LOST SEASON 4 EPISODE 11 CABIN FEVER NOW AVAILABLE ONLINE
HERE IS A SUMMARY FOR THE EPISODE CABIN FEVER FROM TVRAGE.COM
Locke is enlightened as to the whereabouts of Jacob's cabin, and life aboard the freighter becomes perilous.
HERE IS THE DIRECT DOWNLOAD FOR THE EPISODE CABIN FEVER.
FORGETTING SARAH MARSHALL NOW AVAILABLE ONLINE
HERE IS THE SUMMARY FOR THE MOVIE FORGETTING SARAH MARSHALL FROM IMDB
Devastated Peter takes a Hawaii vacation in order to deal with recent break-up with his TV star girlfriend, Sarah. Little does he know Sarah's traveling to the same resort as her ex ... and she's bringing along her new boyfriend.
HERE IS A REVIEW FOR THE MOVIE FORGETTING SARAH MARSHALL FROM DVDTALK
For some, the Apatowing of American comedy has perhaps lost its luster through repetition. For others (and this would be me), the unwashed comedic sensibility of the Apatow family is a godsend, and "Forgetting Sarah Marshall" is another barnstorming success, flush with peculiar performances, a frothy stream of vulgarity, and a universal tale of brokenhearted loathing that's sure to make it the finest awkward date movie of the year.
A television composer, Peter (Jason Segel) is happily dating small-screen superstar Sarah Marshall (Kristen Bell). When she leaves him for rock star Aldous Snow (Russell Brand), Peter is torn apart, lost without the comfort of his girlfriend. Trying to clear his senses and find his center, Peter takes a trip to Hawaii, only to find Sarah and Aldous on vacation at the same resort. Now even more miserable, Peter finds peaceful energy with fetching hotel employee Rachel (Mila Kunis), which leaves Sarah in a jealous rage, soon questioning her own slapdash relationship.
Truthfully, Judd Apatow only produces "Sarah Marshall." However, the man's fingerprints are all over the material, written by Segel and directed by Nicholas Stoller, executed in the same freewheeling, semi-improvisational format that informed "40-Year-Old Virgin" and "Knocked Up."
The beauty of "Forgetting" has to be that it's a decidedly angry film about relationships that strives to misdirect the audience into thinking it could be something more saccharine and cutesy. Granted, the film eventually wields cupid's arrow, but the rest of the picture is a supremely toxic expression of breakup rage and hatred for the ex. Credit Segel's disarmingly feral screenplay, which has a blast toying with audience expectations while picking away at some genuine moments of disgust and self-loathing. The laughs here are quickly chased by sympathetic stomach cramps.
As with other Apatow-approved endeavors, casting is the key. The ensemble here is terrific and startling, especially Kunis, who after spending nearly a decade on the shrill "That 70's Show," reveals a newly freshened allure as Peter's rebound girl, who also happens to be the best antidote for him in his time of need. Kunis is funny and utterly lovable, and holds her own against Segel, who obviously caters the screenplay to his strengths of punching-bag straight man comedy and bursts of full-frontal nudity. Brand and Bell make for fun adversaries, though both take some time to warm up to the speed of the material.
It also wouldn't be a party without plenty of guests, and appearances by Bill Hader, Jonah Hill, Carla Gallo, and Paul Rudd as a sun-baked surf instructor add their special sauce to the mix. Even William Baldwin pops up as the co-star on Sarah's awful "C.S.I." rip-off crime show, channeling reptilian Carusoesque pausing like a heavyweight champ.
Segel's gift is making weird situations bleed into the uncomfortable, and "Forgetting" is ripe with sequences that dive off the deep end of absurdity, yet still remain a plausible gas. Peter's ambition to write a rock opera about Dracula (performed by puppets) is a perfect example of how Segel boldly walks this thin line throughout the picture, yet his comfort with ludicrousness is where the film is most confident and uproarious. It's a corrosive feature, with Peter slowing coming to the realization that Sarah is Satan incarnate, and the material rides that perfect razor's edge between humanity and throat-slicing comedy, never pausing for comfort.
"Forgetting Sarah Marshall" is non-stop laughs in both the obvious and the sneaky material stuffed into the corners of the film. It's a firecracker of a picture, paying tribute to stomped hearts everywhere, not to mention throwing valentines toward the Muppets, luscious Hawaii, and the comedic value of the penis.
SPEED RACER NOW AVAILABLE ONLINE
HERE IS THE SUMMARY FOR THE MOVIE SPEED RACER FROM IMDB
The story begins with Speed Racer who is a young man with natural racing instincts whose goal is to win The Crucible, a cross-country car racing rally that took the life of his older brother, Rex Racer. Speed is loyal to the family business, run by his parents Pops and Mom. Pops designed Speed's car, the Mach 5. The owner of Royalton Industries makes Speed a lucrative offer, Speed rejects the offer, angering the owner. Speed also uncovers a secret that top corporate interests, including Royalton, are fixing races and cheating to gain profit. With the offer to Speed denied, Royalton wants to ensure that Speed will not win races. Speed finds support from his parents and his girlfriend Trixie and enters The Crucible in a partnership with his one-time rival, Racer X, seeking to rescue his family's business and the racing sport itself. Written by Anthony Pereyra {hypersonic91@yahoo.com}
Hurtling down the track, careening around, over and through the competition, Speed Racer is a natural behind the wheel. Born to race cars, Speed is aggressive, instinctive and, most of all, fearless. His only real competition is the memory of the brother he idolized-the legendary Rex Racer - whose death in a race has left behind a legacy that Speed is driven to fulfill. Speed is loyal to the family racing business, led by his father, Pops Racer, the designer of Speed's thundering Mach 5. When Speed turns down a lucrative and tempting offer from Royalton Industries, he not only infuriates the company's maniacal owner but uncovers a terrible secret-some of the biggest races are being fixed by a handful of ruthless moguls who manipulate the top drivers to boost profits. If Speed won't drive for Royalton, Royalton will see to it that the Mach 5 never crosses another finish line. The only way for Speed to save his family's business and the sport he loves is to beat Royalton at his own game. With the support of his family and his loyal girlfriend, Trixie, Speed teams with his one-time rival-the mysterious Racer X - to win the race that had taken his brother's life: the death-defying, cross-country rally known as The Crucible. Written by Warner Bros. Pictures
HERE IS A REVIEW FOR THE MOVIE SPEED RACER FROM DVDTALKEver since he was a child, Speed Racer (Emile Hirsch) has always wanted to join the family business and become a car-racing competitor. When the death of elder brother Rex pushes Speed into the driver's seat, he shows amazing ability on the track, making his family proud. When the ruthless owner of Royalton Industries (Roger Allam) makes Speed an offer to join his aggressive driving squad, Speed refuses, putting him in the crosshairs of corporate thugs. With the help of the mysterious Racer X (Matthew Fox), Speed partakes in several hazardous contests, hoping with each opportunity to further understand his brother's legacy and show up those who question his talents and threaten the livelihood of his family.
A live-action aping of the cult 1960's Japanese anime television series, "Speed Racer" has been exhaustively expanded to fit big-screen needs. Written and directed by Larry and Andy Wachowski (their first since sealing off "The Matrix" with a double helping of provocative sequels in 2003), the brothers literally lunge into a kaleidoscopic realm of colors and cuts with this picture, taking the audience into the tight folds of animation and sensory overload. It's meant for families, but "Speed" will surely beguile stoners for years to come.
"Speed" is an intricately constructed movie, with every blinding detail imaginable up on the screen. Blanketed by CGI, the film's color scheme resembles a tipped bowl of Skittles, with all sorts of garish colors fighting for camera time. This blizzard of hues and extensive green-screen work acts to construct the cartoon world for Speed (think "Spy Kids" mixed with "Dick Tracy") as he puts the pedal-to-the-metal and zooms across twisted tracks of certain doom; not unlike a potent Hot Wheels fever dream. The Wachowskis don't just want Speed to speed, they turn the race sequences into acts of "Car-fu," as the vehicles cartwheel, flip, and battle each other for the lead, similar to the pod racing sequences from "Phantom Menace," only with a more pronounced cartoon glaze, if that's even possible.
The race sequences are the highlights of "Speed," if only because the directors possess a radiant gift for kinetic energy. Speed skidding around day-glo roads is the ideal venue for the Wachowskis to flame on their imaginations and smear the screen with a gloss of eye-crossing car choreography and distinct inspiration reference points, presented by two minds clearly in love with the source material.
However, that blinding devotion to "Speed Racer" is tricky to sort out, and the screenplay is a numbing jumble of allegiances and poor characterizations. In short: the film is a bore. The swirling opening titles and tease of the famous "Speed Racer" theme are quickly replaced by stifling racing legacy overtones, a horde of ill-defined villains, corporate financial jockeying (because nothing says "summer entertainment" quite like stock price bargaining), and uninteresting Racer family dynamics.
Not a typo here: the film runs 130 minutes, which is about 50 minutes too long for bubbly fun like this, but the Wachowskis are unwilling to scrape out any of the fat, and it hurts the film. What should've been Speed in danger, the question mark of Racer X, and heaps of flamboyant car racing is turned into an obese, exposition-heavy creation that fatigues easily. There's no emotional pull to any of it, and it puts Speed into the focal backseat for most of the feature.
Again, stock prices. There's this ungodly-looking world of towering loops and impossible jumps ready to smack the audience in the face, and there's a sequence where the bad guys hammer out the details of stock prices.
In retrospect, perhaps it's best that Speed isn't handed prime screen real estate, since Hirsch's performance barely shifts out of neutral. He's a cardboard standee here, physically embodying cartoon Speed nicely, but lacking any charisma to properly 3-D the icon. Better is John Goodman as Speed's father Pops, Korean star Rain as Speed's dubious ally, and Fox, who grits his teeth pleasingly as Racer X (not to mention pulling off the film's most absurd costume with panache). Unfortunately, the film's feminine contingent, Susan Sarandon (as Speed's mom) and Christina Ricci (Speed's love Trixie), are shuffled off to the corners of the movie in a hurry, and the absence is felt.
To counteract the thundering wall of artifice and adult-themed intrigue, the Wachowskis have activated the characters of Spritle (Speed's kid brother) and chimpanzee sidekick Chim-Chim to speak directly to the children in the audience (often literally). Practically existing in their own separate movie, the mischievous duo provides ear-piercing slapstick and broad comedic displays to the film, and every moment with these two clowns is catastrophic. Granted, the filmmakers have zero experience in family entertainment, but that doesn't excuse the aggressive pinch of these scenes or the eventual use of fecal matter and groin-hit sound stingers to get a laugh. Even worse, the Wachowskis direct young Paulie Litt to assume the cocktail-hour stance of an obnoxious borscht-belt comedian for Spritle, turning his every eye-bulging, neck-craning move into pure torture. 10 minutes in, I wanted Speed to run over the character with the Mach 5.
"Speed Racer" sure is pretty to look at, and the Wachowskis have accomplished amazing optical feats bringing the viewer into the living anime world of visual layering, spastic cutting, and bold coloring. However, the film is an inert sleeping pill; an anti-event movie that spends an inordinate amount of energy trying to drum up extremity, only to completely botch the results by permitting such cringing indulgence.
DOOM NOW AVAILABLE ONLINE
HERE IS THE SUMMARY FOR THE MOVIE DOOM FROM IMDB
Something has gone wrong in a research facility on Mars, and the staff are becoming something unimaginable. All research has ceased and the facility has been placed in quarantine. Dr. Samantha Grimm have called in an elite squad of soldiers led by Sarge and includes Samantha's twin brother, John Grimm. No one is safe inside. As the team advance through the facility, and as they are picked off one-by-one, Dr. Grimm has one question: What exactly has caused this? Written by simon_hrdng
In 2046, something has gone terribly wrong in a research facility on Mars, All experiments have ceased, and communication has failed! The few messages that do get through are less than comforting. It's Level 5 Quarantine, and the only souls allowed in or out are the Rapid Response Tactical Squad--hardened Marines armed to the teeth with enough firepower to neutralize any enemy--or so they think. The researchers at this "Red Planet" station have unwittingly opened a door, and all hell has broken loose! A legion of nightmarish creatures of unknown origin lurks in every corner and stalks the countless rooms and tunnels of the facility, killing what few people remain. A hellish zoo of demons, Imps, Barons and Hell Knights has taken over Olduvai. And they're not giving it back without a fight. Sealing off the portal to Earth, Sarge, Reaper and their mercenary team must use every weapon at their disposal--and some they find along the way--to carry out their orders: nothing gets out alive. Unfortunately, these things never go as planned. Written by Anthony Pereyra {hypersonic91@yahoo.com}
Something has gone wrong at a remote scientific research station on Mars. All research has ceased. Communication has failed. And the messages that do get through are less than comforting. It's a level 5 quarantine and the only souls allowed in or out are the Rapid Response Tactical Squad - hardened Marines armed to the teeth with enough firepower to neutralize the enemy...or so they think. Written by El_Ucca@hotmail.com
In 2046, in a research facility in Mars, some subjects are released and the place is kept in quarantine. A team of Marines, leaded by Sarge, is assigned to rescue the personnel and retrieve the research data, with the support of Dr. Samantha Grimm, the twin sister of the Marine John "Reaper" Grimm. While in the mission, Samantha finds a dark hidden secret about the monsters and the researches. Written by Claudio Carvalho, Rio de Janeiro, Brazil
HERE IS A REVIEW FOR THE MOVIE DOOM FROM DVDTALK
For the one or two of you out there who haven't heard of ID Software's Doom franchise, it was a huge hit when it first came out and for many gamers out there, it was their first experience to the 'first person shooter' premise in which the player takes on the perspective of the character in the game. It was an insanely successful game, in which a space marine took on hordes of demons who had found their way out of Hell and into Mars, it wasted many hours of my college years, and it's gone on to inspire countless knock offs and sequels and now a Hollywood motion picture starring The Rock.
The premise of the film? The Rock is a Marine named 'Sarge' who is in charge of a team that is sent off to investigate an emergency signal that came from a research compound on Mars. Sarge and his crew teleport across space and low and behold, one of the Sarge's men, a Marine named Reaper (Karl Urban), finds that his sister, Samantha (Rosamund Pike), is working there and is the point of contact for them on this mission. As time passes, some of the scientists start turning up dead and the Marines realize that there's a lot more going on here than they first suspected. Something is out there in the hallways of the underground facility, and it's morphing and spreading like some sort of parasitical virus and infecting anyone it comes into contact with – or so they think. Sarge and his rag tag band of soldiers are going to have their work cut out for them as they set out to neutralize the threat by whatever means necessary but as Samantha seems to know, it's not quite all that simple.
There's a twist or two thrown into the storyline that probably won't surprise too many viewers, but for the most part, that's it. Marines show up, people die, a threat emerges, and then it's time to bring on the violence. We're not dealing with a very through provoking movie here and no one is going to really remember this film for its challenging plot and fascinating characters. That being said, Doom is a lot of fun in a big budget B-movie kind of way. The guys behind this project knew they were adapting a video game that was made famous by its gratuitous violence and splattery carnage and despite some rather odd changes to the premise of the game on which it is based, the movie does deliver in that department.
First and foremost are the creature effects, which are actually quite impressive. The monsters were created by blending guys in rubber suits with CGI enhancements and it works really well. Rather than seeing the Marines battle completely computer generated monsters like in films such as Resident Evil, we see the creatures move in a more organic and lifelike fashion which makes the scenes much cooler and much more believable. Add to that the fact that the effects team doesn't shy away from throwing in some nice splatter effects for the gun shot wounds and a few severed limbs and torn torsos during the fight scenes and you've got yourself a movie that, as Chas Balun would say, 'delivers the gory goods' without an abundance of overly slick computer effects (they're there, but they're not as overbearing as you might think).
Performance wise, the movie is completely cookie cutter in nature. The Rock plays exactly the type of character you'd expect him to, he's hammy and tough as nails and he doesn't take any crap from anybody. He spouts off the one liners with scenery chewing enthusiasm and he fits the part of the tough Marine in charge just fine, even if he is a walking, talking cliché in this movie. Karl Urban's character gets a little more development in that we get to see him attempt to rekindle his relationship with his sister so in that regard we care a little more about his character and about Rosamund Pike's character but even with that being said, they're still pretty generic as are the rest of the space Marines sent in to help.
Doom exists to show off the shoot out scenes, and the movie is more or less based around a few violent set pieces highlighted by the 'first person shooter' scene in which Reaper must make his way through the compound and take out as many of the beasts as he can using his gun, a few grenades, and a chainsaw. Fans of the game will geek out over this sequence, the one part of the movie that really feels like the Doom that gamers know and love, and it is a pretty intense and enjoyable sequence as it is here that the filmmakers finally pile on the monsters in the same way that the game did.
The unrated extended version of the film that Universal has released on DVD runs just over twelve minutes longer than the R-rated theatrical cut of the film which adds some gore that was trimmed and a few brief character development extensions. The first person shooter sequence has also been extended to roughly five and a half minutes. The gore makes the action and horror scenes more enjoyable, but the character development scenes don't make the movie any more intelligent or riveting in that regard – the film is still a big, dumb, gory shoot'em up.
While the generic sounding heavy metal soundtrack pretty much clues you in to what is going to happen before it starts to happen and the script is by the numbers and completely generic, Doom provides enough intensity in the shoot out scenes and enough completely enjoyable blood and guts effects that it's easy to turn off your brain and enjoy it for what it is. Sure, it borrows pretty heavily from Aliens and even Resident Evil at times but it's fun and it's entertaining and while more monster mayhem would have gone a long way towards making it a more enjoyable film, as it stands it's a decent guilty pleasure.
The DVD Video:
Doom gets a very solid transfer that is enhanced for anamorphic sets and retains the original aspect ratio of 2.35.1. The image is very and quite clean and only occasionally exhibits some tiny minor specks of print damage in a couple of the darker scenes. Skin tones look dead on, color definition is top notch, and this is overall a very nice presentation of the film. There is some minor edge enhancement and shimmering in a couple of scenes that is slightly noticeable but it doesn't happen too often, thankfully. With so much of the film taking place in the dark it's important that the black levels be handled properly to ensure that the detail doesn't get lost and the image doesn't become muddied and luckily, the disc comes through in that department. There aren't any issues with mpeg compression and there's a pretty decent level of both foreground and background information in the picture at any given time. There's very little to complain about here, the movie looks great.
Sound:Equally impressive is the sound mix for the film. Dolby Digital 5.1 Surround Sound mixes are supplied in English, French and Spanish. Optional subtitles are provided in English, French, and Spanish and there is also an English closed captioning option as well. The film benefits from a very active and aggressive sound mix that really does add quite a bit of atmosphere to the movie, especially during the action scenes and the monster attack sequences. Surrounds are used nicely to fill in the soundscape and the subwoofer gives a few nice solid kicks to the proceedings and provides some nice jump scares during the run of the film. Dialogue is never a problem and is always clearly comprehensible, and background music and sound effects are well balanced and mix nicely, never overshadowing what's being said at any given point in time. The shoot-out/first person scene is the most intense, with bullets whipping around you and monsters coming at you from all sides and this mix handles it very well, adding to the fun.
Extras:Universal has supplied fans with a decent selection of extra features and even if some of them feel very promotional in nature, there's some good information and interesting tid-bits to be found in here. First up is Basic Training, which is a featurette that show us how the producers brought an ex-Marine named Tom McAdams onboard to train the cast members how to behave like real soldiers. We see them take weapons training in which they learn how to handle their firearms, we see them do various tactical team based exercises, and more. It's fairly interesting to see how much emphasis was put on this aspect of the film and how they went about achieving that through this training. Some clips from the feature and a few interview inserts with the cast members discussing their take on what it was like to get the training break up the footage and add some insight to the package.
Do you want to learn how the make up technicians turned The Rock into a monster? Sure you do! And in a five minute featurette entitled Rock-Formation you'll get to see how his tattoos were painted on, how his prosthetics were applied, and how the transformation became complete. It's a brief segment but it's marginally interesting for those into make up effects.
Slightly more interesting in that regard is Master Monster Makers which takes us through the creature design from start to finish. We see how the monsters were first created on paper and then we witness the creation of the suits that the actors wore and then how CGI was integrated with the live actors to create the effects that we see in the finished version of the film. This is pretty interesting stuff, although it's too brief at just under eleven minutes and kind of leaves you wanting more as some of the behind the scenes footage in here is very, very cool.
First Person Shooter is a six minute examination of how the film's most famous scene was developed. The crew talks about some of the challenges that they ran into bringing this to life, how they had to accommodate for a widescreen aspect ratio as opposed to using the fullframe that a computer monitor offers, and how the gun would sometimes block the shots, which is why it's only pulled up when it's needed. This segment also offers you the chance to watch the entire sequence in its entirety outside of the context of the film if you want.
The final featurette is Doom Nation which runs for roughly fifteen minutes. This brief documentary examines the origins of the game, the rise of ID Software, and the impact that it had on the gaming community at large. They cover the humble beginnings, the second game, and of course, Doom 3 as well and the differences between the three installments. A few of the ID Software team are on hand for interviews and it's fun to see them reminisce about the marketing of the game, how shareware played a huge part in its success, and about some of the more unique aspects that made it such a hit.
Rounding out the supplements are the Game On featurette, which is more or less a glorified advertisement for Doom 3, and a playable demo for Doom 3 itself which works only on an X-Box.
Final Thoughts:While the extra features could have been stronger, the feature is fun in a brainless action-horror-science fiction hybrid kind of way. Fans of the game will enjoy the references that are there and curse the liberties taken with the storyline, but those who just want to see the Rock and a few others shoot up a bunch of monsters in the dark should have fun with it. Universal's release of Doom – The Unrated Extended Edition looks and sounds very good and earns itself a marginal recommendation for fans of the big dumb action movie genre and a solid rental for everyone else. As dumb as it is, it's pretty entertaining stuff.
Ian lives in NYC with his girlfriend where he writes for DVD Talk and for DVD Maniacs. He spends a lot of time wandering around exploring and generally wondering what to do with himself.
WHAT HAPPENS IN VEGAS IS NOW AVAILABLE ONLINE
HERE IS THE SUMMARY FOR THE MOVIE WHAT HAPPENS IN VEGAS FROM IMDB
Set in Sin City, story revolves around two people who discover they've gotten married following a night of debauchery, with one of them winning a huge jackpot after playing the other's quarter. Unhappy pair try to undermine each other and get their hands on the money -- falling in love along the way. Written by Marisa_Gabriella
HERE IS A REVIEW FOR THE MOVIE WHAT HAPPENS IN VEGAS FROM DVDTALK
What happens in Vegas? Well, it usually involves a truckload of booze, which is something not readily available in a movie theater and would help this shrill monstrosity of a romantic comedy greatly. If I had anything kind to say about Ashton Kutcher and Cameron Diaz before this film, I'm ready to take every word back.
Traveling to Las Vegas after suffering some immense personal setbacks, Joy (Cameron Diaz) and Jack (Ashton Kutcher) find themselves thrust together by accident. Over drinks and a swinging night on the town, the two open up their hearts to each other, which leads to a quickie wedding. After deciding the next morning to erase their mistake, Jack hits a slot jackpot with Joy's quarter, and both claim the grand prize. Sentenced by a judge to work out their differences over a six-month period of time, the two take the opportunity to declare war on each other, hoping to snatch all the loot for themselves.
"Vegas" is abrasive, needless, and unpleasant. Just like the real Las Vegas. It's an old-fashioned star-driven comedy that is gliding on the charm of the two leads, yet there's no story here, no recognizable emotions. The film is a crass collection of dreadful slapstick, deafening performances, and a romance that, even by loose screen standards, makes no sense whatsoever. "Vegas" is junk food: you'll forget it the minute you step out of the theater. Perhaps even earlier than that.
Because so much of the film is carried on the backs of Kutcher and Diaz, one would think director Tom Vaughan would take better care to protect the characters from becoming completely toxic; instead, Joy and Jack are insufferable morons and it's a chore to watch Diaz and Kutcher attempt to cozy up to these hostile roles. Mostly, the actors yell and fall, and then yell some more, all because some Hollywood boob told Kutcher a long time ago that screaming is hilarious. The two bop all over the frame, frantic to sell the anguish of forced marital bonding, while pushing ahead with eye-rolling pranks (most concerning the toilet) and sitcom coincidences. Vaughan is hopeless here, and he does nothing to temper the ear-splitting performances. With Kutcher hamming it up and Diaz in full pinched-face mode, there isn't a single thing to embrace here. Perhaps this is why the leads are frequently shedding their clothes.
There are two capable people in the background much more interesting; comedian Zach Galifianakis and actress Lake Bell hold up the best friend delegation (along with Rob Corddry) and are severely underutilized in the final product. Both actors are far more entertaining than Kutcher and Diaz, and would provide a more motivating, combustible relationship for the director to work with. But then again, you'd probably pass on seeing them without clothes. Well, maybe just Galifianakis.
Because the screenplay by the execrable Dana Fox ("The Wedding Date") is not in the mood to sample anything new, "Vegas" runs on autopilot in the final act, where...get this: Joy and Jack actually develop feelings for each other! As a boldfaced cliché, it's deplorable, yet I was sucked into this segment of the film if only because "Vegas" finally gets quiet. The performances are suddenly dialed way down, and the burden of laughs is thrust upon the supporting cast. Hey, when a film is this obnoxious, I'll take all the silence I can get.
