Breaking Dawn

In so many ways, Breaking Dawn, Part One is a remake of The Deer Hunter. The first half of the movie is a seemingly endless wedding sequence and the second half is all about horrible things happening horribly to people who can barely comprehend just how badly they're screwed. That wedding is between Bella and her creepy boyfriend Edward. Those horrible things happening horribly include vampire/human sex so brutal that beds are crushed flat (bringing Man of Steel, Woman of Kleenex to mind), the creation of a fast growing vampire baby whose womb kicks can break bones, a full-blown Werewolf vs. Vampire war over this vampire baby and, finally, somehow, a full-grown werewolf falling in love with said vampire baby. A surprising number of things happen in the second half of this film (after a first half that is typical for the series in that nothing much happens), but little tops the concept of a werewolf falling in love with a baby. Except for the scene where the werewolves have a group meeting and their psychic, English-language communications are dubbed over their growling. And the scene where Edward performs a cesarian section on his dying wife with his teeth. Have I mentioned that this movie is nuts?
This is the one where Bella and Edward tie the knot, but that does nothing to alleviate the rivalry between the two men in Bella's life. In fact, Jacob shows up to Bella's wedding and does his best to ruin her day because, you know, Edward is going to totally make her into a vampire and ruin her life. He's right, but crashing a woman's wedding and acting like a drama queen is just not cool, man. Like in Eclipse, Edward and Jacob are forced to team up to defend Bella, but their interactions are more hateful than usual this time around. With Bella dying thanks to his spawn totally wrecking her frail human body, Edward asks Jacob to kill him if Bella dies. Jacob refuses, not because he's a good guy, but because he'd want Edward to live with the crushing guilt. In the Twilight saga, spite is the name of the game. Glorious, painful spite. Both of these guys are awful.
Bill Condon, more than any other director involved in this series, knows exactly what kind of movie he's making here. This is not only the silliest film in the series, it's one of the silliest films I've ever seen, a collection of scenes so bizarre, off-putting and melodramatic that it has to be seen to be believed. Just direct your attention to the Hot Supernatural Action section if you don't believe me. To put it bluntly: this sh*t is nuts. Condon's direction is Douglas Sirk by way of David Cronenberg; big, shameless camp pushed through a thoroughly disgusting, morally depraved filter. Still, in true Twilight fashion, the film still plays it all as a straight, open-hearted romance. I'm glad I don't have to write a full review of this movie because I literally have no idea what to make of it. For better or for worse, Condon has crafted a film too stupid to live, too weird to ignore and too fascinating to not see and not talk about.
This was my first Twilight film seen in a theater and I cannot recommend this experience enough. The enthusiasm people have for this series is so infectious that it's easy to get swept up in it all, even though you're well aware of just how dumb all of it is. When Jacob rips off his shirt thirty seconds into the film, the (mostly female) audience erupted into cheers. When Jacob and Bella discussed the future of her child, a nearby audience member openly wept while I giggled like a sadistic madman. Never mind the increasingly creepy things going on in this series (a werewolf falling in love with a baby; Bella demanding that Edward have sex with her even though he's wrecking her body and literally destroying the bedroom). To the fans, this is bold, beautiful and epic. I've not hidden my belief that all of this is stupid, creepy and thoroughly uncinematic, but it's rare to see a film hold an audience in such a strong thrall. I'm pretty sure that watching these films alone would've been a mind-crushing experience, but seeing the first three amongst friends (with plenty of snark in the air) and seeing Breaking Dawn, Part One amongst devotees made all of this worth it. Now I have to see the last one.

'Martha Marcy May Marlene

I don't put a lot of stock in the Academy Awards. Oh sure, I love that we get a fancy awards show that spotlights movies, but the program comes with so much irritating baggage that I can't help but try and tune it out until Oscar night actually appears.
But I recently saw an excellent indie film that deserves mention for a variety of things, but most specifically for its masterful editing. The movie is called Martha Marcy May Marlene, and on the whole it is a powerfully impressive story about a young woman who escapes from a creepy cult, only to have a lot of trouble getting used to "normal life" with her estranged sister. This fantastic indie is not only one of the best films I've seen all year, and not only does it feature some truly excellent components, but it may be one of the most beautifully edited films I've ever seen.
First-time writer-director Sean Durkin and film editor Zachary Stuart-Pontier tackle this fascinating character study with an editorial approach that slips effortlessly between its two stories -- and every time the movie switches between alternating tales, the quiet, subtle, frankly brilliant editorial style offers the viewer another facet to the tragedy, another pointed comment on the drama, or another clue as to the internal struggle of our beleaguered lead character. The three leads -- Elizabeth Olsen, Sarah Paulson, and John Hawkes -- deliver flawless work, and Martha Marcy May Marlene is frequently bolstered by sharp dialogue, evocative music, and a palpable sense of quiet intimacy, but it's the editing that elevates the film into something truly special.
I took to the twitter pipes to share my thoughts on the movie in general and the editing in particular, but most of the Oscar gurus I know say that Martha Marcy May Marlene has no shot at getting nominated for Best Editing. If that is true, then the Oscars are truly a farce. I beseech any and all Academy members to sit down with this excellent film and see what they think. And please do pay close attention to the editing.

Introduction Of The Film Noir Scale

When I, or likely most people, think of film noir, there’s no real tangibility to what is visualised. With westerns, it’s pretty easy to rattle off cowboys-n’-indians, cacti, deserts, horseback riding and gunslinging, and so as a genre it’s rather concrete. Same with period dramas; elaborate costumes, archaic language, sweeping soundtracks, constant subtextual comparisons with the modern day. Action or adventure movies don’t have as much of an absolute visual or thematic code, but there are still some fairly reliable constants, mostly involving explosions, macho-yet-flawed male protagonists (or, in clearly lampshaded subversions, sexy-yet-deadly female leads), a sense of the underdog going up against the big-bad, and any number of set-piece conflicts.
Science fiction is even harder to pin down, to the point where almost any piece of weird fiction that doesn’t readily subscribe to magic (or, in other words, pretends that its events exist in some kind of scientifically sound universe) can be placed within the genre. Finding similarities between Star Wars and Children of Men is a tricky matter, yet both are arguably science fiction; on the contrary, classifying No Country For Old Men as a revisionist western is possible not because the film strays from traditional western codes, but because it subscribes to enough of them to differentiate it from typical thrillers, etc. Westerns are obvious because their signifiers are so absolute; science fiction films are identified as such merely because they appear to be self-evidently science fiction films.
So we come to film noir, which is even harder to really pin down as a genre. Its storylines vary wildly, and usually function merely as mysteries or thrillers without the trappings that classic film noir (by classic film noir, I am generally talking about the good old black-and-whites from the forties and fifties) dresses itself within. It is these trappings, however, that make up my scale. Some of them are pretty well-defined, the most iconic of which is the femme fatale. This female character is a beautiful, promiscuous woman who seeks personal gain or advantage through the seduction and manipulation of men; the other variation on the femme fatale theme is she who the male protagonist can’t resist, yet who ultimately leads him to encounter great danger, often life-threatening. She often dies at the end, or at least suffers great physical or emotional damage as the film rolls on; within the text of the movie she gets repeatedly ‘punished’ for her transgressive behaviour. After the male lead, she is the main character, and storylines frequently revolve almost entirely around her. Think Phyllis Dietrichson (Barbara Stanwyck) in Double Indemnity for an archetypal fatale; then bounce off to Vera (Ann Savage) in Detour, Vivian Rutledge (Lauren Bacall) in The Big Sleep or, for an interesting play on the manners of seduction, Norma Desmond (Gloria Swanson) in Sunset Boulevard.

Download movies

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Download movies. You can buy a dvd or vcd of your favourite movie but it can take a cost to provide your favourite movie dvd.  While online movies is available for you with free of cost why you need to do this, this can give you a free and more efficient feature to watch your favourite movie.  With a few click on a site and with a good and high resolution picture starts on your computer, is this not efficient than other to watch your favourite movie.

 Movie VCD and DVD prices have come down over time due to low production costs.  If you have the knowledge about economy then you can understand what happen when the costs associated with the accumulation of capital, why mass production continuous reduces. On the other hand, you will at once by a dvd and then through it in bin.  If you are using a download site this may very helpful to you with lifetime membership which gives you access unlimited movies.  You can download the movies by a movie site.

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A Variety Of Movie Reviews

   Everyone has a viewpoint, however , you might not necessarily care about what everybody says. After       all,individuals each have their very own set of preferences. As you appreciate romantic comedies, an additionalreviewer may prefer to watch horror movies. With such opposite tastes in movie genres, how can your reviews often be good for each other?  Surprisingly, movie reviews are incredibly useful even though you have a variety of private biases involved. The key is to know how to comprehend the movie reviews you read. By taking note of what are the most of reviews say in regards to a movie, you could save your self from sitting through a pointless film that you won't appreciate. However, you might read lots of positive reviews in regards to a movie you would not usually appreciate. This might help you think about watching a film that you wouldn't usually think about. You might find a new favorite that you would have missed otherwise.
   The internet has dozens of movie news web sites that also boast movie reviews. You can find movie reviews compiled by professional movie critics who've extensive knowledge of the film business. These critiques in many cases are much more formal and therefore are written with the population as a whole in your mind, instead of any one particular demographic. You can also find the general public's reviews in forum kind web sites. While you're reading these movie reviews, attempt to consider the movie reviews as a whole. If most of the reviews say a movie is terrible, then its not likely a good film. However, if the majority says a movie is great, you probably won't regret going to view it.
    Movie news may also be helpful in your pursuit to savor the theater. You'll find out release dates for that upcoming films. If you prefer to watch movies in your own home on DVD instead of in additional costly cinemas, you can watch for DVD release dates on movie news too. You can keep tabs on your favorite actors and actresses with movie news. Numerous sites may even give you a filming schedule and website info. Movie news opens your vision to a entirely unique a part of filming. You'll begin to know very well what goes into making a movie and you will appreciate the films you see with an entirely new level.One of the most exciting parts of movie reviews is giving your own opinions in the forums. After you visit  a film, be sure you contribute your own thoughts about it by going to message boards. If you read positive reviews and thought the movie was horrible, be sure you say some thing about this on these forums! This can be a fantastic considerate thing to do for other movie goers also it can be fun to engage in discussions about why you enjoyed or hated a movie. Movie reviews could save you time and money as you grow much more selective

The Aesthetic Brilliance of Fantasy Movies

　　Fantasy movies are a fantastic way of escaping from trials and tribulations of the real world. I can remember watching The Never Ending Story when I was about four and wondering what the fur/feathers of Falkor might feel like. I am still really fascinated with the design of these worlds and how artists collaborate together; costume designers, the hair and makeup professionals, set designers, animators (computer and hand alike), to create extraordinary realms.
　　There are currently several design trends afoot in the design of movies and it is my goal to recognize the changing aesthetics of this genre and attempt to relate the designs meanings to happenings in the real world.
　　There are many movies I am absorbing myself in to get a feel for what trends are out there. Currently on the movie scene is Coraline, Inkheart, Land of the Lost, Harry Potter and the Half Blood Prince. Coming soon is 9, Cloudy with a Chance of Meat Balls, Alice in Wonderland, Where the Wild Things are, Imaginarium of Doctor Parnassus, and The Spiderwick Chronicles.

The Aesthetic Movie

　　If you are restless and you like travelling the world.if you never seem to find the right place…then this movie by Sam Mendes might just be what the doctor ordered. With almost 2 years delay the movie is coming to Italy. A movie you could place somewhere between the aesthetic of indie movies and the big Hollywood productions.
   If American Beauty was side blow against suburban America and the bourgeoisie and Revolutionary Road about the youth that sooner or later ends in a bourgeois life then Away We Go is again about the problems between the generations but this time from a modern point of view.
    From the eyes of a couple that is looking for a place to settle down. The viewer accompanies them on their journey discovering the most incredible places in the US.It is pretty hard to forget American Beauty and all the awards this movie won then.
    Not only for Mendes as the director but also Alan Ball, the talented script writer. But life and the filmography of this brilliant director continue. Movies like Revolutionary Road, another of his celebrated movies starring Kate Winslet and Leonardo DiCaprio or Jarhead and Road to Perdition. This time around he went without big internationally known actors: John Krasinksi and Maya Rudolph.

Smallville’s Tom Welling Being Courted for Movie Gig at Marvel

With Smallville hurtling towards its two-hour series finale this Friday, many are not only wondering how the show will end (will Clark indeed don the suit; how will the lives of the various characters end up, etc?) but also what will become of the cast.
And by cast, of course, we mean Tom Welling. The actor already has an office at Warner Bros and is producing the CW series Hellcats…but that’s not the only trick under his cape. According to What’s Playing, the actor is being eyed for movie work at DC rival Marvel Studios. But doing what? Read on…
What’s Playing reports that Welling is being scrutinized by Marvel for a possible role in one of their forthcoming comic book to film adaptations. In many ways it may seem unconventional that the studio is looking at Welling—given his long association with the DC franchise and relative inexperience with big screen productions (his appearance in Rupert Wainwright’s 2005 remake of John Carpenter’s The Fog as well as two appearances as Charlie Baker in the Steve Martin franchise, Cheaper by the Dozen being the notable exceptions). The actor certainly comes with a built in audience thanks to his work on Smallville, and many believed he should have played Superman instead of Brandon Routh in Superman Returns, or been cast as the Man of Steel in Zack Snyder’s upcoming Superman film. Welling wasn’t considered, likely because his association with a small screen version of the character would come with all the baggage and ‘scale limitations’ people associate with television.
Moreover, Marvel has demonstrated a knack for courting and signing big name movie talent to its hero franchises in recent years — and there’s the box office draw they automatically bring — so it again begs the question: Why Welling…and for what role? As we see it, the options are essentially as follows:
A lead in one of the lesser known (we call them B-level) superhero films that Marvel is developing.
A supporting role in same.
A single member of a larger ensemble group, or a supporting role here.
Iron Fist, Ant Man, Doctor Strange, Deathlok? Still not roles we readily associate with Welling.
Or, might Welling serve as a villain of some sort in any of these other lesser known properties? Now that’s a take which almost makes more sense. Welling definitely showed his acting chops when playing the alternate Clark, or when under the influence of red kryptonite.
It’s interesting to note that according to What’s Playing, Welling was “checked out” to play opposite Kristen Stewart for the role of the Huntsman in Snow White and the Huntsman, but that role has now gone to Chris Hemsworth.
We welcome your thoughts on all of this below.

Poltergeist Reboot Scares Up Cerebral Writer

It was recently revealed that MGM has been intending to re-imagine Steven Spielberg’s 1982 horror film Poltergeist.
According to Vulture, the studio has approached the Pulitzer-prize winning playwright/screenwriter David Lindsay-Abaire (Oz: The Great and Powerful, Rabbit Hole) to penn a new version of the paranormal classic, possibly suggesting that a more cerebral version of the project is being sought. Back in 2008, the studio hired the Boogeyman writing team of Stiles White and Juliet Showden for the remake. Most recall that particular film as being a lackluster entry in the world of horror movies.
Lindsay-Abaire confirmed the offer to the magazine, but said he has yet to decide if he wants to tackle the project.
The original story revolves around a young family who are visited by ghosts in their home. At first the ghosts appear friendly, moving objects around the house to the amusement of everyone, then they turn nasty and start to terrorize the family before “kidnapping” the youngest daughter.
Directed by Tobe Hooper, Poltergeist marked Spielberg’s first great success as a producer. Released about the same time as his film E.T., Poltergeist showed the dark side of the filmmaker’s interest in California’s modern suburban track homes. The film also became famous for launching the now-famous “Poltergeist curse”, which you can read more about here.

As New 007 Rumors Surface, We Ask: Is Daniel Craig Irreplaceable as James Bond?

Looking back over the pantheon of James Bond films since the original Dr. No in 1962, it doesn’t take long to recognize which actors have held the franchise high upon their shoulders, and which were merely going through the motions.
Sean Connery will, perhaps, always be most closely associated with the character. After playing 007 six times over more than two decades in Dr. No, From Russia with Love, Goldfinger, Thunderball, You Only Live Twiceand Diamonds are Forever (we won’t count 1983′s Never Say Never Again), Connery epitomized what readers had always loved about the character, even if author Ian Fleming was unconvinced about producers Albert R. Broccoli and Harry Saltzman’s choice of a Scotsman in the beginning.
Suave? Check. Debonair? Check. Requisite attitude and physicality? Check. Cheeky? Oh, yeah. Connery’s 007 was a man’s man, a wise-cracking chauvinist in an era of Cold War politics and innovative villains.
Then there was the incomparable Shirley Bassey singing the themes for Goldfinger and Diamonds Are Forever; the former still voted as the best Bond theme of all time.
To really get a sense of the influence of Connery’s Bond, and what made his original rendition of the character so memorable, listen to what Steven Spielberg had to say at the AFI’s Salue to Sean Connery a few years ago, using the embedded player directly below.
Meanwhile, the gentlemanly Roger Moore — while a fine actor who was wonderful as Simon Templar in the original ITV series The Saint — simply lacked the edge and physicality that had come to define Connery. It’s easy to see why the Bond producers saw him as the logical choice, but that didn’t necessarily make him the correct choice. The contrast in styles was too jarring after Connery had so completely defined the role.
Pierce Brosnan as James Bond. The right actor at the wrong time.Other actors from George Lazenby to Timothy Dalton tried to put their stamp on 007 (Dalton actually doing a reasonable job in 1987′s The Living Daylights), but something was always missing.
Meanwhile, the world was changing around Bond. No longer a product of post-WWII and Cold War espionage, 007 was quickly turning into an anachronism, even as he was on a far more perilous road to full self-parody. As geopolitics changed, so too did the direction from which threats came. By the time Pierce Brosnan arrived, it all necessitated more complicated story plotting, but, sadly, with that also came an over-reliance on unlikely gadgets and too-often silly circumstances. As good as Brosnan was (and he was good), his sort of Bond would have excelled better in the 1970s, where Moore’s was left far too flaccid.
Few believed Daniel Craig could possibly be a good choice when he was announced to play James Bond back in late 2004. He wasn’t particularly tall. He wasn’t particularly dark (quite the opposite, in fact, with his blonde hair). He didn’t seem to particularly exude stature or presence. Yet producers Barbara Broccoli, Michael G. Wilson and director Martin Campbell saw something in the then 37 year-old actor…something we would all come to see when Casino Royale opened in theaters November 17, 2006: a tough, gritty, no-nonsense 007 ready to defend Queen and country, albeit without the usual double-entendres or invisible cars. The road to self-parody had been abandoned; the franchise given a new lease on life.
Daniel Craig as James Bond, 007. Certainly the best Bond since Sean Connery, and perhaps the best Bond ever.Craig took everything that worked so well for Connery, but humanized the character more…while at the same turning him into a gritty, Bourne-crushing “blunt instrument

JJ Abrams Promises ‘Amazing Ideas’ for Star Trek Sequel

Back in the late ’90s when yours truly was pitching to the Star Trek franchise, I recall a conversation I had with writer/producer Rene Echevarria in his office. It stemmed from the difficulty writers had in trying to recapture the pioneering spirit of exploration that had so wonderfully characterized the original ’60s series. Episodes that began where the Enterprisesensors were picking up some unusual object, entity or anomaly were among the series’ most fascinating — and coincidentally — best. The opening teaser and first act of “The Corbomite Maneuver”, for example, perfectly captured the essence of what the show was about.
At its essence, this is what separated Star Trek from Star Wars. It’s all in the name, really. One is about a trek through the stars — and all that it entails — while the other is about a war amongst the stars.
By the time Star Trek: The Next Generation and its spinoffs arrived, it became increasingly difficult to tell stories that captured that pioneering “OMG…what is THAT on the view screen?!” type of feel. Character drama and morality plays — which admittedly had also been in abundance in the original series — were the norm…while episodes like the aforementioned “Corbomite Maneuver” were practically non-existent.JJ Abrams directs Zachary Quinto in Star Trek (2009).Echevarria, a routinely excellent writer, intimated that the original series had really put the lock on those types of exploration stories, and that it was subsequently very difficult to come up with fresh ideas and repeat the formula in any meaningful way, given the era in which the original series debuted, versus the 1990s.
But now we find ourselves in a new era, with a reborn Star Trek…under the stewardship of JJ Abrams. In a new interview with MTV, Abrams said that he will quickly move to the Star Trek sequel as soon as his responsibilities with Super 8 — the film he made with Steven Spielberg, due for release on June 10 — are complete.“Now that ‘Super 8′ is drawing to a close in terms of this post schedule, I’m looking forward to jumping in and hopefully getting that ready as soon as possible.”
But what kind of story can we expect…and it could it incorporate some of that “exploration of the unknown” element I alluded to above?Abrams confirmed that there still isn’t an officially approved script for the Star Trek sequel, but said “we’re working on it.” He also mentioned that for the sequel, Lost veteran Damon Lindelof is working with Roberto Orci and Alex Kurtzman. So far, all Abrams will promise is “amazing ideas.”
“Damon is working on the script for this one. As busy as I’ve been with ‘Super 8,’ I remember that when we did the first one, Damon was that busy with ‘Lost.’ So it’s going to be very cool to have him on board as a writer…There are some amazing ideas. These are not just great friends of mine, but they’re great writers. I’m thrilled and very optimistic that it’s going to get to where it needs to get to.”
Speculation for the new film has run from Khan…to the possibility of Gary Mitchell appearing in the story. Klingons have also been discussed.For yours truly, I would like to see the Enterprise encounter something truly epic and beyond imagination. It’s a tall order, and for a tentpole franchise both the studios and the filmmakers may want to stick with the tried-and-true action-adventure mold. But Gene Roddenberry’s Star Trek was also about big ideas and exploring the unknown. I’m not suggesting that the film needs to be ponderous and overtly cerebral likeStar Trek: The Motion Picture, but some of the best scenes ever shot on film for Trek are still found in the original series. For an example of what I mean, watch the below clip from “The Corbomite Maneuver”.