31 Mart 2010 Çarşamba

Honoring The 10th Anniversary Of HIGH FIDELITY





Although it didn’t come in at #1 at the box office over its opening weekend, HOT TUB TIME MACHINE is certainly John Cusack’s most notable movie in years.





10 years in fact. For March 31st, 2000 was the US release date of HIGH FIDELITY, a defining film of Cusack’s career, and one of my all-time favorite films. So to honor the film on its 10th birthday here’s a personal look back at the film beginning with the original book: 





When I heard, sometime in the late 90’s, that they were going to make a movie version of Nick Hornby’s best selling novel “High Fidelity”, I was very skeptical. This was more than just the usual “the book is always better” argument, I felt like this book was my personal emotional property.





Well, the kind of personal emotional property that one shares in common with a huge group of people, but it’s just that I was, and still am to some extent, one of “those guys” that the book described in excruciating yet hilarious detail. You see, in this case “those guys” are the guys who are rock snob geeks who have lousy love-lives but have amazing record collections.





A friend, another one of “those guys”, recommended me the book shortly after its publication in 1995. At that time I worked in a CD store in a strip mall in Greensboro, North Carolina - I moved to that area earlier in the decade because I wanted to be with my girlfriend of over 6 years. In the days after our painful break-up I toiled behind the counters of this new and used compact disc retail store making lists of favorite songs, joining my co-workers in belittling clueless customers, and trying to get over the piles of baggage I was still carrying from that doomed relationship.





The experience of first reading “High Fidelity” was actually a bit disconcerting – I felt it hit too close to home. I joked to friends that it made me feel like I had been bugged, like somebody had been recording all my conversations about what songs to play at a funeral or what’s the best album opening song ever and mixing in exact statements made in fights between me and my ex and turning in them into clever prose. I grew to love it and laugh with it but I still wondered – who was this Nick Hornby fellow and how did he know so much about me?





So by the time the movie was announced, the book was a pretty hardcore emotional touchstone in my psyche. I knew that it was the same for tons of “those guys” out there who all felt this book was about them – oh, no a movie could ruin our sacred text, making it into another rom com that doesn’t take any of this record store culture seriously!





But when I heard John Cusack was starring (and co-writing) and THE GRIFTERS (a Cusack favorite of mine) director Stephen Frears was attached, some of my cynicism evaporated.





The cynicism that remained was directed at the fact that the book took place in London and was written in what I felt at the time was a very British voice. The book was also named after an Elvis Costello song for Christ sakes!





What I didn’t consider was that “those guys” were everywhere and the location didn’t matter. So as protagonist Rob Gordon (his last name was Fleming in the book but ostensibly that would’ve been too British) says: “It’s not what you’re like, it’s what you like”, I had to realize that it’s not where you are, it’s still just what you like.





While the setting of the story moved to Chicago, and it contains lots of great locales (The Double Door, Lincoln Park, The Biograph Theater), people everywhere live their lives through the filter of pop culture so it could have been reasonably set anywhere.





I also should’ve considered that Cusack himself is one of “those guys.”





He took the text seriously and worked hard to keep its heart and content largely intact. Viewing it for the first time on the big screen 10 years ago I was delighted at how faithful it was to its source. Hornby agreed: “At times, it appears to be a film in which John Cusack reads my book” he told the New York Times at the time of the film’s release.





The film got so many things right – the pop culture riffing wasn’t forced, the soundtrack (The Kinks, Stereolab, Bob Dylan, The Beta Band, The Velvet Underground, etc.) was well chosen, and I don’t think any movie has better depicted how it feels to try to get through a day at your workplace when your heart is broken to pieces.





I’ve been in many independent record stores that highly resembled Rob’s shop Championship Vinyl with every surface covered in rock 'n roll posters, promotional stickers, and concert flyers. Between that and Rob’s apartment, there is no end to trying to identify every cool rock signifier in sight – oh, there’s Sonic Youth’s “Goo”!





There’s a poster for pre-label Pavement! There’s Brian Eno’s “Before and After Science” on vinyl and then later held up by Rob on CD! This was also pointed out in this blogpost.





In all the times I’ve watched the film over the years its arc never tires me – though the thought of enduring the same stuff in real life does. The boy loses girl, boy goes on a neurotic quest to understand why every relationship he’s had failed while wanting his ex to return arc is so amusing and empowering to watch here as a witty movie, but living through that is Hell. After a more recent break-up than the one I spoke of earlier I drunkenly considered calling my “top 5” exes like Rob does, but thankfully came to my senses with no misguided contact made.





Throughout the film Cusack addresses the camera directly, another move I wasn't sure I'd be keen on, guiding us through his heartache. It's an effective device because there is no other meta gimmickry or self referential winking going on - the words and his performance stand alone.



There are so many great lines, most of which directly from the Hornby novel, that still hit close to home, but after this long they sting in a good way:

“Did I listen to pop music because I was miserable? Or was I miserable because I listened to pop music?”

“No woman in the history of the world is having better sex than the sex you are having with Ian…in my head.”



“Now, the making of a good compilation tape is a very subtle art. Many dos and don'ts. First of all you're using someone else's poetry to express how you feel. This is a delicate thing.”

That last quote, incidentally, I've gotten as a sound sniplet on many mix-tapes then later CDR comps - an obvious choice but a good one.





At this point I must note Jack Black absolutely steals the movie away from Cusack’s lovelorn lamenting with a full throttle performance that brought him to the attention of many. He owns the screen as the loud mouth rock fan with musical aspirations who shouts down anybody who disagrees with him. The way he aggravates Rob constantly saying such things as: “Rob, I'm telling you this for your own good, that's the worst fuckin' sweater I've ever seen, that's a Cosby sweater!” is among the film’s best running jokes.



As much as I love this film I have some reservations.

In a scene set at the now defunct Chicago club, the Lounge Axe, Rob’s just as musically obsessive employees Dick and Barry (Todd Louiso and Jack Black) fantasize about wanting to date a musician. “I want to live with a musician. They’d write songs at home and ask me what I think of them; maybe include one of our private little jokes in the liner notes.”

Uh, no you wouldn’t. As obsessive as these guys are they would be jealously tortured by the nights when their dream musician would be at a late seemingly never ending recording session or out on the road sleeping in hotel or van with their fellow band mates. I’m just saying, because, yes, I dated a musician. Of course, I realize that their tunnel vision delusion may be a crucial point of social satire.







Rob’s ex girlfriend Laura is played by the still little known Iben Hjejle and while she has some chemistry with Cusack she seems a bit off. Likewise Lisa Bonet as the dream musician Rob beds on the side of his heartbroken agony. But, again, the fact that the women in Rob’s life are miscast may be precisely the point as well.



I would never call this film a “rom com” because the only thing our protagonist is truly romantic about is music. Even as it settles into a happy ending grove with Rob adding Stevie Wonder’s “I Believe (When I Fall In Love It Will Be Forever)” to a mix-tape for Laura, you get the sense that the just reconciled relationship is still doomed. The film essentially plays on an endless loop as real life on again, off again relationships often do.



So, 10 years later the question isn’t does HIGH FIDELITY still hold up, because of course it does. As Rob puts it: “It would be nice to think that since I was 14, times have changed. Relationships have become more sophisticated. Females less cruel. Skins thicker. Instincts more developed.” But he comes to the pretty much the same conclusion that one of his heroes Elvis Costello did: “History repeats the same defeats, the glib replies, the same defeats.”

So the real question that remains is what Rob posits at the beginning of the film: “What came first, the music or the misery?” I would say the music because when the misery came later we had a soundtrack to it already picked out and waiting.







In the decade since HIGH FIDELITY, Cusack has gone through a run of mostly mediocre movies including RUNAWAY JURY, MARTIAN CHILD, GRACE IS GONE, and 2012. It's amusing that in his first truly funny movie in 10 years, HOT TUB TIME MACHINE of course, has him at one point heartbroken and drunk, sitting on the floor writing break-up poetry. Rob Gordon lives on.





The film itself lives on in a couple of odd adaptations. It was turned into a Broadway musical in 2006 by writer David Lindsay-Abaire, lyricist Amanda Green, and composer Tom Kitt. The production closed after only 14 performances and received only lukewarm reviews, but some of the songs are kinda catchy. Can't really comment on the show itself because I haven't seen it but it strikes me that the material may not be translatable to the stage.





The material works better coming from an unexpected platform: the recently released hip hop disc "Don Cusack In High Fidelity" by Donhill, a member of the rap trio Tanya Morgan. The characters and narrative are recast into a satisfying song cycle.

Such lively tracks such as "Championship Vinyl", "Laura' Song", and "Love Junkie" instantly prove that this universally relatable material could really be set anywhere.

More later...

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Bana Söz Ver film izle



Yapımı: Fransa, Sırbistan
Türü: Dram, Komedi, Romantik
Yönetmen: Emir Kusturica
Yapımcılar: Emir Kusturica, Olivier Delbosc
Süresi:2 saat 2 dk.
Film Hakkında: Fransız yapımı hoş bir romantik film izlemek isteyenler için güzel bir film. Yönetmenliğini Emir Kusturica yapıyor.
İyi seyirler...

30 Mart 2010 Salı

Hala Bitiremedik mi? - Are We Done Yet? film izle

https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhyHCUSs2lU_RI0TA2treBwhFlc_tAAszQUC1TFl22B_DUtMZQ-pyiOQQ61CHS3cK1Tz-bg8_Ry8XA4AroLBnTbPCrxA7V6WBTIYP4_HW3vyOcaDoBAflrmMnLMohgAsgYB_7YCwdMX7ywZ/s320/hkpkcu9.jpg 
Yapım : 2007-ABD
Süre:92 dk.
Tür:Komedi
Film Hakkında: Şu an bir komedi filmi olsada izlesem can sıkıntımı gidersem gülsem keyfim yerine gelse dediğinizi duyar gibiyim. Öyleyse bu Amerikan Yapımı komedi filmini kaçırmayın.
İyi seyirler...
 

29 Mart 2010 Pazartesi

Tünel Fareleri - Tunnel Rats film izle

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 Filmin Süresi: 1 saat 32 dk
Yapım: 2008-Amerika-Almanya, Kanada
Filmin Türü: Aksiyon, Savaş
Film Hakkında: Vietnam'da bir grup askerin düşman askeriyle yaptığı mücadeceyi anlatan aksiyon dolu bir film. Bu tür film severlerin izlemesi gereken bir film arkadaşlar.
Umarız izlerken iyi vakit geçirirsiniz.
İyi seyirler.

The Last Song || free download dvd movies

The Last Song (2010)


Based on best-selling novelist Nicholas Sparks’ (“A Walk to Remember,” “The Notebook”) latest novel, "The Last Song" is set in a small Southern beach town where an estranged father (Greg Kinnear) gets a chance to spend the summer with his reluctant teenaged daughter (Miley Cyrus), who'd rather be home in New York. He tries to reconnect with her through the only thing they have in common—music—in a story of family, friendship, secrets and salvation, along with first loves and second chances.

In Movie Theaters: March 31, 2010 Wide
Directed by: Julie Anne Robinson
Starring:
more credits Miley Cyrus
Kelly Preston
Greg Kinnear
Liam Hemsworth
Melissa Ordway
Distributed by: Touchstone Pictures
Genres: Drama Teen
Running Time: 107 minutes


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screens:











download:

sample:
Code:
http://rapidshare.com/files/368290436/shutter.island_sample.video_dark.avenger.avi
movie:
Code:
http://rapidshare.com/files/368294020/shutter.island.2010.dvdrip_dark.avenger.part01.rar
http://rapidshare.com/files/368293576/shutter.island.2010.dvdrip_dark.avenger.part02.rar
http://rapidshare.com/files/368298868/shutter.island.2010.dvdrip_dark.avenger.part03.rar
http://rapidshare.com/files/368297510/shutter.island.2010.dvdrip_dark.avenger.part04.rar
http://rapidshare.com/files/368300202/shutter.island.2010.dvdrip_dark.avenger.part05.rar
http://rapidshare.com/files/368296488/shutter.island.2010.dvdrip_dark.avenger.part06.rar
http://rapidshare.com/files/368300079/shutter.island.2010.dvdrip_dark.avenger.part07.rar
http://rapidshare.com/files/368294884/shutter.island.2010.dvdrip_dark.avenger.part08.rar
http://rapidshare.com/files/368293508/shutter.island.2010.dvdrip_dark.avenger.part09.rar
http://rapidshare.com/files/368297376/shutter.island.2010.dvdrip_dark.avenger.part10.rar
http://rapidshare.com/files/368293499/shutter.island.2010.dvdrip_dark.avenger.part11.rar
http://rapidshare.com/files/368300065/shutter.island.2010.dvdrip_dark.avenger.part12.rar
http://rapidshare.com/files/368290037/shutter.island.2010.dvdrip_dark.avenger.part13.rar

The Bounty Hunter || free download dvd movies


info:
Code:
Complete name : The Bounty Hunter.2010.Cam.Eng.Lu
Format : AVI
Format/Info : Audio Video Interleave
File size : 862 MiB
Duration : 1h 45mn
Overall bit rate : 1 138 Kbps

Video
ID : 0
Format : MPEG-4 Visual
Format settings, BVOP : Yes
Format settings, QPel : No
Format settings, GMC : No warppoints
Format settings, Matrix : Default (H.263)
Muxing mode : Packed bitstream
Codec ID : DX50
Codec ID/Hint : DivX 5
Duration : 1h 45mn
Bit rate : 1 000 Kbps
Width : 640 pixels
Height : 272 pixels
Display aspect ratio : 2.35:1
Frame rate : 24.577 fps
Resolution : 8 bits
Colorimetry : 4:2:0
Scan type : Progressive
Bits/(Pixel*Frame) : 0.234
Stream size : 757 MiB (88%)
Title : Video
Writing library : DivX 6.8.5 (UTC 2009-08-20)

Audio
ID : 1
Format : MPEG Audio
Format version : Version 1
Format profile : Layer 3
Mode : Joint stereo
Format_Settings_ModeExtension : MS Stereo
Codec ID : 55
Codec ID/Hint : MP3
Duration : 1h 45mn
Bit rate mode : Constant
Bit rate : 128 Kbps
Channel(s) : 2 channels
Sampling rate : 48.0 KHz
Stream size : 96.9 MiB (11%)
Alignment : Split accross interleaves
Interleave, duration : 41 ms (1.00 video frame)
Interleave, preload duration : 500 ms
Title : Audio


Notes
video not bad , cleaned up a bit, has head lower right but doesnt
take away from the movie.
Audio nothing special figure add some english cam audio, until something
else comes out.
Enjoy
screenshots:
This image has been resized. Click this bar to view the full image. The original image is sized 1024x432.



download:
Code:
http://rapidshare.com/files/367055003/dark.avenger_The.Bounty.Hunter.2010.Cam.Eng.Lu.part1.rar
http://rapidshare.com/files/367057500/dark.avenger_The.Bounty.Hunter.2010.Cam.Eng.Lu.part2.rar
http://rapidshare.com/files/367053621/dark.avenger_The.Bounty.Hunter.2010.Cam.Eng.Lu.part3.rar
http://rapidshare.com/files/367054542/dark.avenger_The.Bounty.Hunter.2010.Cam.Eng.Lu.part4.rar

Hachiko A Dogs Story || free download dvd movies

Hachiko A Dogs Story [2009] DvDrip-aXXo



Code:
http://www.megaupload.com/?d=RRSFCWLT

Nine Dead || free download dvd movies

Nine Dead 2010 REAL PROPER DVDRip XviD-SPRiNTER



Code:
http://www.megaupload.com/?d=ITNIRS63

The Final || free download dvd movies

The Final 2010 DVDRip XviD-VoMiT



Code:
http://www.megaupload.com/?d=X0DFPRPC

Order of Chaos || Free download dvd movies


Order of Chaos 2010 DVDRip XviD-SPRiNTER



Code:
http://www.megaupload.com/?d=MJU0E1LZ

28 Mart 2010 Pazar

Mother (Sunday, March 28th, 2010) (25)

I am a big fan of South Korean director Joon-ho Bong most well known film, The Host. It is a monster movie in the tradition of the great B-movies of the 1950s and 1960s, like Godzilla or Mothra, but is silly, self-aware, moral and very down-to-earth. Because of this, I was very excited to see his new film, Mother.

This is a Hitchcockian murder mystery based around a guy, Do-joon, who is autistic. He has a small group of friends in the rural town setting and they treat him like anyone else. One night when walking home from the bar he discovers the body of a girl who has been murdered. Immediately he is the main suspect, but mostly because he's an easy target who can't account for his whereabouts -partly because of his difficulty communicating and partly because he was a bit drunk at the time. His mother and all his friends don't believe he was capable of such a thing and they set out to prove him innocent and find the real killer (with or without police help).

Much like The Host, the tone throughout the film is very silly and over-the-top. People behave in ridiculous ways, launching into long monologues, being very silly when they drink, and using very crude language all the time. The violent scenes are also crazy and super bloody - but with a juvenile gory element to them. At times these aspects are enjoyable and at times they are frustrating. Bong spends so much time setting up the ridiculous, stylized situations that I got annoyed that I was not just able to see what was happening without the zaniness. It is a bit too much style and not enough substance. It is certainly a lot of fun, but just too overdone for my taste.

The eponymous mother character is a bit unhinged and is for me a bit hard to empathize with. She's overbearing and much-too concerned with her special-needs son. She interacts with him as if he was a child - even in his 30s - and seems to go overboard with her reaction to his arrest. I guess, as the title describes, this is the central part of the movie - but it actually felt like a side story and not the main direction. For me, the film is really about this special-needs kid and how he lives and then gets into trouble. That his mother is a mad freak is just a bit unnecessary for me - a hat on top of a hat, if you will.

The ending of the film is pure Hitchcock where it is unclear whether the good guy really wins in the end - or if everybody else loses. I really like these classic elements of the story and script.

Stars 2.5 of 4

Quantum Of Solace film izle

https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjxjPefgaEX4_MAhjGM_ZI4UZ-9Mss90TwyckyKTlXDb7jbTC-l7XqgqoLVZGav6xzaz5QQuraP9EOgytg-Ok2DJJ1A8h7IFj7-nDjXna7mNpSyGNkD0Yu_ns83obcQnxmpELmUdnrtEDA/s1600/quantum_of_solace_ver3.jpg
Yapım: 2008 ~ ABD, İngiltere
Tür: Aksiyon, Dram, Gerilim, Macera
Yönetmen: Marc Forster
Senaryo: Ian Fleming
Yapımcı: Michael G. Wilson, Barbara Broccoli
Müzik: David Arnold
Süre: 1 saat 45 dk.
Film Hakkında: 007 James Bond un muhteşem filmlerinden bir tanesi. 007 yine bir görev alır ve bu görevi en iyi şekilde yerine getirmek için elinden geleni yapıcaktır ve aksiyon sahneleri ilede gözünüzü ekrandan alamayacaksınız.
İyi seyirler.



27 Mart 2010 Cumartesi

Chloe (Saturday, March 27, 2010) (24)

I think Atom Egoyan is a very talented director and even his bad stuff has beautiful and interesting elements in it. His newest film, Chloe is a very well made, interesting psycho-sexual drama that has some lovely moments, is aesthetically wonderful, but comes apart in the end, rendering the whole production only OK in the end.

Catherine and David (Julianne Moore and Liam Neeson) are a middle-aged married couple in Toronto who have a high-school-aged son. They are deeply in love, but after David comes home late one night from a meeting, Catherine starts to suspect that he is cheating on her. She hires a young prostitute, Chloe (Amanda Seyfried), to flirt with him and see if she can draw him into an affair. Things get out of hand, when David apparently does fall for Chloe's bait and she reports the news back to Catherine.

As with many of Egoyan's films, including his masterpiece The Sweet Hereafter, the filmmaker is able to richly fill a screen with sumptuous details. Interiors look clear and gorgeous, comfortable and totally complete. Cinematographer Paul Sarossy does a wonderful job of making very common set-ups look more than average, more than just plain reality. These locations set up a beautiful juxtaposition between the places and the frequently psychological difficulties his characters find themselves and between them and us. We look at the settings and think they're easy and relaxing; they can't enjoy these places because they're too wrapped up in their own dramas. Such tension is central, I think, to Egoyan's works.

The acting throughout is very good - and I am not normally a big fan of Julianne Moore. Neeson is always great - but he's very much a supporting character here. Amanda Seyfried proves herself once again to be the top of her class of young starlets (above Anne Hathaway, Kristen Stewart, Carrie Mulligan and Anna Kendrick, all of whom I just can't stand for their overacting or dullness). She does amazing work in the HBO show Big Love and it continues here. She is convincing as a clever working girl who knows how to look out for herself, but also a fragile young woman who has a ton of mental baggage. She also seems very comfortable to be very naked (which was totally fine with me!). Moore works well with Seyfried and is also good here as a wife who feels scored, trying anything she can think of to dig herself out of a tough family situation.

The writing is what really hurts this film. It begins very nicely in a very Noel Coward/Billy Wilder sort of way, but ultimately devolves into a very trite and dull Hollywoodish third act where characters start to freak out for no reason and the regulated calmness of the beginning is lost. The ending is simply a joke, along the lines of a teen thriller.

Overall this is a very pretty movie that doesn't end as well as it begins. It's good, but not fabulous.

Stars: 2 of 4

26 Mart 2010 Cuma

Waking Sleeping Beauty (Friday, March 26, 2010) (23)

This is a very interesting documentary about Disney animation from 1984 through 1994 - arguably the most important time in the history of the company and the era that created the entertainment behemoth that Disney is today. In the early 1980s, Disney animation was at its lowest point since the death of Walt in 1966. They had a string of bad movies that were not interesting to viewers and not making money. Around 1984 the board of Disney brought in Michael Eisner and Frank Wells to turn the studio around.

Up to that point, the company was making most of its money on the theme parks and live-action movies. Eisner brought in Jeffrey Katzenberg as the Chairman of Disney and the two of them developed a strong interest in re-launching the animation arm, the bedrock of the company's legacy.

The animation department was being run by Roy Disney, Walt's nephew. Roy and Katzenberg worked tirelessly, along with executives like Dick Cook and Peter Schneider to reorganize the creative process and come up with ideas that would be both appealing to people of all ages and make them want to spend money to see the works. They all worked closely together and almost all of them hated the others. There were a lot of big egos involved and they all were puffed up by their huge paychecks.

The film is really about the historical elements of the change (going from The Great Mouse Detective to The Little Mermaid to The Lion King) and the political forces that played in the background. Eisner famously didn't promote Katzenberg when Frank Miller died, which sent Katzenberg out the door and on to DreamWorks, now a major rival to Disney (animation and live-action).

As interesting as the story is (it really is a fascinating and engaging story), the film does not really do enough to bring the viewer in and interest them. There is only a small amount of animated material shown onscreen and almost no music (considering it's a documentary about animated musicals, I think this is a shame). More unusual, and frustrating, is that all of the interviews with the principle people are used as voice-overs and you never see a 'talking head'.

I think the point of this is that it is supposed to help focus on the old footage on screen. What it actually does it makes it more confusing because it's never clear if we are hearing an old or a new interview. If you had the visual footage along with it, you could tell if it was shot recently or 20 years ago. Disembodied voices are hard to follow or pay attention to. This is especially hard when you have to juggle the names and voices of a few dozen people without a face or other visual clues to fall back on.

Sadly, we see very little about how the style of Disney's animation changed in this time. They get so wrapped up in the history they forget to mention that a movie like Beauty and the Beast looks different than earlier 2D Disney fare, like The Black Cauldron. There is also not enough discussion of how Disney got to work with Pixar so frequently at the end of the 1990s and through the Aughts.

This is a very interesting, Shakespearean chapter in Hollywood history (almost King Lear meets Henry V), but it is not presented in the best way.

Stars: 2 of 4

Greenberg (Friday, March 26, 2010) (22)

I really like so-called "Mumblecore" films. This mid-aughts mini-movement developed rather organically in the United States where film students started making gritty, microscopic-budget dramas about mid-20s post-college malaise. Most of these films are story-based, feature either non-actors or unpolished actors, have stories that are less traditionally structured and use new media and formal experimentation throughout.

Two of my favorites are Andrew Bujalski's Funny Ha Ha from 2005 and Joe Swanberg's LOL from 2006. Both deal with relationships between lovers and friends and how the current young generation has difficulty connecting with one another (suggested by the IM shorthand in the titles). I think it is the most successful post-modernist film movement in commercial release.

Greta Gerwig is a mumblecore alumna, having worked with Joe Swanberg on LOL and Hannah Takes the Stairs. She is disarming and totally honest. She is the girl next door because she's absolutely average-looking and still beautiful. She is the slightest bit out of shape - but this only adds to the idea that you could meet her at a bar or a friend's party and date her.

She is also almost the only thing good in Greenberg, a mainstream mumblecore film about misanthropy made by Noah Baumbach, an interloper and poseur.

I have a love-hate relationship with Baumbach. I thought his first film, Kicking and Screaming was very OK (though, I admit, I might have been too young when I first saw it to have a decent opinion about); I thought The Squid and the Whale was really great; I thought Margot at the Wedding was rather miserable and I now don't like this one. Oy vey.

The story revolves around Roger Greenberg (Ben Stiller) who is a horrible, hateful New York loser who is more-or-less unemployed, recently got out of some sort of mental hospital (which we never really are clear about, but is relevent enough to mention a few times), has burned basically all the bridges in his life and spends his days as some level of carpenter (in New York, at least) and by writing notes of complaint to companies who bother him.

He is house sitting the posh Hollywood home of his brother who is out of town on vacation with his family. His brother's young personal assistant, Florence (Gerwig), seems to take care of everything from shopping for groceries to looking after the family dog. Greenberg meets Florence awkwardly one morning and later in the day, when he exhausts the three phone numbers in his Rolodex, calls her for a date.

He doesn't drive or have access to a car (which is weird because it would seem in LA his brother would have a car available while he is out of town... this is totally contrived), so Florence picks him up. They end up back at her place after a few minutes and end up making out (with possibly the worst, most uncomfortable and bizarre on-screen cunnilingus I've ever seen in my life). For the rest of the film, Greenberg treats Florence badly, she falls deeper and deeper in love with him and he pisses off the only two old friends that don't totally hate him by this point (Jennifer Jason Leigh and Rhys Ifans).

I don't find misanthropy to be interesting. It's like someone having red hair being an interesting characteristic or something to make a movie about. Some people are terrible and have destructive personalities and that does not make them more engaging as characters. Yes, Greenberg is a smart guy who has a quick tongue and can make a lot of pop-culture references and leaps of logic - but he's basically a very dull person to watch.

He sits around, bitches, calls people to take care of him, treats people badly and doesn't really feel bad about any of this.(By the way, there is a suggestion here that Greenberg has had a breakdown that put him in the hospital, but we never get to know much about this, so his inability to commit to Florence and other friends might be because he's generally rotten in his character and might be because there's a emotional-psychological problem, but we never find out much about this).

The writing by Baumbach (based on a concept by him and his wife, Jennifer Jason Leigh) is terrible. The story is totally monotone with no development, no intrigue, no analysis or redemption and no pacing. Greenberg's dialogue is punchy, but I think that's easy to write and not all that interesting. I can bitch, insult people for hours and be very wise and there's nothing about my life that is particularly screen-worthy.

I guess this is where the mumblecore thing comes in. The themes in this film (not being able to commit, not having any direction, general dissatisfaction with one's life) are the mainstays of mumblecore. The scenes between Greenberg and Florence are pure mumblecore (people meet at a party- or a job - and hook up, having raw, ugly sex and circular conversations). One problem with this is that most of the dialogue from Greenberg is elevated, Hollywood Oscar-bait with long monologues, while the lines from Florence are pure mumblecore, with grunts and sighs and awkward timing and a patina of reality that Greenberg (that Stiller) does not have.

The other problem with this, of course, is that this is a dirty white hippie with dreadlocks. It is neigher fish nor fowl. It is not mumblecore as the story is too polished and has too much direction and is really *about* Greenberg's misanthropy, which is much too introspective in the dark surface world of mumblecore.

Stiller is totally fine here in this role, but I think it's a pretty easy character to play. He's basically a total asshole. There's not much nuance and he doesn't grow or change much at all from beginning to the end (thanks to the terrible writing). Gerwig is a real discovery and is perfect for the role - especially because she's effectively unknown to most audiences so we come in with no preconceived notions about her. She's modest and average, but clearly sexy in a dirty hipster way. She's unpolished and shy and exactly like countless women we all know as friends or friends of friends. She has the best qualities of of the mumblecore movement.

Technically the film is fine, thought Harris Savides' photography is beautiful and intimate and not overdone. I also give lots of credit to costume director Mark Bridges who put Gerwig in a cardigan that is absolutely perfect for the character and brings with it as much background as you need to know about her (she got it from her ex boyfriend or her father or a thrift store and wears it everywhere in the LA winter). Again, this costume design is straight out of mumblecore.

More than a white kid with dreadlocks, this is a white man in blackface. Mumblecore is wonderful because it's small and independent and fresh and the means of productions are made outside the polish of the Hollywood machine on borrowed equipment in a cast-member's crappy rental apartment. This is the big-budget, mainstream version of that. It has a big time actor and is trying to *say* something about the state of people in the modern world. It has no soul, though. It's a fake and a fraud and almost an offense to the bright, natural originals.

I can see Gerwig hitting it big from this. She's really great and I can see Hollywood people thinking they can make her then next ScarJo or Anne Hathaway. I wouldn't support this, though, as I think she's a much more dorky, unpolished actor than those other movie stars. I hope she goes back to weird small movies (though I'd love for her to get a paycheck and I can't imagine she makes much in the smaller fare). I also hope Hollywood does not catch on any further to mumblecore. Baumbach might have killed the genre here - I hope others don't come along to feed on the carcas.

Stars: 1.5 of 4 (those stars are for Gerwig and Savides only)

25 Mart 2010 Perşembe

HOT TUB TIME MACHINE: The Film Babble Blog Review

HOT TUB TIME MACHINE
(Dir. Steve Pink, 2010)

A few years ago I wrote about the severe lack of quality John Cusack films over the last decade. Well, I never thought his cinematic redemption would come in the form of something titled HOT TUB TIME MACHINE - which is honestly the funniest comedy I’ve seen since BLACK DYNAMITE and ZOMBIELAND.


Sure, it’s a stupid concept – 4 guys go back in time to the 80’s via a hotel hot tub spiked by a Russian Red Bull beverage called Chernobyly - one that might look like it could be a sci-fi tinged WILD HOGS (which is name checked in the movie) men-will-be-boys comic nightmare of a movie, but it’s seriously a lot of fun.


John Cusack, Craig Robinson (The Office, PINEAPPLE EXPRESS), and Rob Corddry (The Daily Show) are old friends whose lives haven’t turned out the way they wanted. Cusack, in a role that has more than a little of Rob Gordon from HIGH FIDELITY in it, is a control freak insurance agent who has just been left by his live-in girlfriend, Robinson left his musical aspirations aside to work in a upscale pet store and fears his wife is cheating on him, and Corddry, a party boy gone to seed, just tried to commit suicide.


So along with Cusack’s video game obsessed nephew played by Clark Duke (the web series Clark and Michael) they travel to a ski resort they frequented back in the day to give their lives a kick-start, but much like them, the resort and the surrounding town has seen better days. In a great shout out to a much loved 80’s time travel classic (BACK TO THE FUTURE) Crispin Glover appears as a one armed bellhop with a very bad attitude.


Their crazy alcohol fueled first night results in them waking up back in 1986. “Is there some kind of retro thing going on this weekend?” Clark asks as they start to notice the 80’s aesthetics coming at them from every direction. Robinson: “Dude is rocking a cassette player.” He frantically points out more outdated oddities: “Leg warmers! Jheri curl!” Robinson also owns one of the best moments of the film when he and the others figure what happened; his look right at the camera after coming to the conclusion “must be some kind of hot tub time machine” is priceless.


Chevy Chase shows up as a mysterious hot tub repairman who says things that hint that he knows what’s going on then disappears. Clarke determines that they must do everything the exact same way they did it back in ’86 - in the mirror they look like they did as teenagers (played by other actors) – except for Duke himself who hasn’t been born yet. The fact that his future mother (Collette Wolf) is there immediately sparks the most predictable scenario in the film yet it still works.


In fact just about everybody’s arc is predictable but it all still works. What makes it work is the easy going improv nature of the dialogue which I believe will make it one of the most quotable comedies ever. It’s literally overflowing with laughs. There are times that everybody’s yelling something and it’s all funny so you miss stuff when laughing. Supreme re-watch-ability is written all over it.


It’s easily Cusack’s best movie in 10 years (exactly 10 years – HIGH FIDELITY was released in late March of 2000) and it works as a homage to his 80’s work – among other familiar references, somebody yells: “I want my two dollars!” a nod to his 1985 film BETTER OFF DEAD. That’s another large part of its charm – it’s a riff on a John Cusack 80’s movie that is actually better than some actual John Cusack 80’s movies (sorry, was never a fan of BETTER OFF DEAD and ONE CRAZY SUMMER).


Cusack’s co-stars, Robinson, Corddry, and Duke all have plenty of highly amusing moments and good natural chemistry together. Chevy Chase isn’t really given anything funny to do, but his cryptic creepiness fits in succinctly. There’s a great running gag involving just when and how Glover will lose his arm, and how much the can't be contained party animal Corddry wants to see it happen, that stands out in all the over the top silliness.


It’s a gross out comedy, it’s a male bonding comedy, it’s an 80’s themed comedy with a kicking soundtrack (any soundtrack that can balance Mötley Crüe, The Talking Heads, Echo & The Bunnymen, Public Enemy, and The Replacements is fine by me), and it’s a rowdy sex comedy. It’s all of those things but what matters most is that it’s all a riot.


I know it looks and sounds stupid, and, yes, it is stupid. But this is a movie that is hilariously smart about its stupidity. And you should be too and go see it.

More later...

23 Mart 2010 Salı

Blu Ray Review: RED CLIFF (Theatrical Version)

RED CLIFF
(Dir. John Woo, 2009)
 



Although historical war epics are far from my favorite genre, John Woo's ginormous production of RED CLIFF is quite an enjoyable experience - especially on Blu ray. 



It's full of impressive sweeping panoramic landscapes, bustling with brilliantly choreographed battle scenes, and crammed with immaculately crafted CGI; all of which immediately makes sense to why it was a huge hit in Asia (according to Wikipedia it broke the box office record held by TITANIC in mainland China).





Set in 208 A.D., Prime Minster Cao Cao (Fengyi Zhang) of the Eastern Han Dynasty declares war on
on the kingdoms of Wu and Xu, whose armies are led by Sun Quan (Chen Chang) and Liu Bei (Yong You) respectively. Tony Leung Chiu Wai (IN THE MOOD FOR LOVE, INFERNAL AFFAIRS, ASHES OF TIME) plays Naval Commander Zhou Yu, whose military strategies unite the 2 factions against the attacks of Cao Cao's invading army. 



The movie is essentially a series of set pieces weaving in and out of elaborate war sequences that build to the climax - the battle at Red Cliff. Thousands of arrows, flaming projectiles, and bombs are fired with a nice light on the stylized blood approach (unlike lesser war movies like MONGOL and 300).







War movies can be as baffling as sports to me - I never quite understand all of the plays. Not to say there isn't plenty of exposition - many tactics are discussed and maneuvers laid out, but I must admit that I got a bit lost in all the action. 




But it's such a mighty and gorgeous package of visual splendor that in the end I didn't care.

This review is based on the Blu ray theatrical version which takes the original 2 parts (over 4 hours in length) and edits them together into one 148 minute cut. That's pretty long itself but even though the truncation shows at times it's a thoroughly satisfying watch. 




The other parts are available on Blu ray if you absolutely need more, but I think this version will suffice. When it comes to the audio, go for the Mandarin with English subtitles over the dubbed option. In the dubbed version the subtitles often don't match (which is annoying) and the phoniness of the voices makes the dialogue sound more cornball than it is. 





More later...




22 Mart 2010 Pazartesi

Hayalet Dünya - Re-Cycle film izle

http://i29.tinypic.com/r8z6v9.jpg 
Yönetmen :      Oxide Pang Chun, Danny Pang
Senaryo :     Cub Chin, Sam Lung
Oyuncular :     Ekin Cheng, Lawrence Chou, Siu-Ming Lau, Angelica Lee, Rain Li
Filmin Türü :     Korku
Orijinal Adı :     Re-Cycle
Yapımcı Firma :     Universe Entertainment
Yapım Yılı :     2006
Yapım Ülkesi :     Hong Kong
Orijinal Dili :     Japonca
Filmin Süresi :     90 dakika
Film Hakkında : Hong Kong da çekilmiş güzel bir korku filmi. Çoğunlukla Korku gerilim türü filmler izlemeyi severim. Bu filmi de şimdi ekledim birazdan izlemeyi düşünüyorum.
Filmin Konusu : Ting-yin(Lee Sinje), Chu Xun ismi ile Güney Doğu Asya’da ilk romanı ile çok satarak üne kavuşan genç bir kadın yazardır. Romanının konusu tüm okuyucuların kalbine dokunan bir aşk hikayesidir..
İmza gününde Chu’nun menajeri Lawrence (Lawrence Chow) “HAYALET DÜNYA” isimli doğaüstü güçler hakkındaki yeni romanın duyurusunu yapar. Hayranları bu romanı heyecanla beklemektedir çünkü kurgusal olanın gerçek hayatla özdeşliğini Chu’nun nasıl anlatacağını merak etmektedirler.
Yeni romanın ilk bölüm taslağını bitirdiğinde, Chu Xun yazmayı bırakır. Hatta bilgisayarında kayıtlı olanları bile siler. Zamanla gerçekte anlatılması imkansız şeyler görmeye başlar. Artık neyin gerçek neyin hayal olduğunun farkında değildir.
Bir süre sonra gizemli bir kadın birçok yerde karşısına çıkmaya başlar. Ting-yin romanında anlattığı doğaüstü olayların gerçek hayatında da gerçekleştiğini farkeder. En korkutucu olan ise sürekli gördüğü gizemli kadının aslında yeni romanının kahramanı olmasıdır. Ting-yin gittikçe gerçek ile hayal olan arasındaki ince köprüde sıkışıp kalır. Sonunda, çözüm yolu olarak o kadını takip etmesi gerektiğini anlar.
İyi seyirler dileriz.

20 Mart 2010 Cumartesi

THE GHOST WRITER: The Film Babble Blog Review




THE GHOST WRITER 

(Dir. Roman Polanski, 2010)


It's not easy to bypass the tangle of legal matters surrounding legendary director Roman Polanski and view his work on its own merits, but THE GHOST WRITER is such a fine film that it is possible to do so.



Most of the time. Every now and then I would remind myself that he edited it in confinement, but that only enhanced the tone of pure tension in which the film revels. Ewan McGregor, whose character's name is never revealed - he's only credited as "The Ghost", takes on the job of rewriting the memoirs of former British Prime Minister Adam Lang (a gruff very un-Bondian Pierce Brosnan), reportedly a thinly veiled characterization of Tony Blair.



It's a daunting task as McGregor only has a month to get the lengthy manuscript in shape, Brosnan is being accused of war crimes by his former Foreign Secretary (Robert Pugh), and there's the troubling matter that the former ghost writer was found dead washed up on the beach of Brosnan's lavish oceanfront compound in Massachusetts.



Goaded by his smarmy agent (beautifully played by Jon Bernthal), McGregor flies to that same compound and is greeted by one of Brosnan's handlers (Sex And The City's Kim Catrall) and Brosnan's frazzled wife (Olivia Williams). McGregor attempts to have a sense of humor about the situation, but is a bit unnerved when after drafting a statement for Brosnan to the press is told by a smug Catrall: "That makes you an accomplice." 



After obliviously tipping off an odd man at his hotel's bar of Brosnan's whereabouts, McGregor wakes up to a media circus. Brosnan's conversations with his lawyers (including a demure Timothy Hutton) and handlers about where he should relocate in order to stay out of the hands of the law is undeniably a moment in which Polanski's real life predicament pulsates through the screen.



In a masterfully shot sequence, McGregor drives his deceased predecessor's car following the stored GPS directions and ends up at the house of Tom Wilkinson as a retired Harvard professor with possible CIA connections who denies any connection to Brosnan. McGregor has pictures that suggest otherwise, but Wilkinson insists. 



Wilkinson's edgy presence evokes good memories of MICHAEL CLAYTON - another polished and pleasing thriller in the same class as THE GHOST WRITER. Despite a few scenes that drag slightly, this is a powerful and intensely satisfying film. It's the definition of a slow burner with an ending that is absolutely on fire. I was seriously blown away by the construction and impact of the final shots. 



That Polanski can still make such a vital piece of cinema - one that I believe will stand in his canon comfortably along ROSEMARY'S BABY, CHINATOWN, FRANTIC, and THE PIANIST - at this complicated point in his career is no less than exhilarating. So whether or not you can separate the art from the artist, this is a must see. I



t's a great story; it has great performances (even Jim Belushi as a publishing CEO puts in solid work!), a great gripping score by Alexandre Desplat, and, most importantly great direction. Just shy of a masterpiece, and I know it may be to early to say this, but it's already one of the best films of the year.






More later...