Speed Racer :: Movie Reviews

There's no doubt that the Wachowskis' vision of Speed Racer is big, wild, and overripe with garish colors. It's what I'd imagine it might be like trapped inside a video game or a pinball machine. It's a kaleidoscope gone mad. Yet this kind of visual overdrive has its limits, and with little else to recommend it, Speed Racer passes the barrier between 21st century innovation and psychedelic diarrhea long before the cars have come close to the finish line. What impresses with its "wow!" factor early on becomes repetitive and headache-inducing later in the proceedings. At an exceedingly long 135 minutes, the film needs more than what might result from the explosion of a Crayola factory, and Speed Racer has nothing extra to offer - no heart, no excitement, no moments to cherish.

Speed Racer is based on cartoon that is revered in some circles as an early pre-cursor to anime. In crafting their "live" version, the Wachowskis have tried to remain faithful to the source material while attempting a radical upgrade. The difference between "classic" Speed Racer and this is like comparing a horse-drawn carriage to a Lamborghini. Everything except the actors in this movie were manipulated on a computer. The sense of artifice is monumental and intentional, as are many of the cheesy graphics. When the cars look like hot wheels vehicles zooming around the track, one has to assume that was the idea. The laws of physics and logic have been stripped from the equation. This is spectacle at 24 frames per second: colors, images, cars zipping and flying in all directions - everything for the ADD viewer, except I'm wondering what ADD viewer is going to sit through more than two hours of this. There's a reason why Disney limits the running time of its animated pictures, but that's not a lesson the Wachowskis have learned.

Occasionally, the movie dials things down and tries to remind us there are human beings in the movie by giving them painfully false "character moments." This may be the most insulting aspect of the movie - expecting us to accept these paper-thin individuals as anything more than animated props. Worse still, the dialogue during these supposedly "moving" scenes is full of clunkers and clichés. It's bad soap opera. Not only are there a few too many of these scenes but almost all of them last too long. The only interesting thing about most of them is the inventive means by which the Wachowskis transition into and out of them. No wipes or irises for these brothers.

The story - or at least what passes for one - introduces us to the Racer family. (This hearkens back to the days when a surname represented an individual's craft: Carpenter, Smith, Baker, Miller, etc.) There's Pops Racer (John Goodman), Mom Racer (Susan Sarandon), Rex Racer (Scott Porter), Speed Racer (Emile Hirsch), and Spritle Racer (Paulie Litt). Trixie (Christina Ricci), Speed's girlfriend, is around so much she's like a daughter to Pops and Mom. Rex doesn't have a lot of screen time - he's burnt to a crisp during an early flashback. Most of the movie concerns Speed coming into his own on the track. When he wins a high-profile race, he catches the eye of big business mogul Royalton (Roger Allam), who wants Speed to race for him. But there's a conflict of interests here: Speed races for the love of the sport but Royalton does it for the money and claims that all of the big races are fixed. Thus begins Speed's quest to prove himself and upset the plans of the fixers. He has a few allies - Trixie, his family, and the mysterious Racer X (Matthew Fox), a character who looks like a bad superhero knock-off.

It's amazing how competent actors can fade into the background when overwhelmed by such flamboyant visuals. Emile Hirsch, who showed acting chops in Sean Penn's Into the Wild, is almost invisible here. John Goodman and Susan Sarandon only have a few instances in which they stand out more forcefully than the wallpaper. Matthew Fox is lost. Only Christina Ricci and Roger Allam call attention to themselves. Ricci does it because she somehow conveys a sense that she belongs in this world. Allam does it by going so far over the top that the air starts getting thin. His Royalton is the kind of Big Bad Tycoon who makes Rupert Murdoch seem like a philanthropist and Donald Trump resemble a poster boy for humility.

Throughout their careers, which have had big ups and downs, the Wachowskis have never been known for restraint, and there's none of it evident here. Speed Racer is the perfect companion piece for a kick-ass video game. It looks and feels like one - so much so that older viewers may find themselves flashing back to Tron. The filmmakers would like us to believe that Speed Racer has been designed with the "kid in all of us" in mind, and that's as clear an admission of its juvenile nature as anything. Still, one has to wonder whether the target audience might not be children but LSD users in search of a flashback. Because, in the end, it's a bad trip.

Trailer: Trailer
Torrent: Speed Racer

What Happens in Vegas :: Movie Reviews

What Happens in Vegas takes the "thin line between love and hate" approach to the romantic comedy. It's a time honored tradition: the characters begin as antagonists but end up madly in love. Along the way, sparks fly. In this case, director Tom Vaughan starts his protagonists out as if they're in The War of the Roses but concludes with them in the grip of emotions that make it impossible to live without one another. The film's misstep - and it is a significant one - is to take too long to tone down the broad, cartoonish portrayals of the leads into something resembling human beings. As a result, the first half of What Happens in Vegas plays like shrill sit-com material.

The stars are Cameron Diaz and Ashton Kutcher, both of whom have shown themselves to be comfortable in rom-com surroundings. This isn't one of the great romantic couplings of our generation but the two play well enough off one another that it works and, with so many bad pairings gracing the screen in recent years, that's about all one can ask for. Kutcher plays Jack Fuller, a slacker whose life is so rootless that he can't even hold down a job working for his father. He's a laid-back commitment-phobe who's most at home at a party where the majority of the attendees are unattached, attractive women. For Kutcher, it's a role he could perform in his sleep. Cameron Diaz is a harder sell as Joy McNally, a Wall Street juggernaut who schedules every moment of her day.

These two end up in Vegas when they need a break from the hard knocks of New York. Jack and his best buddy, Hater (Rob Corddry), head to Sin City following Jack's dismissal from work. Joy and her gal pal, Tipper (Lake Bell), are there after Joy's fiancé gives her the heave-ho. Jack and Joy meet when they are mistakenly given keys to the same hotel suite (something that happens all the time in romantic comedies but almost never in real life). Soon, they're getting drunk and getting hitched. When they wake up the next morning, they start planning their respective exit strategies (Annulment? Divorce?) until one pull of the slot machine has them wrestling over how to split $3 million. A judge (Dennis Miller) sentences them to six months of marriage before he will decide who gets what. So, in true movie fashion, instead of trying to make the best of a bad situation, Jack and Joy devote themselves to delivering as much misery to the other as they can manage - until, that is, they start to fall in love.

This is one of those movies where the supporting characters have a tendency to pilfer scenes from the stars. Thus, although the movie is supposed to be about Jack and Joy, many viewers will want to see more of Hater and Tipper. There are times when these two make a more interesting partnership than our A-list lovers. There are a couple of high-profile actors in small roles. Dennis Miller is the judge with a nasty sense of humor (forcing two clearly incompatible people to live together for six months) and Queen Latifa is a therapist who sees through the b.s. that Jack and Joy are selling at their marriage counseling sessions.

Trailer: Trailer
Torrent: What Happens in Vegas

Rocky Balboa :: Movie Reviews

It's 2006 and Rocky's career is long behind him. His beloved Adrian has died, yet he feels closer to her than to any of the living people around him. He and his son, Rocky Jr. (Milo Ventimiglia), are in a "Cat's in the Cradle" situation, with the son too busy for the father. So Rocky does the meet-and-greet at his restaurant and lets one meaningless day pass after another. When he re-connects with Marie (Geraldine Hughes), a girl he met during the first film, he finds another individual let down by life - someone he can bond with. His is a sad, lonely, unfulfilled life. Without Adrian, he has no anchor and he is seeking meaning.

Meanwhile, the current heavyweight champion, Mason "The Line" Dixon (Antonio Tarver) is struggling for respect. After defeating one chump after another, he has become reviled. (Dixon's unwillingness to fight a legitimate challenger allows Stallone to take a none-to-subtle jab at the state of real boxing these days.) His manager comes up with the ultimate publicity stunt: stage an exhibition between Dixon, in the prime of his career, against old Rocky, who is something of a folk hero. Rocky is installed as a prohibitive underdog, but as viewers of the series know, he's never better than when he's not expected to win. However, Rocky Balboa, like the original Rocky, isn't about winning. It's about giving everything and facing one's fears.

Over the years, the Rocky series has lost the majority of its cast members. With Talia Shire now gone, the only returnee (other than Stallone) is Burt Young, once again reprising his role as the irascible Paulie. Milo Ventimiglia and Geraldine Hughes are the only newcomers with significant screen time and, while both fill functions, neither impresses. Antonio Tarver's Mason Dixon isn't much of a character, although it is nice that the movie takes pains to make sure the audience doesn't view him as a villain. At heart, he's not a bad guy, although he has issues.

Rocky Balboa is not an action movie. During the first 70 minutes, the movie is primarily dialogue and reminiscences. It contains some of the best acting Stallone has ever done. This is the same Rocky we have gotten to know over the years, but here we see his vulnerability. He's not very smart, but he's generous, and he's not good at hiding his emotional pain. For him, it was always Adrian. She was the reason that losing the first fight was still a victory - because he got her. Now, she lies beneath a simple headstone. There are times when the drama threatens to become heavy-handed and the relationship with Marie never gels in a meaningful way. It feels unfinished. But Stallone, functioning as writer, director, and star, puts all his energy into peeling back 30 years. Rocky Balboa is not as good as Rocky, but it allows us to forget the other four sequels, none of which was memorable.

Admittedly, the moment the strains of "Gonna Fly" begin blaring from the theater speakers as Rocky starts his latest round of training, there is an urge to stand up and cheer. And the fight at the end still stirs the soul. Even the worst Rocky movies possessed a visceral power when it came to the in-ring sequences. The ending of Rocky Balboa echoes the ending of Rocky in more ways than one. Stallone has said this is it for Rocky - even if the film is major box office hit, there will be no seventh outing. If that's the case, it's hard to think of a better sendoff.

Trailer: Trailer 1/ Trailer 2
Torrent: Rocky Balboa

Apocalypto :: Movie Reviews

Apocalypto is not assigned a date, but since it concludes with an image of the arriving Spanish, one can assume the year is 1519. Jaguar Paw (Rudy Youngblood) is a young warrior living in a peaceful village where hunting and making babies appear to be the primary occupations. Jaguar Paw has gotten off to a good start: his wife, Seven (Dalia Hernandez), has given birth once and is pregnant with a second child. Still, Jaguar Paw has a distance to go to match the size of his father's family. Flint Sky (Morris Birdyellowhead) has ten children. The village's peace is shattered when a war party arrives from the center of Mayan civilization. The armed men torture, kill, rape, and maim. Jaguar Paw is able to lower his wife and son into a hole in the ground before he is captured and exposed to a forced march through the jungle. At the end of the journey lies the great temple and the prospect of being sacrificed to appease the Sun God.

Apocalypto is divided into three sections, as is true of many movies (both traditional and non-traditional). The film begins slowly, allowing us to get to know a small group of characters. We are given a glimpse into village life before everything comes apart in one of the most uncompromisingly vicious sequences in any movie released this year. The second part of the film encompasses the forced march to the city, ending with the selling of women into slavery and the preparation of men for sacrifice. The final act is a long chase. Lasting nearly 45 minutes, it maintains a high level of tension and includes many of the expected obstacles from this sort of jungle adventure: waterfalls, quicksand, and hostile animal life. Some viewers may feel exhausted when the movie is over. Apocalypto's final third is an unrelieved adrenaline rush. Action fans will love it.

If all the movie represents is a lot of pretty scenery and well executed action sequences, there would be nothing distinguishing about Apocalypto. However - and here's where the Braveheart parallel is the strongest - Gibson succeeds in forging a strong bond between the audience and the protagonist. This is done quickly and economically. We are shown the love Jaguar Paw has for his wife and son and the lengths to which he will go to keep them safe. He is also depicted as resourceful and durable. On more than one occasion, I found myself thinking of him as the MacGyver of the jungle. To provide an effective balance, we are then introduced to a villain, Zero Wolf (Raoul Trujillo), who is as intelligent and dangerous as he is detestable. To up the ante, there's a second bad guy, Snake Ink (Rodolfo Palacios), who we probably want to see die even more than his boss, Zero Wolf. Snake Ink delights in torturing our hero when Zero Wolf isn't looking.

Apocalypto represents a forceful two-plus hours and it isn't for everyone. We should appreciate that Gibson set this in a time and place we don't often see on screen. The cameras, operated by Dean Semler, make this long-dead world come alive. The setting makes the movie seem more exotic and less derivative, although those aspects don't lessen the excitement. Historians may quibble about the movie's accuracy, but Gibson isn't trying to make a documentary. The best thing I can say about Apocalypto is that, despite belonging to an overpopulated genre, it's unlike any other movie to reach theaters this year and, because it is as visual an experience as it is visceral, it is best seen on a large screen.

Trailer: Small/Medium/Large
Torrent: Apocalypto

Cars :: Movie Reviews

Cars brings two well-worn clichйs to the animated realm. The first is the uneasy buddy relationship between an older gent and a young hotshot. The second is the story of how a pastoral setting seeps into the blood of a city boy. Cars is character-driven, which means that it has fewer action scenes than most recent animated films. Aside from car races, there's very little here to base a video game upon. The action/adventure limitations allow the character arcs to breathe and provide room for a love story, but there are times when the pace is sluggish.

Cars transpires in a world of automobiles, where there are no humans or animals. Even the flies are tiny cars with wings. Owen Wilson provides the voice of Lightning McQueen, a rookie NASCAR-inspired race car striving to win The Piston Cup. When he ends the season tied with his two chief competitors, Chick Hicks (Michael Keaton) and The King (Richard Petty), it's off to a winner-takes-all tie-breaker in California. Along the way, however, Lightning wanders off the interstate and gets stranded along Route 66 in the tiny Carburetor County town of Radiator Springs. Arrested for traffic violations, Lightning is sentenced to repair the road before being allowed to continue west. At first, he resents this, but soon friendships form: with tow truck Mater (Larry the Cable Guy), who takes him "tractor tipping;" with Sally (Bonnie Hunt) the motel owner, who takes him on long, scenic drives; and with Doc Hudson (Paul Newman), a retired race car champion who teaches the youngster a few lessons while surprisingly learning a thing or two. Will Lightning finish the road in time to make it to the big race? Will he abandon his true love and Radiator Springs for the spotlight of fame and fortune? Admittedly, you probably know the answers, but it's still fun watching them play out.

The story may be soft for a Pixar film, but the animation in Cars exceeds anything we have previously seen, and that's quite a statement considering how far computer-generated visuals have come in the last ten years. Pixar sets the bar higher; now it will be up to Fox and Dreamworks to see if they can match or top this level. (Considering how much recent animation has been about product at the expense of art, one wonders if they'll try.) The single most stunning sequences come during Lightning and Sally's "Sunday drive," as they head out into the desert canyons and up into the mountains. The landscapes are as gorgeous as anything ever before depicted on film: animated or otherwise. Other of Cars' parts are impressive; this one is breathtaking.

As usual, the voices are expertly chosen. Owen Wilson has the requisite mix of brashness and likeability to play Lightning, the self-absorbed car who discovers there's more to life than winning races. Paul Newman's Doc Hudson sounds wise and world-weary. Bonnie Hunt, abandoning her usual sardonic style, is bright and chipper. Larry the Cable Guy is perfect as the friendless, dim bulb Mater. Cheech Marin, Tony Shalhoub, and George Carlin also contribute. The only questionable choices are the cameos - both Jay Leno and Bob Costas appear miscast, the former as a late-night talk show host and the latter as a sportscaster. Meanwhile, racing fans will appreciate contributions from Richard Petty, Darrell Waltrip, Mario Andretti, and Michael Schumacher.

Trailer: Small/Medium/Large
Torrent: Cars

The Grudge 2 :: Movie Reviews

In Tokyo, a young woman, Aubrey Davis (Amber Tamblyn) is exposed to the same mysterious curse that afflicted her sister Karen (Sarah Michelle Gellar). The supernatural force, which fills a person with rage before ultimately destroying them and moving to a new victim, intertwines a group of previously unrelated people through three seperate storylines.As mentioned, the main plot of The Grudge 2 revolves around the sister of the first film's protagonist. Aubrey Davis, played by Amber Tamblyn (The Sisterhood of the Traveling Pants) is sent to Tokyo by her mother to bring Karen (Gellar), who is currently in a hospital bed after setting fire to the home that holds the curse, back to the States.Aubrey meets Eason (Edison Chen), a Japanese journalist covering the bizarre chain of macabre events taking place at the house. After delving into some research regarding the original tenants, the two believe they have found a way to stop the curse and save themselves from its grasp.

The second storyline focuses on three International High School students. Miyuki (Misaka Uno), Vanessa (Teresa Palmer), and Allison played Arielle Kebbel (John Tucker Must Die). While walking home one day from school, Vanessa and Miyuki (the resident popular "mean girls") initate poor Allison into their group by making her enter the house and stand in the attic - which soon turns into a nightmare when the door jams shut. Though Allison escapes, all three of the young girls soon find themselves fully engulfed within the rage of the house's curse.And finally a family moves into a Chicago apartment complex where Jake, their youngest child, begins hearing strange noises in the night coming from next door. As his youthful curiousness gets him into trouble, bearing witness to some strange and disturbing events, it becomes evident that somehow the curse has spread yet again.

The three storylines are weaved and braided to form a unique, more psychological and tight story than its predecessor. With an almost-exclusively young cast taking the wheel on this sequel, the acting is a little lackluster with the best performances coming from the frightened young Jake (Matthew Knight).

As for cinematography, The Grudge 2 trys so hard to be suspenseful, thought anyone familiar with the series should have a good idea of what's going to happen next.Which leads me to the scare factor. If a horror film doesn't at least cause a viewer to jump or squirm a little then it has failed altogether. As for The Grudge 2, it succeeds at this goal but only on a shallow level. The film is sure to cause young, nubile bodies to jump and cover their eyes - in extreme cases some may revert to the fetile position in their seats.

Overall what this sequel lacks in originality, it makes up for in expansion of story and character development. Unfortunately there isn't enough wind in this sequel's sails to carry it much further.If you enjoyed The Grudge then surely see the sequel, I doubt you will be disappointed. While it's better than its predecessor and it's competitor's sequel (Ring Two) that's not really saying much, is it?

Trailer: Small/Medium/Large
Torrent: The Grudge 2

Snakes on a Plane :: Movie Reviews

I won't deny there's fun to be had watching Snakes on a Plane. With a title like that, how could there not be? The special effects are suitably cheesy, the acting is way over-the-top, and there are some great moments of lowbrow comedy. (Man or woman, imagine where you would least like to be bitten by a snake, and someone gets bitten there.) One could argue that the audience makes the movie. I would imagine this film could seem terribly lame seen in an empty theater or at home alone. A certain amount of rowdiness is almost a prerequisite.

Samuel L. Jackson is in fine Samuel L. Jackson form, kicking ass and taking numbers. He has his big speech moments, his bad ass moments, and he gets to utter the coolest line in the film. (It is, for the record: "Enough is enough! I've had it with these motherfuckin' snakes on this motherfuckin' plane!") There's variety in the way he dispatches his opponents: by electrocution, by fire extinguisher, by blow-torch, by crushing, and by gunshot. At no point does he yell, "Die, motherfucker!" which is a shame because it's just the kind of clichйd dialogue that would fit right in. Jackson plays FBI agent Neville Flynn, who's transporting Federal witness Sean Jones (Nathan Phillips) from Honolulu to L.A. so he can testify against a mobster. The mobster wants Sean dead, so he does what any self-respecting mobster would do: smuggles hundreds of poisonous snakes aboard the plane and arranges for them to get free from their crates at 30,000 feet. William Shatner saw a goblin on the wing; these guys see cobras in the cargo hold. There are more secondary characters than you can count on your fingers, but they're all thinly drawn disaster movie stereotypes. We half-expect Shelly Winters and George Kennedy to show up. (Or maybe Leslie Nielsen.) The only characters not played by Samuel L. Jackson who leave an impression are flight attendants Claire (Juliana Margulies) and Tiffany (Sunny Mabry), and the video game obsessed Troy (Kenan Thompson). The generic (non-Monty) python has more personality than the Frightened Newlywed, the Germ-phobic Rap Star, or the Hostile Brit. When it comes to the non-reptilian animals aboard the plane, the snakes are equal opportunity biters. A cat gets it, but so does a dog.

It has been widely reported that five days of re-shoots occurred earlier this year in an effort to provide content that would tip the rating from PG-13 to R. So we have more profanity (a couple of "fucks" here and there), more graphic snake bites, and bare breasts. All of this stuff is clumsily edited in. It doesn't take much imagination to re-construct the PG-13 cut. The film probably would have worked better if it had been envisioned as a hard R from the beginning. Also, the producers like to talk about all the real snakes used during the making of the film (allegedly more than 400), but the close-ups are so obviously cheesy special effects that no one could possibly mistake them for the real thing.

To an extent, Snakes on a Plane reminds me of Eight Legged Freaks. It has the same kind of off-the-wall, don't-take-it-seriously comedic horror sensibility. Neither film holds a candle to the best in the business, Tremors, which offers healthy doses of scares and laughs. New Line Cinema would like us to believe that Snakes on a Plane is somehow a "cultural phenomenon." This isn't accurate. There's another, better term to describe it: a cult film. That means a small, select group of people are going to love it, but the majority of viewers are going to be unimpressed. Take that into consideration before deciding whether or not to board this flight.

Trailer: Medium
Torrent: Snakes on a Plane

Borat :: Movie Reviews

Borat Sagdiyev (Cohen) is a Kazakhstani TV personality who travels to America to make a documentary record of his exploration of American culture. He is accompanied on this endeavor by his producer, Azamat (Ken Davitian). Once in New York City, Borat navigates the hurdles of settling into his hotel room then discovers Baywatch on late-night TV. He is immediately smitten by a certain blonde in a bathing suit and decides to take a road trip to California to meet her. This episodic journey takes him to Washington D.C., Atlanta, through the Deep South to Dallas, then finally out to Los Angeles. Along the way, he meets characters who are stranger than he is, adopts a pet bear, and gets into a nude wrestling match with his compatriot. That sequence alone is worth the price of admission since it's like a naked Groucho Marx (with an exaggeratedly long black cylinder obscuring his penis) doing battle with an unclothed Fat Bastard.

Political incorrectness is the watchword here. It has already been documented that the humorless government of Kazakhstan is offended by Borat, although the film is far more incisive in its dissection of American culture than that of Kazakhstan. Borat flaunts its main character's anti-Semitic and misogynistic views. There are copious amounts of nudity - all of it male and some of it explicit. One wonders what persuaded the MPAA to dole out an R; is it possible they found Borat funny?

It's hard to imagine anyone watching Borat and not finding at least a few of its jokes funny. The subject matter is so far-ranging - everything from jabs at George Bush to the scatological and sexual stand-bys - that it's difficult to imagine Cohen completely missing anyone's funny bone. However, those who are prone to be offended by comedy with a rough edge may not be impressed. One of Cohen's objectives is to push against boundaries of taste and decency. When that works, Borat delivers some of its biggest laughs. There's a message underlying all of this about the foolishness of bigotry of all sorts. Those who practice anti-Semitism and racism during the course of Borat (including the title character) are shown to be the biggest morons.

Is Borat the funniest comedy of the year? Almost certainly - but what's the competition? (Other than Clerks II, I can't come up with anything close.) One of the reasons Borat works is because it doesn't belabor its jokes. It delivers the punch-lines then moves on. The movie is set up as a road trip, but each stop over has its own set of characters and comedic set pieces. The variation keeps things fresh and the relatively short running length (less than 90 minutes) ensures that Borat doesn't overstay its welcome - even though when it's all done, we wish this absurd man might have lingered a little longer.
Trailer: Medium
Torrent: Borat: Cultural Learnings of America for Make Benefit Glorious Nation of Kazakhstan

Saw III :: Movie Reviews

The “Saw” franchise rasps on with “Saw III,” a deadening barrage of grungy rooms, mortified flesh and elaborate torture. This time Jigsaw/John Kramer (Tobin Bell), the masked sadist whose fondness for men in chains continues unabated, has decided to play marriage counselor to a couple whose young son has been killed in a car accident.

Since Jigsaw is currently laid low by a brain tumor, his torture-as- therapy program requires the assistance of Amanda (Shawnee Smith), a sidekick who slices her own thighs when no one else’s are handy. Amanda probably spent a lot of time in her teens writing to men on death row.

Having learned the (knotted) ropes on “Saw II,” 27-year-old Darren Lynn Bousman returns to direct, while James Wan and Leigh Whannell push their original story to new depths of monstrousness. Joining the pantheon of stomach-churning devices is a rack that twists one’s extremities until the bones pop out, and an abattoir-inspired scenario involving deliquescent pigs is enough to make you long for the comparatively benign stenches of John Waters’s Odorama.

The most depressing thing about this series is not the creativity of the bloodletting but the bleak view of human nature, specifically our talent for ruining the present to avenge the past. In the opening scene, a man frees himself from an ankle restraint by pulverizing his foot with a brick; fortunately, all we have to do is get up and leave.

Trailer : Small / Medium / High
Torrent : Saw 3