In the interest of national security, FBI agent Malcolm Turner (Lawrence) goes back undercover as Big Momma?a slick-talking, slam-dunking Southern granny with attitude to spare! Now this granny must play nanny to three demanding kids to complete his most outrageous assignment ever!Funnyman Martin Lawrence steps back into the latex fatsuit for Big Momma's House 2, the sequel to one of Lawrence's biggest hits. Malcolm Turner (Lawrence, Bad Boys, Rebound) go! es undercover, turning his Big Momma disguise into a nanny for a computer company executive who may be concocting a means to hack into military databases. But that's just a pretense to get Big Momma coping with a perfectionist mom and her three kids, who are all dysfunctional in cute and easily resolved ways. Naturally, Big Momma dispenses life lessons and catches the crooks while Lawrence does his best to milk his fat drag act for cheap laughs. Unfortunately, those cheap laughs never quite pay off; the script is a wastebasket of cliches and clumsy set-ups for gags that never seem worth the effort. The movie desperately wants to appeal to women with cute kids while luring men with a spa visit featuring scantily clad Victoria's Secret models. Even Lawrence's fans will find themselves snoozing through this one. --Bret FetzerFbi agent malcolm turner and his stepson trent go undercover at an all-girls performing arts school after trent witnesses a murder. Studio: Tcfhe ! Release Date: 06/14/2011 Starring: Martin Lawrence Brandon T! . Jackso n Run time: 108 minutes Rating: Pg13 Director: John WhitesellMartin Lawrence returns as Master of Disguise--well, just one disguise, honestly, but he's really, really good at it--FBI agent Malcolm Turner in the second sequel to 2000's blockbuster Big Momma's House. Here, the agent must throw on the padding to pose as the housemother at an exclusive Female School of the Arts, in an attempt to ferret out a murderous Russian Mobster. The twist? This time he's forced to bring his stepson (Tropic Thunder's Brandon T. Jackson) along with him. The presence of Jackson makes this genially mellow sequel feel like a low-impact passing of the torch, with Lawrence (who also executive produced) seemingly content to let his younger costar handle most of the cross-dressing comedic heavy lifting (ballet lessons, slumber parties, etc.). Only a scene where Big Momma faces off in a game of Twister against an equally gargantuan security guard (an uncredited and very funny Faizon! Love) really feels of a piece with the earlier films. Stranger still is the inclusion of a half-dozen musical numbers, including one in a lunchroom that blossoms into full-out High School Musical territory. Awkward as these song-and-dance interludes often are, the filmmakers should deserve some credit for attempting to inject some form of new energy into a scenario that could definitely use a boost. Longtime fans of the franchise and Lawrence, however, may wonder if someone at Fox accidentally let Glee into the telepod. --Andrew WrightBig Momma's House 2
Disguise is the limit. "Martin Lawrence brings down the house" (E! Online) as crafty FBI agent Malcolm Turner who's willing to go through thick and thin in order to catch an escaped prisoner. "Nia Long is captivating" (Checkout.com) as Sherry, the con's sexy former flame - she might have the skinny on millions in stolen loot, and she's headed for Georgia to lay low for a while. That! 's enough to send Malcolm deep undercover as Big Momma, an ove! rsized, overbearing Southern granny with an attitude as tough as her pork chops. The result is an outrageous comedy of epic proportions, filled with nonstop laughs and plenty of action!
Big Momma's House 2
Nonstop laughs are back in the house with this super-sized sequel that's wilder, funnier, and filled with even more outrageous new adventures! Martin Lawrence and Nia Long return in a heavyweight hit comedy that's loads of fun for the whole family! In the interest of national security, FBI agent Malcolm Turner (Lawrence) goes back undercover as Big Momma?a slick-talking, slam-dunking Southern granny with attitude to spare! Now this granny must play nanny to three demanding kids to complete his most outrageous assignment ever! No one tries very hard in Big Momma's House, so your enjoyment of this Martin Lawrence vehicle pretty much depends on how much amusement you're able to derive from a guy dressed up as a very ample woman. The setup is of the ! eye-rolling, only-in-Hollywood nature: Lawrence, as detective Malcolm Turner, is after a killer, and apparently the only way to capture him is to pose as the bad guy's ex-girlfriend's grandmother, who--the film cannot stress this point too much--is quite large.
Apparently, Sherry (Nia Long), the young woman in question--she's as attractive as Big Momma is, well, you know--is none too bright, for she falls for Malcolm's ruse, which of course ostensibly amuses mainly because it's so transparent. She at least has an excuse--she hasn't seen Big Momma in two years--but Big Momma's oblivious friends must be functional morons. Screenwriters Darryl Quarles and Don Rhymer didn't tax themselves very much, as they have Malcolm-as-Big-Momma going through fairly predictable motions--botching a meal and delivering a baby unconventionally (Big Momma's a midwife), but ruling at basketball and self- defense and protecting Sherry while trying vainly not to flirt with her. Paul! Giamatti is wasted as Malcolm's partner; director Raja Gosne! ll's clu nky sense of comic rhythm is bewildering, because he used to be an editor (he brought a similar lack of magic to Home Alone 3).
Lawrence won't have anyone forgetting Tony Curtis and Jack Lemmon in Some Like It Hot, Dustin Hoffman in Tootsie, or Robin Williams in Mrs. Doubtfire anytime soon. Big Momma's House benefits mainly by being first to the marketplace ahead of Eddie Murphy's The Nutty Professor 2: The Klumps; Murphy's work in prosthetics is far more accomplished, versatile, and funny. --David KronkeDisguise is the limit. "Martin Lawrence brings down the house" (E! Online) as crafty FBI agent Malcolm Turner who's willing to go through thick and thin in order to catch an escaped prisoner. "Nia Long is captivating" (Checkout.com) as Sherry, the con's sexy former flame - she might have the skinny on millions in stolen loot, and she's headed for Georgia to lay low for a while. That's enough to send Malcolm dee! p undercover as Big Momma, an oversized, overbearing Southern granny with an attitude as tough as her pork chops. The result is an outrageous comedy of epic proportions, filled with nonstop laughs and plenty of action!No one tries very hard in Big Momma's House, so your enjoyment of this Martin Lawrence vehicle pretty much depends on how much amusement you're able to derive from a guy dressed up as a very ample woman. The setup is of the eye-rolling, only-in-Hollywood nature: Lawrence, as detective Malcolm Turner, is after a killer, and apparently the only way to capture him is to pose as the bad guy's ex-girlfriend's grandmother, who--the film cannot stress this point too much--is quite large.
Apparently, Sherry (Nia Long), the young woman in question--she's as attractive as Big Momma is, well, you know--is none too bright, for she falls for Malcolm's ruse, which of course ostensibly amuses mainly because it's so transparent. She at least has an excuse! --she hasn't seen Big Momma in two years--but Big Momma's obl! ivious f riends must be functional morons. Screenwriters Darryl Quarles and Don Rhymer didn't tax themselves very much, as they have Malcolm-as-Big-Momma going through fairly predictable motions--botching a meal and delivering a baby unconventionally (Big Momma's a midwife), but ruling at basketball and self- defense and protecting Sherry while trying vainly not to flirt with her. Paul Giamatti is wasted as Malcolm's partner; director Raja Gosnell's clunky sense of comic rhythm is bewildering, because he used to be an editor (he brought a similar lack of magic to Home Alone 3).
Lawrence won't have anyone forgetting Tony Curtis and Jack Lemmon in Some Like It Hot, Dustin Hoffman in Tootsie, or Robin Williams in Mrs. Doubtfire anytime soon. Big Momma's House benefits mainly by being first to the marketplace ahead of Eddie Murphy's The Nutty Professor 2: The Klumps; Murphy's work in prosthetics is far more accomplished, versatile! , and funny. --David KronkePRODUCT DESCRIPTION: At Moviestore we have an unbeatable range of both original and classic high quality reproduction movie posters. Movie poster art is a wonderful collectible item and great for home or office decor. We have been in business for 16 years so you can buy with confidence. Our guarantee - if you are not fully satisfied with your purchase from Moviestore we will gladly refund your money.
For 18 months Oscar-nominated and Emmy Award-winning director Scott Hicks (Shine) followed the legendary Philip Glass (The Hours, Notes on a Scandal) across three continents, creating a remarkable portrait of this brilliant composer. Allowed unprecedented access to Glass’ working process and collaborators (including Martin Scorsese and Errol Morris), Hicks presents a unique glimpse into the life of one of the greatest artists of this or any e! ra.
INCLUDES OVER 3 HOURS OF EXCLUSIVE EXTRAS:
Bonus Performances (“Draculaâ€, “Metamorphosisâ€, “Orionâ€, “Einstein on the Beachâ€)
Additional Interview Footage with Philip Glass, Deleted/Extended Scenes
Commentary Track by Director Scott Hicks
Plus Booklet with Production Notes
A murder in! the silent after-hour halls of the Louvre museum reveals a sinister plot to uncover a secret that has been protected by a clandestine society since the days of Christ. The victim is a high-ranking agent of this ancient society who, in the moments before his death, manages to leave gruesome clues at the scene that only his granddaughter, noted cryptographer Sophie Neveu, and Robert Langdon, a famed symbologist, can untangle. The duo become both suspects and detectives searching for not only Neveu's grandfather's murderer but also the stunning secret of the ages he was charged to protect. Mere steps ahead of the authorities and the deadly competition, the mystery leads Neveu and Langdon on a breathless flight through France, England, and history itself. Brown (Angels and Demons) has created a page-turning thriller that also provides an amazing interpretation of Western history. Brown's hero and heroine embark on a lofty and intriguing exploration of ! some of Western culture's greatest mysteries--from the nature! of the Mona Lisa's smile to the secret of the Holy Grail. Though some will quibble with the veracity of Brown's conjectures, therein lies the fun. The Da Vinci Code is an enthralling read that provides rich food for thought. --Jeremy Pugh
Luce would die for Daniel.
And she has. Over and over again. Throughout time, Luce and Daniel have found each other, only to be painfully torn apart: Luce dead, Daniel left broken and alone. But perhaps it doesn’t need to be that way. . . .
Luce is certain that somethingâ€"or someoneâ€"in a past life can help her in her present one. So she begins the most important journey of this lifetime . . . going back eternities to witness firsthand her romances with Daniel . . . and finally unlock the key to making their love last.
Cam and the legions of angels and Outc! asts are desperate to catch Luce, but none are as frantic as D! aniel. H e chases Luce through their shared pasts, terrified of what might happen if she rewrites history.
Because their romance for the ages could go up in flames . . . forever.
Sweeping across centuries, Passion is the third novel in the unforgettably epic Fallen series.
There's something achingly familiar about Daniel Grigori.
Amazon.com: Luce and Daniel's story is very romantic. What inspired you to write a love story between a human and an angel?
Lauren Kate: I’ve been writing love stories for as l! ong as I’ve been writing. To me, the most complicated romances make the most interesting narratives, so I’m always looking for new obstacles to throw in my lovers’ paths. When I was getting my masters degree in fiction, I was studying biblical narratives and came across a line in Genesis (6:1-4), which describes a group of angels who fell in love with mortal women. Putting this reference together with a mention in Isaiah and another in Palsm 82, biblical scholars conclude that these angels were actually cast out of Heaven for their lust. Which means--you could say--that these angels chose love over Heaven. I found this to be an endlessly interesting set up for an incredibly complicated romance. I started thinking about what kind of mortal girl it would take to attract an angel’s attention. And what it would be like for her to find herself in this position. What kind of baggage would an angel have? What would her very over-protective parents think? From there, this w! hole world unfurled in my head with fallen angels, demons, rei! ncarnati on, and the war between good and evil all battling for a piece of the action.
Amazon.com: We've been wondering about the "mechanics" of Luce and Daniel's story (for lack of a better word). Does Daniel age? Or does he stay seventeen forever (while Luce grows older)? And with that said, what does he do while Luce is growing up in each of her lives? What was he doing before he met Luce in this life?
Kate: What’s important about angels is not their bodies but their souls. In their purest forms, they’re actually genderless, but for my story to work--for the angels to come down to earth and interact with mortals--they all assume human bodies and attach themselves to human genders. Daniel is eternal and will live on forever, but the body Luce sees him in (gorgeous as it is) is really just a shell for the soul that she loves. There’s not the feeling of a ticking clock in the background as there might be with, say, a vampire story. Right now I! ’m writing Passion, the prequel where we’ll see Luce and Daniel in a dozen other lifetimes, so I’m exploring a lot of these mechanics (a great word for it, by the way) between the angel’s bodies and souls.
The way Daniel occupies himself in between Luces varies from life to life. His soul is least at rest just after she’s died, before she’s incarnated into another life--when she is “in between.†During her lives, even when he isn’t with her, he is always aware of her age, what she’s going through, how she’s doing. He has a sort of internal Lucinda clock. Sometimes he meets her as a child, sometimes he tries to stay away from her as long as possible, to give her as much of a life outside of him as he can. In the years leading up to the life where they meet at Sword and Cross, Daniel was living on Skid Row in Los Angeles.
Amazon.com: Fallen and Torment talk a lot about the history of Heaven and He! ll, the different classes of Angels, and the rules of human-an! gel inte raction. Obviously these themes are explored heavily in religious texts, but were there other sources that informed your story?
Kate:It’s interesting because there is actually very little in the Bible about angels--a few mentions in the Old Testament, a few more in the new. And the mentions that we do have are often vague or contradictory. Most of what we think of when we think of angels today comes from secular or cultural contexts. Seventy-five percent of it might have come from Milton alone. I worked with a biblical scholar at UC Davis who pointed me toward some apocryphal texts (books written during the same as the bible, but which were not included in the book when the canon was closed). Books like Enoch 1-3 and the Dead Sea Scrolls are chock full of angel references. I also read a trilogy on Satan and a book called the A History of Heaven both by Jeffrey Burton Russell, as well as a great book by Harold Bloom called Omens of the Millenniu! m.
I got so engrossed in all of the research I did for Fallen that I had a hard time knowing when to stop reading and when to start writing. I had to realize that it was okay for me to pick and choose things from various accounts, to look past contradictions, and to come up with my own angel mythology. That’s what Milton did, after all!
Amazon.com: What is Cam's deal? We're not convinced that he's totally evil--in Fallen, he seemed to be trying to protect Luce by keeping her away from Daniel, and in Torment he and Daniel reach a mysterious truce, again to protect Luce. Will we be seeing more of him in book 3?
Kate:Speaking of Milton, isn’t it fascinating that Satan is the most interesting character in Paradise Lost? From the start of this series, I have wanted to test the boundaries between what is “good†and what is “evil.†How and when do those terms get applied? Are they bl! ack and white or is there some flexibility along the spectrum?! Obvious ly it’s much more interesting if Heaven and Hell/good and evil work as binaries: opposites that orbit each other and are pulled toward each other with a mutual gravitation. We see that at the end of Fallen and in Torment with Daniel and Cam’s truce. The idea that good and evil rely on each other is as old as the oldest dualistic religion, Zoroastrianism (on whose shoulders both Judaism and Christianity stood).
So yes, there is more to Cam than pure evil! (Especially since his character--the charming side of his character anyway--was based loosely on my husband.) We’ll see a lot of him in Passion and will even begin to understand how he got where he is today.
Amazon.com: Can you tell us a little bit about book 3? Will we find out more about Luce and Daniel's past lives?
Kate:Passion is going to be the craziest, coolest book I’ve ever written! I’m halfway through the first draft right! now and it is so rewarding to finally get to delve into Luce and Daniel’s past lives together. The history these two share is the stuff of epics, and I am learning so many new things about them as I write. For any reader out there feeling tortured by the teasing hints of so many thrilling past lives: Passion is your book! Everything--well, almost everything--will be illuminated.
The Fallen quartet, now published for the first time in two action-packed bind-ups, chronicles an epic struggle, where the fate of the world rests on the outcome of one teen’s monumental quest. T! he Fallen 1
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