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Actors: Chan Jackie,Tucker Chris,Jones Vinnie,Sanada Hiroyuki,von Sydow Max,Attal Yvan,Ming Sun Ming,Rhee Simon,Ma Tzi,Polanski Roman,Richaud Jean-Michel,Action,Comedy,Crime,Thriller,

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Does anyone know anything about or have any information on an eptopic anus on a newborn?
My daughter is 6 days old and she has an eptopic anus. Its where the bum hole is right up pretty much in the vagina, the 2 holes are almost joined. She can toilet fine and everything. All the rest of her is fine. Her bum hole is just in the wrong place.

When she was born she was rushed away from me and taken to the NICU for 2 days, it was so hard for me because they didnt let me nurse her for the first 6 hours because they initially thought she didnt have a bum at all, until she did a big poo!

Anyway, they have told me she will need a 3 stage operation at some stage, 1st op is to give her a colostomy bag, 2nd is to re route the anus and make a new hole where its supposed to be and then the 3rd is to connect everything back together so she poos like normal again.

In 3 weeks when she is 1 month old she is back to hospital to be put under general annestetic and they are going to have a proper probe around and see exactly what is going on. Im so worried, honestly, my little baby girl at 4 weeks old having surgery!!

Of course i have googled it and have a pamphlet on it but its all in doctor mumbo jumbo. So im hoping someone has some personal experience or something to help me out a bit

I do know of one person who was born without an sphincter and had to have an op when he was really little to correct it. He’s 32 years old now and fine! I can’t really comment on what him & his mum went through because I didn’t know them then.
jingledelz | Nov 16, 2009

Primera aparición por aquí pero no la última del admirable profesional Sergio Martino, director por el que siento cierta debilidad y que cuenta con una filmografía durante los años 70 nada despreciable especialmente en los terrenos del “psicogiallo” (o “guarrigiallo” según salerosa nomenclatura de Carlos Aguilar) con títulos tan deliciosos y sugestivos como “La perversa señora Ward”(1971), “Vicios prohibidos”(1971) o la más célebre pero no mejor “Todos los colores de la oscuridad”(1972), trilogía a mayor gloria de la sexy miope Edwige Fenech (para quién también facturó un puñado de comedias eróticas) que continuaba con la línea entre escabrosa y rocambolesca abierta por Umberto Lenzi a finales de la década anterior. Eso descontando otros dos títulos tan excelentes como “La cola del escorpión”(1971) o la ya mítica “Torso”(1973), trabajos ambos que certifican las inquietudes de un director decidido a profundizar en los márgenes del género y a dar una visión personal del mismo alejándose de lo imitativo pero nunca de lo comercial. Dejando estos “gialli” pero otra (cercana) ocasión prefiero ahora desenterrar un “poliziottesco” casi fundacional o más bien eje (junto a por ejemplo “La policía detiene, la ley juzga” de Enzo G. Castellari) entre los “spaghetti-denuncia” con los que Damiani prefiguró el sub-género (con “Confesiones de un comisario” de 1971 a la cabeza) y el advenimiento de las nuevas, más elementales y demagógicas (pero no menos disfrutables e incluso extrañamente lúcidas en su progresiva brutalización) maneras de los “poliziotteschi” de Lenzi, Castellari o Stelvio Massi.

En este “Milán tiembla: la policía pide justicia” el asesinato en plena calle del más honrado y cabal comisario milanés acabará por poner fuera de sí a un indoblegable policía que tiene problemas para no excederse en sus métodos, la larga escena de presentación consiste en una aparatosa fuga de un tren durante la que los criminales asesinan a una niña, de tal modo que cuando sean finalmente cercados el protagonista no tendrá empacho en tirotearlos por las bravas. De tal modo que por esta acción (y por su empeño en desentrañar el asesinato de su amigo, algo que parece no sentar bien a sus superiores, como siempre vamos) será apartado del cuerpo y decidirá infiltrarse en el sub-mundo lumpen (donde no faltan golfantas de buen corazón, revolucionarios de vía estrecha y por supuesto drogatas medio hippiosos) y en el crimen organizado de la ciudad alquilándose como conductor (lo que da pie a que Martino se luzca en unas célebres escenas de persecución que serían reutilizadas en no pocos títulos posteriores) para descubrir al asesino. Topándose con una intrincada red de corrupción y terrorismo con ramificaciones incluso dentro del propio cuerpo y es que no es sino su superior directo quién dirige (en escalafón intermedio) una conspiración de extrema-derecha con la colaboración necesaria del crimen organizado que busca propiciar un posible cambio de régimen a base de oleadas de delincuencia y acciones terroristas de falsos  grupos izquierdistas. Algo que no estaba alejado de lo que ocurría en la realidad, donde ambos grupos utilizaban similares métodos de confusión ideológica. Es decir unas sutilezas y complicaciones que superaban el confusionismo ideológico un punto viscoso que poco a poco iría medrando en el substrato del “thriller a la italiana”.

Así se cruza el ya mentado “spaghetti- denuncia” que aprovechaba este clima de galimatías sociopolítico y la violencia de los tristemente celebres “años de plomo” con las “Brigate Rosse” actuando a pleno rendimiento y la “strategia della tensione” entre grupos de extrema derecha e izquierda radical, mezclados con oscuras tramas gubernamentales, infiltraciones mafiosas y todo tipo de intereses cruzados hasta conformar una era especialmente opaca y siniestra de la historia reciente de Italia. Este clima de urgencia, de inmediatez de crónica de sucesos se agitaba alegremente con y sin empacho alguno con de los réditos del exitoso “Harry el sucio” al más puro estilo del siempre atento y oportunista cine italiano de género, dando forma al arquetipo del “comisario di ferro” que con tanta fortuna encarnaría en breve Maurizio Merli, aquí aun rebajado o más bien enfocado de una manera más compleja al arrastrar todavía la tipología anterior, la de Franco Nero como policía honesto y sufriente perpetuamente torpedeado desde “arriba”, es decir el delineado de un carácter individualista, tenaz e indoblegable que no atiende más que a la justicia, un personaje fuera de un sistema que le asquea y que termina por luchar por un concepto de justicia primitivo y propio.

Martino pone en juego una realización ágil y con oficio explicitada en esa contundente secuencia de apertura y en las ya mentadas persecuciones automovilísticas y el guión resulta estar muy bien hilvanado, cortesía del fundamental Ernesto Gastaldi, mostrando una panorámica vigorosa de la ciudad de Milán influenciada por las novelas del excelente escritor Giorgio Scerbanenco y salpimentado con sus buenas dosis de violencia (sádica y gratuita por supuesto) y el agradable concurso de una gloria otoñal en pleno retiro europeo como Richard Conte ejerciendo de jefe mafioso. Desafortunadamente el rol principal es perpetrado por el cetrino Luc Merenda, un ¿actor? con la expresividad de una pared de cemento recién cargada y que se mueve robóticamente dentro del encuadre y con quién Martino reincidió en otro par de thrillers bastante olvidados, “La polizia accusa: il servizio segreto uccide” y “Gambling City” ambas en 1975. Una lástima, por que el personaje de policía que se degrada y obsesiona con la justicia hasta darse cuenta de que el sistema lo aplastará sin remisión resulta excelente (o al menos tiene verdadero potencial) y merecía un interprete del talento del enorme Tomás Milian o al menos del carisma de los divos italianos frecuentadores también del sub-género como Fabio Testi o el mismo Franco Nero. Aun así el conjunto no está nada mal, se sigue con interés gracias a su buen ritmo y  su pesimista final (una imagen de cierre fantástica, encima) que eleva la película sobre la media de un cine a recuperar y analizar con detenimiento, que no solo servía un espectáculo feroz y colorista sino que ejercía como testigo y cronista ambiguo y gritón de un momento de la historia, por lo que ahora resulta un documento de no poco valor.

Milán tiembla: la policía pide justicia (Milano trema: la polizia vuole giustizia)

Director: Sergio Martino

Año: 1973

País: Italia

104 min.

Fotografía: Giancarlo Ferrando

Música: Guido De Angelis y Maurizio De Angelis

Guión: Ernesto Gastaldi

Reparto: Luc Merenda, Richard Conte, Martine Brochard, Silvano Tranquilli, Carlo Alighiero, Lia Tanzi

Mer av det gamla vanliga

Tyvärr var inte detta någonting revolutionerande, men å andra sidan, vad hade man förväntat sig eg? Saw VI fortsätter där femman slutade. Sexan har precis som de senare filmerna en hel hög med tillbakablickar i sig, och tyvärr är det mycket tack vare dem som man inser hurpass avtrubbad man blivit av att se de förra fem.

Saw VI är inte nyskapande på något vis, den följer precis samma stil som de andra. Man blir inte överraskad av något längre tyvärr, det känns som om de tappat all magi som fanns i de första 3. Framförallt jämfört med den första filmen som eg är den enda av de nu 6 filmerna som verkligen är något att ha. Men trots all negativitet som man nu kan tycka att jag lyckats förmedla i denna korta text är Saw filmerna fortfarande Saw, de äcklar en konstant i sjuka spel som får en att fundera på vem som eg sitter och kommer på alla groteska spel deltagarna tvingas genomföra.

Denna var dessutom inte alls lika magstark som förra filmen, kan vara jag som är lite avtrubbad som sagt, men ändå. Saw är ändå Saw och man känner igen sig snabbt. Det är ändå det som är filmernas styrka.

GP säger det ändå bäst, “För varje ny Saw-film slår det mig hur serien förvandlats från psykologiska moralthrillers till ett sadistiskt Fångarna på fortet”, och jag är ämnad att hålla med.

Saw VI: 5/10

MediaSverige: Aftonbladet 0/5, Expressen 1/5, GP 3/6, SvD

Filmen är godkänd men inte så mycket mer, knappt det om jag skall vara ärlig.

DOWNLOAD TORRENT

Só relembrando, em Crepúsculo a frágil e desastrada Bella Swan (Kristen Stewart) se muda para Forks, uma pequena e monótona cidade, fria e chuvosa sem nenhuma perspectiva até conhecer Edward Cullen (Robert Pattinson) e descobrir que ele é um vampiro, mas já é tarde demais, porque ela já esta apaixonada e para sua sorte ele também esta. Apesar dos perigos que ela corre perto dele ela não aceita se separar.

Mas em Lua Nova Edward decididamente convencido de que é mais seguro para Bella ficar longe dele decide então ir embora dizendo “Prometo que esta será a última vez que vai me ver”.

Então ela mergulha numa depressão que parece não ter fim até encontrar conforto na companhia de seu então melhor amigo Jacob Black (Taylor Lautner) que nada mais é do que um lobisomem, ou seja, inimigo dos vampiros.
Mas é com ele que Bella se sente segura quando começa a sentir a ameaçadora volta de Victória que pretende vingar a morte de James, com a sua morte, pois Victória acha que tem que ser um parceiro pelo outro.
Nas aventuras perigosas e atrevidas que Bella vive com Jacob ela encontra uma forma de ouvir a voz de Edward em sua mente, sempre que ela se coloca em perigo sem que ele esteja perto para protegê-la, ela ouve sua voz a reprimindo. Jacob se afasta de Bella para que ela não corra perigo e isso faz com que ela entre na mais profunda tristeza

Desta vez Bella se surpreende com os homens-lobos e com uma forte família de vampiros que dominam a espécie e que moram na Itália, os Volturi, eles representam um grande perigo para Bella e para os Cullens no decorrer da trama. Bella terá que salvar a vida do seu grande amor e em troca disso arruma mais alguns inimigos, os Volturi.

ELENCO
Robert Pattinson … Edward Cullen
Kristen Stewart … Bella Swan
Ashley Greene … Alice Cullen
Taylor Lautner … Jacob Black
Jackson Rathbone … Jasper Hale
Nikki Reed … Rosalie Hale
Kellan Lutz …Emmett Cullen

Idioma : Español
Formato / Qualidade: TS-Screener
Legenda/ S/L

Tamanho 1.13 GbDOWNLOAD TORRENT

Trailer Film:

Horror | Thriller – Durata: 109 min.

Plot Keywords: bani, furt, fugar, motel, crimă, cuţit, dispariţie, detectiv, duş

O ecranizare a cărţii Psycho de Robert Bloch, în regia marelui Alfred Hitchcock. După vizionare, mi-am dat seama cât de mulţi regizori moderni, s-au inspirat din twistu‘ acestui film. Chiar acest fenomen, m-a făcut să-mi dau seama de final înca de pe la jumătate. Cu toate astea, nu am fost dezamăgit deloc.
Filmul este excelent de bine clădit, misterios, te ţine în priză din primele minute până la final.
N-am putut să nu remarc o chestie într-un dialog…şi anume că americanii aveau aer condiţionat în birouri în anii ‘60. Care va să zică noi ne bucuram de ele doar de câţiva ani :|… vai de curu’ nost’.
Revenind succint asupra filmului…it’s a classic, fuckin’ ay!!

Torrent Name: Psycho[1960]DvDrip[Eng]-Stealthmaster
Download Subtitrare RO: >>Link<<

Każdy numer iluzjonisty dzieli się na trzy etapy. Pierwszy nazywa się “Obietnica” (The Pledge). Iluzjonista pokazuje coś zwyczajnego: talię kart, ptaszka bądź człowieka. Pokazuje obiekt, być może poprosi o sprawdzenie, czy naprawdę jest rzeczywisty, nienaruszony, normalny. Ale, oczywiście, zazwyczaj nie jest. Drugi etap nazywa się “Zwrot” (The Turn). Iluzjonista bierze ów zwyczajny obiekt i robi z nim coś nadzwyczajnego. Szukacie sekretu, ale go nie znajdujecie, bo,  rzecz jasna, wcale nie patrzycie. Tak naprawdę to wcale nie chcecie wiedzieć.

Chcecie być… oszukani.

Ale jeszcze nie klaszczecie, bo nie wystarczy spowodować, aby coś zniknęło. Trzeba to sprowadzić z powrotem. I dlatego każda sztuczka ma trzeci etap. Najtrudniejszy. Etap, który nazywa się…

Prestiż (The Prestige)

Na bohatera mojego pierwszego wpisu wybrałem jeden z moich ulubionych filmów. Film niepowtarzalny, bo chociaż w mniej więcej tym samym czasie ukazał się “Iluzjonista” ze skądinąd świetnym Edwardem Nortonem, to jednak i klimat, i jego sposób podejścia do tematu iluzji oraz magii różni się znacznie (a oprócz tego ostatniego i osadzenia akcji pod koniec XIX stulecia, jedyną cechą wspólną było tzw. “twist ending”). Pod względem wykonania “Prestiż” jest typową hollywoodzką produkcją, nominowaną zresztą do Oscara za najlepszą scenografię i zdjęcia w roku 2006. Przy budżecie sięgającym 40 milionów dollarów i gwiazdorskiej obsadzie (Hugh Jackman i Christian Bale w rolach głównych, na dokładkę Scarlett Johansson oraz Sir Michael Caine), tylko w czasie weekendu otwarcia zarobił 14 801 808 $, wg danych podanych przez stronę Box Office Mojo. Tym bardziej dziwi mnie, że obraz ten jest, przynajmniej przez znane mi osoby, praktycznie w ogóle nie rozpoznawany.

Jeśli o mnie chodzi, to natknąłem się na “Prestiż” przeglądając filmografię Brytyjczyka Christophera Nolana, znanego m.in. z niekonwencjonalnego “Memento” oraz dwóch najnowszych części przygód Batmana. Ci, którzy widzieli “Mrocznego rycerza”, wiedzą, że Nolan potrafi nawet nastawione na zysk megaprodukcje kręcić z ambicją. W przypadku “Prestiżu” postawił on nie tylko (jak w “Memento” właśnie) na splecioną niczym węzeł gordyjski linię chronologiczną, ale także ogólny koncept filmu-przedstawienia, który poznawać zaczynamy zresztą już na początku, poczynając od słów przeze mnie przytoczonych na wstępie.

Obsession is a young man’s game

Ale żeby nie uprzedzać faktów, kilka słów o fabule (bez spoilerów). “Prestiż” to historia rywalizacji Alfreda Bordena (Christian Bale) oraz Roberta Angiera (Hugh Jackman), dwóch iluzjonistów. Opowieść, początkowo równie ociężała, jak drukowany pierwowzór o tym samym tytule napisany przez Christophera Priesta, z czasem (i z pierwszą pochowaną ofiarą) nabiera rozpędu i niepostrzeżenie wciąga widza w istny spektakl tajemnic, poświęcenia, zemsty, zatracenia i obsesji, w którym nawet śmierć jest pojęciem względnym. Jestem pełen podziwu dla braci Nolanów i ich tytanicznej pracy, jaką musiało być przekucie interesującej, lecz statycznej powieści epistolarnej w pełen suspensu dramat. Widzowi od początku dawane jest do zrozumienia, że tak intensywna walka dwóch iluzjonistów musi prowadzić do katastrofy.

Are you watching closely?

Siłę tego filmu stanowi zbudowanie go na koncepcie, który w równym stopniu dotyczy zarówno sztuk magicznych, jak i kina. Otóż ludzie przychodzący na przedstawienie wiedzą, że to, co oglądają jest fikcją; że są na własne życzenie wodzeni za nos. Chcą choć przez moment dziwić się temu, co widzą, mieć trudności z wyjaśnieniem zdarzeń. Takie jest credo Nolana, wedłgu niego ukształtował “Prestiż”. Ściśle dopasowane efekty dźwiękowe budują napięcie wespół z bardzo dobrymi zdjęciami (wystarczy tylko wspomnieć scenę z polem żarówek, bądź ostatni pokaz The Real Transported Man), i dynamicznym montażem. Reżyser specjalnie pozostawił w swoim obrazie wiele poszlak pozwalających odgadnąć większość łamigłówek. Niejako efektem ubocznym stało się wypłynięcie na wierzch niedociągnięć scenariusza, które to zauważają swoim wprawnym okiem i wytykają jeszcze wprawniejszym palcem kinomani. Ale czy właśnie o onanizowanie się nad tymi niedociągnięciami chodzi? Polecam nie tyle obejrzenie “Prestiżu”, co zatopienie się w jego niepokojącej magii, którą niewątpliwe rozsiewa. Najlepiej przekonajcie się sami, czy chcecie być choć oszukani

Abracadabra

PS WYŁĄCZNIE dla tych, których nie przekonuje moja rekomendacja, polecam trailer (zawiera pewne spoilery, które mogą ewentualnie popsuć przyjemność płynącą z właściwego seansu):

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IMDB link  http://www.imdb.com/title/tt1034032/

IMDB ratings   6.0/10   7,119 votes

Release Date : 4 September 2009 (USA)

Genre : Action | Sci-Fi | Thriller

Plot : In the near future a revolutionary online video game is the most popular form of entertainment. Every week, millions of Internet users watch convicts struggling to survive as if they were characters in a virtual game. Kable (Gerard Butler), a prisoner, will become the star of this game. For the player, Kable is just a character, but for the resistance group it is the key to victory. In the midst of battle, and under the command of a teenager, Kable will have to use all his skills extravirtuais to win the game and bring down the system.

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IMDB link  http://www.imdb.com/title/tt1182921/

IMDB ratings   (awaiting 5 votes)

Release Date : 2009 (USA)

Genre : Action | Crime | Drama | Thriller

Plot : A Western called Casey, studying Ninjutsu in Japan, is asked by the Sensei to return to New York to protect the legendary Yoroi Bitsu, an armored box containing the weapons of the past Koga Ninja.

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IMDB link  http://www.imdb.com/title/tt1233227/

IMDB ratings  6.5/10   6,199 votes

Release Date : 23 October 2009 (USA)

Genre : Crime | Horror | Mystery | Thriller

Plot : Special Agent Strahm is dead, and Detective Hoffman has emerged as the unchallenged successor to Jigsaw’s legacy. However, when the FBI draws closer to Hoffman, he is forced to set a game into motion, and Jigsaw’s grand scheme is finally understood.

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Genre: Thriller

Year of Publication: 1989

A black girl is raped by two drunken rednecks. The town reacts with horror until the girl’s father takes justice into his own hands. He kills the two whites on their way to jail. For days the nation sits spellbound as the defence lawyer struggles to save his client’s life and then his own.

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IMDB link  http://www.imdb.com/title/tt0972883/

IMDB ratings    7.1/10   3,766 votes

Release Date : 2008

Genre : Drama | Thriller

Plot : Avery Allan Ludlow (Brian Cox) is haunted by the past. His only companion, a 14 year-old dog aptly named Red by his late wife, is the centre of his world and his sole source of purpose and happiness. However, in the blink of an eye everything can change. Everything seems to be-going fairly well – until three boys and their shotgun come along. In an instant, his lifelong friend is gone, the victim of a malicious, meaningless act.As Averys sadness turns to a single-minded quest for justice and redemption, he considers his options within, and perhaps outside, the law.
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Actors: Ryan Max,Antoine Benz,Bezina Marcello,Canoe John,Clarke Jason,Gibson Tyrese,Koehler Frederick,LaSardo Robert,Mader Justin,McShane Ian,Shou Robin,Statham Jason,Vargas Jacob,Action,Adventure,Sci-Fi,Thriller,

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This is part of a book I'm writing, what do you think?
I’m only fifteen, and I’m still learning.
Any constructive criticism is appreciated
**Please, DONT steal my work. Use your own brain.
Also there may be spots that say " I "
Those are originally in italics.
This is about the second chapter, so it may be a little confusing. But bear with me
The car screeched around the corner, and Ayla froze at the crosswalk. Maybe they were drunk or high on something. Or maybe they were just running late, but whatever there excuse they didn�t see her. Her mind screamed at her to run, or just to do something, but here body couldn�t.
They weren�t stopping. They�re going to hit me, she realized. Ayla�s heart thudded in her chest, as the car sped closer, an incoming death.
Her whole body tingled, lightening shot through her. The Avalon raced toward her like an arrow. She squeezed her eyes shut, and braced herself. But the impact never came.
The scent of exhaust burned her nose, and caused Ayla to open her eyes. Startled to see the underside of a car, she jolted and sat up. Luckily the car drove forward as she did, saving her from a nasty bump on the head. That car� it was going to hit me� I should be dead. She thought over and over, seeing the image of the car racing towards her.
�Oh my gosh!� And a thudding of feet on the asphalt brought a person into her view. �Are you ok? Did you get hit? What happened? The young man was frantic.
Black fuzzed around her vision, and Ayla swayed.
�Somebody help! I think she was hit!� His voice sounded distant, then more rushing of feet.
She couldn�t concentrate. Everything lacked clarity, it felt like a dream. More bodies appeared in front of her. Concerned brown eyes stared into her silver ones. Their lips formed a question.
Ayla wanted to tell them that she was fine, just tired, But her head was heavy. And the world, it kept spinning. She was so dizzy.
She finally managed in a mumble �Just tired�,� before she let the blackness roll over her. A welcome sleep.
She was being cradled in someone�s arms. Panic and fear filled the atmosphere. Ayla felt small, and was wrapped in warm blankets. Voices cried out, but Ayla could not understand them. Crying rang in her ears. It took a moment before she realized it was her. Why am I crying? She was utterly confused, what�s going on? It was a dream, she realized. It had the feel, but still felt more vivid then her normal dreams. That could have been due to her extreme exhaustion, or perhaps it was a fever dream. .Usually her dreams didn’t make sense at all – things like riding the magic school bus to a desert house at the bottom of the ocean, and finding her fifth grade teacher as a zombie. This dream, though� it felt familiar in a way. Maybe it was based on a movie she’d seen.
Things around her were pure chaos. Things were exploding, and she was disturbed by the noises. The woman, who carried Ayla looked down at her burden, shushing her with friendly hazel eyes.

Kristy had to get Ayla out of the hospital before she broke something important. Plus, antiseptic smell was making her head hurt. Ayla laid restlessly twitching, and obviously not having a peaceful sleep. This was causing her to fly out of out of control. Due to Ayla�s dominant blood line, Kristy-also of strong blood- was struggling to keep her from braking hospital equipment-or people.
Then finally the nurse came bustling in, and Kristy stood up.
�I would like to take my daughter home now� She said, putting emphasize on the now.
The red headed nurse frowned, �I don�t think that would be wise. We�d like to wait until she wakes up to question her.�
�There is no concussion, no broken bones or bruises, not even a scratch to suggest she may have been hit by a car or anything else for that matter. Am I correct?�
�Well yes but-�
�Then I�d like to take her home,� Kristy interrupted, impatiently. Which was uncharacteristic for her, but the smell and effort of controlling Ayla along with her stress had drained any patience. She needed to get them both out of there before she herself fainted from Power Overexertion.
Sighing the nurse said she�d go fetch the doctor. As Kristy waited she drummed her fingers on the table, listened to the ticking of the clock and the sounds of Ayla moving on the bed.
She had small beads of sweat on her forehead when at long last the Doctor walked in. He tried as the nurse had-unsuccessfully- to convince Kristy to leave Ayla at the hospital. She promised she�d bring her back in at the smallest sign of a problem. The nurse wheeled a groggy Ayla out to the car, and together the two women hauled her in.
Ayla was still disoriented, so Kristy let her be. The drive home was long with the continuing battle over Ayla’s powers. She decided as soon as Ayla was well, she�d tell her what she was. Or at least what she needed to know
Sorry it cut off-
Or at least what she needed to know to find out for herself.
By: Cheyanne Robinson
**If your interested in more, go to:
http://www.worthyofpublishing.com/book.a sp?book_ID=5006

Sorry for any minor grammer errors
I do need to edit this

The Taking of Pelham 123, 2009 av Tony Scott med John Travolta och Denzel Washington

Ett gäng tungt beväpnade män kapar ett tunnelbanetåg och kräver 10 miljoner dollar inom en timme, sedan börjar de avrätta gisslan. Walter Garber är tunnebanetrafikledare och den som tar emot första samtalet från banditernas ledare “Ryder”. Garber blir Ryders favorit och han vägrar tala med någon annan.

Det här en såndär film som har legat framför näsan på mig jättelänge, men det har alltid dykt upp nånting som har varit aningen intressantare. Jag har svårt för filmer med Denzel i men när jag väl tar mig tid att se något av hans verk så inser jag att han är sjukt bra och Travolta i mina ögon är en jävla mjukis (bortse från Pulp Fiction). Den här var riktigt bra, Travolta levde upp till sin grymma roll och handlingen var väldigt bra. Denzel var klockren och ptja, en mycket bra film. Trodde först att det skulle vara nån aslarvig Money Train-film.
Men icke!

Jeff Lindsay: Komm zurück, mein dunkler Bruder
(Dexter Morgan No. 3)

Erst einmal sollte man den Übersetzer des Titels erschießen. Inhaltlich mag es ja zutreffen, aber wenn man die Filmrechte nicht gerade an Sat1 verhökern möchte, ist „Dexter in the Dark“, so der Originaltitel, doch um einiges griffiger.

Gemeint ist tatsächlich, dass Dexter seine dunkle Seite, seinen dunklen Passagier, Dämon oder meinetwegen auch den dunklen Bruder plötzlich verliert. Auslöser ist ein Tatort, an dem die verkohlten Leichen zweier Frauen gefunden werden, deren Köpfe abgehakt und durch tönerne Stierköpfe ersetzt wurden. Üblicherweise bekommt er von eben diesem dunklen Passagier immer wertvolle Tipps, die ihm dabei helfen dem Täter auf die Spur zu kommen.

Doch wie sich herausstellt ist diesmal Etwas auf Dexters Spur gekommen. Die Perspektive wechselt immer wieder für kurze Zeit zum Beschatter, der Dexter als Opfer auserkoren hat und sich einen Spaß daraus macht, die Panik in Dexter / seinem dunklen Passagier zu schüren (was ihm sehr gut gelingt).

Auch hier kann Dexter wieder Zuflucht bei seiner Freundin Rita und den Kindern Cody und Astor flüchten. Die Hochzeit steht übrigens immer noch im Raum und die Vorbereitungen für eben diese sind ein weiter Grund für Dexters Unwohlsein. Immerhin verstärken sich seine Vatergefühle für die beiden Kinder, als ein nerviger Nachbarshund spurlos verschwindet. Dexter kann sich des Gefühls nicht erwehren, dass die Kinder damit etwas zu tun haben und womöglich auch in Ihnen eine „dunkle Seite“ schlummert.

Mit Band drei hat  Jeff Lindsay sich mir bewiesen. Er führt neue Erzählstile ein und kann die Spannung damit deutlich steigern. Er mag dabei zwar an die Grenzen des Vorstellbaren und Wahrscheinlichen stoßen, aber das tut dem Lesevergnügen keinen Abbruch.

Gelesen: 30.10.-31.10.

Seiten total: 425

Seiten/Tag: 212,5

Gelesene Seiten 2009: 14.326

Jeff Lindsay: Dunkler Dämon (Dexter Morgan No. 2)

Oops. I did it again. Wieder einmal hatte ich mich verkauft – indem ich Band drei der Dexter Reihe VOR Band zwei erwarb. Erfreulicherweise denn so musste ich Band zwei nachkaufen und konnte beide Bände direkt hintereinander lesen. Genaugenommen habe ich noch im Ferienflieger auf dem Weg nach Punta Cana den einen Band beendet und den anderen direkt begonnen.

Ich denke das Buch hatte mich in dem Moment gefangen, wo absehbar war, dass es nicht mehr viel mit der TV-Serie zu tun hat. Sicher, einige Motive kommen einem bekannt vor, so insbesondere die Person des Seargent Doakes, der den „dunklen Passagier“, jene mörderische  Seite des ansonsten so freundlichen Polizeispezialistens durchschaut hat und Dexter eigenmächtig verfolgt. Der fühlt sich in die Enge getrieben und hadert mit seiner dunklen Seite, hat er doch sein nächstes Mordopfer schon auserwählt.  So sieht er sich gezwungen in seine Rolle als Familienvater in spe zu flüchten – und findet (vor sich selbst erschreckend) Gefallen daran. Herrlich ist es zu lesen, wie er sich in eine ausweglose Situation bringt (seine Freundin Rita glaubt fälschlicherweise, er wolle ihr einen Antragt machen) und nicht mehr herauskommt.

Doch natürlich kommt das Buch nicht ohne einen neuen irren Serientäter aus. Der verwandelt seine Opfer in „jodelnde Kartoffeln“, um Dexters Wortwahl zu nutzen. Will sagen: er entfernt alle Extremitäten seiner Opfer inkl. Zunge und Augenlider und lässt sie lebend (und wahnsinnig) am Tatort zurück. Die Spur führt zu einer geheimen militärischen Einheit, der auch Seargent Doakes angehört hat und um dem Täter auf die Schliche zu kommen, muss Dexter plötzlich mit eben diesem zusammenarbeiten…(Den Zuschauern der TV-Serie sei noch verraten, dass Doakes ein anderes Schicksal als in der Serie erwartet).

Gelesen: 24.10.-30.10.

Seiten total: 379

Seiten/Tag: 54,1

Gelesene Seiten 2009: 13.901

Gamer, 2009 med Gerard Butler av Mark Neveldine och Brian Taylor

“Gamer” utspelar sig i en nära framtid, en tid då tankekontrollsteknologi har tagit samhället med storm. Människor kontrollerar andra människor i ett gigantiskt multiplayerspel över Internet.

I centrum finns Kable, superstjärnan och kulthjälten från det ultrabrutala spelet Slayers. Kable styrs av Simon, en ung spelare med rockstjärnestatus, som fortsätter att trotsa oddsen och för Kable till seger varje vecka. Bortförd från sin familj, inburad och tvingad att strida mot sin vilja måste Kable – den moderna tidens Gladiator – överleva länge nog att kunna fly från spelet, frita sin familj, återfå sin identitet och rädda mänskligheten från Castles hänsynslösa teknologi.

Alla FPS-spelares drömfilm. Asball. Jag har för några dagar sedan precis avslutat Call of Duty: Modern Warfare 2 och den här kom precis i rätt tid. Såg den i HD och måste säga att det var en perfekt HD-film. Mycket färger och skitläckra filmfilter. Handlingen är rätt ok om man tillåter sig själv att hänga med lite. Kul att se Dexter Morgan från serien Dexter häri också i en annan roll än just Dexter. Gerard Butler svek mig som fan i kärringfilmen PS. I Love You.
Men nu har han min fulla respekt igen.

Typisk kill-film med våld, blod, action, tuttar i mängder med massa massa morbida människor som lever i en fantasivärld.

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Actors: Berdouni Omar,Serkis Andy,Yuill Jimmy,Ross Hugh,Aslam Ehti,Bartlett Nick,Doorgasingh Emilio,Ghadami Davood,Hilmi Rami,Ireland Luke,Khairdin Munir,Kostic Goran,Lindsay Angus,McDevitt Roddy,Mikic Aleksandar,Drama,Thriller,

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Why Hasn't Ron Paul Backed Bill HR 104?
It seems like he would have been one of the first to jump on board. Why hasn’t he?

A synopsis of the bill:

SECTION 1. ESTABLISHMENT OF COMMISSION.

�There is established the National Commission on Presidential War Powers and Civil Liberties (hereinafter in this Act referred to as the `Commission’) to investigate the broad range of policies of the Administration of President George W. Bush that were undertaken under claims of unreviewable war powers, including detention by the United States Armed Forces and the intelligence community, the use by the United States Armed Forces or the intelligence community of enhanced interrogation techniques or interrogation techniques not authorized by the Uniform Code of Military Justice, `ghosting’ or other policies intended to conceal the fact that an individual has been captured or detained, extraordinary rendition, domestic warrantless electronic surveillance, and other policies that the Commission may determine to be relevant to its investigation (hereinafter in this Act referred to as `the activities’).

A list of it’s supporters:

http://thomas.loc.gov/cgi-bin/bdquery/z? d111:HR00104:@@@P

Urge your Representative to support HR 104 here:

https://secure.pfaw.org/site/SPageServer?pagename=Restore_Justice&autologin=true

Just for the record, my rep hasn’t signed on either. She’s useless.
Edit@Terran3: Nooo. Not quite what I’m saying. I’m saying our ‘representatives’ need to either adhere to the constitution and our principals, or be held accountable for their bullsh!t. But now that you mention it… maybe a vote of the people and a little transparency before going to war would be refreshing.

PrivacyNowPlease! | Jun 01, 2009

I’m a little biased when it comes to him so I’ll be quiet.
Ron Paul 2012?
ou812 | Jun 01, 2009

Article 2 / Section 2
"The President shall be commander in chief of the Army and Navy of the United States, and of the militia of the several states, when called into the actual service of the United States"

The president has complete control over the military and may send them wherever he wants, whenever he wants.
Terran 3 | Jun 01, 2009

Fact and fiction bleed seamlessly into one another in Pan’s Labyrinth (El Laberinto del Fauno) by Mexican director Guillermo del Toro. Del Toro, whose filmography includes amongst others Blade II, Hellboy and The Devil’s Backbone (El Espinazo del Diablo) masterfully creates a phantasmagorical world of magic-realism which is both credible and terrifying. The story revolves around Ofelia (played by Ivana Baquero), ‘n young girl who accompanies her pregnant mother to live with her new Fascist stepfather, Captain Vidal. A magical world unfolds against the grisly backdrop of the aftermath of the Spanish Civil War – Ofelia is guided towards her fate by a faun called Pan that she meets in the forest. He gives her three tasks to perform before the moon grows full and the viewer embarks on this quest with Ofelia, destabilised by the uncertainties: Will Ofelia succeed? Can Pan be trusted? What fate awaits the characters touched by war?

What was most striking to me, was the fact that Del Toro blended fantasy and reality with such credibility and conviction. In the past, I have often watched films wherein the director tries to marry fantasy and reality, but fails miserably, and rather emphasises the seemingly “irreconcilable” differences between the two worlds. Pan’s Labyrinth flows effortlessly from fact to fiction and vice versa, whilst many other filmic attempts at magic-realism unconvincingly fragment a film and break its natural flow.

I have to admit though, that the explicit violence of the film was quite unexpected and shocking, and at times even, what I felt, unnecessary. Believe you me, Pan’s Labyrinth is not described as a fairy-tale for grown-ups without good reason. I do not believe that Del Toro uses violence as a vehicle for sensationalism in this film. I believe he uses it for a definite purpose – to emphasise the stark contrast between the imaginative world of childhood innocence and the atrocities committed by adults in reality. Sometimes fact seems stranger and more incomprehensible than fiction, especially with cruel atrocities like the Holocaust of the 1930s and 1940s or the Rwandan genocide of 1994 that plague our history.

SPOILER WARNING: DO NOT READ THIS IF YOU HAVE NOT YET WATCHED THE FILM! Ofelia’s magical quest becomes an allegory for the timeless universal value: do not fight hate with hate, or evil with evil. Dissolve hate with love and evil with goodness. In this film, self-sacrifice is the key to Ofelia’s redemption and the redemption of the whole community. Ofelia becomes the “Fisher King” who is sacrificed as scapegoat to make healing possible for the nation and the land, a new history can now be written and continued through the blood she has spilled, the blood that is tied to and now lives on in her half-brother. Pan’s Labyrinth is deeply rich in imagery and symbolism – a prospect for a fruitful analytical article, thesis or study.

Genre: Fantasy / Drama / Thriller
Running time: 119 min
Country: Spain / Mexico / USA
Language: Spanish with English subtitles
Director: Guillermo del Toro
Writing credits: Guillermo del Toro
Producers:
Alfonso Cuarón
Guillermo del Toro
Cinematographer: Guillermo Navarro
Music: Javier Navarrete
Distributed by: Picturehouse
Main Cast:
Ofelia – Havana Baquero
Carmen Vidal – Ariadna Gil
Captain Vidal – Sergi López
Mercedes – Maribel Verdú
Pan – Doug Jones
Dr. Ferreiro – Alex Angulo

A lot of twists and turns await in The Number 23 by Joel Schumacher. Walter Sparrow (Jim Carrey) is a loving husband and father who is an animal control officer. His life is turned upside-down when he is late to meet his wife after being bitten by a dog whilst on duty. To pass the time his wife, Agatha (Virginia Madsen), browses around in a book store and buys him a book to read entitled The Number 23. As he reads it he encounters a lot of similarities between his own life and the life of the protagonist, Fingerling. In the novel Fingerling is a detective who tries to stop a girl from committing suicide, but does not succeed in his efforts. The girl was haunted by the number twenty-three as was her father before her, and now the number is coming after him. In turn, Walter begins to see the number twenty-three everywhere. When he again encounters the dog that initially bit him, it leads him to the grave of a young woman called Laura Tollins. As his life starts to unravel, it becomes apparent that there is indeed much truth to his obsession with the book. But he might not like what he finds…

Although I found the film to be a big disappointment, I must admit that the cinematography and camera techniques were absolutely excellent. Too bad they do not save the film from its downfall. The trailer, which enthralled me, is quite deceiving. It creates the impression of a conspiracy-theory film about the significance of the number twenty-three. When viewed in totality, however, the film lapses into another stereotype thriller. It tries to be too clever for its own good and relies on far-fetched twists and turns to create several incredulous elements of surprise.

I believe that the numerology topic has a lot of potential, but that it did not reach its full potential in this film. SPOILER WARNING! DO NOT READ THIS IF YOU HAVE NOT YET WATCHED THE FILM: The idea of destiny finding its way to Walter and making him pay for his sins is spread too thick. It is quite unbelievable that such a loving father and husband could also be a callous murderer. And his wife and son’s reactions to his previous life is quite unconvincing as well. Where is the outraged confusion? The heartache? The resentment? The film ends with such hopeful closure which would upstage The Brady Bunch. And Walter’s repentance at the end seems too good to be true – like a superficial, pretentious sermon. But who am I to judge? My sins are bound to find me out as well. Hopefully my skeletons aren’t as dark as Walter’s though… SPOILERS END HERE.

Genre: Thriller / Mystery / Suspense-Drama
Running time: 95 min
Country: USA
Language: English
Director: Joel Schumacher
Writing credits: Fernley Phillips
Producers: Fernley Phillips
Beau Flynn
Tripp Vinson
Distributed by: New Line Cinema
Main Cast:
Walter Sparrow – Jim Carrey
Fingerling – Jim Carrey
Agatha Sparrow – Virginia Madsen
Fabrizia – Virginia Madsen
Robin Sparrow – Logan Lerman
Isaac French – Danny Huston
Dr. Miles Phoenix – Danny Huston
Suicide blonde – Lynn Collins
Laura Tollins – Rhona Mitra

(2009, USA, 88m)

★★★

An interesting premise – - is waylaid by indifferent direction and a pandering, needlessly action-filled final act. Seek out the graphic novel source material instead.

Starring Bruce Willis, Radha Mitchell, Rosamund Pike, Boris Kodjoe, James Francis Ginty, James Cromwell, Ving Rhames, Jack Noseworthy, Devin Ratray. Directed by Jonathan Mostow; written by Michael Ferris, John D. Brancato; based on a graphic novel by Robert Venditti, Brett Weldele; produced by Max Handelman, David Hoberman, Todd Lieberman; original music by Richard Marvin; cinematography by Oliver Wood; film editing by Kevin Stitt.

(2009, USA, 95m)

★★★½

Insanely frenetic action-thriller with style to burn from the makers of the Crank movies about a wrongly convicted death-row inmate who becomes a player in a real-life first person shooter video game to win his freedom. Worth watching for the ultra-violent action scenes and an amusing supporting performance by Dexter’s Michael C. Hall, but there’s very little substance here.

Starring Gerard Butler, Amber Valletta, Michael C. Hall, Kyra Sedgwick, Logan Lerman, Terry Crews, Ludacris, Ramsey Moore, Aaron Yoo, John de Lancie, Milo Ventimiglia, Zoe Bell, John Leguizamo. Directed by Mark Neveldine, Brian Taylor; written by Mark Neveldine, Brian Taylor; produced by Gary Lucchesi, Tom Rosenberg, Skip Williamson, Richard S. Wright; original music by Robb Williamson, Geoff Zanelli; cinematography by Ekkehart Pollack; film editing by Peter Amundson, Fernando Villena, Doobie White.