Michael Vick says Kevin Kolb is starting quarterback for Philadelphia Eagles

Michael Vick is trying hard not to fan the flames of what is turning into a heated quarterback debate for the Philadelphia Eagles.

The backup totaled 321 yards, including 37 on the ground, and threw two touchdowns in the Eagles' 35-32 win over the Lions on Sunday in place of anointed starter Kevin Kolb, who was out with a concussion. After the game, head coach Andy Reid reiterated that Kolb would be the starter when the Eagles visit Jacksonville next week.

On Monday, Vick said he will dutifully return to the bench and wait for his number to be called again.

"It's totally OK with me," Vick said in a TV interview with ESPN. " Kevin is out leader. I know how good he is and what he can do. I came into this year as the backup. That's my mindset. That's the way it is. I'm willing to accept that."

Vick sparked a stagnant Eagles offense with 175 passing yards, 103 rushing yards and a touchdown after replaced the injured Kolb in the second against the Packers in Week 1. Kolb had completed just 5 of 10 passes of 24 yards when he was injured.

Still, Vick contended he was just happy to get out on the field.

"it was great to go out and have a chance," Vick said. "Everyone had faith in me. It was gratifying."

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Sadie Frost to Take DNA Test After Half Sister Claims

Sadie Frost has been left reeling after a woman contacted her alleging she is the star's half-sister, according to a U.K. report. The British actress opened up about her father David Vaughan's womanizing in her new autobiography, "Crazy Days".

And the revelations prompted an unnamed woman from Manchester, north England to contact Frost as she thinks Vaughn may be her father. A source tells Britain's Daily Mirror, "Sadie is shocked. She knew her father was pretty wild but she thought she knew all of his children."

"At the back of her mind she thinks there may be even more." Frost will reportedly undergo a DNA test later this September to establish if the mystery woman is a relative.

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Reviews on Best Adventure Movies

Well, I believe that adventure movies are the most popular category in the Hollywood. So what do you think that makes these adventure movies great and worth watching? Well, to a very large extent the category is primarily defined (and you can say redefined) by movies themselves – the movies that we remember are primarily the most successful ones.

Below is a review on best adventure movies that I have handpicked from past. The selection includes movies from wide range, from science adventures to pirate adventures, etc. I believe that the essential elements for a movie to be best adventure movies are great story, a good hero and a good villain or a situation that could bring tension in to the movie script.
So let’s start with our review on best adventure movies ever made:

1. The Long Kiss Goodnight: This movie is a story about a happily married mom who lives in a suburban area; however, she cannot recollect anything about the time before giving birth to her daughter some 8 years ago. However, one night she has an accident and after that she starts to recollect her past slowly. But it becomes a crucial time for her as a former enemy of hers sees her on TV and breaks away from the jail to kill her and take revenge.

I believe that this was a terrific adventure movies but it never received the credit it should have been given. I will give a six out of 10 in terms of my category of review on best adventure movies.

2. The Fugitive: This movie is a story about a respected medical practitioner Dr. Richard Kimble who is accused falsely and convicted for killing his wife.

Circumstances give Kimble the opportunity to escape from the prison and prove his innocence. Tommy Lee Jones and Harrison Ford have acted brilliantly in this movie.

I will give a seven out of 10 in terms of my category of review on best adventure movies.

3. The Curse of the Black Pearl – Pirates of the Caribbean: Well this movie is in the list just because it did manage to bring the pirate adventure movies to the mainstream cinema after a gap of almost more than a decade.

However, I also believe that the movie without Geoffrey Rush and Johny Depp would not have been that meaningful.

The story of the movie was something like this: Will Turner and Captain Jack Sparrow need to work together to form and unlikely partnership to face a group of cursed pirates whose leader was treacherous Captain Barbossa.

Though, both Turner and Sparrow had different goals, while Turner wanted to rescue her girlfriend, Jack wanted his black peal back. I will definitely give a nine out of 10 in terms of my category of review on best adventure movies.

So, what are you waiting for, you have gone through mine list now create your own list of movies and just start watching them at your home or PC.

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Sony's game console to show 3-D movies, get wand

CHIBA, Japan – Sony's PlayStation 3 game console will work as a Blu-ray disc player for 3-D movies and music videos, not just 3-D games, with a software update download starting Sept. 21.

The free-of-charge update for movies and other content had been promised for later this year. But the date is being moved up to ride on the momentum of 3-D popularity, Sony executive Hiroshi Kawano said at the Tokyo Game Show Thursday.

The annual event in this Tokyo suburb features game machines and the latest offerings from game-software makers. It opens over the weekend for the public. A preview event was held Thursday for reporters and business officials.

"The appeal and impact of games will be definitely enhanced with 3-D technology," Kawano said during a two-hour presentation at the Sony booth.

The 3-D capabilities for the PlayStation 3 will not be as thorough as they are for 3-D Blu-ray disc players. The game machine will have no problem playing 3-D movies, but some parts of the menu and other minor portions of some DVDs will play only in 2-D, Sony said.

Sony also showed a motion-controller wand for the PlayStation 3 called Move, similar to the one already on sale from rival Nintendo Co.'s Wii. Sony said Move will go on sale Sept. 19 in the U.S. and Oct. 21 in Japan.

A 5,980 yen ($70) "starter kit" for the Move comes with software called "Beat Sketch!" which allows people to make computer-graphic paintings on the TV screen using the motion-controller stick.

A similar kit for the U.S., with a different game, costs $99.99, and the wand by itself costs $49.99.

Move is cheaper than Microsoft Corp.'s Kinect, which sells for $150 in the U.S. and 14,800 yen in Japan.

Kinect is a system to control gaming motion without a wand. It doesn't require the player to push any buttons, and the game is controlled by the player's movements.

The PlayStation 3 already plays 3-D games with an upgrade that could be done over the Internet earlier this year.

Some 38 million of the PlayStation 3 video game machines have been sold globally so far, according to Sony Computer Entertainment, the Japanese electronics and entertainment company's gaming division.

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Mel Gibson abuse tape hits the web

Hollywood star Mel Gibson, who is set to be investigated for domestic violence against former lover Oksana Grigorieva, has landed in more trouble with a recording of the actor abusing her, leaked on the web.

The 54-year-old star can be heard unleashing a profanity-laced tirade over how Grigorieva dresses and using derogatory phrases, in the recording posted by Radar Online.

"You go around sashaying in your tight clothes. I won't stand for that anymore," Gibson allegedly says in the tape.

"I'm just telling you the truth. I don't like it. I don't believe you anymore. I don't trust you. I dont love you. OK? I will take care of my child but I don't want you anymore," he says.
Gibson is being investigated after the Russian beauty alleged in a restraining order filed June 25 that the 54-year-old actor punched her in the face "more than once" on that day, causing a broken tooth, knocking out a veneer and causing a concussion.

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Review: Raavan

The low-caste Beera rules the forest in Raavan, Mani Ratnam’s richly atmospheric adaptation of the Indian epic The Ramayana.
Though the film takes place in the present, Mr Ratnam’s forest remains an appropriately primeval place for mythic doings, full of fog and mists and rain and Beera’s mud-painted followers (shades of “Apocalypse Now”).

Raavan (Ravana in Sanskrit), as every Indian knows, is the demon in The Ramayana who kidnaps Sita, the wife of Rama: king, deity and model husband (as Sita is the model wife).
Early on in Ratnam’s film the question is asked: Is Beera (a gleefully hammy Abhishek Bachchan) Robin Hood or Raavan? He’s both — and more a hero in this telling, set on his turf, than is the Rama character, a cop called Dev (Vikram), who matches Beera in brutality and cunning, but not in heart.

Raavan has Bollywood glamour aplenty, with the lovely if occasionally dramatically challenged Aishwarya Rai Bachchan, Abhishek’s wife, playing the Sita stand-in.

The real star, though, is Ratnam, a talented visual storyteller who directs action crisply and fills the screen with striking images. (One, of Bachchan’s falling body landing gracefully on a tree branch, is so good he uses it three times.)

Artful but not arty, Ratnam, whose films include Dil Se and Guru delivers the goods: There are songs and dances (A R Rahman of Slumdog Millionaire fame did the excellent score), and an eye-popping climactic battle, between the bad-good Beera and the good-bad Dev, on a teetering suspension bridge. And that, folks, is entertainment.

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Review: I Hate Luv Storys

You will not hate this love story, a spoof on ace director Karan Johar from his own production house. Hats off to Karan for daring to produce a film that makes fun of his kind of cinema. Samir Soni steps into his shoes with great ease in the film.
Director Punit Malhotra takes a pot shot at everything - designer sets, boy meets girl sagas, actresses singing in chiffon saris in the Alps - that made directors like Karan, Aditya Chopra and Kunal Kohli a name to reckon with in the industry.

In terms of content, nothing is new. But the treatment is fresh, the backdrop is interesting and it's fun watching the romance brew between the lead pair Simran and Jay on the sets of a movie. Yes, the film is about the making of a love story where Simran works as an art designer and Jay as an assistant to highly successful director Vir Kapoor (Samir), known for his candy floss romantic sagas.

Imran Khan as Jay Dhingra and Sonam Kapoor as Simran fit the bill quite perfectly.

First time director Punit Malhotra proves his mettle by narrating a predictable story in such an interesting manner that you are hooked till the end.

A romantic by heart, Simran is contented with life. She is engaged to banker Raj, played by Sammir Dattani, and loves her job. But her life turns topsy turvy when the weird but funny, bratty but lovable Jay walks into her life as her assistant.

They have nothing in common. While Simran is highly disciplined, organised, professional and takes her work seriously, Jay is laid back and always late on the sets.

Yes, opposites attract here too, and they eventually fall in love.

The first half is pacy and director infuses enough energy in this otherwise predictable love story. But some scenes in the second half drag.

Another flaw in the film is that Imran is given too many dialogues to speak, but then he delivers them with just the right expressions. He suits the role of a spoilt brat perfectly and keeps tickling your funny bone. Especially when he breaks down like a girl while talking to his mom (Anju Mahendru) on phone.

Editing could have been better, but never mind.

In sum, the witty dialogues, on screen chemistry of the lead pair and performances of the supporting cast - Kavin Dave, Bruna Abdullah Aamir Ali and Pooja Ghai - make it a good watch.
Sonam may not have hits in her kitty so far, but this film should change things. In every scene, she complements Imran.

In terms of music, Vishal-Shekhar's pacy numbers add zing to the narrative and background music adds a nice flavour to this predictable love story.

I Hate Luv Storys proves that one can make good film without lavish sets, foreign locales and mega budgets. In short, a commendable effort by the first time director.

You may not be a great fan of candy floss cinema, but do watch I Hate Luv Storys... it's refreshing.

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Review: Toy Story 3

Toy Story 3 begins with a rattling, exuberant set piece that has nothing to do with the tale that follows but that nonetheless sums up the ingenuity, and some of the paradoxes, that have made this Pixar franchise so marvelous and so successful. The major toys — Woody (Tom Hanks), Buzz (Tim Allen), the Potato Heads (Don Rickles and Estelle Harris), Hamm (John Ratzenberger), Jessie (Joan Cusack), Rex (Wallace Shawn) and the others — are in a setting at once wholly unfamiliar and instantly recognisable. They’re in a western, albeit one made in the amped-up modern action style, rather than the more stately idiom of old-time oaters.

A train is hurtling down the tracks; a bridge explodes; stuff is falling out of the sky. There are force fields and laser beams and a big noisy surprise every time you blink.

At first glance your heart may sink a little. Can it be that Toy Story, built over 15 years and two previous movies out of the unlikely bonds that flourished among a band of beautifully animated inanimate characters (and Andy, the mostly unseen boy who collects them), has succumbed to flashy commercial blockbuster imperatives? Or would we be fooling ourselves to suppose that it has ever been anything else?

The resolution of the opening scene in the latest episode shows this to be a false choice.
The action is taking place in Andy’s head as he plays with his toys. All those crazy effects are the products of his restless and inexhaustible imagination, which is no less his for having been formed and fed by movies, television shows and the cheap merchandise spun out of them.
And how many real kids who have grown up with Buzz Lightyear and Sheriff Woody have unspooled their own improvised movies on the rec room floor?

Perhaps no series of movies has so brilliantly grasped the emotional logic that binds the innate creativity of children at play to the machinery of mass entertainment. Each one feeds, and colonises, the other. And perhaps only Pixar, a company Utopian in its faith in technological progress, artisanal in its devotion to quality and nearly unbeatable in its marketing savvy, could have engineered a sweeping capitalist narrative of such grandeur and charm as the Toy Story features.

Toy Story 3 is as sweet, as touching, as humane a movie as you are likely to see this summer, and yet it is all about doodads stamped and molded out of plastic and polyester.

Therein lies its genius, and its uncanny authenticity. A tale that captured the romance and pathos of the consumer economy, the sorrows and pleasures that dwell at the heart of our materialist way of life, could only be told from the standpoint of the commodities themselves, those accretions of synthetic substance and alienated labor we somehow endow with souls.

Cars, appliances, laptops, iPads: we love them, and we profess that love daily.
Its purest, most innocent expression — but also its most vulnerable and perishable — is the attachment formed between children and the toys we buy them.

“I want that!” “That’s mine!” Slogans of acquisitive selfishness, to be sure, but also articulations of desire and loyalty.

The first Toy Story acknowledged this bond, and Toy Story 2 turned it into a source of startlingly deep emotion.

When Woody chose life with Andy and the others over immortality with Stinky Pete at the museum, he was embracing a destiny built on his own disposability.

When we grow up, or just grow tired of last year’s cool stuff, we don’t just put away those childish things, we throw them out. “Face it, we’re just trash,” says a bitter pink teddy bear near the end of Toy Story 3. Though the movie, directed by Lee Unkrich from a script by Michael Arndt (Little Miss Sunshine), labours to dispel the gloom of this statement, it can’t entirely disprove it.

As Andy prepares for college, Woody surveys the depleted ranks of his pals, noting that some have passed on (rest in peace, Wheezy) and reassuring the others that everything will be fine. They’ll live in the attic until the next generation comes along.

But instead they wind up at the Sunnyside Daycare Center, which at first seems like a paradise where the problem of obsolescence has been magically solved.

Lots-o’-Huggin’ Bear (Ned Beatty), its seemingly jovial patriarch, explains that there, toys are played with every day, and when one group of youngsters outgrows them, another cohort arrives. It’s a perfect reversal of the single-owner predicament, and most of the toys are relieved and happy — especially Barbie, voiced by Jodi Benson, who finds a Ken with a fabulous wardrobe and the voice of Michael Keaton.

The change of scene, and Woody’s subsequent journey to the home of a little girl named Bonnie (Emily Hahn), allows the filmmakers to introduce a bevy of new toys, including a talking phone and a purple octopus who sounds a lot like one of the hosts of The View.
Toy Story 3, which makes remarkably subtle use of 3-D, also explores a range of cinematic techniques undreamed of in the first two chapters, and refined in recent Pixar films like Wall-E and Up.

There are swiftly edited action sequences worthy of a Bourne movie; low-angle compositions and nimble tracking shots; changes in the color saturation and the texture of the light — just like in a “real” movie! When the truth about Sunnyside is revealed, the movie has fun evoking prison escape pictures and horror films, darkening the Pixar palette to captivating (and, to some small children, possibly frightening) effect.

In providing sheer moviegoing satisfaction — plot, characters, verbal wit and visual delight, cheap laughs and honest sentiment — Toy Story 3 is wondrously generous and inventive. It is also, by the time it reaches a quiet denouement that balances its noisy beginning, moving in the way that parts of “Up” were. That is, this film — this whole three-part, 15-year epic — about the adventures of a bunch of silly plastic junk turns out also to be a long, melancholy meditation on loss, impermanence and that noble, stubborn, foolish thing called love. We all know money can’t buy it, except sometimes, for the price of a plastic figurine or a movie ticket.

Toy Story 3 is rated G (General audiences). Some of the mean toys might be a little scary, and the danger the nice toys face becomes pretty intense at times.

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