Get Kung Fu Panda Dvd And Blu-ray At Amazon.com!
September 3rd, 2010
Product: Kung Fu Panda
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From the very beginning, Kung Fu Panda had me practically falling out of my seat — laughing. It was the perfect blend of comedy, heart, and action, all significant elements in a successful and large animation/CGI film, in the tradition of The Incredibles and (less action, but containing the heart and laughter) Ratatouille, Finding Nemo and Monsters, Inc.
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I was laughing, smiling, and guffawing at Po, the main protagonist (voiced by Jack Gloomy) and his misadventures at becoming a Kung Fu expert. This was certainly a flawed character, one that a lot of people can characterize to because he dreams, he’s laughable, and he can laugh at himself. Also, the tale was beautiful positive and easy to follow because the storytelling was well crafted, and the animation was paired well with characters brought vividly to life by some of the most well-known names in Hollywood.
Jack Shaded and Dustin Hoffman are downright suited as the main characters, and Ian McShane as the terrible dude gave it the apt apprehensive presence. Other substantial name stars don’t shine as mighty, but that’s because their roles are rather small in the film. But that’s unexcited okay because the animators should be given equal credit (if not more) for delivering the comic, action and heart elements of this movie in an effective, improbable and (I’ve got to employ this) AWESOME manner. Visually, this movie is fair (view all those scenic shots of the Chinese mountains, bodies of water, and the bridge scene; not to mention the action animation version of “The Matrix” with slow-mo) … simply a delight to view.
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It’s obvious that Dreamworks has gotten relieve in the animation game with Kung Fu Panda, after runt ho-hums in Shrek 3 and Bee Movie (call me crazy, but I liked Over The Hedge more than those two) . Hopefully, it should salvage well over $500M worldwide because it is so kindly.
This movie rightfully belongs in the top animation movies of all time (okay, let’s not include the classic fairy tales of old; let’s launch with the 90’s onwards), alongside my faves “The Incredibles” “Finding Nemo” and “Beauty & The Beast.” Has the makings of being a classic.
Enjoy!
With deep foreboding, I walked into this movie braced for second rate animation (at least compared to Pixar), endless fights between cartoons (as in the CGI “Clone Wars”), and a cultural sensitivity that was either painfully preachy (like “Mulan”) or outright insulting (like “Aladdin”) .
At first, my terror seemed confirmed. Terrible Dustin Hoffman mangles Chinese names without mercy – so considerable so that James Hong, Lucy Liu and Jackie Chan have to deliberately mispronounce stuff unbiased to match what he says.
But once the movie got rolling, I found myself grinning from ear to ear in sheer delight. Yes, it’s lawful, Dreamworks can’t compete with Pixar’s technology, but they execute up for it with magnificent graphic beget, sheer wit and – of course – those hilariously quivering “Scrat Eyes”. What’s more, the animators somehow manage to fabricate Kung Fu battles between cartoons both titillating and savory – every bit the match of live action fights (which nowadays are nothing more than CGI with faces pasted on) .
However, the most distinguished thing about this film is how faithful it is to Chinese culture – family dynamics, Buddhist philosophy, values, and even martial arts – this film simply HAS to have been written by Chinese. There is never a moment where it strains to “win points” with political correctness. Its characters are never tediously satisfactory “anti-stereotypes”, but are instead lovingly depicted with all their flaws intact while uniquely Chinese messages are delicately hidden within a state crammed with excitement and laughter. Here you experience how parental appreciate turns into suffocating pressure, here you contemplate teenage rebellion as a monstrosity rather than a virtue, here you explore the quirky characters of a city (complete with that wobbly “travel foot” hurry), here you hear the wisdom of Zen detachment, and here you experience the sacred relationship between student and teacher.
Perhaps my plan is biased by the surprise this movie gave to my gross expectations, but I can’t back but peek this film as an unappreciated but precious gem. Now if only someone could do the same thing with Islamic culture…!
Total Gym
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September 3rd, 2010
Product: Fiddler on the Roof
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Based on the stories of Sholom Aleichem, the movie version of Fiddler on the Roof features Topol as Tevye the Milkman, a abominable Jewish husband and father living in pre-revolutionary Russia. His yarn is inevitably tragic, but amusing and touching along the diagram.
The movie is filled with asides from Tevye, as he reveals his thoughts to the camera. He is forever quoting “the pleasant book,” sometimes correctly, sometimes not so correctly.
As was tradition during this time, the matchmaker sets up all marriages. Tevye’s daughters aren’t too tickled about this (as is shown through the eminent song, Matchmaker, Matchmaker), and the older three eventually status up their enjoy marriages.
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Tzeitel, the oldest, falls in worship with Motel, the awful tailor, and they ask Tevye’s permission to marry. He finally relents and they have a marvelous Jewish wedding. Hodel falls in appreciate with a revolutionary who has been staying with Tevye and Golde and their family. She leaves her family to follow him in the heartbreaking song, “Far From the Home I Fancy.” Chava, the pretty middle daughter, falls in treasure with Fyedka, a Russian. Tevye forbids this marriage, for he cannot turn from his faith. Chava chooses like over family as shown through ballet, and Tevye has no choice but to count her as dull.
Tevye’s sage ends as the Jewish community is forced from Anatevka. Even in this hard time, Tevye is faithful that everything will turn out all moral in the demolish.
The music in this movie is absolutely fine. You’ll tap your feet to “If I Were a Rich Man,” and “Miracle of Miracles.” You’ll glean tears in your eyes during “Sunrise, Sunset,” and “Far From the Home I Worship.” You’ll laugh at Yente and during the dance at the bar.
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This is a movie that belongs in everyone’s movie collection. It is a sage that will last forever.
The Film:
Fiddler on the Roof is based on the tales of Russian Jewish life written by Shalom Alechem in the 1800s, with music scored by John Williams. Directed by Norman Jewison, it’s widely acknowledged to be one of the best musicals ever made. Tevye, played by the eminent jewish actor Topol, lives in the enclave of Anatevka with his wife and _6_ daughters. Insulated & protected by their Orthodox traditions, Tevye must face, with a poignant combination of humor, sorrow and acceptance, the marriage of his three eldest daughters in a series of increasingly unacceptable unions. How far can tradition be hooked and smooth occupy the center of his family and his community’s existence? Do we location tradition over family? Oswald Morris’ splendid cinematography and Jewison’s compelling film-making pursue these questions both for the residents of Anatevka and for us in our ever-changing worlds.
The DVD:
A marvel, this film has never looked or sounded better for home viewing – a remixed Dolby 5.1 soundtrack and crystal-clear narrate on a double-layer disc obtain this a contribution to your film library you’ll not regret. Jewison & Topol’s commmentary give you some ideas late the making of the film, what the director was trying to attain, and how Topol moved his character from stage to cover. Director’s burly expend of the 70mm aspect ratio demands the anamorphic widescreen format former in this printing.
master cleanse
Get The Glass Bottom Boat Video At Amazon.com!
September 3rd, 2010
Product: The Glass Bottom Boat
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This is a typically formulaic Doris Day light comedy vehicle, but an enthralling one, nonetheless. The film centers around Day, a Public Relations expert and part-time mermaid impersonator, and her error filled romance with Rod Taylor, a genius engineer with a Jetsonesque house. The two of them do well in their respective roles, and the rest of the supporting cast is generally gracious as well. Dick Martin is particularly genuine as Taylor’s partner, and Arthur Godfrey is ample as her Dad. Paul Lynde shines as a paranoid security guard, and is rewarded with a scene in go (you must explore the wig to enjoy it.) The only former link is Dom DeLuise as an inept stare. DeLuise is responsible for the one star downgrade, as I feel he frequently brings down otherwise perfect scenes.
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The area isn’t heavy duty, it involves an artificial gravity machine, incompetent spies, and romance, but although lightweight, it is fun, and is certainly upbeat and reliable for all audiences (what runt innuendo there is will wing legal past children, anyway.)
For a lighthearted, fun experience, I recommend “The Glass Bottom Boat.”
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The Glass Bottom Boat is about everything that life was about in the 60’s. The Cool War was in bulky swing, James Bond had become a household name and Doris Day was composed the top box office actress. With all of this, how could the film go wrong- what could they lose? Doris Day and Rod Taylor had already lost alot in their previous film Do Not Disturb which many have never even heard of unless you are an avid Doris Day fan. All believed including the man responsible for many Jerry Lewis movies, Frank Tashlin that this would be a success. With Tashlin’s talent for spoofing the times the world was in, Glass Bottom Boat was impartial what the doctor ordered.
The film begins by introducing the widowed Jennifer Nelson, played by Doris Day. She works at NASA with a part-time job as a mermaid for her father’s Glass Bottom Boat service. When Jennifer gets caught up, literally, she meets Bruce Templeton, played by Rod Taylor. She is not immediately impressed, and thankful that they will never glance each other again, or so she thinks.
She soon finds out that she and Bruce are not only co-workers, but worse- he’s her boss! She then becomes his personal assistant who makes mysterious phone calls, which the bumbling security guard played by Paul Lynde believes to be to the glimpse she is working for to gain Bruce’s top secret GISMO to the Russians. This assumption soon becomes an ultimate security predicament, and everyone is out to bag her.
Frank Tashlin really does a titanic job with his characters. Some unforgettable highlights of the film include Dom Deluise as a Public Address Installer (who uses the job as a veil for his true one) who ends up with he and Doris Day covered in banana cream cake and their legs stuck in a trash can, Paul Lynde dressed in run to glean into the women’s restroom to watch what Jennifer was up to, and finally where Edward Andrews and Dick Martin meet up unexpectedly when they were supposed to be meeting with Jennifer for a twilight rendezvoux.
This really is a film that does not earn used. It holds up with some of the other comedy films of today. The acting wasn’t Oscar-worthy, but it wasn’t intended to be. The movies from this time were intended to be fun and to derive your mind off of the serious things going on around the world. For a sterling laugh, view this film. It smooth works 40 years later- it puts a smile on your face and reminds you that things can always be worse!
Master Cleanse
Purchase Infestation Blu-ray At Amazon!
September 3rd, 2010
Product: Infestation
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I was fortunate enough to benefit the US premiere of Infestation, a nifty science fiction memoir with honest the honest amount of comedy, terrific performances by stars fresh and extinct, and quick dialogue. Although it was made on what amounts to a “shoestring” (less than $5 million), you’d never know it from the enormous cinematography (by Thomas Ackerman of Beetle Juice and Anchorman fame), silky (no pun intended) special effects (from newcomer/phenom Efram Potelle), and a crisp, fast-moving script (by director Kyle Rankin) .
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Chris Marquette (as main character, Cooper) is by turns endearing and intrepid. At times seeming to channel Shia Labeouf (without the “no, no, no, no, no’s”), he comes across as both exact and genuinely charming, and his transformation from phone salvage (today’s factory worker) to an against-all-odds hero holds the center of the movie. Ray Wise gets off some grand one liners as his dad, Ethan, and Dale Simonton is memorable as a boss who’s up to his ears with telemarketing slackers. (Oddly and disappointingly, Simonton’s character simply disappears after a dramatic entrance.)
Of course, Infestation isn’t perfect. The underlying account has “echoes” from quite a few other films, and sometimes it’s hard to distinguish between an “homage” and a copy. For example, there’s more than a bit of Alien (and Aliens) in the mix, both in terms of visual imagery and the presentation and organization of the “things” doing the infesting. Yet, Infestation comes across as a charming spoof that incorporates notions from a variety of science fiction films in a impish and shining nod to serious stuff that’s advance before it. In addition, the groups’ lag from the city to the scene of their final encounter wasn’t as suspenseful as it should have been. If it had a bit more of the out-of-control sense of distress in Shaun of the Listless, I contemplate it would have been a better film for it.
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I can’t review this movie without a nod to the ending. Of all the ways Infestation could have, shall we say, landed, the final scene — which I won’t give away — is elegant damn perfect. I’ll objective let you experience it.
Arguably the best creature feature since Tremors Attack Pack (Tremors/ Tremors 2 – Aftershocks/ Tremors 3 – Help to Perfection/ Tremors 4 – The Epic Begins) . Other than a bit of gratuitous nudity it should have been rated PG-13. This is unprejudiced dead fun . Giant Bugs that unlike most original SyFy fare don’t accomplish you cringe at their execution.Another throw benefit to the days of monsters that weren’t slashers disguised as creatures. Highly recommended for genre fans!Bring on the sequels!
Colon Cleanse
Carnivale: The Complete First Season Critique At Amazon.
September 3rd, 2010
Product: Carnivale: The Complete First Season
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“Carnivàle” is allotment of runt but growing number of quality television shows that are committed to the sort of lengthy and complex anecdote arc that was once the province of the mini-series. But shows like “Wiseguy” and “Buffy the Vampire Slayer” in the past and modern offerings such as “24″ and “Lost” have paved the plan for television shows that emphasize the enormous describe rather than the more obsolete episodic near. As such, “Carnivàle” is most similar to “Lost,” in that we are ravishing distinct we know what will happen at the demolish of the budge, but we have no belief how many seasons down the road that slay game will be played out. Does creator Daniel Knauf (“Wolf Lake”) have an ambitious five-year view similar to what J. Michael Straczynski had in mind from the inaugurate for “Babylon 5″? We will have to wait and seek.
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With a exhibit like “Carnivàle” it is easy (and fun) to play with various antecedents that clarify the series in simple but readily understood terms. From the open I was thinking of the note as a putrid between John Steinbeck’s “The Grapes of Wrath,” Tod Browning’s “Freaks,” and Stephen King’s “The Stand,” all of which I mediate to be classics in their respective genres. But there are other options as well (with Michael J. Anderson in the cast “Twin Peaks” becomes an definite choice), which simply speaks to the potential of “Carnivàle” to resonate with its viewers.
The premise of the explain is provided as the opening narration: “Before the beginning, after the substantial war between Heaven and Hell, God created the Earth and gave dominion over it to the crafty ape he called man. And to each generation was born a creature of light and a creature of darkness. And sizable armies clashed by night in the musty war between honorable and imperfect. There was magic then, nobility, and unimaginable cruelty. And so it was until the day that a deceptive sun exploded over Trinity, and man forever traded away wonder for reason.” The words are spoken by Samson (Anderson), who runs the traveling circus called Carnivàle, but answers to the unseen “Management” figure (voiced by an uncredited Linda Hunt) .
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While traveling across the Oklahoma Dust Bowl in 1934, the Carnivàle comes across Ben Hawkins (Carve Stahl), who has escaped from prison and returned home in time to notice his mother (Lucinda Jenney) die and bury here before the tractors level their shack. Management wants Ben to join the caravan and given his spot with the law, he agrees. As the Carnivàle travels down to Texas we learn that Ben is plagued by weird visions of the trenches in the Grand War and that he has the power to heal. Meanwhile, in the California town of Mintern a minister named Brother Justin Crowe (Clancy Brown) believes that God is telling him what to minister to the growing number of Okies and other migrant workers streaming west, fleeing the Dust Bowl. Those who oppose Brother Justin’s plans derive themselves punished for standing in the plan.
Ben Hawkins and Brother Justin are the creatures of light and darkness foretold, and while their visions enjoy glimpses of each other, they are not going to meet during this first season of “Carnivàle.” Their meeting is inevitable and clearly will constitute the apocalyptic conclusion of this series, but at this point they are tranquil coming to terms with their places in this outlandish universe. Each man is trying to glean out about their mysterious past, where they came from, and what they can do with their powers. Eventually they will have to resolve what they should do with those powers and at the raze of the first season they face what will certainly be the first of several escelating crucibles.
While the focus is primarily on Ben Hawkins getting traditional to his power and Brother Justin doing his work with his older sister, Iris (Amy Madigan), there is also life in the travelling circus during the Tall Depression. Ben is of interest to Lodz (Patrick Bachauh), a mentalist who takes an active interest in the young man’s powers and who is keen with Lila (Debra Christofferson), the bearded lady. Meanwhile, Ben has taken an interest in Ruthie (Adrienne Barbeau), the snake charmer who is also the mother of the strong man, Gabriel (Brian Turk) . The person involved in Ben romantically appears to be Sophie (Clea DuVall), the tarot card reader who is also the medium for her comatose mother, Apollonia (Diane Salinger), who is pyschic. Jonesy (Tim Dekay), the manger of the rousties, is in admire with Sophie, but he gets alive to with the Dreifuss family that runs the Cootch Reveal, Stumpy (Toby Huss), the father who is the emcee, mother Rita Sue (Cynthia Ettinger), and daughters Dora Mae (Amanda Aday) and Libby (Carla Gallo) .
One of the strengths of “Carnivàle” is that what is going on in that travelling circus is fairly attractive even without throwing young Ben Hawkins into the mix. There is something intrinsically involving about how carny folk milk the marks for money, and there is a sense of personal pride in their professionalism that gives them a obvious level of dignity. In the short term, I do not know if I like the understanding that not all of them are going to be alive next season. Then, of course, there is the whole ogle of the present. Suffice it to say “Carnivàle” won Emmys for Outstanding Art Direction and Cinematography for a One-Camera Series, along with those for Costumes, Hairstyling, and Main Title Acquire (you could do a exquisite grand master’s thesis objective decoding that last one) .
The DVD series for the first season comes with three audio commentaries, a really short featurette on the making of the series, and a giant group discussion with the cast. The commentary for “Milfay,” the pilot episode, is the most essential one, and twice as wonderful as the other two keep together. It has Knauf, director Rodrigo Garcia, and executive producer Howard Klein on it, with the creator/writer and director doing most of the talking, who focus on how they cast the present and how the first episode evolved. We also gain the “Previously On” and “Next On” bits that HBO created for each episode.
I leer that “Carnivàle” is going to be a very maddening point to to those who want things to recede along at a brisk scurry, and there will be those who will abandon the prove long before it gets to the promised land (when the circus gets to California, probably in a couple of seasons) . But for those of us who remember how “Twin Peaks” fell apart when the hook of “Who killed Laura Palmer? ” became the line and (literal) sinker, or who felt “The X-Files” was adding to its mythology without getting any closer to a enormous attain, the belief that “Carnivàle” has been created with a definitive kill point in mind provide some measure of comfort. This first season provides an initial level of confidence and the potential for more, but in the ruin how helpful this series is with reach down to the quality of the final “blow off.” Given that the origin of “carnival” goes assist to the Roman festivals of Saturnalia and Lupercalia where there was a temporary subversion of civil order and that the term now refers to the holiday period of the two weeks before Lent, it could be something shapely apt. Besides, it is not on television: it is on HBO.
Some may complain that “Carnivale” leaves too many loose ends. I would argue that these people are entirely missing the show’s point. If you are the sort of person who likes things to be wrapped up all dapper with a slight bow, turn help now… Otherwise sit abet, and let the pure magic of this expose suck you in.
“Carnivale” has a dwelling that begs to be questioned, mysteries waiting to be theorized upon, and characters that you will truly savor (or esteem to disfavor) . It is a indicate you can discuss for hours on kill. The joy of it is not discovering the answers through the area itself, but by your contain deduction.
HAI Flat Iron
Best Price Tag On Open Your Eyes At Amazon.com.
September 3rd, 2010
Product: Open Your Eyes
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Outstanding film. Bought this DVD after seeing and enjoying Vanilla Sky. If you liked Vanilla Sky, it’s glorious engrossing to recognize Abre Los Ojos, the inspiration for it. In fact, I was surprised how closely the stories stuck together. Scene for scene they unfold in almost the precise same blueprint (unlike some Hollyweed remakes of foreign flicks) . To be objective, I like both movies a lot, and for slightly different reasons. Not definite why some folks slam the heck out of Vanilla Sky and praise this to pieces since they’re so similar (quite a few foreign film snobs seem to lean that way–which I don’t understand since almost half of my DVD collection is comprised of non-American productions) . Abre Los Ojos did an awesome job crafting a epic that was sharp and pulled the watcher in without a bunch of over-the-top special effects. One of its strengths is unbiased the sheer intention it pulls you in with the simplicity of executing a far-from-simple narrative. I do believe Penelope Cruz’ performance was stronger in this version. She adds a exiguous more depth to her character, and it feels a minute more fleshed out. Conversely I contemplate the Nunia/Julie Gianni character (the spurned fancy interest in the narrative) is better executed by Cameron Diaz. She injects unprejudiced enough of an eery quality into her character that puts you cautiously on edge. Najwa Nimri, the actress in Begin Your Eyes, does the roll well, but with less dimension. Another noticeable inequity is Noriega’s `César’ (the main character) . In Abre Los Ojos, he comes across as more of a naïve victim of circumstance. Yes, he’s callow and cocky, but not necessarily conniving. Cruise’ character seems distinguished more aware of his circumstances and bit more manipulative. Regardless of the differences, both flicks are draw worth watching, and need to be given more than one viewing to be really appreciated. Strong performances across the board encourage an inspiring and twisting anecdote line that might leave you a tiny confused at times, but definitely not bored. Five stars, two thumbs up, and a `hip hip hooray’!!
Alejandro Amenabar’s “Inaugurate Your Eyes (Abre Los Ojos) ” operates on the conception that dreams and reality ride hand-in-hand down the path of life. It deals with elements of psychological bliss and disturbance in ways reminiscent of Hitchcock and “The Twilight Zone,” evoking a tone of constant underlying scare that remains in the mind long after the movie’s earth-shattering climax. This isn’t a thriller in the old-fashioned sense, but its thought-provoking station is a testament to Amenabar’s well-behaved storytelling capability.
The film begins normally enough by introducing us to César (played by Eduardo Noriega), a wealthy man with popularity and respectable looks tucked under his sleeve. He’s got a best friend, Pelayo (Fele Martínez), who takes pleasure in chiding him about his involvement with the persistent Nuria (Najwa Nimri), who simply won’t pick no for an reply when it appears that César has lost interest in her. His birthday party marks the inaugurate of a modern relationship with the pretty and high-spirited Sofia (Penélope Cruz), yet his reservations about animated too quick with her further madden Nuria, who offers him a toddle aid to his apartment the following morning only to hasten the both of them down a hillside into a wall.
The accident leaves Nuria tiresome and César badly injured, with facial scars untreatable by his physicians, who try to convince him of the risks alive to in attempting to return his face to its used plot. His disfigurement is a burden to him, as well as to Sofia and Pelayo, who regain discomfort not in his looks, but in his downtrodden attitude and outlook on his future. Noriega captures this lapse in emotion quite wonderfully, while also sharing a large chemistry with Cruz which keeps us fervent with the romantic aspect of the chronicle as well as the forthcoming mystery.
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The movie soon reaches a point where everything seems to change… César finds himself in the arms of Sofia, sharing a like he never belief possible; his doctors have arrive up with a solution to his facial scars, restoring his face assist to its fair see. Everything seems to be going quite well for him, until one night he finds Nuria in his bed and his joyful life turned upside down by his friends, who persist in telling him that this woman he clearly despises is Sofia.
The narrative is fine at keeping its audience at bay for information and twists, casting us into a darkness so that César’s confusion and delirium soon becomes our beget as well. His struggle to recover the clues that will solve the mystery leisurely his life’s sudden downfall is piquant and effectively induces notion among viewers, who will no doubt fetch themselves recalling clues, piecing together scenes and characters, lines of dialogue and different objects César has advance in contact with. It’s all a sense of mystifying wonderment, and Amenabar is able to lay on spot twist after spot twist at impartial the proper plod so that we hunger for more.
Your acceptance of the movie’s final resolution ultimately depends on your willingness to suspend disbelief, as well as your scrutiny. It begs its audience to query its intentions, to ask why determined events have arrive to pass, why positive characters plan to be slow have approach succor to haunt César; I reflect most people will be inclined to ask one seek information from (SPOILER ALERT) : If César has been creating his gain world, then why does he torture himself with his past? This is a quiz the movie doesn’t retort forthright; perhaps it is better left unanswered, as it most likely will retract away from the impact the final twist will have.
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As I accomplish this review, I smooth acquire myself perplexed by the complex nature and aesthetic array of twists and surprises that Amenabar supplies his film with. As I watched the film, I found myself straying away from its conclusion, but upon further plan, I realize that it serves the purpose of tying the film together in a manner that does justice to the sage that leads up to it. I aloof have my reservations about the nature of César’s final station of mind, but the effectiveness of the overall film easily makes it a minor flaw.
Colon Cleanse
Best Price On Ludwig At Amazon.
September 3rd, 2010
Product: Ludwig
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The two comments about this being a prick version are misleading. This is the complete theatrical version as released at 238 minutes. There WERE various crop versions that the producers released without the director’s approval, but this is not one of them. It’s the version Visconti sanctioned to be released at the time. To philosophize of the only version grand of release as being a 6 hour version is certainly a bit improper. Would you refer to the common theatrical release of Bergman’s Fanny and Alexander as sever?
I’m so delighted this film finally has been re-released in the American market.
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The scope, cinematography, and character development is pleasurable. The slack deterioration and dethronement of Ludwig is very well represented.
The ask as to whether Ludwig is a genius or a madman- or a combination of both- is handled sensitively and intelligently. The portrayal of his enduring admire of his cousin (Romy Schneider in one of her finest and most controversial roles) is genuine, as is the portrayal
of the wily genius, Richard Wagner, by Trevor Howard, Ludwig, played adroitly by Helmet Berger. is victimized by a lack of royal mentoring and the very favorite inbreeding that often afflicted European royalty. All in all, the historical representation is enlightening as exemplified by the backdrop of Bismark’s consolidation of the disparate German kingdoms into unique Germany in 1870. I was ALSO impressed by the representations of Ludwig’s castle without rooms, and his underground grotto with swan boots in a spring. The film gets lovely bizarre at times, and the ending in particularly puzzling and strangely justified.
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I’ve seen this four times and each time I procure something modern and piquant. On the other hand, the film is long with subtitles which may turn off mighty of the American audience. I feel this movie is most like another Visconti masterpiece “The Leopard.” which also depicts the
demise of the preeminence of European monarchies in the nineteenth century. Also the obsessive homoerotic element is reminiscent of Visconti’s
adaptation of Thomas Mann’s “Death in Venice. For someone who loves first rate European “art films;” Ludwig is a dependable boon!
Dawn of the Dead Guide At Amazon.com.
September 3rd, 2010
Product: Dawn of the Dead
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Zombie movies. Lots of “serious” types glimpse down on them. That’s a shame, because some of them are really superb films. Dawn of the Monotonous, the middle film of George Romero’s “lifeless” trilogy, is a case in point. You want zombies, we got your zombies Honest HERE! You want blood? Guts? Flesh eating? Oh boy, does Dawn of the Monotonous ever assure!
And then it does something really fresh – it also delivers drama, spellbinding characters with realistic delimmas, a smartly crafted chronicle, and a heavy dose of dead-on social satire. And did I mention that it’s fair flat-out scary as hell, too?
There is one scene in particular, toward the beginning, that level-headed haunts me – twenty some-odd years after I first saw it. The National Guard has been called in to certain a tenament building. In the basement, they collect a cage where the tiresome have been locked away. The simple, unsettling music of Goblin rises on the soundtrack, underscored by a heartbeat-like bass drum. There are the zombies, many in death shrouds, feasting on body parts. Guardsman Peter Washington (Ken Foree) steps into the nightmare with a pistol to dispatch the zombies with bullets to their heads. The whole thing takes on a surreal, hellish texture, like a Bosch painting. Foree’s performance is striking – he is truly IN THE MOMENT, as they say, without a hint of the winking self-awareness we stare in other genre flicks. If the humdrum really started coming serve to feed on the living, this is exactly what it be like. This is the toll it would proper on people trying to grapple with the state.
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Yet, in a draw, Dawn of the Tedious IS self-aware. It knows when to step attend, too, and admit that it’s playing with you. Another scene, of this sort, occurs when we leer a group of rednecks hunting the shambling corpses as though they were deer. They sip coffee from thermoses, pass sandwiches around, and banter about their accuracy with their rifles. It’s a very laughable bit, in piece because it’s so deadpan.
Those are unprejudiced two current examples. There is remarkable, great more to this film, and almost all of it works beautifully. Even the sometimes obviously extreme budget and gleeful consume of library stock music doesn’t damage. Romero turns these limitations to his advantage, by making them help as searing comments on mass media, consumerism, and pop culture.
Performances by David Emge, Scott Reiniger, and Gaylen Ross are suited of mention, too. They play valid people in an amazing plot, rather than two-dimensional horror-movie characters.
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Dawn of the Wearisome schlock as high art – complex, humorous, scary, and challenging. And thank goodness it’s coming support to DVD, because it’s one worth watching over and over again.
“Shop ’til you tumble” takes on literal earn in “Dawn of the Tiresome”, Splattermeister George Romero’s 1978 magnum opus of the flesh-eating Living Listless. “Dawn” rightly deserves its title as the ‘Mount Everest of Zombie Movies’.
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The Zombie Apocalypse is all George Romero’s fault! And if Grandmaster Romero let the Walking Humdrum out of their tombs with the groundbreaking “Night of the Living Dull”, he gave the zombies the keys to the kingdom in this flick, which laid down all the rules for a Zombie Apocalypse and how to survive It—and, interestingly, managed to crash many of them.
Rule #1: AIM FOR THE HEAD!: When “Dawn” opens up, Philadelphia is in its death throes, though the city doesn’t know it yet.
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The plague of flesh-eating monsters rising from their graves to luxuriate in the living has spread from the countryside to the mammoth cities like a firestorm. The slightest scratch or bite causes infection, the infected die horribly, and then return to Life, hungry for the flesh of the living, a mindless Zombie.
Rule #2: THE CAVALRY AIN’T COMING. Things go down and go down hard in the housing project: faster than you can say “tastes like Chicken”, SWAT troopers Peter (the gargantuan Ken Foree) and Roger (the underrated Scott Reiniger) procure outta Dodge with traffic reporter/helicopter pilot Stephen (David Emge, hereafter known as “Flyboy”) and Flyboy’s girlfriend, Fran (Gaylen Ross) .
When the Going gets Tough, the Tough go Shopping.
Rule #3:HE WHO GOES “YEEHAWW” HAS A HALF-LIFE MEASURED IN NANOSECONDS. Romero moves at a taut, brisk lunge, letting the feeling of impending doom sink in, the sense of increasing wrongness, all underscored by the brooding, thudding, unearthly pulsing of the Goblin soundtrack.
What’s engaging about “Dawn of the Expressionless” is honest how powerful of a collaborative peril it really was: “Dawn” reprised the team that had helmed “Martin”: Mike Gornick on the camera, Romero calling the shots, John Amplas (who played the young vampire Martin) running casting (and who gets gunned down as a rooftop gangsta in a snappy cameo), and special spatter effects guru Tom Savini finally strutting his stuff (and getting in some quality mask time with a machete, to boot) .
Some have criticized Romero & Crew for lacking artistry in their cinematography, but reflect about it: “Dawn” was peaceful a low-budget family affair, and Romero’s best work has always had an edgy, guerilla feel. But the modern print is fine, and obvious up any questions about Romero’s genius: there is some stunning stuff here.
Take the scene with the helicopter lifting off against a dying Philadelphia skyline—with the lights in the floors of one skyscraper winking off, bottom to top, floor by floor. Or the nerve-jangling cat & mouse game between Flyboy and a zombie in a darkened engineering room. Or the sere beauty of a Mall parking lot overrun with the Listless hankering for that Blue-light special on human flesh, Aisle 9—all of this lends a brooding, sick, execrable atmosphere to “Dawn”. It works in spades, and it’s comely, too.
Rule #4: THEY’RE Monotonous, THEY’RE ALL MESSED UP. Yes, Romero laid down the “Rules” of the Zombie apocalypse. They go at a lumbering travel, you build `em down with a blow or bullet to the head, they don’t utilize tools, they’re deadly but plain, they can’t learn. Purists consider a remake, or any Zombie flick, according to the rules of the Romero canon.
But buy a recognize at “Dawn” and you’ll collect something interesting: Romero proceeds to violate—or toy with—nearly every rule about the Living Tiresome he save forth. You deem turbo-zombies first showed up in “28 Days Later”? Not so: zombie kids in an abandoned airport charthouse charge at Ken Foree like they’ve got a Delorean in their tushses. Zombies can’t utilize tools? Seems one of them finds a wrench very handy in breaking a truck window to hold a chomp at Roger.
Rule #5: NO GUTS, NO GLORY. If you worship “Dawn of the Plain”, you *must* lift up Anchor Bay’s lovingly assembled “Ultimate Edition”. First off, the print is gloriously restored: the colors are so intense and the describe so sure that “Dawn” looks like it could have been shot yesterday—long gone are the days of cheapo full-screen VHS copies that made early versions of “Dawn” eye like porn.
There are four DVDs, tricked out in red and shadowy and handsomely mounted in a glossy package crammed with goodies (including the shot-for-shot comic—nothing special in itself, but a nice addition) . You accept commentaries with everyone, the unusual ‘Making of’ Documentary, a brand-new documentary made especially for this edition, even a creepy commercial for the Monroeville Mall.
The dependable appreciate trove here is the ability to leer all three versions of the movie: the modern US theatrical prick (the best, in terms of pacing and atmosphere), the Extended version (featuring a tense and effective stand-off at the Phillie docks), and the shorter European version. It’s challenging to compare how editing and music can radically alter a film: in the Euro version, we have powerful more of Goblin’s soundtrack—but everything feels off, not nearly packing as great punch.
Rule #6:DON’T Score TRAPPED IN THE BASEMENT. Time has been kind to “Dawn of the Listless” and George Romero; justly so. “Dawn” is a deliciously unsuitable tiny jewel of a movie, one I can behold over and over again. The consumerist angle, done to death my movie critics, is a tiny much: Romero filmed the flick in the Monroeville Mall because it was cheap, not because he was making a scathing commentary about American consumerism.
Then again, maybe it is a movie about the extremes of Consumerism: the Zombies have risen again as the ultimate consumers, after all.
They now recall our Flesh.
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September 3rd, 2010
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Well, after WWE has already released anthologies on their other 3 major events…it’s time for the final one in their “Enormous Four” being the Survivor Series. This first Volume is from the early years of the event where the heavy focus was on strickly having imprint team elimination matches with wrestlers teaming together based off approved hatred for others on the opposite team…to the point where there is only one match on here that wasn’t a designate team elimination match. Now withhold in mind that I’m doing my reviews from either the VHS version with the unedited event or a replay I caught off WWE Classics On Inquire.
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1987 – This is going to be a treat for those who already have this event on video because if you remember, the VHS version was edited down to 2 hours there so here you bag the chunky event. This was historic in many ways as this event marked the first ever Survivor Series and also the fact that this PPV ran on the same night as NWA’s Starrcade event (which caused Starrcade to be bumped off many cable networks) . The main event featured Andre The Giant, One Man Gang, King Kong Bundy, Butch Reed, Rick Grievous vs. Hulk Hogan, Paul Orndorff, Don Muraco, Ken Patera, Bam Bam Bigelow that’s remembered for it not only being the first time Hogan & Andre were in the ring for a match since WrestleMania III but the outstanding performance of Bigelow that puts a notice on the designate he’s gotten as “one of the best ‘big men’ in wrestling.” Also on here is the first ever 20 man brand team elimination match with 5 imprint teams on each team & other matches feature Randy Savage, Jake Roberts, Ricky Steamboat, Brutus Beefcake, Jim Duggan vs. Honky Tonk Man, Hercules, Danny Davis, Ron Bass, Harley Run…and an all womens match featuring teams headed up by Faboulous Moolah & Sensational Sherri. There were only four matches here but each one went around 20 mins. (the mark went almost 40 mins.) and was all quality in their acquire lawful.
1988 – Objective like the 1987 edition, the 1988 edition was also edited down on the VHS (only the ticket team & main event were shown in plump) so this is the first time it’s been released unedited. The main event here was Mega Powers, Hercules, Koko B. Ware, Hillbilly Jim vs. Twin Towers, Ted DiBiase, Haku, Red Rooster in a match that continued so many ongoing feuds (Hogan/Boss Man, Hercules/Dibiase) & storylines at that time (problems between Heenan & Rooster, the continued tease of jealously between Hogan & Savage over Elizabeth) . Also on here was the final WWE appearence of the Dynamite Kid along with the PPV debut of Shawn Michaels in a 10 man mark team elimination match that’s mostly memorable for what happened during the match between Mr. Fuji & Demolition & Powers Of Damage resulting in (to my knowledge) the first double turn in WWE history. Other matches include Rick Obscene & Harley Bustle & Dino Bravo & Mr. Perfect & Andre the Giant vs. Jake Roberts & “Hacksaw” Jim Duggan & Tito Santana & Ken Patera & Scott Casey…Ultimate Warrior & Brutus “The Barber” Beefcake & The Blue Blazer & Sam Houston & Jim Brunzell vs. Honky Tonk Man & “Outlaw” Ron Bass & Greg “The Hammer” Valentine & “Risky” Danny Davis & Awful News Brown.
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1989 – This was a Survivor Series first as this was the first time they started naming the teams. One of the main events was the Hulkamaniacs vs. Million $ Team which was exact disappointing since the match seemed heavily one-sided (even Ventura pointing it out on commentary) and the main showdown that was being built up here between Hogan & Zues being the device it was (or wasn’t, depending on how you want to stare at it) . The other main event was the Ultimate Warriors vs. The Heenan Family that’s more remembered for the backstage memoir with Arn Anderson and, more importantly, Tully Blanchard that ended up seeing Bobby Heenan wrestling here instead of Blanchard…however this was a colossal showcasing of Anderson being the workhorse that older fans remember him for. Other matches include Roddy’s Rowdies vs. Rude’s Brood that was inviting down the commentary where Jesse Ventura kept attempting to say the name of Piper’s team but objective couldn’t net it legal, Dream Team vs. Enforcers that was a solid match, and the King’s Court vs. 4×4’s in another solid match that was highlighted by the interaction with Randy Savage facing off against Bret Hart. The only loyal negative I can say here is that how the monster heels were eliminated in the main events were very disappointing.
1990 – This Survivor Series debuted three fresh ideas into WWE with one turning out to be one of the greatest superstars in the history of the WWE. One unusual opinion WWE introduced here was that the surviving faces of the elimination matches would meet the surviving heels in a “Mountainous Finale Match Of Survival.” Also during this PPV, a astronomical egg that was seen on WWE TV for weeks finally hatched (to the crowd’s boos) to sing the Gooblygooker (Hector Guerrero) . One of the main events here featured The Warriors vs. The Pefect Team which saw the Demolition vs. Legion Of Doom fight that longtime WWE/NWA fans wanted to stare. The other main event was the Hulkamaniacs vs. The Natural Disasters in a solid match. Other matches included the Vipers vs. the Visionaries where history was made as it was the first time an entire team survived, the Alliance vs. Mercenaries in a short one-sided match, and a match with the Dream Team vs. The Million $ Team that had an outstanding battle between Ted Dibiase vs. Bret Hart but more importantly, this PPV featured the dominate debut of The Undertaker. Another effect to accomplish on here is that eventhough Randy Savage didn’t wrestle on the card, he did produce an appearence for an interview.
1991 – The PPV had the nickname “The Gravest Challenge” in reference to the first ever non-elimination match as Hulk Hogan defended the WWF Championship against the then-undefeated Undertaker that saw Ric Flair originate an appearence leading to Taker winning his first WWE Championship. The other main event on here was the Legion Of Doom & Mammoth Boss Man vs. Natural Disasters & I.R.S. which was as edifying as you expected it to be with the bigger record being that after teasing Randy Savage of being reinstated & returning to the ring against Jake Roberts in this match…WWE decided to unprejudiced engage Jake Roberts from this match and beget off their match for the “Tuesday In Texas” PPV reducing both men’s roles on this display to objective having an interview. This event also marked the WWE PPV debut of Ric Flair (pay Exact Cessation attention to what belt he wears to the ring…you’ll accept a chuckle out of it) in the match of the night with Ted DiBiase, Mountie, Warlord vs. Roddy Piper, Bret Hart, British Bulldog, Virgil that was filled with comedy, brawling, and straight wrestling (with one very comedic moment between Piper & Sherri) that was only harm by how the match ended. Other matches on here include “Hacksaw” Jim Duggan & Sgt. Slaughter & “El Matador” Tito Santana & “Texas Tornado” Kerry Von Erich vs. Colonel Mustafa & Hercules & The Berzerker & Skinner that was a one-sides squash with this becoming the second time an entire team survived….and Rockers & Bushwackers vs. Beverly Brothers & Infamous Boys that was all about the continued tease of problems between Shawn Michaels & Marty Jannetty. This edition of the Survivor Series was is easily the worst edition on this place as this PPV was really unbiased an informercal to promote another PPV that WWE was having less than a week later. The two main attractions that people wanted to glance for this event were nothing more than bait to have you turn into that event & WWF seemed to effect more focus into that “Tuesday In Texas” event than their yearly tradition of Survivor Series because alot of the matches weren’t as safe in quality as the years before with some booking that fair looked insensible in the kill. At least watching this on tape years later, you know what these state twist are & how the event shaped up afterall but this year’s Survivor Series was unprejudiced a dull disappointment.
So overall, if your a heavy fan of the elimination matches then this is the spot for you to check out as the first three years were noble quality while the 1990 edition was solid with some questionable booking when it came to some of the eliminations and the 1991 edition was worn minus the opening elimination match & Taker/Hogan for the WWE Title so I recommend this volume.
Overall, this was a glowing superior location, but I noticed one shrimp change on the 1989 SS area, one that I only noticed because I have the PPV version on VHS from years relieve and sued to notice it all the time, to the point that I nearly memorized some of the commentary. The pre-match interviews with The Outrageous Brood and The Ultimate Warriors are NOT the same ones from the PPV. While I at first notion they were edited, it was distinct they frail different takes from the ones shown 20 years ago – confirming what I judge many of us already knew, that most of the interviews are scripted and pre-taped.
Colon Cleanse
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September 3rd, 2010
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To be a samurai meant owing nearly absolute allegiance to the leader of one’s clan, the daimyo. One often filmed yarn is about 47 exact samurai committing harakiri en masse when their clan is disbanded. But what happens when the daimyo is unjust and plays with the lives of his proper samurai?
In SAMURAI REBELLION, a young samurai is forced by his daimyo to marry a difficult mistress who had dared to manhandle him. Lady Ichi surprisingly turns out to be a jewel, and Yogoro, her recent husband, grows to like her. When the daimyo changes his mind and has her kidnapped after several unsuccessful attempts to bully the family, Yogoro and his father Itaburo (Toshiro Mifune) singlehandedly pick on the whole clan.
Before you know it, the blades are out of their sheathes, and bodies are falling all over the state. Particularly spectacular is a duel between Itaburo and his friend Tatewaki (played by the huge Tatsuya Nakadai) in a windswept field of grass. Director Masaki Kobayashi (KWAIDAN, HARAKIRI) is at his best here; and numerous scenes are icily controlled and eerily aesthetic as he guides his camera, breaking down sequences into abstract geometrical patterns.
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I can’t abet remembering the song in the musical BANDWAGON which summarizes HAMLET as “The king and the prince meet / And everyone ends up mincemeat.” As in HARAKIRI, there is a point to the mayhem here: The honor of a single family CAN outweigh the honor of the clan.
One of the 15 best movies ever made! (Gaze the fact that all Amazon reviewers (22 of them) give it five stars!) . The set is
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quite appealing. A woman, Lady Ichi, is forced by the regional Lord to marry into the family of a vassal (Samurai Isaburo played by the incomparable Toshiro Mifune) because she insulted the Lord in public. After two years, Isaburo’s son and Lady Ichi topple in love; they have a daughter. All is well except it becomes convenient for the Lord to inquire return of the woman and annul the marriage…thus Lady Ichi is twice betrayed. Samurai Isaburo is incensed. He and his son resist the claim of the Lord to retract the woman wait on and literally fight to the death for the legal of Lady Ichi and his son to savor each other and legitimize the daughter. Throughout, the movie is quite sympathetic to women issues and Lady Ichi is portrayed magnificently.
What makes the movie so outstanding is the intention in which sound, music, and photography are combined to reinforce the themes of the film. Literally, every frame of the movie has some symbolic significance: the positions of the parties, the carefully phrased speech of the protoganists and agonists, the sound of wind. Every frame is an art fragment – like a unruffled life. (This is the style of another of the director’s masterpieces of historical Japan – HARAKIRI) . If THRONE OF BLOOD is the Japanese version of Macbeth, SAMURAI REBLLION is the Japanese version of the Iliad. I loved it.
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