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11-20 of 83

Genova

Genre: Drama

I found it too slow and contrived for my liking.

GENOVA is an interesting study of how the sudden death of a family member can affect the dynamics within that family. Starring Colin Firth, this independent film is set initially in the cold winters of Chicago before moving to the warmer climes of sunny Italy – Genova. The opening sequence is of particular interest. A mother (Hope Davis) driving ...

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Review by: TimVoon

Added: 8 years ago

 

It's one full of witty lines that'll keep you smiling most of the time.

AWAY WE GO, by acclaimed director Sam Mendes, is his most different movie. All of his other pictures (REVOLUTIONARY ROAD, JARHEAD, ROAD TO PERDITION and AMERICAN BEAUTY) are in-your-face, big films, full of very dramatic moments. They have their funny bits, but their underlying tone is always dark and foreboding. In a complete change of pace for ...

Read more

Review by: SteveRhodes

Added: 8 years ago

I found the characters very annoying and too angry for my liking.

If I had to pick a movie about shopping mall security to watch it would not be OBSERVE AND REPORT. Starring two likeable comic actors, Seth Rogen and Anna Faris (who I thought was hilarious in THE HOUSE BUNNY), I was particularly disappointed with the final outcome. Like PAUL BLART: MALL COP – the other popular mall security movie of 2009 – the ...

Read more

Review by: TimVoon

Added: 8 years ago

 

For present-day horror movies, "Trick 'r Treat" is a shot in the arm.

It's with a palpable autumnal atmosphere, seamlessly interlocking screenwriting, superlative cinematography and a regular upending of expectations that Michael Dougherty's "Trick'r Treat," a Halloween-set horror anthology in the spirit of George A. Romero's classic "Creepshow," qualifies as the year's strongest horror movie. First and foremost, ...

Read more

Review by: TomElce

Added: 8 years ago

One of the silliest attempts at movie humour to hit our screen.

I’m not sure where to begin with this movie. Frankly, I’m almost at a loss for words after viewing LAND OF THE LOST (2009) and being bombarded with images of one of the silliest attempts at movie humour to hit our screen. I should have seen this coming, after all it stars Will Ferrel, but even this is considered pretty low in the long list of ...

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Review by: TimVoon

Added: 8 years ago

 

Alan Rickman gives another wonderful droll performance.

If you are expecting a road movie, mixed in with wine and melodrama, BOTTLE SHOCK is not another SIDEWAYS. Wine and the California Nappa Valley are probably the only things these movies have in common. BOTTLE SHOCK is set in 1976 during a period of time when the emerging wine industry of California was trying to find an identity for itself, and ...

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Review by: TimVoon

Added: 8 years ago

As Sam tries to kill the time until his contract is over, he starts seeing things.

"The power of the moon," intones the narrator in what appears to be a television commercial advertising an energy company, "the power of the future." It's a future of clean energy, thanks to a certain mineral on the moon. On the dark side of the moon, a lone worker named Sam Bell (Sam Rockwell) toils away, fixing any problems with the huge helium...

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Review by: SteveRhodes

Added: 8 years ago

 

Orphan

Genre: Horror

The year’s most laughably overwrought horror hit.

If you see only one movie in which Vera Farmiga plays the distressed mother of a creepy child, see JOSHUA. A diabolical little SOB with the mind of a little-league Hannibal Lecter, Joshua kicks the crap out of Esther, the precocious little twerp at the center of ORPHAN. Lacking the earlier film’s wit, style and psychological acuity, this is the year...

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Review by: MiamiMovieCritic

Added: 8 years ago

Genuinely unsettling and authentically unforgettable.

After years of going out of my way to avoid it, I finally got up the nerve to watch Takashi Miike’s infamous 1999 horror film, AUDITION. My excuses for not seeing it were a) life is too short, and b) it sounded like something that would give me post-traumatic stress disorder. I decided to take the plunge when Quentin Tarantino named it one of the 20...

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Review by: MiamiMovieCritic

Added: 8 years ago

 

An unoriginal but thoroughly refreshing horror.

"It's fucking nuts! I know that." Such is a line of dialogue spoken in Patrick Lussier's My Bloody Valentine revamp and such is a fitting description of the movie itself. Humorously fun in a way that the recent, piss-poor Friday the 13th retread can only ever hope to be, director Lussier's slasher throwback embraces drama-as-parody while diving ...

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Review by: TomElce

Added: 8 years ago

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__domel__body => '&lt;p&gt;GENOVA is an interesting study of how the sudden death of a family member can affect the dynamics within that family. Starring Colin Firth, this independent film is set initially in the cold winters of Chicago before moving to the warmer climes of sunny Italy – Genova. &lt;/p&gt;<br /> &lt;p&gt;The opening sequence is of particular interest. A mother (Hope Davis) driving her car along the cold slippery roads of Chicago in winter, her two young girls (Perla Haney-Jardine and Willa Holland) happily playing a seemingly harmless guessing game in the backseat of the when car the unthinkable happens. Director Michael Winterbottom (A MIGHTY HEART) purposely stretches out this sequence and the viewer is initially lulled into a sense of security by the laughter and joviality between the mother and daughters; but as the fun goes on, the zooming cars and trucks on the snow covered roads become louder and faster, until the laughter and joviality becomes uncomfortable. You are left with a feeling of impending dread and threat. This sets the tone for the rest of the movie.&lt;/p&gt;<br /> &lt;p&gt;The movie then moves quickly onwards to Italy, where the family has moved to escape the past. We are met with the screams of the youngest daughter (Perla Haney-Jardine) at night. She blames herself for her mother’s death and is haunted by visions of her dead mother. This leads her to become lost on a mountain and almost hit by oncoming traffic on a busy road. I found this topic a little confusing as it is never fully explained or resolved by the end of the movie. I could only put it down to acute hallucinations as a result of unexpressed guilt and grief over her mother’s death.&lt;/p&gt;<br /> &lt;p&gt;On the other hand the older sister (Willa Holland) expresses her grief in a different way – through her sexuality. There is a very natural love making scene with an Italian boy which shows why the Italians are such sensual lovers. In the meantime the father (Colin Firth) goes through his own personal journey caught in a love triangle between an Italian student and an old flame (Catherine Keener). This movie proceeds by frequently flipping between the dilemmas of father and daughters. &lt;/p&gt;<br /> &lt;p&gt;In the midst of all these relationship issues, director Michael Winterbottom again builds tension and threat into the most ordinary things. Like a simple walk down an old cobblestone alley is made to look threatening, because of the camera angles, shadows, strange noises and faces. The viewer is made to think something awful is about to happen like at the beginning of the film but the discomfort dissipates as quickly as it started. There is another uncomfortable scene (especially if you’re afraid of heights) when Colin Firth, believing his daughter lost, runs frantically up a treacherous mountain path in the dim twilight. He keeps stumbling on the slippery slope as stones and pebbles roll from under him and over the cliff. You feel that he is about to fall to his death in his panic, the tension builds and again quickly dissipates. I guess in some ways this is reflective of life – those moments when we believe that something awful is about to happen and are utterly relieved when it doesn’t.&lt;/p&gt;<br /> &lt;p&gt;The scenery of Genova was magnificent. If this movie was filmed in a less sunny clime it would have been depressing. The actors were convincing and believable and I appreciated that the movie was trying to touch on some important topics of death, grief and guilt. Unfortunately, I found it too slow and contrived for my liking.&lt;/p&gt;'
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short-body => 'GENOVA is an interesting study of how the sudden death of a family member can affect the dynamics within that family. Starring Colin Firth, this independent film is set initially in the cold winters of Chicago before moving to the warmer climes of sunny Italy – Genova. The opening sequence is of particular interest. A mother (Hope Davis) driving ...'
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__domel__body => '&lt;p&gt;AWAY WE GO, by acclaimed director Sam Mendes, is his most different movie. All of his other pictures (REVOLUTIONARY ROAD, JARHEAD, ROAD TO PERDITION and AMERICAN BEAUTY) are in-your-face, big films, full of very dramatic moments. They have their funny bits, but their underlying tone is always dark and foreboding. In a complete change of pace for Mendes, AWAY WE GO is a little movie, a sweet and quirky comedy that works -- but only if one doesn't overanalyze it and look for Mendes's traditional deep meanings.&lt;/p&gt;<br /> &lt;p&gt;&lt;/p&gt;<br /> &lt;p&gt;But, as a comedy, it isn't one of those big laugh-out-loud types. Instead, it's one full of witty lines that'll keep you smiling most of the time. The secret to the film's modest but satisfying success is the cast. With two likable leads, John Krasinski and Maya Rudolph as Burt Farlander and Verona De Tessant, and a terrific supporting cast, including a scene-stealing one by Maggie Gyllenhaal as LN, the movie is a real crowd-pleaser.&lt;/p&gt;<br /> &lt;p&gt;&lt;/p&gt;<br /> &lt;p&gt;Structured mainly as a road trip, the film follows a very pregnant Verona, who is only six months along but appears ready to give birth at any moment, and her live-in boyfriend Burt. The plot, which proves to be fairly unimportant, has them touring a few cities in the U.S. and Canada, visiting friends and relatives as they look for a place to settle down.&lt;/p&gt;<br /> &lt;p&gt;&lt;/p&gt;<br /> &lt;p&gt;The script's best part comes when it has Verona and Burt, a mid-thirties couple, stopping to see LN at a college in Montreal. As they walk into LN's office, they find her nursing her two boys simultaneously. Since the oldest boy, around five or six, appears to be old enough that he might be inclined to invite his friends over for lunch, Verona and Burt are shocked by what they observe. Regaining their composure, they accept LN's invitation for dinner.&lt;/p&gt;<br /> &lt;p&gt;&lt;/p&gt;<br /> &lt;p&gt;LN, a pseudo-free spirit who acts like a refugee from a commune, has a whole list of bizarre child-raising dos and don'ts, with her breast-feeding of her kids and her friend's kids being at the top of the &amp;quot;do&amp;quot; list and the use of strollers being at the top of the &amp;quot;don't&amp;quot; list. Having done child birthing twice, she brags that her pain means that &amp;quot;when I watch CNN, I can understand war.&amp;quot; Hands-down, the movie's funniest scene surrounds a stroller that Verona and Burt give LN.&lt;/p&gt;<br /> &lt;p&gt;&lt;/p&gt;<br /> &lt;p&gt;Little things in the script provide delectable pleasures. Burt makes his living by selling &amp;quot;insurance futures&amp;quot; to insurance companies. He doesn't have an office and does his work strictly over his cell phone while using a fictitious name. He explains that insurance companies need insurance too. And the dialog is particularly fine, with one my favorite lines being a warning that &amp;quot;a drought is coming, like a Biblical flood in reverse.&amp;quot;&lt;/p&gt;<br /> &lt;p&gt;&lt;/p&gt;<br /> &lt;p&gt;If you go looking for Mendes's next big movie, boy, oh boy, will you be disappointed, as many critics have been. And if you go expecting a comedy filled with huge laughs or a drama chock full of big message moments, you'll similarly leave unsatisfied. But, if you go into the theater wanting to be entertained, you will get what you came looking for. You'll enjoy going along with Verona and Burt on their journey, and you'll leave with a smile on your face and a feeling that you're glad you got to know them.&lt;/p&gt;<br /> &lt;p&gt;&lt;/p&gt;<br /> &lt;p&gt;AWAY WE GO runs 1:38. It is rated R for &amp;quot;language and some sexual content&amp;quot; and would be acceptable for teenagers.&lt;/p&gt;'
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short-body => 'AWAY WE GO, by acclaimed director Sam Mendes, is his most different movie. All of his other pictures (REVOLUTIONARY ROAD, JARHEAD, ROAD TO PERDITION and AMERICAN BEAUTY) are in-your-face, big films, full of very dramatic moments. They have their funny bits, but their underlying tone is always dark and foreboding. In a complete change of pace for ...'
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__domel__body => '&lt;p&gt;If I had to pick a movie about shopping mall security to watch it would not be OBSERVE AND REPORT. Starring two likeable comic actors, Seth Rogen and Anna Faris (who I thought was hilarious in THE HOUSE BUNNY), I was particularly disappointed with the final outcome. &lt;/p&gt;<br /> &lt;p&gt;Like PAUL BLART: MALL COP – the other popular mall security movie of 2009 – the main plot lines are almost identical to each other. Both are about disillusioned security officers who live at home with their mother, are in love with the wrong girl while the right one floats under their noses, and are vindicated by the end of the movie because of their personal convictions. &lt;/p&gt;<br /> &lt;p&gt;Yawn.&lt;/p&gt;<br /> &lt;p&gt;Seth Rogen is mall cop Ronnie Barnhardt in this movie. His character would best be described as delusional bordering on psychotic, with a streak of borderline personality disorder. He has an obsession to join the real police force and to find the streaker that is terrorising the patrons of the local shopping mall. Do I like Seth Rogen as a comic actor? YES. Do I like his character in this movie – NO! My final thought at the end of the movie was – “God I hope he doesn’t come work at my local mall.”&lt;/p&gt;<br /> &lt;p&gt;On the other hand, I took more kindly to Kevin James’ portrayal of Paul Blart. Although Paul was deluded, he at least had a heart and overcame his mistakes to become a better person at the end of the movie. While Ronnie Bernhardt just ended up beating up police officers and streakers alike to prove he was right and everybody else was wrong.&lt;/p&gt;<br /> &lt;p&gt;So was this movie funny? It had me smiling on a few occasions, e.g. crazy streaker running through mall. But did I truly laugh out loud with pure enjoyment? I would have to say no, I didn’t. Maybe it was because I found the characters very annoying and too angry for my liking. Seth’s character Ronnie Bernhardt just bitches about life in this movie and Anna’s character Brandi is just bitchy.&lt;/p&gt;<br /> &lt;p&gt;If I had to absolutely choose between PAUL BLART and OBSERVE AND REPORT to watch, I would probably go with Paul. The cute, cuddly cop, with the softy heart on top of his scooter mobile is far nicer and funnier to watch than the nasty Ronnier Bernhardt. Sorry Seth, I just didn’t like your character in this movie.&lt;/p&gt;'
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short-body => 'If I had to pick a movie about shopping mall security to watch it would not be OBSERVE AND REPORT. Starring two likeable comic actors, Seth Rogen and Anna Faris (who I thought was hilarious in THE HOUSE BUNNY), I was particularly disappointed with the final outcome. Like PAUL BLART: MALL COP – the other popular mall security movie of 2009 – the ...'
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__domel__body => '&lt;p&gt;It's with a palpable autumnal atmosphere, seamlessly interlocking screenwriting, superlative cinematography and a regular upending of expectations that Michael Dougherty's &amp;quot;Trick'r Treat,&amp;quot; a Halloween-set horror anthology in the spirit of George A. Romero's classic &amp;quot;Creepshow,&amp;quot; qualifies as the year's strongest horror movie. First and foremost, Dougherty's debut feature-length film understands its chosen holiday as the time when horror legend comes to life, embracing the appeal and spirit of Halloween as all the interlocking segments unravel.&lt;/p&gt;<br /> &lt;p&gt; &lt;/p&gt;<br /> &lt;p&gt;Arriving tragically onto DVD in a time and age where witless and incompetent kiddie-friendly remakes and lugubrious &amp;quot;Saw&amp;quot; sequels plague our multiplexes, &amp;quot;Trick 'r Treat&amp;quot; is a welcome respite from the disenchantment regularly being inspired within the horror genre, reveling in all the bloodshed and classical horror moments brought forth by each individual segment, both evoking the look and feel of the holiday like no horror film since John Carpenter's original &amp;quot;Halloween&amp;quot; while seeming to be boosted by an ever-present wit and humor not so seamlessly mixed in with such atmospheric storytelling since Wes Craven's first &amp;quot;Scream&amp;quot; movie. Like those films, &amp;quot;Trick 'r Treat&amp;quot; is a shot-in-the-arm, deserving of far more than its haphazard distributor treatment, which has seen it debuted onto DVD when the cinematography alone practically begs to be seen in multiplexes.&lt;/p&gt;<br /> &lt;p&gt;&lt;/p&gt;<br /> &lt;p&gt;Made up of four segments that all take place in the same town on the same spooky Halloween night, &amp;quot;Trick 'r Treat&amp;quot; links each through recurring characters and sly twists of plot. After a prologue has seen someone not behaving in the spirit of the night get gruesomely dispatched, attention turns to Charlie (Brett Kelly), a gluttonous kid whose attempts to steal candy from the home of school principal Steven (Dylan Baker) are thwarted by the man himself who, as it turns out, also happens to be a serial killer. Introduced next but completed as other stories unfold alongside it comes a spin on &amp;quot;The Little Red Riding Hood,&amp;quot; wherein twenty-two year-old Laurie (Anna Paquin) is pushed by her sister, friends and tradition itself to find a date so that she may lose her virginity. Kitted out in a red hood, she naturally comes across a wolf as she treks through some woodlands. Elsewhere, kid trick-or-treaters Marcy (Britt McKillipp), Schrader (Jean-Luc Bilodeau), Chip (Alberto Ghisi) and Sara (Isabelle Deluce) take out-of-the-ordinary classmate Rhonda (Samm Todd) to a location where a mass murder is said to have occurred. Last of all comes the story that pits the film's mascot, the burlap sack-masked Sam, against the crotchety and bitter Mr. Kreeg (Brian Cox).&lt;/p&gt;<br /> &lt;p&gt;&lt;/p&gt;<br /> &lt;p&gt;Best of all these segments is the kids' investigation of the site of a bus crash that purportedly claimed the lives of several mentally disturbed kids. At once the most mesmerically-lensed sequence of the cinematic year, their journey to and experiences at the destination is magnificently shot (by director of photography Glen MacPherson) and choreographed, bringing to mind &amp;quot;It's the Great Pumpkin, Charlie Brown!&amp;quot; in their walk to the location and a more refined version of television's defunct &amp;quot;Are You Afraid of the Dark?&amp;quot; as Marcy tells her grim story to her peers. Though the sequence evolves into something of a trick being played on misfit Ronda, wonderfully played by Samm Todd, there's a ceaseless expectation in the mind of the viewer that Dougherty obligingly delivers upon. A feast for the eyes and mind, this segment's the one that most notably brings to mind the until-now best horror anthology &amp;quot;Creepshow,&amp;quot; and that most definitely asserts this film's standing as the most techically accomplished horror this year. The use of fog that entrenches the whole lakeside setting, meanwhile, doesn't call negative attention to itself and instead adds further memorable atmosphere to the story. All the other sequences are great, too, but this is the one I could watch more times than any of them.&lt;/p&gt;<br /> &lt;p&gt; &lt;/p&gt;<br /> &lt;p&gt;If a mistake comes at any point in &amp;quot;Trick 'r Treat&amp;quot; it is in the decision to have mascot Sam briefly unmasked during the closing segment in which he harasses and attacks Brian Cox's grumpy old man. Unnecessary in a sequence that already has enough spook factor to not warrant a silly attempt at shock-horror, the sight of his predictably inhuman face adds nothing of merit to the sequence and, furthermore, isn't as overtly threatening as when the child-sized Sam is masked. Besides this misstep, this part of the film exists at the same general height as the preceding storylines, Brian Cox standing out amongst the cast and delivering an effective, if constrained, performance. As with all the other tales on show, it closes with another devilish turn of events.&lt;/p&gt;<br /> &lt;p&gt;&lt;/p&gt;<br /> &lt;p&gt;Primarily &amp;quot;Trick 'r Treat&amp;quot; exists as a delectable little film, kept to a concise 80 minutes leaving little room for loose skin and superfluous nothingness, that succeeds both at delivering upon and upending audience expectations. The spin on &amp;quot;Little Red Riding Hood&amp;quot; brings to mind 2000's standout &amp;quot;Ginger Snaps&amp;quot; in its subversion from the initial tale that inspired it, while the opening sequence boasts besides Dylan Baker's gleefully horrid portrayal of a deranged father and authority figure a perverse twist that exemplifies the film's no-holds-barred approach to gore and themes. In a world where studios might have cared about giving wide audiences quality entertainment over the same old repetitive garbage, the brazenly-realized &amp;quot;Trick 'r Treat&amp;quot; might have been placed into the October cinematic market where it could have provided superior competition to all that &amp;quot;Saw&amp;quot; flatulence and where its technical triumphs and intricate storytelling could have been appreciated on the big screen. As is, you'll just have to content yourselves with loving it on the smaller one.&lt;/p&gt;'
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short-body => 'It's with a palpable autumnal atmosphere, seamlessly interlocking screenwriting, superlative cinematography and a regular upending of expectations that Michael Dougherty's "Trick'r Treat," a Halloween-set horror anthology in the spirit of George A. Romero's classic "Creepshow," qualifies as the year's strongest horror movie. First and foremost, ...'
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__domel__body => '&lt;p&gt;I’m not sure where to begin with this movie. Frankly, I’m almost at a loss for words after viewing LAND OF THE LOST (2009) and being bombarded with images of one of the silliest attempts at movie humour to hit our screen. &lt;/p&gt;<br /> &lt;p&gt;I should have seen this coming, after all it stars Will Ferrel, but even this is considered pretty low in the long list of silly movies to emerge from his neck of the woods. I should have known better than to have clicked that box asking Qickflix, my online DVD store, to mail it to me. I should have stopped watching when I saw the ape man dressed in the guerrilla suit start hugging Will’s legs and fondling his crotch.... but I kept watching, sigh.&lt;/p&gt;<br /> &lt;p&gt;When I heard that a movie called LAND OF THE LOST was being made, I had hoped that it would carry the same style of adventure that the 1974 television series portrayed. It had a kind of Jurassic Park/Indiana Jones feel about it. When I heard that it was being carried by Will Ferrel, my heart dropped and missed a beat. &lt;/p&gt;<br /> &lt;p&gt;In short, Will Ferrel is Dr. Rick Marshall, a scientist who believes that Tachyon beams can in fact allow a person to travel through time, space and into alternate realities. His theories are rejected by his scientific peers and Matt Lauer, until on an expedition with his two companions ends up over a waterfall and into the prehistoric alt universe. How this occurs, is never fully explained. At this point, the movie slides down into a pool of sillier and sillier happenings. His travelling group befriend an Ape Man called Chaka (Jorma Taccone) who is literally dressed in a monkey suit and mask that I could have rented from a costume party shop. They are then attacked by green aliens and a sinister head alien who wants to steal Dr. Marshall’s tachyon technology to do great evil. At this point in time, I am screaming, “How do movies like this even get the funding to be made?” Oh, it stars Will Ferrel. &lt;/p&gt;<br /> &lt;p&gt;A big part of the problem with this movie is how amateurish it looks. It is as if the Production team really didn’t go to a lot of trouble in making the settings of the alternate universe believable. A good example is Chaka, but a better example are the aliens – they are dressed in green suits that my grandmother could have made on her sewing machine, big bulgy shiny eyes and some sharp teeth... and that is meant to like scare us silly with laughter? The T-Rex is of course computer generated, but it would probably be more on par with a BBC production of a dinosaur documentary than what would expect from a multi-million dollar Hollywood production.&lt;/p&gt;<br /> &lt;p&gt;The movie moment that I most remember – and probably would most like to forget – is when Will Ferrel discovers a way to return to our universe. However, standing in his way is the T-Rex who has been trying to eat him the whole movie. With his eyes opened wide he pole vaults straight into the T-Rex mouth and belly, this is followed by his girlfriend (Anna Friel) telling the T-Rex off for eating the only person who cared about him (this is in reference to the fact that Dr. Marshall believe that T-Rex’s were actually very intelligent beings). In a moment of rage she rips off her belt and starts whipping the green aliens who retaliate and capture her. The other travelling companion (Will Stanton) comes to her aid by grabbing Chaka the ape man as a weapon in a vain effort to ram the green aliens. They are easily subdued and about to be eaten when Will Ferrel emerges triumphant on top of the T-Rex who swallowed him earlier, in order to save the day!!!!! &lt;/p&gt;<br /> &lt;p&gt;I guess I expected a more serious, adventure style plot with doses of good humour with this movie, I just wasn’t expecting the ridiculous.&lt;/p&gt;'
alias => 'land_of_the_lost'
dt-publish => '8 years ago'
genre =>
__attr__id => 2
name => 'Comedy'
logo => 'logo.jpg'
movie =>
__attr__id => 426
cover => 'cover.jpg'
title => 'Land of the Lost'
rating => 20
reviewer =>
__attr__id => 1409
avatar => 'default.jpg'
login => 'TimVoon'
review-count => 19
user-dir => 'user_files/'
short-body => 'I’m not sure where to begin with this movie. Frankly, I’m almost at a loss for words after viewing LAND OF THE LOST (2009) and being bombarded with images of one of the silliest attempts at movie humour to hit our screen. I should have seen this coming, after all it stars Will Ferrel, but even this is considered pretty low in the long list of ...'
teaser => 'One of the silliest attempts at movie humour to hit our screen.'
title => 'Land of the Lost'
type-id => 6
5 =>
__attr__id => 569
__domel__body => '&lt;p&gt;If you are expecting a road movie, mixed in with wine and melodrama, BOTTLE SHOCK is not another SIDEWAYS. Wine and the California Nappa Valley are probably the only things these movies have in common. &lt;/p&gt;<br /> &lt;p&gt;&lt;/p&gt;<br /> &lt;p&gt;BOTTLE SHOCK is set in 1976 during a period of time when the emerging wine industry of California was trying to find an identity for itself, and French wine making dominated the world. A disillusioned British wine merchant living in Paris, Stephen Spurrier (Alan Rickman), decides that there must be more on offer than just French-made wine to go with the evening meal. He decides to travel to California to find the best they have to offer and bring it back to France for a blind wine tasting competition – USA vs France. &lt;/p&gt;<br /> &lt;p&gt;&lt;/p&gt;<br /> &lt;p&gt;If you are wondering at this point if this is a true story, indeed it is. I have a liking for movies that have a historical context and this movie is set during a small, yet significant part of viticulture history, when the wine making skill was no longer an exclusive French Art, but one adopted and mastered by another country. &lt;/p&gt;<br /> &lt;p&gt;&lt;/p&gt;<br /> &lt;p&gt;When one thinks of wineries, one may imagine something glamorous like FALCON CREST, but in reality the wine makers of Nappa Valley in 1976 were more likened to struggling farmers on the brink of financial ruin. The story mostly focuses on the winery owned by Jim Barrett (Bill Pullman, who is looking more rugged with age), his struggle to make the perfect Chardonnay and his difficult relationship with his aimless, drop out son Bo Barrett (Chris Pine). Thrown into this clash of personalities between father and son is a love triangle, a Mexican immigrant Gustavo Brambilia (Freddy Rodriguez) who is trying to make it on his own by creating a red Cabernet Sauvignon and an awful lot of grapes. These sideline storylines are really just to fill in the gaps found in the main plot and do not really add or detract from it. &lt;/p&gt;<br /> &lt;p&gt;&lt;/p&gt;<br /> &lt;p&gt;Alan Rickman gives another wonderful droll performance, in which his blunt expressions and comments drive home how aloof and emotionless the British can be. There is a humorous scene in which he picks up some Kentucky Fried Chicken, smells it before taking a small bite and then isn’t sure what next to do with the chicken piece. I guess in 1976, Kentucky Fried hadn’t quite hit the streets of Paris or London yet and wasn’t as popular as it is today. Bill Pullman puts in a solid performance as the struggling wine maker who finally succeeds in fulfilling his dream. Newcomer Chris Pine, now better recognized as the new Captain James Kirk in STAR TREK (2009), looks mostly scruffy and out of sorts in this movie. &lt;/p&gt;<br /> &lt;p&gt;&lt;/p&gt;<br /> &lt;p&gt;As for the outcome of the competition between the French and US wines, I will let you find out for yourself if you decide to see this movie. However, I will say that the Chateau Montelena Chardonnay and the Stag’s Leap Cabernet Sauvignon are on display at the Smithsonian in Washington DC, along with Julia Child’s kitchen from JULIE AND JULIA (2009). I have promised myself to seek these items out on my next visit to DC.&lt;/p&gt;'
alias => 'bottle_shock'
dt-publish => '8 years ago'
genre =>
__attr__id => 2
name => 'Comedy'
logo => 'logo.jpg'
movie =>
__attr__id => 421
cover => 'cover.jpg'
title => 'Bottle Shock'
rating => 60
reviewer =>
__attr__id => 1409
avatar => 'default.jpg'
login => 'TimVoon'
review-count => 19
user-dir => 'user_files/'
short-body => 'If you are expecting a road movie, mixed in with wine and melodrama, BOTTLE SHOCK is not another SIDEWAYS. Wine and the California Nappa Valley are probably the only things these movies have in common. BOTTLE SHOCK is set in 1976 during a period of time when the emerging wine industry of California was trying to find an identity for itself, and ...'
teaser => 'Alan Rickman gives another wonderful droll performance.'
title => 'Bottle Shock'
type-id => 6
6 =>
__attr__id => 555
__domel__body => '&lt;p&gt;&amp;quot;The power of the moon,&amp;quot; intones the narrator in what appears to be a television commercial advertising an energy company, &amp;quot;the power of the future.&amp;quot; It's a future of clean energy, thanks to a certain mineral on the moon.&lt;/p&gt;<br /> &lt;p&gt;&lt;/p&gt;<br /> &lt;p&gt;On the dark side of the moon, a lone worker named Sam Bell (Sam Rockwell) toils away, fixing any problems with the huge helium 3 automated harvesters, which are mining the moon's energy source for the citizens of planet Earth. Battling mental fatigue, Sam is really eager for the two weeks left on his three year contract to be over, so that he can return to his family back on Earth.&lt;/p&gt;<br /> &lt;p&gt;&lt;/p&gt;<br /> &lt;p&gt;Sam has very limited contact with others. The live link with Earth has been down for years, since it was knocked out in a storm. Periodically, his wife and daughter do send him recorded video messages, which are relayed via a link from Jupiter. Of course, he sends them loving messages back.&lt;/p&gt;<br /> &lt;p&gt;&lt;/p&gt;<br /> &lt;p&gt;The only &amp;quot;live&amp;quot; contact he has is with his robot (voiced by Kevin Spacey). Ever chirpy and helpful, the robot communicates with a sweet and reassuring voice, as well as through smiley faces on its video screen that vary from happy faces to sad ones and everything in-between.&lt;/p&gt;<br /> &lt;p&gt;&lt;/p&gt;<br /> &lt;p&gt;Rockwell's performance is a real tour de force and nothing like the comedic role in his other main sci-fi film, GALAXY QUEST. But, regardless of the quality of his acting, MOON does have problems. It is very hard to sustain a one-person drama for the entire length of a motion picture. These difficulties are exacerbated by director Duncan Jones's story, which is essentially just a short story. Not a lot happens in what proves to be a very simple plot.&lt;/p&gt;<br /> &lt;p&gt;&lt;/p&gt;<br /> &lt;p&gt;As Sam tries to kill the time until his contract is over, he starts seeing things. Or does he? Is he losing his marbles or is something weird going on? The answer is quite surprising, as is the movie's ending resolution to Sam's increasing predicaments. But, as intriguing as it is at times, overall the film makes its running time feel much longer than it is, as we experience some of the same tedium that appears to be driving Sam crazy.&lt;/p&gt;<br /> &lt;p&gt;&lt;/p&gt;<br /> &lt;p&gt;MOON runs 1:37. It is rated R for &amp;quot;language&amp;quot; and would be acceptable for kids around 10 and up.&lt;/p&gt;'
alias => 'moon_by_steve_rhodes'
dt-publish => '8 years ago'
genre =>
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name => 'Sci-Fi & Fantasy'
logo => 'logo.jpg'
movie =>
__attr__id => 35
cover => 'cover.jpg'
title => 'Moon'
rating => 80
reviewer =>
__attr__id => 193
avatar => 'default.jpg'
login => 'SteveRhodes'
review-count => 676
user-dir => 'user_files/'
short-body => '"The power of the moon," intones the narrator in what appears to be a television commercial advertising an energy company, "the power of the future." It's a future of clean energy, thanks to a certain mineral on the moon. On the dark side of the moon, a lone worker named Sam Bell (Sam Rockwell) toils away, fixing any problems with the huge helium...'
teaser => 'As Sam tries to kill the time until his contract is over, he starts seeing things.'
title => 'Moon'
type-id => 6
7 =>
__attr__id => 546
__domel__body => '&lt;p&gt;If you see only one movie in which Vera Farmiga plays the distressed mother of a creepy child, see JOSHUA. A diabolical little SOB with the mind of a little-league Hannibal Lecter, Joshua kicks the crap out of Esther, the precocious little twerp at the center of ORPHAN. Lacking the earlier film’s wit, style and psychological acuity, this is the year’s most laughably overwrought horror hit.&lt;/p&gt;<br /> &lt;p&gt;&lt;/p&gt;<br /> &lt;p&gt;So offensive in its depiction of orphans that the DVD comes with a disclaimer, ORPHAN is about little Esther (Isabelle Fuhrman), a 9-year-old Russian loner who initially wins the hearts of a happily married couple named Kate (Varmiga) and John (Peter Sarsgaard). They welcome Esther into their family, which includes two biological children. (A third child was lost during pregnancy, a tragedy that’s explained in a frightening dream sequence that’s by far the most effective thing in the movie.) But soon accidents start to happen, people go missing, blah-blah-blah. It all builds to the most ridiculous twist ending since M. Night Shyamalan’s THE VILLAGE.&lt;/p&gt;<br /> &lt;p&gt;&lt;/p&gt;<br /> &lt;p&gt;Varmiga and Sarsgaard deserve better, or maybe they don’t since they chose to do this movie. In addition to JOSHUA, I’d recommend a dozen creepy-kid movies before this one – including THE GOOD SON and the original OMEN movie with Gregory Peck. And if you’re the adventurous type, you should check out 1961’s THE INNOCENTS. Co-written by Truman Capote, it’s perhaps the best horror movie of its kind.&lt;/p&gt;'
alias => 'orphan'
dt-publish => '8 years ago'
genre =>
__attr__id => 7
name => 'Horror'
logo => 'logo.jpg'
movie =>
__attr__id => 408
cover => 'cover.jpg'
title => 'Orphan'
rating => 20
reviewer =>
__attr__id => 84
avatar => 'MiamiMovieCritic.jpg'
login => 'MiamiMovieCritic'
review-count => 210
user-dir => 'user_files/'
short-body => 'If you see only one movie in which Vera Farmiga plays the distressed mother of a creepy child, see JOSHUA. A diabolical little SOB with the mind of a little-league Hannibal Lecter, Joshua kicks the crap out of Esther, the precocious little twerp at the center of ORPHAN. Lacking the earlier film’s wit, style and psychological acuity, this is the year...'
teaser => 'The year’s most laughably overwrought horror hit.'
title => 'Orphan'
type-id => 6
8 =>
__attr__id => 523
__domel__body => '&lt;p&gt;After years of going out of my way to avoid it, I finally got up the nerve to watch Takashi Miike’s infamous 1999 horror film, AUDITION. My excuses for not seeing it were a) life is too short, and b) it sounded like something that would give me post-traumatic stress disorder. I decided to take the plunge when Quentin Tarantino named it one of the 20 greatest films released since 1992. Plus, the movie is available to watch instantly on Netflix, so I figured no harm, no foul if I decided to switch it off after 15 minutes. Having seen the whole thing (well, the parts where I didn’t have my eyes shut anyway), I can’t say I agree with QT. But the movie is genuinely unsettling and authentically unforgettable.&lt;/p&gt;<br /> &lt;p&gt;The relatively serious, even romantic first hour could be viewed as the sickest black comedy ever. It’s about a widower named Shigeharu (Ryo Ishibashi). His teenage son (Tetsu Sawaki) says he looks dispirited and suggests he remarry. Shigeharu complains about the difficulty of finding a mate: “I wish there was some nice girl hiding somewhere.” Given what’s in store for this guy, it’s a bitterly funny line.&lt;/p&gt;<br /> &lt;p&gt;Shigeharu is friends with a movie producer (Jun Kunimura), who comes up with an ethically shaky idea: They’ll hold an audition, but instead of auditioning for a movie role, the actresses will audition to be Shigeharu’s love interest. Shigeharu is immediately taken with Asami (Eihi Shiina), a soft-spoken, submissive and much younger woman whose dreams of becoming a ballet star were shattered when she suffered a devastating accident at the age of 18. Not everything she says at the audition adds up, and the producer friend becomes suspicious. But Shigeharu falls for her too quickly to realize that not everything is what it seems.&lt;/p&gt;<br /> &lt;p&gt;Miike has a reputation for pushing the envelope and going to extremes, but what really sets him apart are his stylistic flourishes. Those were what made ICHI THE KILLER the best manga movie to date, and they’re on full display in AUDITION. I’ll never forget the moment when Miike pulls the rug out from under us (it involves a body rolling over in a bag.) Or the amazing pre-finale sequence that slips, almost imperceptibly, into the realm of the unreal.&lt;/p&gt;<br /> &lt;p&gt;Some critics have said the movie lacks a theme, but I disagree. The first hour is a definitive statement on the ways in which love makes us blind. Given Shigeharu’s culpability in the audition scheme, what happens to him could be viewed as a feminist revenge tale. But, at its dark heart, I think the movie is about the irreparable harm of child abuse. Hell hath no fury like a woman scorned, especially one who’s been robbed of her humanity.&lt;/p&gt;<br /> &lt;p&gt;So what actually happens in the film’s notorious finale? Surprisingly little. There are three acts of sadism – involving a doggie bowl, needles and a length of piano wire – that are hard to watch and even harder to stomach. Still, the movie has a relatively low body count. Like Tarantino’s RESERVOIR DOGS, Miike’s film proves that it’s not the amount of violence but the way in which the violence is presented that determines what impact it will have on the audience. I’m not the first to say this, but this is a filmmaker who’s so good at what he does he’s almost dangerous.&lt;/p&gt;<br /> &lt;p&gt;&lt;b&gt;AUDITION was recently re-released on DVD – and released for the first time on Blu-Ray – in a ten year anniversary edition.&lt;/b&gt;&lt;/p&gt;'
alias => 'audition'
dt-publish => '8 years ago'
genre =>
__attr__id => 7
name => 'Horror'
logo => 'logo.jpg'
movie =>
__attr__id => 393
cover => 'cover.jpg'
title => 'Audition'
rating => 80
reviewer =>
__attr__id => 84
avatar => 'MiamiMovieCritic.jpg'
login => 'MiamiMovieCritic'
review-count => 210
user-dir => 'user_files/'
short-body => 'After years of going out of my way to avoid it, I finally got up the nerve to watch Takashi Miike’s infamous 1999 horror film, AUDITION. My excuses for not seeing it were a) life is too short, and b) it sounded like something that would give me post-traumatic stress disorder. I decided to take the plunge when Quentin Tarantino named it one of the 20...'
teaser => 'Genuinely unsettling and authentically unforgettable.'
title => 'Audition'
type-id => 6
9 =>
__attr__id => 515
__domel__body => '&lt;p&gt;&amp;quot;It's fucking nuts! I know that.&amp;quot; Such is a line of dialogue spoken in Patrick Lussier's My Bloody Valentine revamp and such is a fitting description of the movie itself. Humorously fun in a way that the recent, piss-poor Friday the 13th retread can only ever hope to be, director Lussier's slasher throwback embraces drama-as-parody while diving gleefully headfirst into uncompromisingly gruesome territory. From its opening massacre -- of which the sight of an eyeball bulging from the socket suggests better use of the tactics employed by 2006's abysmal Black Christmas (as well as summing up the film's general &amp;quot;who gives a shit&amp;quot; attitude towards the 3D technology it employs) -- through all that follows, My Bloody Valentine exists as a darkly humorous entry into the post-Millenium crowd of slash-horror remakes -- and a far better one than 2008's dreadful Prom Night at that.&lt;/p&gt;<br /> &lt;p&gt;&lt;/p&gt;<br /> &lt;p&gt;For fans of the genre peeved that the Hollywood remake craze has often missed out the blood and guts once quintessential for the '80s golden age, Lussier indulges in the exploitative goods as much as can be expected. A dwarf, a perverted truck driver and a hot naked chick all feature in the movie's succession of unfortunate victims, here being struck off by the thought-to-be-dead psychopath miner Harry Warden (Richard John Waters), returning with trusty pickaxe in hand right around the same time as Tom Hanniger (Jensen Ackles), a survivor of Harry's original massacre, returns to town following a ten-year exile. Devoid of scares and lacking in suspense though My Bloody Valentine often is, it nonetheless qualifies as one of the more fun and adventurous films among the recent crowd of similarly-ilked films, an unoriginal but thoroughly refreshing dash through territory so often unendearing.&lt;/p&gt;'
alias => 'my_bloody_valentine'
dt-publish => '8 years ago'
genre =>
__attr__id => 7
name => 'Horror'
logo => 'logo.jpg'
movie =>
__attr__id => 388
cover => 'cover.jpg'
title => 'My Bloody Valentine'
rating => 60
reviewer =>
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avatar => 'TomElce_1265322658.png'
login => 'TomElce'
review-count => 27
user-dir => 'user_files/'
short-body => '"It's fucking nuts! I know that." Such is a line of dialogue spoken in Patrick Lussier's My Bloody Valentine revamp and such is a fitting description of the movie itself. Humorously fun in a way that the recent, piss-poor Friday the 13th retread can only ever hope to be, director Lussier's slasher throwback embraces drama-as-parody while diving ...'
teaser => 'An unoriginal but thoroughly refreshing horror.'
title => 'My Bloody Valentine'
type-id => 6
rss-link => 'reviews/dvd/?'
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rss => 'http://www.filmnet.com/rss/reviews/dvd/?'
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userFiles => 'http://i.filmnet.com/user_files/'
videoFiles => 'http://i.filmnet.com/video_files/'

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  24. [0.22 ms] SELECT `users`.* FROM `users` WHERE (user_id='1409')
  25. [0.12 ms] SELECT `rg`.* FROM `review_genres` AS `rg` WHERE (genre_id = '2')
  26. [1.63 ms] SELECT DISTINCT `r`.*, `vr`.`video_id`, `cr`.`channel_id`, `ur`.`user_id`, `mr`.`movie_id` FROM `reviews` AS `r` LEFT JOIN `video__reviews` AS `vr` ON vr.review_id = r.review_id LEFT JOIN `channel__reviews` AS `cr` ON cr.review_id = r.review_id LEFT JOIN `user__reviews` AS `ur` ON ur.review_id = r.review_id LEFT JOIN `movie__reviews` AS `mr` ON mr.review_id = r.review_id WHERE (1 AND r.`reviewer_id` = 1409 AND r.is_published_review = 1 AND r.is_deleted_review = 0) ORDER BY `r`.`dt_published_review` DESC
  27. [0.13 ms] SELECT `m`.* FROM `movies` AS `m` WHERE (movie_id = '421')
  28. [0.24 ms] SELECT `users`.* FROM `users` WHERE (user_id='193')
  29. [2.02 ms] SELECT `rg`.* FROM `review_genres` AS `rg` WHERE (genre_id = '11')
  30. [253.87 ms] SELECT DISTINCT `r`.*, `vr`.`video_id`, `cr`.`channel_id`, `ur`.`user_id`, `mr`.`movie_id` FROM `reviews` AS `r` LEFT JOIN `video__reviews` AS `vr` ON vr.review_id = r.review_id LEFT JOIN `channel__reviews` AS `cr` ON cr.review_id = r.review_id LEFT JOIN `user__reviews` AS `ur` ON ur.review_id = r.review_id LEFT JOIN `movie__reviews` AS `mr` ON mr.review_id = r.review_id WHERE (1 AND r.`reviewer_id` = 193 AND r.is_published_review = 1 AND r.is_deleted_review = 0) ORDER BY `r`.`dt_published_review` DESC
  31. [12.82 ms] SELECT `m`.* FROM `movies` AS `m` WHERE (movie_id = '35')
  32. [5.12 ms] SELECT `users`.* FROM `users` WHERE (user_id='84')
  33. [0.78 ms] SELECT `rg`.* FROM `review_genres` AS `rg` WHERE (genre_id = '7')
  34. [58.92 ms] SELECT DISTINCT `r`.*, `vr`.`video_id`, `cr`.`channel_id`, `ur`.`user_id`, `mr`.`movie_id` FROM `reviews` AS `r` LEFT JOIN `video__reviews` AS `vr` ON vr.review_id = r.review_id LEFT JOIN `channel__reviews` AS `cr` ON cr.review_id = r.review_id LEFT JOIN `user__reviews` AS `ur` ON ur.review_id = r.review_id LEFT JOIN `movie__reviews` AS `mr` ON mr.review_id = r.review_id WHERE (1 AND r.`reviewer_id` = 84 AND r.is_published_review = 1 AND r.is_deleted_review = 0) ORDER BY `r`.`dt_published_review` DESC
  35. [0.19 ms] SELECT `m`.* FROM `movies` AS `m` WHERE (movie_id = '408')
  36. [0.21 ms] SELECT `users`.* FROM `users` WHERE (user_id='84')
  37. [15.83 ms] SELECT `rg`.* FROM `review_genres` AS `rg` WHERE (genre_id = '7')
  38. [34.17 ms] SELECT DISTINCT `r`.*, `vr`.`video_id`, `cr`.`channel_id`, `ur`.`user_id`, `mr`.`movie_id` FROM `reviews` AS `r` LEFT JOIN `video__reviews` AS `vr` ON vr.review_id = r.review_id LEFT JOIN `channel__reviews` AS `cr` ON cr.review_id = r.review_id LEFT JOIN `user__reviews` AS `ur` ON ur.review_id = r.review_id LEFT JOIN `movie__reviews` AS `mr` ON mr.review_id = r.review_id WHERE (1 AND r.`reviewer_id` = 84 AND r.is_published_review = 1 AND r.is_deleted_review = 0) ORDER BY `r`.`dt_published_review` DESC
  39. [0.24 ms] SELECT `m`.* FROM `movies` AS `m` WHERE (movie_id = '393')
  40. [0.2 ms] SELECT `users`.* FROM `users` WHERE (user_id='1341')
  41. [0.38 ms] SELECT `rg`.* FROM `review_genres` AS `rg` WHERE (genre_id = '7')
  42. [17.87 ms] SELECT DISTINCT `r`.*, `vr`.`video_id`, `cr`.`channel_id`, `ur`.`user_id`, `mr`.`movie_id` FROM `reviews` AS `r` LEFT JOIN `video__reviews` AS `vr` ON vr.review_id = r.review_id LEFT JOIN `channel__reviews` AS `cr` ON cr.review_id = r.review_id LEFT JOIN `user__reviews` AS `ur` ON ur.review_id = r.review_id LEFT JOIN `movie__reviews` AS `mr` ON mr.review_id = r.review_id WHERE (1 AND r.`reviewer_id` = 1341 AND r.is_published_review = 1 AND r.is_deleted_review = 0) ORDER BY `r`.`dt_published_review` DESC
  43. [0.19 ms] SELECT `m`.* FROM `movies` AS `m` WHERE (movie_id = '388')
  44. [0.57 ms] SELECT DISTINCT `rg`.* FROM `review_genres` AS `rg` LEFT JOIN `reviews` AS `r` ON rg.`genre_id` = r.`genre_id` WHERE (1 AND r.`review_type_id` = 6 AND r.`is_published_review` = 1 AND r.`is_deleted_review` = 0) ORDER BY `rg`.`genre_name` ASC

File Information

146 Files Included
Total Size: 1495.1K
Basepath: /mnt/fs.9/disk1/local/www/filmnet/application/frontend/settings/../../../

Application Files

/mnt/fs.9/disk1/local/www/filmnet/application/Bootstrap.php
/mnt/fs.9/disk1/local/www/filmnet/application/frontend/modules/channels/models/Channels.php
/mnt/fs.9/disk1/local/www/filmnet/application/frontend/modules/default/models/Assistant.php
/mnt/fs.9/disk1/local/www/filmnet/application/frontend/modules/default/models/Filters.php
/mnt/fs.9/disk1/local/www/filmnet/application/frontend/modules/reviews/controllers/ReviewsController.php
/mnt/fs.9/disk1/local/www/filmnet/application/frontend/modules/reviews/models/Movies.php
/mnt/fs.9/disk1/local/www/filmnet/application/frontend/modules/reviews/models/ReviewGenres.php
/mnt/fs.9/disk1/local/www/filmnet/application/frontend/modules/reviews/models/Reviews.php
/mnt/fs.9/disk1/local/www/filmnet/application/frontend/modules/users/models/Users.php
/mnt/fs.9/disk1/local/www/filmnet/application/frontend/modules/videos/models/Videos.php
/mnt/fs.9/disk1/local/www/filmnet/application/frontend/settings/config.php
/mnt/fs.9/disk1/local/www/filmnet/application/frontend/system/acl.php
/mnt/fs.9/disk1/local/www/filmnet/application/frontend/system/routes.php
/mnt/fs.9/disk1/local/www/filmnet/library/App/Controller/Plugin/Acl.php
/mnt/fs.9/disk1/local/www/filmnet/library/App/Controller/Plugin/AjaxCheck.php
/mnt/fs.9/disk1/local/www/filmnet/library/App/Controller/Plugin/AutoLogin.php
/mnt/fs.9/disk1/local/www/filmnet/library/App/Controller/Plugin/FlashMessenger.php
/mnt/fs.9/disk1/local/www/filmnet/library/App/Controller/Plugin/InmailMessageCount.php
/mnt/fs.9/disk1/local/www/filmnet/library/App/Paginator/Adapter/DbSelect.php
/mnt/fs.9/disk1/local/www/filmnet/library/App/View/Serializer.php
/mnt/fs.9/disk1/local/www/filmnet/library/App/View/Xslt.php
/mnt/fs.9/disk1/local/www/filmnet/www/index.php

Zend Library Files

/mnt/fs.9/disk1/local/www/filmnet/library/Zend/Acl.php
/mnt/fs.9/disk1/local/www/filmnet/library/Zend/Acl/Assert/Interface.php
/mnt/fs.9/disk1/local/www/filmnet/library/Zend/Acl/Exception.php
/mnt/fs.9/disk1/local/www/filmnet/library/Zend/Acl/Resource.php
/mnt/fs.9/disk1/local/www/filmnet/library/Zend/Acl/Resource/Interface.php
/mnt/fs.9/disk1/local/www/filmnet/library/Zend/Acl/Role.php
/mnt/fs.9/disk1/local/www/filmnet/library/Zend/Acl/Role/Interface.php
/mnt/fs.9/disk1/local/www/filmnet/library/Zend/Acl/Role/Registry.php
/mnt/fs.9/disk1/local/www/filmnet/library/Zend/Acl/Role/Registry/Exception.php
/mnt/fs.9/disk1/local/www/filmnet/library/Zend/Auth.php
/mnt/fs.9/disk1/local/www/filmnet/library/Zend/Auth/Storage/Interface.php
/mnt/fs.9/disk1/local/www/filmnet/library/Zend/Auth/Storage/Session.php
/mnt/fs.9/disk1/local/www/filmnet/library/Zend/Cache.php
/mnt/fs.9/disk1/local/www/filmnet/library/Zend/Cache/Backend.php
/mnt/fs.9/disk1/local/www/filmnet/library/Zend/Cache/Backend/ExtendedInterface.php
/mnt/fs.9/disk1/local/www/filmnet/library/Zend/Cache/Backend/Interface.php
/mnt/fs.9/disk1/local/www/filmnet/library/Zend/Cache/Backend/Memcached.php
/mnt/fs.9/disk1/local/www/filmnet/library/Zend/Cache/Core.php
/mnt/fs.9/disk1/local/www/filmnet/library/Zend/Config.php
/mnt/fs.9/disk1/local/www/filmnet/library/Zend/Controller/Action.php
/mnt/fs.9/disk1/local/www/filmnet/library/Zend/Controller/Action/Helper/Abstract.php
/mnt/fs.9/disk1/local/www/filmnet/library/Zend/Controller/Action/Helper/FlashMessenger.php
/mnt/fs.9/disk1/local/www/filmnet/library/Zend/Controller/Action/Helper/ViewRenderer.php
/mnt/fs.9/disk1/local/www/filmnet/library/Zend/Controller/Action/HelperBroker.php
/mnt/fs.9/disk1/local/www/filmnet/library/Zend/Controller/Action/HelperBroker/PriorityStack.php
/mnt/fs.9/disk1/local/www/filmnet/library/Zend/Controller/Action/Interface.php
/mnt/fs.9/disk1/local/www/filmnet/library/Zend/Controller/Dispatcher/Abstract.php
/mnt/fs.9/disk1/local/www/filmnet/library/Zend/Controller/Dispatcher/Interface.php
/mnt/fs.9/disk1/local/www/filmnet/library/Zend/Controller/Dispatcher/Standard.php
/mnt/fs.9/disk1/local/www/filmnet/library/Zend/Controller/Exception.php
/mnt/fs.9/disk1/local/www/filmnet/library/Zend/Controller/Front.php
/mnt/fs.9/disk1/local/www/filmnet/library/Zend/Controller/Plugin/Abstract.php
/mnt/fs.9/disk1/local/www/filmnet/library/Zend/Controller/Plugin/Broker.php
/mnt/fs.9/disk1/local/www/filmnet/library/Zend/Controller/Plugin/ErrorHandler.php
/mnt/fs.9/disk1/local/www/filmnet/library/Zend/Controller/Request/Abstract.php
/mnt/fs.9/disk1/local/www/filmnet/library/Zend/Controller/Request/Http.php
/mnt/fs.9/disk1/local/www/filmnet/library/Zend/Controller/Response/Abstract.php
/mnt/fs.9/disk1/local/www/filmnet/library/Zend/Controller/Response/Http.php
/mnt/fs.9/disk1/local/www/filmnet/library/Zend/Controller/Router/Abstract.php
/mnt/fs.9/disk1/local/www/filmnet/library/Zend/Controller/Router/Interface.php
/mnt/fs.9/disk1/local/www/filmnet/library/Zend/Controller/Router/Rewrite.php
/mnt/fs.9/disk1/local/www/filmnet/library/Zend/Controller/Router/Route.php
/mnt/fs.9/disk1/local/www/filmnet/library/Zend/Controller/Router/Route/Abstract.php
/mnt/fs.9/disk1/local/www/filmnet/library/Zend/Controller/Router/Route/Interface.php
/mnt/fs.9/disk1/local/www/filmnet/library/Zend/Controller/Router/Route/Module.php
/mnt/fs.9/disk1/local/www/filmnet/library/Zend/Controller/Router/Route/Regex.php
/mnt/fs.9/disk1/local/www/filmnet/library/Zend/Db.php
/mnt/fs.9/disk1/local/www/filmnet/library/Zend/Db/Adapter/Abstract.php
/mnt/fs.9/disk1/local/www/filmnet/library/Zend/Db/Adapter/Pdo/Abstract.php
/mnt/fs.9/disk1/local/www/filmnet/library/Zend/Db/Adapter/Pdo/Mysql.php
/mnt/fs.9/disk1/local/www/filmnet/library/Zend/Db/Expr.php
/mnt/fs.9/disk1/local/www/filmnet/library/Zend/Db/Profiler.php
/mnt/fs.9/disk1/local/www/filmnet/library/Zend/Db/Profiler/Query.php
/mnt/fs.9/disk1/local/www/filmnet/library/Zend/Db/Select.php
/mnt/fs.9/disk1/local/www/filmnet/library/Zend/Db/Statement.php
/mnt/fs.9/disk1/local/www/filmnet/library/Zend/Db/Statement/Interface.php
/mnt/fs.9/disk1/local/www/filmnet/library/Zend/Db/Statement/Pdo.php
/mnt/fs.9/disk1/local/www/filmnet/library/Zend/Db/Table/Abstract.php
/mnt/fs.9/disk1/local/www/filmnet/library/Zend/Exception.php
/mnt/fs.9/disk1/local/www/filmnet/library/Zend/Filter.php
/mnt/fs.9/disk1/local/www/filmnet/library/Zend/Filter/Inflector.php
/mnt/fs.9/disk1/local/www/filmnet/library/Zend/Filter/Interface.php
/mnt/fs.9/disk1/local/www/filmnet/library/Zend/Filter/PregReplace.php
/mnt/fs.9/disk1/local/www/filmnet/library/Zend/Filter/StringToLower.php
/mnt/fs.9/disk1/local/www/filmnet/library/Zend/Filter/Word/CamelCaseToDash.php
/mnt/fs.9/disk1/local/www/filmnet/library/Zend/Filter/Word/CamelCaseToSeparator.php
/mnt/fs.9/disk1/local/www/filmnet/library/Zend/Filter/Word/Separator/Abstract.php
/mnt/fs.9/disk1/local/www/filmnet/library/Zend/Filter/Word/SeparatorToSeparator.php
/mnt/fs.9/disk1/local/www/filmnet/library/Zend/Filter/Word/UnderscoreToSeparator.php
/mnt/fs.9/disk1/local/www/filmnet/library/Zend/Form.php
/mnt/fs.9/disk1/local/www/filmnet/library/Zend/Json.php
/mnt/fs.9/disk1/local/www/filmnet/library/Zend/Json/Expr.php
/mnt/fs.9/disk1/local/www/filmnet/library/Zend/Loader.php
/mnt/fs.9/disk1/local/www/filmnet/library/Zend/Loader/Autoloader.php
/mnt/fs.9/disk1/local/www/filmnet/library/Zend/Loader/PluginLoader.php
/mnt/fs.9/disk1/local/www/filmnet/library/Zend/Loader/PluginLoader/Interface.php
/mnt/fs.9/disk1/local/www/filmnet/library/Zend/Locale.php
/mnt/fs.9/disk1/local/www/filmnet/library/Zend/Locale/Data/Translation.php
/mnt/fs.9/disk1/local/www/filmnet/library/Zend/Log.php
/mnt/fs.9/disk1/local/www/filmnet/library/Zend/Log/Filter/Interface.php
/mnt/fs.9/disk1/local/www/filmnet/library/Zend/Log/Filter/Priority.php
/mnt/fs.9/disk1/local/www/filmnet/library/Zend/Log/Formatter/Interface.php
/mnt/fs.9/disk1/local/www/filmnet/library/Zend/Log/Formatter/Simple.php
/mnt/fs.9/disk1/local/www/filmnet/library/Zend/Log/Writer/Abstract.php
/mnt/fs.9/disk1/local/www/filmnet/library/Zend/Log/Writer/Stream.php
/mnt/fs.9/disk1/local/www/filmnet/library/Zend/Paginator.php
/mnt/fs.9/disk1/local/www/filmnet/library/Zend/Paginator/Adapter/Interface.php
/mnt/fs.9/disk1/local/www/filmnet/library/Zend/Paginator/ScrollingStyle/Interface.php
/mnt/fs.9/disk1/local/www/filmnet/library/Zend/Paginator/ScrollingStyle/Jumping.php
/mnt/fs.9/disk1/local/www/filmnet/library/Zend/Registry.php
/mnt/fs.9/disk1/local/www/filmnet/library/Zend/Session.php
/mnt/fs.9/disk1/local/www/filmnet/library/Zend/Session/Abstract.php
/mnt/fs.9/disk1/local/www/filmnet/library/Zend/Session/Exception.php
/mnt/fs.9/disk1/local/www/filmnet/library/Zend/Session/Namespace.php
/mnt/fs.9/disk1/local/www/filmnet/library/Zend/Session/SaveHandler/Interface.php
/mnt/fs.9/disk1/local/www/filmnet/library/Zend/Translate.php
/mnt/fs.9/disk1/local/www/filmnet/library/Zend/Translate/Adapter.php
/mnt/fs.9/disk1/local/www/filmnet/library/Zend/Translate/Adapter/Gettext.php
/mnt/fs.9/disk1/local/www/filmnet/library/Zend/Uri.php
/mnt/fs.9/disk1/local/www/filmnet/library/Zend/Validate/Interface.php
/mnt/fs.9/disk1/local/www/filmnet/library/Zend/Version.php
/mnt/fs.9/disk1/local/www/filmnet/library/Zend/View.php
/mnt/fs.9/disk1/local/www/filmnet/library/Zend/View/Abstract.php
/mnt/fs.9/disk1/local/www/filmnet/library/Zend/View/Helper/Abstract.php
/mnt/fs.9/disk1/local/www/filmnet/library/Zend/View/Helper/HeadMeta.php
/mnt/fs.9/disk1/local/www/filmnet/library/Zend/View/Helper/HeadTitle.php
/mnt/fs.9/disk1/local/www/filmnet/library/Zend/View/Helper/Interface.php
/mnt/fs.9/disk1/local/www/filmnet/library/Zend/View/Helper/Placeholder/Container.php
/mnt/fs.9/disk1/local/www/filmnet/library/Zend/View/Helper/Placeholder/Container/Abstract.php
/mnt/fs.9/disk1/local/www/filmnet/library/Zend/View/Helper/Placeholder/Container/Standalone.php
/mnt/fs.9/disk1/local/www/filmnet/library/Zend/View/Helper/Placeholder/Registry.php
/mnt/fs.9/disk1/local/www/filmnet/library/Zend/View/Interface.php

ZFDebug Library Files

/mnt/fs.9/disk1/local/www/filmnet/library/ZFDebug/Controller/Plugin/Debug.php
/mnt/fs.9/disk1/local/www/filmnet/library/ZFDebug/Controller/Plugin/Debug/Plugin.php
/mnt/fs.9/disk1/local/www/filmnet/library/ZFDebug/Controller/Plugin/Debug/Plugin/Database.php
/mnt/fs.9/disk1/local/www/filmnet/library/ZFDebug/Controller/Plugin/Debug/Plugin/Exception.php
/mnt/fs.9/disk1/local/www/filmnet/library/ZFDebug/Controller/Plugin/Debug/Plugin/File.php
/mnt/fs.9/disk1/local/www/filmnet/library/ZFDebug/Controller/Plugin/Debug/Plugin/Html.php
/mnt/fs.9/disk1/local/www/filmnet/library/ZFDebug/Controller/Plugin/Debug/Plugin/Interface.php
/mnt/fs.9/disk1/local/www/filmnet/library/ZFDebug/Controller/Plugin/Debug/Plugin/Memory.php
/mnt/fs.9/disk1/local/www/filmnet/library/ZFDebug/Controller/Plugin/Debug/Plugin/Registry.php
/mnt/fs.9/disk1/local/www/filmnet/library/ZFDebug/Controller/Plugin/Debug/Plugin/Text.php
/mnt/fs.9/disk1/local/www/filmnet/library/ZFDebug/Controller/Plugin/Debug/Plugin/Time.php
/mnt/fs.9/disk1/local/www/filmnet/library/ZFDebug/Controller/Plugin/Debug/Plugin/Variables.php

Memory Usage

Controller: 10135.5K

Custom Timers

Controller: 1495.2 ms

Overall Timers

reviews
reviews
list
Avg: 2809.73 ms / 1 requests
Min: 2809.73 ms
Max: 2809.73 ms

Reset timers by sending ZFDEBUG_RESET as a GET/POST parameter

Registered Instances

Zend_View_Helper_Placeholder_Registry => Zend_View_Helper_Placeholder_Registry Object()
acl => Zend_Acl Object()
baseDir => 'http://www.filmnet.com/'
cache => Zend_Cache_Core Object()
config => Zend_Config Object()
db => Zend_Db_Adapter_Pdo_Mysql Object()
translator => Zend_Translate Object()
copyright 1.8.0/5.2.10-2ubuntu6variables Variableshtml HTMLdatabase 44 in 851.45 msfile 146 Filesmemory 20130K of 1024Mtime 2809.73 msregistry Registry (7)«