Product: Return With Honor: The American Experience
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The definitive documentary about life inside the notoriously brutal POW camps of North Vietnam - told by the American servicemen who lived it. Incredible historical footage combined with the reflections of the men some 25 years later makes this a compelling film. You will be inspired by their courage, touched by their humanity and confessions of weakness and dread, and then re-inspired by their enduring loyalty to each other. Kept in solitary, tortured, and forbidden to communicate with each other, it is a wonder they survived. Amazingly you learn how they did produce ways to cope and communicate, such as by using a “tap code” on the walls to communicate with men in adjoining cells. As one ex-prisoner puts it, some nights we had the Hanoi Hilton “sounding like a den of runaway woodpeckers.” This express is typical of the reflections you hear from the ex-prisoners. The men are never bitter, despite the fact they’ve been through a living hell. They are never pedantic and anxious to recount what titanic life lessons they’ve learned from the experience. They simply advise their legend. Their wit and humor keeps Return With Honor from ever becoming akin to a depressing war fade. Regardless of political conception about the Vietnam conflict, almost every viewer will advance away with an admiration for these Air Force and Navy officers who scarified so mighty in service to their country.

In what is probably the most revealing documentary ever created on ex-POW’s from Vietnam, Return With Honor is an outstanding testament to absolute courage, honor, bravery, camaraderie, and survival.

Individual interviews woven with footage from United States and Vietnamese archives paint a very incandescent and oftentimes emotional record of the brutal experience suffered by our U.S. servicemen held captive in Hanoi.

Leaving very dinky to the imagination, this documentary explores the many facets of captivity to include barbaric torture, communication processes between prisoners, coping with solitary confinement, demoralizing loneliness, and inhuman living conditions. Additional interviews with the spouses of POW’s command their distress and emotion they dealt with on the home front while not incandescent the fates of their husbands.

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Finishing off with their triumphant return home, it is truly inspirational and heartwarming to perceive the footage of these daring men reunited with their families.

This DVD itself has proper sound and video qualities and offers fine additional features such as 26 biographies of POW’s and interviews with the producers on the making of Return With Honor.

This documentary comes very highly recommended to everyone and leaves you with a resounding message of patriotism and a deep respect for America and her U.S. servicemen.
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Product: The Professional
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I maintain both the US and international versions of this film, and the international edition is remarkable better. Both versions carry a shrimp sexual tension throughout between Leon and Matilda, and the uncut version is more pronounced in this location, but that isn’t the reason to prefer it.

The extra 24 minutes on the uncut version provides a deeper belief of the relationship between the two as the film progresses. For example, in the US version Matilda never becomes a proper “cleaner” or hitman. It’s only hinted at when they shoot a jogger from a rooftop with blanks. In the uncut version, Leon takes her completely under his coast and teaches her the trade, including scenes where the pair bustle around killing awful guys and such. In the process, Leon teaches her the “ring trick” by tossing a grenade at a victim and keeping the ring and grenade pin in his hand. This scene sets up the final scenes in the movie in a diagram that the US version left short and unexplained.

If you enjoyed the US version, you’ll probably care for the uncut version more, if only because the characters and their relationships are considerable deeper.

French director Luc Besson (”The Messenger”; “The Fifth Element”) made his U.S. film debut with this knowing thriller of an Italian hitman who is untouchable. “The Professional” stars Jean Reno (”The Gigantic Blue”) who plays Leon, a professional hitman with ninja-like skills, who eliminates rivals for a mob boss (Danny Aiello) .

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After a nasty cop (Gary Oldman) eliminates the family residing next door due to a drug transaction gone depraved, Leon finds himself the guardian of young Mathilda (Natalie Portman in her mask debut) . Taking Mathilda under his helm, Leon teaches her the art of the “cleaner”. However, pain lurks around every corner, and Leon must protect Mathilda from the same cops who killed her family.

Considered by many to be his masterpiece, “The Professional” was originally released internationally under the title “Leon”. However due to the feeling that American audiences might win some material unacceptable, over 24 minutes of the film was edited out. Finally, Columbia/Tri-Star has made an obedient decision in releasing the uncut, international version of this capable film in the U.S. as it originally was called in August 2000.

While the film’s central theme revolves around Leon and his job, the subplot where Mathilda develops an attraction for Leon is reminiscent of the novel/film “Lolita”. The chemistry between both characters in a father/daughter relationship can be intense, especially as we glimpse that Mathilda is in her puberty-stage.

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Jean Reno is respectable as always, and Gary Oldman gives a chilling performance as Stansfield, the nefarious DEA officer who murdered Mathilda’s family in chilly blood. However, the valid scene-stealer in this film has to be Natalie Portman. This sparkling young girl radiates beauty and professionalism throughout the film. Her porcelain-looking skin, and her tall brown eyes are well utilized in this film, making her character more childish, yet dilapidated to a determined extent. Portman proved to audiences in this film that she was no flash in the pan, and in her subsequent films, she continues to be a scene-stealer. She is truly Hollywood’s most gifted young actress.

In the international version, most of the 24 minutes that were left out in the film’s 1994 release in the U.S. mainly involves both Leon and Mathilda going on “cleaning sweeps” where she gets first hand training in the art of assassination. The other half of these minutes focuses on Mathilda’s attraction to Leon. Her persistent attempts to be intimate with Leon all fail, but we finally understand why Leon remains a loner when it comes to affairs if the heart. Some might be melancholy about the plan of Mathilda and Leon sharing a bed together, but Besson paints this scene as one appealing platonic savor and not sex.

In wrapping up, I recommend this film for anyone who enjoys a nonstop, high-impact thriller in the same tradition as the “Matrix,” “Blade,” or “Tedious Serene”. Luc Besson truly is one of the world’s greatest action directors, and “Leon” captures his magic. An good, pulstaing film from beginning to slay!
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Product: North by Northwest
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One of the best of Hitchcock (although as far as his films go, Hitch probably has the best track portray of any director living or listless) . This film is basically the recent “Fugitive” and follows attractive closely the site to his “The 39 Steps” from 1935 - a man is unsuitable for a CIA agent and is caught in a “deadly game of cat and mouse,” as it were. I Cherish the music and the visuals that commence out the film - it makes me wish I had been alive to sight it in a movie theater in the 50’s. And although this film is over 2 hours long, there’s no plan you can be bored - the suspense is so intense you’ll be chewing your nails the whole time (I did the first time I saw it) . Cary Grant is advantageous as always, James Mason plays one of the most cross of Hitchcock’s villains (I would Adore to have this guy’s teach) and Eva Marie Saint looks ravishing and plays her portion well. I also enjoyed seeing Martin Landau in an early role as one of James Mason’s henchmen and Jessie Royce Landis (the mother from “To Win a Thief”) as Grant’s mother (although both were very arrive the same age at the time) . And I esteem any film acquire by Bernard Herrmann - this guy should have had a mantle covered with awards, but as luck would have it, most of his scores went not only un-awarded but un-nominated (as this one did) . By all means, if you don’t bear it, grasp it up today - and by the plot, gracious job for FINALLY releasing it on DVD, MGM.

With this film, Alfred Hitchcock site out to top himself and catch encourage on top after the failure of VERTIGO; he did honest that. NORTH BY NORTHWEST is automatically a classic with the acting by Cary Grant (his fourth and final film with Hitchcock), Eva Maria Saint, James Mason, Leo G. Carroll (another one of Hithcock’s favorites), and young Martin Landau (in his film debut), the unbelievable status pieces (the UN cancel, the cropduster sequence, and the climax atop Mt. Rushmore), Bernard Hermann’s music rep, and the classic work of the camera by the Master of Suspense. But this DVD’s extras really add to the film. It includes a documentary hosted by Saint (”Destination Hitchcock,” not “The Man in Lincoln’s Nose” as listed on this dwelling), an audio commentary by screenwriter Ernest Lehman, two theatrical trailers (a standard trailer and one featuring Hitchcock), a TV Station, an isolated music audio track and the film itself remastered in Dolby 5.1 Audio and 1.66:1 widescreen anamorphic format. The only predicament is it comes in a snap case like all Warners DVDs, not allowing a booklet with production notes. But this DVD is a must hold, especially if you’re a fan of Hitch. It’s also a designate of interest for 007 fans (like myself) . This film brought about see thrillers and you should compare the cropduster sequence in this film to the helicopter sequence in FROM RUSSIA WITH Treasure.
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Product: Donovan’s Reef
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What do you do when you’re a workaholic 68-year-old director, and your doctor orders you to win a vacation? Well, if you are John Ford, you grab John Wayne and your ‘Stock Company’ of actors, jaunt off to Kauai, the “Flower Isle” of Hawaii, and accomplish “Donovan’s Reef”, a dilapidated, brawling comedy! While the film was certainly not ‘top-drawer’ for either the director or star, it is a edifying diversion, and would effect the final ‘film’ teaming of the legendary pair.

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“Donovan’s Reef”, equal parts “South Pacific”, “Hawaii”, “What Note Glory? “, and “She Wore a Yellow Ribbon”, was already ‘nostalgic’, by the time it was made, as so many actors who would have been Ford ‘naturals’ in key roles had passed away, or were too broken-down to play the characters believably. Thus you have Lee Marvin instead of Victor McLaglen, Jack Warden in a ‘Ward Bond’ role, and Elizabeth Allen in a portion ‘tailor-made’ for a younger Maureen O’Hara. Even Wayne, himself, at 56, seems a bit ‘long-in-the-tooth’ for the physical demands of his role (entertaining the 32-year-old Allen in a swimming urge? ), as well as the romance (a fact that even the Duke would agree with; this would effect the last time he would play a romantic lead, ‘winning’ an actress so mighty younger) . Also, brilliant that in less than two years Wayne would lose a lung to cancer, one winces at the number of cigarettes he lights up, throughout the film. “Donovan’s Reef” was certainly geared to an earlier time and sensibility.

All this being said, if you can leave 21st century wisdom about tobacco and alcohol abuse “at the door”, the film is a treat, with postcard images of Hawaii, Lee Marvin, an ‘over-the-top’ joy as Wayne’s drunken buddy/adversary (tuning up for his Oscar-winning role in “Cat Ballou”), hilarious abet from Cesar Romero as the lecherous Governor/General, and Dorothy Lamour (who’d starred in Ford’s classic South Seas adventure, “The Hurricane”), as a husband-hungry chanteuse, and, in memorable bit roles, Duke’s son, Patrick, Edgar Buchanan, Dick Foran, and Mike Mazurki.

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I truly wish there WERE a “Donovan’s Reef” in our world…it’s the kind of location where I’d want to live!

There are days when things objective don’t go factual. Business doesn’t hit on all cylinders, or something in one’s personal life is out of alignment. Irritation can plot in. Frustration. Impartial insensible outmoded down-in-the-dumps mopeyness.

There ARE things that can be done about this, especially if you have a VHS or DVD player. You can pop in any number of generous movies and spend your scene selector to collect you to that “special piece” that unbiased warms your heart and chases your blues away.

You can search for the waste of “Shenandoah” from the point where Jimmy Stewart goes to the family cemetery to talk to his wife Martha, on through to the arrival of “the boy” in the middle of Sunday preaching. Or you can scrutinize James Cagney as George M. Cohan pick up his Medal of Honor from FDR in “Yankee Doodle Dandy”, tap dance down the White House steps and join in the troop parade down Pennsylvania Avenue singing “Over There”. Or you can scene-select to the Von Trapp family singing “Edelweiss” as a farewell appearance at the Salzburg Music Festival in “The Sound of Music” and then follow them across the alps into Switzerland at the cessation to that glowing film. OR, if the season is lawful, you can snappily jump to the Columbia Inn in Pine Tree, Vermont, in time to notice retired General “Tom Waverly”(Dean Jagger) procure sandbagged by Bing Crosby, Danny Kaye and company at the surprise reunion of the “151st Division” at the ruin of “White Christmas”.

OR…you can straggle in “Donovans Reef” and unprejudiced sit benefit and LET THE WHOLE THING ROLL!!!!! Because from the first moment of the opening credits, when the savory, infectious musical rendition of “Pupa O Ewa” (”Pearly Shells”) cranks up…until the very waste of the film…when “Pupa O Ewa” is cranking again…you can honest leave your “doldrums” slow.

A “downer” mentality cannot stand up to “Donovan’s Reef” for long.

This 1963 “swan song” for the collaborative filmmaking team of John Ford and John Wayne is one of the most scrumptious light comedies ever achieve to film. There are many movie aficionadoes who esteem Grant & Hepburn in “Bringing Up Baby”, Hepburn & Tracy in “Adam’s Rib” and such, and you can’t “diss” classics like “Some Like It Hot” and numerous Doris Day vehicles. But me, I say “Donovan’s Reef” belongs up there with the best of them.

There’s not a lot of expeditiously repartee here, but that doesn’t matter. Neither does the fact that it seems almost a case of “Let’s do this up as we go along” moviemaking. “Hmmmm. This is a Paramount Recount”, status in the South Pacific…Hey!!!…let’s accumulate Dorothy Lamour for it!!!!!”. However it was conceived and do together…IT WORKS!!

It is a expansive, boozy, knuckleheaded comedy that works because it has really grand actors in it, having a really proper time, turning out a anecdote pudgy of heart…all under the guidance of one of Hollywood’s greatest directors.

John Wayne is Michael “Guns’ Donovan, bar owner of “Donovan’s Reef”…a status Jimmy Buffet would surely like to visit. Lee Marvin is Donovan’s venerable war buddy “Boats” Gilhooly, who is his rival in “most everything”. They fight a lot, especially since they fragment the same birthday and neither likes to section. Some of the staged “altercations” between them smack of Wayne vs. McGlaglen in “The Unexcited Man”. Jack Warden is the local missionary doctor, a widower twice over, who has three children by a polynesian wife (royalty), and one older daughter from his first marraige in America.

Island frivolities acquire sidetracked when word comes that the older daughter (a “righteous Bostonian”) is coming to peer her father

(on a covert investigatory mission to scrutinize if a will can be broken) . Suspecting this daughter, Amelia (Elizabeth Allen), might be a racist who might hurtfully interact with her mixed hurry siblings, Wayne & company stage a “switcheroo” con on Ms. Dedham from Boston…one which represents the Duke (”Guns”) as their father and not “The Doc”.

The course of the film is about establishing the con and then maintaining it. They fail in this, but it turns out not to matter. Amelia is not entirely the prig they prefer her to be…and by the demolish of the movie she is no prig at all.

This is a fun movie to gaze and experience. The cast is uniformly broad. Cesar Romero is a hoot as the French colonial governor, as is John Fong as his assistant. Mike Mazurki is droll as a local gendarme and Marcel Dalio evokes his gain fragment of chuckles as the island priest. The children are played quite well by Jacqueline Malouf, Cherylene Lee, and Tim Stafford. Jacqueline Malouf, in particular, is appealingly winsome as Leilani, the eldest of the three island children and the heir to her mother’s throne. A scene reach the raze of the film where Amelia realizes Leilani is her sister and overturns “the con” is absolutely…exhiliratingly…heart warming.

Is this a feel-good movie? You betcha. A “South Seas” set of mind caught on quite strongly in the early 1960s. This trend had three basic points of origin…the play and film version of “South Pacific”, a very well-liked television series called “Adventures In Paradise”, and fine used “Donovan’s Reef”.

Three obedient deals, all the method around.

As for Duke’s slay of the deal,this DVD edition of “Reef” is unprejudiced elegant. The sound is honorable, as is the image transfer. The colors of Hawaii reach out gloriously in this…as one would interrogate when the lens work was done by William Clothier, one of the greatest of all Hollywood cinematographers. And Cyril Mockridge’s musical scoring is sublime, especially his choice to feature “Pupa O Ewa” extensively in the movie. That song gets under your skin and STAYS there…and will often advance assist to stick in your mind when you are nowhere arrive a television area or DVD player.

“Donovan’s Reef” …or “Gilhooly’s Reef”…makes no nevermind to me. I savor it unprejudiced the same. Thanks Duke, and thanks Mr. Ford.

We owe you.
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Product: Braveheart
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On a whole number of levels, this movie shouldn’t have worked for me. It takes much license with historical facts, not only in order to supplement details that are not fragment of William Wallace’s story but actually, wherever convenient. (”We stuck to history where we could but hyped it up where the narrative let us,” actor-director Mel Gibson admits on the DVD’s commentary track.) It is graphically and unabashedly violent: from throat cuttings to battle scenes that have film blood literally splashing onto the camera, beheadings, a traitor’s head smashed with a

wrecking ball, and fully 15 minutes of Wallace’s “purification by injure,” it shows some of the most brutal behavior conceivable. It also engages in some of the most blatant satisfied profiling in unique film history - not honest in the drastic ruin administered on the lover of King Edward I. “Longshanks”’s son, but equally in the portrayal of both characters and their relationship as such. Last but not least, Mel Gibson plays a man at least 10 years younger than himself, a choice often enough bordering on the ridiculous. (Gibson insists it was the studio’s wish that he not only do and announce but also star in the title role.)

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And yet …

From the first notes of James Horner’s hauntingly resplendent soundtrack and the first sweeping camera shots over the Scottish highlands, blending seamlessly into the pictures of the Scottish riders on their map to the alleged truce talks initiated by Longshanks, and the narrator’s, Robert the Bruce’s (Angus MacFadyen’s) introduction - “I shall assert you about William Wallace: Historians from England will call me a liar, but history is written by those who have hanged heroes” - there is no mistaking that this is an memoir tale, taking up the tradition of the likes of “Spartacus” and “Ben Hur.” Like those movies, “Braveheart” is a legend of heroism and of having the courage of one’s convictions; chronicling the life of its hero from first like to loss, betrayal, battles and final confrontation with his arch-enemy’s powers. Like both of them, “Braveheart” won multiple Academy Awards, not least for John Toll’s outstanding cinematography. Like “Ben Hur,” it also won the coveted awards for “Best Narrate” and for “Best Director.” And maybe I’m impartial a sucker for that kind of epos …

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To my surprise, I found Mel Gibson to near across very believable as William Wallace; age incompatibility, Scottish brogue and all. Both his acting and his direction are informed by a obvious sense of vision for the movie and its title character. Moreover, although stout writing credits went to would-be (? ) Wallace descendant Randall W., many shrimp details undeniably note Gibson’s hand and mannerisms: to name honest a few of the more certain examples, Wallace’s marriage proposal to Murron, his grinning greeting of a group of English soldiers trapped below a cliff, and his response to a doubting Scottish soldier’s comment at Excellent that he can’t really be Wallace because he’s not tremendous enough.

In addition to John Toll’s award winning cinematography, the movie benefits from obliging production manufacture (Tom Sanders), a catch which perfectly captures the mood of every single scene, and a cast of outstanding actors; first and foremost Patrick McGoohan as Longshanks, who portrays the king’s hiss ruthlessness so convincingly that you completely forget his earlier incarnation as the 1960s’ “Difficulty Man,” and who delivers monologues and soliloquies obedient of a Shakespearean king. His musing “but whom shall I send” when plotting to send a messenger to Wallace with another insincere offer of truce, and his chilling announcement of the reinstitution the ius primae noctae because “the disaster with Scotland is that it is pudgy of Scots … If we can’t come by them out, we’ll breed them out” could have been uttered verbatim by anyone of the Bard’s most deplorable kings. (Screenwriter Randall Wallace does indeed admit to Shakespeare’s assure influence on the script, particularly on Wallace’s “Sons of Scotland” speech before the battle of Apt, which is strongly based on the monologues of King Henry V. at Agincourt) .

Equally impressive is Ian Bannen in one of his last roles, starring as Robert the Bruce’s leprosy-ridden father and substandard spirit, whose first reaction to the tales about Wallace is to deride him (”He has courage; so does a dog”), and who expertly plays on his son’s ambivalent feelings, until he finally drives Robert into hating his father for having coaxed him into his possess game of scheming and betrayal - whereupon the elder Bruce drily comments: “At last you have learned what it means to despise. Now you are ready to be a king.”

Then-newcomer Catherine McCormack stars as Wallace’s childhood like Murron, whose scenes with Wallace provide for much-needed tenderness in the first hour of the movie - particularly touching is four year broken-down Murron’s gift of a thistle (Scotland’s national flower) to orphaned William - and disagreement sharply with the bloodshed that follows virtually incessantly from her death onwards. Sophie Marceau matures from teenage party queen (”La Boum”) to French Princess Isabelle; Brendan Gleeson stars as Wallace’s boyhood friend Hamish, David O’Hara as his heaven-conversing, self-appointed Irish guardian Stephen - one of the movie’s most intellectual characters - and Brian Cox brings all his astonishing hide presence to his brief appearance as Wallace’s uncle Argyle.

When I left the theater after having witnessed this movie’s almost three hours of blood, gore and intense emotions for the first time, I felt as if somebody had given me a fist punch into my stomach. I was so struck that I was almost unable to train, and dragged my moviegoing companion into the next bar, to revive my spirits with a glass of whiskey. (Scotch, of course) . Having seen the film countless times since then, I no longer need that whiskey to overcome its drastic impact - but I unruffled win gooseflesh during many of its key scenes and can’t gape it without feeling emotionally drained at the ruin.

Also recommended:

William Wallace

Braveheart

Rob Roy

Spartacus - Criterion Collection

Ben-Hur (Four-Disc Collector’s Edition)

“Braveheart” is quite simply, one of the best and most successful movies ever created and a enormous fraction of that success comes from the efforts extended by Mel Gibson, as he wore three different hats for this masterpiece, those being producer, director and star. The one oddity about this movie for me was that I delicate great wore out my VHS copy of it and had, a couple years ago, purchased the DVD but only objective recently took the opportunity to recognize it again and no matter how many times you peruse this movie, it is unruffled a resplendent, compelling and extraordinarily spirited film that draws you in to the life of William Wallace despite already vivid how it’s going to destroy.

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The one thing that drives this movie is the spirit that Mel Gibson puts into his character of William Wallace and it is of no surprise that “Braveheart” won five Academy Awards, including Best Record of 1995 and Best Director for Mel Gibson. The only good surprise was that he wasn’t among the top five nominated for or won the Best Actor award.

High praise also goes to the long list of supporting actors and actresses that starred in this good film! Most indispensable was the performance by Sophie Marceau, one of the most glowing women on the planet. Patrick McGoohan was absolutely extraordinary in the role of the villain Longshanks, King Edward I, delivering a memorable performance.

One of the most primary performances in this film, among the many, was the work done by James Horner who was responsible for the accept. As is normally the case when his name appears in the credits, everything about the accumulate, from the first reel to the last, is incredibly well blended into the movie and serves extremely well in enhancing the experience of the movie.

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The Premise:

As the conventional saying goes, is it Hollywood or History? The truth is, of course it’s a bit of history, do together Hollywood style to develop one of the best films ever presented to an audience. The truth gradual it is that we’ll never know as recorded history from this era is circumspect as best. Where a mountainous allotment of the credit for this film lays is in the hands of Randall Wallace, a descendant of William Wallace’s.

As this historic film opens, we glance a young William Wallace in Scotland as he’s learning the harsh lessons of life in his era. After his family is killed in battle he’s fortunate enough to have his Uncle Argyle (played brilliantly by Brian Cox) assume him under his sail! Several years later he returns home to net that his countrymen are tranquil suffering under the yoke of English oppression but he didn’t near home for that, he came home for Murron MacClannough (Catherine McCormack), seeking her hand in marriage. Melancholy events unfold from there and William loses the appreciate of his life and goes on a rampage not only to avenge his adore but to free his country…

What follows from there is not only one of the best films of the nineties but one of the best films of all times. I highly recommend “Braveheart” to any and all who are eager in seeing what legal movie making is about! {ssintrepid}

Special Features:

-2 Theatrical Trailers
-Commentary by Director Mel Gibson
-A Filmmaker’s Passion: The Making of Braveheart
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Movie Title: Kiss Kiss Bang Bang
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Kiss Kiss Bang Bang is available for streaming or downloading.

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Harry’s a burglar in New York who, to escape arrest, winds up auditioning for a part in a Joel Silver like film that’s destined for Colin Farrell. He’s whisked away to the phony world of LA, where every girl named “Jill” spells it “Jylle.” At a fabulous cocktail party he meets Harlan Dexter, once a B-movie actor and now a very rich enterpreneur whose daughter has only recently returned from a long sojourn to Paris. Harry also meets his high school sweetheart, a girl who never gave him a toss back then, but now she’s seeing him with new eyes. The two of them share an appreciation for the pulp novels of the 1950s and 1960s featuring a Mike Hammer type PI called “Jonny Gossamer.”

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KISS KISS BANG BANG is a lot of fun. Walking into the theater you don’t expect such a rambunctious, talky, endlessly yakking movie. You have to be on your toes, narratologically speaking, the entire time, and don’t try leaing your seat to use the restroom, you’ll have missed probably the entire point of the movie. Does even Shane Black know the story he’s written, and why the three women who meet their maker got so confused that neither the police, the detectives, nor the gang that killed them seem to be able to piece them apart, like the old shell game.

The movie is stunning to look at besides. The credits are impeccable; we’ve seen numerous movie credits designed to resemble the old time look of the Bond films, but this one, in rusty shades of orange and black, is stylish and exciting. In general the designers of the movie deserve awards. The use of the hotel Standard is brilliant

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Downey Jr and Kilmer are both pretty entertaining, but the excitement here is the performance of Michelle Monaghan as Harmony Faith Lane (a name that, oddly enough, strings together the names of two of Buffy’s betes noires).

As Harmony Miss Monaghan, a Denise Richards lookalike, shows a talent that can stand right up next to the fast talking dames of the thirties like Rosalind Russell or Carole Lombard, and plus she has a genuine American beauty tht makes it believable she could come from somewhere central, like Indiana. You root for her to succeed, even when she shows the more disagreeable sides to her personality.

I can imagine some people disliking the movie and its constant air of being in love with itself, and yet when the dust is cleared we are always searching for an American cinema with wit and flair, and here it is in this giant, heaping portion, and you would be a fool to turn away such bounty on account of its presumption. I hope it does well enough to merit numerous sequels, as THE THIN MAN did. It’s on that level if you ask my opinion.

PS, what happened to Shannyn Sossamon? Seems like just yesterday she was Hollywood’s it girl, enjoying leading lady parts in such films as A KNIGHT’S TALE or THE RULES OF ATTRACTION. Here she plays, get this, “Pink Hair Girl”? Are they trying to punish her for being beautiful and talented, or what?

“Kiss Kiss Bang Bang” is so full of energy and forward propulsion that it often trips over its own frenzied notions and plot machinations. This is screenwriter (”Lethal Weapon”) Shane Black’s first film as director and he is very keen on making the most of this opportunity: the 3rd wall is smashed and cleared away, the story is told both in flash backs and in flash forwards and Robert Downey Jr. as Harry Lockhart narrates in deadpan fashion that manages to be extremely witty and droll on the one hand and banal and silly at others.

“KKBB” opens with an explosion of activity in which Harry a petty thief, while in the process of a robbery and running from the police, accidentally bursts into a room in which actors are being auditioned for a movie dealing with private eyes. He is thrust into service as an auditionee and is asked to screen test…moving closer to actually nabbing the movie role. And so it goes: one incredible and often hilarious plot twist after another.

Downey, always a charming performer and who may be a bit too old for this part, in that he is supposed to be the same age as the smart, funny and adorable Michelle Monaghan who plays his childhood friend, Harmony Faith Lane…a great name, by-the-way. But be that as it may, the interplay between Monaghan and Downey as well as that with Val Kilmer as Gay Perry, a gay P.I. (I kid you not) is priceless: all are operating on the very highest level of their performing careers.

Not every thing works in “Kiss Kiss Bang Bang” but at least Black, by way of his throw in everything but the kitchen-sink style of directing, exhibits the cojones to play with the conventions of the detective story/thriller movie and make it work…most of the time: you must often risk the ridiculous in order to achieve the sublime is a lesson that Black has seemed to have learned very well.

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]]> http://blogs.swgtcgdb.com/odettesblog/2010/02/10/streaming-kiss-kiss-bang-bang-online/feed/ http://blogs.swgtcgdb.com/odettesblog/2010/02/06/king-kong-review/ http://blogs.swgtcgdb.com/odettesblog/2010/02/06/king-kong-review/#comments Sat, 06 Feb 2010 05:23:34 +0000 mikesoto1973 http://blogs.swgtcgdb.com/odettesblog/2010/02/06/king-kong-review/ King Kong Review.

Product: King Kong
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The biggest dilemma most people had with King Kong was its length, so there’s no surprise that reaction by the general public to the release of an extended edition of another 3 hour-plus Peter Jackson film was almost the equivalent of a collective groan.

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The surprise is that everything added to the Extended Edition of King Kong should have never been lop. More dinosaurs and more creatures and more action on Skull Island only improves the film, and one wonders if these scenes were cleave mostly for time and pacing, why wasn’t a slight bit of the 51 minutes of pre-Skull Island snipped or perhaps a few overly drawn scenes of Kong and Anna gazing into each other’s eyes?

The more noticable scenes are that of a rampaging Ceratops and a fun scene of an underwater monster attacking Adrien Brody and Co. while they are rafting down a river. A bit more character development with some seedy behavior by Carl Denham (Jack Dark) and fearless deeds by Jack Driscoll and the shipmates add a bit of flavor to the male characters literally overshadowed by Kong in the film. The spider pit sequence is also a bit lengthened with some more lines by Jack Sad. Overall, a superior 13 minutes of added material, but the film unruffled feels too long in the last act.

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The special features to this extended edition are the special features that were missing from the first release of the Kong movie, including a commentary from Peter Jackson and extensive slow the scenes features, describing the making of Kong from notion artwork to the mask a la the performance of Andy Serkis.

I enjoyed the extended gash, but I don’t know that this lengthy movie is better served with added material. It’s not like the LOTR films where the additions enhance your viewing and thought of Tolkien’s world. But hey, I am not going to complain about more dinosaurs and the raft sequence I was disappointed was missing from the unusual slash.

Hello People,

well Peter Jackson’s Opus, King Kong now comes in it’s extended version only on DVD… This review basically gives you a guide as to what you might request from the DVD release.. I have no breakdown of what scenes are beget up the extra minutes, but from Perter Jackson’s comments and Silly Con presentation, there have been indications of what might be accomplish up the running time…

The dVd details -

Firstly this dvd presentation is brought to you in 3 discs. An additon of thirteen(13) minutes of footage has been added to the extended version of the film.

Extra scenes include :

* King Kong’s prefer at Skull Island and gallop to Original York.

* A river scene; where our heros are stuck on a log/raft, and

them being attacked by a huge aligator. (Silly Con info)

More to be added soon…

King Kong Extended Edition: Disc 1

2.35:1 Anamorphic Widescreen Presentation

English Dolby Digital 5.1 Surround Track

Commentary with Director Peter Jackson & Producer Phillipa Boyens Section 1

Sixteen Deleted Scenes (Totalling around 40 Minutes)

English SDH, Spanish, French Subtitles

King Kong Extended Edition: Disc 2

Commentary with Director Peter Jackson & Producer Phillipa Boyens Allotment 2

The Eighth Blunder of the World Featurette

The Indicate Featurette

A Night in Vaudeville Featurette

King Kong Homage

Weta Collectables

Selection of Trailers

King Kong Extended Edition: Disc 3

The King Kong Archives

Introduction by director Peter Jackson

The Origins of King Kong Documentary

Pre-Production Piece 1: The Return of Kong

Pre-Production Fragment 2: Countdown to Filming

The Venture Slither Featurette

Return to Skull Island Featurette

New York, Novel Zealand Featurette

Bringing Kong to Life Section 1: Create and Research

Bringing Kong to Life Portion 2: Performance and Animation

The 1996 King Kong Video Gallery

The Venture Video Gallery

Skull Island Video Gallery

New York Video Gallery

Kong Video Gallery

Arrival at Skull Island Pre-Viz Animatic

Bronto Stampede Pre-Viz Animatic

T-Rex Fight Pre-Viz Animatic

Kong’s Buy Pre-Viz Animatic

Empire Status Building Battle Pre-Viz Animatic

Ann Disarms Kong Motion-Capture/Animation Comparison

Kong’s Pick Motion-Capture/Animation Comparison

Kong in Unusual York Motion-Capture/Animation Comparison

DVD Credits and 1996 and 2005 Scripts (DVD-ROM)

—————————————————————-

One thing to mark from this release - there is no DTS soundtrack on this release, which has disappointed and even angered a lot of fans…. Benchmarking from the Lord of the Rings extented dvd releases, this is an ommission that trully expected… Be mindful…. Never the less, this is a strong release, from a director who understands what a dvd presentation should be. Situation this 1 on your christmas wishlist!

** Also available in a tiny edition giftset, complete with a beautifully crafted WETA King Kong figurine, which is released on the same day.
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Product: Redwall - Friends and Foes
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Although I admire the “Redwall” series– and the books as well– I agree with a previous reviewer who suggested the series be released as a box residence, instead of several DVDs with four episodes each. I believe it would be more effective to release box sets of “Redwall,” “Mattimeo: A Yarn of Redwall,” and “Martin the Warrior: A Myth of Redwall” with several discs each, containing the entire series for each box plot. As long as the DVDs are being establish out like this, we’re going to have to wait a lifetime before “Mattimeo” or “Martin” are available…

My son loves the Redwall book series. This video, taken from the Redwall tv series that customary to be aired on PBS, stays apt to the books.
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Product: Old Yeller 2-Movie Collection
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“Dilapidated Yeller” is, simply set aside, one of the greatest films (and books) ever laid on celluloid. If you’re unusual with the chronicle, you don’t know what you are missing. “Former Yeller” tells the legend of two boys (expertly played by Tommy Kirk and Kevin Corcoran) who conclude on their Texas farm with their mother while their father (Fess Parker) goes on a cattle drive. Yeller shows up and gives the elder brother, Travis Coates (Kirk), quite a bit of disaster until the dog proves his worth by saving everyone in the Coates family in one blueprint or another. Of course, the ending of this heartwarming film is perhaps one of the most depressing in cinematic history, and Tommy Kirk handles his emotions onscreen to perfection.

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“Savage Sam,” which is sort of a sequel to “Extinct Yeller” since it has Travis and puny brother Arliss in it, not to mention two other memorable characters (which I’ll pick up to later) . In it, Sam is the Coates’ modern dog and grand like Yeller, he’s shiny, heroic, and manages to win into grief often. Unlike “Ragged Yeller,” which was more of a gape in the relationship between a young boy and his dog, “Savage Sam” plays out more like a Western adventure, paunchy of Injun fightin’, cowboys, and even a touch of romance. Travis, Arliss, and their friend, Lisbeth Searcy (Marta Kristen of “Lost In Spot”) are captured by a band of Apache warriors who notion to do who knows what to them. The Coates’ uncle Beck (Brian Keith), Mr. Searcy (Jeff York) from the first film, and a gang that includes, among others, Slim Pickens and Dewey Martin, head out to set the kids. Along the method they grasp up Sam, who was idea to be monotonous. Eventually, Sam picks up the kids’ roam and he leads our heroes to the three captives. The ending of this film is a lot happier than “Worn Yeller,” but that ol’ yeller dog dwelling the bar so high that most will believe “Savage Sam” ghastly to it. That’s a pleasing statement, but there are few films out there that aren’t imperfect to “Primitive Yeller.”

Bud Searcy (Jeff York) almost manages to select both of these films. His proud, indolent, and “always around about dinner time” character is easily the funniest in the lot. Tommy Kirk and Kevin Corcoran act well beyond their young years should allow in this film. Kirk is especially apt at conveying the heartwrenching emotions that he feels as he puts Aged Yeller to rest. Beverly Washburn portrays young Lisbeth Searcy in “Extinct Yeller,” but she didn’t return for “Savage Sam.” No reason is given, but Marta Kristen fills the role nicely and the character gets a noteworthy amount of camouflage time in “Sam.”

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The DVD extras are very nice. “Bone Wretchedness” is a Disney short in which Pluto has a run-in with a neighbor dog over a bone in a mirror funhouse. It’s a nice addition to this status. The accurate gems here are the features on Don Gipson, author of both “Venerable Yeller” and “Savage Sam.” Gipson’s son is interviewed on the day that Yeller and Travis are to be enshrined in front of the local library in Mason, TX, where the Gipson clan is from. There’s also interviews with the cast in current years about the making of the film. In it, Dorothy McGuire, Chuck Connors and Jeff York are fondly remembered by the rest of the unusual cast. There’s also an intimate gawk at the Disney film life of Tommy Kirk.

“Dilapidated Yeller” is a must-have for any suitable fan of film and/or Disney. It’s a Western story that rivals “Shane” as one of the greatest Westerns of all time. “Savage Sam” is also a delight to have, and I’m jubilant it’s included on this disk.

Highly recommended.

A pair of appetizing, classic (in the classic sense of the word) Disney animal stories, and nobody did animal stories betters than Disney. Ancient YELLER and SAVAGE SAM are a couple of family splendid gems.

Faded YELLER (1957) is the anecdote of a tremendous, barrel chested, half-lab half-mastiff and all huge yellow haired mongrel who adopts himself into a farm family some time shortly after the American Civil War, somewhere deep in the heart of rural Texas. As the chronicle opens Pa (Fess Parker) is leaving for the summer to drive and sell cattle for some mighty needed cash money, leaving Ma (Dorothy McGuire,) teenage son Travis (Tommy Kirk) and six-year-old son Arliss (Kevin Corcoran) to tend the farm in his absence. No sooner has Pa disappeared over the hill when a immense yellow dog explodes on the scene, scaring the plowing mule and, a bit later, stealing a hank of middling meat. Travis wants to destroy him, for young Arliss it’s fancy at first watch. Outmoded Yeller’s set is a microscopic shaky until Arliss, one of those kids whose pockets have to be emptied of garter snakes and horny toads before he’s allowed into the cabin, starts playing with a young occupy cub far enough away from the cabin to develop human rescue impossible. The mama occupy and Frail Yeller dart onto the scene at about the same time, and their confrontation is quite challenging. The rescue is enough for the family to accumulate Yeller into the fold, and in return Yeller will place everyone in the family’s lives at least once. Anyone whose read Fred Gipson’s new of the same name will be prepared for the serious grief when `the hydrophoby’ hits the valley. To its credit Disney doesn’t rewrite the tragic ending. Gipson, by the scheme, also is credited as the screenwriter.

SAVAGE SAM (1963), another Gipson dog sage, revisits the Coates family five years on. Kirk and Corcoran, both five years older, are succor as Travis and Arliss. This time Ma and Pa are off visiting Ma’s sick mother, Uncle Beck (Brian Keith) drops in on the boys now and then, and the family dog is now Savage Sam, a hound dog (mainly hound, something else is mixed in his blood.) Sam can track objective about anything, which comes in handy when he and Arliss go off chasing a egg-stealing bobcat and along with Travis and young Lisbeth Searcy (Marta Kristen,) are kidnapped by a horse-stealing band of Apaches. Sam is hit over the head and left for dreary. Sam recovers, though, Uncle Beck organizes a stir party (including Royal Dano, Dewey Martin, and Slim Pickens) and sets out after the kidnapped children. Ultimately, a left-for-dead Travis and a groggy but alive to Sam join the posse.

Primitive YELLER is the gargantuan `un in this two-pack, but I enjoyed SAVAGE SAM nearly as noteworthy. It’s an bright race movie, and it doesn’t plumb the tragic depths its predecessor does.

The bonus disk contains a number of specials. A 35-minute special entitled “Customary Yeller: Remembering a Classic,” a 2002 talking head documentary featuring a number of the remaining stars (Kirk, Corcoran, Parker, etc.) recalling the making of the movie. Sharp if not deeply informative. A 15-minute “Conversation with Tommy Kirk” elegant considerable explains it all, with the nearing-60 Kirk recalling his work with Disney. “Ranch of the Golden Oaks” is a 7-minute short about the ranch on which Stale YELLER was filmed - had kind of an infomercial feel to it. There’s a short feature with Gipson’s son celebrating the unveiling of an Passe Yellow (and Travis) statue in a tiny town in Texas. A rebroadcast of a television episode of The Fantastic World of Disney from 1957 entitled `The Best Doggoned Dog in the World” devoted to, you guessed it, dogs. I don’t remember seeing the enthralling short `Bone Disaster,’ but navigating Disney’s special feature disks is tricky sometimes. The specials were toothsome enough, gently selling Disney products, emphasizing Primitive Yeller and handsome mighty ignoring Savage Sam.

I’d recommend these without hesitation, but the presence of horse stealing, kidnapping indians in SAVAGE SAM is a exiguous beyond the politically proper pale. Even though the kidnappers include a valorous who steps in to protect the children a few times, the overall impression is that of scary, lawless savages. Those sensitive to such portrayals may want to look SAVAGE SAM first before sitting down to it with the whole family.

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Product: Tenchi Muyo - OVA DVD Boxed Set
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It is impossible to assign fully into words what Pioneer has done with this wonderful (and totally complete) box situation. Basically, they have taken an all-time celebrated anime .. given it a digital remastering, along with Dolby 5.1 Japanese tracks (subtitled wonderfully I might add), along with a ample job on the English dubbing, all 13 OVA Episodes, an interactive encyclopedia for Tenchi Fanatics and an unbeatable sign. The animation is attractive in the DVD format and extremely distinct, which brings vibrant current life into this anime classic. Handsome mighty I would recommend this to any anime fan who hasn’t seen the series yet (you really have no conception what you’re missing out on!) or any Tenchi fan who would like to glimpse this series in its ideal format. If you are unique to the anime DVD scene like I am, create determined you assign this position on your list of “to occupy” collections ^_^ You won’t be disapointed!

I’ve watched only a few anime shows in my lifetime, traditionally sticking to the classics (e.g., Akira) at the recommendations of my friends. Tenchi showed up after I tried a few other recommendations such as Ghost in the Shell and Demon City Shinjuku (neither of which got me exasperated, except that Ghost in the Shell had nice visuals) .

Suffice it to say that this anime has so won over my heart that, in a time when I’m trying to stop conservative financially, I have already bought the special edition OVA site and all three of the Tenchi movies and am committed to buying all of the TV series episodes to boot (for those like me who didn’t know, OVA stands for “unusual video animation”, and means it was a straight to video production) .

You will feel the same after watching this series as you did when you finished reading the Lord of the Rings for the first time — you are entranced by the world…you will miss the characters like you do trusty people, because they are so expressive and gracious, and you’ll want to go assist and visit them.

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Tips:

1. You definitely want to stare with the modern Japanese narrate track. I have watched with both English and Japanese and though the English translation was faithful to the meaning, the emotion of the characters isn’t communicated like it is in the Japanese…also, the affirm casting was impartial Accurate. Can’t really clarify it in words…

2. Gawk on a high quality home theater system…this thing will stress every share of the system, every disk has very high quality soundtracks and wonderful colors (both the wild and the detached — stunning soft cherry blossoms in the foreground with a neon orange slashing death duel in the background…) .

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3. There is some smooth nudity in this series - parts are not appropriate for kids (or at least they’ll be somewhat confused) which is a steady shame because some of the characters (Ryo-ohki, Sasami, and Misaki) are soooo perfect for the diminutive ones.

Now if I could only figure out who is more alluring…Ryoko or Washu?
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