Music : Gavin DeGraw 'Gavin DeGraw 2008'

Info Album :
Artist :Gavin DeGraw
Album : Gavin DeGraw 2008
Released: May, 06, 2008
Record Label: J-Records
Peak Position: The Billboard 200 #7 on May 24, 2008



Album review :

By Suzanne Swartz.

After Gavin DeGraw’s hugely successful debut album Chariot and the accompanying Chariot: Stripped (2004), the expectations for the 31-year-old musician’s next album, Gavin DeGraw, were high. Fans eagerly anticipated the May 6, 2008, release, particularly after hearing the first single, “In Love with a Girl.” As a result, the album topped iTunes sales charts that week.
Perfect Blend of Familiar and New

DeGraw’s clever lyrics deal with love, life, and even contemporary society this time around. Fans will recognize the upbeat piano and guitar chords characteristic of Chariot, but there’s a bit more of a rock feel throughout this album, which begins by hooking listeners in with the opening guitar riffs of “In Love with a Girl.”
Listen Straight Through

The best albums are the ones that can be listened to from beginning to end without skipping a track. That certainly applies to Gavin DeGraw. After singing along with “In Love with A Girl,” it’s tempting to listen to the song another fifteen times, but the best move is to go on to the rest of the album, which does not disappoint.
The Tracks

Fans are treated to the catchy “Next to Me (Wait a Minute Sister)” followed by “Cheated on Me” which manages to get the not-so-happy message of the song across without the music sounding too depressing, much in the way the song “Just Friends” did on Chariot (though the two songs sound nothing alike).

The tracks “I Have You to Thank” and “Cop Stop,” work great together back-to-back. “Cop Stop” may be familiar to some, as DeGraw performed it at concerts long before the album’s release. This song about chasing after a girl is, along with “I Have You to Thank,” among the best on the album. Fans will be tempted to go back and listen to those two again before moving on to the next tracks.

From there the album briefly takes on a mellow tone with the ballad “Young Love,” which has a theme that may remind listeners of “We Belong Together,” the song from the 2006 film Tristan & Isolde (the track also appears on this album). But there’s a catch to this version of “We Belong Together”: It’s a bit difficult to sing along with, as there are some additional—and poignant—lyrics in the middle of the song.

After “Young Love” the tone changes again with the punchy, sarcastic “Medicate the Kids,” about how children today seem to get prescriptions for every little apparent behavior problem. The next track, an edgy song that declares that everything in life is “Relative,” showcases DeGraw’s tendency to use thoughtful, unconventional lyrics, something that applies to the slower “She Holds a Key” which he carries with fantastic-as-usual lead vocals, supplemented with uplifting backing vocals and, of course, a piano.

The tenth track, “Untamed,” serves as an appropriate break between slow songs, and is the final upbeat song on the album. Following it are the sweet lyrics of “Let it Go,” and the well-known “We Belong Together.”
Closing Notes

This is a great album to listen to in the car, hanging out at home, or relaxing on the beach with an mp3 player: in other words, almost anywhere. No two songs on this album sound alike, and they showcase DeGraw’s talent as a musician: hitting tough notes while playing piano or guitar (this guy is not afraid to belt it out, and the results are nothing but positive), and filling each unique song with lyrics that are fun, thought-provoking, or both.

Long story short, fans certainly have Gavin DeGraw “to thank for” such a high-quality new album.
Taken From : http://rockmusic.suite101.com


Gavin DeGraw - I'm In Love With a Girl Video



Gavin DeGraw - I’m In Love With A Girl Lyrics

So many people gonna say that they want you,
To try to get you thinking they really care,
But there’s nothing like the warmth of the one who has put in the time and you know he’s gonna be there,
Back your border when she knows someone crossed it,
Don’t let nobody put you down, who your with
Take the pain of protecting your name, from the crutch to the cane to the highwire

I’m in love with a girl who knows me better,
Fell for the women just when i met her,
Took my sweet time when i was bitter,
Someone understands,
And she knows how to treat a fella right,
Give me that feeling every night,
Wants to make love when i wanna fight,
Now someone understand me,
I’m in love with a girl(I’m in love with)(x2)

Out the many broken backdoors and windows,
Through the valley of the love of the lost,
Is a hole that is cut through the souls falling down from the thrones without leaving any windows,
But you drown in a piece for the moment,
The moment was over in time,
Then its gone the hit and run the tactless one has a short life

I’m in love with a girl who knows me better,
Fell for the women just when i met her,
Took my sweet time when i was bitter,
Someone understands,
And she knows how to treat a fella right,
Give me that feeling every night,
Wants to make love when i wanna fight,
Now someone understand me,
I’m in love with a girl(I’m in love with)(x2)

Gonna tell you what you do to think you practice what you preach,
Now i know there’s nothing we cant reach,
’cause the heart can’t erase once it finds a place to be warm and welcome,
To be held in shelter

I’m in love with a girl who knows me better,
Fell for the women just when i met her
Took my sweet time when i was bitter
Someone understands,
And she knows how to treat a fella right
Give me that feeling every night
Wants to make love when i wanna fight
Now someone understands me
I’m in love with a girl(I’m in love with)(x3)
Who knows me better
Wants to make love when i wanna fight
now someone understand me




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Music ; Atmosphere 'When Life Gives You Lemons You Paint That S**t Gold'

Info Album :

Atmosphere
Album: When Life Gives You Lemons, You Paint That Sh*t Gold
Label: Rhymesayers Entertainment
Genre: Hip-Hop
Release Date: 4/22/08

Review Album :

Atmosphere 'When Life Gives You Lemons You Paint That S**t Gold' (Rhymesayers)
'When Life Gives You Lemons' is Brave and Inspiring

About.com Rating

By Henry Adaso, About.com

Brimming with the clever lyrics and colorful production we've come to expect from Slug and Ant, When Life Gives You Lemons, You Paint That S**t Gold is Atmosphere at its radical apex. You might want to break out the headphones for this one, but I'll get to that in a moment.
Allow Slug to Reintroduce Himself

Slug feels tangibly less-irritated on Atmosphere's sixth go-round, a mood-shift that’s left him comfortably exploring new ideas. This is best exemplified on the solemn opener "Like the Rest of Us," in which Slug calmly emphasizes the art of controlling the uncontrollable: "You gotta let people be hypocrites. Count your blessings and mind your business." You've probably heard the album's single, "Shoulda Known," a torrid narrative about drug addiction.

Lemons is split into three acts: Us, You, and Me. A slaphappy tune titled "You" kicks off the second section. Not too far behind is the album's most personal song, the reflective "Yesterday" where Slug shares distant memories of a lost relative (it'll make more sense when he reveals the identity of the person at the end). "We can sit and reminisce about the ol' school, maybe share a cigarette cause we're both fools," he grieves, but not without finding the slightest ray of light in his misery, "I can't even get mad that you're gone. Leaving me was the best thing you ever taught me." It's a brief reminder that contrast is Atmosphere's bread and butter. After all, their last album was titled You Can't Imagine How Much Fun We're Having, yet the cover featured a glum-looking Slug with his left hand clasped on his head.
Headphone Music

Indeed, Atmosphere's new work is headphone music at its peak. Whereas Slug's been preoccupied with conflict in the past, Lemons reflects his newfangled obsession with optimism and resolutions. The rhymes are honest, hopeful, rich with mesmerizing oratory (often delivered with a minister-esque cadence), and sure to keep you hanging on every line. Sorta like an Obama speech.

Colorful Production

As he did on Brother Ali's Undisputed Truth, Atmosphere producer Ant gives musical form to rage, desire, candor, ultra-realism. Every song takes on its own unique identity. The guitar solo on "Guarantees," for instance, adds drama to a sense of escapism. After a rough day, Slug arrives at his favorite pub in search of company. He finds the bar empty, so he resorts to monologue. "I don't want to go home yet. So I'mma talk to my cigarette and that television set. It doesn't matter what brand or station. Just anything to take away from my current situation." Notice how the guitar plucks get increasingly louder as the tension in his voice rises.
Juicy From Start to Finish

Loaded with all the elements that define a great rap album (but rarely move units) -- compelling storytelling, experimental production, and unbridled vulnerability, Lemons will keep playing even after you turn off the music. When life gives you lemons, don't make lemonade; just listen to Atmosphere.



Track Listing:

1. Like The Rest Of Us

2. Puppets

3. The Skinny

4. Dreamer

5. Shoulda Know

6. You

7. Painting

8. Your Glasshouse

9. Yesterday

10. Guarantees

11. Me

12. Wild Wild Horses

13. Can't Break

14. The Waitress

15. In Her Music Box


Atmosphere "Puppets/Shoulda Known" Live San Francisco 5.8.08, Video



Shoulda Know lyrics

Naked in the bathtub
Sittin’ on the porcelain
Waiting for that little hurricane to pull your torso in
The water don’t run, just drips like rain
Still drips like a painkiller drips to the veins
Fill it up
With a bag of that happy stuff
Cuz the way she runs out, you can tell she ain’t had enough
Good times goddess
My goodness
Got finger nail polish autopilot foot prints
With a smile that’s stitched to the fabric of bedtime tales and
Keep them tits out of the attic
The mouth of madness
Loud and manic
The motive of the bird going south on the Atmos’
Picture a hole
Put your hero in
Envision the gold
Now zero in
Been watching your night train track for the last few stops
With no desire to hop it
How did we end up in your apartment
Pocket full of gossip says this ain’t smart
When it’s all said and done, can’t get restart
But I’ll be damned if I don’t wanna kiss you--
Hard

[chorus]
Shoulda known better not to f**k wit’ you
Ain’t got nothin’ but too much to lose
Lost in the rush don’t know what to do
That drug got you like I want you

Shoulda known better not to f**k wit’ you
Ain’t got nothin’ but too much to lose
Lost in the rush don’t know what to do
That drug got you like I want you


I’ve got a restraining order
Against Satan’s daughter
And I keep it at the bottom of this Jamison and water
And when we get there
You can sit there and stare
From behind your mascara and your thick hair
I’m aware of that pain you harbor
The same negative game to the names you martyr
Apart from the details and substance and whatnot
That hunger of love pistol and gut rot
Bloodshot
Give me one shot, my shot
Hopped up on enough talk to make time stop
The lines of chalk that benjamin might cop
Killed the illustrations on the neighborhood sidewalks
Then all of a sudden she got silent
Pupils like marbles, hide behind the eyelids
Get away sticks go limping hole place
The smile sucked up most of her face
Truly you beat the scene so surreal
And each criticism becomes redeemed

Swallow my words
No more judgment it’s true
Cuz you look like what I feel like when I’m with you

Shoulda known better not to f**k wit’ you
Ain’t got nothin’ but too much to lose
Lost in the rush don’t know what to do
That drug got you like I want you

Shoulda known better not to f**k wit’ you
Ain’t got nothin’ but too much to lose
Lost in the rush don’t know what to do
That drug got you like I want you



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Movie : The House Bunny

Movie Info :

Release Date: August 22, 2008
Studio: Columbia Pictures (Sony)
Director: Fred Wolf
Screenwriter: Karen McCullah Lutz, Kirsten Smith
Starring: Anna Faris, Colin Hanks, Emma Stone, Kat Dennings, Dana Goodman, Katharine McPhee, Rumer Willis, Christopher McDonald, Beverly D'Angelo
Genre: Comedy
MPAA Rating: PG-13 (for sex-related humor, partial nudity and brief strong language)
Official Website: TheHouseBunny.com



Synopsis :

In Columbia Pictures' comedy "The House Bunny," Anna Faris charms as Shelley Darlington, a Playboy Bunny who teaches an awkward sorority about the opposite sex – only to learn that what boys really like is what's on the inside.


Shelley is living a carefree life until a rival gets her tossed out of the Playboy Mansion. With nowhere to go, fate delivers her to the sorority girls from Zeta Alpha Zeta. Unless they can sign a new pledge class, the seven socially clueless women will lose their house to the scheming girls of Phi Iota Mu. In order to accomplish their goal, they need Shelley to teach them the ways of makeup and men; at the same time, Shelley needs some of what the Zetas have – a sense of individuality. The combination leads all the girls to learn how to stop pretending and start being themselves.

Review Movie :



By. Rockin' Review

THE HOUSE BUNNY is not bad at all, thanks to Anna Faris, whose looks and comedic timing save this movie from the possibility of becoming one of the worst ever. Overall, it’s somewhat funny, meaning if you like jokes at the expense of dumb blonds then… you’ll like this movie. It has its moments and I don’t think you’ll find it a complete waste of time after you watch the whole thing. It means to entertain and it does a decent job of doing exactly that.

Shelley (Faris) is a playboy bunny living in the comfort of the Mansion. A day after her birthday, she receives a letter that’s saying she’s been kicked out due to her age. Confused and without a clue what to do in the real world, she decides to become a house mother for sorority girls of Zeta Alpha Zeta, known as the laughing stock of the campus. They have to team up and make drastic changes and get more than 30 pledges or they might lose their home.



I watch this movie with open mind, trying to forget that it’s directed by Fred Wolf who brought us the awfully lame Strange Wilderness.
I think part of what makes THE HOUSE BUNNY survives as an okay movie is that it’s written by the duo screenwriters Karen McCullah Lutz and Kirsten Smith who as a team, have shared their careers’ ups (Legally Blonde, 10 Things I Hate About You) and downs (Ella Enchanted, She’s the Man)



Personally, I’ve always loved movies that champion the geeks and the nerds and the misfits and the unpopular.. because I was unpopular as a kid.
I always anticipate this kind of movie… it may be predictable because the concept is unoriginal, but the make-over transformation is pretty cool
O and say what you want about Hugh Hefner but let’s face it… the old man is damn awesome!

I’m sure all of us know a little bit of blond jokes from time to time, most of them deal with misunderstandings mainly because there’s this stereotype that blonds are dumbs therefore they’re ignorant and thus you can tell them anything and they’ll mistake it for something else or they’ll just fall for it right then and there.
The humor in this movie is all that and once again, Anna Faris is the right man for the job.. not because she’s dumb in real life, but it’s because she knows just how to play a typical dumb girl. She nails it! Maybe also she’s done that sorta role before (Scary Movie, Just Friends)
The fact that she’s an attractive/sexy woman also helps.
If all goes well, THE HOUSE BUNNY will do to Anna Faris what Happy Gilmore did to Adam Sandler.
Taken From : http://www.ramasscreen.com



The House Bunny TRAILER 2008 {TRUE-HD} Sony Pictures




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Movie : Death Race (2008)

Info Movie :

Starring: Jason Statham, Joan Allen, Ian McShane, Tyrese Gibson.
Director: Paul W.S. Anderson
Screenwriter(s): Paul W.S. Anderson
Producer(s): Tom Cruise, Paula Wagner, Paul W.S. Anderson, Jeremy Bolt
Distributor: Universal Pictures
Prod. Company: Impact Pictures, C/W Productions
Genre(s): Action, Adventure, Drama, Remake
U.S. Release Date: August 22, 2008 (Wide)
U.S. Box Office Total: Rated Restricted for strong violence and language.

Synopsis :




Terminal Island, New York: 2020. Overcrowding in the U.S. penal system has reached a breaking point. Prisons have been turned over to a monolithic Weyland Corporation, which sees jails full of thugs as an opportunity for televised sport. Adrenalized inmates, a global audience hungry for violence and a spectacular, enclosed arena come together to form the ''Death Race'', the world's biggest, most brutal sporting event. Five-time NASCAR champion Jensen Ames is a man who has become an expert at survival. After eight years of hard time, he has only six weeks before reuniting with his family. But when Weyland demands a driver to headline the big game, Ames is forced to submit. Donning the costume of mythical rider Frankenstein, the racer becomes an instant crowd favorite, an unequaled sporting superstar. His face hidden by a metallic black mask, one convict will be put through a brutal three day challenge, with the trophy being the ultimate prize: freedom. The only catch is that he must survive a gauntlet of the most vicious criminals in this post-industrial wasteland to claim it. Driving a monster car outfitted with machine guns, flamethrowers and grenade launchers, Ames must now kill or be killed to win the most treacherous spectator sport on Earth: ''Death Race''.



Review Movie :
by. Todd Brown

Ladies and gentlemen, the race is over. The competition is won. The arrival of Paul W.S. Anderson’s Death Race - even though it comes so very early in the year - has put a conclusive end to the race for the 2008 Razzie Awards. Worst film? Worst director? Worst screenplay? Worst actress? Not only will Death Race take all of these categories but the competition won’t even be close. There is quite simply no chance whatsoever that any other film will arrive on the scene to rival this - the latest in a long, ling line of very, very bad films from Anderson - for if anyone should even attempt to create another film at this level of ineptitude within the rest of the calendar year I have no doubt that the universe would spontaneously implode in protest of having to play host to such an indignity. This, people, is a Very Bad Film.

On the surface, a remake of the Roger Corman-produced cult flick would seem apropos, even timely right now. Death Race is a title primed to both exploit and comment upon the current craze for ‘extreme’ - read, ‘hyper violent’ - sport and the society that consumes it but there is neither the will nor the brain at work here to offer any sort of commentary whatsoever, nor the skill to properly exploit it. What do we have? Jason Statham is Jensen Aimes, a near future steel worker and former race car driver thrown out of work when the mill he works at shuts down, leaving him unable to provide for his wife and infant daughter. It’s not like he has long to worry about that, though, because the very same day Aimes is thrown out of work masked men invade his home, kill his wife, and leave Aimes unconscious with a bloody knife in his hand. Six months later he has a life term in prison.



But prisons are different in the future. They have become privately run, for-profit organizations. Rehabilitation? What’s that? The prisoners are fodder for extreme sports, corpses-in-waiting destined to battle it out for massive pay-per-view online audiences with potential release dangled in front of their eyes as a prize should they succeed multiple times in the gladiatorial combats. And the most successful of these games, the highest rated sport, is the Death Race - a three day, multi stage race run by prisoners in cars heavily modified to include steel armor and heavy weaponry. Hmm ... new guy in prison happnes to be a driver, and the next Death Race is just days away, there couldn’t be a conspiracy at play here, could there? Of course there is! The prison warden orchestrated the killing of Aimes’ wife and his subsequent conviction, needing him to replace Frankenstein, a popular masked driver killed (though nobody knows that) in the last race. Bloodshed ensues.

For a brief, shining moment I actually though Death Race may end up being a servicable B-flick on the strength of it’s cast - arguably the best Anderson has ever had to work with. Sure, Statham aint a great actor, and he never has been, but he’s a charismatic guy, easily able to chew his way through this stuff. Throw the dependable Joan Allen and brilliant Deadwood baddie Ian McShane into the key support roles and this could actually work, right? Oh, hell no. The film fails on so many levels it’s hard to keep count.



The blame, first of all, should rest at the feet of Paul W.S. Anderson. His direction is horrible, with the exception of a couple of admittedly stellar shots the car race scenes are actually kind of cluttered and boring, several normally solid bit players turn in career worst performances and the Anderson-written script is laughably, horribly bad. We like to joke about plot holes big enough to drive a truck through but this film has plot holes that people LITERALLY drive actual trucks through with nobody so much as batting an eyelash. And the dialog ... oh, the dialog ... but more on that later ... Anderson wears a LOT of hats on this film and, without belaboring the point, it is very safe to say that the work he turns in for every single role he is supposed to fill is appallingly below standard.

The blame, second of all, should rest at the feet of the cast. Not Statham so much - he’ll brush this one off easily enough - or McShane, who is absolutely the only performer to rise above the level of the script he’s given to turn in something approaching a compelling performance, but all the rest are horrible. Tyrese Gibson hits an all time low as the primary on-track villain. Natalie Martinez as Statham’s navigator / love interest? Utterly abysmal every time she opens her mouth, but honestly she was cast for her cleavage not her ability to deliver a line and the cleavage is just fine, thanks, so it’s hard to fault her too much. But Joan Allen? Oh, Joan, what were you thinking? Did you not read the script when they sent it to you? When we get to hear Morgan Freeman cuss in Wanted it ends up being a high point of the film because Freeman so clearly is having a blast playing so far against type, he delivers the line so incredibly well, and it fits within the world Wanted has created. But when Allen cautions Statham, “Fuck with me and we’ll find out who shits on the sidewalk.” the response is just, WHAT? What the hell? What does that even MEAN? Never mind that the delivery’s clumsy, that’s just NONSENSE! And nonsense is never, ever bad-ass. Oh, Joan, I know I can’t blame you for writing it, but you agreed to say it and you really, really should have known better.

So, the film’s horrible. That leaves the question of whether this is a so-bad-its-good sort of film. Well, once the first openly mocking laugh burst out about half way through the screening I attended the crowd loosened up noticeably and got into the jeering spirit. Did we have a good time? Yes, yes we did. But, importantly, none of us had paid to be there. And, honestly, I can’t imagine any paying, sober audience being happy about having to sit through this.

Taken From : http://twitchfilm.net

Death Race (2008) Trailer Video






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Movie : Vicky Cristina Barcelona

Info Movie :
Vicky Cristina Barcelona
Director : Woody Allen
Genres: Romance, Drama, Comedy
Released: August 15, 2008
Screenwriter : Woody Allen
Cast : Javier Bardem, Patricia Clarkson, Penélope Cruz, Rebecca Hall, Scarlett Jhansson, Chris Messina



Synopsis:

Two young American women, Vicky (Rebecca Hall) and Cristina (Scarlett Johansson) come to Barcelona for a summer holiday. Vicky (Rebecca Hall) is sensible and engaged to be married; Cristina (Scarlett Johansson) is emotionally and sexually adventurous. In Barcelona, they’re drawn into a series of unconventional romantic entanglements with Juan Antonio (Javier Bardem), a charismatic painter, who is still involved with his tempestuous ex-wife Maria Elena (Penelope Cruz). Set against the luscious Mediterranean sensuality of Barcelona, VICKY CRISTINA BARCELONA is Woody Allen’s funny and open-minded celebration of love in all its configurations.

Review Movie :
Vicky Cristina Barcelona

by Kim Voynar

I've said before that a new film from Woody Allen is something like getting a Christmas gift from your eccentric aunt; you never know if you'll get a crocheted toilet paper cozy, or a piece of priceless heirloom jewelry. Fortunately, Allen's newest film, Vicky Cristina Barcelona, turns out to be more like the latter. The story opens with Vicky (Rebecca Hall) and Cristina (Scarlett Johansson), two best friends heading to Barcelona for eight weeks of fun.



Vicky's distant relations Judy (Patricia Clarkson) and Mark (Kevin Dunn) live in Barcelona, and have invited the girls to spend the summer there, where Vicky will do research for her Masters and Cristina will soak up the local culture. Vicky is engaged to be married to Doug (Chris Messina), a stalwart, likable, but rather boring young man, and Cristina is recovering from her latest breakup and looking for an artistic outlet for her pent-up creativity.

At an art gallery event, Cristina's eye is caught by a dashing painter, Juan Antonio (Javier Bardem). His eyes smolder at Cristina from across the room; she's intrigued, and asks Judy and Mark who the man is. They reply that he's a painter, and that there was some sort of gossip surrounding the breakup of his marriage -- something involving violent fights and someone getting stabbed.

That this is enough to make Vicky not want to know more about him, while Cristina is all the more entranced, tells us much about the two girls. Later that night, Vicky and Cristina see Juan Antonio at a restaurant. Again, smoldering eye contact ensues, and Juan Antonio swaggers over to their table, introduces himself, and then promptly invites both girls to join him for a weekend jaunt to Oviedo, where, he suggests, the three of them might enjoy some excellent dining, take in the splendid local scenery, and perhaps engage in some passionate lovemaking.



Responsible Vicky, is, of course, quick to icily brush off Juan Antonio's advances, but Cristina, ever up for adventure and new experiences, is game to go along, so Vicky dutifully accompanies her friend in the hope that she might prevent her, at least, from being murdered by the suave, dashing painter.

It may seem a bit unrealistic to think that a young woman would agree to a weekend trip with a stranger, but Bardem pulls of Juan Antonio's directness and charm with a disconcerting ease that, I'm sure, made many a female heart flutter at tonight's screening. In Oviedo, Vicky resists Juan Antonio's charms for a while, but when Cristina is taken ill with food poisoning, she ends up spending more time with him. Flames of interest and passion flicker, and the two end up sharing a memorable night of passionate lovemaking.

Upon their return to Barcelona, though, Juan Antonio resumes his pursuit of Cristina, deciding to leave Vicky alone, so as not to further complicate her imminent marriage. Cristina moves in with him, and all is going swimmingly until the sudden return of Juan Antonio's beautiful, crazy ex-wife, Maria Elena (Penelope Cruz), following a suicide attempt. What with Maria Elena's passionate and paranoid rantings, things are a bit sticky for a while, but eventually Maria Elena warms up to Cristina, and the trio ends up involved in a rather bizarre three-way relationship in which sex and powerful emotions are entwined.



Meanwhile, Doug has come to Barcelona to marry Vicky, who can't stop thinking about Juan Antonio. When Vicky stumbles upon Judy kissing another man, Judy confesses that she hasn't been in love with Mark for years. Vicky confesses to her aunt her feelings for Juan Antonio, and Judy sets out to convince her niece to take a chance and pursue her heart's desire, rather than settling for the mundane.

That's the basic story, but there's so much more in between the lines that I won't reveal, so as not to spoil the joys of discovering them in the film for yourself. Suffice it to say that Allen has created one of his best works in years, a film that is funny, philosophical, and imaginatively explorative of the meaning of love and desire. Cruz turns in a performance that's better, even, than her Oscar-nominated turn in Volver; her Maria Elena is on-the-edge crazy, but is also very funny and engaging.

Johannson is quite good here as well, and Bardem completely makes you forget his psychotic serial killer in No Country for Old Men, believably playing Juan Antonio as a man who pursues passions and ardently seeks the meaning of love. Clarkson, of course, is also solid; I don't think she could turn in a bad performance if she tried, but the real revelation here is Hall, who brings the reluctant Vicky beautifully to life, playing out her fears and inhibitions, and bringing heart to the story.

I have to give Allen due credit here as both writer and director of the film. He's penned a script that could have been merely a surface exploration of male sexual fantasies, but turned it instead into a fascinating study of relationships and boundaries. There is sexual tension in the film, and a couple of fairly passionate, beautifully shot sexual scenes (yes, from Woody Allen), but Allen avoids using provocative nudity to make his point, instead keeping his focus firmly on the idea of desire and passion rather than overt, on-camera sex. There's no nudity in the film; Allen relies instead on the talent of his actors to convey the film's underlying sexuality.

As he has with his previous works shot in New York, Allen makes the city of Barcelona a character in the film rather than merely a location, creating an almost fable-like setting for Vicky and Cristina, where the very air seems to tear through inhibition and conventionality, and opens them to possibilities they'd previously never even imagined. Allen does use voice-over extensively throughout the film (provided by Christopher Evan Welch), which provoked an inner eyeroll when the film first started, but the wryly amused narration merely adds to the fable-like air of the film, rather than being obtrusive or telling us things we should be feeling.

We quickly get the sense that we're being told a story here, a fairy tale about two young girls who meet a charming artist who's not quite a Prince Charming riding in on a white horse to rescue them from peril; Juan Antonio serves, instead, to rescue Vicky and Cristina from their own expectations about what love and life should be. Allen has succeeded in making an excellent film; Vicky Cristina Barcelona is a lovely gift from a filmmaker who, when he's on his game, truly hits the mark.

Taken From : http://www.cinematical.com



Vicky Cristina Barcelona Trailer Video







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Movie : Star Wars: The Clone Wars

Movie Info :

Starring: Anthony Daniels, Matthew Wood
Theatrical Release Date: 08/15/2008
Rating: PG
MPAA Reasons: for sci-fi action violence throughout, brief language and momentary smoking
Distributor(s): Warner Bros.
Production Co.: Lucasfilm Animation
Director(s): Dave Filoni
Genre(s): Action, Animation, Drama, Fantasy
Themes: Space Wars, Robots and Androids
Keywords: army, clone, robot, battle [war]
Country of Origin: USA
Language: English

Synopsis:



On the front lines of an intergalactic struggle between good and evil, fans young and old will join such favorite characters as Anakin Skywalker, Obi-Wan Kenobi and Padmé Amidala, along with brand-new heroes like Anakin’s padawan learner, Ahsoka. Sinister villains – led by Palpatine,... On the front lines of an intergalactic struggle between good and evil, fans young and old will join such favorite characters as Anakin Skywalker, Obi-Wan Kenobi and Padmé Amidala, along with brand-new heroes like Anakin’s padawan learner, Ahsoka. Sinister villains – led by Palpatine, Count Dooku and General Grievous – are poised to rule the galaxy. Stakes are high, and the fate of the Star Wars universe rests in the hands of the daring Jedi Knights. Their exploits lead to the action-packed battles and astonishing new revelations that fill STAR WARS: THE CLONE WARS. --© Warner Bros.

Movie Review :
Star Wars: The Clone Wars
By Richard Edwards

Rating:

The 20th Century Fox fanfare is such an integral part of the Star Wars experience that seeing the Warner Brothers shield dissolving into “A long time ago, in a galaxy far, far away...” is a rather disconcerting experience. The absence of an opening crawl – to say what it’s been replaced with would be an unfair spoiler – and slightly remixed theme tune do nothing but add to the suspicion that The Clone Wars comes from a very different place to the live-action movies.



But make no mistake, as soon as you’re plunged into the heart of a Jedi vs battledroids confrontation on a distant world, this is pure, unadulterated Star Wars. The characters may be heavily stylised CG caricatures of the saga’s heroes and villains, but the essence of George Lucas’s creation remains in a movie that bests at least two of the prequels. Indeed, The Clone Wars’ brand of simplistic, action-heavy storytelling is a fantastic breath of fresh air after the complex political machinations that bogged down much of Episodes I and II.

The film’s biggest strength is that it’s clearly been made by fans for fans. It’s easy to picture planning meetings dissolving into sessions of “Wouldn’t it be cool if...” particularly when Anakin leads a vertical assault on a distant temple, clone troopers and giant walkers scaling a massive cliff as Separatist fire rains down on them. The movie is packed with sequences that more than hold their own against their live-action equivalents.

And while it’s hardly Apocalypse Now, Clone Wars doesn’t sanitise the violence. Some scenes are surprisingly brutal: a battledroid grabbing a trooper by the neck before shooting him point blank is up there with the charred corpses of Luke’s aunt and uncle in the Star Wars pantheon of unpleasantness. This is the Clone Wars as many fans of the original trilogy wanted to see them, much closer to the prequels that existed in our heads than The Phantom Menace turned out to be.

As a curtain-raiser to the upcoming Clone Wars TV series – set to continue filling the gaps between Episodes II and III – this is an impressive statement of intent. The CG proves surprisingly effective, with the cast’s cartoony, almost puppet-like appearance perfectly suiting the material. The animation may not possess Pixar levels of complexity – probably impossible when you’ve eventually got to churn out weekly episodes – but with its vibrant colour scheme and simple, get-to-the-point dialogue, The Clone Wars is straight out of the comic-book school of storytelling. Needless to say, the hardware and spaceships look fantastic – you have to look very hard to see where what you see here differs from the (admittedly just as CG) equivalents in the prequels.

Although the mention of protecting shipping lanes through the Outer Rim conjures unpleasant memories of Trade Federation blockades, the plot involving the kidnap of Jabba the Hutt’s son rarely lets the excitement levels dip – in fact, the action’s so relentless that come the final quarter you might find yourself begging for a breather. Slug Jr proves an ingenious McGuffin, both a convincing reason for conflict between the Republic and Count Dooku’s Separatists (both sides want to keep Jabba onside) and a brilliant plot device for exploring the relationship between future Vader Anakin Skywalker and his new Padawan learner, Ahsoka Tano, when they have to play nursemaid.



That the character stuff works as well as it does is a welcome surprise. Cartoon Anakin proves to be a much more likeable character than the Hayden Christensen version, suggesting he might become the rogue-ish Han Solo character the prequels lacked, while one glance between Anakin and secret missus Padme, shared via hologram, conveys more sexual chemistry than any number of musings about the romantic properties of sand.

The newbies, too, fare well, with the impetuous Ahsoka mostly avoiding the annoying qualities that are usually the hallmark of a screen sidekick, and Asajj Ventress displaying plenty of menace and her fair share of skill with a lightsaber. Even the usually faceless clones are given a chance to develop, with their different haircuts (some of them hilarious) suggesting they’ve grown individual personalities. Above all The Clone Wars is fun. Sure, a few gags fall flat, but this gets back to the adventure serial roots that first inspired George Lucas all those years ago. The kid in you will love it.

Taken From : http://www.sfx.co.uk
***NEW Star Wars: The Clone Wars Movie Theatrical Trailer #3 Video







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Movie : Mirrors

Movie Info :

Movie Name : Mirrors
Also Known As : Into the Mirror (Remake)
Tagline : Reality is relative.
Release Date : 15 August 2008 (USA)
15 August 2008 (South Africa)
21 August 2008 (Russia)
22 August 2008 (Mexico)
10 September 2008 (France)
18 September 2008 (Australia)
03 October 2008 (Italy)
03 October 2008 (UK)
Genre : Horror / Suspense / Thriller
Director : Alexandre Aja
Producers : Alexandra Milchan, Marc Sternberg, Gregory Levasseur
Banners : 20th Century Fox, Regency Enterprises
Presenter : 20th Century Fox
Language : English
Screenplay Writers : Alexandre Aja, Gregory Levasseur
Music Director : Javier Navarrete
Cinematographer : Maxime Alexandre
Editors : Jon Chang, Baxter
Executive Producers : Arnon Milchan, Kiefer Sutherland, Marc S. Fischer, Andrew Hong
Co-producer : Eun Young Kim
Art Directors : Vlad Roseanu, Stephen Bream
Sound Designer : Richard Adrian
Costume Designers : Michael Dennison, Ellen Mirojnick
Production Designer : Joseph Nemec
Visual Effects : Danny S. Kim
Special Effects : Alistair Bell
Shooting Studios : Regency Enterprises
Shooting Locations : Romania
Cast :
Kiefer Sutherland as Ben Carson
Paula Patton as Amy Carson
Amy Smart as Angela Carson
Cameron Boyce as Michael Carson
Ezra Buzzington as Terrence Berry
Erica Gluck as Daisy Carson
Jason Flemyng as Larry Byrne



Mirrors is a remake of the 2003 South Korean horror movie Into the Mirror, directed by Alexandre Aja and starring Kiefer Sutherland. The film was first titled as Into the Mirror, but later it changed to Mirrors. It will release worldwide on 15th August, 2008.

Synopsis:


In MIRRORS, Kiefer Sutherland is an ex-cop turned night security guard at a long-closed department store ravaged by fire. He discovers that the store's mirrors harbor a horrific secret that threatens him and his family.



Mirrors Trailer Download :
For free downloading of the Mirrors film trailer click below
http://www.filefactory.com/file/0a9f98/n/Mirrors_movie_trailer_wmv.html



Mirrors (2008) Trailer Video






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Movie : Tropic Thunder

Info Movie :

Genres: Comedy
Release Date: August 13th, 2008 (wide)
MPAA Rating: R for pervasive language including sexual references, violent content and drug material.
Distributors: DreamWorks SKG
Production Co.: Red Hour Films
Studios: DreamWorks SKG
Produced in: United States
Cast: Ben Stiller, Robert Downey Jr., Jack Black, Steve Coogan, Jay Baruchel, Danny McBride, Brandon T. Jackson, Nick Nolte, Matthew McConaughey, Bill Hader, Brandon Soo Hoo
Director: Ben Stiller
Screenwriter: Justin Theroux, Ben Stiller, Etan Cohen
Story by: Ben Stiller, Justin Theroux
Producer: Stuart Cornfeld, Ben Stiller, Eric McLeod
Executive producer: Justin Theroux
Director of photography: John Toll
Production designer: Jeff Mann.
Music: Theodore Shapiro
Costume designer: Marlene Stewart
Editor: Greg Hayden.
Running time 124 min.

Synopsis :



In the action-comedy Tropic Thunder, Ben Stiller plays pampered action superstar Tugg Speedman, who is cast in the biggest, most expensive war movie ever produced. He sets out to Southeast Asia with a "Who's Who" of celebrity co-stars. They include Kirk Lazarus (Robert Downey Jr.), an intense, three-time Oscar(R)-winning actor; Jeff Portnoy (Jack Black), star of the popular gross-out comedy franchise "The Fatties"; multi-platinum hip-hop-star-turned-entrepreneur-turned-actor Alpa Chino (Brandon T. Jackson); and first-timer Kevin Sandusky (Jay Baruchel). Soon after the production begins the actors are thrown into a real-life situation and are forced to become the fighting unit they're portraying, in order to find a way out of the jungle in one piece.

Review Movie:



Bottom Line: A broad action comedy that manages to mix subtlety with satire.
By Kirk Honeycutt

Oh, what a lovely war movie Ben Stiller and his platoon have concocted in "Tropic Thunder." Stiller -- who stars, directs, co-writes, co-produces and probably acts as animal wrangler as well -- imagines a lost patrol of self-absorbed yet terminally insecure actors working on a war movie to end all war movies in Southeast Asia only to wind up in a real-life combat with narco-terrorists.

"Tropic Thunder" sends up all things Hollywood, from pampered actors and outrageous media tycoons to war movies in general. OK, these are easy targets. But Stiller and co-writers Justin Theroux and Etan Cohen hit 'em with a fair degree of accuracy and consistency.



After a summer devoted to superheroes -- indeed, Stiller's co-stars Robert Downey Jr. and Jack Black played superheroes in "Iron Man" and "Kung Fu Panda" -- how gratifying it is to experience a movie taking the mickey out of super-impossible heroics.
It's by no means a perfect comedy -- nor would you want it to be. Gags and stunts are all over the place, yet the film does de-Stiller-erize the essence of contemporary movie comedy even as it has fun with outrageously crude jokes. "Tropic Thunder" should give mid-August a strong shot of boxoffice caffeine.

A savvy opening has three movie trailers and a concession ad cleverly establishing our leading actors: Stiller's Tugg Speedman is a fading action star whose last, desperate bid for Oscar glory caught him playing Simple Jack, a retarded farmhand who can talk to animals. Black's coked-up Jeff Portnoy stars in a series of gross-out films built around fart jokes. Downey's five-time Oscar winner Kirk Lazarus -- think early Robert De Niro, Laurence Olivier and Gwyneth Paltrow but don't think about it too long -- is so into the "method" and physical disguise that he has surgically darkened his skin to play a black actor. Actor-comedian Brandon T. Jackson plays rap star Alpa Chino -- say it to yourself slowly -- who promotes a "Booty Sweat" energy drink and "Bust-A-Nut" candy bar.

In the name of authenticity, the film's British director (Steve Coogan) helicopters this gang along with acting newcomer Kevin Sandusky (Jay Baruchel), a possibly shellshocked technical adviser (Nick Nolte) and an enthusiastic explosives expert (Danny McBride) deep into the jungle. The director proceeds to step on an old land mine, which leaves the troupe without direction -- but no one here has ever paid much attention to a director anyway.

This setup provides a broad comic canvas for stunts; explosions; battles between actors firing blanks and a drug gang that doesn't; wars back home between the film's financier and Tugg's agent (Matthew McConaughey); and a drug lord played by 12-year-old newcomer Brandon Soo Hoo.

The film almost gets hijacked by Downey, an Australian actor and now a black man who no longer recognizes his own identity. It's a great comic performance and reaches its satiric zenith when, as the two stroll blithely unaware through a dangerous jungle, Kirk critiques Tugg's performance as Simple Jack. Kirk points out that actors who have won Oscars playing the mentally challenged "never go full retard," a hysterically funny and uncannily accurate piece of film criticism. (Kudos to the writers as well.)



But Stiller manages his movie nicely so that all actors get their share of the comic spotlight. Seldom does an ensemble comedy not contain a single weak character or performance as does this one. Oh, by the way, Tom Cruise has a role, too. He is in such a good disguise, though, that few are going to recognize him until the final credits.
Taken From : http://www.hollywoodreporter.com

Tropic Thunder Ben Stiller Trailer Video





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Movie : The Perfect Game

Info Movie :

Release Date : 8 August 2008 (USA)
Company : Prelude Pictures
Filming Locations : Los Angeles, California, USA
Aspect Ratio : 2.35 : 1
Language : English
Sound Mix : DTS | Dolby Digital | SDDS
Certification : USA:PG
MPAA : Rated PG for some thematic elements.
Country : USA
Genre: Dramas
Starring: Clifton Collins, Cheech Marin, Louis Gossett, Jake T. Austin, David Koechner
Director: William Dear
Screenwriter: W. William Winokur
Producer: David Salzberg, Christian Tureaud, Mark Koch, Daniel de Liege, W. William Winokur, Michael Gallant
Composer: Bill Conti

Producer’s Synopsis:



“Dream for the fences.”
“In 1957, in the poverty-stricken town of Monterrey, Mexico, a barefooted, rag-tag group of boys discovers the joys of sandlot baseball under the guidance of Cesar, a failed U.S. minor league ballplayer. Dreaming of playing a real Little League game, the young team defies disapproving parents, bigotry, and an utter lack of resources to score their first Little League victory on U.S. soil only to find themselves at the beginning of a once-in-a-lifetime journey. Relying on their religious faith and their love of the game, the nine players and their coach embark on an incredible, record-breaking winning streak that leads them from southern Texas all the way to the 1957 Little League World Series in Williamsport, PA, where a miracle will cement their place in history and change their lives forever.



Based on the extraordinary true story of the 1957 Monterrey Industrials Little League team, THE PERFECT GAME is an inspiring and heartwarming tale of faith and a testament to the resilience of the human spirit in the face of overwhelming odds.



THE PERFECT GAME stars Clifton Collins Jr. (BABEL, CAPOTE, THE RULES OF ATTRACTION), Cheech Marin (GRINDHOUSE, ONCE UPON A TIME IN MEXICO, SPY KIDS), Emilie De Ravin (Lost, THE HILLS HAVE EYES), Bruce McGill (ELIZABETHTOWN, CINDERALLA MAN, COLLATERAL) and Mexican telenovela star-singer-model, Patricia Manterola. Among the talent young cast are Moises Arias (Disney Channels Hannah Montana, NACHO LIBRE), Jake T. Austin (Nickelodeons Go Diego Go), Jansen Panettiere (ROBOTS, ICE AGE: MELTDOWN), and Alfredo Rodriguez (GOAL, GOAL II). Written by W. William Winokur, THE PERFECT GAME is directed by William Dear (WILD AMERICA, ANGELS IN THE OUTFIELD, HARRY AND THE HENDERSONS) and produced by David Slazberg, Christian Tureaud, Mark Koch, Daniel de Liege, W. William Winokur and Michael Gallant.”
Taken From : http://www.christiananswers.net

Baseball Movie The Perfect Game
by Alex Billington



Remarkably there's yet another heartwarming sports movie due out by the end of the summer, this one called The Perfect Game. Based on a true story, the film tells the story of a group of boys from Monterrey, Mexico who become the first non-US team to win the Little League World Series. Clifton Collins Jr. and Cheech Marin star in the film. This reminds me of movies from my childhood like The Sandlot or Rookie of the Year, but unfortunately it doesn't even look half as good as those two. Either way, some kids of this generation might come to attach to this as their big sports movie, so I'll give it a chance. Plus any movie with a heartwarming story about baseball always captures my interest, even if it's not the best.

Taken from :http://www.firstshowing.net

Movie Review:

In 1957 North America, baseball was, as it is today, filled with miracles of all sizes. In The Perfect Game, based on a true story of baseball and miracles, a ragtag group of young altar boys in Mexico without hope of baseball but living in a culture filled with miracles and formed by an unlikely padre played remarkably by Cheech Marin, unfold their story. It may be just in time to rescue modern baseball fans of all stripes from apathy, cynicism, disgust and maybe even football. Many things have not changed in baseball or in life - men have fallen to envy, prejudice and corruption in every age - the real story is in the redemption of fallen or disheartened or oppressed or angry men and The Perfect Game is a unique kind of redemption story - a story of faith, hope, charity and a little romance - and the victory of the underdog that is more timely now than half a century ago. There is even a great little subplot about women in sports journalism.

Uplifting us from the sandlot of Monterrey to the glory of Ebbets Field, this is a movie to cheer about. In fact, at the screening I attended, that's just what happened in the audience! People love a story of men who believe in a cause and fight for it, and this is one story and one cause that should have no detractors. There WAS prejudice in 1957 in all quarters, but that did not stop one faithful priest and his flock from giving one desperate man (Clifton Collins, Jr.) a reason to believe and some good work to do. In the process, from a most unlikely corner of the continent, comes a story that reminded a nation what it means to seek and to find not only the American dream, but the God Who is behind it all. It bears repeating that the story has not changed much over the years.

This movie was to have been released on August 8th, 2008, but has been put on the backburner. If you believe in the power of miracles, please contact Lionsgate to vote for release of this movie sooner rather than later.

Taken From : http://catholicmediareview.blogspot.com




The Perfect Game Trailer - El Juego Perfecto Movie






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Movie : Hell Ride

Info Movie :
Director: Larry Bishop
Produced by Larry Bishop,Shana Stein,Michael Steinberg, Quentin Tarantino
Cast: Larry Bishop, Michael Madsen, Dennis Hopper, Vinnie Jones, David Carradine, Eric Balfour, Julia Jones, Michael Beach, Leonor Varela, Francesco Quinn, Alison McAtee
Written by Larry Bishop
Music by Daniele Luppi
Cinematography Scott Kevan
Editing by Blake West
William Yeh
Distributed by Dimension Films
Rating:R
Genres:Action/Adventure/Drama/Thriller
Subgenres:NA
Release Date:August 8th, 2008

Synopsis:



HELL RIDE is a raucous throwback to the days of the Sergio Leone spaghetti western, with a heaping helping of testosterone-fueled chopper action thrown into the mix. Writer/director Larry Bishop takes on a third role as Pistolero, head honcho of the Victors, a group of badass bikers who are out to avenge the murder of one of their members at the hands of the 666ers, a rival gang whose actions live up to their hellish moniker.
Along with his cohorts, the Gent (deviously portrayed by Michael Madsen) and the mysterious Comanche (Eric Balfour), Pistolero aims to take down the Deuce and Billy Wings, menacing leaders of the 666ers, but a mutiny looms on the horizon when his commitment to profit is questioned by a few of his fellow Victors. An even larger story unravels when previously unknown information about Comanche resurrects ghosts from Pistolero’s past. Although there is enough sex, violence, and all-out machismo to keep grind-house fans firmly plastered to their seats, Bishop’s take on the genre strays far from exploitation as he weaves a twisting, multilayered tale of revenge, loyalty, and brotherhood that is brought to life by a superb ensemble cast, with memorable performances by Dennis Hopper, Vinnie Jones, and David Carradine. In the words of Comanche, “The road to hell is paved with anything but good intentions.”

Review Movie: Hell Ride
by Eric D. Snider



The problem with making movies in the "grindhouse" style is that true grindhouse movies, almost by definition, were not seen by very many people. The target audience for a loving homage to the genre is therefore limited. Quentin Tarantino might adore the shlocky, violent capers of the 1970s, but how many of the rest of us have even seen them, much less love them enough to enjoy a re-creation of them?

Hell Ride, which Tarantino executive produced and Larry Bishop wrote and directed, is a salute to the ridiculous biker movies that Bishop frequently acted in back in the late '60s and early '70s. With titles like The Savage Seven and Chrome and Hot Leather, these were pure grindhouse cheese, and Hell Ride is either a parody of them or an adoring tribute. The line is always fine when it comes to a Tarantino project -- does he really like these movies, or does he only like them ironically? -- and here it's nearly invisible.

Bishop stars as Pistolero, the leader of a motorcycle gang called the Victors. Fellow members include Comanche (Eric Balfour) and The Gent (Michael Madsen); a comrade named St. Louie has just been murdered by a rival gang, the 666ers, led by Billy Wings (Vinnie Jones) and The Deuce (David Carradine). The Victors want revenge for this, but the often incomprehensible plot has them searching for a buried treasure, too, planted by a woman named Cherokee Kisum before she was killed back in 1976. Adding to the general mayhem is the reappearance of Eddie Zero (Dennis Hopper), a first-generation Victor who was presumed dead but has now returned to offer guidance to his successors.
The sex and nudity are abundant and cheerfully gratuitous and include a naked oil-wrestling scene. Bishop has made sure to give himself the role that involves cavorting with beautiful nude women as often as possible. He also ratchets up the violence the way grindhouse fans (presumably) want it. Excess can be fun, of course, though it's always better when it's in the service of a story that's actually going somewhere.

The screenplay's tone is sometimes self-aware, as when a man shot with an arrow in the middle of the desert declares the hopeless situation to be "a nihilist's dream come true." One scene has two characters exchanging a lengthy chunk of dialogue full of plays on the word "fire," and it goes on for so long that it's either funny or annoying. But other scenes are just flat and dull, the very picture of rushed, uninspired filmmaking.



All of that, plus the uniformly over-cooked acting makes it hard to tell what Bishop's attitude is. We don't know whether to laugh with the movie or at it, and that's an uncomfortable feeling. A lot of the film is bad, maybe intentionally and maybe not. (Bishop's previous writing/directing effort, 1996's Mad Dog Time, aka Trigger Happy, certainly does not inspire a lot of confidence concerning his creative abilities.) But even if it's bad on purpose -- well, that's not much of a consolation. I get tired of forced cleverness and genre deconstructions, and I have little patience for films whose lousiness is their selling point. If you can do a good job of making a bad movie, why not go the extra mile and make a good one?
Taken From : http://www.cinematical.com


Hell Ride (2008) New RED BAND Trailer Video








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