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James Bond 007, Quantum On Solace, Free Download the New Movie Film



Quantum of Solace
Release: 7 November 2008
Countries: Rest of the world, UK, USA
Cert (UK): 12A
Runtime: 106 mins
Directors: Marc Forster
Cast: Daniel Craig, Gemma Arterton, Giancarlo Giannini, Jeffrey Wright, Jesper Christensen,
Judi Dench, Mathieu Amalric, Olga Kurylenko, Stana Katic

Review Film :
He's back. Daniel Craig allays any fear that he was just a one-Martini Bond, with this, his second 007 adventure, the perplexingly named Quantum Of Solace.

I've got to admit that this didn't excite me as much as Casino Royale and the villain is especially underpowered. But Craig personally has the chops, as they say in Hollywood. He's made the part his own, every inch the coolly ruthless agent-cum-killer, nursing a broken heart and coldly suppressed rage. If the Savile Row suit with the Beretta shoulder holster fits, wear it. And he's wearing it.

This is a crash-bang Bond, high on action, low on quips, long on location glamour, short on product placement.

Under the direction of Marc Forster, the movie ladles out the adrenalin in a string of deafening episodes: car chases, plane wrecks, motor boat collisions. If it's got an engine, and runs on fuel, and can crash into another similarly powered vehicle, with Bond at the wheel, and preferably with a delicious female companion in the passenger seat - well, it goes in the movie.

There are plenty of references to other Bond moments. A horribly dangerous skydive recalls The Spy Who Loved Me. A pile-up in Haiti which spills a macabre lorryload of coffins recalls the voodoo creepiness of Live And Let Die. And, most outrageously of all, the grotesque daubing of a female corpse brings back Goldfinger - though Sean Connery got an awful lot more mileage out of that sort of thing.

As in Casino Royale, the famous John Barry theme tune is saved up until the end; a baffling, decision, I always think, not to use this thrilling music at the beginning of the film.

Bond has hardly got his 007 spurs, when he's infuriating M, Judi Dench, with his insolence and insubordination. Out in the field, he's whacking enemy agents in short, sharp, bone-cracking bursts of violence when he should be bringing them in for questioning.

In theory, he is out to nail a sinister international business type: Dominic Greene, played by French star Mathieu Amalric, who under a spurious ecological cover plans to buy up swaths of South American desert and a portfolio of Latin American governments to control the water supply of an entire continent. As Greene, Amalric has the maddest eyes, creepiest leer, and dodgiest teeth imaginable.

Clearly, Bond has to take this fellow down. But he also wants to track down the man who took his beloved Vesper away from him in the previous movie: he is pathologically seeking payback, and to the fury of his superiors, this is getting personal. But it hasn't stopped him cultivating female company in the traditional, fantastically supercilious manner. His companions are as demurely submissive as ever. Olga Kurylenko plays Camille, a mysterious, smouldering figure, out to wreak vengeance on the corrupt Bolivian dictators who killed her family.

Britain's Gemma Arterton plays Agent Fields; she greets 007 wearing a trenchcoat with apparently little underneath, like some sort of MI6 strippogram. And she is the recipient of his ardour in the luxury hotel suite - that quintessential Bond habitat. This movie is, in fact, a reminder of how vital hotels are in Bond films, providing the essential narrative grammar: the checking in, the fight with the stranger in the room, the messages left at reception, the luxury cars lovingly photographed outside.

I was disappointed there was so little dialogue, flirtation and characterisation in this Bond: Forster and his writers Paul Haggis, Neal Purvis and Robert Wade clearly thought this sort of sissy nonsense has to be cut out in favour of explosions. Well, perhaps that is what Bond fans want (not this Bond fan, though). But I was also baffled that relatively little was made of the deliciously villainous Amalric: especially the final encounter.

But set against this is the cool, cruel presence of Craig - his lips perpetually semi-pursed, as if savouring some new nastiness his opponents intend to dish out to him, and the nastiness he intends to dish out in return. This film, unlike the last, doesn't show him in his powder-blue swimming trunks (the least heterosexual image in 007 history), but it's a very physical performance. Quantum of Solace isn't as good as Casino Royale: the smart elegance of Craig's Bond debut has been toned down in favour of conventional action. But the man himself powers this movie; he carries the film: it's an indefinably difficult task for an actor. Craig measures up.

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Virgin Territory, Free Movies Download



Genre : Comedy, Drama
Release Date : September 21, 2007
Cast : Hayden Christensen, Mischa Barton, Tim Roth, Chris Egan, Silvia Colloca
Director : David Lelan
Producer : Dino De Laurentiis, Martha De Laurentiis, Roberto Cavalli
Writer : David Leland, Giovanni Boccaccio
Description : Ten young nobles decide to wait out the Florentine plague in their country
estates, amusing each other every evening with earthy stories of love and
adventure.

Moview Review :

Virgin Territory, starring dull Vader himself Hayden Christensen, veteran Tim Roth and “The OC” star Mischa Barton, is some sort of half-baked pitch, like “‘American Pie’ meets ‘Romeo and Juliet’,” gone haywire. The film, ostensibly a sex-romp set in plague-ridden 15th century Europe, plays out like a bad episode of “As the World Turns” or “Melrose Place,” only without the sharp pacing.

After watching a solid 30 minutes, you still don’t really understand the plot (though there seems to be one involving Tim Roth duplicitous scheme to marry the virgin played by Barton). Sure there’s some nudity and something inherently kinky in Renaissance-style soft-core porn, but this does not make for a film. And there’s a good reason; in spite of the cast of familiar names, this thing wasn’t released in theaters (which was a real act of mercy).

To Hayden Christensen’s credit, he plays to his acting strengths: posing as a deaf/mute in a nunnery so he can show them all a swingin’ good time. The characters all alternate acting within the time period to being characters in a cookie cutter “American Pie” sequel without being bothered with silly things continuity and suspension of disbelief.

The saddest thing about “Virgin Territory” is the fact that the script, while not great, isn’t nearly as terrible as the direction and overall execution, so you have to feel just a little bit badly for the actors who read it and agreed to appear in it (but not too badly). But honestly, if you want provocative fare just rent a Mexican movie: those are usually decent and have gratuitous nudity; if you want to watch Hayden Christensen act, go rent “Shattered Glass” (not “Star Wars”). If you want to be insulted and bored, by all means rent “Virgin Territory.” Watch it until the end just to see if you have the will power (and take a drink every time you wish its creators contract the Plague).

Midnight Meat Train 2008, free download movie films



Midnight Meat Train: A Movie Review
With the opening scenes full of blood and gore it becomes apparent pretty quickly that this will is not your average horror tale. "Midnight Meat Train," stars Bradley Cooper as Leon Kauffman, Leslie Bibb as Maya and Vinnie Jones from "Snatch," fame as Mahogany. Mahogany is seen in the first few scenes hacking one man to death, while another man screams near-by. The theme of violence re-occurs often.

Lions Gate Films is the producer of "Midnight Meat Train," as well as the distributor. Originally, Lions Gate Films set out with the intention of receiving a "hard," R for this movie. With gruesome killings throughout the restricted rating is sure to turn many away, while appealing to a niche market of violent movie goers. Blood and bodies fly and this film is so gory that it borders on a NC-17 rating for all the violence. This film is not a good watch for younger audiences or for those that cannot stand the sight of vicious killings. For those that are familiar with other Lions Gate Films productions like; "Saw," "Hostel II," "The Condemned," and "Bug," then you will know what to expect

This film begins as thriller turns into a love story and ends as a tragedy. With so many genres it is difficult to classify "Midnight Meat Train." But the horror genre definitely rings through the film as the protagonist takes on a silent subway killer in butcher shops, dark alleys, and subway stations. After a face to face showdown with the killer, on a subway train, the tension and pace begins to amp up in intensity. As well, the bodies begin to pile up as victims get the surprise of their short lives in the form of meat cleavers, knives, bone saws, and meat hooks. Creative check, exciting check, disgusting double-check.

The use of blood red colours and the creation of shadows through the clever use of lighting add to an overall feeling of foreboding during "Midnight Meat Train." The city environments involve tall austere buildings, drab butcher shops, and empty subway stations giving the film a sombre tone. Also, the sad notes of the movie's score haunt many of the scenes and suit the movie's themes of death or depravity.

The killer is emotionless, quiet (for reasons that will be shown later in the movie) and very violent. The fights scenes between the killer and the protagonist are vicious, primal, and brutal with CGI enhancement subtly thrown in. Both the protagonist and antagonist are drawn together by some kind of unspoken understanding that creates conflict at each meeting, while bringing the film to a rising climax. In the last scenes “Midnight Meat Train," changes in tone and rhythm. The initial love story transforms into a tragedy as several of the main characters die unexpectedly.

Well-written characters and ominous tones will hook most viewers and the grisly deaths will satisfy horror junkies. The story is engaging. Despite, a few clichés in the final scenes of the film, "Midnight Meat Train," is a must-see for those with a strong stomach.

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Release: June 13, 2008
Written and Directed by: M. Night Shyamalan

Starring:
Mark Wahlberg as Elliot Moore
Zooey Deschanel as Alma Moore
John Leguizamo as Julian
Ashlyn Sanchez as Jess
Betty Buckley as Mrs. Jones

Although the exact details of the how or why of nature’s turn are left to the imagination, it appears toxins in the environment suddenly work their way from plants and trees into the brains of human beings – human beings in the Northeastern United States that is. This may be because those on the West Coast are admittedly a bit touched already.

Writer / Director M. Night Shyamalan of The Sixth Sense and Signs fame apparently got the idea for this film while driving through the New Jersey countryside, and what an idea it was. Whereas most sci-fi thrillers depict human beings facing an extra- terrestrial attack or natural disaster as being in survival mode, it appears this condition drives us instead into panic and suicide. So beginning in Central Park and traveling from major cities to rural neighborhoods, people are dropping like flies – jumping off buildings, shooting themselves, etc. Quite a perplexing scenario for characters like our hero Elliot (played by Mark Wahlberg), a passionate high school science teacher who until this happened was busy encouraging his students to contemplate the fascinating mystery behind the disappearance of some honey bees. Who knew?



In addition to his inquisitiveness, Elliot is quite a likeable character and resourceful enough to find a way out of the city, along with his not-so-happy and visibly puzzled wife, Alma (played by Zooey Deschanel). Actually Alma has all the warmth and personality of a doorknob but other than that the two seem like an ordinary couple with potential given 1. She doesn’t leave him for someone else and 2. They can make it through the demise of mankind.

Elliot’s friend Julian (played by John Leguizamo) accompanies them on the journey but gets separated from the group, leaving his eight-year-old daughter Jess with Elliot and Alma. The sudden family nucleus brings out Alma’s previously absent nurturing side. Unfortunately this growth in character is as contrived as Deschanel’s performance in general.

Don’t get me wrong. Aside from the tiresome melodrama of the main characters’ relationship, The Happening definitely has its good points. In fact the story as a whole is fascinating, and it’s quite remarkable to watch what’s going on here – beautiful green serene rolling hills and quaint farms juxtaposed against large groups of wandering people suddenly overtaken by something and offing themselves one by one. And when they don’t have a gun handy they come up with some pretty creative alternatives. Let’s just say Grandpa’s Rototiller will never be the same, not to mention Grandpa.

One colorful character is Mrs. Jones (played by Betty Buckley of Carrie fame), a recluse living in the middle of nowhere without access to media and thus no knowledge of what’s going on outside her farm house. George Bush who? Our traveling trio wanders up to Mrs. Jones’ door by accident and she hesitatingly invites them to stay. “Who’s chasing whom?” Mrs. Jones boldly asks the couple at dinner, explaining that in all relationships one person is chasing the other. Rather poignant in this instance and in the case of humanity in general when you think about it. However with our apathy toward Elliot and Alma’s marriage and death literally at the doorstep, it hardly seems important that the couple take this opportunity to work on their issues.

But work on their issues they do and throughout The Happening we are faced with two questions. First, does love conquer all? And second, should I still buy that hybrid vehicle? Hint: if you do, be sure to load it up with a map and a few gas masks!

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The Da Vinci Code: Of Magdalene, Gnostics, the Goddess and the Grail

Released in March 2003, The Da Vinci Code by Dan Brown has sold more than 4.5 million copies (as of January 2004, despite the six percent decline in hardback sales overall). It has camped atop the New York Times bestseller list. In November, ABC aired a primetime special entitled Jesus, Mary and Da Vinci: Exploring Controversial Theories About Religious Figures and the Holy Grail. Variety.com recently announced, "Ron Howard, Brian Grazer and Akiva Goldsman—the Oscar-winning triumvirate from 'A Beautiful Mind'—are reteaming to make 'The Da Vinci Code' for Sony Pictures Entertainment.” According to USA Today, "Code' s popularity shows that 'readers are clamoring for books which combine historic fact with a contemporary story line,' says Carol Fitzgerald, president of Bookreporter.com.... 'They say, "I like being able to learn something as well as read a story".'" USA Today also noted at least 90 related books on religion, history and art, which have seen sales rise as well.

According to Richard Wightman Fox, author of the soon-to-be-published Jesus in America in a U.S. News & World Report article last month, The Da Vinci Code "is riding the wave of revulsion against corruption in the Catholic Church." The article continues, "What Brown's novel taps into above all is a persistent American desire to recapture the true, original Jesus. 'That's what Protestantism itself has always been about,' says Fox."

The book—complete with footnotes of source materials—is a novel, but in a controversial introductory note, Brown writes that "all descriptions of documents and secret rituals are accurate." Are they? An incomplete list of author Dan Brown's theses include (the following list primarily based on The feminist mystique, first published in Haaretz Daily (Jerusalem) by Aviad Kleinberg November 7, 2003):

Early Christianity entailed "the cult of the Great Mother"
Mary Magdalene represented the feminine cult and the Holy Grail of traditional lore

she was also Jesus' wife and the mother of his children Magdalene's womb, carrying Jesus offspring, was the legendary Holy Grail (as seen in Da Vinci's encoded paining, The Last Supper)

Jesus was not seen as divine (God) by His followers until Emperor Constantine declared him so for his own purposes

The Nicean Council of the 3rd Century was the context for Constantine's power grab and the relationship of Magdalene as paramour of Christ was quashed there

"Mary Magdalene's remains and the secret documents that tell the real story were found on the Temple Mount when Jerusalem was conquered in the First Crusade.”

Brown sees a connection between the Nag Hammadi documents (a.k.a., Gnostic Gospels) discovered in 1945 and this storyline

The "truth" about Christ and Mary Magdalene has been kept alive by a secret society named the Priory of Sion that was lead by great minds like Da Vinci

Dubious doctrines like Goddess worship and neo-Gnosticism, critics charge, provide the core of Brown's acclaimed novel (although Brown makes egregious errors even within those, e.g., Gnostics would be repulsed by the idea of physical relations between Mary Magdalene and Jesus). Given the book's liberal use of long-debunked heresies and flashy but baseless theories on everything from church tradition to architecture to the heads of a secret society, cataloguing Brown's scholarly infractions will exhaust the casual reader who will likelier readily embrace such fast-paced fiction uncritically. As Sandra Miesner (featured below) states, "The Da Vinci Code takes esoterica mainstream.” Thus, as similar volumes and a film adaptation follow on its tail, we hope to shed light on at least some of the critical, if unoriginal, issues raised by the book.

Critics assail Brown's appeals to scholarship and history, which range from questionable to outlandish to (some say) outrageous. Yet, hot sales and fawning reviews by the press and readers alike (see Amazon.com's listing of the book and accompanying opinions) indicate that many are buying into this brew of conspiracy theory, romance novel and pseudo-scholarship. Perhaps postmodernists, given to thinking via emotions and wide-open to conspiracy theories surrounding empowered groups, have found the perfect mix. Do Brown's claims and implications line up with evidence, historical fact or truth? Does this matter or is "truth" only a bargaining chip for the empowered group of the day, such as the Catholic Church?

Where did these notions originate? Dr. James Hitchcock, cited on Beliefnet.com December 30, 2003 (beliefnet.com/story/135/story_13519.html), writes, "The Gnostics did not accept the Incarnation of Jesus and treated doctrinal orthodoxy as being too literal-minded. The gospels were not to be taken at face value but as stories with hidden symbolic meanings.” Hitchcock further explains, "Thus it was possible to write new 'gospels,' since the Gnostics were not bound by what may or may not have happened while Jesus was on earth. Mary Magdalene could become Jesus’ intimate, and the New Testament could be dismissed as essentially false. ([Again,] modern people like Dan Brown, who treat the Gnostic gospels as history, miss the point—to the Gnostics themselves it was irrelevant what actually happened when Jesus was on earth, if he ever was.)”

Writing in Crisis , Sandra Meisel coolly notes, "By manipulating his audience through the conventions of romance-writing, Brown invites readers to identify with his smart, glamorous characters who’ve seen through the impostures of the clerics who hide the 'truth' about Jesus and his wife. Blasphemy is delivered in a soft voice with a knowing chuckle: '[E]very faith in the world is based on fabrication.'”

The wisest sage of all time wrote, "There is nothing new under the sun" (Ecclesiastes 1: 9b). Here, in The Da Vinci Code, we hear echoes of the Jesus Seminar which in its heyday in the 1990s recycled Gnostic heresies and took the dead-end path of higher criticism of the late 19th Century. Apologetics researcher Rich Poll observes that the early Church spent much of its energy battling heresy. This doctrinal war, in many ways, culminatated in the Nicene Council's creed. How interesting that a revisionist account of such times and issues dressed up as well-researched historical fiction brings us full circle. In our Special Focus, we seek to address:



  • the historicity and authority of the Bible over and against non-canonical works
  • the nature and validity of non-canonical gospels, including The Gnostic Gospels
  • Jesus' claims to deity and the early Church's understanding of it, predating the Nicene Council
  • Biblical understanding of Christ's view of women like Mary Magdalene
  • an obliquely related topic, the Bible code


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In 1940s Poland, the German conquerers have issued new anti-Jewish directives. All Jews must leave the countryside and concentrate in the major cities. They are crammed into the “Jewish Quarter” of town, in this case Krakow. They are relieved that the Nazis have not killed them, but life is very hard in the Ghetto.

Enter Oskar Schindler (Liam Neeson), a scam artist from the German part of Czechoslovakia. He arrives in Krakow, intent on making his fortune as part of the “new order.” He spreads money freely among the SS and Nazi hierarchy, and eventually makes contact with Itzhak Stern (Ben Kingsley), a Jewish businessman. Stern agrees to raise money for Schindler to buy a cookware factory in exchange for product to trade on the black market. Schindler is “Director”, but Stern actually runs the operation.

Things go well for Schindler until the Nazis decide to remove all Jews to concentration camps. A new one is built not far from Krakow, and the Jews are forcibly removed there. Schindler quickly realizes that his slave-labor force is at risk, and comes to an accommodation with the camp commander, the sociopathic SS officer Amon Goeth (Ralph Fiennes). Schindler is allowed to continue using people on a “list,” and these will not be send off to the death camps. An equilibrium is again reached, though conditions in the camp are even worse than in the Krakow Ghetto.

As the war progresses, the SS becomes increasing frantic in its efforts to implement the “final solution.” Goeth begins sending increasing numbers of people to Auschwitz, and Schindler’s people are again at risk. Stern reminds his boss that the List is all that stands between them and extermination. Schindler even has to rescue Stern and a trainload of his workers from the gas chambers at one point.

Realizing that Poland is too dangerous, Schindler buys a munitions factory in his native Czechoslovakia and moves “his” people there. Several hundred Jews are saved by his actions, though the bribes and other expenses required to do this bankrupt Schindler, who was wealthy at the height of the war. In the end, Schindler is ruined, but the people on his List are saved.

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