5 Movie Characters Who Need to Get Laid

GEPPETTO

If this picture didn't say it enough, let's review the facts, shall we? Geppetto is an elderly "bachelor" who lives all alone, and, one day, he decides to make a doll of a little boy so he can play with it. Creepy, right?. Apparently that wasn't good enough. Not soon after, Geppetto prays to have the doll turned into a real boy. Creepier. Maybe it was just his ploy to get in good with the sexy Blue Fairy, but let's be serious here. This guy has way too much time on his hands and is obviously suffering some major sexual confusion. He needs a woman, and he needs one now. Otherwise, he may earn himself the nickname "Gep-pedo."

ANNIE WILKES

No one can argue that Annie Wilkes has an ounce of sanity behind those big, bulging eyes of hers. Writers like to have faithful followers, but enough is enough. This is a woman who is beyond obsessed with the penman of her favorite book series. She makes Twi-hard Moms look moderately normal. From hobbling the poor author's feet just to keep him from escaping so he can draft her the next entry in the series, to wrestling with pigs (for some reason), Wilkes has had a little too much time secluded up in the forest. Surrounded by the woods, it's, ironically, the one thing she needs most.

FRODO BAGGINS

Talk about a guy who takes things too seriously. But with all the pressure on him, what with the whole "saving the world" thing and all, the poor Hobbit just needed some release. And between Gollum and Samwise (or maybe the ring), celibacy seemed about the best option. It never says, however, why he doesn't hook up with some cute little female hobbit who can drop it like it's hot once his perilous journey is over. Even four years later, he's still preoccupied with his adventure. All he did was sit in his hut and write, and then sailed away to the undying lands. Well, here's hoping he'll meet a She-Elf with low standards so the guy can finally relax a little bit.

THE GRINCH

You can tell what this creep is thinking about just from looking at that perverted grin. I suppose it's not totally his fault that he's so damned pissed off at the world. He's apparently the only tall, hairy, wrinkly, green monster around. Who would ever want to offer him some nightly lovin'? He does have a dog, but let's not go there. His only real choices are those damned Whos, who do nothing but obnoxiously over-celebrate Christmas in their phony-looking village. The poor guy evidently has a lot of built up sexual frustration that he just doesn't know how to channel. A Freudian approach to this story would have titled it, "Why The Grinch Stole Christmas."

MARY POPPINS

This uptight nanny must have coined the phrase "Why So Serious?" far before The Joker. Here we have a woman with practically no personality, always eeking out a tune preaching some form of responsibility, all while considering herself "practically perfect in every way." Something in her definitely needs a-poppin'. Seems most of her sexual appetite is satisfied by copping a feel from any banister she can take for a quick ride. Then she has the bitchiness to tease poor Bert into thinking that they might have had some kind of romantic relationship once upon a time, when she's clearly more interested in her relationship with her annoying talking umbrella stick. This woman possesses little interest in sex, and has a stick up her ass for it.

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Kent reviews Chronicle

Sometimes you have to wonder, "when will they ever stop with the found footage madness?" Granted, I have really appreciated Paranormal 1 & 3, and Cloverfield. But for every decent hand-cam movie there are 4 bad ones. I don't want any more Devil Inside and I'd also be ok if they ended the Paranormal series. (p.s. those movies were very profitable and thus will be getting sequels every year.)

With Chronicle, they are taking the tired found-footage format in a new direction (not horror) and focusing on three high school seniors as they discover something unexplainable in a mysterious hole in the ground. The first half of the movie is actually quite funny as these teens discover their new-found powers growing stronger every day.

I'm not going to lie. I couldn't help but relate to these kids because all throughout my school years (and still today) I wished I had secret powers to astound others. Mostly I just wanted the Flash's speed so I wouldn't get so tired while running laps in gym.

If you have seen the preview, and I'd almost recommend you not watch it, you can see that one of the boys, Andrew, goes a little dark (to say the least). It's actually quite refreshing to get a semi-realistic take on a superhero origin story, only this time seen from the perspective of what could become a supervillain. Yes, I don't think I could geek out about this stuff any more than I already have.

For the normally cheap produced movies of this sort, it seems as there was a large budget. The climax of Chronicle is surprisingly bigger in scope and far more entertaining than the terrible superhero movies of last year (Lantern, Thor, and Capt. America). Yes, it may become a hand-cam version of Superman at times, but I wish I could say that Superman Returns entertained me a fraction of how Chronicle had. It is only February and I'm saying that 2012 is going to kill 2011's movies. Chronicle has started the year right.

See this in the theater!

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Andrew's Top 10 Most Beautiful Actresses Ever

SHARON TATE:

The camera loved this woman, and it's easy to see why. Her sparkling, huge brown eyes and sandy-blonde hair conspired to create the most perfect face Hollywood has ever known. Unfortunately, she was taken too soon from the world--she was eight months pregnant when the Manson Family stabbed her to death in her Hollywood home at the young age of 26. Though mostly affiliated with the heinous crime, her beauty has yet to be surpassed by anyone. She inspired the Malibu Barbie and even the character Felicity Shagwell from "Austin Powers: The Spy Who Shagged Me."







MAUREEN O'HARA:

One of the first women I remember being mesmerized by her beauty as a kid when I would watch "The Parent Trap" on the Disney Channel. Those bright blue eyes, that radiant red hair. Possibly the most perfect complexion ever to walk the Earth. She earned the nickname "The Queen of Technicolor" for good reason. It's no wonder she was John Wayne's favorite leading lady, and the favorite actress of legendary director John Ford.










ELIZABETH SHUE:


If this is the girl-next-door, she can live next to me anytime she wants. Shue is an all-around beauty, but what makes her even more sexy, is that she's unassuming. She's wholesome and well-spoken. And let's be honest, who wouldn't want her to be their babysitter?














NICOLE KIDMAN:


This porcelain doll of a woman sometimes gets overshadowed by the dowdy roles she choses to play, and, for a long time, her marriage to Tom Cruise. But this is one woman who truly has the face of a movie star, and thankfully, after her divorce from the Scientologist, great roles came her way that not only allowed her to show off her range as an actress, but also her beautiful visage.











MILA KUNIS:

Perhaps the most gorgeous young actress working today. Her duel eye color adds a mysterious elements that makes her just that much more appealing. From gawking and annoying spoiled brat on "That 70s Show," who would have thought she would blossom into the young sex kitten she is today.
















VIVIEN LEIGH:

A woman with talent to match her beauty. Okay, this one was a bit of a nut, but that didn't stop her from churning out some of the finest performances ever captured on celluloid. From her perfect profile, to her radiant greenish blue eyes, it comes as no surprise that she captured the hearts of millions with her Oscar-winning performances in "Gone with the Wind" and "A Streetcar Named Desire."













CHARLIZE THERON:

Quite possibly the most beautiful woman working in the industry today. With her delicate expression and soft, effortless smile, this woman simply can't take a bad picture. Her movies aren't always enjoyable, but her presence on the screen certainly is.



















VERONICA LAKE:

A timeless face coupled with one of the most copied hairdos of the 20th Century, Lake has rightfully earned her spot on the top most beautiful women of all time. Though not known for many classic movies, she gave excellent comedic turns in such movies as "I Married a Witch."






















KATHARINE ROSS:

Caught in a whirlwind of fame in the late 1960s, Ross was one of the most sought after actresses of her time. This picture says it all--she's absolutely gorgeous. I don't really care much for "The Graduate" or "Butch Cassidy and the Sundance Kid," but the movies are worth watching just to catch a glimpse of her long, raven hair draping over her nude body.

VIRNA LISIA:

A staggering Italian beauty. Not entirely famous in the United States, her beauty remains priceless. The blonde hair. The perfect mouth. Not a hair out of place. She's practically flawless.

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Andrew does not recommend Sleeping with the Enemy

The early '90s was kind of a hit-and-miss era for thrillers, namely the ones with a female lead. While there are some solid features such as "Misery" and even "The Hand that Rocks the Cradle," there was an equal amount of cheezy, melodramatic, painful bowel movements that passed themselves off as cinema. "Sleeping with the Enemy" is such a movement. I had vague recollections of watching this movie when I was a kid (my parents were pretty leniant), and even then I barely remember being scared. But, as this movie was a big hit in its day, I decided to give it another try... it was even worse than I remembered.

The story opens with a young Julia Roberts, donning her "I'm so cute," half-smirk as she collects clams on the beach. Her husband approaches and seems like a decent guy, though a bit older. They live in a beautiful white house, positioned right on the beach. This seemingly idyllic life turns out to be a tale of terror for Roberts' Laura Burney, as her husband is soon revealed to be a controlling, abusive monster. He even enforces strict rules about having their hand towels and canned goods arranged perfectly. His reasoning is never explained--the audience is left to fill in the blanks.

So, one evening while sailing, Laura decides it's an auspisious time to fake her own death by drowning (which also features the solo voice over narration in the entire movie, for some reason). Why does she do this rather than divorce the bastard? Well, she explains that if she ever tried to involve the police or the law, her husband would "punish" her. That's about as much as we get. Again, it's left up to viewers to invent the backstory the main character is running away from. Laura then hops on a bus to Iowa and sets up life in a small town. Her life couldn't be going better: she's dating her next door neighbor, Ben, and has a new job working as an assistant as the library. I doubt this is the life that most people would envision for themselves, but for Laura, it works. And why shouldn't it? After all, we know nothing about this character, other than she fears her husband.

And speaking of whom, several clues have been left that convince the widower that Laura is still alive. He disocvers her wedding ring which she (idiotically) tried to flush. Who knows why she didn't decide to pawn it. He then hires a private detective (who is oddly never seen or heard from again), and he quickly discovers Laura has relocated to a small town near her mother's nursing home. They way he discovers this isn't really very creative either, it's pretty sloppy. He simply finds out Laura's mother is still alive (he was told she was dead), and he visits nearby nursing homes until he finds the right one. Lucky for him, the mother happens to be blind and very gullible.

I've never been a huge fan of Julia Roberts, and it's movies like this that convince me I'm in the right. Her acting here is painfully equivelent to a chainsaw enema. She can't deliver lines effectively. Her character always looks and acts like she's constipated--it's a wonder why Ben would even be drawn to her. If the movie didn't take it's premise so seriously, her performance might be more forgiveable, but this movie takes itself all too seriuosly, and it does nothing but result in a camp execution. Coming high off her success in "Pretty Women," this movie garnered a large audience in 1991, making over a hundred million. Money wasted.

And while it does feature a chilling premise, the finished product is blatantly terrible. The pacing in this movie doesn't work quickly enough, and it relies too heavily on its score to create emotions. But again, Julia can't act so what choice did they have? The great Jerry Goldsmith composed the music for this, but he didn't seem to give much of an effort. It sounds like it was created in a day.

But the main reason this movie isn't thrilling is because of the husband, played by Patrick Bergen, whom I never heard of. It's clear he possesses and Irish accent and his attempt to cover it up renders his character robotic. We just don't know what drives him to be so terrifying, and while we see him punch and kick Laura out of jealousy, this character still isn't scary. Begen doesn't emote, and the synthesizers cued to his actions make it almost laughable. We never see the flash in his eye when he goes from normal to crazy. There's no sense of his control over his wife. It's simply told to us. An actor like Peter Coyote could have made this work, but Bergen delivers a flat, monotone character.

Kevin Anderson's (whom I also have never heard of before this) Ben is also a dud. He plays a failed actor and attemps to appear charming, sweet, and caring, but it just isn't believable paired next to Robert's frigid Laura. And this guy has so much facial hair, it's hard to tell what emotion he's feeling. A Muppet could have done a better job. In his desire to woo Laura, he comes across as creepy. These two have zero chemistry together.

So basically, what it boils down to is a love triangle with three dull, one-dimensional characters. And there's really nothing to take from this movie. I don't mind giving a movie that took some time to create a lot of critical thought, but this one is the result of lazy writing and deserves no analysis about the story. It pretty much relied on Roberts' star power. Don't watch it. It's not even "so bad it's good." It's just plain stupid and thoughtless, even for an early '90s piece.

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Andrew recommends Death Becomes Her

“Death Becomes Her” has one of the most creative twists on the zombie genre out there, and one of the creepiest messages. Though, the movie is a hilarious satire of beautiful women unwilling to face their age, its comedy remains dark. Twenty years has passed since this movie was released, and it’s kind of ironic to note that both actresses, Meryl Streep and Goldie Hawn, seem to have trouble facing this in real life. Hawn has had some questionable facelifts and Streep takes roles that are 25 year too young for her (Mamma Mia, anyone?). I would hope that neither actress is vain enough to take such extremes as their characters in this film, but playing aging women is definitely something these actresses didn’t have to dig deep to channel.

That’s not to take anything away from these two fantastic performances—this is the movie that first made me a fan of Meryl Streep. This is her finest, most brilliant comedic performance captured on camera. She may be more remembered for later hits such as “The Devil Wears Prada,” “It’s Complicated,” or “Julie & Julia,” but fans will recall washed-up actress Madeline Ashton as her most underrated role. If this performance were high notes, Streep would be chirping them with ease.

In her efforts to remain young, Madeline and long-time rival Helen Sharp (Hawn) partake of a magic potion offered by a mysterious phantom beautician Lisle Von Rhoman (Isabella Rossalini at her best). These two appear to have a history of hating each other throughout their entire lives, competing for the same men, with Streep ultimately reining victorious. But now, both women have been murdered, but the magic potion keeps them alive forever, forcing to watch their bodies turn to corpses. Fortunately, Madeline is (unhappily) married to plastic surgeon-turned mortician Ernest Menville—also her murderer, and former fiancé of Helen, played by Bruce Willis, who gives the two much-needed manufacturing. The only problem… he won’t live forever.

Willis is much younger than his female counterparts, but makeup and his character’s lethargies—thanks to Willis’ underrated comedic abilties, allow excellent chemistry between the three. Goldie Hawn’s Helen transforms from a mushroom-haired Plain-Jane to a striking rubicund sex kitten. As this is a comedy, Hawn is in her comfort zone here. Director Robert Zemeckis has a gift with actors, letting them to show ends of their ranges without them appearing strained. None of these actors could have given these virtuoso performances without his gifted direction.

Acting aside, Mr. Zemeckis’ signature is written all over this one. Though it goes against Hollywood’s Golden Age purist creed that the camera work shouldn’t be heavily emphasized, his camera work here is flawless. Zemeckis offers long, panning shots that appear effortless in their ability to let the screen remain balanced. This is the kind of skill that matches Stanley Kubrick. When released, this movie also featured groundbreaking special effects, convincingly showing the seamless deformities of walking corpses Madeline and Helen. And the tenor of the film remains consistent throughout, largely thanks to Alan Siverstri’s pulsating, melodramatic score.

There are a lot of mythological nuances involved here. While watching the film, an overlying motif involving the use of mirrors is pretty noticable. Almost every scene features one. There’s a lot that can be read into it. Perhaps being preoccupied with one’s reflection is the cause for such vanity—a throwback to Narcissus. These women, much like Narcissus, only loved themselves for their looks. As a result, their self-fulfilling punishment, in the same vain as the Roman myth, is to remain forcefully preoccupied with their image until their deaths. Even Narcissus was brought to his reflection through Nemesis, as these two women were reminded of their looks through their own nemesis—each other.

Sadly, this movie remains as the lowest grossing film in Zemeckis’ repertoire since his breakout hit, “Romancing the Stone.” Critics of its day didn’t appreciate it enough. Though a filmed subplot featuring Tracy Ulman had been part of the initial edit, it wound up on the cutting room floor, which is perhaps why critics found the film too empty-headed in 1992. But a thoughtful and heavy movie criticizing vanity? It wouldn’t work. It has to be a satire to succeed, and the film is first-rate as is.

Satires such as this often walk a fine line between being too playful or being too nasty. “Death Becomes Her” has the equilibrium of an ever-spinning top, lashing out mordant, yet affecting commentaries about the reality of age. It mirrors (pun intended) the emphasis our society places on youth.

Let’s face it, age sucks. Past a certain age, no one wants to grow old and watch their body whither before their very eyes. Alas, it’s something we all must face, male or female, and a preoccupation to remain young serves counterproductive, as that line of thinking is what makes one appear old. One of the best lines is delivered by Rossalini: “This is life’s ultimate cruelty. If offers us a taste of youth and vitality, and then it makes us witness our own decay.” I never felt the sting of that line when I was in my teens, but now, in my late-20s, it’s creepy as hell. “Death Becomes Her’s” message, ironically, will remain timeless: The only thing that doesn’t age is mankind’s obsession to stay young.

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Andrew DEFINITELY recommends Furturama!

I never watched much of “Futurama” when it first aired on Fox over a decade ago. I didn’t really like the premise, and the robot bugged me. I figured it was another one of Matt Groening’s “Simpsons” followers, much in the same vein as the short-lived animated fart “The Critic.” I remember liking a few episodes, but nothing struck me as anything I’d want to revisit.

Last summer, I went down to visit one of my favorite friends, Dave Moody of Santaquin Utah fame. As there is nothing to do in Santaquin, Utah (I’d been on the unofficial “Footloose” tour of the neighboring Payson many, many times), we turned to Netflix. Despite sharing similar tastes in movies and TV shows, for some reason, Dave and I can never agree on what to watch on Netflix. He suggested a “Futurama” movie. I didn’t know that any existed, let alone four that proved to be pretty popular and helped resurrect the dormant TV show to Comedy Central.

I said, “Sure,” (with my professionally trained baritone voice) not really expecting much from “Into the Wild Green Yonder,” though I admit, I liked the titled, mostly because I’ve always liked the word ‘yonder.’ It’s fun to say. But it only took a few minutes into the movie before I was laughing at every other line. I love laughing at a movie so much that it feels like I just did 600 sit-ups. I’d never been so happy to be wrong—except when I accidentally pronounced my great aunt dead. What can I say, I wanted her Wii Fit.

Anyway, my initial diagnoses of the series falling under “The Simpsons” umbrella was completely off base. This brand of humor (which is actually a successful hybrid of several types) was new, the ensemble completely different from anything I’d seen before. As “The Simpsons” has been suffering in quality the last… I don't know, eight or nine ENTIRE seasons, I welcomed this sardonic tale of Phillip J. Fry, frozen on the eve of New Years 2000 for a thousand years, forced to accept the changes of the future.

The country is now filled with aliens (the ones from outer space). Actually, the world seems to all fall under one banner, led by President Nixon’s head. No lie. Celebrity heads are a recurring theme throughout the entire series—one of the show’s many gems. Fry has now found employment working as a delivery carrier for Planet Express, owned by his ancestor, Professor Farnsworth. The crew consists of big-breasted, one-eyed Captain Turanga Leela, robot Bender Bending Rodrigez (Fry’s best friend and roommate), intern Amy Wong, Jamaican diplomat Hermes Conrad, and lobster-esque Doctor John Zoidberg. Each character is hilarious in their own right, and, for some reason, the bizarre combination of characters works excellently together. This might be the best working ensemble sitcom since “Cheers,” and much like “Cheers,” this show is spot-on from episode one. It’s one of the few Netflix TV shows I found myself pacing the amount of episodes I’d watch in one sitting so I wouldn’t run out of them.

Despite its gap between when Fox cancelled it and the time the movies and further seasons were released, the series never falters. In fact, its last aired season finale ranks in my top-five favorite. The only slight speed bump in this franchise is the movie “The Beast with a Billion Backs,” featuring the guest voice talent of David Cross and the late Britney Murphy. David Cross is mainly the reason this movie is the ugly cousin of the other three. He provides the voice of some supreme being with tentacles who wishes to mate with every person on Earth. Cross is a funny actor at times, and this premise isn’t totally off base for this sometimes odd cartoon, but put them together, and they are two positively charged ends of a magnet—they don’t click.

As a side note, “Bender’s Game” and “Bender’s Big Score” are the two remaining movies, and both on par with the rest of the series.

I hear it from people all the time: “Oh, I didn’t really like ‘Futurama’ that much when it was on; I didn’t watch very many episodes” (I used to be one of them), and I am DEMANDING they give this brilliant show another chance. My buddy gave me the gift of “Futurama,” and in return, I gave him $85—one for each episode on Netflix. No wait, that’s right. I gave him nothing. My bad. Even so, sit down with any episode and you’ll find yourself being sucked “Into the Wild Green Yonder.”

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Kent's Top 10 of 2011

If that picture isn't misleading then I don't know what is. Not only are none of those movies in my top ten but several of them are in my bottom 5. So my annual tradition of telling readers more of my opinion continues with this list. I understand every critic adds their list to the countless mix, but that never stops me from reading them. Let's be honest, 2011 was a sucky year for fantastic Tier 1 movies but while compiling my list I found there to be a solid dozen great tier 2 movies. Based on this list, 2011 was a good year just not a great year. I'm pretty sure 2012 will blow it out of the water.

10. Fright Night
Yes, really. I am a fan of the 80's cult classic and not a fan of remakes. But this updated Fright puts other remakes to shame. It manages to be pretty hilarious and also menacingly dark at the same time. Colin Farrell is a imposing force not to be messed with. He plays the Jerry character differently than the original, Chris Sarandon, and the movie is better for it. Doctor Who fans will recognize David Tennant, who plays Peter Vincent and steals the entire movie. I will be watching this movie every Halloween from now on.

9. Hanna
One of the moodiest films of the year. Hanna is a child who has been raised to be an assassin. This movie does a great job of showing her struggles with the truth about people around her and at the same time gives us a dark European coming of age story. It doesn't hurt that she is being hunted the entire movie. One of the first great soundtracks of the year, done by the Chemical Brothers.

8. Rise of the Planet of the Apes
I'm saying this was the biggest surprise of the year. Even as this movie began I sat there thinking "Well this is gonna be the suckiest suck mcsuck movie ever..." (No, I don't have terrets) How could a movie that is a prequel for the silliest series ever, and have James Franco as a scientist, be any good? What a shock that it is actually really quite good. Caesar, the ape, steals the movie. Bless you Andy Serkis.

7. Hugo
The prettiest movie of the year. Every scene in Martin Scorcese's first family film could be my desktop wallpaper. This is a movie for film lovers throughout the ages. It is a definite fan service for dorks like me who believe the in the escapism power of film. Great performances and though it's a movie with a younger cast, it never gets predictable or settles with cliche jokes.

6. Source Code
This is Duncan Jones' second film. He also directed the fantastic "Moon" a few years back. A perfect mix of science fiction and characters that you actually care about. Plays out like the lovechild of Quantum Leap and Groundhog Day. One would think they might get sick of watching the same 8 minutes repeatedly, but not in this case. Many people don't like the ending, but I urge them to watch it again and think about all of the possibilities the end opens up. It never hurts to have a movie make you think.

5. 50/50
All right, I admit I have a best friend crush on Joseph Gordon-Levitt. I think he and I would get along quite well. He really knows how to pick his roles. Even Seth Rogen isn't incredibly annoying in this one as his best friend who tries to help him take his mind off of his terminal cancer. 50/50 is great because it doesn't try too hard to throw sentimentality at you. By the end you may even shed a tear or two, and it doesn't hurt that there are plenty of laughs to be had as well.

4. Attack the Block
If you haven't heard of this movie, go check out the trailer. This one is right up my alley. This british movie, directed by Joe Cornish (of the Edgar Wright crew), is all about an alien invasion on South London and the adolescent thugs who defend their block. It's a lower budget movie but is really effective. Don't expect a Shaun of the Dead with this one. There are funny moments but this movie is pretty intense. And there are a lot of great kill scenes, which never hurts. Not even the main characters are safe. Another great movie soundtrack, this one done by Crystal Method.

3. Beginners
After his mother dies, Ewan Mcgregor's dad decides to finally come out of the closet and Ewan somehow has to deal with it. If someone told me that premise I wouldn't even bother watching for free on netflix. Though, the plot is far deeper than originally thought and the acting is the best of the year. Also, in a year of crap comedies, this can be genuinely funny at times. I think a main reason this movie has stayed with me is the clever/original way it was edited. What a great way to tell a story.

2. Super 8
So this one was my favorite for a long time. Upon subsequent viewings it just hasn't held up as great. Though I still loved the feeling of seeing this one in the theater and feeling like I was 12 years old again and watching a Spielberg classic in the vein of Jurassic Park or ET. If only other summer blockbusters gave you the nostalgic and fun feelings this one did. (I'm looking at you Transformers and Pirates) I look forward to everything J.J. Abrams puts out from now on.

1. Drive
Ryan Gosling was in 2 movies I hated this year (Crazy, Stupid, Love and Ides of March). I kind of thought I hated him personally, but this movie changed my mind completely. Out of every movie I've seen this year, this is the one that has stuck with me. The soundtrack, the brutal violence, the cinematography, all of it is unforgettable. When people ask me to explain this movie, all I can really say is that it is "The Transporter" with brains. But that is underselling it. Ryan Gosling is now the "driver" in my mind and has created a classic movie character. I want his scorpion jacket so bad. (I take donations by the way) Albert Brooks has a great character turn as the villain. I will be buying this one on bluray the day it comes out. (Which is saying a lot because I'm extremely cheap) For those who haven't yet seen this movie, be prepared for a jolting experience (thankfully not as bad as Dragon Tattoo) but a movie that will stay with you.

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