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September 20th, 2008 by moviesdownloads

Download Silence of the Lambs, The

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Silence of the Lambs, The

The Silence of the Lambs ****1/2 (out of 5) (1991)

Cast: Jodie Foster, Anthony Hopkins, Scott Glenn, Ted Levine

Directed by Jonathan Demme

Clarice Starling is an FBI agent-in-training who is sent for the near impossible task of gaining the aid of a dangerous psychopath, Hannibal Lecter, in catching a serial killer nicknamed Buffalo Bill (dubbed so because he “skins his humps”, i.e. he removes part of their skin after killing them.) Now his next victim is the daughter of a Senator and the FBI is turning up the heat to save her before it’s too late.

Without a doubt, the best thriller of the decade and perhaps the greatest in the horror-thriller genre since Hitchcock’s PSYCHO. With almost flawless precision, Demme and screenwriter Ted Tally (from Thomas Harris’ novel) sets up the powerful symbolism and themes which run deep on several levels. Resurrecting the careers of Foster and Hopkins, both of whom deliver outstanding performances, SILENCE OF THE LAMBS is a gothic and macabre crime thriller of slow but gripping intensity with an intelligence and originality that takes the genre to a new level. Deservedly garnering Oscars for Best Picture and the two stars, THE SILENCE OF THE LAMBS is a near masterpiece of horrific tension that will stay with you long after each viewing. Outstanding.

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K-19: The Widowmaker legal movie downloads

September 19th, 2008 by moviesdownloads

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I had an anecdote written for the opening paragraph of this review, but after reading it, I decided that it spoiled the movie somewhat.  Many viewers will probably be so wholly unfamiliar with the real-life events of the voyage of the K-19 that even if I were tell you that there are survivors or not would probably be seen as a spoiler to a good many of you, and I know that as someone who watched this not knowing either way, I appreciated the suspense.  Not that this film is a truly accurate account, as it is only inspired by real events, and features a very Hollywood-ized take.  Regardless, Hollywood fabrication or not, there are still enough moments of genuine drama and suspense to recommend K-19: The Widowmaker as a solid submarine adventure flick, even if artistic license is heavily employed.

Of course, the real-life events took place in 1961, at the height of the Cold War between the United States and the Soviet Union.  The K-19 was Russia’s first ballistic nuclear missile submarine, which was plagued with mishaps even before leaving to sea.  Captain Alexi Vostrikov (Ford, What Lies Beneath) was the stern commander, perhaps more concerned with image than in the welfare of his crew, or at least it seemed so by the men under his command.  The most damaging of accidents occurs when the nuclear reactor on board begins to break down, leaking radiation to all parts of the boat, and if uncontained, would result in a nuclear explosion that would dwarf Hiroshima’s in terms of power.  Vostrikov must ask his men to do the unthinkable in order to salvage the sub, but the men are in a mutinous mood due to his frequent challenges to their honor.

Director Kathryn Bigelow continues to break barriers for female directors in the genre of action films.  She’s made quite a few notable flicks in this area already, including Near Dark, Blue Steel, Point Break, and Strange DaysK-19 falls right in line with these others, because in every case, whether or not the film was good or bad, you couldn’t tell it wasn’t directed by a man from Bigelow’s no-nonsense style.  This is probably her most ambitious project, with an all-male cast regarding events that women weren’t privy to in that era, yet Bigelow sees the drama for what it is, and good results follow.

It also takes some time to become accustomed to Harrison Ford’s attempt at a Russian accent, which would seem needless considering the film is entirely in English.  Just a minor quibble here, but there are very few people who would not pick up the fact that the actual men spoke Russian, even if everyone were to speak in perfect English.  By giving them all Russian accents, it actually might confuse more people, because it sounds like Russians attempting to speak English!  Despite the gripe, Ford does well in the role, giving the necessary stoic but stern inflections necessary throughout.  Liam Neeson (The Haunting, The Phantom Menace) and the rest of the supporting cast all add quality performances as well. 

K-19: The Widomaker is a good action film, much overlooked here in the United States, probably because we aren’t used to watching films with Russian heroes, and are especially skeptical with American and British actors portraying them.  However, for those who do venture to watch it, you will be rewarded with tense drama and intrigue, and a gripping true account of an event where the fate of humanity hanged in the balance. 

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Reindeer Games movie downloads

September 18th, 2008 by moviesdownloads

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The Movie:





Reindeer Games” is an oddball thriller from “Ronin” director John Frankenheimer. Overly twisty and silly at times, the film seems too satisfyed with the dialogue between the characters to worry about pace or providing any sort of thrills. Of the film’s many problems, story is pretty much at the top. Belivability is strained, and I began to lose patience with the film quickly.



The film opens with Rudy Duncan(Ben Affleck) and his friend Nick waiting to be released from prison. Rudy is essentially walking out into nothing, but Nick has Ashley(Charleze Theron) waiting for him - a girl he’s been having a pen pal thing with in prison. Before they’re released, the two get into a fight and Nick is killed. When Rudy walks out and sees Ashley waiting there, he decides to become Nick.



I don’t think I’d be revealing anything that’s not in the trailer already by saying that Ashley’s brother Gabriel( Gary Sinese, looking more like Steve Buscemi) stops by and things become less jolly in this holiday thriller. See, Nick told Ashley that he used to work in an major casino, and they think Rudy is Nick, and…well, you get the idea.



The screenplay by Ehren Kruger(”Arlington Road̶ ;) is essentially way too talky. That would be fine if the dialogue or story was the least bit interesting, but with the dull plot and slow pace, it makes for an awful long journey. He’s the guy the’re looking for, he’s not the guy they’re looking for. Sinse wants to kill him, he doesn’t want to kill him, and on and on. The film could have made something entertaining out of the fact that Rudy has to rob a casino he knows nothing about, but the film takes the plot so absurdly seriously that it’s no fun.



Affleck isn’t too bad here, but I’m clueless as to why Theron accepted this role. This is a weakly written character with one too many mood changes and the actress seems out of place and deserves better. Affleck does what he can with the role, sometimes adding much needed comic relief to the otherwise dark proceedings. Sinise has previously shown himself to be a fine actor, but the combination of “Snake Eyes”, “Mission To Mars” and this film is a fairly unfortunate trilogy.



Reindeer Games” is one of those films where you want less talk and more action, more movement, at least. The performances aren’t bad, but the story is slow and it’s not intense enough to be much of an action film. Maybe if it wouldn’t take itself so seriously it would be more entertaining, but oh well.



This director’s cut does restore about 19 minutes worth of scenes into the movie (from 105 to 124), while still keeping the film with an R-rating. In the commentary, Frankenheimer explains that the testing process did not go as well as he expected and scenes were requested to go. Scenes are usually slightly extended, such as Affleck originally finding out about Theron’s character in the prison, their original meeting, the sex scene, different version with when Affleck meets the bad guys, shopping, and several other small and medium changes.



I’m still not a fan of the film, but this addition of about 19 minutes does add to the picture, and not in simply the way of adding running time - but it still doesn’t add or change enough to win me over on the film.




The DVD





VIDEO: Although I don’t have the original version to compare with, this new director’s cut doesn’t look much different to me than the original version did. Presented in the film’s original 2.35:1 aspect ratio and anamorphic, sharpness and detail are generally very good. Only a few darker scenes seemed slightly murky.



A couple of slight flaws did appear in the form of some minor edge enhancement and pixelation, although neither of these problems became too irritating, or even that distracting. I was pleased to see that there are hardly any print flaws visible - just a speckle or two.



The film’s drab color palette of course remains here, and the majority of the film intentionally has a rather dark look to it - of course, it’s not exactly a happy, bright picture. Some of the scenes do have slightly brighter colors, but these instances are fairly rare.



SOUND: I’d expected more intensity from the film and I suppose the sound goes along with that expectation as well. The early portion of the film really doesn’t have too much to offer, with the sound mostly coming from the front, with the occasional light surround use.



The music does remain a constantly pleasant element, sounding clear and dynamic throughout. Once the film does get to about the halfway point, both the soundtrack and the movie begin to wake up a little more. Gunfire, car chases and a few more agressive sequences make for a more lively experience. Although it becomes more agressive, it certainly isn’t anything too remarkable. It certainly doesn’t compare to Affleck’s “Armageddon” in the audio department.



There’s a few good audio sequences, but for the most part, this is simply very talky - dialogue-driven for much of the way. Dialogue is clear and easily heard. Not bad, but don’t go in expecting an all-out action soundtrack.



MENUS: Menus are pretty basic, again using images from the film but with a “director’s cut” title addition on the front menu.



EXTRAS:





Commentary: This is a commentary from director John Frankenheimer, who also gave a commentary for the original DVD release. I’m not completely sure since I don’t have the original for comparison, but this commentary seems like new comments pertaining to the director’s cut version (and there are a great deal of comments about it) were edited in with some comments from the original track. Still, the new information added here is quite entertaining and informative, especially some of the talk about Frankenheimer’s opinions on the testing process that really begins to take us into the pressure and nerves involved in such discussions. Also interesting is that both this film and his last film “Ronin” scored the same in the preview process, but that studio was happy to get those numbers versus the opinion of those scores for this film - although the cuts were made by Frankenheimer’s decision, not forced by the studio. We also hear from the director on what he would have done differently had he been able to do the final production process of the film over again (which, I suppose, in a way, he’s doing here offering the director’s edition).



The director does a fine job leading us through the differences both major and minor throughout this director’s cut edition, as well as his opinions about the differences between the two editions. It’s a good commentary worth listening to as we learn the details on why these scenes were cut and what’s involved in the different versions of the film.



Original Theatrical Cut Scenes: 8 scenes played as they originally appeared so that the viewer can compare them to the director’s cut (this set of scenes are only in Dolby 2.0, though) - “Oh, Ashley”, “Sex Scene”, “Welcome Home Nick”, “Casino Shuffle”, “First Time Robbers”, “Cowboy and Indians”, “The Chase Is On”, “No More Games”.



Trailer: The trailer, presented in Dolby 2.0/Full-Frame, which makes the film look like more action-oriented than it is.



Featurette: This is a short featurette that has some interviews and a lot of on-set footage. It’s a pretty interesting little documentary, and better than the “extended trailer” featurettes that Disney usually offers on their DVDs.





Final Thoughts: If you’re a fan of the film, you might find the new 19 minutes added back into the film interesting, but they didn’t really do anything more me. Personally, I found Frankhenheimer’s discussion of the differences and the testing process on the commentary track more interesting. Audio/video quality is fine, and although I don’t have the original to compare to, I thought both releases seemed to look and sound pretty similar.







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download a Party Monster movie

September 17th, 2008 by moviesdownloads

Download Party Monster

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The Cast: Macaulay Culkin (Michael Alig), Seth Green (James
St. James), Chloe Sevigny (Gitsie), Marilyn Manson (Christina), Dylan McDermott
(Peter Gatien), Wilson
Cruz (Angel), Wilmer Valderrama (Keoki), Justin Hagan (Freez), Natasha Lyonne
(Brooke)

Money! Success! Fame! And glamour!

The
Movie:
Based
on “Disco Bloodbath”, a book based on a true story of convicted murderer
Michael Alig. Party Monster chronicles
Michael’s rise to the top of the club kid underground and his subsequent downfall
as a drug addicted
murderer by mixing truth and some very odd fiction. As the story moves along,
you get a sense that the filmmakers want Michael’s character to receive a small
amount
of sympathy
or at least empathy from the
viewer, but his bratty actions don’t allow for that to happen. The reality
of the story outweighs all of the funny and surreal moments that fill this
movie,
but luckily never gets preachy so it’s still enjoy as an entertainment
piece.

Outside of the interesting story, the cast is one of the main reasons to watch
this film. Macaulay Culkin’s performance of Michael Alig is questionable at
first,
but
he pulls
it off without
a hitch and hits the mark pretty well. As good as Mac was, his performance
is out shined by Seth Green’s hilarious portrayal of Alig’s friend/mentor/rival
and Disco Bloodbath author, James St.
James.
The more
and more I watch Seth act, the more and more I like him. With such a large
cast and the main focus being on Michael, a few of the other characters, including
Wilson Cruz’s crucial role as Angel, are underdeveloped. Even with that complaint
the ensemble does a terrific job with their roles, playing the over the top
moments
just
as
well
as some the more subdued or sinister moments of the film.

Throughout
the entire movie costumes play a huge part in recreating the club kid scene.
The outrageous
colors and ridiculous themes of these outfits serve to pull the actual person
from the real world into their cartoonish drug filled fantasy land.

While the technical aspects for the movie are great, the use of handheld cameras
in some of the slower or less manic scenes stick out like a sore thumb. When
used in the large party scenes or ones that depict drug induced effects, the
handheld footage captures the chaotic nature of that particular scene perfectly.

The DVD:

The
Picture:
Available in 1.33:1 full frame and 1.85:1
anamorphic widescreen, Party Monster’s transfer is very nice. Some grain
is present in the film, but for the most part is clear and crisp. Compression
artifacts do show up from time to time, but aren’t something that takes much
away from the image. Vivid colors are key elements
to the story and tone of the movie and are well represented in this transfer.

The Sound: The audio is a decent two channel Dolby presentation,
but a surround mix would have been perfect for this movie. The large party
scenes
and drug scenes would have benefited from a full surround mix to really create
the chaotic feel of these scenes.

Special Features: Director/Producer Commentary, Featurette,
Interview with Michael Alig, Actor Interviews, Behind the Scenes Footage, Trailer

Commentary with Fenton Bailey and Randy Barbato: This
commentary is filled with loads of information about the movie and actual
story as well as history lessons on the Club Kid scene.

Featurette: An eight minute short describing the movie,
the club kid scene and the murder using the actors’ and directors’ words.

Interview with Michael Alig: I was very interested in checking
this extra out when I first saw it, but after seeing how short it is I was
left disappointed.

Actor Interviews: These are set up like the Michael Alig
interview and once again a little too short.

Behind the Scenes Footage: Just under nine minutes of random
“backstage” shots of scenes being shot, conversations and costuming.

Final
Thoughts:
Party Monster is a strange mix of good and evil sprinkled
with a whole lot of glitter. Anyone familiar with the story
will definitely want to pick this one up and those that aren’t are sure to
find
a bizarre
true story worth watching.

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Hulk dvd downloads

September 16th, 2008 by moviesdownloads

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Movie: Recently, a movie was released about everyone’s favorite green comic character (well, except for those who like the Green Lantern), The Hulk. The character has been around for over 40 years in one form or another and in 1977 a television movie, and then a series, was made where Dr. Banner was investigating altering the human body by means of radiation rather than the original version where he was a weapon designer for the military. The mood of the times, including a change in public attitudes towards defense department scientists and government in general, made this necessary. Regardless, the doctor gets overexposed to the radiation and ends up turning into a large, green creature known as the Hulk whenever he gets mad. The creature’s minimal intelligence retains, on some deeper level, Banner’s sense of right and wrong so when he attacks someone or something, he never hurts the innocent. A tabloid reporter follows Hulk sightings, which puts Banner on the run. The television Hulk was a much powered-down version compared to the comic book version (relating to budgets) but he was still strong enough to overpower large bulldozers, heal faster than Wolverine, and escape when chased.

The television series opened each week with the following opener: “Doctor David Banner, physician, scientist, searching for a way to tap into the hidden strengths that all humans have. Then an accidental overdose of gamma radiation alters his body chemistry and now when David Banner grows angry or outraged, a startling metamorphosis occurs. The creature is driven by rage and pursued by an investigative reporter. The creature is wanted for a murder he didn’t commit. David Banner is believed to be dead and he must let the world think that he is dead until he can find a way to control the raging spirit that dwells within him.”

The show starred the late, great Bill Bixby as Dr. David Bruce Banner and the massive Lou Ferrigno as the Hulk. Pursued by a tabloid reporter, Jack McGee (Jack Colvin), Banner seeks a cure to his self-inflicted ailment by exploring a variety of non-traditional remedies, while attempting to help people along the way. A lot of the late 70’s philosophy was structured into the writing of the show (ESP, self help, anti-government themes, alternative medicines, etc.) but it was still entertaining to watch each week as the giant green smashed his way through a variety of obstacles. Several of the shows have already been released and this review concerns The Incredible Hulk: Ultimate Collection, a six disc set of episodes from several of the shows seasons. Here’s a breakdown of the 6 discs included in the package, followed by some commentary by yours truly:

Disc One:
Episode 2.5: Rainbow’s End: October 13, 1978: This episode focused on Banner’s attempt to use a Native American medicine to control the Hulk. In a sense, rather than use science to combat a problem brought on by science, he seeks to use an organic means to control the Hulk. Back when this episode aired, a lot of people believed in the power of natural medicines to cure modern ailments (it was a hot topic issue in cancer research). Other than that, the story dealt with a horse racing matter.

Episode 2.7: Another Path: October 27, 1978: This episode focused on Banner’s attempt to use martial arts and internal control to regulate the Hulk. This was another popular idea of the time-the thought that modern day living was causing illness and only a return to a simpler life could save us all. The story otherwise dealt with Banner trying to help an old Chinese teacher from those who’d seek to use the martial arts in the wrong way.

Episode 2.18: The Disciple: March 16, 1979: This was a follow up episode to the last one with the old Chinese teacher, Li Sun, again under attack. While Banner seeks to control his anger from within, he once again helps the old man and a young cop (played by Rick Springfield when he was much younger). The power of martial arts and self-control are preached.

Disc Two:
Episode 4.12: The First: March 6, 1981: Banner runs across another victim of modern science, one that had a similar problem as he currently faces but years ago. Hoping to find the cure through the research of a long-dead scientist, Banner races against the clock to see if the similar nature of the affliction might have the same cure.

Episode 4.13: The First: March 13, 1981: While trying to find the cure to his transformations, Banner and his new friend accidentally transform the man who had been thought to be cured, into his version of the Hulk. Leaving a trail of destruction much like Banner usually does, the guy fights attempts to be cured (old age has left him sick and weak so the power of his alter ego intoxicates him). The two Hulks fight in the laboratory while McGee races to the scene.

Episode 2.20: Kindred Spirits: April 6, 1979: Hearing of an archeological dig that uncovers evidence of a creature much like the Hulk in the ancient past, Banner rushes to the site in order to see if the past might hold the answers he’s looking for. Life gets complicated when one of the scientists is an old friend of his and he must help her from the various interests that want the dig stopped. Some radical Native American activists, trying to prevent the desecration of their ancestors, are the chief problem this time.

Disc Three:
Episode 2.10: Stop The Presses: November 24, 1978: Banner, while working an odd job at a restaurant, is caught up in a scandal that threatens to expose that he’s still alive. He needs to break into the newspaper office of the National Register, the same paper McGee works at, in order to retrieve a photograph of himself in order to ensure his secret. Into the den of the lion he goes, knowing full well the chances he’s taking by doing so.

Episode 2.16: Mystery Man: March 2, 1979: Banner gets amnesia and ends up in a hospital with bandages on his face. McGee investigates and the two end up in a plane crash where Banner saves his life. McGee suspects he knows who the patient is and his investigative instincts serve him well, even if the mystery being solves is the last thing he’ll do.

Episode 2.17: Mystery Man: March 9, 1979: As some wildfires and wolves threaten to end both of their quests, the two manage by with one another’s help. A lot of background data is learned during the exposition portions of both episodes.

Disc Four:
Episode 4.4: Dark Side: December 5, 1980: Banner, in his ever-continuing quest to rid himself of the Hulk, screws up and injects himself with a serum that ends up changing his personality into that of a carefree criminal with little, if any, regard for others. Until this point in the show, Banner’s conscious was the only thing that protected people from the ravages of the Hulk. Will this be one of the times when the Hulk saves the day from Banner?

Episode 4.5: Deep Shock: December 12, 1980: Banner nearly dies from an electrical jolt and ends up with the ability to see the future. His new ability isn’t as handy as you’d think and when he tries to save some people from the future, they resist.

Episode 4.14: The Harder They Fall: March 27, 1981: Banner is crippled by a car accident and put in a recovery unit with similarly afflicted people. He knows how to cure himself but when his new friends turn to criminal activities to right some wrongs, he feels obligated to save them from themselves first.

Disc Five:
Episode 1.5: 747: April 7, 1978: On a passenger airliner full of people, Banner becomes their only hope of survival when the pilots are out of commission by a couple of saboteurs. This episode reunited Bixby with his co-star from The Courtship Of Eddie’s Father, Brandon Cruz. Will Banner be able to safely land the plane without any piloting skills whatsoever?

Episode 1.2: A Death In The Family: November 28, 1977: This was actually the follow-up movie to the original premiere opener and dealt with the aftermath of the laboratory accident. It lasted two hours when it first showed (it was about 95 minutes here) and centered on Banner coming to the realization that his experiments impacted not only himself but those around him too. In a sense, it showed his motivation for being on the run in order to keep those around him from being hurt by the transformations.

Disc Six:
Episode 3.18: The Psychic: February 22, 1980: A psychic, in search of money, attempts to sell Banner out to McGee. When fate intervenes, she finds he’s not only innocent of murder, but also her only hope against a real killer. Will she still turn him in if he saves her?

Episodes 4.1: Prometheus: November 7, 1980: A meteor crashes to the Earth and emits a strange radiation that effects Banner, keeping him stuck halfway through his transformation. He has some of the Hulk’s strength and some of Banner’s intelligence with an equivalent amount of emotional control (or lack thereof). Hampered by his desire to protect a blind woman, he is captured by the United States military.

Episodes 4.2: Prometheus: November 14, 1980: Trapped in a secret government laboratory, Banner, in his current state, is unable to escape. It may take McGee to come to the rescue of his nemesis when he runs through the complex, trying to get away from everyone who would trap him like a lab rat forever.

Okay, there were 17 episodes of the original show (one was the double-length follow-up to the first two hour movie) here. The box suggests that these were the favorite episodes of the fans, which may be true for some of you, but I have a list of my own favorites and only about half of these come close. There were no extras included and I was disappointed that the show wasn’t released in a season box set like so many other shows have been lately. True fans of the show will buy each season and those who aren’t are unlikely to buy a mishmash of episodes from throughout the shows run (the first episode aired on March 10, 1978 and the last on May 12, 1982). I remember reviewing the final television movie, Death Of The Incredible Hulk, which was a great disappointment for me (and a terrible way to close out the show) and hoping that a sensible way of releasing the original episodes would take place but I guess someone in marketing had other ideas.

Other problems for me were that the discs are not externally marked with which episode was on each disc, there was no paper insert detailing any information on the included episodes, no extras at all were included, and the fold out DVD case is prone to scratches. The shows themselves looked okay, with all the typical print scratches you’d expect from a television show from over twenty years ago, and the monaural sound was cleaned up a bit (but not very advanced considering modern advances in re-mastering technology.

So, what to rate the DVD set becomes my dilemma. I liked the show and the themes it explored and I thought this set was better than if it had been released in a two shows per disc format, I just hope that future releases include something extra since the “favorite” episodes have now been released. My rating for this one applies solely to fans of the show and comes in at Recommended.

Picture: The picture was presented in its original 1.33:1 ratio full frame color, as broadcast. There were a multitude of print scratches and minor flaws due to the source material but it certainly looked better than the episodes currently aired on the Sci-Fi Channel. I don’t think Universal is going to spend the money to clean it up so consider this an okay looking DVD for that old of a show.

Sound: The audio was presented in Dolby Digital 2.0 monaural English with closed captions in English for the hard of hearing as well as French and Spanish subtitles. It sounded a bit hollow but then, so did the original. The whole show appeared to be standard for an older television show with no new problems as a result of the DVD transfer.

Extras: None, not a paper insert, a commentary, a featurette as found in the archives of the show, or anything else. Maybe in the future, Universal will see the light to include something for fans.

Final Thoughts: The show had its share of flaws when it originally aired and was never meant to be great but it did have a number of solid episodes that transcended the gimmick of the Hulk special effects. For all its limitations, there was a lot to like here and fans will certainly appreciate the box set for what it is, rather than complain too loudly for what it is not. The technical stuff wasn’t bad and this is likely as close to season sets as you’ll ever find so get one if you’re a fan.

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September 15th, 2008 by moviesdownloads

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In the cyborg-dominated future of Mamoru Oshii’s “Ghost in the Shell” anime films, the distinction between man and machine has been obscured and the very essence of life dangles precariously before us. “Ghost in the Shell,” the influential 1995 Japanese film that earned a cult following in the U.S. through its video release and as a midnight movie, tracks a comely female detective named Major Kusanagi whose status as a cyborg — all that remains of her humanity is her spirit or “ghost” — causes her much existential angst. Kusanagi hunts down a superhacker who leaps from mechanized body to mechanized body, a vagabond ghost in search of a permanent shell. At the end of the film, the major escapes her own shell and flees into cyberspace. ADVERTISEMENT With “Ghost in the Shell 2: Innocence,” Oshii’s even darker sequel, the director offers a glimmer of hope about our relationship with technology. In the making of the film, hand-drawn and computer-generated animation techniques are blended to create one of the most visually arresting motion pictures you are likely to see this year. If machines can be used to help generate images this stunning, they can’t be all bad. Though visually impressive, “Innocence” follows the rough framework of the first film in plot, themes and even its strengths and weaknesses — with Kusanagi’s colleague, the hyper-macho Batou, a supporting character in the first film, taking over as the protagonist. Perhaps it is Batou’s nickel-plated, bottle-cap eyes, which blunt any expression, or Kusanagi’s frequent habit of disrobing, but he is simply not as compelling a character as the major. The “Blade Runner” look of the first film is expanded on with a sophisticated new production design that encompasses more fantastical elements. The dark alleys and mean streets remain in all their noirish/sci-fi menace, now enhanced by excursions into virtual reality that allow Oshii and his animators access to a far greater palette. There is a “moving sidewalk” quality to the way the characters glide and lurch across the urban landscape that is at first distracting but gradually becomes part of the accepted reality of Oshii’s world. The city where Batou doggedly pursues a strain of murderous androids looks like a Gothic erector set against magnificently ominous skies. The stained glass windows of a mysterious mansion provide an interplay of light and color that is simply dazzling in its ethereal beauty. The film’s visual centerpiece, however, is a magical Chinese festival featuring a parade of amazing elephants and falling confetti that alone is worth the price of admission. Yet in both films, the narrative grinds to a halt whenever Kusanagi or Batou vent their philosophical sorrows, drawing on sources as varied as the Old Testament, Buddhist teachings, René Descartes and Jakob Grimm. Oshii has a lot on his mind — perhaps too much — and in some ways what his characters are saying need not be explained in such detail. Batou begins investigating a particular model of android, referred to as gynoids or dolls, after one breaks down and kills its owner. The supposedly soulless gynoids are creepily modeled on early adolescent girls and are designed for sexual companionship. Oshii seems to be commenting on the exploitation of children here, but it is more than a little disturbing when Batou brings out the heavy artillery and starts blowing away what looks like a casting call for the next episode of “Sailor Moon.” Oshii’s stated interest is the loss of humanism and the necessity for a coexistence of all life- forms, represented in the film by the cyborgs, dolls and a robotic basset hound that provides Batou with his only real relationship. The problem is that most of these ideas get muffled in the protean storytelling and existential ramblings. Questioning one’s humanity daily would not be a bad thing for most of us; however, these contemplative cyborgs let it ruin what lives they do have (not to mention slowing what might have been a dynamic movie). My suggestion is to take a lesson from Major Kusanagi in the first film: Unplug from the narrative, let the images of “Ghost in the Shell 2: Innocence” wash over you, and enjoy the beautiful ride. Ghost in the Shell 2: Innocence’ MPAA rating: PG-13 for violence, disturbing images and brief language Times guidelines: Some blood, but most of the violence is against androids. Batou…Akio Ohtsuka Motoko Kusanagi…Atsuko Tanaka Togusa… Koichi Yamadera A Production I.G. production, released by Go Fish Pictures. Director Mamoru Oshii. Producers Mitsuhisa Ishikawa, Toshio Suzuki. Screenplay by Mamoru Oshii, based on the manga by Shirow Masamune. Music Kenji Kawai. Production designer Yohei Taneda. Art director Shuichi Hirata. In Japanese with English subtitles. Running time: 1 hour, 40 minutes In selected theaters.
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download Rain Man videos

September 14th, 2008 by moviesdownloads

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The
movie



Winner of the 1988 Academy Awards for Best Picture, Best Actor (for
Dustin Hoffman), Best Director, and Best Original Screenplay, Rain
Man
has held up very well to the passing of time, and I suspect
will continue to do so. Charlie Babbitt (Tom Cruise) is a driven
young man, still hurting from his childhood conflict with his father.
When he discovers a long-lost brother, Raymond (Hoffman), smoldering
resentments come to life and Charlie sees Raymond as unfairly taking
more than his share: of his father’s estate, and perhaps also of his
father’s love. What happens after that is an unexpected road trip
that allows Charlie to really get to know Raymond… and shakes up
his own ideas about what he really wants.



Possibly the best-known aspect of Rain Man, familiar even to
those who haven’t seen the movie, is its autistic character, brought
to a very believable life by Dustin Hoffman. Hoffman is always in
character: for the duration of the film, he is Raymond, occupying a
world of his own with only occasional, brief connections to the outer
world inhabited by the rest of us. Critics have pointed out that
Raymond isn’t exactly a typical autistic; for one thing, the “savant”
portion of his disability is extremely rare. But this is, after all,
film: without Raymond’s special abilities, we could still have a
story, but it’s not the one that the filmmakers chose to tell.
Another criticism is that he’s atypically
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Fan, The movie to watch

September 13th, 2008 by moviesdownloads

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Fan, The
Chasing October: A Fan’s Crusade Reviewed By Peter Sobczynski Posted 03/23/07 20:11:59

"The "United 93" Of Sports Documentaries" (Average)

At the risk of sounding glib, “Chasing October” could easily be described as the “United 93" of sports documentaries. After all it offers up a look at a well-known calamity–in this case, the 2003 season of the Chicago Cubs that saw the perennial runners-up come within five outs of their first World Series appearance before suffering a spectacular meltdown–by charting the events leading up to that moment through the eyes of one ordinary person. As a lifelong fan of the Cubs, I can attest to the fact that it does bring all the memories of that season back in a rush–so much so, in fact, that some die-hard fans may not want to pay good money for the experience of reliving them once again.Of course, when ordinary joe Matt Liston began making this season-long chronicle, he couldn’t have possibly known that this would be the season that would see the team flirt with success to such a degree. However, as he informs us early on, a vision of late Cubs announcer Harry Caray convinced him that this was indeed their year and it inspired him to quit his job and dedicate 2003 to willing his favorite team to victory and making a documentary that would chronicle those efforts. (This isn’t quite as radical a decision as the film makes it out to Liston–he previously worked behind-the-scenes on shows like “Seinfeld” and “Curb Your Enthusiasm” and has also produced things for the Discovery Channel and Fox Sports.) At first, his efforts seem to be futile as the team starts off on a decidedly uneven foot but after a while, they miraculously begin to come together and it appears as if Liston’s dream may come true after all. On the personal side, however, things aren’t quite as rosy–his girlfriend starts off with plenty of enthusiasm for the project but even the most loyal girlfriend is likely to have second thoughts when she comes home to find her couch being sold off. In other words, the Cubs may make it to the World Series but will he have anyone to share that victory with. For those who don’t bleed Cubbie blue, their reaction to “Chasing October” may well depend on their feelings regarding their host and in this particular case, this may wind up being a problem. For much of the film, Liston comes off as a slightly obnoxious guy who might be fun to sit next to in the bleachers of Wrigley Field for an inning or two but who begins to grate on one’s nerves when you are forced to deal with him for 90 minutes. His faux-Letterman interview style isn’t as amusing as he thinks it is and his stunts (including hectoring people outside the Tribune Tower and sending pizzas to the Pittsburgh Pirates in an effort to help broker a key trade) come off as self-aggrandizing instead of inspired. Another problem is that there are many elements–chiefly the devolving relationship with his girlfriend–that frankly feel somewhat staged and that does detract from the overall experience. (In the press notes, Liston takes pains to describe the film as a “docu-comedy,” which would seem to suggest that some parts were indeed staged after all.) That said, I guess that for hard-core Cubs fans–who are presumably the film’s target audience–is a reasonably entertaining look at a season that few will ever forget, no matter how much time and money they spend on therapy designed to do just that. If you can ignore Liston’s abrasiveness and the suspect nature of some of the proceedings, the first-person point-of-view lends it an immediacy that is too often lacking in sports documentaries and the interviews with famous Cub fans (including such usual suspects as Joe Mantegna, Dennis Franz, Jeff Garlin and Billy Corgan) are also amusing. Of course, if some of you wind up watching the last few minutes with your hands over your eyes, I’ll understand. (If you are such a fanatic, feel free to add an extra star to this review.)Amusing Anecdote: When “Chasing October” had its local press screening a couple of weeks ago, it was shown to us on DVD. At one point, the film cross-cuts footage of the Cubs clinching the division with an important wedding that happened to be going on that very same afternoon and in true Cubs fashion, the DVD froze up just before the moment when the Cubs won the game. Yeah, it was an accident and a fluky coincidence but it is such a good representation of the eternal plight of the Cubs fan–even savoring a past victory can be a chore–that I would like to suggest to Liston that he ask projectionists to arrange for such a thing to happen at the regular public screenings as well.
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download full Road House movies

September 11th, 2008 by moviesdownloads

Download Road House

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Dalton (Patrick Swayze) is a scholar with a Ph.D in philosophy, but
rather than use his teachings in a University, he’s a “cooler”- a bouncer
who can coolly break up fights in the rowdiest of bars. A gun for hire, he is
called upon by Frank Tillman (Kevin Tighe) to work for him addressing the seemly constant brutal turmoil at the
Double Deuce, a honky tonk dive of an establishment “where they sweep the eyeballs off the floor at closing time” that Tillman owns in Jasper, Missouri. Dalton
comes in and immediately establishes his own methods with the other hired
help in turning the situation around, firing those who either don’t have the
proper temperament for the trade or the ones who are part of the problem
rather than the solution. In a fight at the bar Dalton takes a knife wound and is tended to by
Doc Clay (Kelly Lynch), a strikingly gorgeous, learned and peaceful woman who is
immediately attracted to this paradox of a man. She just happens to be a
former girlfriend of the baddest influence on the Jasper scene, Brad Wesley
(Ben Gazzara) who owns half the town and is strong-arming those who
own the businesses he doesn’t. Wesley sees early on that Dalton’s heroic
doings at the Double Deuce could be a threat to his little empire, so he
goes about the task of getting rid of him by any means that become
necessary. Along the way Dalton’s own bouncer guru Wade Garrett (Sam Elliott)
comes to town to double team the troubles that Dalton is finding are worse
than he had imagined, and seemingly more than he can handle alone. What ensues is- what else?- a life or death struggle between the good guys
and the bad guys with the little town of Jasper at stake.

Hey, I’m not going to lie about it. I often like “bad” movies and sometimes,
I even love ‘em. This is one of those cases. Road House is a movie that has been in seemingly constant rotation on the cable
channels for years- probably making more than a few fans tire of seeing it-
with more than a few choice words and scenes pared away in order to make it
a bit less rowdy for general viewing. Its mindless, constantly over the top fun with a solid
recognizable cast, lots of punches being thrown, adequate T&A (in its uncut
form anyway) and stuff getting blown up.

The parallels of Road House to a Western are obvious through and through;
the entire town of Jasper is being run by a corrupt badman and as a result
his henchmen are terrorizing the townsfolk, prompting one of the business
owners to call in “the best” hired gun available. No sooner than Dalton
arrives, he gets to the job of cleaning up the worst rathole bar one could
find and in the process steps on the toes of the badman who rules Jasper by
firing Wesley’s nephew. Upon finding out that Dalton isn’t so easily
squashed, he escalates the manner to doing so, time and again coming up
short but definitely putting our hired gun ’sheriff’ to the test in the
process. It isn’t long before Dalton’s own hero Wade (Sam Elliott- a
consummate cowboy figure of the last few decades with the film credentials
to prove it) comes along to stand by the side of his protege’, the duo
unleashing all hell on the henchmen Wesley throws at them. Oh, these hired
guns aren’t good guys through and through; they certainly have a profound
liking to violence in spite of any zen misgivings Dalton might claim, and
when the going gets really rough Wade is ready to let Wesley have the little
town to corrupt all he wants, chivalry be damned. In any case, Dalton is
forced to choose between saving his mentor or his girl and comes up short in
his effort to ensure they both survive, setting up a through and through
Western showdown with Dalton riding alone into the villains’ hideout for one
whale of a shootout. In the end the good townsfolk themselves come to the aid
of their ’sheriff’, standing up to the badman who has been extorting and
pillaging their little town for far too long. For a movie with no horses
there sure are alot of cowboys on the screen.

Swayze is an interesting actor; an incredibly athletic, graceful man who
excelled in dance, gymnastics and was even awarded a college football
scholarship, he ultimately turned to an acting career as a result of
recurring knee problems. His choices of movies are known to be erratic; he
gained heartthrob status in Dirty Dancing, yet seemed to choose films that
run the gamut from action-adventure to comedy to more artistic drama.
Watching him in a film such as Road House or Steel Dawn you get the
impression that his dedication to zen physical and mental training is
genuine, much in the way Wesley Snipes has came across in his acting career.
While a bit on the small side, I’ve always thought he was very plausible in
the action film genre with his quiet, stoic manner and his lithe, graceful
physique. He’s definitely the right man to play Dalton.

Video-

Many who read this review will be chiefly concerned with what differences there are between the barebones disc that has been on the market for a few years and this one. Whereas the aspect ratio for the old edition is listed as being 16×9 widescreen, the deluxe edition here is 2.35:1 anamorphic widescreen, remastered in high definition. How do they compare? Frankly, I’ve never had a problem with the barebones offering and have watched it a number of times since it’s release. In any case, the new disc looks very good; the print is extremely clean with deep, rich colors and very solid blacks. As this new edition is hi-def remastered one would expect it to be sharper and it does seem to be; while not razor sharp, this is as good as I’ve seen the movie look after years of viewing it on cable, on tape and its previous DVD release.

Audio-

Again, I can’t discern alot of difference in comparison to the old edition. The sound here is good; I would have appreciated a remastered 5.1 offering of some sort, but the stereo track is solid with sufficient depth and clarity.

Extras-

If you’re looking for deleted footage in the form of extras or added footage making this a new cut of the movie, don’t- because there isn’t any. What you get here is the theatrical cut, and the same film that comprised the barebones edition.

Audio Commentary with director Rowdy Herrington- Herrington’s commentary track is highly informative, if a little subdued; he walks the viewer through the shooting of the film, commenting on all the actors at some point as well as how he saw the script as a modern day Western, and the lengths he went to in order to get the look he wanted. Its worth checking out if you’re a longtime fan of the movie.

Audio Commentary with Road House fans Kevin Smith and Scott Mosier- Smith and Mosier have alot of fun with this, an admitted cult favorite of the two. Expect a loose, fun, tongue consistently in cheek commentary with the boys, who also show themselves to be extremely knowledgeable on both the cast as well as the production itself. MST3K fans should have no trouble appreciating the offerings here with Smith and Mosier- its a hoot.

On The Road House- Clocking in at 17 minutes this is a recently filmed, retrospective featurette with Patrick Swayze, Kelly Lynch, Director Rowdy Herrington, Jeff Healy, Marshall Teague (uber-bad guy Jimmy in the film), and martial arts choreographer Benny “The Jet” Urquidez discussing the ongoing appeal of Road House to the masses; its similarity to a Western film, the very comic book-like appearance of the movie with vibrant colors, almost superhuman good guys and bad guys, beautiful women and over the top action sequences; the filming, the bonds made making the movie, the surprise all the stars seem to have at how enduring the popularity of the movie has been to date. A fun piece to see, if only to get a look at the actors in present day.

What Would Dalton Do?- Coming in at 12 minutes, a series of conversations with real life coolers and bouncers and how they handle real crowds and dangerous situations in their profession. I’d rather see more behind the scenes stuff on the movie.

Trivia Track- An endless deluge of tidbits about seemingly anything and nothing, mostly not involving the movie itself, shown onscreen as one watches the film. I felt like I was at a sports bar watching the screen with one of those trivia game pads in my hand. Thanks, but I’ll be leaving this option in the off position.

Sneak Peek at Road House 2

Final Thoughts-

Let’s face it; the main reason this new Deluxe Edition likely exists is to ride piggyback on the new direct-to-video sequel, Road House 2 which was released the same day. Happily, rather than simply slap a new cover on the old disc there have been some tweaks made as well as an assortment of bells and whistles installed.
Just how much you enjoy the film is going to dictate whether you feel this is deserving of a double dip. If you love the movie then by all means I say pick it up for the commentaries and the featurette present here. As far as how the film looks and sounds in comparison to the barebones disc, there isn’t a whole lot of difference to this viewer’ eyes and ears, but that is a compliment to the old edition as I’ve always felt it looked and sounded fine. If you’re a casual fan and already have the barebones edition, don’t waste your time. If Road House is one of your longtime favorites, the new deluxe edition isn’t a huge improvement over the old version, but still recommended.
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September 10th, 2008 by moviesdownloads

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Oliver Stone’s new film, “World Trade Center,” written by first-time screenwriter Andrea Berloff, is an intensely human story about courage and survival and the power of the human spirit.  When Sgt. John McLoughlin (Nicholas Cage) of the Port Authority Police Department arrives to work for an early morning briefing and learns that a plane has flown into the World Trade Center, he commandeers a city bus in mid-town Manhattan and rushes his team of PAPD first responders to the World Trade Center to assist at the chaotic scene. Unsure what is happening, he and five of his men volunteer to go into the building. Suddenly, they find themselves trapped under tons of concrete and steel rubble in the concourse between the North and South towers when the first tower collapses around them.  The event reduces the rescuers to three:  McLoughlin and fellow officers Will Jimeno (Michael Pena) and Dominick Pezzulo (Jay Hernandez).

 

While McLoughlin and Jimeno are pinned under slabs of concete, Pezzulo is able to move and attempts to help them, but loses his life when the second tower collapses.  In the darkest hours of their lives and hardly knowing each other, McLoughlin and Jimeno are intimately bonded together by their experience and determined not to lose faith.  Buried under rubble in the middle of the towers for 24 hours with no idea of what’s going on, they endure their horrible circumstances and keep each other alive by reaching out to one another and quietly connecting, talking about their families, sharing details about their personal lives, their hopes, regrets, and disappointments, and even their frustration at not being able to help.  Even as the hope of rescue fades, they persist, willing themselves to survive and finding ingenuous ways to keep themselves awake, because the alternative means coma and certain death. Occasional humor relieves the tension such as when McLoughlin talks about his wife’s anger at him for not finishing the remodeling of their kitchen or Jimeno hums the theme song to Starsky and Hutch to keep them awake.

 

Cage plays the tall, laconic, McLoughlin who projects a steely grace.  He delivers a mature and restrained performance, conveying the grit and integrity of a weary veteran cop who has spent a dozen years patrolling the World Trade Center, although nothing has prepared him for this. The charismatic, upbeat Jimeno turns in a riveting performance as the passionate young rookie following on the heels of his breakthrough performance in “Crash.”  Both actors meet the daunting challenge of conveying a subtle range of emotions and pain while completely immobile, covered in ash, and working in a dark, claustrophobic, and extremely confined space. The film also focuses on the women in their lives who wait to hear word about their loved ones. Maria Bello plays Donna McLoughlin, the wife of a cop, who displays an impressive inner strength and expertly combines perseverance with gentleness.  She is both soft spoken and hard as a rock. She is the glue that holds her family together. Maggie Gyllenhaal as pregnant Allison Jimeno is dynamic, straightforward, and courageous as she anxiously awaits word about her husband’s fate and fights against succumbing to her worst fears.   

 

In addition to the narrative threads involving the trapped men and their concerned families, the film also chronicle the improbable search by a determined, deeply religious ex-Marine, Sgt. Dave Karnes (Michael Shannon), who, after seeing the tragedy unfold on television, is inspired to get a buzz cut, don his uniform, and report for action at Ground Zero.  Karnes and another unidentified Marine are both extraordinarily committed men who search for survivors against overwhelming odds and eventually succeed in finding Officers McLoughlin and Jimeno that night.  Then, over the next grueling 12 hours, dozens of firemen, policemen, and paramedics work to rescue them. The terrific supporting cast includes Stephen Dorff, Frank Whaley, and Stoney Westmoreland as rescue workers and Viola Davis as a distraught mother whose son is missing.  Many of the cops and firemen who helped rescue McLoughlin and Jimeno at Ground Zero that day served as technical advisors on the film, and in some cases, recreated what they did on the rubble pile and in the hole, playing themselves. Their efforts lend considerable authenticity to the film. 

 

In “World Trade Center,” Stone explores themes that have defined his career in a deeply personal way and does so with a strong point of view.  As in all his films, he identifies with the protagonists and their dilemmas, their pain and their hope, and the camera work conveys the characters’ internal emotional journeys.  Stone succeeds in painting a very emotional and committed portrait of a specific point in time while focusing with characteristic intensity on the survivors, McLoughlin and Jimeno, two men on the brink of death who survive due to deeply personal and spiritual reasons. Stone avoids tedium and repetition by crosscutting between them, their families, and the rescue efforts above Ground Zero. While everyone has an emotional connection to this material and remembers that day, Stone treats it as a small, intimate story instead of a flat retelling of 9/11.  The story of McLoughlin and Jimeno’s survival is just one tale from 9/11, but it is representative of a larger story about heroism that reveals the best in humanity as people came together on a terrible, tragic day and risked everything to help each other. 

 

Stone’s top notch creative team includes director of photography Seamus McGarvey, production designer Jan Roelfs, editor David Brenner, and costume designer Michael Dennison.  Consistent with Stone’s artistic vision, the set was lit and shot from below and above.  The filmmakers use a spare, not highly stylized visual approach that balances the darkness of the hole in which the men are trapped, where you can barely see into their eyes, with the light above (or ray of hope if you will) seen through the stories of their wives and the ex-Marine.  Stone plays off the light and the dark, cutting back and forth between the trapped men and their wives waiting at home, hoping for news. McGarvey’s expert choice of camera angles keeps the action clear in what would have otherwise been a very dark and confusing environment.

 

Depending on what the emotion of the scene dictates, the camera often only focuses on a single plane or certain points of the face such as an eye or a mouth, attempting to explore the landscape of the face without moving.  Sometimes the camera closes in on an eye or a mouth to redirect the audience’s attention or to subtly signal a memory and express that visually.   Some parts of the story have a very subjective quality that you see from the characters’ perspectives.  In one particularly impressive shot, the camera rises above the rubble, surveys the Manhattan skyline, then continues upward to frame a news satellite high above Earth beaming harrowing images of the day’s destruction and tragedy around the world. Production designer Roelfs took his cues in the structure and design of the set from the way McLoughlin and Jimeno were positioned in the collapse.  His set design is grim and realistic, consisting of a smoky, claustrophobic heap of jagged concrete and metal beneath the collapsed building. The film’s color scheme starts out vibrant, but becomes more muted at the Trade Center itself.  As the action moves into the city, the color starts to desaturate and by the time we get to Ground Zero, there is almost no hue at all, signaling death and desolation.  Craig Armstrong’s somber score is sensitive and appropriate to the material. The film’s sound design is exceptional.

 

There is profound significance in this challenging, fact based story.  While Stone’s approach is cautious and restrained compared to earlier directorial efforts that have showcased his exacting talents, the film shines, particularly in its small moments.  Indeed, this is an oddly conventional film for Stone that lacks the hot button topics and politics that we’ve come to associate with his work and which were so evident in “JFK,” “Natural Born Killers,” and other films. “World Trade Center” is nevertheless a compelling tribute to human endurance under unimaginable circumstances.   The anxiety, unbearable tension of waiting, and minute-by-minute survival take an emotional toll on the audience.  Yet we share the characters’ concerns and hopes even as we relive the events of that fateful day.  Stone delivers a haunting and deeply felt account of 9/11 that ranks among the best work of his career.    

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