Creature Movie - Download Creature Online

‘Creature’ director, Fred M. Andrews and co-star, Rebekah Kennedy (‘Caroline’) joined host Dead Dave on his radio program on Sunday, August 28 to discuss the making of the ‘Creature’ movie. Fred revealed that he hadn’t seen the final cut of the film in a theater setting until a few weeks ago and was really excited that “it translated so well to the big screen.” He watched his directorial film debut with a test audience and was thrilled to witness their reactions first hand.

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A previous guest on Dead Dave, Rebekah appeared on the radio program earlier this year to promote her film, ‘Season of the Witch,’ starring Nicolas Cage and Ron Perlman. The up-and-coming actress explained that she became involved with ‘Creature’ when her agent submitted her for the role of ‘Caroline.’ Fred had originally written the part for a thin actress with red hair and green eyes who could play a 14 year old. Rebekah drove from her Dallas home to Baton Rouge to audition for Fred and the casting director and found out she got the part a couple of weeks later! As the catalyst for the destructive change in ‘Lockjaw,’ Rebekah’s character is a key element in the film.

Rebekah admitted she found filming in the Louisiana heat to be a bit challenging but the conditions added authenticity to the movie. As ‘Caroline,’ Rebekah plays the bride of ‘Grimley’ who has been taken away from him. That loss is what cause ‘Grimley’ to go crazy and marked the beginning of his transformation into the ‘Creature’ (Lockjaw).

Rather than portraying a mindless killing machine, Fred wanted to bring the Creature’s backstory to life, “illustrating the struggle of why he does what he does.” A fan of classic horror movies, Fred was drawn to the sympathetic nature of the iconic monsters but despite some similarities, ‘Creature’ is not a remake of ‘Creature of the Black Lagoon.’ Fred explained to Dead Dave that ‘Lockjaw’ is actually more like ‘Frankenstein’ or ‘Pumpkinhead’ in terms of a story told from the monster’s perspective.

In a Dead Dave exclusive, Fred revealed that ‘Lockjaw’ was originally conceived as a trilogy and if the ‘Creature’ movie is successful, he has a sequel planned that focuses even more on the backstory of ‘Lockjaw.’ Which would mean a bigger part for Rebekah in the next film! Listen to the complete Dead Dave radio interview, featuring a surprise call-in by ‘Creature’ visual effects artist, Jerry Constantine, below!

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An ex-Navy seal, Niles (Mehcad Brooks, True Blood), his girlfriend Emily (Serinda Swan, Tron) and their friends head out on a road trip to New Orleans. When the group decides to stop at a roadside convenience store owned by Chopper (Sid Haig, Devils Rejects) they are introduced to the legend of Lockjaw, a Creature who is part man, part alligatorThe Legend has it that an inbred local man by the name of Grimley (Daniel Bernhardt, The Matrix: Reloaded), lost his family to a monstrous white alligator, and because of the devastating loss of his family was driven to madness and was transformed into the Creature. Their curiosity peaked, the group decides to head deeper into the swamps to check out the birthplace of this Creature legend. As they journey further into the backwoods the group arrives at an old dilapidated cabin and decide to camp there for the night and inadvertently unleash the Creature who terrorizes the group.When the group decides to stop at a roadside tourist trap along the Louisiana back-roads, they are introduced to the legend of Lockjaw, the local's version of bigfoot, a Creature who is part man, part alligator...The Legend has it that an inbred local man by the name of Grimley, lost his family to a monstrous white alligator and was driven to madness when he realized that he was too late to save his pregnant bride, who was also his ssters, and in his madness ate the ancient alligator and was transformed into the Creature that the locals call Lockjaw.

An ex-Navy seal, Niles (Mehcad Brooks, True Blood), his girlfriend Emily (Serinda Swan, Tron) and their friends head out on a road trip to New Orleans. When the group decides to stop at a roadside convenience store owned by Chopper (Sid Haig, Devils Rejects) they are introduced to the legend of Lockjaw, a Creature who is part man, part alligator…The Legend has it that an inbred local man by the name of Grimley (Daniel Bernhardt, The Matrix: Reloaded), lost his family to a monstrous white alligator, and because of the devastating loss of his family was driven to madness and was transformed into the Creature. Their curiosity peaked, the group decides to head deeper into the swamps to check out the birthplace of this Creature legend. As they journey further into the backwoods the group arrives at an old dilapidated cabin and decide to camp there for the night and inadvertently unleash the Creature who terrorizes the group.

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The Black Power Mixtape 1967-1975 Movie - Download The Black Power Mixtape 1967-1975 Online

The Black Power Mixtape 1967-1975 utilizes dozens of hours of 16mm footage shot by Swedish documentarians during the height of the Black Power movement to tell the era’s story of radical revolutionary promise and what happened when that promise went unfulfilled. The film sat in the basement of a Swedish TV station for decades.
 

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Contemporary director Göran Olsson (who also helmed 2009’s Am I Black Enough for You? doc about the Philly music scene) used this footage, including interviews with Angela Davis, Bobby Seale, Huey P. Newton, Stokely Carmichael, and Kathleen Cleaver, along with modern commentary from Erykah Badu, Harry Belafonte, Talib Kweli and Melvin Van Peebles, to create this new film, now being released by Sundance. After a limited NYC/Los Angeles theatrical run, it’s supposed to air on PBS.

THE BLACK POWER MIXTAPE 1967-1975 had its world premiere at the 2011 Sundance Film Festival. This week, the film screened in the Panorama section at the Berlinale, the Berlin International Film Festival. It was announced at Berlinale, that Sundance Selects had picked up the North American rights to the documentary.

Directed by Göran Hugo Olsson, THE BLACK POWER MIXTAPE 1967-1975 tells the story of a group of Swedish journalists who travelled to the United States to film burgeoning black power movement in America through archival footage from the period and commentary from the artists and activists involved in the struggle.

In the official press release for the deal, the film was described as follows:

"From 1967 to 1975, fueled by curiosity and naïveté, Swedish journalists traversed the Atlantic Ocean to film the black power movement in America. THE BLACK POWER MIXTAPE 1967-1975 mobilizes a treasure trove of 16mm material, which languished in a basement for 30 years, into an irresistible mosaic of images, music, and narration to chronicle the movement’s evolution. Mesmerizing footage of Stokely Carmichael, Bobby Seale, Huey P. Newton, Angela Davis, and Eldridge Cleaver, as well as Black Panther activities, are peppered with B-roll footage of black America. These scenes take on a fresh, global angle through the outsider perspective of the Swedish lens. Meanwhile, penetrating commentaries from artists and activists influenced by the struggle—like Harry Belafonte, Sonia Sanchez, Talib Kweli, Erykah Badu, and Professor Robin D. G. Kelley—riff on the range of radical ideas and strategies for liberation. Their insights and the vibrancy of the unearthed footage render the black power movement startlingly immediate and profoundly relevant."

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The documentary was produced by Annika Rogell of Story AB and was co-produced by Joslyn Barnes and Danny Glover of Louverture Films and Sveriges Television.

I think it will be interesting to see the Black Power Movement from an outsider's perspective and that this film has an important message. Jonathan Sehring, President of Sundance Selects/IFC Films, said: “This is a remarkable film by Swedish director Göran Hugo Olsson with footage from true outsiders filming outsiders as they fight to make their way into the system. It is riveting and emotional to go back in time to see a major part of our recent history. This is an essential film that we look forward to bringing to a large audience.”

Read the complete press release below.

SUNDANCE SELECTS TAKES NORTH AMERICAN RIGHTS TO GÖRAN HUGO OLSSON’S THE BLACK POWER MIXTAPE 1967-1975

Berlin, GERMANY (February 14, 2011) – Sundance Selects announced today from the 2011 Berlin Film Festival that the company is acquiring North American rights to writer/director Göran Hugo Olsson’s THE BLACK POWER MIXTAPE 1967-1975. The documentary, produced by Annika Rogell of Story AB, made its world premiere at the 2011 Sundance Film Festival and screened this week in the Panorama section at the Berlin Film Festival. The film was co-produced Joslyn Barnes and Danny Glover of Louverture Films, and Sveriges Television

From 1967 to 1975, fueled by curiosity and naïveté, Swedish journalists traversed the Atlantic Ocean to film the black power movement in America. THE BLACK POWER MIXTAPE 1967-1975 mobilizes a treasure trove of 16mm material, which languished in a basement for 30 years, into an irresistible mosaic of images, music, and narration to chronicle the movement’s evolution. Mesmerizing footage of Stokely Carmichael, Bobby Seale, Huey P. Newton, Angela Davis, and Eldridge Cleaver, as well as Black Panther activities, are peppered with B-roll footage of black America. These scenes take on a fresh, global angle through the outsider perspective of the Swedish lens. Meanwhile, penetrating commentaries from artists and activists influenced by the struggle—like Harry Belafonte, Sonia Sanchez, Talib Kweli, Erykah Badu, and Professor Robin D. G. Kelley—riff on the range of radical ideas and strategies for liberation. Their insights and the vibrancy of the unearthed footage render the black power movement startlingly immediate and profoundly relevant.

Jonathan Sehring, President of Sundance Selects/IFC Films, said: “This is a remarkable film by Swedish director Göran Hugo Olsson with footage from true outsiders filming outsiders as they fight to make their way into the system. It is riveting and emotional to go back in time to see a major part of our recent history. This is an essential film that we look forward to bringing to a large audience.”
“When I started this project, the goal was to reach out and make these remarkable images available to the audience forever! I could think of no better partner to do this with than Sundance Selects. Being from remote Sweden we were lucky to get to work with the very best film team in the U.S.—Joslyn Barnes and Danny Glover at Louverturefilms, and Corey Smyth at Blacksmith Corp. And now Sundance Selects. I’m just happy. We have important subject matter that comes with a responsibility to handle it with love and respect, and that is what happening now,” said Olsson.

The deal for the film was negotiated by Arianna Bocco, Senior Vice President of Acquisitions & Productions for Sundance Selects/IFC Films with Debra Fisher at Cinetic Media on behalf of the filmmakers.

Sundance Selects is a sister division to IFC Films and IFC Midnight, and is owned and operated by Rainbow Media.

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Bucky Larson: Born to Be a Star Movie - Download Bucky Larson: Born to Be a Star Online

Columbia Pictures has released the trailer and poster for director Tom Brady's Bucky Larson: Born to be a Star, which was written by Adam Sandler, Allen Covert and Nick Swardson.

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The comedy, opening September 9, stars Swardson, Christina Ricci, Don Johnson, and Stephen Dorff. Bucky (Swardson) is a small town grocery bagger, going nowhere in life – until he discovers that his conservative parents were once adult film stars! Armed with the belief that he has found his destiny, Bucky packs up and heads out to LA, hoping to follow in his parents' footsteps.

upcoming movie “Bucky Larson: Born to be a Star” (opening nationwide Sept. 9), the hero, Bucky Larson, is a buck-toothed guy with a bowl cut who dreams of making it big in Hollywood. After he gets fired from his job as a bagger at the local super market, he and his friends have one of those really creepy nights where they decide to watch porn together. Vintage porn. Bucky soon discovers that the pornstars he's watching are in fact his parents. Most of us would ram our heads on the corner of a cement wall if that happened but Bucky is an opportunist and sees this as a way to make it big in the porno industry. He's going to be a star just like his parents used to be. Wonder where he got that inspiration? Here are 22 notable celebrities who followed Mom and/or Dad into the business.
 

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Bucky Larson: Born to Be a Star is a new comedy starring Nick Swardson, Christina Ricci, Don Johnson, and Stephen Dorff. Bucky (Swardson) is a small town grocery bagger, going nowhere in life — until he discovers that his conservative parents were once adult film stars! Armed with the belief that he has found his destiny, Bucky packs up and heads out to LA, hoping to follow in his parents’ footsteps.Check out BuckyLarson.com!

Bucky Larson: Born to Be a Star is a new comedy starring Nick Swardson, Christina Ricci, Don Johnson, and Stephen Dorff. Bucky (Swardson) is a small town grocery bagger, going nowhere in life — until he discovers that his conservative parents were once adult film stars! Armed with the belief that he has found his destiny, Bucky packs up and heads out to LA, hoping to follow in his parents’ footsteps.comedy, happy madison, adam sandler, spe, sony movies, spe movies, film.

The story centers on a small-town nerd who stumbles upon a family secret: His quiet and demure parents were famous porn stars in the 1970s. This motivates him to leave Northern Iowa for Hollywood hoping to follow in their footsteps and fulfill his destiny as the biggest adult-film star in the world. A small-town Midwestern boy learns his true destiny after discovering both his parents were once famous porn stars and decides to move to L.A. and follow in their footsteps. The story centers on a small-town nerd who stumbles upon a family secret: His quiet and demure parents were famous porn stars in the 1970s.


This motivates him to leave Northern Iowa for Hollywood hoping to follow in their footsteps and fulfill his destiny as the biggest adult-film star in the world Bucky Larson: Born to Be a Star is a new comedy starring Nick Swardson Christina Ricci Don Johnson and Stephen Dorff. Bucky (Swardson) is a small town grocery bagger going nowhere in life – until he discovers that his conservative parents were once adult film stars! Armed with the belief that he has found his destiny Bucky packs up and heads out to LA hoping to follow in his parents’ footsteps. With his life going nowhere fast a small town boy named Bucky Larson (Nick Swardson) leaves home and heads to Los Angeles to pursue the family business after he discovers his parents were once porn stars. (Nick Swardson also pen this script with the help of Adam Sandler and Allen Covert.) When a small town nerd discovers that his quiet parents were famous porn stars in the seventies he heads to Hollywood to follow in their footsteps. Stephen Dorff (Blade) will replace Matt Dillon as the male lead in director David Jacobson’s (Down in the Valley) indie flick Boot Tracks. Dorff will star alongside Ray Winstone and Michelle Monaghan in the adaptation of the Matthew F. Jones novel of the same name.

In his new role Dorff plays Charlie Rankin an ex-con who has a fling with a former porn star (Monaghan) before setting off to complete his task: an honor-killing at the behest of a fellow inmate known as “Buddha” (Winstone) who kept Rankin relatively safe in prison in exchange for all manor of favors. Variety originally reported that Dorff would be replacing Dillon in Boot Tracks but did not mention any specific reasons. The actor can next be seen as Dick Shadow in this year’s Bucky Larson: Born to Be a Star where he follows in his parents’ footsteps and becomes a porn star. In two movies that probably have nothing to do with porn you can also find the Blade villain in Tarsem Singh’s Immortals and 2012?s Officer Down. As for Winstone the actor has quite a busy year ahead of him but perhaps his most interesting project of note will be Hugo Cabret where he reteams with Departed director Martin Scorsese. Michelle Monaghan from this year’s Source Code can be seen opposite Gerard Butler in this fall’s Machine Gun Preacher. Finally for more on Boot Tracks hit the jump to check out a synopsis of Jones’ novel. David is adapting US author Matthew F. Jones’ 2006 novel Boot Tracks for the big screen and it had originally been thought that 47-year-old Matt would be male lead in the eponymous movie version.

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Warrior Movie - Download Warrior Online

Warrior is a 2011 action movie is very suspenseful, the film tells of the battle Warrior former martial arts fighter has. Warrior Movie starring Nick Nolte, Tom Hardy, Joel Edgerton, Jennifer Morrison and Kurt Agle. Warrior Movie directed by Gavin O’Connor, the film Warrior also written by Gavin O’Connor and Cliff Dorfman, and music by Mark Isham. Warrior movie will be released on September 9, 2011. Warrior Movie is an action drama movie you should watch, the storyline is complete and the problems that have made 2011 action movie becomes more attractive.

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A former Marine was haunted by a tragic past, Tommy Riordan returned to his hometown of Pittsburgh and enlists his father, a recovering alcoholic and former trainer, to train him for the biggest bag of MMA tournament in the history of sports. As Tommy blazes the path of violence against the gift the title, his brother, Brendan, a former MMA fighter is not able to meet the needs of a public school teacher, returning to the ring amateurs to provide for his family. Though years have passed, accusations and betrayals of the past remains a bitter Brendan alienated from both Tommy and his dad.

But when Brendan did not increase as the underdogs set him on a collision course with Tommy, the two brothers finally had to face the forces that tear them apart, as he launched, winner-take-all of the most intense battle of their lives...

Warrior is an upcoming film about two fighters. This film was directed and produced by Gavin O’Connor. Warrior movie is remake of 1979 movie. In this movie , Tommy Riordan , ex-marine Who returned to his hometown Pittsburgh and seek his father to train him. His father is a recovering alcoholic and former coach of MMA tournament.Tommy need the winning money $5 million to help his wife’s friend who died in Iraq. Brendan Conlon is older brother of Tommy Riordan , a family man and a physics teacher. Brendan get married with his school girlfriend Tess and he hated his father for the betraying him and his mother. Unfortunately, Brendan is suspended from his school without paying for his unwanted activity. Bank is ready to foreclose on his house within 90 days. Brendan decides to take part in the upcoming Mixed Martial Arts Spartan Tournament going to held in Atlantic city. Tommy Riordan also joins the tournament. Tommy get training from his father Paddy. The brothers split in different way and met in the tournament and face each other. The famous WWE Superstar and Olympic Gold Medalist Kurt Angle do the role Koba.

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Not like previous MMA movies, this movie get something different from them.In this movie, we can find how they fought each other for their country and their family. Tom Hardy become a warrior for his country and Joel Edgerton for his family. The fighting sequence inside the cage brings the real MMA tournament experience and choosing Kurt Angle is increase the credits. The film is distributed by Lions Gate.

Rising stars Tom Hardy and Joel Edgerton command the screen as two estranged brothers facing the fight of a lifetime in Lionsgate's "Warrior," a moving, inspirational action drama from acclaimed director Gavin O'Connor ("Miracle").

Haunted by a tragic past, Marine Tommy Conlon (Hardy) returns home for the first time in fourteen years to enlist the help of his father (Nick Nolte) to train for Sparta, the biggest winner-takes-all event in mixed martial arts history. A former wrestling prodigy, Tommy blazes a path toward the championship while his brother, Brendan (Edgerton), an ex-fighter-turned teacher, returns to the ring in a desperate bid to save his family from financial ruin. But when Brendan's unlikely, underdog rise sets him on a collision course with the unstoppable Tommy, the two brothers must finally confront each other and the forces that pulled them apart, facing off in the most soaring, soul stirring, and unforgettable climax that must be seen to be believed.

A rousing ode to redemption, reconciliation and the power of the human spirit, "Warrior" is also a moving testament to the enduring bonds of family.

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Contagion Movie - Download Contagion Online

Don’t Touch Anything. Stay at least 10 feet away from anyone who looks sick. But most importantly, stay away from this movie. Contagion is about a disease which turns into an epidemic as it spreads rapidly around the world. The movie follows a bunch of people as they try and deal with the outbreak. But this is no Outbreak (1995 movie) because there is hardly any action. Contagion is billed as an action/thriller but it had neither…it played more like a documentary depicting the process of how the world might react to a virus that kills fast and spreads even faster. Contagion is jam packed with remarkable actors but sadly, none of them really acted. The movie didn’t allow them to, it was stale and mundane.

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Matt Damon. Gwyneth Paltrow. Kate Winslet. Laurence Fishburne. Jude Law. Marion Cotillard. Bryan Cranston. Elliott Gould. John Hawkes. Enrico Colantoni. Jillian Armenante. Even Demetri Martin is in it! The cast is stacked; however, the whole movie was really dry so nobody got to flex their acting chops. The only notables were Gwyneth Paltrow flopping around like a fish, Jude Law being an annoying sensationalist blogger and Demetri Martin looking ridiculously hilarious in a air-tight air-filled jumpsuit. Demetri’s character wasn’t supposed to be funny but you can’t help but laugh at him and his haircut. All these names are going to draw people to the theater, but you’re going to leave the movie wondering why they wasted so many people’s talents.

The base of the problem was the story…it was just boring. You expect something crazy to happen, some action to begin but the movie just stays at its slow pace and shows you step by step of the scientific and government response to a spreading disease. You know, the boring stuff most people aren’t interested in. “Well at least you learned something” was an audience member’s comment after the movie finished. In the beginning, the whole mystery is discovering what the disease is. Where did it come from? Who was patient 0? But after a while, like most of the characters in the movie, you lose track and stop caring about that. I understand that they wanted to keep the movie in the realm of reality and didn’t want to go over the top but there was nothing intriguing to keep the audience in the story. There was hardly any character development or emotional investment so you could literally walk out the movie at any time and not miss a thing.

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There were a lot of things that just don’t make sense in Contagion. A lot of character’s side stories begin but don’t end. After a while you wonder, what ever happened to that guy? Or what’s going on in that city? The movie tries to follow way too many people in way too many locations and you’re left caring about none of them. It does do a good job of showing all the varied aspects of the world and highlights the social breakdowns that occur, but it does this in a very mellow and undramatic way. You can compare the bleak action on screen with the half-assed dialogue with lines such as, “some people get a disease and live, some get sicker and die” and “somewhere in the world, the wrong pig met up with the wrong bat.” There are some great one-liners too, however, like, “Congress is figuring out how to work online,” and “blogging is not writing, it’s graffiti with punctuation!”

I’m not saying the movie is terrible…it’s really well shot (I mean, it is Steven Soderbergh) but it’s just not a movie I would recommend to spend money on and see in theaters. There’s plenty of social commentary and things that will make you think – especially about touching your face every minute of the day, but that seems like it belongs more in a news expose rather than a big Hollywood blockbuster film. Prepare yourself for a lot of scientific talk and a lot of anti-climatic story lines. Also prepare yourself for a terrible score filled with electronic synths that you could have made using the demo button on a crappy Casio keyboard. It is fun to watch the movie if you live or have been to any of the cities involved (Macau, Minneapolis, Hong Kong, London, Atlanta, San Francisco, Chicago, Geneva, etc) because you can spot local streets and buildings but other than that, don’t let yourself get sick from this movie.

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Love Crime - Download Love Crime Online

Alright Alain Corneau’s film may not be his best but I simply LOVE this movie as please tell me how many times do we have the opportunity to see Kristin Scott-Thomas and Ludivine Sagnier performing together? You have no idea how much I enjoyed watching them together in a loose pas de deux that starts with seduction, continues with deception/humiliation and ends with a love crime, like the movie title says. Fantastic! And I’m just talking about a bit more than half the movie.

Second part was somehow predictable but the delicious twist at the finale was superb. Say somehow predictable as there were a few unexpected twists that kept my attention, not that I needed the twists as watching Ludivine in the screen doing all sort of crazy things was more than enough for me.

But what’s film all about? Set in the business environment at what seems like a large American multinational company with head offices in New York and a branch office in Paris this labyrinth (as Corneau calls it) story tells about Paris branch office top manager Christine (Kristin Scott Thomas) and her second in command Isabelle (Ludivine Sagnier) that work tightly together (the seduction part) to great success for Christine; the problem is that the creator of the idea is Isabelle and gets no credit as Christine “steals” (deception part) her idea and takes it as her own claiming that’s teamwork. From then on you can imagine the next story stage, Isabelle confronts Christine who declares war with Isabelle getting humiliated. Next comes the perfect love crime and you have to watch movie to see how this business women story unravels.

Oh yes, loved the first part of the story and I’m sure that any woman with a top business position at a multinational company anywhere in the world will absolutely enjoy what happens in the movie as some aspects are so true that becomes quite comical, in a very dark way. The second part of the story is more French not only because performances but also because the story twists and twists resolutions, but I equally enjoy it. Before the love crime is committed, film has a great business women story that I’m sure many business women will enjoy, as there are not many films that have business women as leads and being the center of the story.

Performances by Scott Thomas and Sagnier are extraordinary and you will never notice that Sagnier had a difficult time understanding her character as she finds working at an office a very exotic thing (lol!), according to what she says in an interview.

Obviously liked the film a lot because performances and story, but this is not great French cinema this is more mainstream entertaining cinema that I think could please more women than men if you don’t take too seriously what happens in the screen.

Ambition at any price is the theme of this riveting psychological thriller, in which Ludivigne Sagnier and Kristin Scott Thomas go head-to-head in a study in tension. What sucks us in is the disarming ease with which director Alain Corneau (his last film, co-written with Nathalie Carter) weaves his scenario about power plays in the workplace, sexual politics, manipulation and revenge. The plot surprises, too; the dynamic caused by its sudden change in direction adds to the mix. But it is the sublime performances of Sagnier and Scott Thomas that elevate the film.

Reminiscent at times of The Devil Wears Prada and Working Girl, Christine (Scott Thomas) seemingly takes Isabelle (Sagnier) under her wing, as if grooming her but Christine is always thinking about herself. There are more complications in the workplace when Isabelle and Philippe (Mille) have an affair. Daniel (Marquet) appears to be an ally, encouraging Isabelle to claim credit for her own work.

Sagnier makes full use of her onscreen vulnerability, while Scott Thomas is chilling as the tough businesswoman prepared to use all her wiles to get her way. Just when tensions reach boiling point, the film takes the form of a whodunit, except the audience knows who is the perpetrator. Pay attention to the clues; there's a call to the doctor, pills, a knife, a garden shed, scratches and a scarf with a rip.
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There's a little dip during the prison sequences when our credibility is tested but I like the use of black and white as key scenes are recreated to portray what really happened. The film's final scenes are nicely conceived, allowing the story to end as provocatively as it begins.

Saving Private Perez Movie - Download Download Saving Private Perez Online

An entertaining genre mash-up that borrows freely from gangster, caper and war movies, Saving Private Pérez (Salvando al Soldado Pérez) already has drawn big crowds in Mexico.

Reportedly one of the most expensive Mexican movies ever made, the film, which opens in the United States on September 2, stars Miguel Rodarte as Sinaloa drug kingpin Julián Pérez, who’s charged by his mother to find his brother, an American soldier who’s disappeared in Iraq. Julián’s mom and sibling have been living in the U.S. for years.

Julián rounds up a “combat team” to help him out: an aging Vietnam vet, a contract killer, a drug courier and an Indian tomato grower who happens to be one of the kingpin’s oldest friends. The clueless group, none of whom knows exactly where Iraq is, heads off to the combat zone. But first they land in Istanbul, where they meet their interpreter and local weapons contact, a lanky, blond-haired European named Sasha, whose name no one can pronounce, so they take to calling him “Chacha.”

Next, they mount camels and head to Iraq and the killing fields of Karbala, where the Mexicans have a number of run-ins with insurgents and Americans. Then comes the climactic rescue and fire fight.

Saving Private Pérez is told in a deadpan comic style that relies more on the story’s basic absurdity than shtick or comic set pieces. Just the sight of these Mexicans wandering around Iraq in cowboy hats, shirts and pointy-toed boots—looking like a norteño band whose tour bus driver got very, very lost—is enough to elicit chuckles.

There also are a number of amusing cultural riffs, like the time one of the team wonders if hot peppers might work better than electric shock as a torture device.

But at 105 minutes, the film is about 10 minutes longer than it needs to be. And director Beto Gómez is definitely no stylist; Saving Private Pérez could have used a bit more pizzazz in the visual and editing departments. The pacing can be sluggish and the action scenes in the film would have gained from more camera movement and faster-paced editing.

Yet a concept this inspired has a definite upside. The film touches on everything from martial arts movies to narcocorridos, from The Godfather to classic horse operas like Once Upon a Time in the West. (One shot is an almost direct lift from the Sergio Leone classic).

“Mexicans?” asks an American military officer incredulously when he discovers who’s in the mysterious team running riot through his war zone. And it’s that sense of utter ridiculousness that makes Saving Private Pérez click.

The adventure of Saving Private Perez is the result of combining Beto Gómez’ experience as an independent director with Lemon Films (a Mexican production company which has 8 successful blockbusters under its belt) Via Media and Terregal Films. Together, they join forces to create an unprecedented feature in the history of Mexican cinema: “Saving Private Perez”, a national idiosyncrasy film with an array of global meanings.

Beto Gomez was born in Culiacan, Sinaloa. He has lead projects such as “El Agujero” (1997), “El Sueño del Caiman” (2000), “Puños Rosas” (2004), and “Hasta el Último Trago… Corazón” (2005), all of them presented in international festivals as well as in commercial Movie Theatres.

Brothers Billy and Fernando Rovzar create Lemon Films in the year 2004. They released their first feature film, “Matando Cabos”, distributed by Videocine, a black humor film that raised over 62 million pesos in the Mexican box office and at the time was the Mexican best selling DVD. For their second Movie, Lemon Films took the horror route with “Kilometro 31” and manages to lure over 3 million Mexicans into theatres. In December 2007, “Matando Cabos” co-production creative team and Warner Brothers Mexico, brought to screens “Sultanes del Sur”, a spectacular and adrenaline packed action movie filmed by Mexican Producers.

Released last year, “Amor, Dolor y Viceversa” was presented at the Tribeca Film Festival and sent to compete in the International Film Festival of Morelia, with outstanding artistic talent and an extraordinary skilled production team.

In Saving Private Perez, an experienced staff will develop both the technical and narrative history that is required in order to deliver a clear message and provide a broad time entertainment for the viewer. In addition, the cast is composed by actors who can represent the characters and also bring add personality without losing the transcendental essence that each profile requires.

It took 8 filming weeks in locations such as the Desert of Coahuila and Mexico City, and was supplemented with 2 weeks of filming in Los Angeles and Turkey. The crew of more than 80 people faced complex challenges to be able to achieve the fidelity in the representation of an international armed conflict such as that suffered in Iraq.

This story demanded high production values; a production ensemble was created consisting, in part, of the recognized professional musician Mark Motherbaugh, Devo´s Band lead singer, Grammy and Emmy, award-winner and well known for the musical development of films like “The Royal Tenenbaums” and “Lluvia de Hamburguesas”.

Under Lynn Fainchtein´s tutelage, renowned music producer, the movie had a theme interpreted by the legendary Mexican female singer Chavela Vargas and another one written and performed by Los Tucánes de Tijuana exclusively for the film.

The special effects were made by Alejandro Vazquez and the digital part is provided by The FX Shop, a company led by experts who created the effects of such films as “Navidad S.A.” and “Kilometro 31”; this time around, their challenges involved having to recreate helicopters, tanks, explosions and dozens of Arabic landscapes. The rest of the visuals were conjugated with a level of sublimity that also build a true picture of northern Mexico (with its trademark attire) and an art design that perfectly recreated the Middle Eastern environment.

Ever since Lemon Films’ first feature, Matando Cabos, a current theme has always been present in its following productions: HISH Quality. No matter the genre or style, Lemon Films continues to raise it’s own standards regarding their productions, always keeping in mind that the Mexican Film Industry becomes a profitable business. This way, we are certain that audience all around Mexico, and the world, will enjoy the most ambitious project Lemon Films has produced.

A Good Old Fashioned Orgy Movie - Download A Good Old Fashioned Orgy Online

The slob comedy, an invention of the American counterculture of the sixties and seventies that tore down movies’ perception of onscreen propriety, has miraculously survived in various forms since Bill Murray and his “Saturday Night Live” cronies started smirking on the big screen. Every time someone thinks that the influence of “National Lampoon’s Animal House” can no longer be felt, a film like “The Hangover” emerges, tapping into the zeitgeist and pulling in record-breaking numbers, further establishing the modern onscreen male as proprietor of snark, juvenile tomfoolery, and general bad behavior.

But the dark truth of more modern efforts like “The Hangover” and its ilk is that, while those films find humor in the smaller truths of life, the damn-the-man attitude can’t properly manifest any further. Part of this is the weight of so much political upheaval in the last few decades that we’ve seen too many seemingly-conflicting philosophies thrive. War, a formally-dividing topic, has been compartmentalized thanks to a silent media and a societal attitude that allows those who are transparently wrong to complicate issues alongside the truly informed. More importantly: women have infiltrated the boy’s club.

The mingling of the sexes is the most distinct difference between “A Good Old Fashioned Orgy” and those early slob classics like “Stripes” and, charitably, “MASH.” The Us Against Them idea in those films placed women solidly (and, in some ways, problematically) on the side of Them. Now, “Orgy” posits that there is no longer a “Them,” as our leads, a group of upper-middle-class whites with mundane office jobs, seem to keep their composure during theoretically joyless employment periods followed by drunken weekend antics at a lavish summer home. They’re willing to dip a toe into the modern world, but it’s the retreat to treating every weekend like spring break that enlivens them.

The house belongs to the father of Eric, a thirty something who wears a button-down and tie at work, but, as played by (yep) “SNL” member Jason Sudeikis, is clearly a member of the Murray school of smarm charm. As a ladykiller, Eric is handsome enough, which, combined with his father’s Hamptons party den, makes him an ideal ringleader for the structure of endless theme parties, such as “Star Wars Vs. Star Trek” and a “White Trash Bash.”

Unfortunately, the good times are about to end, as Eric’s smooth-talking father (Don Johnson, natch) has announced plans to sell the house. Speaking volumes about a more pragmatic generation, Eric doesn’t fight this decision, instead trying to find a way to celebrate the house’s final days of debauchery with one big party. Of course, there’s only one way to fight Them, to become Us once more like our previous generations: Sex.And so Eric brings together his core group of friends for whom high school never ended and proposes an orgy. The argument is implicit that their friendship is already fairly incestuous, as Eric correctly gambles that he can suggest group sex to his female friends and not earn a slap in the face. He lobbies against their uncertainties by clearly defining what sex has meant to their generation: free love gave way to AIDS awareness, but once they grew out of their experimental youth phases, sex education had allowed teenagers and young folk to experiment freely again. They’ve missed the boat on sexual liberation, the only indignity left for their demographic.

This being a Slob Comedy, there is a ticking clock provided by a snob-type, this time the realtors, desperate to find a buyer before the end of the summer. Eric is fortunate enough to charm a date from a young shapely realtor Kelly (Leslie Bibb), a diversionary tactic that buys them more time, though her motivation to possibly torpedo her job by postponing a big sale seem under-thought. It’s the older realtor Dody (Lin Shaye) who motors on. Of course, the subgenre evolves: as these guys and girls aren’t really slobs, she isn’t necessarily an enemy, as she ends up being fairly polite and, oddly enough, sexually compatible.

In a lesser film (possibly the earlier incarnation that was to feature Vince Vaughn), our characters would stop short at the orgy, the suggestion being that sort of sexual experimentation being a threat to everyone’s friendship, complicating feelings overall. Fortunately, only a hint of that conservative streak rears its head before the third act bash, which allows our characters (all skilled comedic performers which natural chemistry) the chance to indulge in a sexual free-for-all. Kudos to writer-directors Alex Gregory and Peter Hyuck, who understand the possibility of sex to unite and strengthen bonds, and who shoot the big event as a joyous coming-together rather than some ugly, regretful shock fest. Of course, they spare us some of the more adventurous sights of group sex, but sometimes you have to expect limitations of some sort when discussing mainstream comedy crowd-pleasers.

As Eric, Sudeikis is a somewhat affable ringleader, but he’s somewhat miscast as a “hunk” for reasons both superficial (weak chin, insincere smile) and story wise (his performance lacks the depth that suggests a life beyond the film - who is Eric anyway?). He’s anchored by a strong supporting cast, particularly the always-game Lake Bell, and a surprisingly sensitive turn from Tyler Labine, who is occasionally forced to fall into the fat-guy-pratfall stereotype he’s filled before but offers a characterization filled with human insecurities. Lindsay Sloane and Nick Kroll are sweet as two insecure, shy types, while Martin Starr delivers a variation on his bitter hipster, given additional weight by his accelerated age. And Michelle Borth and Angela Sarafyan give unexpected depth to characters that appear to be eye-candy when both appear to have hungry single-female libidos, one moreso than the other. Though they are on the periphery of the story, their sexual longings are not a punch line but a natural extension of their characterizations.

The trump card, disappointingly, goes unused. As the sole married couple in their small group, Will Forte and Lucy Punch are consistently funny, both of them completely aware that they are being marginalized by their judgmental friends. Early on, they successfully balance an engagement, a baby and Eric’s consistently large house parties. But once they are married, Eric and co. quietly usher them out of the group, overly respectful of their new family life. It’s a weirdly incongruous move for the film, displaying a weird Conservative Slob concept and also ushering the two funniest performers to the margins of the story. On one level, it’s a missed opportunity as much as the potential for this film to explore the insecurities of this generation with a more dramatic focus, favoring gags over insight, such as the brief, jealous reaction Eric displays when hearing about the school-wide sexual armband approach to sex. On another, the pairing of Forte and Punch is as inspired a couple as you could find, and the film does find space for a deep comedic cast and a taboo-breaking premise, successfully capturing the sexual malaise of today’s aging Gen-Xers in a way that most indie films, studio efforts, or Slob Comedies© can muster. Except, you know, funny, because that sounds incredibly depressing.

Apollo 18 Movie - Download Apollo 18 Online

Every single year Hollywood puts out a movie that is based off a true story. Last year it was the movie Unstoppable and this year it is Apollo 18. I have no idea how much truth there is to the Apollo 18 flight and the reason I finally started doing some looking into it is because of a recent comment that Dimension Films head Bob Weinstein said to EW. He told them quote;

“People intrinsically know there are secrets being held from us,… There are secrets that are really true to the world. It’s not bogus. …. We didn’t shoot anything, We found it. Found baby!”

Needless to say I laughed when I read that he was trying to sell us on an Apollo 18 mission that encountered an alien life form on the Moon that was secretly recorded and kept under wraps until now. But that does not stop some of you from believing that not only did Apollo 18 happen but so did Apollo 19 and Apollo 20 with some pretty shocking outcomes.

Just from watching the trailer for Apollo 18 it is hard to believe it is not Hollywood produced. Frankly there are scenes in JJ Abrams Cloverfield that looked more plausible then this new Apollo 18 movie.

That said in doing some looking it seems that there is a large group of believers who believe full heartedly that something strange did happen on the moon and that there is good reason we have never returned to the lunar planet. Most of this revolves around footage from Apollo 20 and interviews by William Rutledge one of the astronauts who now lives in Africa who not only went to the moon but claims to have entered a crashed alien craft and recovered an alien that has been called the Mona Lisa EBE.

William Rutledge was the Commander of Apollo 20 which is clearly not Apollo 18 which leads to the question what does William Rutledge have to do with Apollo 18? Well he is the only one that seems to talk about the flight from the limited reading I have done this morning. NASA doesn’t deny Apollo 18 existed so why is William the only one who talks about the Apollo 18 moon landing? Well that is where there is some truth in the trailer.

The Apollo 18, 19 and 20 flights were cancelled NASA and never happened. So why does William Rutledge have footage and technical knowledge of the flight and conducting interviews where he talks in detail about the flight of Apollo 20? Did Apollo 18 meet its demise on the Lunar surface at the hands of some sort of alien life form? Did it bring something back? Did William Rutledge and Apollo 20 also discover Alien life?

Frankly I can find very little reference to the Flight of Apollo 18 but a variety of sites have interviews with William Rutledge Commander of Apollo 20 and there is plenty of information on Apollo 20 and some on Apollo 19 which just begs more questions, what happened to Apollo 18? Did that flight happen as well and get covered up?

To sum up NASA’s stance is Apollo 18 / 19 and 20 did not happen. From the perspective of William Rutledge who has released photos and videos onto youtube under the aliased ‘retiredafb’ Apollo 20 took place on August 16th 1976. It was a joint Russian, American project to go to the moon and investigate the object on the hidden side of the moon and retrieve it. Do some looking on the web and you will find plenty of photos and a few videos and lots of details on the flights.

Ask yourself do you believe that Apollo 18 was as Commander Rutledge calls it ‘a mission to the moon to shake hands’? Or is it all a great big hoax? Did Commander William Rutledge and Cosmonaut Alexei Leonov and Leona Snyder really go the moon and did they really recover the alien life form below? Or is this all a well planned hoax? For me its a hoax but what do I know I spent a few hours reading and am by no means an expert.


The Weinstein Company has confirmed that they’re working with Timur Bekmambetov on a mockumentary film to be called Apollo 18. The press release about the film alludes to the strange conspiracy story that informs the film, but they leave out some details, and they don’t include a link to the footage of a joint US/USSR space mission recovering the body of an alien woman from the Moon.

Yeah, you heard that right.

To the best of my knowledge the story started hitting the conspiracy circuit a couple of years ago – some people are saying 2007 – and the basic idea is that the canceled Apollo 19 and 20 missions (the movie says it’s Apollo 18) were actually completed, but that they were joint US/Soviet efforts. The mixed crew went to the Moon where they explored a wrecked alien spaceship, first photographed by Apollo 15, and found the remains of at least two ETs.

Here’s part of the story as told by a man named William Rutledge, who claims to have been one of the astronauts on the mission:

“We went inside the big spaceship, also into a triangular one. The major parts of the exploration was; it was a mother ship, very old, who crossed the universe at least milliard of years ago (1.5 estimated). There were many signs of biology inside, old remains of a vegetation in a “motor” section, special triangular rocks who emitted “tears” of a yellow liquid which has some special medical properties, and of course signs of extra solar creatures. We found remains of little bodies (10cm) living in a network of glass tubes all along the ship, but the major discovery was two bodies, one intact.

The “City” was named on Earth and scheduled as station one, but it appeared to be a real space garbage, full of scrap, gold parts, only one construction seemed intact (we named it the Cathedral). We made shots of pieces of metal, of every part wearing calligraphy, exposed to the sun. The “City” seem to be as old as the ship, but it is a very tiny part. On the rover video, the telephotolens make the artifacts greater.

I don’t remember who named the girl, Leonov or me — was the intact EBE. Humanoid, female, 1.65 meter. Genitalized, haired, six fingers (we guess that mathematics are based on a dozen). Function; pilot, piloting device fixed to fingers and eyes, no clothes, we had to cut two cables connected to the nose. No nostril. Leonov unfixed the eyes device (you’ll see that in the video). concretions of blood or bio liquid erupted and froze from the mouth, nose, eyes and some parts of the body. Some parts of the body were in unusual good condition, (hair) and the skin was protected by a thin transparent protection layer. As we told to mission control, condition seemed not dead not alive. We had no medical background or experience, but Leonov and I used a test, we fixed our bio equipment on the EBE, and telemetry received by surgeon (Mission Control meds) was positive. That’s another story. Some parts could be unbelievable now, I prefer tell the whole story when other videos will be online. This experience has been filmed in the LM. We found a second body, destroyed, we brought the head on board. Color of the skin was blue gray, a pastel blue. Skin had some strange details above the eyes and the front, a strap around the head, wearing no inscription. The “cockpit” was full of calligraphy and formed of long semi hexagonal tubes. She is on Earth and she is not dead, but I prefer to post other videos before telling what happened after.”

Shark Night 3D Movie - Download Shark Night 3D Online

The story revolves around seven male and female college friends who spend a weekend at a lake house in Louisiana’s Gulf area. When their vacation quickly becomes a nightmare of hellish shark attacks, unheard of in freshwater lakes, they soon discover that the sharks are part of a sick, greedy plan on the part of several locals.

Arriving by boat at her family’s Louisiana lake island cabin, Sara (Sara Paxton) and her friends quickly strip down to their swimsuits for a weekend of fun in the sun. But when star football player Malik (Sinqua Walls) stumbles from the salt-water lake with his arm torn off, the party mood quickly evaporates. Assuming the injury was caused by a freak wake-boarding accident, the group realizes they have to get Malik to a hospital on the other side of the lake, and fast. But as they set out in a tiny speedboat, the college friends discover the lake has been stocked with hundreds of massive, flesh-eating sharks! As they face one grisly death after another, Sara and the others struggle desperately to fend off the sharks, get help and stay alive long enough to reach the safety of dry land.

Relativity Media just released a poster for Shark Night 3D, directed by Snakes On a Plane’s David Ellis. Scheduled for release on September 2nd, Shark Night 3D stars Sara Paxton, Dustin Milligan, Chris Carmack, Joel David Moore, Katharine McPhee, Sinqua Walls, Donal F. Logue, Joshua Leonard, Alyssa Diaz and Chris Zylka.

A full plot synopsis was also released, which makes me think this could be a lot of fun like Piranha 3D. Between Shark Night 3D and Piranha 3DD, this could be a good year for water-based creature features. Continue reading for the poster and full plot synopsis…

“A sexy summer weekend turns into a blood-soaked nightmare for a group of college students trapped on an island surrounded by voracious underwater predators in Shark Night 3D, a terrifying thrill ride from director David Ellis (The Final Destination, Snakes On a Plane), featuring a red-hot young cast including Sara Paxton (Superhero Movie, Last House on the Left), Dustin Milligan (“90210,” Slither), Chris Carmack (“The O.C.”), Joel David Moore (Avatar), Chris Zylka (The Amazing Spider Man) and Katharine McPhee (The House Bunny).

Arriving by boat at her family’s Louisiana lake island cabin, Sara (Sara Paxton) and her friends quickly strip down to their swimsuits for a weekend of fun in the sun. But when star football player Malik (Sinqua Walls) stumbles from the salt-water lake with his arm torn off, the party mood quickly evaporates. Assuming the injury was caused by a freak wake-boarding accident, the group realizes they have to get Malik to a hospital on the other side of the lake, and fast.

But as they set out in a tiny speedboat, the college friends discover the lake has been stocked with hundreds of massive, flesh-eating sharks! As they face one grisly death after another, Sara and the others struggle desperately to fend off the sharks, get help and stay alive long enough to reach the safety of dry land.”

Arriving by boat at her family's Louisiana lake island cabin, Sara and her friends quickly strip down to their swimsuits for a weekend of fun in the sun.

But when star football player Malik stumbles from the salt-water lake with his arm torn off, the party mood quickly evaporates.

Assuming the injury was caused by a freak wake-boarding accident, the group realises they have to get Malik to a hospital on the other side of the lake, and fast. But as they set out in a tiny speedboat, the college friends discover the lake has been stocked with hundreds of massive, flesh-eating sharks!

As they face one grisly death after another, Sara and the others struggle desperately to fend off the sharks, get help and stay alive long enough to reach the safety of dry land.

Shark Night is directed by David R. Ellis (The Final Destination, Snakes on a Plane) and stars Sara Paxton, Christine Quinn, Chris Carmack, Joel David Moore, Chris Zylka and Damon Lipari.

Population: 2 Movie - Download Population: 2 Online

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The Debt Movie - Download The Debt Online

In 1965, three Mossad agents (Sam Worthington, Marton Czokas, & Jessica Chastain) abduct a War Criminal- with the intention of bringing him back to Israel for trial. In an attempted escape, he’s killed, and the three are hailed as heroes. Years later, a secret shared by the three (Helen Mirren, Tom Wilkinson, and Ciaran Hinds) comes back to haunt them- and they must pay an old debt before their lives come crumbling down around them.

REVIEW: I went into THE DEBT expecting something on par with Steven Spielberg’s underrated classic MUNICH. There are lots of exciting stories to be told from the Mossad’s colorful and bloody past, and THE DEBT (while fictional) sounded intriguing. Couple the premise with a can’t miss cast including Mirren, Wilkinson, and the newly hot Worthington, what could go wrong?

Plenty it seems. THE DEBT is, for me, one of the most disappointing films I’ve seen in awhile. This should have been a taut, exciting thriller, but instead it plays out like a mediocre HBO telefilm. It’s dull as dust, and for that I imagine the blame has to go to director John Madden. The former SHAKESPEARE IN LOVE helmer does about the same level of work he did with his previous film, KILLSHOT, which sat on the shelf for about three years. While THE DEBT isn’t quite as bad as that, it’s nonetheless hopelessly mediocre, and filmed in the most boring way imaginable.

Everything about it is by the numbers, and nothing about it distinguishes itself at all. That goes for the cast too. Sure, there are a lot of talented people involved, but the casting is a nightmare as whenever you cast young and old version of the same characters, you need to get people that look alike. Marton Czokas vs. Tom Wilkinson, Jessica Chastain vs. Helen Mirren, and (most laughably) Sam Worthington vs. Ciaran Hinds is not even remotely convincing.

However, at least the older actors have some charisma, with Wilkinson, Mirren, and Hinds all being seemingly incapable of delivering bad performances. However, they’re only in about 30% of the film (Hinds’ role is more or less done by the end of the opening credits), and the rest is devoted to the young team. Of the three, the only one I liked was Czokas, who I’ve always thought was a talented guy from films like GARAGE DAYS, and THE GREAT RAID. Worthington, while capable of giving good performances, also has a tendency towards blandness, and that’s on full display here. The only time he comes to life is when he does some Krav Maga sparring with Czokas. As for Chastain, I didn’t find her as personable as the role demanded, and certainly she’s no Mirren.

I’d say that the remaining thirty percent, featuring a central Mirren is great, but alas, it’s not. A development late in the game makes the climax come off as ludicrous, and like something out of a bad TV film from the eighties, and even Mirren looks like she can’t believe how schlocky the film is getting.

I really hate that THE DEBT is not a great pic, as the material demands better. This is the type of film someone lie William Friedkin should be directing, who could have put some much needed intensity into the proceedings. As it stands, THE DEBT is truly weak, and nothing worth going out of you way to check out. This is a late-night cable watch at most.

Chasing Madoff Movie - Download Chasing Madoff Online

In his important documentary about the Bernard Madoff scandal, Chasing Madoff, you sense Jeff Prossermanis taking the wrong approach right from the moody, film-noir opening credits. Apparently unconvinced he can hold an audience’s attention by relating the facts behind the biggest financial fraud in American history, the film’s writer-producer-director aims instead for a “financial thriller.” He flips between ‘40s era black-and-white and TV-garish color, conducts interviews in stylized settings with ominous black backgrounds, goes in for melodramatic camera angles and music, ratchets up the tension with shots of oozing blood and staged killings, then throws in old photos of murdered mobsters and Wall Street’s 1929 crash.

All he manages to do though is distract a viewer from what, even in this unfortunate overblown form, is one of the most vital docs to emerge about the financial crisis in America. For the Madoff fraud typifies everything that went wrong in the Wall Street meltdown and continues to go wrong as bankers and their protective politicians continue to resist real reform.

Well, a thriller has to have a hero and Prosserman has a good one in Harry Markopolos, the whistleblower whom no one would listen to for a decade. Harry was just your average ex-army major turned securities analyst when his Boston-based investment firm confronted him with a problem: How could they compete with the high rates of return on investments offered by an obscure Wall Street investment manager named Bernie Madoff?

Markopolos says he looked at the Madoff returns for maybe five minutes before determining it was a fraud. After a little more pondering and numbers crunching, he could only imagine Madoff was running an old-fashioned Ponzi scheme, where a defrauder pays investors not from any actual profits earned but from money paid by subsequent investors. The name, of course, comes from Madoff’s predecessor in Wall Street deception, Charles Ponzi, back in the early 1920s.

So the question is if it took Markopolos five minutes to figure this out, how did Madoff bamboozle so many investors, smart and not so smart, for so long? Then the even greater question looms: Once Markopolos assembled his documents and facts and presented these first to the SEC and then to the media, why did no one do anything for 10 years?

The SEC, ignoring its job as the protector of investors, sat on Markopolos’ report. One reporter did write an expose in May, 2001, but nothing happened. Then an editor at Forbes — the movie never says who — killed a story based Markopolos’ allegations about Madoff. A few years later, the Wall Street Journal did the same thing.

The team of Markopolos’ whistleblowers, self-dubbed “The Foxhounds,” grew to include investment industry veterans Frank Casey and Neil Chelo, journalist and hedge-fund conference organizer Michael Ocrant and corporate attorney Dr. Gaytri Kachroo. Still no one listened.

So in a sense, this is not a financial thriller so much as a financial mystery. Which gets a bit lost in the movie’s stylized presentation.

Perhaps the film’s greatest overreach comes in its dramatization of Markopolos’ paranoia. Fearing, not unreasonably, that he or his family might be the target of violence from cronies of Madoff, who was not unaware of Markopolos’ 10-year crusade against him, the film takes refuge in thriller clichés. In clearly staged scenes, Markopolos constantly loads and reloads a gun and checks under his car for bombs while the movie displays old photos of hit men’s victims. Yet the film offers not one scintilla of evidence that the Markopolos family was ever in any real danger.

Another section builds to the moment when Markopolos manages to get his file of documents into the hands of New York Attorney General Eliot Spitzer. Then the movie completely drops the ball. What happened? Couldn’t the filmmaker at least have called Spitzer, himself the subject of a doc last year, and asked him if he ever looked into the allegations? Spitzer was never shy about pursuing Wall Street crooks while Attorney General.

What this noir nonsense distracts you from is the real subject. Madoff didn’t pull this fraud off alone. An army of enablers such as the French aristocrat and feeder-fund hawker Rene-Thierry Magon de la Villehuchetaided and abetted the scheme. Markopolos handed him his files and made clear his concerns, but de la Villehuchet chose to ignore these warnings.

At least de la Villehuchet had the decency to commit suicide, but hundreds if not thousands more have escaped culpability. These are Wall Street denizens who should have known the returns were fishy but were too incentivized by greed and the huge fees Madoff allegedly paid to feeder funds not too look too closely.

Madoff, ultimately brought down by the financial crisis and not by Markopolos, got a 150-year sentence. Few others have been brought to justice.

The most heart-rending parts of the movie involve Madoff’s victims, who appear on camera identified only by their case numbers and speak about the dreams and retirement plans stolen from them by Madoff’s incessant greed. Ultimately, our government and media failed to do their job. There is no sign, however, that any lesson has been learned. To underscore this point, the film is dedicated to those who will fall in the next financial crisis.

Douglass U Movie - Download Douglass U Online

Man considers himself the creator of all, even god for that matter! He thinks of himself as the master of his destiny, the controller of all events and the ultimate doer!

All of this is completely true! But one thing goes missing in this theory. It is the fact that man, to do everything that he does, has to fall upon something for motivation and inspiration.

Different strokes for different folks may be the case here, but one stroke that stands common is movies. Accept it or deny it, movies play a very important role in motivating a man. Not only do they motivate us, they also assist us in developing many important characteristics and traits.

If you think about it, then you will know that many of the times the driving factor behind many of our actions is the movies. Be it filling you inside out with courage, or wrapping you up in leadership qualities, movies come to your rescue every single time. Watch Douglass U movie online to get its proof.

It’s the mystic force of movies that makes us look like we do. If you do not believe me, then read on. The latest catchphrase that many of you made a part of your vocabulary or the cool of hairdo that some of you started sporting, simply because your idol aced it, stands as proof to my statement. And if you don’t believe me, then watch Douglass U online and see the exact way this happens.

It’s not just limited to all this, movies affect us everywhere; our relationships, our work our life! They teach us a lot and help us get through a tricky situation in the best way possible. Watch online movies and see this effect coming to life.

Movie plot:

Its Ryan Miningham directed comic movie and Teck Holmes played very important character so this movie gonna be great entertaining.

Society is ever evolving and constantly changing. Movies play a huge part in its evolution. The setting of rules, the changing of customs, evolution of point of views; it is the movies that play ‘the biggest’ role in all of this.

Having a ‘beat-all’ capturing power and being pervasive throughout the society lends them a power, a power that is so strong and conclusive that even man, the creator of all gets molded by them. Truly man maketh the movies, but what counts is what happens when you put the words, the other way around!

Brighton Rock Movie - Download Brighton Rock Online

Keith Waterhouse once wrote that Brighton looked like a town that was helping the police with its inquiries; no less memorably, Brighton resident Julie Burchill wrote that the simple word "esplanade" gave her a secret, sensual thrill. There's something of both these feelings in writer-director Rowan Joffe's bold, intelligent but flawed new version of Graham Greene's Brighton Rock, his noir tale of fear and sin amid the interwar racecourse gangs in Brighton. Here, it's updated to the 1960s world of running seaside battles between Mods and Rockers.

It's an intelligent and creative movie, not a masterpiece, but much better than some rather disobliging reviews have suggested, drawing less on the book than on the 1947 John Boulting film whose screenplay Greene co-wrote with Terence Rattigan. Fans of both, however, may be discontented with the way Joffe handles the ending, and the question of how to reveal what Greene's novel describes as "the greatest horror of all".

Sam Riley is teenage gangster Pinkie – at 30, it's a bit more of a stretch for Riley than for Richard Attenborough who was 23 when he played the part. Pinkie has precociously taken charge of a Brighton protection mob, and now presumes to challenge the pre-eminence of stately criminal grandee Colleoni, played by Andy Serkis, who lives in some style at the Continental hotel. But this looming turf war is complicated by other problems Pinkie is having: he has murdered an enemy gangster, Hale, and through an awful quirk of fate a seaside photographer snapped Pinkie's accomplice Spicer (Phil Davis) snarlingly menacing Hale as he was desperately attempting to cosy up to a waitress on her lunch-hour in the forlorn hope that this would deter his assailants.

This is the timid and mousy Rose (Andrea Riseborough) whom Pinkie must now seduce in order to get the ticket for that incriminating photo. He also intends to marry her, so that she will not be compelled to give evidence against him in any murder trial. Like Pinkie, she is a cradle Catholic, and Pinkie – gloomily and defiantly believing in his destiny in hell – consecrates their love to mortal sin. Helen Mirren plays Ida, the blowsy golden-hearted older woman who makes it her business to bring Pinkie to book. This movie ups her status, making her the manageress of the cafe where Rose is employed.

A sinking feeling asserts itself: could it be that our fallen, sinful world is just like Brighton? A tatty, cosmically temporary day-trippers' and dirty-weekenders' sort of place, whose promised pleasures always turn out to be fleeting and disappointing, leading you on to nothingness like a pier, giving way to desperate ennui in the face of death, lapping eternally like Brighton's deeply uninviting sea? Pinkie himself is drenched not merely with crime or wrongdoing but sin, yet it could be that in not murdering Rose but marrying her, however cynically or psychotically, Pinkie is the agent of mysterious divine grace – which does not redeem Rose or Pinkie, but at least clarifies for these terrified souls and for us, their witnesses, the lineaments of evil itself.

Any lover of the novel is bound to regret the way Joffe excises the famous beginning in which the victim Hale, in his character as "Kolley Kibber" is employed by a newspaper to stroll along the prom, giving cash prizes to any holidaymaker who recognises him, and placing time-coded cards in cafes and shops.

In the novel, Pinkie's mob lay a false trail of these cards after Hale's death to create an alibi, and worry that Rose will remember that someone other than Hale placed the one she found. A lot of flavour is lost in this film's beginning, though Joffe's "photo" device – taken from later developments in the book – here arguably creates a sharper and much more plausible anxiety.

Riley and Riseborough are both good, especially Riseborough, who brilliantly shows how Rose changes from being a child into a gangster's moll, embracing this fate while uneasily aware of its wrongness, and how it is founded on her complicity and self-deceit. The Mods and Rockers are a clever noir invention, a spectacle of disorder that Pinkie and his enemies can use as a cover for their own violence, and the youth gangs are also an interesting symbol for Britain's new fear and hatred of the young.

The problem is that these Mods and Rockers blur the issues: if the racecourse gangs are replaced by these youth gangs, it sits a little uncomfortably that Pinkie et al are not members of these tribes – they are still members of their own secondary set of gangs. By downplaying the horse-race setting, some of their drama and raison d'etre is lost.

This is still a bold and exhilarating picture, summoning up, in its own way, a chill seafront breeze of guilt and shame.

Higher Ground Movie - Download Higher Ground Online

A satirical yet sensitive portrait of life in an evangelical Christian community, "Higher Ground" marks a startlingly bold directing debut for actress Vera Farmiga. Playing a woman embracing, questioning and eventually abandoning her faith, Farmiga holds the screen with nary a trace of vanity-project posturing, even as her direction steers this full-bodied ensemble drama past some minor missteps into deeply moving and provocative realms. A thoughtful, often uncomfortably intimate look at religious practice made from an agnostic perspective, "Ground" merits attention from a distributor willing to translate its potentially divisive subject matter into an arthouse conversation-starter.

Adapted by Carolyn S. Briggs and Tim Metcalfe from Briggs' "This Dark World: A Memoir of Salvation Found and Lost," the film is divided into chapters whose titles ("Consumed," "Wilderness," etc.) perhaps too neatly reflect the stages of its protagonist's spiritual journey. But the sum of these episodes is a remarkably rounded portrait of Corinne Walker, whose innate compassion, imagination and restless curiosity about the world place her increasingly at odds with the faith she grew up with.

A child of the '60s (played at different ages by McKenzie Turner and the helmer's sister, Taissa Farmiga), young Corinne raises her hand during a church service and becomes a born-again believer, though she reacts to her conversion more with bemusement than acceptance. Highly intelligent, with a passion for reading and writing, Corinne pays little attention to God until after she's married her high-school rock-star sweetheart, Ethan (Boyd Holbrook). When an accident nearly claims the life of their infant daughter, Corinne and Ethan become convinced of God's work in their lives and soon join a tight-knit suburban church.

As their family grows, Corinne (now played by Vera Farmiga) and Ethan (Joshua Leonard) become pillars of the community, and apart from Corinne's failed attempts to reach out to her wayward sister (Nina Arianda), their lives seem fruitful and fulfilled. But the strength of "Higher Ground" is the way it incrementally reveals, over two unhurried hours and a timespan of about 20 years, the doubts and disappointments that can steadily chisel away at one's deep-held convictions.

Corinne soon realizes her knowledge of Scripture and innate leadership qualities are seen not as virtues but as threats by the church's male elders. Her close friendship with free-spirited Annika (Dagmara Dominczyk) opens her up to the pleasures of fantasy -- made apparent in a few overly literal daydream sequences -- and forces her to acknowledge the lack of passion in her own marriage. And an unexpected tragedy so shakes Corinne that her faith never recovers, paving the way for a difficult moment of reckoning with her family, her friends and a God who, for all her prayers, rarely seems to answer back.

To her great credit, Farmiga has made a film that neither believers nor nonbelievers will feel entirely at ease with. The camera doesn't flinch from extended scenes of people preaching, praying and delivering exhortations in everyday conversation, which some may find suffocating and difficult to relate to; still others may object to the way the film elicits laughs at the apparent small-mindedness of its Bible-quoting characters. Yet the director has a real knack for tonal and thematic complexity, and her critique is informed by an essential patience with and respect for the culture she's depicting. Those who know that culture well may be surprised by just how much Farmiga gets right.

The actress brings her natural warmth, empathy and intelligence to bear on the role of a woman too honest and smart to keep either her joy or her skepticism to herself. Other cast standouts include Dominczyk in the broadly drawn best-friend role, Leonard as Corinne's frustrated but well-meaning husband, and John Hawkes as her hard-drinking dad. Resemblance between Vera and Taissa Farmiga is so striking that the other older/younger character match-ups aren't as convincing.

Polished tech package is distinguished by Michael McDonough's luminous HD cinematography and a soundtrack of hymns deployed with a sincere appreciation for their emotional power. Sharon Lomofsky's production design (with set decoration by Diana Bregman) and Amela Baksic's costumes capture the hippie vibe pervading even these houses of worship, though the lack of geographic specificity or contextualizing historical references lends the film a deliberate, somewhat disturbing sense of isolation.

Religion is a tricky topic. It’s incredibly easy to mock it or to preach it. But an honest exploration of faith requires complete commitment and a willingness to let non-believers scoff and the holier-than-thou scorn. Vera Farmiga’s directorial debut Higher Ground manages the impressive task of fully committing to its characters’ faith. Unfortunately, it never transforms that commitment into a more fulfilling experience. Despite an earnest approach to the Christian faith, Farmiga never finds anything interesting to say about it.

Higher Ground follows the life story of Corinne (Farmiga). The movie starts slow and never picks up much speed. We see Corinne’s childhood home-life, her introduction to Christianity, her intellectual curiosity, her marriage at a young age, and finally her “coming-to-God” moment. This is all before we finally get to see Corinne as an adult and her total devotion to Christianity. While everything in the first act isn’t unnecessary, it could have been condensed and more creatively explained.

Once we see Corinne’s life as a devout Christian, the film picks up a little bit of steam, but can’t maintain its pace. Watching Corinne go through the paces of her Christian life is curious, but Farmiga doesn’t seem to know what’s worthwhile in the story and what’s not. She also isn’t able to bring a spark to the proceedings. There are some laughs from the oddities of her Evangelical faith, but almost everything is presented so matter-of-fact that there rarely seems to be much joy in Christianity. When Corinne expresses her desire to speak in tongues so she can be closer to God, it’s a wonderful moment because the film rarely shows the love from these people who love Jesus.

To its great credit, Higher Ground never thumbs it nose at faith and that is incredibly admirable. The film has the potential to be something special because it makes no judgment on the devotion of its characters. It questions their discriminatory practices and close mindedness, but it nurtures their total belief in God and the Devil as physically real entities that can be called upon and fought against in one’s daily struggles.

But Higher Ground never connects the faith of its characters to something grander. There are no deep insights or even much of an emotional connection. It’s not a film that’s about big performances and it’s clear that Farmiga is actively making a choice not to go big (except in brief, bizarre fantasy sequences that feel like a comic crutch) and that’s fine if you’ve got intensity or complexity simmering beneath the surface. Higher Ground could have been divine, but the story and Farmiga’s direction rarely manage to raise the film’s spirit.