Recomended Movie - Cinderella Man (2005)

This one of my favorite/recomended movie. A true story about Jim J Braddock, a fighter with a sad story of life, but still have a little bit fate about his family. He is a light heavyweigth fighter before a Great Depression "punch" him so hard enough to start everything from the beggining. He live at New Jersey and work as longshoreman. But everything start to change when he get a fight from his old manager  Joe Gould.

If you only look this movie from the tittle, maybe you gonna think, this movie not good enough for watching, the tittle isn't match with the story. How can a boxing story have a tittle so girly..?? But believe me.. This movie so inspired...! You gonna see, how a family always keep loving each other, a beautifull wife who always love even her husband isn't have anything left to proud about. Maybe to good to be true, but, as i say before, this is a true story....

Amazon Review :

Boasting the finest production design, cinematography and editing that Hollywood can offer, this is a feel-good film that never begs for your affection; it's just good, classical American filmmaking, brimming with qualities of decency and fortitude that have grown all too rare in the big-studio mainstream. --Jeff Shannon

*****

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Recomended Movie - Man on Fire (2004)

This is a story about kidnapped in Latin America. Lupita Ramos is a daughter of rich family in Mexico who meet her "lovely bear" in Creasy, her Bodyguard. Creasy life before meet Pita is very hard and make him a "silent man" without social life. But his life beginning to more brightfull when he know Pita. Pita treat him different. They get closer like father and his doughter. And when his life get much happiness, Lupita get kidnapping...!!! and the real story begun.....

Many of my friend when i recomended this movie, they say this movie so boring in the first hour, but more action in the next hour... yeah... if you like action movie, maybe you get tired when you waiting for... but keep focus...! Because first hour tell you why Creasy do for the next hour...!! And this movie will guide you for what's the meaning of love.. You will sacrifice everything for your love one, even your life....

Its a great story.... :)
My Recomended Movie

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Movie Sale - Eat Pray Love (2010)

Elizabeth Gilbert's memoir of enlightenment gets the deluxe treatment at the hands of Glee creator Ryan Murphy, who bathes every scene in a golden glow. Unaccustomed to being alone, Liz (Julia Roberts) exits her marriage to Stephen (Billy Crudup, quite good) only to enter into an affair with an actor (James Franco, curiously uncomfortable), who introduces her to meditation. Just as her editor, Delia (Doubt's Viola Davis, making the most of a small role), longed to have a baby, Liz has longed to see the world. Delia persuades her to seize the day (plus, money presents no obstacle). 

First, she travels to Italy, where she noshes from Rome to Naples, making new friends along the way. Then, she heads to an ashram in India, where she meets a bride-to-be and a remorseful man (Richard Jenkins, heartbreaking), who nurture her altruistic side. 

Her sojourn ends in Bali, where she reunites with Ketut (Hadi Subiyanto, hilarious), the healer who first encouraged her to reassess her situation. While there, she befriends a single mother and a single father (No Country for Old Men's Javier Bardem) who falls for her charms. 

In an improvement over his version of Running with Scissors, Murphy combines two Oscar winners, two Oscar nominees, and four countries to follow one woman's path to fulfillment. Like Julie and Julia and How Stella Got Her Groove Back, Liz's story becomes more involving as she lets go of the superficial, but Murphy's movie still represents a triumph of escapism over spirituality. --Kathleen C. Fennessy

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Movie Sale - Grown Ups (2010)

Adam Sandler and his frequent costars (Chris Rock, Kevin James, David Spade, and Rob Schneider) grope blindly for maturity in the genial comedy Grown Ups. Five childhood pals are drawn back together after the death of their former basketball coach; over the course of a Fourth of July weekend, they--along with their wildly attractive wives (played by Salma Hayek, Maria Bello, Maya Rudolph) and precocious children--loosen up, try to introduce their kids to the simple pleasures of nature, air some dirty laundry, and rediscover their friendship. 

In other words, it's a fairly formulaic comedy that veers awkwardly from gags (ranging from slapstick to mean-spiritedness) to sentiment (ranging from sappy to not entirely sappy). Its appeal will depend entirely on your feelings about Sandler and the rest of the gang--if you like this bunch of lugs (in all their prolonged adolescent glory), then you'll like this movie. If you don't, you won't. Everyone's in relaxed but good form; affable is more the comic goal than razor sharp. Expect gags about being fat, being old, prolonged breast-feeding, ogling hot chicks, flatulence, etc. 

There's some role reversal: it's the women, particularly Hayek as a type-A fashion designer, who need to learn the eternal cinematic lesson that family is more important than work. Featuring guest appearances from Tim Meadows, Colin Quinn, and Steve Buscemi. --Bret Fetzer

Just because you grow older doesn’t mean you have to grow up! Comedy superstars Adam Sandler, Kevin James, Chris Rock, David Spade and Rob Schneider are at their hilarious and outrageous best playing childhood friends who reunite one holiday weekend to relive the good old days. It doesn’t matter that these five guys are now respectable businessmen, husbands and fathers. Once they get back together, nothing is going to stop these kids-at-heart from having the time of their adult lives. From the people who brought you Click, comes this hilarious and heartwarming film that proves men will be boys.  

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Movie Sale - The Expendables (2010)

They might be expendable, but they sure are durable: The Expendables is crammed with well-traveled action heroes, called to a summit meeting here to capture some of that good old ultraviolent '80s-movie feel. 

Star-director Sylvester Stallone rides herd as the leader of this mercenary band, which includes Jason Statham, Jet Li, and Stallone's old Rocky V nemesis Dolph Lundgren. Mickey Rourke, looking like a car wreck on Highway 61, plays the tattoo artist who communicates the gang's assignments to Stallone; throw in Terry Crews and Ultimate Fighting champ Randy Couture, and you've got a badass crew indeed. 

The specifics here involve a Latin American island where US interests have mucked up the local politics beyond repair--but when Sly's eye is caught by the feisty daughter (Giselle Itie) of the local military jefe, a simple job gets complicated. Adding to the B-movie flavor of the enterprise, we've got Eric Roberts and Steve Austin bouncing around as badder-than-the-bad guys, plus Bruce Willis popping in for a one-scene bit, and… well, perhaps another unbilled cameo. 

The violence doesn't reach the frantic pace of Stallone's last Rambo picture, but it builds to a pretty crazy crescendo in the final reels, during which each cast member gets to show his stuff. Although Stallone's face looks younger than it did in the first Rocky movie, his line delivery is more sluggish than ever, and what lines! The dialogue is stuck in the '80s, too. Although it's pretty ham-handed throughout, The Expendables is likely critic-proof: the audience that wants to see this kind of body-slamming throwdown isn't going to care about the niceties. Let the knife throwing begin. --Robert Horton

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Movie Sale - The Other Guys (2010)

Although the comedy team of Will Ferrell and Mark Wahlberg does not sound like a threat to Laurel and Hardy or Abbott and Costello, they conjure up consistent laughs in The Other Guys, yet another comedy from Talladega Nights director Adam McKay. 

Ferrell plays a mild-mannered police accountant partnered with Wahlberg's hothead (recently demoted to desk-jockey duty after shooting a very famous Yankee player during the World Series), and both men must endure the showboating fame of a pair of supercops (Samuel L. Jackson and Dwayne Johnson) in their New York City precinct house. 

Along with sending up cop-movie clichés, the movie basically exists to give Ferrell and Wahlberg room to work amusing variations on their characters (with grace notes for Michael Keaton's stereotypical tough captain, too). The loosey-goosey structure works especially well when Wahlberg is needling his partner's squareness or marveling, in wonderfully awestruck tones, at the unbelievable hot-i-tude of Ferrell's wife (Eva Mendes)--a discrepancy made all the more maddening because Ferrell seems indifferent to her charms. 

Throw in a plot about a billionaire Wall Street crook (Steve Coogan) and the revelation of Ferrell's hilariously dark past, and the movie finds a nice zone of silliness. Of course, any Will Ferrell vehicle must be judged by the opportunities for the star to launch into some borderline-surreal riff--and happily, this film comes through. From the moment Ferrell begins deconstructing Wahlberg's lion versus tuna metaphor, The Other Guys manages to find time for such nonsense, and the film--the world in general, for that matter--is the better for it. --Robert Horton

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Movie Sale - Step Up 3D (2010)

Step Up 3D capitalizes both on the compelling dance moves of the first two films in the series, as well as on the trend toward using 3D in full-length feature films. And the idea to present a high-energy dance film in 3D turns out to be a brilliant use of the technology. 

Viewers feel as though they're right in the midst of the competitive moves, the sweaty, almost frenzied choreography practically palpable on the screen. Step Up 3D follows a plot arc similar to the first two Step Up films, with urban kids kicking around in the streets, at loose ends but dying to express themselves artistically and physically. 

The dance numbers are the climaxes worth waiting for and are sprinkled throughout the movie, holding together a thin plot that nevertheless works just fine to get viewers from Dance Point A to B and beyond. Standouts in the young, hip, incredibly talented cast are Rick Malambri as Luke, the Australian hot-body Sharni Vinson as Natalie, and Keith Stallworth as Jacob--but the entire cast is eye-popping eye candy when they do their gravity-defying hip-hop moves. 

Luke and Natalie and Adam Savani as Moose take on a world-ranked dance group where the competition is heightened, tensions erupt, and the stakes couldn't be higher. Step Up 3D is reminiscent of films like Bring It On and even TV shows like Glee in which talented young people struggle in their art and in their personal lives--but the payoff for the characters, and the viewers, comes in their impossibly watchable performances at the end. Step Up 3Dhas plenty to root for and is family friendly except for the youngest viewers. Don't be surprised if you feel like busting a move as you get deep into the dance showdown. --A.T. Hurley

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Movie Sale - Resident Evil: Afterlife (2010)

A barrage of 3-D effects enlivens Paul W.S. Anderson's Resident Evil: Afterlife, the fourth entry in the seemingly endless action-science fiction horror franchise based on the popular Capcom video game series.

Plot, dialogue, and character development all remain secondary considerations; what's key here are the set pieces that allow Milla Jovovich to unleash maximum damage to virally infected zombies, villainous henchmen, and just about anyone else who stands in the way of her stopping the shadowy Umbrella Corporation.

Jovovich retains the blend of grit and pulchritude that have made her a fanboy favorite (though said viewers may decry the film's bit of shower-scene interruptus), and she's well supported by returning cast members Ali Larter and Boris Kodjoe (Undercovers) and Prison Break's Wentworth Miller, who, as Claire's brother, is back behind bars in a postapocalyptic jail overrun by plague zombies.

And the 3-D effects are impressive and give a shot of adrenaline to the already hyper-driven action and CGI elements. Those looking for more than what the Resident Evil franchise is designed to provide--souped-up, B-movie thrills--are advised to lower their expectations; franchise devotees should be pleased, especially by the film's final scene, which (naturally) sets up another sequel. --Paul Gaita

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Movie Sale - Secretariat (2010)

The "greatest racehorse of all time" mantle fits easily around the neck of Secretariat, the 1973 Triple Crown winner. So why not a movie version of this champion's life? Secretariat begins in the late '60s, with some good behind-the-scenes material on how thoroughbreds come to be (there's flavorful atmosphere inside the horsey world, including an account of Secretariat's ownership being decided by a coin flip as part of an old-school agreement). 

A highly lacquered Diane Lane plays Penny Chenery, the inheritor of her father's stables, who segues from being an all-American mom to running a major horse-racing franchise; reliable character-actor support comes in the form of John Malkovich, as a gaudily outfitted trainer, and Margo Martindale, as Chenery's assistant. Screenwriter Mike Rich and director Randall Wallace must do some heavy lifting to make Lane's privileged millionaire into some sort of underdog--luckily, the hidebound traditions of the male-dominated racing scene provide some sources of outrage. 

The need to stack the deck even more leads the movie into its more contrived scenes, unfortunately, as though we needed dastardly villains in order to root for Penny and her horse. Meanwhile, attempts to reach for a little Seabiscuit-style social relevance don't come off, and a curious religious undertone might make you wonder whether we're meant to assume that God chose Secretariat over some less-deserving equine. The actual excitement of the races can't be denied, however, and Secretariat's awe-inspiring win at the Belmont Stakes remains a jaw-dropping, still-unequaled display of domination in that event. And maybe in sports. --Robert Horton.

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Movie Sale - Life as We Know It (2010)

In Life as We Know It, Katherine Heigl and Josh Duhamel discover that their closest friends have appointed them guardians of their child in the unlikely event of their joint death--an unlikely event that has just happened. 

Make no mistake: There's no reason this movie should have been any good. The premise is the worst kind of formulaic Hollywood claptrap; the pleasant but cautious Heigl (Knocked Up) is playing yet another uptight fussbudget; since a promising movie debut in the underrated Win a Date with Tad Hamilton!, Duhamel has largely coasted on his looks in tripe like the Transformers movies--yet Life as We Know It is surprisingly likable. 

After the movie gets through the basic exposition--and navigates some radical shifts in tone with unexpected deftness--the script somehow manages to make its clichés into something resembling real human situations. The colorful supporting characters are all entertainingly written and well played by a solid cast. And both Heigl and Duhamel give understated, engaging performances that manage to make the inevitable conclusion seem almost not inevitable. Director Greg Berlanti (The Broken Hearts Club) deserves kudos for skillfully balancing humor and pathos and turning this unpromising material into a sincere and enjoyable movie. --Bret Fetzer. 

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Movie Sale - The Social Network (2010)

They all laughed at college nerd Mark Zuckerberg, whose idea for a social-networking site made him a billionaire. And they all laughed at the idea of a Facebook movie--except writer Aaron Sorkin and director David Fincher, merely two of the more extravagantly talented filmmakers around. 

Sorkin and Fincher's breathless picture, The Social Network, is a fast and witty creation myth about how Facebook grew from Zuckerberg's insecure geek-at-Harvard days into a phenomenon with 500 million users. 

Sorkin frames the movie around two lawsuits aimed at the lofty but brilliant Zuckerberg (deftly played by Adventureland's Jesse Eisenberg): a claim that he stole the idea from Ivy League classmates, and a suit by his original, now slighted, business partner (Andrew Garfield). 

The movie follows a familiar rise-and-fall pattern, with temptation in the form of a sunny California Beelzebub (an expert Justin Timberlake as former Napster founder Sean Parker) and an increasingly tangled legal mess. Emphasizing the legal morass gives Sorkin and Fincher a chance to explore how unsocial this social-networking business can be, although the irony seems a little facile. 

More damagingly, the film steers away from the prickly figure of Zuckerberg in the latter stages--and yet Zuckerberg presents the most intriguing personality in the movie, even if the movie takes pains to make us understand his shortcomings. Fincher's command of pacing and his eye for the clean spaces of Aughts-era America are bracing, and he can't resist the technical trickery involved in turning actor Armie Hammer into privileged Harvard twins (Hammer is letter-perfect). Even with its flaws, The Social Network is a galloping piece of entertainment, a smart ride with smart people… who sometimes do dumb things. --Robert Horton

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Movie Sale - Wall Street: Money Never Sleeps (2010)

Wall Street: Money Never Sleeps has the compelling backdrop of the worst financial crisis since the Great Depression, features Michael Douglas returning to one of the defining roles of his career, stars two charismatic young actors (Shia LaBeouf, Transformers, and Carey Mulligan, An Education) and some wily old hands (Susan Sarandon, Frank Langella, and Eli Wallach). 

So why is the movie such a dud? For one thing, director Oliver Stone doesn't bother to genuinely explore what caused the stock-market crash of 2008; instead, the movie's plot revolves around melodramatic backroom machinations and financial revenge, none of which has any real emotional heft. 

For another, Stone is possibly the most obvious director of all time. When the characters are talking about financial bubbles, the movie has shots of children in the park blowing bubbles; when the market crashes, the movie cuts to cascading dominoes--Stone beats every metaphor into submission, and if the audience feels bludgeoned at the same time, well, that's just too bad. Add to that portentous dialogue like "He's a monkey dancing on a razorblade," incoherent references to sub-prime mortgages and other financial technobabble, and a woefully mismatched soundtrack by David Byrne and Brian Eno, and the result is muddled, sluggish, and confusing. It's too bad; Douglas is as charmingly reptilian as ever. Also featuring a pointless cameo by Charlie Sheen, star of the original Wall Street. --Bret Fetzer.

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