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WhatsApp Windows Phone Latest Update – Download Available With Voice Calls

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WhatsApp Messenger for Android as well as iOS has gotten various major updates in these past months, but Windows Phone users are still waiting for such updates to occur. However, there is a minor but significant update on the way.

WhatsApp for Windows Phone has got the voice call feature and currently a brand new version of WhatsApp has popped-up in the phone store. So, those who use Microsoft’s mobile platform on their device should hurry up and pick up this update ASAP.

Even though WhatsApp hasn’t offered an official change log for this current update, the app shows to have important changes mostly regarding the speed element. Of course, glitches and other types of errors have been mended as well and will surely be included in this update. But, the VIP improvement in this case is the speed.

Just as you are already accustomed, whenever an update comes out it is immediately sent straight to the Windows Phone Store. So if you have activated the automatic updates, you should already be looking at it.

Just last week, the titan IM app WhatsApp released the voice calling features for Windows Phone devotees. This happened months after these features arrived on Android gizmos. So those who own a Lumia phone could keep in touch with friends directly from WhatsApp. All of this was possible without having to worry about their carrier’s calling features.

There is no point in convincing you to get your hands on this brand new update of WhatsApp, because all of you who use WhatsApp daily, will surely do anyway. Don’t worry about the change log not being offered yet because since this version is aimed to fix speed glitches, you will love it no matter what. So, head on to the store and set-up this update to experience an enhanced speed.

The post WhatsApp Windows Phone Latest Update – Download Available With Voice Calls appeared first on GUNSHYASSASSIN.


Candy Crush Saga 1.56.03 MOD APK Download Available – Top Graphics Features

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Candy Crush Saga is a game that everyone enjoys playing. Once you try it, there is a high chance that you will keep playing it at least a few minutes per day.

The company that developed this game is KING, which is the same company behind other popular games such as: Farm Heroes Saga or Pet Rescue Saga. By installing Candy Crush Saga v1.56.03 MOD, you will be able to join Mr. Toffee and Tiffi in a great adventure. The game has hundreds of levels and you will never get bored of it.

Candy Crush Saga: Features

– Nice graphics
– You will be able to meet some sweet characters and delicious environments
– Magical booster that will help you pass the most challenging levels
– Completing levels will allow you to unlock treats
– Easy and fun game to play but can be challenging to master
– More new levels are added every two weeks
– Leaderboards can be used to watch what score your friends have
– Ability to sync the game between devices and unlock the full game features when connected to the internet

Candy Crush Saga v1.56.03 MOD APK: Features

– Unlimited lives
– Dreamworld unlocked
– Dreamworld episodes unlocked
– The own will never die
– Moonstruck is activate until the end of level
– The brush booster is available but can be used only one time per level
– Bomb delay 80
– The time counter is now changed to 5 minutes for all levels

Installing Candy Crush Saga v1.56.03 MOD APK on your Android device

First of all, you will need to download the installation (APK) file on your Android device. To do this, just open the browser on your Android device and search on Google for Candy Crush Saga v1.56.03 MOD APK. Once the file has been downloaded on your Android device, make sure that Unknown Sources option is enabled. This option is found on Settings->Applications or Settings->Security (depending on the Android OS your device is running) and can be enabled by checking the box that’s in front of it.

Once the Unknown Sources gets enabled, you will be able to install the Candy Crush Saga v1.56.03 APK on your Android device. You can use a file manager application to head to the location where you’ve saved the application and tap on the APK file to start the installation. When the installation is complete you will be able to start playing the Candy Crush Saga v1.56.03 MOD on your Android device. Enjoy!

The post Candy Crush Saga 1.56.03 MOD APK Download Available – Top Graphics Features appeared first on GUNSHYASSASSIN.

Mudvayne Releasing Ironically-Named Album

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It’s going to be called Playlist: The Very Best of Mudvayne and according ThePRP, will be in stores for your commercial consumption come October 11.

The title is ironic only in that Mudvayne sucks. Why would I want the best of suckery? No thanks.

I’d rather hack Julianne Hough’s iPhone.

For those of you who do care about Mudvayne, here’s the dope: The album will boast 14 songs. Really? Fucking 14? They’ve had that many hits? Or singles, rather? I don’t know much about their music — only that it’s pure shite.

So, what songs will be on Mudvayne’s latest attempt to get their stupid fans to throw their money away? “Dull Boy,” of course. And “Dig,” and “Do What You Do.”

The rest of the disc’s rounded out by the songs “Beautiful And Strange,” “Determined,” “Scream With Me,” “World So Cold,” “Death Blooms,” “Fall into Sleep,” “-1,” “1000 Mile Journey,” and last but certainly not least, “Happy?“

The post Mudvayne Releasing Ironically-Named Album appeared first on GUNSHYASSASSIN.

“Rock Of Ages” Is A Box Office Bomb

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I knew no one was going to care about this stupid fucking movie.

There are no original movie ideas left, or at least not any that Hollywood’s willing to take a gamble on. That’s why they adapt every fucking musical that generates some interest.

“Rock of Ages,” which starred Tom Cruise, Alec Baldwin, Russell Brand and a bunch of hot broads, earned a dismal $15.1 million at the box office in its opening weekend.

The film reportedly cost $75 million to produce, making it highly unlikely that it will match its production budget domestically.

“Rock Of Ages” did not excited overseas audiences either. It grossed $4.1 million from 10 markets. It came in #3 in the U.K. and Australia, earning $1.7 million and $1.4 million, respectively.

This makes me so happy. I didn’t want to see “Rock of Ages” on stage and I sure as fuck don’t wanna see it on the big screen.

In fact, I won’t even be watching that shit when it’s on Starz in a month.

The post “Rock Of Ages” Is A Box Office Bomb appeared first on GUNSHYASSASSIN.

“Footloose” Reboot has Fun Moves of its Own

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Whether or not remaking the frothy, entertaining 1984 Kevin Bacon-starrer was part of your hopes and dreams, Hollywood went ahead and did it anyway. At first sight, modernizing the “you kids and your rock n’ roll!” story shouldn’t make much sense in 2011. And it might have just been another “Step Up” or “Stomp the Yard” with all the midriff-baring booty shaking to a hip-hop rhythm. But while the narrative is religiously beat for beat, this “Footloose” surprisingly reverberates with some fun, energized, and sexy moves of its own.

In the role that made Kevin Bacon a star, newcomer Kenny Wormald plays Ren McCormack, a Bostonian teen who moves to the fictional Bomont, Tennessee, to live with his Aunt Lulu (Kim Dickens), Uncle Wes (Ray McKinnon), and their two young daughters after his mother dies from cancer. Coming into town with a defiant spirit and talent for gymnastics/dancing, Ren catches the eye of Ariel (Julianne Hough), the goody-two-shoes-turned-rebel daughter of overprotective Reverend Moore (Dennis Quaid) and his wife Vi (Andie MacDowell).

A few years back, the town suffered a tragedy influenced by music and dancing: five teens were killed in a car accident, one of them being the reverend’s son. As a result, said pastimes that were allegedly the cause are prohibited in Bomont. Ren’s Yankee sarcasm doesn’t go over well with the local cops, and when he fixes up his uncle’s Yellow Volkswagen, nor does his loud rock n’ roll. The Lord of the Dance immediately befriends hickish football player Willard (Miles Teller), who can’t dance; shows up Ariel’s hardened beau (Patrick John Flueger) in a game of chicken on school buses; and writes a petition to abolish Bomont’s strict laws and start the dance revolution.

At the helm, director Craig Brewer (“Hustle & Flow” and “Black Snake Moan”) is an edgy choice for this dated material. The film may open with the title Kenny Loggins single and some fancy footwork, but begins in earnest: the group of teens leave a party after dancing (and drinking), turn up the radio, and get into the car wreck that tames the town. This time, the banning of dance is (believably) more about protection than being sermonized as a condemnation to Hell. Brewer, credited for co-writing the script, and original writer Dean Pitchford, respect the first “Footloose” with pieces of line-for-line dialogue, taking heed of what made that ’80s time capsule work so well and then putting a modern, electric spin on it. Racial integration! Country line dancing! No banning of Slaughterhouse Five! The morning mass sermons are still here, as is the “Yearbook” graffiti wall inside a boxcar and Ariel walking in front of a train. The “prom” finale has the exact confetti-filled, “Let’s dance!” shot but kicks off with an updated cover of Loggins’ “Footloose” by country artist Blake Shelton. What’s so refreshing and new about a dance movie in the 21st century like this is not finding all the dancing edited into chop-suey pieces; we actually see full bodies dancing.

Wormald, a backup dancer for Justin Timberlake, is all instant charm with James Dean’s coolness, attitude, and good looks. His angry dance in the abandoned warehouse is impressive, as he shows off all his own acrobatic moves. A ballroom-dancing pro and vet of TV’s “Dancing With the Stars,” Hough is made for the screen. She’s sexy, sassy, and appealing with her piercing blue eyes and shows off her bread-and-butter in those tight jeans and red cowgirl boots. These two generate heat together and are real stars in the making. Adorably dorky and funny, Teller (“Rabbit Hole”) is an engaging scene-stealer in the sidekick role of Willard, who learns to dance in the montage set to “Let’s Hear It For the Boy” that originated with the late Chris Penn. Less memorable than Sarah Jessica Parker, Ziah Colon is still a cute sparkler as Ariel’s spunky friend Rusty.

This MTV-produced cover probably won’t define the generation like its predecessor, but it’s slickly done, tons of fun, and made for our time. It also should make Kenny Wormald and Julianne Hough stars like the original did for Bacon. “Footloose” makes you want to kick off your Sunday shoes all over again.

113 min., rated PG-13.
Grade: B +

 

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Kitschy, Messy “Rock of Ages” Nothin’ but a Good Time

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“Rock of Ages” may be something of a mess, its flimsy, cliché-ridden story just a clothesline to hang rockin’ power ballads and pop-metal hits, but it’s a slick, campy, entertaining mess. Directed and choreographed by Adam Shankman (who helmed 2007’s bouncy, vastly entertaining Broadway-based confection “Hairspray”), this big-screen adaptation of the 2009 Tony-nominated Broadway jukebox musical crams in more than a dozen classic rock-hit covers from the 1980s—and plenty of big-haired kitsch—that it’s hard to resist. It may not achieve all-out camp like “Xanadu,” but just when you thought nobody could just burst into song for no reason anymore, this film disproves that. For all its cheerful, brassy high energy, “Rock of Ages” is nothin’ but a good time.

It’s 1987 on Los Angeles’ Sunset Strip, where Oklahoma dreamer Sherrie (Julianne Hough) has just gotten off the bus in hope of making it in the City of Angels. Immediately, she meets a cute barback named Drew (Diego Boneta), who has rock star dreams but crippling stage fright, and he gets her a waitress job at the Bourbon Room. The Whisky a Go Go-style club’s owner Dennis Dupree (Alec Baldwin) and his right-hand man Lonny (Russell Brand) feel the distress of a financial crisis, but after a call from sleazy manager Paul Gill (Paul Giamatti), a one-night gig performed by beer-swilling rock god Stacee Jaxx (Tom Cruise), the frontman of the band Arsenal who’s breaking away to go solo, might just keep them open. Since Jaxx is such a hard-partying, unreliable nightmare, the mayor’s rigid, picketing wife Patricia Whitmore (Catherine Zeta-Jones) hopes to boycott Jaxx and put an end to “satanic” rock ‘n’ roll.

The good thing about a musical made up entirely of popular, recognizable rock songs, not originals, is that you can count on all of them to be catchy. But then, like every rose has its thorn, musicals have to accommodate all the songs with a narrative. Narrative might be “Rock of Ages'” biggest downfall, as it sometimes feels like four different movies squashed into one. The subplots are transparent with contrived conflicts and the characters are all paper-thin types, and the three-man script, written by Justin Theroux, Chris D’Arienzo, and Allan Loeb from playwright D’Arienzo’s book, does a lot of cramming. The film spends so much on the girl dreamer-meets-boy dreamer storyline that it loses track of the others. The needless Patricia Whitmore character, an addition not from the show, is introduced early on, but by the next time she re-appears, one nearly forgets she was ever there.

So much for narrative cohesion, but “Rock of Ages” is exuberant enough to forgive the overlong, inconsequential script. Even as you see pieces of “Showgirls,” “Burlesque,” and every other girl-moves-to-city-to-make-it film stitched together, there are over a dozen covers from the likes of Night Ranger, Journey, Foreigner, Def Leppard, Bon Jovi, Guns N’ Roses, Pat Benatar, Twisted Sister, Poison, Europe, and REO Speedwagon. (Ironically, “Rock of Ages” does not include the title song by Def Leppard, although the Adam Sandler comedy out this weekend, “That’s My Boy,” does.) The tried-and-true songs comment on the meandering storylines as closely as they can, but are mostly sung to deliver a crooning good time. A “Sister Christian”/”Just Like Paradise”/”Nothin’ but a Good Time” mash-up on a bus to the Sunset Strip sets up the plot in a spirited, shamelessly goofy opening (complete with a singing bus driver and passengers). And the whole ensemble closes out on Journey’s biggest hit, “Don’t Stop Believin’,” which is played off as Drew’s song written about and for Sherrie (because Sherrie is a small-town girl that took the midnight train, get it?). But the deliberate ’80s gleam and cheese of it all is fun.

The party of actors is having such a ball, doing their own warbling, that their enthusiasm is outright infectious. Buoying a bland story, Julianne Hough (destined for star status after her sexy, charismatic debut in last year’s “Footloose” remake) and Diego Boneta are adorable, likable, and very earnest as young lovers Sherrie and Drew. She gets to sport the Farrah Fawcett ‘do and showcase some nice vocals, while he bears the look of an aspiring rocker and can carry a tune the best. Their rendition of Foreigner’s “Waiting For A Girl Like You” and a mash-up of Extreme’s “More Than Words” with Warrant’s “Heaven” are like celebrations of their blossoming love. Baldwin in a bad wig is amusing in itself and he makes the most of the Bourbon Room owner, as does Brand, who plays to type but with bigger hair. These two highjack all of the script’s intentionally funny dialogue, matched with their ace delivery (one involving how Michael Jackson has been looking pale). The crowds will titter when Baldwin and Brand share a bromantic serenade of REO Speedwagon’s “Can’t Fight This Feeling,” taking their subplot into an unexpectedly sweet direction that both performers play with silly commitment. It needs to be seen to be believed.

Catherine Zeta-Jones is game to have fun and works her laser eyes as this tight-assed, Tipper Gore-esque caricature, but the motivation behind her madness isn’t hard to figure out before it’s revealed. At least she gets to carry an energetic anthem with her group of square, John Waters-y church ladies of Pat Benatar’s “Hit Me with Your Best Shot,” performing choreography with gusto and in heels that paid off since “Chicago.” It’s too bad some of director Shankman’s staging is a little hinky and strained, the church-set number being intercut with Bryan Cranston, thanklessly cast as her mayor husband, partaking in S&M shenanigans with his naughty, role-playing mistress. Naturally, the cast member with the most soulful, powerful pipes of all is Grammy-winning singer Mary J. Blige as Justice, Sherrie’s pick-me-up guardian angel and owner of the Venus Club for Gentleman, even if there’s no real character to speak of. When she takes Sherrie in and introduces her to the strip club, she breaks out into Journey’s “Any Way You Want It,” and it’s a splashy, alive sequence.

Bandanna’d and exhibiting not an ounce of flab on his tattooed torso, Tom Cruise easily steals this thing as the washed-up, half-naked, Axl Rose-like Stacee Jaxx who seems to live in his own universe. (Jaxx is also accompanied by his mischievous pet baboon named Hey Man, played by Mickey, who’s good for a few laughs.) Being the rock star of movie stars himself, he rocks this role as the film’s best commodity. Since his last outrageous, gimmicky turn in 2008’s “Tropic Thunder” in a fat suit and bald cap, Cruise just goes for it again, and it’s a louche, sexy, weirdly hilarious hoot of a performance. There are a lot of nonverbal shots of Cruise just preening, and you believe him as a rock god when he belts out “Pour Some Sugar on Me,” as well as “Wanted Dead or Alive” when expressing his broken heart and loneliness even as a rock star. Best of all is Cruise’s goofily over-the-top, heated tryst to Foreigner’s “I Want to Know What Love Is,” where he’s well-paired with Malin Akerman, playing nerdy-sexy Rolling Stone reporter Constance Sack who’s trying to expose Jaxx but getting caught up in his seduction. Frenching like they’re members of KISS and Cruise singing directly into Akerman’s bum, both actors play the scene with their tongues firmly in cheek.

Some of the numbers aren’t always helped by Emma E. Hickox’s rhythmless, cut-happy editing and others could’ve been snipped altogether to advance the story faster. Still, by the time you walk out of “Rock of Ages,” you won’t be able to get “Any Way You Want It” out of your head. And if you thought Journey’s “Don’t Stop Believin'” was dead from oversaturation (“Glee,” “The Sopranos,” and college karaoke bars), guess again. Even if the 126-minute film wasn’t kidding about the Journey hit’s own lyrics (“the movie never ends…it goes on and on and on and on”), “Rock of Ages” has such upbeat, eager-to-please vibes that you’ll come out a believer. You can try not tapping your toe and singing along, but you’ll fail. Who said rock was dead?

123 min., rated PG-13.
Grade: B

The post Kitschy, Messy “Rock of Ages” Nothin’ but a Good Time appeared first on Boosh Articles.

Laughably Hokey Twist Aside, SAFE HAVEN a Pleasant Harlequin Romance-Thriller Hybrid

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A young woman runs away from her past and starts anew in a sleepy town, only to let her guard down when she falls in love. That sounds like it could be the plot summary of 1991’s Julia Roberts-starring “Sleeping With the Enemy,” but it’s a gushing Harlequin romance first and a battered-woman thriller second. It is from a Nicholas Sparks paperback after all. As yet another post-“The Notebook” adaptation, “Safe Haven” is a decidedly marked improvement over last year’s drippy, humdrum sapfest “The Lucky One.” It’s predictable, hardly subtle, sometimes nutty, and tacks on a cornball coda that doesn’t work, but palpable chemistry, sustained rooting interest, and sufficient dramatic tension seize the bigger picture.

“Katie” (played by the adorable Julianne Hough) runs away from a dangerous situation in Boston, cuts and dyes her hair blonde, and hops on a bus. At a pit stop, she stays on and tries making a new life in the sleepy, sun-dappled coastal town of Southport, North Carolina. Within a few days, she lands a waitressing job and finds an old shack in the woods that could use some color, but remains jumpy and avoids getting close to anyone. But once she meets a little girl named Lexie (Mimi Kirkland) at the local market, Katie starts to warm up to the kind gestures of the father and store owner, Alex (Josh Duhamel), a stud muffin who lost his wife a few years ago to cancer. (Is there any other kind of perfect man?) Now, it’s just him and his two kids, Lexie and Josh (Noah Lomax). Meanwhile, a police detective named Tierney (David Lyons) will stop at nothing until he finds Katie, but what did she do, if anything, and why does he care so much? Will love conquer all or will Alex throw out Katie like a bag of trash once the truth comes out?

Screenwriters Leslie Bohem and Dana Stevens don’t really try to buck any cliché or reinvent the wheel in any way, which leaves director Lasse Hallstrom (who already worked with a Sparks novel in 2010’s “Dear John”) to make sure the material doesn’t turn into bland mush. The thriller elements aren’t terribly surprising, but they work surprisingly well with the love story. The progression of the romantic relationship also feels much more natural here than just existing to adhere to the conventional demands of the script. It would’ve been nice had their “date”—an afternoon of canoeing which gets rained out and forces them to take shelter in a diner—just played itself out and didn’t feel awkwardly truncated, dissolving about three times during Katie and Alex’s conversation. Otherwise, these two complement one another.

The lead stars are both appealing and attractive together, creating a little heat even. Hough modestly conveys the emotions of a woman on the run who’s ready to strip herself of past demons and ends up finding a man who actually treats her right. Duhamel is charming and even funny as the single, saintly widower who’s doing the best he can raising his two kids after his wife is gone. (Notice, Alex never says his late wife’s name.) The kids themselves come off like genuine kids, not the overly precocious moppets that only exist in movies; Kirkland is cute as a button and Lomax (from “Playing for Keeps”) believably pushes Alex’s buttons because he misses his mom.

As the obsessive cop, Lyons is intentionally loathsome and scarily unpredictable, but the character is just another cardboard bad guy out of Screenwriting 101. He’s so subtle that he’s constantly dripping with sweat and carrying around a water bottle full of vodka. Cobie Smulders, though friendly as a nosy neighbor named Jo who becomes a friend of Katie’s, is oddly used here. She has nothing to work with, besides living to take walks, working as a sound board for Katie (“Life is full of second chances,” she says), and showing up as a harbinger in a dream sequence, and that’s all that will be said about that.

Sparks’ weepies must read better on the page as a frivolous beach read (this writer wouldn’t know), but the screen adaptations don’t exist in a vacuum. The template appears to be the same (star-crossed lovers in a postcard-pretty locale), some stories tragically killing off characters with diseases and laying on maudlin sentiment with a shovel, but while it’s still unremarkable, “Safe Haven” doesn’t make you want to gag. There is a death here, which is almost a prerequisite if you’ve ever seen at least three of the author’s film treatments, but for once, it doesn’t come out of nowhere when a certain character finally gets it. There’s also a plot point, proving to be more important by the end, wherein Alex’s late wife had left her kids cards for their future birthdays, graduations, and weddings. And then, just when the film has been going well enough, it comes undone from a needlessly hokey and nearly laughable discovery. Faithful to the source material or not, this key moment just feels clumsily handled like a last-minute plot twist worthy of a groan and a ruse to the audience, as if it was M. Night Shyamalan’s way of revealing himself as the script’s ghostwriter.

And yet…and yet…, until then, “Safe Haven” is a pleasant, emotionally involving romantic drama with darker undertones that, without sounding like faint praise, deserves a place in the upper queue of Sparks schmaltz (below “The Notebook” and somewhat neck and neck with “A Walk to Remember”). For Valentine’s Day bait, it will earn plenty of swooning and fanfare for those knowing what they’re in for.

115 min., rated PG-13.
Grade: B –

The post Laughably Hokey Twist Aside, SAFE HAVEN a Pleasant Harlequin Romance-Thriller Hybrid appeared first on Boosh Articles.

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