Free Psp Movies | Videos

The Road

admin — Mon, 30 Aug 2010 12:26:52 +0000

In many ways a close adaptation of Cormac McCarthy’s grim novel, The Road dutifully plods through the basics of McCarthy’s nightmarish post-apocalyptic landscape: a father (Viggo Mortensen) and his young son (Kodi Smit-McPhee) try to survive as they trek along through the sodden, sunless remnants of some awful disaster. Scrounging for food and huddling together to stay warm, they spend most of their time trying to avoid the cannibalistic marauders who roam the highways. The film strikingly demonstrates that McCarthy’s book was almost entirely dependent on his extraordinary language for its literary life; the story, such as it is, is so skeletal and spare it doesn’t translate well into movie terms. The Proposition director John Hillcoat brings his grungy physicality to the material, so in the matters of the damp clothes and starved bodies and cheerless forests, the movie rings true. But the longer it trudges on, the more it seems a thoroughly conventional conclusion is at the end of this dystopian tale. The Road has one notable selling point: the performance of Viggo Mortensen. In his character’s fierce determination to live–but also the gentle sighs he lets forth when confronted with, say, his first sip of whisky in years–Mortensen is completely in the moment, and all too human in the post-human world.

The Fourth Kind

admin — Fri, 20 Aug 2010 12:23:39 +0000

Nome, Alaska: the edge of the world. What better place for the extraterrestrials to conduct their fiendish abduction experiments? Or so the makers of The Fourth Kind insist, in their grim attempt to reveal the truth about these mysterious disappearances. You know the movie means business when actress Milla Jovovich (as herself, without makeup, even) strides toward the camera in the opening moments and introduces things by warning us that we are about to see and hear actual tapes from psychotherapy sessions in which patients recover repressed memories. We might find it disturbing. Yes, but isn’t that why we’re watching the movie? Director Olatunde Osunsanmi soon appears onscreen himself, interviewing the real psychologist whom Jovovich plays, and throughout the film there are rough-looking videos of real people freaking out during hypnosis sessions–and even a bit of alien screeching caught on audio tape. Yep, it’s all real, except it’s all fake. The Fourth Kind has an ingenious marketing idea, which is to breathlessly convince the audience they are seeing actual footage of the supposed events, even to the point of playing the video excerpts next to the studio-shot scenes with actors. After a while, you realize that’s all the movie has: the audience’s willingness to believe there’s a ghost of a chance this might have happened. As a horror movie, the thing is clinical and detached, and when you’ve figured out the bogusness of the conceit, that doesn’t leave much. Elias Koteas and Will Patton join Jovovich in the heated story–or should we say, reconstructions of actual events. Aw, phooey.

Sherlock Holmes

admin — Tue, 10 Aug 2010 12:20:02 +0000

Guy Ritchie (Snatch, RocknRolla) attempts to reinvent one of the world’s most iconic literary figures as an action hero in this brawny, visually arresting period adventure. Robert Downey Jr. is an intriguing choice for the Great Detective, and if he occasionally murmurs his lines a pitch or two out of hearing range, his trademark bristling energy and off-kilter humor do much to sell Ritchie’s notion of Holmes. Jude Law is equally well-equipped as a more active Dr. Watson–he’s closer to Robert Duvall’s vigorous portrayal in The Seven Per-Cent Solution than to Nigel Bruce–and together, they make for an engaging team. Too bad the plot they’re thrust into is such a mess–a bustling and disorganized flurry of martial arts, black magic, and overwhelming set pieces centered around Mark Strong’s Crowley-esque cult leader (no Professor Moriarty, he), who returns from the grave to exact revenge. Downey and Law’s amped-up Holmes and Watson are built for the challenge of riding this roller coaster with the audience; however, Rachel McAdams as Holmes’s love interest, Irene Adler (here a markedly different character than the one in Arthur Conan Doyle’s “A Scandal in Bohemia”), and Kelly Reilly as Mary Morstan, the future Mrs. Watson, are cast to the wind in the wake of Ritchie’s hurricane pace. One can imagine this not sitting well with ardent Sherlockians; all others may find this Sherlock Holmes marvelous if calorie-free popcorn entertainment, with the CGI rendering of Victorian-era London particularly appealing eye candy.

Daybreakers

admin — Fri, 30 Jul 2010 12:16:40 +0000

While Daybreakers presents vampiric traits that distinguish its vampires from others in the many films that have ridden 2009’s vampire movie wave, there is a lack of humor here that makes this film sour compared to sweeter ones like Cirque du Freak: A Vampire’s Assistant. Maybe that’s because the plot in this horror feature from Peter and Michael Spierig (Undead) is more akin to zombie films like 28 Days Later. The year is 2019, and nearly all humans are converted vampires searching in vain for blood during a blood shortage, as they drain remaining humans into extinction. Nightly, CNN airs segments about the Blood Crisis, while vampire citizens around the globe attack each other like cannibals. Humans are farmed like cattle while tied to blood-draining machinery in the top-secret pharmaceutical corporation run by evil CEO Charles Bromley (Sam Neill). Sound like a heavy-handed metaphor for our oil wars? Daybreakers can definitely be viewed in that light, as a story about greed and consumption. Stylistically, it looks like a cross between Alien and Batman, with its Giger-esque set design and blue-tinted hue to represent night fallen on society. The lead actors help to salvage this movie. Edward Dalton (Ethan Hawke), chief hematologist at Bromley, straddles the vampire and human worlds, with the aid of humans Lionel “Elvis” Cormac (Willem Dafoe) and Lisa Barrett (Harriet Minto-Day), to search for a blood replacement to placate the starving masses. These three protagonists carry the film, though not well enough to call Daybreakers any sort of genre breakthrough.

Cirque Du Freak: The Vampire’s Assistant

admin — Tue, 20 Jul 2010 12:13:20 +0000

Adapted from Darren O’Shaughnessy’s book series the Saga of Darren Shan, Cirque du Freak: A Vampire’s Assistant is an endearingly goofy teen-vampire tale reminiscent of The Goonies or Lost Boys. Like those kids’ horror classics, Cirque du Freak is a coming-of-age tale in which maturity is hastened by horrific discoveries of alternate realms. Best friends Darren Shan (Chris Massoglia) and Steve (Josh Hutcherson) embark on a life-changing career path as monster prodigies after attending a taboo freak show starring various mutants and Madame Octa, a fluffy, neon orange, Muppetlike spider that Darren is irrevocably compelled to kidnap. Darren’s petty theft results in the boys’ introductions into the dualistic realm of good vampires, including the paternal Larten Crepsley (John C. Reilly), and less-generous bloodsuckers such as Murlaugh (Ray Stevenson) and his Vampaneze family. Part of the fun is in learning how vampires are defined in this world; for example, they can’t turn into bats but they have magic spit. The film’s additional appeal is in its clever teen-vampire cultural nods, such as when Darren plays his Gameboy inside his coffin. The actual circus, too, offers a wide array of fun, spooky characters, such as ringleader Mr. Tall (Ken Watanabe) and Darren’s scaly buddy Snakeboy (Patrick Fugit). Cirque du Freak: A Vampire’s Assistant has tough moments, too, once the boys realize they can’t look back. These moments transform Cirque du Freak: A Vampire’s Assistant into a film parents may even be charmed by.

From Paris With Love

admin — Sat, 10 Jul 2010 08:55:22 +0000

An uncomplicated, moderately entertaining action film, From Paris With Love offers an enthusiastic performance by John Travolta as a just-this-side-of-crazy agent and Jonathan Rhys Meyers (The Tudors) as the low-level operative newly partnered with him. Outwardly an aide to the U.S. Ambassador in France, James Reese (Rhys Meyers) is also a low-level CIA operative, tasked with generally mundane duties. Then his inside contact offers him a high-level assignment that could lead to a promotion to full agent. All Reese has to do is drive CIA agent Charlie Wax (Travolta) around Paris on an undisclosed mission. But Wax is a shoot first, don’t bother with questions kinda guy, and the straitlaced Reese quickly finds himself riding shotgun to a killing-spree through Paris’ underground drug sub-culture. The drugs lead the obviously opposite duo to a hidden terrorist cell, and they race to stop the suicide bombers’ plot. Wax’s wise-cracking, one-on-many fight scenes are adequately entertaining–especially when he flings bad guys down a curving staircase, as Reese tries to avoid getting hit by the bodies–but the action generally leaves you wanting more. An undesirable characteristic in an action movie. Based on a story by Luc Besson, (The Fifth Element and The Transporter movies), one can’t help wonder if the complexity of the story and characters could have been improved if he’d written the screenplay himself. However, the simplistic story offers a few surprises and laugh-worthy one-liners. The climactic final chase scene–Agent Wax hanging out the window of a speeding Audi, armed with heavy artillery and a driver with nerves of steel, as he attempts to stop one phase of the planned attack–is as impossible as one could hope for in this kind of movie. And hearing Travolta call his burger a “royale with cheese” is almost worth the rest of the movie.

Ninja Assassin

admin — Wed, 30 Jun 2010 08:52:00 +0000

The entertaining, adrenaline-packed Ninja Assassin wastes no time cutting quite literally to the guts and gore of the mysterious world of ninja warriors–the blood flows as freely as champagne on New Year’s Eve. Only 3-D might have made it even better. Taken from the streets as a child, the orphan Raizo (Korean pop artist Rain, in his first leading role) is molded into a deadly assassin through methods that might make even the strong of stomach wince. The story flows from present-day Berlin to Raizo’s brutal training by the Ozunu, one of the mythical Nine Clans that perform political assassinations around the world. Refusal to follow an order by the clan leader forces Raizo into a life on the run. When Mika (Naomie Harris), a Europol researcher, gets too close to the truth, Raizo risks detection by his former clan-mates to protect her, and to exact his revenge. Fans of ninja films will rejoice in the classic story, while action aficionados will find plenty of heart-pounding thrills in every fight scene. Admittedly, the plot, especially Europol’s interest in the mythical clans, exists merely to move the story from one fight scene to the next. But who cares when the action shots–especially the literal firefight at the end–are so exciting.

Tooth Fairy

admin — Sun, 20 Jun 2010 08:48:29 +0000

Dreams and “what ifs” have no place in the life of hockey player Derek Thompson (Dwayne Johnson). As a major league player who’s been moved down to the minor leagues following an injury, Derek thrives on negative attention, is ruthlessly pragmatic, and doesn’t think twice about crushing the hopes and dreams of even his youngest fans. His poor attitude spills over into his personal life when he almost convinces his girlfriend’s young daughter Tess (Destiny Whitlock) that the tooth fairy doesn’t exist. As if the potential end to his relationship with girlfriend Carly (Ashley Judd) wasn’t bad enough, Derek’s actions inexplicably result in a nighttime summons from the “Department of Dissemination of Disbelief.” Transformed into a tutu-wearing fairy with wings and whisked away to a fairy world, Derek assumes that his fanciful journey–and his sentencing by the head fairy (Julie Andrews) to a two-week stint as a tooth fairy–is just a bad dream. When his pager starts buzzing and wings sprout from his back at inopportune times, he realizes that his sentence is for real, yet he continues to deny the possibility that dreams and imagination have value. Derek’s disbelief makes him an extremely inept fairy, but with the help of fellow fairy Tracy (Stephen Merchant) and some bonding time spent with Tess and her brother Randy (Chase Ellison), he begins to glimpse the importance of dreams and imagination and even manages to rediscover some of his own dreams in the process. Derek is definitely one crazy fairy, but Dwayne Johnson’s skilled performance drives home the message that it’s OK to dream, believe, and imagine. (Ages 7 and older)

Old Dogs

admin — Thu, 10 Jun 2010 08:44:47 +0000

John Travolta and Robin Williams star in Old Dogs, the hilarious family comedy that will have you howling. Two best friends have their lives turned upside down when they’re unexpectedly charged with the care of seven-year-old twins while on the verge of the biggest business deal of their lives. The clueless bachelors stumble in their efforts to take care of the children, leading to one debacle after another, with a gorilla and some pecking penguins — and perhaps to a newfound understanding of what’s really important in life. Featuring a riotously funny supporting cast including Seth Green, Kelly Preston, Matt Dillon and Lori Laughlin, Old Dogs is a laugh-a-minute comedy filled with heart.

Legion

admin — Sun, 30 May 2010 08:41:48 +0000

As pure check-your-head-at-the-door popcorn entertainment, the apocalyptic action-horror hybrid Legion delivers in nearly every frame–its story of a band of strangers fighting an army of angels and demons for the fate of mankind is proudly loud, bullet riddled, and knee-deep in gore and CGI. That doesn’t mean it’s particularly good or even coherent–the story has renegade angel Michael (a glum Paul Bettany) come to the aid of diner owner Dennis Quaid (equally glum) and his patrons (a cross-section of stereotypes embodied by a capable cast, which includes Lucas Black, Charles S. Dutton, Tyrese Gibson, Kate Walsh, and Jon Tenney) as a host of heavenly and diabolical beings, dispatched by an angry God, descend on the diner with the intent of killing waitress Adrianne Palicki (Friday Night Lights), whose unborn child may be the salvation of humanity. The orgy of special effects–endless hails of bullets and a menagerie of unpleasant demonic creatures, the most unsettling of which is the ice cream man (Doug Jones, Hellboy)–is eye popping but ultimately repetitive, and since no character rises above a cipher in director Scott Stewart’s script (cowritten with Peter Schink), the whole affair feels unwieldy and eventually tiresome under a barrage of hackneyed dialogue. Naturally, Legion ends with the possibility of a sequel, though one wonders where the story can go after Armageddon.