Watch Remember Sunday (2013) Movie Online For Free on iPad and iPhone

Are you looking for a place to watch Remember Sunday movie online without flash or download on your iPad or iPhone? You have come to to the right place. Remember Sunday a cute movie. It's a Romance Drama film about lonely waitress who met a handsome man. A touching and fun romance about life's possibilities. I hope you all you will enjoy watching this movie. Let me know your opinion about it.

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Despicable Me 2 (2013)

Just a few short weeks after Pixar lobbed the sub-par prequel "Monsters University" into theatres comes "Despicable Me 2," the follow-up to the suprisingly delightful and charmingly wicked 2010 animated hit. And just like "Monsters University," "Despicable Me 2" is 360 degrees of mediocrity, a sequel that abandons the things that made its first film so good. And yet this film makes you laugh a lot harder and enjoy yourself a lot more, because it has one thing that Disney does not...

Minions!

Can they do no wrong? Can these charming, mumbling, canary-colored Weebles generate comedic misfires? Methinks not.

And so, a film with none of the sinsiter bite of its original, in which its main character, Gru (Steve Carrell), literally plots to steal the moon itself, is rescued single-handedly by the pure joy of watching an army of individually characterized yellow pills bounce around a movie screen, plot be damned.

The narrative of "Despicable Me 2" was perhaps doomed to begin with, as it finds the once famously evil Gru now reformed and settled into domestic life (albeit in an Addams Family-sort of way), parenting the three girls he picked up during the first film. His exciting life of crime has been exchanged for more honest pursuits, and while Gru has settled nicely into being a dad, he's found no footing in terms of finding satisfying work for himself.

Opportunity knocks when a woman named Lucy Wilde arrives. She's with an organziation called the Anti-Villain League and has been sent by her boss, Silas Ramsbottom (a guy with a name the minions can't pass up having a joke over whose head looks like the entirety of Jabba the Hut squished on top of a body that looks like an additional Jabba the Hut) to enlist Gru's help in catching a criminal they feel is operating under the cover of a local shopping mall business. At first, Gru wants no part of it, but when his trusted sidekick Dr. Nefario (Russell Brand) leaves him so that he can actually do evil again, Gru reconsiders. And his kids are excited for the adventure because they see mom material in Lucy (played thanklessly by Kristen Wiig at her most aw-shucks and clumsy, with no real breakout moments of humor).

Confict arises when Gru argues with Ramsbottom over which store owner might be producting and hiding a serum that could turn whoever is injected with it into pure evil, which is later evidenced by its effects on the minions, who turn purple and essentially develop attitudes like that of the Muppets' Animal but with rabies.

I'd tell you more about the plot if there was more to tell. Suffice it to say that "Despicable Me 2" attempts to go for a love story and a family message and because of it, the characater of Gru oddly takes a back seat in all of it, nearly becoming a support player in his own story. Yes, there are some moments of genuine heart. Far more, actually, than in the aforementioned "Monsters University." But everything lacks the devilish bite of the original film. The evil isn't evil enough, or fun enough. This film's true villain, El Macho, is comically obese and not even remotely scary. And while Gru uses his experiences to lead himself to El Macho, he doesn't do much to excercise that sinister side of his brain, which made the original film so funny.

Still, I'd be lying if I told you that none of this matters much when you have the Minions. They hold some sort of charm power over me that I can't seem to explain. Whether one is using another as a golf tee, or one is vaccuuming the living room as a French maid, or - most comically - two are serenading Gru with their indecipherable rendition of the early-90s slow jam, "I Swear," I'm kept entertained in spite of myself, laughing harder still when allowing myself to also take in what audience members around me are reacting to and saying about the little guys when they are on screen (which is, mercifully, a lot).

All things considered, "Despicable Me 2" won't be that much of a letdown for anyone who enjoyed the first film, largely because this Minions thing just works. So well, in fact, that Universal Pictures has already greenlit "Minions" for a Christmas 2014 release. And may I be among the first to say I can't wait.

"Despicable Me 2" is truly an average film. You don't have to think very hard, and narrative analysis is futile. And yet sometimes you just want to watch a movie that makes you laugh, the kind you know you're not going to flip past when it ends up on HBO. And thanks to my darling little golden pills of mischief, this fits the bill.

 ★ ★ 1/2

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Monsters University (2013)

Perhaps no film studio in the modern era has a better track record of success than Pixar, whose every effort has struck box office gold while almost always managing to please not only fans but critics alike. Now fully absorbed into the Disney company (who, like some sort of planet is sucking in things as big as Marvel comics with its gravitational pull), Pixar is made to suffer through conflicting mojos with its parent company, whose track record of sequels is notoriously weak, especially in the animated department, where most sequels have been straight-to-home-video affairs. (Quick, name me your favorite song from "Return of Jafar"! Didn't think you could...)

In the Pixar oeurve, 2011's "Cars 2" is widely regarded as the company's weakest release artistically, a naked ploy for toy tie-ins so obvious that we shouldn't be remotely shocked that a third film - this time using planes - is headed to theatres. Not all sequels, of course, have been missteps for the studio, as the Toy Story franchise followed its landmark opening entry with a strong sequel and even a third film, which I would argue was far and away the best of that series.

So why another "Monsters Inc." film?

Okay, stupid question. This is Disney we're talking about. But in an attempt at something fresh, instead of getting a follow-up to the 2001 film, we get a prequel, "Monsters University." The result, however, is sadly far from fresh. Audiences will enjoy spending another 90 minutes with the likes of the furry blue Sully and the wisecracking green orb with stick apendages, Mike Wazowski, and yes, John Goodman and Billy Crystal both return to authenticate them. But disappointingly, "Monsters University" is paint-by-numbers theft from films ranging from the Harry Potter series to, well, "Animal House."

As an impressionable young whatever-he-is, Mike experiences the scare floor where famous monsters working for the Monsters, Inc. power company work their magic. He dreams of one day joining their ranks but finds, instead, that he is funny, rather than scary. Of course, once this idea is established, the film immediately suffers, as viewers of the first film will understand instantly where this film must be headed.

Mike manages to gain entry to Monsters University, where he's forced to join the loser-est fraternity on campus (the hilariously named Oozma Kappa) and room with a guy who is nothing like him. That guy, naturally, is Sully, a second generation scarer-in-training who plans to ride through college on charm and pedigree and has no intentions of actually doing work. And, in another well-tread plot development, the two strongly dislike each other. Again, if you've seen "Monsters, Inc.," you understand that they have to be friends by the end of this film!

So early into "Monsters University," the audience already knows that humor will compete with fear for talent and that Mike and Sully will become the best of friends. The perils of the prequel, I suppose. The bulk of the film then focuses on the challenge of the wayward frat to compete against more robust organizations in the Scare Games (insert Harry Potter or Hunger Games without the killing), an annual campus event overseen by the Voldemort-meets-the-Dragon-that-got-trained-in-that-superior-but-not-Disney-film, Dean Hardscrabble (played deliciously with dripping disdain by Helen Mirren). Oozma Kappa is challenged with winning the tournament to avoid explulsion from Monsters University for both Mike and Sully. And, again, exit dramatic tension, as of course they will and must win.

Little that happens in "Monsters University" surprises, and some of the film's best lines are sadly looped in television promotions, which is a problem for most movies but rarely a Pixar one. So the only delights and surprises, then, come via the introduction of new characters to the Monsters franchise. Forturnately, a few of them are quite entertaining and memorable. I am partial to two in particular. One is a furry purple U-shaped thing named Art. Slyly voiced by Charlie Day, he gets the film's funniest line (one for the grown-ups, at that), and his physical efforts during the final challenge of the Scare Games are a visual riot. The other pure pleasure is the mother of frat brother Squishy. Ms. Squibbles, voiced by Julia Sweeney, is like an animated Edie McClurg (my fellow 80s TV and film lovers know who I'm talking about), and she gets some of the film's funniest and most unexpected bits.

I have to be hard on "Monsters University," because when compared to some of Pixar's other efforts - particularly "Wall-E," "Up" and "Ratatouille"), this film feels purely disposable, designed for little more than a firm grab for a few hours of kids' attention, aspiring for none of the sweeping human storytelling and transcendent themes of other films in the studio's canon. "Monsters University" looks fantastic, as one would expect. It is occassionally funny (my kids thought it was more than just occassionally funny). And animated films can and usually do fare far worse ("Hotel Transylvania," anyone?).

But let's face it, "Monsters University" is purely average in virtually every way possible. It feels like a tossed-off effort (though a better one than "Cars 2"). It adds breadth to the Monsters universe but no depth. It lacks the genuine passion and emotion of other films from Pixar. And the sum of all of this is that we're left with a solid summer animated entertainment from a studio famous for so much more. Taken in isolation, "Monsters University" is fine. As a piece of a larger history, it's disappointing.

★ ★ 

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The Great Gatsby (2013)

For those who found themselves disliking the cinematic Candy Land of visuals that is Baz Luhrmann's "The Great Gatsby," all I can say is that you should have known better. It would be like if you rushed to a Quentin Tarantino-directed remake of "Mary Poppins" and found yourself disappointed and stunned when Mary proved herself capable of shooting bullets out of the metal tip of her umbrella and Burt slashed the throats of all the other chimney sweeps on that roof because they were in competition with him for work. Some directors, you see, are true artistes. They see every story through their own, unique eyes and brain. Every story looks like theirs.

And so it goes without saying that "The Great Gatsby" is - and perhaps first and foremost - chock full of Baz Luhrmann-y goodness (or overkill, depending on your tolerance level for his style). There are gradiose widescreen zoom-ins and zoom-outs that look vaguely computer-generated. There are deep, deep warm and cool colors sharing residency in each frame. There is moment after moment when you feel as though your eyes could quite possibly explode as a result of the ocular orgy in front of you.

There's also this "Great Gatsby" thing. You know, the F. Scott Fitzgerald novel? This paragon of American literature that one speculates might sit second (behind the Bible) on a Library of Congress list of books to save in the event of a fire. There is scant exaggeration in my saying that English teachers all over America sat at the ready, waiting impatiently to see what Luhrmann would do with the green light. Certainly our reverence toward his source material weighed on him as he co-wrote his screenplay and directed his film. 

I watched "The Great Gatsby" with a palpable sense that Luhrmann was forever looking over his shoulder to "get it right." To draw more accurate comparisons between mediums, I reread the novel (a book that I have publicly and shamefully admitted that I had not read since my junior year of high school, even as an English teacher in a department full of Gatsby disciples) not long before seeing the film. And so it is the greatest strength and also the most obvious liability of this latest adaptation of Fitzgerald's work that this "Great Gatsby" is very, very faithful to the source material. One who knows the novel well could have sat in the movie theatre with the book in his or her lap, checking off each page as it passed on screen. Now, there is a certain geeky thrill to this devotion, to be sure. But there was also a bit of joy sucked out of what strongly felt like duty or obligation. 

I'm not going to spend much time on plot summary, but instead put on my English teacher hat, wag my finger,  and tell you to read the freaking book if you haven't already or if you don't remember it. I refuse to be your Spark Notes! The novel is rightfully celebrated as a sparse and lean 180 pages of thematic and symbolic genius and wisdom, with characters equally worthy of study regardless of whether they seem fully formed or merely sketched. If you think you might have read "The Great Gatsby" this one time in high school, I urge you to follow my example of treating yourself to a re-read. Trust me when I tell you that your adult self can glean so much more from this masterwork than your hormonal young brain had the ability to process back then. 

Suffice it to say that "The Great Gatsby" is, in many ways, the story of Nick Carraway, a young man who moves to the "less fashionable" West Egg, one of a chain of islands on the Long Island Sound about 20 miles from New York (5). (See what I did there? That's called parenthetical notation, kids.) While renting a modest cottage tucked back in what he thought would be a quiet place where he could study up on the banking and investment industries to take advantage of the unbelievable prosperity of Wall Street in this decadent decade prior to the great stock market chrash, Carraway is - through a drawn-out sequence of somewhat mysterious interactions and not-so-mysterious introductions to intoxication - brought face to face with Jay Gatsby, his next door neighbor.

Fitzgerald's writing focuses on Carraway's analysis of Gatsby, including his hero worship of him (or, if you like, his desire for him, as some want to interpret it) and Gatsby's motivations for throwing legendary parties on a weekly basis in his palatial residence. In early encounters, Nick is barely ankle deep in a wading pool in terms of truly knowing Gatsby. Eventually, of course, he falls down the well. His infatuation turned to understanding is not unlike what it must have been like for a disciple of Jesus to perhaps become magnetized and energized by him long before fully understanding his messages. 

Of course the relationship that matters most in terms of the dramatic tension of "The Great Gatsby" outside of the budding friendship between Nick and Jay is that of Jay and Daisy Buchanan, a vapid socialite who lives with her husband Tom (who oozes machismo) directly across the bay in East Egg. (Luhrmann shows us that a green light perched atop the end of the Buchanans' pier marks the location of their estate by night, while during their day, their gargantuan display of Tom's own immense weath is clearly visible across the water.) Daisy and Nick are cousins, and before long the viewer (or reader) learns that regardless of whether or not Gatsby ever has any genuine motives in befriending Nick, he is most certainly doing so to get in contact with Daisy. The rich and mysterious charmer and the Kentucky girl had a thing five years earlier before Gatsby disappeared. She settled for Tom in the interim. And Luhrmann hammers it home multiple times that everything Gatsby is doing - every life choice he makes - is an attempt at reclaiming Daisy. 

I can't use up my film blog space for novel analysis. I'd be here all day. So I'll focus on the adaptation aspects of the story. So let's talk about the actors, first. 

Tobey Maguire plays Nick Carraway, and while I had my doubts about him going in, I was immediately struck with the thought that Maguire looks older in the film. He looks like a man. And I thought he handled the character very well, particularly in his recreation of the novel's narration, mostly lifted verbatim from the original pages and frequently delivered in voiceover. I thought his eyes and body language captured the excitement of a young man infatuated with another. If a viewer wants to believe that Carraway is gay and in love with Gatsby, I think that viewer can find evidence in the performance. And if a viewer wishes to take a more traditional interpretive approach concerning why Nick would be so affected by Gatsby, that evidence is more than amply provided as well. 

Leonardo DiCaprio, of course, plays Jay Gatsby, reteaming with Luhrmann for the first time since the director last adapted classic literature with 1996's "William Shakespeare's Romeo + Juliet." I have always found DiCaprio to be a solid actor who grows more deeply into his talents with each passing role, and whole-heartedly enjoyed his wicked turn as a slave owner is last year's "Django Unchained." But this was the first time I think I really understand his charm as a beautiful person. Perhaps this was the right director and the right part for DiCaprio at the right time, but he seemed to best convey what Gatsby requires in a purely physical sense. Only Ryan Gosling pops into my head as someone else who could have communicated this charm as successfully. 

But DiCaprio is better than charming here. In ways both subtle and overt, his Gatsby is at times terribly nervous and regretful, and DiCaprio sneaks out glances and moments where the audience can see that Gatsby is terrified of both rejection and the uncovering of the truths about his past that he's built magnificent backstories around. There absolutely has to be a vulnerability to Gatsby, and I think it's important that Nick is unable to detect it until much later in his life. The film gets this right. To me, DiCaprio was fully effective as Gatsby in every possible way. 

The support cast is equally effective. In fact, I have few complaints about the film's performances. Friends of mine have debated the casting of Joel Edgerton as Tom Buchanan, but I might have enjoyed his performance most of all, as he surprisingly managed to add a level of humanity to Tom's douchebaggery that is tough to glean when reading the novel. His is a physical performance that reminded me a lot of the work Corey Stoll did as Ernest Hemingway in Woody Allen's recent "Midnight in Paris." Both had a raw and animalistic masculine energy, and I thought that served the character of Tom well here. The audience has to buy why Daisy would try to replace Gatsby with Tom. Money and sex are the reasons, of course, and Edgerton communicates both. 

As Daisy, the excellent Carey Mulligan conveys the boredom and ennui of a spoiled girl who is either never satisfied or unable to make up her mind. I read one review that referred to Daisy as the "biggest piece of shit character in all of American literature." I'm not sure I'd go to that extreme, but if there's a grain of truth to such an assessment, Mulligan mixes in the necessary softness to help us understand, if only just a little bit, Gatsby's motivations. 

But talking about "The Great Gatsby" is the most fun when discussion its technical details and directorial choices, and given Luhrmann's clear status as an auteur, I believe that the credit for both the film's successes and flaws lie with him. Yes, there were moments when his operatic, flashy camera work betrayed a need for intimacy or stillness to let some emotion seep through the film's celuloid pores, but can you think of another contemporary film director who could better portray the decadence of the era than Luhrmann? Somewhere in a warehouse they are already engraving the plate for art direction Oscar with this film's title. Costumes and settings are as meticulous and sumptuous as we've come to expect from a Luhrmann production. In this area, only Tim Burton is his peer in terms of visual mood mastery. 

Like Burton, though, such emphasis on these physical details frequently amounts to shallow emotion, and as I've hinted at before, the unbelievable feast for the eyes we're given here, coupled with a need to translate the novel almost word for word, laquers the film with a sheen of stiffness and emotional distance. Case in point... I happened to see "Man of Steel" before "Gatsby" (though "Gatsby" was released almost two months prior), and I choked up with emotion much more in the Superman movie than I did here. Was there a way to prevent that? I'd like to think so.

An early party scene - the one when Nick tells us it is the first time he's ever been truly drunk - is a great example of Luhrmann using his trademark style to the hilt. His "Moulin Rouge" readily comes to mind as partygoers in an illicit rendezvous for Tom and his mistress, Myrtle, are surrounded by drinking and flying feathers from pillow fights, scantily-clad women draped over velveteen chaises and a random man on a fire escape blowing a trumpet while the soundtrack delivers the jarring anachronism of contemporary hip-hop flavored faintly with jazz-aged rhythms. This scene really represents what we get most of the time, this bag of tricks for the eyes. 

Certainly every visual symbol present in the novel transfers successfully here. The eyes on the billboard. The green light. The yellow car. The views of Gatsby's and Buchanan's homes. The film is even a bit too heavy handed in ensuring that the less literate audience member is aware that these things are, in fact, symbolism. And Luhrmann adds his own touches, such as the identification of Gatsby only via glimpses of a garish, rectangular onxy ring on his finger prior to the revelation of his identity; the ring then becomes a motif throughout the film. No doubt I could scarcely ask for more in terms of capturing all of these little things from the book. 

Still, something clearly fails with this "Great Gatsby," or at least I think so. I thought it telling when, upon the film's end, I turned to my wife and asked her what she thought. Her answer? "That was pretty." Hmm. I completely agree, though I'm not sure that's the way I would have liked to respond. 

The real problem with "The Great Gatsby" is the one evident in almost every scene, such as the one I described a bit earlier, and that is the fact that the film's individual elements - the camera work, the sound, the style - are all so individually ostentateous and interesting that the sum of them never gels into the whole of its parts. If you're offended by a Jay-Z-supervised song score in a film set in the 1920s, you will find yourself pulled away from the story's emotional core every time you hear a song that doesn't seem to fit the era. If you're completing a mental checklist of each of the novel's elements while watching, you only find yourself diving in emotionally up to the waist. There's never a full immersion. 

Perhaps what this all comes down to is that those of us who know Fitzgerald's novel well have already so thoroughly considered the work's depth and dense thematic elements that no one else's interpretation of the work can compete with our own. Which is unfortunate, because Lord knows this director sure tries. By the end of the film, I felt myself emotionally at about the place where Nick is in the first third of the film: eyes wide with wonderment, head filled with questions, heart pounding a mile a minute. Even in the film's violent climactic moments - which, by the way, I think were pulled off nicely - I never became as emotionally overwhelmed as I was intellectually interested to see if Luhrmann would "get it right." He gets everything right. But that's basically all he does. And why isn't that enough?

Unless I'm mistaken, for all of Luhrmann's bold visual and sonic choices, he only really tampers with one aspect of the novel, which is to frame Nick Carraway's narration as a conversation with a doctor in a mental hospital. Luhrmann's devotion to sticking to Fitzgerald's language is so complete that we frequently view his words physically on the screen. This device - yet another visual distraction - is justified by the conceit that Carraway's doctor has encouraged him to write down his stories of his time with Gatsby. This invention is developed through a glimpse of paperwork that lists Nick's visit as a patient being a result of a cocktail of insecurities and alcoholism. A stretch? Perhaps. But is it an unbelievable construct? I don't think so.

There are those who don't like this tampering, but I absolutely loved it. I find voice-over narration to be a difficult thing for a director to successfully pull off, so who would Nick be talking to without this bold choice on Luhrmann's part? When I read "Gatsby," Nick is talking directly to me; for whatever reason, the act of reading manages a level of intimacy between page and person that is lacking in movies. A movie cannot just be a physical manifestation of words from a book marching to life in page order. "The Great Gatsby" suffers from stunted emotion in many places specifically because it works too hard to attempt its carbon copy script translation. It breathes and is energized in those few moments where liberties are taken. The message must be right for the medium. 

Wherever liberties were taken, I was energized. I thought I'd hate the anachronistic music, but it blended energetically with elements of authentic jazz and worked just as well as "Romeo + Juliet" and "Moulin Rouge" did in this regard. This is, after all, simply another detail within Luhrmann's authorial style, and I simply embraced it. So, too, did I embrace the dramatic and quicky camera work and the art direction overkill. "The Great Gatsby," after all, takes place during a time of exorbitant decadence and excess! Did not Baz Luhrmann successfully communicate this, even if other aspects of the film did not meet expectations? 

I could see myself watching "The Great Gatsby" multiple times, studying different aspects and angles. I could see myself watching the film with my annotated copy of Fitzgerald's too-flimsy-to-be-this-rich paperback in my lap, taking note of moments where dialogue was expanded upon, highlighting direct lines of translation. Though I have not seen all of the other versions of this book that have been sent to movie theatres, I can see this one being considered the definitive film interpretation. 

But what I also know is that my fondness for "The Great Gatsby" will always be best represented by the image of an isolated Gatsby at the end of his pier in the dark, his arm outstretched in an attempt to physically grasp the green light in the distance. Somehow, whether it can be explained or not, the film manages to be too faithful and too bold at the same time, leaving audiences to find the space in the middle, which is, well, pretty.

★ ★ ★

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Watch Oblivion (2013) Movie Online For Free on iPad and iPhone

Are you looking for a place to watch Oblivion movie online without flash or download on your iPad or iPhone? You have come to to the right place. Oblivion a beautiful sci-fi movie. Tom Cruise gave a great acceptable performances. The visuals and animation are stunning. It's better than any other sci-fi films released past 2 years. It's not the best sci-fi movie you will see but an entertaining and satisfying film. Enjoy.

How to watch Oblivion (2013) Movie Online on your iPad, iPhone and iPod Touch? Touch the play icon in the middle of the black screen then wait 10-15 min for stream to load. If you'd like to watch Oblivion 2013 Movie on iPad in full screen mode, please press the small arrow icon in the bottom right hand corner of the player.

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Watch Superman: Unbound (2013) Movie Online For Free on iPad and iPhone

Are you looking for a place to watch Superman: Unbound movie online without flash or download on your iPad or iPhone? You have come to to the right place. Superman: Unbound a good animated movie! The story is well crafted and well written. The film is a great show and can be watched more than once with your family. I hope you all will enjoy watching this great movie. Let me know what do you think about it.

How to watch Superman: Unbound (2013) Movie Online on your iPad, iPhone and iPod Touch? Touch the play icon in the middle of the black screen then wait 10-15 min for stream to load. If you'd like to watch Superman: Unbound 2013 Movie on iPad in full screen mode, please press the small arrow icon in the bottom right hand corner of the player.

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Watch Snitch (2013) Movie Online For Free on iPad and iPhone

Are you looking for a place to watch Snitch movie online without flash or download on your iPad or iPhone? You have come to to the right place. Snitch a good strong thriller movie that's packed with explosive action and powerful drama. Dwayne Johnson gave a stunning performance. The movie is among the best this year. I definitely recommend this movie to everyone. The Rock again proves that he can make great films like this one. It's one of those movies that you wouldn't mind seeing from time to time.

How to watch Snitch (2013) Movie Online on your iPad, iPhone and iPod Touch? Touch the play icon in the middle of the black screen then wait 10-15 min for stream to load. If you'd like to watch Snitch 2013 Movie on iPad in full screen mode, please press the small arrow icon in the bottom right hand corner of the player.

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