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I first saw Swamp Thing on HBO waaay back in the early eighties. As a young teen male with my nose constantly buried in comic books, I was certainly part of the target demographic for this low-budget Wes Craven adventure. Admittedly, I didn’t think too much of Wes’s efforts; It seemed pretty bland, not colorfully action-packed like the comic book, and silly all at the same time. However, it did have the not-inconsiderable presence of Ms. Barbeau(Mrs. Carpenter), whom I had seen the year before in Escape From New York and The Fog, when she had her image(and figure)indelibly burned into my long-term memory. In regards to this new DVD, I have to say that the 30 seconds of restored bathing sequence is a pleasant surprise, especially since it is mentioned nowhere on the case. It should also be noted that more nudity was re-inserted into the party sequence at Arcane’s mansion, and the DVD should have been re-rated from PG to UNRATED(at least PG-13, possibly R) to account for these changes. Additionally, the new widescreen (albeit non-anamorphic) transfer is the best this film’s ever looked, and I must say I have a new appreciation for it. What I remembered as being a bland film of murky and monochrome green and brown, now seems to be much more vibrant thanks to DVD. One last quibble…as a general rule, MGM needs to use the original press art for its movie releases. Although I can live with the cover for SW, I prefer the painting of Swampy carrying Cable in her white nightgown. At the very least, they could include the art in the “Collector’s Booklet”.
This DVD is sorely lacking in special features. All you get is the movie trailer, (which is unintentionally funny as the voice-over narrator intones “Adrienne Barbeau….an outrageous pair!” Well, she does look great in a tight sweater!) a language selection, a scene index, and a leaflet with some background material.
The movie, though, is great and in widescreen format. Wes Craven departs from his usual gore to make a comic book hero into a comic book movie, with lots of action and derring-do. There’s even a poignant love story. It’s a fast moving romp in the swamp.
Adrienne’s nude bathing scene has been restored in this DVD version. For some reason it was edited out of the U.S. theatrical release, although not the European version. But now the complete movie is available, and I recommend this DVD to all Adrienne Barbeau fans, all Wes Craven fans, and all comic book fans.
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Download Annie Hall
I have a confession to perform.
Until now, I’ve never seen a Woody Allen movie.
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Boy, I determined was a “miss out”.
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Annie Hall, made in 1977, is a classic. Why, oh why, did I wait so long?
First of all it’s a record, and a very humorous myth at that, about a Recent York Jewish comedian, played by Woody Allen and his WASP girlfriend, played by Diane Keaton. It pokes fun at many social mores that we acquire for granted and I found myself laughing throughout. There’s the Modern Yorker who never learns to drive, the mid-westerner who orders a pastrami sandwich on white bread with mayonnaise (which seems almost grotesque to a Novel Yorker like me), the pretentious movie critic, the neuroses of original romances, and the differences between the Recent York and Los Angeles diagram of life.
The film runs along at such a mercurial shuffle that there is almost no time at all between comic moments. And, to accomplish it even better, there are some astounding film techniques. For example, while Diane Keaton and Woody Allen are talking about photography, there are subtitles on the mask about the physical relationship that they are really thinking about.
If the film were made today the phone calls would have been made on cell phones. But surprisingly, that is the only detail that might be changed. Annie Hall has really truly stood the test of time. And I loved it.
`Annie Hall’, directed by Woody Allen and written by Allen and Marshall Brickman is eminently rewatchable, which is the one quality that makes it an sterling DVD buy. I have seen this movie at least a half dozen times, and I am level-headed discovering intriguing things in the film. What makes this so queer to me is that the first time I saw it, after having seen `Manhattan’, I really did not contemplate it was as satisfactory as the later film.
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My initially extreme conception of the movie was primarily due to the numerous cinematic gimmicks harking relieve to his earlier, plainly less thoughtful movies. These include flashbacks to dopey teachers and classmates, almost as a parody of Jean Shepherd; subtitles showing what the characters are really thinking of one another during a conversation; a cartoon segment where Allen and the Tony Roberts character appear with the gross witch from Snow White; speeches to the audience; and the most eminent, a surprise appearance by Marshall McCluhan in a movie theatre lobby to refute a college instructor pontificating about McCluhan’s ideas.
The single most distinguished scene from the movie is the encounter between Allen’s character, Alvy Singer and Annie Hall, played brilliantly by Diane Keaton, after their tennis match with Annie dressed in her classic layered survey with vest, men’s tie, and balloonish trousers. The tremendous sound bite from this encounter is the Annie Hall exclamation `La Di Dah, La Di Dah, Dah Dah…’ and Singer’s reaction wondering how he could be eager in anyone making such funny exclamations. From this one scene came a whole slack 1970’s fashion trend, the `Annie Hall’ gape of layered, mannish clothes. This scene also sets the stage for my latest insight into the movie, which is the progression of Annie, with a lot of support from Alvy, from an unserious girl with a decent singing exclaim to a serious woman with a few suitable ideas and a connection to a serious Hollywood music personality, played convincingly by Paul Simon with an inspect to having her performances commercially recorded.
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While so considerable can be said of the loves, frustrations, and disappointments of Alvy Singer, the movie is, after all, named `Annie Hall’, not `Alvy Singer’. Not to say that this incarnation of the Woody Allen fictional persona is not central to the record. In the epic of Alvy Singer that frames our encounter with Annie, there are encounters with two early marriages to characters played by Carol Kane and Janet Margolin, plus less than intelligent romantic encounters with Shelley Duvall. The Allen talent for pulling in major actors and future major actors for brief appearances is in fleshy bloom. There are advantageous dinky parts for Colleen Dewhurst and Christopher Walken. There are even smaller parts for surprise appearances by Jeff Goldblum, Sigourney Weaver, and Beverly De’Angelis. Unbiased as Allen is playing his usual, highly autobiographical character, male costar Tony Roberts plays the typically untroubled successful male who is constantly on the create for something or other, whether it be a business deal of a romantic laision. (It fair occurred to me that it is logical that Roberts did not play the male costar in `Manhattan’, as the Michael Murphy character simply did not fit the typical Tony Roberts character as it appears in `Play It Again, Sam’, `A Midsummer’s Night Sex Comedy’, and `Annie Hall’.
While I have not reviewed all of Allen’s later movies, I will venture the conception that not only is `Annie Hall’ better than all the films which precede it, it is as first-rate or better than his best later movies (such as `Hannah and Her Sisters’, `Crimes and Misdemeanors’, and `Husbands and Wives’), if only because it is so effective a mix of both character inspect and humor. Some of Allen’s jokes from this movie are some of his best known. In fact, I earn the same sense watching this movie as I do when I scrutinize `Hamlet’. So many lines sound like clichés because they have been so widely quoted.
There are a lot of things which could be said about this movie which are really about themes which speed through almost all of Allen’s films such as doting on sexuality, phony intellectuality, treasure of Manhattan, and death. One clever riff on death is when Annie is intriguing into Alvy’s apartment, Alvy discovers a book of Sylvia Plath’s poems, which contradicts Hall’s later statement when she is intelligent out that all the books about death were given to her by Singer. (Plath was a famously depressive poet who committed suicide in mid-career) .
Allen’s movie DVDs are uniformly free of esteem extras such as commentary tracks and `Making of’ documentaries, and this is no exception. At the risk of repeating myself, I will say that the singular attraction of Allen’s body of work in general and `Annie Hall’ in particular is its rewatchability. As unrealistic as the many cinematic gimmicks are, the characters are intensely loyal. They are people with which we can sincerely associate. Try that with your usual Ben Stiller character.
Highly recommended classic among both Allen movies and all movies in general.
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Buy Case Closed : Cracking the Perfect Alibi s. 2 v.2
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Inspector Conan, the ace detective trapped within the body of a first-grader, solves more difficult cases. Constrained by the necessity of maintaining the illusion that he is nothing more than an unusually sparkling child, he usually explains his solution to the case by tranquilizing his guardian, Detective Mori, and simulating his jabber. Why doesn’t anyone believe it unusual that they are being addressed by a slumped figure with eyes closed and lips unmoving? If logical lapses like this bother you, then avoid this series.
It was a very worthy movie. I earn all of the case closed episodes and they are all very generous. Bill
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Lowest Price on Transformers: Revenge of the Fallen
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This is a tough movie to review, mostly because there is NO proper respond. Some say it’s a poor movie, (my sister) others say it’s the best movie they every saw (My friend) And others say it’s a O.k. film (me) I was mostly fascinated on the gigantic amount of detail the animators dilapidated on these Autobots and Decepticons. I really like the art and the blooming colors added to the CGI and special effects. Transformers 2 is one of the most visually engrossing movies of this year. Even though the place wasn’t as pleasurable. in another tag, it sometimes felt like there were alot of running around relieve and forth throughout the whole film. In the raze, I can’t say it’s the best movie ever but I won’t say it’s the worst movie ever but If your collected racy about watching it for the first time, I say rent it first before you engage.
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Turn off your reasoning mind and objective delight in some typical Michael Bay blowing up all the scenery. The CGI and sound mix in Transformers: Revenge Of The Fallen are equally extraordinary. Truly a fantasy escapist film to invent you forget that your job and health care are graceful great trashed as a bunch of sizable robots trash the planet. I knocked off a star for the film having too many extraneous characters, like the cyborg babe and the nitwit roomie, but I got a kick out of the tiny “turncoat” Decepticon robot with the guy from Spongebob doing a spot-on Steve Buscemi impression for its sigh. Two and a half hours of unrelenting action with a proper message about family thrown in. Loved it. Objective don’t ask me to elaborate it. Should have won an Oscar for sound and the intricate CGI is a treat.
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Watch Ship of Fools Online
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A aesthetic, mighty examination of how racism and xenophopia, if unchecked, can overtake society, Ship of Fools is area aboard a German liner sailing from Mexico to Bemerhaven unbiased after the Nazis have taken over. Among the passengers are Vivien Leigh as an embittered divorcee, Lee Marvin as a down-on-his-luck baseball player, George Segal and Elizabeth Ashley as an artist and his lover, Jose Ferrer as a vociferous anti-Semite, Simone Signoret as a Contessa having an affair with ship’s doctor Oskar Werner, and Michael Dunn as Greek Chorus. With few exceptions, the entire cast is terrific. Leigh, in her last film, seemingly assimilated all the heartache of her life into this role, and her Charleston come the kill is a highlight. The standouts, in my thought, are Signoret and Werner; they inject their admire affair, obviously doomed from the begin, with an emotionalism that is genuinely heartbreaking. Ship of Fools is undeniably Stanley Kramer’s finest hour as a director, though, ironically, he was passed over for an Oscar nomination, despite a Best Recount nomination. Ship of Fools is required viewing, particularly for those wanting to catch some reason for World War II and the Holocaust.
The setting of this myth is a ship en route from Mexico to Germany in 1933, carrying a disparate group of people, many of whom are melancholy or unfulfilled, living in a time of vast political uncertainty. Oskar Werner is the ship’s doctor who considers his life a failure and expressionless, until he meets drug-addicted Simone Signoret, on her plot to political imprisonment. They are the standout performers in this film, delivering heartfelt and touching performances, sometimes objective needing a shining gaze to communicate so grand. Vivien Leigh is terrific as a southern divorcee, bitter about life, men, and marriage, who has some unusual encounters aboard, especially with Lee Marvin, an aging ex-athlete who never achieved the glory he wanted. Jose Ferrer pulls out all the stops as an anti-Semitic Nazi sympathizer, who stirs up inconvenience and alienates almost everyone with his crassness and attitude. George Segal and Elizabeth Ashley star as lovers at odds with each other, but their portion of the legend is the least bright. Michael Dunn as a philosophic dwarf and Heinz Ruhmann as a tolerant, righteous Jew also contribute grand performances, and if you spy carefully, you will also peruse Kaaren Verne, an actress from Warner Brothers’ heyday (All Through The Night, Kings Row) in the role of an worried girl’s mother. The film is fairly long, but it moves along well, since most of the characters are so interestingly drawn and acted, and there is also a obedient amount of action on board as people go through various crises. Credit goes to director Stanley Kramer for balancing the storyline and ensemble cast so well, and for creating an effective atmosphere that reflects the mood and the valid sense of the world at that time in history objective before so noteworthy would change. It’s a classy film.
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Download The Darjeeling Limited
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Wes Anderson is at his best when he explores a cramped group of people — sometimes family, sometimes not — and explores what makes them tick.
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And after the cluttered “The Life Aquatic of Steve Zissou,” Anderson returns to those roots with “The Darjeeling Tiny.” Technically it’s an Indian road straggle movie, and it’s beefy of his quirky charm… but at heart it’s unbiased about three unhapppy brothers with a lot of baggage. Both literally and psychologically.
The forlorn Peter (Adrien Brody) and his luggage barely originate it to an Indian mumble in time to join his brothers, woman-chasing writer Jack (Jason Schwartzman) and bandaged control freak Francis (Owen Wilson) . They haven’t spoken for a year, and now they’re planning to awkwardly bond as they proceed to their estranged mother’s convent.
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But after disasters captivating a snake, painkillers and pepper spray, the three brothers net themselves (and their monogrammed suitcases) thrown off the suppose. As they slither serve to civilization, the three men location out on a quest to look the spiritual, deal with life, death, feathers, man-eating tigers, funerals and their acquire painful memories… and possibly net their mom.
Nobody in their lawful mind would query Wes Anderson to lunge up an ordinary good-ol’-boys road flow movie. At least, not the method most directors would. Instead, Anderson crafts this as the baby brother to “The Royal Tenenbaums,” exploring a fractured, mildly dysfunctional family with an absent parent.
And the cinematic flavour of “Darjeeling Petite” is noteworthy the same as in “Royal Tenenbaums” — bittersweetly laughable and arch, with a tinge of poetic heart-broken underlying the dwelling. It would be an endearing movie in any setting, but somehow putting it in the mellow glow of India’s dusty roads, radiant fields and cluttered shrines makes it even better. The shiny, visual richness gives it a sense of whimsy.
For the narrate, Roman Coppola and Schwartzman helped Anderson out with the script, but there isn’t distinguished change. As always, lots of wry, amusingly contemplative dialogue (”I wonder if the three of us would’ve been friends in dependable life. Not as brothers, but as people”), though there is some hilarious comedic scenes of sibling infighting. It even gets slapsticky.
Fortunately, Anderson never puts artificial twists into the chronicle, for any extra drama, comedy or thrills; the closest thing would be a brief detour into a child’s funeral. The account simply flows by, because it’s all about the brothers — and focusing on anything but their self-imposed stagger would unbiased be extra baggage.
And the three men playing Jack, Francis and Peter are nothing short of radiant. Brody is vaguely lost and forlorn, while Schwartzman is a quirky rake who is quiet insecure by his last girlfriend (played by Natalie Portman in the short intro, “Hotel Chevalier”) . But there’s something almost painfully wounded about Wilson’s reckless control freak, which has nothing to do with his bandages.
“The Darjeeling Puny” is a visually fantastic, contemplative shrimp comedy, all about three men who have to deal with the past before they can fade on. Place it on the shelf next to “Royal Tenenbaums.”
Synopsis: An ornate and psychedelically colored boom known as the Darjeeling Slight transports three estranged brothers; Francis (Owen Wilson), Peter (Adrien Brody) and Jack (Jason Schwartzman) to destinations unknown (actually Francis is attempting to arrange a rendezvous with their constantly disappearing Mother (Anjelica Huston) now living as a nun in Tibet) . It has only been a year since their Father’s tragic death and each brother carries their believe personal heartache over his passing and their Mother’s disturbing absence from the funeral.
As one comes to ask when traveling with others, stop proximity, annoying behaviors and customary wounds eventually surface which must be dealt with as they arise. Add to the mix unforeseen events both aboard the dispute and at intermittent stopovers along the design and you have the makings of a transformational experience unlike anything the brothers could have anticipated.
Critique: The ‘07 film `The Darjeeling Limited’ begins painfully tiresome and incomprehensibly irregular but if you have the fortitude to survive the first 40 minutes you will eventually fetch yourself on a delightfully oddball, unpredictable scramble across the Indian subcontinent on a spiritual breeze in search of physical, emotional and relational healing. Serving as a metaphor for life’s hotfoot, one might say that we are all aboard the Darjeeling Microscopic headed in the same direction to parts unknown. In the final analysis one learns that it’s not where you’re headed but how considerable baggage you breeze along with you.
There’s a lot of food for understanding hidden away in this film for those who are willing to set in the disaster and peer until the very raze. Give it a try if you’re in the mood for something obtuse.
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Land of the Pharaohs Streaming
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Well, I concept it would never near out on DVD. Perhaps it’s my passion for all things passe Egyptian, but I have always loved this wonderfully delightful memoir. Howard Hawks was a director who steadfastly refused to be pigeon-holed, making everything from Bogey’s “The Broad Sleep” to sci-fi classic “The Thing” (although he credited editor Christian Nyby instead of himself) to stock car racing “Red Line 7000.” Here he takes a shot at “historical” account and does a damned provocative job of it. Pharaoh Jack Hawkins plays straightman to Joan Collins’ campy concubine while James Robertson Justice does a terrific job of keeping a straight face as a tomb architect. Amidst all the stone monuments, the only thing wooden is Dewey Martin as Justice’s son. All this may not sound like a **** movie, but it’s a guilty pleasure I’ve watched so many times on VHS that it’s embarrassing. That’s gotta be worth extra credit.
The only thing that mars this splendid presentation is Bogdavoch’s commentary. Not only does he have nothing distinct to say about the film, he actually has NOTHING to say at all. His presence on the track can only be explained by his having an conventional taped interview with Hawks in which he leads the director to discuss DeMille and dump on his movie. A total extinguish of time when there is so distinguished to examine on veil. But net it anyway! It’s a enormous ‘Land’.”
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Idiocracy Review At Amazon.
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Idiocracy Review At Amazon..
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If you hated this movie you either didn’t procure it or were one of the people that the opening narration talks about. This film is a scathing satire about the culture that is breeding things like Paris Hilton, Jerry Springer, and Girls Gone Wild and taking a glimpse at where the United States could be if that culture continues to grow unchecked. The Result is a movie that while not as comical as Office Dwelling, offers a amusing although somewhat ugly scrutinize at our society and pop culture. I assume this movie is one of those films that will eventually become a cult common and generate an even larger following that Office Set has. If you are shocked by your minute niece’s obsession with being like Paris Hilton or are dismayed by what passes for entertainment these days then you need to inspect this movie.
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As he demonstrated with the theatrically ignored OFFICE Status (1999), Mike Contemplate has a talent for capturing the satiric Zeitgeist while it is smooth percolating in the well-liked culture. Indeed, the 2006 audience may not know it, but IDIOCRACY is a brilliantly trenchant satire that is perfect for the era in which we all live. FOX’s unceremonious dumping of IDIOCRACY demonstrates a tragic ignorance of their enjoy history with Mr. Deem. Would it have killed FOX–the studio that saturated marketed DATE MOVIE–to treat IDIOCRACY with a microscopic more respect? One hopes that Mr. Consider makes his next film with a studio that recognizes his talents.
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Lowest Price on Singin’ in the Rain at Amazon.
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Lowest Price on Singin’ in the Rain at Amazon..
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“Singin’ In the Rain” has finally gotten the “special” treatment this masterpiece deserves. The recent digital transfer is stunning– both visual and audio. I’ve seen this film I don’t know how many times in theatres, including several screenings in the modern 3-strip Technicolor. This transfer, as with “The Wizard of OZ,” is as discontinuance as you can gather to seeing a 3-strip print in a theatre.
Many reviewers have complained about the commentary track and it is the low-point of this edition. So skip it, if you don’t like it.
Instead, throw on the second disc, which is a goldmine. First, there is the capable PBS documentary on the Arthur Freed Unit, “Musicals Stunning Musicals.” This is an often revealing 90-minute film about the musical films Freed produced. Plenty of ample excerpts, too. It tends to puffery, but not excessively.
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Then there is a recent documentary, “What A Pleasing Feeling,” on the making of “Singin’ In the Rain.” Watching both these documentaries, you don’t need the commentary track. Most of it was lifted from these documentaries.
In addition, this supplementary disc includes the songs frail in “Singin’ In the Rain,” as they first appeared in their current written for films and later films that faded the songs again. Some of these are unintenionally laughable today. But it is really a rupture course in the history of movie musicals. My popular is Eleanor Powell in the number that introduced “You Are My Lucky Star.” A beautfully done, very ’30’s black-and-white number that builds into an all stops-out dream-dance sequence. (Were Americans ever this innocent? ) Others include Bing Crosby incredible introducing “Pretty Girls,” Judy Garland and Mickey Rooney introducing “Righteous Morning,” Cliff Edwards (aka Ukele Ike, Jiminy Crickett) introducing “Singin’ In the Rain” with what appears to be every star then under-contract to M-G-M in 1929, “Broadway Melody” in a broad number led by the irreplaceable Eleanor Powell and abet from some of the best talent of the time including “eccentric dancer” Buddy Ebsen and the immense singer Frances Langford–the best number by far in this retrospective. And there is another whole portion of audio excerpts from the recording sessions.
In short, this is an astonishing collection that any musical or film buff should worship.
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It is upright, as one reviewer distinguished, that the “Broadway Melody” number in “Singin’ In the Rain” is a flaw in the gallop of the film. Pauline Kael pointed this out too. She considers the film a expansive one. For myself, I don’t mind, the number is too damned well-conceived and though-provoking. Again, thanks to being on DVD, you can jump to the next scene if you don’t care to peek it. I’ve tried it and the film definitely runs smoother narratively. But I missed it, and played after the film.
If you adore SITR, as I do, this is a must acquire. If you’re enthusiastic and have never seen it, rent it and resolve for yourself.
Let’s hope that Warner Brothers does a 50th anniversary edition of “Bandwagon” next year with a digital and audio refining that equals or surpasses this. And a better commentary track. Bet Scorssee would join in the commentary.
ONE LAST THING
“Singin’ In the Rain” was not shot in widescreen, but in the only format primitive for studio pictures before the waste of 1953. It was designed to be shown in 1.37:1, Which objective about the ratio of most tv screens. YOU ARE NOT MISSING ANYTHING. I wish you young film buffs would educate yourselves about the history of film aspect ratios.
Also Michael Kidd had nothing whatsoever to do with the choregraphy in “Singin’ In the Rain.” He comments on it, but never claims he did any of it, for the simple reason he did none. He was probably in Current York over-seeing his legendary choregraphy for the new stage production of “Guys and Dolls.” Which is probably why he got the “Bandwagon” assignment a year after “Singin’ In the Rain.” He did all the choregraphy in “Bandwagon” and the following year, 1954, for “7 Brides For 7 Brothers.”
Kelly and Donen worked in partnership on the choregraphy and direction “SITR.” And it is really impossible now to choose who was responsible for what.
SINGIN’ IN THE RAIN’s tale is well known, and concerns 1920s calm romantic acting team Don Lockwood (Gene Kelly) and Lina Lamont (Jean Hagen.) Anguish is that sound is coming in–and Lina’s speaking allege could peel paint off the wall. The solution? Don’s best friend (Donald O’Connor) and fancy interest (Debbie Reynolds) have the inspiration of revamping Lockwood and Lamont’s debut sound film as a musical, with Reynolds dubbing Hagen’s vocals. The resulting anecdote is a high-energy, extremely witty, and truly resplendent film laced with period songs by Arthur Freed, a film that many regard as the single finest musical to emerge from Hollywood.
In many respects SINGIN’ IN THE RAIN is a throwback to the early musicals of the era it satirizes, for many of its musical numbers (’Make ‘em Laugh’ is a distinguished example) have absolutely nothing to do with the account it tells–but unlike such early musicals the storyline is exceptionally strong, and since the film is about the creation of an early “all talking, all dancing, all singing” movie in which such musical numbers were typical, they have here a distinct validity that could not otherwise be achieved. The cast is absolutely flawless, and without exception Kelly, Reynolds, O’Connor, and Hagen (particularly memorable as the literally unspeakable restful star) give the finest performances of their respective careers. The musical numbers range from the vibrant and complex ‘Good Morning’ to the lyrical ‘You Are My Lucky Star’ to the brilliantly conceived and executed title song, each without exception the definition of perfection. The art designs are meticulous, lovely, and recreate the late-silent and early-sound era of Hollywood with remarkable wit and charm. As a whole, SINGIN’ IN THE RAIN possesses an engergy and vitality that simply makes you bounce in your seat from excitement.
SINGIN’ IN THE RAIN is a musical that even people who disfavor musicals esteem. Whether or not you think it “the” finest musical ever created by Hollywood is, ultimately, a matter of personal preference; there are several contenders for that title, most notably MEET ME IN ST. LOUIS, GIGI, and THE WIZARD OF OZ. But no matter where you personally inappropriate it, SINGIN’ IN THE RAIN is certainly ONE of the best, a film that simply gains in indispensable and common stature with every passing year, a national and a world like of cinematic art.
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Buy James Bond Blu-ray Collection Three-Pack, Vol. 1 Online.
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Let me first space that I was completely unaware of the problems with playing these movies until I browsed through the Amazon reviews. It is disturbing to constantly hear of people who paid splendid money for their expensive players not being able to fully appreciate movies that are expected to play on them. However, I have not experienced any problems playing a Bluray movie ever and this review is only discussing my personal experience with this specific package.
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_____________________________________________
THE GOOD:
- Improbable video quality, better than what the audience saw on release date on some of the older movies.
- Lots of extras, most of them worth watching or listening to.
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- Sparkling packaging.
THE NOT SO GOOD:
- The sound restoration not as obedient as the video.
- Some of the ‘extras’ sections would support from a ‘play all’ option.
- The boxe could be a bit slimmer.
- May require upgrades on obvious players.
_____________________________________________
The overall impression is of quality, inside and out. The box could be a dinky smaller but the packaging is blooming. There’s a transparent plastic walk hide over a solid cardboard box holding a petite binder on which the 3 individual movie disks are pages. Each movie comes on one disk, holding the movie itself and in amazing amount of extras.
The menu interface is well organized and there’s is even some humor in labeling. For example, the option that plays the movie is labeled ‘The Mission’ while the historic promotional material is found under ‘The Propaganda’. Depending on which portion you may be, menu options branch into further sub-menus.
The extras are numerous and, for the most share appealing. The Dr. No disk, for example, has a very informative HD documentary on the restoration process and we acquire to learn who did what, why and how. Then, we perceive 1962 trailers, a contemporary documentary on the making of the movie, a 1960’s interview with a gun specialist discussing the various James Bond handguns, even radio commercials.
The sound options include the fresh sound which, in the older releases is ‘mono’ but all movies have surround 5.1 as the default. The sound wasn’t upgraded and improved to the degree that the describe was but, it’s understandable. Going from mono to 5.1 surround would be the equivalent of upgrading from shaded and white to full-color 3-D in the world of images. The place where some of the older installments note their age is the sound.
When it comes to the pictures, the best that I can say is that you’ve got to scrutinize it to possess it. The restoration of the older movies started with the true modern negative, which is the one copy that’s almost never touched. Once the copy was digitized as a 4000 lines resolution digital copy (Bluray is 1080) every frame was reprocessed to eliminate any possible defects from ‘dirty optics’, such as the proverbial hair that we sometimes examine on the older movies to scratches, abominable exposure, color brilliance. The restorers’ goal for the kill result, and this concerns the video only, not the sound quality, was to pronounce what would appear to be a contemporary movie with a 60’s or 70’s theme rather than a 60’s or 70’s movies. In my notion, they succeeded.
My overall rating is a solid five-stars. Impartial about everything in this release is superlative: the physical packaging, the interface invent, the extras, the video quality. The sound is not so qualified on the older movies but, given the dwelling of sound restoration technologies, I did not feel compelled to capture a star because the archaic movies sounded more or less like they did on release date.
Please label that and I am not factoring in player issues because, sooner or later, those are going to be addressed.
There will always be debates on who makes the best Bond, and this trilogy gives you a sampling of three strong contenders spanning 40+ years of Bond: Sean Connery in “Dr. No” – the film that started it all, Roger Moore in his first turn as Bond, “Live and Let Die” and Pierce Brosnan as 007 in “Die Another Day” the final film before the series “re-boot.”
When I save the “Dr. No” Blu-ray Disc into my player for the first time, my jaw hit the floor. The scrumptious detailed images that appeared on a tall 1080p projection camouflage looked more like a movie made last year than one made in 1962. The main reason the films recognize so well-behaved is that all twenty of the pre-Craig Bond movies were cleaned up and restored with ample care by Lowry Digital Images, using the fresh camera negatives. The first nine films (including “Dr. No” and “Live and Let Die” from this position) were all scanned at a whopping 4K resolution, and the other eleven were re-mastered at stout HD 1920×1080 resolution – a perfect fit for Blu-ray disc. While the 12 megapixel (4000×3000 pixel) mastering of the first nine films may seem like overkill, for 1080p high definition’s 2 Megapixel image, the results relate for themselves.
The sound is no inch either, with the films re-mastered in lossless DTS-HD Master Audio 5.1 Surround (the novel mono or stereo track is also included on each of the older films, for the purists) . The producers went succor to the fresh master recordings, cleaned up the audio and created a truly immersive surround sound stage for each film. If you haven’t seen the early Bond movies before, then you’re in for a treat with these Bond classics on Blu-ray.
As to compatibility, it is considerable to designate that some players (notably the Samsung BD-P1500 and LG BH200) do currently have playback problems on these discs. It’s famous to know that if you have one of these players. But this should not be a reflection on the software, unprejudiced because the player manufacturers have improperly implemented the Blu-ray specifications. Also, LG and Samsung have committed to providing firmware updates to fix any playback issues with these titles. Also, most of the recent generation players (including the newer Panasonic and Sony players with the latest firmware applied) have no problems playing these discs.
Full reviews of each of these Blu-ray discs are available on Enormous Relate Stout Sound.
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