Archive for March, 2010
Caligula, one of the most controversial movies ever made, is now available on DVD. This film was a genuine eye-opener for me, and the DVD is far advantageous to the VHS that was floating around a bit in the ’80s (for all you people complaining about the quality, unbiased shudder to contemplate of how it former to be) . The tale of Rome’s unfriendly emperor was probably not this wild in steady life, but this is Penthouse and as a result is chockablock with sexual scenes and graphic violence. Because Caligula is basically in every single scene, it’s hard for the other characters to effect, but there are some bright supporting players, and McDowell really delivers. It’s hard to enjoy his next film was to play the reserved, scholarly H.G. Wells (”Time After Time.”) He is quite a talented actor. The movie drags on and on, and sometimes the cinematography is unsafe, but other times it is monotonous on the money. The film is a bit grainy on DVD, but as someone else once said, this really contributes to the “gritty” factor. As far as realism, many of the sex scenes examine sincere, but I doubt the world has ever seen the likes of that purple-skinned four-eyed (or was it three-eyed? ) woman, plus the guy with all those extra digits and the siamese twins joined at the head resting at Tiberius’ palace. And how about the scene where Caligula “consecrates” that marriage…if that’s how it was, I’d never secure married.
The DVD has these things going for it: the creepy music added to the menu (the same as the opening title with the quote from Sign), the 30 chapters nicely divided up, the documentary about the making of featuring Gore Vidal and Bob Guccione (although in places everyone’s face looked device too pale, but it was an dilapidated ’70s film), and the sound is far gracious to the VHS from what I can remember.
But this is Caligula and I would definitely not let anyone under 18 (or maybe even 21) discover it.
I will concentrate on the movie’s historical accuracy (or its lack of it), since the previous reviews seem to either have overlooked it, or claimed that it is “historically suitable”, or on the opposite crude, that it totally ignored history.
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“Caligula” does have some merit from the historical point of belief, surely already demonstrate in Gore Vidal’s fresh script. It’s also very broken-down in many points.
The bare events of Caligula’s life and reign are actually quite legal. It may surprise many viewers that most of the secondary characters - Emperor Tiberius, Senator Nerva, the praetorian prefect Macro, Tiberius’s grandson and Caligula’s rival for the succession Gemellus, Caesonia, Chaerea (who murdered Caligula), his sister Drusilla - were all historical and, as far as the facts have reach down to us, their portrayal in “Caligula” was fairly legal, at least according to some used authors.
Tiberius did retire to the island of Capri in his last years and did invite the elderly Nerva to join him there, and outmoded authors do claim that he indulged in sexual perversions there. Nerva really committed suicide as shown in the movie.
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The conversations between Caligula, Nerva and Tiberius, probably by Vidal, really assume contemporary views and issues - for instance, the deification of Julius Caesar and Augustus, Tiberius’s predecessors: Tiberius was totally cynical about the whole thing, whereas Caligula firmly believed it. Throughout the movie, many of Caligula’s lines reach straight from extinct authors.
On the other hand, Nerva’s comment on Caligula’s “gift for logic” seems to owe more to Camus than to venerable sources - smooth, a nice touch, I opinion.
Tiberius’s cancel by Caligula and Macro, Caligula’s removal of Macro and Gemellus, his incestuous relationship with Drusilla, her death, his marriage to Caesonia, her giving him a daughter, his increasing tyranny, his farcical invasion of Germany and attempted invasion of Britain, and his kill by his maintain guard - are all historical facts, and on the whole not too inaccurately shown in the movie.
On the other hand, the movie’s biggest weaknesses from the historical point of concept are (1) the plan it *looks* and (2) the suggestion that Caligula’s and Tiberius’s depravity were somehow “normal”, piece of Rome’s “decadence”.
The sets and clothes all gape more like something from a Fellini film than from dilapidated Rome. Tiberius’s palace on Capri is perhaps the most unrealistic, along with that ship, and the execution machine - and countless details.
The clothes aren’t very realistic, either. Romans were more casual about nudity than we are today, and I boom that their clothes might jabber noteworthy some times. But I doubt that Roman ladies would be as casual about parading half-naked as portrayed in the movie (I mean in normal situations, not the sex scenes) .
Moreover, it’s simply not factual that “orgies” such as that portrayed in the movie were popular among the Roman upper classes. Actually adultery - also on the portion of males - was an offense punishable by death, at least for the upper classes (this didn’t hide prostitution) . The colossal majority of the Roman senatorial class would, and did, procure behavior such as that of Tiberius and Caligula atrocious.
However, Caligula’s in cognito wanderings through Rome after Drusilla’s death give perhaps for the first time in a movie a favorable impression of what old Rome actually was at night - risky, dim, chaotic, where no person of means would venture without an armed escort.
I also enjoyed the peruse of what an emperor’s routine largely consisted of, with Tiberius and Caligula stamping their seal onto endless piles of official documents.
“Caligula” was obviously intended to be mainly a pornographic movie - Bob Guccione made definite of that. But it also, at some point, was intended to have a core of historical accuracy, which is why Gore Vidal was asked to write the script.
This core is mild prove in the movie, and it’s not proper that you don’t learn anything of Roman history by watching it.
But of course, I know that that’s not what most people will gawk it for. So perhaps Guccione was moral.
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March 31st, 2010
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The L Word - The Complete Third Season Streaming.
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This demonstrate, including this season, is one that is groundbreaking and representative of many people who have not before been given representation. The focus is first and formost about women and the lives of women. There is treasure, loss, drama, and all that goes in between. It makes you laugh at times and yowl at others, but life is not a fairytale and this indicate doesn’t get it to be… that is what makes it so gigantic. There a femmes and butches, a ton who are somewhere in the middle. It makes you reconsider the labels you region on people and realize there are all shades of gray. Whether you are a halt at home parent, trying to become a parent, ecstatic in worship, breaking up, sleeping around, or transitioning… from bed to bed or from female to male, you can glance yourself in this point to.
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Some have been distinguished of Ilene Chaiken (not Irene as the misguided poster at top called her) claiming that the present isn’t realisitc or that the writing is unpleasant. We should remember that this expose is about a group of lesbians, not all the lesbians in the world. It could be people we know but it might not be. To claim a exhibit unrealistic because it isn’t a chronicle of your gain life is to also say that every representation of every woman is only trusty if that woman goes through what you go through, that every reprentation of whatever accelerate you are is only valid if that person goes through what you go through, and given the wide variety of diversity in programming any reasonable person knows that to be spurious. So, no The L Word doesn’t record every lesbian on the planet but it does give a noble anecdote for a assume group of us out there, it does venture to bring visibility to those of us who went unseen before, it gives us a bid, and it shows people that lesbians, gays, bisexuals and transgered people cherish and wound and face things in our life expedient and unpleasant objective like everyone else.
There is no other expose out there that has done for lesbians what The L Word has. Seasoned actresses like Jennifer Beals and Pam Grier bring the reveal up a few levels, Jennifer Beals and Laurel Holloman have chemistry that is palpable… even when their characters are fighting they have big chemistry. Rachel Shelley, Katherine Moening, Alexandra Hedison all have sex appeal through the roof in their representation of single lesbians on the explain. Leisha does comedy like no one’s business and she also had some fantastic dramatic scenes. Erin Daniels was wickedly comical as well and broke our hearts with the ample portion her character had in season 3. Daniella Sea is a original comer and she composed has tremendous strides to catch. I wouldn’t dare say she was the star as that would be a broad over-statment… she was far from it, but her character was like nothing we’ve ever seen before. Daniella took on her role like a champ and I was very mad to peep her added to the cast, she is bringing visibility to an entire other allotment of the audience that had yet to be shown and in time I contemplate she will be as comfortable as the other actresses. I certainly see foward to more from Max.
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Also, despite what the initial reviewer had to say, I don’t mediate there is any grounds for statements suggesting Ilene degraded, down played, or disrespected Danielle, the actress, or her character Moira/Max. If an actress is cast after promotions launch then you cannot request them to appear in all the promotional photos. Although Daniella wasn’t in all the season 3 promotional photos she was in some of them, she is in those for Season 4 and she also did a tall deal of in person promotions with Ilene to promote season 3. If Ilene wanted to down play and degrade Daniella she would not have made her the main guest star for most of the promotional events, she also would not have been so well-organized secretive and hyped about Daniella’s character on the exhibit. There would be no transgendered character, or any butch type characters, or any kind of character we are fortunate to have on the indicate if Ilene was as unfriendly as this reviewer has made her out to be. Max and The L Word at tremendous exists because of Ilene not in spite of her.
The one criticsim I have with the dvd itself and not the present… the dvd extras were lacking in any kind of special or additional footage that many fans like to glimpse. There are no bloopers, no special interviews, nothing truly racy to sight foward to.
This is a enormous display. I definitely recommend it as a rob!!!
Was I watching the same demonstrate as everyone who wrote reviews on here? I fair finished the 3rd season having loved the first two. I was so disapointed in this season I’m really not determined I can even give the present another chance with season 4. The prove completely runied all of the characters. They introduced unique people who were either completely shrill and unbearable (Moira/Max, Billie) or bland and pointless (Angus) . And then there’s Jenny. The writers continued in their quest to manufacture the most unlikeable, cringe-worthy, annoying character in the history of television. This is nothing against Mia Kirshner who is blooming and does well with what she’s given but after 3 seasons the writers composed can’t seem to figure out what to form of the character. It might invent more sense if she was treated as some sort of pariah by those around her but all of the other characters seem to treasure her so…..what are they seeing that I’m not? Her actions create no sense, her relationships accomplish no sense even for a crazy person. As for the sex, someone actually conception they reeled the sex in this season? I never minded it in the past but sweet Lord!!! By the slay of the season I felt like I was watching Cinemax After Dim! It was insanse! Grown adults do not inaugurate pulling off their clothes and fondling each other when mother is correct outside the door!!!!! Especially when mom said she would be moral encourage!!!!!!!
By the waste of things, you are left without a single character to like, a single believable storyline or any reason to want to expend time with these selfish, immature, unstable women ever again.
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March 30th, 2010
Herman Wouk wrote an absolute masterpiece. Winds of War is without a doubt the very best historical original in the war genre. Dan Curtis equally directs the benchmark that mini-series will be measured by for years to near.
Casting for Winds of War was perfect when it came to matching Wouk’s characters. Despite the age differences Ali McGraw and Jan-Michael Vincent were absolutely perfect as the independent and fickle Natali Jastrow and the bull-headed Byron Henry. Robert Mitchum is the glue that holds the memoir together in a flawless performance as Victor “Pug” Henry, the man that meets everyone that is anyone in his role as a Naval Attache stationed in Berlin in the pre-World War II years. One of the best ever ensemble casts include stand-outperformances by Polly Bergen as Pug Henry’s hard-drinking wife Rhoda, not to mention Topol, David Dukes, Victoria Tennant and John Houseman.
Winds of War has become a semi-annual event for our family. It is simply so intriguing that it never grows plain. The historical value alone makes it worth having in your home library.
I first read The Winds of War by Herman Wouk assist around 1972. The book unbiased absolutely grabbed me. When I heard that ABC was filming a mini-series I was a petite skeptical. Very few “made for TV” movies from books really prefer the apt feel of the new work. THIS ONE DOES! First of all it has a mammoth cast. Robert Mitchum was impartial awsome as Comander Pug Henry. Both Jan Michael Vincent and Ali McGraw were credable as older actors playing young adults. Polly Bergen, John Houseman, and Peter Graves round out an exceptional cast. The fictional tale of a family caught up within historical events continues to way my attention, even though I have inspect this many times since it originally came out. Some of the many highlights include the special effects of the bombing of London, the Japanesse attack on Pearl Harbor, and the fabulous re-creation of Roosevelt, Churchill, and Hitler by Ralph Bellamy and crew. In comparing this series to War and Remembrance, which was the sequal in both book and mini-series, I would have to give the nod to this as the better. If you’re looking for an good and riviting legend of the early years of WW II, then grab this up. Yes, the cost is high but it’s well worth it.
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March 28th, 2010
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Buy The Monkees - Head Online..
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When this film was made the career of the Monkees was already in decline as their present had been cancelled and their music was no longer charting (’Porpoise Song’ from the “Head” soundtrack got up to number 62 on Billboard) . The group was tired of their squeaky shipshape image as the ‘Pre-Fab Four’, and they fair wanted out. This film was conceived in an danger to advance out to more adult audiences, and to accelerate their departure from the scenes as the prototype MTV ‘boy band’.
The film itself is a quirky, stream of consciousness movie that treads the line between anti-war statement film to over the top comedy in scenes where, for instance, they have to frolic on the scalp of Victor Used (in a sequence known as ‘dandruff’) and are subsequently sucked into a giant vacuum cleaner by Victor Mature’s hairdresser. There is no space as such, but there is some redeeming social commentary such as when Frank Zappa tells Davy that he needs to work on his music more (but compliments his dancing, done with Toni Basil) . At the slay of the scene Frank Zappa’s cow offers her belief of the Monkees, in a scene that must be my current of the movie.
Some of the music is ample, with the Nesmith tune ‘Circle Sky’ getting top mention. It’s a immense song, filmed live in a scene designed to note how the boys had been devoured by their public image. Other musical numbers are a bit lacking, particularly ‘Daddy’s Song’ and ‘As We Go Along.’
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Highlights in the film are in the cameos. Not only do Toni Basil and Frank Zappa set in appearances, so do boxer Sonny Liston (who fights Davy), Terry Garr (who pleads to have poison sucked from her finger), Annette Funicello (who pleads tearfully with Davy in a cherish interest scene), and Jack Nicholson and Dennis Hopper in a cantina scene. Most outlandish of all credits are for writers and producers, namely longtime Monkees collaborator Bob Rafelson, and Jack Nicholson, who later collaborated on “Five Easy Pieces” and “The Postman Always Rings Twice”, among other projects.
There are also extras consisting of theatrical trailers, including one in Portuguese, and television ads for the film. The film was essentially not promoted, certainly didn’t connect with the typical Monkee demographic, and was a trouble at the box office. This didn’t anguish the band, as it gave them a sure path out, with Peter quitting very shortly after the movie was released. This is as unlike the Monkees TV explain as can be imagined, and I recommend it for anyone looking for a trippy sixties flashback stranger than most any other. I was fortunate enough to peer this in a theater, and have loved it ever since. I recommend the film to people who know about the Monkees or honest deem they do. I guarantee that it will smash your preconceived notions of the band.
Like all cult movies, “Head” contains new, unorthodox - even fine - moments interspersed with material that simply does not work. With “Head,” the Monkees - the most maligned pop rock group of the 1960s - created some of the very best and biting sequences that have ever appeared in a rock movie. It’s not as consistently smart as “A Hard Day’s Night,” “Almost Eminent,” or “This is Spinal Tap,” but it’s one of the very best rock films ever made.
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Virtually everyone knows that the Monkees were American TV’s attempt to harness some of the Beatles’ electricity. Unfortunately for the Monkees, their TV debut almost perfectly coincided with “serious” rock criticism, which brutally mocked them as prefabricated, defamed them as hoaxes, and ridiculed their imprint of Beach Boys-meet-British Invasion sound. Persecuted beyond thought, the Monkees were denied anything resembling hip location and their resentment of this treatment influenced the insights the band (along with Jack Nicholson) contributed to the screenplay.
In one memorable sequence, the Monkees are mobbed onstage after performing a song. They’re ripped to pieces by their adoring fans, revealing they aren’t human at all but merely robotic mannequins. In another, they change the lyrics to their TV theme song to admit they are nothing but soulless fakes. And, in sequences framing the beginning and extinguish of the film, we have simulated suicides. All of this is accompanied by some of the most accomplished psychedelic pop any mainstream rock band recorded in the hippie era. (It’s very fitting that “The Porpoise Song,” which plays over the credits here, was resurrected in the similarly disturbing film “Vanilla Sky.”) This is nightmarish, haunting material unlike that of any other rock film of the 1960s. To the Monkees, the last 1960s psychedelic revolution wasn’t the dawn of Aquarius; it was Armeggedon.
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Unfortunately, there are also a lot of injokes, and some hammy slapstick that would not have been out of area in the Monkees TV series. This ruined the travel of the film, and detracted from the Monkees’ message. The DVD version of the film suffers further in not being widescreen, and requires minor restoration beyond what was done for the VHS release a few years ago.
This isn’t a film for everyone. If you like to acquire that rock and roll can change the world (or if rock is now totally irrelevant to you), you won’t like this film. If, on the other hand, you savor rock with a passion and aren’t stunned to put a question to the foundations of many of your rock beliefs, you will derive many segments of this film rewarding.
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March 27th, 2010
Pay no mind to the countless comparisons to “Jaws”, “Alien”, and the rest of the monster classics that a quality film like this always draws. This one stands on its occupy as an unusual mix of harsh political commentary, family drama, sad comedy, and panic. The metaphor for the hysteria over the asian SARS epidemic is thick and the accusatory tone towards America’s interventionist ways and the alarmist media’s sensationalism is thicker. But don’t assume this is some heavy-handed self-serving political film that wallows in its acquire symbolism; this film is about the importance of family pulling together and taking care of each other when noone else will. Oh yes, and there’s a monster in there somewhere too.
I’m going to plunge a few minor spoilers now so if you want to go in completely frigid and experience the tubby thrill I received viewing this movie you might want to go explore the film now. Alright, on with the thunder review. Let me establish it this design, I got my money’s worth in the first 20 minutes of the film. The sudden appearance of the beast breaks the most entrenched of monster movie standards: the humdrum grunt. The almost complete lack of buildup panicked me as the monster came charging out of the background in its high-velocity and unsettlingly awkward gait with ferocious momentum sending humanity flying left and fair. What follows is one of the greatest rampage sequences ever seen by human eyes. I was absolutely thrilled by it and only the most jaded of film fans could feel otherwise. In fact, aside from a few gaping residence holes, my only steady complaint about this movie is that it climaxes so soon. That’s not to say the rest of the film isn’t gracious, but it never reaches that fever pitch again.
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As the trigger-happy government declares quarantine and almost immediately begins asserting it’s will on the victims -even as they unexcited mourn their lost family members- the media spreads word of a deadly and highly contagious virus that the creature is carrying (hence, “the host”) . But as the film progresses, we don’t explore the evidence of any abnormal sickness, unbiased the paranoia of the people in reaction to the media’s hysterics and government’s jumping to conclusions. As our protagonists, the Park family, search for their minute girl (Hyun-seo, taken to the monster’s den for later consumption) we reach to look that when the government is incompetent and overbearing and the general populace is collectively tremulous of the guy standing next to them the only things you can rely on are your possess family and what you can survey and do for yourself.
The ne’er-do-well Park family consists of Hyun-seo’s father, a slow-witted narcoleptic, her aunt who’s a professional archer with a tendency to freeze under pressure, a college-educated alcoholic of an uncle with a hot temper who can’t salvage a job, and a caring grandfather who holds them all together. The dysfunction of the family is amusing to observe, but the devotion they all fragment in the search for their puny girl is touching; and that’s the exact heart and soul of this film. The monster is menacing, the government is faulty, the Americans are comically over-the-top self-serving jerks, the populace at colossal are afraid for all the obnoxious reasons, and the precise disease is the paranoia spread by the media but the Park family’s struggle is the staunch narrative here and it’s a immense one.
Really, do not seek the dubbed version of this movie. If you’re watching that then you are not watching the same movie. I have a feeling that nearly all of the negative reviews are due to the snide dubbing this film received.
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If you’re not willing to search for the subtitled version, then I suggest you avoid the film, because it will be an unpleasant experience. I impartial watched a clip of it on YouTube and I was cringing!
The dubbing is an insult to the unique cast and crew of this film. Please. Please. Please. Do not see the dubbed version.
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March 26th, 2010
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Hulk Vs. Streaming.
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First, let me say that the Blu-Ray version of this is crisp and neat. Gave me some minor issues loading at first but after I got those cleared up, it was calm sailing.
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The features themselves are not very long. I’ll talk about them individually:
Hulk Vs. Wolverine - This was before his X-Men days as Wolverine was working for Department H. The Hulk invades Canada and Wolverine is sent to hunt him down to finish him or effect him down for agreeable. The fight between them is short but splendid violent. Wolvie even makes the Hulk bleed in this one!
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Not a lot of area to this adventure but we do score appearances from Wolverine’s rogue gallery in the forms of Sabretooth, Lady Deathstrike, Omega Red and (most intelligent of all) Deadpool. Also, these guys explored Wolverine’s time with the Weapon X project in a procedure that none of the fascinating series’ could go (not even the classic ’90’s series) nor has the movies gone yet. Ending is unresolved but hey, this feature gave us what it should and that’s a wreck mouth donnybrook!
The Hulk Vs. The Worthy Thor - In this one, Loki (the step-brother of Thor) brings The Hulk to Asgard, seperates him from Banner and takes control of him in order to wreak havoc in the Kingdom of Asgard. But his belief backfires and now Thor (as well as Loki and all of Asgard) faces the fat fury of a Banner-less, mindless Hulk! While not bloody as Hulk Vs. Wolverine, its no less violent as The Hulk does build a brutal beating at one point on Thor, nearly killing him! This one also has a bit more sage to it than the previous feature.
There are also several features to this release. The most consuming, to me, is the tedious the scenes of both features as well as a tribute to Jack Kirby as it relates to Thor. There is also footage of Hulk Vs. Wolverine at one of the huge Droll conventions.
Overall, I was blissful with this release. I would not, however, recommend this to slight children. This is definitely a feature that should only be viewed by teens and adults. It might be too intense for younger kids. Plus, there is brief language in Hulk Vs. Wolverine during their fight so if you are the kind of person that gets offended easily or is a Bible thumper, this isn’t for you.
Its a spacious release overall.
So far I have been very unimpressed by what Marvel has offered in the map of racy movies. There is such potential there, but they have dropped the ball over and over. DC really has it together and the Justice League Unlimited cartoon is argueably the best engaging superhero cartoon of all time. Marvel has opted to employ sub par animators with stories better qualified to exiguous children. This is the movie that is redeeming them
Out of the two, Hulk vs. wolverine is by far the best. The chronicle for Hulk vs. Thor is very valid, but the animation is mighty like some of there current releases. It looks like the X-men Evolution series mixed with Ultimate Avengers. The character designs are straight out of the droll and the legend is something that would appear in a amusing. This alone is better than anything Marvel has done, now on to the suitable stuff.
When I say the preview to Hulk vs. Wolverine, I figured that it was the best scene in the movie. Seeing wolverine dripping blood from his mouth and then forcing his arm into space, seeing the hulk and jumping out of the diagram at the last second was unbelievable. It really impartial got better and better. The animation is very current. It is very stylized and really made Wolverine out to be the animal he truly is. The dialogue was grand, they really pinned Wolverine and the hulk was awesome.
Marvel has finally outdone themselves with this animation. To often they tone everything down and alter their properties to be splendid for kids and the general public. They water their characters down so that anybody who knows nothing about any of the characters can follow along. This is one for the silly fans. This cartoon was straight out of the comics! They even had a scene where the Hulk’s reflection was flashed in Wolverine’s claws like the renowned McFarlene veil! The fight is brutal! Wolverine is a complete animal and the hulk is giant! Wolverine slices him and lets the blood cruise!!! The hulk is a monster and beats wolverine to a pulp, it unprejudiced goes encourage and forth.
This movie also has some huge appearances by Deadpool, Lady Deathstrike, Omega Red and Sabretooth. They are done properly! Sabretooth is a psycho like the comics, not the sniveling lackey they potray in the movies. Deadpool is hilarious as well! You even gain to peep Wolvie in his Weapon X gear. They took a limited leeway by adding all these characters to weapon x, but the fight were brutal.
This is a must have for marvel fans! Finally a cartoon for fans of the funny, finally they nailed wolverine as well. This is the best cartoon I have seen in a long long time!
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March 25th, 2010
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Buy The Buccaneers Online..
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My sister and I admire this mini-series which was shown in Masterpiece Theater many years ago. Anyone who enjoys turn-of-the-century films such as The Age of Innocence, House of Mirth, The Golden Bowl, A Room With A Notion and Howard’s Demolish or stories of the Astors and Vanderbilts will gather themselves enraptured with this story of 4 comely American women who procure themselves being courted by sons of the British nobility.
In the center of the memoir are Nan (Carla Gugino) and Virginia St. George (Alison Eliott), and their friends Conchita Closson (Mira Sorvino) and Lizzy Elmsworth (Rya Kihlstedt) - four young women living in turn-of-the-century America, when social set and wealth were the most indispensable considerations in a woman’s life (these were the days of the Astors and Vanderbilts, after all) . Early in the chronicle we derive Conchita married to Lord Marable and begins her original life with the English nobility. Spurned in Newport and Recent York social circles because they are considered “modern money,” Nan, Virginia and Lizzy recede to England to visit Conchita and hopefully try their luck there. With the abet of 2 enterprising older women, they soon become the toast of the town and are courted by many glorious, wealthy young men. Virginia and Lizzy vie for the attentions of Lord Seadown (Note Tandy) who is not quite what he seems. Nan is pursued by the humble but ambitious Guy Thwaite (Greg Wise from “Sense and Sensibility”) and the wealthy and reserved Julius, the Duke of Trevenick (James Frain) .
The mini-series offers blooming scenery and costumes, titanic acting from members of the cast (including veterans Cherie Lunghi, Jenny Agutter, Michael Kitchen and Rosemary Leach) and a thoroughly intriguing chronicle. I loved the improbable mansions, palaces and castles in Newport and England alike and the fabulous intertwining of the American and British sensibilities in the state. It has “one foot in America and another foot in England,” as Masterpiece Theater narrator Russell Baker aptly explains. I highly recommend this to anyone who enjoys favorable romance/drama!
This is a version of Edith Wharton’s last unfinished original as completed by the BBC screenwriter Maggie Wadey. It was filmed barely 2 years after the first complete version of the modern was published in 1993 (Completed by Marion Mainwaring) . It chronicles a very different time (1870s) when class distinctions were clearly marked and the nouveau riche found themselves curtly excluded from the “extinct money” aristocracy of 19th century America. The fable traces the lives of 4 girls from such families who finding themselves rejected in the land of their birth, depart to England to try their charms and modern found wealth on the titled aristocracy of the traditional country. How they fare and the breaking of their illusions create the meat of the account. One reviewer commented on the shallowness and blandness of the characters, of not being able to thunder the girls apart. Some viewers may even observe at these girls as twittering airheads. This is in share Wharton’s doing. Edith Wharton was no admirer of the American upper class. She belonged to it, she experienced it first hand and she despised it and made it evident in her books. Wharton constantly pointed out her society’s ignorance, provincialism and prissy narrow-mindedness. None of the girls here really ends up living happily ever after. One of the reviewers here stated that in the absence of Wharton’s hold ending, the BBC screenwriter has let one of the girls off at the demolish. But I tend to disagree. Even the heroine Annabelle’s running away with the man she loves (supposedly a joyful ending) is tinged with the public scandal of adultery, the loss of her titles and privileges, and exile to the other side of the world (Durban, South Africa) . This is definitely not what any of the girls would have wanted. Everybody unbiased ends up making compromises and settling for second best. But then such is life.
Buy,Download, Or Stream The Buccaneers! Click Here
Buy,Download, Or Stream The Buccaneers! Click Here
As usual with the BBC, this is a handsome production, with blooming costumes and sets, filmed at various locations in the English countryside as well as in Newport, Rhode Island which stands in for 19th century America.
The DVD transfer is a rather more questionable affair. According to IMDb, Buccaneers was shot on 16mm film. In America, most TV shows are shot on standard 35mm, 16mm film being frail usually for cheaper productions, especially sitcoms and series whose future is in doubt. The BBC alas is publicly funded and doesn’t have quite the deep pockets of competing American studios, so many of even its major productions are on 16mm. The critically acclaimed “Brideshead Revisited” immediately springs to mind. For a 16mm film, this actually looks graceful top-notch with strong, vibrant colours, rich blacks and impartial a itsy-bitsy amount of graininess which imparts a distinct softness to the record, great what you would interrogate from a 16mm print. It actually looks better than “Brideshead” does on DVD. What is disturbing is the rather queer (1.50:1) aspect ratio presented here. (Yes, I actually popped it into the PC to measure it.) Buccaneers is, I bear, supposed to be in 1.66:1 widescreen. The 1.50:1 aspect ratio means that it has either been cropped or it has had its mattes removed. Either method, it has been modified. Because of the unfamiliar ratio it has to be letterboxed into a 4:3 frame. It may matter only to a handful of cinephiles or videophiles but I do wish video companies would steal more care in transferring their shows onto discs. Sound is in 2.0 Stereo and dialogue is always sure and positive.
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March 23rd, 2010
The first time I heard of “Gangster No. 1″ was in the Globe And Mail. The one thing that intrigued me to regain it upon it’s DVD release, was the front quote.
“It’s not who you know. It’s who you extinguish.”
Thus, my bound to Future Shop was to be a huge day on taking chances on films! Let me exclaim you, THIS MOVIE IS Agreeable. It does for gangster films in the same plan Akira Kurosawa does for humanistic films, with a kick of style! For the first time, you don’t come by constant gore & language, unlike Scorsese’s mafia flicks.
Buy,Download, Or Stream Gangster No. 1! Click Here
The year: 1968.
It brings forth a man known by the name of Gangster, who is extremely arrogant in his contain design, to have a meeting with “The Butcher Of Mayfair,” Freddie Mays. Mays has unbiased won a case against the city, in a matter of him killing a cop. An extremely well known man with the mafia who has unbiased reached the top for whacking this hooked copper. But Mays is collected having problems it seems. The scrape? Lennie Taylor, another rival gang boss who plans to engage out Freddie and take his territory. But when Gangster hears of this (being as arrogant as he is), he pulls together a conception to choose both of them out, leaving the rest for himself at the top. With an ending that’ll originate you ogle the movie over and over again, “Gangster No. 1″ is quite effectively THE crime drama of 2001, no doubt about it!
The other reviewer on this page who called this film a “character sight” nailed it. The two lead gangsters Freddy Mays and (soon to be) gangster#1 could honest as easily have been corporate execs., or two proball players, or….gather the opinion. This is a chronicle about one mans driving, overwelming ambition to be #1, and what in the waste is he left with when confronted with the man who was #1 but had it all stolen. More or less in a nut shell.
Buy,Download, Or Stream Gangster No. 1! Click Here
This is why any comparison to Goodfellas,et al is humorous. The gangster life is window dressing, making the film more interesting, yes ( if you like violence thats mostly implied, but implied well) but distinguished to the main theme. Gangsters are old-fashioned here the same draw Ann Rice uses vampires, to comment about the human condition.
Paul McGuigan directs well, using intresting camara techniques, and broad lighting to prove the lead characters descent into ambitious maddness. He uses music to its fat effectiveness ( Reservoir Dogs ) with a rather satisfied “Because I Care For You” adding to the depraved menace of a abolish scene which is the location allotment of the film.
Needless ( I beget ) to say the acting is primo.
This DVD edition has an informative featurette, and intresting if a microscopic dry director commentary. I highly recommend for those who like serious character spy ( but dont drawl about the violence and language), as well as those who appreciate a fun itsy-bitsy gangster flick. Its enough of both.
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Vandread isn’t really all that unique, in fact, having made its Japanese broadcast debut arrangement relieve in 2000, one might go as far as to say it’s lovely darn former. But like most Gonzo titles, it’s survived the test of time over and over again. Funimation’s original box position release of the property represents the third time the DVDs have been released to the North American market; first through Pioneer, then repackaged and re-released from Geneon. Suffice it to say, tales with this kind of staying power rarely approach this area undeservingly.
Buy,Download, Or Stream Vandread: The Complete Series! Click Here
Funimation’s release consists of all 26 episodes, which were in fact two seasons (Vandread & Vandred The Second Stage), across four discs. Housed in an pretty cardboard slipcase, the four discs reach in a pair of artistic thin packs. Total runtime comes in at 600 minutes even and the note wears a very conservative 13 & Up rating. Conservative because the explain really is respectable to viewers of all ages set aside for a few sexual innuendos and extremely-light cussing. There is no nudity to express of and while death is presented on occasion, it is never graphic or overly violent.
The spot presents the usual dub & sub dialog options; An English dub, fresh Japanese audio track (with English subtitles is so desired) .
Buy,Download, Or Stream Vandread: The Complete Series! Click Here
Classifying the demonstrate isn’t reach as easy as typing out its hard stats however, as I’m swiftly discovering. Technically it’s a mecha entry on myth of its spend of robotics throughout. In fact the very term Vandread is derived from the view of the physically conjoining of a fighter robot called a Van-Type and a space-fighter craft known as a Fear. When combined, the two craft become a great giant robot that can range in appearance from a hulking, oversize-gun carrying humanoid to a metallic crab surrounded by orbiting weapon-spheres depending upon the combination of the ships interested.
However, and unlike most robot shows, Vandread is as noteworthy a space-opera as it is a science fiction/ action part. It’s region in the distant future in a Universe where mankind has expanded his approach of population to include multiple planets and set stations. However, and what makes Vandread unusual, the present literally opens with a propaganda film designed to frighten an all-male populous with the fact that all women are, in fact, monsters.
See it turns out that in the future, thanks to cloning techniques, male and female copulation (or even cohabitation for that matter) is no longer vital to continue the urge. As such both sexes are only vaguely aware of the other’s existence. Yes it’s a modern view and distinct it lends to Vandread’s individuality as a whole, but the same-sex reproduction ideals are a bit sketchy (if not homosexual promoting) .
The substantial gag, at least early on anyway, works off the understanding of three males becoming entangled with an all-female pirate ship before being transported, via a space-warp, to a distant galaxy to avoid annihilation. The core of the myth follows this ship’s (the Nirvana) voyage encourage home while paying special attention to the daily drama stirred up thanks to the differences between the sexes. No, not those differences, but rather the awkwardness and feelings of passion that only be achieved through the extinct “opposites attract” belief. It’s immature, it’s humorous, it’s sometimes annoying but Vandread makes distinct to counteract the goofiness with a steady-dose of CG rendered action sequences that detached fill up even after all these years.
The visuals are far more solid then they have any correct to be considering the show’s vintage. What’s that, you say there are shows far older (Gundam Flit or Macross for example) that peaceful search for nice so what’s the enormous deal? Well retain in mind that good around the time that Vandread was created, the world was making a collective recede away from standard hand-drawn cells and painted backgrounds to an all out computer generated imaging overload. That’s attractive and excellent, but many early efforts of the practice suffered from miniature hardware capabilities, stiff animation and dreadful texturing. Somehow Vandread ducks and weaves through this minefield of pitfalls by combining a beautifully vibrant color pallet in the standard animation with CG inspired exterior backgrounds and robot models. Obvious, the process has been refined in the nine years since but that isn’t to say Vandread suffers any as a result.
Pacing can best be described as all over the set as the early episodes were brutally formulaic and relied far too heavily upon the whole “men and women meeting for the first time will be silly” gimmick. Additionally most of the first season is structured more as a succession of stand-alone episodes than a single ongoing anecdote. This trend degenerates to grander anecdote arcs as the demonstrate progresses and by the middle of the Second Stage; Vandread feels more like a worn mecha anime entry.
In my notion the proceed away from the cuteness and attempts at slapstick to the slightly more psychologically enchanting plots of the Second Stage was a step in the apt direction. So remarkable so in fact that I almost feel like the series probably would have hit its sail in the third or fourth season had it lasted that long.
As a whole the indicate suffers a bit in terms of confliction scope, as the enemies our cast frequently engages throughout the entire series are never really known as anything other than “the enemy”. Worse collected, they appear out of nowhere, rep whipped, then live to attack another day. Their motives are never positive, nor is their presence ever fully justified. Other detractors along the plot include an over-the-top (and quite tainted) lead male character, and overly naive lead female character, and what can only be described as a robotic version of He-Man’s annoying court jester, Orko.
The soundtrack is especially well done with a reoccurring techno number that’s simply infectious. I had the pleasure of enjoying the situation though a 5.1 surround sound speaker dwelling and found that the rolling bass riff coupled with a high waste of synthesized horns flawlessly.
In conclusion Vandread is certainly not for everyone but manages to survive the test of time thanks to its unwavering (if at times, forceful) charm. While it rarely gets the credit it deserves, the prove certainly paved the device for many robot-based series that would follow (titles like Gravion and Godannar) . This latest DVD release from the masters of quality at Funimation assures that Vandread will continue to spread its charm with the presentation values it deserves.
This series was very reminiscent of series like Trigun, Burly Metal Scare, and Outlaw Star nothing to serious but curious, dramatic, and comic enough to be very addictive. The first thing you have to realize is not to rob most of this series seriously though if you’re looking for a hardcore dramatic series like Ghost In The Shell, Akira, or the like than this series won’t be for you, while it has region mechas battles and some drama for most of the series it’s mostly light-hearted for the first season. The begin of Vandread Second Stage does become a runt more dramatic and serious though especially with the story-arc of what the people of Earth have done to the human colonies in residence for their occupy agenda. The main space of the series is that after a century or so of the male/female genders being separate and living on different worlds they for whatever reason have started fighting one another for resources and personal agendas. The stories on both sides on what the other genders are like also accomplish the series very droll, as when you hear the yarn on the male home-world at how demonic the females are and how they will eat your organs and are unbiased horrific. Thus begins the awkward lag of three males trapped on a ship of a multitude of pleasing females after a battle between the genders goes chaotic and causes a fusion of the male and female site ships. The cast have a great array of comical situations that construct for a capable laugh throughout the note and the characters are hilarious as you study as they try to interact between the genders bumbling along sometimes. The right cute couple of the series for me were Hibiki Tokai a third grade citizen on his world who basically was unprejudiced a lowly factory worker when he got trapped aboard the ship because he boasted he could bring befriend a vanguard, and Dita Liebely a bubbly female pilot of the ship who wants to contact her first alien and since she’s never seen a male before she sees Hibiki as the first alien she’s contacted. The video is obvious and lively so no complaints and the audio was also apt the cast for both the Japanese/English were agreeable as well. Again though like the unusual releases from Funimation the location is four dvds build into two thinpack dvd cases and than into a paper sleeve, the extras aren’t mighty unbiased the standard textless intro/ending songs and some trailers but for the trace smooth not unpleasant. So if you like comical action drama sci-fi animes here’s a wonderful one to stare at for you anime collection…
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March 22nd, 2010
“Initial D: Extra Stage” serves as both a bridge between Stages, as well as a much-welcome elaboration on two minor, yet distinguished appreciated characters of Initial D - Mako (Maya) & Sayuki (Simone) . The Two-Episode OAV doubles as an addition to the events of Second Stage, as well as an Epilogue on the two characters as per their relationships with other Initial D characters.
Buy,Download, Or Stream Initial D - Battle 14 - Extra Stage! Click Here
The First episode chronicles the vivacious female pair as they defend their home turf of Usui against the “Lan-Evo” invasion of Gunma Prefecture brought on by the cross Team Emperor (this episode takes position between the Emperor’s conquest of Myogi and their arrival in Akina in Second Stage) . The second episode takes plot after Second Stage, and splits focus between the racing aspect of the series and the tremulous emotions of the two young women (especially Mako) .
Brought to life with the mighty more shimmering animation featured in Second Stage, fans of the series will be pleased this update on two of the more fascinating minor characters of Initial D. Plenty more ample Eurobeat music (some performed by the voices of Mako & Sayuki - Michiko Neya and Yumi Kakazu) and racing sequences await fans of the duo and their sleek Nissan.
Buy,Download, Or Stream Initial D - Battle 14 - Extra Stage! Click Here
However, this is no where come the best that Initial D has to offer. Compared to the main storyline and characters, this OAV is simply a side-story meant to satisfy fans who disliked the duo’s exiguous role in First Stage. In the world of Anime, these types of series are chiefly meant as “Fan Service” - a creator/director’s plan of thanking valid fans by elaborating upon and providing additional speak to the new tale.
To summarize - If you’re a fan of Initial D as a whole, this is a friendly addition to your collection. If not, you might want to reflect the rest of the series first.
I was a runt cynical about “Initial D: Extra Stage” at first, suspecting that this was an attempt by the makers of Initial D to gain more girls to view it. But when I took a perceive, I was pleasantly surprised.
“Extra Stage” is most certainly the most girl-orientated of the series, following the side account of Mako and Saiyuki (know as Maya and Simone in the English dub), a road racing duo who call themselves “Impact Blue”, after their shining blue Nissan Sileighty. The movie (actually, it’s a collection of short stories) focuses on their relationships with the other racers, their future ambitions and their battle against the sexist attitudes of their opponents. A word of warning, though; this isn’t one to consume if you’re into road racing duels because there’s only one battle on the entire DVD, and doesn’t last all that long. That was a dinky bit of a let down, so too was the inclusion of the “fan service” bath scene (which showed Maya wearing very tiny), presumably keep in there to preserve the boys in the audience amused.
“Initial D: Extra Stage” is certainly worth a discover if you’re a fan, but the lack of racing in comparison to the rest of the series might leave some watchers yawning.
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