What began in the first film as a battle solely between Vampires and Lycan has now evolved into a fight for both species’ survival when humans discover their existence and decide (very un-True Blood like) that eradication is the only solution. Kate Beckinsale returns once again as Selene, our heroin from the first two films. She begins the movie with an onslaught of unique battle scenes, fleeing from the human aggressors, and clever camera angles that are nicely complimented by the 3D experience. After a brief memory blurb, explaining the details of the new state of mortal paranoia, she is caught by the pesky humans and finds herself twelve years later in a research facility being subjected to experimentation.

Of course, with unknown help, Selene quickly escapes and proceeds into an unfamiliar world that she must adapt in, where her species no longer lives in luxury and safety. Equipped with the added strength she had gained in Evolution, from Alexander Corvinus, she quickly shows that she has grown from the naïve Death Dealer from the first film into a strong not easily eclipsed character. (Eat your heart out Bella Swan… even when you do become a vampire).

Selene must attempt to discover what has happened to Michael in the time she has laid dormant and she finds that she is not the only thing experimented on within the facility she broke free from. With most of the characters from the original films long since fully deceased, a new set of allies and enemies are presented to fill their shoes.

If I had a complaint about the movie, it would lie in the unperfected CGI effects, but (for me) they were not too distracting. Overall, I fully recommend this film to someone who is either a fan of the original films or anyone who is sick to death of vampires that sparkle and werewolves who take their shirt off every five minutes without actually changing into a wolf.

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so he ride to where they are and and try impressing them by his cycle.

and the trcik works and he get asked works with them, but the boss in the gang is wise so he let him work only in the small works they take action

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its nice movie go buy it and watch with the family.

Carriages as they called it colored black and red with shining light of green and blue flashes were chasing them throughout the city. at a point Yinth and Lith are cornered with no way out and  start to shout the city’s language in the what it was known to be an old spoken language back in the 1500s. Yinth and Lith are scared and would do anything, they felt trapped like when they were slaves where they came from. The question that Yinth and Lith asked themselves was how to do we get out of this hell that we ended up in and felt sad to know that their so called freedom was lost as fast they gain it. 

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“The Alchemist” details the journey of a Spanish shepherd boy named Santiago. Santiago, believing a dream to be special, decides to travel to the pyramids of Egypt to find treasure. He then tells a lone gypsy about this treasure. As he leaves, the gypsy mentions he does find the treasure; she wants a small portion of it. On the way, he encounters love, danger, opportunity, disaster and learns a lot about himself and the ways of the world.

 One of the significant characters that he meets is an old king named Melchizedek, who tells him about discovering his personal legend, what he always wanted to accomplish in his life and that “When you want something, all the universe conspires in helping  you to achieve it.” This is the core philosophy and motto of the book. During his travels, he meets a beautiful Arabian woman named Fatima who explains to him that if he follows his heart, he shall find what it is he seeks. Santiago then encounters a lone alchemist who tells about personal legends. He says that people only want to find the treasure of their personal legends but not the personal legend itself. He feels unsure about himself as he listens to the alchemist’s teachings. The alchemist states “Those who don’t understand their personal legends will fail to comprehend its teachings.”

“The Alchemist” is overall a very good book but can be confusing at times. Coelho does a very good job inspire people to believe in what they can do and not having other people decide it for them. Coelho tells us t “The world’s greatest lie is that at some point fate controls your future.”

Spoiler alerts

Much anticipated and heavily hyped big screen outing for Belgium’s famous and intrepid young news-reporter, his fearless dog Snowy, and friends.

Directed by Steven Spielberg & produced by Peter Jackson, this is an action packed, often breath taking CGI animation drama in the spirit of the Indiana Jones films.

The plot involves a series of cryptic clues hidden in three model three masted clipper ships, leading to a secret treasure horde. Tin-Tin and chums race against the nefarious Sakhane, brilliantly played by Daniel Craig as a mixture of English Professor and Moriarty like criminal mastermind. 

The plot is really just an excuse for a series chases, battles and location shifts, with action taking place on a cargo ship, in the skies (with Tin-Tin taking charge of a sea-plane) and a Moroccan desert town, before the astonishing crane fight finale.

The casting is excellent, with Jamie Bell as Tin-Tin, and Andy Serkis as the drunken, but ultimately brave and noble Captain Haddock. Simon Pegg and Nick Frost as the barely competent Thompson Twins do such similar accents that it is impossible to tell which is which actor.

Snowy is presented as cute and too clever by half, though no Lassie.

With Tin-Tin pursued and knocked unconscious by crooks eager to get their hands on his clue to the mysterious Unicorn treasure (the cargo of the real ship the models are based on), Tin-Tin finds himself trapped on the Karaboudjan, a steam powered cargo vessel, with its own seaplane. Escaping his cell, Tin–Tin meets the ship’s other hostage, Captain Haddock, who is kept continuously drunk in order to keep him from escaping. This rather contradicts the later situation where Haddock becomes a formidable unstoppable force of nature if he gets drunk. Even the Foreign Legion seems intent to shoot him if he touches the booze again.

The first really awesome action sequence (others before it being fine, but capable of being staged in non-animation), involves Tin-Tin trying to get some keys off a sleeping thuggish mutinous crew-man (the ship was Haddock’s own) in a room full of dangerous men. One even sleeps with his cutthroat razor in hand, and Haddock warns Tin-Tin that another has an unpleasant approach to animal husbandry that lost him his job as a shepherd. As the bunks are knocked over, beds tip, rolling men into one another and press Tin-Tin into a tighter and tighter corridor of still sleeping potential killers. Keys taken, a pitched battle forces the heroes into a lifeboat, pursued by the seaplane. The crew try to gun the heroes down despite explicit orders to capture Haddock alive. Much of the best animation comes in the depiction of rolling waves and storm clouds in these sequences.

Tin-Tin is not averse to shooting at his enemies and uses a last bullet to shoot down the seaplane; taking charge of it by bluffing the crew into thinking he still has a bullet or two left.  Tin-Tin then starts the plane up again without having even tried patching over the damage his bullet did to it, and flies to the desert town where the last model ship is the hands of an Arab Sultan leader. The panoramic views of the town are wonderul – genuine cinematic art.

Past events are now revealed – Haddock is the last direct descendant of the Captain of the real Unicorn, while Sakhane is descended from the dread pirate, Red Rackham, who had attacked that ship, but having failed to take Haddock’s treasure, resulting in a desire for revenge that has lasted the many generations since.  The pirate flashback sequences are terrific, especially in blending neatly in Haddock’s drunken confusions with present day activity.

With Sakhane hiring a glass shattering opera singer and a dark falcon to break him into the glass container containing the last model ship of the Karaboudjan, the scene is set for a very complex multi-layered chase involving cars, tanks, a flooded town, and machine guns. There is a great gag here with a hotel being swept intact from inland to the beach-front with its owner quickly exploiting the situation to upgrade the hotel’s star-rating accordingly.

With the final confrontation-taking place back on the Karaboudjan with Sakhane

And Haddock smashing crane rigs into one another in a vast scale restaging of the last sword fight between the original Haddock and Red Rackham.

The final unearthing of the treasure is a strangely danger free scene of gentility. I expected Sakhane to turn up and present some sort of threat but we see Haddock &^ Tin-Tin left to find the booty without any danger and the film ends neatly.

It’s a cracking yarn, with a few nonsensical moments such as the shot down plane that flies perfectly well on just being started again. Also, there is a question on why the Sultan keeps what is basically a big toy boat behind a screen of bulletproof glass. He has no concept of the value of the model or its concealed coded clue).

Overall, a stunning feature that should hopefully inspire sequels and franchising to match the Indiana Jones series, which this film frequently homages. See for example the chase in the Moroccan town, and its comparison to the desert road chase in Raiders Of The Lost Ark, as well as Tin-Tin coming dangerously close to an aeroplane propeller, also reminiscent of a scene in Raiders.

Tin-Tin is however very much its own film, and a welcome revival for Herge’s greatest comic book creation.

Arthur Chappell