Entertainment Bay

People have different types of movie that they like. Many people like comedy, romantic, action or drama movie. However, not all people love to watch horror movie. Many people are too scared to watch this kind of movie. They cannot bear to watch the scary ghosts, the monsters, the creatures and whatever things that are used in the movie to scare the audiences. However, some people love to watch horror movie since they like the creepy feeling that comes while watching the movie. They like the goose bump and fast heart beat when they are watching this kind of movie.

Well, if you are including the one that loves to watch horror movie, then you need a guide that will give you the review of various popular horror movies started from the old ones up to the latest ones. You can get the most complete scary movie reviews on Scarymovie.org. You will see the list and the reviews of plenty horror movies. If you call yourself as the real lover of horror movie and you dare to watch the scariest one, you should try to watch all the great movies on the list.

Dare yourself and challenge your friends by watching the scariest movies ever.

Nerdy, reserved bookworm Needy and arrogant, conceited cheerleader Jennifer are best friends, though they share little in common. They share even less in common when Jennifer mysteriously gains an appetite for human blood after a disastrous fire at a local bar. As Needy’s male classmates are steadily killed off in gruesome attacks, the young girl must uncover the truth behind her friend’s transformation and find a way to stop the bloodthirsty rampage before it reaches her own boyfriend Chip.

People are living their lives remotely from the safety of their own homes via robotic surrogates — sexy, physically perfect mechanical representations of themselves. It’s an ideal world where crime, pain, fear and consequences don’t exist. When the first murder in years jolts this utopia, FBI agent Greer (Willis) discovers a vast conspiracy behind the surrogate phenomenon and must abandon his own surrogate, risking his life to unravel the mystery.

Gwyneth Paltrow has joined the cast of Tomas Alfredson’s follow-up to Let the Right One In, The Danish Girl, a sex change drama which locked Nicole Kidman as its gender bending lead in September.

The movie is an adaptation of a book by David Ebershoff, which details the true story of the first ever post-operative transsexual, Einar Wegener (Kidman), and her wife Greta, who’ll now be played by Paltrow. With Alfredson at the reins and such a talented pair of actresses afforded what should equate to some of the meatiest roles of their career, The Danish Girl is quickly shaping up as one of 2010’s most promising titles.

Michael Jackson fans have flocked to the cinemas to relive the King of Pop’s success in the new movie release Michael Jackson “This Is It” which hit the big screen at the end of October 2009.

The movie shows the star perform as he had never been seen before. The movie captures the talented singer and artistic genius choreograph his dance steps and perfect his final show. The audience gets a last chance to see Michael Jackson behind the scenes as he rehearsed for his sold out concerts that would have taken place beginning this summer on London’s O2 Arena.

Produced with the full support of the Michael Jackson estate, the movie was drawn from more than one hundred hours of behind the scenes footage featuring Jackson rehearsing a number of songs for his show. The movie is directed by Kenny Ortega, who was both Michael Jackson’s creative partner and director of the stage performance.

Along with the movie, diehard fans will be able to keep the film memories alive with the Michael Jackson “This Is It” Film Cell memorabilia keepsake to remember the King of Pop. The film cells capture memorable moments in the movie with strips of 35mm film hand cut from the movie reel. As such each film cell is unique and comes with an engraved plaque containing the movie title, series number and limited edition number (displayed below the photograph or film cell), presented on a mounted board and elegantly framed. Each film cell comes with a certificate of authenticity.

In case you (like myself) missed it last week, Yahoo! Movies debuted the first trailer for Angelina Jolie’s latest foray into high-octane action terrain, Salt. Directed by Philip Noyce, Salt locks its sights on a CIA officer who finds herself falsely called out as a Russian emissary. Seemingly equipped with a trunkload of wigs, the titular spy goes on the run, and Bourne-like identity crises and shock revelations presumably ensue.

There’s no doubt Jolie has a better nose for dramatic roles than she does her summer tentpoles (well, except for the surprisingly ace Kung Fu Panda — and, if I’m honest, I had a lot of fun with Wanted, too. For that matter, I never got around to Mr and Mrs Smith…), but with Noyce calling shots, perhaps Salt could prove quite the happy marriage of depth and kinetics?

Salt releases August 26th, 2010.

I never found the time to write a review, but Duncan Jones’ gorgeous Moon remains one of my favourite films of the year. Today, The Hollywood Reporter announced the filmmaker will next lend his eye to Source Code, a sci-fi thriller that’s also attracted the attention of Jake Gyllenhaal
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Jones has been unable to secure funding for his hopeful sophomore feature, a Berlin-set sci-fi/actioner called Mute which he’s likened to Blade Runner. Source Code centres on a solider who mysteriously awakens in a body that isn’t his own on a commuter train. To make matters worse, a bomb is about to detonate.

The original screenplay is by Ben Ripley, with Billy Ray (scripter of the recent State of Play feature) having recently tried his hand at a retool.

Lensing is on track for early next year.

Get past the unremittingly ugly visual style and A Christmas Carol surprises. It surprises for its fidelity to its 166-year-old source. It surprises for its sombreness of tone and reflective engagement of regret and atonement. But what will really have you asking “What the Dickens?” come Christmas morning is why Robert Zemeckis’ latest motion-captured dispatch from the uncanny valley is being pushed as a gaudy, slapstick-stuffed thrill ride — excepting a handful of unfortunate lapses, at heart, it’s somewhat more noble than that.

‘Ugly’ might be a touch unfair, but Zemeckis’ spartan commitment to a technology that’s yet to close the ground between his ambitions and its own limitations detracts from an otherwise faithful adaptation of Charles Dickens’ oft-filmed literary classic. While the overtly fantastical Beowulf, with its dragons and sea serpents and sexed-up Angelina Jolie-as-succubus, was a befitting candidate for the entirely mo-cap-animated treatment Zemeckis first investigated with The Polar Express, A Christmas Carol is markedly less so. Cutting an entire synthetic reality from the same digital cloth makes sense when dealing with an abundance of pixel-grinding creatures of feature — if man, monster and mountainside all co-exist in the same computer-conjured cosmos, discerning the seams becomes a moot point.

It’s an argument which holds considerably less egg nog when applied to the well-worn story of Dickens’ miserly misanthrope, Ebenezer Scrooge (Jim Carrey). The spirits of A Christmas Carol don’t pose the logistical challenge of, say, Beowulf’s Grendel, so the decision to eschew live-action altogether feels like an obvious grab for the ubiquitous computer-generated bandwagon. And while Zemeckis revels in the dizzying freedom afforded his virtual lens (pay special attention to the ‘Ghost of Christmas Past’ segment), such liberty increases the allure of ‘look ma, no limits!’ capability-strutting braggadocio. Vertiginous flights across the skyline of Victorian London amply demonstrate the technology in full, soaring flight. Overpacking a rushed third act with a gratuitous chase sequence feels more like the candy cane that broke Rudolph’s back.

Close-ups on Carrey’s digitally-ripened mug, however, suggest that in five years’ time, Zemeckis’ methods might match pace with his madness. There’s no question that the characters of A Christmas Carol are, by and large, as aesthetically appealing as dropped mince pies, but glimmers of brilliance occasionally shine through the clunky, cold patina of ‘art imitating life — oddly.’

With Dickens’ yuletide staple so well-loved, it’s wise of Zemeckis’ screenplay to do things by the book. Slabs of dialogue are lifted straight from the page, and the story retains all of its chilling solemnity, commencing with Carrey’s parsimonious grump pocketing coins from the eyes of dead man. Things get so intense, in fact, that 3-D encounters with Marley’s ghost and the shrouded shadow that’s the Ghost of Christmas Yet to Come could have tykes hurling the specs off and trembling under their seats. Which does pose the pertinent question of exactly who this is aimed at. Had he jettisoned the child’s play and pitched directly for the Beowulf bracket, Zemeckis’ innovative technological noodling might have been more readily palatable.

Where Zemeckis improves on screen Christmas-es past is by casting each of the seasonal spectres as projections of Scrooge’s own self. Aside from garnishing his Christmas Carol with a vibrant red ribbon thematically, it affords his adaptable leading man a chance to remind us he’s arguably the most under-utilised star in Hollywood today, portraying no less than seven roles with characteristic chameleonic ease. The elderly Scrooge is, oddly, his second time inhabiting a Christmas curmudgeon following Dr Seuss’ green meanie in The Grinch. Subdued and allowed to unwrap the pathos, he’s more memorable here than he’s been in the flesh for half a decade. Elsewhere, Gary Oldman and Colin Firth are casualties of less convincing animation, along with the rest of the largely featureless (though recognisable) support cast.

We probably didn’t need another take on the world’s most famous story of personal epiphany, and there’s no denying Zemeckis’ eerie motion-capture animated stylings still make for emotionally frosty affairs. As such, A Christmas Carol’s lasting impression is more that of a collection of well-intentioned and eye-catching stocking stuffers: appreciated, but this won’t fulfill your Christmas wishlist — nor will it inspire the earthy affection of the gift made with love and by hand. Which positions the film as something of a letdown. A failure, but a noble one, then.

DIRECTOR: Robert Zemeckis
SCREENWRITER: Robert Zemeckis
CAST: Jim Carrey, Gary Oldman, Colin Firth, Robin Wright Penn, Carey Elwes, Bob Hoskins
RATING: PG
RUN TIME: 96 minutes