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.

Circumstance Movie - Download Circumstance Online

Teenagers Atafeh, and her best friend, Shireen, are experimenting with their burgeoning sexuality amidst the subculture of Tehran's underground art scene when Atafeh's brother, Mehran, returns home from drug rehab as the prodigal son. Battling his demons, Mehran vehemently renounces his former life as a classical musician and joins the morality police. He disapproves of his sister's developing intimate relationship with Shireen and becomes obsessed with saving Shireen from Atafeh's influence. Suddenly, the two siblings, who were close confidants, are entangled in a triangle of suspense, surveillance, and betrayal as the once-liberal haven of the family home becomes a place of danger for the beautiful Atafeh.

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Though it’ll probably never play in the country in which it’s set, attendees at the Sundance Film Festival were lucky enough to see Maryam Keshavarz‘s debut feature Circumstance. Hopefully soon, you will too. Set in modern day Tehran, Iran, this beautiful film focuses on two attractive high school girls named Shireen and Atafeh, played by Sarah Kazemy and Nikohl Boosheri, both making their acting debuts. Though the girls live in a country where women are treated as second class, Shireen and Atafeh use their good looks, talents and smarts to live life as free as humanly possible. The friends eventually develop feelings for each other but when Atafeh’s brother Mehran (Reza Sixo Safai) comes home, the girls’ liberal point of view is doomed to be challenged.
Circumstance is an increasingly claustrophobic love story set against impossible odds told with a frightening cultural context. Of the thirty plus films I’d seen at Sundance before it, it was the first film to get a legitimate standing ovation.

Living in the west, it wasn’t for the film’s pop culture references and modern technology, one might guess Circumstance was set in the stone age. Important scenes featuring American Idol, Gus Van Sant’s Milk and Sex and the City let us know that even in 2011, women in Iran aren’t treated fairly. They can’t go into the ocean, can’t show skin, can’t smoke and need male permission to do almost anything. Watching the film with a western viewpoint, that knowledge makes Shireen and Atafeh’s friendship incredibly satisfying. They’re living within this unfortunate set of rules but still decide to be rebellious. They party, drink, hook up with guys and eventually get in trouble for it.

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Keshavaraz, who both wrote and directed the film, has drown it in sexuality, showing the girls at their most emotionally and physically vulnerable. Because the audience feels so attached to them, as their circumstances (get it?) begin to grab hold and lead them down an terrible road, we feel increasingly worried that it won’t all work out. We’re in love with them just as they’re in love with each other.

Circumstance is too good to not eventually get a general release. Yes, it draws you in with the promise of girls (as we, too, did with our headline) but that quickly wears off, leaving you angry at the oppressive nature of Iran and feeling very fortunate that we’re as free as we are.

Colombiana Movie - Download Colombiana Online

Remember, you read it here first! A star is born! Amandla Stenberg steals the entire film, which isn't bad considering she's only ten years old and is onscreen for only the opening fifteen minutes or so.

She plays the lead, Cataleya, who, as a nine-year-old, witnesses her parents' murders by Marco (Jordi Mollà), evil henchman of evil drug lord Don Luis (Beto Benites). But mom and pop had it coming anyway, because every Colombian in this film is a drug dealer and / or killer and / or gangster of some kind.

Not only does Amandla display genuine terror (I wonder how director Olivier Megaton got her to do that: threaten to put a puppy in a blender? "You see zis cute little baby puppy doggy, Amandla? You see 'ow I put 'im the 'ow you say, blendeur?") but she's handy with a hunting knife too, putting her mark on Marco before going on a rooftop parkour run for her life, dodging bullets, a motorbike, a parkouring pursuer and various SUVs. It's all breathtaking stuff that makes you read the end crawl really carefully to see if any little girls were harmed in the making of this movie.

Cataleya then makes her way to the U.S. embassy and - a nice touch this - pukes up a micro-SD card, a parting gift from daddy, which contains some kind of secret information that gets her instant citizenship and is flown to the States. She then dodges her handler and makes her way to Chicago and Uncle Emilio (Cliff Curtis), who, being Colombian, is also some kind of gangster. We know this because we're introduced to him beating some guy to a pulp in a container.

Back in the safe and loving arms of family, Cataleya decides she wants to be a professional killer and waste everyone who had anything to do with the deaths of her parents. That'll be all of Colombia, then! But first she has to go school and, after bribing the principal to overlook Cataleya's late start and presumed missing grades, uncle Emilio convinces her education is the best way - by pulling a gun in broad daylight and shooting a passing car full of holes and causing it to crash! Since nobody witnesses anything, he is able to calmly put it away and explain that whilst anyone can do that (and presumably not get caught, ever), the three R's will give her a better, uh, shot in life.

So far, so brilliant. But then we fast forward fifteen years and get... Zoe Saldana, whose vehicle this is.

It's not that Ms. Saldana doesn't look good (especially after her appearance at the Avatar press conference in Berlin, where she appeared to be promoting anorexia as a fashion statement), nor is it her athleticism, but in what is a standard Luc Besson - Olivier Megaton (crazy name, crazy guy!) mayhem movie, she is called upon to act. It's not only out of place, but her gamut runs all the way from A to not-quite-B.

Instead of a ninety-five minute waste-'em-up, we also get a completely unconvincing sub-plot love affair involving her and artist Danny Delaney (Michael Vartan). And is it just me or do all his 'paintings' feature in some shape or form? He knows nothing about her, and certainly not that she's a serial killer with twenty-two notches to her credit (Only Colombians, of course, because they all have it coming) on behalf of Uncle Emilio.

This results in the film being at least quarter of an hour longer than it needs and braking the action when it needs to keep roaring. Liam Neeson didn't need any kind of emotional claptrap in Taken so why here? So what if Cataleya is 'tortured', 'damaged' etc., do we care? No! This is essentially a cartoon film with live actors.

Of course, Cataleya's really after Marco and Don Luis, them having been conveniently relocated to the U.S. by the CIA (ostensibly because Don Luis is an informant) but allowed to carry on being major drug dealers. Just work with me here, okay? Like I say, this is a cartoon at heart. So to draw him out, she works her way through his people, drawing a large orchid on the bodies of her victims , replicating a necklace he gave to her father before ordering him wasted and which he gave to her before being wasted. Don Luis knows what that means.

Meantime FBI Agent James Ross (Lennie James) is on Cataleya's tail for earlier smuggling herself into a high security jail and taking out a really nasty piece of Colombian work. Thanks to a helpful orchid-recognizing cleaner (in an audible groan inducing moment) and that drawing artist guy of hers, the cops and feds get a solid lead on her. Cue a Leon-a-like shoot out and chase through her apartment block from which she, natch, escapes.

Not that Don Luis hasn't been busy either: he's taken out Uncle Emilio and the latter's mother. This gives Ms. Saldana another chance to act, which she seizes with both hands - and tosses out the window. I'm sorry, she can't, she really can't do it. In the hands of a real actress, such as Angelina Jolie, or waiting for Amandla Stenberg to have gone through puberty, these extra scenes would have worked and added some depth to the character, but Saldana can't carry it. Just paint her blue and have done with it, fer chrissakes!

Cataleya now goes on her merry way, finally tracking down Don Luis via threatening Agent Ross, who leads her to the CIA handler who, prompted by a bullet through the window, spills Don Luis' whereabouts.

The rest of this by-the-numbers, going-through-the-motions film is her taking out Don Luis' hired help who, unlike her, are not bullet- or bombproof, until it's time to deal with Marco, using mostly a hand towel, and finally Don Luis, using two dogs that have been trained to eat on command. Pretty cool, but sadly we don't get to see it.

It's not that Colombiana is bad, but nor is it particularly interesting. It's all rather rote, like an overtired and bored hooker giving yet another handjob. Nobody, apart from the amazing Amandla Stenberg, and those technicians, extras and stuntmen hoping to get their next gig, is really giving of their best, and Zoe Saldana, despite her clearly visible efforts and exertions, and innate hotness, is out of her depth, handicapped by her limited acting ability and a script that unfairly calls on her to show some.

Don't Be Afraid of the Dark Movie - Download Don't Be Afraid of the DarkDownload Don't Be Afraid of the Dark Online

On October 10, 1973, just in time for Halloween, television audiences were treated to a spooky offering from the ABC network that stayed with them long after they watched it.

No doubt, children in particular were frightened by Don't Be Afraid of the Dark and its lurid insinuation that small dwarf-like menaces might indeed be lurking in their homes when the lights went out.

Alex and Sally Farnham (Jim Hutton and Kim Darby) have just inherited an old house from Sally's grandmother. Although Alex would prefer to live in a high-rise apartment, he consents to the move.

The charming place is in a state of dusty decline. Indeed, much restoration and refinishing will need to be done - and so the young married couple hire designer Francisco (Pedro Armendariz, Jr.) to help decorate.

In addition, they bring on Mr. Harris (William Demarest, Uncle Charlie from TV's popular My Three Sons), a carpenter who is familiar with the house...having done work on it in the past.

Sally is eager to get into the study, which is locked. After a search, she finds the key to the door hidden in an envelope in her grandmother's desk.

She would like to turn the room into an office but some renovations have to be done...including opening up the fireplace, which has been inexplicably bricked up. The ash door is bolted shut.

Mr. Harris is dead set against opening the fireplace. He tells Sally that it doesn't work and that her grandmother asked him to close it twenty years earlier. He won't reveal why, but says, "Some things are better left as they are."

Sally unbolts it anyway. No harm done, right? Wrong. When Sally is out of the study, whispered voices can be heard coming from the depths of the fireplace.

"Sally, Sally. Free, free...she set us free!" the mysterious voices chant in creepy unison.

A party is planned despite the fact that the house isn't finished. And Sally is unhappy because Alex is too preoccupied with his job.

Especially distressing to Sally is the fact that Alex has to leave for a trip to San Francisco the morning right after the party.

Later, Sally believes she sees mice and when she tries to go to sleep, an ashtray on a night table is knocked to the floor.

She tells her best friend Joan (Barbara Anderson) about what happened - but like Alex, Joan believes it must all be in her imagination.

Mr. Harris returns to the study to once again lock up the fireplace. This time, Sally doesn't protest. But it's too late as Sally finds out when something grabs at her dress. "We want you...we want you," she hears. She describes this thing to Alex as being like a "little ferocious animal."

The ash door has been unbolted and Alex phones Mr. Harris...who promptly quits in response to the suggestion that he is playing head games with Mrs. Farnham.

It's the night of the party. Guests have arrived, including Joan and her husband George (Joel Lawrence), as well as Alex's boss Tom Henderson (William Sylvester).

Sally is a bundle of nerves and is not helped by the fact that a small mutant creature is hiding in the flower arrangement.

It's all too much for Sally, who screams when the creature tries to pull a napkin off her lap and she finally sees its face. Alex doesn't believe her. After all, nobody else saw it.

While Sally is taking a shower, the light is turned out in the bathroom. Whispered voices can be heard speaking to each other.

Don't hurt her...not yet.
I want to.
Wait until tomorrow.
Let me just scare her.
Alright. Then scare her!

They do just that. When Sally turns the light back on, she finds a razor blade on the floor as the creatures scurry away. Now she's had enough and tells Alex she wants to sell the house.

Mr. Harris returns to retrieve his tools. He has a short conversation with Alex about "superstitions" and when he goes into the study, the creatures attack him with a screwdriver.

The dastardly monsters believe the old man has betrayed their secret. "I didn't tell," he pleads.

Alex has left for his business trip and Joan invites Sally to spend the evening with her. But not before a terrible incident occurs.

Francisco, just told that his services will no longer be needed, trips on a cord that was meant for Sally and stumbles down the staircase to his death. "It was a mistake, Sally. It's your spirit we want!" says one of the creatures.

Sally's hands are burned as she tries to grasp the cord. She shows the marks to Joan, who now believes her friend's outlandish story. Alex returns early and Joan explains the situation...as sleeping pills begin to take effect on Sally.

Joan encourages Alex to phone Mr. Harris, who tells Alex to come over right away. Mr. Harris finally reveals the whole story to Alex: Sally's grandfather unbolted the fireplace, which had been locked up since the 1800s.

The disastrous act unleashed the house's evil presence and Grandpa was taken down into an abyss...where he probably remains to this day.

Meanwhile, the power is cut at the Farnham home and when Joan goes outside to check on the cables, she finds that she cannot re-enter. Alex and Mr. Harris rush back when a phone call from Sally is cut short.

But it's too late. Sally has been bound and pulled down into the fireplace for eternity. By the time Alex, Joan and Mr. Harris get to the study, only Sally's futile scream can be heard...

A big creepy house, scary whispers, dark lighting, a downbeat ending...and things that go bump in the night. These are ingredients for a good thriller and Don't Be Afraid of the Dark delivers.

Special mention should go to makeup man Mike Hancock, whose exceptional work brings the creepy dried-prunehead critters to frightening reality.

Kim Darby might best be remembered for this movie and her turn opposite John Wayne in True Grit. But fans of TV's Star Trek [The Original Series] may also recall her memorable performance as the title character in the classic Miri episode.

She has continued to grace the small screen and even finds time occasionally to appear in theatrical releases, including 1995's Halloween: The Curse of Michael Myers.

Jim Hutton would return to the genre in the underrated Psychic Killer (1975) but the actor passed away prematurely in 1979 of liver cancer at the age of 45. Son Timothy would continue the acting tradition.

Director John Newland had previously helmed the Made-for-TV Crawlspace, as well as the Night Gallery series. In addition, he directed Joan Crawford's final acting vehicle, an episode of The Sixth Sense entitled Dear Joan: We're Going To Scare You To Death.

Newland continued working in television (Wonder Woman, Fantasy Island) throughout the seventies and early eighties. He died in 2000 from complications due to a stroke.

Our Idiot Brother Movie - Download Our Idiot Brother Online

The most impressive thing about 'My Idiot Brother' is that it accomplishes something few films deem important these days: It makes you want to be a better person. So, it's hard to fault the film, which carries with it a few speed bumps and an ending that feels a bit too cookie-cutter, because it just plain makes you feel good. From the story to the performances to the many unexpected moments of hilarity and heartache, there's a reason why 'My Idiot Brother' is one of the biggest (and most well-received) films at this year's Sundance Film Festival, and it begins (and ends) with one of Paul Rudd's greatest roles.

Rudd plays Ned, a hippie with a heart of gold who lives out on a farm with his hippie girlfriend, growing produce (and marijuana) while enjoying a quiet life full of farmers' markets and downtime hanging with his dog, Willie Nelson. But Ned isn't exactly playing with a full deck, and when he sells pot to a uniformed police officer, Ned is arrested, thrown in jail and replaced on the farm by another hippie boyfriend who's just as nice and honest as Ned. This little inconvenience forces Ned to leave the farm and shack up with each of his three New York City–based sisters (Elizabeth Banks, Emily Mortimer and Zooey Deschanel), who soon realize that their idiot brother is the best and worst thing to ever happen to them.

This would probably be a completely different movie if it weren't for its superlative cast, which stands as one the most successful ensembles at this year's festival. Not only are Banks, Mortimer and Deschanel all hilariously complicated in their own unique ways, but some of the film's supporting actors, like Steve Coogan, Shirley Knight and Adam Scott, manage to steal virtually every scene they're in.

'My Idiot Brother' is truly is Rudd's show, though, as Ned bumbles from one trendy New York apartment to the next, unwillingly tiptoeing across each sister's fragile personal life. Naturally Ned somehow finds a way to accidentally screw something up for each sibling -- from ruining a marriage for one to exposing infidelity for another -- but the funniest part about it all is that Ned is clueless the entire time. He's the live-action version of a dog -- of man's best friend: He loves everyone unconditionally, and expects those who surround him to be good-natured, down-to-earth folks just like him.

Except it's the complete opposite. Everyone around Ned is angry, detached and self-absorbed. To them, Ned is a slacker who has no idea how to manage his own life. He's pathetic, needy and a constant thorn in everyone's side. You can understand how that sort of tone could eventually crack through Ned's idealist persona, and you'd be right in predicting that it's only a matter of time before he snaps.

This is director Jesse Peretz's ('The Ex,' 'The Chateau') best film to date by far, though he finds a good amount of help in the script from first-time writers Evgenia Peretz and David Schisgall. Their screenplay does a fine job of mixing familiar Hollywood ideas with an indie flavor, and though the flick has a bit of a rough go while tying things up without feeling forced and cliché, 'My Idiot Brother' should still end up one of this year's most audience-friendly comedies. And that's not such a bad thing.