Saturday, 4 February 2012

"Titanium (feat. Sia) By David Guetta Music Video

"Titanium" is a song recorded by French DJ-music producer David Guetta, featuring vocals by Australian recording artist Sia. It was taken and released as Guetta’s fourth single from “Nothing but the Beat”. "Titanium" is a near- ballad which draws from the genres of pop, house and urban-dance. The song's lyrics are about inner strength. Sia's vocals on "Titanium" received comparisons to those by Fergie and Coldplay.
"Titanium" has lyrics about inner strength, such as: "I'm bulletproof, nothing' to lose / Fire away, fire away / Ricochet, you take your aim / Fire away, fire away / You shoot me down, but I won't fall / I am titanium."
David Guetta doesn’t usually include ballads within albums, not that this track can easily be identified as a ballad, due to the urban dance backing tracks; in fact his previous single “Without You” was more of a ballad. However the faster and catchier beats along a more memorable title means that this track will probably do better, the only thing holding it back, is the guest vocals of Sia, a relatively unknown Australian recording artist, as opposed to the likes of Usher in “Without You”.
Many critics have described the song as a reminder of Guetta’s previous successful collaborations with Kelly Rowland, which I do agree with, not only because of the female voice, but there is a clear link and comparison here with “Commander” and “When Love Takes Over”, the former especially.
The best thing about the song is that Sia has managed to stand against the power of the powerhouse assembly of synthesizers by upping her own game, with her extremely distinctive vocals ringing clear and commanding her presence with the mighty chorus.
The production of the track is a welcome change for Guetta. His last few singles have been a little bit stale and repetitive like in “Who’s That Chick? Featuring Rihanna”. It feels like huge amounts of effort have gone into the new album, especially this track and “Without You”.
Titanium’ isn’t the kind of song that’ll bring a tear to your eye with its monstrous chorus and beats, but it’s just the right amount of dramatic felling to nestle comfortably in between the realm of generic radio and a song with a real message.
Overall - 3/5

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"Horrible Bosses" - Review

For an R-rated comedy, the humor doesn’t always have to be about shock value and gross-out gags (although those certainly don’t hurt).  It can be about strong dialogue and fantastic performances and Seth Gordon’s Horrible Bosses manages exactly that.  It’s the fourth major R-rated comedy to hit this summer and it may be the best one so far.  While it lacks the warmth and maturity of Bridesmaids, it’s also a tighter, sharper narrative that keeps a laser-like focus on delivering non-stop jokes and never letting the plot stall.  But more than its pacing, Horrible Bosses thrives because every actor is working at the top of their game.  Leads Jason Bateman, Charlie Day, and Jason Sudeikis each maintain their own comic style but find a way to make those styles work in concert with each other.

Kevin Spacey, Jennifer Aniston, and Colin Farrell relish playing the eponymous bosses with Farrell and especially Aniston getting to show audiences a new side of their acting talents.  The result of the sharp writing, profanity-laden humor, and killer performances make Horrible Bosses one of the year’s most consistent comedies.
Nick (Bateman), Dale (Day), and Kurt (Sudeikis) all hate their bosses.  Nick has been working hard for a promotion he’ll never get because his boss Harken (Spacey) is evil.  Dale is recently engaged and wants to be happily married, but he’s being sexually harassed to the nth degree by his sex-crazed boss Julia (Aniston).  Kurt likes his job and liked his old boss (Donald Sutherland), but then his old boss’ cokehead son Bobby (Farrell) takes over and is running the company into the ground.  As Nick, Dale, and Kurt’s lives become more difficult with each passing day, the three decide that it may be best if they just kill each other’s bosses.  With the help of murder consultant Motherfucker Jones (Jamie Foxx), the trio bumble their way to trying to kill the bosses but spend more time arguing among themselves than actually engaging in successful murder.

Horrible Bosses is not a dark comedy in the mold of The Ladykillers.  It’s not about making sure that three desperate guys who seriously contemplate murder get their comeuppance.  The macabre isn’t the film’s goal.  The movie’s goal is to fire off as many foul-mouthed jokes as possible without getting too lost in shock value or letting one character’s personality dominate the entire picture.  The movie requires six distinct performances and every single actor not only delivers, but finds a way to make sure their performance can play off the other actor.
Charlie Day is the breakthrough star here.  Fans of his TV series It’s Always Sunny in Philadelphia know he had the comedic chops to deliver a great performance, but Horrible Bosses lets him run wild and although there are times when it gets to be almost too much, if he didn’t have strong co-stars like Bateman and Sudeikis, he would easily steal almost every scene he’s in.  Day is at his best when he’s got someone to play off, and while Dale isn’t quite as stupid as It’s Always Sunny’s Charlie, the character is still pretty dim-witted, but has a good heart.  The stupidity works brilliantly when paired with the intellect of Nick and Kurt, and the heart is essential as he is being dominated by Julia.

With Horrible Bosses, Aniston gives her best comic performance in years.  Her movies tend to cast her as the bland, slightly neurotic female lead in the latest unoriginal rom-com and no role has ever required her to go as dark or as twisted as this one.  It’s not just that her dialogue is absolutely filthy and it’s shocking to hear it come out of Aniston’s mouth.  The performance works because Aniston delivers that filthy, shocking dialogue so well and because she has such great and demented chemistry with Day.
The movie works as a whole because every actor knows how to work with each other in the context of the story.  In the scenes between Julia and Dale, it makes no sense for Day to play his character manic and wild because Julia has all the power.  Instead, he goes subtle, takes a step back, and lets Aniston run the show.  That fantastic comic balance runs throughout Horrible Bosses.  Nick is sardonic, Dale is manic, and Kurt is smarmy, and while these actors have played roles along these lines before, the performances feel fresh because they’ve been placed in a new context.  Letting Aniston and Farrell play such outsized roles is refreshing (Spacey’s work feels like a retread of what we’ve seen from him before—he’s good, but his performance isn’t surprising), but some of the funniest scenes are just Nick, Dale, and Kurt arguing in a car.  The actors know when to adjust their tone, their pacing, and when to step on each other’s lines and the result makes the film come alive.
Horrible Bosses has a terrific script filled with memorable jokes and you get the sense that if you watch it again and again, smaller jokes will rise to the surface after the shock value of some of the dialogue has faded.  But the humor truly comes alive and sticks in your mind when delivered by such a talented cast who jump in completely to make every joke work.

"Cars 2" - Review

Cars may have been one of the less well-regarded Pixar movies, but that didn't stop John Lasseter from getting behind the wheel again for this week's sequel. It's Lasseter's passion for all things automotive that drives the follow-up, which has a co-directing credit for Brad Lewis. Cars 2 lacks the storytelling wit of Toy Story 3, Up and WALL-E, being the animation outfit's first movie in a while that plays broadly for children. However, it's still a breezily entertaining spy caper that owes a debt to early globe-trotting adventures of James Bond.

Widening the scope from the first's Radiator Springs location, Cars 2 kicks off with a thrilling infiltration of an oil platform by Finn McMissile, a spy car suavely voiced by Michael Caine and resembling Sean Connery's Goldfinger Aston Martin. Meanwhile, racer Lightning McQueen is feeling stagnant at home and agrees to takes up a challenge from flamboyant Italian Formula 1 car Francesco Bernoulli (John Turturro) to race in the World Grand Prix. Tow truck Mater (Larry the Cable Guy) hitches along for the ride and ends up embarrassing his pal in front of the racing elite high-fliers, including Lewis Hamilton in a cameo role and tournament sponsor Miles Axlerod (Eddie Izzard). In a case of classic Hitchcockian mistaken identity, Mater inadvertently finds himself pulled into an espionage mission with McMissile and Holley Shiftwell (Emily Mortimer).
Tokyo, Italy (the fictional town of Porto Corsa) and London provide the backdrops as Cars 2 unfolds as a high-octane spy movie. The film gains traction as an action picture in the final third when events move to the UK for the final leg of the Grand Prix. The capital is rendered in stunning detail as cars whizz by the Houses of Parliament and Buckingham Palace, even leaving room for cameos for the Queen (voiced by Vanessa Redgrave) and Prince William (here called 'Wheeliam'). A memorable sequence inside Big Ben[tley] also puts the heroes in a ticking clock jam that'd stump even the most resourceful blockbuster hero.

As with much of Pixar's work, the theme of friendship is underlined. Here it's Lightning and Mater charged with providing the emotional backbone, but the pair lack the charm and warmth of Woody/Buzz, WALL-E/Eve and Carl/Russell. It's possible that cars - man-made machines - don't quite capture the imagination, connect on a universal level or have the same power to pull on the heartstrings the way previous Pixar stars have. More likely, though, is the lack of storytelling polish on display. Aesthetically Cars 2 is as accomplished as anything the studio has done, but look under the bonnet and the script doesn't quite have the sophistication to shift into top gear. The movie is preceded by short Toy Story Toons: Hawaiian Vacation, a super little 5-minute reminder of just how good Pixar can be.


"Rise Of The Planet Of The Apes" - Review

Like the birds, the apes can be pretty scary when they get organised. That's what these opposable-thumb-possessors have got their hearts set on in this prequel to the 1968 Charlton Heston classic Planet of the Apes and its successors. It's a smart and highly entertaining popcorn thriller from British-born director Rupert Wyatt, cheerfully satirical in the tradition of this movie series, yet unpretentious at the same time. Somehow the scratching, screeching chimpiness keeps it down to earth. This is actually one of a startling double-bill of ape-centred films out this week, the other being James Marsh's Project Nim, reviewed below. One is fiction, one fact, but they really are weirdly similar in ideas and narrative.

Rise of the Planet of the Apes is a film in which digital FX technology has now evolved to such an extent that super-intelligent apes can be shown convincingly on screen for the first time. No more dressing up in comedy monkey suits, or as semi-transformed ape characters, such as Helena Bonham Carter's poignant, ridiculous but fondly remembered turn as Ari in Tim Burton's 2001 reboot of the first film. The simian star of this one is Caesar, whose movements and characterisation are provided through motion-capture technology by Andy Serkis, who similarly played the gorilla in Peter Jackson's 2005 remake of King Kong.
Caesar's mother is one of many primates caught in the jungle and brought to present-day San Francisco, where they are experimented on in the labs of a drug-research corporation that is amoral and profit-driven in the time-honoured manner. There is one terrifically Ballardian scene in which the inmates, driven apeshit by new drugs, smash their way into the sleek boardroom and cause chaos, before being taken down by stun darts. The experimental programme is hurriedly closed down, to the horror of Will Rodman (played by James Franco), a decent, troubled young scientist who has been willing to accept these procedures in the search for an Alzheimer's cure. His poor old dad Charles (John Lithgow), who lives with him, suffers from dementia. Will sneaks a baby chimp home – little Caesar, as it were – and feeds the experimental cure to both the ape and his own dad. Meanwhile, just to keep us in the narrative-saga loop, a throwaway scene reveals that a certain manned space-rocket has blasted off to Mars.

This really is a very enjoyable film: suspenseful and involving, and Caesar is a great character with mannerisms and expressions that are neither simian nor human but bizarrely convincing as a combination of both – dramatically and comically, if not scientifically. Caesar should be absurd, but never at any time will you feel the urge to laugh at him, though you might laugh with him, as he grows up and realises his destiny.

There is unexpected tenderness and also tension in the family scenes in which Will presides over a household in which his father has been gloriously brought back to mental life, and which is also invigorated by the little kiddie chimp swinging around the house. Caesar is almost a son to Will and a grandson to Charles: Will realises that he is lonely, and that of course is where the beautiful veterinarian Caroline (Freida Pinto) comes in.
This prequel does not quite have the scabrous quality of the original 1968 movie, the topsy-turvy world in which apes rule over human slaves, nor its bold racial satire: a suggestion that having set about brutalising and dehumanising the black peoples, racist whites could now be reaping a karmic whirlwind. But there is something transgressive in the story of Caesar's relentless IQ-march, and a radical political education not attributable to the drugs. Locked away in cages with other apes in the hateful primate centre, Caesar achieves a kind of new Spartacist consciousness. He brings his fellow prisoners together, sees how the existing hierarchy is structured, and then moves in as the alpha-ape.
No prequel or sequel to Planet of the Apes can avoid the great statue-shaped shadow of that famous finale, one of the most brilliant endings in Hollywood history. Burton unsuccessfully tried putting a new twist on it. I wondered if Wyatt would try to show us exactly how a certain part of the New York skyline came to be changed. The action takes place in California. Would we be getting over to the eastern seaboard some time before the closing credits? The final scene involves an airport, and I was quite certain I knew what catastrophe was on the cards. But no. Perhaps Wyatt was thinking what I was thinking, and rejected it as too obvious. Well, his monkey business is perfectly acceptable without it.


Tinker Tailor Soldier Spy - Plot and Trailer

In the bleak days of the Cold War, espionage veteran George Smiley is forced from semi-retirement to uncover a Soviet agent within MI6's echelons.

Below is the movie poster and the official "Tinker Tailor Soldier Spy" Movie trailer.

File:Tinker, Tailor, Soldier, Spy Poster.jpg

Tomas Alfredson


Bridget O'Connor (screenplay), Peter Straughan (screenplay)
Gary Oldman, Colin Firth and Tom Hardy

Beyoncé "1+1" Music Video

Beyoncé "1+1", a song from the album "4".

Thursday, 2 February 2012

First Post

Hi all,

My names Tyler, i live in the UK, and im extremely passionate about film and music, so this blog was created so that you can see all the latest blockbuster movies and the hottest music and music videos easily, so i hope you enjoy the site.

thank you

Tyler Steele