Check this trailer for Karate Kid which will star Jackie Chan and Jaden Smith And Traji P. Henson the movie is a remake of the 80’s film The karate kid even though in the first one the boy was a lot older.What do y’all think will you go see it?

Remember, I generally hate movies.

And Up in the Air is no exception.

One thing that plagues this film is actually not the movie’s fault.  It was while watching this movie that I realized that George Clooney has joined the short list of elite cinema icons who are always immediately larger than their roles.  Like Jack Nicholson and Meryl Streep before him, Clooney has now achieved a level of fame that makes it impossible to ever quite achieve the suspension of disbelief necessary to see him as his character rather than as George Clooney.  It’s not his fault – his performance was the lone bright spot in a movie otherwise filled with lackluster performances.  But Clooney has achieved that rarified status of being a star who simply transcends any one film.

I became painfully aware of this during Up in the Air in large part because almost everything else about the movie is so forgettable.

The plot is pretty typical romance fare.  Clooney (his character’s name is irrelevant) lives a lonely life flying around firing people for a living.  He spends so much time “up in the air” that the notion of settling down is unthinkable to him.  Unthinkable, that is, until the dual force of an intriguing woman and a young up-and-comer who wants to conduct business via the internet threatens the lifestyle that he’s used to.  So, he has to start reevaluating things.  It doesn’t help that the young up-and-comer, Natalie (Anna Kendrick), travels with him for a bit to help her learn the business and she, of course, questions his lifestyle at every turn.  At the same time, frequent encounters with his new-found love interest, Alex (Vera Farminga), start to put some new ideas into his head.

Based on that premise, I’m sure most movie-goers can figure out how the next hour and a half unfolds.  At first he’s frustrated about having Natalie tagging along and wants to keep his relationship with Alex purely physical.  As time wears on he comes to form a bond with both women, and cracks start to appear in his emotional armor until, of course, we come to find out that he’s really a big, sensitive, Hugh Grant of a man.

Meanwhile, the film references our country’s current economic troubles in an effort to appear topical.  There were some potentially interesting ideas there for the taking: the ethics of a business that actually booms due to economic collapse or the irony of Clooney making a living out of firing obsolete employees only to then become obsolete himself, for instance.   But instead of going into these issues, we get a predictable story and weak attempts at humor, like when Clooney thinks the flight attendant is asking if he wants “the cancer,” but is actually asking if he wants “the can, sir,” or the moment when he turns the size of his frequent flier account into a euphemism for his penis.  Even as the film seems to beg for an investigation of some of the complexities that arise, the first nine tenths of the movie adamantly refuse to go beyond its laughably predictable surface.

But then, the movie takes an interesting turn.  I won’t say exactly what happens, but I will say that the final fifteen minutes or so were not at all what I was expecting.  They take the romance/date movie genre and turn it on its head – there were still some really predictable aspects to how everything unfolds, but overall it took me by surprise.

Unfortunately, the surprise just wasn’t enough to warrant the previous hour and a half of cliches.  If the director hadn’t held back, if he’d just let on that this film was a deconstruction of the romance genre right from the start, and played with that concept throughout, I might have been interested.  But he didn’t.  Instead, he wasted the film’s potential on over-worn plot devices and bad jokes, while saving all of the film’s interest until the end, at which point it was too late.  In fact, had it not been for Clooney’s undeniable charisma, I might not have even stuck around to see the final twists and turns.  In the end, I did stick around, and the final few scenes were worth the fifteen minutes or so that they were on the screen.  They weren’t, though, even close to being worth the hour and thirty four minutes that I had to invest to get there.

Remember, I generally hate movies.

After watching Avatar, I’ve come to hate the form even more – it’s that bad.  This film is so invested in its own originality and grandeur that its complete lack of originality and grandeur become the only epic elements of what is supposed to be an epic film.

To begin with, the script is just awful.  If the worst lines that George Lucas ever wrote were to mate with the worst lines that Michael Bay ever wrote, the Avatar script would be their love-child.  It’s not quite Catwoman bad, but when that’s the best thing you can say for the writing then something’s seriously wrong.

The premise of the film is that humanity has discovered a planet rich in a valuable substance called “unobtainium.”  No, you didn’t read that wrong.  It’s called “unobtainium.”  The only trouble is that the natives, who are apparently one third cat, one third American Indian caricature, and one third giant Smurf, don’t want to let the humans mine for “unobtainium” (seriously, that really is its name – you can’t make this stuff up… unless you’re James Cameron) because doing so would ruin their sacred lands, especially their giant tree/home/temple.  Hoping (sort of) to get the natives to move to the next tree over through diplomacy rather than military force, the corporation sends a paraplegic ex-marine, Jake, into their midst in the form of an Avatar – a kind of biological machine that Jake operates through psychic remote-control – that looks like one of the natives.  Jake, though, quickly realizes that he’s on the wrong side of the conflict and eventually wants to protect the noble savages from the imperialistic company that hired him.

As you might have guessed by now, the film itself is nothing more than an avatar of sorts for the treatment of Native Americans at the hands of European settlers (although the film ocassionally mixes its metaphors with thinly-veiled references to Africa and Iraq).  And this is where the film starts to fall apart.  As a critique of imperialism the movie is incredibly simplistic, heavy-handed, and insulting to both its audience and its subject matter.

Cameron roots his depiction of the natives in just about every condescending, racist 18th century stereotype of the “noble savage” that he can find.  They are extremely devoted to their tribes, but suspicious of outsiders.  They have elaborate and physically dangerous rituals to mark the passage of young males into adulthood.  And, of course they’re deeply attuned to nature.  Literally.  The natives can actually plug their pony-tails into native species to form a kind of mind-meld.  No, I’m not kidding.  Rather than allowing any sort of cultural complexity in the native civilization, Cameron simply sets them up as a group of wise but simple primitives and, in doing so, demonstrates just how primitive the movie’s racial politics are.

Perhaps wanting to be fair, Cameron grounds his depictions of humans in equally simplistic sets of stereotypes.  The colony basically consists of three distinct groups.  First, there are the corporation’s representatives who worship the bottom line with as much devotion as the natives show for the trees.  Then there are the military types who only pause in their incessant blood-lust long enough to question each others’ manhood (except, of course, for the lone military woman, who realizes the error of her ways and joins the natives).  And, finally, there are the glorious scientists whose beneficent desire for knowledge eventually causes them to join the natives’ cause.  So, corporation/military = the bad guys, scientists/natives = the good guys.  It really is that simple.  Though Jake initially attempts to inhabit all three of these of groups, he eventually joins the scientists and commits himself to rescuing the natives.  Oh, and he mates with Pocahontas (or whatever the Chieftain’s daughter’s name happens to be).

The film’s investment in stereotype is, needless to say, a huge problem, and undermines any pseudo-progressive statements that the film might be trying to make.  But they also undermine the nuts and bolts of the film itself.  The film is, after all, supposed to be a sprawling three-hour-long “epic” full of originality and imagination.  But the stereotypes at its core are anything but original and imaginative so the film ends up feeling mired in a sense of tedious familiarity.

For instance, at one point Pocahontas (or whatever her name is) teaches Jake the ways of her people.  We’ve all seen this story before – he starts out clumsy, eventually learns to swing through the forest with ease, proves himself by mounting a wild beast, then makes out with Poca-what’s-her-name.  That’s it.  Sure, the “horses” have six legs and nostrils in their necks, the trees glow, and the native girl is blue, but ultimately this entire sequence could have been covered in a two-minute montage of familiar tropes.  Instead Cameron turns it into an hour-long repetition of old ideas hiding beneath new CGI techniques.

And so the movie goes.  Over and over again the film uses cutting-edge technology to rehash tired narratives and to put new skins on all-too-familiar stock characters.  The battle sequences are loud and full of giant explosions, but ultimately follow traditional patterns (bad guys attack, good guys retaliate and seem to be doing well, bad guys re-retaliate and all seems lost, some unexpected aid arrives and turns the tide culminating in a one-on-one showdown between the hero and antagonist).  Cameron could have told this entire story in about an hour (heck, I’ve basically told it in less than a thousand words).  Instead, he spreads it out over three of the most tedious hours that I’ve ever had to spend in a theater.

Sure, in the meantime, there are some impressive visuals.  Things glow, and whiz across the screen, and explode and stuff.  There are lots of colors and there’s lots of noise, too.  Sigourney Weaver’s performance is good, and most of the others are passable.  But none of this adds up to “epic.”  In fact, after a three hour movie and a large bottle of water the only epic experience I had at the theater involved a long trip to the bathroom when the movie was finally over.  And the time I spent in front of that urinal was far more satisfying than anything I saw on screen.

The Plot
Ahmad Haikal atau Ikal (Vikri Setiawan) sudah duduk di bangku SMA, dan ini penggalan kisah kehidupan remajanya, tepatnya pada pertemanannya dengan Arai dan Jimron.

The Comment
Selang setahun paska Laskar Pelangi (2008), Miles Production membawa kita kembali melongok perjalanan hidup Ikal melalui Sang Pemimpi (2009), adaptasi dari novel Andrea Hirata yang berjudul sama. Saya belum membaca novelnya sehingga di awal, saya cukup terkejut dengan menghilangnya karakter Lintang, Mahar dan lainnya. Tetapi, tokoh Arai dan Jimron realitasnya tidak kalah menarik dan pastinya, anak-anak Belitong ini tetap memiliki mimpi yang hebat.

Dan film ini kembali menunjukkan besarnya kekuatan mimpi. Melalui narasi Ikal dewasa, Sang Pemimpi membawa anda mengenal sosok Arai, sepupu Ikal yang yatim piatu. Arai-lah yang membuat mereka bersandar pada mimpi bisa kuliah master di Sorbonne dan keliling dunia. Tetapi anda tahu, mengapai mimpi bukan hal mudah, dan Ikal harus menghadapi realitas pahit seperti ayah yang kena PHK ataupun ketika ia bekerja di kantor pos paska lulus kuliah.

‘It director’-nya Indonesia, Riri Riza sukses mengarahkan aktor-aktor muda hasil audisi, terutama untuk Arai dan Jimron yang tampil sangat menghibur, membuat Nugie tampak begitu meyakinkan sebagai Pak Balia hingga Ariel pun berhasil melepas charm bintang idolanya. Riri dan Salman Aristo sebagai penulis skenario juga sukses mengemas alur cerita utama yang cenderung lurus memiliki sub-plot yang menghibur. Terutama dengan kehadiran tokoh Arah si pantang menyerah, Jimron yang dengan kepolosannya berusaha membuat Laskmi tersenyum dan Bang Zaitun si pemain orkes Melayu, yang menjadi role model Arai untuk urusan cinta.

Yang membuat Sang Pemimpi semakin asyik untuk dinikmati adalah score yang dibuat Aksan dan Titi Sjuman, yang memperkenalkan anda dengan taste lagu melayu yang berbeda. Dalam seri kedua ini, Riri juga tampak lebih senang bermain dengan bahasa gambar, bukan hal yang buruk karena view Belitong memang indah. Tetapi, repetisi seperti ini jika terlalu banyak akan membosankan. Selain itu, terdapat beberapa jeda dari satu scene ke scene yang cukup lama membuat pace Sang Pemimpi jadi sedikit datar dibanding pendahulunya. Walaupun begitu, film ini sukses membuat saya menangis, bahkan di adegan yang menurut orang adalah scene yang lucu.

Harus diakui, Sang Pemimpi adalah salah satu film Indonesia dengan kualitas yang jauh diatas rata-rata. Bila setelah ini tak ada lagi film yang bagus, maka industri perfilman Indonesia setidaknya sudah punya produksi bernilai untuk dinobatkan sebagai film penutup tahun 2009 yang baik. Saya berharap di tahun depan, Riri dan Miles Production telah berdamai dengan panitia FFI sehingga Sang Pemimpi masuk menjadi nominee karena dalam produksi film ini, nama-nama terbaik dalam industri perfilman turut berkecimpung.

Do You Know?
Nugie belajar menjadi orang culun, memakai kemeja lusuh dan celana di atas perut serta belajar dialek Belitong demi perannya sebagai Pak Balia
Pembuatan Sang Pemimpi menghabiskan dana sekitar Rp 12 miliar, lebih besar dari Laskar Pelangi yang menghabiskan dana sekitar Rp 8-9 miliar

The Plot
Living in fabulous SoHo, New York, Leo (Gael Garcia-Bernal) dan keluarga kecilnya memiliki hidup yang terlihat sempurna. Dan ini kisah interaksi keluarga Leo dengan orang-orang di sekitar mereka.

The Comment
Mammoth (2009) menjadi film kedua yang saya tonton di Jiffest 2009. Dalam opini saya, film ini lebih memesona dibandingkan Coco Before Chanel (2009) yang saya tonton di hari sebelumnya. Kenapa? Well, Mammoth menawarkan potongan drama from people’s everyday life, story plotnya sendiri merupakan perpaduan Fight Club (1999) dengan Babel (2006), hanya saja, takarannya jauh lebih ringan sehingga lebih mudah dinikmati.

Dibesut oleh Lukas Moodysson, yang asli Swedia, Mammoth mempertanyakan eksitensi manusia melalui tokoh Leo yang melakukan bussines trip ke Thailand, istrinya Ellen si dokter bedah yang sibuk, dan Nanny bernama Gloria yang bekerja di US demi memberikan kehidupan yang baik bagi kedua anaknya di Filipina. Yang menjadi pertanyaan, apakah dengan pekerjaan yang mapan dan uang yang banyak, setiap orang akan bahagia?

Melalui film ini, Moodysson menunjukkan kepada audiences, bahkan ketika anda bekerja keras setiap hari untuk orang yang anda cintai, toh, unexpected things tetap saja bisa terjadi. Dan somehow, cinta saja tidak cukup. Adanya distance antara Gloria dengan anaknya, Leo dan Ellen ataupun Ellen dengan anaknya sendiri, Jackie, menunjukkan bahaya laten dari pola work for living terhadap orang-orang yang anda kasihi.

Selain lebih suka menggunakan shoot yang merekam dialog interpersonal antara dua orang, Moodysson juga tak ragu menyertakan sekelumit cerita di negara dunia ketiga, yaitu di Thailand dan Philippines, yang semuanya bermuara pada keinginan yang sama, trying to get better life. Michelle Williams, Gael Garcia-Bernal serta Marife Necesito serta pemain pendukung dari Thailand dan filipina bermain baik dan mampu membawa Mammoth menjadi sarana reflektif yang emosional.

Do You Know?
Judul film ini, Mammoth, merupakan simbolisme dari pulpen yang dibuat dari gading Mammoth yang diterima tokoh Leo dari rekannya
Mammoth adalah debut penyutradaraan Lukas Mooydsson dalam bahasa Inggris, walaupun tentu saja, terdapat penggunaan Tagalog dalam film ini

The Plot
Ini kisah Tom (Joseph Gordon-Levitt) yang jatuh cinta pada Summer (Zooey Deschanel). Seperti yang dinarasikan, you should know up front, this is not a love story.

The Comment
Tidak masuknya (500) Days of Summer (2009) ke jaringan bioskop nasional membuat saya termasuk pihak yang telat menontonnya. Untungnya di Jiffest, film bergenre rom-com ini diputar. So, penantian saya selama ini terbayar dan dengan yakin saya menulis, it’s the best rom-com movie for this year.

Apa yang menarik dari film ini? First of all, (500) Days of Summer membalikkan pakem rom-com yang anda tahu. Ketika anda mengharapkan karakter gorgeous-rich man dengan Chris Pine’s face and Butler’s six packs abs, anda justru disuguhi karakter geeky boy bernama Tom yang naïve. (500) Days of Summer sendiri menjadi  cerita perjalanan Tom mencari The one. Dan ketika Tom sudah merasa menemukan the one dalam diri Summer, toh anda tahu, bagaimanapun, musim panas tidak akan pernah everlasting.

Marc Webb sukses mengantarkan plot yang sangat simple dengan tampilan yang fresh. Ia sukses memaksimalkan betapa cute-nya Deschanel melalui beberapa close-up shoot yang cantik dan mengorek sisi anak-anak Gordon-Levitt. Dengan alur non-linear dimana hari-hari berjalan tak berurutan, film ini sukses mengaduk emosi audiences. Anda akan merasa kasihan dengan Tom tetapi di sisi yang sama,  Summer terlalu adorable untuk dibenci.

Beberapa pihak mungkin membenci ending film ini, tetapi, menurut saya, ending tersebut adalah hal yang paling tepat walaupun bagian fit with the society by becoming white collar agak menganggu. Pesan saya lainnya, akan lebih baik jika anda menonton (500) Days of Summer tidak dengan pasangan. Kenapa? Watch it and you know what I mean.

Chemistry Gordon-Levitt dan Deschanel yang pas membuat interaction mereka terlihat sangat natural sepanjang film. My fave scene is how they played as hubby-wife at Ikea store. Selain itu, yang membuat (500) Days of Summer menjadi perfect adalah masuknya musik dalam story line film (Sid-Nancy, The Smiths, Belle & Sebastian) serta hadirnya lagu-lagu yang sangat sesuai dengan spirit film ini, as a modern rom-com. Worth to watch. Definitely worth to watch.

Do You Know?
Deschanel dan Gordon-Levitt pernah bermain bersama di film Manic (2000)
Director Marc Webb juga membuat music video untuk band Deschanel, She & Him. Gordon-Levitt (dan Deschanel tentunya) menjadi model dalam lagu Why Do You Let Me Stay Here?

Remember, I generally hate movies.

That being said, I actually quite enjoyed Fantastic Mr. Fox.  I’m not sure that it’s as “groundbreaking” as some are claiming, but in the end I came away happy to have seen it.  After watching Disney butcher such Dr. Seuss classics as How the Grinch Stole Christmas, The Cat in the Hat, and Horton Hears a Who, it’s great to see two successful film adaptations of “children’s” literature in one year (the other, of course, being Spike Jonze’s brilliant adaptation of Where the Wild Things Are).

That I liked Fantastic Mr. Fox was surprising because my track record with Wes Anderson is almost as bad as my track record with the Coen Brothers.  I liked (didn’t love, but liked) Rushmore, didn’t like The Royal Tenenbaums, and absolutely detested A Life Aquatic – seriously, it was one of the worst movies I’ve ever seen.

One of the problems I have with Wes Anderson films is his insistence on and obsession with style.  It’s not that I mind stylized film making, but style alone isn’t enough to make me enjoy a film.  For Anderson, though, it seems that style is the top priority – that the characters and the narrative are there only as an excuse to execute a specific visual style.  I find this tedious and uninteresting because, as a Simpsons character whose name I don’t know once said: “the whole thing smacks of effort.”

But that effort worked in Fantastic Mr. Fox, in large part because it uses stop-motion animation – a technique that already wears its effort on its sleeve.  As a viewer, the slight jerkiness of the motion on screen acts as a constant reminder of the artificiality of what we’re seeing – something that a stylish director like Anderson takes full advantage of.  In fact, one of the strengths of the film is the way that Anderson manages to match form to content.

After all, one of the liberties that the film takes with Dahl’s book is to use Mr. Fox’s plight to comment on the increasing artificiality of our world.  At one point, Mr. Fox tears into his dinner with all of the recklessness and fervor of a wild animal (which, of course, he is).  His motions are so fast that the stop-motion animation can’t keep up – the artificiality of the film-making is unable to contain the wildness of Mr. Fox.  But as the story progresses (warning – a few mild spoilers follow), Mr. Fox starts to realize the negative consequences of his wildness and his eventual ability to outwit his nemeses, Boggis, Bunce, and Bean stems from his gradual assimilation into their comfortable, civilized (but less exciting) world.  While this brings with it a palpable sense of loss, Fox’s dance with his family at the end – a dance that seems in perfect step with the 12 frames-per-second of the animation – reflects his acceptance of his new lifestyle and, at the same time, justifies the explicit stylization that bogs down most of Anderson’s other films.

All of this being said, the film is far from perfect.  As I already mentioned, Anderson does take some substantial liberties with his source material on both a narrative and thematic level.  While that isn’t an inherently bad thing, sometimes the deviations felt less original than the parts that followed the book more closely.

The second half of the film begins to rely less on Dahl’s brilliant storytelling and more on some of the conventions of contemporary animation, especially in its raucous final action sequence. By entering into these conventions, Anderson is placing himself in competition with other, more experienced animation teams, especially Pixar – a company that has found a formula for fast paced final action sequences that eludes Anderson.  Instead of a tight blending of action and story, a lot of the last half of Mr. Fox made me feel as though I was watching a kid who had lost track of the story he was trying to tell and was instead just having fun with his toys.  There’s a certain joy to be had in this, but it still weakened the overall impact of what starts off as a very original and compelling re-interpretation of a very original and compelling book.

The result is a film that is never boring (and I’m easily bored), and, at times, is deeply interesting.  Some Roald Dahl fans will hate it for the liberties it takes (after all, the film’s grudging endorsement of modern civilization is almost directly contrary to Dahl’s celebration of Mr. Fox’s refusal to be tamed), but others (like myself) will admire the way Anderson’s version of the story engages the spirit of Dahl’s overall literary daring even if he doesn’t stick to the spirit of this particular book.  In its best moments, Fantastic Mr. Fox shows us that stop-motion animation can do things that computer animation simply cannot, but at others it made me painfully aware of stop-motion’s limitations in the digital age.

Most strikingly, though, the film demonstrates that Anderson’s investment in style doesn’t have to overwhelm the other aspects of his film-making.  Maybe if it had been in stop-motion animation, The Royal Tenenbaums would have been more interesting.  I’m not sure anything could save A Life Aquatic.

Kate Langenburg/A&E Groove

I may be a bit late in posting a review about the new Star Trek. It is not all that new, but I have just recently seen it. My review summed up in one sentence? I don’t get it.

Not being a star trek fan (trekkie) and having never seen any of the television shows put me at a great disadvantage. I’m sure many of you in my position feel the same way. The movie feeds off of the show…and if you don’t know anything about that, well then you’re out of luck with this one.

The main idea of the film is that you get to see how Captain Kirk and Mr. Spock first met. You see them as young children, then as the middle aged space warriors everyone knows and loves. (At least I understood that much.)

I pretty much sat on the couch in a daze of confusion for the movie’s drawn out two and a half hours while my counterpart sang a snippet from Adam Sandler’s “Hannukah Song” over and over again…Captain Kirk and Mr. Spock — both jewish! We were thoroughly befuddled.

There was a lot of good action though! The special effects blew up the screen, officially making this a flick for the trekkie action film lover. I’m sure you trekkies had your hands full on this one.

P.S. I miss Shatner.

Rocket Singh…

“Rocket Singh, Salesman Of The Year “, director Shimit Amin and writer Jaideep Sahni, the team of chak de India. Introducing newcomer Shazahn Padamsee. The film is set for release on 11 December 2009.

Now time to see Ranbir Kapoor will be able to pull off the Sikh look in a turban, After Akshay Kumar and Saif Ali Khan’s turban act.

So be ready to open the door for “Rocket Singh, Salesman Of The Year”.

IMAGE source  :: www.radiosargam.com

I came across this trailer and it looks pretty cool, dealing with the Gods Zeus and Posiden I don’t think you can go wrong and yes that is the whole title….lol

http://www.youtube.com/watch?v=L3kNlTfm2I4

Martin Lawrence, Chris Rock, Tracy Morgan, Luke Wilson, and more star in this hilarious film. This is one of the funniest trailer’s I’ve EVER seen! The cast alone rivals any other I’ve seen in a comedy. I can’t wait!

by: Randi M.

Check out the trailer for Death At A Funeral starring Martin Lawrence, Chris Rock, Tracy Morgan, Zoe Saldana, Loretta Devine, Danny Glover, James Marsden, Luke Wilson, Regina Hall, Peter Dinklage, Kevin Hart and Columbus Short. It looks hilarious. It drops April 16th 2010.

The Plot
Sejak kecil, Katie (Katie Featherson) merasa diikuti oleh suatu kekuatan supernatural. Pacarnya, Micah (Micah Sloat), berusaha menangkap fenomena ‘hantu’ ini dengan video kameranya.

The Comment
Menjadi trending topic di salah satu microblogging populer, Paranormal Activity (versi 2009) membuat saya penasaran setengah mati, kenapa para bule sangat suka film ini? Thank God, saya berhasil menontonnya melalui pita 35 mm di layar lebar. So, akhirnya, saya paham apa yang menjadi daya tarik Paranormal Activity.

Director Oran Peli mengajak audience seolah melihat real moment dalam format documenter. Style yang sama dengan Blair Witch Project (1999), tetapi Paranormal Activity realitasnya lebih simple karena menyajikan cerita dalam setting sehari-hari, di dalam rumah dan secara spesifik, ketakutan terbangun hanya dalam bed room!

Di sini, Peli menyodorkan film horror serupa apa yang pernah dilakukan Shyamalan melalui The Sixth Sense (1999), yaitu atmospheric horror. Film horror jenis ini memang mengandalkan pada suasana yang dibangun, bukan pemunculan mahluk entah apa itu. Dari awal, Peli telah mengajak audiences menjadi video kamera yang dipasang Micah yang membuat anda seolah ikut berperan dalam film ini. Inilah yang menjadi salah satu kunci kesuksesan Paranormal Activity untuk menakuti anda.

Ritme film pun telah diatur sedemikian rupa, dalam waktu tiga minggu, audiences disajikan ketegangan dari mulai kategori ‘biasa’ hingga tingkat tinggi hadir melalui layar video kamera amatiran. The last, Peli membayar kesabaran anda menjadi video kameranya dengan sebuah ending yang luar biasa. Yang pasti, film ini membuat anda merasa insomia di tempat tidur hingga jam 3 pagi adalah hal yang buruk.

Do You Know?
Paranormal Activity bukan film baru, original version telah dibuat tahun 2007. Versi 2009 memiliki beberapa tambahan scene dan ending yang berbeda.
Dengan budget $15.000, film ini menghasilkan gross $107.1 00.000 di US dan Kanada, and it has become the most profitable independent film ever!

With the holiday seasons approaching and all kinds of sales and deals – hold on tight to you wallet girlfriend cuz they are out to get you. I kid you not when I say i love LAMB (get it? lol)! But shoppers beware! Sales are sometimes not as good as it seems. So do your research and take your time. There is no rush. Emotional shoppers = dumb shoppers. 

For those of you who follow me know that I saw the Hip Signature Booties on sale for $100 at Nordstrom Rack in Glendale on Black Friday right?

I am surprised I haven’t heard more buzz about this movie coming out!  I thought you guys would be all over this considering all the drama about his supposed groupies. Whether you are a basketball fan or not, this is a fascinating documentary about Lebron James and the story of how a game changes the lives of so many talented athletes.  Watch the trailer here! Have a nice weekend everyone!

I am always on the look out for great documentaries and educational stuff to watch. This is my version of ‘reality’ tv. See what you think:

The tables are turned in this animated sci-fi adventure featuring the voices of Dwayne Johnson, Jessica Biel, Justin Long, Seann William Scott, Gary Oldman, and John Cleese. In PLANET 51, an astronaut arrives on a distant planet, but he’s not alone; he’s surrounded by aliens who desperately fear invasion by…aliens.

Starring: Dwayne Johnson, Jessica Biel, Justin Long, Seann William Scott, Gary Oldman, John Cleese
Director: Jorge Blanco
Screenwriter: Joe Stillman
Producer: Ignacio Perez Dolset, Guy Collins
Studio: New Line Cinema

MOVIE TRAILER :

Drama. “The Blind Side” depicts the remarkable true story of Michael Oher, a homeless African-American youngster from a broken home, taken in by the Touhys, a well-to-do white family who help him fulfill his potential. At the same time, Oher’s presence in the Touhys’ lives leads them to some insightful self-discoveries of their own. Living in his new environment, the teen faces a completely different set of challenges to overcome. As a football player and student, Oher works hard and, with the help of his coaches and adopted family, becomes an All-American offensive left tackle.

Starring: Sandra Bullock, Tim McGraw, Kathy Bates, Quinton Aaron
Director: John Lee Hancock
Screenwriter: John Lee Hancock
Producer: Gil Netter, Broderick Johnson, Andrew Kosove
Studio: Warner Bros.

MOVIE TRAILER :

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