Bedtime Stories

Adam Sandler is at that difficult age. Now 42, he’s too old to continue with the bungling, man-child shtick of yore, yet too young to transition to old-fogey infantilism. In “Bedtime Stories” the pain of this artistic limbo is written all over his character, a resentful hotel handyman named Skeeter. Astonishingly, his name is not the source of his umbrage.

Skeeter’s pique (though he may not know it) is reserved for his dead father, an inept businessman whose cozy motel once occupied the lot where Skeeter’s current employer has erected an upscale resort. Gone, along with the homespun vibe, is Skeeter’s dream of one day running the property; so when his divorced sister, Wendy (a frighteningly taut Courteney Cox), asks him to baby-sit for his young niece and nephew (Laura Ann Kesling and Jonathan Morgan Heit) for a few days, Skeeter is in no mood to play scallywag uncle.

“I don’t believe in happy endings,” he tells his incredulous charges when story time comes around. Luckily for the tykes, their director, Adam Shankman, loves them, the happier the better. (Even as a guest judge on “So You Think You Can Dance” Mr. Shankman, a popular choreographer, squirmed mightily to avoid delivering a bad critique.)

Rolling up his sleeves and piling on the digital effects, he labors to whip life into a screenplay (by Matt Lopez and Tim Herlihy) so tired even Bugsy, the children’s pop-eyed guinea pig, is moved to tuck himself into bed.

But Mr. Shankman is not one to give up without a fight. And as the children concoct their own stories, Skeeter and the rest of the cast are dragged through a variety of threadbare fantasies — an Old West showdown, a medieval joust, a chariot race in ancient Greece — in which Skeeter inevitably bests the villain and bags the girl. The adorable Keri Russell, as the unfortunate target of Skeeter’s passive-aggressive affections, is the movie’s soft center and sole pleasure: a locus of calm in a sea of turmoil.

Faring less well are performers whose tenure in children’s entertainment will, I hope, be brief, including Lucy Lawless as a brittle desk clerk and Russell Brand as Skeeter’s fuzzily written best friend. And if there were an Oscar for miscasting, Guy Pearce’s atrocious turn as the hotel’s pompous manager would be a lock. Mugging beneath a horrendous coif, he makes Basil Fawlty look like a paragon of restraint.

Almost everyone leaves blood on the floor, but “Bedtime Stories” refuses to be juiced; soured by its enervated star and uninspired writing, the movie offers only tiny moments of joy, like a hailstorm of gumballs that’s unexpectedly magical.

Clearly, pushing Skeeter’s broom doesn’t agree with Mr. Sandler, who seems impatient with immaturity and anxious to grow up. He was much happier selling novelty toilet plungers in “Punch-Drunk Love,” but the director of that movie, Paul Thomas Anderson, recognized his star’s natural inner rage and how to tap into it, encouraging a revelatory performance unlike anything on his résumé.

If Mr. Sandler hopes to shift smoothly into more mature roles (as indicated by last year’s “Reign Over Me”), he needs directors who understand his uncommon gifts. The toilet plungers are optional.

“Bedtime Stories” is rated PG (Parental Guidance suggested). Stampeding horses, angry dwarves and a Booger Monster.

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Yes Men

At the beginning of “Yes Man,” Carl Allen is a grouch, a curmudgeon, a wet blanket. His relentless negativity — his job as a loan officer provides him with plenty of opportunities to say no — is less a matter of temperament than of circumstance: apparently Carl never recovered from the breakup of his marriage. But then a visit to a self-help seminar led by a guru (Terence Stamp) who preaches the power of yes transforms Carl into a wild, unpredictable fellow, a giddy, spontaneous goofball, a gangling, motormouthed, rubber-faced id. In short, Carl turns into Jim Carrey. But “Yes Man,” dutifully directed by Peyton Reed (“Bring It On,” “Down With Love”) is too sluggish and slapdash a vehicle for its star’s prodigious wackiness. The movie’s premise is not far from that of “Liar Liar,” one of Mr. Carrey’s biggest hits of the mid-’90s, in which he played a chronic dissembler suddenly compelled to tell the truth. That film was a philosophical tour de force compared with this one, which arrives at the startling conclusion that while saying no to everything is bad, saying yes to everything is not ideal either. Most of us learned at least a rudimentary version of this lesson around the age of 5, and one of the many problems with “Yes Man” is that it is insufficiently infantile. Mr. Carrey looks too grown up, too tired to plunge into the reckless silliness that the story demands, and the story doesn’t really demand enough of it. Once Carl has banished no from his vocabulary, what does he say yes to? Flying lessons. A class in conversational Korean. Every loan application that crosses his desk. That last bit has a somewhat unpleasant, if inadvertent, topical resonance, but never mind that. Some of the things Carl does are a bit wilder than learning to play the guitar. He accepts a sexual proposition from an elderly neighbor, which leads to a gag that was already tired when it popped up in “Soul Men” a few months ago. He wraps his head in cellophane tape. He goes on a Red Bull binge. He provokes a fight in a bar after snorting some Tabasco sauce. And he falls in love with a pale-eyed, mildly eccentric cutie named Allison, played by Zooey Deschanel, who took on similar waif duties opposite Will Ferrell in “Elf.” The role of Mr. Carrey’s romantic counterpart is never an easy one, given his manic energy and the childish narcissism that is the basis of his shtick. Only Kate Winslet, engaging with a more subdued incarnation of Mr. Carrey in “Eternal Sunshine of the Spotless Mind,” has been able to distract him from himself. Ms. Deschanel never really has a chance, and instead functions as a kind of sidekick, breezing through some semi-funny set pieces on the way to an obligatory smiley-teary ending. Mr. Carrey has some good moments, as do a few of the supporting performers, notably Bradley Cooper as Carl’s best friend and Rhys Darby as his socially maladroit boss. But “Yes Man” rarely rises to genuine hilarity. It takes no risks, finds no inspiration and settles, like its hero, into a dull, noncommittal middle ground. Should you see this movie? Maybe. Whatever. I don’t care. “Yes Man” is rated PG-13 (Parents strongly cautioned). It has some swearing, sexual references and brief nudity. Download Link: http://xtraupload.de/?d=0435F6C64 http://xtraupload.de/?d=B9FBB4694 http://xtraupload.de/?d=654A80B14 http://xtraupload.de/?d=0461A64D4

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Dr. Seuss' Horton Hears A Who!

The imaginative elephant Horton hears a cry for help coming from a tiny speck of dust floating through the air. Suspecting there may be life on that speck and despite a surrounding community which thinks he has lost his mind, Horton is determined to help. Starring: Jim Carrey, Steve Carell, Dan Fogler, Carol Burnett, Seth Rogen Directed by: Jimmy Hayward, Steve Martino Produced by: Christopher Meledandri, Chris Wedge, Audrey Geisel Download Movies Via Rapidshare :

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Herbie: Fully Loaded

"You can take the car out of the junkyard, but you can't take the junkyard out of the car," growls Trip Murphy (Matt Dillon), an arrogant stock-car racing champion whose supremacy has been seriously challenged by a souped-up 1963 Volkswagen Beetle and its plucky driver, Maggie Peyton (Lindsay Lohan). Trip, the designated villain in "Herbie: Fully Loaded," eventually comes to believe that the upstart Beetle is demonically possessed. "It's alive!" he screams as men in white coats drag him into the back of an ambulance. But Trip isn't crazy.

"Herbie: Fully Loaded," which opens nationwide today, is a perfectly silly movie for a silly season that in recent years has forgotten how to be this silly. Directed by Angela Robinson, this latest installment in the movie-television franchise about a tiny car named Herbie with a will of its own and the temperament of a rambunctious 7-year-old knows exactly what it is and what it isn't.

What it is is "The Love Bug" for the Nascar generation, with a charismatic teenage star at the wheel. This G-rated movie comfortably blends the cutesy mannerisms and well-scrubbed wholesomeness of that late-60's Disney hit with the vroom of today. Never for a moment, even during the racing sequences, does it pretend to be real.

What "Herbie: Fully Loaded" isn't is a movie to be taken seriously, unless you consider Ms. Lohan's Maggie, who defies her father, Ray Sr. (Michael Keaton), to race Herbie, a feminist role model for tweener girls. In the original "Love Bug," Herbie salvaged the career of a fading race-car driver, played by Dean Jones, by driving him to victory. In "Fully Loaded," Maggie salvages Herbie from a junkyard with $75 given to her as a college graduation present. Later, she saves him from destruction at a demolition derby, just as the battered little bug is about to be chewed up by a gargantuan truck with metal teeth.

As in so many Disney films, the signals are shrewdly mixed. Though Maggie triumphs in the ultramacho world of Nascar, her victory comes at a price. As the story begins, she arrives at her college graduation by skateboard at the last minute. The first person in a family of stock car racers to finish college, she is looking forward to moving to New York to work as an assistant at ESPN.

As in another Disney film released this year, "Ice Princess," the heroine is forced to choose between short-term sports stardom and a long-term career investment that makes use of her education. (In "Ice Princess" the choice is between the rink and college.) It's not much of surprise that in an era in which everyone is supposedly entitled to his or her 15 minutes of fame, stardom wins.

It helps that Ms. Lohan, unlike the pallid Michelle Trachtenberg in "Ice Princess," is a genuine star who combines a tomboyish spunk with a sexy, head-turning strut, executed with minimal self-consciousness. Likable but never saccharine, confident but not snooty, and endowed with the natural freckled-faced beauty of an 18-year-old Everywoman, Ms. Lohan seems completely at home on the screen.

If she were not its star, "Herbie: Fully Loaded" would have to rely on stock mechanical gimmickry for its appeal and on the reassuring but recycled image of a little car that can outrun the big guys. Herbie spits oil into the faces of his detractors and bops them with doors that suddenly swing open with alarming force. He bleats his horn in furious protest, flirts with his headlights and, to the sounds of Lionel Richie's "Hello," nuzzles up to a sleek yellow sports car, bumper to bumper.

In one contest, he streaks to victory on a guardrail. In another, he makes a sudden leap to the sounds of Van Halen's "Jump." If the movie is a big hit, it could signal the waning of the sport utility vehicle era; or not.

After some tension and misunderstanding, Ms. Lohan and Herbie eventually form a bond of trust. Once upon a time, it used to be a girl and her horse. Now it's a girl and the car that drives her.

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The Hot Chick

The Hot Chick is a 2002 comedy film starring Rob Schneider as the title character — a criminal who mysteriously switches bodies with a popular teenager. The bulk of the film revolves around "Jessica" and her friends figuring out how to get Jessica's body back, as well as dealing with the awkward social situations that arise as a result of two completely different strangers switching bodies.

The movie was directed by Tom Brady, and produced by Adam Sandler, who also had a small role based on a SNL sketch playing the "Mambooza Bongo Player." Sisters Tia and Tamera Mowry, and singers Ashlee Simpson, Angie Stone and Michelle Branch also had small roles. It was filmed, in part, at El Segundo High School and Redondo Union High School.

Plot

The Hot Chick starts with a scene set in Abyssinia, 50 BC. Princess Nawa, disgusted by the groom of her arranged marriage, switches bodies with a slave girl by means of an enchanted set of earrings. This scene segues into a pep rally in which the eponymous "hot chick," Jessica Spencer, is shown leading the school's cheer squad.

Although she is not shown to be a mean-spirited person, Jessica tends to take her life for granted and frequently neglects the feelings of those around her.

Later, Jessica, her best friend April, and a few other girls visit the mall to hang out and do some shopping. They enter a new age store, where they check out a few items they like, including a pair of ancient earrings, which, unbeknownst to Jessica, are the same magical ones featured at the beginning of the movie. Since the earrings are not for sale, Jessica steals them.

Meanwhile, in another part of town, Clive, a career criminal, is robbing a gas station. The only things he can manage to steal there are nachos with cheese and drinks. Jessica and her friends stop for gas and as Clive is leaving the place, confuse him with a service-station employee. They ask him to check their car, and Clive obeys, not wanting to raise any suspicion. After Jessica accidentally drops one of her new earrings on the ground, the girls drive away. Clive finds the earring and picks it up, thinking it might be of monetary value.

Later, Jessica and Clive try on their respective earrings at the same time, triggering a chain of life-changing events. Jessica wakes up to find herself trapped in Clive's body, and Clive finds himself in Jessica's. To complicate things further, Jessica has a cheerleading event coming up soon, as well as her school's prom.

Jessica goes to school in Clive's body, triggering many comical situations. She gets a job as a school janitor, and is able to convince her friends that she really is Jessica in a man's body, but has trouble convincing anyone else. As the school janitor, she finds out that April's boyfriend is only looking for sex, but that her own boyfriend, Billy, really loves her. She also finds out how hard it can be to navigate manly situations such as using a men's restroom.

Clive, wearing Jessica's body, finds himself in similar gender-reversed circumstances. Finding himself as the object of attraction to many men, he takes advantage of the situation, using his newly acquired looks to steal cars from men and to get a well-paying job at a club as a pole-dancer. However, he also has to deal with feminine issues such as menstruation, as shown in a short cut-scene.

Throughout the whole ordeal, Jessica finds herself face to face with several issues that she had failed to notice in her life. In searching for the person responsible for the body switch, she makes peace with a girl she publicly humiliated at the pep rally and one of her classmates about whom she had made a snide remark earlier. She also helps mend her parents' relationship by speaking privately with both her father and her mother while posing as the hired gardener "Taquito."

April, meanwhile, finds herself becoming more and more attracted to "Spence," Jessica's male identity. This is due more to a lack of self-confidence than anything else; as a man, Jessica has shown more genuine care and affection for April than any of her previous romantic interests. At the prom, Jessica tells April that all she needs to be beautiful and happy is herself, and nothing else.

In their desperation, Jessica and her friends return to the store where they got the earrings, and find out that the earrings were cursed. They are also told that unless the earrings are reunited before the end of the full-moon cycle, the bodies of both parties are permanently switched. The princess, it is revealed, was not aware of this and spent the rest of her life as a slave.

One of Jessica's friends sees Clive, using Jessica's body, in the news when a TV station shows a video of him beating up a man. They start looking for Clive, and find him working at the strip club. The girls try to negotiate with him, but the womanly Clive does not want his new, lucrative body to go back to its original owner. Jessica takes back her rightful body by stealing the one earring that Clive wears and putting it on. As a result, they trade bodies back, leaving Clive in the middle of a pole-dance for a client — April's ex-boyfriend. The humiliated Clive is arrested.

Outside the club, Jessica makes up with Billy, and the scene cuts to graduation. The movie ends with Clive, still dressed in lingerie, escaping the police and catching a ride with a familiar face - the bartender from the club. The bartender smiles suggestively at Clive, who screams in horror.

Cast

• Rob Schneider - Clive Maxtone/Jessica Spencer
• Rachel McAdams - Jessica Spencer/Clive Maxtone
• Anna Faris - April
• Matthew Lawrence - Billy
• Eric Christian Olsen - Jake
• Michael O'Keefe - Richard Spencer, Jessica's father
• Melora Hardin - Carol Spencer, Jessica's mother
• Robert Davi - Stan
• Alexandra Holden - Lulu
• Maria-Elena Laas - Bianca
• Maritza Murray - Keecia "Ling-Ling" Jackson
• Tia Mowry - Venetia
• Tamera Mowry - Sissy
• Jodi Long - Keecia's Mom
• Lee Garlington - Ms. Marjorie Bernard
• Angie Stone - Madame Mambuza
• Matt Weinberg - Booger Spencer, Jessica's younger brother
• Sam Doumit - Eden
• Megan Kuhlmann - Hildenburg
• Ashlee Simpson - Monique
• Michelle Branch - As Club DJ
• Adam Sandler - Mambuza Bongo Player (uncredited)

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