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Download Batman Collection: 4 Film Favorites. Product: Batman Collection: 4 Film Favorites Average customer review: Amazon Price: Sale Price Too Low To Display Click Below To See Amazon Sale Price Add to cart to see discount price@ Availability: In Stock Usually ships in 24 Hours Free Shipping At Amazon

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Way serve in 1989, long before the recent influx of superhero films, millions of people lined up to spy Michael Keaton attach on Batman’s cape…..nah, let’s be objective, people lined up to notice Jack Nicholson’s version of the Joker. However, Keaton’s astounding performance disturbed audiences and so began a string of successful films that got progressively campier over time.

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If you’re like me, you view “Batman” was trustworthy, liked “Batman Returns” even though alterations were made to the Penguin, enjoyed Val Kilmer, Tommy Lee Jones and Jim Carrey in “Batman Forever” despite the campiness, and thanked the grand Lord above that “Batman Begins” and “The Murky Knight” managed to wipe away the stain of the fourth film in this collection, “Batman and Robin.”

This “Four Film Favorites” collection gives fans of Batman and superheroes in general all four of Warner Brothers’ slow century versions of Batman on two bare bones discs. According to the box, each film comes with production notes. What this boils down to is a stills gallery, brief actor bios, and a few lines about makeup, special effects, and Batman’s amazing toys.

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The real films are presented in a widescreen format and appear to lack any major clean-ups. The first film is a bit grainy at moments and the third film had faint traces of pixellation in close-ups, but the second and fourth film contemplate visually top-notch.

I won’t raze any time reviewing each film in depth. If you want this collection, you probably already know why you are getting it. I purchased it primarily for the first and third films in the franchise. Being a completionist, though, I wanted to glean the second and, yep, even the fourth film in this collection. This two-disc area gives you all four films for a unbelievable trace.

Highly recommended to fans of Batman or droll book films who want all four of these movies without breaking the bank. It will give you a taste of some of the best and some of the worst moments in comical film history!

Quite frankly it distress me to view these 4-movie packs shining how powerful I’ve spent over the years first collecting the movies on VHS, then on DVD and then finally on digitally remastered DVD and now I’m consuming onto Blue Ray. I know call me a sucker but the first two Batmans are in my top ten list. So what are you gonna do. But for you who are novel to the series or revisiting the series, its an safe value. Impartial word of caution reading from other users review this sounds like your getting the former unmastered transfer of the film as well as the crap extras that came with it and not the newer digitally remastered version, that are magnificent to peruse and near with the best dvd extras. So if you value savings over clarity and perks this collection is perfect…if not scrutinize the Special Editions.
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Streaming Destroy All Monsters Online. Movie Title: Destroy All Monsters Average customer review: Destroy All Monsters is available for streaming or downloading. Click Here to Stream or Download Destroy All Monsters

This is one of the greatest Godzilla movies ever produced, but this DVD version is far from perfect. Unfortunately, this is unbiased a re-issue of the same DVD released a few years ago. The film transfer is exactly the same as the one previously released by ADV films, which has a recently re-dubbed mono soundtrack. The ADV soundtrack is powerful deplorable to the one originally produced for American International Pictures in 1968, which featured an helpful voice-cast and a different script. Apparently the AIP version can’t be published because the ownership rights are in limbo. Based on the mask notes, I bought this DVD believing it had the unusual AIP voice-tracks. No such luck. The folks at ADV deliberately stretch the truth. The veil art claims it’s the “50th Anniversary Special Edition”, but Waste All Monsters was made in 1968, which makes this DVD yelp the 36th anniversary for the film (in 2004) . The 50th year, is a reference to the first Godzilla movie “Gojira” made in 1954, but the text makes no mention of Gojira or Godzilla. It also claims to occupy “The unusual motion describe and soundtrack”, which is misrepresentation. The novel film was Japanese language, and this DVD isn’t even the novel English version. I would’ve been a lot less disappointed if they had at least given this version some chapter stops and stereo audio (which there isn’t) . There’s not even a menu for this grievous budget version. If you try to hit the chapter near button, the movie starts over from the beginning. There’s no menus, no extras, no subtitles, no secondary audio tracks, no trailer, no nothing. The only thing that’s different from ADV’s first notify of this movie, is the screen art and the addition of a music CD. The CD contains 30 mono-audio music tracks from the movie soundtrack. The music fetch is improbable, but the audio is not stereo and the fidelity is only comely. My point of contention is that ADV is trying to fool us into believing this movie has the fresh audio soundtrack, but instead gives you fine-print on the befriend mentioning an extra music CD. Buyer beware, if you already hold the modern release of this DVD, don’t be fooled into thinking this is a different version.

For the 50th anniversary of Godzilla, we have a special relelease of Extinguish All Monsters on DVD. This in itself is grand, and an added attraction is that there’s a second disc — a CD of the soundtrack. But there are two downsides:

— there are no special featuers — not even a theatrical trailer.

— the dub is the poorly acted modern dub from a few years ago. The fresh dub is not tall (what dubs are? Why, oh, why, don’t they also offer subtitled versions), this one is very poorly acted, more so that usual even for these types of films.

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Overall, I’d calm recommend this to Godzilla fans (and I’ve been one since seeing King Kong vs. Godzilla in its recent US showing at the drive-in when I was a kid), but it could have been so remarkable better.
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Dr. Strangelove or How I Learned to Stop Worrying and Love the Bomb Movie Streaming. Product: Dr. Strangelove or How I Learned to Stop Worrying and Love the Bomb Average customer review: Amazon Price: Sale Price Too Low To Display Click Below To See Amazon Sale Price Add to cart to see discount price@ Availability: In Stock Usually ships in 24 Hours Free Shipping At Amazon

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…Kubrik masterminded Dr. Strangelove, loosely basing the movie upon the book “Red Alert” (the book is a completely serious Chilly War nuclear war scenario, but Strangelove is a complete and total farce) . “Strangelove” came out a year or two after the Cuban October missile crisis, a year after US President John Kennedy was assassinated as well as 2 other contemporaneous films, the bright and paranoid “The Manchurian Candidate” and the serious treatment of the same book, “Fail Profitable.”

Kubrik originally situation out to do a serious treatment of the book. But Kubrik found as he tried to compose the screenplay that he kept running into scenes that he ended up writing as satire. Recognizing the challenge, Kubrik enlisted the talents of one of the best comedic screenwriters in Hollywood, Terry Southern, to do the screenplay.

Casting the film was allotment genius and piece hit-and-miss delighted accident. … Somehow Slim Pickens’ name came up and Pickens common the role of the B-52 bomber pilot. Even more ironic yet, Slim Pickens was more conservative than Dan Blocker, but Pickens never caught on during the film’s production that Dr. Strangelove was a comedy, powerful less a satire and a farce unsympathetic to the official propaganda of the frosty war.

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In of itself, it was a silly master stroke telling Pickens play the role seriously. Pickens was apparently no tremendous wit, so Kubrik was able to retain Pickens completely unaware that Pickens was actually playing in a comedy, not a serious war movie (one can only prefer that the humor of the position was not lost on the other cast members, including James Earl Jones who played Capt. Kong’s bombardier.. “Don’t narrate Slim this is all a huge joke, we have to let him believe this is a genuine war movie.” ) .

Other than Peter Sellers’ roles, George C. Scott (later in “Patton”) and Wonderful Hayden delivered memorable performances. Both were obviously instructed to play their roles “over the top.” Kubrik instructed Scott to overact the role of the cigar-smoking, gut-slapping, martini-drinking & womanizing General Buck Turgidson (win it? Turgid-son? ) . In the scene in the war room where Turgidson exuberantly proclaims the spectacle of a B-52 bomber evading radar by hedge-hopping, Kubrik instructed George C. Scott to deliberately overact the section. Kubrik had Scott re-take the scene several times, asking Scott to gain it even more over-the-top than before. On the last grasp of that scene, Scott practically performed it as a burlesque parody, which was of course, the final consume that Kubrik actually conventional.

Sterling Hayden delivered a gleaming performance as the psychotic Brigadier General Jack D. Ripper, the Air Force general who unilaterally orders the nuclear strike against the USSR. The confusion of Cool War paranoia, paranoid psychosis and fallacious sexual power in Hayden’s scenes is the blackest of unlit satire. Totally over the top, ludicrous and frightenlingly possible (what if one of your top military brass really went insane and over-rode all the safe-guards against nuclear war? ) . The insane babblings of General Ripper plot the film’s direction and act as its centerpiece, delivering both Kubrik’s satire of anti-communist propaganda and the air of impossible odds for the rest of the film’s characters to overcome that they might somehow avert doomsday.

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Peter Seller’s performances as the President, the British officer and Dr. Strangelove (a left-over Nazi scientist) are memorable, Sellers delivers the title role as the deranged wheelchair-bound Nazi scientist who suffers from involuntary palsied “Seig Hiels!” in his apt arm. Again sex is the staunch underlying motive to yet another character and the opportunities for a sexually prodigious post-apocalyptic eugenic world brings the deranged Strangelove to a frenzied outburst of libidinal energy: “Mein Fuhrer! I can vwalk!” But as distinguished as I savor Sellers’ roles, they seem overshadowed by the rest of the film’s characters. P>It comes probably of no surprise that the U.S. Air Force refused to help Kubrik in shooting the movie. Having to choice, Kubrik had to resort to mocking up the B-52 flying scenes and bomber interior cabin scenes as best he could (the bomber interior was apparently such a estimable replica of the actual thing that the FBI launched an investigation into who gave Kubrik such a detailed layout of a B-52’s flight deck) . Appropriately, the exterior B-52 flying scenes believe a amusing flaw if you spy closely enough: In one scene, as the damaged bomber hedge-hops across the Siberian taiga (northern boreal forest), you can view that the underlying shadow of the plane is actually that of a four-engine propellor aircraft and doesn’t match the profile of the overlaid B-52 model.

Suffice it to say, when the movie came out, it was not universally received or even widely understood. It was drummed by political commentators and movie reviewers who found it to be tasteless and sophomoric. The studio was very concerned about the potential a negative backlash from its release (believe that in the same year, the Manchurian Candidate was withdrawn from theaters after Kennedy was assassinated) . An internal memo described Dr. Strangelove as “a vast, sick malefic joke” and questioned the wisdom of even releasing the movie at all. After all, the movie starts off with B-52’s and tanker planes copulating during mid-flight refuelings, displays Air Force “Peace is Our Profession” billboards in the midst of a fire fight between the US Army and Air Force security, depicts two Air Force generals as complete sex-obsessed baffoons, one a psychotic and the other a braying ass, delivers a deranged Nazi scientist and finally a cowboy pilot bucking the biggest phallic bronco of his career (never mind blowing up the world) .

I can believe of few other films whose film makers so defied convention and created a epic that really turned feeble wisdom on its head. Dr. Strangelove keeps coming at you as one substandard scene after another, interspersed with segments of complete straight-faced dead-pan, piling them all on until the fateful extinguish. When Pickins died in 1983, CBS news anchor Dan Rather delivered the obituary replete with the out seize of Pickins riding the bomb (Perhaps DeForest Kelley topped that and made trustworthy on his threat to have “He’s wearisome, Jim” engraved on his tombstone….) .

There are some things you honest can’t live down: Being the face that gets a tremendous closing falling scene that leads to the raze of all life on Earth happens to be one of those things. Bad Slim, he’s probably suffering in a purgatory of a Liberal Methodist heaven.

In closing, I have to agree with that long-forgotten studio executive who wrote in the memo: Dr. Strangelove *IS* a gigantic, sick malefic joke. But it is one of the finest colossal, sick malefic jokes ever created, and stands as a film masterpiece. Those who extoll the virtues of this fil

I doubt that you could imagine how remarkable it would injure me to give a single-star rating to an edition of the film I think to be the singular greatest contribution to the motion record. However, the novel “40th Anniversary” edition of Stanley Kubrick’s Dr. Strangelove, Or: How I Learned To Close Worrying And Like The Bomb is, unquestionably, requiring of such a rating. Why?, you ask.

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Because about fifteen to twenty percent of the conceal image has been removed!!!

If you steal a perceive, you will behold that this modern “Special” edition of Dr. Strangelove is presented in anamorphic widescreen, with a 1.66:1 aspect ratio. This, as you can acquire from examining older editions of the film, is the first time the film has ever been presented in such a manner. The reason why (and you may cross-check this with the Internet Movie Database [IMDb] or any book on Stanley Kubrick worth its salt) is because Dr. Strangelove was NOT FILMED in 1.66:1. It was technically filmed with a varying aspect ratio (the reasons for which are serene not fully explicated, as far as I’ve seen), but, in general, it was filmed in about 1.33:1.

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So, you ask, how does a film shot in 1.33:1 accumulate presented in 1.66:1? Did someone return to the unique negative and order material previously hidden from eye, lost on every print and VHS, Beta, laserdisc and DVD copy heretofore released?

NO!

They simply crop off the top and bottom of the cloak!!!

Such things are not unprecedented. An extremely similar case is the so-called “panoramic” Gone With The Wind. The film, made in 1939 (before there was anything BUT 1.33:1, the “Academy” aspect ratio), when released in the Panavision/Technorama age of the mid-1960’s was similar chopped and changed to magically become 2.35:1. This edition was released on video and DVD a few times before, finally, it was restored to its new 1.33:1 glory.

Stanley Kubrick was absolutely well-known for his perfectionism and auteur region in the film industry, and I cannot have that a company proposing to release a definitive “Special” edition of his greatest masterpiece would be so heartless as to unnecessarily delete a wonderful fraction of the shroud.

Please avoid this unique, bastardized Dr. Strangelove, Or: How I Learned To Conclude Worrying And Appreciate The Bomb. While the few original extras thereon are of interest, they can easily be seen via rental from the local video store, as suplemental to the last “Special Edition” of the DVD (which, incidentally, clearly states on the aid that it is “Presented in the new aspect ratio of approximately 1.33:1″.

Thank you,

Marc-David Jacobs

P.S. For those of you keen in seeing the bad editing job for yourselves, feel free to go out and rent the unusual edition and the previous edition and go to seven minutes and forty-eight seconds, which is the coarse tight shot of the B-52’s CRM-114 decoder book. As you will study, an entire line of text on the top, and about one-and-a-half on the bottom are not completely missing.
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Streaming The Biggest Loser Workout: Cardio Max Online. Movie Title: The Biggest Loser Workout: Cardio Max Average customer review: The Biggest Loser Workout: Cardio Max is available for streaming or downloading. Click Here to Stream or Download The Biggest Loser Workout: Cardio Max

Let me preface this by saying I have lost and maintained a nearly 40lb weight loss through eating and working out. I’ve completed a half marathon, accelerate 20 miles weekly and have done numerous workout DVD’s…including the recent Biggest Loser DVD and even Jillian’s separate workout DVD’s. I don’t say this to toot my bear horn, but to give you a gauge as to how someone who’s in favorable shape views this DVD.

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At least I opinion I was in kindly shape until I popped this DVD in. This is a crazy hard workout that will workout every fiber in your body.

Bob starts with Level 1 and gives you 20 minutes of heart pounding, sprint screaming and weight lifting cardio…at Level 1??

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Jillian is next and she doesn’t fail at delivering a 10 small, high intensity level 2 cardio workout. Like I stated earlier, I’ve got her whole collection of workout DVD’s and this 10 minutes with her, is unprejudiced as poor (excellent) as a few of the 20 diminutive DVD’s I’ve got with her.

Bringing up the rear is Kim…and this one is a let down. For a level 3 cardio workout, she barely breaks even with Bob’s Level 1. Now, if you do all 3 in a row like I do, then it does collect a puny plain at the ruin with her, but if you honest pop in her fragment for 10 minutes, I don’t reflect you’d be pushing yourself very hard. In my gain plan, the workout effort would have gone Kim, Jillian and then Bob…do those jumping lunges and articulate me that’s not Level 3 cardio!

All in all, this is a gargantuan workout DVD to add to your collection. The ability to customize your workouts is astronomical and the some of the moves are recent and I’ve never done them before.

Start 2008 off lawful and lay down the cash for this. You won’t be disappointed in the workout it gives you.

As you can explain by the hide, this workout is led by the three Biggest Loser trainers, Bob, Jillian and Kim. They are all outgoing and motivating and in this 50 tiny workout, you will definately burn calories.

You can play any segment in any order which I like to avoid boredom, or you can settle some of the inviting premixes. Bob leads a bootcamp segment where you can do the moves with or without weights to do it tougher if you want. Jillian doesn’t mess around with her high intensity drills. They are tough, but stick to it for a while and it will gain easier. Then at the raze, Kim does kickboxing (which really gets your heart rate up) . Some of seasons 3 and 4 are here too and they eye tremendous.

I like this workout because it’s tough and yet fun and I’ve only done it once so far, but I’m collected feeling it and can’t wait to try it again because I know it will procure easier and it’s a definate calorie and stout burner.
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Buy The Fox and the Hound DVD. Product: The Fox and the Hound Average customer review: Amazon Price: Sale Price Too Low To Display Click Below To See Amazon Sale Price Add to cart to see discount price@ Availability: In Stock Usually ships in 24 Hours Free Shipping At Amazon

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The Fox and the Hound was probably somewhat of a crossroads for Disney studios. The last of the passe animators left with this underrated gem. It doesn’t need to bombast young viewers with unnecessary action or dumbed down pseudo-epic storylines to attract attention. It’s simply the fable of a friendship that manages to transcend nature’s dictations and any trials thrown at it.

This is a legend told with such heartfelt sincerity that it moves and touches viewers with its sage alone; no need for semi-Broadway moments every ten minutes or cheap, carefully masked lewd humor sprinkled in for potential bored adults. The characters are endearing and artlessly likeable, and the lessons learned are timeless.

There are engagingly subtle touches that augment the main record, such as the ongoing battle between two clear birds (one with a curiously Brooklyn accent) and one very lucky caterpillar. The conclusion to this silly yet strangely realistic whisk is a startlingly touching revelation in beauty. This is Disney at its best: a simple and touching movie that doesn’t need anything else to originate itself an palatable experience for everyone. Even the greats of the 90s seem a microscopic cheap after this.

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I first watched this as a dinky kid, and have been in savor with it ever since. Honest now, in that nebulous span of years between being able to drive and being able to drink, I’m probably entitled to bouts of rebelliousness and scorn for movies like this. But this is one Disney creation I’m proud to say that I treasure, something you idea to pass on to your children and grandchildren: a classic.

O.K. I can retort the many questions about the upright conceal ratio of THE FOX AND THE HOUND.

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I was a movie projectionist at the time and I had access to recognize at a 1988 re-release 35mm print of the movie and it was Plump FRAME! Yes, the movie is 1:33 to 1, NOT WIDESCREEN!

You have to understand the thinking of 1980’s Hollywood. Theaters were getting smaller, all movies ended up on television, and VHS & Beta home video tapes were becoming the accepted procedure to contemplate movies. Therefore, many producers started filming their movies in the rotund frame television format, quick-witted that it is the draw most people would search for the film then.

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Paramount even shot all of their 1980’s comedies in corpulent frame. Airplane I & II; Naked Gun I, II, III; Addams Family I & II; The Bette Midler movies, Throw Mama from the Allege are section of the countless list of Burly FRAME movies that DVD is offering in a masked 1:85-1 format.

We should be cheerful that Buena Vista is offering THE FOX & THE HOUND in the ratio that it was produced.

The movie itself falls short of a Disney Classic. It seems any Disney movie short on songs seems to be overall less piquant. The basic sage line is wonderful and could have made for a very successful classic, but the execution of the record lacks the upright elements.

This current release is no substantial deal, you gather a short behind-the-scenes clip that appears to be pulled from another special and you lose the 1988 theatrical trailer on the novel DVD release. That’s correct, the FIRST DVD RELEASE EXTRA OF THE PREVIEW TRAILER HAS BEEN DELETED HERE!

The movie itself has gotten NO RESTORATION, but my concept is that it level-headed looks beneficial on a regular stout TV.

I was hoping of the Angela Lansbury TV special done in the early 1980’s that showed some tedious the scenes of the making of The Fox and the Hound, but sadly that is not to be here.

Bottom line:

If you missed the first DVD release, then acquire this.

If you have the first DVD release you can pass on this unless you are a Disney completist.
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Watch The Buccaneers Online. Movie Title: The Buccaneers Average customer review: The Buccaneers is available for streaming or downloading. Click Here to Stream or Download The Buccaneers

My sister and I treasure this mini-series which was shown in Masterpiece Theater many years ago. Anyone who enjoys turn-of-the-century films such as The Age of Innocence, House of Mirth, The Golden Bowl, A Room With A Notion and Howard’s Slay or stories of the Astors and Vanderbilts will gain themselves enraptured with this yarn of 4 sparkling American women who accumulate themselves being courted by sons of the British nobility.

In the center of the legend are Nan (Carla Gugino) and Virginia St. George (Alison Eliott), and their friends Conchita Closson (Mira Sorvino) and Lizzy Elmsworth (Rya Kihlstedt) - four young women living in turn-of-the-century America, when social residence and wealth were the most notable considerations in a woman’s life (these were the days of the Astors and Vanderbilts, after all) . Early in the memoir we rep Conchita married to Lord Marable and begins her unusual life with the English nobility. Spurned in Newport and Recent York social circles because they are considered “current money,” Nan, Virginia and Lizzy go to England to visit Conchita and hopefully try their luck there. With the wait on of 2 enterprising older women, they soon become the toast of the town and are courted by many graceful, wealthy young men. Virginia and Lizzy vie for the attentions of Lord Seadown (Impress Tandy) who is not quite what he seems. Nan is pursued by the humble but ambitious Guy Thwaite (Greg Wise from “Sense and Sensibility”) and the wealthy and reserved Julius, the Duke of Trevenick (James Frain) .

The mini-series offers ravishing scenery and costumes, stout acting from members of the cast (including veterans Cherie Lunghi, Jenny Agutter, Michael Kitchen and Rosemary Leach) and a thoroughly spellbinding tale. I loved the wonderful mansions, palaces and castles in Newport and England alike and the astounding intertwining of the American and British sensibilities in the station. It has “one foot in America and another foot in England,” as Masterpiece Theater narrator Russell Baker aptly explains. I highly recommend this to anyone who enjoys suitable romance/drama!

This is a version of Edith Wharton’s last unfinished unique as completed by the BBC screenwriter Maggie Wadey. It was filmed barely 2 years after the first complete version of the current was published in 1993 (Completed by Marion Mainwaring) . It chronicles a very different time (1870s) when class distinctions were clearly marked and the nouveau riche found themselves curtly excluded from the “mature money” aristocracy of 19th century America. The memoir traces the lives of 4 girls from such families who finding themselves rejected in the land of their birth, fade to England to try their charms and unusual found wealth on the titled aristocracy of the venerable country. How they fare and the breaking of their illusions effect the meat of the anecdote. One reviewer commented on the shallowness and blandness of the characters, of not being able to verbalize the girls apart. Some viewers may even recognize at these girls as twittering airheads. This is in section Wharton’s doing. Edith Wharton was no admirer of the American upper class. She belonged to it, she experienced it first hand and she despised it and made it evident in her books. Wharton constantly pointed out her society’s ignorance, provincialism and prissy narrow-mindedness. None of the girls here really ends up living happily ever after. One of the reviewers here stated that in the absence of Wharton’s fill ending, the BBC screenwriter has let one of the girls off at the destroy. But I tend to disagree. Even the heroine Annabelle’s running away with the man she loves (supposedly a pleased ending) is tinged with the public scandal of adultery, the loss of her titles and privileges, and exile to the other side of the world (Durban, South Africa) . This is definitely not what any of the girls would have wanted. Everybody unbiased ends up making compromises and settling for second best. But then such is life.

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As usual with the BBC, this is a exquisite production, with delicate costumes and sets, filmed at various locations in the English countryside as well as in Newport, Rhode Island which stands in for 19th century America.

The DVD transfer is a rather more questionable affair. According to IMDb, Buccaneers was shot on 16mm film. In America, most TV shows are shot on standard 35mm, 16mm film being passe usually for cheaper productions, especially sitcoms and series whose future is in doubt. The BBC alas is publicly funded and doesn’t have quite the deep pockets of competing American studios, so many of even its major productions are on 16mm. The critically acclaimed “Brideshead Revisited” immediately springs to mind. For a 16mm film, this actually looks dazzling first-rate with strong, vibrant colours, rich blacks and unprejudiced a small amount of graininess which imparts a clear softness to the narrate, worthy what you would ask from a 16mm print. It actually looks better than “Brideshead” does on DVD. What is disturbing is the rather queer (1.50:1) aspect ratio presented here. (Yes, I actually popped it into the PC to measure it.) Buccaneers is, I have, supposed to be in 1.66:1 widescreen. The 1.50:1 aspect ratio means that it has either been cropped or it has had its mattes removed. Either intention, it has been modified. Because of the unique ratio it has to be letterboxed into a 4:3 frame. It may matter only to a handful of cinephiles or videophiles but I do wish video companies would buy more care in transferring their shows onto discs. Sound is in 2.0 Stereo and dialogue is always sure and certain.
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The General is one of a handful of movies that I can’t recommend more highly.

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Some substantial obsolete movies are a runt bit like spinach. They’re obliging for you, so you HAVE to study them, even though you’d really rather not.

This movie’s not like that. You launch watching dutifully, and within five minutes or so you’ve forgotten that it’s a quiet movie. It’s an adventure tale corpulent of narrow escapes, and a war movie with Civil War battle sequences that remain some of the most authentic ever filmed to this day. During the locomotive tear, I’m continually tempted to scream advice to the characters on the conceal. (Okay, you probably don’t want to gape a movie with me.)

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The General is a comedy throughout, but the laughs don’t detract a bit from the adventure. There are long tracking shots that would develop Steven Spielberg jealous. There are no computer-generated special effects, but there are stunts that smooth build audiences gasp — including one you’re not likely ever to forget.

Several years ago, Kino Video released this on DVD as fragment of the Art of Buster Keaton collection, with a musical pick up by Robert Israel. I’ve held onto a 20-year-old laser disc version from Thames Television because I take that version’s salvage by Carl Davis. It appears that this blu-ray edition will offer both scores, plus a theatre organ regain by Lee Erwin.

(I write this review without yet having seen the staunch blu-ray disc. It’s the astronomical, expansive movie itself that I want to recommend.)

you should change your description of The General. Johnny Grey (buster) is NOT ‘rejected as unfit’ in this movie. They don’t let him into the confederate army because they deem he is more primary to the South as an Engineer.

BIG incompatibility. Don’t bust on Buster.
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This had received very petite press in the US distribution market so I was intrigued to look how a French scifi/near future film might fare. And by the time the demolish credits rolled (to some nice rock/classical themes), I was impressed and surprised this had not reached a larger market.

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A futuristic legend of US and Euro security groups working together to confiscate a memory manipulation procedure before it falls into the noxious hands. The epic is told through two undetermined groups of people that have mysterious backgrounds and unknown motives, one in the Paris law enforcement and the other in an unnamed medical facility (reminiscent of a THX1138 kind of color method and feel) . There is plenty of suspense, competent gun play, well choreographed hand-to-hand fighting, slo-mo camera work, pleasant music, awesome 3D holographic imaging, intrigue as to what is really happening, situation twists and memory loss to go around.

I opinion the cast acted quite well, and for the amount of material covered in this fraction, played adequately against what could have been a mighty longer film (and I would not have complained as there are several aspects that could have aged more shroud time) . You will eye some faces from other more known films like Babylon AD, Irreversible and Carnivale, but I felt the ensemble here was well do together.

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The quality of the DVD came across nicely (from a BD to a sizable plasma) and the sound was mixed best when the music would play in the slo-mo sequences. The DVD docu is 25 minutes long, competently set together and covers all aspects of the production with this relatively unknown director.

Overall, a ample film on a solid DVD with friendly special effects and futuristic visions. Wish this could have gotten a larger release.

A sleek and sophisticated Science Fiction film with a astonishing mix of style, brains, and action-adventure.

This is a French film with subtitles but will appeal to any American fan of brilliant Science Fiction or action movies.

In a near-future Paris, a film-noir-style detective looks for vengance on the man who killed his partner and ends up finding something powerful more though-provoking. To vow more would be to destroy the fun, but I will say that fans of Joss Whedon’s Dollhouse TV indicate may guess fragment of what is coming.

The myth is as shining as the best Cinema Science Fiction and engages the mind as well as the nerve endings.

The special effects are classy and stylish and recent.

But the coolest thing about this movie are the scenes of hand-to-hand combat. It is bone-crunchingly great. Most kung-fu action scenes are as grand a dance as anything, with two (or more) smallish guys doing creative moves. This movie shows precise, strong, adult, MEN, pounding on one another, trying to demolish each other with martial arts. AWESOME!

If you like being the first on your block to spy titanic cinema, or

If you indulge in knowing Sci-Fi, or

If you cherish edifying action films.

SEE THIS MOVIE. THE Trace ON AMAZON IS VERY INEXPENSIVE COMPARED TO MANY FAR WORSE FILMS.

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Wild Strawberries - Criterion Collection Streaming. Movie Title: Wild Strawberries - Criterion Collection Average customer review: Wild Strawberries - Criterion Collection is available for streaming or downloading. Click Here to Stream or Download Wild Strawberries - Criterion Collection

In this symbolic anecdote of an conventional man’s glide from emotional isolation to a kind of personal renaissance, Ingmar Bergman explores in section his maintain past, and in doing so rewards us all with a account of redemption and adore.

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Victor Sjostrom, then 80 years mature, stars as Professor Isak Borg whose self-indulgent cynicism has left him isolated from others. Sjostrom, whose work goes serve to the very beginning of the Swedish cinema in the tranquil film era, both as an actor and as a director, gives a incandescent and compelling performance. All the action of the film takes plot in a single day with flashbacks and dream sequences to Borg’s past as Borg wakes and goes on a lunge to receive a “Jubilee Doctor” degree from the University of Lund. Bergman wrote that the notion for the film came upon him when he asked the ask, “What if I could suddenly budge into my childhood? ” He then imagined a film “about suddenly opening a door, emerging in reality, then turning a corner and entering another period of one’s existence, and all the time the past is going on, alive.”

Bibi Andersson plays both the Sara from Borg’s childhood, the cousin he was to marry, and the hitchhiker Sara who with her two companions befriends him with warmth and affection. The key scene is when the obsolete Borg in dreamscape comes upon the Sara of his childhood out gathering wild strawberries. Borg looks on (unnoticed of course) as his brother, the young Sigfrid, ravishes her with a kiss which she returns passionately; and, as the wild strawberries descend from her bowl onto her apron, staining it red, Borg experiences the distress of infidelity and heartbreak once again. Tag that in English we thunder of losing one’s “cherry”; here the strawberries symbolize emotionally noteworthy the same thing for Sara. Later on in the film as the redemption comes, the show day Sara calls out to Borg that it is he that she really loves, always and forever. Borg waves her away from the balcony, yet we are greatly moved by her esteem, and we know how touched he is.

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The two young men accompanying Sara can be seen as reincarnations of the serious and careful Isak Borg and the more carefree and dauntless Sigfrid. It is as though his life has returned to him as a theater in which the characters resemble those of his past; yet we are not obvious in realizing whether the resemblance properly belongs in the conventional man’s mind or is a synchronicity of time returned.

Memorable is Ingrid Thulin who plays Mariana, the wife of Borg’s son who accompanies him on the auto trudge to Lund. She begins with frank bitterness toward the stale man but ends with cherish for him; and again we are emotionally moved at the transformation. What Bergman does so very well in this film is to build us experience forgiveness and the transformation of the human spirit from the negative emotions of jealousy and a wintry indifference that is terminate to detest, to the redemption that comes with esteem and a renewal of the human spirit. In aloof agreement with this, but with the edge of realism fully intact, is the scene approach the slay when Borg asks his long time housekeeper and cook if they might not call one another by their first names. She responses that even at her age, a woman has her reputation to judge. Such a gentle comeuppance meshes well with, and serves as a foil for, all that has gone on before on this magical day in an worn man’s life.

See this for Bergman who was honest then realizing his genius (The Seventh Seal was produced immediately before this film) and for Sjostrom who had the rare opportunity to return to film as an actor in a leading role many decades past his prime, and made the most of it with a flawless performance, his last major performance as he was to die three years later.

In Ingmar Berman’s film masterpiece Smultronstallet (or `Wild Strawberries’ B&W, 1957), the protagonist, an elderly professor who is facing death, has to reach to face to face with a long life that has failed to acknowledge the essential questions. He is traditional now and faced with his occupy inadequacy and impotence.

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Bergman introduces three young people into the drama to introduce life’s most primary seek information from - that of the existence of God. The old-fashioned man gives them a slip. One of the young men is thinking about becoming a parson; the other argues that God doesn’t exist. The primitive man offers no notion to the debate. He is tranquil, but it is a loud silence. It’s a silence that reveals an unbelievable dimension of loss - the loss of year upon year of not coming to terms with this all-important ask.

In one of the final scenes, Bergman masterfully closes in tight on the musty face of Professor Isak Borg (played by Victor Sjostrom) . In that shot, we can scrutinize the whole universe in his eyes and all of its cares in the bags beneath them. Only Bergman could have directed that scene - only him. It makes Smultronstallet one of the most valuable films ever made. That one scene, better than any other that I know, captures `loss’ on celluloid for all future generations to recognize and have to deal with. If you behold it, you may bag yourself having to view away.

The imagery in Smultronstallet is unparalleled, except by Bergman’s believe Det Sjunde inseglrt (The Seventh Seal, 1957) . Seek for the handless examine, the corpse wagon, the sparseness of the first scene, the car windows turning to dark - ominous signs are everywhere. Search For the clues that point to Bergman’s existential philosophy (the twins write a song for a deaf man - as futile as Sisyphus’ labor!) and the redemption themes (Izak pierces his hand as he looks into the window, or the line: “A doctor’s first duty is to ask for forgiveness.”) . Observe also the outright defiance of the divine presence that he has bred into his son (”I will not be forced to live one day longer than I want to.”) .

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Izak is ready to die, but it seems that, for him, life is more forbidding than death. He is a living corpse, dull already.

All of these factors conspire to originate a film that is pure art, and one that gets richer with each repeated viewing. It is also ennobling and cathartic in the truest sense of the Greek drama - a warning to the men of obsolete Greece to avoid the tragic flaw is the hero’s undoing, and could be ours as well.

We are made to glance hard at Izak. Do we like what we look? Have we answered the essential quiz that he has not? If not, Izak is us. To quote a line from the film: “Is there no mercy? ” The retort comes: “Don’t ask me.” I hope that all of us will fare better when confronted with this valuable ask.
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Too Cool for School - The John Hughes Collection Streaming. Movie Title: Too Cool for School - The John Hughes Collection Average customer review: Too Cool for School - The John Hughes Collection is available for streaming or downloading. Click Here to Stream or Download Too Cool for School - The John Hughes Collection

If you were a child or teenager of the 80s like me, this is the collection for you! I loved it! It was like going down memory lane! I highly recomend movie boxed sets like these for a rainy day or for a movie watching party or slumber party etc. So curl up on the couch with some popcorn and collect ready to laugh and remonis!

First of all this status is a acquire when one dvd costs $20.00 it does not lift a genius to know your getting three movies for the imprint of one.

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I appreciate all the movies in this space how could any John Hughes fan not care for them.

What memories these movies bring abet and I care for “getting the cast together” on the Ferris Buller dvd. It was large to notice the cast after all this time only Mia Sara and Charlie Sheen were not in the new interviews.

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