Santa vs Snowman

The big picture opens with an icicle-sparkling trolling camera sequence of lush red warm Santa's village, elves busy at work on the toys, dancing and happy, praising Santa, "I love you more than my own head," "I love you more than track lighting." This sequence brings back memories of childhood holiday specials then enlarges them into a 3D world that you could almost step into. And the fresh silly humor brings yet another rich dimension to the experience.Then we're introduced to the lonely snowman who has no friends and therefore can't even speak. He just plays his flute, until, oops, he drops it and decides to replace it with one from the nearby elf toy factory. This immediately prompts a breach in Santa security and initiates a winter wonderland war at times (intentionally) mocking the likes of "Star Wars." Well, I don't know about you (so write in and tell me), but I don't like my holiday specials to look like my everyday meat and potato films. If this picture had made a conscious decision to be irreverent, in the manner of "South Park," then that's one thing; but, instead, "Santa vs. the Snowman" seems to be a family friendly traditional holiday special that dabbles in the irreverent. On a completely subjective level, frankly, I don't think that works very well. Christmas films should be Christmassy - not "Star Warsy." And especially in these political times, do we really want to be reminded of anything military?That said, and despite lacking any truly breath-taking 3-D imagery, the film still looks good and has a good sense of humor. Snowman disguises himself using only a set of Groucho Marx nose/glasses and enjoys a tour of SantaLand guided by the drably comical voice of Ben Stein. This is a very funny sequence.While you might be turned off by the mistletoe missiles, you'll probably appreciate the ultimate resolution message: "Love your Enemies." You've just got to ask yourself one question, "Am I okay with Santa as Commander in Chief?"

Frost Bite

Frost Bite Climb to the top of the mountains and raise the victory flag!

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The Game Plan

Story:
THE GAME PLAN tells the story of rugged superstar quarterback Joe Kingman (DWAYNE THE ROCK JOHNSON), whose Boston-based team is chasing a championship. A serial bachelor, Kingman is living the ultimate fantasy: hes rich, famous and the life of the party. But this dream is suddenly sacked for a loss when he discovers the 7-year-old daughter (newcomer MADISON PETTIS) he never knew he had the product of a last fling before parting years ago with his young wife. Now, during the most important time in his career, he must figure out how to juggle his parties, practices and dates with the newfound ballet classes, bedtime stories and dolls that come with his daughter. Equally perplexed is his hard-edged mega-agent, Stella (KYRA SEDGWICK), herself without a parental bone in her body. Despite the often hilarious misadventures that come with being a new father, Joe discovers thats theres more to life than money, endorsements and thousands of adoring fans: the love and care of one very special small fan is the only thing that matters. - Walt Disney Pictures

More info can be found at:
disney.go.com/disneypictures/gameplan/

Hum Tum Comic Strip

Puzzle

Game Review : Combat Mission - Shock Force

Combat Mission, titles which are known for their line of top WWII strategy games, has not only produced a title with a new engine, but has turned the clock forward into modern-day warfare. The story takes place in the winter of 2008 where terrorists from all nationalities started making their move into different countries well before any talk of heightened security. Once they were in place they kept quiet and waited for their call. Soon tips were pouring in about suspect baggage and before long there were terror alerts. Now, with the sleeper cells already in place, security was nearly pointless.

You will be able to fight with tons of units comprised of machine guns, anti-tank personnel, mortars, tanks and other vehicles. You will also have the ability to call in valuable air strikes to soften up targets. The damage modeling is where the game really excels. Units can take different damage depending on where they are hit, which adversely effects what the unit will be able to do. For example, if a tank track gets damaged that unit will have a tough time moving around the battlefield.

Battlefields are mostly desert landscapes dotted with vegetation and structures. These, too, will affect line-of-sight and other target-finding abilities. In short, there are a lot of factors that determine outcomes on the battlefield. This is not a free-for-all where the most tanks win. Strategy fans will surely appreciate this attention to detail.

My personal favorite feature was the ability to play as a turn-based or real-time game. This made learning a difficult game a bit easier. A tutorial is much needed for new fans. Veterans will surely pick this up in no time despite some new changes. Visually the game looked damn fine for this style of game. Games of this genre usually lack the eye candy most titles require to sell copies. Strategy games have usually fallen short here, but I am happy to report that this game looks good. The sound effects, however, could use a little work but were realistic enough to immerse you in the game. I liked the voiceovers and the music.

Regardless of story and setting this is still a typical warfare strategy title. Sure it has its differences but we have seen many games like this before. It’s a blast to play and there is a ton of different attributes that will keep any strategy buff happy. I would have liked to have seen a better Multiplayer option than what is found in the current release. I said it before, multiplay is the life and death of a game … literally.

Gameplay: 7.0
I found that actually playing the game was a bit tough at first. Sure it gets easier but a tutorial sure would have been a nice plus. There is a ton of options that can be overwhelming, but gets easier with time.

Graphics: 8.0
For this type of genre the graphics looked great. It is no FPS game, by any means, in terms of jaw dropping graphics, but games like these usually look pretty dull. When you zoom in on the battlefield, you can see a ton of detail.

Sound: 8.0
Sound effects were hit and miss but the voices and musical score were as great.

Difficulty: Hard
This one is tough.

Concept: 7.0
Nothing really new here. Yes, it may be a change from a company that usually produces WWII games, but I’ve seen plenty of modern warfare games where terrorists are the main enemy. I did like the ability to either play turn-based or real-time

Multiplayer: N/A
More than two-player capability is talked about for future modules but currently only email turn-based play is available at time of review.

Overall: 8.0
Hardcore strategy fans will surely love this new title. Map creating abilities will add shelf life.

Movie Review : The Simpsons

Homer Simpson, the oafish paterfamilias of America’s favourite dysfunctional family, emerges from his big-screen debut a bona fide Hollywood action hero.

At the start of The Simpsons Movie Homer’s dreams of glory are limited to helping his new pet pig to walk upside down on the ceiling while singing “Spiderpig, Spiderpig” to the Spider-Man theme song.But when the adopted swine gets him into bigger trouble than even this celebrated screw-up has ever experienced before, he falls under the influence of a chesty Native American woman he calls “Boob Lady” and undergoes an uncharacteristic epiphany that galvanizes him into action for the good of his by-now estranged clan.

By the time the witty final credits roll, Homer outshines even Arnold Schwarzenegger, who has been elected president and ordered great harm done to Homer’s home town.

The Hollywood action theme helps the hit cartoon series, after 18 seasons on television, to land its death-defying leap to the big screen with panache. The result is a postmodern parable about an environmental scare that is at the same time hilarious and horrifyingly poignant. But thanks to an unexpected glimpse of Bart’s genitalia, this is a postmodern parable with a “pickle shot”.

The film boasts the same sly cultural references and flashes of brilliance that have earned the television series a following that ranges from tots to comparative literature PhDs. Despite its clownishness and childish graphics, it still offers searing insights into the pathetic human condition.

When the residents of Springfield learn that they are confronting catastrophe, for instance, the panicked occupants of the bar and the next-door church pour out into the street and change places — the drinkers taking solace in religion and the religious finding comfort in drink.

But the movie will be equally satisfying to those who just find it funny that Homer wants to kiss his pet pig — or laugh at Marge pondering the (literally) weighty issue of the pig’s “leavings”, or excrement.

Early on The Simpsons team shows their nerve by making Homer wonder out loud why anyone would pay to buy a cinema ticket to watch what they could see on TV free — the underlying question of the whole big-screen adaptation. In Homer’s view, anyone who pays for cinema tickets to watch a TV show is a sucker. Jabbing his finger at the audience, he declares: “Particularly you!”

What you get for your money is the Simpsons on an epic scale. The familiar, if geographically indeterminate, territory of Springfield is suddenly transformed into a cross between The Truman Show and Escape from New York, with a Big Brother government conspiring to keep all its unruly residents in line until it can be bombed into a “new Grand Canyon” tourist attraction.

The middle section, set in Alaska, lags because of the absence of the familiar props of the Simpsons’ home town. I found myself longing for Homer and his tribe to return to wreak more havoc on their neighbours, particularly the long-suffering Flanders.

But the film ends with a tense second-by-second countdown that fully exploits the bathos of that schlump Homer becoming an action star able save the world, or at least his little part of it. The conventions of the “disaster flick” allow The Simpsons’ left-leaning creator, Matt Groening, to indulge his politics with wry warnings of environmental doom without boring us out of our mustard-yellow skin.

Lisa, Homer and Marge’s swotty daughter, has become an ardent environmentalist who makes an Al Gore-style presentation entitled “An Irritating Truth” to the local populace.

In the same spirit, this film could have been subtitled: “An Inconvenient Cartoon”.

Game : 4X4 Race it out...

Game : Sonic is Here !!!

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Jerry King Comic Strip

Harry Potter : Order of the Phoenix

“Harry Potter and the Order of the Phoenix,” the fifth movie in the series, begins, as most of the others have, with a spot of unpleasantness at the Dursleys, and ends with Harry facing down Lord Voldemort. The climactic battle between the young wizard (Daniel Radcliffe) and the Dark Lord (Ralph Fiennes) foreshadows the final, potentially fatal showdown we all suspect is coming in Book Seven, which will be published later this month.Anticipation of that event may be stealing some thunder from this movie — a rare instance of the book business beating Hollywood at its own hype-producing game — but between now and publication day on July 21, Potter fans can take some satisfaction in a sleek, swift and exciting adaptation of J. K. Rowling’s longest novel to date. Devotees of fine British acting, meanwhile, can savor the addition of Imelda Staunton (an Oscar nominee for “Vera Drake”) to the roster of first-rate thespians moonlighting as Hogwarts faculty.


Curiously enough, “Order of the Phoenix,” clocking in at a little over two and a quarter hours, is the shortest of the “Harry Potter” films. The nearly 900-page source has been elegantly streamlined by Michael Goldenberg, the screenwriter (who replaces Steve Kloves), and David Yates, the director (who follows Chris Columbus, Alfonso Cuarón and Mike Newell in the job). There is no Quidditch, and not many boarding-school diversions. Instead, “Order of the Phoenix,” which begins like a horror movie with a Dementor attack in a suburban underpass, proceeds as a tense and twisty political thriller, with clandestine meetings, bureaucratic skullduggery and intimations of conspiracy hanging in the air.


Mr. Yates, whose previous work has mainly been in television, is best known in Britain for “State of Play,” a brilliant mini- series about power, corruption and deceit. Those are among the themes he explores in this film, which depicts a wizard world riven by factionalism and threatened by chaos and inflexible authoritarianism. While Cornelius Fudge, the minister of magic (Robert Hardy), maintains his highly suspect denial of Voldemort’s return, a coup at Hogwarts threatens the benevolent administration of Albus Dumbledore (Michael Gambon). Harry, meanwhile, has gone from prince to pariah, smeared in the magical press (where his name is rendered “Harry Plotter”) and subject to cold stares and whispers at school. Back in Harry’s early days at Hogwarts, Severus Snape (Alan Rickman), Harry’s foil and reluctant ally, sneered at the boy’s “celebrity.” But in this episode, the boy — if you can still call him that — encounters the darker side of fame.


Some of his schoolmates doubt his account of the death of Cedric Diggory, who was killed by Voldemort at the end of the previous film, “Harry Potter and the Goblet of Fire.” Dumbledore, Harry’s chief patron and protector over the years, seems to be keeping his distance, which leaves Harry feeling abandoned and betrayed. And more acutely, the pressures of being a designated hero — and possibly martyr — have begun to weigh on Harry, to isolate him from friends and to come between him and the possibility of a normal teenage life.


He does, at least, experience a first kiss with Cho Chang (Katie Leung), but that turns out to be a brief and equivocal moment of bliss. Whereas “Goblet of Fire” plunged Harry and his pals into the murky waters of awakening adolescent sexuality (or at least got their toes wet), “Order of the Phoenix” tackles the emotional storms that can buffet young people on their way to adulthood. Mr. Radcliffe, maturing as an actor in perfect time with his character, emphasizes Harry’s anger and self-pity. Mr. Yates frequently places him alone on one side of the frame, with Ron and Hermione (Rupert Grint and Emma Watson), his loyal but increasingly estranged friends, together on the other.


But this is not an Ingmar Bergman film, though perhaps Mr. Bergman can be coaxed into service for the film version of “Deathly Hallows,” the final book of the series. “Order of the Phoenix” has its grim, bleak elements, but it is also, after all, an installment in a mighty multimedia entertainment franchise. And like its predecessors, it manages to succeed as a piece of entertainment without quite fulfilling its potential as a movie. Perhaps by design, the films never quite live up to the books. This one proves to be absorbing but not transporting, a collection of interesting moments rather than a fully integrated dramatic experience. This may just be a consequence of the necessary open-endedness of the narrative, or of an understandable desire not to alienate “Potter” readers by taking too many cinematic chances.


Although “Order of the Phoenix” is not a great movie, it is a pretty good one, in part because it does not strain to overwhelm the audience with noise and sensation. There are some wonderful special-effects-aided set pieces — notably an early broomstick flight over London — and some that are less so. People waving wands at one another, even accompanied by bright lights and scary sounds, does not quite sate this moviegoer’s appetite for action. But the production design (by Stuart Craig) and the cinematography (by Slawomir Idziak) are frequently astonishing in their aptness and sophistication. The interiors of the Ministry of Magic offer a witty, nightmarish vision of wizardly bureaucracy, while Harry’s angst and loneliness register in Mr. Idziak’s cold, washed-out shades of blue.


The scariest color in his palette, however, turns out to be pink. That is the color favored by Dolores Umbridge (Ms. Staunton), whose cheery English-auntie demeanor masks a ruthlessly autocratic temperament. She posts proclamations on the Hogwarts walls, subjects violators to painful punishments and substitutes book learning for practical magic. Her purpose is to institute Minister Fudge’s head-in-the-sand policy with respect to the Voldemort threat, and she does a heck of a job.


Ms. Staunton joins an astonishing ensemble of serious actors who, in the best British tradition, refuse to condescend to the material, earning their paychecks and the gratitude of the grown-ups in the audience. Mr. Rickman has turned Snape (whose animus against Harry is partly explained here) into one of the most intriguingly ambiguous characters in modern movies, and it is always a treat to see the likes of Emma Thompson, David Thewlis and Gary Oldman, however briefly.


Even better, the Potter enterprise has become a breeding ground for the next generation of British acting talent. Mr. Radcliffe has already spread his wings (and dropped his pants) on the London stage, and cultural pessimists of my generation can take comfort in knowing that while our parents may have witnessed Malcolm McDowell and Julie Christie in their prime, our children will see Mr. Grint and Ms. Watson in theirs. “Order of the Phoenix” also introduces Evanna Lynch, a pale, wide-eyed 15-year-old nonprofessional from Ireland who, having read the book, decided that no one else could play Luna Lovegood, the weirdest witch at Hogwarts. It seems Ms. Lynch was right. She’s spellbinding.


“Harry Potter and the Order of the Phoenix” is rated PG-13 (Parents strongly cautioned). Its violence is intense, though not graphic, and some of its images are quite scary.

Harry Potter : The Deathly Hallows

So, here it is at last: The final confrontation between Harry Potter, the Boy Who Lived, the Chosen One, the “symbol of hope” for both the Wizard and Muggle worlds, and Lord Voldemort, He Who Must Not Be Named, the nefarious leader of the Death Eaters and would-be ruler of all. Good versus Evil. Love versus Hate. The Seeker versus the Dark Lord.J. K. Rowling’s monumental, spellbinding epic, 10 years in the making, is deeply rooted in traditional literature and Hollywood sagas — from the Greek myths to Dickens and Tolkien to “Star Wars.” And true to its roots, it ends not with modernist, “Soprano”-esque equivocation, but with good old-fashioned closure: a big-screen, heart-racing, bone-chilling confrontation and an epilogue that clearly lays out people’s fates. Getting to the finish line is not seamless — the last part of “Harry Potter and the Deathly Hallows,” the seventh and final book in the series, has some lumpy passages of exposition and a couple of clunky detours — but the overall conclusion and its determination of the main characters’ story lines possess a convincing inevitability that make some of the prepublication speculation seem curiously blinkered in retrospect.

With each installment, the “Potter” series has grown increasingly dark, and this volume — a copy of which was purchased at a New York City store yesterday, though the book is embargoed for release until 12:01 a.m. on Saturday — is no exception. While Ms. Rowling’s astonishingly limber voice still moves effortlessly between Ron’s adolescent sarcasm and Harry’s growing solemnity, from youthful exuberance to more philosophical gravity, “Deathly Hallows” is, for the most part, a somber book that marks Harry’s final initiation into the complexities and sadnesses of adulthood.

From his first days at Hogwarts, the young, green-eyed boy bore the burden of his destiny as a leader, coping with the expectations and duties of his role, and in this volume he is clearly more Henry V than Prince Hal, more King Arthur than young Wart: high-spirited war games of Quidditch have given way to real war, and Harry often wishes he were not the de facto leader of the Resistance movement, shouldering terrifying responsibilities, but an ordinary teenage boy — free to romance Ginny Weasley and hang out with his friends.

Harry has already lost his parents, his godfather Sirius and his teacher Professor Dumbledore (all mentors he might have once received instruction from) and in this volume, the losses mount with unnerving speed: at least a half-dozen characters we have come to know die in these pages, and many others are wounded or tortured. Voldemort and his followers have infiltrated Hogwarts and the Ministry of Magic, creating havoc and terror in the Wizard and Muggle worlds alike, and the members of various populations — including elves, goblins and centaurs — are choosing sides.

No wonder then that Harry often seems overwhelmed with disillusionment and doubt in the final installment of this seven-volume bildungsroman. He continues to struggle to control his temper, and as he and Ron and Hermione search for the missing Horcruxes (secret magical objects in which Voldemort has stashed parts of his soul, objects that Harry must destroy if he hopes to kill the evil lord), he literally enters a dark wood, in which he must do battle not only with the Death Eaters, but also with the temptations of hubris and despair.

Harry’s weird psychic connection with Voldemort (symbolized by the lightning-bolt forehead scar he bears as a result of the Dark Lord’s attack on him as a baby) seems to have grown stronger too, giving him clues to Voldemort’s actions and whereabouts, even as it lures him ever closer to the dark side. One of the plot’s significant turning points concerns Harry’s decision on whether to continue looking for the Horcruxes — the mission assigned to him by the late Dumbledore — or to pursue the Hallows, three magical objects said to make their possessor the master of Death.

Harry’s journey will propel him forward to a final showdown with his arch enemy, and also send him backward into the past, to the house in Godric’s Hollow where his parents died, to learn about his family history and the equally mysterious history of Dumbledore’s family. At the same time, he will be forced to ponder the equation between fraternity and independence, free will and fate, and to come to terms with his own frailties and those of others. Indeed, ambiguities proliferate throughout “The Deathly Hallows”: we are made to see that kindly Dumbledore, sinister Severus Snape and perhaps even the awful Muggle cousin Dudley Dursley may be more complicated than they initially seem, that all of them, like Harry, have hidden aspects to their personalities, and that choice — more than talent or predisposition — matters most of all.

It is Ms. Rowling’s achievement in this series that she manages to make Harry both a familiar adolescent — coping with the banal frustrations of school and dating — and an epic hero, kin to everyone from the young King Arthur to Spider-Man and Luke Skywalker. This same magpie talent has enabled her to create a narrative that effortlessly mixes up allusions to Homer, Milton, Shakespeare and Kafka, with silly kid jokes about vomit-flavored candies, a narrative that fuses a plethora of genres (from the boarding-school novel to the detective story to the epic quest) into a story that could be Exhibit A in a Joseph Campbell survey of mythic archetypes.

In doing so, J. K. Rowling has created a world as fully detailed as L. Frank Baum’s Oz or J. R. R. Tolkien’s Middle Earth, a world so minutely imagined in terms of its history and rituals and rules that it qualifies as an alternate universe, which may be one reason the “Potter” books have spawned such a passionate following and such fervent exegesis. With this volume, the reader realizes that small incidents and asides in earlier installments (hidden among a huge number of red herrings) create a breadcrumb trail of clues to the plot, that Ms. Rowling has fitted together the jigsaw-puzzle pieces of this long undertaking with Dickensian ingenuity and ardor. Objects and spells from earlier books — like the invisibility cloak, Polyjuice Potion, Dumbledore’s Pensieve and Sirius’s flying motorcycle — play important roles in this volume, and characters encountered before, like the house-elf Dobby and Mr. Ollivander the wandmaker, resurface, too.

The world of Harry Potter is a place where the mundane and the marvelous, the ordinary and the surreal coexist. It’s a place where cars can fly and owls can deliver the mail, a place where paintings talk and a mirror reflects people’s innermost desires. It’s also a place utterly recognizable to readers, a place where death and the catastrophes of daily life are inevitable, and people’s lives are defined by love and loss and hope — the same way they are in our own mortal world.

Source : The New York Times

Zelda

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Monsters Inc - Review

The idea that evil is powered by fear is a primary underlying theme in many horror tales (see Stephen King's /It/ for example). Monsters, Inc. breaks this myth by illustrating that evil, in the form of monsters, might not be what we think, and that there's something more powerful than fear that could be used to power their world.

The focus of /Monsters, Inc./ is a made-up world of monsters, Monstropolis, which is powered by the screams of little children. Since not all children have the same fears, monsters (and children) are carefully profiled such that the scream output is maximal. A child not afraid of a monster is therefore particularly terrifying to them.

Every night, the monsters venture into our world (through closet doors) and collect screams, with a running competition as to who collects the most. The scream leader is Sully (voiced by John Goodman), who's actually a good-hearted sort, and in second place, vying for first, is Randall Boggs (Steve Buscemi), who's evil even by monster standards.

One child, Boo (Mary Gibbs), who apparently isn't afraid of anyone except Randall, enters the monster world and causes panic. It turns out that Boo is a victim of a more global conspiracy that Sully and his friend Mike (Billy Crystal) must unearth. In doing so, they find a source of power that is more fulfilling than a child's scream.
The film contains some great animated sequences, including a chase scene involving thousands of doors. As with many other animated movies, the gadgets and workings in the power factory are imaginative and inspiring. /Monster's Inc./, like /Shrek/, is an animated film made for both young and old alike. While it doesn't delve too much into the realm of parody, it's novel story line combined with quality animation and voices make it a must-see on the big screen.

Strip of the day

Farmer

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Bomb it !!

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Disneys UNDERDOG

A canine superhero (Jason Lee) must save the day when an evil scientist (Peter Dinklage) and his enormous henchman threaten the citizens of Capitol City.

Watch the trailer here !

Strip of the day

Garfield-The Ultimate Collection

http://rapidshare.com/files/14511689/Garfield_Comics___1978_-_1985__.rar
http://rapidshare.com/files/14516373/Garfield_Comics___1986_-_1993__.rar
http://rapidshare.com/files/14519300/Garfield_Comics___1984_-_1998__.rar
http://rapidshare.com/files/14526130/Garfield_Comics___1999_-_2006__.rar

Bowling

SpaceCraft

Endless War

Doonesbury

Harry Potter and The Order Of the Phoenix

For more details about Harry Potter visit
http://harrypotterlegend.blogspot.com/

Crack it

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Heathcliff

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Resident Evil 4

The Resident Evil franchise has been a favorite of mine for years. I always enjoyed the thrilling survival horror setup that had you jumping with every creak or noise in the game. I have played every release of the main series starting with the first game on the PS1 all the way to RE4 for the Gamecube. My favorite in the series has always been Code Veronica for the Dreamcast but I have to say that RE 4 is a close second. Resident Evil 4 re-invented the franchise by changing how the series played with completely overhauled controls. But the series had the wherewithal to make the game even scarier and riveting than the previous versions.

If anyone has been living under a rock for the past two years then you missed out on a great game. Each version of the game released, either on GameCube or PlayStation 2, was rated in the high 9’s by GameZone. Check out the reviews of both games here: http://gamecube.gamezone.com/gzreviews/r18106.htm and http://ps2.gamezone.com/gzreviews/r18106.htm. For Wii owners what do you get in a game that was originally released over two years ago? Has the game been improved, degraded, butchered, marginalized or simply just ported to the white hot system as a quick cash grab?



The Wii version could be described as the ultimate port for several reasons. One is the game includes all of the special features that were included in the PS2 version. Second is the game is not being released as a full price release. Instead we get a very consumer friendly price point that should make the purchase easier to swallow regardless if you’ve already owned either the GC or PS2 version. Third is the fact that the revised controls made possible by the Wii’s motion sensor controllers help to improve the gameplay. The last reason you can call RE4 Wii Edition the ultimate port is because the game is still so good even two years later.



The biggest difference between the GC and PS2 version is, of course, the controls. The motion sensing controllers almost helps to completely recharge the gameplay of RE4. Attacking in the game is now much easier and more accurate than in the previous versions. Shooting is now performed by holding down the B button on the Wii Remote and then aiming your weapon by pointing to a spot on the screen. The on-screen target reticule will turn red when you have a lock on an enemy or object in the game. Reloading is done by holding down the B button and simply waving the Wii Remote.



Knife attacks are even easier now in the Wii version. You hold down the C button on the Nunchuk and wave the Wii Remote to perform a Knife attack. A quick knife attack is even easier to perform since you only have to wave the Wii Remote and the knife comes out slashing. A few of the Action Button sequences from the previous version have been updated with the motion sensor controls. Usually these sequences involve just waving the Wii Remote while other Action Button segments still have you pressing buttons at a specific time.

All of these changes might sound meaningless to hardcore RE4 veterans but I say don’t knock until you try it. I found myself actually enjoying the game even more now with the Wii controls instead of a regular controller. I was more accurate in shooting which helped me out in many tight situations. The easier-to-pull-off knife attacks also helped me to make it out alive during certain fights. The action sequences somehow seem more significant now with the Wii Remote. Yes, you’re simply just waving the controller but it just works and it feels right.

For anyone that is sitting on the fence wondering if RE4 Wii Edition is the game for you I say you need to decide how you fit into two categories:

*

Have you played the game before or is RE4 completely new to you?
*

If RE4 has never been part of your gaming library before then diving into the Wii version is a no-brainer.

This is a great game that is still a great game even if its two years old. You will jump out of your seat, scream like a baby and thrust your fist in excitement at many parts of the game. Even though the game is a sequel RE4’s story is really a self-contained story that doesn’t need any prior RE knowledge to understand.

For the rest of you that have played a previous version of the game I say you need to ask yourself a couple of questions. First question is did you actually finish the previous version? If you left the game unfinished and no longer have the game because you traded it in (or the system) then the Wii version shouldn’t be missed. The second question is are you a hardcore RE4 freak? If you went through the game several times then the Wii version might be a tough choice. Besides the controls nothing else has been changed to the game which you have already seen.

Review Scoring Details for Resident Evil 4

Gameplay: 9.5
The Wii controls help in making a two-year-old game playable all over again. Attacking has become a much easier task especially with the gun combat. Movement can still feel a little clunky at times, especially when you’re trying to escape from horde of characters close to you.

Graphics: 9.0
Even if the game is two years old this is still one of the best looking Wii games available. The entire game is presented in a wide screen format so for HDTV owners this is a nice feature.

Sound: 8.8
One great part of the sound effects and music in the game is the above average voice acting. RE4 almost makes you forget the laughable voice acting of the earlier RE games. All of the music and sound effects in the game do a fantastic job of setting a creepy/eerie atmosphere.

Difficulty: Medium/Hard
I guess I forgot just how tough Resident Evil 4 was since it came out two years ago. The enemies in the game can be completely relentless at times, which keeps you on your toes during the entire game.

Concept: 8.5
Real easy concept for the game since this is a port of a game previously released on two other consoles. Thankfully the controls have been optimized for the Wii’s motion sensors which add a breath of fresh air to the game.

Overall: 9.0
Resident Evil has never played better than it does with Resident Evil 4 Wii Edition. Owners of the Wii that have never played RE4 before should make this game an instant purchase. Veterans of the series that have already played RE4 might want to take another look with the Wii version.

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Ping

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Ratatouille Movie Review

With Ratatouille, Brad Bird proves, once and for all, that what Martin Scorsese is to film, he is to animation - others may do the same thing, but he does it just a little bit better. Bird's first two fastball strikes on the big screen - The Iron Giant and The Incredibles - were both mind-blowing, highlight reel pitches, but Ratatouille is more of an unusual curveball that nicks the corner of the plate, firmly striking out the animated auteur competition. Perhaps more than Scorsese, it's more apt to compare Bird to Steven Spielberg (a clear inspiration), another filmmaker who took traditional cinematic storytelling and turned it into childhood magic. Ratatouille is the best animated movie in well over a year, and one of the most magical, enjoyable movie experiences you'll have at the theater this summer or any time else this year. It's not quite as flawless as Iron Giant or The Incredibles, but it does make the factory-produced CGI films of the past year look like they exist within an entirely different and lesser medium.

The first thing you'll notice about Ratatouille is how incredibly detailed a world Brad Bird and his team have created. No offense to recent films like Shrek the Third or Surf's Up, but this is a whole new level of detail for the genre. It's the look of a XBox 360 game compared to PS2 (or even a PS1 in some cases). Every frame looks simply amazing. (If there's an option where you live to see it digitally projected, you owe it to yourself to do so.) As we watch Remy the rat (voiced by a perfectly cast Patton Oswalt) turn up his rodent nose at the garbage that his brethren happily shove down their throats, the animation is not just endearing and cute but overwhelmingly detailed and accomplished. If you judge CGI animation in terms of sheer technical achievement, from the character design to the voice work, Ratatouille is as much a step up for the medium as the original Toy Story was.

After an awful incident with his brothers in the French countryside, Remy - a rat who's obsessed with gourmet food - becomes stranded in Paris and stumbles across Gusteau's, the restaurant founded by his culinary idol. After working his way into the kitchen, Remy forms an unlikely partnership with the floor-mopper Linguini (Lou Romano) and turns the nervous guy into the best chef in all of Paris. Along the way, Remy's loyalty is tested, Linguini finds love with the career-driven Chef Colette (Janeane Garofalo), the kitchen boss (Ian Holm) tries to sabotage the new guy, and everyone worries about the most powerful food critic in town, Anton Ego (a brilliant Peter O'Toole, who gets one of the best monologues of his career near the end), bringing the whole house of cards crashing down.

On a storytelling level, Ratatouille doesn't quite match Iron Giant or Incredibles. It's a little too light at times and takes a bit too long to get to where it's trying to go. Having said that, any weaknesses in the storytelling in Ratatouille are easily offset by the atmosphere of the piece. Just as the French are notorious for taking hours to eat dinner, Bird and his team let the film "breathe," making a movie that could be considered more for adults than for kids. While there are enough amazingly choreographed action scenes to keep the little ones entertained, most of the dialogue and the overall mood of Ratatouille is going to appeal more to the older siblings and parents than the rugrats.

Ratatouille is one of those movies that you'll definitely enjoy while watching and walk out smiling, but it's in the replay and the memory of it that the film really shines. Images from will come back to you again and again and, like the city it so beautifully glorifies, it will make you long to return for a second visit. Ratatouille is like a great meal, incredible while you're eating it, but even better in memory, particularly after gorging yourself on the rest of the fast food on the summer movie menu.

Trailer :




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UltimateMegaHoops

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Drink it fast !!!

A guy walks into a bar, sits down and says to the bartender, “Quick pour me twelve drinks.”

So the bartender pours him twelve shots and the guy starts shooting them back really fast, one after another. The bartender says to the guy, “Boy you are drinking those drinks really fast.”

The guys says, “Well, you would be drinking really fast too if you had what I''ve got.”

The bartender says, “What''ve you got?”

The guy says, “75 cents.”


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Curve Ball

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Mario Bros

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Spot the difference

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Garfield

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Asterix and Co- your favourite gauls

Here is a post about your favorite Gauls- Asterix and Obelix and the rest of the gauls you simply like and cant resist a laugh while reading the books
The Adventures of Asterix is a series of French comic books by René Goscinny (stories) and Albert Uderzo (illustrations). Uderzo has continued the series since the death of Goscinny in 1977. The series follows the exploits of a village of ancient Gauls as they resist Roman occupation and refuse to come under Caesar's rule. They do so by means of a magic potion, brewed by their druid Getafix, which gives the recipient superhuman strength. This is often used for comic effect, as in a recurring sequence where the villagers sally forth from their village to rout the attacking Romans so easily as to consider it great sport. In many cases, this resistance leads the main characters to travel to various European countries (but also Egypt, America, India and other non-European locations) in every other book, while the remaining are set in and around their village.

The key to the success of the series is that it contains comic elements for all ages: young children like the fist-fights and other visual gags, while adults appreciate the cleverness of the allusions and puns that sparkle throughout the texts. Even after so many years after publication these comics are still widely read.

Here are some of the links where you can get some of the comics of Asterix. The title of the comics are written above the link. just copy and paste the link of the book you want into your browser and download it.

Operation Getafix
http://rapidshare.com/files/4145895/D-_Operation_Getafix.pdf
How Obelix fell into the magic potion
http://rapidshare.com/files/4147723/E-_How_Obelix_Fell_into_the_Magic_Potion.pdf
Asterix Conquers America
http://rapidshare.com/files/4106472/C-_Asterix_Conquers_America.pdf
Asterix Versus Caesar
http://rapidshare.com/files/4105363/A-_Asterix_Versus_Caesar.PDF
Asterix and the Falling Sky
http://rapidshare.com/files/3877501/33-_Asterix_and_the_Falling_Sky.PDF
Asterix and the Class Act
http://rapidshare.com/files/3835774/32-_Asterix_and_the_Class_Act.PDF
Asterix and the Actress
http://rapidshare.com/files/3871402/31-_Asterix_and_the_Actress.PDF
Asterix and Obelix all at Sea
http://rapidshare.com/files/3867544/30-_Asterix_and_Obelix_all_at_Sea.PDF
Asterix and the Secret Weapon
http://rapidshare.com/files/3828674/29-_Asterix_and_the_Secret_Weapon.PDF
The Magic Carpet
http://rapidshare.com/files/33370797/Asterix_-30-_freecomicbooks.blogspot.com.cbz
Asterix and Son
http://rapidshare.com/files/3745839/27-_Asterix_and_Son.PDF
Asterix and the Black Gold
http://rapidshare.com/files/3763305/26-_Asterix_and_the_Black_Gold.PDF
Asterix and the Great Divide
http://rapidshare.com/files/3911575/25-_Asterix_and_the_Great_Divide.PDF
Asterix in Belgium
http://rapidshare.com/files/3919139/24-_Asterix_in_Belgium.PDF
Obelix and Co
http://rapidshare.com/files/3915618/23-_Obelix_and_Co.PDF
Asterix and the Great Crossing
http://rapidshare.com/files/3760715/22-_Asterix_and_the_Great_Crossing.PDF
Asterix and The Big Fight
http://rapidshare.com/files/3569511/07-_Asterix_and_The_Big_Fight.rar
Asterix and Caesar's Gift
http://rapidshare.com/files/3486676/21-_Asterix_and_Caesar_s_Gift.PDF
Asterix in Corsica

http://rapidshare.com/files/3483905/20-_Asterix_in_Corsica.PDF

Smurfs....

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Signs and notices

These are supposedly actual signs that have appeared at various locations across the United States and rest of the world.

Sign on a repair shop door: WE CAN REPAIR ANYTHING. (PLEASE KNOCK HARD ON THE DOOR - THE BELL DOESN'T WORK)

Sign at Norfolk farm gate: BEWARE! I SHOOT EVERY TENTH TRESPASSER AND THE NINTH ONE HAS JUST LEFT

Seen during a conference: FOR ANYONE WHO HAS CHILDREN AND DOESN'T KNOW IT, THERE IS A DAY CARE ON THE FIRST FLOOR

Outside a photographer's studio: OUT TO LUNCH: IF NOT BACK BY FIVE,OUT FOR DINNER ALSO

Spotted in a safari park: ELEPHANTS PLEASE STAY IN YOUR CAR





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Help this poor guy out !

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Laugh it out

What is Common between : Krishna, Ram,Gandhiji Jesus..?
Sardar ji Replied : All are Born on Government Holidays.

Teacher to a Sardar : A=B, B=C, So A=C, Give me an example,
Sardar : I Love You, You Love Your Daughter, So I Love Your
Daughter.

Ek aadmi ki Biwi gum ho gayi, Wo RAM ke Mandir me gaya, Ram ne
kaha Baju wale Hanuman Ke Mandir mai ja, Meri bhi usi ne dhundhi
thi.

A Kid asks the Priest : Father what is your Favourite
Pastime...? The Priest pats the kids head replys : NUN My Child
NUN....!!

Sardar bought a new mobile. He called everyone from his Phone
Book said "My Mobile No. has changed Earlier it was Nokia 3310 Now
it is 6610"

Santa : I am a Proud Sardar, My son is in Medical College,
Banta: Really, what is he studing,
Santa : No he is not studying, they are Studying him.

Chinti aur Hathi ka Prem Vivah hua. Agle Din Hathi ki Maut ho
gai...!! Chinti Boli Wah Mohabbat, EK din ka pyar hua, ab sari umra
kabra khodnemai bitegi..!!

Santa Banta ko 3 live bomb mile, Police ko dene chale,
Santa : agar koi bomb raste mai Phat jaye to..?
Banta : Jhooth bol denge ki 2 hi mile the...!!!

Sardar falls in Love with Nurse. He writes a Loveletter to her,
" I LOVE U SISTER."





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Todays Strip

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Pacman

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Scooby dooby doooooo

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Tactical Assasin

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Garfield

Remember the lazy fat cat you used to see in the comic section of the newspapers? yes, Garfield. One of the laziest and dumbest cats ever. But he still is able to make the readers smile even after 30 years of its debut in a newspaper. Here are come comics to make you laugh. Presenting Grafield.





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Play Prince of Persia

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