“And Soon The Darkness” is a thriller action. The movie is directed by Marcos Efron and produced by Chris Clair, Karen Lauder, Lizzie Friedman  and Beborah Marcus. Starring Karl Urban, Odette Yustman and Amber Heard, the movie is expected to be a big hit at the box office. The story has been beautifully written by Marcus Efron and Jennifer Derwingson.  The movie is an excellent combination of Love, action and thriller.

And Soon The Darkness is a story of two best friends, who journey on a bike trip to Argentina. On their trip, they make some wonderful unforgettable memories. Stephanie and Ellie’s vacations could not retain their beauty till the end. As on fine morning both of them landed up into an argument after the long night of bar-hopping. Stephanie goes out alone to relax and cool herself and returned to see Ellie’s absence. Having known her friend well, she gets worried about her absence and starts looking for her. She goes door to door asking people, took help from the Police but nothing actually helped. The hunt for her friend is still on. The darkness starts here, as the hunt is no more a mere hunt, but a troublesome one. Before the night unfolds its darkness, it is important for Stephanie to find her friend.

During all this while of search for her friend, both Stephanie and Ellise goes through a lot of trauma. Where has Ellise vanished? Is she alright? Has she been kidnapped? IS she safe? Are the questions to be answered?  With no one to trust upon Stephanie is completely upset and worried about her friend. And soon the darkness, actually falls upon both the girls.

And Soon the darkness, is also a movie which shoes how young tourist girls are kidnapped and treated later. The music of the movie is given by Tomandandy.

With great mystery and suspense, this action thriller, “And Soon The Darkness”, will be released in United States in December, 2010 and Feburary 28, 2010 in the European market.

Those, interested in a good movie, must watch “And Soon the Darkness”.

‘How Do You Know’ is a new movie, which is scheduled to get release on the 17^th of December. The casting crew of the movie includes stars like Owen Wilson, Reese Witherspoon, Kathryn Hahn, Paul Rudd and Lenny Venito. The movie has been written and directed by James L. Brooks. The movie has been produced by Columbia Pictures and has been given an R rating owing to certain dialogues. The movie is being distributed by Sony Pictures. This movie is supposed to be an original screenplay by James L. Brooks, Who has previously directed Blockbuster films like Spanglish, The Simpsons and As Good as It Gets.

The film ‘How Do You Know’ tends to be a romantic comedy, which mainly focuses on Lisa Jorgenson’s love life. The character of Lisa Jorgenson has been played by Reese Witherspoon. Lisa Jorgenson is an extremely attractive looking, trained softball player, who is secretly loved by Paul Rudd and Owen Wilson. In this movie, Owen Wilson plays the role of an expert baseball pitcher while Paul Rudd enacts the character of a professional executive. Both of them feels madly attracted towards Lisa Jorgenson, which gives rise to a nice comedy.

The film ‘How Do You Know’ is a romantic movie, filled with comic elements. It is simple movie made for pure enjoyment. Reese Witherspoon is looking extremely glamorous throughout the movie. The other actors like Owen Wilson and Paul Rudd have portrayed their characters really well. James L. Brooks’s direction is also worth praising. The love triangle between the three characters is interesting and is quite enjoyable. The story of the film is entirely original and is not an adaptation of any other stories.

‘How Do You Know’ is one of those movies, which offers complete entertainment to the whole family. It is clean, simple lighthearted movie without any kind of plot intricacies. Since, the movie is being scheduled to release during the Christmas season, it is estimated to attract a sizeable crowd, especially the young group of people.

So, if you want to take a break from the usual sci-fi, horror, action and thriller movies then ‘How Do You Know’ will be the perfect option for you. 

From the director of Notting Hill and Venus, Roger Michell, Morning Glory released on November 10, 2010. The movie stars Rachel McAdams, Noah Bean, Jeff Goldblum and Harrison Ford. Even though the drama is described as a Romantic comedy, but truly speaking I do not remember how many times I laughed while watching it and how many romantic scenes there were in total .The movie has been produced by J.J. Abrams with the production house being “Bad Robot”.

The drama portrays a story of Becky Fuller (the role played by McAdams), who failed to achieve her life goal to become a producer of highest rated show named “Today”. This is when she decides to accept a lower paid position in a less popular morning news show – “Morning Glory”. Becky tries hard to improve ratings of her show by a number of means, but fails to do so and continuously in the later part of the movie, she seems struggling between her professional and personal life. Well, the question, which remains unanswered till the end is that- why Becky wanted to be a producer at all.

In spite of having a popular cast of popular actors, the whole attention of the audience is being taken up by McAdams. With her ability of understanding the need of character, she has justified it to a large extent. Well in true sense, that is what we can expect from ‘Sherlock Holmes’ actress, but surely other actors too performed their job well.

The best and positive part, which I found in the movie, is its theme. It tells how a person discovers his/her inner strength through the continuous struggle of life. Morning Glory is rated as PG-13 for some sexual content and drug references. It is worth watching for those, who want to see how life at journalism works.

While it is incorrect to describe any of the character as fully developed, but Morning Glory still deserves attention as – girls definitely like it and boys of course can bear it. And I really do not know how many of you will like the movie, but I am pretty sure that no one will hate it.

Possibly the worst film of the decade, Hot Tub Time Machine, which disturbing title says absolutely all, is a joke more vulgar than comic which returns four men in time. As if one of the grandsons of ED Wood had decided to mix Back to the Future, Bitter Moon and The Hangover.

The time travelling fascines right now on the big screen. Isn’t this the most fantastic idea, which makes it possible to transform dreams into the reality? It is what precisely arrives to four dead losses who have the impression to have missed their life. After the suicide attempt of Lou (Rob Corddry, recently seen in Taking Chances and Rogues Gallery), his friends Nick (Craig Robinson recently seen in Zack and Miri Make a Porno and Pineapple Express) Adam (John Cusack, recently seen in 2012) and Jacob (Clark Duke recently seen in Kick-Ass and Sex Drive) decide to isolate and ski. What is not their surprise to learn that their jacuzzi enables them to go back in 1986! Will they make the same choices or on the contrary try to change their life, which is likely to deteriorate the present?

The year 2010 is still young that already, Razzies have a serious candidate in Hot Tub Time Machine, a feature film which is as catastrophic as its premise. And even more still. Because the words can with difficulty describe this feeling of lassitude, these stupid gags, this infantile scatological humor and these indigestible improbabilities (how a board with snow can go back in time whereas it was not even in water?). As if the director Steve Pink (from which its precedent Accepted was however not execrable) wanted to compete with Uwe Boll like the worst author and scenario writer of the moment. A bet which gains high the hand.

Almost nothing is to be saved in this bad production, put aside the pleasant sound screen, which reveals little finally surprises (not brilliant classics like Bizarre Love Triangle like about all films?). The characters do not have any consistency and their concerns practically never interest. Could Rob Corddry be well the most unbearable individual in the cinema industry, John Cusack continues to waste his talent (after the large stew 2012 which does not seem so worse beside this turnip), and which Chevy Chase comes to make, him which seems straight left Pleasantville?

In the past, there were excellent works which treated return in the past, including fascinating titles by 12 Monkeys by Terry Gilliam and astonishing animation The Crossing of the Time by Mamoru Hosoda. Already that the starting idea was worthy of a short film of SPASM, the unambiguous treatment settles comfortably in the mediocrity, to come out from it never again. It is damage for the actors who do anything to pay their rent. And it is insulting for the public which decided to invest time and money in vain. One day or the other, it will rebel, and this moment risks arrived earlier than envisaged.

More than one decade after the triumph of Titanic, James Cameron turns over to the feature-length film of fiction with Avatar, a spectacular production of 300 million dollars where it to seek to create a new mythology thanks to fabulous special effects. Such an amount of money spent for finally almost nothing.

In 2154, the human ones try to control the Pandora planet which is populated by Na’vi which seeks to respect the balance of nature. Thanks to a leading-edge technology, a paraplegic navy American (Sam Worthington) can take the form of one of these inhabitants thanks to his misadventure in order to infiltrate them and to study them. During its mission, it is made involve by one of its valiant residents (Zoe Saldana) who makes him discover this place with the rich person possibilities. When the young man discovers that its superiors want to destroy the ecosystem and the elements in place, it will have to make a choice between respecting its allegiance with its race or helping its new family.

The cinema of James Cameron evolves/moves with his time. The threat is not external any more (terrorists of True Lies, icebergs of Titanic), but it is born at the human being where the warriors always do not listen to the scientists by wanting all to control and conquer. The foreigner is not drunk for any more of blood as in Aliens, it is blue and generally peaceful, in as much as it can live in peace, at the same time pointing out the Amerindians of Dances with Wolves who are helped by the good white man.

Times change and the cinema too. And not necessarily for best. The rumor emanates that there will be before and after Avatar. That would not even be surprising. In front of this monstrous entity, it is not even any more question of cinema, but well of video games. The forgery forever as much dominated truth in these roleplays inflated for the big screens which, ironically, comprise a scenario even meaner and rachitic that first “Final Fantasy” on the old Nintendo console, a series worship which is done largely copied with these flying vessels and these phantasmagoric animals.

It is not only. Behind almost each plan and each idea a loan, subtle is or not. A box (or a film as in The Matrix) has to only be disconnected to return on the dry land, there are large robots which point out those of the Transformers and the environmental load on the side of traditional of Miyazaki. However, in front of this speech to leave a moral is held of right-hand side. It does not matter the actions and the human consequences, nature will have the top. What good is it to seek to reduce pollution and to stop the war if the apocalypse – 2012 way but in less ridiculous and poor – has the last word?

The object however was designed to divert and on this side, he discharges his task suitably. The Pandora planet makes dream, the orchestral music of James Horner loosens well the various moments of bravery, the special effects are spectacular and the use of a technology in three dimensions does not encroach too much on the account. Though after 150 minutes of drives and redundant combat, it is easy to take down. Especially that contrary to preceding works of Cameron, humor completely was almost rejected, which is always damage for a work which is often with a finger to collapse in the B series.

The cinema is still affected by the first blockbusters of Steven Spielberg (Jaws, Raiders off the Lost Ark) and original trilogy of George Lucas celebrates it, constantly seeking to apply a receipt to crash to pieces the box office. In spite of its single universe and its many special effects, Star Wars remained terribly human, with its charismatic characters, its moral stakes and its intergalactic humor. On the contrary, Avatar sacrifices its history, psychology of its hero and charm to lose in dream to privilege action and visual masturbation, feelings strong and bombastic dialogs, which can only lead to too full with entertainment which finishes by become the same, especially that several continuations would be already in preparation. The feature-length film will be certainly a great success with the counter (as well better, it is more convincing all the same as 2012 or the last Twilight), except that it is far from having the ardor of a District 9 or all the other movies by James Cameron.

A multitude of known actors cross in Valentine’s Day, a choral film more surface than ambitious being windy the virtues of the Love. After that, one would not have to be surprised that more and more of people are sulky the festival of Cupid.

February 14th, the human being seeks to express its feelings by buying flowers and chocolate. There will be thus unions which will be created and others which will be demolished, of the couples which can only dispute, of the families which will find themselves and the heart which will be beating wildly, as much at the children, their parents and the elder ones.

Last year at the same time took the poster He’s Just Not That into You, a romantic comedy generally badly accommodated by the criticism which proved nice all the same and distracting. The history is repeated with a feature-length film even more useless and soporific made by Garry Marshall, the father of Pretty Women which vague still on this two decades old success. Because for has this time, done something of really interesting?

Here, all is a question of distribution: Julia Roberts, Anne Hathaway, Jamie Foxx, Shirley MacLaine, Jessica Biel, Jessica Alba, Ashton Kutcher, Emma Roberts, Bradley Cooper, Kathy Bates, Queen Latifah, Patrick Dempsey, Taylor Swift, etc. A gold casting in the skin of individuals in only one dimension. How could it be different when there are approximately 20 characters? Contrary to a Robert Altman or a Paul Thomas Anderson who used several destinies in order to create a whole even larger, the account choral is not used here for nothing, if is not to put water at the mouth of the spectator who will see finally his preferred actors only a few minutes.

In center of this setting in routine scene dialogs without attraction are found, of the hollow situations, some supported morals and a rate/rhythm if little with alarm, of which the 124 minutes almost make feel the double! Especially that the unit could be very well connected with a publicity being windy the merits of this commercial festival. Or of a preserving load which punishes the teenagers wishing to have sexual relationships and this man who misleads his wife for a younger girl…

This typically Hollywood tale which finishes well for almost everyone quite simply misses heat and of attraction, resembling more a plastic female magazine that with a meditation on the couple and the life in society. There will be always a less catastrophic moment (this dance plated on Bollywood), a surprising counterpart (generally coming from Anne Hathaway) or a drinkable gag (on behalf of Jamie Foxx), except that it is too little too late. The important thing is not to pass through all the stages of the seduction, but to rather create single and interesting beings which will live true experiments, than badly directed observers who often wonder what they make. Definitely, after execrable Dear John and Valentine’s Day, there is not a thing to celebrate the festival of love in the cinema. At least, not in front of a too sweetened love songs and if little inspired.

Movies by Martin Scorsese are (almost) always a reward. That one as much as the others.

A rocky and isolated island on which a psychiatric hospital is planted. A police inspector and her assistant who come to inquire into the improbable disappearance of a patient. A storm lends to chip the oxen which thunders. One should not any more Martin Scorsese to plant worrying it decoration of “Shutter Island”, its new realization adapted of a novel by Lehane Refusals.

If Clint Eastwood, and Ben Affleck to a lesser extent, had retained novels of the Bostonian great writer mythical and urban dimensions of its glance on its world (Mystic River and Gone, Baby Gone), Martin Scorsese rather chooses to concentrate on the psychological aspect of this historical novel. More than one investigation, more than one effort of reconstitution also, the scenario writer has fun indeed, as it had done years ago in Taxi Driver (a wink than marked more in film confirms the light relationship besides), to be used to us as guide in a disconcerting voyage in the middle of psyche of a man. Where is reality? The phantasm? Who lies? Which is the share of paranoia? Who are exactly these characters to whom one asks us to stick? As many questions which float in the air of Shutter Island, and which, by the solidity and the depth of the account of Lehane preserved here, consequently transform this Alcatraz of the East into microcosm where to observe the traumatism of a whole country in front of the still open wound of the second world war (we let us be in 1954).

The madness, declined in various forms (patients, the war, climate…), true subject of film, then comes to be incarnated literally in the setting in vertiginous scene of Scorsese. It was known, of course, Master of the form, one discovers it tsar of the setting in images. Borrowing initially from traditional black film, by its destabilizing low-angle shots, its flash-backs haunted and its light-obscure from where the danger can unceasingly emerge, its setting in scene also comes to grow rich by effective and elegant effects borrowed from the thriller and terror without however losing its identity.

But since nothing is never perfect in this low world, remains three small spines in the foot of the island. Music, initially, on-underlining instead of accompanying, often deciding in our place emotive direction of the scenes. The length, then, the sometimes lasting for ever film where it could have gained in rate/rhythm. Leonardo DiCaprio, finally, whose too expressive play and reserve lack, copied on that which it deployed in “The Aviator”, sometimes come to harm the coherence of the unit. Nothing however to prevent the true hero of this “Shutter Island”, Martin Scorsese, to prove its control once again to cut the breath of the cinema of kind, in all its forms.

A demigod fights mythological beings in Percy Jackson & The Olympians: The Lightning Thief, Harry Potter of the poor which is precisely made by Chris Columbus, the producer of the first two shutters. As ridiculous as diverting.

The Earth has only with good to be held. Zeus (Sean Ben) threat to destroy it if it does not find his lightning cherished. Everyone suspect Percy Jackson (Logan Lerman) to have concealed it. It is obviously not the case. Why the son of Poseidon (Kevin McDidd) would have done that? In order to save his mother (Catherine Keener) kidnapped by Hades (Steve Coogan), the young man and two of his friends (Alexandra Daddario and Brandon T. Jackson) decide to recall the object wished by each and everyone.

Greek mythology. The phantasm of much of boys (and girls) impassioned by the History, the extraordinary accounts of Homer, the many legends and even the video games on this subject (like off forgetting incredible Battle Olympus on the Nintendo old man?). At one time when the world needs new supermen and which fantastic novels in the Twilight have the dimension, the author Rick Riordan imagined a series of books where it mixes the reality and the many Gods of Olympia. After being itself sold like hot bread rolls, it was almost normal that these writings take the way of the cinema.

The diagram resembles enormously that of Harry Potter without however arriving at the height of the little wizard at glasses. It arrives too much late and its characters clearly miss depth… or simply of interest. That did not prevent Chris Columbus from directing this large boat, him which with the experiment of this type of project, having led to good port The Philosopher’s Stone and especially The Chamber of Secrets. Without surprising in addition to measurement, the creator of Mrs. Doubtfire offers a setting in effective scene with very little idle period, of the special effects which take the lions share (without being always succeeded) and an open end announcing some continuations.

It is however necessary to be advised. The unit is connected with a large comedy and one should not necessarily all take with the serious one. If not the result is likely to be difficult to support. The tone is launched as of the first minutes with these supreme beings disguised as men and this improbable discussion between Zeus and Poseidon. It is ridiculous and that is assumed perfectly, with this young hero with the doubtful charisma, its friend (Alexandra Daddario) which seems to leave Baywatch or Xena, and her guard (Torch T. Jackson) who is there to only make laugh.

The amateurs of Greek mythology who do not take all literally (thus with a grain of salt… or the complete salt box) will be happy to learn that the jellyfishes, Minotaur, Athena, Hermes and lark are present. Their appearances do not do much direction, just like this way continuously of locating the history at the United States, which gives some absurd bonds between Antiquity and modernity. When probability is not any more setting, why not push back further possible the limits? It is what is made beginning with the end, in particular with this distribution as astonishing as laughable, which include/understand a Pierce Brosnan with a body of horse, Uma Thurman which thinks itself again in the turnip Batman & Robin, Steve Coogan who tries to play it rock’n'roll star by multiplying the maximum of mimicry, and the Joe Pantoliano of the good days, stereotyped but laughing, which makes collapse laughter, even during the credits of end.

Substitute of Harry Potter, Narnia and The Golden Compass, joining together the majority of the intrigues of films of summer of 2009 (the action begins in a museum like Night At the Museum, there are a series of tests which point out Angels & Demons, etc) within the same feature-length film, Percy Jackson & The Olympians: The Lightning Thief is an stupid entertainment but not completely unpleasant, which is fortunately never caught with the serious one. It will be necessary to be accustomed to these Gods and even to know them more, because they will be soon of return in the remake awaited “Clash off Titans” which will take the poster the next month.

John likes Savannah. Savannah loves John. But John is a soldier in the American army. Lasse Hallström threads her large shoes and embroiders with sorrow around the imposed topic.

Love, the war. Heat, cold. Red, black. That it is out of mirror one of the other to evoke the chaotic violence of the feelings (Gone With the Wind), or in opposition one to the other to exploit thoroughly all the romantic potential of a history (Atonement), the two topics often made good household with the cinema. And even more. How Dear John succeeded in destroying the power of this union remains a mystery close to the untellable one.

John Tyree belongs to the special forces of the American army. In permission in his father, in South Carolina, it meets named it well Savannah, as fair and soft as it is square and not very loquacious. Obviously, it is the love with the first glance. Long ballade on the beach, first kiss under a sudden and torrential rain, all the panoply of the Harlequin love is deployed. But two weeks later, John must set out again. Savannah, it, must turn over to the school. Will their love, from now on epistolary, survive the time which passes and the distance? The more so as in a few months place will have on September 11th. Cue tearing violins and sobs in the voice.

Adapted novel of Nicholas Sparks, Dear John aligned on paper the assets to gain the setting: Lasse Hallström, a producer with the licked and elegant style able usually to handle the emotion and the romantic fresco with precision and tact (What’s Eating Gilbert Bunch, Chocolate, The Cider Rules House); a screen in the form of contemporary chronicle of the loves in time of war which only required to resound; a young actress with the cat-like glance and the undeniable charisma able to carry on its pretty shoulders the breath of such an account (Amanda Seyfried). It is however the impression of a fine mess, and on all fronts, which carries the part.

Setting in transparent and lazy scene with the complete absence of speech on the war, the army or the geopolitical situation of the United States (put aside a scene of war, being used only to wound our hero, it could have been party one year in Club Med that it would be the same thing), of non-existent chemistry between the two lovers with the play missing as much charisma than of conviction of Channing “Ken” Tatum (we already saw Hallström much more inspired in his choices of casting), of the rate/rhythm softie to environment traditionalist scenario re-examined and corrected by Barbara Cartland, difficult to find only one element which functions. Only Richard Jenkins as an autistic father brings a pretense of heart and truth to this large marshmallow oozing of marsh mallow and insipid sentimentalism. What will not be enough nevertheless to save the company.