Product: The Hunger: The Complete First Season
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This was a Showtime series serve in the leisurely 90’s. It was produced by brothers Ridley and Tony Scott. The note is basically Tales From The Crypt without the in-your-face dusky humor and less involved in the scares and more keen in the eroticism of its stories. It’s a slump off of the Tony Scott directed film of the same name starring David Bowie(who would go on to host the second season’s episodes) . The whole note is on the same level as that film. It’s filmed in the similar smokey style, the sex is explicit and integral, and it involves the supernatural world on some level or another.

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Most of the episodes are really engaging, all only running about 25 minutes, and all are introduced by a very cheeky Terrence Imprint. Tony Scott even takes the directorial reins on the first episode of this season and the next. Some familar faces reveal up as well like Lena Headey(300, Terminator: Sarah Connor Chronicles), Karen Murky(Trilogy of Apprehension, Five Easy Pieces), Daniel Craig(what, you live under a rock? He’s the modern Bond!), Curtis Armstrong(Revenge of the Nerds, Perilous Business), and some others. Actually, this may only be intriguing to me, but this is the only time you’ll ever eye Curtis “Booger” Armstrong eager in a sex scene. Whether that’s superior or simply though-provoking is up for you to choose.

The transfer for this first season DVD location is pristine. It’s fullframe, though. Not certain if it was filmed that intention like Tales From The Crypt, but it seems to have been framed with the diagram of fullframe. The sound and colors all shine. There are no really reliable special features to brag about. On the fourth disc you regain a 20 exiguous featurette that goes beind the scenes of the second season and gives you a preview of it as well. There are interviews with the show’s creators and producers including Ridley and Tony Scott, but nothing too deep or insightful. You accumulate some tid bits in regard to what their intentions with this display were. It’s worth checking out and it does wet your appetite for season two, which I own was the last season this blooming demonstrate had.

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They better release the second season and not pull an Outer Limits, the other really advantageous anthology expose that aired on Showtime. I mean this explain is only two seasons long so I would hoep that it’s not a spot. We’ll peek. This is more like the ancient HBO series The Hitch Hiker then it is The Outer Limits or Tales From The Crypt. So, maintain that in mind and remember this exhibit is about gloomy and supernatural eroticism, so if you’re offended by all the boobies and girating man-parts honest skip it all together. The sexuality plays a major role in the character development and almost all the themes of every episode. CHECK IT OUT!

I’m writing about this series before the product is released because it’s not that famed. It’s often confused with the 1983 film The Hunger, featuring Catherine DeNeuve, Susan Sarandon, and David Bowie. There is no connection between the two.

The Hunger is like a soft-porn Twilight Zone, with each of the 22 half-hour episodes introduced by Terence Effect. (Season 2 features David Bowie as the host, causing more confusion with the 1983 movie.) Filmed in Montreal, the present is darkly atmospheric, sunless, grim, short-tempered, with a lot of stylish, flashy photography that sometimes overwhelms the substance. Composed, there are some broad stories here; the episode featuring a young Daniel Craig, ten years before he was offered the role of Bond, is one of the best.

This has been available on DVD before, but in the worst possible earn. The 44 episodes of both seasons were scattered across 11 discs, which were poorly distributed and tough to catch. Episodes were mixed in random order, some from Season 1 sharing a disc with shows from Season 2. One disc even had no menu! Worse yet, none of the episode titles were listed on the attend of the boxes.

So far, Season sets have been available only in Europe, but this release will, if nothing else, fabricate all 22 Season 1 episodes available in a manufacture that lets you secure the episode you want.

Since I don’t have the product yet, I can’t vouch for the portray or sound quality, but even if it’s no improvement on the outmoded release, simply being able to have all the shows in one location is a major upgrade.
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Movie Title: Dr. Strangelove or How I Learned to Stop Worrying and Love the Bomb
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Dr. Strangelove or How I Learned to Stop Worrying and Love the Bomb is available for streaming or downloading.

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…Kubrik masterminded Dr. Strangelove, loosely basing the movie upon the book “Red Alert” (the book is a completely serious Cool 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 lustrous and paranoid “The Manchurian Candidate” and the serious treatment of the same book, “Fail Marvelous.”

Kubrik originally spot out to do a serious treatment of the book. But Kubrik found as he tried to gain 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 piece genius and fragment hit-and-miss gratified accident. … Somehow Slim Pickens’ name came up and Pickens favorite 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, great less a satire and a farce unsympathetic to the official propaganda of the cool war.

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In of itself, it was a humorous master stroke telling Pickens play the role seriously. Pickens was apparently no colossal wit, so Kubrik was able to maintain Pickens completely unaware that Pickens was actually playing in a comedy, not a serious war movie (one can only consume that the humor of the set was not lost on the other cast members, including James Earl Jones who played Capt. Kong’s bombardier.. “Don’t express Slim this is all a astronomical joke, we have to let him contemplate this is a valid war movie.” ) .

Other than Peter Sellers’ roles, George C. Scott (later in “Patton”) and Marvelous 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 (net 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 perform it even more over-the-top than before. On the last pick of that scene, Scott practically performed it as a burlesque parody, which was of course, the final hold that Kubrik actually dilapidated.

Sterling Hayden delivered a bright 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 Icy War paranoia, paranoid psychosis and groundless sexual power in Hayden’s scenes is the blackest of shadowy 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 space 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 good arm. Again sex is the accurate 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 great as I be pleased 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 succor 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 top-notch replica of the sincere 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 beget a laughable flaw if you view closely enough: In one scene, as the damaged bomber hedge-hops across the Siberian taiga (northern boreal forest), you can gaze 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 (mediate that in the same year, the Manchurian Candidate was withdrawn from theaters after Kennedy was assassinated) . An internal memo described Dr. Strangelove as “a large, 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 mediate of few other films whose film makers so defied convention and created a tale that really turned extinct wisdom on its head. Dr. Strangelove keeps coming at you as one detestable scene after another, interspersed with segments of complete straight-faced dead-pan, piling them all on until the fateful demolish. When Pickins died in 1983, CBS news anchor Dan Rather delivered the obituary replete with the out assume of Pickins riding the bomb (Perhaps DeForest Kelley topped that and made safe on his threat to have “He’s unimaginative, Jim” engraved on his tombstone….) .

There are some things you unprejudiced can’t live down: Being the face that gets a immense closing falling scene that leads to the ruin of all life on Earth happens to be one of those things. Unpleasant 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 expansive, sick malefic joke. But it is one of the finest big, 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 mediate to be the singular greatest contribution to the motion describe. However, the current “40th Anniversary” edition of Stanley Kubrick’s Dr. Strangelove, Or: How I Learned To Cessation Worrying And Appreciate The Bomb is, unquestionably, requiring of such a rating. Why?, you ask.

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

If you buy a examine, you will look that this novel “Special” edition of Dr. Strangelove is presented in anamorphic widescreen, with a 1.66:1 aspect ratio. This, as you can win 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 unruffled 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 bag presented in 1.66:1? Did someone return to the modern negative and advise material previously hidden from view, lost on every print and VHS, Beta, laserdisc and DVD copy heretofore released?

NO!

They simply slice off the top and bottom of the cover!!!

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 modern 1.33:1 glory.

Stanley Kubrick was absolutely distinguished for his perfectionism and auteur spot in the film industry, and I cannot occupy that a company proposing to release a definitive “Special” edition of his greatest masterpiece would be so heartless as to unnecessarily delete a apt part of the hide.

Please avoid this unusual, bastardized Dr. Strangelove, Or: How I Learned To Discontinuance Worrying And Fancy The Bomb. While the few current 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 encourage 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 involved in seeing the awful editing job for yourselves, feel free to go out and rent the modern edition and the previous edition and go to seven minutes and forty-eight seconds, which is the indecent tight shot of the B-52’s CRM-114 decoder book. As you will sight, 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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Product: Annie
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Well, I believe this is a really swell movie. Albert Finney and Carol Burnett crack me up, Aileen Quinn is exactly what Annie should be, and Sandy is perfect.

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But WHY OH WHY is this not being offered in a widescreen format? I have yet to watch all of “It’s a Hard Knock Life” and I know those girls are knocking themselves out offscreen. I’ve seen this movie on three different media. All were pan and scan, and all three showed different parts of the record! The worst was a VHS release. (…)

I don’t know which is more frustrating about this anniversary dvd, the fact that it doesn’t offer widescreen, or the fact that the dvd menu and the special features prove the movie clips in widescreen, teasing me with those brief glimpses.

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There is no reason that dvd manufacturers shouldn’t at least OFFER a widescreen version. Let’s accumulate with the 21st century already!

I can’t encourage but wonder if ALL the widescreen prints of this movie were destroyed in a warehouse fire. Why would you bother to master another “Special Anniversary Edition” with a recent DTS soundtrack and not include a Wide cloak version? Especially with more and more widescreen TVs on the market. It is going to eye resplendent comic in a few years showing this pan and scanned musical on your widescreen TV. While not my accepted movie musical, I would unexcited capture it if they ever have the sense to release it in it’s novel format! Until then…forget it!
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Movie Title: Black Lagoon: Complete Series Box Set
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Black Lagoon: Complete Series Box Set is available for streaming or downloading.

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“Dusky Lagoon” is a lovely typical anime action series in a lot of ways, not especially outstanding in comparison to some of the shows that have arrive before it, but it’s a series that does almost everything correct. Cowboy Bebop on water heavenly worthy sums it up. .The present follows the adventures of a rag-tag crew (is there any other kind? ) of new pirates as they pull off jobs and capers for various crime bosses. The protagonist is a jaded businessman who becomes known as “Rock” after he is kidnapped by said pirates and eventually winds up joining them after he turns out to be more resourceful than one might examine.

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Rock may be the protagonist but construct no mistake, the star of the note is sociopathic she-pirate Levi (Revi if you remove the Japanese pronunciation), a one-woman wrecking crew with terrible attitude to spare. This girl in the best thing this series has going for it as she is a true-blue anti-heroine; mean-spirited, apathetic, and often beyond psychotic. This is rather surprising since the female leads in these shows are typically rather sensitive and fearless types inside of their harsh exteriors, but Levi is poor to the bone and she never lets you forget it for long. Her clashes with the unruffled newcomer Rock create up remarkable of the first half of the point to and have me, it gets plain. Rounding out the crew are Dutch, the captain of their torpedo boat, and Benny who appears to be the tech guy but frankly, he doesn’t do remarkable which is disappointing.

Most of the missions are split between two or three episode arcs and consist of such glamorous fare as salvaging a sunken Nazi U-boat or kidnapping a rich brat. Of course there’s always a secure such as a battleship plump of neo-nazis coming to reclaim their artifacts, or a nanny/housemaid (complete with fetishistic outfit) that gives Levi more than a race for her money in some gunbattles that would perform John Woo envious. These kind of fringe characters are another reason that “Dismal Lagoon” is such a success. My accepted is a rather vain blademistress in a Chinese dress who teams up with Levi during the last arc of the series. The scene where the two of them are being pursued in a car and fighting with each other over who gets to stand up through the sunroof and retract the pursuers is a riot. Also of brand is the crew’s essential employer, a Russian mafiosa with badly scarred skin named Balalaika (say THAT three times speedy!) who shows up often as the consummate curved businesswoman.

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The series is a too-short 12 episodes with no larger memoir to affirm. Levi’s past is hinted at or glimpsed several times, but never truly explored, though the second season gives us more along those lines and a third is forthcoming. “Dark Lagoon” is a fun explain with fabulous action sequences, tremendous animation, and plenty of sparkling characters. Well worth a viewing. If you appreciate at the altar of “Cowboy Bebop”, reflect this series a must, though newcomers to anime and casual fans should also salvage a lot to like here. Also, if you’ve ever wondered the best plan to go about torpedoing an in-flight helicopter, check this expose out for positive.

First off, I was really impressed with the production values. The animation and sound was top notch. There was none of that cost saving corner cutting, which really adds to the overall feel of the demonstrate.

Secondly it’s a really luminous script with complex characters and tightly written plots.

Third lots of nifty violence, but with a dismal comedy twist.

Don’t go in expecting Cowboy Bebop, although there are similarities Sad Lagoon is a lot darker. You might like both. Cowboy Bebop is one of my all time favs too. However I accept the two shows to have distinctly different flavors.

One thing that appealed to my inner philosophy major was that underlying theme of the whole anime is nihilism(Revy) v existentialism(Rock), which philosophy is more realistic–but without a single descent into academic angst or mention of a philosophical term. It was all like a flash paced action with a few silly turns on the surface, and can be appreciated on honest that level, but there was heavy epistomological debate going on underneath. Personally, I understanding that was resplendent wintry.
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Product: Grigori Kozintsev’s Hamlet
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I do not say this lightly. The visual language is unforgettable: the crashing waves, the jagged cliffs, the vast menacing castle, and amidst it the supreme elegance of Hamlet. Kozintsev is a master of black-and-white. This film has to be in black-and-white. The shades of gray need to be there: the alternately glittering and raging grays of the waves, the mysterious grays of the rock, the deadening gray of the castle, and the slender figure of Hamlet in stark black-and-white contrasted against them. The rep by Shostakovitch is shatteringly intense, and it too has to be this intention.

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Innokenti Smoktunovski was considered one of the greatest actors in the Soviet Union, and it is easy to peer why. His snort is awesome. He moves stupendously. At one level, it is heavenly and sexy. At another level, it visualizes the fragility, dignity, and beauty of a human being. The scene of Hamlet dying by the sea–a lone figure leaning languidly against the rock–is one of the most haunting images in film.

Directors and actors too often do `Hamlet’ clearly in relation to other `Hamlets’, so mighty so that it can become a bit of a pissing contest–who can do a more fiery or moving (or approved) version. This Hamlet is free from such baggage. Its authors inaugurate from first principles. They focus on creating a work of art in the medium of film. They expend the possibilities of film, but the medium never drives the message. Everything–the sets, the close-ups, the camera angles–is there only for artistic expression.

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A large work of art is deeply transformative, and this film is.

From the first scenes, implicitly conveying the fact of the royal death, and Claudius’ monolog, split between a herald reading a decree at a town square, courtiers repeating “in equal scale weighing delight and dole” and foreign ambassadors echoing them in their respective languages, and finally the king himself addressing his advisors – you know you are watching a work of a master. Of the three most favorite conceal adaptations, the classic Olivier’s, the roaring Mel Gibson’s and the Kenneth Branagh’s parody, none is even halt to this one. The pleasurable plot and costumes, enormous acting, outstanding dismal, gothic-like black-and-white camera work, Shostakovich’s music – everything tells of a masterpiece. Of course, limitations of a shroud play are clear – lots of substantial lines omitted, added scenes (such as Hamlet on his device to England forging the king’s letter, which was borrowed later by Tom Stoppard for his Rozenkrantz And Guildenstern Are Humdrum) – but it’s the ultimate camouflage play nonetheless.
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Movie Title: Slayers Next – The Complete Second Season
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Slayers Next – The Complete Second Season is available for streaming or downloading.

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“Slayers Next” is typically cited as the best season of this fantasy/comedy anime that should attend as a centerpiece to any animation collection. I’ve already gone over the show’s basics on my review of The Slayers – The Complete First Season so I’ll slice to the trek here. While the first season is my current, this is in no map an harmful outting for Lina and her band of merry misfits. Many unusual characters are introduced, all the favorites from season one are wait on, and the storylines continue to balance comedy reminiscent of the Three Stooges with an narrative fantasy universe that seems to live and breathe on it’s possess.

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This second season expands on that universe and manages to ramp up the tension as Lina Inverse is forced to learn more and more unsafe magics to hold prance with the chaos-worshipping demons that intend to waste mankind. That’s not to say that our heroine doesn’t get plenty of time to fight over food (one of her passions), capture on bandits and other pathetic would-be villains (it’s a hobby), and demolish a kingdom or two with her Dragon Slave spell. Her principal nemesis for mighty of this season is Martina, a princess displaced by Lina’s aforementioned destruction who worships a monster named Zomoulgustar. Sound like a name an autistic kid would believe up? Welllll….

Martina’s usually poorly though out attempts at revenge provide plenty of laughable relief throughout the season, but don’t assume that Gourry gets off the hook. He picks up an admirer of his own; a rogue swordsman who wishes to duel with him. But who has the time with all these apocalypses to avert? But the newcomer most beloved by fans is the mysterious priest Xellos; a character fond of dropping hints at crucial state points and then, when asked for more specific information, declaring “That…..is a secret” with his pointer finger thrust upward for emphasis and then disappearing.

Who the hell is this Xellos guy? Will Martina ever salvage a life? What manner of beast could possibly challenge the distinguished Lina Inverse at this point? Will the jokes about Lina’s miniature breasts ever finish? All questions will be answered and there will be both dungeons and dragons aplenty for fantasy buffs. “Slayers Next” delivers exactly what fans of the first season would want: more of the same. More characters, more action, more madness, more magic, more slapstick, and best of all more Lina Inverse. If you dug season one, have no fear; this is exactly what you’d hope for in a sophomore season.

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Slayers NEXT is the second season to the 1995 TV Anime “The Slayers”. Both seasons are based off novels written by Hajime Kanzaka. This season of Slayers is 26 episodes long, like the first one is. In my belief, it has the perfect balance of comedy/seriousness, and every episode has memorable moments, even the filler episodes are 5 star quality.

This season introduces Xellos, the trickster priest. A accepted character among many Slayers fans. He has droll charm with his wacky antics, and at the same time a mysterious motive that will withhold you wondering what it is he’s really up to.

Watching this kept me wanting more and more, and I didn’t finish watching until I reached the raze.

Chances are, if you liked season 1, you will like this too. Maybe even more. I recommend this to anyone who likes the fantasy/comedy genres
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I saw this movie when I was objective 16 in 1974. It made a vast impression on me then – that such a stout, bewitching movie could even be made. Now – in 2009 – we derive the first hi-def home video version of this film on Blu-ray disc. Let me honest say – Fox did a immense job! The detail is all there – along with the knowing 70s colors (check out Fred Astaire’s taxi advance the beginning for clean solid yellow), and, of course, the substantial John Williams regain. All of the extras from the DVD special edition have been ported over as well. Fans of this movie should be gay with this unique edition.

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Sure, the movie is dated, somewhat overlong, and the acting a bit wooden – but as shear spectacle (and 70s kitsch) – it kept this viewer involved. Another thing that is very refreshing – true models for the special effects work. Some of these models were built 70 feet high in order to ensure realism. If this movie were remade today – I’m alarmed it would suffer from overuse of CGI effects (such as in the novel _Poseidon_.)

One other effect – the opening menu on the Blu-ray disc is not to be missed. Someone worked really hard on creating a menu that honors the film. Let the disc hotfoot up naturally without clicking ahead. A very nice touch.

Coming off of the vast success of THE POSEIDON ADVENTURE in 1972, a film that kick-started the anguish movie craze of the 1970s, producer Irwin Allen space out to bring his next movie to 20th Century Fox, a film dealing simply with a fire breaking out in a high-rise building beefy of people. The film was originally going to be based on the 1973 Richard Martin Stern unique, THE TOWER, a work that Allen felt would be the perfect basis for his original movie. Unfortunately though, as multiple studios began rushing their absorb grief films to market, Allen lost out on the articulate for the rights to THE TOWER to Warner Brothers studio. He was able to earn the rights to an eerily similar book though, 1974’s THE GLASS INFERNO, written by Thomas N. Scortia and Frank M. Robinson. Today we are extinct to seeing studios rushing to acquire their version of a specific anguish based film to the theatre before their rivals, filling the cineplex with movies with almost identical premises. Mediate about the battle of the “asteroid hitting Earth” movies in 1998 between ARMAGEDDON and DEEP IMPACT, or the “volcano erupting in an unexpected site” head-to-head the previous year between DANTE’S PEAK and VOLCANO. Allen knew that having identical properties in development at both Warner and Fox would slay up having an adverse achieve on both of the films at the box office, so in an unprecedented proceed, Allen was able to get a joint venture between the two studios, combining both of their projects and creating one mega-film. The result was THE TOWERING INFERNO in 1974.

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By today’s action movie standards, with fleet fire cuts and a blaring soundtrack ragged to intensify the action, and with tons of CGI, THE TOWERING INFERNO seems tame, and can honestly seem to be, well, monotonous to a original audience. The fact is though, the film needs to be looked at for exactly what it is. Accurate, there is no hit song to underscore the spot of the main characters, and the scenes do go on for seemingly forever, but looking at what the movie is, and especially comparing it to other similar films in the genre at the time, the film does fill up remarkably well. This is due primarily to two very distinctive aspects: the cast that Irwin was able to assemble and the stunt work on explain.

The cast of THE TOWERING INFERNO is not what you would typically fetch in a exertion film. It is chock-a-block rotund of Hollywood A-listers, with Steve McQueen and Paul Newman, two of the biggest stars of the day, sharing the bill. But it doesn’t end there. The cast also includes William Holden, Fred Astaire, Robert Vaughn, Faye Dunaway, Richard Chamberlain, Robert Wagner, Jennifer Jones and yes, a pre-incarcerated O.J. Simpson. Even Bobby Brady is in the film. While the casting alone is a juggernaut of star power, the acting is actually solid. While powerful has been made about the battle between Steve McQueen and Paul Newman for veil dominance, and who came across as more macho, the fact is, their performances are not swallowed up by the special effects of the film. Allen allowed the acting to co-exist along with the action, even hiring a separate director, John Guillermin, to handle the scenes with dialogue, while Allen himself helmed the action sequences. The result is some genuinely well fleshed out acting moments. Fred Astaire is of course a shroud chronicle and rightfully so, but his performance as the elderly con-man Harlee Caliborne has some staunch depth and tenderness to it, and the heart that Astaire would always imbue into his characters in the 30s and 40s is allowed to be seen here as well. Giving the actors the set to do what they do best, instead of using them as merely position dressing to diagram in viewers, is one of the strongest elements of THE TOWERING INFERNO, and helps to strengthen the film, giving it a believable realism and not letting it devolve into looking like nothing more than an expensive episode of “The Treasure Boat.”

The special effects of the film are second to none for the time, and the techniques stale would go on to inspire a generation of filmmakers afterwards. It has to be remembered that this is long before the days of CGI, and whereas we may not even bat an notice seeing computer generated dinosaurs battling wizards in state on the hide today, in 1974, THE TOWERING INFERNO’s action sequences are suspenseful and breath taking. Honest as in BACKDRAFT, the fire here is allowed to seize on the aspects of being a character itself, becoming the antagonist of the film. What must be highlighted though is the work of stunt coordinator Paul Stader who developed some astounding stunts and some of the most fantastic bulky burns seen on conceal serene to this day. There are no computer generated flames here, and no wirework for the stunt people. They were actually being space on fire and then asked to jump through windows to complete a high descend. This was stunt work at its finest, and watching the film for this alone is a pleasure.

The film is definitely fun to revisit to notice what a stout budget Hollywood action flick looked like in a previous era. Costing an unprecedented $14 million, the film topped the $116 million ticket for its contaminated, marking it as a rousing success. Yes, the pacing is lifeless, and the movie is plot too long, but it is fun and I recommend picking it up and watching it. With a expansive cast, and incredible visual effects and stunt work, you really can’t go substandard.

The Blu-ray release features extensive bonus features including: nine featurettes, scene specific commentary by fresh day special effects directors and stunt coordinators, audio commentary by a film historian, storyboard to film comparisons, the AMC documentary “Backstory: THE TOWERING INFERNO,” vintage promotional materials and features including a 1977 interview with Irwin Allen, promotional material from THE POSEIDON ADVENTURE, interactive articles from “American Cinematographer” and a level-headed gallery. The materials here are exhaustive, and combing through all of them should be enough to write your dissertation on the film.
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Movie Title: Scooby-Doo Meets the Boo Brothers
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This entry suffers from the presence of Scrappy. It was made in the mid-eighties when Scrappy was at the height (!) of his fame (? ) . He doesn’t do considerable in this so it’s not that unpleasant.

The narrative is about Shaggy (minus the rest of Mystery Inc.) being left a spooky mansion house in his uncles will. Conveniently said mansion is in the middle of a creepy swampland in the Deep South. The kind of set where there are always eyes watching from the trees.

As soon as he arrives, Shaggy has to deal with an annoying southern stereotype sheriff, a weirdo butler who wants to collect his hands on the archaic uncle’s hidden worship, hickabilly neighbors and the ghost of his uncle telling to leave (then why did he give him the house? ) . There is also an escaped ape on the loose but even though only Scooby sees him (Shaggy doesn’t fill it) he’s honest a large, cuddly monkey who wants to play.

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The Boo Brothers are basically ghost versions of the Three Stooges. They’re listed in the phone book as being experts in the busting of ghosts. This isn’t a job they do well though, so Shaggy’s payment at the destroy is a bit too helpful.

There are some laughs to be had and the situation is mildly intelligent but too many running jokes are objective dumb awful. The hillbilly neighbor joke becomes very listless and could have been done without. The animation is a bit dated, though it has enough new touches (lens flares in car lights) to distract you from it. And I like the dismal, decaying atmosphere of the swampland. The color pallet is mostly made up of unlit blues and purples (the epic takes dwelling all in one night) and the backgrounds are not as generic as the earlier, cheaper TV shows.

For the average fan this is a pleasurable pain though I would objective secure it on the Cartoon Network instead of forking over the cash, unless you’re a Scooby completist.

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The DVD is in 1.33:1 chubby frame, as drawn, with a Dolby Mono soundtrack that is unsophisticated but workable. The Set 2 release comes in a sturdy Preserve Case but the Spot 1 is unruffled in a cruddy snapper. Extras are minimal childish fluff.

How could any Scooby fan not like this movie. The action picks up within the first 5 minutes and never lets down. Some parts of this film actually are scary. Scooby and Shaggy encounter a headless horseman, a ghost wolf, caped skeleton, gargantuan gorilla, and even a tedious Confederate general (sporting the Confederate flag good there on hat) . The scenery of the film is another characteristic that makes it gargantuan. It ranges from the disquieted mansion to secret Civil War supply caves. The novel movies that Warner Bros. are releasing are getting cheesier and cheesier. They need to write another script like this for a hit movie, and livin’ “down south”, you like this film even more…….
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]]> http://robin-du-web.com/sharellsblog/2010/03/05/watch-scooby-doo-meets-the-boo-brothers-online/feed/ 0 http://robin-du-web.com/sharellsblog/2010/03/03/stream-transgeneration-movie-online/ http://robin-du-web.com/sharellsblog/2010/03/03/stream-transgeneration-movie-online/#comments Wed, 03 Mar 2010 10:01:54 +0000 wesleymclaughlin1966 http://robin-du-web.com/sharellsblog/2010/03/03/stream-transgeneration-movie-online/ Stream TransGeneration Movie Online.

Product: TransGeneration
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TransGeneration is an eight-part documentary produced by World of Wonder productions, in association with the Sundance and LOGO channels. It follows the lives of four college students through the 2004-2005 school year.

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1. Lucas: FTM (female to male), Smith College, Neurobiology senior.

2. Gabbie, MTF (male to female), University of Colorado at Boulder, Computer Science sophomore.

3. Raci, MTF (male to female), University of California in Los Angeles, liberal arts/drama freshman.

4. T.J., FTM (female to male), Michigan Station University, Master’s candidate in Student Administration.

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This was a titillating spy at the successes and difficulties of four individuals struggling through the challenges of college while coming to terms with their believe gender identity and sexuality. While some storylines are more compelling than others, all were gripping and offer insightful take-home lessons without hammering us over the head. The directors and producers should be commended for representing them as actual and 3-dimensional. This is due in piece to their willingness to display each student’s warts, foibles, neuroses, and occasional self-absorption as well as their bravery, authenticity and intelligence despite a society that (sadly) largely disapproves of those who don’t fit within the mainstream. Yet the series is never overly sentimental. I came out of it with a deeper feeling of empathy, notion and respect.

Regardless, even the most closed-minded viewer must give these kids credit for putting themselves out there for our scrutiny. They have normal collegiate problems: grades, finances, friendships and relationships, but they’re also coping with legend psychological struggles in a largely homophobic and closed-minded society. Bravo to them for not only facing these challenges, but for their willingness to invent these intensely personal struggles public in an difficulty to edify us and further begin our hearts.

Credit should also be given to the families and friends who agreed to have their fill emotional journeys publicly documented. They bustle the gamut between intolerance and denial to unwavering care for, thought and acceptance. T.J.’s mother’s stalwart refusal to discuss (let alone befriend) his transition lies in stark inequity to Gabbie’s grandparents’ sincerity and unconditional assist. Gabbie’s region is new, as she is one of the youngest patients to undergo gender reassignment surgery. Her parents and siblings have to approach to terms with her current identity, but her grandparents’ supportive, gentle compassion is wonderfully heartwarming. Despite being retired clergy and active in a Christian church community, we view unexpectedly appetizing and refreshing enlightenment; unfortunately rare in our unusual socio-political climate. A particularly challenging scene happens at a church service when an elderly friend, Helen, gently reaches out to Gabbie and offers sing, profitable befriend and acceptance.

The same can be said of Stacey, an amazing woman who becomes enthusiastic with T.J. While T.J. wrestles with the dark inevitability of having to return to Cyprus and a family/community which will not find (and as a result, hinders) his transition, Stacey and her parents starkly dissimilarity as open-minded, gentle, loving people who search for beyond labels and appreciate the person within. It’s therefore difficult to notice T.J. grow emotionally distant from Stacey while he wrestles with his desire to transition versus an external mandate to return as a female, lest he potentially devastates his mother and sister.

However, the directors and producers tumble short in consistently protecting the identity of each individual. I don’t know how the students feel about it, but I awe that they might experience negative backlash resulting from post-production carelessness. I deliberately left this criticism vague, as I don’t want to way attention to specific examples, but they do exist. Hopefully Lucas, Gabbie, Raci and T.J. are frosty with it.

The epilogues left me with only partial resolution (c’est la vie-I realize that life isn’t always neatly resolved), but I longed for more fresh updates. Each scamper had modern dangers and challenges; they were documented so efficiently that I wanted reassurance that they’re ok. There’s sufficient resolution that Lucas will be a great asset to the scientific world and has the relieve of his extended family and friends. Thankfully, Raci has overcome her panic about being openly transsexual and is now safely receiving hormones and has sought out a wider back network. Gabbie also has widespread befriend of family and friends; hopefully now that her SRS is complete, she will concentrate on maturing and learning reciprocity. Unfortunately, T.J.’s yarn is left achingly unresolved, as he is unable to launch hormone therapy and must return to his home country, without his abet network. Sadly, his relationship with Stacey ended, and after graduation he must return to a family and community region that will inevitably prolong his danger.

T.J., your return to Cyprus is the USA’s loss. May you eventually win the peace and fulfillment you gaze, and may your poke be painless.

The TransGeneration documentary was marvelously executed. I hope both the series and the students receive the accolades they truly deserve.

Most people aught to have noticed by now that not all girls are alike and not all boys are alike. Most people aught to have realized that in spite of some approved (not absolute) denominators, there is a LOT of discrepancy along the gender spectrum. In fact, there would be even more were perceptions not pigeonholed by stereotypes, but that’s an teach for another time. My point is, if you are a biological male or female you are generally insured a resplendent mammoth range of gender expression without having to terror your gender will be questioned. Long before that, your sexuality would advance under suspect.

It makes me sick at heart that anyone could sight a program like this and composed approach away with such well-known misconceptions as “so and so is not convincing as a female”. I’ve known a lot of genetic women who could be considered unconvincing and have never had their gender marker challenged. I know tom boys who are straight, feminine men who are not contented, and masculine men and women who ARE overjoyed. A person need only know how they personally identify to qualify for the true to be treated with the same respect as their non-transsexual peers. No sane person (and you can’t transition through lawful channels without being medically certified as sane) would keep themselves through the unparalleled turmoil that a transsexual does if they didn’t feel that it was paramount to their peace of mind. Try living your life – your whole life – in a Halloween costume and you might launch to win an INKLING of what a transsexual feels.

The purpose of this program is to indicate you that it’s not unbiased the “wackos”, not the people on the fringes of society who live their lives like a 24 hr rave party, not mature men with wives and children going through a midlife crisis, who are transsexuals. It’s ordinary people. Young and veteran. And this documentary does a better job of illustrating it than anything I’ve seen before by highlighting the lives of four different types of people from different walks of life and not angling for shock value or excessive drama.

It disappoints me that people could ogle this and unruffled be left with narrow ideas about the plot that things are. The reality is, the world is diverse, and diversity is dazzling. It disappoints me, but I know that I should be snarl if it changes minds and broadens perspectives even fair a diminutive bit, because that’s a monumental accomplishment in its have apt. And I absorb that this program is safe of doing that. It is the quintessential resource among the available media on this subject, in my thought, for introducing someone to a better notion of transsexuality. So if you know a transsexual and want to understand it, or are one and want it understood, or simply have a thirst for knowledge or the motivation to challenge your beliefs, I recommend TransGeneration highly.

Watch it. Section it. Aid develop the world better.
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Movie Title: Black Angel
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This 1946 memorable noir boasts a pretty cast that includes: Peter Lorre, Dan Duryea, June Vincent, and the stunningly heavenly Constance Dowling. Based on the recent by Cornell Woolrich and directed by Roy William Neill, Murky Angel’s storyline hinges on the elements that comprise many noir classics. Abolish, blackmail, deceit, and a hurry against time to indicate a desperate man’s innocence are the indispensable spot elements that propell Neill’s film through the uncertainties of urban darkness. Cheating husband Kirk Bennett (John Phillips) is wrongfully convicted of kill and is sentenced to die in the electric chair. This time it is a woman, Kirk’s wife Cahterine ( June Vincent) who intensifies the execute investigation. As Kirk’s execution date draws reach, Catherine instills the succor of an alcoholic songwriter, Marty Blair (Dan Duryea) . Blair is the ex-husband of the murdered woman ( Constance Dowling) . The unlikely pairing disclose a creep of clues that lead them to a swarthy night club owner named Marko ( Peter Lorre) . Large performances by all actors highlight the portray. Lorre is wonderful as the shaddy club owner who is being blackmailed. June Vincent as Catherine gives an admirable performance as she attempts to balance emotional distance and closeness with the rejuvenated Marty. But it is Constance Dowling as Mavis Marlowe who devours her shroud time with vampish presence. Mavis exudes sexual effort as a pretensiously concieted singer who lives in a posh high-rise apartment surrounded by trinkets that reaffirm her beauty and spot. Why Dowling never achieved the same hide stardom as actresses such as: Lauren Bacall, Barbara Stanwyck, or Rita Hayworth is mystifying. Maybe that is why films such as Sunless Angel are worth viewing over and over again.

Within the last ten years or so, I’ve really approach to relish films of the `noir’ period, so I was joyful to seek a couple of the major studios cracking their vaults and releasing some to DVD. The speedily dialogue (including all those amazing euphemisms), the immaculately dressed characters (who do you know who dresses `to the nines’ to go out and select a newspaper or pack of cigarettes? Unfiltered, of course…), the bleak atmosphere, scheming mugs, cynical tough guys, and glorious, yet hazardous, dames…it’s a world rarely defined in terms of dusky or white, but various shades of gray, where very puny is as it seems…

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Black Angel (1946), directed by Roy William Neill (his last film before his death), who did a handful of the Basil Rathbone Sherlock Holmes throughout the 40’s, stars Dan Duryea (Scarlet Street, The Flight of the Phoenix) and June Vincent (Trapped by Boston Blackie) . Also appearing is the ever lovable, bugged eyed Peter Lorre (Casablanca) and J. Edgar Hoover look-a-like Broderick Crawford (Modern York Confidential) .

After the assassinate of a particularly evil woman with a penchant for extortion (as we bag out later), Catherine Bennett’s (June Vincent) husband Kirk is fingered for the crime, since he was the last person witnessed going to the woman’s apartment (woo woo), but, as we saw, she was already stupid when he got there (hey Kirk, nice job of getting your grimy fingerprints all over everything in her posh apartment…did you really have to seize everything up, including the gun? Knucklehead…) Catherine knows he’s innocent, of the cancel at least, and feels she must learn the truth, as the vast, whopping pile of evidence pointing towards Kirk, aka Mr. Changeable, has scheduled an appointment for him in the gas chamber for a crime he didn’t commit. She seeks the succor of the murdered woman’s estranged husband, Martin Blair (Duryea), who’s been on one heck of a bender since getting the worn heave ho by his wife, especially now that she’s listless, and isn’t inclined at first to relieve, but soon has a change of heart as Catherine’s a heck of a looker and sure possibilities start to evil his mind. The amble leads our two junior detectives to Mr. Marko (Lorre), a nightclub owner and generally shady character (I did mediate it was really icy him having a barber chair and position up fair in his office…imagine a haircut and shave whenever you wanted) . Time is against the daring pair (well, June is kinda mettlesome, but not so great Martin…I would call him optimistically opportunistic), as Kirk’s day of reckoning is lickety-split approaching (movie justice clear is swift) .

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All in all, I belief this was a comely righteous film, with a few problems, mainly in the area. I opinion June Vincent (she’s a proper knockout and sings well, too) and Dan Duryea did well (nice coif Duryea…looks like a can of pomade a day man) but the enjoyment came from Peter Lorre’s semi-sinister character of Marko. Sadly, his role was relegated to that of a supporting player, so he didn’t appear as worthy as I would have liked. Even when he plays the most foul of characters, he’s unprejudiced so damn adorable, you can’t serve but savor him…and that distinctive insist. As an actor, he unprejudiced seemed to fit so well in the time when he was most accepted, playing the characters he did. I understanding the direction was highly professional (a perfect example is at the beginning, as we’re outside and we sight a shot of a cab pulling up to a hotel…as the cab stops, we contemplate from the tag on the cab door that informs us the film takes dwelling in some city in California…it may not seem like grand, but the beauty is in the subtlety. A less grand director would have found a device to beat us over the head with this minor fact. I plan the dialog glowing valid, but not as rapidly as I would have liked…I snarl it’s probably because I utilize The Maltese Falcon as a frame of reference for `gangster speak’ (unfairly, I admit) when it comes films within the genre. The problems, for me, lie in the dwelling. Initially, it seemed like there were some gaping holes, but those were cleared up later on…leaving some minor pot holes causing a niggling sense of the parts not all fitting together quite lawful. Kirk being such a gullible chump, the convoluted section about Catherine and Martin forming an act as to allow them to infiltrate Marko’s club (I had a fine laugh when a positive revelation was made that torpedoed their well laid plans and essentially sunk their efforts) . After awhile, and well before the identity of the killer is revealed, I guessed whodunit, although I was a bit fuzzy on one particular detail, which was haphazardly explained away (in my plan) . Also, given the who the killer was, I was a bit surprised at the ease of which the killer managed to gallop by Kirk when they were both in the murdered woman’s apartment, at the beginning of the film, but given what a bonehead Kirk was, I guess I can’t remove at that point too great. Also, did it seem to anyone else like the only reason to have June Vincent’s character order a couple of numbers was to capitalize on her singing ability, rather than forward the storyline along? She was a very friendly singer, but that whole state element seemed awkward and jammed into the account, interrupting the general plug. I narrate I’m probably making too noteworthy of these essentially minor elements, as the film is really glorious spicy, and deeply steeped with the `noir’ qualities I was looking for when I bought it.

The print Universal faded on this DVD looks dazzling suitable, with a few, very minor aging elements apparent. The record is plump veil (novel aspect ratio), and the audio is worthy. Included is an novel theatrical trailer.

Cookieman108

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