The Stages Of Post Break Up That We Go Through

Be Smart of relationship break up

The road from break-up to recovery can be endless until you take some actions and put a stop to it, so in the meantime you have to be prepared for some difficult times ahead. It will get bumpy, but keep telling yourself that the storm will pass and you will get through it, you’ll know yourself better and you’ll come out stronger. Remember, don’t blame yourself when a relationship ends. With that said, it is also an undeniable fact that it always takes two to tango for all the good and bad things that happen. It might also be a good idea to let your family and friends know what is going on in your life so that they understand if you’re fragile and don’t think you’re being off with them.

The Post Break-Up stages are very normal because it is what we feel that makes us, HUMAN.

Stage 1: SHOCK

When the break-up happens, you…

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The Amazing Spider Man review

Ten years ago, Spider-Man with Tobey Maguire starring as the arachnid hero and Kristen Dunst as his love interest, Mary Jane, opened to rave reviews.

The first film in director Sam Raimi’s trilogy shattered box office reviews, earning an unheard of $114 million its first weekend alone.

Critics, naturally, thought it would be a hard act to follow.

 

 

“There is only one plot in all of fiction,” Peter Parker’s English teacher tells him near the end of Marc Webb’s ‘The Amazing Spider-Man.’ These words make an all-too-fitting conclusion to a story that’s essentially recycled from a ten-year-old movie which was itself repurposed from a forty-year-old comic book. If you go to the theater regularly enough these days, you see a marquee filled with remakes and sequels and prequels and (as in the case of ‘The Amazing Spider-Man’) reboots. It often does feel like there’s only one plot in movies.

And we’ve seen it already.

That singular plot, Peter’s informed, is “Who am I?” So who is ‘The Amazing Spider-Man’s’ Peter Parker? Other than the fact that he’s now played by ‘The Social Network’s’ Andrew Garfield and he perpetually carries around a skateboard, he’s basically the same Peter Parker Tobey Maguire played for Sam Raimi in three films over the last decade: dorky yet heroic, brave in the face of danger yet timid in the face of romance and a lonely brooder in his room yet a sarcastic wiseacre in his costume. Is there enough difference between the Maguire and Garfield Spider-Man, and between the Raimi and Webb ‘Spider-Man,’ to justify a full-scale reboot? Not really. The marketing has advertised this version as “The Untold Story” of Spider-Man’s origin. To me, it felt a lot more like the retold story.

Take the arc and motivations of Dr. Curt Connors, a.k.a. the super-villain The Lizard. He is, beat for beat, the exact same character as Norman Osborn, a.k.a. the super-villain The Green Goblin, from ‘Spider-Man.’ Like Osborn, Connors is a brilliant but overly ambitious scientist. Like Osborn, Connors is struggling to meet a deadline on his latest project, a formula that would enhance human tissue. Like Osborn, Connors uses himself as a test subject after becoming a mentor to the fatherless Peter Parker. Like Osborn, Connors’ serum gives him super-powers. Like Osborn, they also drive him insane. Like Osborn, he forces Spider-Man to rescue civilians he leaves danging beneath a New York City bridge. That, we can all agree, is a lot of “Like Osborn…”s.

Or how about Peter Parker’s transformation into Spider-Man? There are a few cosmetic differences — the spider that bites him comes courtesy of Connors and his lab’s stunningly lax security; professional wrestling plays a much smaller role — but they’re exactly that: cosmetic differences.

 
Watch The Amazing Spider Man online for free:
 
http://deditv.com/play.php?v=d82da6123957c42039f58a9305459c64

 

The Raven review.

Intrepid Pictures’ The Raven is an ingenious web of fiction and history, based on the life of poet and author, Edgar Allan Poe.

It was many and many a year ago,
In a kingdom by the sea,
That a maiden there lived whom you may know
By the name of Annabel Lee

Edgar Allan Poe is the name that will ring in your ears when you hear these words. But what is amazing is that with the lucidity that he wrote such poems on love, life and death; he wrote grotesque and murderous short stories with the same ease.

Edgar Allan Poe (John Cusack), a poet, a short story writer, an alcoholic, a loner but desperately in love with Emily Hamilton (Alice Eve), has stopped writing murder mysteries for a while. Unaware of the happenings in the world around him, he drowns himself in alcohol and the hope for a future with Emily. A double murder has suddenly brought attention to Poe’s stories and Detective Fields (Luke Evans) summons him for questioning. Soon another murder takes place in the exact fashion as described in his story. On one hand, Poe’s stories form the basis of a killer’s murders; while on the other hand, the very stories turn out to be clues for the investigators to catch the psychopath.

Soon the killer decides to make Poe’s involvement more obvious and asks him to follow his lead if he ever wishes to see the love of his life, Emily, alive again. Helpless, Poe starts taking clues off of the bodies of the victims of the murderer. Each murder leads him one step closer to Emily. It is Poe and Detective Fields responsibility to stop each and every story of Poe from turning into a gruesome reality. Can they stop this lunatic? Can Poe save Emily? More importantly, can Poe ever forgive himself for writing such brutal murders and giving inspiration to a sick man? These questions are answered as the mystery unravels.

Watch The Raven online: 

http://deditv.com/play.php?v=f429176fdce81f47e8483ddc757cf57a

Ice Age 4 review

The first Ice Age flick was one of the most entertaining entries in the CGI animated, Pixar inspired series of films that followed Toy Story. It didn’t have a lead character as recognisable as Shrek, but what it did have was a sweet core message and a satisfying focus on slapstick – thanks to the inspired Scrat. Used sparingly until now, he remains the most entertaining thing in a franchise now struggling for any semblance of originality.


Release:

Ice Age: Continental Drift will have its premiere on June 20, 2012, at the CineEurope film distributors’ trade fair in Barcelona. It will publicly premiere on June 27, 2012, in Belgium, and will be released on July 13, 2012, in the USA. The film will be accompanied by the short animated film The Longest Daycare featuring Maggie Simpson.

Ice Age: Continental Drift, (also known as Ice Age 4: Continental Drift or simply Ice Age 4) is an upcoming 2012 American 3-D computer-animated comedy film directed by Steve Martino and Mike Thurmeier, starring the voices of Ray Romano, John Leguizamo, Denis Leary, Queen Latifah, Seann William Scott, Josh Peck, Keke Palmer, Chris Wedge, Peter Dinklage, Jennifer Lopez, Drake and Nicki Minaj.

Plot Summary: In “Ice Age: Continental Drift,” Scrat’s nutty pursuit of the cursed acorn, which he’s been after since the dawn of time, has world-changing consequences — a continental cataclysm that triggers the greatest adventure of all for Manny, Diego and Sid. In the wake of these earth-shattering upheavals, Sid reunites with his long lost family, and the gang encounters a ragtag menagerie of colorful new characters determined to stop them from returning home.

Watch in online for free:
http://deditv.com/play.php?v=778833cbd880f5c5feca963287ee42e8

Brave review

Brave – review

Brave

Brave

Pixar’s gorgeously coloured fantasy fairytale, set in a medieval highland Scotland, will disappoint nationalists but please fans of the studio’s heartfelt nonconformity

Pixar has delivered a rousing family melodrama set in a fantasy medieval highland Scotland populated by rowdy, larger-than-life clan chieftains, mischievous magical spirits and monstrous, murderous ursines – all impressively grounded in a reassuringly vigorous reality. Brave is a well-made animated film, but ultimately a minor entry that will quickly be forgotten.

Our heroine is Princess Merida, a hot-tempered teenager who loves archery, and frequently rides out to have adventures in the Highlands, much to the dismay of her regal and elegant mother, Queen Elinor. The Queen wishes her daughter would be more ladylike, and hopes to tame her by marrying her off to one of the less-than-eligible first-born sons of neighbouring lairds, Dingwall, Macintosh and Macguffin.

Unimpressed by her choice of husbands, and by the fact that she’s being rushed into marriage, Merida and her mother fall out in a big way. The film is very much about the occasional disparities between a parent and a child, and Merida discovers what bravery really means when magic intercedes in their already troubled relationship. 

For those with certain expectations from the studio, I should say that there isn’t a moment to match tear-jerking scenes from WALL-E, Up or Toy Story 3, and nor do I think this one will breach many fans’ top five favourite Pixar movies. Given the quality of most of its films up to this point, however, that’s hardly a negative. Pixar seems to be at its best when touching upon themes of family, particularly with regard to parenthood, and it’s absolutely back on form here.

It’s almost a tradition that Pixar trailers tend to give away very little about their corresponding movies. In this case, the trailers and marketing have largely gone no further than half an hour intoBrave, and you’ll understand why when you see the film. For me, the trailers did just enough to make me want to see the film, and so the twist in the tale came as quite a surprise, after what some might view as a slowly-paced opening act.

Even more surprising, despite the very handsome trailers, is just how gorgeous this film truly is. It’s traditional that big movies with lots of spectacle tend to have accompanying reference books about their artwork, and this is the first movie I can remember seeing that made me want to go out and buy The Art Of.. tome immediately, just to look at the development of the visuals.

Pixar showcases the details magnificently, with shots that are reminiscent of the swooping helicopter sequences in live-action epics like The Lord Of The Rings. This is, by far, the best-looking film it’s ever made.

Against this backdrop stands Merida, whose distinctive ginger hair was designed specifically to be seen apart from the gloriously meticulous detail of the Highlands, no matter where she was placed in any given frame. It’s not a Scottish stereotype, but a nice bit of visual storytelling that her fiery mane is so uncontrollable, despite Elinor’s best efforts to groom it into submission.

The mother-daughter relationship is really the heart of the movie, and the voices of Kelly McDonald and Emma Thompson bring this to life wonderfully. One of my favourite scenes happens early on, when Merida and Elinor are simultaneously pretending to talk to one another, in different rooms, about what they want and not quite seeing the other’s own point of view. It very literally reminded me of the voice acting process, of actors standing in different rooms and recording dialogue, and the scene highlights the quality of the vocal performances.

Alongside the emotional core of the film, there are comedic family dynamics at work elsewhere. Merida’s dad, King Fergus, has some nice interplay with Lords Dingwall (Robbie Coltrane) Macintosh (Craig Ferguson), and MacGuffin , but each has a funny and distinctive dynamic with their own children. Most enjoyable is the way McKidd also voices his character’s son, Young MacGuffin, with an incomprehensible Doric dialect that is consistently funny without being over-egged or mean-spirited.

The thing that really stands out is that it’s not a carnivalesque depiction of Scotland, but an authentic love letter to its national personality. The obvious attraction is its wealth of storytelling, as Pixar has always placed story first and foremost. You see that in King Fergus, who lost his leg in a battle with a legendary bear known as Mor’du, and tells the story to absolutely anyone who will listen, even though they all know it by heart.

There’s no such repetition in Brave, a Pixar fairytale which manages to emulate that familiar sense of Disney-ness from classic animation, while also blazing a trail in animated landscapes and consistently feeling very original. In Merida, it’s created an all-new Disney princess, bucking trends and subverting expectations in the more modern tradition, while her creators focus on rediscovering the magic that made us fall in love with their work in the first place.

Link to watch :

http://deditv.com/gate-way.php?v=4168b2b3ba79c6f42673c8bbe8b5131f

http://vidreel.com/human/OTY5MDk2/

http://www.youtube.com/watch?v=7UrmeSqcUyA&feature=fvst

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