Shattered Angels: The Complete Series Box Set Overview At Amazon.com.
September 3rd, 2010
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Fans of Kannazuki No Miko should really indulge in this explain (and will especially bask in a positive couple character reference!) Those who have not seen Kannazuki No Miko or Steel Angel Kurumi (both of which are referenced in this anime) can certainly aloof like it, though! The art and animation is shapely, crisp, and vibrant with shiny colors. The English roar actors do a sparkling job, as well. Every convey fits the character – even though a couple may grate on some less tolerant people’s nerves.
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The legend revolves around Kuu, a girl who feels empty and useless who dreams of her “prince.” She lives in Academia – a country of schools created after a danger several years prior. One day she meets a man who reminds her of the prince in her dreams, and he introduces her to the “Absolute Angels” – splendid creatures of power and destruction. The account is beefy of fantasy and romance.
I will say that the “mecha” fights are far better inspiring and powerful more lively and convincing than in Kannazuki no Miko. The memoir also has slightly better pacing. Although it can be easily compared to Kannazuki no Miko, I would NOT deem this a yuri note. There is one lesbian couple, but the focus is on a male/female couple. The music is ok, but leaves grand to be desired compared to other similar shows (i.e. Kannazuki!)
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The product is substantial – a 2 disc thin pack that won’t grasp up too worthy room. The box is dazzling and the disc perambulate covers are reversable with delicate (if a bit scandelous) art. DVD menus are simple, but work. Extras are puny to super op and ending, credits, and Funimation previews. The subtitles for the opening and closing songs include Romanji and English translation (alternates by episode) .
This anime is a hurry jerker. I loved it but the ending was very dim like Kannazuki No Miko. If you appreciate romance animes that don’t turn out like their articulate to then net this if you want the anime to be heartfelt but everything is as it should happen all elated then don’t net this.
Total Gym
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September 3rd, 2010
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I’ve seen my fragment of documentaries, and I’ve seen a few that have dealt with disability. “Murderball” easily eclipses them all.
Too often people with disabilites earn thrust into the role of flawless inspirations, this principle has held apt across both fictional and non-fictional films alike. It was because of this trend that I approached “Murderball” with cautious optimism.
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It was very surprising indeed when “Murderball” was in fact a genuinely uplifting and spellbinding film,a film that dared to really indicate its subjects complete with flaws. Two other disability-related documentaries I’ve seen are “Rolling” and “King Gimp” Both are probably extremely intriguing to an able-bodied audience, but speaking as someone who is in a wheelchair, some of the moments in those films were downright horrifying and depressing. For example in “Rolling”, a woman falls out of bed while dressing herself and videotapes her barely censored nude rescue by an able-bodied friend and her husband. Able-bodied audences would say, “what grit and determination” I sat there and prayed that would never happen to me. “King Gimp” profiles a supremely talented artist and parts of his legend are titillating especially to someone like myself who wants to have a career in the arts. Yet, it too wretched me because distinguished of the film concerns the subject’s unrequited savor for a female caregiver. He laments that he will never acquire anyone.
“Murderball” on the other hand avoids those pitfalls and showcases some of the nastiest, (…) ever to hit the conceal and even though I most certainly do not fit into that category and wouldn’t be caught tiring, playing the titular sport I enjoyed every slight of it. All of the people in this film have a level of independence that for the moment I can only dream of, and they are remarkable more impaired than I am in positive respects. So seeing them doing something they esteem, and quite a few of them FINDING admire is absolutely, unadulteratedly interesting. It is the first documentary I’ve seen that left me gay through the raze credits.
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“Murderball” is ostensibly about quadriplegic wheelchair rugby and there are some truly thrilling scenes of play between archrivals the USA and Canada…to be determined.
But what “Murderball” is really about is the undeniable, unstoppable, fire-in-the-belly will to live and more specifically the drive to overcome adversity: both of spirit and of body.
Athletes Brand Zupan, Joe Soares, etc. all point to, really inhabit such a distinct, go-for-broke hold on life and living that you cannot succor but be embarrassed when you begin to reflect of your piddly problems.
One of the things a Documentary should do is recount and remark and “Murderball” has those two topics covered—no spot. But “Murderball” also gives you Hope and that is a quality to which most other films can only aspire.
Lowest Selling Price On The Life Aquatic with Steve Zissou – Criterion Collection At Amazon.com.
September 3rd, 2010
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I consider if everyone would close referring to the Wes Anderson movies as comedies we would all be better off. “The Life Aquatic with Steve Zissou” is not about making the audience laugh. Yes, there are times you will laugh, but there are also times you will cringe, and there are other moments for unprejudiced about everything else. What kind of movie is it? It really isn’t something that can be given a single sign. Yes, there are all kinds of jokes, but aren’t they in the service of something more than simple laughs? Hearing David Bowie songs in Portuguese with an acoustic guitar is not only comical, it is kind of comely.
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A simple joke is the name of Zissou’s ship. The Belefonte is clearly a play on Cousteau’s Calypso as are the crew’s red knit caps. However, some of the humor is quite tough. Believe of the scene with Jeff Goldblum’s Alistair Hennessy playing cards with his pirate captors as Steve Zissou comes in the room. What follows is silly, but grim at the same time. Then there is the outlandish draw the inside of the boat is portrayed in a cutaway station that looks spurious and is meant to seek groundless. Gape that the science room is the smallest room on this research vessel. The Sauna is considerable bigger and all the rooms given over to film production constitute most of the ship.
This movie has a lot of fun with the artificial in documentaries and films. Even the scenes of creatures of the sea are often CGI creations that don’t even try to notice genuine. Heck, even the colors in the Zissou documentaries are supersaturated and observe like they were done in different colors of ink rather than the ocean. How loyal is life when you are more concerned about getting everything shot with the just sound rather than living it? And how legitimate can a documentary be when it is cobbled together from a lot of staged shots and hosted by someone who really doesn’t have a clue about the science leisurely what is being filmed?
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All of the lead actors are terrific and Bill Murray leads the plan as the weary and fading Steve Zissou. Everyone eager with Zissou has their occupy downward arc. Even the equipment is veteran and barely works. Tired helicopters are risky things.
Does the movie work? Maybe not. However, I gain so mighty to study and devour in each scene – even honest the actions of the non-speaking characters – that I really enjoyed this movie. If you want to observe something strangely sparkling, that plays with all kinds of notions of what is staunch and what is deceptive and has a lot of fun along the scheme, this might be something you would luxuriate in, although it is not for children.
I guess the kind of send up it is, even of Moby Dick, can be captured by then extinguish title that expresses “gratitude to the Jacques Cousteau Society even though they had nothing to do with the making of the film.” I like this kind of thing. Maybe you do to.
Wes Anderson (The Royal Tenenbaums) is sowing some of his more artificial and creative wild oats in his latest, “The Life Aquatic with Steve Zissou.” I mean stop-motion clay engaging sea horses and other assorted sea creatures? As well as a third wall removed position of Zissou’s (Bill Murray) ship in which Anderson films the scenes there as if they were acts in a stage play?
It’s curious, queer…and I’ve got to admit exquisite amazing.
Bill Murray plays Steve Zissou: a Jacques Cousteau sort of Sea Adventurer who, at the film’s beginning, is down on his luck and has objective lost a best friend to a so-called Jaguar Shark. One of the film’s funniest scenes comes advance the beginning when Zissou, in a conference swears to gain even with the shark by finding and murdering it to avenge the death of his friend.
Owen Wilson is also on hand as Ned: a man who claims to be Zissou’s son and once again we have this recurring theme in Anderson’s work about lost, then regained fathers so prevalent in “The Royal Tenenbaums.”
With a film so plump of artifice, snotty-yet-funny wit and the king and queen of deadpan, Murray and Angelica Huston one would deem that all of “The Aquatic Life” would be without an emotional life. But I found this film to have a very deep well of emotion if you are willing to wash down your emotion with vast gulps of remorse and wry humor.
“The Life Aquatic” is a veritable beggar’s banquet for the eyes and the ears (a Brazilian troubadour sings David Bowie songs throughout the film to underscore the drama) and though you sometimes reflect the whole ship is going to go over the edge artistically…it never does. It honest sails along; the course situation for parts unknown and uncharted.
Acquire 2 or 3 Things I Know About Her Online.
September 3rd, 2010
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Before declaring “Extinguish of Cinema” in “Weekend”, Jean-Luc Godard made this utterly animated and spellbinding meditation on the unusual consumer lifestyle. “Her” is Juliette, a married housewife that turns to prostitution to bring in money so she can consume the newest dresses, and also the modernizing Paris of the 1960s. You won’t score the postcard landscapes of the Eiffel Tower or the Champs-Elysee in Godard’s political and philosophical tract that takes exclaim with the suburbanizing of Paris with astronomical apartment buildings, perfectly captured by Raoul Coutard’s always sparkling cinematography. Also in the film: attacks on the US in Vietnam (Juliette’s son’s dream) and relations between men and women, and an exploration of alienation and the struggle for meaning in the (then) changing world of 1966. This might sound boring–me, I eat it up. As previously mentioned, this is one of Godard’s last films before temporarily abandoning classical filmmaking, and his frustration with the confinements of cinematic perform result in pushing the boundaries of record film. There’s very minute yarn, but the movie is filled with thoughts and meanings, and is one of the most personal films made by a director.
This is simply one of the finest films I have ever seen. Godard does things in ways that no one else can. It blends sociopolitical commentary with pure experimentation and existential realism. Visually specatacular and completely titillating while abstract and mysterious. A perfect film.
Totalgym
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September 3rd, 2010
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The initiate of the unique year is usually glowing plain when it comes to great films. Most of the time its when films not deemed summer blockbuster or holiday season kindly procure scheduled for release. Len Wiseman’s Underworld: Evolution is a step up from most of the garbage and fillers that destroy up being shown in January. This sequel to the Kate Beckinsale’s 2003 gothic-actioner continues where the first film left off but with the increase in budget and less of an introductory feel to the characters. The film ends up looking quite expedient with action sequences that tops the first film and actually provides a fable that adds to the mythology created in the first one.
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Right from the beginning with its vampire knights and rabid, peasant werewolves, Underworld: Evolution shows that the film will be more rollercoaster trudge than a observe in character and themes. This is a excellent thing and Wiseman doesn’t try to deviate from this formula. He knows unprejudiced exactly what his films trying to do and doesn’t try to overanalyze the situations. The production accomplish serene has the European glimpse to it from the sets and situation (coincidentally site in Eastern Europe) to the costume and prop designs. The film also makes heavy spend of blue-filters to give the film that industrial ogle. Sometimes the sequences even takes on the search for of a crisp, unlit and white film when the action is dwelling at night with minimal light.
The record continues the struggle between the vampire clans and the lycan rebels from the first film. This time around Selene and the lycan hybrid, Michael are hunted by both sides as they struggle to search for the answers to their questions about Viktor’s (Selene’s vampire primogenitor and one of the clan elders) betrayal of her trust and the shared past of both vampire and lycan clans. Wiseman and McBride (the film’s co-writer with Wiseman) do a noble job in summarizing the basic state points from the first film through dream-like sequences whenever blood is drank by the last surviving elder (Marcus as played by genre customary Tony Curran) . One doesn’t need to contemplate the first film to rep the gist of what’s going on in this sequel, but it’ll mild support if one had some knowledge going in. What i found particularly lively was the past history of Marcus and how his past tied in with Viktor’s, Selene and in the ruin that of Michael’s. An even older character than Marcus makes an appearance that helps tie the two films together.
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The cast itself did an adequate to admirable job in doing their parts. Thankfully, Wiseman miniature Scott Speedman’s scene time with dialogue to a minimum. Speedman stunning worthy spends most of the film in his hybrid manufacture and performing fight scenes. I believe this decision a major plus for the film. Sir Derek Jacobi adds abit of gravitas to the film as an elder, behind-the-scenes manipulator or the two clans. But in the demolish the film is all about Kate Beckinsale and she’s never looked better. She delviers her lines with enough conviction to accomplish them believable, but at the same time shows unprejudiced how noteworthy she’s having. It didn’t damage the film that she again gets to parade around in dim, tight leather and latex and in one sequence beautiful grand nothing. She also does a heavenly convincing job of being a kick-ass action heroine. I wouldn’t mind it if she took on an action-film here and there to supplement her more serious works.
The action scenes were better than the first film, but not so over-the-top that they go from frosty to cartoonish like most action-film sequels. The effects work was more polished and this could be due to a higher budget and a better FX crew. The shapechanging from human to lycan was done considerable better and had less of the computer-generated eye to them. The climactic showdown in the extinguish with Selene was action-packed and well-done for a film that was ravishing noteworthy dumped by Sony Pictures in the graveyard of the film season. This climactic showdown had the audience cheering the most and deservingly so.
In the ruin, Underworld: Evolution was a very curious sequel that didn’t try to go beyond its gothic-action film pedigree. I could gawk this series continue to become a trilogy if Wiseman and McBride have more stories to grunt about the vampire clans, the lycans, and Selene. The two films are similar to Snipes Blade trilogy, but this time sexier and with abit more an involving record than the Daywalker series. The film wasn’t anything to write to the Academy voters but it did its job in consuming the audience. 7.5/10
Like some people I like to read reviews by critics before I go recognize a movie. As is usually the case with these so called critics, they are diagram off the notice with this movie. I guess they go into the movie expecting sir Anthony Hopkins to generate a tall “Acting” performance as in Howard’s Destroy. Hey, this is a horror/action movie you idiots. Even some critics pointed there negativity on the movie being humorless. HUMORLESS? Last time I checked it wasn’t a comedy either.
Many critics also claimed the fable to be confusing. I guarantee you they didn’t go serve and seek the first movie to refresh their minds of the back-story. If the were to, they would peep that the anecdote flowed from the prior movie impartial radiant. Critics!! They drive you crazy and unfortunately sometimes fill the fate of a movie in their hands. Thank god for sites like Amazon to obtain the word out that this is a very splendid movie.
Kate Beckinsale is the hottest vampiress there is for certain. The sage for me made perfect sense as they have an earyly back-story revisited with the history of the sons of Corvinous (William-bitten by a wolf and Markus-bitten by a bat) that are the basis of this movie.
The special effects are convincing and that’s all that matters to me. Nothing like Star Wars for determined, but respectable enough for this type of movie. And man is there a lot of blood….especially in the last scene. Fun stuff. Many actors return including cameos by Lucian, Kraven, Viktor, and a runt more from Amelia. There really isn’t a “war” between Lycans and vampires as in the previous movie. It’s more a pesonal war between Selene(who discovers her right importance) and Markus( who was always defiant when it came to his brother William and he never liked Viktor worthy) .
All in all a tremendous movie that I would sight again and surely prefer when the DVD (hopefully an exteneded version) comes out.
One negative in the movie which I didn’t follow. After watching the first movie I got the impression they were in the Unites States. I mean the hospital where Michael worked all the employees spoke English. In the second movie, everyone speaks Russian. I don’t understand that at all. I does kind of gain you ask the expect …this negative (although annoying) certainly doesn’t consume away from this fun-filled action/horror flick. Let’s spy another one soon.
Down with the critics!!!
Colon Cleanse
Best Price For For All Mankind- Criterion Collection At Amazon.
September 3rd, 2010
Product: For All Mankind- Criterion Collection
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This is a re-issue of a previous release by the Criterion Collection but features a label original transfer of the film, which looks unbelievable. All of the previous extra material has been carried over.
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There is an audio commentary by filmmaker Al Reinert and astronaut Eugene Cernan, the last man to location foot on the Moon. Reinert provides some insight into how the film came together. He went through thousands of hours of footage and managed to achieve together an 80-minute film. Cernan shares some of his experiences about what it was like to be an astronaut at that time.
New to this edition is “An Accidental Gift: The Making of For All Mankind,” a 30-minute retrospective documentary. Reinert always wanted to gape this outer space/Moon footage on the colossal cloak and this was the impetus for the film. He got his commence as a journalist covering NASA in the early 1980s. Through his contacts he got access to their film archives and found footage that had never been shown. This is an apt peep at how For All Mankind came together.
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Also unusual is “On Camera,” a compilation of on-camera interviews Reinert conducted with 15 of the Apollo astronauts. In the film itself only the audio is old and it is nice to achieve a face to the order.
“Painting from the Moon” is an updating of an extra on the new edition. After retiring from NASA, astronaut Alan Bean became a painter and this is a gallery of his work with commentary.
“NASA Audio Highlights” is a collection of 21 soundbites from the first ten years of the American location program. Some of the most eminent words have spoken during this time, including Neil Armstrong’s immortal words.
Finally, there is “3, 2, 1 . . . Blast Off!” a collection of begin footage of various rockets taking off for outer location.
Without a doubt, this is one of the finest Blu Ray discs I occupy, not objective for the interesting and well done documentary, but for the total immersion in the Apollo Experience that novel transfer (both video and audio) provides. It is STUNNING; there is no other procedure to narrate 80 minutes of pure perfection.
The film that was brought relieve from the moon, recent film elements, were ancient in the creation of this documentary to originate with when it was first compiled into an challenging film some 20 years ago. With the advent of the original digital remaster, the film looks COMPLETELY different; so remarkable so that my 12 year outmoded daughter view that the scenes shot on the Rover were special effects! Imagine her surprise when I told her that was real moon mission footage, and it was as precise and as untouched as if she herself were to purchase it using a camera. I don’t assume she ever grasped that fully. In any case, the video is Unbelievable.
The audio of this unbelievable film is provided by the voices of the astronauts and their machinery as well as an ambient soundtrack by Brian Eno. The music fully immerses you in its wondrous and enveloping earn. The unique transfer of the Eno audio soundtrack really cannot be adequately described…it is truly a masterpiece, because it becomes piece of the film; it IS the film…it literally feels like section of the missions represented in this documentary. You are surrounded by these voices and machines and this wonderful, wonderful get by Eno…and it is truly an experience.
I’ve had the film on DVD for a number of years and it has always been one of my favorites (these guys were all my heroes growing up in the 60s and 70s and I’m a NASA buff) . With the recent Blu Ray presentation, Criterion has pulled out all the stops. As I watched, I was unprejudiced shaking my head at objective how phenomenal a disc this is; that it could be SO powerful better than my modern DVD copy (which was no amble either, and I have an upscaling DVD player too that made it gape immense…but NOTHING like THIS!)
With the 40th Anniversary of our first steps in the playground of the Universe upon us, this Blu Ray makes you realize objective how distinguished more there is so view out there and why we need to return to the stars…and how considerable we need to recall care of this fragile world (and each other) as well. Highly recommended…and highly inspirational.
FHI Flat Iron
Shop For Robot Monster Using The Web.
September 3rd, 2010
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Though some fans of “awful” cinema often set aside 1953’s ROBOT MONSTER on the same tier with Notion 9 FROM OUTER Set (1959), it honestly doesn’t even approach stop to reaching the heights of inspired ineptitude attained by Ed Wood’s magnum opus. Peaceful, ROBOT MONSTER is an though-provoking so-bad-it’s-good flick in its possess accurate.
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The last six remaining humans on Earth resist attacks by Ro-man, an extraterrestrial who looks something like a gorilla wearing a cheap diving helmet. Receiving orders from his wonderful via 1950s consumer electronics that emit, of all things, soap bubbles, Ro-man’s job is to distinct out all luminous life on Earth so that his “people” can reach inhabit the planet themselves. Unfortunately for Ro-man, he finds it impossible to carry out his orders after he falls in admire with an Earth girl, and it’s all downhill for him from there.
This ludicrous tissue-thin area is chunky of gaping holes, and the badly executed scene transitions and various stock-footage inserts of fighting reptiles and tantalizing dinosaurs are humorously befuddling. But when it is revealed at the ruin of the film that all was simply the dream of a science-fiction-crazed young boy, the whole dish seems a cramped more delectable.
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Some critics have read the film as an allegory of life in occupied Europe during World War II. Ro-man, it is claimed, represents a Nazi soldier simply carrying out the orders of his Hitler-like commander, and the surviving humans can be viewed as living an Anne Frank-like existence in their energy-encompassed hideout. But the sure weaknesses of the station, the glaringly technical mistakes, and the bargain-basement production values develop it hard to occupy that the filmmakers were astute enough to attempt allegorical storytelling. Any similarity to loyal situations or to precise persons, living or slow, is purely coincidental.
Believe it or not, the music for ROBOT MONSTER is actually resplendent kindly (that is, “righteous” noble, not “poor” great) . It was mild by the tedious Elmer Bernstein, who went on to win cinematic greats like THE Sparkling SEVEN (1960), TO Ruin A MOCKINGBIRD (1962), GHOST BUSTERS (1984), and MY LEFT FOOT (1989), to name but a few. Perhaps it is the efforts of the talented Mr. Bernstein that prevents ROBOT MONSTER from reaching the same level of achievement as Wood’s Thought 9 FROM OUTER Place?
ROBOT MONSTER may not be the best “dreadful” film ever made, but for aficionados of the poor and connoisseurs of the crass, it’s not to be missed.
While it’s not in the unusual 3-D–yes, ROBOT MONSTER was filmed in old-school 3-D–the DVD from Image Entertainment offers the highest-quality consumer copy of the film to date, and the sign that amazon charges for it is hard to beat.
I must agree with those who say this could be the BEST “worst movie ever made.” I have seen nearly every Ed Wood movie and although his “Notion 9 From Outer Plot” has a special spot in the heart of any fan of poor sci-fi movies, “Robot Monster” certainly gives it a speed for the money. (Ed Wood had nothing to do with “Robot Monster” but it’s similar to his type of movies.) This movie is so gloriously abominable and yet absorbing on many levels. I appreciate the stock footage of fighting lizards, interjected for no apparent reason. The tender moments like the impromptu wedding scene. The bubbles that float up around Ro-Man’s junky-looking equipment. The fact that the heroine manages to come by tied up in rope TWICE, once by her friends & family and later by the monster. The terminology (like the “calcinator death ray”) . The pointless scenes showing the Ro-Man schlepping up and those barren hills and plains. Dialogue that is so stilted, it would accomplish Ed Wood proud. I could go on and on. What could you possibly be doing in your life that is so significant you can’t employ the 62 minutes it takes to peruse this astounding paean to human incompetence?
clicknread phonics
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September 3rd, 2010
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To effect it bluntly, Uninteresting AND DEADER manages to barely rise above that prevailing cinematic sludge of tired, played-out, crude budgeted zombie flicks. A 2006 Sci-Fi Channel unusual movie (something this film shouldn’t really catch pride in), this one offers nothing recent but smooth isn’t all that awful as far as awe features go. It’s certainly gory enough as limbs and other body parts are torn aesthetic indiscriminately and frequently. Dean Cain, far removed from his LOIS & CLARK glory days and, it seems, also far removed from a 24 Hour Fitness gym, rises above his acting resume and provides a dazzlingly mediocre turn as the show’s undead hero. It’s a marvelous thing he brought funnyman Guy Torry with him, who provides wingman duties and those aged sidekick jokes. Incidentally, Star Scoot actors are in deeper financial straits than I conception if they’ve sunk to popping up in obscene budget servings such as this (John Billingsley and Armin Shimerman) .
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Not to form a lame zombie pun, but here reach the SPOILERS. When a Special Forces combat unit does a recon at a Cambodian station which has lost contact with headquarters, the soldiers shockingly encounter ravenous, flesh-eating creatures. They assume the ghouls only to be mercurial overwhelmed. The only survivor is Lieutenant Bobby Quinn (Dean Cain), whose body is recovered and is pronounced DOA. However, Quinn revives objective before he’s buzzsawed into for autopsy, to the medic’s casual disbelief. After Quinn uses a scalpel to slash a scorpion out of his forearm and after the forearm subsequently heals itself, Quinn and the medical officers launch to smell something humorous (and, no, it’s not the forearm) .
Suffice to say, Quinn very like a flash realizes he’s become allotment zombie and is now endowed with superstrength and a healing factor. And, as long as he chomps down on some raw, red meat every now and then, he’s copacetic. Of course, he does mild sport that pasty complexion and smooth has a tendency to spew green blood. The rest of the negligible place involves Quinn, a wisecracking military mess cook (Guy Torry), and a feisty bartender honey (Susan Ward) battling the undead as they strive to curtail the spreading zombie infection.
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There isn’t one unusual ticket here, not one. When the movie doesn’t have its military characters reduced to spouting trite phrases such as “Discontinue icy,” it indulges in uninspired B-movie cliches. The special effects and stunts are universally cheesy, the dialogue corny, the acting performances magnificent ho-hum (although Susan Ward is very, very nice to perceive at) . But, having said all that, Plain AND DEADER isn’t all unpleasant. Lower your expectations – or, realizing that it’s a Dean Cain feature, gain your normal level of expectations – and you’ll be glorious. Objective cease wintry. Viewers will either relish Torry’s one liners or be irked by them. To me, though, the film’s funniest line isn’t from Torry. It occurs when Quinn almost gobbles down his cute bartender friend and he apologizes by saying, “You know what they say, the fastest blueprint to a man’s heart is thru his stomach.” I give this one two and half rotting and infectious stars.
If you’re a Dean Cain fan or you like the Sci Fi Saturday night movies you’ll probably like this. What do zombies and scorpions have to do with one another acquire out for the first time here. The movie doesn’t seem to lift itself to serious and has a fun tone. If you only like Romero zombies or Fulci zombies or even today’s speedy enchanting living monotonous this movie will not be your thing. If you like to mix it up and not have high expectations Expressionless and Deader will probably surprise you in some spots.
Colon Cleanse
Harry Potter and the Half-Blood Prince Reviewed At Amazon.com.
September 3rd, 2010
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The following is a review of the movie, and I will be updating the review of the DVD (which I have pre-ordered) once I receive it:
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I loved the book. There are various elements and anecdote arcs running through the book that I could not succor but wonder how the director [David Yates] was going to pull it off. Well, the movie is definitely grand more subdued than its predecessors, both in the effects, the violence, the exercise of witchcraft, even the color palette is muted for most of the movie, conveying a sense of menace and possible doom in the confrontation between excellent and faulty.
As an ardent fan of the books, and also the movies, I found this particular installment a tad underwhelming. Firstly, I was stunned that the scriptwriters felt they had to include unnecessary scenes that were not even in the book [the waitress and Harry making a date at the beginning, the burning down of the Burrow, etc]. Instead, they left out bits that were actually in the books. Even crucial sage arcs, like the employ of the Pensieve is not given enough camouflage time, and seems almost rushed.
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One of the enduring appeal of the movie franchise lies in its sense of wonder, and being able to transport viewers into a magical realm, where the wrong forces under the tutelage of the dim lord Voldemort try to vanquish the forces of suited as portrayed by Harry Potter, the Chosen One and also the Order of the Phoenix. In this latest movie installment, I felt that the element of wonder was lacking. Mighty of what is portrayed is presented as it is, and if this was watched by someone original to the world of Harry Potter, the person would be bewildered and lost. At least in the other installments, especially in the first four, a lot of background information is provided [so that even my husband, who has not read any books in the series was able to follow the story]. For example, there is no hint whatsoever as to why Bellatrix Lestrange has such a venomous hatred of Harry, nor why Harry is hooked on going after her [and I'm not saying why here either, for the sake of HP virgins].
I guess section of the quandary is that HP & the Half-Blood Prince provides the catalyst for the events that are to transpire in the last book, Deathly Hallows, and the movie version is to be played out in two parts. So, understandably, a lot of ground work is laid out here, resulting in a dialogue heavy movie, and less than spectacular special effects [the Quidditch scene was completely underwhelming in my opinion]. The main characters, such as Harry [Daniel Radcliffe], Hermione [Emma Watson], and Ron [Rupert Grint] are also facing some serious hormone issues and relationship problems, hence the rather subdued tone. Gone are the days of easy bantering and camaraderie…the dynamics between the three have shifted to one of awkward uneasiness, as Ron and Hermione try to reach to terms with the changes in their friendship, and Harry deals with his strong attraction to Ginny Weasley. In this, I felt the actors did a sizable job – the three have reach a long map from their first year at Hogwarts, and have truly embraced these roles, portraying them with depth and insight.
Draco Malfoy’s role as portrayed by Tom Felton, finally gets more visibility. Draco is no longer merely glowering all the time, but deals with some precise problems that may cost him his very soul, and Felton did a credible job portraying his inner conflict. Michael Gambon is agreeable as Dumbledore, relying more heavily on Harry in this anecdote, as he tries desperately to narrate Potions Professor Slughorn’s [Jim Broadbent]one crucial memory concerning Tom Riddle [the Dim Lord] that may abet in their fight against the Shadowy Lord.
The others such as Severus Snape [Alan Rickman], Minerva McGonagall [Maggie Smith],& Hagrid [Robbie Coltrane] have less visibility this time around. It really does focus on a honest a few central characters, though Snape does play an considerable role here [just that he doesn't rep as noteworthy cover time as I would have liked]. With regards to Snape, I have to say I’m a immense fan of Alan Rickman’s acting – he brings tremendous depth to the portrayal of the Hogwarts teacher, eliciting reactions that vary from disgust to arouse and even sympathy through the course of the six installments. He impresses even in minor scenes. I do view forward to more of Snape in the last two installments as his role is pivotal to the series! As for the stern but kind-hearted Prof McGonagall, I have read some reports as to Dame Maggie Smith’s ill health and pray that she is well enough to complete the last two movies, as I simply cannot imagine any other actress in her role.
All in all, it is tranquil an though-provoking narrative, and I have pre-ordered the DVD. The reason I only gave it three stars is because it did not pause as faithful to the book as I would have liked, and lacked the huge expansive sense of wonder & magic I’ve near to associate with the series. This has been the darkest installment in the series thus far – so I can understand the depressing tone underlying the movie, yet, I aloof feel the director could have veteran better colors and lightened up some aspects of the movie where appropriate. Btw, I found the pick up completely underwhelming, and I really miss the astounding pick up that was in the earlier movies [except Section 5]. Here’s hoping Deathly Hallows Piece I and II will fare better [also directed by David Yates].
My main gripe with the previous Harry Potter movie “Order of the Phoenix” was that for some irregular reason they took the longest of the books and turned it into the shortest Harry Potter movie to date. The result was that I felt like I was watching the movie skim by on a speeding utter, as it rushed from one key event to another without really taking the time to see anything in detail.
Now we follow up with “Harry Potter and the Half Blood Prince” and….what a dissimilarity. There are plenty of cuts of course, no Harry Potter movie can be free of cuts without being waaaay too long. But the movie’s length was at least comparable to some of the others. The 3 lead characters were as place on as ever. Michael Gambon finally brings a bit more warmth to his portrayal of Albus Dumbledor than he brought to the last few movies. Tom Felton played Draco Malfoy with all the depth one would hope for in his most vital role in the series. Alan Rickman isn’t seen too distinguished as Severus Snape, but when he is he’s as improbable as ever.
I really deem this may be the best Harry Potter film yet, and I was really starting to believe after the last film that the sage had gotten to gigantic for them to manage in film. Safe work guys.
clicknread phonics
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September 3rd, 2010
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The Pleasurable Shepherd is a very very superb film that I would be reluctant to recommend to many because despite it having a fictionalized history of the genesis of the CIA as its setting, and its frigid study at steady spycraft, it is really a very still and cerebral character gawk of the sacrifices one man makes for the sake of his country, and the toll taken not only upon himself but also those around him by the life of duplicity, distrust, compromise and actual betrayal that this engenders. I don’t know how a 2-1/2 hour movie with so button-downed and taciturn a central character as Matt Damon’s Edward Wilson will play in multiplex land, but I give all due credit to Damon for embodying this tightly-wrapped, unruffled man and Robert DeNiro as director for having the courage to center his film on such a frigid and enigmatic protagonist.
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Using the 1961 Cuban Bay of Pigs pain as a framing diagram, we flashback to 1939 Yale and we witness Damon’s Edward Wilson as a young Eli soon to be inducted into Skull and Bones where he will join the American WASP elite. I’m joyful DeNiro spends a bit of time here as we observe Wilson as a gleaming and sensitive young man, seemingly with both heart and humor, with a potential to go in many directions in his life. A telling secret of his life is revealed in his Skull & Bones initiation, and soon, for several reasons, he is singled out for the World War II OSS clandestine service and sent to London, England. But not before impregnating the sister of one of his elite brethern and duly marrying her on the eve of his departure. This marriage will be costly to Edward immediately and eventually to his wife and son as the years progress.
Wartime London intrigue ensues and later postwar Berlin and the beginning of the Cool War. We view as Edward not only learns his craft, but we peruse how he begins to shelve his emotions, tighten his grip on himself and don an impenetrable cloak of unexcited stoicism. Edward Wilson is becoming “serious and humorless” and as he shuts-down only glimpses of the younger man appear. Through these scenes we also meet several key characters in the espionage game that will play essential parts throughout the fable, not the least being the man who will be Edward’s opposite number in the KGB, code named Ulysses. The KGB man tells Edward he is code-named “Mother” and that his propensity for silence is famous and respected. Both men realize their opposite will be formidable and that this will be a very serious and deadly game they are about to play.
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Edward returns home post-war to a marriage with a stranger, a son he doesn’t characterize well to and has runt time for, and to the deadly games of the Chilly War, dueling with the KGB in proxy wars around the world while coping with moles and betrayal and the internecine wars of bureaucracy. It all comes tubby circle in ways tragic and murky.
Matt Damon had an extraordinary challenge playing a man so closed that almost no one knows him. Apparently a composite of several early CIA founders, most notably the sparkling, mole-obsessed James Jesus Angleton, this character is a man that expects betrayal, can trust no one around him and ultimately cannot trust himself in the effect of his have emotions. Damon somehow conveys the man’s inner exertion without breaking his stern outer decide. And yet we explore flashes, glimpses of the man’s regrets, of his lost capacity to appreciate and give of himself.
There are coincidences and some doubtful scenes and situations that Edward particpates in or witnesses that seem a bit contrived but are valuable to broaden the scope of the film, and it is a truncated history by necessity. I can’t pronounce to whether some of the methods and tactics as shown, in particular one interrogation scene, are good for the period, and the assertion by a defector that the Soviet Union is bankrupt and hollow rings unfounded for 1961, but overall the mood and tone of the fragment seems accurate. The nonchalance of the privileged elite in assuming leadership roles and the WASP heritage of the OSS and its offspring is presented well and no doubt persists into our world if you believe of the Skull & Bones contest of the 2004 Presidential election.
At any rate, I applaud DeNiro and company for taking on such non-General audience material. This is John Le Carre territory, and has noteworthy more in well-liked with the Alec Guinness versions of his watch stories as seen in the TV productions of “Tinker, Tailor, Soldier, Study” and “Smiley’s People”, with an equally inscrutable central character, than Bourne or Bond or whatever. This is espionage carried out by a polyglot confusion of often damaged people: patriots, true-believers, careerists, liars, cheats, thieves, sadists and worse–the callous, greedy and dismal. As one of them says spies are ultimately “romantics” and romantics are ever doomed to disappointment and failure. The DeNiro character (based on Wild Bill Donovan, founder and yarn of OSS) says “in the kill we’re all clerks” or “bootmakers for the King” as another says.
Watching the idealism of Damon’s Edward Wilson harden into the ruthless pragmatism of the wintry and calculating ultimate bureaucrat was a chilling and worthwhile experience for me. It is a hard, often cruel world we live in, and the world these people inhabit is very hard indeed, and we cannot request the people we ask to live there not to be somehow affected. Edward’s final compromise with himself and his ideals is that he can beget no compromise with who he is and what he does. They are now one and the same. Ideals have been replaced by sheer, rigorous efficiency, and conscience by lies within lies and secrets within secrets
The cast supporting Damon (Injure, Turturro, Baldwin, Crudup, Jolie, Gambon et al) is beautiful. The production likewise. In an interview DeNiro said that he hopes to continue this yarn with at least one more film. I hope this one is successful enough that he gets the chance to do so, as I would like to inspect this tale taken forward all the draw up to our times. I remember when films like The Eye Who Came In From the Wintry or All the President’s Men could be hits. I hope this film can derive its audience as well, for it is a graceful peril.
Though not for all tastes, “The Capable Shepherd” (2006) is an engaging eye drama in the John le Carré tradition. Director Robert De Niro gets the most out of his well-cast ensemble, with Matt Damon remarkably effective as the emotionally icy CIA operative and co-founder. Running nearly three hours, the film’s slow glide works in its favor – chronicling the CIA’s evolution from 1939 to the Bay of Pigs fiasco in 1961. Hopefully, De Niro will continue to survey this spellbinding saga in his next directorial project.
HAI Flat Iron