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Although she has kept mum about her plans, Winfrey, 55, is expected to furnish a new show to OWN: the Oprah Winfrey Network, the long-delayed cable outlet she is starting in partnership with Discovery Communications. The network is scheduled to roll out in 2011 in about 75 million U.S. homes.

The media personality and mogul — whose show has served as the main pedestal from which she has engaged newsmakers high and low, transformed obscure products and personalities into runaway successes, and preached a gospel of self-empowerment to her devoted, largely female audience — is betting that, in a world of ever-fragmenting audiences, the future lies with creating her own branded network. She was recently ranked No. 234 on a Forbes list of the world’s richest people, with an estimated net worth of $2.7 billion.

Although Winfrey could not be reached for comment, Tim Bennett, the president of Winfrey’s Chicago-based production company, Harpo Inc., confirmed in an e-mail Thursday to station partners that she would end the existing program Sept. 9, 2011.

“Oprah’s personal comments about this on tomorrow’s live show will mark an historic television moment that we will all be talking about for years to come,” Bennett wrote.

Financial pain

Meanwhile, CBS and Walt Disney Co.’s ABC are expected to bear the brunt of the financial pain ushered in by Winfrey’s departure. CBS, which acquired Winfrey’s original syndicator, King World, for $2.5 billion 10 years ago, has taken in hundreds of millions of dollars in revenue over the years from “The Oprah Winfrey Show.”

ABC carries the show on many of its stations, including its owned-and-operated outlets KABC-TV in Los Angeles and WABC-TV in New York. The show, which has aired in late afternoon on most stations across the country, can be counted on to deliver big audiences for the local newscasts that usually followed it.

“She uniquely remains appointment television,” Bill Carroll, vice president at New York-based Katz Television Group, which advises local stations on programming and other issues, said earlier this week when the Winfrey development was rumored but not confirmed. “When she came on and established herself, it was a sea change in the industry, and when she leaves it will be a sea change.”

Winfrey, however, now confronts a broadcast medium that is scarcely recognizable compared with the one that greeted her Sept. 8, 1986, when she took her local Chicago talk show into national syndication. Broadcast ratings have plummeted in recent years as viewers have fled to cable and online programming.

Although “Oprah Winfrey” is still the top-rated syndicated talk show, its ratings have not been immune from the erosion. Station managers are finding themselves hard-pressed to continue making rich programming deals, even for “Oprah.”

Industry scuttlebutt had it that her rich license fees were going to drop as much as 50% in her next renewal deal. Some observers have pointed out — although not publicly, for fear of alienating someone who retains unrivaled power in the entertainment sphere — that Winfrey had little choice but to give up the syndicated show and bend her empire to new realities.

On the other hand, few expect her to go the way of Howard Stern, another once-potent broadcaster who gave up a huge platform for a new role — in Stern’s case, transferring his show from terrestrial to satellite radio — and wound up with a greatly diminished profile.

“She’s not going to die the death of a thousand paper cuts,” said one broadcast executive. “She’s too smart for that.”

Indeed, Winfrey’s power to shape culture is undimmed, as evidenced by her recent record. She began this week with a headline-grabbing interview with former vice presidential candidate Sarah Palin, who was promoting her bestselling memoir, “Going Rogue.” A movie she helped produce, “Precious,” the story of a young black woman in Harlem who overcomes a legacy of obesity and abuse, is an early favorite for Oscar consideration.

G.I. Joe, or Action Force to us Brits, was a highly successful brand of Hasbro action toys featuring all kinds of combat expert figures, high-tech vehicles and advanced bases which fuelled many a boy’s playtime. At the height of its popularity back in the 1980s, the Action Force brand spawned a cartoon series, a Marvel comic and even an animated movie before fading away in the early 1990s. Now it’s back on a truly global scale, resurrected in live-action guise featuring an ensemble cast under the guidance of The Mummy and Van Helsing director Stephen Sommers, and it’s hitting cinema screens next August.

Just as the Transformers movie captured the imagination of adults who once played with the Hasbro toys as children while looking to lay the foundations for a new generation of fans to peddle merchandise to, G.I. Joe, also produced by Hasbro, could be brushed off as being a similar cash-in that aims to kick-start a major film franchise while lining the pockets of its executives. Yet, to do so, would ignore the enormous potential for explosive action, the vast range of characters available and the interweaving stories at the disposal of the filmmakers. They just need to get the balance right and keep the fans happy – no mean feat when dealing with a much-loved brand.

This origins movie will introduce many old favourites from the G.I. Joe team and see how its arch rival, the villainous organisation Cobra, is formed. Initially battling Scottish arms dealer James McCullen Destro XXIV (Eccleston), those in the know will where this is going. The real baddies will be the Cobra organisation led by Cobra Commander played by Gordon-Levitt who took the role for the chance to play a larger-than-life villain. The action set pieces can be expected to be spectacular while two new characters, Duke (Tatum) and Ripcord (Wayans), will provide an audience’s point of view on the proceedings given a human edge by G.I. Joe’s martial artist Scarlett and Destro’s partner the Baroness’s romantic lives entwined with their team members. With Rachel Nichols and Sienna Miller taking the respective lead female roles, it’s no surprise to see the outfits are X-Men-style black skin-tight outfits.

Anyone hoping to see their favourite action figure in the flesh will be pleased to see the names of G.I. Joe’s military men such as General Hawk (Quaid), Gung-ho (Fraser) and Heavy Duty (Akinnuoye-Agbaje) on the bill, while Cobra-aligned mercenary Zartan (Vosloo) also makes an appearance. Those likely to generate the most excitement are British martial artist Ray Park as mute ninja Snake Eyes and his Cobra nemesis Storm Shadow played by Hero’s Lee Byung-hun. Park, still best known for his role as Darth Maul in The Phantom Menace, practiced wushu for the part and takes on an important role as a fan favourite who may well face off against Byung-hun at some point – a potentially mouth-watering showdown. If it all comes together, G.I Joe: The Rise of Cobra could be a blockbuster sensation.

Of course, the last time Stephen Sommers was entrusted with a project this large was when Universal Studios gave him almost free reign on use of its many screen monsters for Van Helsing. That ended up a confused mess which disappointed at the box office and wasted famed characters such as Count Dracula and Frankenstein’s monster. Fingers crossed he can have a more positive effect on G.I. Joe, which was lost in development hell a few years ago when the Cobra organisation was dropped from the script and fans were in uproar. Now, with Cobra re-instated, Sommers has an opportunity to wow cinema audiences with an action adventure on a grand scale. The images released so far show promise; a trailer is eagerly awaited.

Daybreakers” takes place in the year 2019 as the world’s population has been primarily overtaken by vampires.

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Humans are now the secondary species being hunted to a near total extinction by the vampires for their blood. There seems to be little to no hope for the future of humans

Edward Dalton is a researcher who refuses to feast upon human blood. He has developed the perfect blood substitute to both satisfy the vampire’s thirst and preserve the dwindling human population.

I enjoyed “Daybreakers” and the storyline in general as it offered a different twist on a vampire tale. This is a bloody, quick moving film with a cool cast led by Ethan Hawke, Sam Neil and Willem DaFoe who are all effective in their roles.

I also liked the fact this is a real vampire tale with the evil and blood you expect from such a film. There are no glittering vampires here folks, nor is this a love story. This is a pretty solid horror film, with a great story, and in the end, it’s a solid, creepy good time at the movies.

The year is 2019. A mysterious plague has swept over the earth, transforming the majority of the world’s population into vampires. Humans are now an endangered, second-class species – forced into hiding as they are hunted and farmed for vampire consumption to the brink of extinction. It’s all up to Edward Dalton, a vampire researcher who refuses to feed on human blood, to perfect a blood substitute that might sustain vampires and spare the few remaining humans. But time and hope are running out – until Ed meets Audrey, a human survivor who leads him to a startling medical breakthrough. Armed with knowledge that both humans and vampires will kill for, Ed must battle his own kind in a deadly struggle that will decide the fate of the human race.

So you want to Watch Astro Boy Online? I can see why, it’s a cool movie. You’ve come to the right place. See the link below for the full HS stream (also downloadable).

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Here’s a review of the movie: Similar to the Transformers films, the new Astro Boy film is more concerned with finding a new contemporary audience, who may have never heard of the robot boy character before, rather than providing a nostalgia trip for older audiences who grew up with the original character. The good news is that the new Astro Boy film is far superior to the Transformers films and while some of us may feel a little sad that the theme music from the original television cartoon doesn’t even appear during the end credits of the new film, this new Astro Boy is still a tremendous amount of fun.For the uninitiated, Astro Boy first appeared as a character in a 1951 manga, created by the legendary Japanese animator Osamu Tezuka who has been referred to as the Japanese Walt Disney (with Astro Boy being his Mickey Mouse). The very basic premise in this 2009 film maintains the character of Astro Boy (voiced by Freddie Highmore) as a Pinocchio for the atomic age. Set in a futuristic world where humans and robots co-exists, Astro Boy is created by scientific genius Dr. Tenma (voiced by Nicholas Cage) after the death of his son. However, once Astro Boy is brought to life, Tenma decides that he has made a huge mistake and the boy robot is cast out to fend for himself.This Astro Boy is overall aimed at younger audiences with the darker aspects of Astro’s origins being rather rushed so that the film can arrive at the point where it can start to introduce lighter and more comedic elements.  However, there is a lot of humour and a lot of visual gags in Astro Boy which are genuinely funny, so the older audiences won’t mind the Saturday morning kids cartoon feel to some of the scenes. Older audiences are particularly going to enjoy the General Stone character (voiced with wicked relish by Donald Sutherland) who is trying to win popular approval by starting a war on false pretences and using slogans such as “It’s Not Time For Change!”Directed by David Bowers (Flushed Away) the animation in Astro Boy is not jaw-dropping on its own accord but it does facilitate the storyline and stylistically evokes the original series artwork, with a more modern edge. Astro Boy does contain several nods to its Japanese origins with the inclusion of a couple of giant robots and the sort of mass metropolitan destruction that features so prominently in post-World War II Japanese popular culture. Nevertheless, the film never gets too dark for its young audience and indeed it is during one of the big carnage scenes that the filmmakers very comically reveal Astro discovering that he has machine guns in his butt. Moments such as this one help to make this new incarnation of Astro Boy a suitably fun and entertaining hero for a new generation.

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There’s always been a place in movies for lunkheads, especially those who come from wrestling, a form of comedy as tightly scripted as most movies. Who can forget Andre the Giant in The Princess Bride or Jesse Ventura in Predator (before he became governor of Minnesota)? There was also the beloved bald-headed Tor Johnson, the Swedish scrapper who turned zombie for Ed Wood in Plan 9 from Outer Space.Dwayne Johnson comes from two other proud lines of canvas men. His father was Afro-Canadian wrestler Rocky Johnson. His maternal grandfather was the legendary ”High Chief” Peter Fanene Maivia of Samoa, who wrestled professionally in New Zealand and the US from 1964 to 1981.As ”The Rock”, Dwayne Johnson became a hugely successful performer in the ring, after his professional football career went sour. He now largely plays sporting heroes in movies. Doubtless, a term as governor somewhere is in his future. A career as an actor might be too much to hope for.Johnson is blessed with extraordinary looks – the body of a Transformer, the simplified face of a cartoon superhero and a dazzling smile that must have kept several orthodontists in work for years. He’s likeable enough on film, in a limited sort of way. The more he plays himself – and there is little choice – the more natural his humour; the more he tries to play a role, the stiffer and hammier he gets. His first few movies as a leading man, such as The Game Plan, have been gormless and sentimental. Tooth Fairy follows in the same vein with more humour.It is a ”family comedy”, but an odd mixture of mawkish sentiment and sporting violence, suggesting that it’s trying to please everybody: bone-crunching ice hockey for the boys, sweetness and emotion for the girls.The film is supposed to reinforce American Christian values. It’s another joint venture from the coalition of conservatism that brought us the Narnia films and Bridge to Terabithia. Walden Media is the movie arm of the billionaire born-again Christian Philip Anschutz. They linked up in 2006 with 20th Century Fox, which is of course owned by another committed Christian, Rupert Murdoch.The hilarious thing about Tooth Fairy is that it is a genuinely camp comedy. In the hands of director Michael Lembeck, who made Connie and Carla, Johnson frocks up in a tutu and Julie Andrews plays a fairy godmother in a Chanel suit. What someone the calibre of Ashley Judd is doing in the film is a mystery but I’m not complaining. And isn’t that Billy Crystal dressed like a smart-mouthed, ageing leprechaun?The big guy plays ice-hockey enforcer Derek ”Tooth Fairy” Thompson, who’s famous for knocking out his opponents’ teeth. He’s nearing the end of his sporting career and his cynicism shows when he tells a hopeful kid that he’ll never be a hockey star. Babysitting for his girlfriend (Judd), he almost tells her six-year-old daughter that the tooth fairy doesn’t exist.That night, in a dream, he is summonsed to the kingdom of the fairies, where a very tall English fairy (Stephen Merchant) explains that he is to be punished. Andrews descends from the sky as a fragrant winged duchess who dislikes being interrupted – a bit like an ageing Mary Poppins with attitude. She sentences him to two weeks as a real tooth fairy, and Crystal kits him out with a tooth fairy’s tool kit: a paste to make himself invisible, a wand and powder to erase people’s memories. He’s eventually dressed in blue satin, after a mix-up in magic that kits him out in a pink tutu.The movie is funnier than I expected and still not funny enough. The playfulness in the script may have come from Babaloo Mandel and Lowell Ganz – two seasoned pros – although I can’t tell if it was their idea. They have long-standing ties to Crystal and Judd, which might explain their casting, but Mandel and Ganz are also well-known script doctors, and there are three other credited scribes.Whichever, the film bubbles along nicely for the first few reels, as the Samoan Rock gets into a series of pickles while sneaking into children’s bedrooms (to put a dollar under their pillows). Johnson feigns indignation at having to be a fairy; Andrews camps it up as his boss, behind gauzed lenses; Judd tries to look like she’d fancy this egotistical mountain of meat.Ideology then takes over and the film becomes a boring lecture about the need to believe in fairies and dreams. Cynicism is routed etc.It is only faint praise to say that this is a better comedy than The Game Plan. Johnson isn’t aiming high anyway – and he’s achieving it.

I dont have much money to pay for a movie but it would be nice if some one would show me where to watch free movies online?Thank you so much..

Like most horror fans, I’m getting tired of seeing loveable sweet vampires that little girls fall in love with. Even if I do find the Twilight movies to be entertaining, I still prefer my vamps to be badass human eaters. So I decided to go see Daybreakers. I’ve been looking forwards to seeing the movie for a while and after viewing the film I have some mixed feeling about Daybreakers. Some parts were really cool and others just seemed silly.

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Plot: Earth’s population is up against a vicious plague that’s transforming everyone into vampires and draining the world of an increasingly precious resource: blood. Edward Dalton (Ethan Hawke) and “Elvis” Cormac (Willem Dafoe) must decide what happens next. As the human race count nears zero, will vampires feast on the few men and women who remain, or could science hold the key to a less destructive solution?

As soon as Daybreakers began, it instantly caught my attention. I could tell right away that it was very original and different than most other vampire movies; and I was correct. I have to say that Daybreakers is one of the most original horror films of the last few years, and in a time filled with sequels and remakes, it’s nice to see a original movie. The main reason I wanted to see Daybreakers is because I wanted to see some awesome vampire action, and I did get to see some pretty cool fight scenes. Especially towards the end of the movie when we get to see a all out vampire feeding frenzy. Daybreakers isn’t loaded with gore, but when it does show gore it makes it count. We see limbs torn off, heads pulled off and lots of blood squirting. Some of the gore effects were CGI, and some weren’t. Most of the acting was also pretty good. Willem Dafoe did a good job and I thoughtEthan Hawke did the best he could do with a weak script. The cinematography wasn’t half bad either. Plus the movie has a really badass “Smokey and the Bandit” style Trans am/Firebird in it. And who in the hell doesn’t love a good old fashioned muscle car?

Daybreakers has some good things going for it, but it also has it’s fair share of problems. The first fifteen minutes of the movie were great and really got my attention, but shortly after I started to loose focus. But it’s not that big of a problem since the movie picks back up and gets good again towards the end. Another thing I didn’t like about Daybreakers is the CGI. Some of it didn’t look that bad, and some of it did. Especially the scenes involving fire. The biggest problem I have with Daybreakers isn’t with the slow pace or the CGI, the thing that I hated the most was the way that some of the vampires turned back to humans. I’m not going to give anything away, but I will say that I thought it was ridiculous and very silly. Me and everyone else in the theater laughed our asses off during one scene particularly.

Overall I enjoyed Daybreakers. If you’re tired of seeing movies about friendly vampires and want to see a real vampire movie, and if you can get past a little CGI and silliness, I recommend you go see Daybreakers.