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February 7th, 2010 by cara7814052
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Movie Title: Guys and Dolls
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Yes, indeed! The booklet included is nice and glossy. Thanks! And the two documentaries added this time around are nice too. Thanks again! But what about the film itself? Has that been given the deluxe treatment as well?

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Sad answer: Definitely NOT! As a matter of fact, this new “re-master” looks much worse than the previous DVD. That one was a very fuzzy non-anamorphic mess, but this new anamorphic one is just as fuzzy. In fact, when I put the old one in the zoom mode, there is no difference in focus and contrast whatsoever. And the colors are somewhat more warm and pleasant on the old edition. But worst of all, is that the new DVD is cropped on all four sides! There is quite a lot of more picture information available on the old disc, especially on top of the frame! So much for a Deluxe Edition! Shame on you, Sony/MGM-UA! Fans of this film – myself included – will have to keep the old DVD, and get this new one for the extras and the booklet. (The 2 stars above are for those inclusions alone.) This is certainly no way to treat loyal film fans and costumers willing to pay for an upgrade version of a beloved film!

A film by Joseph Mankiewicz

The image I have in my head of Marlon Brando is that of Vito Corleone in “The Godfather” and Terry Malloy in “On the Waterfront”. The opportunity to see Brando in a musical was just too good to pass up. “Guys and Dolls” is a musical about gamblers and women, but the story is much better than that.

Nathan Detroit (Frank Sinatra) runs a high stakes craps game. Normally he does not have any trouble finding a location for the game, but the police is putting on the heat and nobody is willing to take the chance…nobody but one person who wants $1000 up front to host the game. All of the big mobsters are in town and they are looking for Nathan’s craps game. Nathan makes a bet with Sky Masterson (Marlon Brando), a high roller who will bet on absolutely anything. The bet is that Sky cannot convince Sarah Brown (Jean Simmons) to go with him to Havana for the night. This may not seem like that big of a bet, but Sarah Brown works downtown at the mission and is a very straight-laced, Christian woman. Sky Masterson is not the sort of man she would associate with. Sky takes the bet and starts trying to win over Sarah. While Sky is doing this, Nathan is setting up the craps game with the promise of the thousand dollars he believes he’ll win from Sky. The only thing raining on Nathan’s parade is his fiancee of 14 years, Miss Adelaide (Vivian Blaine). Miss Adelaide is a show girl, and she is getting tired of waiting for Nathan to marry her and she is also completely against the crap game.

The above description sets the stage for a wonderful musical where we get to see Brando singing “Luck Be a Lady”. The other song that completely surprised me was “Sit Down You’re Rocking the Boat”, a song I only knew from the much slower Don Henley version. With Sinatra’s crooning and Brando singing like I never knew he could, this is one good musical. I would definitely recommend this movie.
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February 6th, 2010 by cara7814052
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Movie Title: Starz Wow Wow Wubbzy-pirate Treasure
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Contains the following episodes:

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Pirate Treasure

Wubbzy In The Woods

Walden On The Beach

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The Grass Is Always Greener

Goo Goo Grief

Everything’s Coming Up Wubbzy

Save The Wuzzly

My kids love their Wubbzy! I was glad to be able to purchase this new DVD for less than the store was charging.
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February 5th, 2010 by cara7814052
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Movie Title: Samurai X – OVA Collection
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First off, this OVA series is very different than the TV series. It’s noteworthy more serious, bloody, poetic, and the art is very different. Don’t seek information from to study any of Kenshin’s silliness and “oro!” remarks here. Don’t worry–you mild have the mumble actors from the TV series in Japanese.

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Since there have already been set reviews, I’m not going to go over that again. In my belief, I found the spot for all 3 OVAs to be lustrous.

In Trust and Betrayal, you secure to get out more about Kenshin’s past as a Hitokiri and how he got his cross-chaped scar. These 2 OVAs were my popular. The music was breathtaking and improbable, as was the animation, although I preferred the TV series’ style. There’s also a lot of symbolism going on–the crosses in the graveyard and Kenshin’s scar, the white plum, etc. The sheer beauty of these OVAs can also be seen in several scenes such as the fraction in Trust where Kenshin is attacked by an assassin as Tomoe is walking down the street. That whole sequence with the “bloody rain” is silently worthy and very memorable. The ending of Betrayal was very intelligent as well as Kenshin is out helping in battles while the astounding music derive is playing in the background.

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Reflection takes the viewer 15 years after the TV series. All the characters have obviously dilapidated, especially Kenshin. This OVA consists of many flashbacks to the events in the TV series. For those of you who haven’t seen the TV series, some of these flashbacks may not design too worthy sense. If you’re familiar with the gay, amusing Kenshin from the manga or TV series, you’ll be surprised at this. The characters, although they have matured, seem to have undergone gross personality reconditioning. For some viewers, it might be harmful to leer the characters like this. Kenshin is all sorrowful and guilty, and he’s also rather selfish in a intention. While doing the pleasurable act of helping the world, Kenshin is simultaneously selfishly leaving Kaoru to wait for him to return home. Sanosuke, who is supposed to always be with Kenshin, lets Kenshin leave on the ship alone in his customary position. The dependable Sano wouldn’t do that. With that aside, Reflection is a very animated conclusion to Samurai X that brought me to tears several times. The scene where Sano tosses the fish to Kenshin was an especially memorable scene that shows honest how noteworthy Kenshin has ancient from being a strong swordsman to his reveal place. The saddest portion was the ruin, of course. The device that it was site up, plus the incredible music, benefit earn it even more mighty.

Now that I’m done rambling about why I like the OVAs, I’ll point out a couple of things I didn’t like:

-The English dub wasn’t too satisfactory. PLEASE notice it in Japanese with subtitles!

-There’s a couple scenes where “exact life” shots were do in. (Actual water, precise trees, actual fire, etc) They were a minute awkward and made me chuckle.

-Kenshin doesn’t really utilize breathtaking sword techniques. You objective stare him slashing a lot.

-The extras and special features weren’t all that special

And I’ll sum up the righteous parts:

-One of the BEST musical scores I have heard in my life–ranging from intelligent percussion rythmns to shaded, absorbing, and comely pieces. (There are 2 scores to this–one for Trust and Betrayal, and another for Reflection)

-Action!

-Beautiful–art, myth, the blueprint it was told.

Yeah, that’s about it. I mediate that any Kenshin fan should give these OVAs a try after watching the TV series. If you can’t seem to preserve your attention in movies or anime, you might want to skip this one. It’s not one of those edge-of-your-seat presentations. This movie really makes you reflect. Oh, and younger people shouldn’t gawk this. Trust is a dinky gory, the OVAs in general might be too hard to understand, and all the poetic beauty and symbolism might be overlooked.

This OVA space focuses on the serious and melancholic side to the Rurouni Kenshin universe. It’s a fantastic compliment to the more light-hearted TV series. After seeing the TV series, I highly recommend watching this OVA.

The TV series masterfully balances humor and drama while leaving the fans with a feeling of happiness. The OVA on the other hand, focuses on the internal struggle of Kenshin Himura as he learns the plan of the Hiten Mitsurugi style and becomes the feared Hitokiri Battousai. It certainly shows the viciousness of Kenshin in the graphic violence in the anime. It definitely has a veteran theme. The action sequences were worthy more fierce and unforgiving as the acts of the manslayer were depicted. I was vexed at some of the gross deaths of the people.

There was also a constant atmosphere of sadness throughout the anime. The music was resplendent with a very shaded overtone. I was surprised at how engaging the yarn was as the history of his distinctive cross-shaped scar was revealed. His heart could not cope with the trials and tribulations as he continually tried to attone for his past actions.

This OVA is a masterpiece and I highly recommend it. However, I must admit that I was left with a very somber feeling after finishing it. I was very touched with the characters and storytelling, especially with the flashbacks. Even if you have not seen the TV series, I highly recommend this boxed space. However, I would not recommend this for younger kids as the nature of the violence and melancholic tone may not own their attention.

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January 6th, 2010 by cara7814052

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From the producer of Selena and directed by award-winning actor Edward James Olmos comes the stirring tru story of courage and justice. The year is 1968, the height of the national civil-rights movement. Paula Crisostomo (Alexa Vega, Spy Kids) is an idealistic honor student who refuses to “play it safe” in a school system that discriminates against Mexican-Americans. Together with thousands of supporters, she coordinates a multi-school walkout of students to protest academic prejudices. Mentored by her charismatic teacher Sal Castro (Michael Pena, Million Dollar Baby), and with the help of her friend Bobby (Efran Ramirez, Napoleon Dynamite), Paula learns that sometimes the price of progress is high – but it’s ultimately worth paying.

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January 6th, 2010 by cara7814052

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This special collection includes: Back In The Saddle; Ride, Tenderfoot, Ride; Rancho Grande and Melody Ranch

Back In The Saddle: Dust off your best cowboy hat and polish up your spurs as America’s first and favorite singing cowboy gallops across the silver screen into your living room. Gene Autry, star of radio, records, film, TV and rodeo, invented the musical Western, capturing America’s hearts as a guitar-slinging, song-singing, six gun-toting good guy. Riding Champion, the World’s Wonder Horse, Autry became a beloved American hero whose popularity remains strong today. Now, for the first time on DVD, Gene Autry’s rollicking big screen adventures and unforgettable tunes are brought home in these Western classics fully restored and uncut from Autry’s personal film archives. When pollution from a nearby copper mine poisons hundreds of cattle, two-fisted ranch foreman Autry faces a heap of trouble from all sides. Features Gene’s signature song and his lovable sidekick, Smiley Burnette.

Ride, Tenderfoot, Ride:Cowboy Gene Autry inherits the Belmont Packing Company and the management duties that come with it. When a rival company owned by a pretty socialite plots to force Gene to sell, a feud soon ensus between the lady, who uses her womanly wiles to take business from Gene, and the cowboy who tries to recover by using old-time rally methods, including parades and bands.

Rancho Grande: Gene Autry is the foreman of a ranch mortgaged to the hilt with a fast approaching deadline to build a dam. When the owner dies and leaves the Rancho Grande to his three madcap grandchildren, Gene must straighten out the rebellious young folks and make them work to pay off the debt and foil the villains. It will take brawn, brains, and of course a few songs, to uncover the secret plot to take over Rancho Grande.

Melody Ranch:Lawlessness runs rampant in Gene’s hometown of Torpedo until the movie and radio cowboy returns as Honorary Sheriff for a Frontier Days celebration and cleans up the town! Featuring Jimmy Durante, Ann Miller, and such classics like “We Never Dream the Same Dream Twice” and the title song, this musical was Gene’s biggest theatrical production upon its release and remains one of his best-remembered big screen journeys!

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Here’s a model for adapting a novel into a movie. The bestseller by James Jones, a frank and hard-hitting look at military life, could not possibly be made into a film in 1953 without considerably altering its length and bold subject matter. Yet screenwriter Daniel Taradash and director Fred Zinnemann (both of whom won Oscars for their work) pared it down and cleaned it up, without losing the essential texture of Jones’s tapestry. The setting is an army base in Hawaii in 1941. Montgomery Clift, in a superb performance, plays a bugler who refuses to fight for the company boxing team; he has reasons for giving up the sport. His refusal results in harsh treatment from the company commander, whose bored wife (Deborah Kerr) is having an affair with the tough-but-fair sergeant (Burt Lancaster). You remember–the scene with the two of them embracing on the beach, as the surf crashes in. The supporting players are as good as the leads: Frank Sinatra and Donna Reed won Oscars (and Sinatra revitalized his entire career), and Ernest Borgnine entered the gallery of all-time movie villains, as the stockade sergeant who makes Sinatra miserable. Zinnemann’s work is efficient but also evocative, capturing the time and place beautifully, the tropical breezes as well as the lazy prewar indulgence. This one is deservedly a classic. –Robert Horton

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Just as Knut Hamsun’s novel, Hunger, considers what it means to starve for one’s work, Danish director Henning Carlsen’s film adaptation of Hunger portrays the story’s protagonist as an inscrutable man whose eccentric dedication to literature costs him his health. Hunger, the first Scandinavian co-production to represent Denmark, Sweden, and Norway in its making, takes place in 1890’s Christiania (Oslo), where Pontus (Per Oscarsson) perseveres homelessness and starvation to write articles for a local magazine editor. Filmed in grainy black and white, Hunger is as thoughtfully subtle as an Ingmar Bergman film. Pontus’s washed-out hallucinations recall The Seventh Seal, while his preoccupation with the lovely Ylajali (Gunnel Lindblom), whose name he invents because of the way the name rolls off his tongu, recalls the romanticism of Wild Strawberries. Scenes showing Pontus considering how to steal bones from dogs, or pleading with his boots to stay on his feet, capture his self-inflicted tragedy, while other scenes depicting citizens refusing to help Pontus earn money elicit sympathy for his plight. Watching this film alongside Hamsun, a wonderful biography of the author, shows similarities between the author and his most famous character, Pontus, not du to Knut Hamsun’s poverty or sketchy mental facility, but rather his undying commitment to skepticism and literature. Hunger, however, quiets those personality traits, making Pontus as sensitive as he is uncompromising. –Trinie Dalton

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December 29th, 2009 by cara7814052

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An air of gothic romanticism pervades every aspect of this remarkable film, based on a tru story from the turn of the 20th century. In its torrid plot, one can hear the icy restraints of the Victorian era cracking. Diane Keaton is uncannily perfect as Kate Soffel, wife of a priggish prison warden (Edward Herrmann). She’s funny and touching playing what used to be called a “neurasthenic”–a nervous, depressed woman with mysterious physical ailments. When the film opens, Kate is just recovering from a three-month-long spell, and back at work preaching to the inmates in her husband’s prison. Whom should she encounter but dangerous death row inmate Ed Biddle, in the irresistible person of Mel Gibson. The forbidden affair that blossoms between them is feverishly exciting, but the film operates on myriad other levels. Director Gillian Armstrong (My Brilliant Career) and screenwriter Ron Nyswaner (Philadelphia) have much to say about capital punishment, and about the miserable fate of women in this repressive society who dare to act on their passions. There’s nothing morally clear-cut in this movie, which is what makes it consistently fascinating. Kate and Ed’s romance is as right as it is wrong; we never really know how to feel about either of them. The film’s stunning cinematography and superb period details are exhilarating, from the towering, bleak beauty of the prison to the gorgeous panoramic chase scenes of horse-drawn sleighs in the snow. –Laura Mirsky

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In this loving tribute to Maria Callas, Zeffirelli imagines what could have happened at the end of her life at the age of 53.

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December 27th, 2009 by cara7814052

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John Wayne and Robert Montgomery star in and John Ford directs a resolute tale of World War II courage: They Were Expendable. The two stars portray PT-boat skippers who defend the Philippines and give the U.S. war effort time to regroup after the crippling losses at Pearl Harbor. Wayne takes to the skies with the Flying Leathernecks, leading embattled Marine fighter squadron VMF 247 at Guadalcanal and also campaigning to coordinate ground combat with low-flying aerial sorties. Nicholas Ray directs, mixing in actual battlefield and dogfight footage. Robert Ryan co-stars.

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