The Perfume(2009)

Adapted from Patrick Süskind’s clammy, high-toned international best seller, “Perfume: The Story of a Murderer” is of interest mainly as an example of what might be called the sensory imperialism of cinema. Quite a few movies, not content to stimulate the eyes and ears, try to conquer the other senses as well. Touch and taste are the favorites — hence the ubiquity of scenes that take place in bed or at a table — but an intrepid researcher could probably identify, amid the sighing caresses and laden forkfuls, an authentically olfactory film tradition. The touchstone might be John Waters’s divinely vulgar “Polyester,” filmed in “Odorama” and originally released in 1981 with a scratch-and-sniff strip that was handed out to theater patrons to provide a smell track.

Tom Tykwer, the director of “Perfume” (and also, most memorably, of “Run Lola Run”) asks to be taken much more seriously than Mr. Waters ever has, which has the unfortunate, predictable effect of making his new movie all the more ridiculous. It tells the story of Jean-Baptiste Grenouille (Ben Whishaw), a skinny, sallow young fellow who grows up in the pungent atmosphere of 18th-century France burdened with a preternaturally sensitive nose. Every stone and blade of grass, every young woman’s cheekbone and belly button, every piece of fruit and hunk of rotting fish sends its essence straight to Grenouille’s nostrils, sometimes from a great distance.

Whereas Mr. Süskind portrayed this condition in ripe, sarcastic prose, Mr. Tykwer’s method is one of stupefying literalism. Exploiting the lush, lurid tones of Frank Griebe’s cinematography, he rubs our noses in Grenouille’s world by assaulting our eyes with what he smells. Thus the camera lingers on rotting fish, on animal skins at the tannery where Grenouille serves an early apprenticeship, and then on the lissome ladies who become his victims. But the only smell produced by these long, breathy close-ups is a metaphorical one, a foul, stale odor traceable back to the movie itself.

Grenouille’s episodic, unsavory adventures are propelled along by John Hurt’s arch, third-person narration. (Mr. Hurt has performed a similar service for another over-reaching European filmmaker, Lars von Trier, in his English-language campus theatricals, “Dogville” and “Manderlay.”) Mr. Whishaw, wan and jug-eared, does not quite manage to make Grenouille either a victim worthy of pity or a fascinating monster. The fellow’s sensory endowment is meant to make him both an artist and an amoral killer — a social outcast who nonetheless gives the society what it really wants — but in the film he comes across as dull, dour and repellent.
Odorless himself — in the unwashed streets of Paris and the fragrant lanes of Grasse, France’s perfume capital, this condition is a kind of invisibility — Grenouille is consumed with the project of concocting a transcendental scent. After receiving some technical training from a master perfume-maker named Baldini (Dustin Hoffman), he sets out to perfect his own special formula, a recipe that calls for the extracted essences of 12 virgins and a prostitute, who all must be killed before the materials can be rendered. The women are thus bonked on the head, covered in animal fat and then left, naked and carefully posed, like subjects in a Helmut Newton magazine spread, in the streets and squares of Grasse.

The town authorities panic, in particular Antoine Richis (Alan Rickman), a local notable whose red-haired daughter, Laura (Rachel Hurd-Wood), conveniently possesses a natural funk that is one of Grenouille’s coveted ingredients. So intent is he on finding her that he pursues her over hill and dale, using his powerful nose to track her as she flees. The camera dutifully speeds across the countryside, and when it lights upon Laura, who is fleeing in disguise and on horseback, she turns around in the saddle, as if suddenly aware that she is being sniffed.
Try as it might to be refined and provocative, “Perfume: The Story of a Murderer” never rises above the pedestrian creepiness of its conceit. A connection between sexual desire and the impulse to kill — that tried and true German Liebestod — is proposed but never really explored. When Mr. Hoffman (who looks marvelous in velvety face powder) departs the scene, he takes any inkling of camp or whimsy with him, leaving behind an atmosphere that becomes increasingly arid even as it strains toward sensory saturation.

Grenouille’s grand, amoral project culminates in a ludicrously overdone scene of orgiastic abandon. Given the period costumes and the squirming alacrity with which they are removed, I’m tempted to think of it as “Fellini’s Shortbus,” but this suggests a commitment to pleasure, as subject and outcome, that “Perfume” wholly lacks.



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Angels And Demons(2009)

Angels & Demons is like watching Juno. Like that overrated mess from 2007, Ron Howard’s latest film wants to be more than it really is. No one told it that at the end of the day it’s just Indiana Jones with some Bourne sprinkled in. The script tries to mask it’s many shortcomings in religious mumbo-jumbo to make us forget we’re watching an otherwise boring, meandering, and bland film. It’s not poorly made, nor is it the worst film of the year. It speeds down Mario Raceway only to miss that last power-up that would elevate it to second place.

Maybe it’s Tom Hanks’ very unengaged portrayal of Robert Langdon. That’s really depressing because it isn’t like Hanks isn’t at the top of his game, he just doesn’t give life to Robert Langdon. Where a flimsy story can be forgiven if the lead is charismatic and takes the film on his shoulders (i.e. - Iron Man), Hanks believes Langdon to be as boring as the audience does. He seems afraid to give any sort of wit, charm, or just plain fun to the character. Lines such as "Fellas…you called me," are delivered like they’re being read off a cue card. It’s not totally Hanks’ fault, the filmmakers give us no reason to be emotionally invested Langdon. By contrast, Ewan McGregor is probably the best thing about the movie. He does a great job with what he’s given and handles Patrick McKenna as a passionate individual. He has a certain charm to him that Hanks lacks to the point you almost root for McKenna over Langdon. The other supporters seem to follow Hanks’ lead and are just as bland as he is. Stellan Skarsgaard is playing the cliché angry super agent who’s only purpose is getting in the way of the hero. Ayelet Zurer seems confused as Vittoria as she can’t decide if she wants to be smart, then cute or cute, then smart.

None of the actors should really be blamed as the script gives them almost nothing to do but stand around like helpless idiots. Written by Akiva Goldsman and David Koepp (please, try to hold in all excitement), this screenplay seems to follow the National Treasure structure. An action scene happens, explanation about the Catholic Church, more action, more explaining and you get the picture. If it’s not over-explaining every detail about Catholicism, it’s giving the characters silly things to do that serve no purpose. It also should be noted that while the Vatican has made vast improvements in technology, and the film is based around the Large Hardon Collider yet no one has heard of GPS. Many times Langdon announces "We have to go that way," which one character asks "How do we get there?". No one thinks to whip out their Sony Ericsson phones and try to find the location, but rather pretend to be a married couple to find the next location. Goldsman and Koepp’s main fault is thinking they’ve given us "smart entertainment". This movie wants to be intellegent, thinks it is and isn’t. It also has the same misconceptions about being entertaining. The movie is really just laughable when you give it thought, which is probably why Goldsman and Koepp drown you in religious babble. Lines are spewed out that serve no purpose to the story and some even evoke unintentional laughter. "It’s a pentagram," proclaims Langdon after uncovering the symbol on the floor. This would work, assuming we hadn’t seen the symbol around fifteen times beforehand.

Ron Howard is very hit and miss with me, but he does a formidable job here making Rome come to life. If the film were to be judged on it’s photography alone I’d consider it one of the best of the year. It’s well documented how the Vatican wouldn’t let them shoot on their grounds but what Howard and company did is convincing enough to folks who’ve never been there. The movie certainly has scope, but like the writers, Howard does things unintentionally hilarious. Much has been made of the helicopter scene and it’s still in tact, with maybe a touch of modifications. It was at this point I thought the film wanted to be a Looney Tunes cartoon so I burst into a nice stream of laughter. This scene happened to be one of the times the uneven CGI reared it’s ugly head onto the screen. Other times, when the CGI is giving us a sweeping shot of Vatican City and flooding the streets with people it’s flawless. When it comes ot the helicopter scene and a couple of other sequences, you’re better off watching "Hillbilly Hare".

For all of this though, I did take away something from some of the intriguing ideas. If I get a little preachy here I apologize but the film ironically shares a belief I’ve pondered when it comes to church and science. The movie suggests that church and science are one and the same, but share different ideas when it comes down to where things came from. It’s highly probable that stuff like The Big Bang Theory could be orchestrated by God or whichever Deity one believes in. The problem is neither the science nor church want to admit that one might be right especially when Christians go by the book (personally, the Bible has stories that are about bettering ourselves) or that science needs fact for God to exist. Both sides should probably give a little more, and take a little less.

And that would be a great topic for discussion if the film were more than what it is. It wants to be, but no one tries to make it anything memorable other than a reason for the Catholic Church to be angered. I never saw or cared to see The Da Vinci Code but was willing to give this a shot because the trailer intrigued me. While Angels & Demons well made and not terrible, it’s also bland, laughable and boring. It has some nice ideas, but never capitalizes on the chance to use them. At the end of the day, you have to wonder what would happen if Robert Langdon wasn’t in the story.

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The Shooter(2007)

Bob Lee Swagger (Wahlberg), retired Gunnery Sergeant Marine Scout Sniper, is one of the few snipers in the world whose sharpshooting abilities allow him to "take out a target from a mile away." He reluctantly leaves a self-imposed exile from his isolated mountain home at the request of Colonel Isaac Johnson (Glover) and a team of agents. Johnson appeals to his expertise and patriotism to help track down a purported presidential assassin who plans on shooting the president from a great distance with a high powered rifle. Johnson gives him a list of 3 sites where the President is scheduled to visit so Swagger could determine if an attempt could be made at any of them.
Swagger assesses each of the locations given to him by Johnson and determines that a site in Philadelphia would be most conducive to a long range assassination attempt. He passes this information to Johnson, who purportedly arranges for a response. This turns out to be a set-up: while Swagger is working with Johnson's agents—including a local police officer—to find the rumored assassin, the Ethiopian archbishop is instead assassinated while standing next to the president. Swagger is shot by the officer, but manages to escape. The agents tell the police and public that Swagger is the shooter, and stage a massive manhunt for the injured sniper. However, Swagger has a stroke of luck—he meets rookie FBI agent Nick Memphis (Peña), disables him and steals his car.
He is thus able to use the first aid supplies in the car to stanch his wounds and escape by driving into the river after an extended chase. He then takes refuge with Sarah Fenn (Mara), widow of Swagger's late spotter and close friend Donnie Fenn, killed years before in a mission in Africa that saw Swagger himself barely surviving. She saves his life by cleaning and stitching Swagger's gunshot wounds, and Swagger later convinces her to help him contact Memphis with information on the conspiracy. Memphis is blamed for allowing Swagger's escape, and is disciplined for negligence. However, he has independently learned that Swagger may have been framed for the assassination by noticing several inconsistencies with the data and witness accounts given to the FBI by an unnamed federal agency.
Once the rogue agents realize their secret has been compromised, they kidnap Memphis and attempt to stage his suicide. Swagger tails the agents and kills Memphis' captors with a scoped .22 rifle equipped with a homemade silencer. Swagger and Memphis then join forces against the rogue agents and visit a firearms expert (Levon Helm) living in Athens, Tennessee. Together they plot to capture who they think is the real assassin, an ex-sniper allied with Colonel Johnson. Once they find him in Lynchburg, Virginia, he commits suicide after revealing that the archbishop was actually the real target of the assassins, and he was murdered in order to prevent him from speaking out against U.S. involvement in the genocide of an Ethiopian village. The genocide occurred in order to advance the aims of a consortium of American corporate oil interests headed by corrupt U.S. Senator Charles Meachum (Beatty); Swagger learns that the mission where Fenn was killed was also a part of the genocide as they were tasked to cover the withdrawal of the contractors assigned to the job. Swagger records the ex-sniper's confession as proof of the involvement in the African genocide, then with Memphis's assistance is able to escape from the trap set to ensnare them by killing all 24 mercenaries.
Meanwhile, other rogue mercenaries have kidnapped Sarah Fenn in order to entrap Swagger. With his new evidence and cat-and-mouse strategy, Swagger and Memphis are able to rescue her when Colonel Johnson and Senator Meachum arrange a meeting to exchange their hostage for Swagger's evidence of their wrongdoing. After killing several enemy snipers in an isolated mountain range and rescuing Sarah, Swagger and Memphis finally surrender to the FBI.
Later appearing in a closed meeting with the head of the FBI and the United States Attorney General present, he clears his name by loading a rifle round (supplied by Memphis) into his rifle (which is present as evidence as it was supposedly used in the killing), aiming it at the Colonel and pulling the trigger—which fails to fire the round. Swagger explains that every time he leaves his house, he replaces the firing pins from all his rifles with slightly shorter pins, rendering them unable to fire until he replaces them again. Unfortunately, although Swagger is exonerated, Colonel Johnson takes advantage of a legal loophole—the Ethiopian genocide is outside American legal jurisdiction—and walks free. The attorney general approaches Swagger and states that as a law enforcement official, he must abide by the law (he insinuates that if it was the wild west of before it would be appropriate to clean the system with a gun)—and Swagger is seen considering that statement. Afterwards, the Colonel and the Senator plan their next power play in the Senator's vacation house—only to be interrupted by Swagger attacking the house. He kills both conspirators, one of the Colonel's aides and two bodyguards, then breaks open a gas valve before leaving. The fire in the fireplace ignites the gas, blowing up the house. The final scene shows Swagger getting into a car with Fenn and driving away.

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Taxi 4(2007)

Taxi 4 (also spelled T4xi) is a 2007 French comedy film directed by Gérard Krawczyk. It is the sequel to the 2003 French Action/Comedy film Taxi 3. As with all the other films in the Gallic Taxi franchise, Samy Naceri plays taxi driver "Daniel Morales", this time in a Peugeot 407 unlike the 406 in the previous films. Frédéric Diefenthal is "Émilien Coutant-Kerbalec", whilst Jean-Christophe Bouvet reprises his role as "General Bertineau" yet again. The film also features French footballer Djibril Cissé.

A Belgian criminal, wanted all over Europe for his crimes, is in the custody of the Police Department of Marseille to be watched for a few hours before transfer to a prison in Congo. Unfortunately Émilien (Frédéric Diefenthal) is tricked by the villain and convinced to let the prisoner go. After these events he's fired but luckily for him his friend Daniel (Samy Naceri) helps him one more time telling him the location where the criminal is located, having been the taxi driver who drove him after he left the police station, not knowing he was a criminal. After this Émilien gets his old job back by telling the commissioner where to retrieve the criminal. He's then captured and taken to jail.

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Butterfly On The Wheel(2007)

Director: Mike Barker

Writer : William Morrissey

Cast

: Pierce Brosnan
: Maria Bello
: Gerard Butler
: Claudette Mink
: Chris Astoyan
: Samantha Ferris


Neil and Abby Warner have the perfect life and a perfect marriage. With their
beautiful young daughter, Sophie, they are living the American dream... until
today. When Sophie is suddenly kidnapped, they have no choice but to comply with
the abductors demands. The kidnapper - Ryan (PIERCE BROSNAN), a cold and
calculating sociopath takes over their lives with the brutal efficiency of
someone who has nothing to lose. In the blink of an eye Neil and Abby's safe and
secure existence is turned upside down. Over the next twenty four hours they are
at the mercy of a man who wants only one thing. That they do his bidding. It
soon becomes clear that Ryan's demands are all the more terrifying... because he
doesn't want their money. What he wants is for Neil and Abby's life, the life
that they have built over 10 years, to be systematically dismantled and
destroyed. Piece by piece. With time running out on their little girl, Neil and
Abby realize their nightmare is about to take its most deadly turn: They will
have to face Ryan's final, horrifying challenge - would they kill an innocent
man to save their own child? In the far distance a solitary light burns in the
window of a lodge as the car glides to a halt - and Neil knows it is a question
only he can answer - when Ryan hands him the gun...

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WinRar 3 90

WinRAR is a powerful archive manager. It can backup your data and reduce the size of email attachments, decompress RAR, ZIP and other files downloaded from Internet and create new archives in RAR and ZIP file format.It is one of the few applications that is able to create RAR archives natively, as the encoding method is held to be proprietary.

Features

WinRAR supports the following features:

* Complete support for RAR and ZIP archives, and unpacking of ARJ, LZH, TAR, GZ, ACE, UUE, BZ2, JAR, ISO, 7z and Z archives. Future versions of WinRAR are planned to include 7z creation.

* The ability to create self-extracting and multi-volume (split) archives.

* Data redundancy is provided via recovery records and recovery volumes, even allowing reconstruction of damaged archives.

* Support for advanced NTFS file system options and Unicode in file names.

* Optional archive encryption using AES (Advanced Encryption Standard) with a 128-bit key.

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Grand Theft Auto: Vice City Ultimate Vice City mod

Grand Theft Auto (GTA) is an award-winning video game series created by Dave Jones, later by Dan Houser and Sam Houser, and game designer Zachary Clarke and primarily developed by Scottish company Rockstar North (formerly DMA Design) and published by Rockstar Games.
The gameplay consists of a mixture of action, adventure, driving, and occasional role-playing, stealth and racing elements and has gained controversy for its adult nature and violent themes. The series focuses around many different protagonists who attempt to rise through the ranks of the criminal underworld, although their motives for doing so vary in each game. The antagonists are commonly characters who have betrayed the protagonist or their organization, or who has the most impact impeding their progress.
The series began in 1997 and currently has nine stand-alone games with two expansion packs for the original and two expansion packs being released for the latest console installment. Film veterans such as Danny Dyer, Michael Madsen, Burt Reynolds, Dennis Hopper, Gary Busey, Samuel L. Jackson, Chris Penn, James Woods, Joe Pantoliano, Frank Vincent, Robert Loggia, Kyle MacLachlan, Peter Fonda and Ray Liotta have all voiced major characters in many installments in the series. The name of the series and its games are derived from grand theft auto, a term referring to motor vehicle theft.

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