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Will You See or Skip November Movies

These Films Will Arrive in Theaters in Time for Thanksgiving Dinner, do you will see or skip them.
Jim Carrey Plays Ebenezer Scrooge in “Disney’s a Christmas Carol” While George Clooney Stares at “Goats”

Although the November weather tends to be cold, theaters will be red hot this fall with vampires, alien abductions and a group of men who stare at goats. The following is a partial list of films scheduled for release in November. Please keep in mind that published release dates are.Please keep in mind that published release dates are
subject to last-minute changes or cancellations:

“The Box” (November 6)
Starring: Cameron Diaz, Frank Langella, James Marsden, Gillian Jacobs and Michele Durrett

Inspired by an episode of “The Twilight Zone,” this movie tells the story of a married couple that finds a box with a button on their doorstep. Pushing the button brings wealth, but it also kills someone they don’t know.

“The Fourth Kind” (November 6)
Starring: Milla Jovovich, Corey Johnson, Elias Koteas and Will Patton

A psychologist working in Nome, Alaska starts to uncover evidence of alien abductions, which the government classifies as “Close Encounters of the Fourth Kind.”

“The Men Who Stare at Goats” (November 6)
Starring: George Clooney, Ewan McGregor, Kevin Spacey, Jeff Bridges and Rebecca Mader

A reporter meets a source who claims the government is training a group of “Warrior Monks” with psychic powers, including the ability to kill goats just by staring at them.

“Disney’s A Christmas Carol” (November 6)
Starring the voices of: Jim Carrey, Gary Oldman, Bob Hoskins, Colin Firth and Christopher Lloyd

In this new animated adventure, Jim Carrey lends his voice to Ebenezer Scrooge, a man who has long forgotten the spirit of Christmas, but he’s about to get a spiritual wake-up call.

“2012″ (November 13)
Starring: John Cusack, Chiwetel Ejiofor, Amanda Peet, Thandie Newton, Danny Glover and Woody Harrelson

According to many religious and scientific sources, the world is supposed to end in 2012. This film imagines what would happen if that prediction came true.

“Pirate Radio” (November 13)
Starring: Philip Seymour Hoffman, Bill Nighy, Rhys Ifans, Nick Frost and Kenneth Branagh

During the 1960′s, a group of DJ’s broadcast Rock-n-Roll music on a boat in the North Atlantic to defy an oppressive British law.

FRINGE “Of Human Action” Season 2 Episode 7

Watch a sneak peek of FRINGE "Of Human Action" Season 2 Episode 7 airing Thursday November 12 (9:00-10:00 PM ET/PT) on FOX.

Watch a sneak peek of FRINGE "Of Human Action" Season 2 Episode 7 airing Thursday November 12 (9:00-10:00 PM ET/PT) on FOX.

Episode Synopsis: FRINGE “Of Human Action” Season 2 Episode 7 – When a kidnapping rapidly escalates into a hostage situation in New York, local authorities close in on the suspects only to discover a mysterious force with mind-blowing consequences. As the investigation intensifies, the mystery and threat deepen to unimaginable proportions when the Fringe Division connects a link between the kidnapping and Massive Dynamic in the all-new “Of Human Action” episode of FRINGE airing Thursday, Nov. 12 (9:00-10:00 PM ET/PT) on FOX.

Cast: Anna Torv as Olivia Dunham; Joshua Jackson as Peter Bishop; John Noble as Walter Bishop; Lance Reddick as Phillip Broyles; Kirk Acevedo as Charlie Francis; Blair Brown as Nina Sharp; Jasika Nicole as Astrid Farnsworth

Guest Cast: Cameron Monaghan as Tyler Carson; John Tench as Hickey; Vincent Gale as Dobbins; Andrew Airlie as Dr. Carson; Doron Bell Jr. as Officer Gibson; Irene Karas as Officer Williams

Chelsea Handler Playboy

Chelsea Handler’s pictures for Playboy will shake her fan-base around the world. She has a beautiful figure with sensational curves and is a big attraction for her fans. But it does not mean that she does not require a make-up artist. She certainly needs a make-up artist to transform her appearance amazingly by giving an artistic add-on to her body and face.

Chelsea Handler Playboy

Chelsea Handler Playboy

It was quite tangible when Jay Leno requested her to make akin postures she prefab for Corinthian but in clothes and not unassisted. He told that it is highly pricey endeavor to pursue a individual for mortal photo-shoot. It is real because it is real difficult to pursue a resplendent miss same Chelsea Trainer and get her mortal photos which leave be seen by everyone throughout the world. He told that she proved to be a real forthright soul on Jay Leno lead. She had image sprout for Playboy depot for Dec publicize.

Chelsea Handler does her own show “Chelsea Lately”. It is a talk show which goes on-air on weekends. Chelsea has been a popular host of the show which comprised multidimensional and highly diverse topics to talk on e.g. politics, culture , social issues etc and she has the fan base of around half million people. Her daunting and sardonic criticism on different issues is her exclusive trait which made her popular in masses. The popularity of the show among people forced its producer to continue with the show even up to 2009.

One Tree Hill Season 7 Episode 7 HDTV

One Tree Hill Season 7 Episode 7 HDTV

One Tree Hill Season 7 Episode 7 HDTV XviD | MP3 VBR | 350MB

Dan has Renee as a guest on his TV show. Elsewhere, Quinn reexamines her marriage; Sara and Clay revisit their past; and Brooke tells Julian what she really wants. Directed by series star James Lafferty. [Read more...]

Heroes Season 4 Episode 7

Mini-review: Claire explores her feelings for Gretchen, Noah and Tracy fail to save Jeremy and Sylar gets the upper hand on Matt. Samuel takes his anger out on some cops … again.

Recap: Two weeks ago I suggested that Claire’s kiss with Gretchen was a transparent publicity stunt designed to bring salivating teenage geeks back to the show. At the time I thought, mistakenly, that the kiss was a one-off destined for the regularly emptied dustbin of television history.

Instead, it seems that Heroes’ writers have chosen to elongate this college experimentation cliché in order to dangle the possibility of future Hayden Panettiere lesbian love scenes in front of the aforementioned geeks, seemingly unaware that google and PVRs have long since made actually watching the show a requisite for seeing such action.

It’s not that all lesbian storylines are somehow inherently cynical, they’re not; it’s just that in this particular context the same-sex narrative is about as dramatically credible as the recent lesbian kiss in Megan Fox’s movie Jennifer’s Body. The Claire kiss even received a pre-show publicity blitz similar to one for Jennifer’s Body centred on the promise of a topless Sapphic scene featuring the Transformers starlette. That scene ended up being an unfulfilled promise (left on the cutting room floor), and the geeks saw right through it, kind of like how we can all see through this sad and vaguely offensive attempt to keep Heroes interesting.

Claire’s story opened with her and Gretchen lying in separate beds awkwardly discussing the kiss. Gretchen is apologetic, but Claire’s feelings are ambiguous (sigh), focusing on how important Gretchen’s friendship is to her. The girls are interrupted when their sorority sisters attempt to kidnap them for Hell Week, succeeding only after Claire goes all Buffy the Vampire Slayer on them.

The next thing we know, the two girls are trapped together in the trunk of a car in a scene targeted right at the throbbing … the throbbing hearts of those who troll the Internet in search of even the vaguest hints of celebrity nipple. Claire makes the aim clear, remarking that there are “entire websites devoted to this.” Well there are now. Claire won’t rule out a romantic relationship, leaving it at, “I don’t know” when asked about her feelings. The girls are sent off on a sorority scavenger hunt in a slaughterhouse.

Over the next several scenes Gretchen continues to flirt, stopping only long enough to be rescued from death by Claire as Samuel’s invisible minion Vicky continues to try and kill anyone close to the former cheerleader. Along the way the pair is trailed by two valley girls also on the scavenger hunt. We wonder what they’re around for right up until the moment when Claire foils another attempt by Vicky to kill Gretchen, wounding Vicky and forcing her to flee in the process, but ending up hanging impaled on a spike herself, leaving the tag-along girls to watch in horror as Claire miraculously heals. The secret is out. The storyline wraps up with Gretchen wondering, “what are we going to do?”

Meanwhile, Noah and Tracy hook up in attempt to help Jeremy, the self-orphaned healer/killer from last week’s episode. Noah tries to get the police to release Jeremy, but because Noah isn’t a family member — and because the hillbilly cops harbour doubts about the teen’s violent past— they won’t let the boy go. Noah calls in Tracy to pose as an aunt and because her own struggles with accidental murder mirror Jeremy’s own.

Then, as if out of nowhere, Samuel appears and transports Tracy to the carnival camp where he gives his worn-out speech about how everyone with powers needs a “home,” especially Jeremy. His sermon continues along the novel theme of every person with powers being intimately connected. It’s as if Samuel is turning into the Magneto of the Heroes universe. Tracy asks to go home, but not before a silly-hat wearing Sylar recognizes her, forcing Samuel to chastise him for continuing to remember Nathan’s memories instead of his own.

The police release Jeremy and Tracy and Noah plot to give him a new identity and move him to Washington D.C. where they can both keep a close eye on him. Sadly, a mob has gathered outside the station and when Jeremy tries to pass an angry man grabs him and immediately suffers the consequences. Noah yells to Jeremy that he can undo the damage and save the man from death, but it’s too late. Jeremy walks back into the station escorted by the police.

Noah and Tracy plead with the police to let them see Jeremy, but they aren’t feeling very compassionate. Meanwhile, behind the station, a vigilante officer has tied Jeremy to a car. He taunts the boy, saying he’s not “normal,” but Jeremy manages to resist the temptation to kill him. His mercy is punished when the car speeds away dragging him behind.

Tracy and Noah come across Jeremy’s mutilated body — he’s dead. Tracy is furious with an apologetic and heartbroken Noah, and she demands that he never call her again. Instead of driving off, Tracy takes out the compass that Samuel slipped her earlier. Looks as if his sermon made an impact.

In a scene that verged on parody, Samuel makes an impact of his own, striding down Main street at high noon, spurs clicking, ready for revenge upon the police who killed Jeremy. He uses his powers to create a sinkhole beneath the station, destroying the building and killing everyone inside.

Parkman’s story opens with a down-by-the-fire love scene between Matt and his wife. Except Matt seems to be a little more vigorous than usual and before long it is revealed that Sylar was at the steering wheel. The trapped villain taunts Matt when he awakes and promises to do more violent harm to his wife next time he manages to get control of what is increasingly becoming “their” body.

Parkman moves to remove the threat to his wife by convincing her to leave the house without letting him know where her and the baby are going.

Matt calls Mohinder (he’s still alive?), and in perhaps the only deliberately funny moment of the show, Sylar does a spot on impersonation, remarking in the Indian doctor’s distinctive accent: “he’s probably working on his father’s research.” Parkman is desperately seeking a way to banish Sylar from his brain, and he inadvertently comes upon a solution. He notices that the beer he’s drinking seems to be hurting Sylar and so proceeds to get blackout drunk, eventually causing Sylar to disappear completely.

Matt awakes to find his wife and police partner entering the room. Both are worried for him. His partner tells Matt he needs to start the recovery program anew and although it looks as if he’s going to get a fresh start, something tells us Sylar can’t be killed that easily. As Parkman turns a corner we see Sylar’s face; the villain used the blackout to slip behind the steering wheel of Matt’s body. It was all a clever trick. A clever trick that means the most interesting character on Heroes now has control of not one, but two bodies, a conceit that hopefully yields something more compelling than the promise of two girls kissing.

Defining scene: Claire and Gretchen get tied up and thrown in the trunk of a car together. Claire makes jokes about bondage. Enough said.

Next week: Hiro strives to save his lost love from Sylar in the past and Samuel seems to be tagging along. Looks like Sylar’s history will figure prominently.

Grievous Bodily Harm

Early in tonight’s Lie To Me, there’s a throwaway moment that’s fairly familiar to LTM regulars, though that doesn’t make the moment any less telling. An old friend of Cal’s—one Terry Marsh, from the UK—shows up at The Lightman Group, pretending at first that he just wants to have a drink with a chum he hasn’t seen in 22 years. But while they’re downing shots and chasers, Cal can’t resist “reading” Terry, and finding out that he has an ulterior motive. And Terry can’t resist getting annoyed at Cal for treating him as a subject.

Like I said, we’ve seen scenes like this before on Lie To Me, but “Grievous Bodily Harm” went a little deeper than usual into the character of a man who weighs every word spoken to him to determine the meaning behind it. It turns out that Terry does want something from Cal. He’s in dutch with a crime boss named McClellan—and is on a Scotland Yard/FBI watch-list himself—and he’s promised the boss that he can leverage his sordid past with Cal into a lie-detecting favor for the organization. Exasperated with Terry, Cal gripes to McClellan that like most criminal lifers, his old friend “never can see the end of the road,” and is always looking for one more angle to play. And Cal knows this because even though he’s legit, he has some of the same tendencies.

I wish the plot of “Grievous Bodily Harm” was as sharp as the episode’s insights into Lie To Me’s hero. Don’t get me wrong: this was an entertaining hour (mostly), with a lot of suspenseful scenes and good twists… some of which I didn’t even see coming. But the disconnect between the vivid characterizations and the broadly melodramatic stories are still keeping Lie To Me from being all it can be.

Consider the B-story of “Grievous Bodily Harm.” The Lightman Group gets called to analyze a video sent to the headmaster of a private school. The video seems to threaten some kind of massacre, but is it just a prank? And what student is responsible? This story starts out great, with Gillian leading the rest of the TLG team in a detailed analysis of the video and of the most likely suspects. But I cocked an eyebrow early when Ria blasted the headmaster for nixing Gillian’s suggestion that he close the school indefinitely. Only on corny TV shows do authority figures get yelled at by seemingly intelligent people for making tough but perfectly rational decisions. (Well okay, not only on TV, but it’s still an awfully predictable, TV-ish reaction.) And then when the story turns into the case of a suicidal teen wanting her classmates and gym coach to feel sorry for tormenting her, I pretty much checked out. I liked the idea of an authority figure sending out subtle signals to his charges that their abuse of a peer is okay—it’s an observation that fits well into the concept of the show—but all the scenes of tongue-clucking and chastising belonged more in an After School Special than a show about super-skilled human lie-detectors.

The A-story seemed a little more sophisticated, so long as you don’t look at it too closely. Terry asks Cal to help him repay his debt to McClellan by playing a little Texas Hold ‘Em, but it turns out that the poker game is just a test, to prove to McClellan that Cal is as skilled at reading people as Terry promised. Actually, what McClellan wants is for Cal to meet with some people who are trying to sell him counterfeit Euros, and to determine whether their handiwork is as good as they insist it is. Cal trying to get an insta-read on a counterfeiter—in a warehouse full of people holding guns on him—is exciting stuff—as is the revelation that one of McClellan’s men is an undercover FBI agent. (Though to be honest, I figured there was some sort of sting in the works.)

But does it really make sense for a crook to use Cal to see if someone’s lying about how talented he is? For that matter, does it make sense for Cal and Terry to try and beat the mob in a high-stakes poker game (even a fake one)? Looking back at how the whole story fits together, too much of what happens seems like flimsy set-ups for cool scenes: a chance to get Cal to the poker table, and to get him lie-detecting under extreme duress. A richer show might’ve played out these scenes a little more, isolating the moments that ring true. For example, while gifts like Cal’s would undoubtedly make him formidable at the poker table, contrary to what every TV show and movie would like donkeys to believe, poker isn’t just about “tells.” You can read bluffs correctly all night and still bust out if you don’t get better cards. It’s frustrating to see Lie To Me fall back on these stock situations (and resolutions of same) over and over again. A cast this good deserves better, and I honestly believe that these writers are good enough to give them better.

I know this because the little character moments on Lie To Me are so often so strong. I think of that wonderful scene at the end of last week’s episode, with Cal and Gillian reaffirming their friendship, their partnership and maybe even their affection for each other with a few simple lines and gestures. I think of Terry this week blasting Cal for trying to forget about him and put his rascally past behind. I think of the amusing attempt by Gillian to stage “an intervention” for Cal at the end of the episode for not involving his team more in his personal crises. And I think of snappy exchanges like Gillian telling Cal, “You look awful,” and him replying, “And yet I feel so much worse.” There’s no reason why Lie To Me has to be as lazy as it is. There are good people working on this show, but they keep doing just-okay work.

Grade: B-

Stray observations:

-And so we reach the end of our TV Club coverage of “Lie To Me.” I still like the show, but the readership is low and I’m not finding much to dig into from week to week in terms of themes or master-plot. (And I’m pretty sure any future take-downs of the show’s failings would be recapitulations of what I wrote above.) I know the logic behind what we choose to cover here at the Club can be confounding to some. We go by a combination of reader interest, writer interest and show quality, which means that while I’m sure many of you could cite series we cover that aren’t as “good” as Lie To Me, those other shows may draw more eyeballs, or may have dedicated writers who love them. (Or maybe they’re better than you think; quality can be pretty subjective.) All of which is my way of apologizing to Lie To Me fans for bailing, and saying that while I wish I could promise I was going to redirect my energies to something clearly superior, I can’t guarantee that I won’t be writing up some Gordon Ramsay holler-fest a month from now. Such is the way of things around here. (And frankly, such is the way I like it.) I can’t ask you to excuse it, but I hope you understand.(Form A. V. Crub)

“Belonging”

Programming note: As many of you have probably heard here or elsewhere, FOX has decided to pull Dollhouse from its November sweeps line-up, replacing it with reruns of House and Bones instead. It’s a serious bummer, but the numbers game is what sweeps month is all about, and I trust the network was being prudent. After this week’s episode, we won’t see another one until December 4th, when we’ll see a whole bunch: The plan is to burn off two episodes a week for three weeks. That will bring the overall total to 10 episodes aired, and there’s no word yet on when or whether FOX will unveil the remaining three. Of course, I intend to cover the lot of them for you, but the two-a-night schedule will likely result in shorter, punchier reviews of each (a la Noel’s Buffy blog) rather than my usual long-windedness. Might be beneficial to everyone, now that I think about it.

In the meantime, there’s “Belonging,” which after the stellar “Belle Chose” from two weeks ago, finds the show hitting its stride. (Incidentally, if you want to read an entertaining account of the perils of being a Dollhouse fan, I recommend Daniel Feinberg’s piece “The Critic Who Cried Dollhouse” over at HitFix. I like the show better than he does overall, but know the experience of recommending it to friends with caveats aplenty.) Though loaded with well-orchestrated twists and turns—it was scripted by Jed Whedon and Maurissa Tancharoen, the writing team responsible for “Epitaph One”—the episode goes deep into the fundamental ickiness of the Dollhouse itself and the complicated people who operate it and are offered up for hire. I know some have expressed frustration about all these slippery identities and nobody on Dollhouse being as they seem (hello, Zack Handlen) but I think episodes like “Belonging” (and certainly “Epitaph One”) go a long way toward expressing the tragic insidiousness of a place where everyone is a victim of some kind or another.

Specifically, “Belonging” addresses the niggling little issue of actives being pimped out regularly to clients. Following through on last season’s “Needs,” which suggested that Sierra was essentially sold to the Dollhouse like a slave rather than volunteering, the episode shows off Dichan Lachman’s versatility just as powerfully as “Belle Chose” did Enver Gjokai’s Victor two weeks ago. We meet her first as a craftswoman named Priya on Venice Beach, where she’s approached by Nolan, a handsome dude who goes to great lengths to seduce her: Giving her (kinda crappy) paintings a gallery show and hiring two other dolls (Victor and Echo) to talk him up, but when he finally makes a clumsy, then violent romantic overture, she’s having none of it. Nolan then does what might be called turning her out: He drugs her, makes others believe she’s a paranoid schizophrenic, has her institutionalized, and uses his connections with Dollhouse to “help” her by making her a doll. Then he can possess her as any heartsick repeat client would.

With a little prodding from Echo, who picks up on the subtly disturbed paintings Sierra produces when she’s at rest, Topher figures out what happens. And you know what? It shocks him to the core. As I’ve written time and again in late Season One and early Season Two, Topher has evolved from irritating gadfly to maybe the MVP of the series, and that dramatic improvement has dovetailed with his transformation from smug, amoral, know-it-all science whiz to a tortured (yet still mordantly witty) genius who has finally grown a conscience. His scenes with Adelle (Olivia Williams, who has been brilliant from the start), after they realize what really happened to Sierra, underline just how little control even the people in charge of day-to-day operations ultimately exert over the place. It’s amoral power brokers like Keith Carradine’s character who really run the show—not to mention extravagantly wealthy sleazebags like Nolan, who get what they want.

The twist of having Topher take revenge on Nolan by releasing Sierra with Priya’s original imprint may be telegraphed a bit, but it was nonetheless deliciously played out. As the dolls (and the Dollhouse operators) continue to gain a stronger sense of self, as Echo has, I suspect we’ll be seeing a lot more instances of them exerting some independence and fighting back against The Man. Until then, I’m comfortable living with their fluid, contradictory personalities—Carradine reminds us of Adele’s “Miss Lonelyhearts” thing with Victor— and trust the show will leave nothing back as it’s dumped all over December and beyond.

Stray observations:

• Hey, Echo was in this episode, too! Not much to mention, as Whedon and Tancharoen used her as sparingly here as they did in “Epitaph One,” but her secret data collection (and Boyd’s discovery of same) lays the groundwork for some interesting developments down the line.

• Cut of the series: In flashback, Priya tells off Nolan in the art gallery (“Nothing in this world could ever make me love you”). A year later, a different story.

• Adelle bringing down the hammer on Nolan: “I would no sooner allow you near one of our other actives as I would a mad dog near a child… given that you’re a raping scumbag one tick shy of a murderer.”

• Carradine to Adelle, laying down the law: “You will run it the way we tell you to. You won’t like the early retirement plan.”

• In light of Sierra’s tragic story, her sweetness with Victor is all the more bracing: “I love him so much more than I hate you.”

• Sierra: “This secret we have… can you keep it?” Topher: “I can keep it, but I don’t know I can live with it.”

(from A. V. CLUB)