Watch Movie Online "Take Me Home Tonight" (2011)

Director: Michael Dowse
Writers: Jackie Filgo, Jeff Filgo
Stars: Topher Grace, Anna Faris and Dan Fogler

Follow an aimless college grad who pursues his dream girl at a wild Labor Day weekend party. He, his twin sister and their best friend struggle with their burgeoning adulthood over the course of the night.
Take Me Home Tonight 2011
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Watch Movie Online "Limitless" (2011)

Director: Neil Burger
Writers: Leslie Dixon, Alan Glynn
Stars: Bradley Cooper, Anna Friel and Abbie Cornish

A writer discovers a top-secret drug which bestows him with super human abilities.
Eddie Morra (Cooper) is an unemployed writer whose girlfriend Lindy (Cornish) breaks up with him. Eddie believes he has no future, but when a friend introduces him to the experimental drug NZT, Eddie becomes highly focused and highly confident.
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Watch Movie Online "Beastly" (2011)

Director: Daniel Barnz
Writers: Daniel Barnz (screenplay), Alex Flinn (novel)
Stars: Alex Pettyfer, Vanessa Hudgens and Mary-Kate Olsen

A modern-day take on the "Beauty and the Beast" tale where a New York teen is transformed into a hideous monster in order to find true love.

Kyle Kingson has it all, his rich, handsome, and popular. Prone to mocking and humiliating "aggressively unattractive" classmates, he zeroes in on Goth classmate Kendra, inviting her to the school's extravagant environmental bash to which he already has a date just so that he can embarrass her. It is then that Kendra reveals herself to be a beautiful witch and punishes him for his cruelty by condemning him to live as a beast.BeastlyBeastly

Watch Movie Online "The Eagle" (2011)

Director: Kevin Macdonald
Writers: Jeremy Brock (screenplay), Rosemary Sutcliff (novel)
Stars: Channing Tatum, Jamie Bell and Donald Sutherland

In Roman-ruled Britain, a young Roman soldier endeavors to honor his father's memory by finding his lost legion's golden emblem.

The Eagle is darker, grittier and more realistic than expected. Mindless action flicks with tons of sword fighting can be a lot of fun, but The Eagle is not one of those movies. Part of the strength of the film is that it avoids most action movie clichés.
Watch Movie Online The EagleDownload Movie The EagleNeither the Romans nor the barbarians are clear cut good guys or bad guys. Both sides are shown to have good and bad aspects. The warriors of each side are fighting for their society. When one of the heroes rushes into a battle against overwhelming odds, he becomes overwhelmed. When characters get injured in battle, it ends their military careers.

Wounds become infected and prove to be a weakness and danger months later. When one man collapses and says he can't go on, the other guy actually leaves him behind.

The movie also takes no prisoners on issues modern people would find morally questionable. Slavery is an unapologetic part of both Roman and British society. The other big issue is the meaning of honor. The first quarter of the movie gives the back story to why finding the golden Eagle is so important to Marcus, and why Esca is willing to help a soldier who has attacked his people.

The Eagle is one of the best adventurous movies I have seen in recent years. It is also a film about a quest to find a golden Eagle, the symbol of both the Ninth Legion of Rome and The College at Brockport. For that reason alone The Eagle is worth watching.

To know complete story about "The Eagle". You can watch online or download the full movie.

Watch Online Movie "The Roommate" (2011)

Directed By: Christian E. Christiansen
Starring: Leighton Meester, Minka Kelly, Cam Gigandet, Aly Michalka
The Roommate plots itself like a B-movie, then presents itself like a real attempt at cinema. It’s a storytelling nightmare. You know the dude that you hang out with now and again that gets too drunk, says outrageous things and stays until every one else has left? This movie is that dude. It could be a lot of fun. Hell, at times it is a lot of fun, but because it has no idea it’s a complete joke, the result is sad and off-putting. The last time I checked, no one in The Shining had sex scenes will Billy Zane or pulled out bully button piercings. Get some perspective and act accordingly.
Sara Matthews (Minka Kelly) is off to college. Eager to meet her freshman roommate, she initially passes on her new floormates’ invitation to a frat party, but after a minimal amount of prodding, she relents and heads out for a night on the town. Perhaps because she’s from Iowa or maybe because she’s never seen or heard anything about fraternities, Sara and her new friend Tracy (Alyson Michalka) unintentionally get wasted off the punch. Just as their dizzied balances are spiraling out of control, the girls are saved by a total douche bag (Cam Gigandet) who intentionally spills his drink on Sara to start a conversation. Obviously, this leads to kissing. A good deed deserves one in return.

Back at the dorm, Sara drunkenly meets her roommate Rebecca (Leighton Meester), and by the following afternoon, they’re B.F.F.’s. Shopping for books, dishing about old boyfriends and giggling their way to common ground, it soon becomes clear that Rebecca hates Tracy. Still, Sara can’t get enough of the club scene and much to her roommate’s chagrin, heads out a few nights later with Tracy in tow. Drinks are downed (this time on purpose), and the girls get separated, leading to a late night collect call and a save from Rebecca. At this point, things start to get weird. Tracy gets attacked in the shower, Rebecca grows increasingly jealous of the douche bag love interest and Sara’s slimy ex-boyfriend stops calling. Oh to be eighteen again, with the world at your fingertips and a random psychopath inhabiting the adjacent bed.

To know complete story about "The Roommate". You can watch online or download the full movie.

Watch Movie Online "Sanctum" (2011)

When you look at the trailers and posters for the film Sanctum, the one thing you will notice highlighted is that the film is “From Executive Producer James Cameron, Creator of Titanic and Avatar.” Even in the credits on the poster, Cameron’s name is listed even before the actors or the title.
Sanctum is a movie built entirely around the use of 3D combined with the specific cinematography used to show off the cave diving that takes center stage in the film. As a result, the film is beautiful at times, bordering on stunning, and the 3D really does make it worth the price of admission. The weak plot, mediocre acting and paper-thin characterizations will likely make it a quickly forgotten movie, but the visuals almost make it worth seeing in the theaters.The story for Sanctum comes from Andrew Wright, a real-life cave diver who had his own near-death experience while leading an expedition through a series of underwater caves in Australia. Wright and the 14 others with him managed to find a way out after being trapped, and all survived. It is from this event that the “inspired by a true story” tag adorns the front of the movie. In both the real event and the movie, people are trapped in a series of underwater caves and need to find a way out, but the similarities end there.

Movie Review The Mechanic

Without achieving Schwarzenegger/Stallone/Willis levels of superstardom, the hard-working Jason Statham has become arguably the most reliable action star in Hollywood. And, while he's done remakes before (“The Italian Job,” “Death Race”), his latest, “The Mechanic,” puts him in the shoes of Charles Bronson, the icon whose place he seems perfectly suited to fill.

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As title character Arthur Bishop, a no-nonsense hired killer, Statham is as steely as Bronson, even though the script repeatedly sentimentalizes the original concept. Out of guilt over the death of his mentor and controller (Donald Sutherland), Arthur takes the man's aimless, ne'er-do-well son, Steve (Ben Foster), under his wing as an apprentice. But Steve — through a combination of arrogance and self-destructiveness — repeatedly screws things up; and there's always the looming threat of the falling-out between them that we know has to happen.

Director Simon West and screenwriter Richard Wenk have taken the original's Lewis John Carlino script and converted it from a '70s-style existential killer film to a state-of-the-art (read: loud) 21st-century action machine. The soul of the story seems to have been softened, and its contemplative moments excised, to make room for bigger, noisier action set pieces. I rarely can find kind words in my heart for the work of the original's director, Michael Winner, but he directed Bronson to a taciturn, internalized performance that Statham could have matched, had the script allowed it.

The old film opened with a dialogue-free sequence, nearly 15 minutes long (yes, as long as the “silent” opening to “There Will Be Blood”), showing Arthur methodically and unemotionally carrying out a single assignment. The filmmakers doubtless worried the pacing would drive today's action audiences crazy, so instead we get a flashier five-minute equivalent. Where Winner didn't have Steve and Arthur team up until past the halfway point, West gets to it within the first half-hour.

The modernized sensibility does have its advantages, though. For one thing, it clears away Winner's artsy pretensions. The latter clearly wanted this to be in the mode of John Boorman's now classic “Point Blank” (1967) — Jerry Fielding's dissonant score makes that clear — but he's no Boorman, not by a long shot.

The new version delivers in a far more conventional way, but it does deliver. Foster is a much better actor than his original counterpart, Jan-Michael Vincent — good enough to make us accept what a jerk his character is.

Source: http://www.thisisbrandx.com/2011/01/film-review-the-mechanic-jason-statham.html

Watch Online "No Strings Attached"

"No Strings Attached," the sole new movie to open nationwide this weekend, found the audience it was looking for at the box office.

The Ashton Kutcher-Natalie Portman romantic comedy opened to a solid $20.3 million, according to studio estimates, making it the most popular film in the country on a slow moviegoing weekend.

It was a good start given that the R-rated movie cost distributor Paramount Pictures and its partner Spyglass

Entertainment and Cold Spring Pictures only about $25 million to make.

As expected, given its stars and subject matter -- the picture is about about a young couple attempting to have a physical relationship without an emotional one -- the audience was overwhelmingly female. Responses were mixed by age, as those younger than 25 gave the movie an A-, and those over 25 gave it a B, according to market-research firm

CinemaScore.

Last weekend's two new movies both saw typical drops, indicating that word-of-mouth is neither good enough to make the surprise hits nor bad enough to make them sink quickly. Receipts for the Seth Rogen action-comedy "The Green Hornet" declined 46% to $18.1 million, bringing its box-office total to a pretty good $63.4 million. The Kevin James-Vince Vaughn adult comedy "The Dilemma" dropped 45% to $9.7 million for a soft but not terrible $33.4-million total.

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Source: http://latimesblogs.latimes.com/entertainmentnewsbuzz/2011/01/box-office-no-strings-attached-gets-some-love-in-theaters.html

The Killing of Jacob Marr

“The Killing of Jacob Marr” is a movie made by Brad Rego, 35, who grew up in Taunton before moving to New York City a few years ago to hone his craft. The horror film, which Rego made independently through his 221 Films company, will make its New England debut on Feb. 25 at the Foxboro Orpheum.

Rego said that his film stands out among modern horror movies because its characters are not stereotypes, but act authentically, gaining the viewer’s sympathy before they are brutally slaughtered.

“One of the things I really wanted to do was to make a horror movie that was not only smart, but was tension-driven and legitimately scary,” Rego said. “Sometimes it’s about what you don’t see as opposed to what you do. Let’s face it, you always make up something in your head that is far scarier than reality.”

A poster advertising the movie depicts a cabin set in the background of a dreary forest with a large, sharp stick in the foreground with blood dripping from the tip. Rego said the stick is a sharpened bone — the weapon of choice for the movie’s namesake.

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Prince of Persia The Sands of Time

Adopted from the streets of Nasaf by King Sharaman of Persia, young Dastan grows up amongst royalty and quickly earns his place as a mighty warrior and prince. As his brothers Garsiv and Tus plan battle strategies, a spy sends word that the Holy City of Alamut has been supplying weapons to enemies of Persia. Taking matters into his own hands, Tus orders an attack on the sacred city and upon its fall Dastan encounters the beautiful Princess Tamina. When King Sharaman dies under mysterious circumstances shortly after, and Dastan is accused of his murder, he flees with the princess on a harrowing mission to clear his name. Learning from Tamina the true motives behind Alamut's invasion, Dastan must embark on a perilous quest to stop an evil mastermind's plot for ultimate power with a mystical weapon that can control the very fabric of time.

Movie Review Dhobi Ghat

A poster caught one's eye as this critic walked up the stairs of the suburban theatre where 'Dhobi Ghat' was being screened. It was for 'Biutiful', Alejandro Iñárritu's latest release. One wondered whether it was a bit of foreshadowing, given the Mexican filmmaker's penchant for portmanteau films where multiple lives and stories collide and the fact that the film I was about to watch was also supposed to revolve around the stories of four characters. As I discovered in the theatre, though, while there is the faintest fragrance of Iñárritu's style of storytelling in 'Dhobi Ghat', Kiran Rao, in her directorial debut, displays a cinematic idiom all of her own.

As the end credits of 'Dhobi Ghat' rolled, I realised that Kiran Rao has picked the most apt title for her film. The title comes from the famous washers' complex a minute's walk from Mahalaxmi station in Mumbai, where one of the characters from the film is shown living and working as a washerboy. The scene of rows upon rows of washing pens here are a favourite with tourists stopping by in the megacity. Dhobi Ghat lies just off another Mumbai landmark, a roundabout by the name of Jacob Circle. The place is also known as 'Saat Rasta', or 'seven streets', as seven arterial roads branch out to various parts of the city from this point, making it the symbolic heart of the island city. Effectively, in naming her film 'Dhobi Ghat', Rao, too, has touched upon the heart of this city, which is the one, all pervading character in the story.

'Dhobi Ghat' reveals its core, its theme, to the discerning, within the first few seconds of the film. The scene opens up in a rundown Mumbai cab being pounded by the rains, where an off camera voice is seemingly recording everything she sees and hears, for some reason. The lady strikes up a conversation with the taxi driver, which reveals that she too is a migrant to Mumbai, just like him and so many others in the city. As the conversation ends, she shifts her camera's view onto the car's window, capturing a glimpse of the seductively beautiful Marine Drive promenade. The subtext here comes in the form of the strains of an old Bollywood melody coming out of the cab's radio. The song is the Lata Mukesh classic, 'dil tadap tadap ke keh raha hai aa bhi ja', which beautifully conveys the character's longing for something she cannot have. It is this theme of yearning that binds together all four characters in this pastiche.

As the film's story opens up, we are introduced to Aamir Khan's pensive painter, Arun, a recluse being celebrated on Mumbai's art scene. Arun, who seems to be lost without a muse, fills the void by having flings here and there; while it is hinted that he gets frequently frisky with his agent, played by Kitu Gidwani, it is the one night stand he has with Monica Dogra's Shai that confirms this. Shai Edulji, in turn, an extremely affluent Indo American, investment banker by profession and photographer by passion, is in Mumbai on a sabbatical to study the city. Following her encounter with the artist, she proceeds to get thoroughly obsessed with him. In between, she strikes up a friendship with her washerboy, Munna, played by Prateik, an aspiring actor who first convinces her to shoot a portfolio of his and then acts as her guide around the city. The good looking Munna, who lives in some of the poorest parts of Mumbai and works at the Dhobi Ghat, finds himself slowly falling in love with Shai; but unwittingly, he is also feeding her need for information about Arun, who he is also 'dhobi' to.

In the midst of all this, we find Arun moving into a house in some of the oldest parts of the city around Mohammed Ali Road. But this old house has a character of its own; Arun is haunted by the memories of its earlier resident, which he finds, hidden away as videotapes in an old almirah. The voice, from the beginning of the film, we now learn, belongs to Yasmin Noor, played by Kriti Malhotra, a newly wed bride who has settled in the city with her husband and is quietly pining away for her brother and her family whom she has left back in her home state of Uttar Pradesh. It is in this pining that she starts recording video letters to send back to her brother, where she gives him an introduction to Mumbai and its people in a series of monologues, but also unknowingly records her own longing. Arun finds his muse in Yasmin, watching whom, he suddenly finds himself more sociable, more open to people and suddenly brimming with ideas to work on. Alas, Yasmin's monologues hold a deep secret, that could potentially destroy Arun and his connect with his city.

Kiran's four characters exist in a static state, just floating around, fairly. There are no highs, or lows to the story, no great insight into their beings. In fact, the film really captures all four individuals at singular moments in their lives, sans any detailed back story, making it simply an exploration of their longing for loves they cannot have. But towering over them is a fifth character, which is that of the city of Mumbai itself.

Kiran finds various metaphors to frame a city that sees everything, hears everything, but says nothing. The most literal amongst these is Arun's catatonic neighbour, whose expression never changes through the film, who reacts to nobody. There is also metaphor of the sea and the endless, perpetual rain, which holds countless secrets, but speaks none. But the most beautiful moment comes on one of the videos, where Yasmin urges her maid's young, school going daughter to recite a poem for her. The work the young girl chooses is Lord Tennyson's 'The Brook', which, with its famous line, "for men may come and men may go, but I go on for ever", is, perhaps, as apt a description for the city as any.

Kiran's style in 'Dhobi Ghat' finds a similarity to the works of Jim Jarmusch, in the form of her visuals; in that, the film's focus is firmly on the imagery it depicts, more so than the story it tells. The debutant director casts a loving portrait of the city, using a combination of moving and still images, to capture Mumbai at its most beautiful, rough edges and all. Her use of Yasmin's handheld videos and Shai's black and white photography in doing so is a masterstroke. Director of Photography Tushar Kanti Ray's work gels perfectly with Kiran's vision here and is quite brilliant. The use of guerrilla techniques in filming captures areas like Nagpada, Mohammed Ali Road and Mahalaxmi in their element. Jyotika Jain's still photography, passed off as that of Shai in the film, is equally stunning.

Kiran Rao's choice of the Argentine Gustavo Santaolalla for music in the film is most curious, not in the least because the two time Oscar winner for background score is also a regular feature in Iñárritu's films. Gustavo's guitar based melodies that underlay the film are the very definition of haunting. But the triumph on the soundtrack is the way Kiran uses the thumri of Begum Akhtar in 'ab ke sawan ghar aaja' and Siddheshwari Devi's dadra in 'khamaj' to convey the mood of the film, both continuing in the theme of yearning.

Apart from her cinematography, Kiran also serves up perfection in casting. The fact that she is married to one of her principal actors, Aamir Khan, works beautifully in favour of 'Dhobi Ghat', as the film makes no deference to his superstar status, not allowing his presence to cloud that of any of the other characters. Khan, who is also coproducer, quietly underplays Arun, and perfectly conveys the wistfulness of his character.

Kriti Malhotra as Yasmin, exists only in her video monologues, but manages to turn in a superb performance. She conveys as much in her words as she does through her eyes. Monica Dogra, one half of the band Sha'ir + Func, also shines in a role tailor made to suit her, accent and all. Her depiction of Shai, obsessed with Arun on one hand and concerned about Munna on the other, is spot on. But the real star in the film is Prateik, who plays his slum dwelling washerboy, obsessed with becoming a movie hunk, with superb sincerity. While there is room for him to improve, especially in areas such as his diction (for example, the word is 'khala', not 'kala'), he plays both, the pathos and the passion, of his character to perfection.

Even the other actors in the film are well cast. Danish Hussain as Munna's brother Salim, and Jehan Manekshaw as Shai's friend Pesi are both equally good. Kittu Gidwani turns in a nice few scenes as Arun's agent Vatsala.

In summation, 'Dhobi Ghat' comes as a breath of fresh air to Indian cinema. Rather European in its sensibilities, very Latin American in its visuals, 'Dhobi Ghat' elementally has Mumbai at its heart. Though there are no highs, lows or any hoorahs at the end, and some, who are used to the 'crash, boom, bang' of Bollywood, might find its pacing slack, Kiran Rao crafts a graceful film in 'Dhobi Ghat', simply about life and relationships in a fast city.

Though she might have been known as Aamir Khan's wife so far, with 'Dhobi Ghat', Kiran casts a distinct identity all of her own, as a filmmaker of immense vision and skill, someone who can now take her place in the pantheon of India's new age, global filmmakers. As for 'Dhobi Ghat' itself, it must be experienced firsthand.

Source: http://in.movies.yahoo.com/movies/Dhobi-Ghat/reviewdetails-1215.html

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