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October 8, 2010

Life As We Know It Movie

Filed under: Movies, Movies online, Release — Tags: , , , , , , — Kate @ 10:24 am

Life as We Know It (2010) Poster

Holly Berenson is an up-and-coming caterer and Eric Messer is a promising network sports director. After a disastrous first date, the only thing they have in common is their dislike for each other and their love for their goddaughter, Sophie. But when they suddenly become all Sophie has in the world, Holly and Eric are forced to put their differences aside. Juggling career ambitions and competing social calendars, they’ll have to find some common ground while living under one roof.

Production Status: In Production/Awaiting Release
Genres: Comedy, Drama and Romance
Running Time: 1 hr. 52 min.
Release Date: October 8th, 2010 (wide)
MPAA Rating: PG-13 for sexual material, language and some drug content.
Distributors:
Warner Bros. Pictures
Production Co.:
Josephson Entertainment, Gold Circle Films
TomKats Movie Catering, LLC
Company 3
Lola Visual Effects
yU+co
Panavision, Ltd.
Studios:
Warner Bros. Pictures
Filming Locations:
Atlanta, Georgia, USA
Produced in: United States

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If the clumsy title is any indication (what “Life”? What are “We” supposed to “Know”?) then, states Kimberly Gadette, we may be in for another rom-coma. But if it’s prettier than The Ugly Truth and livelier than Killers, perhaps there’s hope.

For critics who complain that the set-ups for rom-coms are all too predictable, this one’s certainly not been done before. Inventive? Sort of. Believable? Not on your life.

And yet the opening is still reliably formulaic. The Boy (Josh Duhamel’s Messer) shows up for a blind date with the Girl (Katherine Heigl’s Holly). He’s surly and rude, and she won’t stand for it. In what may rival the shortest date in history, he’s kicked to the curb within minutes. And so we have the usual set-up of instant enemies who will eventually go ga-ga for each other.

Life As We Know It.

In a quick montage, we watch these two over a three-year period, their initial hostility transformed into aggressive teasing. Since they are the mutual best friends of the couple who had set them up (the Novaks, played by Hayes MacArthur and Christina Hendricks), whenever the Novaks have a gathering, Messer and Holly are in attendance – at the wedding, the baby shower, the first birthday of the Novaks’ baby Sophie (played by Alexis, Brynn and Brooke Clagett). When the Novaks suddenly die in a car accident – hold onto your rom-com hats, here comes mission, um, implausible – it turns out that without any prior conversations, the Novaks had appointed their two best friends as co-guardians of their child, with the stipulation that they move into the Novak home together.

We’re probably as confused as Messer and Holly as we try to factor in the obvious. What if one of the singles wants to someday get married and have a family of his or her own? What if living under the same roof becomes unbearable? And how is it that neither of these two supposedly responsible parents, now dead, thought to consult their best friends before they wrote this guardianship into the will?

Life As We Know It.

Though screenwriters Ian Deitchman and Kristin Rusk Robinson have created some amusing supporting characters, and have peppered the script with very funny one-liners, it’s in their overall plotting that the film suffers. We want to enjoy the ride; but at the same time, this initial device of throwing two enemies together, neither of whom has had any child-rearing experience, into parenting an infant under the same roof is hard to swallow. Other glaring faults include the fact that the writers first introduce us to a churlish Messer, verging on the mean. Which makes the actor work doubly hard to win our affection. Surprisingly, we get no ensuing admissions from Messer as to why he first behaved like a cretin; we’re left to plug in that plot hole for ourselves.

As for the threat of the other lover (isn’t there always at least one?), we never understand why the smitten Holly decides that perfect Dr. Sam (Josh Lucas) isn’t “The One.” Again, we can assume the reasons on our own dime, but since we’re not the ones being paid to write the script, it would be nice to hear from the talent that did.

Life As We Know It.

This is a case where the acting outshines the problematic writing at every turn. Heigl has returned from the lower depths of The Ugly Truth and Killers, back to her earlier, Carole Lombard-like glory. She is appealing and vulnerable, a beautiful klutz. Not only do she and Duhamel get to play for laughs, but they each get the opportunity to explore their quieter, darker sides. The loss of their beloved friends, the frustrations of rearing an adopted child, the fright balanced with relief when the possibility looms that that same child may be taken away.

And Duhamel, far more familiar to audiences as the humorless Major Lennox in the Transformers series, is a rom-com lately. (Avoiding all mention of last January’s catastrophic When in Rome. Seriously. Don’t mention it.) His easy charm, quick grin and generous demeanor blend with a genuine depth of feeling. The first time his Messer sees baby Sophie after learning of his friends’ untimely death, his eyes fill with such emotion that it catches us by surprise.

Life As We Know It.

As for that oft-clucked lack of chemistry: happy to report that here, the heat’s on high. These two make a spirited, sparring couple, a delightful duo that may indeed prove to be the best rom-com coupling of 2010. (Sadly, given this year’s competition, it’s not that much of a contest.)

As for the assortment of supporting cast members, the spotlight shines brightly on the overweight diva neighbor (Melissa McCarthy, speaking with the only credible Atlanta accent in the film), bulldozing her outwardly-obsequious hubby who smiles as he mutters insults under his breath (Andrew Daly), the pushy social worker Janine (Sarah Burns) and the all-knowing 11-year-old babysitter (Britt Flatmo).

Though it won’t take your baby’s breath away, thanks to Greg Berlanti’s energetic direction and the combined efforts of an effervescent cast, Life As We Know It is one of the better rom-coms we’ve seen this year.

Rating on a scale of 5 infantile ideas: 3

Release date: US: 8 October 2010; UK: 8 October 2010
Directed by: Greg Berlanti
Written by: Ian Deitchman & Kristin Rusk Robinson
Cast: Katherine Heigl, Josh Duhamel, Josh Lucas, Hayes MacArthur, Christina Hendricks, Sarah Burns, Jessica St. Clair, Britt Flatmo, Melissa McCarthy, Andrew Daly
Rating: US = PG-13; UK = 12A
Running time: 112 minutes

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September 18, 2010

Buried

Filed under: Movies, Movies online, Release — Tags: , , — Kate @ 3:07 am

Buried (2010) Poster

Paul Conroy is not ready to die. But when he wakes up 6 feet underground with no idea of who put him there or why, life for the truck driver and family man instantly becomes a hellish struggle for survival. Buried with only a cell phone and a lighter, his contact with the outside world and ability to piece together clues that could help him discover his location are maddeningly limited. Poor reception, a rapidly draining battery, and a dwindling oxygen supply become his worst enemies in a tightly confined race against time – fighting panic, despair and delirium, Paul has only 90 minutes to be rescued before his worst nightmare comes true.

Production Status: In Production/Awaiting Release
Genres: Thriller and Mystery
Running Time: 1 hr. 34 min.
Release Date: September 24th, 2010 (limited), October 8th (wide)
MPAA Rating: R for language and some violent content.
Distributors:
Lionsgate
Production Co.:
The Safran Company, Versus Entertainment, Dark Trick Films
Filming Locations:
Barcelona, Cataluña, Spain
Produced in: United States

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FrICTION

Filed under: Movies, Movies online — Tags: , , , — Kate @ 3:07 am

Friction (2002) Poster

In this erotic thriller, a sexy young woman becomes seduced by money and power into the world of strip dancing. Wildly successful with the men who watch her, she becomes the target of a jealous stripper, who ensnares her in a violent, dangerous game.

MPAA Rating: R

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Picture Me

Filed under: Movies, Movies online, Release — Tags: , , — Kate @ 3:07 am

The story of the life, literary and motion-picture accomplishments of Kenneth Anger, a pivotal figure in the history of experimental film. Considered to be one of the major personalities of the 1960’s and 1970’s underground art scene, Kenneth defined himself as a “cinematographic magician” and his “cinema” as a ritualistic form. In 1947 in Los Angeles, while his parents were away, a young Kenneth took his family’s film camera and shot a short, dramatic film entitled “Fireworks”, which is now considered one of the seminal works of experimental film. Expressive, imagistic, sexually charged, and made with the help of friends (and apparently without a script), “Fireworks” brought to the screen an unconstrained vision and an almost unbelievable candor. Kenneth Anger also led in the field of visualization of homo-erotic imagery. “Fireworks” was a film that went beyond maturity and sexual conscience–an extraordinary event considering that it was made in 1947. Kenneth did not cross over to commercial cinema. Throughout his career he has been completely devoted to uncompromising expression. Since the 1960’s, Kenneth Anger’s films have been the subject of many books, film panels and film theory courses. Although he has never made a commercial music video, he has even been called the “Godfather of MTV”.

Production Status: Released
Genres: Art/Foreign, Documentary and Biopic
Running Time: 1 hr. 13 min.
Distributors:
Segnale Digitale, A Few Steps Production
Production Co.:
Segnale Digitale, A Few Steps Production
Financiers:
Canada Council for the Arts, Ontario Arts Council
Produced in: Canada

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Ben Stein’s Debate for Intelligent Design Lacks Substantial Argument

Dec 17, 2008 Rob Humanick

Ben Stein may be a certifiable genius, but his (in)ability to sufficiently craft an argument is so deprived that any rational person could be forgiven for mistaking him as outrightly deranged. His cinematic thesis, Expelled: No Intelligence Allowed, plays so poorly and laughably that one may very well mistake it for a lampoon of its subject matter (here, the debate between evolution and Intelligent Design).

Expelled is Short on Insight; Long on Assumption

Sadly, no such irony exists here. Expelled’s argument for ID is so dimly and laughably constructed that anyone who isn’t familiar with the topic could easily become overwhelmed – strike that – infuriated by the rampant assumptions and finger-pointing abundant therein. A disingenuous bit of propaganda masking itself as an informed and evenhanded documentary, Expelled makes one valid point before stepping permanently outside the lines of acceptability, that being that, despite its overwhelming popularity within the scientific community and the culture at large, Darwinian theory is incomplete insofar as it answers how life arose in the first place.

From this moment on, the film assumes that this lack of conclusive evidence on the part of the scientific community represents nothing less than proof of Intelligent Design. Period. End of discussion. Not for a moment does Stein even attempt to provide his own shreds of evidence, let alone an encompassing argument that could claim some sort of irrefutable proof. That this double-standard bias violates virtually every rule of rational debate (i.e. lack of evidence for one argument does not inherently render a sufficient counter-argument) makes it difficult to accept anything else that the film proceeds to establish is a given, and one made even more frustrating given Stein’s supposed dedication to scientific inquiry.

Science vs. Religion vs. Science & Religion

For him, ID needn’t be a religiously associated belief, but instead represents a viable scientific acknowledgment that entities beyond our understanding or perception may very well exist in the universe, and that such entities may have deliberately planned and created life as we know it. Call it God, call it the Big Bang, call it the unseen aliens that nurture mankind from across the cosmos in 2001: A Space Odyssey: the fact remains that, as to how life itself arose, we don’t know. It’s an essential truth and one that addresses the fundamental relationship between science and religion, but it’s one only appreciated between the lines in this rancid debacle of a film. Indeed, to grant Expelled any credibility beyond the opening minutes requires nothing short of a leap of faith.

Offensive Documentary Tactics

Stein interviews scientists both for and against ID, yet his methods of inquiry pander to inflammatory tabloid antics more than a genuine inquiry of the films chosen, loaded subject matter. Rather than pondering the notion of a God or how the rise of Christian fundamentalism has affected the ID debate within the scientific community (the film interviews several professors of science blacklisted for merely giving ID the time of day in serious discussion), Stein goes for easy targets and exploitative arguments that make some of Michael Moore’s tactics look saintly by comparison. Without going into great detail, Expelled goes so far as to equate the lack of free speech in today’s scientific community (itself a sad reflection on the status quo) with the sum loss of life at the hands of the Nazi’s in WWII.

Frightening as this is, it says nothing of Stein’s already gut-churning lack of humility; for a film so appalled at a dearth of open-mindedness, Expelled never even grazes the age-old conundrum of “If God made us, then who made God?” The imposed slant of the film rarely eases its stranglehold – even the anti-ID voices interviewed therein often feel deliberately handpicked for their lack of charm or grace in discussion as Stein lays out his bullying verbal traps. There are many who believe that a union between spiritual and scientific exploration is needed to foster any true progress in either category. With the utterly inept Expelled, Stein does nothing short of shooting himself in the foot, considerably setting back any such understanding in the process. No intelligence, indeed.

  • Expelled: No Intelligence Allowed movie poster - Premise Media Corporation

    Expelled: No Intelligence Allowed movie poster – Premise Media Corporation

  • Ben Stein in deep thought in Expelled - Premise Media Corporation

    Ben Stein in deep thought in Expelled – Premise Media Corporation

Last Day of Summer

Filed under: Movies, Movies online, Release — Tags: , , , , , , — admin @ 3:07 am

Last Day of Summer (2010) Poster

This dark and twisted comedy centers around, Joe, a put upon fast food employee who’s reached his breaking point. So on the last day of summer he decides to take revenge on the boss who’s tormented him. But a chance encounter with a beautiful customer throws a monkey wrench in his plans and ultimately…his life.

Also Known As:
Last Day of Summer
Production Status: In Production/Awaiting Release
Logline: An agitated fast-food employee decides to take revenge on his boss but has his plans disrupted by an encounter with a beautiful customer.
Genres: Comedy and Romance
Running Time: 1 hr. 45 min.
MPAA Rating: R for language throughout, some violent images and brief drug use.
Distributors:
E1 Entertainment Distribution
Production Co.:
The Vladar Company
Filming Locations:
New York, New York USA
Produced in: United States

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-By Frank Lovece

For movie details, please click here.

The character actor DJ Qualls, an odd scarecrow whose eyes can turn
from befuddled to feral in seconds, creates a tortured and
believable loser in this excruciating exercise from writer-director
Vlad Yudin—whose bio says he completed “the NYU Filmmaking
Program,” i.e., a certificate from the adult-ed division, and which
should not be confused with an MFA from the vaunted Tisch School of
the Arts. That distinction helps explain how this indie
psychological seriocomedy could misfire as badly and explosively as
a cheap gun.

Poorly shot and lit, draggy and padded despite its short running
time and structured as a series of narrative hiccups, this
shot-in-2008 feature is also remarkably defecation-obsessed: One
character, a burger-restaurant manager, keeps talking about
“feces,” even in front of customers, and there’s a lengthy sequence
of someone using the toilet, with full facial expressions and
detailed sound effects. One janitor has brown stains on his uniform
after cleaning a toilet, with a plunger he brings into the kitchen,
while talking about feces. If this feces fixation had more than a
marginal relationship to the plot or to the characters, you could
rationalize it as thematically relevant. As it is, it’s just crap
in a crappy movie.

Qualls—who like co-star Nikki Reed is one of the four executive
producers—admirably gives it his all amid a sea of amateurs and of
such farfetched plot items as a motel clerk (Lawrence Feeney)
reading a porn magazine with his pants undone while a customer
waits to check in. Masturbation also figures into the hero’s
backstory. In a nominally naturalistic movie, all these
teen-horndog, gross-out comedy antics mesh badly and confoundingly
with what the filmmaker apparently intended as a trenchant story
about an alienated and potentially violent young man.

That would be Gregory “Joe” Wilkes (Qualls), a high-school dropout
and put-upon janitor at the rundown Burger Haven, whose martinet
owner (the talented William Sadler, sadly over-the-top as a
caricature) heaps gratuitous indignities onto this
lowest-of-the-low. On the day he’s fired, Joe’s finally had it, and
he buys a gun with which to go back and go postal. He winds up
taking a young woman (Reed) hostage but, not being a killer at
heart and not wanting to go to prison either, doesn’t know what to
do with her.

That could have made for an intense, two-character locked-room
drama a la William Friedkin’s Bug or even this past spring’s
surprisingly sophisticated, one-hour season finale of “Family
Guy”—which, ironically, also involved excrement but in a thoroughly
organic and logical way. Yudin instead intercuts pointless inserts
about the restaurant owner and his clueless interactions with
employees and others—none of which has anything to do with the
larger story. Add lame jokes about using a “meat extender” and
you’ve an idea of this ostensibly serious movie’s jarringly
juvenile tone. Even the film’s score can’t decide whether this is
an eccentric comic romance or an edgy portrait of a disaffected
loner.

Fans of roadside Americana will at least appreciate the film’s
documentation of the Hazlet, N.J., landmark Jim’s Burger Haven, a
former drive-in restaurant used as one of the film’s primary
locations. The decades-old joint, with its vintage 1960s signage,
has since closed, its place taken by an AutoZone car-parts store.

The Freebie

Filed under: Movies, Movies online, Release — Tags: , , , , — Kate @ 3:07 am

The Freebie (2010) Poster

Darren and Annie have an enviable relationship built on love, trust and communication — they still enjoy each others’ company and laugh at each others’ jokes. Unfortunately, they can’t remember the last time they had sex. When a dinner party conversation leads to an honest discussion about the state of their love life, and when a sexy bikini photo shoot leads to crossword puzzles instead of sex, they begin to flirt with an idea for a way to spice things up. The deal: one night of freedom, no strings attached, no questions asked. Could a “freebie” be the cure for their ailing sex life? And will they go through with it?

Production Status: In Production/Awaiting Release
Genres: Drama
Running Time: 1 hr. 20 min.
Release Date: September 17th, 2010 (limited)
MPAA Rating: R for language and sexual content.
Distributors:
Phase 4 Films
Produced in: United States

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-By David Noh

For movie details, please click here.

Darren (Dax Shepard) and Annie (Katie Aselton) have been together a
while and are totally comfortable with each other. Maybe too
comfortable. Sex has become a very sometime thing with them,
although they certainly enjoy being in bed together, doing their
respective crossword puzzles. They decide to grant each other a
single night of infidelity.

Who, in any long-term relationship, hasn’t entertained the notion
of straying? It’s an endlessly intriguing concept and
writer-director Aselton at first seems game, but I wish her
approach had been more headlong, rather than sideways, as is all
too apparent in The Freebie. Darren and Annie are just too
nice, too ordinary and bland to engender much viewer passion in
their passion. They have that affectless Gen-Y (or is it Z by now?)
quality which is inoffensive to the point where you crave a little
blatant vulgarity, any sign of real, roiling life.

Humor is often the glue which holds such long-term relationships
together, but there is very little of it here (that placid
crossword puzzle activity says much). A couple of dinner party
scenes with friends whose yuppie talk rather goads them into action
provide a little respite from all their cocooning. The most
interesting scene is their first discussed broaching of adultery,
but it’s something of a chore to sit through, what with Aselton’s
meditative pacing and smothering use of close-ups.

The two finally get off their duffs and go trawling, he to a comely
neighborhood barista he’s eyed for a while and she to the local
bar. Stuff seems to be definitely happening, but then Aselton coyly
cuts away from any real—excuse the expression—climaxes, as if
operating under her own self-imposed Hays Code. It’s all, of
course, meant to suggest that imponderable mystery of human choice
and behavior (yawn), but it merely further renders totally sexless
a film purporting to be about sex. The great Hungarian playwright
Ferenc Molnar, in his play The Guardsman, knew how to use
this type of suggestiveness for real provocative wit rather than
irritating obfuscation.

When literally comes the dawn—to add even more antediluvian
flavor—and the two must fess up, Aselton goes all traditionally
moralistic. Darren says that he couldn’t go through with it, and
then rages at Annie for doing what he shied from, and calls her a
whore. “But I really didn’t!” she pipes, and you know what? We
simply don’t give a f*** about their f***s.

Devil

Filed under: Movies, Movies online, Release — Tags: , , , , — admin @ 3:07 am

Devil (2010) Poster

In this supernatural thriller, a group of people are trapped in an elevator.

Logline: A group of people are trapped in an elevator, and one of them is the devil.
Genres: Suspense/Horror and Thriller
Release Date: September 17th, 2010
MPAA Rating: PG-13 for violence and disturbing images, thematic material and some language including sexual references.
Distributors:
Universal Pictures

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srijeda, srpanj 28., 2010. 0:17

Piše: Dragan Antulov

POČETAK
(INCEPTION)
uloge: Leonardo Di Caprio, Ken Watanabe, Joseph Gordon-Levitt, Marion Cotillard, Ellen Page, Tom Hardy, Cillian Murphy, Dileep Rao, Tom Berenger, Michael Caine
scenarij: Christopher Nolan
režija: Christopher Nolan
proizvodnja: Warner Bros, SAD, 2010.
trajanje: 148 ‘

U posljednje vrijeme se filmske kritičare u svijetu može podijeliti u dva tabora – u one koji svaki film Christophera Nolana proglašavaju remek-djelom prije nego što je itko imao prilike pogledati ijedan njegov kadar i one koji zbog toga izražavaju zgražanje ili čuđenje. Razlog za to je prvenstveno u tome što je Nolan pronašao ono što predstavlja Svet graal svakog holivudskog filmaša, odnosno reputaciju rijetke zvjerke koja je u stanju “umjetničkim” filmovima steći naklonost kritike isto onako kao što njegova “komercijalna” ostvarenja pune kino-blagajne. Među ovo potonje spadaju dva ostvarenja novopokrenute franšize o Batmanu, shvaćena kao sredstvo kojim Nolan kupuje strpljenje i podršku komercijalnih studija za “osobna”, odnosno umjetnički ambiciozna i “intelektualno stimulativna” ostvarenja. Najnoviji “umjetnički” projekt je Početak, SF-triler koji je, začudo, imao prilično dobre rezultate na blagajnama pa se može shvatiti i kao “punokrvni” blockbuster.

Radnja je smještena u blisku budućnost gdje su farmacija, psihologija i tehnologija napredovale dovoljno daleko da omoguće dijeljenje ljudskih snova. Kao i svaka tehnologija, tako i ova omogućuje zloupotrebe – u ovom slučaju je to neovlašteni ulazak u snove svjetskih moćnika iz čije podsvijesti stručnjaci kao što je Dominic Cobb (Di Caprio) iznose najpovjerljivije tajne. Cobba, koji je zbog svojih kriminalnih aktivnosti postao međunarodni bjegunac odvojen od obitelji, japanski tajkun Saito (Watanabe) unajmi kako bi upao u snove Roberta Fischera (Murphy), nasljednika njegovog glavnog poslovnog suparnika. Misija je teža nego obično, jer Saito traži da se u Fischerovu podsvijest umjesto krađe umetne ideja koja bi mogla dovesti do propasti njegovog imperija. Cobb za taj posao okuplja tim vrhunskih stručnjaka, ali će misija svejedno postati teška, i to zbog Mal (Cotillard), Cobbove destruktivne supruge koja stalno vreba iz njegove podsvijesti.

Svatko onaj tko bude tražio nedostatke u Početku na kraju će ih pronaći, ali će za to morati uložiti daleko veći napor nego što je u slučaj s mnogim slično razvikanim holivudskim ostvarenjima. Christopher Nolan još jednom dokazuje kako predstavlja jednog od tehnički najnadarenijih redatelja naše generacije – oboružan visokim budžetom, u Početku prilično efektno i s velikom dozom discipline dočarava svjetove koji istovremeno mogu pripadati i snovima i javi, odnosno u kojima je sve moguće. Ono što je u svemu tome najbolje jest da specijalnim efektima oživotvorene vizije ovdje, za razliku od većine holivudskih ostvarenja, služe zapletu i centralnoj ideji filma, a ne obrnuto. Nolanu, koji je napisao i scenarij, veliku je pomoć uz sjajnu glumačku ekipu dao i skladatelj Hans Zimmer, čiji je soundtrack za Početak jedan od rijetko upečatljivih ostvarenja filmske glazbe u posljednje vrijeme.

Ono što bi Nolanu mogao biti problem jest možda upravo njegov perfekcionizam, koji se kod nekih filmaša vrlo lako može izraziti i kao mrtvačka ozbiljnost, ali hladnoća prikaza radnje i likova. Mnogo ozbiljniji nedostatak, ako se to može nazvati nedostatkom, možda je i u nedostatku originalnosti, odnosno činjenici da su ideje i teme kojima se bavi ovaj film zapravo prilično često obrađivane na filmu.

Gledatelji, čak i oni koji su već zaboravili razvikani Matrix, će doživjeti niz deja vua. Za njega će djelomično biti zaslužan i Leonardo Di Caprio, čiji će se lik teško otresti sličnosti s likom u Otoku Shutter, koga je tumačio samo nekoliko mjeseci ranije. Usprkos svega toga, Početak zaslužuje preporuke; Nolan, čak i kada nije onako dobar kao fama koja se stvori oko njegovih filmova, gledateljima pruža zabavu za osjetila i intelekt na način koji se čini iznad mogućnosti najvećeg broja njegovih kolega.

OCJENA: 8/10

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Easy A

Filed under: Movies, Movies online, Release — Tags: , , , , — Kate @ 3:07 am

Easy A (2010) Poster

After a little white lie about losing her virginity gets out, a clean cut high school girl sees her life paralleling Hester Prynne’s in “The Scarlet Letter,” which she is currently studying in school — until she decides to use the rumor mill to advance her social and financial standing.

Production Status: In Production/Awaiting Release
Genres: Comedy
Running Time: 1 hr. 32 min.
Release Date: September 17th, 2010 (wide)
MPAA Rating: PG-13 for mature thematic elements involving teen sexuality, language and some drug material.
Distributors:
Sony Pictures Releasing
Production Co.:
Olive Bridge Entertainment
Central Casting, Inc.
The Event Department
Animals of Distinction
Reel Team
Sony Pictures Scoring Stage
Picture Mill
Sony Colorworks
Zoic Studios
Studios:
Screen Gems
Filming Locations:
Ojai, California, USA
Produced in: United States

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Alpha and Omega

Filed under: Movies, Movies online, Release — Tags: , , , , , , , , — Kate @ 3:07 am

Alpha and Omega (2010) Poster

What makes for the ultimate road trip? Hitchhiking, truck stops, angry bears, prickly porcupines and a golfing goose with a duck caddy. Just ask Kate and Humphrey, two wolves who are trying to get home after being taken by park rangers and shipped halfway across the country. Humphrey is an Omega wolf, whose days are about quick wit, snappy one-liners and hanging with his motley crew of fun-loving wolves and video-gaming squirrels. Kate is an Alpha: duty, discipline and sleek Lara Croft eye-popping moves fuel her fire. Humphrey’s motto – make ‘em laugh. Kate’s motto – I’m the boss. And they have a thousand miles to go. Back home rival wolf packs are on the march and conflict is brewing. Only Kate and Humphrey can restore the peace. But first, they have to survive each other.

Also Known As:
Alpha & Omega
Production Status: In Production/Awaiting Release
Logline: 3-D
Genres: Kids/Family and Animation
Running Time: 1 hr. 28 min.
Release Date: September 17th, 2010 (wide)
MPAA Rating: PG for rude humor and some mild action.
Distributors:
Lionsgate
Production Co.:
Crest Animation Productions, Inc.
Computational Research Laboratories Ltd
James Newton Howard Studios. Inc.
Digital Domain
Warner Brothers Eastwood Scoring Stage
MHz Sound Design Inc
Studiopolis Inc
Level 3 Post
Technicolor Digital Intermediates
Blink Digital Productions
Studios:
Lionsgate
Filming Locations:
Los Angeles, California USA
Los Angeles, California, USA
Produced in: United States

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Kings of Pastry

Filed under: Movies, Movies online, Release — Tags: , , , , — admin @ 3:07 am

Sixteen top pastry chefs find making heavenly French desserts, such as eclairs, croquenbouches, and chocolate mousse, to be instruments of near torture. France’s highest chef honor, the Meilleur Ouvrier, is awarded once every four years. The back-breaking competition lasts for three days and the chefs must create round after round of fanciful confections while a team of judges times, inspects, and samples every morsel.

Production Status: In Production/Awaiting Release
Genres: Documentary
Running Time: 1 hr. 26 min.
Production Co.:
Pennebaker Hegedus Films, BBC (Main Listing), VPRO
Filming Locations:
Alsace, France
Produced in: France

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