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[PSP] Need for Speed : Most Wanted 5-1-0

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[PSP] Need for Speed : Most Wanted 5-1-0


Need for Speed : Most Wanted 5-1-0 est un jeu de courses sur PSP qui vous offre la possibilité de défier les forces de l'ordre à travers diverses courses-poursuites. Le but est ici de collectionner les infractions tout en évitant la police afin d'arriver en tête de la liste des conducteurs les plus recherchés. Plusieurs sortes de voitures sont disponibles (sport, supercars, muscle cars).

Éditeur : Electronic Arts

Type : Course

Sortie en France: 24 Novembre 2005

Classification : Pour tous Publics

Note: 14/20

Liens Megaupload:

http://www.megaupload.com/?d=G8WTVR46

Eric's Bad Movies: Freddy's Dead: The Final Nightmare (1991)

Nightmare on Elm Street franchise started out scary. Who wouldn't be afraid of a prune-faced man who visits you in your dreams and makes terrible puns while killing you? But by the time the sixth Nightmare rolled around, the people responsible for the films had long since given up on being scary. They had also given up on being funny, original, entertaining, interesting, tolerable, or not stupid. One suspects they had given up on life itself.

The sixth Elm Street film is called Freddy's Dead: The Final Nightmare, the rare instance of one title containing two lies. (Actually, if you want to get technical, Freddy has been dead since before the series started. But you do not want to get technical.) Onscreen titles tell us that it takes place 10 years from "now," which was 1991, so it's 2001, and all but one of the kids in Springwood, Ohio, have been murdered in their sleep by Freddy Krueger. So congrats on reaching your goal, Freddy! Say what you will about him, the guy is a self-starter.

The remaining unkilled youth is a teenager called John (Shon Greenblatt) who keeps having dreams and then waking up from them and then having more dreams because it turns out he didn't really wake up the first time, and so on, in a most tedious fashion. At last Freddy lets John out of his dreamworld, depositing him on the side of the road a few miles from Springwood. Freddy has some kind of plan in mind and is using John for bait. The viewer cannot be 100 percent sure at this point, but we get the impression Freddy's plan will involve the murder of additional children.

John has amnesia now, remembering only that he needs to avoid falling asleep, which, paradoxically, means he should not watch the film he is in. He winds up at a center for juvenile delinquents, run by Maggie (Lisa Zane), a harried but compassionate social worker. Everyone calls the place a "shelter," which suggests people are free to come and go as they please, but then some of the kids appear to be there against their will. The whole thing seems shady to me. Maggie has tough conversations with troubled teens' parents, as when a jerky man complains that his criminal son is still a criminal. "I expected to see some improvement!" the man says. "He's not a Toyota!" Maggie snaps back, referring to the boy's ability to stop when his brakes are applied.

Maggie soon discovers that she and John are having similar dreams, all of them connected to Springwood. She figures that if they visit the town, which is two miles away, something will trigger John's memory and his amnesia will subside. This is a plot hole: Surely a trained clinician such as Maggie would be aware that the simplest cure for amnesia is to bonk the victim on the head in a comical fashion, a method pioneered by Dr. Jack Tripper.

So Maggie and John take the shelter's van for a little drive to Springwood, but what's this? They have stowaways! Spencer (Breckin Meyer), the boy who is not a Toyota, has hidden in the back of the van with tough girl Tracy (Lezlie Deane) and hard-of-hearing boy Carlos (Ricky Dean Logan), in an attempt to escape from the facility. Maggie is vaguely upset with the kids for doing this, but not upset enough to drive the two miles back to town to drop them off. Instead, she gives them the keys and orders them to drive themselves back while she and John look for clues in Springwood. How will she and John get home? Does she really expect the trio of delinquents whose stated goal is to escape juvie to voluntarily return to juvie? Those are just two of the questions that Freddy's Dead*: The Final* Nightmare is assuming you will be too bored to ask.

Spencer, Tracy, and Carlos can't find their way out of Springwood, on account of the town is bewitched, or something, so they stop at a dilapidated house on Elm Street, which I'm sure I don't need to tell you is a street on which nightmares have been known to occur with some regularity. The kids, who are tough, use a lot of tough language, as conceived by clueless Hollywood writers who do not know what tough people sound like. "This place makes the shelter look like the Ritz!" one of the kids says, apparently having wandered in from a Marx Brothers movie.

Meanwhile, Maggie and John are poking around at the town carnival, which is more unsettling than your average town carnival because there are no children anywhere. Even worse, Maggie and John are accosted by a gross married couple played by Roseanne Barr and Tom Arnold. (Eerie how the filmmakers predicted in 1991 that 10 years later Roseanne and Tom would be carnies.) All the adults in Springwood have been traumatized by their children's deaths at the hands of Freddy Krueger -- who, I should remind you, is a character in this film, regardless of what you might think so far.

Maggie and John figure out that before Freddy was murdered by the townspeople in retaliation for murdering their children, he had a child of his own! One he did not murder! Maggie and John find a drawing this child made in school, signed "K. Krueger," because 5-year-olds are famous for signing their crayon scribblings with a first initial and a surname. "K. Krueger?!" John says. "It could mean anything from Kevin to Kyle!" Having thus exhausted the entire range of names that begin with "K," he and Maggie wonder where the missing Krueger offspring is now. Presumably he or she was adopted by another family and got a new name. Could it be John, who has amnesia and wouldn't be able to remember if he was adopted at some point? Or could it be Maggie, who doesn't remember being adopted or ever having a different name, but whose dreams tend to feature a pre-death, pre-burnt Freddy Krueger? I will give you three guesses! OK, it's Maggie.

Back at the Elm Street house, the kids are just chillin', waiting to fall asleep so Freddy can murder them. At last Freddy deigns to make a cameo in the film that bears his name, and he goes through his usual shtick: kid dozes off, has a dream, Freddy barges into the dream, kills the kid in an ironic fashion. For example, Carlos the hard-of-hearing boy is given super hearing in his dream, whereupon Freddy makes a very loud noise and causes Carlos' head to explode. Ha ha! That's what you get for wishing you could hear, ancillary character whose disability ensured he would die first!

And it goes on like that for a while. Turns out Freddy was using John to lure Maggie to Springwood, because Maggie is his long-lost daughter, and through her he can move to another town and start killing again. The movie is not clear on how this will happen, or why Freddy was previously confined to Springwood, or whether that confinement extended into unincorporated county land adjacent to Springwood -- you know, where the residents have Springwood mailing addresses but don't technically live in Springwood -- or whether it was restricted to the city limits proper. I would like to see the minutes from the city council meeting where these matters were discussed.

Now that she understands her connection to Freddy, Maggie's plan is to go to sleep and somehow access Freddy's own memories. Did you know that you can enter your father's subconscious mind? Well, you can, if you have a beeping machine that looks all science-y, like the doctor at the shelter does. Maggie goes strolling through Freddy's childhood and discovers that he was a psychopath who hurt animals and was bullied by the other children, then finds him in the present and drags him out of the dreamworld and into real life, where he can be killed. I'm pretty sure this is what happens at the end of all the Nightmare on Elm Street movies, though, so I'm not optimistic about its long-term success here. Still, I'll be OK as long as they don't try to reboot the series and start over again with -- what? Aw, crap.

* * * * *

Eric's Bad Movies appears Thursdays at Film.com. You can visit Eric at his website, or just access his memories and say hi to him there

Review: Nightmare on Elm Street's the Same -- But Different

in the remake are most of the familiar characters and scenes you may fondly recall from the campy 1984 Wes Craven classic starring Johnny Depp at his goofiest (as Glen) and Heather Langenkamp (Glen's girlfriend, Nancy).

Music-video-trained director Samuel Bayer's reboot is the same, but decidedly different. His is more poetically Gothic and haunting, less cheesy; more controlled and sophisticated, less rambling and bizarre. The film opens on an ominous rainy night, in a blood-hued diner that is deserted except for a lone teenage customer, Dean, and a waitress. He asks for more coffee. She rudely ignores him and disappears. He follows her into a kitchen on fire, its flickering stove top illuminating the contents of various pots and pans: gruesome animal heads. Then Dean hears the scissoring-steel sound of finger knives.

Less excruciating than the nails-on-a-chalkboard screech of '80s Freddy, Freddy 2010's slicing metal and nail scraping noise doesn't distract as much, making it easier to focus on just how unsettling the burned madman in the red-striped sweater truly is. Watchmen's Jackie Earle Haley plays a pitch-perfect Freddy with a gravely-voiced intensity that fits the film like a glove. Still as murderous as the original, Haley's Freddy -- like the movie -- makes more sense. There's something he wants his victims (Nancy, Dean and the other Elm Street teens whose nightmares he haunts) to know. Though they all know if they die in these nightmares, they'll never wake up. His crimes against children that sentenced him to a fiendish dream existence -- captured in Polaroid pictures we can't see, hinted at with horrified gasps that aren't explained -- seem to be too terrible to reveal. And there's another twist to his and the teens' history not present in Craven's film.

Beyond the big '80s hair, mom jeans, and sweater vests the high schoolers have also changed. Tina is now Chris, Rod is Jesse, and Quentin (rather than Glen) and Nancy (Youth in Revolt's Rooney Mara) aren't as together as they used to be. They're not an official couple, though Quentin obviously pines for Nancy. Like the movie, they're also moodier, more serious, and more damaged than the dorky, air-headed youths of 1984. Clad in Emo attire, Quentin (Kyle Gallner) is a more cherubic Edward the vampire (i.e., Twilight's Robert Pattinson). Nancy, as she admits, doesn't fit in and spends her time scribbling disturbing sketches.

Bayer also maintains and amps up the eeriness in Nightmare on Elm Street's atmospheric signatures, like jump-roping children chanting Freddy's chilling nursery rhyme ("one, two Freddy's coming for you..."). And despite the somber tinge he's added to the story, he's also kept Freddy's taunting "I'm your boyfriend now, Nancy" wit (but not the phone tongue), plus some of the original film's body bag humor. In addition, Bayer's included some 21st-century updates that bring more realism and rawness to the horror tale. Quentin GigaBlast's (Giga-whaa?) sleep deprivation on the web and discovers the danger of micronaps. (Was Google over-budget?) Instead of coffee, the kids stay awake with speed drugs and stolen adrenaline shots.

Fans of Craven's nightmare may complain that it's not the same maniacal fun-house ride. Nor is it a bold reinvention. Still, it's artfully executed particularly by special effects creators and Haley. All in all, Nightmare on Elm Street 2010 still thrills (and is a little fun), especially for younger generations taking their first trip to Elm Street.

Blu-ray Review: Avatar

James Cameron doesn't make bad movies, but rather makes entertaining movies, producing some of the most entertaining movies ever made. Beneath all the action and the special effects that have dominated his films, from The Terminator to Titanic, lie relatively simple stories filled with just enough relatable characters to suck the audience in. The perfect example of Cameron's talent is the worldwide sensation known as Avatar, a film that's technologically impressive and visually captivating, with just enough story and relatable characters to keep the film moving along at a rapid pace. But does it carry over well from the big (3-D) screen to the small (2-D) screen? The short answer: yes.

A wheelchair-bound ex-Marine, Jake (Sam Worthington), is hired by a mining corporation to replace his recently deceased twin brother on a mission to use his genetically unique avatar to explore the distant planet of Pandora. Jake's avatar is a walking, talking, breathing (and blue) 7-foot-tall member of the Na'vi, the native race of beings that inhabit Pandora, and who share a deep connection with nature and the environment. Once Jake's avatar is accepted into the Na'vi clan as one of their own, he strikes up a relationship with Neytiri (Zoë Saldana), the warrior princess who teachers Jake the Na'vi way. When the mining company's hired gun (Stephen Lang) leads a military strike against the Na'vi in order to destroy their land and mine for a valuable mineral, all hell breaks loose in the ultimate battle of epic proportions between man and the Na'vi.

What more can be said about Avatar at this point that hasn't been said already? Everyone under the sun has seen the film at least once, and it continues to hold its spot as the world's highest-grossing film of all time. We've seen its formulaic storyline a few times before, most profoundly (for me, at least) in 1990's Dances With Wolves, but as I stated earlier, Cameron is known for giving us an entertaining ride from beginning to end, so regardless of how played out the basic storyline in Avatar is, it still works.

Now that Avatar is hitting Blu-ray (and DVD), the big question is whether it holds up on the small screen without the glory of 3-D. And I'm happy to report that yes, Avatar is still an incredibly amazing-looking film filled with dazzling special effects, a rich and vibrant color palette, and images that are so crystal clear it's as if the world of Pandora exists on the other side of your TV. Anything less than Blu-ray will probably do the film an injustice; its transfer is so flawless and awe-inspiring that even though the film is presented in 2-D, it feels as if much of the film is still in 3-D, as its high-definition images literally appear to pop off the screen. For a film to give the appearance of being 3-D is quite impressive, contributing to Avatar earning its weight in gold in terms of its Blu-ray feature quality.

However, all is not perfect with this release. Where the Avatar Blu-ray fails is in its lack of special features. And when I say lack of special features, I mean there isn't a single special feature on the entire disc. Yes, the Blu-ray comes with a separate DVD, but the DVD is just as bare-bones. There's not a single making-of documentary, there's no commentary by Cameron or any of the cast and crew, there's not even a trailer. There's absolutely nothing in terms of extra content. What makes this such a jab at the consumer and all of the Avatar fans out there, is that this film screams for special features and actually merits a second disc of content detailing the making of Pandora and all of the innovative CGI work that went with it. Instead they've released just the movie, giving you a small taste and leaving you hungry for more.

The bottom line is this: Avatar looks and sounds amazing on Blu-ray, with images so crisp, clear, and vibrant that it literally appears as if the action jumps off the screen and into your lap. However, the actual disc itself is one of the weakest Blu-ray releases to date, providing only the movie and nothing else in terms of extras, as if it were designed for the rental market and no one else. This won't be a big deal for those just looking to watch the movie; for others, it will be a huge disappointment. My advice would be to hold off until the end of the year and pick up the ultimate special edition of Avatar, which will no doubt feature all the extra content you could ever hope for.

Experience the biggest movie ever made with Avatar on Blu-ray, now available from 20th Century Fox.