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.

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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.