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DOWNLOAD MOVIE Dodgeball: A True Underdog Story Just $2.99 for a complete movie! No additional software or browser plug-ins required! You can play them for unlimited number of times whenever you want. Downloaded movies will work perfectly on any PC, DVD player, PDA etc.
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Dodgeball: A True Underdog Story Reviewed By Scott Weinberg Posted 06/18/04 15:01:58

"I loved every last frame of this inspired little sports comedy." (Awesome)

On my way home from enjoying the living hell out of "Dodgeball: A True Underdog Story" I realized that it was one of the best comedies to come out of Hollywood in about five years, and that I was as enthusiastic about recommending it as I could possibly be. This movie was a huge surprise, laden with laughs both truly silly and oddly subtle. It’s an absolute joy to sit through, and the fact that it’s basically a throwaway little sports comedy means very little. "Caddyshack" is a throwaway little sports comedy, too, and "Dodgeball" is perhaps the best movie of its kind since Harold Ramis’ classic golf farce from 1980."You’re going to give Dodgeball five stars?" is a question I’ve heard from a few colleagues, and the simple answer is "Yep!" I think it’s of paramount importance to judge a movie based on the filmmakers’ intentions. Clearly, Dodgeball is not Dangerous Liaisons, but judged solely on what it is (a rather juvenile slapstick sports comedy), Dodgeball is an entirely successful experiment and the first comedy to offer wall-to-wall laughs in quite some time.The plot is a paper-thin affair that recalls the classic old "slobs vs. snobs" sub-genre we all love so much. Peter Lefleur (Vince Vaughn) needs a quick cash infusion so he can save his decrepit little gym from bankruptcy. White Goodman (Ben Stiller) owns the mammoth high-tech gym across the street, and hopes to bulldoze Peter’s place to make room for a parking lot.Luckily there’s an upcoming dodgeball tournament that offers a $50,000 cash prize - and $50,000 is precisely what Pete needs to placate the bankers! How lucky! So now the enthusiastic losers that populate Average Joe’s gym must learn the ins and outs of dodgeball while avoiding the hilariously nefarious wrath of Mr. Goodman.If this all sounds fairly familiar, that’s because Dodgeball is, in addition to a supremely silly slapstick affair, a canny and clever satire of Sports Flicks in general. The humor ranges from broad and physical to base and vulgar, but I distinctly remember hearing an off-the cuff gag about schaudenfraude, too. There’s a raucous glee and zealous giddiness to the whole movie, and it’s an attitude that implies a group of actors who are clearly having a good time in front of the camera. And actors only seem to be having a good time in front of the cameras when they’re confident that what they’re making is actually funny.One could be forgiven for perhaps turning their nose up at whatever happens to be "the latest Ben Stiller movie". Although he’s clearly a truly funny man, Ben’s been featured in some bona-fide garbage over the last several months. (Envy? Duplex? C’mon, Ben!) So it’s very satisfying to announce that Stiller’s work here is the best work he’s done since There’s Something About Mary, diving into the comedic villain role with palpable glee. Shedding his oft-worn sheen of likable nebbishness, Stiller creates a blustery blowhard who’s both easy to hate and drop-dead hilarious.Capably serving as a counter-balance to Stiller’s rabid presence is Vince Vaughn, who smoothly delivers his most comfortable performance since Swingers. It’s as if Vaughn took the role of Lovable & Sarcastic Schnook to heart, studied the early works of Bill Murray, and showed up on the set ready to shine. Vaughn’s as likable here as he’s ever been, earning a solid parcel of laughs through sheer force of personality.One of the more annoying detriments of most Stiller / Vaughn comedies is that the leads generally hog all the laughs, and such is is absolutely not the case in Dodgeball. Although the two leads are clearly the centers of attention, there’s a ensemble full of giddy goons, all of whom get their own chance to shine. Rip Torn steals a few scenes as a gruff and violent dodgeball coach; Stephen Root (once again) proves himself one of Hollywood’s funniest character actors; Alan Tudyk snatches a few bizarre giggles playing a guy convinced he’s a pirate; Christine Taylor (Mrs. Ben Stiller) presents herself as a capable comedienne by holding her own among all these lunatics; Gary Cole and Jason Bateman show up late in the game to deliver some truly terrific bits as anchormen for ESPN8 ("The Ocho!")… heck, even the minor little cameo bits (from the likes of Hank Azaria, William Shatner and David Hasselhoff) earn bona-fide chuckles across the board.And it’s that simple formula that makes Dodgeball worthy of my most stunned and enthusiastic reaction: the movie is consistently funny for 90 straight minutes. How many other recent comedies can make that claim? Yes, it’s frequently silly and more than a little doofy, but one suspects that first-time writer/director Rawson Marshall Thurber knows full well how unapologetically slap-happy his movie is. That’s the movie he was trying to make.Since comedy is the most subjective of all the genres, your own giggle mileage may of course vary. But speaking as a guy who’s grown more than a little weary of the formula fare, "Dodgeball" is a crazy, colorful and effortlessly funny film. I had an absolute ball with "Dodgeball", I laughed throughout the whole thing, and I left the theater on a chuckle-induced buzz. To me that’s worthy of a 5-star rating every time.
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DOWNLOAD MOVIE Primer Just $2.99 for a complete movie! No additional software or browser plug-ins required! You can play them for unlimited number of times whenever you want. Downloaded movies will work perfectly on any PC, DVD player, PDA etc.
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Winner of the Sundance Grand Jury Prize, Shane Carruth’s “Primer” is one of those movies that’s legendary on impact thanks to its felicitous combination of ingenuity, independence and dirt-cheapness. First-time writer-director Carruth himself has described the movie’s budget as the rough equivalent of “the price of a used car,” a phrase that will resonate with anyone who’s ever perused the how-to-make-an-indie-film section at their local Barnes & Noble. Everybody loves a bargain. Plus, some ticket buyers will no doubt be looking for an educational experience — they’ll want a primer on what a movie can be on limited means, and they’ll get one. “Primer” is the incredibly confusing but oddly compelling story of Aaron (Carruth) and Abe (David Sullivan), two young computer engineers who spend their off hours trying to develop a killer app in Aaron’s garage with two other engineers, Robert (Casey Gooden) and Phillip (Anand Upadhyaya). The makeshift company is run like a democracy; each person gets a turn at deciding what project to work on. But the relationship between Abe and Aaron and the other two is starting to fray. ADVERTISEMENT While working on a jerry-built superconductormajiggy that he and Aaron have cobbled together from various bits of car and refrigerator, Abe stumbles upon a peculiar side-effect: The box doubles as a time machine. Soon, he and Aaron have built one to human scale and have secretly started taking quick jaunts back in time. From here, the story hinges on two conceits, that: (a) the machine can only take you back as far back as it’s been running — usually about six hours; and (b) that going back so recently in time while staying in the same place pretty much guarantees that you’ll run into an earlier version of yourself. Written and directed in a similarly enterprising spirit by Carruth, formerly a laid-off engineer, “Primer” was shot, among other places, in his parents’ Dallas garage. (Mom and Dad also provided food.) He was inspired by ’70s conspiracy thrillers and chose to forgo digital video in favor of the more old-school Super 16, which he then blew up to 35mm. The resulting look is flat and washed out, with a color palette ranging from sand to beige. It’s the perfect look for depicting the dry, middle-American nowhereland the characters inhabit, and it wonderfully conveys the slightly desperate, Habitrail life of the young engineers — who have only about a decade and a half to hit the big time or be put out to pasture at 40. In keeping with the movies that inspired him — “The Conversation,” “All the President’s Men” — Carruth has constructed a narrative in which most of the action takes place off screen and most of what we see are two characters trying to figure out what’s going on. The characters seem to exist both in a narrative loop and in a spiral of exponentially increasing parallel lives. Things quickly get out of control, plot-wise, and it becomes impossible to distinguish between past and present characters. For reasons I can’t explain, some of their “doubles” turn out to be evil — a lot can change, apparently, in an afternoon. I’ll refrain from trying to piece together the mechanics of the plot, which I suspect on some level is completely incoherent. I’ll just say that “Primer” is the kind of movie that thrills at its own casual impenetrability. But then, this may be the most interesting thing about “Primer,” which couldn’t be more different from the classic time-travel movie if it tried. Its characters aren’t transported so much as they are constantly reset. Plans are set in motion, then go nowhere. Sticklers for linear storytelling are bound to be frustrated by narrative threads that start promisingly, then just sort of fall off the spool. But frustrating as I ultimately found it, “Primer” is undeniably geek heaven. For everyone else, it’s a nice antidote to big-budget bogusness. When a movie as far-fetched as “Primer” comes across as refreshingly naturalistic — well, that’s something. ‘Primer‘ MPAA rating: PG-13 for brief language Times guidelines: Squeaky clean, but young children will be bored by the all-talk, no-action. Shane Carruth…Aaron David Sullivan…Abe Casey Gooden…Robert Anand Upadhyaya…Phillip Carrie Crawford…Kara A ThinkFilm release. Writer-director-producer Shane Carruth. Location sound Reggie Evans. Camera operators Anand Upadhyaya, Daniel Bueche. Assistant camera operator James Russell. Production assistant David Sullivan. Running time: 1 hour, 20 minutes. Exclusively at the Landmark Nuart, 11272 Santa Monica Blvd., L.A. (310) 281-8223. Filmmaker Shane Carruth will participate in a discussion after the 7:30 and 9:40 p.m. screenings today and Saturday.
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DOWNLOAD MOVIE Donnie Brasco Just $2.99 for a complete movie! No additional software or browser plug-ins required! You can play them for unlimited number of times whenever you want. Downloaded movies will work perfectly on any PC, DVD player, PDA etc.
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Sony has come out with an unrated, “extended cut” of the well-respected 1997 mob flick, Donnie Brasco, starring Al Pacino and Johnny Depp. Who exactly extended this new 147 minute version (the older version runs 127 minutes) nobody is saying. It’s not on the box, and there’s no mention of it on any of the old extras that are included. All of the extra features are carried over from the 2000 disc release – with the glaring exception of director Mike Newell’s commentary track, which has mysteriously disappeared on this Donnie Brasco: Extended Cut. Quite honestly, I can’t imagine why you would need this “extended cut” of Donnie Brasco. With these new scenes inserted, I saw no discernable improvement in the overall impact of the film, nor do I see any point in buying a new disc that doesn’t even bother to include the previous director’s commentary.

Based on a true story, undercover F.B.I. agent Joseph D. Pistone infiltrated the Mafia in the early 1970s, posing as jeweler Donnie Brasco. Befriending Lefty Ruggiero (Al Pacino), Donnie quickly became a trusted member of a Mafia family, and gathered thousands of hours of surveillance tapes of their illegal activities. But Donnie’s initially short assignment turned into a nightmarish years-long commitment that left his marriage and family in a shambles from which they barely recovered.

There’s much to enjoy in Donnie Brasco, particularly the lead performances by Pacino and Depp. I was never a big fan of Depp prior to Donnie Brasco, but I thought his turn here showed a depth of performance, and a facility with a difficult role, that was admirable. Showing Pistone as a family man and law officer gradually drawn into a violent, amoral crime family – and developing feelings of loyalty to those members – is a complex tight-rope to walk, and Depp does a fine job. Pacino nicely rounds out his celebrated involvement with the cinematic mob, creating a burnt-out, small-time hood in Lefty Ruggiero that’s diametrically opposed to his smooth, sleek, accomplished Don Corleone in The Godfather Parts I and II. Not afraid to look foolish and seedy in gaudy checked coats and porkpie hats, Pacino loses himself in the pathetic, but still dangerous Lefty, who sees Donnie as a surrogate son, and who agonizes over the relatively shabby life he’s managed to accumulate after years of small-time illegal activity.

The problem I had watching Donnie Brasco: Extended Cut is the same problem I had with the film when I first saw it in theaters ten years ago. Director Mike Newell is particularly adept at creating a believable atmosphere in which Depp and Pacino navigate the various rituals and procedures of a Mafia family. Donnie Brasco is fascinating because it shows us the mechanics of how one actually lives and works within a mob hierarchy. Procedure is everything in Donnie Brasco, and from a standpoint of showing the audience the nuts and bolts of what it must be like to live within the Mafia, it’s a fairly strong film.

What still doesn’t work in Donnie Brasco is the director’s utter failure to establish Pistone’s reasoning for actually doing this kind of work. Starting the film off with Donnie already undercover, we never see him perform as an officer of the law. We get no sense of whether or not he’s a dedicated policeman. What motivated him to become an agent? We never see that. So, if we start the film at the beginning of his operation, and we see the utter destruction that operation wreaks on his marriage, we’re left to ask again – why does he do it? Director Newell and screenwriter Paul Attanasio do excellent work on making Depp and Pacino’s growing relationship believable, but in what context? Why, exactly, is Pistone working undercover, almost losing his life on several occasions, aiding hitmen to dismember bodies, and almost losing his wife and family in the process, when the film wants to sucker punch us in the end by saying the government fobbed off Pistone with a small check and gold badge? The film’s final message — that the government used Pistone and wasn’t “loyal” to him like Lefty was — is fairly muted, if we never saw Pistone passionately involved in defending justice in the first place. And the relationship between Donnie and Lefty means little, if we never get a context as to why Pistone feels the need to work undercover. The extended scenes added to Donnie Brasco do nothing to clarify those big script problems.

Watching Donnie Brasco: Extended Cut at first, I only noticed one scene that was added: a dinner conversation between the gang after a brutal beating and killing of a rival. Going back and running my old DVD copy against this new one, I saw the new additions – mostly domestic stuff that further shows Donnie’s gradual estrangement from his wife, plus the IRS auditing his family, Donnie walking Lefty’s lion – but they added almost nothing to the depth of the film. Donnie Brasco: Extended Cut is a marketing ploy to get new people to buy this DVD, and to entice buyers who already own the previous DVD releases, to shell out more dough thinking they’re going to get something extra. I’ve always been suspicious of “extended” cuts for films, anyway. Unless the director conducts them (and even then, I don’t particularly like the process), they’re usually an artistically suspicious practice that always strikes me akin to a painter going back to a museum, and occasionally “touching up” a painting. Leave the film alone; it is what it is. Adding further insult to potential buyers, this new Sony Donnie Brasco: Extended Cut DVD doesn’t even bother to include the director’s commentary from the previous DVD release. With less bonuses than the previous DVD releases, along with some 20 minutes of extra footage that in no way significantly alters or expands on the impact of the film, the Donnie Brasco: Extended Cut is pretty pointless.

The DVD:

The Video:
The anamorphically enhanced, 2.35:1 widescreen image for Donnie Brasco: Extended Cut is vivid and sharp, with the many night scenes holding their blacks well. I saw no transfer issues.

The Audio:
The Dolby Digital English 5.1 soundtrack is crystal clear, but since Donnie Brasco: Extended Cut is mostly about dialogue, don’t expect a lot of play in the speakers. English and French subtitles are available, and a close-captioning option is available.

The Extras:
The extras for Donnie Brasco: Extended Cut are the same ones featured on earlier releases — without the director’s commentary, which is missing here. The Donnie Brasco: Out From the Shadows featurette looks at the background of the production and Pistone’s career. There’s an original featurette from 1997, promoting the film. A photo gallery, and some original theatrical trailers are included.

Final Thoughts:

There’s no need to purchase the Donnie Brasco: Extended Cut DVD, particularly if you already have the older DVD releases. The director’s commentary is missing from this reissue, and the “extended cut,” which isn’t credited to the director, adds nothing new to the impact of the film. If you already own the film on DVD, there’s no need to rush out and buy this one. And if you’re curious to see it, try and rent an older copy. Skip the Donnie Brasco: Extended Cut.

---

Paul Mavis is an internationally published film and television historian, and the author of The Espionage Filmography

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DOWNLOAD MOVIE Tears of the Sun Just $2.99 for a complete movie! No additional software or browser plug-ins required! You can play them for unlimited number of times whenever you want. Downloaded movies will work perfectly on any PC, DVD player, PDA etc.
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Tears of the Sun (2003) / War-Action MPAA Rated: R for violence, some brutality and language Running time: 118 min.

Cast: Bruce Willis, Monica Bellucci, Cole Hauser, Johnny Messner, Tom Skerritt    Director:  Antoine Fuqua Screenplay: Alex Lasker, Patrick Cirillo

 

 

Bruce and co. are sent on a special-ops mission into the Nigerian jungle with a simple mission to get an American (by marriage), and any other "non-indigenous" people out of there before the newly empowered rebel forces slaughter the village they are in.  The mission is simple, but compromised when Bruce begins to soften to the laments of the Nigerian people that the woman refuses to leave behind.  With the rebel forces hot on their tails, they must complete their mission, while also attempting to deliver the village to safety.

TEARS OF THE SUN is a good film in all respects except it needed a a more intriguing story.  There really isn’t anything bad about the film otherwise.  Bruce Willis gives a good, gritty, and low-key performance.  The supporting cast are all very capable.  Antoine Fuqua’s direction continues to impress.  Good locale work, a nice score, and terrific costumes. 

All of the pieces were in place, except for the script.  There isn’t much in the way of character development, and what little story there is feels too simplistic to maintain a high interest level.  There’s very little dialogue, but there is a lot of action, although it’s more a standard war type of action than, say, DIE HARD.

If you like war flicks without a convoluted, politically-tinged story, TEARS OF THE SUN has plenty of solid, and mostly realistic, fighting.  Don’t expect the chilling realism of BLACK HAWK DOWN or the character-driven wackiness of THREE KINGS.  This is a so-so idea for a movie, like Moses’ tale in "Exodus" without the spectacle, that is only elevated into something more due to the professionalism of all involved.  Expect no greatness, and you’ll be rewarded with competent filmmaking with the only message being that inaction is just as harmful as abetting those who would do evil.

P.S. — For those of you confused because TEARS OF THE SUN was supposed to be the secondary title to DIE HARD 4, I should tell you this is not a DIE HARD movie, nor was it really intended to be one.  This was actually a film which had the original title of MAN OF WAR, but Bruce like the TEARS title, so apparently there was some deal made where it could be used as the title in agreement for Bruce doing DIE HARD 4.  Although, it’s now doubtful if DH4, if there ever is one, will need the title since it seems farfetched that it will still be set in the jungle as originally planned, or risk further confusion.

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DOWNLOAD MOVIE Collateral Damage Just $2.99 for a complete movie! No additional software or browser plug-ins required! You can play them for unlimited number of times whenever you want. Downloaded movies will work perfectly on any PC, DVD player, PDA etc.
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Collateral Damage – **1/2 (out of 5)   (2002)

Cast: Arnold Schwarzenegger, Cliff Curtis, Francesca Neri, Elias Koteas, John Leguizamo

Directed By Andrew Davis

It looks like things have finally come full circle in Arnold Schwarzenegger’s career.  In the beginning he made derivative and ultra-violent action vehicles like RAW DEAL and COMMANDO, which were terrible films that had nothing going for them except they starred Arnie and his charisma.  COLLATERAL DAMAGE is a return to his bygone days when the meaty scripts were still out of reach and he had to build up a reputation, and it’s sad to think how the once mighty one-man franchise could have fallen so low after a decade of unparalleled greatness for an action star.

Arnold plays Gordon Brewer, a firefighter who loses his wife and only son in a terrorist bombing.  The bombing is attributed to a Colombian named Claudio "The Wolf" Perrini, who Brewer had seen moments before the bombing, and who escaped back to Colombia.  Frustrated by the CIA’s ambivalence towards Brewer’s wish for swift justice, he sets out himself to Colombia to take down The Wolf himself. 

COLLATERAL DAMAGE is a stale routine actioner that probably won’t thrill anyone but the most die-hard and undiscriminating of action fans.  Schwarzenegger plays the usual one-man army that he has spent an entire career playing, while the basic plot of a man seeking revenge for his family is a typical staple of the genre.  Arnie isn’t the only one who fails to tread new territory, as director Andrew Davis has made vehicles similar to this in THE FUGITIVE, ABOVE THE LAW and CODE OF SILENCE.  With nothing really of interest going on, it’s a mostly dull affair, with only a few moments of life when John Leguizamo comes in and does some humorous schtick.  Far from the worst vehicle Schwarzenegger has ever done, but certainly not the type of film you’d expect him to make if he plans to ever get his career back on track.

Back to Qwipster’s Movie Reviews            

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DOWNLOAD MOVIE Believer, The Just $2.99 for a complete movie! No additional software or browser plug-ins required! You can play them for unlimited number of times whenever you want. Downloaded movies will work perfectly on any PC, DVD player, PDA etc.
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Believer, The Reviewed By Scott Weinberg Posted 04/29/04 15:37:43

"A controversial gimmick in search of a better narrative." (Average)

A one-note movie that beats its drum loudly and often, The Believer hinges upon the viewer’s capacity for accepting a Jewish Nazi Skinhead. It’s not Ryan Gosling’s intense performance that prevents us from buying the whole package. It’s Henry Bean’s lecturing and self-satisfied screenplay that keeps this mildly compelling character study from evolving into anything more worthwhile.Gosling’s Danny Bolint is a miltantly self-hating Jew. Why? Not sure really. Through use of some clumsily overdramatic flashbacks, we learn that Danny enraged his Hebrew School teachers by challenging long accepted laws of Judaism. OK, fine. So Danny learns some untraditional teachings from his father. How that evolves into violent hatred for his own religion is anyone’s guess.The Believer is packed to the gills with various speeches, lectures and theological bantering. Much of it ends with someone getting a baseball bat to the head. In many respects, The Believer feels a whole lot like American History X with a Semitic gimmick.Much of what does work in the film can be attributed to Gosling’s excellent work as the hate-filled Danny, though his supporting cast is a mixed bag at best. (When Theresa Russell is the big standout, that’s not exactly a great thing.)Created more to incite than to entertain, and that’s just fine. But this one’s loaded with more cornball dialogue and convenient plot holes than your average Sandra Bullock flick, which makes The Believer a tough movie to take all that seriously.
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DOWNLOAD MOVIE DOA: Dead or Alive Just $2.99 for a complete movie! No additional software or browser plug-ins required! You can play them for unlimited number of times whenever you want. Downloaded movies will work perfectly on any PC, DVD player, PDA etc.
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My review of this film can be easily summed up by just using the first three letters of the title.

The "Dead or Alive" (aka "DOA&quo series of video games have been around for over ten years now, a 3D fighter in the "Virtua Fighter" mold that has a strong appeal to gamers due to very fluid and quick fighting movements, arcade-like scenarios, and, perhaps most importantly in terms of its popularity, plenty of gratuitous cheesecake involved in the sexy appeal of the main female characters.  The video game world has always been, and still is, primarily dominated by male interests, and unlike other fighting games that concentrate more on the martial arts violence or easy-play head-to-head aspects, "Dead or Alive" just has that extra level of eye candy that makes it hard to resist for young heterosexual guys.  When aspects like the "bounce factor" of the female breasts are adjustable in the options for the game, you can pretty much guess where the emphasis lies in the developers of the series.

Although most who have played the game would probably be hard-pressed in recounting just what plots are involved in what versions of the games they have experienced, there actually is some minor attempt at a back story in nearly every one of them.  Just like the "Street Fighter" series, they involve a world tournament of international fighters, all with different fighting styles, competing to see which one is the best in various vistas around the world (here, the tournament is funded by a large corporation).  Each fighter is presented with his or her own personal reasons for competing in the event, either for money or revenge, with an overriding plot tying in to the corporation and its goals to create the ultimate fighter or weapon for its own evil purposes.  (This film version has the tournament completely on one island owned by the corporation, now headed by the unscrupulously power-hungry Donovan (Roberts, National Security).

Despite the fact that video games based on arcade-style fighters have been made without a great deal of critical or commercial success (Street Fighter and Mortal Kombat are the two most popular), it looks like someone hasn’t learned that the formula doesn’t quite work when translating these elements to the big screen.  While every effort is made to incorporate every basic aspect of the video games into the story, what the producers of this "junk food" action vehicle fail to realize is that the primary reason for the popularity of most fighter games is the "pick up and play" factor for most gamers, who like fast action, a lack of plot, and the competition factor that makes them especially fun to play with a friend.  Nobody really gives a rat’s ass about each particular character and his or her story except as a means to provide a momentary respite from the furious button-mashing involved in each stage of the tournament.  You turn it on, you play, you turn it off and go about your day — an easy, enjoyable distraction you hardly think twice about.

I guess if I wanted to give the filmmakers some credit here, I could definitely state that even this mindless aspect of the games has translated into the movie.  Exactly like the game, every scene in the film pushes the buttons of titillation, whether through the attractiveness of the actors, the thunderous violence, or the lightning-quick fluid CGI-laden fighting.  If all you are looking for is a live-action recreation of the video game, DOA: Dead or Alive is nearly perfect in that regard, as practically everything you’d associate with the games is in there, from the costume changes, various locations, and signature moves.  Even the spin-off game, "Dead or Alive Xtreme Beach Volleyball" is worked into the plot of the film itself.  I should point out for the purists, there are some changes: some of the characters have been excluded, a couple of new ones created, and a few of the nationalities and races altered.  Still, for the most part, they get the "important" stuff right.

While all of this may be pleasing to those who have ever been obsessed with the video game series, unfortunately for moviegoers who are not especially familiar, this movie delivers very paltry goods.  While it definitely covers the bases on everything that makes the video game a hit, it also never gives us anything more. Without the personal interactive quality for people in the audience, it is about as stimulating as watching someone else play "Dead or Alive" for nearly ninety minutes on your TV at home.  There are some miniscule attempts at character development here and there, but not enough to make us give a damn, as the entire construct of the film is to show plenty of fighting and scantily-clad babes whenever possible.  Like the games, the emphasis of the movie is on the female characters, mostly because they are hot and marketable for the poster and advertisements.  No surprise, as "sex sells" has always been the motto of the franchise through and through.

Directed by longtime Hong Kong action veteran Cory Yuen (The Huadu Chronicles, The Transporter), DOA offers plenty of well-choreographed fighting and a stimulating visual style that should definitely go down well for lovers of eye candy theatrics.  The plot is cheesy and the dialogue campy, so lovers of bad cinema may be especially fond of this schlocky entry into their video collection.  However, if you don’t fall into one of these two camps, DOA will prove to be a tedious experience, with little in the way of interest in the main story, one-dimensional characters, or barely-evident plot twists.  Each scene of violence or juvenile sexuality is followed by just another one.  If you’re one of those rare moviegoers who thought Charlie’s Angels put too much emphasis on characters and plot, perhaps this more remedial version will be right up your alley.

My advice if you’re still interested: rent any one of the video games in the series instead.  It will cover every base the film does, but features one basic component this movie version lacks:  your involvement.

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Lord of the Rings: The Fellowship of the Ring, The
The reason why this first part of Jackson’s ‘Lord of the Rings’ is
superior
to his latter two parts is because of restraint. Jackson was restrained
from
over doing it with the CGI and "epic" battle sequences, which in my
opinion
does not make a story epic. Part of the reason was simply because Tolkien
did not have very many battles in the first part of his book, which
thankfully forced Jackson to focus on creating a believable world rather
than a believable hack-n-slash action movie.

I don’t find much entertainment in watching people mutilate each other,
but
I love it when a movie engages me in a world, and ‘The Fellowship of the
Ring’ does just that. Certainly the most breathtaking scenes in the movie
are the moments of patient observation, when the camera pans around and
captures the beautiful settings of Middle Earth. I must give Jackson
credit.
He did hire some very extraordinary artists that have envisioned one of
the
grandest interpretations of Tolkien’s world.

There are about five particular moments that stick out in my mind and gave
me that tingle of goosebumps down my spine when I saw them for the first
time. The first is the introduction to Hobbiton. After the somewhat
awkward
prologue, I was beginning to have my doubts to whether the movie would
live
up to the book. But the movie surprised me. Hobbiton is perfect. The
houses
have flower patches and old fences, the roads look worn and made through
decades of travel, and the Old Mill spins with the laziness of a quiet
town.
Every color is vibrant and every moment looks as through it was taken out
of
a picture book. Although I still don’t agree with the particular look of
the
Hobbits, I believe everything else in Hobbiton is worthy of Tolkien’s
words.

The second moment comes after Frodo’s awakening in Rivendell, and the
third,
during the exploration of the Halls of Moria. In both moments, the camera
pans away from the characters and outward into a static shot of their
surroundings. The moments make us feel like we’re turning our heads and
gazing at the world around us just as the characters do. The golden
waterfalls of the elven city mark an interesting contrast with the dark
halls of the dwarfish mines, but each are inspiring in their own ways and
add to feeling of being engaged in a living world.

My other favorite moments come during the exploration of Lothlorien and
the
passage down the Anduin. And while I won’t go into detail about the
scenes,
since they really should be experienced without any prior expectations,
they
are monuments in imaginative cinema. ‘The Fellowship of the Ring’ is one
of
those rare movies that I always wish I could reexperience for the first
time. Unfortunately, Jackson turned away from exploring Middle Earth in
his
next two movies, and instead, turned to fighting and warfare. He seems to
take a lot of pride in the love story and battle sequences he created in
‘The Two Towers’ and ‘The Return of the King,’ but it is was in his first
movie when he really got it right. In ‘The Fellowship of the Ring,’ it’s
okay if the characters are uninteresting and have silly dialogue. Middle
Earth is the star, and the characters are the ones seeing it for the first
time.

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