Share news for movie Fans: DVD films of this week - June 24 2014

There are many wonderful DVD movies last week. what kind of DVD will come out? Are you a movie fan like me,I have been searched online but not sure which is the best one. so, the following list are the movies that audiences will be able to enjoy this weekend. 

   
After a great movie “Endless Love” , here are list of three good evaluation movie you can have a see:   
   
1.300: Rise of an Empire    June 24 
 
 
   
"300: Rise of an Empire" - The Warner Bros sequel is the biggest release of the week. The movie tells the story of Greek general Themistokles who leads the charge against invading Persian forces led by mortal-turned-god Xerxes and Artemisia. The film, which was directed by Noam Muro, scored mixed reviews and grossed $106 million at the box office. The sequel was not as successful as the 2006 actioner which made $210 million. The reason for a lackluster box office was the result of little buzz and no hype. However "Rise of an Empire" has a chance of gaining some traction on DVD and on demand as it is the perfect summer blockbuster that audiences are into at the moment. It also serves as an option for those moviegoers who are not in mood to go to the movies. 

2. Winter's Tale              June 24 
 
 
 
"Winter's Tale" - Warner Bros will also release the fantasy tale starring Colin Firth, Jessica Brown Findlay, Russell Crowe and Jennifer Connelly. Directed by Akiva Goldsman, the film tells the story of a burglar who falls in love with an heiress as she dies in his arms. When he learns that he has the gift of reincarnation, he sets out on a journey to save her.  The movie was released on Feb 14 in hopes that it would be the perfect date movie but the results were poor. The movie not only received negative reviews but only made $12 million after having opened to $7 million. Warner Bros will attempt to regain some of its losses on DVD and try to attract females who have been very active movie goers during the summer season. The release is good counter programming especially with the lack of female driven films and with none coming out in the next few weeks, "Winter's Tale" could easily recuperate some of the money it lost at the box office earlier this year.  

3. Repentence     June 24 

   
"Repentence" - This Lionsgate drama was one of the most ignored releases in February. The movie, starring Forest Whitaker and Anthony Mackie, tells the story of a successful author and spiritual advisor who takes on a troubled man as a client, completely unaware that the man's fixation on his mother's death will soon put his life in jeopardy. The movie opened in 152 theaters and ended its run making only $1.1 million. The drama is likely to attract Whitaker fans but at a time when movie goers are looking for a fun action film, this movie is unlikely to get any more fandom. 

Hope this guide help you choose your favorite one and enjoy it with your family. Do you agree with me? Movies make our life colorful! 

Nice movie review: Maleficent- “do not miss it!”

 
Summary:
  
A fairy who was deceived by human in pursuit of his dream of living in a castle – to be a king. Soon the King and the Queen had their first baby. During the grand christening, everyone in the kingdom was invited including the pixies when except for Maleficent. Unknowingly Maleficent came to join with the celebration and gave her gift to the Princess – she’ll prick her finger in a spindle before the sun set at the age of 16 and she will fall asleep just like death. Nothing can ever awake her except for a true love’s kiss. This curse can never be retracted even by the strongest force on Earth. Princess Aurora was then was left by the King and Queen in the custody of the pixies confident that the curse will never happen.

As Princess Aurora grows, Maleficent became fond of Princess Aurora that she loved her as if her own daughter however; no matter how she tried to revert back the curse; she’s always a failure. True enough, no force can ever take it back.

The time has come and the oath has happened. A prince charming came and kissed Princess Aurora but she never woke up. With all regret and sorrow, Maleficent kissed the Princess and she awoke – the kiss of a true love.

‘Jump Street’, ‘How to Train Your Dragon 2’ at top 2 spots

Sequels ruled the cineplex this weekend as young cops and a young dragon duked it out at the box office. 

"22 Jump Street”,  the follow-up to the 2012 comedy, scored a surprise win at theaters with $60 million, according to studio estimates from box office crunchers Rentrak. 

The debut exceeded the projections of analysts, who expected a neck-and-neck race between "Street"and the animated comedy "How to Train Your Dragon 2."Both were expected to collect about $50 million. 

But audiences were in the mood for a laugh. "Neighbors"marked the last broad comedy of summer, and that came out more than a month ago. Since then, moviegoers got a steady diet of action and drama. 

"Street"hit the funny bone of critics and fans, earning an 83 percent approval rating from critics, says Rotten Tomatoes. According to Cinemascore, audiences gave it a collective A-minus. 

"Dragon"was no slouch, taking second place. And it could have legs, thanks to reviews and word of mouth. About 92 percent of critics gave that movie a thumbs-up, while audiences gave it a straight A. 

 
Both films also ended the two-week run of original films ruling the box office. Along with "Maleficent,"the teen drama "Fault in Our Stars"topped theaters. Still, analysts say, studios did sequels right this time. 

"Hollywood may be mostly out of ideas,"says Reagan Sulewski, analyst for Box Office Prophets. "But the ideas they’re reusing, at least this weekend, are pretty strong.” 

"Maleficent"was third with $19 million, followed by the Tom Cruise action film "Edge of Tomorrow"with $16.2 million. "Stars"rounded out the top five with $15.7 million.

The Rover review – an Australian road movie that runs out of road

Robert Pattinson proves his acting chops in David Michod's mysterious follow-up to Animal Kingdom – it's just a shame it squanders its early promise. 

 

 
It’s time to put away those Robert Pattinson jokes – the kid can act. He showed more attachment to the elephant in Water for Elephants than co-star Reese Witherspoon, but then he probably knew better how it felt:Twilight turned him into the most gawped at mammal on the planet. He cut like a blade through the first film, cheekbones set to stun, as pale as a rock star in recovery, summoning a palpable sense of threat. 

The series emasculated Edward as it wore on, shoving him to the side of the action, while Bella grew increasingly impatient – it was the only vampire series in which the vampires were afraid of the virgins, and exploited Pattinson’s greatest flaw as an actor: his passivity. He was coolly dissipated in David Cronenberg's Cosmopolis, as a megastar essaying the end of the world in blacked-out limo shades, but the film, and the role, both stayed well within the confines of the comfortably numb. In his new film, The Rover, Pattinson tries a different tack in his pursuit of a world seen without yellow contact lenses: he acts his socks off. 

When we first see him, he is face down in the Australian outback, bleeding out into the dirt. He’s been abandoned by his brother (Scoot McNairy), who heads up a gang of thugs making their getaway in a truck, with another member bleeding in the back. What they have done, or even who they are, is never made clear. The film, directed by David Michod, is set “10 years after the collapse”, in a future where resources like petrol and water have gone much the same place as the world’s reserves of narrative exposition. 

The whole thing is told in the mythic-elliptic style first pioneered in the spaghetti westerns of Sergio Leone and later retrofitted as pulp by George Miller in the Mad Max films, where the post-apocalypse means never having to explain yourself. This movie gives nothing up. 

So we never find out the exact circumstances that led to Pattinson being left for dead, or why he is speaking in a southern white trash accent, while everyone else speaks Australian, or why he is being hunted by squadron of American soldiers. Did he desert? What is important is that he crosses paths with Guy Pearce, about whom we know even less, except that a) he never cracks a smile, b) he looks pissed even before the gang make off with his car, and c) he wants it back. That’s how mythic he is: his character is carved out in the dust cloud left by his actions. He’s the Man With No Ride Home. 

Film Review: ‘Burning Blue’

 
Top guns in love struggle against institutional homophobia in a tone-deaf melodrama well past its sell-by date. 

When Quentin Tarantino riffed on the homoeroticism of “Top Gun” in his famous cameo from the otherwise forgotten 1994 indie “Sleep With Me,” little could he have known that, two decades later, the LGBT community would get a fighter-jock opus to call its very own. Optimistically dubbed “Brokeback Top Gun” in some quarters of the Internet, writer-director DMW Greer’s “Burning Blue” certainly harbors such outsized ambitions, but they’re poorly matched by Greer’s leaden direction and a didactic screenplay about the tortured lives of military personnel living in the shadow of President Clinton’s “Don’t ask, don’t tell” policy. Bearing a distinctly musty odor confirmed by its 2011 copyright date, this day-and-date Lionsgate pickup never achieves dramatic liftoff.

Poorly concealing its origins as a stage play (first produced in London in 1995), “Burning Blue” unfolds mostly as a series of stilted, talky scenes set in and around a U.S. Navy aircraft carrier where a couple of hotshot pilots find themselves getting too close for Uncle Sam’s comfort, in and out of the cockpit. To all outward appearances, Lts. Daniel Lynch (Trent Ford) and Matthew Blackwood (Rob Mayes) are a couple of straightlaced — and straight — young recruits with loyal wives/girlfriends waiting for them at home and, if they play their cards right, a couple of highly competitive slots at the Navy’s Test Pilot School. But all those smoldering glances Lynch keeps trading with the guitar-strumming Blackwood in their shared barracks come to a head during a night of shore leave in New York that begins like “On the Town” and ends up somewhere close to “Cruising.”

Greer, who was a Navy chopper pilot himself, certainly deserves credit for wanting to shine a light on the difficult lives of LGBT servicemen working in a climate of thinly veiled persecution — a situation, an end title card informs, that has only marginally improved since the repeal of “Don’t ask, don’t tell” in 2011. But good intentions don’t count for much in art, especially when Greer muddies his own with a fairly ludicrous subplot involving a dogged NCIS investigator who suspects that a “gay cult” may be responsible for three seemingly unrelated fatal flight accidents (the implication being that a gay soldier would rather crash and burn than risk being outed).

It doesn’t help matters that Ford and Mayes both seem to have been chiseled from the same block of wood, with no fairy godmother around to turn them into real live boys. Even if they did, they’d still have to speak or react to dialogue like “Taxpayers get nervous if they start hearing their warriors sniveling” and “We are warriors paid to defend the country, not spill our guts and frolic in the daisies” — a mission that might have stymied even Laurence Olivier.

Given its subject matter, “Burning Blue” turns out to be a surprisingly chaste affair, though nearly all of the actors — even those playing allegedly straight characters — seem to have been directed by Greer to leer at one another with the intensity of sex-starved Victorian maidens. Of the principals, only William Lee Scott shows signs of a real personality as a coy Southern pilot who doesn’t ask or tell, but always seems to be one step ahead of the game. Staged with a complete lack of visual energy, the pic manages to make even its occasional shots of fighter jets in flight about as exciting as a minivan rounding a corner.

Film Review: 'Burning Blue' 

Reviewed on VOD, New York, June 6, 2014. MPAA Rating: R. Running time: 104 MIN. 

Production
A Lionsgate release of an Articulated Pictures production in association with Harbor Picture Co. Produced by Andrew Halliday, DMW Greer, Arthur J. Kelleher. Executive producers, John Hadity, Mike Harrop, Sig De Miguel, Stephen Vincent. Co-producers, Lester Petracca, Nicholas Petracca, Michael Sirow, Andrew Tobias. 
Crew
Directed by DMW Greer. Screenplay, Greer, Helene Kvale, based on the play by Greer. Camera (color), Frederic Fasano; editor, Bill Henry; music, James Lavino; music supervisor, Ruy Garcia; production designer, Robert Savina; art director, Jack Ryan; costume designer, Amy Lynn Zwart; sound, Mikhail Sterkin; sound designer/supervising sound editor, Marshall Grupp; re-recording mixers, Cory Melious, Tony Volante; associate producers, Rick Buhr, Dan Critchett, Michael Nutt; line producer, Kamen Velkovsky; visual effects supervisor, David Isyomin; visual effects, & Company; stunt coordinator, Manny Siverio; assistant directors, Daniel Lulgo, Shahrzad Davani, Thomas R. Kazansky; second unit camera, Erin Henning; casting, Sig De Miguel, Stephen Vincent.

With
Trent Ford, Morgan Spector, Rob Mayes, William Lee Scott, Cotter Smith, Michael Cumpsty, Michael Sirow, Mark Doherty, Chris Chalk, Tracy Weiler, Gwynneth Bensen, Jordan Dean, Johnny Hopkins, Haviland Morris, Karolina Muller, Dylan Rafferty Brown, Tammy Blanchard. 

Movie review: ‘Fault’ moving, not mawkish

  
Last summer, “The Spectacular Now” was the teen-trauma film of note, being based on a well-regarded bestseller and starring an up-and-coming Shailine Woodley. 

This year, it's “The Fault in Our Stars,” which shares many attributes with its predecessor including having roots in a popular young-adult novel, screenwriters Scott Neustadter and Michael H. Weber, and a much-better known Woodley, who moved up to star status with “Divergent” earlier this year. 

Like “Spectacular,” it walks that fine line between moving and mawkish without falling too far over to the latter side. Unlike that earlier film, though, which didn't make a huge splash in the mainstream, “Fault” looks to become the teary alternative to all the boom and bang of the summer superheroes. 

Woodley plays Hazel, the typical outgoing teen-next-door living the middle-class life in suburban Indiana: Except she has cancer, and has to travel with an oxygen tank wherever she goes. One of those places is a youth support group where she meets newcomer Gus (Ansel Elgort, also from “Divergent”), who has lost a leg to his disease. 

They strike up a friendship that quickly escalates into something more as they wrestle with issues of fate and mortality. As with “The Spectacular Now,” it's refreshing to see teenage relationships handled with grace and depth instead of the usual snark and cynicism. Director Josh Boone (“Stuck in Love”) stays out of the way stylistically and lets the considerable naturalistic chemistry between Elgort and Woodley be the draw. 

Their conversations, wavering between youthful bravado and grim determinism, feel authentic as does their budding romance. That's no doubt due in some part to John Green's book on which the film is based. 

Nat Wolff (“Palo Alto,” “Admission”) as mutual friend Isaac, a support-group member who is losing his sight because of cancer, seems at first an awkward attempt at comic relief, but his role deepens as events become more serious. 

That doesn't mean there aren't moments that ring false. Laura Dern, as Hazel's concerned mom, is one-dimensional while Willem Dafoe as Van Houten, an author who has been inspirational to Hazel, is painted in such cartoonish strokes that he seems more like a convenient plot point than a real person. Also, at just over two hours, “Fault” sometimes moves slowly and veers frustratingly close to TV-movie-of-the-week territory. 

Still, that doesn't dim the bright light at the heart of the story. That's really the only special effect that this film requires. 

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Enjoy the Memorable BD/DVDs movies with your family at anywhere

Looking for the best Blu-ray movies and DVDs on May 2014? We compile our standout flicks to get the high-def treatment that you need in your collection. So you've recently invested in a new Blu-ray player and you are planning one of those weekends where you have no intention of stepping outside of the house. You are probably going to want some flicks to keep you company. 

Here are lots of Blu-ray and DVD discs you can choose:

    
1. Veronica Mars DVD
DVD Release Date: May 6
Director:      Rob Thomas
Studio:        Warner Bros. Pictures



2. After the Dark DVD
DVD Release Date: May 6
Director:      John Huddles
Studio:        Phase 4 Films 



3. The Art of the Steal DVD
DVD Release Date: May 6
Director:      Jonathan Sobol
Studio:        RADiUS-TWC 



4. Her DVD
DVD Release Date: May 13
Director:      Spike Jonze
Studio:        Warner Bros. Pictures



5. Grand Piano DVD
DVD Release Date: May 20
Director:      Eugenio Mira
Studio:        Magnet Releasing


   
6. In Secret DVD
DVD Release Date: May 20
Director:       Charlie Stratton
Studio:         Roadside Attractions


   
7. VAMPIRE ACADEMY BLU-RAY
BLU-RAY Release Date: May 20 
Director:        Mark S. Waters
    

   
8. The Monuments Men DVD
DVD Release Date: May 20
Director:         George Clooney
Studio:           Columbia Pictures
  


9. No God, No Master DVD
DVD Release Date: May 20
Director:          Terry Green
Studio:            Monterey Media



10.The Right Kind of Wrong DVD
DVD Release Date: May 20
Director:         Jeremiah Chechick
Studio:           Magnolia Pictures 

Read More:
Movie Preview: 10 Films Must to See in May 2014
The Ultimate 2014 Summer Movie Trailer
Enjoy the latest Wonderful BD/DVD movies with friends

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Now, you can enjoy it and hope you have fun!

You may want to read:
Converting Blu-ray (M2TS) to AVI video with 720p/1080p HD Picture
An Easy Way to Rip Audio from a DVD, and Save as WMA, WAV files
How to Rip TV Series DVD to Videos with the easiest way?
For Using DVD Discs - What Should You Pay Attention?

Movie Review: JUST MARRIED

"Just Married" is another old movie that my husband and I watched.

This +romantic +comedy movie was released in theatre 11 years ago. Whoa! I was still in +college that time.

The main cast were Brittany Murphy as Sarah McNerney and Ashton Kutcher as Tom Leezak. Brittany was came from a rich +family while Ashton is just an ordinary guy who work in a +radio. 

The two meet when Ashton accidentally hit Sarah with the ball while playing football. The two sleep together and decided to get married. Sarah's family oppose this married thing but despite the opposition the +wedding got through.

The newly wed is now on their way to their +honeymoon in a classy hotel at the foot of the alps. But due to accident happen in the +hotel that almost create fire, the +couple were forced to live this +classy hotel. 

Then the +adventure began.

To be continued...

The latest Blu-ray movie review: Evilspeak

Shout Factory | 1981 | 97 min | Unrated | May 13, 2014 (New Release)
Video
Codec: MPEG-4 AVC
Resolution: 1080p
Aspect ratio: 1.78:1
Original aspect ratio: 1.85:1

Audio: English: DTS-HD Master Audio 2.0 (48kHz, 24-bit)

Subtitles: English

Some wise man once informed humanity that the meek shall inherit the earth, but certain mild, unaggressive types aren't content to merely wait for their legacy to be handed them and instead decide to opt for a little help. Lots of people through the years have compared the 1981 horror opus Evilspeak to Carrie, pointing out the similarities in a bullied loner who finally strikes back with a little supernatural aid. Carrie had the benefit of some roiling family dysfunction underpinning its tale, and its setting in a high school rife with cliques and boorish behavior made it instantly accessible to many people, even if they had never been drenched in pig's blood. Pigs actually show up inEvilspeak, too, but here the formulation of the mild mannered little sad sack rising up to take his revenge has little of Carrie's impact since it's divorced from a commonplace setting and perhaps even more importantly from any sort of larger background with regard to its main character, one Stanley Coopersmith (Clint Howard), a picked on young man at a military academy. When Stanley stumbles on an old cache of Satanic materials in a kind of cavern like cellar at the institution, suddenly there seems to be a potential route forward for the afflicted kid. Evilspeak is in fact a fairly basic revenge saga?...

Movie review: ‘Dorothy’s Return’ to Oz is 2nd rate

Transported back to Oz by a magical rainbow, Dorothy (Lea Michele) and Toto head for the Emerald City and again gather new friends.

In the 75 years since “The Wizard of Oz” debuted, its sequels, prequels and spinoffs have struggled to carry on the film’s legacy.

A year after Sam Raimi’s mediocre “Oz the Great and Powerful,” the streak continues with “Legends of Oz: Dorothy’s Return,” an average, likable enough tale hampered by second- (or even third-) rate animation that borders on creepy.

Set many years after the Wicked Witch of the West’s demise yet merely the next morning in Kansas time, the film’s impetus involves the Scarecrow (voiced by Dan Aykroyd), Tin Man (Kelsey Grammer) and Lion (James Belushi) held captive by the ambiguously evil Jester (Martin Short).

Transported back to Oz by a magical rainbow, Dorothy (Lea Michele) and Toto head for the Emerald City and again gather new friends, this time to save their old ones.

Composing the chemistry-rich B Squad are an obese owl (Oliver Platt), a marshmallow soldier (Hugh Dancy), a china doll princess (Megan Hilty) and a repurposed tree that looks like the StubHub Ticket Oak with bad teeth (Patrick Stewart).

When so moved, they belt out ballads ranging from lackluster (Bryan Adams and Jim Dooley’s contributions) to Disney Princess quality (Tift Merritt’s “Even Then”), though the odds of any reaching “Let It Go” status are blessedly low.

While never boring, with the exception of an inspired candy courtroom scene with a Circus Peanut gallery and a jury of one’s Peeps, the film’s humor is limited to the Jester’s manic dialogue, little of which elicits a giggle.

Mostly, “Legends of Oz” is one more outing with familiar characters that neither adds to nor tarnishes the land’s good name.

Until a worthy successor arrives, it’s best to stick with the original.

Grade: C. Rated PG. Playing at the Beaucatcher, Biltmore Grande and Carolina Asheville. 

Making a Personal Movie:'Chef,' movie review

If you’ve ever struggled to find a balance between nurturing a career and making time for friends and family, Jon Favreau’s latest should hit home.  He leads Chef as Carl Casper, a successful chef whose career is decimated by one abysmal review.  In an effort to regain some stability while also giving himself the freedom to take risks with his craft, Carl leaves the Los Angeles restaurant scene behind to run a food truck featuring his own, unique menu.  For more on the film, here’s my review.

A movie like “Chef” begs for a smorgasbord of puns, so let’s get those out of the way: This undercooked but still flavorful comedy may not have much meat to it, but the small side dishes can be a meal in themselves.

Jon Favreau steps away from helming blockbusters such as “Iron Man” to write, direct and star in this congenial fable. Carl Casper (Favreau) is a one-time culinary wunderkind who’s now middle-aged, with a wide midriff and middling reputation. His loyal staff includes efficient hostess Molly (Scarlett Johansson in a cameo) and chatty sous chefs Martin (John Leguizamo) and Tony (Bobby Cannavale). 

When the restaurant gets a visit from an influential food critic, Carl wants to prepare something extraordinary, but the restaurant’s owner (Dustin Hoffman) orders Carl to do nothing special. The result: A scathing review, a Twitter war of words between Carl and the critic — and a chef without a job.

  

Trying to land on his feet, Carl, his ex-wife Inez (flighty but pleasant Sofia Vergara) and their 10-year-old son Percy (Emjay Anthony, quite the pro) go to Miami, where Inez’ slick first husband (Robert Downey Jr.) donates a rickety food truck. Carl and Co. give it a fresh paint job and drive it from Miami to L.A., selling Cuban sandwiches like hot cakes all the way. By the time they get to California, Carl’s got his groove back.

Favreau has always been a cool, amiable presence, all the way back to “Swingers” (1996) and his mini-gem feature directorial debut, “Made” (2001). His Queens-kid persona is impossible not to like. Scenes of Favreau at the grill bantering with Leguizamo and Cannavale could almost sustain an entire movie.
  
It does for a while. The moments when Carl connects with his kid click, too. But there’s a whole patch of “Chef” that feels wayward, as if Favreau has gotten so accustomed to Big Studio demands to cut details and get to the next explosion that he decided to stretch out every single small moment in “Chef.”

The good news is that his slow simmer approach here never puts us off for too long as the camaraderie between he and his cast gives “Chef” its mild yet tasty spice.