Many reality TV shows are in the process of winding down their seasons, but the drama of TLC’s “Jon & Kate Plus 8″ has only just begun.

A new season began Monday night amid rumors of infidelity and possible divorce that has been swarming around the media for weeks.

Jon, Kate and their gaggle of kids opened the season with the sextuplets’ birthday party.

The tension during the birthday party was thick enough to make any turtle feel awkward, but interestingly enough, the children did not notice their parents deliberately snubbing each other.

Throughout the episode, Kate continuously states that she is putting her kids first.

Are you sure, Kate? It’s hard to believe her sincerity while she complained more about her kids’ birthday party than the paparazzi.

Sadly, those poor kids never had a chance for a relatively normal life. Growing up on TV is one thing. Having a mother, who is constantly playing to the camera, is another.

If you add divorce, these kids are destined to spend too much time on their psychiatrist’s couch talking about their “mommy issues.”

Most importantly, what about Aaden? He is arguably one of the cutest of the Gosselin children, and possibly the one with the most potential. There’s a reason he’s nicknamed “the little professor.” The divorce may change his life to the point where he will never be the zoologist he was destined to be.

Since “Jon & Kate Plus 8″ is a reality TV show, it is possible that the producers are pushing the adultery and divorce scandal for publicity.

If so, what’s next? Are the producers going to pull another stunt where there’s a special crossover episode with “The Maury Show,” so Kate can reveal to Jon that the children may not be his? Maybe she’ll tell him she’s having a baby with the security guard she’s allegedly having an affair with.

news@cm-life.com

In “Up,” Carl Fredricksen (Edward Asner, “Elf”) fulfills that lifelong dream and travels to Paradise Falls in Venezuela.

Even though he had a happy life as a balloon seller, Fredricksen has turned into a bitter old man.

When Fredricksen is in danger of losing his house, he attaches millions of balloons to it so it will float away with him to Paradise Falls.

The multicolored balloons, as well as some wildlife encountered in South America, are nothing short of visually stunning. The vibrant colors add a whimsical feel to the adventure.

“Up” is released in movie theaters as the newest in a string of 3-D movies.

The 3-D aspect is used more subtlety throughout the film. Often, it is used just to add slightly more dimension and detail to the characters and the scenery.

Since it is subtle, it prevents the movie from being too kitschy, which many viewers will enjoy. Some audiences might feel disappointed that the movie doesn’t have enough gimmicks to compensate for the higher ticket price.

After the house is up in the air, Fredricksen realizes he has a stow away, Russell (Jordan Nagai).

Russell is a Wilderness Explorer, who earlier was trying to find a way to help Fredricksen so he can finally earn his “assisting the elderly” badge.

Although the movie has ample silly, but enjoyable, comedy for any age group, it is deeply rooted in sentimentality, which at moments can be quite depressing.

There’s nothing terribly wrong with emotional based of the movie, but some people may be completely taken off guard based on the trailers.

As with Disney movies of the past, there is a death of a loved one.

With many past Disney movies, it was sad, but the audience does not have a deep emotional connection with Fredricksen’s wife, who dies at the beginning of the movie.

“Up” gives the viewer enough time to grow an attachment to the character before she dies. Although the moment is sad, the complete depth of the loss most likely will not be felt by younger viewers who have not experienced love and loss.

Despite how sad the viewer may feel, it is overall advantageous to the film because it gives a greater amount of depth and understanding of Fredricksen so he is not seen as just another grumpy old man.

Russell is also a deeper character than a silly, comedic reflection of Fredrickson. Through his interactions with Fredricksen, he is truly the heart of the movie.

As with many Disney movies, there are great life lessons that everyone can reflect on, such as what really makes an adventure.

“Up” is a deep, comical yet sentimental journey that anyone who is a kid at heart can escape into.

Four out of five stars.

“The Terminator” series returns with its newest edition, “Terminator Salvation.” The expectations surrounding the hype are definitely met.

“Terminator Salvation” presents a grave view of the future: machines try to take over mankind and mankind loses. A nuclear holocaust has destroyed most of the world’s population, and Skynet, a series of machines and robots, are constantly building themselves to be better and stronger in order to wipe out of the rest of the human population.

The world has become a complete wasteland and the only sense of order remaining are the humans that have banded together to form a group known as the Resistance, which is lead by John Conner (Christian Bale, “The Dark Knight”).

The movie tries to imagine the look and style of the complete destruction of the not-too-distant future. There are some modern day tie-ins, like a 7-Eleven store, while the majority of the terrain is demolished to the point where the events feel outside time and space. The merging of the specific and ambiguous allows the movie to have a plausible, but not entirely convincing, semi-futuristic feel.

In one fight between the Resistance and Skynet, Marcus Wright (Sam Worthington) appears. Wright, a death-row inmate from the past, has resurfaced and has been rebuilt to the point where it is indistinguishable if he is more man than machine.

“Terminator Salvation” is comprised of a cast that delivers solid acting, but not necessarily Oscar winning performances.

Dialogue, acting and plot are downplayed in order for the real purpose of the movie to blast through: action and special effects. Viewers expecting anything more substantial may leave the movie slightly disappointed.

Like any good action movie, “Terminator Salvation” thrives off fast-paced action sequences that are, in technical terms, empirically awesome.

Between massive explosions and chase sequences, the movie should leave action fans satisfied.

Although plot is not the strongest aspect of the movie, it does contain a few great plot twists near the end. Some “Terminator” fans may not be entirely surprised by some of the twists, but “Terminator Salvation” also contains some unforeseen content that will make some jaws drop in disbelief and excitement, despite the level of fandom.

As with many science-fiction movies, there remains a subtextual commentary on some social issues, such as the idea of people having second chances or the gray area that can sometimes occur between classifying anything as either man or machine.

While the movie provides important ideas to consider, they are not exactly new, especially to the genre.

In the recent trend of remaking of popular series, “Terminator Salvation” identifies with, but is not completely a part of, the existing “Terminator” series. The movie is on its own battlefield and should be regarded as such.

“Terminator Salvation” is a great action movie that is bound to be extremely entertaining for most audiences because, really, who doesn’t like watching things explode?

Four out of five stars

Cal McAffrey (Russell Crowe, “American Gangster”) is a seasoned journalist for a Washington D.C. newspaper who is assigned to investigate the shooting of two men.

The next morning, the employee and mistress of McAffrey’s friend, Congressman Stephen Collins (Ben Affleck, “He’s Just Not that Into You”), dies suddenly; and, it doesn’t look like an accident.

McAffrey is convinced there’s a conspiracy, even though no one, not even his editor Cameron Lynne (Helen Mirren, “National Treasure: Book of Secrets”), believes him at first.

Government conspiracy is a common theme in both fiction and real life. Unfortunately, this makes half of the premise for “State of Play” not terribly intriguing.

A young journalist, Della Frye (Rachel McAdams, “Red Eye”), is assigned to investigate the murder of the Congressman’s mistress, but the two reporters soon team up when they realize a connection btween the murders.

Through Frye and McAffrey’s interactions, an interesting commentary begins to form about the current state of journalism.

McAffrey strictly sticks to print, while Frye blogs for the same newspaper. Tension arises at first from McAffrey, since print journalism is slowly going out of fashion and everyone in the newsroom knows it.

Even the editor-in-chief, Cameron Lynne (Helen Mirren, “National Treasure: Book of Secrets”) gripes about the newspapers digital switch.

The relationship of McAffrey and Frye acts as an interesting representation of the changing role of journalism.

The further the team investigates a string of informants and cover-ups begin to unravel.

A mercenary group that was previously used by the government appears to be growing out of control, especially when it seems quite possible they are responsible for the death of Collin’s mistress.

Throughout the movie, the journalists are competing with other newspapers, and even the police to solve the mystery first.

By staying one step ahead, Lynne hopes their newspaper can maintain a competitive edge.

Frye and McAffrey sit on information they uncover and don’t give it to the police immediately, which puts lives in danger from the mercenaries.

Crime and investigation movies have been produced abundantly over the decades.

And while the story is interesting and the movie contains all of the elements of a good movie, it just remains that: a good movie. “State of Play” is entertaining, but also on par with the dozens of movies like it.

Crime drama fans might appreciate the movie, but it is unlikely they, or anyone for that matter, will be wowed.

Two out of five stars

Shawn Colfax (Nicholas D’Agosto, “Heroes”) and Nick Brady (Eric Christian Olsen, “Eagle Eye”) are the two biggest players at their high school, on and off the football field.

They even have their bad boy routine down to a play-by-play to help get themselves out of sticky situations, like when two muscle-head fathers catch them home alone with their daughters.

When the high school’s terrible, uncoordinated cheerleaders talk about going to cheer camp for the summer, Shawn and Nick decide to join in on cheerleader camp instead of football camp.

Slightly mocking movies like “Bring It On,” everything about the cheerleading camp is delightfully over the top.

In one scene, the massive group of cheerleaders is even watching “Bring it On” on a big screen. In one voice, they recite the lines of the movie, word-for-word.

All of the other male characters at the camp are either outwardly or subtlety gay.

The two head coaches of the camp are married, even though the man, Coach Keith (John Michael Higgins, “For Your Consideration”) is not-so-subtlety gay. Not only does he wipe his mouth after kissing his wife, but he tells the camp he was born doing spirit fingers.

The ridiculousness goes beyond sexual humor. There are a small group of mascots at the camp. Not only do they have to stay in their costumes throughout the entire three weeks of camp, but they are not allowed to talk, only gesture.

Although Nick and Shawn originally go to the cheerleading camp for the girls, they slowly start to enjoy the camp and actually value the cheerleaders as people.

Shawn is the first to actually become humanized when he falls for Carly (Sarah Roemer, “Disturbia”), the captain of his cheer squad. Shawn tries to win Carly over, despite her already being in a relationship.

Carly’s boyfriend prefers to be called “Dr. Rick,” even though he’s only a freshman in college. He is pre-med and figures he might as well not delay the inevitable.

Coupled with the humor that Rick is completely full of himself, he is always driving up onto the scene blasting some terribly dated song from the 1990s, such as Deep Blue Something’s “Breakfast at Tiffany’s,” Lou Bega’s “Mambo Number Five” and Chumbawumba’s “Tubthumping.”

Of course, this comes just in time for their original plan of conquering and leaving before the end of camp to be revealed.

“Fired Up!” is full of ridiculous, over-the-top humor in almost every moment of the film

.

features@cm-life.com

When INTERPOL agent Louis Salinger (Clive Owen “Sin City”), investigates the world’s largest international bank, he uncovers illegal activity from money laundering to arms trading.

As an epicenter for international terrorist business deals, the bank consequently has the power to take over the world, especially when countries fall into their debt.

The first few scenes of the movie set a fast pace.

One of the Salinger’s fellow agents is murdered moments after meeting an informant from the bank, thus beginning an action-packed movie, right?

Turns out, not so much.

The initial shock of the murder passes and is unfortunately followed with long scenes of dialogue. The dialogue does allow for the movie to follow a decent pace, but the film definitely isn’t as fast-paced as the initial scene suggests.

It can be easy not to pay close attention to the dialogue after such an exciting beginning, but not focusing in right away can only lead to confusion for most of the film.

Salinger teams up with New York’s Assistant District Attorney Eleanor Whitman (Naomi Watts, “The Ring”) in a globe-trotting affair in order to bring the bank to justice.

The duo travels to five different countries in their attempt to bring the bank to justice. The beautiful countries featured in the film are enough to make anyone want to go on an international adventure.

One of the most unsettling aspects of the bank is that no one is safe, not even the bank’s own terrorist employees, one of whom is a political assassin.

As soon as Salinger and Whitman become close to narrowing in on a bank employee and figuring out the truth, the bank swoops in to murder its own employees before Salinger can make them talk.

Salinger struggles to fight a corrupt system while staying in the system, which only leads to dead ends, or people for that matter.

It’s difficult to watch “The International” without the United States’ own corrupt banking troubles in mind. This raises interesting and frightening questions of whether corruption at its highest level can be stopped, even in reality.

There is one solid action-packed sequence, a shootout between Salinger, a political assassin, and other gunmen from the bank who are supposed to kill the assassin.

Besides that scene, the movie remains driven more by dialogue than action. Audiences may find themselves craving at least one more big action sequence. After all, the bank is dealing missiles to volatile countries.

“The International” is a solid political thriller that’s one showdown short of being a quality action movie.

lifeline@cm-life.com

Despite having a cast of young actors who are largely unknown to American audiences, all of the performances are extremely well done. Even the young children who play the main characters early in the movie do an excellent job.

It certainly helps that all of the characters are well-developed and always changing in a way that’s reflective of reality.

A young, uneducated teenager, Jamal (Dev Patel) has earned a spot as a contestant on India’s version of “Who Wants to Be a Millionaire.”

After answering a string of difficult questions correctly, Jamal is thrown in jail and tortured to get him to reveal how he has cheated on the show. If doctors and lawyers cannot win, the police reason, what chance does a slumdog have?

To prove his innocence, Jamal and the investigator (Saurabh Shukla) play a recording of the show, pausing periodically. At each question, Jamal reveals his painfully powerful back story that helps him explain how a young teenager from the slums of India can know so much.

His life goes from one heart-wrenching scene to the other.

As we watch him and his brother, Salim (Madher Mittal), lose their mother and grow up on the rough streets of India, it’s difficult not to become emotionally enthralled in their life.

Hollywood always has been on the forefront of recycling, especially when it comes to movie plots. “Slumdog Millionaire” delivers a fresh and exciting story that does not conform to conventional templates for to Hollywood success.

Instead, it takes on a life of its own.

Although the movie is not told in a linear timeline, the transitions between the past and present are seamless. It is easy to follow the plot.

All of the camera work and the editing is well executed. The cinematography’s non-traditional approach is very refreshing compared with the predictable work of many Hollywood productions.

Through the film, the viewer is able to have a fuller understanding of the real India, especially through the depiction of India’s slums.

Even the soundtrack is impressive. It’s a perfect mix of ethnic and Western music that not only helps create a distinct tone, but is extremely refreshing, adding an extra element of beauty among the brutally realistic background of rural India.

The content of the movie is rather heavy, but the filmmakers do a fine job evening out the material by providing spots of comic relief.

Of course, no movie based in India would be complete without a Bollywood-inspired dance sequence. Even though the dance sequence plays during the credits, it is more than worth staying in the seats for even after the movie’s conclusion.

“Slumdog Millionaire” is nominated for the Academy Award for Best Motion Picture of the Year, and is every bit deserving of it.

Any moviegoer who is bored with what is out there and is looking for something different will not be disappointed.

features@cm-life.com

Howard Bragman attempts to explain to the average person how to do just that in his book, “Where’s My Fifteen Minutes? Get Your Company, Your Cause, or Yourself the Recognition You Deserve.”

A well-established figure in the field of public relations, Bragman takes his reader through a step-by-step process of not only achieving momentary fame, but hopefully lasting recognition as well.

Through straightforward language and metaphors are used to simplify ideas, Bragman begins with how to develop an image before breaking into the media by explaining how to deal with a crisis that may arise because of public exposure.

He even reinforces his most important points at the very end of the book in his “The Ten Commandments of P.R.,” helping his readers realize what aspects of his advice are most important.

Bergman also has woven into his book wit and examples from popular culture that make this read informative, as well as mildly entertaining.

The book mainly focuses on examples for individuals wanting to gain attention for their business and political campaigns, not just for actors and musicians with stars in their eyes.

This does not mean his advice is limited. The coaching he gives the readers throughout his book are simple enough for anyone to figure out how to apply his advice to their own area of interest.

One point Bragman enforces in earlier chapters is the importance of money in gaining notoriety.

Money is something the normal college student may not have much access to, so the book may be more helpful to individuals who are more established in their lives and have the money to take their careers to the next level.

“Where’s My Fifteen Minutes?” may even be helpful to students who are hoping to gain recognition for their cause on campus.

Whatever stage in life the reader is in, one could easily glean information that can help promote their cause, company or self.

features@cm-life.com

In “Gran Torino,” Walt Kowalski (Clint Eastwood, “Million Dollar Baby”) is an angry, arguably racist Korean War veteran living in a Metro Detroit neighborhood. As the film opens, Kowalski’s wife recently has died and it is clear that his sons and their families are utterly self-centered.

The only thing that seems to be going for Kowalski is a mint-condition 1972 Ford Gran Torino that he keeps in his garage.

For obvious reasons, the Gran Torino is desired by everyone around Kowalski, from his oldest grandchild to his friend that works in construction.

Thao Vang Lor (Bee Vang), a young Hmong teenager, lives with his family next door to Kowalski. Although Thao’s family is largely traditional in their values, his older cousin is in a gang and wants nothing more than for his younger cousin to follow in his footsteps.

For his initiation into the gang, Thao has to steal the prized Gran Torino. But Kowalski catches Thao before he is able to steal the car, which upsets Thao’s cousin and the other gang members.

When the gang comes back to harass Thao over his failed initiation, Kowalski intervenes with his Army-issue rifle.

This event sets into motion Kowalski’s role as a protector for Thao and his family. As violence from the gang escalates, Kowalski is pushed to the limit to protect his neighbors.

Each of the main characters go through a clear-cut transformation throughout the course of the film. Many of the developments are typical of Hollywood story-telling, but the characters themselves are distinct.

“Gran Torino” tackles issues like racism and gang violence with a certain gruffness that is to be expected from Clint Eastwood. Since Eastwood is such an angry, tough guy anyway, Kowalski’s constant spouting of racial slurs becomes merely ironic once he starts to become closer to his Hmong neighbors.

Some people might find Kowalski’s remarks offensive, but if his character is accepted as an angry, old war veteran, his remarks can sometimes be funny, especially once it is clear that some of his remarks are twisted terms of endearment.

As to be expected, Eastwood gives a great performance as both actor and director. Many of the actors are silver screen newcomers, which results in some questionable acting, but Eastwood does a great job pulling the movie together.

The plot, however, comes across as formulaic. Even though the outcome is highly predictable, the relationship between the characters overshadows the commonplace plot.

Although “Gran Torino” isn’t the best film of the season, it is still a solid movie that’s worthy of a closer look.

lifeline@cm-life.com

In Patricia Weitz’s “College Girl,” Natalie Bloom has recently transferred to the University of Connecticut from a community college.

Since Natalie had a late start at the university, her initial impression is that everyone has already established their own group of friends, so it would be useless for her to try to make friends at her new school.

Even when the opposite sex shows interest in her, she shrugs off their advances so she can continue to focus on her studies as a Russian history major.

Her life is mundane, but it works for her; that is, until she meets Patrick, a tall, funny English major, who, unlike Natalie, is financially well-off.

Natalie is unable to say “no” to Patrick’s advances, which ultimately throws her into a world that is completely foreign to her: one of sex, drugs and all-night partying.

The reason no one ever writes about the college experience is likely to jump out at the reader within the first 50 pages of the book.

Day-to-day life is mundane. Even the completely new world Natalie finds herself in is too familiar, especially to the college reader.

As in real life, it feels as if Natalie Bloom is merely drifting through the novel, creating a weak and less-than-compelling plot.

“College Girl” centers around Natalie’s last year at the University of Connecticut. Although what happens to her in this year, particularly in the fall semester, is completely life-changing for Natalie, the reader may be too familiar with the situations she finds herself in, making it difficult to care.

Natalie also tends to be annoying at times, especially in her assessment of other people.

After getting to know Patrick, Natalie constantly refers to him as intelligent, despite giving little proof besides telling the reader he comes from a rich family and is an avid reader who likes to write and smoke pot. Oh, and did she mention his family has money?

Literacy, drug use and wealth are hardly qualifiers for intelligence.

Weitz tried to create an “every woman” through her protagonist.

Unfortunately, it feels as if Weitz has tried to fit in so many of the issues faced by a young woman at college that her character feels flat and stereotypical.

There’s nothing terribly moving about Natalie Bloom to engage audiences, because she is just too relatable.

Without anything quirky or distinguished about the character, she fades into the background, making her just another face on the quad.

Despite the novel’s shortcomings, it is clear that Weitz is good with language.

Much of the wit and humorous banter, especially between Patrick and Natalie, is on-target.

Every so often, Weitz is able to turn out beautiful imagery.

It is a shame that the author’s inclination toward language and description is not as prevalent throughout the entire piece.

As the title may imply, “College Girl” is a quick, easy and brainless read. It may be for someone who is looking for a moderately OK and enjoyable read over the long winter break.

For readers who are looking for a lighter novel that’s sharp and meaningful, keep looking.

‘College Girl’
Two stars out of five
Author: Patricia Weitz
Genre: Fiction

lifeline@cm-life.com