Firstly, learning to play guitar by ear or by watching videos of various guitarists is not entirely wrong, but it requires certain training of your musical ear . But if you are not born with the guitar in your blood, you risk to narrow your musical repertoire by a lot, being able to play only a few songs, without being able to build your own music. If you learn to play guitar tabs, you can learn to play any song much easier and faster.

Being able to understand the tabs of a certain piece, deconstructing the song into little bits and pieces becomes possible and you can study it in every little detail. This way you can assimilate the song or that particular piece much better and discover your bad-habits and mistakes, in order to find remedies for them.

Knowing tabs, you will be able to actually see the music and play it in your head, even if you don’t have the guitar with you. Also, if a brilliant idea of a song or tune comes into your mind, you can put it on paper immediately and who knows, it might be the next one million bucks hit that the world will know.

Even if the tab doesn’t teach you about the rhythm of a song, it shows you the progression of chords and notes for that song, which takes you to good exercises for catching rhythm. As tabs don’t show you how fast a song should be played, it’s indicated to start slow until you catch the rhythm.

As a last advantage of tabs that I’m going to speak about here, the world wide web can and will provide you with the tabs for almost every song composed so far. This way, you can get access to tabs for the songs you like and learn them even without seeing the artists play. Knowing how to read the tablature, you will know immediately how hard a song to play is and know either to start learning it or not.

So, don’t skip your guitar tabs study, because you will miss all these and many other advantages that tabs will bring you. Now, as I said in the beginning, I know that tablature is considered boring, but I found just the solution to move the boredom away. I’ve been following a guitar guide that my friends recommended.

Check out this excellent Guitar Online Learning Program especially if you Learn to Play Guitar Tabs online, by yourself, without a teacher.

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Till few years before, the Hollywood industry depended entirely on collection of movie halls. But now the scenario is entirely different. With facility of showcasing the online movies, the filmmakers also have changed their strategy of business too. Even the film publicity has simply undergone huge makeover with popularity of the online movies.

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“Midnight Run” is two movies in one: a formulaic big-action movie and a human comedy. Director Martin (”Beverly Hills Cop”) Brest propels the drama forward with planes, trains and automobiles (helicopters, too), but also makes time for De Niro, Grodin, and an excellent supporting cast, to make the frenetic ride well worth the trip.

Jack Walsh (De Niro), a former cop run out of Chicago for not playing ball with the mafia, is now a top-gun bounty hunter for a sleazy bondsman (Joe Pantoliano) on the West Coast. He gets a $100,000 assignment to haul in fugitive accountant Jonathan Mardukas (Grodin), who embezzled $15 million out of his mobster boss, got caught and then jumped bail, stiffing the bondsman.

Trouble is, Pantoliano’s not the only one looking for Mardukas. The FBI wants info, the mobster (Dennis Farina) wants revenge. Walsh must not only evade G-men, gangsters and rival bounty hunter Marvin Dorfler (John Ashton), but once he catches Mardukas he must keep a tight grip on this whiny, kvetchy, overgrown baby.

“These things go down! These things go down!” Mardukas whimpers when Walsh tries to get him on to a plane to Los Angeles. “It’s too big. It can’t fly.”

Not only is Mardukas a pain (”Why don’t you put that cigarette out?” he suggests parentally), he probes Walsh about his personal life, offers him money to let him go, and is given to lying.

For his part, De Niro’s Walsh is a fretting palooka who’s no good with small talk and social graces. “Here come two words for you,” he finally spits at Mardukas, “Shut the [bleep] up!”

“Are you proposing?” Walsh asks a goon who’s eyeballing him. “Are you proposing? ‘Coz if you’re not, quit staring at me!”

Though the De Niro-Grodin bicker-and-bond partnership is the main strain, it’s not the only running gag. Yaphet Kotto (another overqualified sideliner), as the FBI special agent Mosely who is always one step behind Walsh, uses his endearingly ursine features to perfect, exasperated effect. And Ashton, a “Beverly Hills Cop” carryover, is wonderfully hardboiled. Pantoliano is an hysterical bondsman who threatens to burst a vein at any moment. And Farina is clearly having a ball as the ruthless, sarcastic gangster. Telephoning his two goons, he says: “Is this Moron Number One? Put Moron Number Two on the phone.”

Maybe you’ll only enjoy Brest’s breakneck action: Walsh and Mardukas evading a jillion squad cars in a pickup truck through the desert, nearly drowning in treacherous waters and duking it out on a taxiing small plane, among many things. At any rate, you won’t be bored.

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Famed filmmaker Alfred Hitchcock began his career in the fields of advertising design and draftsmanship. Due to his aptitude and interest in movies, he was a success designing title cards for silent movies.

Alfred Hitchcock wrote silent films such as Three Live Ghosts in Germany and Great Britain before he became a director. He finally got his chance to direct The Pleasure Garden in 1925. He went on to direct other silent movies. His aptitude for masterful narratives combined with amazing cinematography was immediately obvious to any viewer.

Sadly, many of his earlier films no longer exist in complete form or in any form.

With the advent of sound, his films were even further enriched by his dialog. Many of his early films took place in Great Britain. The success he had with talking motion pictures gave him the opportunity and resources to better hone his craft.

Perhaps Alfred Hitchcock is known best to the current generation for the remakes of his films. Several of the films from the latter portion of his career have been remade into box office sensations.

If you get the chance to watch one of Hitchcock’s films, be sure to watch for him. He often made cameo appearances of some type in his films. Here are a few examples:

* Foreign Correspondent made in 1940 where Hitchcock is seen after Joel McCrea leaves his hotel, wearing a coat and hat and reading a newspaper

* The Man Who Knew Too Much made in 1956 where Hitchcock is seen watching acrobats in the Moroccan marketplace with hisback to the camera

* Rebecca made in 1940 where Hitchcock is seen walking near the phone booth just after George Sanders makes a call

* Under Capricorn made in 1949 where Hitchcock is seen one of three men on the steps of Government House

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“The Book of Eli” stars Denzel Washington as one of scattered survivors of a nuclear war that wiped out most of humanity 30 years ago, leaving the world bleached dry, with water now a precious commodity. Eli is in possession of a book that he believes will restore mankind and save them from the dog-eat-dog existence that has befallen what remains of society. During his trip “West” (he has no exact destination, only a direction), Eli runs afoul of Carnegie (Gary Oldman), the self-declared savior of a small town where the denizens do his bidding because Carnegie knows the location of plentiful water. Like Eli, Carnegie is a survivor of the “old world”, before the war, and has been sending men out into the wastelands in search of one very specific book. When Eli stumbles into his nest, Carnegie discovers that Eli’s book is also the one he’s been searching for, and a bloody battle between the two men for possession of the book ensues.

(Note: You probably already know what Eli’s book is, but in case you don’t, or do not wish to know, I won’t spoil it here. But for those curious, you can go here for the secrets, though honestly, it’s not much of a secret because the book’s identity was already revealed in one of the movie’s trailers.)

Written and directed by Allen and Albert Hughes, “The Book of Eli” is a pretty violent movie, with two signature action scenes that don’t skimp on the blood and brutality. The film also features a couple of nifty gun battles, but otherwise doesn’t really bring anything new to the genre in terms of action set pieces. Despite boasting a Hollywood budget
, “Eli” suffers a bit from what I can only call generic background, meaning it just doesn’t look as expensive as a movie that costs $80 million should look. The lack of Hollywood gloss is surprising, but does fit with the drab, leftover world the film is trying to portray, so in that respect it can be excused. Plus, all those lingering shots of clouds and overhead flybys of barren landscapes look really cool.

“The Book of Eli” does have one very important ace in the hole – Denzel Washington. The actor spent a lot of time rehearsing the film’s two major fight scenes, and it shows. Washington’s Eli looks the part of a badass post-apocalyptic loner, and he fights like one, too. There is a nice style to Eli’s fighting, an economy of motion that gets the job done without too many flourishes. I would have liked to know more about Eli’s past, how he developed such a deadly fighting style, but apparently the Hughes brothers do not share my curiosity. Also, if you expect “The Book of Eli” to have more action than what you’ve already seen in the trailers, you’ll be disappointed. What is there are well done and slickly executed, and Washington is very impressive, but the film is not wall-to-wall action.

I am of two minds on “The Book of Eli”. On one hand it’s got everything I demand in my post-apocalyptic action movies – action, a cool leading man, and some nice eye candy – but on the other hand the film feels … lacking. I can only point to the film’s lack of a climactic final battle would have capped things off nicely, but that isn’t where the Hughes are going, or ever intended to go, it seems. The final 20 minutes or so of “Eli” is very muted, as Eli’s quest comes to a head and salvation (or in some cases, destruction) finds the various characters not at the point of a gun or the sharp edge of a knife, but in their little corners of the world, all alone. This is a very solemn (but somehow appropriate) way to end the movie, and you have to give the brothers credit for sticking to their guns because I’m sure they got more than one studio note asking, “Um, guys, where’s the movie’s climactic final battle?”

Denzel Washington is excellent as Eli, and he’s ably supported by a deliciously evil Gary Oldman as the wild card Carnegie, a man who can smooth talk you when he wants something, but get suddenly violent when the honey doesn’t work. Ray Stevenson (“Punisher: War Zone”), as Carnegie’s right-hand man (and not-so-secret admirer of Mila Kunis’ Solara) actually has a couple of effective moments that belies his character’s “main henchman” description. I would have liked to see more interaction between him and Solara, or at least, learn their history, if any. The women are represented by Jennifer Beals and Kunis, two women who look way too clean for citizens of a post-nuclear world where every other woman in the film looks beaten and aged. Of course, some of that can be explained away by Carnegie having protected them all this time, but even so, they stick out, especially Kunis. Hopefully after “The Book of Eli” and “Max Payne”, studio heads will stop casting the diminutive and squeaky-voiced Kunis in action heroine roles. Really, guys, it ain’t gonna happen. As in, ever.

“The Book Of Eli (2010) Free Streaming” is more than a capable entry into a genre that has been ignored for too long (if you’re a fan like me, anyway), but man, did it take me for a loop towards the end. There is an almost lyrical quality to the movie that belies its blistering sun-scorched landscape, or its drab, colorless environment. Hats off to the Hughes for maintaining the film’s action-free final act. I suppose in a way you can call what they did a huge leap of faith, the thinking being that audiences will accept “Eli’s” ending because it very much works in context with the story they’re telling. Of course, that’s up to you to decide. I found it strangely appropriate, but would have still liked one final bang to cap things off anyway, but that’s just me.

Albert Hughes, Allen Hughes (director) / Gary Whitta (screenplay)
CAST: Denzel Washington … Eli
Gary Oldman … Carnegie
Mila Kunis … Solara
Ray Stevenson … Redridge
Jennifer Beals … Claudia
Frances de la Tour … Martha
Michael Gambon … George

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The modern caper movie, such as Steven Soderbergh’s “Ocean’s Thirteen,” dispenses with such tiresome exposition and contains mostly action and movie-star behavior. Only the characters know what the plan is, and we are expected to watch in gratitude and amazement as they disclose it out of their offscreen planning and plotting. Fair enough, if it’s done with energy and style. If, however their plan involves elements that are preposterously impossible, I feel as if I’m watching one of Scrooge McDuck’s schemes.

All of the “Ocean’s” movies, including the long-ago Sinatra version (1960), are remade or inspired by a great French caper movie, Jean-Pierre Melville’s “Bob le Flambeur” (”Bob the Gambler,” 1956), in which Bob actually laid down chalk lines in an open field to walk his accomplices through a raid on a casino. The movie is available on DVD in the Criterion Collection; see what you’re missing now that the formula has been adapted for ADD sufferers.

“Ocean’s Thirteen” begins as aging and beloved casino legend Reuben Tishkoff (Elliott Gould) plans to open his latest and greatest Vegas casino. Alas, he has taken for a partner the devious double-crosser Willie Banks (Al Pacino, very good), who swindles him out of the casino and lands him in the emergency room with shock and grief. Then Reuben’s loyal friends (played by George Clooney, Brad Pitt, Don Cheadle, Bernie Mac, Matt Damon, etc.) gather at his bedside and vow to sabotage the opening of the new casino.

I don’t know what kind of resources these rootless but glamorous men have, except that they are apparently unlimited. They manufacture trick-card shufflers, sabotage the roulette wheels and even give the man they think is the guru of casino ratings (David Paymer) something resembling the heartbreak of psoriasis. These plans are not explained; they are simply pulled out of the heroes’ hats, or thin air.

To be sure, Soderbergh is a gifted director and (under a pseudonym) cinematographer, and he has a first-rate cast. Most moviegoers will probably feel they got their money’s worth, and that’s the bottom line. But I grew impatient with the lickety-split pacing. This material is interesting enough that it needs care and attention, not the relentlessness of a slide show.

I know full well I’m expected to Suspend My Disbelief. Unfortunately, my disbelief is very heavy, and during “Ocean’s Thirteen,” the suspension cable snapped. I think that was when they decided to manufacture a fake earthquake to scare all the high-rollers on opening night. How did they plan to do this? Why, by digging under the casino with one of the giant tunnel boring machines used to dig the Chunnel between England and France.

Yes, you can buy your own. There were originally 11. One sold on eBay for around $7 million. A boring machine, I find, weighs about 600 tons. How easy do you think it would be for a handful of Vegas slicksters to buy such a machine, transport it to America, move it cross-country, and use it to drill a tunnel under the Strip (which never sleeps), all the while removing untold tons of earth, rock and sand without being noticed? And without causing earthquakes in all the other casinos they bored under?

I am reminded of that IMAX documentary about climbing Mt. Everest. All I could think of was, if it’s hard for the climbers, think about how hard it is for the guys carrying the big IMAX camera up the mountain. I wanted to see a doc about them. Now if you had a movie about smuggling a 600-ton tunnel boring machine under Vegas, that would be a caper.

“Watch Ocean’s Thirteen (2007)” proceeds with insouciant dialogue, studied casualness, and a lotta stuff happening, none of which I cared much about because the movie doesn’t pause to develop the characters, who are forced to make do with their movie-star personas. Take Don Cheadle, for example. After the magnificence of his performance in “Hotel Rwanda” and the subtle, funny, sad power of his leading role in Kasi Lemmons’ upcoming “Talk to Me,” we get him hanging around in this film, looking like they needed him to get to 13. I guess he has to make movies like this to pay the mortgage. My advice? Rent. You have no idea about the headaches of homeownership.

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The movie begins with Amelia, embarking on her flying career as the first woman to cross the Atlantic Ocean. Because of prejudices, Watch Amelia (2009) is forced to simply remain a passenger, while two men pilot. Even though her reputation flourishes, this false achievement weighs heavily on Amelia’s conscience. Undaunted by the obstacles in her way, she remains persistent about piloting her own plane, as she strives to break records. Aggressively helping Amelia advance her career is George Putnam (Richard Gere). As the two spend increasingly amounts of time together, they begin an affair. After turning down several proposals from the love-stricken man, Amelia finally agrees to marry Putnam. Although she does agree, she makes it clear that fidelity and obedience are not part of the agreement. Over the course of several years, George’s devotion to Amelia and her career only grows. While she is appreciative of her husband’s work, Amelia’s first love remains flying, and she also begins an affair with Gene Vidal (Ewan McGregor). However, in the last years of their marriage, Amelia has a renewed devotion to her husband and decides to retire from flying after a solo trip around the world.

Hilary Swank is very particular in the roles she takes on. While this results in her not being in many movies, the ones she does star in are almost always spectacular. Her resemblance to Earhart is striking, and her characterization and demeanor are almost exact. Her pairing with Gere is solid, and their screen time is believable. Their chemistry was of the utmost importance, since the film mostly focuses on Amelia and George’s marriage. The film’s characters are well written, with glimpses into Amelia’s kindness and George’s fierce determination to see his wife succeed.

The cinematography is beautiful. A well-written monologue is narrated and dazzling scenery given, as Amelia flies through the different counties. The breathtaking landscapes make it easy to understand her enormous love for soaring through the air. Being outside in nature can serve as a wonderful reminder of God’s majestic work. For God to have created the whole world and its beauty demonstrates his incredible power. And within all this vast beauty, his children matter the most to him. King David wrote of this in Psalm 8:3-4:

When I consider your heavens,
the work of your fingers,
the moon and the stars,
which you have set in place,
what is man that you are mindful of him,
the son of man that you care for him?

Credit should be given to the writers (Ron Bass and Anna Hamilton Phelan) for not taking the usual Hollywood liberty in dramatizing Earhart’s story. Everything remains quite accurate, and the ending is excellently done. While the story’s true, some heart is missing since strongest possible connection to Earhart wasn’t created. The audience is never given the chance of growing alongside Earhart and witnessing how her interest for flying was established or how the root of her passion was planted. Only two flashback scenes are briefly provided to account for Amelia’s allure for flying. This would be the only potential drawback of the film.

The film is rated PG, and parents should use discretion when considering their young children in seeing the film. Adult themes such as adultery and remaining committed run through the film. While there are no sex scenes, they are implied, and she is shown kissing another man who is not her husband. In one scene, her skirt is slightly pushed up and one can see her garter belt. The Lord’s name is profaned four times (3 GDs and 1 “for Christ’s sakes”); there are also several uses of vulgarity (d*mn, h*ll, ass, a**hole).

With the above reservations, I do recommend the film. However, I do not believe very young kids should see it, and they’d likely find the film boring. Like a flight, “Amelia” was at times uneventful. Ultimately, however, it reached its destination in providing a spectacularly-acted glimpse into the life of Amelia Earhart.

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