the Hollywood REALLY does suck ass…..I wish i could find a love as pure as seen in this film, I would die for it."..How wonderful life is…now that this movie is in the world…"
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DOWNLOAD MOVIE Blindness 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 Film:

Having spent a few decades of my life residing in northern New Jersey, I was a bit hesitant in approaching HBO’s production of Hysterical Blindness, starring Uma Thurman, Juliette Lewis, Gena Rowlands, and Ben Gazzara. Representations of the “Garden State” vary wildly in American popular culture (and usually veer toward the negative), and the idea of watching a film chiefly concerned with two “big hairs” in late eighties Bayonne was enough to make me shudder. (I should qualify this by stating that this was not only because of potentially lazy and garish stereotyping – since I lived through that particular era in northern New Jersey, I possessed virtually no desire to return to it, even from the relatively safe distance of my living room in New York.) Resolutely inserting the DVD into my player, I was subsequently pleased to discover that not only does the film act as an absolutely authentic representation of the period – it’s uncannily anthropological in that respect – it’s also an effective, small-scale character drama (rather than plot-driven) that is admirably performed by a pitch-perfect cast.

Directed by Mira Nair (Monsoon Wedding, Kama Sutra, Salaam Bombay!) with compassion and a sure eye, Hysterical Blindness (based upon the stage play, and adapted here, by Laura Cahill) has literally afflicted Debby (Thurman) at her workplace. As she conveys this story to Beth (Lewis) while traveling in her Camaro – a perfect hallmark of late eighties, working class life in northern New Jersey if there ever was one – we learn that it was induced by stress of an unknown origin. Beth remarks with the customary, mouth-breathing “Oh My Gawd,” and asks if Debby has regained her sight as yet (the fact that Beth has to ask, even though Debby drove the car to Beth’s to pick her up in the first place, speaks volumes). As they reach Ollie’s, a local watering hole and their apparent oasis, we soon learn that Debby’s “hysterical blindness” is as figurative as it was earlier literal.

As the two enter the bar to quickly surmise their evening’s prospects, they scurry into the bathroom to prepare (Cigarettes? Check. Lighter? Check. Hairspray? Check). Their respective plights soon become evident: Debby pines for a respectful, loving relationship and still lives at home with her mother Virginia (Rowlands), a divorcee and waitress at the Skyways Diner; Beth, a single mother to the prematurely wise Amber Autumn (Jolie Peters), simply wants a “good time,” generally by ignoring the fact that she is no longer in high school and that her life has significantly changed with the addition of her daughter. Beth is apparently comfortable with her lot and her sense of self; Debby, however, is ridiculously – and woefully – high strung, unable to interpret virtually every action of those surrounding her as anything other than an insult or affront. As she storms out of Ollie’s after accusing Beth of ignoring her, she meets Rick (Justin Chambers), a new face in the bar with “Patrick Swayze eyes.” Desperately trying to make any sort of real contact with somebody of the opposite sex, Debby awkwardly flirts with him and attempts to arrange a future date. After this seemingly inconsequential meeting, Debby is charged with the enthusiasm of a schoolgirl with a serious crush – unfortunately, she also begins to extrapolate meaning from the somewhat amiable (yet virtually meaningless) conversation, potentially setting herself up for romantic disaster.

Meanwhile, Virginia has begun seeing Nick (Gazzara), a kindly widower who frequents her diner and will sit only at her station. Debby is not enthusiastic about the situation, as her father had abruptly abandoned her and Virginia years ago. Understanding her fears, yet mindful of her own needs, Virginia decides to continue seeing Nick despite her daughter’s protests. Debby also fails to practice what she preaches, exercising none of the cynicism and caution that she affords her mother in her own romantic affairs. While on a first date of sorts with Rick, Debby’s only response to the awkwardness and inarticulate nature of the evening is to boast of her sexual prowess – when Rick unsurprisingly takes her up on the challenge, Debby’s face conveys both the disappointment and regret that one can only assume has been suffered many, many times before. As the uncertain romantic futures of Debby, Beth, and Virginia move forward, Hysterical Blindness never resorts to easy outs or fatuous drama – rather, it presents a knowing, sometimes rueful, and often very funny portrait of the limited, working class existence of its characters.

Director Nair utilizes her Bayonne surroundings to excellent effect. Debby’s worldview, constrained both literally and figuratively, meshes well with her bleak industrial surroundings. The only area of her life that appears to offer her any sense of vibrancy and warmth is Ollie’s, which is beautifully rendered by Nair’s regular cinematographer Declan Quinn, also responsible for Leaving Las Vegas‘ hazy, saturated hues. The Bayonne Bridge is clearly (and deliberately) visible in many scenes - its practically a motif - and adds a nicely ironic visual subtext to Debby’s mundane existence. There is also a wonderful, urgent sense of time in Hysterical Blindness: Virginia, knowing the value of lessons learned the hard way, is fully aware that she and Nick will probably not have an abundance of it together; Debby, impulsive and driven, is not yet mature or seasoned enough to realize that with patience comes the possibility of insight – and, with that insight, wisdom and the potential for true happiness.

Thurman, who can often appear uncertain and detached in some of her roles, invests in Debby a humanity that is extraordinary to behold. Her performance is a marvel, cringe-worthy (in the best possible sense), and utterly heartfelt. Even as her myopia scuttles her chances at happiness, you cannot help but root for her. Lewis also gives a fine performance – the tics and self-consciously odd mannerisms found in some of her other work is not on display here. Rowlands and Gazzara (it’s awfully nice to see them working together again) evoke such a natural rapport and easy charm with each other that it’s nearly impossible not to smirk when they share the screen. Along with Nair’s subtle, careful direction, the actors render Hysterical Blindness a focused study of largely unfocused lives.

The DVD

Video: Presented in anamorphic widescreen with an aspect ratio of 1.85:1, Hysterical Blindness has been given a fine transfer and looks quite good. Although primarily shot with hand-held cameras, it does not suffer from excessively jittery movements (Nair is too careful with her framing to let that happen). Also, as noted above, Quinn’s cinematography is excellent – his evocation of Ollie’s is utterly warm, suffused with rich and hazy colors, not dissimilar (I suspect) to the somewhat altered and heightened perceptions of its patrons. The exteriors, with a few notable exceptions, are appropriately drab and unremarkable.

Audio: Hysterical Blindness is presented in DD 5.1, as well as a DD 2.0 stereo mix in English, Spanish, and French. Although the film is almost entirely dialogue driven, the 5.1 offers a nicely balanced – if not terribly busy – mix. The music in the picture is also well selected and rendered, including standards from such eighties mainstays as Whitesnake, Wang Chung, INXS, Bruce Springsteen, Cyndi Lauper, the Pretenders, and Phil Collins.

Extras: Included is a full length commentary track with director Mira Nair. This is an excellent, welcome addition to the DVD – Nair is highly conversant, articulate, forthright, and insightful. In short, this is what a director’s commentary should always aspire to be. Also on board are text interviews with Thurman, Lewis, Nair, and Cahill; a small photo gallery; and, lastly, Cast and crew bios.

Final Thoughts: Hysterical Blindness is a slight tale, by turns wise, compassionate, and unafraid to cast an unblinking eye on frustrated (and, in all fairness, occasionally frustrating) lives. Its somewhat meandering narrative is redeemed by the intelligent and considered direction of Nair, and the DVD treatment of Hysterical Blindness is enhanced in no small measure by her commentary (and for that alone the “extras” get a solid three and a half stars).

The performances are stellar across the board, especially by the triumvirate of talented women: Lewis, Rowlands, and the wholly invested Thurman (who also acted as executive producer and won a Golden Globe for her acting efforts). Recommended in general and highly recommended to fans of Nair, Thurman, and anyone who happened to reside in northern New Jersey during the eighties.

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DOWNLOAD MOVIE Life Stinks 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’S IT ALL ABOUT?

Arriving 17 years after Mel Brooks’ single year of brilliance—1974 saw the debut of both Young Frankenstein and Blazing Saddles—Life Stinks committed a cardinal sin and sank Brooks’ career toward the foul depths of Robin Hood: Men in Tights and Dracula: Dead and Loving It. That sin was to strive for social significance. Life Stinks actually attempts to find laughs while making an earnest statement about our society’s down-and-out and mentally challenged urban populations. It’s an idea that a younger Brooks might have pulled off with a certain audacity, but unfortunately, Brooks was officially a senior citizen when he made Life Stinks, and the snappier instincts of the man who made Young Frankenstein had been dulled.

Brooks portrays Goddard Bolt, egomaniacal and insanely wealthy zealot with heartless plans to destroy an urban homeless region and erect a gaudy shopping plaza. The film’s plot gets moving when a competitor for the land—Vance Crasswell, played well by Jeffrey Tambor—rears his haughty head. Crasswell suggests a bet that will determine who can stake claim to the real estate: If Goddard can survive life in the streets for 30 days, he can destroy the area and build his mall. If not, Crasswell gets the privilege. In short, Goddard must come to understand what it’s like to live a poor, destitute existence, with no home and no help.

Wearing the three hats of writer, director, and star, Brooks seems to have a bit too much to handle, as he takes his character into the ghetto and surrounds him with homeless caricatures. Lesley Ann Warren provides some spark as an impossibly beautiful and talented bag lady. (Warren has an admittedly fine scene in which her back-alley living space is transformed into a stage and she dances beautifully with Brooks, straight out of her character’s most fervent fantasies.) Howard Morris tries to inject pathos with his performance as Sailor. And in perhaps the film’s funniest bits, Rudy De Luca (also the film’s co-writer) is memorable—in too brief a role—as the deluded J. Paul Getty. (De Luca takes part in an uproarious scene of face-slapping that feels sadly out of place inside this otherwise mediocre comedy.) But one of the film’s chief weaknesses is Brooks in the lead role. He seems awkward and lumbering through most of the film, providing only a few snickers.

The movie’s message is driven home forcefully at the climax, and at that point any laughter that you might have enjoyed seems compromised. Brooks wants to have it both ways—a silly romp and a heartfelt message—but how can I feel for the homeless when I’ve been laughing at (not with) them for an hour? In the face of this confusion, Life Stinks just never gels.

HOW’S IT LOOK?

MGM presents Life Stinks in a good anamorphic-widescreen transfer of the film’s original 1.85:1 theatrical presentation. (You can also watch a bastardized full-frame version on the flip side.) The image provides impressive detail, but it also has a slightly aged look. Colors, although natural, seem to have lost their vividness to a certain extent. The print is fairly clean, but I noticed some mild edge halos.

HOW’S IT SOUND?

The disc presents a Dolby Digital 2.0 audio track that befits this dialog-heavy movie. Dialog is clear with only a slight loss of fidelity. Music comes across cleanly but is a tad thin. Stereo separation across the front channels is fine.

WHAT ELSE IS THERE?

The chief special feature is an Audio Commentary track with Brooks, De Luca, and co-writer Steve Haberman. The three talk in a leisurely way about the origin of the project, then gradually sound off on random behind-the-scenes trivia. Brooks is an entertaining commentator, and despite some dead spots in this track, he only made me wish that he’d done one for the recent release of The Producers. All in all, this commentary is fun, if not particularly exciting.

You also get a newly produced featurette called Does Life Really Stink? After watching this 14-minute piece, I realized I could have skipped the commentary almost entirely and come away with the same information. The commentary’s three participants (Brooks, De Luca, and Haberman) share their thoughts about the progression of the film’s production. Special attention is paid to the slapfest.

Finally, the disc offers the film’s Trailer, presented in anamorphic widescreen and Dolby Digital 2.0, and some sneak peeks at Other Great MGM Releases.

WHAT’S LEFT TO SAY?

Life Stinks is a miscalculation from a once-great comedy director. Despite its mediocrity, however, it provides a few moments that will leave you smiling, if not laughing hysterically. The DVD offers a fair amount of impressive extra features, and provides above-average image and sound quality. Life Stinks is worth a rental.

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DOWNLOAD MOVIE Mummy, 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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Mummy, The
Talos the Mummy Reviewed By the Grinch Posted 10/07/99 18:05:41

"’Lethal linen? More like dirty laundry!’" (Total Crap)

Okay, one question. HOW FREAKIN HARD IS IT TO MAKE A GOOD MUMMY MOVIE!? If they’re so intent on releasing GOOFY mummy flicks, why don’t they just go ahead and release "I Married a Mummy", or cast a movie where archaelogists discover a sarcophagus, they open it, and out comes Billy Mumy carrying a horrible plague with him: One of his scripts.Russel Mulcahy, how is thy movie like a Dirt Devil(tm) vacuum seton full power? Let me count the ways… Note-there will be an occasional spoiler or two…but I doubt I could ruin this for anyone! Now, let me get Dave Letterman in here to introduce my top 10 style list…Dave?Dave Letterman: "Haw haw, from our home office in Walla Walla, Washington, the top 10 things about ‘Tale of the Mummy’ that put holes in the plot bigger than the gap between my teeth!"Number 10: Attention Deficit Disorder attacks directors, film at 11! and 11:15, and 11:25, and midnight, and ooh, I love midnight, that’s the witching hour yknow, when witches come out to twirl broomsticks and bedknobs in their anus, do you like Halloween, I do, except for those candy corns, they get stuck in my teeth, then I have to borrow my Grandpa’s waterpick, and he hasn’t changed the water since Truman was president, Truman had weird skin, OH, I went to a dermatologist once, he told me I looked just like a topographical map of an army testing ground, has that happened to you, and…where was I?Number 9, erp, number 9, erp, number 9,erp…Sorry, NUMBER 9: Flying, sentient CGI toilet paper a cool effect does not make! Most of the action scenes are campy and goofy as hell. While I don’t think that was the intent, it does make you laugh. Salut! Most of the attack scenes involve the actors (and I use the term loosely) wrapping themselves in fly strips "oh no, the mummy’s got me, help! Arrrg!"…I kept waiting for Ed Wood to pop up and say "Cut! Print it, it’s perfect!"Number 8: Flashbacks that make about as much sense as the flashbacks I’m sure Charles Manson is having over in cell block 6.Number 7, 7 chipmunks, twirlin on a branch on my granpa’s ranch, 7!: CGI FX that make 1999’s "the Mummy" look like a masterpiece! Anyone with a Pentium and a videotoaster could’ve done better in many instances. Listen all you low-budget, direct-to-video producers out there…if you don’t have the bucks to at least give something a slick exterior, howsabout working on the convoluted script and storyboard a bit? How endearing are fat, ugly people who can’t spell their own name?…think about it…ok, DON’T think about it!Number 6: Shelly Duval…ohhhh, POPEYE! Shelly, baby doll, I love ya, but you should’ve thought about this before you agreed to do it. How embarraskins, ak kakakaka!…Number 5: Muddled dialogue (fitting, seeing as how the direction and script were muddled too) Many of the actors for some reason or another recited their lines through clenched teeth…maybe it’s a british theatrical thing "Core blimey, look, SEE?, me teeth ain’t crooked, mate!" The audio was so bad that halfway through I kept straining to see if maybe there were subtitles somewhere that I was missing.Number 4: The obligatory toilet scene attack…was this a tribute to "Ghoulies" and a thousand other cheap horror films, or were they just kicking a dead horse in the mouth? (yeah, I know that’s not a cliche, but it should be) It made me laugh, but was it supposed to? If it wasn’t, EVEN BETTER!Number 3: They killed off Christopher Lee in the first 10 minutes!? What the hell, why? Were they afraid to use a ‘real’ genre actor? My guess is that Chris read the script and told his agent "Bloody hell, this is horrid, but I’m strapped, so I’ll do a few scenes for 50K’s"Number 2: The predictability! Except for a couple of suprises, but at that point who could care less? Oh look, the buff single detective is working on a supernatural case with a beatiful , single scientist…I wonder what’s going to happen? Oh, look, the mummy’s next victim is going into a public bathroom and he’s using the linen-roll machine to dry his face, gee, I wonder what’s gonna happen? Flying killer mummy bandages aside, I find it very unbelievable that ANYONE would dry their face with a public towel. That’s like wearing European speedos to a porno theatre…well, okay, maybe there are people that do THAT! Not this grot, though, no siree (haha, I know some Aussie slang now! Be afraid.) Number 1: Maybe the most important thing, the incredibly lame premise. Jason S. Lee is an American detective in England?..Umm, why exactly is he there? It must’ve been explained in all of 2 seconds. Shelly Duval is a spiritualist who helps people have out-of-body experiences with a magic crystal? Wha? The script and dialogue were all over the place, like Rip Taylor in a romper room. Sheesh, if Rip Taylor had been in this throwing confetti, then it would’ve been good! "MuMmy’s CuRSe? Woho, thEn PuT SoMe SoAP iN tHeiR MoUths, ho ho! IT’s FuNNy!(confetti sprinkles)"This is one of those films that’s so humorously bad it’ll be a cult classic in 20 years or so, but right now, it’s just plain bad. Don’t be fooled by the first 20 minutes, it’s downhill from there, much like that *other* Mummy movie. Maybe good for a few laughs at a KY2K party, but I can’t really recommend it. I’ll give props out to Sean Pertwee for being a decent actor, and some gyrations in the direction of Louise Lombard for being downright babe-a-licious and for wearing a sports bra. But the only thing that could’ve saved this were some boobies, and alas, they never made a cameo. If it’d been called ‘Tail of the Mummy’, and Louise Lombard and Lysette Anthony had showed some skin, then it would’ve probably gotten a "Fucking Awesome" rating from me…but this is Hollywoodbitchslap, not Porndoggy’s Palace. Pshaw, even ‘Reanimator’ had some decent gore, a zombie cat, and a few T’n'A shots! But really….Leave this ‘Mummy’ under its cellophane wrapping.
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DOWNLOAD MOVIE Aladdin 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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Aladdin Reviewed By Ryan Arthur Posted 08/29/98 00:46:01

"Never fails. You get in the bath and there’s a rub at the lamp." (Worth A Look)

Phenomenal cosmic power…itty bitty living space.Of the modern Disney projects (from say, the mid-80’s on) this is probably my all time favorite. It’s actually the only animated Disney movie I have on tape, and one of the few that I still watch on a regular basis. You know the story of Aladdin and the lamp, and you know how Robin Williams steals the show as the Genie. So I won’t bore you with details. Point is, it’s not just a kids movie. It really isn’t. Williams makes literally dozens of references that adults (and some kids) will get, including impressions of popular culture figures. Loaded with jokes in addition to the love story between Aladdin and Jasmine, it’s really got something for every member of the family. And unlike most of the Disney films, the musical numbers are memorable and seem to fit the feel of the movie.A pretty good film, animated or otherwise.Don’t just rent it, buy it.
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DOWNLOAD MOVIE Men in Black II 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 visual feel of the sets and the equipment within MIIB is discussed
with
the production manager as to how he came up with the feel for the
film.

Of all the many features on the MIIB DVD this was quite interesting
because
it is about the bits of the film that you don’t really see as you watch.
Well, you SEE it but you don’t really take it in. Where Rick Baker’s
aliens
will draw your eye to them, the sets etc will often just have a feel to
them.

This discussed the thought process behind everything from the worm’s
bachelor pad through to even the choice for Agent J’s car. It is
interesting as it is easy to forget how much work goes into making this
stuff and designing it over and over. There isn’t anything earth
shattering
here but it is interesting to see how it all came together.

Whatever else you think about the MIB films, they do have a bit good look
about them and the set design is part of setting the tone for the film as
comic and sort of cool throwback. The only thing that this short lacked
was
a reference back to the comic book - surely this must have had some input
to
the design process and the feel of the film?

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DOWNLOAD MOVIE Kill Bill: Vol. 1 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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Kill Bill: Vol. 1 Reviewed By Rob Gonsalves Posted 01/06/07 14:45:22

"Rip-snorting geekgasm, part the first." (Awesome)

Forget what you’ve heard, the good and the bad: Quentin Tarantino’s ‘Kill Bill - Vol. 1,’ the geek master’s first movie in six years, neither reinvents the cinematic wheel nor reveals its author at a low point. It’s not a great movie — not the great movie ‘Pulp Fiction’ was — but it’s great fun.Tarantino has assembled an adoring remix of everything he’s ever loved in movies on the theme of revenge: some spaghetti Westerns here (ever seen 1967’s God Forgives, I Don’t? You can bet QT has), some Asian standards there, mixed in with Truffaut (whose The Bride Wore Black informs Kill Bill more than a little, though Tarantino has denied seeing it; I doubt this) and nasty X-rated Swedish exploitation (They Call Her One-Eye, an influence on the heroine and one of her betrayers). I would’ve loved to have seen it all in one mammoth, glorious, three-hour-plus gulp (Miramax, imitating the heroine at the House of Blue Leaves, cleaved the film into two parts); as it is, Vol. 2 can’t get here fast enough.Trembling and bloodied, Uma Thurman’s Bride (known by no other name in this volume; her real name is bleeped three times) chokes out four last words before Bill (David Carradine), the eponymous focus of her vengeance, blows her brains out. Well, almost. That’s the first shot of the movie, and we learn that the bullet knocked her into a four-year coma. She escapes an aborted bedside murder attempt by Elle Driver (Daryl Hannah, cold and mean as a knife here), one of Bill’s minions. "Don’t you ever wake up," Elle snarls, but eventually the Bride does snap out of it; you know this is an exploitation picture because she has to kill two loutish rapists within five minutes of her resurrection. Willing her coma-stiffened legs to function, the Bride takes off, Death List in hand, and sets about her course of action: slashing through each of her former cohorts on Bill’s Deadly Viper Assassination Squad — including Elle, the domesticized Vernita Green (Vivica A. Fox), and the fearsome O-Ren Ishii (Lucy Liu) — before tracking down Bill.Thurman spends most of her screen time seething with scarcely repressed homicidal rage, though she’s got a cheerier moment here when she poses as a bubbly American tourist who just happens to have stumbled into the sushi bar of retired-and-in-hiding master swordsman Hattori Hanzo (Sonny Chiba, whose name Tarantino can now cross off his list of Movie Gods I Want to Put in My Movies). Hanzo fashions the Bride a sword sharp enough, one imagines, to slice the thoughts of air molecules. It slices, all right; in the designed-to-be-legendary Showdown at the House of Blue Leaves, it drenches the floor, ceiling, and walls in hissing, gushing arterial spray as the Bride carves her way through O-Ren’s cadre of assassins (the Crazy 88s) as though they were soft ice cream.Kill Bill is a temple of worship — a devout hymn of praise to crap cinema (which isn’t always crappy). Tarantino, a generous filmmaker if ever there was one, pelts us with stylistic jabs as well as flying body parts. O-Ren’s origin story, for instance, is told as a spectacularly gory anime cartoon, and that’s pretty much what you’re watching all along. The movie, though, retains Tarantino’s preference for long breezes of rhetoric (though shortened somewhat and honed to a point here — most of the wordiness here is on the part of those hoping to avoid the Bride’s wrath) as well as quiet, still moments. Tarantino, who’s seen everything and knows how it works, isn’t trying to subvert anything this time out. His goal, it’s clear, is to make the ultimate revenge movie with the ultimate sword battle scene.The latter might well occur in Vol. 1, but never fear, more impressive stuff is on tap for Vol. 2 (from what I remember of the script, which, like many, I’ve read online). Tarantino ends this first part with a line from Bill obviously intended to get people to come back for the second part (effectively giving away a surprise that had originally been saved for the saga’s last act), but it’s hardly necessary. You want to see what happens next with the Bride — not whether she gets her revenge, but how, and what toll it may take on enemies and innocents alike.I’ll miss Lucy Liu as O-Ren, smugly cocooned in her stature and acumen, and Chiaki Kuriyama as O-Ren’s psychotic bodyguard Go-Go Yubari; but we have more Daryl Hannah coming up, and more Michael Madsen (barely glimpsed here) as Budd, the team’s only male Viper; and we’ll get to meet Bill and see for ourselves whether we — and the Bride — still want him dead.
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DOWNLOAD MOVIE Lolita 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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Lolita
The 3-D Vision "Wildcat Women" would give even the most astute spectator a
difficult time comprehending its plot direction. In summary, a young black
girl’s (who mysteriously shafeshifts throughout "key" moments)uncle is
murdered by a group of hoodlums, headed by an Asian man named "Buddha,"
who
is more of a foreigned stereotype than an actor. She and her friends seek
the help of a black radical, whom uses his abilities to disguise himself
to
help the girls out. Stop! The rest of the film is mostly indecipherable,
with random and minimal insertions of sex scenes (hilariously flawed
continuity)as well as a cheesy finale, with blood that most closely
resembles that of breakfast condiments. I was growing irritable of the way
my 3-D glasses kept unfolding a popping off, as I usually do. But it is
one
thing to watch a "3-Dized" print of Casablanca and a piece of trash like
this. The only appeal of "Wildcat Women" is its blatant use of racist
rhetoric, and a few frank one-liners, such as, "I was gettin’ jealous at
first, but now I wouldn’t mind a three-some" (one of the black villians
who
after sleeping with the black girl whom seeks revenge goes into an
adjacent
room and spots a hot young white girl). Poor editing, atrocious
plot/character development, and dialogue the mentally insane wouldn’t find
pleasing constitute "Wildcat Women." Advice to the filmmakers on their
next
outing (unlikely to happen)- include much more sex and take advantage of
3-D
vision, having a character comment on how thirsty he is and thrusting a
soda
in the direction of the camera 5-6 times is not originality. Also, please
don’t petition Laemlles Theatre on Sunset to screen anymore of your films,
I’m always dragged out there by my friend Jon, and end up paying $7.00 for
nothingness.

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