Is Premium Rush Worth a Premium Ticket Price At The Theatres?

Okay so, I'm not much into chick flicks, and I like to see a high body count, therefore I usually go for action dramas. It's not that I am afraid to see any of those other movies it's just that sometimes I feel underwhelmed, and to me they are a big ass-flatener if they don't have constant action. Well, everyone has preferences, and Hollywood knows it. Nevertheless, there is a very good movie called; Premium Rush, which I'd like to recommend that you go see.

Now then, perhaps not everyone will like this movie, but if you were a rebel as a teenager, athletically inclined, or if you get tired of the traffic in the city destroying your productivity and wasting your time, this movie might hit the spot. One of the theme songs in the movie was "Teenage Wasteland" by The Who which also concluded the ending of the movie, a happy ending, which was very apropos.

Weaved into the storyline were challenges of people trying to get their children out of China and into the US, as well as the ongoing controversy in New York City of bicycle messengers disobeying the rules of traffic, causing accidents, or crashing into pedestrians. Another underlining theme was how entrepreneurs get things done in New York City and how the labor is often taken advantage of. The movie had a good humor, many intellectual side thoughts, great acting, and good action - which was what I liked the best.

There were crooked cops, do-gooder cops, and a little bit of insight into the impersonal way in which large city metro police departments do their business and bidding. There was also the Chinese Mafia, the Russian Mafia, illegal gambling, and all sorts of other things involved. It showed how these new personal GPS tech devices help with routing software, and how bicyclists now had a hands-free cell phone communication while they ride, just like those commuting by car.

There was quite a bit of interesting urban conflict between cyclists, cabdrivers, and mean-spirited drivers who probably didn't like anyone. Would I recommend that you see this movie? Yes I would, and then discuss all the implications of all the underlining themes with your friends after you've seen it. The movie took place in New York, and although there was quite a bit of stereotyping going on throughout the movie, it made you laugh because you know it's all true.

If you don't catch this while it is still in the movie theaters, I recommend that you watch it on the movie channel, or get the DVD when it comes out. Please consider all this and think on it. Providing useful articles, reviews and writings on movies and films online.

Movie Review: Rock of Ages (2012)

Rock god Stacee Jaxx vents that he's a slave to rock 'n' roll. His lament parallels the problems at the core of Rock of Ages; the story and characters are swallowed whole by the music - and when the pounding beat ebbs, there's little left to attract us to what's underneath. This won't be a problem for many as the creative use of classic rock songs as a form of narration has its own substantial appeal. The clever juxtaposition of recognizable tunes and the extravagantly choreographed dance sequences are also entertaining, but they don't provide the stability of a stronger plot and more intricately developed characters. When the guitars roar and the singing starts though, it can be easy to forgive the faults and submerse yourself in the pulsing music and fervent performances.

With high hopes of becoming a singer, young Oklahoma girl Sherrie Christian (Julianne Hough) heads to Hollywood. Once there, a chance encounter lands her a job at the Bourbon Room, a famous nightclub run by Dennis Dupree (Alec Baldwin) that has played host to countless rock icons, including the wildly unhinged Stacee Jaxx (Tom Cruise). Falling in love with the Bourbon's busboy Drew (Diego Boneta), Sherrie thinks she's found happiness, but a grave misunderstanding finds the lovers parting ways; as each one drifts further away from their dreams, tragedy also strikes the Bourbon in the form of a bitter mayor's wife (Catherine Zeta-Jones), intent on shutting them down. But with a little luck and a lot of love, the power of rock 'n' roll might just save them all.

Fleeting cleverness works its way into a story of shattered dreams, lost and found love, personal redemption, and all that is '80s rock (including oodles of sweat, skin, pyrotechnics, girls, booze, and mischievous pet monkeys). With laughs from sexually deviant setups, suggestive comedic arrangements, and lascivious routines, and awkwardness from the stereotypical insanities of out-of-control musicians, the lack of a plot is intermittently forgotten. The infectious, nonstop soundtrack is also, fortunately, so intoxicating that it hides the deficiency in scripting. Generic characters and expected revelations messily fill in the gaps for a thrillingly assembled composition of catchy tunes and innovative duets, further augmented by an impressive cast (considering the success of the stage play, notable actors were probably easily attracted to the theatrical adaptation).

An abundance of energy similarly makes up for the unconvincing lip-syncing and spontaneous song-and-dance that isn't as smoothly integrated into character actions as other modern musicals. The flow and transitions are somewhat abrasive at the start, but after a few montages that seem to exist in their own indeterminate time frame, it's difficult not to get caught up in Cruise's silliness (embellished with an unwarranted sense of entitlement and extreme decadence), Giamatti's go-to sleazy linguist role, and Baldwin's uncharacteristic visual styling. Russell Brand, Catherine Zeta-Jones, Bryan Cranston, and Malin Akerman conflictingly add nothing but recognizable names and missed potential. Despite the foibles and faults, however, the music really makes it work.

- The Massie Twins (GoneWithTheTwins.com) Providing articles, reviews and writings on movies online.

Relaxing With a Classic On Thanksgiving

The Thanksgiving table is filled with excitement each year. Good food, family, and friends all take center stage during the celebration. After dinner is over, many choose to turn their attention to the numerous college and professional football games that flood the television, choosing a side and sticking with the cheering section assigned to their favorite team. This year, if football is not on the agenda for the gathering, watching a few warm Thanksgiving movies instead will help the family maintain a relaxed holiday atmosphere. Plenty of holiday movies address the Thanksgiving theme in various ways. Whether the preferred movie genre is animation, comedy, or action, one of the following movie selections is sure to please the family at this year's gathering.

"Pocahontas" is an Oscar-winning animated favorite that was released in 1995 by Disney. The movie explores the love affair that sparks between a Native American chief's daughter, Pocahontas (Irene Bedhard), and an English soldier, Captain John Smith (Mel Gibson). The two are on the opposite side of an invasion by the English settlers. In the 1600s, the English land in Virginia, the homeland of Pocahontas. She stumbles upon their camp and a romance begins with Smith. The fairy tale love is disrupted by the greed of Governor Ratcliff; it is believed that Pocahontas's tribe is literally sitting on a gold mine.

As friction builds between the two groups, it is up to the two lovers to try and keep the peace. This animated film is engaging for older adults and filled with action to keep the attention of any teens who may be watching. This is a movie that captures the Native American-settler encounter in a way that is not too violent for young eyes, but accurate enough for the adults to refresh their American history. The soft song selections are enough to lull even the tiniest baby to sleep so that the rest of the crowd can enjoy the movie without interruption.

Every Thanksgiving, there is a channel that features the comedy "Dutch." A single mother (JoBeth Williams) tries to give a little love to her son, Doyle Standish (Ethan Embry), at Thanksgiving after her selfish ex-husband (Christopher McDonald) leaves her holding the bag again by cancelling his holiday time with his son. Her knight in shining armor, her new boyfriend Dutch (Ed O'Neill), volunteers to go to the boarding school her son attends and retrieve him for the holidays. They do not make it out of the dormitory before the bubble bursts. The two end up at each other's throats all along the road trip.

This film is a precursor to the "Are We There Yet?" series produced by Ice Cube; the good guy gets stuck on a bad road trip with his new love's kids. When the news of the new guy reaches her ex-husband, he mysteriously finds time in his busy schedule to try and further destroy her reputation with her son. This film is a roller coaster ride filled with some very funny interactions, but may be suited for a more mature audience. The film is rated PG-13, but if there is someone in the crowd who does not understand about the birds and the bees, he or she may be better off in the football room.

An all-time classic Thanksgiving movie must be included on this list of Thanksgiving favorites. "A Charlie Brown Thanksgiving" was released in 1973, but is still relevant to the families of today. Any adaptation of the comic strip series always brings laughter and cheer to viewers. This animated gem is the story of the Peanuts gang's celebration of Thanksgiving. Peppermint Patty (Christopher DeFaria) plans a dinner for her family and friends. As is the tradition of the series, Charlie Brown (Todd Barbee) always gets the short end of the stick, but remains as good as gold throughout the story. There is even a scene with a football, just in case viewers think they are missing out on something in the other room. One of the best scenes in the movie is the Thanksgiving prayer given by Linus. In his prayer, Linus relays the importance of the holiday by giving a bit of history surrounding the celebration.

The holiday season can be very stressful with the anticipation of guests, family interactions, and all of the preparation that goes into the festivities. To set the tone for the celebration, try a cool music selection, good food, and a good movie. Providing useful articles, reviews and writings on movies and films online.

Games Of Thrones, Underestimated Masterpiece or Complete Flop?

"Game of Thrones" is your classic tale of a TV series that was highly underestimated right from the beginning, by critics and avid television viewers alike. In fact, there were some that even waited until there were a lot of people talking about it to take time out of their days and watch it simply because they thought it was another case of "déjà vu" in the world of fantasy shows. Were the assumptions right or is the "Game of Thrones" a series on HBO that would soon set records, leaving other television shows trailing in the dust?

"Game of Thrones" is an HBO production based off of a bestselling series of fantasy book s. While the books may have enjoyed massive popularity, fantasy has not been the most successful genre when it comes to television. A long history of airing mediocre fantasy shows to downright failures has perhaps unfairly earned fantasy shows a bad reputation with most viewers.

Thankfully, the "Game of Thrones" series entered this particular genre in a way that would change how people would think of it. Although many were reluctant to give the show a chance in the beginning, it quickly became clear that this was something worth paying attention to. A true masterpiece that was truly worth every bit of time it took for something of its kind to finally become aired. For those who want a non-graphic show to watch, this isn't the one as it's a very explicit series.

The "Game of Thrones" vividly details the fight that noble families had with each other in an attempt to take control of the Iron Throne. From snow and ice that made things extremely difficult all the way to violent battles, this TV show definitely doesn't hold back in showing every single bit of detail. This all leads to helping viewers see what it's like to lack a particular power in society and each episode ensures that it's built to show this each and every time without taking a lot of thinking in order to understand it.

A dwarf, dragons, and a teen girl that was bound to marriage by rape in a world where the men have the upper hand is what helped make this series very unique and breath-taking at the same time. This is also how it became a highly addictive show to watch for many people all around the world. While some may not agree with its graphic nature, this is definitely an approach that other fantasy shows haven't taken prior to the release of the "Game of Thrones."

Not only is it packed with scenes that helped craft a masterpiece in the world of fantasy, but it has also helped the Northern Ireland economy where the show's setting is located. The Northern Ireland government actually helped make this show possible by financing filming. This led to a high amount of spending within their country and also helped develop an even higher interest among tourists.

From being looked at as a failure from the beginning to outperforming "The Sopranos" which was one of the most popular HBO series to winning countless awards, this is your perfect example of why one shouldn't ever underestimate the potential of anything in this modern day and age. Providing useful articles, reviews and writings on movies and films online.

Adaptation Decay

When a franchise reaches a certain level of popularity, it has become a noticeable trend to adapt written works, comic books and even video games into Hollywood Pictures. This practice has become prevalent in a number of recent motion pictures: Harry Potter, Twilight, The Hunger Games, the numerous superhero movies, Transformers and games like Resident Evil and Tekken. While seeing these materials in motion is definitely a big draw of a film adaption, there is often one thing that long time fans of a franchise end up looking at when these movies finally come out: How faithful the movie is to the source material.

For fans, it often does not matter how pretty the effects are or how famous the cast and production crew are, the film is rendered pointless if nothing resembles the original. Books seem to get off the easiest in this department, as at worst content is omitted due to the fact they need to compress a large amount of content into a relatively small time frame by comparison. It is the same with comics, though they are spared because an issue is often a self-contained story and does not reach the length of a novel, though skipping through big events is still a problem present in these...

Other franchises are not as lucky however. Video games seem to lose the most when they are ported from the home consoles to the big screen. Starting with the concept with something as simple as a fighting game it was a wonder how so much was changed in regards to Tekken. The characters were not recognizable beyond their names and most of the fighting styles were not even similar, and this is taking into account the transition from video game design to real life. Resident Evil is another game series that falls short in the film adaption department, whose story has absolutely nothing to do with the games beyond there are zombies in them.

Children's franchises also take a hit here, with Transformers and Avatar the Last Air Bender also receiving a number of negative criticisms in regards to how faithful they were to the original concepts. Admittedly while Micheal Bay's Transformers is its own universe, it does not really make people think of the classics beyond wondering what happened to them and why they are like this in his version. Avatar on the other hand just has a number of problems utilizing the original's content and is once more not recognizable by fans beyond their names.

While it is not true to say all adaptations of different media are bad, they suffer a lot in the transition and makes people question whether it was really worth it in the end. Further there are times when the creator is not even consulted for such and thus the distance between the adaptation and the original becomes even further. There is no real line to be drawn at what can and cannot be done in a movie, which is what makes these creative liberties happen. Providing articles, reviews and writings on movies online.

Reviews of Famous Martial Arts Movies, Shaolin Rescuers

"Shaolin Rescuers" or "The Avenging Warriors of Shaolin" was released a few days before "Kid with a Golden Arm", and is one of the best of Chang Cheh. The total Venom's mob was cast and they put in incredible shows in this story of valor and friendship. This film had been outclassed by 2 movies by Liu Chia Liang - "Mad Monkey Kung Fu" and "Dirty Ho" - released by Shaw Brothers during 1979 but "Shaolin Rescuers" massively out-grossed"Fist and Guts" and "Dragon Fist".

The three important characters played in the movie were by Kuo Chi (Philip Kwok), Sun Chein and Lo Meng. Lu Feng and Chiang Sheng were cast for important supporting characters. Lu Feng and Chaing Sheng choreographed the entire movie and were ably supported by Robert Tai. The role of a Chinese hero was given to Jason Pai Piao and Hung Sze Kwan also played an important role in the movie.

The plot of the movie goes like this. Ah Chien (Lo Meng) works ata local bean-curd industry and has a good friend in the form of Ying Cha-Po (Kuo Chi) who is a waiter at an eatery. Both are victim of ill-treatment from their bosses and their favorite time pass is practicing Kung Fu. One day they save Chu Tsai (Sun Chein) during a brawl. Tsai is employed at a dye firm and is also an exponent on post fighting on the ground.

The problems begin when San Te and Fong Sai Yuk are killed when they try to stop the evil Pai Mei from destroying temples around the city. Not a clever way to initiate a movie by killing two greatest figures in the world of Kung Fu, one might say. But, nothing was impossible for Chang Cheh.

The story slowly evolves with the escape of Hung Sze Kwan, Chein finally getting hold of injured Kwan and Chein help him get well and the final face-off in the dye-factory. At the end of the movie, Ah Chein and Ying Cha-Po fulfill their dreams of becoming heroes.

The action sequences in the movies are few but Chang Cheh demonstrates how to build an amazing climax out of a power-packed plot. Remarkably, the action sequences are less bloody when compared to other Cheh's movies. The action scenes are beautifully choreographed and Lu Feng and Chang Sheng proved once again why they were the best in the business when it came to creating dream action sequences.

Chang Cheh creates a fantastic balance by moving from one fight to another in a prudent manner. Excellent editing makes certain that one is enthralled with a fight and still itching to get back to the last fight scene. One feels that the movie should have been shown on five different TV sets. The climax is unexpected. The only supposed flaw was the time-to-time use of flashback shots and the trampoline skills by Kuo Chi. This is probably one of the best Chang Cheh movies ever. Providing useful articles, reviews and writings on movies and films online.

Private Practice, The Attempt To Defeat Grey's Anatomy

"Private Practice" enters the world of medical dramas in a way that many people really didn't expect to see a new TV show enter a network. There's plenty of competition with many medical dramas already winning the hearts of viewers around the world which definitely indicates that making this show a success isn't the easiest accomplishment for anyone. Is "Private Practice" going to be the show that's able to defeat the ever-so-popular series of "Grey's Anatomy" on ABC or is it just going to end up being seen as a desperate attempt of a network trying to make their presence known once again?

Kate Walsh stars as Dr. Addison Montgomery who's a genius neonatal surgeon that went to Los Angeles in the search for a new way of life and better opportunities. Immediately upon arrival, she was able to secure a position at the Oceanside Wellness Center where the staff there also plays critical roles in the development of this unique storyline. While doing whatever it takes to save lives, they also have the time to pursue normal lives (if that's what you would honestly call it) that are showcased as well throughout the series of "Private Practice."

There's a great deal of mixed emotions from viewers about Private Practice, ranging from the hatred that they have for this show trying to take over the spotlight that "Grey's Anatomy" was known for holding all the way to how powerful and emotional the storyline is as each episode airs. This is something that you would expect when you hear about any medical-related TV show, because the audiences of these particular shows have been known to be somewhat controversial in their approaches.

One thing that "Private Practice" seems to be good at is making sure that all actors and actresses get their time to shine. The writers have also ensured that the parts aren't the easiest ones to play, which only provides an even greater opportunity for those who took part in the making of "Private Practice." Not only does it challenge their skills by doing this, it keeps the viewers on their toes unable to truly predict what's going to be the next twist in this rather different story.

The ratings that this TV show has received really don't support the idea that it beat "Grey's Anatomy" in its own game, because they were pretty poor when a comparison was made to be honest. However, you still have the loyal "Private Practice" fans that say this is a show that's touched them in ways that no other TV series has done before. As you can see, the truth is rather hard to find and it really depends on who watches it and what their taste is where these types of medical dramas are concerned.

If you take a look at this show from all angles, you can tell it's hard to decide whether or not it's better than "Grey's Anatomy." However, both shows seem to have their own loyal fans. Providing useful articles, reviews and writings on movies and films online.

Famous Bollywood Actresses With Seductive Eyes

Eyes are considered the most delicate part of the human body and a woman's eyes are said to depict her elegance and beauty. A woman can even kill a man with her bold and graceful eyes. Bollywood actresses are known for their beautiful eyes and many people often fall into the hypnotic and enticing waterfall of their eyes. Almost all the actresses in bollywood are blessed with lovely eyes; Aishwarya Rai, Rani Mukherjee, Madhuri Dixit and Kajol - to name a few. Bollywood actresses play with the expressions of their eyes to attract the viewers. We shall now have a glimpse at some of the famous bollywood actresses who have seductive eyes.

• Aishwarya Rai: She was born on 1st November 1973 and in 1994 she won the Miss World pageant. She has worked in blockbuster movies like Jodhaa Akbar, Provoked and Guru. She was honoured with Padma Shri and is one of the leading actresses of Hindi cinema. Her lovely eyes are counted among the top most beautiful eyes throughout the world. This adorable blue eyed woman has millions of fans not only in India but all over the world.

• Sridevi: A south Indian actress born on 13th august 1963 has won many hearts with her stunning eyes in Bollywood. She makes such naughty expressions with her eyes that viewers couldn't take off their gaze from her. She gave her marvelous performances in Chaalbaaz and Mr. India and has even won Nandi Award for her acting. Her eyes are believed to be the sexiest in the Bollywood.

• Madhuri Dixit: This dancing queen was born on 15th May 1967, and is considered one of the best actresses of Bollywood till date. She has given many romantic hits like Dil to pagal hai, Hum aapke hain kaun, Devdas and Saajan. She can make people dance to her expressions through her lustrous eyes. Her fans' heartbeat can't stop beating fast after looking at her dazzling and wide eyes which has made her one of the most expressive divas of Bollywood.

• Rani Mukherjee: This Bengali beauty was born on 21st march 1978. Her mesmerising eyes have taken her a long way when she spoke through her eyes in the movie Black, where she played a character of a blind and deaf girl. She seduces the entire world with her sensational sexy black eyes; fans go gaga over her wonderful eyes and her audiences go out of control.

• Vidya Balan: A Malyali girl born on 1st January 1978, she has made the whole world go speechless with her hot and bold eyes in the movie 'The dirty picture'. She gave many successful hits in several languages such as Hindi, Bengali and Malayalam. Paa, Ishqiya and Kahaani are some of her successful movies where she has given outstanding performances. Her stunning and smoky wide eyes have turned many heads in the Bollywood.

There is a never ending list of actresses with seductive eyes in Bollywood; the above mentioned were just a few top actresses from the list. Providing articles, reviews and writings on movies online.

Movie Review: "Page Eight"

Rating: PG, Length: 99 minutes, Release Date: June 18, 2011, Directed by: David Hare, Genre: Drama/Mystery.

"Page Eight" is a political drama produced by the BBC as a made-for-television film. David Hare, well known as a British television writer, is the writer and director of "Page Eight." The primary cast members include Judy Davis, Ralph Fiennes, Michael Gambon, Tom Hughes, Bill Nighy, and Rachel Weisz. "Page Eight" debuted at the Edinburgh International Film Festival. It was later broadcast on BBC Two, BBC HD, and PBS.

Johnny Worricker (Bill Nighy) is an officer in MI5, the British intelligence service. His boss is Benedict Baron (Michael Gambon), the Director General of MI5. Baron is married to Johnny's ex-wife and is raising Johnny's daughter as his own. Baron, just before he dies of a heart attack, passes over a report to Johnny. Johnny notices a potentially explosive passage on page eight. This passage mentions that Americans are torturing prisoners in overseas prisons with the knowledge of the British government.

Johnny infers that Baron wanted him to make the report public, but MI5 officer Jill Tankard (Judy Davis) disagrees with this course of action. Tankard is working directly for the Prime Minister, who wants the report buried. The Prime Minister also promotes the Home Secretary to Deputy Prime Minister in order to buy her silence about the report. Johnny later discovers that Tankard has been using her son to keep tabs on Johnny.

Meanwhile, Johnny gets to know his neighbor Nancy Pierpan (Rachel Weisz), whose brother was killed by the Israeli Army with the help of an MI5 agent. The audience is left guessing about the exact nature of the relationship between them, although it seems as if it is staged. Furthermore, it is clear that MI5 is monitoring their conversations.

Johnny is eventually forced to leave his job in order discover the truth about the report. He disappears, leaving a painting with Nancy. She later hears a news broadcast announcing that the British government knew about the circumstances of her brother's death. She knows that Johnny has leaked the information to the press and realizes that the painting Johnny left her is a clue to his whereabouts.

"Page Eight" explores the distrust that typically exists between the public and politicians. It does this by looking past the headlines on torture and prisons that were especially common when the film was made. Most films in this genre include car chases, explosions, shoot-outs, and assassinations. Hare keeps this film firmly grounded in the real world, so the characters only resort to violence when all else fails.

Hare does not fill the script with light banter or use any lines containing real warmth. The carefully stylized nature of the film means that it carries little emotional content. This is most apparent when Johnny critiques his daughter's painting. Many directors would use this scene to illustrate the bond between father and daughter, but Johnny describes the painting as if he were a professional art critic.

The acting in "Page Eight" is consistently excellent, especially that of Fiennes as the despicable Prime Minister. The ideas in the film are complex, and do not underestimate the viewer's intelligence. The cast members clearly enjoy the subtle dialogue and direction of the film, although many moviegoers will be accustomed to films with faster pacing.

This film has two primary story lines that mingle together as the film moves forward. Two of the subplots revolve around the Israeli-Palestinian conflict and Nancy's brother. The first main story line is about Johnny's personal life, which is almost nonexistent due to his inability to trust anyone. For example, he is extremely suspicious when Nancy shows an interest in him. This prevents the relationship from developing into a romance, and instead restricts it to a mutual friendship.

Johnny's inability to express himself with any emotion ensures that he is unlikely ever to fall in love. His relationship with Nancy is primarily based on a fondness for arts and culture. Johnny's least serious relationship is with Baron, who teases him affectionately.

The other story line in "Page Eight" follows Johnny's professional life as he deals with the possibility of the Americans extracting information through torture. This part of the film shows that the torture itself is not as alarming as the fact that it has been officially acknowledged. "Page Eight" shows a government plunging into moral bankruptcy, as Johnny tries not to fall in line with this thinking. Johnny must remain grounded while resisting the pressure of the bureaucracy around him.

Watch the trailer for "Page Eight" here. Rating: 4 out of 5. Providing useful articles, reviews and writings on movies and films online.

What Makes a Good Sci-Fi Movie?

Each year, a handful of movies are released bearing the sci-fi label in the hope that they will find their place among the best sci-fi films of all time. The problem that many of these films share, however, is their deep misunderstanding of what sci-fi really is and how it works to create a great movie. Although most movies that reach the distinction of being the best are older, classic films, several modern movies have made the leap as well. A closer look at these films can help to illustrate the criteria for a good sci-fi movie.

Easily Explained Technology

Despite the elaborate machines, ships or robots used in sci-fi films, an important element for a good sci-fi movie is how easily the technology can be explained. "Avatar" (2009), for example, took a ship full of people to a new planet and placed those people into alien bodies. Sounds complex, doesn't it? The greatness and popularity of the film "Avatar" lies in the ease with which the technology can be explained. By the time the ship lands on Pandora and the main character (Jake Sully, played by Sam Worthington) is thrust into the alien land in the body of an alien, the audience has fully understood how all of this technology works. In fact, the explanation comes so easily that it is fitted seamlessly into Jake's training. The audience never has to face an information overload. Therefore, a good sci-fi movie must let the audience in on how the technology used works, no matter how complex it may be.

Characters to Care About

Technology, however, is not the sole focus of a movie. A good sci-fi flick still has to worry about character development and likeability. Having characters that the audience can care about is another way that filmmakers can help dole out the explanation of the technology. However, the characters and their part in the plot should always stand on their own merits.

A good example of a sci-fi movie with very likeable characters is "Independence Day" (1996). The film is full of stars, including Will Smith, Jeff Goldblum and Bill Pullman. From the drunken pilot who dries out long enough to protect the nation, to the President of the United States who straps into a jet to help save his country, there are several characters to love. By the time that the President, played by Pullman, gave his rallying speech to the public, audiences in theaters were thoroughly riveted and rooting for this world fighting against alien invaders.

A Compelling Story

The story is often the reason that audiences are drawn to the movie initially. The film may have cool graphics, slick technology and great actors, but if a sci-fi flick lacks a compelling story, it will surely fail. A good modern example of a film with a compelling story is "District 9" (2009). This film is built on the premise that aliens have landed on earth, but that instead of taking over, they have become a second class of citizen. This was a new concept that audiences flocked to the theaters to see. What was initially billed as an alien colonization story quickly became a tale of discrimination, set in the future of what is supposed to be a discrimination-free world.

Keeping with the Rules of Science

Keeping with scientific rules is also important. In some cases it is acceptable to break the rules of science, but the film must have an explanation for doing so, and must also share that explanation with the audience. Otherwise, breaking an essential rule could break the film before it is widely released. A film that went against this was "Red Planet" (2000), a film that had actors roaming around the planet Mars for much of the film before they realized that their own technology allowed for breathing the Martian air. The scientists in the film also botch basic DNA strand sequences. In addition, they often use the wrong scientific terms to describe basic scientific items. For example, the scientist in the film calls the beetle-like creatures nematodes, which is a term to describe worm-like creatures.

In order to make a film that sci-fi audiences will enjoy watching, filmmakers must keep in mind these basic tenets of the genre. Sci-fi is fraught with opportunities for fantasy, but there are also limitations. Several successful movies have been built within these limits without sacrificing cinematic quality. There are definitely several sci-fi contenders in the works for next year. Providing useful articles, reviews and writings on movies and films online.

The Finest Hours Of Alfred Hitchcock, As Decreed By Us

Unfortunately for our leading meanie, his crimes come back to bite him when a victim's murder is blamed on her boyfriend - who proves his innocence the 'attempted murder' way. Don't try this at home, folks; two wrongs don't make a right.

Then there's Rope, cinematic proof that mates who think they're clever than you are like, really annoying. In this case, two men murder their pal just to prove their intellectual superiority - that's taking it a bit far if you ask us, but hey it's not our plot. Even worse, they then have a party for all their other mates with the dead guy stuffed in a chest.

Luckily, Jimmy Stewart is on hand to figure it all out using a couple of hats and a touch of movie magic. Ah! One of the first proper psychological thrillers and still one of the best.

Imagine something really, really scary. Like the most terrifying thing EVER. Chances are it's not a bunch of birds flapping around your head and threatening to poke your eyes out, but that just means you haven't yet seen The Birds. Hitchcock's avian mafiosos can blow up petrol stations, peck their way into houses and are the sole reason why we'll never set foot in a phone box again. Shudder.

1946's Shadow of a Doubt was Hitch's personal favourite of all his films, and it's really not hard to see why. The central performance by Joseph Cotton is uber-creepy, and this was the first film to set terror in the heart of a quaint suburban neighbourhood. Halloween, Scream and all the rest of them have a lot to thank this one for. And isn't 'Merry Widow Murderer' a cheerful term for serial killer?

Two men meet on a train. They're strangers, but you probably got that from the title of the movie being Strangers on a Train. Anyway, they agree to each kill a member of the opposite guy's family (because apparently they're annoying and that's the first thing you think of on meeting a stranger.) Cue murderousness, double crossing and a trip to the theme park you'll never forget.

Now we come to the masterwork. Vertigo, another Jimmy Stewart flick, is one of our favourite movies in the history of ever. Stewart is everyman no more - here he's cold, obsessed and kinda neurotic. We like it.

Plot-wise it's not that new: private detectives, body doubles, hoaxes and a man who wants his wife dead are all par for the course. But it's also one of Hitch's most personal movies - apparently the idea of remaking a woman in the image of one lost is related to Hitchcock's obsession with casting blondes who looked like Grace Kelly, who retired from acting in 1956 to become a princess. Isn't that sweet!

Oh yeah, and he made some movie called Psycho too. It's pretty good, you should probably go check it out. Providing articles, reviews and writings on movies online.

JJ Abrams' Lost Revolution

There may not have been a more compelling pilot on television than the initial episode of JJ Abrams' Lost. The first scenes of the airline disaster, played over and over from the points of view of the different characters, demonstrated the incredible tapestry of interwoven lives and connections at that single moment in time, and foreshadowed the way in which, throughout the series, the larger island story would be told.

Lost was simply made for DVR and internet technology as fans searched for and found connections left behind for them by the writers and directors. You did not just watch the show. You participated in it by scanning the background for information or comparing dialogue. Every episode was a source of clues in a world-wide puzzle contest.

I fear that Abram's newest offering, Revolution, created by Eric Kripke and currently on Monday nights on NBC, may suffer a similar activity for just the opposite reason. Revolution presents us with an alternate reality. The initial moments of the pilot episode jerk us immediately from the world in which we live, into a pre-Thomas Edison existence in which items using electricity have been rendered useless. Cars, planes, lights, televisions, computers - all of it fades to darkness. Then, after a pause to sell us car insurance or whatever, the story advances 15 years into the future. The United States government has fallen. Strong arm militia groups vie for control of their little piece of the country side. What population that has not killed itself trying to stay alive has huddled together in little xenophobic groups spattered about the countryside.

On the island in Lost, everything about the story could be controlled by the writers. Want a smoke monster? No problem. Want time travel? No problem. Move the entire island? Again no problem, because the framework of the laws associated with the island were entirely in the minds of the writers to be revealed, as needed, to the audience. We accepted the premise that we did not have complete information about the island so we allowed the story to take us where normally we would refuse to go.

Great pains have been taken in the first episodes of Revolution to inform the audience that the setting of the story begins, near our own time, in the United States of America - mostly in and around Chicago, Illinois. We see shots of a rundown Wrigley Field and Michigan Avenue as our heroes trek from an equally dismal and overgrown O'Hare airport.

And therein lies the problem. We know things about this world that the writers apparently do not. We see a small stockade in a suburban cul-de-sac with a few gardens of corn surrounded by countryside gone wild and we think, "What are these people eating?" I don't care if there is no electricity, 15 years implies that they might just have learned a little something about survival.

If they are resorting to being hunter-gatherers, then the little group would not be in permanent dwellings. Permanent dwellings imply food production and we do see some little gardens planted with corn. Now corn may indeed currently be the most significant crop in the country but, as Scientific American blogger Melissa C. Lott points out in this post from October 2011, only 20 percent of all the corn produced in the US is for human consumption, a quarter of which is for highly processed syrup. The other 80 percent is split between livestock feed and ethanol production. Besides, according to the USDA Nutrient Data Laboratory, as a staple, corn is a poorer cousin to wheat, containing less protein and fewer minerals. And considering we see no livestock, why do we see so much corn in the food supply?

Or should I say so little. In 1862, Congress passed the Homestead Act, giving an individual 160 acres of land as long as he lived on, and improved the property for five years. Much of the middle portion of our nation between the Mississippi River and the Rocky Mountains was placed under cultivation, to varying degrees of success, by men and animals plowing up these 160 acre tracts, all done without electricity. By all rights then, the little outpost we see at the end of the cul-de-sac should have been surrounded by 800-1000 acres of wheat, corn and livestock.

Then, just as in 1862, trains, with steam engines, using no electricity, could collect those crops and bring them to feed hungry people in the cities. And finally, between 1861 and 1865, the United States government transported hundreds of thousands of soldiers along rail lines, using steam locomotives to wage war and defeat a civil uprising, mostly without the use of the emerging electric telegraph. And let's take a close look at some of the equipment used to defeat that uprising. The catalyst for the action in Revolution is the death of Ben Matheson, the father of "Charlie" who is the heroine of the story. Ben is shot by a muzzle-loading rifle in an encounter with a local warlord's militia. The muzzle- loader appears to be standard issue amongst the soldiers. Assuming that the equipment of the militia represents the highest average available technology, it represents yet another serious failure of the eye-test of plausibility.

The modern muzzle-loader looks nothing like the guns Fess Parker carried playing Daniel Boone and Davy Crocket on television. But on Revolution, Monroe the warlord's soldiers appear to be carrying a weapon that looks very much like a Model 1842 Springfield caplock musket.

Why? What prevents the militia from all carrying a modern firearm? The caplock has all the component parts of a modern rifle. Earlier flintlock muskets used a flint and steel combination to ignite a small portion of powder which, in turn, ignited the gunpowder within the chamber forcing the bullet down the barrel and on to the target. But the caplock improved on that design, replacing the awkward flint and steel combination with a nipple that held a small cap containing fulminate of mercury. Yes, the caplock was a cap gun. The hammer struck the cap and the cap ignited the powder and shot the bullet. The process of firing this weapon uses up bullets, gunpowder and caps. A flintlock would use up bullets, powder and eventually, flints, which being rocks, are pretty readily available.

Creating caps, or primers, requires a chemical process involving the metals mercury or silver, combined with nitric acid, and in a technically reduced society it might make sense that they become scarce enough to force the flintlock's return as the typical firearm. However, the appearance of caplocks, not flintlocks, on the show, implies that there exist adequate supplies of gunpowder, bullets and caps.

So what is missing from a caplock that is contained in a modern firearm? Oddly enough, the only difference of consequence is the cartridge. Every muzzle loader takes the three individual component pieces - bullet, propellant (gunpowder), and ignition (cap or flint and steel) and places them together within the weapon. The brass cartridge brings the bullet, the propellant and the ignition primer together and holds them in readiness, separate from the weapon itself. When the cartridge is placed in the chamber and the gun is fired, the action which occurs at that time is essentially identical to the caplock, destroying the component pieces and leaving the empty casing.

But ironically, this is what the writers of Revolution have missed. The key item that has brought technology backward to the caplock in the story is in fact, the one item that is actually recyclable. Clean it up, replace the primer, pour in powder, press on a new bullet and you are ready to fire again. Technology has made the process easier certainly, but the lack of technology does not make it impossible, or even difficult.

And these are only a couple of problematic background points. What is being used for currency at the bar the group visits in Chicago? Where does the sugar come from for the bar's whiskey making operation? The list just keeps growing.

There are many good, alternate history stories where the authors seem to have actually done a little research. And when we read Harry Turtledove, or Orson Scott Card, we are swept along for the ride, amazed at the small moments in time that result in major swings of history's pendulum. Abrams and Kripke have failed to sweep us along with Revolution. Their blatant disregard for reality is overwhelming any possible chance for their story to become compelling.

My prime reason to watch, after the first ten minutes, was simply to find fault with it. What might have been another Lost is just lost. Providing useful articles, reviews and writings on movies and films online.

Movie Stars' Continuous Migration to TV

In 1988, when Dustin Hoffman won his second Oscar for his brilliant portrayal of an autistic savant in "Rain Man," few would have predicted that he would be starring in a television show later in his career. Big-name actors would never consider playing TV roles-ever. Yet, the list of top movie stars making their way to the small screen continues to grow each year. So what has caused this migratory pattern?

With the help of performers like Hoffman, television is no longer the stepchild for actors. It is attracting top talent because it has caught up with silver-screen movies in three broad categories-jobs, spending, and creativity. From all indications, TV intends to step up its competition for the stars.

The Unemployment Rate

Like all industries, filmmaking continues to seek more return on investment. Nowadays, there is less incentive for producers to undertake a film that showcases acting aptitude. The list of top box-office hits is filled with movies that rely on computer-generated effects to draw large audiences. In fact, we often lose sight of a movie star against a backdrop of alien invasions or catastrophic explosions. These movies are expensive to make and frequently divert money from other projects. In the end, the availability of big-screen acting jobs has diminished.

Movie blockbusters like "Transformers: Dark of the Moon" have deemphasized the need for top-drawer talent. The movie received three Oscar nominations for visual effects and sound, but none for acting. Although Shia LaBeouf did a credible job as lead character in the film, it's difficult to envision any actor winning an Academy Award playing that part. No matter how well it could have been written, the role would never supersede the action. For an accomplished actor like Hoffman, it's not a part that would demonstrate his far-reaching ability.

Television, on the other hand, has grown from three channels in the 1950s to hundreds of channels that need new shows to entice viewers. The cable and satellite TV concept has made it possible for commercial-supported and subscription channels to offer increased opportunities. It's true that reality TV has reduced the demand for actors. Nonetheless, premium content providers like HBO and Showtime have led the pack by developing challenging roles that appeal to the stars.

The Expenditures

Large movie-studio films used to command the roster of A-list actors. Making a fortune from one film was possible if you had name recognition. Television actors, by comparison, made paltry sums and probably had to work harder for their money.

But as television grew, so did its spending on film actors. Some felt it was just an experiment that would fail. Nevertheless, Charlie Sheen, who transitioned from Hollywood movies to the TV series "Two and a Half Men," earned millions of dollars per episode. Few movie stars made as much during the same time period.

Salaries, however, aren't the only issue. Television spending on all aspects of production has increased, which has pushed the quality of what it now offers. TV wasn't known for its lavish spending in 1988. Situation comedies like "The Cosby Show" and "Roseanne" were shot on limited sets, and many dramas like "L.A. Law" and "Matlock" didn't feature an abundance of outdoor scenes. The argument that TV was too small for pricey visuals could be made then. Large-screen TVs forced changes in that thinking, however. Viewers wanted better visual effects than what the original "Battlestar Galactica" series could provide in 1978. The updated version, which drew Academy Award nominee Edward James Olmos to the series lead in 2004, filled the bill.

The Freedom

Hollywood studios once had a corner on edgy material. In 1972, comedian George Carlin had a list of the seven words you can't say on television. That inventory remained intact two years later when Hoffman starred in "Lenny," the autobiography of another off-color comedian, Lenny Bruce.

Such a movie could have never shown to a TV audience in those days. Rewriting it to meet FCC standards would have been a disservice. But now Carlin's list is a memory of how things used to be on TV. Television pursues content without strict censorship. In addition, TV has strayed from its traditional good-and-evil characters. For example, the lead in the Showtime series "Dexter" is a serial killer. He is good in the eyes of viewers because he eliminates violent criminals who have slipped through the cracks of the legal system. It's a far cry from what television used to be, and many high-profile performers relish the change.

Conclusion

The theater box office no longer represents the only option for actors in search of profound or high-paying roles. The law of supply and demand applies. Because of that, the resettlement of big-time film stars to television is sure to continue. Providing useful articles, reviews and writings on movies and films online.

Tips for Online Video Production That People Will Get Talking

With the explosion of web video these days, you might also be thinking to upload your own content. We consider online videos as a different way to be entertained and get news. With the growing bandwidth, easy access to the means of production, and cheap storage, almost anyone can upload his/her video. However, be aware that with the enormous amount of videos that have been uploaded on the internet, there are millions of them which fail to capture their intended audience. In this article, we will tackle a number of tips in order to come up with a well-produced, entertaining and informative video. If you want a video which people will get people talking to, then, this article is for you.

Take the Time to Think about What You Want in Your Video

Before anything else, it might probably best if you outline what will happen in your video. Try to come up with an original concept in order for your content to stand out. This is the good thing about the internet. Here, you can express your imagination and you are your own creative force. Thus, sit down and come up with compelling characters as well as interesting situations for your video.

Recognizing the Medium of Your Video

As you write and prepare for your video production, be aware that the target length is five minutes or less. With that time period, you have to establish your beginning, middle and end of your video. Try to make your video as engaging as possible. Keep in mind as well that most people watch web videos alone and they often share this through social media. Thus, know the habits change between lone and group audiences.

Considering the Production Values

Meanwhile, there are a few basic things that should be considered when producing a web video. These might include simple things like getting the proper lighting and ensuring that all the dialogue can be heard. It is also important to make sure that the room tone matches. That means that everything should sound basically the same when you're cutting from one shot to another within one setting. If you already have a great script and good acting talent, you have to think of the decent production values as well. These things will set your video apart from thousands of your competitors.

So, those are just some of the simple tips that can help your original video off the ground. Hopefully, it will go out to the masses as well. On the other hand, you can also hire the services of a particular video production company to help your idea becomes a reality. Providing articles, reviews and writings on movies online.

What Film To Watch Tonight

So just in case you have haven't heard of it, Twitter is a recent addition to the Social Network spectrum which involves posting (or tweeting) small messages to a group of self proclaimed followers.

Twitter exploded specifically through the Arab uprisings and has become a de facto real time News source for many people. The thing that most interests me about this is that people are starting to ask questions of the Twitter-sphere like 'what film to watch #decisions' being a common one.

So what are people's real expectations of asking these questions?

Unlike Yahoo Answers Twitter is not a fan of people abusing the ability to direct posts to people who aren't followers however I am sure that Twitter users are not relying on their own followers for advice. I base this on the fact that during my research I have found that few people answer tweeted questions. Especially if the user has few followers and little notoriety in the Twitter field.

So are uses expecting random people to respond?

I did a test, I focused my research on the Twitter question posted above. I set up a small experiment where I build an automated Twitter personality who would search recent tweets for these questions 'what film to watch' and post back responses. The responses varied from simple film suggestions:

'What about The Godfather?'

To more complex responses such as suggesting multiple films:

'What about The Godfather or Scarface?'

And then on to more useful responses including links to popular sources of trailers and/or reviews to allow the user to click through to the relevant resource and find out more.

So what were the findings?

Well people's expectations fell into a few categories.

The first were tried and tested users of Twitter who exhibited large tweet counts, large following and follower counts who would ignore this message or worse report it as spam. These users were net contributors to Twitter. They would use Twitter as a social platform to advertise themselves and their own thoughts.

The second were more moderate users of Twitter who exhibited small tweet counts and small follower counts but perhaps large following counts. These users would be grateful for the answer since they shows signs of being a net beneficiary from Twitter. They would use Twitter as an information source, be likely to subscribe to News websites and other information sources. These users were more likely to retweet the response or even respond back.

So in conclusion I found that Twitter is full of contributors and beneficiaries. Depending on the context people's attitudes to anonymous responses would differ. Is this something Twitter should considering in their Social Network model? What do you think? Providing useful articles, reviews and writings on movies and films online.

Auf Wiedersehen Pet Series 1

In 1983, a TV show was shown on ITV, that could have been a huge hit or a ratings disaster. Thankfully for all involved, Auf Wiedersehen Pet was a huge hit for viewers and critics alike.

The UK in the late 1970's and early 1980's was a place of national strikes and huge unemployment, especially in places such as the North East. Franc Roddam the creator of the show, came up with the idea, when on returning to his home town of Norton, Stockton on Tees, found that many of his friends in the construction trade had gone to work in Germany.

Franc Roddam created the series, and worked with the brilliant writing team of Ian la Frenais and Dick Clement, who had also written for shows such as The Likely Lads and Porridge. Six episodes were written, and then the rest of the series was written around the characters, as we watched them fall in and out of love, get into fights and also find some of them back in the UK unexpectedly.

The series was a huge success, and not only down to the great writing and superb performances of the cast. The series made huge names out of Jimmy Nail, Tim Spall, Tim Healy, Kevin Whately, Pat Roach and Gary Holton.

Viewers were drawn to the reality of what they were seeing on screen, and because of what was happening at that time in the UK, it was almost like watching a documentary for many people. The series struck a chord, and still does almost 30 years on from when it was first shown on British TV.

The series revolved around a group of seven men. Four bricklayers, a carpenter, a plasterer and an electrician. The timing of the show was perfect, and to think that this type of show would be such a hit in this modern world we live in, probably not.

The series was shown on ITV from the 11th of November 1983, through to the 10th of February 1984. Viewing figures for the first series were an average of 10 million, but this would almost double for the second series when that was aired in 1986.

There were many comparisons made to this first series, with many commenting on how it was very much like watching a WW2 film, as the lads all lived in a blue wooden hut on site. This was what made the series real and gritty, and the writers and creator knew how to connect with the British public at a time when there was nothing to look forward to, except rising unemployment figures. Providing articles, reviews and writings on movies online.

Movie Review: Prometheus (2012)

Director Ridley Scott originally intended on creating a prequel to his film Alien, but when the script writing began, he realized the wealth of material presented warranted its own separate tale (still set in the same universe, however). Such an undertaking led to copious speculation and extremely high expectations from fans for what would eventually become Prometheus. Yet for a film that supposedly merited severance from becoming a direct Alien precursor, the sequence of events in Prometheus are strikingly close to that of Scott's prior effort. In fact, certain segments seem designed specifically as a counterpart to the iconic moments now cemented in cinematic history. Unfortunately, none of these scenes come close to the shocking brilliance of those found in Alien, and while the atmospheric sets, awe-inspiring practical effects, and competent acting are present as they should be, don't expect to find the answers you're looking for - in either the notorious beasts' origins or the countless new questions raised that Scott clearly feels are better left unanswered.

When scientists Elizabeth Shaw (Noomi Rapace) and Charlie Holloway (Logan Marshall-Green) discover clues on Earth that point to possible "engineers" of mankind, they partner with the powerful Weyland Corporation to launch an expedition into space to make contact with their creators. Governed by Weyland's stern attaché Meredith Vickers (Charlize Theron) and accompanied by geologists, mercenaries, and the cryptic android David (Michael Fassbender), the crew of the spaceship Prometheus is instructed not to interact with any life forms they may encounter. But once the group reaches their destination of the moon LV-233 and discovers the remains of the beings they set out to find, avoiding exposure becomes impossible. As a deadly infection rapidly spreads and mysterious creatures begin attacking the crew, Elizabeth realizes the horrifying truth and must fight for her own life as well as the very fate of mankind.

The usually capable director has bitten off a bit more than he could chew with Prometheus, which attempts at different moments to be a great many things. Expectations are particularly high, since Scott became famous for Alien in 1979, and this film marks his return to the genre. At the beginning, he ventures into contemplating alternatives to the evolution of humankind with predominantly science-fiction philosophies; in the middle, he explores favorite themes such as the assault on feeble human flesh, the invasion of orifices, and genetic mutation - essential elements of gore for the sake of horror; and toward the conclusion, he opts for action-oriented thrills, packed with impressive CG wizardry and massive destruction. Each shift in genre disorients the story from having a clear vision, and the result is a mess of unresolved ideas and poorly defined beings (especially regarding the capabilities and function of the Engineers, their cargo, and subsequent anomalies).

Brandywine Productions, David Giler and Walter Hill as producers, the title font, notations of "LV_223," talk of company jobs, an android, a monstrous ship full of lonely corridors, hypersleep sickness, hidden agendas, sabotage, H.R. Giger's artwork, and advanced technology all harken the return of a familiar atmosphere. But while the environment, heaped with humidity, high-pitched noises, black muck, and slithery critters, remains reminiscent of Scott's original masterpiece, the plot progresses slowly and formulaically. A crew awakes from hypersleep, a bypass surgery medical pod is inspected, Jackson claims he's there for security purposes and brandishes weaponry, ship and helmet cameras feed crackling, static-filled transmissions, allochthonous walls glisten with slime, and an unsuccessful quarantine allows something to be brought back aboard the command ship. None of it is notably original and the sense of foreboding and foreshadowing is jeeringly blatant. Suspense arrives too late, horror is handled clumsily, and the poignancy of physical pain, understanding the purpose of the structures, and digesting answers to the mysteries of life is sorely neglected. The "space jockey" creation from Alien sparked an interesting question of origin and ancestry, but the solution is mightily underwhelming.

- The Massie Twins (GoneWithTheTwins.com) Providing articles, reviews and writings on movies online.

Snow White and the Huntsman Movie Review

If you're unfamiliar with my movie reviews, here's the way it works: I go check out the latest movie everyone is talking about, drink an astonishing amount of diet soda, and then report back to you, looking for as many things to make fun of as this space allows, while trying to strike a balance with the positive highlights. Welcome. Let's get started.

THE GOOD: What we have here is an attempt at taking the most mild-mannered and somewhat pathetic princess in history, and giving her a backbone. This is not your childhood fairy tale version, with whistling dwarves and a helpless girl in a dress, running around with her hand over her mouth, always looking surprised. It's a much darker and creepier scene playing out, which frankly adds to the appeal in my opinion.

Left motherless as a small child, Snow White (played by Kristin Stewart) has to adjust to life with her stepmother Raveena (Charlize Theron) who is the epitome of the word, "self absorbed". When it becomes clear that Mommy Dearest has nothing good in store for her, Snow White escapes into the forest where she encounters all sorts of creepy things brought on by hallucinogenic spores, and where she also first meets the Huntsman (Chris Hemsworth), who is somewhat a nice hallucination of sorts himself. Sent to kill her, the Huntsman is faced with the decision of serving the wicked Queen, or helping Snow White escape. And as the bad boy he is, you can imagine what he chooses to do.

There were a lot of positive's in this film for me - the visual effects were stunning, and Charlize Theron is so terrifying as the Queen that I found myself considering ways to make myself less attractive so I wouldn't risk encountering her soul sucking vanity. I even have to admit that Kristin Stewart, who I am not particularly impressed with as an actress, was perfect for the role - not only because it required very little facial expression, but because THIS Snow White isn't exactly "girly" - and let's face it, Ms. Stewart has never been known for acting ladylike. And to round things out, Chris Hemsworth with a Scottish accent is the stuff dreams are made of. Thank you.

THE BAD: I mentioned previously that there were no whistling dwarves in this version, but rest assured that dwarves ARE present and accounted for - they just aren't particularly cute and snuggly little buggers. I didn't mind the fact that they were all a little rough looking, but I found myself completely unable to understand what they were saying from time to time. I'm still not sure if it was the British accents or if they were all, in fact, a bunch of mumblers.

THE UGLY: There was certainly no shortage of icky things to see in this movie: Stabbings, internal organ removals, and the Queen eating the still warm heart of a dead animal to name a few. Still, when you are faced with the glaring possibility that the Queen and her weirdo brother seem to have some sort of incestuous thing going on, all else pales in comparison. I don't have a brother, but if I did, I'd like to think that he wouldn't feel the need to watch me take a bath, nor would I feel inclined to chat it up with him as I step into a giant pool of milk. But that's just how I roll.

Bottom line, if you like your fairy tales on the darker side, with the fair maiden being less "helpless" and more "ragged mess", then this is the version for you.

The Trophy Wife gives this movie 4 trophies.

Snow White and the Huntsman has a running time of 127 minutes and is rated PG-13 for intense sequences of violence and action, and brief sensuality. (No F words used) Providing articles, reviews and writings on movies online.

Bill Cunningham New York

The best documentaries are the ones that leave you feeling like you've had a religious experience - that you've either just encountered a holy person or experienced a conversion to some new cause or idea that had been previously unexplored. The best documentaries transcend the subject matter and touch another place altogether - that spiritual place. And so it is with Bill Cunningham New York, a delightful documentary directed by Richard Press about the octogenarian New York Times photojournalist who comes across as a monastic figure whose sanctuary is couture.

Prior to seeing the picture, I didn't know Bill Cunningham's work, but being a longtime reader of the New York Times, I was aware of his street photos, which have been a regular feature in the Style section for over thirty years, and the tension between ubiquity (he's a respected sage in the fashion industry) and anonymity (he's a discreet man who shuns the spotlight and money in order to enjoy guiltless freedom in what he does) is at the core of the movie and the man.

Cunningham was born and raised in Boston, and retains the distinctive accent where Central Park becomes Central Pahk. After dropping out of Harvard, he moved to New York, where an uncle who worked for Bonwit Teller, the high-end department store, took him in and got him a job as a stock boy. Cunningham's interest in fashion worried his family, who no-doubt feared that he was gay. Finally, tiring of his family's pressure to get a "straight" job, Cunningham moved out of his uncle's place in 1949 and found an empty space on East 52nd street where he set up a hat shop and designed under the name William J.

After a hitch in the army, Cunningham came back to New York where he began his career in journalism. He got on with Women's Wear Daily, and was given carte blanche to write about whatever interested him. When WWD wouldn't publish a piece he'd written about Courreges, the French designer, he quit.

In the 60's, Cunningham worked for the Chicago Tribune in their New York office. In 1966, he met a photographer named David Montgomery. When Cunningham expressed an interest in taking pictures, Montgomery gave him an Olympus Pen-D half frame camera and told him to use it like a notebook. Thus equipped, he entered a new phase of his career.

Cunningham took Montgomery's advice to heart, and it was during this time, as he was getting acquainted with the camera, that he had an epiphany. He wrote about this moment in a 2002 piece for the Times - "I realized that you didn't know anything unless you photographed the shows and the street, to see how people interpreted what designers hoped they would buy. I realized that the street was the missing ingredient." That realization, that the street was where fashion was worked out, led to an obsession with the streets of Manhattan, which became a kind of laboratory for Cunningham, who documented the daily fashion experiments, looking for patterns.

In the 70's, Cunningham started taking photographs for the Times, but it wasn't until 1978 - after a chance encounter with Greta Garbo and a nutria coat she was wearing - that he landed his current gig, covering the streets and the galas and the shows - the Bill Cunningham holy trinity of fashion.

Bill Cunningham New York is a mixture of talking head interviews, decades old archival footage of Cunningham, and present day coverage of the man on his daily rounds. Amazingly, Cunningham - nearly 80 at the filming of the picture - still gets around Manhattan on his trademark bicycle, moving from street corner to street corner to capture a few frames of some article of clothing or an accessory that catches his eye.

The man who emerges from all of this attention is a purist completely uninterested in industry politics, self-promotion, or celebrity. For him, it's all about the clothes...of others. Cunningham lives a Spartan existence. His apartment is a tiny studio at Carnegie Hall that has no kitchen or bathroom (he showers and takes care of other business in a common bathroom in the hallway). He sleeps on a makeshift cot. The rest of the living space is occupied not with furniture and art, but filing cabinets filled with prints and negatives - his experiments.

Cunningham dresses conservatively, and could easily be mistaken for a retired professor or accountant but for his trademark blue smock. Some years ago, he stumbled across the smock - designed for institutional use - in a department store section devoted to uniforms. It's a light jacket that Cunningham favors for its many pockets (to hold film and other paraphernalia) and rugged construction (his camera, which dangles from his neck like a giant medallion, is hell on coats). It looks like something Chairman Mao might have favored.

Cunningham has stripped his life down to the essentials so that he can devote as much of himself as possible to the documentation of what people are wearing. He's that rare person who, early on, discovered his calling, and has let nothing distract him from it. Seeing him at Carnegie Hall Towers, once can't help but view him as a kind of secular monk and Carnegie Hall as his monastery. Cunningham and his elderly neighbors, nearly forgotten artists from the mid-twentieth century, are as delightfully anachronistic as an encounter with a Franciscan monk or the Amish.

The difference with Cunningham is that, though he may not be of the world, he's definitely in the world. We see him in the offices of the Times, playfully bantering with co-workers. We see him in Paris at a major show, where a young gate-keeper keeps in out on the sidewalk until an older co-worker pushes her aside, declaring Cunningham to be "the most important man on earth." We see him on the street, dialed in like method actor or ballplayer, looking for that thing.

Bill Cunningham New York has blown the cover of its subject, but his loss of anonymity is our great gain. Providing articles, reviews and writings on movies online.

3 Latest Movies Filmed on Location in South Africa

South Africa has been a prime location for film productions for years now, but it is still a novelty to find an international movie or major TV series actually set on the streets of Cape Town or Johannesburg. So it was with great excitement that South African movie goers greeted the release of Safe House earlier this year, and that is not the only movie to be filmed on location in Cape Town recently.

Safe House - This blockbuster box office hit stars Denzel Washington and Ryan Reynolds and was filmed on location in and around Cape Town. The story of a young CIA agent on the run as he tries to look after a fugitive in a safe house gives lots of scope to the Mother City as a setting. Capetonians get extra thrills from location spotting of their familiar streets and mountain, but from the fact that it scored a huge $40.2 m in its first weekend after release it went down a storm everywhere else in the world too.

Chronicle - Here Cape Town is doubling for Seattle, as three teenagers with supernatural powers find their lives spiralling out of control. The sci-fi thriller is filmed as if it were found-footage put together from video recordings. As well as being filmed on location in the streets of Cape Town, the production used sets constructed on a film studio stage at Cape Town Film Studios. Left hand drive cars were shipped in especially for the production and ingenious special effects produced to show the effects of the heroes' telekinetic powers crushing a car.

Dark Tide is another 2012 release filmed on location in and around Cape Town. This harnesses the power and drama of the ocean as Halle Berry stars as a diving instructor who returns to work in deep waters after an almost fatal encounter with a shark. The crew shot on a small boat with real great white sharks in False Bay. The studio filming in an underwater tank was completed at Pinewood Studios in the UK. The film was released in March 2012 and didn't get very good critical reviews, either for the plot or for the acting, but everyone agrees that the scenery is stunning, as you would expect for any movie filmed with the Cape Peninsula as a backdrop.

And something else to watch out for, though not yet released, is the third TV series of military drama Strike Back, which was filmed in various locations in South Africa earlier this year. Providing articles, reviews and writings on movies online.

The Evolution Will Be Televised: 60 Years Later And We're Still Watching TV

It's impossible to explain to our children just how much the world has truly changed since you or I were kids. They experience movies and radio with only the most peripheral of differences than we did - most of which involve cosmetic improvements and frequency of access. Television, however, has made phenomenal leaps and bounds. It's as if we were driving horse and buggies while they've been handed flying cars.

During its prime, the television - feared by many as the device that would put an end to the need for radio - was a financial investment tantamount to buying a house, a vehicle, or kitchen appliance. It wasn't just an LCD or plasma screen propped up on a bookshelf like a photograph in a frame. It was a massive piece of furniture. Called a television 'set', it contained elements borrowed from radio systems for audio, a small electric motor, a spinning disc, a group of glass tubes to convert power, a gelatin-based vacuum tube to project an image, and a wooden cabinet to house it in. Over time record players and actual radios were added to the cabinet which constituted the first self-contained entertainment 'unit'.

It was Lo-Fi mono audio, the pictures were in black and white, and you required an antenna to 'catch' broadcast signals from the local network carriers - up to 12 of them (the #1 on the television's manual 'dial' was for emergency broadcasts only). There was no remote control. That dial had to be cranked by hand and a list of TV shows was printed in a book you bought at the supermarket every week called a 'TV Guide'. The networks would start broadcasting at 6 AM and 'sign-off' at midnight following the evening news. They'd go dark after the performance of a canned version of the national anthem before being replaced by a test pattern - featuring the feathered head of a politically incorrect drawing of a Native North American. Though television now can still be a major financial consideration, it's because the TV is the size of a sheet of GypRoc and is mounted on your wall like artwork. It's a precision device projecting thousands of pixels per square inch in 4,000,000 colours with up to 7.1 surround sound audio and high definition visuals streamed into your house through a cable no thicker than a piece of licorice. No more antennas. No more manual dialing through 500 channels instead of 12. Television networks rarely ever go off the air - it cost them too much money to be dark from midnight to 6AM. Television is now 24 hours/365 days of the year. And, yet, there's less on TV now than when I was growing up. Certainly less quality entertainment at any rate.

Because there was less airtime - most certainly for children who attended school - we were limited to an hour or so before heading out in the morning and after school was broken up between home-work, playing outside until dinner, and playing outside until dark. We really only watched TV for less than three hours on a weekday. When you include the time spent doing same on weekends between the times Mom and Dad had other plans for us cleaning our rooms, playing board games, shopping, visiting family, we may have only caught TV a few more hours Saturday or Sunday. And according to the good folks at 'Morals R Us' these hours were eating our brains.

They may have been right. When I add up the hours of television available to me they seem disproportionate to the unending number of things I remember watching. School days started with a kids' variety program called 'Rocket Ship 7' hosted by Dave Thomas out of WKBW-TV in Buffalo (interesting trivia note: he is the father of 'Angel'/'Bones' TV actor David Boreanaz). Like similar shows being broadcast in that era on stations all across North America, the show featured skits, birthday greetings, puppets, a talking robot, and the latest, cheaply licensed kids fair. We watched the Christian-based 'Davy & Goliath' and 'Gumby' stop motion animation shows, Looney Tunes, Merry Melodies, 'Popeye', 'The World of Oz' and occasionally 'The Three Stooges' and 'Little Rascals' shorts.

When we came home for lunch it was a revolving world on either CHCH (out of Hamilton) or CTV (out of Toronto). I recall catching 'The Flintstones', 'Rocket Robin Hood' and any number of Canadian made game shows starring host Jim Perry - most notably 'Eye Bet' and 'Definition' - as well as a Canadian children's variety show called 'The Uncle Bobby Show' featuring a cardigan wearing old Brit. After school there was a juggling act of homework, outdoor activities or watching another children's variety show called 'Commander Tom' which was the afternoon version of 'Rocket Ship 7' featuring most of the same shows though they also included longer programming with 'The Addams Family', 'The Munsters' and 'Batman'.

Saturdays were a barnstorm of Hanna-Barbara cartoons and live-action children's shows like 'Scooby-Doo', 'Hilarious House of Frightenstein', 'H.R. Puffenstuff', 'Liddyville', 'Get Smart', 'The Hudson Brothers' Razzle Dazzle Show', 'The Powder Puff Derby', 'The Monkees', 'Gidget', 'The Brady Bunch', 'Gilligan's Island', 'The Wacky Races', and more Looney Tunes and Merry Melodies than we could ingest.

Evenings brought us sitcoms and dramas: 'Party Game', 'Mary Tyler Moore', 'The Carol Burnett Show', 'The Trouble With Tracy', 'Starsky & Hutch', 'Love Boat', 'Sanford & Sons', 'All In The Family', 'Love American Style', 'The Dick Van Dyke Show', 'Bewitched', 'The Dean Martin Roast', 'Streets of San Francisco', and, of course the national standard - 'Hockey Night In Canada' on Saturday nights. Sunday was a bit of a drag with mornings filled with religious programming but we usually caught the weekly 'Movie For A Sunday Afternoon', 'The Wonderful World of Disney', and 'Mutual of Omaha's Wild Kingdom'.

Today, TV's need to fill 24 hours worth of programming - paid or created - means an assembly line of reality based shows, repeats of expensive dramas and syndicated shows from our near past (rather than our distant past... something we have to pay extra for on another set of cable channels). I love having more choices now, but I hunger for the shows that defined my childhood - even if some of them were cheesy as hell and barely hold up to repeat viewings.

But I don't yearn for them - only the way they made me feel. I still watch television as a respite from writing and dealing with the maddening battle to make a living as a hungry parasite on the back of the entertainment juggernaut. There are still good shows out there depending on your tastes. My current favourites are a mixed bag of sci-fi, sitcoms and reality shows:

1) Mike & Molly
Premise: Two middle class working stiffs - a school teacher played by Melissa McCarthy ('Bridesmaids') and a Chicago patrol cop played by stand-up comedian Billy Gardell - find each other at an over-eaters anonymous meeting where they soon realize they're too set in their ways to ever stop eating and decide to make the best of it together.

McCarthy and Gardell have great chemistry together as his oafish character completely misunderstands every situation which leads to some socially awkward encounters. It's 'King of Queens' without the angst. There's also a little bit of Honeymooners magic in this one as Gardell and his cop sidekick Carl, played by Reno Wilson, spend their time plotting one ridiculous idea after the other in an effort to get Wilson's character a date - without him screwing it up because he's a self-centred, loudmouthed Mama's boy that lives with his grandmother. This past season Mike & Molly were planning a wedding while Carl falls in love with an opthomologist played by Holly Robinson Peete (ex-21 Jump Street). The supporting cast of regulars is outstanding - especially Molly's over-sexed, widowed, party-packing mother played by Swoosie Kurtz, the local Rastafarian restaurant owner that Mike & Carl take advantage of every episode played by Nyambi Nyambi, and Mike's bigoted, self-loathing divorced mother played by the brilliant Rondi Reed (the therapist on 'Roseanne'). Light-hearted and giggle funny all around.

2) Two And A Half-Men 2.0
Premise: Ashton Kutcher's billionaire software developing Playboy philanthropist takes over Charlie Sheen's former haunt as the headmaster of a beach-front hedonism house still occupied by the free-loading Alan Harper played by the ubiquitous Jon Cryer and his idiot savant son Jake played by Angus T. Jones.

This reboot of the series - about to roll into its 10th season - should have died on the operating table when Chuck Lorre excised the tumour that was Charlie Sheen and had his character killed in the show. But something magical has happened. This is a quieter and gentler "Two And A Half Men". Where Cryer and Sheen had worked in tandem to pump up each week's level of debauchery, humiliation and gross outs, Kutcher plays it straight as a level headed businessman trying to navigate his way around a new relationship with a divorcee while his ex-wife attempts to both destroy his billion dollar company and his manhood. Cryer's character, meanwhile, spends every waking hour trying to stay relevant enough that Kutcher doesn't boot him out of the house and onto the street. There's enough of the old show still in check as Cryer continues to winnow on about being regular, masturbating, and dealing with his mother - still played with Cruella DeVille aplomb by Holland Taylor - who has just entered into a new senior citizen phase of her life as the lesbian lover of Georgia Engel (of 'Mary Tyler Moore' fame). No more prostitutes and parties for this show. Just First World problems for the crew from here on in.

3) Continuum
Premise: North America has become incorporated as big business takes over the running of government. In 2076 a civilian terrorist organization begins assassinating key players in this new world order. After being caught and sentenced to an execution, they manage a remarkable escape - 60 years into the past. Their plan is to begin dismantling the future by preventing it in the past. Alas, a fly in their ointment is a bulldog by-the-book cop played by Rachel Nichols ('Star Trek' the reboot; 'Amityville Horror' the reboot) who gets dragged into the time machine against her will and must now track down the terrorists and bring them to justice.

This is 'The Sarah Connor Chronicles' gone sideways. Nichols' character, Keira, is a fish deeply out of water and her only allies in this Brave Old World are another detective - played by the brooding hunk Victor Webster - and a 17 year old kid (played by teen sensation Erik Knudson) who built the network infrastructure and technology that would one day run the world from which Keira has just been torn from. She has lost her family and still has to find the strength to bring these criminals to their knees. But things are not as black and white as they seem. We're two episodes in and tension is mounting as the lines are becoming blurry as to whether Keira's fighting on the right side or the wrong side of the terrorist cause. Only time will tell. Bonus points for the show being set and identified as Vancouver in the show; a time traveling cop show that's not set in New York, Chicago or Los Angeles. Yay! The city's locale also takes great advantage of casting availability as many former 'Stargate' alumni co-star including Lexa Doig and Tony Amandola (appearing at the Polaris convention in Toronto this summer) plus former X-Files 'Cancer Man' William B. Davis as the 'future' version of Erik Knudson's Alec Sadler.

4) Last Man Standing
Premise: "Home Improvement" gets a 21st Century facelift as Tim Allen moves from Wisconsin to Colorado, runs a sporting goods store instead of a TV show, and has to raise three daughters instead of three sons.

Not much new territory for Allen as he continues his reign as the king of backyard, hot-rod loving cavemen. However, the ensemble cast makes the difference here with Nancy Travis ("So I Married An Axe Murderer") playing Allen's better half and the three daughters giving him obvious amounts of comedic grief. He tones down the stupid-husband premise (though he does crush a boat with a Sherman Tank in one episode) and becomes straight-man for the funny subplots with his family and co-workers. The show did an unprecedented 24 episodes in its first season and has been renewed for a second season. He's doing something right here, kids.

5) Two Broke Girls
Premise: A low-income waitress named Max (played by Kat Dennings) living in Brooklyn, New York befriends a fallen heiress named Caroline (played by Beth Behrs) whose father has lost the family fortune after his failed Bernie Madoff-like Ponzi scheme lands him in jail - and her with nothing but the clothes on her back and her favourite horse to show for it. The two become roommates and co-workers at a local restaurant but they dream of rising above their own poverty by starting a cupcake making business (you can't make this stuff up!)

Believe it or not this is a clever and witty 'buddy' show from the mind of failed comedienne Whitney Cummings (don't believe me? Just watch her own self-titled sitcom). The show is driven by the two lead actresses who act as a female version of The Odd Couple. Dennings' Max plays up the self-loathing, down-on-her luck underclass 'broad' while Behr's Caroline plays less Paris Hilton and more Reese Witherspoon's character in Legally Blonde. Max firmly believes her station in life will always be a lowly waitress while Caroline, who has tasted success, believes her business smarts and Max's cupcake making prowess will lead them out of the shadows of squalor. They attempt to co-exist in their obviously different approaches to life and hijinx ensue. The supporting cast is truly negligible as these young ladies steal every scene - except when the horse is on screen. Best line of the show so far from Max: "Hey, Equestrian Barbie... your horse has done the impossible. It smells worse than Brooklyn".

6) Saving Hope
Premise: An upwardly mobile surgeon - played by Michael Shanks (Stargate; and husband of Lexa Doig seen in 'Continuum') - and his soon-to-be surgeon wife played by Erica Durance (Smallville) find themselves caught in a life or death struggle as Shanks' Charlie Harris suffers a brain trauma in a car accident. As he sinks into a coma he finds himself having an out of body experience observing the hospital patrons as a third party. Shanks narrates the show as he watches the daily drama in the hospital and must also watch Durance's Alex Reid respond and cope with the possibility of losing her life partner while still having to keep her shit together so she can do her job. The staff, including an ex-boyfriend, rally around her. This might turn out to be the most awkward love triangle since "Ghost". It'll be interesting to see how this show can maintain premise's momentum before having to either kill Dr. Harris or revive him so that he can do the ghost whisperer thing from there on.

Returning shows:

7) Big Bang Theory - a group of nerdy friends, and a hot non-geek next door neighbour try to navigate the world of social interaction. Still one of the most intelligent sitcoms on TV. Bravo to Chuck Lorre for stunt casting his old 'Roseanne' acting buddies AND shoe-horning geek celebrities into the weekly plots. With Wil Wheaton (Star Trek: Next Generation) as a semi-regular there are plot possibilities galore [how about having him take Penny on a date... leaving Leonard in a jealous funk? Thereby putting Sheldon's new found friendship with Wheaton at jeopardy]. Adding the ladies to the plot has also been a welcome relief as there are only so many 'Babylon 5' jokes one can take (or even understand). But, Chuck... you gotta address the broken elevator in the apartment building. Why not make the celebrity guests pose as an elevator repairman every now and then? It worked for 'Frasier's weekly talk show callers...

8) Pawn Stars - Rick Harrison, Corey, the Old Man and Chumlee The Idiot run a Vegas pawn shop. You could not script a better 'reality show' than this redneck three ring circus set on the Vegas strip; People selling useless shit for cash and a dysfunctional family trying to deal with their own fame. It's television gold and makes the Antiques Roadshow... well... British and boring. Don't miss the spin-off show 'American Restoration' featuring one of the Pawn Star regulars. It's less of a soap opera, but the pop culture antiques that are rebuilt and brought back to life is the payoff at the end of every show.

9) Auction Hunters - forget Storage Wars, Storage Hunters, Pawnathon, American Pickers or Canadian Pickers. Those are all small potatoes. It's any wonder the people on them are even in business given how excited they get over finding things that only yield $100 or $200 margins after sale. The Auction Hunters duo has no time for penny ante crap. They're going to storage auctions and buying big ticket items: boats, tanks, cars, weapons, you name it. The best was the shark cage they found - which, upon demonstrating it to a potential buyer - plunged to the bottom of the ocean when it hit the water. A $15,000 deal turned into $500 worth of scrap metal. Their hauls usually net them tens of thousands in profits and sometimes they LOSE thousands. That's some reality show 'drama' I can get behind.

10) Hollywood Treasures - here's the ultimate in geek porn. Collectibles movie fan and self-made millionaire Joe Maddelena takes us on a pop culture safari every week in search of people who want to sell off their movie and television memorabillia usually in the form of props, costumes, vehicles and in the most recent episode: the entire District 12 village used in 'Hunger Games'. Joe and his team track down the most iconic of these objects, authenticate them then either buy them directly off the owners at bargain basement prices in cash or convince the owners to place them in auctions from which Maddelena's company get a percentage of the profit.

Episodes have featured the original Panavision camera George Lucas used to film the original Star Wars ($550,000), the cane that Jim Carrey used in 'Batman & Robin' ($12,500) and the Judy Garland ruby slippers used in The Wizard of Oz for close-ups ($2,000,000). Maddelena also hustled the on-screen stunt version of Bumble Bee, the Camero from 'Transformers' from a junkyard for $20,000 and turned it over to a collector for $40,000 cash. Check this out when it's on - not just eye candy, but some pretty cool behind-the-scenes trivia about the objects and their origins as well.

Though I miss the simplicity of TV from yesteryear, I do not miss the reruns - even if shows did have longer seasonal runs (usually 21 to 24 shows on average). To that end, modern TV viewing allows us the chance to PVR and watch at our leisure and many cable networks are finally learning that firing up new brands during the summer is proving to be a smart idea. I'll report back soon with more new series highlights as the summer TV season gears up. Providing articles, reviews and writings on movies online.

What Other Good Film Rental Websites Are There Like LOVEFiLM?

Part of the Amazon Group, LOVEFiLM appears to own the European stream and DVD rental market nowadays. Word on the street is that it has now over two million subscribers, renting over four million DVDs per month! Not to mention it's online streaming option "LOVEFiLM Instant!"

There are many different options to become a member of LOVEFiLM. First of all you can opt to just rent actual DVDs by post (no streaming). Secondly there is a sole online streaming option. Finally you can combine the two with several price options to suit even the most obsessed film fanatic (see resources below for info and free trials on LOVEFiLM and Netflix). So I wondered, what other websites are available that do a similar job to this one? Are there any that actually do a better job? Let's take a look at the alternatives.

Blink Box

I first took a look at the UK based Tesco owned company, Blink Box. I first of all noticed what could be a distinct advantage over LOVEFiLM, you don't need to pay a monthly subscription fee! When using Blink Box, you "pay per title" so you only have to fork out when you actually feel like watching something. This would definitely appeal to a casual film watcher. It also has a wealth of titles available, it seems maybe even more than LOVEFiLM in the online streaming department (boasts over ten thousand available). Some films are even free to watch, and prices to rent seem fairly reasonable. So far so good for my search! Blink box seems to offer a good alternative to people who wouldn't want to fork out every month just for a few movies. Let's move on and have a look at another website then.

Netflix

Netflix is another website that has similarities with LOVEFiLM. However the pricing model is a lot similar offering one flat subscription rate (£5.99 a month, one month free trial). It was founded in the US and has a massive amount of customers over there, boasting around $1.5 billion revenue in 2011. It is also currently smashing it in the European market and boasts to have over 100,000 titles on offer to watch online, from films to television series. In my opinion, for the shear number of titles available, Netflix beat LOVEFiLM hands down in terms of value for money.

So it seems there is more out there than just LOVEFiLM! For free trials in both Netflix and LOVEFiLM and to compare prices etc. Check out my resources! Cheers. Providing articles, reviews and writings on movies online.