GOSSIP GIRL
GOSSIP GIRL SEASON 2
TRUE BLOOD
TRUE BLOOD SEASON 1
True.Blood.S01E12.RERIP.HDTV.XviD-0TV
True.Blood.S01E11.RERIP.HDTV.XviD-0TVTrue.Blood.S01E09.RERIP.HDTV.XviD-0TV
True.Blood.S01E08.RERIP.HDTV.XviD-0TV
True.Blood.S01E07.RERIP.HDTV.XviD-0TV
True.Blood.S01E06.RERIP.HDTV.XviD-0TV
True.Blood.S01E05.RERIP.HDTV.XviD-0TV
True.Blood.S01E04.RERIP.HDTV.XviD-0TV
True.Blood.S01E03.RERIP.HDTV.XviD-0TV
True.Blood.S01E02.RERIP.HDTV.XviD-0TV
True.Blood.S01E11.RERIP.HDTV.XviD-0TVTrue.Blood.S01E09.RERIP.HDTV.XviD-0TV
True.Blood.S01E08.RERIP.HDTV.XviD-0TV
True.Blood.S01E07.RERIP.HDTV.XviD-0TV
True.Blood.S01E06.RERIP.HDTV.XviD-0TV
True.Blood.S01E05.RERIP.HDTV.XviD-0TV
True.Blood.S01E04.RERIP.HDTV.XviD-0TV
True.Blood.S01E03.RERIP.HDTV.XviD-0TV
True.Blood.S01E02.RERIP.HDTV.XviD-0TV
MY NAME IS EARL
MY NAME IS EARL SEASON 4
My.Name.Is.Earl.S04E11.HDTV.XviD-LOLMy.Name.Is.Earl.S04E09.HDTV.XviD-LOL
My.Name.Is.Earl.S04E08.HDTV.XviD-LOL
My.Name.Is.Earl.S04E07.HDTV.XviD-LOL
My.Name.Is.Earl.S04E06.HDTV.XviD-LOL
My.Name.Is.Earl.S04E05.HDTV.XviD-LOL
My.Name.Is.Earl.S04E04.HDTV.XviD-LOL
My.Name.Is.Earl.S04E03.HDTV.XviD-LOL
My.Name.Is.Earl.S04E02.HDTV.XviD-LOL
My.Name.Is.Earl.S04E09.HDTV.XviD-LOLMy.Name.Is.Earl.S04E08.HDTV.XviD-LOL
My.Name.Is.Earl.S04E07.HDTV.XviD-LOL
My.Name.Is.Earl.S04E06.HDTV.XviD-LOL
My.Name.Is.Earl.S04E05.HDTV.XviD-LOL
My.Name.Is.Earl.S04E04.HDTV.XviD-LOL
My.Name.Is.Earl.S04E03.HDTV.XviD-LOL
My.Name.Is.Earl.S04E02.HDTV.XviD-LOL
SUPERNATURAL
SUPERNATURAL SEASON 4
EASTERN PROMISES
EASTERN PROMISES MOVIE
http://en.wikipedia.org/wiki/Eastern_Promises
The movie opens with a murder in a barber shop. Later, Anna Ivanova (Naomi Watts), a midwife at a London hospital, finds a Russian-language diary on the body of Tatiana, a fourteen-year-old girl who dies in childbirth. She also finds a card for the Trans-Siberian restaurant, which is owned by Semyon (Armin Mueller-Stahl), a boss in the Russian Mafia or vory v zakone ("thieves in law"). Anna sets out to track down the girl's family so that she can find a home for the dead mother's baby girl. Anna’s mother Helen (Sinéad Cusack) does not discourage her, but Anna’s Kiev-born uncle Stepan (Jerzy Skolimowski), whom Anna asks for help with translation of the diary, urges caution. Through Semyon and her uncle, Anna comes to learn that Semyon and his bumbling and unstable son, Kirill (Vincent Cassel), had abused Tatiana and forced her into prostitution, and that Semyon had raped the girl. Kirill's driver is the Russian-born Nikolai Luzhin (Viggo Mortensen), who also serves as the family's "cleaner", dumping dead bodies in the River Thames. Nikolai's star rises within the vory, due in part to Nikolai's protection of Kirill, who had authorized a hit on a rival Chechen vory leader (who had been making suggestions about Kirill's possible homosexuality, which is also suggested by other scenes and incidents in the film). The hit was not approved by Semyon and was ill-advised, with the Chechen's brothers coming to England to seek vengeance. Semyon, afraid for his son's safety, hatches a plan. Semyon arranges to give "Kirill" up to the Chechens, which involves making Nikolai a Lieutenant in the vory, the same rank as Kirill, so he gets the same distinctive tattoos (stars over the left and right side of his chest). A meeting is arranged at the Russian baths, and the Chechens are told that the tattooed Nikolai is actually Kirill. The Chechens attack Nikolai with knives, but Nikolai is able to kill them both. Nikolai is seriously wounded and is admitted to a hospital. It is revealed near the end of the film that Nikolai is actually a member of the Russian Security Services (FSB) and a Scotland Yard informer on the Russian mafia in London as part of his undercover duties. Nikolai was able to read Tatiana's diary before Semyon destroyed it, and develops a plan to have Semyon arrested and convicted for Tatiana's rape, making Kirill the most powerful member of the London branch of the mob, but with Nikolai as the power behind the throne. The plan works, with Anna gaining custody of the baby and Nikolai eventually becoming the London vory crime boss
http://en.wikipedia.org/wiki/Eastern_Promises
THE INNER LIFE OF MARTIN FROST
THE INNER LIFE OF MARTIN FROST
The work of Paul Auster can be an acquired taste, but his Inner Life of Martin Frost is so sweet and harmless that even the most jaded of moviegoers ought to find it a breezy way to spend 90 minutes, lost in Auster's weird fantasy land.
Martin Frost (David Thewlis) is a novelist, and he's off to the country for a vacation after finishing his latest book and to work on a new story. No sooner does he fall asleep, though, that he wakes up to find someone else in his bed, Claire Martin (Irène Jacob), who initially says she was lent the house by the same guy who lent it to Martin. Funny coincidence, eh? Just like their names: His first is Martin, her last is Martin. It helps that she's a hot, exotic French beauty with an active libido, and soon she's got her top off as they roll around in the sheets.
When Martin talks to the cabin's owner, he finds that Claire isn't who she claims to be. Claire confesses, but can offer no details. They are in love now, and Martin decides to let the mystery of her past drop.
Strangely, as Martin gets closer to completing his story, Claire suddenly falls ill. The more he writes, the sicker she gets. What's going on here? To explain would be to spoil the mystery of Martin Frost's "inner life," but suffice it to say that, of the four characters in the film, only two are "regular" people like you and me.
Auster's trifle is fun and light, an Aesop's fable for the modern age. It is full of hope and good feelings, but it doesn't really make a lick of sense in the end. Not that that's a bad thing, really. The real problem here is that Auster only has about 50 minutes of material, and the film comes to an obvious halt midway through, before Auster tries to abruptly jump-start by introducing two new characters in an even stranger situation than Martin and Claire. A connection surfaces in the end, but the conclusion comes across as tacked-on, padded to get the thing to feature length. That's an unfortunate way to wrap up an otherwise sweet little movie. I'd have preferred it at 50 minutes.
SOURCE :http://www.filmcritic.com/misc/emporium.nsf/reviews/The-Inner-Life-of-Martin-Frost
Martin Frost (David Thewlis) is a novelist, and he's off to the country for a vacation after finishing his latest book and to work on a new story. No sooner does he fall asleep, though, that he wakes up to find someone else in his bed, Claire Martin (Irène Jacob), who initially says she was lent the house by the same guy who lent it to Martin. Funny coincidence, eh? Just like their names: His first is Martin, her last is Martin. It helps that she's a hot, exotic French beauty with an active libido, and soon she's got her top off as they roll around in the sheets.
When Martin talks to the cabin's owner, he finds that Claire isn't who she claims to be. Claire confesses, but can offer no details. They are in love now, and Martin decides to let the mystery of her past drop.
Strangely, as Martin gets closer to completing his story, Claire suddenly falls ill. The more he writes, the sicker she gets. What's going on here? To explain would be to spoil the mystery of Martin Frost's "inner life," but suffice it to say that, of the four characters in the film, only two are "regular" people like you and me.
Auster's trifle is fun and light, an Aesop's fable for the modern age. It is full of hope and good feelings, but it doesn't really make a lick of sense in the end. Not that that's a bad thing, really. The real problem here is that Auster only has about 50 minutes of material, and the film comes to an obvious halt midway through, before Auster tries to abruptly jump-start by introducing two new characters in an even stranger situation than Martin and Claire. A connection surfaces in the end, but the conclusion comes across as tacked-on, padded to get the thing to feature length. That's an unfortunate way to wrap up an otherwise sweet little movie. I'd have preferred it at 50 minutes.
SOURCE :http://www.filmcritic.com/misc/emporium.nsf/reviews/The-Inner-Life-of-Martin-Frost
ROCKAWAY
ROCKAWAY MOVIE
Trane (Nicholas Gonzalez, Spun, Dirty) is a decorated war hero stationed in Afghanistan, until he gets the word that his wife and infant child have been brutally murdered. Once he returns home to Rockway, New Jersey, Trane runs into his old friend Dave (Ricardo Chavira, Desperate Housewives), a homeless man who offers insight on how Trane�s family died. Dave describes the new forces of crime and prostitution that have moved into the neighborhood, the same forces that led to the demise of his family. Trane vows to exact his revenge on every last lowlife and mobster even remotely involved in his family�s death.
While on his quest for answers, Trane throws caution to the wind and openly starts a war with the local face of the crime syndicate, Juju (Mario Cimarro, Romeo+Juliet) and his entourage of pimps, thugs and prostitutes led by the volatile Antwan (Manny Perez, Crooklyn, El Cantante). Trane quickly discovers that Juju is simply a local street tough guy compared to his Russian mobster cronies.
Using Juju as a launching pad, Trane quickly infiltrates the Russian mob through a promise made to Ivan (Oleg Taktarov, 15 Minutes, We Own the Night), that being a gift of 50lbs of heroin. Ivan is a shrewd and vicious animal of a man who describes his predilection toward killing with knives rather than a gun due to its personal nature; Trane�s family was killed by knife.
Trane begins to walk a thin line of deceit and crime as he picks apart his enemies by pitting them against each other, and works his way up to crime boss Sergei (Vitali Baganov, Pieces of April).
Rockaway is a low budget film with a budget listed as being a meager two million dollars, and for that it does deserve some praise. The film has strong production value and is ambitious in the size of film produced. Clearly, the filmmakers can produce a product on a tight budget. That being said, Rockaway is a disappointment.
The film starts off strong with a well-built, sympathetic character. The first half of the film maintains a tension that keeps the viewer riveted to their seat, and the editing is creative. The second half of the film is not nearly as powerful. Rockaway just gets worse as the money began to run out. Suddenly, the special effects begin to deteriorate, going from believable and realistic to sub par in quality. Eventually, those special effects resign to looking as if a high school student with a home video camera created them on his laptop with Powerpoint.
Rockaway ends up becoming a huge disappointment. Despite a promising start, it fizzles out quickly. With an 80-minute run-time, it begs the question why such a short film could not maintain its momentum. As the film�s momentum dwindles down to nothing, so does the quality of the plot. Rockaway rapidly becomes simplistic in its intent, the violence becomes senseless and juvenile.
SOURCE : http://www.realmovienews.com/reviews/discs/2046
