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"The Clash of the Titans" is set in the Greek city of Argos where a war is about to explode between man and the gods. Persesus (Sam Worthington) raised as a fisherman, but is actually a demi-god. Persesus is the bastard son of Zeus (Liam Neeson) who is about to take on the gods after the death of his family. Zeus' brother Hades (Ralph Fiennes) was the one who kill his family, and Persesus wants to kill him. However, it is Persesus' destiny to rescue the city of Argos from the ruthless rage of Hades and his Kraken monster. With nothing to lose, Persesus leads a band of soldiers on a quest to defeat the Kraken. In doing this, Persesus will prevent Hades from overthrowing Zeus and in turn destroying mankind. Douglas Young
Water. Earth. Fire. Air. In the old days, there was peace between the four nations of the world. The Avatar -- Master of all four elements -- kept peace between the the Water Tribes, the Earth Kingdom, the Fire Nation, and the Air Nomads. Only the Avatar has the ability to Bend (manipulate) all four elements, but one day, he Vanished. Then the Fire Nation attacked, forcing a war on the other three nations for one hundred years. Now, for the good of the world, it's up to 12-year-old Aang (Noah Ringer), the new Avatar, and the last of the Air Nomads (Airbenders), to return peace and balance by putting an end to the war and mastering all four elements. Aang must accept his destiny by stopping the Fire Nation's war and defeating the Fire Lord for good. Release Date: 2 July 2010
After finally catching serial killer and occult "sorcerer" Lord Blackwood, legendary sleuth Sherlock Holmes and his assistant Dr. Watson can close yet another successful case. But when Blackwood mysteriously returns from the grave and resumes his killing spree, Holmes must take up the hunt once again. Contending with his partner's new fiancée and the dimwitted head of Scotland Yard, the dauntless detective must unravel the clues that will lead him into a twisted web of murder, deceit, and black magic - and the deadly embrace of temptress Irene Adler. Written by The Massie Twins
In the future, Jake, a paraplegic war veteran, is brought to another planet, Pandora, which is inhabited by the Na'vi, a humanoid race with their own language and culture. Those from Earth find themselves at odds with each other and the local culture. Written by Giorgio_C
When his brother is killed in battle, paraplegic Marine Jake Sully decides to take his place in a mission on the distant world of Pandora. There he learns of greedy corporate figurehead Parker Selfridge's intentions of driving off the native humanoid "Na'vi" in order to mine for the precious material scattered throughout their rich woodland. In exchange for the spinal surgery that will fix his legs, Jake gathers intel for the cooperating military unit spearheaded by gung-ho Colonel Quaritch, while simultaneously attempting to infiltrate the Na'vi people with the use of an "avatar" identity. While Jake begins to bond with the native tribe and quickly falls in love with the beautiful alien Neytiri, the restless Colonel moves forward with his ruthless extermination tactics, forcing the soldier to take a stand - and fight back in an epic battle for the fate of Pandora. Written by The Massie Twins
The filmmaking trio behind the hit sci-fi sequel Terminator 3: Rise of the Machines re-team to explore a future in which humans live in isolation while only communicating with their fellow man through robots that serve as social surrogates and are better-looking versions of their human counterparts. Bruce Willis stars as an FBI agent who enlists the aid of his own surrogate to investigate the murder of the genius college student who invented the surrogates. As the case grows more complicated, however, the withdrawn detective discovers that in order to actually catch the killer he will have to venture outside the safety of his own home for the first time in many years, and enlists the aid of another agent (Radha Mitchell) in tracking his target down. Jonathan Mostow directs co-screenwriters Michael Ferris and John Brancato's adaptation of the graphic novel by author Robert Venditti and illustrator Brett Weldele.
In the near future, humans live in isolation and only interact through robotic bodies that serve as surrogates. When several humans are murdered when their surrogates are destroyed, a cop (Bruce Willis) investigates the crimes through his own surrogate. After a near fatal encounter, the cop's surrogate is destroyed and forces him to bring his human form out of isolation and unravel a conspiracy behind the crimes.
Synopsis: The movie will be a modern telling of the "G.I. Joe vs. Cobra" storyline and its compelling characters that Hasbro created 25 years ago. The premise of this fantasy is the story of the G.I. Joe team, led by Duke, and their "fight for freedom wherever there is trouble" against the evil Cobra Commander and his Cobra force. This storyline was an instant hit with kids in the early 1980s, spawning a highly popular 3-3/4-inch action figure line, comic book collection and animated series. The G.I. Joe team will not be based in Brussels. Instead, they will be based out of the "Pit" as they were throughout the 1980s comic book series. And, in keeping with the G.I. Joe vs. Cobra fantasy, the movie will feature characters and locations from around the world. Duke, the lead character and head of the G.I. Joe team, will embody the values of bravery and heroism that the first generation of G.I. Joe figures established. (from comicgsoon.net)
Casts: Channing Tatum … Duke Sienna Miller … The Baroness Joseph Gordon...Levitt … Cobra Commander Dennis Quaid … General Hawk Rachel Nichols … Shana 'Scarlett' O'Hara Christopher Eccleston … Destro Adewale Akinnuoye...Agbaje … Heavy Duty Ray Park … Snake Eyes Marlon Wayans … Ripcord Arnold Vosloo … Zartan Jonathan Pryce … U.S. President Saïd Taghmaoui … Breaker Byung...hun Lee … Storm Shadow
Superheroes: Duke Snake-Eyes Hawk Scarlett Ripcord Heavy Duty
Villains: The Baroness Destro Cobra Commander Zartan
The battle for Earth has ended but the battle for the universe has just begun. After returning to Cybertron, Starscream assumes command of the Decepticons, and has decided to return to Earth with force. The Autobots believing that peace was possible finds out that Megatron's dead body has been stolen from the US Military by Skorpinox and revives him using his own spark. Now Megatron is back seeking revenge and with Starscream and more Decepticon reinforcements on the way, the Autobots with reinforcements of their own, may have more to deal with then meets the eye.
The story begins with Goku, who seeks out upon his adoptive grandfather Grandpa Gohan's dying request to find the great Master Roshi and gather all seven Dragon Balls. Of which he has one, in order to prevent the evil Lord Piccolo from succeeding in his desire to use the Dragon Balls to take over the world. And Goku's quest is to obtain the mystical Dragonballs before Piccolo does.
Down these mean streets a man must come. A hero born, murdered, and born again. When a Rookie cop named Denny Colt returns from the beyond as The Spirit, a hero whose mission is to fight against the bad forces from the shadows of Central City. The Octopus who kills anyone unfortunate enough to see his face who has other plans. He's going to wipe out the entire city. The Spirit tracks this cold hearted killer from the city's rundown warehouses, to the damp catacombs, to the windswept waterfront all the while facing a bevy of beautiful women who either want to seduce, love or kill the masked crusader. Watch Trailer Trailer>>
Release Date: November 21, 2008 Studio: Summit Entertainment Director: Catherine Hardwicke Screenwriter: Melissa Rosenberg Starring: Kristen Stewart, Robert Pattinson, Billy Burke, Peter Facinelli, Elizabeth Reaser, Cam Cigandet, Nikki Reed, Jackson Rathbone, Ashley Greene Genre: Romance, Thriller MPAA Rating: PG-13 (for some violence and a scene of sensuality) Official Website: TheTwilightmovie.com | MySpace.com/Twilightthemovie Watch Trailer...
Full Review>> Bella Swan (Kristen Stewart) has always been a bit different, never caring about or fitting in with the trendy girls at her Phoenix, Arizona high school. When her mother Renee (Sarah Clarke) remarries and decides to move with her new husband to Florida, and Bella decides to go live with her father, Charlie (Billy Burke), in the rainy little town of Forks, Washington, she doesn't expect anything to change. Then she meets the mysterious and dazzlingly beautiful Edward Cullen (Robert Pattinson), a boy unlike any she's ever met. Intelligent and witty, his piercing eyes see straight into her soul. Soon, Bella and Edward are swept up in a passionate and decidedly unorthodox romance. Edward can run faster than any cheetah, he can stop a moving car with his bare hands, and he hasn't aged since 1918. Most importantly, he's a vampire. Like all vampires, he's immortal. He doesn't drink human blood (they're vampire "vegetarians"), which is rare among the vampire population. Instead, they go on regular "hiking" trips, where they feed on prey such as grizzly bears and mountain lions. For Edward, Bella is the thing he has waited ninety years for - a soul mate. But the closer they get, the more Edward must struggle to resist the primal pull of her scent, which could send him into an uncontrollable frenzy. And what will they do when James (Cam Gigandet), Laurent (Edi Gathegi), and Victoria (Rachel Lefevre) come into town and James sets his sights on Bella? Will true love prevail when Edward is forced to save her life and conquer his thirst? The true question is, When you can live forever, what do you live for?
Harry Potter's sixth year at Hogwarts turns out to be quite the exciting year. First off is the arrival of a new teacher at Hogwarts, Horace Slughorn, who is a bit more useful to Harry than he realizes. Next, Harry obtains a Potions book which used to be belong to the very mysterious Half-Blood Prince. Harry finds that the Half-Blood Prince's ancient scribbles are written along the margins of almost every page, giving Harry advice on how to improve greatly on his Potions work, and also teaching him a few helpful (and dangerous) spells along the way. Amidst this, Harry is starting private lessons with Professor Dumbledore, during which Harry learns the dark secrets of Voldemort's past, hoping that they could use these secrets to find a way to defeat him.
Harry's year gets even more stressful with the suspicious actions of Draco Malfoy, who has been sneaking around the school doing, so Harry assumes, Voldemort's bidding. Harry quickly becomes determined, and slightly obsessed, to find out exactly what Malfoy has been up to and putting and end to it.
Yet, during this time, Harry and his friends go through daily life, busy with school work, Quidditch, (in which Harry has been made captain of the team) and of course, romance. Ron has found a new girlfriend, Lavender Brown, a perky (if not obnoxious) Gryffindor student, and Hermione is not happy about it. Ron and Hermione's friendship takes a toll throughout the school year and Harry, as usual, is stuck in the middle. Harry, meanwhile, is facing a romantic dilemma of his own: he realizes he is falling for his best friend's sister, Ginny Weasley, who is unfortunately dating Harry's classmate, Dean Thomas. Harry's pining for Ginny and Ron's hilarious relationship with Lavender give this story a large dose of reality.
Throughout all the school drama, however, the obvious darkness of Voldemort's impending rise to power is always apparent. The incredible action-packed climax is sure to leave the audience stunned and, inevitably, prove that you shouldn't trust everybody who you think is good and also prove that not everyone can manage to survive.
In this movie, Bond (Daniel Craig) to Dominic Greene (Mathieu Amalric), a member of Quantum organizations that act as environmental experts, and led the coup d'etat in Bolivia to control the provision of water there. Bond revenge over the death of Vesper Lynd, he is assisted by Camille (Olga Kurvlenko), who also want to kill Greene. Watch Trailer Trailer>>
One man. One plan. One foot. Yes, the doctor is in! With a strange twist of fate and a revengeful plot, get ready for the most anticipated event of Saw. Face your fears at his operating table. Know that no one is safe from his sickness. Chills and screams are his true pleasure. Oh...and Blood? You'll be drenched in it. Watch Trailer
Saw V Details>>
Director:
David Hackl
Writers:
Patrick Melton (screenplay) & Marcus Dunstan (screenplay)
Release Date:
24 October 2008 (USA) Scott Patterson ... Agent Strahm Tobin Bell ... Jigsaw / John Kramer Costas Mandylor ... Hoffman Betsy Russell ... Jill Tuck (rumored) Mark Rolston Samantha Lemole
-Laskar Pelangi- Ini kisah nyata tentang sepuluh anak kampung di Pulau Belitong, Sumatera. Mereka bersekolah di sebuah SD yang bangunannya nyaris rubuh dan kalau malam jadi kandang ternak. Sekolah itu nyaris ditutup karena muridnya tidak sampai sepuluh sebagai persyaratan minimal. Lihat Trailer Pada hari pendaftaran murid baru, kepala sekolah dan ibu guru satu- satunya yang mengajar di SD itu tegang. Sebab sampai siang jumlah murid baru sembilan. Kepala sekolah bahkan sudah menyiapkan naskah pidato penutupan SD tersebut. Namun pada saat kritis, seorang ibu mendaftarkan anaknya yang mengalami keterbelakangan mental. »Mohon agar anak saya bisa diterima. Sebab Sekolah Luar Biasa hanya ada di Bangka,» mohon sang ibu. Semua gembira. Harun, nama anak itu, menyelamatkan SD tersebut. Sekolah pun tak jadi ditutup walau sepanjang beroperasi muridnya cuma sebelas.
Kisah luar biasa tentang anak-anak Pulau Belitong itu diangkat dalam novel dengan judul 'Laskar Pelangi' oleh Andrea Hirata, salah satu dari sepuluh anak itu. Di buku tersebut Andrea mengangkat cerita bagaimana semangat anak-anak kampung miskin itu belajar dalam segala keterbatasan. Mereka bersekolah tanpa alas kaki, baju tanpa kancing, atap sekolah yang bocor jika hujan, dan papan tulis yang berlubang hingga terpaksa ditambal dengan poster Rhoma Irama.
Kisah yang tadinya bukan untuk diterbitkan itu ternyata mampu menginspirasi banyak orang. Seorang ibu di Bandung, misalnya, mengirim surat ke Kick Andy. Isinya minta agar kisah tersebut diangkat di Kick Andy karena anaknya yang membaca buku Laskar Pelangi kini bertobat dan keluar dari jerat narkoba. »Setiap malam saya mendengar suara tangis dari kamar Niko anak saya. Setelah saya intip, dia sedang membaca sebuah novel. Setelah itu, Niko berubah. Dia jadi semangat untuk ikut rehabilitasi. Kini Niko berhasil berhenti sebagai pecandu narkoba setelah membaca buku Laskar Pelangi,» ungkap Windarti Kosasih, sang ibu.
Sementara Sisca yang hadir di Kick Andy mengaku setelah membaca novel itu, terdorong untuk memperbaiki hubungannya dengan sang ayah yang selama ini rusak. Begitu juga Febi, salah satu pembaca, langsung terinspirasi untuk membantu menyumbangkan buku untuk sekolah-sekolah miskin di beberapa tempat. »Saya kagum karena anak-anak yang diceritakan di buku itu penuh semangat walau fasilitas di sekolah itu jauh dari memadai,» ujar Febi yang juga datang ke Kick Andy untuk bersaksi.
Andrea sendiri mengaku novel itu awalnya hanya merupakan catatan kenangannya terhadap masa kecilnya di Belitong. Dia selalu teringat sahabat-sahabatnya di masa kecil, terutama Lintang. Sebab tokoh Lintang merupakan murid yang cerdas dan penuh semangat walau hidup dalam kemiskinan. Setiap hari Lintang harus mengayuh sepeda tua yang saering putus rantainya ke sekolah. Pulang pergi sejauh 80 km. Bahkan harus melewati sungai yang banyak buayanya.
Sayang, cita-cita Lintang untuk bisa sekolah ke luar negeri, seperti yang sering didorong oleh guru mereka, terpaksa kandas. Lintang bahkan tak tamat SMP karena orangtuanya yang nelayan tidak mampu membiayai. »Lintang adalah sosok yang menginspirasi saya. Karena itu, saya bertekad meneruskan cita-cita Lintang,» ujar Andrea, yang sekian puluh tahun kemudian berhasil mendapat beasiswa sekolah ke Sorbonne, Prancis.
Tim Kick Andy yang mendatangi kampung tempat SD itu berdiri, di Belitong, berhasil 'menemukan' beberapa dari tokoh anak-anak di dalam novel tersebut. Mereka kini sudah dewasa. Namun kenangan tentang masa kecil itu sangat kuat membekas. Terutama pada ibu guru Muslimah yang sangat mereka cintai. »Buku Laskar Pelangi memang saya persembahkan untuk Ibu Mus yang sangat tabah dan pantang menyerah dalam mendidik kami,» ujar Andrea.
Maka sungguh menarik menyaksikan bagaimana Kick Andy mempertemukan Andrea dengan Ibu Guru Muslimah di studio Metro TV. Apalagi ketika Bu Mus membawa barang-barang yang mempunyai kenangan tersendiri bagi Andrea dan teman-teman kecilnya dulu di kampung. Kenangan yang diceritakan kembali oleh Andrea dengan jenaka. Juga termasuk darimana Andrea mengambil nama yang dipakainya hingga sekarang ini.
Sungguh sebuah novel — yang diangkat dari kisah nyata — yang sangat menggugah. Novel yang membuat siapa pun yang membaca akan merasa bersalah dan berdosa jika tidak mensyukuri hidup. Itu pula sebabnya sutradara Riri Reza dan Produser Mira Lesmana tertarik untuk mengangkat kisah ini ke layar film.
-October 10, 2008- A CIA operative (Leonardo DiCaprio) hunts down a dangerous terrorist in Jordan. Russel Crowe costars, Ridley Scott directs. Watch Trailer
Full Review>> Ridley Scott's exciting, ultra-fast moving geopolitical thriller, "Body of Lies," based on the novel of the same name by David Ignatius, offers an up-to-the-moment, extraordinarily precise and incisive view of the war on terrorism, as conducted by the U.S. on the ground and back home, in offices, homes, and suburban playgrounds--mostly via cel phones.
Teaming with Ridley Scott for the first time, after three consecutive films with maestro Scorsese, Leonardo DiCaprio is in top form as Roger Ferris, the young U.S. Intelligence agent, who's considered the brightest, boldest and best of the lot. Joining forces with Agent Ferris is CIA vet Ed Hoffman, played by Russell Crowe, Scott's regular (and favorite?) actor in his fifth film for the director, as the commander behind the scenes, the man on the other side of the cell, who's in daily (sometimes hourly) communication with Ferris.
Scott and author Ignatius, a veteran journalist who has covered the CIA and Middle Eastern affairs for 10 years for The Wall Street Journal before joining The Washington Post, where he is currently a editor and columnist, understand that the new rules of the game of terrorism is not strength of force, or subtle technology, but information, and its ultra-rapid dissemination among the right parties. Mind you, the info could be true or false, valid or invalid, but it needs to be packaged and sold as information!
Scribe William Monahan, who won an Oscar for Scorsese's "The Departed," succeeds in bringing the novel's gritty urgency and combative character dynamics to a multi-dimension film, in which the plot changes so fast that the characters?-and viewers-?are in constant need of adjusting their perceptions and expectations.
In its good moments, which are plentiful, "Body of Lies" recalls (perhaps even pay conscious homage to) the cycle of films about mistrust and paranoia that prevailed in the 1970s, during the Vietnam War and the Watergate scandal, works such as Sydney Pollack's "Three Days of the Condor" or Alan Pakula's "The Parallax View." which also served as vehicles for their stars, Robert Redford and Warren Beatty, respectively.
Replete of twists and turns, the plot centers on Ferris' audacious plan to lure a terrorist leader named Al-Saleem out of hiding by making it appear that a rival yet fake organization has become as scary, deadly and effectual as Al-Saleem's own group. However, as expected, Ferris' deftly constructed smoke and mirrors are cloaked in layers of simultaneous subterfuge perpetrated by his own superior, Ed Hoffman.
A ruthless strategist, Hoffman will stop at nothing to protect the highest goal, national security, even if it means sacrificing his best man. As Ferris' scheme gains seeming credibility and global momentum, conflicts with his two closest allies threaten to converge with a crisis of conscience that leaves Ferris vulnerable. Will Hoffman betray him, as he has so many others before him?
Meanwhile, if the head of Jordanian intelligence finds out that Ferris is running a secret operation to snare Al-Saleem, Ferris' life expectancy in Jordan will be measured out in minutes. Ultimately, and that's the weakest part of the narrative, since it resorts to the cherished value of individualism, the survival of Ferris and the success of his mission may depend on the one man he can trust, himself.
In the murky underworld of today's high-stakes global espionage, power is measured and defined by the amount of vital information one acquires and controls, or even appears to acquire and control. In the post 9/11 era, national security is a shifty milieu, in which no one could be really trusted, not friends and not even supervisors of your own country, one in which fateful decisions need to be made within seconds.
Since the movie is concerned with issues of information, misinformation and disinformation, rather than weaponry and technology, at least one third of the yarn consists of brief phone conversations between Ferris and Hoffman, who's often seen around his pool or in his yard, playing with his children, while getting crucial info and making on the spot vital decisions that might affect the lives of Ferris and others.
In this, and other respects, "Body of Lies," which sounds more like a noir melodrama than a suspense political thriller, is novel offering a cynical yet unfamiliar perspective on how the war of terrorism is conducted, both as a matter of routine and as a highly risky, endless cat-and-mouth chase, which inevitably involves risking the lives of officers and civilians, all over the world.
And I mean all over the world: Following the format of a procedural cop-serial killer movie, "Body of Lies" is also a procedural feature, albeit of a very different kind. If my notes are valid, the globetrotting saga shifts locales over a dozen times in the course of its two-hour running time. But it's not disorienting, because every scenes is grounded and identified with a title card indicating the specific time and place The movie captures vividly the two sides or facets of the complex, ever0shifting war, on the death-prone front lines as well on
Narratively and visually, "Body of Lies" is a corrective thriller to "Syriana," in which there were too many characters and only one relatable (played by George Clooney) as well as to the preposterously-plotted "Trust," which defied logic and realism in showing how easy it was for an agent like Don Cheadle to infiltrate the ranks of a secretive organization and then betray his colleagues and peers.
In scale, "Body of Lies" belongs to Scott's grand epics, specifically "Black Hawk Down" and the Oscar-winning "Gladiator," though otherwise, it's vastly different. Like them, it's supremely crafted thriller, with thrilling visuals, courtesy of cinematographer (who also shot Scott's former film, "American Gangster"), bravura action set-pieces, chases and shoot-outs.
The duo of Ferris and Hoffman meet t괥-୴괥 only three of four times in the course of the narrative, which is frustrating from an acting point of view, because both DiCaprio and Crow are such gifted and captivating thespians. Cel conversations also present another problem: As crucial as this device is for this kind of film, it often gets tedious, which may be the point, even if it's no so dramatic to observe.
Unlike those movie, though "Body of Lies" is smarter, more complex spy thriller about the various levels of trust and deception that come into play in invading, let alone trying to understand a foreign country with a unfamiliar culture and politics that's perceived in one word as "the enemy."
-September 12, 2008- Murphy Brown creator Diane English reworks Clare Boothe Luce's vintage bitchfest for the SEX AND THE CITY generation. On the plus side, it's nothing but featured roles for women of every age. One the minus side, they're all backbiting schemers who do nothing but talk about men... plus ca change! Watch Trailer The Women Details>>
Year: 2008 Rated PG-13 Parental Rating: Cautionary; some scenes objectionable Country Of Origin: U.S. Running Time: 0 Format: Color Genre(s): Comedy Production Co(s).: Double Edge Entertainment; Inferno Productions; Jagged Films; Shukovsky English Entertainment Released By: Picturehouse Cast Meg Ryan: Mary Haines Annette Bening: Sylvie Fowler Eva Mendes: Crystal Allen Debra Messing: Edie Cohen Jada Pinkett Smith: Alex Fisher Bette Midler: Flora DeLave Candice Bergen: Mary's Mother Carrie Fisher: Nancy Blake Cloris Leachman: Maggie Debi Mazar: Tanya India Ennenga: Molly Haines Jill Flint: Annie Ana Gasteyer: Pat Joanna Gleason: Barbara Tilly Scott Pedersen: Uta Lynn Whitfield: Glenda Hill Natasha Alam: Natasha Emily Seymour: April Cohen Allison Seymour: April Cohen Lauren Lefebvre: May Cohen Lindsay Lefebvre: May Cohen Isabella Panteledes: June Cohen Olivia Panteledes: June Cohen Madaleine Black: January Cohen Meredith Black: January Cohen Jana Robbins: Lingerie Sales Woman Maya Ri Sanchez: Dora Ruby Hondros: Jimmy Choo Wearer Nicole Robinson: Make-Over Lady Danielle Perry: Salon Assistant Lindsay Flathers: Taylor Christy Scott Cashman: Jean Celeste Olivia: Gilda Denece Ryland: Cory Allyssa Maurice: Sweet Woman Jordan Schechter: Ashley Marina Re: Helene Stephanie Clayman: Admissions Nurse Maria Elena Ramirez: OB/GYN Pamela Lambert: Scrub Nurse Ellen Withrow: Nurse at Recovery Hotel
Credits Diane English: Director Diane English: Writer - based on the screenplay of the 1939 motion picture written by Anita Loos and Jane Murfin, and play by Clare Boothe Luce Anita Loos: Source Clare Boothe Luce: Source Jane Murfin: Source Diane English: Producer Mick Jagger: Producer Bill Johnson: Producer Victoria Pearman: Producer Bob Berney: Exec. Producer Caroline Blackwood: Exec. Producer Jim Seibel: Exec. Producer Bobby Sheng: Exec. Producer Joel Shukovsky: Exec. Producer James W. Skotchdopole: Exec. Producer Taline Khojikian: Assoc. Producer Mark Mascolo: Assoc. Producer Anastas Michos: Cinematographer Tia Nolan: Editor Mark Isham: Musical Composer Jane Musky: Production Designer Mario Ventenilla: Art Director Debbie Cutler: Set Decorator John Dunn: Costumes Cathy Sandrich Gelfond: Casting Amanda Mackey: Casting Mark Dornfeld: Special Effects Shaina Holmes: Special Effects - digital Paulina Kuszta: Special Effects Tom Williams: Sound - mixer Julie Hewett: Make Up Melanie Hughes Weaver: Make Up
Full Review>> How do I hate thee? Let me count the ways… Diane English's long-gestating remake of Clare Boothe Luce's 1936 bitchfest is so consistently, outrageously wrongheaded in every way it's hard to know where to start, but the fact that it turns a viciously knowing satire of privileged female misbehavior into a "you go girl!" knockoff of the SEX AND THE CITY movie (2008) is as good a place as any.
Luce's play revolves around the gossipy, backbiting friendships that bind a group of financially privileged women and, to put not too fine a point on it, ripped them to haute couture shreds. It's often dismissed as misogynistic and old fashioned, but Luce herself always insisted she wasn't out to paint women overall as shallow, conniving, man-obsessed gold diggers of varying degrees of sophistication -- just society women with too much money and time on their hands to bother cultivating anything but their jewelry collections. In English's vaguely feminist telling, Mary Haines (Meg Ryan) is the perfect modern superwoman: She keeps a lovely Connecticut home for her husband, Wall Street wolf Steven; is a caring -- if oblivious -- mother to her confused 11-year-old daughter, Molly (India Ennenga); and designs clothes for her father's firm. But to Mary's shock and dismay, a chatty Saks Fifth Avenue manicurist (Debi Mazar) lets slip that her BFF, perfume spritzer Crystal Allen (Eva Mendez, who's no Joan Crawford), is having an affair with a rich man named, yes, Steven Haines. For advice and emotional support, Mary turns to her best girlfriends: vaguely artsy Earth mother Edie Cohen (Debra Messing); fashion-magazine editrix Sylvie Fowler (Annette Bening, who's no Rosalind Russell), who, unbeknownst to the gal-pack, is hanging onto her high-powered job by her perfectly manicured nails; sassy lesbian essayist Alex Fisher (Jada Pinkett Smith), who's dating a very angry supermodel, assiduously not working on her new book and adds two tokens in one to the otherwise blandly Anglo-hetero mix. They all tell her to dump Steven's cheating ass: This is the 21st century, for Goddess' sake! Mary also solicits the opinions of her no-nonsense housekeeper (Cloris Leachman), Molly's fresh-faced Danish nanny (Tilly Scott Pedersen), the tough-talking Hollywood agent (Bette Midler) she meets at an exclusive yoga retreat, and her own pragmatic mother (Candice Bergen), who supplies the film's only genuinely biting lines and suggests that Mary step back and look at the big picture before acting rashly.
George Cukor directed the first film version of The Women in 1939 from a screenplay by Jane Murfin and the famously sharp-tongued Anita Loos, of GENTLEMEN PREFER BLONDS fame, and the result set a very high bar. But the much-derided musical remake, THE OPPOSITE SEX (1956), looks like laser-cut brilliance next to English's bland, tin-eared reimagining, which manages to suggest both that women have come a long way, baby, and that they need to look to their pubescent daughters for personal validation. Not only is that not progressive, but it's also not funny. --Maitland McDonagh
Studio 'Muggles' postpone new Harry Potter film until 2009
Harry Potter fans clamoring for the next movie installment of the boy wizard's adventures will have to wait until 2009 after a decision to postpone release of the new film, officials said Thursday.
A statement from Warner Bros. Pictures said the original November release date for "Harry Potter and the Half-Blood Prince", the sixth movie adaptation of J.K. Rowling's books, had now been shifted to July 17, 2009.
Warner president Alan Horn said the decision was taken to guarantee the studio a major summer blockbuster in 2009, and was partially explained by the Hollywood writer's strike, which paralyzed the movie industry this year.
"Like every other studio, we are still feeling the repercussions of the writers' strike, which impacted the readiness of scripts for other films -- changing the competitive landscape for 2009 and offering new windows of opportunity that we wanted to take advantage of," Horn said.
"We agreed the best strategy was to move 'Half-Blood Prince' to July, where it perfectly fills the gap for a major tent pole release for mid-summer."
A "tent pole" movie is usually a big-budget, heavily promoted film relied on by a studio to turn a profit rapidly.
Horn said a summer release date would benefit box office revenues, citing the most recent Harry Potter film, the second-highest grossing film in the franchise after the first instalment.
Jeff Robinov, president of Warner Bros. Motion Picture Group, said the change would not affect production of future Harry Potter films, the two-part "Harry Potter and the Deathly Hallows," the final installment in the series.
"The good news (for fans) is that the gap will now be shortened between 'Half-Blood Prince' and the first part of 'Harry Potter and the Deathly Hallows,'" Robinov said.
The five Harry Potter films released so far have grossed more than 4.47 billion dollars worldwide since 2001, making it one of the most lucrative franchises of all time in terms of box-office.
This animated film from George Lucas fills in the events that take place between Episodes II and III in the live-action narrative. Obi-Wan and Anakin Skywalker are now both full-fledged Jedi, and it's Anakin who has a Padawan apprentice, a young girl named Ahsoka, a teenage female Togruta, which is a race of red-skinned, horned aliens. The movie is a launching pad for a similarly themed animated TV show, which will air on TNT and the Cartoon Network beginning in the fall. Watch trailer Star Wars: The Clone Wars Details>>
Year: 2008 Rated PG Parental Rating: Cautionary; some scenes objectionable Country Of Origin: U.S. Running Time: 0 Format: Color Genre(s): Animated; Science Fiction Production Co(s).: Lucasfilm Animation Released By: Warner Bros.
Essentially an extended trailer for the 2008 Cartoon Network animated series, STAR WARS: THE CLONE WARS takes place between the fifth and sixth live-action STAR WARS films and chronicles the adventures of Anakin Skywalker during the early years of the war between the empire and the rebels.
Jedi warrior Anakin the bland Matt Lanter) and Obi-Wan Kenobi (James Arnold Taylor) are in the thick of battle with rebel forces when they receive word that Rotta (David Acord), the much-loved son of Jabba the Hutt (Kevin Michael Richardson) has been kidnapped. The Jedi council hopes that an alliance with Hutt clan will aid their cause and dispatch Obi-Wan, Anakin and Anakin's insolent new padawan, Ahsoka Tano (Ashley Eckstein), to rescue the malodorous Hutlett. But it soon becomes apparent that the creature's abduction is part of a larger plan by villainous Count Dooku (Christopher Lee) and his elegant assassin, Asajj Ventress (Nika Futterman), to undermine the fragile truce between the Hutts -- who control a number of strategically-important shipping lanes at the outer reaches of the empire -- and the Jedi.
The highly stylized look of CLONE WARS is explicitly modeled on the Sylvia and Gerry Adams sci-fi marionette series Thunderbirds, a fact that will no doubt be lost on the ten year olds who are the film's target audience: Their parents weren't born when Thunderbirds first aired. Bu the film's real drawback for adult STAR WARS fans is its relentless dullness coupled with the fact that Ahsoka, hailed as a new generation of can-do Lucasian heroine, spends the bulk of the film schlepping a baby and trading toothless double entendres with Anakin. Carrie Fisher's Princess Leia is Gloria Steinem by comparison. --Maitland McDonagh
-August 01, 2008- The Mummy Tomb of the Dragon Emperor, Brendan Fraser starstarstarstar It's not as good as the 1999's enjoyable THE MUMMY or even the lesser 2001 sequel, THE MUMMY RETURNS: The formula is wearing thin, the humor has grown a little too corny and those yeti make SHRIEK OF THE MUTILATED look state of the art. But this third entry in the popular MUMMY series -- not counting the 2002 spin-off THE SCORPION KING -- is still passable popcorn fare, even if you'll barely taste it before swallowing. Full Review The Mummy: Tomb Of The Dragon Emperor Details>>
Year: 2008 Rated PG Parental Rating: Cautionary; some scenes objectionable Country Of Origin: U.S. Running Time: 113 Format: Color Genre(s): Adventure; Horror Production Co(s).: Alphaville Productions; Relativity Media; Sommers Company Released By: Universal Cast Brendan Fraser: Rick O'Connell Jet Li: Emperor Han Maria Bello: Evelyn Carnahan O'Connell John Hannah: Jonathan Carnahan Michelle Yeoh: Zi Yuan Luke Ford: Alex O'Connell Russell Wong: Ming Guo Liam Cunningham: Maguire Isabella Leong: Lin Chau Sang Anthony Wong: General Yang David Calder: Roger Wilson Jessey Meng: Choi Liang Tian: Li Zhou Albert Kwan: Chu Wah Wu Jing: Assassin Wei Binghua: Assassin Guo Jing: Assassin Alison Louder: Woman in Bookstore Marcia Nasatir: Russian Princess Emerald Starr: Man in Bar Helen Feng: Nightclub Singer Stella Maryna Troshyna: Brunette at Imhotep's James Bradford: Butler Jameson Daniel Giverin: Benjamin Fry Ken C. Tran: Yang's Soldier Allan Chou: Yang's Soldier Fernando Fu-Nan Chien: Yang's Soldier Jeffrey Ong: Yang's Soldier Chris Mark: Yang's Soldier James Mark: Yang's Soldier Mike Ching: Yang's Soldier Darryl Quon: Yang's Soldier Alex Chiang: Yang's Soldier Paul Wu: Yang's Soldier Larry Lam: Yang's Soldier Brian Ho: Yang's Soldier Luu Vi-Hung: Yang's Soldier Huy-Phong Doan: Yang's Soldier Kyle Burnett Cashulin: Mad Dog's Pal Charles Esposito: Mad Dog's Pal Mike Scherer: Yeti Scott Taylor: Yeti Kham Tri Vixa Ysy: Chinese Digger Don Lew: Chinese Digger Regis Attiow: Mystic Tony Wai: Mystic Wu Yungstun: Mystic Guangxu Xiang: Mystic Lam Cong-Quyen: Mystic
Credits Rob Cohen: Director Alfred Gough: Writer Miles Millar: Writer Sean Daniel: Producer Bob Ducsay: Producer James Jacks: Producer Stephen Sommers: Producer Chris Brigham: Exec. Producer Lei Qin: Co-Producer Doris Tse: Co-Producer Josette Perrotta: Co-Producer Marck Pitre: Assoc. Producer Matthew Stuecken: Assoc. Producer Xu Pengle: Assoc. Producer Simon Duggan: Cinematographer Kelly Matsumoto: Editor Joel Negron: Editor Randy Edelman: Musical Composer Nigel Phelps: Production Designer Isabelle Guay: Art Director Daniel Carpentier: Set Decorator Martine Kazemirchuk: Set Decorator Philippe Lord: Set Decorator Sanja Milkovic Hays: Costumes Ronna Kress: Casting Bruce Steinheimer: Special Effects Matthew Butler: Special Effects Mario Dumont: Special Effects Joel Hynek: Special Effects Derek Spears: Special Effects Louis Marion: Sound - mixer Tim Walston: Sound - design Adrien Morot: Make Up - effects Colleen Quinton: Make Up Vic Armstrong: Stunts Mark Southworth: Stunts
Full Review>> It's not as good as the 1999's enjoyable THE MUMMY or even the lesser 2001 sequel, THE MUMMY RETURNS: The formula is wearing thin, the humor has grown a little too corny and those yeti make SHRIEK OF THE MUTILATED look state of the art. But this third entry in the popular MUMMY series -- not counting the 2002 spin-off THE SCORPION KING -- is still passable popcorn fare, even if you'll barely taste it before swallowing.
England, 1946. Thirteen years have passed since Rick "Ricochet" O'Connell (Brendan Fraser) and his wife, Evelyn (Maria Bello, filling in for an AWOL Rachel Weisz), last sent Egyptian mummy Imhotep back to the afterlife, and they're now enjoying a life of quiet retirement in their sprawling Oxfordshire estate. Perhaps things are a little too quiet: While a bored Rick tries his hand a fly-fishing as a way of passing the time, Evelyn, who has found a new career for herself writing pulpy, supernatural adventure novels ("The Mummy" is one, "The Mummy Returns" another), stares at a blank page of typewriter paper, feeling bereft of adventure and inspiration. This spell of conjugal boredom is broken when the O'Connell's receives a visit from a Foreign Office minster who begs them to perform one final duty for the Crown: As a gesture of good will toward China, which is currently undergoing tremendous internal upheaval, the British government would like to return the fabled Eye of Shangri-la, a gold encrusted jewel that is said to point they way toward the spring eternal life. Rick and Evelyn agree to courier the stone to Shanghai, unaware that their now-grown son Alex (Luke Ford), whom they think is away at university, is already in China: Unbeknownst to his parents, Alex has been searching for the tomb of the Emperor Han (played in the lengthy prologue by Jet Li), the merciless tyrant who united the warring kingdoms of China under his iron-fisted rule. After conquering his rivals, enslaving their people and literally working them to death building the Great Wall, Han sought the one thing no man on earth had ever been able to achieve -- immortality -- and he charged his trusty aide, General Ming (Russell Wong), to seek out the witch Zi Juan (Michelle Yeoh) whom Han believed held the secret to eternal life. When the jealous emperor had Ming executed for consorting with the sorceress he planned to make empress, Zi Juan threw a curse on Han and his army, turning them all into terracotta figures. Not long after uncovering Han's sarcophagus, Alex realizes has been used as a pawn by the ambitious General Yang (Anthony Wong), who has evil plans for China: Like Emperor Han before him, he dreams of unifying the various factions that are currently vying for power, and plans on releasing Han and his army from Zi Juan's spell so they can do the dirty work for him. Foolish mortal!
There's nothing inherently wrong with formula: The whole pulp tradition on which movies like THE MUMMY and RAIDERS OF THE LOST ARK are based depends on age-old, easily identifiable archetypes whose fates are a given from the get-go. But if the story's well told, all the foregone conclusions really shouldn't matter, and therein lies the difference between genre expectations and dull predictability. THE DRAGON EMPEROR walks a fine line between the two. The screenplay by Smallville creators Miles Millar and Alfred Gough, who together also wrote SHANGHAI NOON and SHANGHAI KNIGHTS, front-loads a few good ideas, but falters on the execution: There are so few surprises that one not only begins anticipating the next scene, but looking forward to the ending. --Ken Fox
-July 25, 2008- X-Files movie, David Duchovny, Gillian Anderson FBI agents Fox Mulder and Dana Scully (David Duchovny and Gillian Anderson, respectively) reprise the roles they made famous on Fox's reason-vs.-faith spookfest in this sequel to 1998's film follow-up. Plot details are naturally being kept under wraps, but we know this much: Amanda Peet and Xzibit costar, and the movie, which takes places six years after the first film, will answer some questions about Scully's son, William, whom she gave up for adoption. Watch trailers
The X-Files: I Want To Believe Details>>
Year: 2008 Rated Parental Rating: Country Of Origin: U.S. Running Time: 0 Format: Color Genre(s): Thriller Production Co(s).: 20th Century Fox; Blue Light Productions Released By: 20th Century Fox Also Known As: X-Files 2
The second feature spun off from the hugely popular television series, which ran from 1993 to 2002, plays like a stand-alone episode rather than drawing on the show's complex and sometimes muddled, which makes it more accessible to newcomers and occasional viewers than 1998's THE X-FILES. But like the first film, it isn't a patch on the series' best episodes, and on its own merits it's an okay thriller whose influences will be all-too clear to b-movie buffs.
Six years after FBI agents Fox Mulder (David Duchovny) and Dana Scully (Gillian Anderson), who were thrown together to investigate cases that defied (or seemed to defy) ordinary explanations, abandoned the so-called "x-files" division, their lives have gone in very different directions. Scully, the skeptical doctor whose Catholic faith was sorely tested by some of the cases she and Scully investigated, is now a staff physician at Our Lady of Sorrows Hospital and is deeply involved in the case of a young patient with a fatal genetic disorder. Mulder – blackballed by his former employers and officially a fugitive – has gone to ground and spends his days studying offbeat newspaper stories in the shadow of his iconic "I Want to Believe" poster. The abduction of an FBI agent in West Virginia brings them back into the fold via ambitious agent Dakota Whitney (Amanda Peet). Painfully aware that the clock is ticking for the missing woman, Agent Whitney's best lead is Father Joseph Fitzpatrick Crissman (Billy Connelly), a deeply compromised priest who claims to have visions and has inexplicably led them to their best clue yet: A neatly severed arm buried in the snow – granted, it's a man's arm and Whitney's task force can't begin to imagine what it has to do with the case, but it's all they have. Is Crissman genuinely psychic and, if so, could a true believer like Mulder tease enough concrete information from his vague and ambiguous paranormal insights to rescue the missing woman? Or does Crissman have some mundane connection to the case the FBI hasn't yet uncovered, one he's consciously or unconsciously mining for some perverse reason?
Series creator Chris Carter and longtime collaborator Frank Spotnitz (Carter directed and they co-wrote the screenplay) focus heavily on Mulder and Scully's thorny relationship, forged in the fire of horrific shared experience and doomed by their fundamental incompatibility: She skeptical to the bone and he's looking for proof that there are more things in heaven and earth than science can explain. Their simmering romance, rooted in friendship and intellectual curiosity, drove the series: Monsters of the week get old fast, which is one reason Kolchak: The Night Stalker, the 1970s series Carter claimed as his inspiration for The X-Files, burned out after 20 episodes. But without that background, their poignant reunion takes a backseat to long and none-too-subtle conversations about faith and belief. The Carter and Spotnitz's credit, such weighty concerns aren't the stuff of most mainstream genre movies. But they're also not sufficiently gripping to transform a middling thriller into something truly provocative or haunting. --Maitland McDonagh
Pramugari dan Kakek Tua
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"Kisah Nyata Pramugari Dan Kakek Tua" Saya adalah seorang pramugari biasa
dari china Airline. Karena bergabung dengan perusahaan penerbangan hanya
beb...
Clash of the Titans (2010)
