The Smurfs [BRRip-2011]

MOVIE INFOhttp://www.imdb.com/title/tt0472181/Ratings: 5.1/10Release Date: 29 July 2011 (USA)Genre : Animation | Comedy | FamilyStarcast : Hank Azaria, Neil Patrick Harris, Jayma Mays, Sofía VergaraSource : BRRipDownload Gratis Film The Smurf
Duration : 1h 42 minSize : 123 mbFrom Server APart 1 [65.1 MB], Part 2 [57.9 MB]
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AREA 51 [2011-BRRip]

MOVIE INFOwww.imdb.com/title/tt1519461/Released : 2011Genre : Horror | Sci-FiStarcast : Beau Brasseaux, Jason London and Bruce BoxleitnerSource : BRRipDownload Gratis Film Area 51
Duration : 1 hour 29 minSize : 107 mbFrom Server APart 1 [52.3 MB], Part 2 [55.1 MB]
From Server BPart 1 [52.3 MB], Part 2 [55.1 MB]
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Cirque du Soleil's "Iris" Wows L.A. Critics ... Are They for Real?

Los Angeles Times photo. Photographer unidentified.

It must be a glorious day for Cirque du Soleil down in tinsel town. And deja vu all over again. This is the place where the Montreal Monster conquered the world stage back in 1987 when it gambled all its kitty on a date in Japantown, wowed the entire city and soon after the world, and the rest is phenomenal history.

Twenty four years ago. Then, Cirque came bearing a simple though brilliantly inventive show under a little tent.

Now, 24 seasons later, it has returned full circle, back to the city of it's world birth, bearing a dazzling display of how it has reached into other venues and, finally, onto the stage.

I have felt all along that, in order for this gig to be big and last, it would have to be Cirque Grade A+ Nothing less. And maybe it is. But, even then ...

I am not quite ready to fully believe all of the raves I've read, for three reasons:

1. L.A. shares a special history with Cirque du Soleil, as noted above.

2. L.A. desperately needs a permanent anchor amusement to occupy and make more vital the Kodak Theatre, where previous tenants have failed.

3. The L.A. critics can come off on occasion as cheerleaders, either fooled by what they are watching or lacking in what I'd call New York critical independence. Time and time again, I've observed them to embrace a show, almost unanimously, that just was not that good. Example: The curiously rewritten Flower Drum Song, which premiered in L.A. prior to its "Broadway revival." L.A. reviewers issued virtual raves. Once FDS hit the New York boards, Gotham critics blasted it in a thousand different ways. It flopped within months.

Which is not to say that the critics are wrong on Iris. But I do wonder if some of their enthusiasm is driven by a burning desire, city wide, for the blockbuster draw that can bring much-needed live-entertainment luster to Hollywood and Hyland, where tourists flock to have their photos taken, gaze down upon the stars, buy a few souvenirs and quickly move on. Will Iris convince them to spend another night and a few hundred more dollars?

As one local said to a reporter, "They have no competition!"

For me, this will be a fascinating story to watch. By one account, if they can fill up 65% of the Kodak Theatre seats on average, they can turn some kind of a profit. Show is slated for a 10-year run. No where else in tinseltown do shows last even for a year.

For the moment, there is rare euphoria in the air. This is the town that put Cirque du Soleil on the map, make no mistake, and this is the town that may put them higher on the map. If Iris is as great as the reviews are saying, I can imagine watching it, maybe when I am in a wheel chair, when the ticket prices come back down to earth.

But, I doubt that. I can see discounts in a year or two. Blockbusters rise and fall here as fast as flats on a back lot.

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Sunday Morning with Showbiz David: Challenged More Than Ever by "The Ever Changing, Never Changing Circus"

My soul feels stretched like endless mist across time, by thousands of years as I consider how "circus" has meant so many things to so many different people across time's evolving sweep -- from the blood and thunder of Roman chariot races to the soaring poetry of today's virtual ballets in the sky.

My soul accepts the infinite reality that "circus" will never always be the same, not by a thousand triples or a hundred pratfalls. And so, my spirit surrenders to what is out there now in the ring, coming my way, trying to win me over -- as opposed to what is no longer there and may never return. And in the acceptance of this, I take my seat yet another time, glance upon the ring before me as a blank slate, and hope it will fill and overflow in ways both familiar and fresh, sweep me up on a ride and, at the end, send me out still half-way in the air, cheered, inspired, a believer once more.

I know it may not, but if I do not go, what might I miss?

History shows us, whether we like it or not, that the show is forever changing, as it must if it is to stay alive in the present. Who could have imagined 20-30 years ago that Ringling-Barnum would not always present a flying trapeze act?

Old timers once lamented the passing of the talking clown. They resented the disruptive enormity of "three rings" rather than just a single circle.

Like shifting sand patterns on the beach, so too the shifting patterns of clubs in motion, bodies off springboards, dogs onto horses turning clever tricks ...


I entered the tents barely in time to catch the last act of the old Roman horse races ending the show. Al G. Kelly & Miller Bros. still staged them, rough and real, as late as around 1960.

Midway through my spangled infatuations, the great Ringling ringmaster Harold Ronk, sitting out in the seats with me before a show at the Cow Palace, talked up the "four staples" he firmly believed to be circus essentials: "Elephants, flying acts, wild animals and clowns." How wise was he in his own time. Three of Harold's staples, in fact, match the only acts I can recall from my very first circus experience, around the age of five, at Polack Bros. Possibly Polack did not present wild animals, or they, too, I would have remembered.

Decades have passed. Now there is Cirque du Soleil, minus three of the staples. Now there is the "wheel of destiny," nearly a staple that was no where around when I peaked into the tent; now, dazzling ensemble variations on risley. And now, up there over the ring, young aerialists are carving out captivating new flight patterns in the big top skies.

Author Earl Chapin May called it "the ever changing, never changing circus." Lately, I have started to question his thesis. But then again, maybe in a broader sense he was right. Right if we accept the big top's surviving will and ability to reinvent its power to astound and amuse.

Next show, please! Stretch my soul in another unexpected direction, if you must. It feels more flexible, open, willing than ever. Show me whatever new magic you have that just might astound and amuse me. And renew my faith in the great spangled parade ...