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We have over 30 Disney videos and other cartoon videos, but this is the only one she cares for. I was paralyzed when I saw her sit through the whole movie at 2 1/2. She’s a very active child and nothing would retain her detached. At the waste of the tape, she starts wining “Barney.” I couldn’t hold I was finding myself rewinding and playing this tape six times a day. It would be more if I hadn’t told her that Barney was going to sleep.
The funniest thing is that I wondered why children fancy him so great, detached do…encourage then I had no children…now my daughter is crazy about him and I’m finding myself buying Barney videos to preserve her entertained and let mommy relax a diminutive.
It is shimmering. It is a fun hour to expend with the vast purple guy. But that is it. There is zero educational value (except what a circus is like) and Kristin and Kim, two of the kids on the video, are looking a microscopic grown up to me. They unbiased don’t fit. (sorry girls!)
Some of the songs are repeats from “More Barney Songs” but they are well produced. It is interesting, but lacking what some of the other Barney DVD’s have to offer.
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Ovation TV is showing this film in their animation week. Thank you, Ovation.
As Virgil says, “I don’t like puppets.” But I will build an exception for this work of art. The technique is similar to the Shadow Puppetry of SE Asia. At one point, Ulysses introduces a movie of what he did after Troy. The “movie” uses the worn shadow puppets to point to Bush’s fantasy of bringing democracy to the Middle East. The entire movie is clever in its exercise of the puppetry.

This is the ultimate message movie with heavy-handed commentary. But hey, it’s Dante’s tour of Hell, no subtlety needed. I have only read summaries of the current legend so cannot snort you how discontinuance it is to Dante’s version. Beatrice makes a token appearance. But the people shown range from Lizzie Borden to the man who space up the Jews to be blamed for the crucifying of Christ. There’s even a surprise guest from the Bush Administration. Fox News provides some transportation.
Gay men are shown being forced to dance to techno music. Someone is condemned for downloading Metallica. Several Popes prove up, including John Paul II. Somehow you will be offended by this movie. Come By over it.
I am looking forward to owning my believe copy so that I can cease the film and read the signs on the scenery.

“Dante’s Inferno” is a subversive and darkly satirical realization of the fresh which was written in the14th century. It is not regular movie fare–it is presented with the employ of intricate paper puppets and exiguous sets. We are taken on a travelogue of Hell and it looks a lot like the method we live today. Dermot Mulroney is the scream of Dante and he awakens to glean he is lost in a unique piece of town, both in reality and in metaphor. James Cromwell is the yelp of Virgil, the feeble Roman poet and he has a mullet haircut. Dante follows Virgil through the depths of Hell and they enter the very underbelly of the inferno which very great resembles unique urban life. We contemplate slums and old-fashioned car lots, strip malls and gated communities (it kind of looks like Puny Rock, Arkansas until we eye the U.S. Capitol Building) . There are politicians and popes and icons of pop culture and they are all sentenced to cruel and unique punishments. Lucifer is nothing more than a human appetizer dipped in fondue. The punishment that all receive fits the crime of which each is guilty. Dante, as he spirals through all nine stages of hell, realizes the diagram of punishment. He comes out of his breeze positive to change the course of life he has been on.

The director, Simon Birk, gives us an incredible modernization of a classic and he seems to awe nothing. He is innovative and creative and his humor, while at times sardonic, is fantastic. You must remember that this is not the inferno as Dante wrote it and Birk seems to exhaust a combination of Monty Python and Mike Reflect to approach to his dismal humor. The animation is incredible and the consume of puppets is dazzling and the sets are impressive. The script is ripped from the headlines of today’s press.

This is a message movie and to hiss what it wants to say it uses very heavy commentary. There are plenty of laughs and here is astoundingly sterling entertainment. (Of course if you have read the modern the film is that great more bright) .
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This is one of the most satisfying “elated” films I’ve seen since “Lovely Thing,” and one of the best mystery-married pairings since John and Sherlock, or should I say Reduce and Nora. It’s the record of Donald Strachey, tough guy P.I. with a shady past and a sweet tooth for guy pal Sebastian Spence. It’s a generous epic, not a spacious one, with a sultry jazz win and topical references to such controversial subjects as celebrity outing and pedophiliac priests. What makes it work is the unconventional casting of Chad Allen (who is gratified himself, but whose somewhat beat-up well-behaved looks don’t conform to cinematic stereotypes of gay–although one character dubs him “Nancy-boy Drew”) as Strachey, who unprejudiced happens to be very happily married to Timothy (played by Sebastian Spence, who is apparently straight, and maybe that’s why his character overdoes the nelly a bit) . Allen, as Strachey, is developing very nicely as an actor, and he’s more entertaining looking now than he ever was as a child. In “Third Man Out,” he gets solid relieve from QAF’s Jack Wetherall and Sean Young. Apparently, this is the first in a series, based on the novels by Richard Stevenson and state, contrarily, in Albany, rather than in Recent York City or San Francisco. Hopefully, it will explain current enough with its intended audience that other books in the series will also be filmed. Apart from the rather pedestrian direction (by Ron Oliver) and a couple of too sure twists in the spot, “Third Man” is titillating throughout.

Having read the unique recent “Third Man Out,” I have to agree that the screenplay for the movie version was reasonably well adapted. Since I wasn’t a stout fan of the book, “reasonably well adapted” to me means that 90% of the book was changed. The movie is loaded with gritty sex and violence that the fresh was unprejudiced missing. Occupations were changed (in the case of one character, from a meteorologist to a singing, puppet-wielding, male Shari Lewis wannabe), motives were changed, personalities were beefed up or changed, scenes were added, a distasteful, unnecessary, and preachy subplot was completely deleted, and the epic was transplanted from an obviously early 1990’s setting to a vaguely 30’s-era seeming demonstrate day. None of these are complaints, mind you; everything has been improved. Dramatically.
Unfortunately, whoever adapted the screenplay neglected to change the atrociously dreadful ending. It negates scenes which took position earlier in the movie, tries to construct a point and fails, and is altogether best left unviewed–stop your DVD player about fifteen minutes before the slay if you want a favorable viewing experience. Without spoiling anything, the twist itself was fine–clever, actually–but various characters’ reactions to it were so fallacious to life as to be almost offensive. When a character in a movie makes a big speech at the waste that causes other characters to hang their heads in shame, you at least demand the speech to acquire an ounce of sense and to have any persuasive power whatsoever. Instead, my reaction (to both the book and the movie) was a simple, “Uh huh. True.” Actually, the movie’s version of the ending was even worse than the book’s, for various reasons.

That, however, is the only reason for a 4-star instead of a 5-star review, and even I wouldn’t inquire of anyone to completely change (or leave out) the ending when adapting a book into a screenplay. The acting is stellar from all of the principals (particularly Chad Allen) and most of the peripherals (I enjoyed the young hotel desk clerk especially), the direction is proper and the production values are impressive. I am greatly looking forward to the next Strachey movie.
The only extra on the DVD is a featurette which is actually well worth viewing, particularly for the relevant comments of Chad Allen, who makes more sense than I’ve ever heard a Hollywood actor design in my life.

This is, perhaps, the most challenging documentary I have ever seen. Leni Riefenstahl is a complex, controversial, and enigmatic individual. The film very effectively raises (and ultimately does not retort) the expect as to what extent artistic genius does or does not transcend political and national boundaries. Director Ray Muller, in many ways, is not up to the task of interviewing this incredibly distinguished and self-absorbed woman. But, one must ask, who could be? Muller carefully documents the myth of her life, from her early days as a dancer and silver camouflage star, through the time of her involvement with the National Socialist Party, to her modern life as an underwater photographer. And the truth about anything is never quite determined. Innovative and profound techniques abound from commence to effect, contrasted with the persistent luminous task of trying to decide honest who this woman really was. The film is long, and ultimately exhausting. As it should be. You will peek things you have never seen before, and which you’ll never forget (such as Hitler’s unbelievable speech, and Riefenstahl’s unparalleled underwater color photographs, to name impartial two!) . But, you’re ultimately left with a quiz. Was she, or wasn’t she? And, if she was or she wasn’t, what is her responsibility? Muller won’t reply that for you. My only advice is: don’t ask her! She’ll fair display you contempt and say, “I did nothing deplorable!”
What can you say about a woman who radiant considerable invented novel motion describe sports photography, made the most grand propaganda film in history, climbed mountains in her bare feet, reinvented herself a couple of times, lied about her age in order to find SCUBA certified at 70, and lived to a feisty age of 101.

I’ve known about Leni Riefenstahl’s films for all of my adult life, but this was all fresh stuff to my wife when we got married a few years ago. When I showed her this DVD, she was absolutely entranced.
Rather than derive caught up in the “was she or wasn’t she” debate over Riefenstahl’s association with Hitler and the Nazi Party, my wife – a strong woman in her fill suitable – saw Riefenstahl as a incandescent example of the liberated woman. Riefenstahl followed her creative passion wherever it led. For her, there were no gender barriers.
Had she emigrated to Hollywood with Marlene Dietrich, she may well have gotten lost in the constellation of American film stars. On the narrower stage of German film, she was a tall talent as an actress and as a director.
Yes, she lent her talent and creativity to one of the most hideously contaminated regimes in history. How she really felt about it in her heart of hearts, we’ll never know. It’s determined she regretted making Triumph of the Will because it made her an outcast in the post-war film world.

The anxiety here is to separate the art from the politics. Before the war, Triumph of the Will won international acclaim, even from the French. Olympia, tinged as it is with its background of Nazi symbols, gave us sports camera techniques that haven’t been improved upon since the film was made. Whenever you gawk footage of Jesse Owens’ gold medal performances, you have Riefenstahl to thank for it.

Leni Riefenstahl, for all her awful judgment and Nazi connections, was one of the most distinguished creative forces in the history of cinema.

I went through a period when I was studying Russian language in which I was tired of reading Chekhov. I regard this as a period of temperary madness which I am thankfully past. If asked, I would say that I am an unconditional fan.

One need not be familiar with Chekhov’s work to like this colleciton of plays staged by the BBC. It really does gain some gems. The most outstanding work on this collection, and it would be worth it if it had this play alone on it, is The Cherry Orchard with Judi Dench. All I can say is WOW! What a wonderful cast, this is the ideal version of this, the most Russian of all plays. Anyone who wishes to understand Russian society should first peep this play and this version of the play. I am hoping that someday someone might do this play and residence it in the “novel Russia.” It would require only a itsy-bitsy degree of updating. Rather than believe on the waste of serfdom, one can meditate on the kill of the Soviet Union (it amounts to the same thing, really) .
There are other plays in the collection. There is an superior staging of Three Sisters (Janet Suzman is improbable here), Uncle Vanya and the Seagull. All are very well done. There are few better ways to gawk all the plays of Chekhov in such an easy and accessable manner. One can only stare forward to further collections of classic dramatists from the BBC.
I have not had time to go through this entire location, but have watched the included version of Uncle Vanya with Ken Jones as Vanya and a young Anthony Hopkins as the doctor. Jones is one of the best Vanyas I have seen; his histrionics are presented in a sustained crescendo that ends in a residence of absolute meltdown. Vanya is a very difficult role since the actor must constantly plod this wave of emotion without blowing it. Jones is distinguished, so is Anthony Hopkins as Astrov and Jennifer Armitage as Sonja. There seem to be some minor liberties with the text but it all works well.
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It is often whispered amongst panic aficionados that, in spite of H. P. Lovecraft’s unquestionable influence on the genre, the works of the mature apprehension author are difficult to translate to either the slight or enormous shroud. Nonetheless, director Stuart Gordon (with more than a miniature support from his screenwriting partner Dennis Paoli) has built his cinematic reputation around his celluloid interpretations of Lovecraft’s work. And though most of Gordon’s Lovecraftian films are well made, commercially successful, and approved with genre fans, few (if any) of them are definite reflections of the Lovecraft pieces that inspired them. At best, Gordon’s films expend satire to evoke the nihilistic subtext of the author’s modern work (e.g., Stuart Gordon’s 1985 audience current RE-ANIMATOR) or pay simple homage via mood, setting, or character monikers (such as Gordon’s 1995 direct-to-video CASTLE FREAK or his 2001 opus DAGON) .

However, with “Dreams in the Witch House” (a.k.a., “H. P. Lovecraft’s Dreams In The Witch House”), Gordon’s 2005 entry in Showtime’s cable-TV series MASTERS OF Scare, Gordon comes closer than ever to actually translating a Lovecraft myth to film. Legal, the director and his writing partner Paoli have quiet done a bit of creative redacting–most noticeably, the sage is moved forward from the 1930’s to the exhibit day, and there is the addition of a few high-profile characters–but most of the changes benefit only to overcome the characterization shortcomings of Lovecraft’s novel work. (Many literary scholars agree that, while it is an sharp part thematically, “Dreams in the Witch House” is not Lovecraft’s best literary work in terms of character and style.) In truth, this film short is, overall, quite faithful to the site, mood, and theme of the fresh short account.
Ezra Godden–who genre fans will stare from his turn as the lead in the aforementioned DAGON–portrays Walter Gilman, a graduate student at Miskatonic University who seeks a level-headed, low-rent flat in Arkham, Massachusetts, where he can work on his physics thesis. In a rather unfavorable, miasmic house built sometime during the early 17th century, Gilman finds a room that suits his needs and, after dickering a bit with the churlish landlord, he swiftly moves in.

Not long after settling into his recent digs, Walter notices that the weird angles that beget up one particular corner of his room contain a startling resemblance to the inter-dimensional gateway that he is working on in his thesis. However, by the time Walter finally accepts that his suspicions are good and that the corner of his room is, indeed, a doorway to another universe, he fears that he may be too slack to finish the witch-like creature that has been surreptitiously slipping through the doorway and terrorizing his neighbor (Chelah Horsdal) and her infant child.
In spite of its short hurry time (55 mins), limited budget, and an excruciatingly short production schedule, “Dreams in the Witch House” does not approach across as a run-of-the-mill made-for-cable film. Gordon’s direction is tight and skillful, drawing upon his experience in both theater and film to do a perfect mood that, while intricate to the legend, never upstages the actors or the action. The acting is kindly, especially that of leads Godden and Horsdal. Godden is delectable as a nerdy, contemporary Woody-Allen-esque hero, and Horsdal, in spite of her comely beauty, is able to believably report a woman who is strong yet quiet approachable and vulnerable. Jon Joffin’s often breathtaking cinematography also helps belie the film’s meager budget, providing titillating visuals, recent camera angles, and some in-the-camera trickery that are often only seen in studio blockbusters.
Gordon has stated that he avoided the spend of CGI in this film because he feels that Hollywood’s ubiquitous utilize of sterile computer FX is beginning to bore audiences. Instead, “Dreams in the Witch House” features old-school puppetry, trained animals, in-the-camera tricks, and real-time lighting effects. Combined with Gordon’s signature employ of copious gore–not to mention a short nude scene featuring the ravishing Ms. Horsdal–the film takes on the savory and refreshing aura of an ’80s fright flick, hearkening relieve to Gordon’s earlier films like RE-ANIMATOR while quiet exuding the his cinematic maturity as a writer/director.
The DVD from the frosty folks at Anchor Bay offers a pristine transfer of “Dreams in the Witch House” in anamorphic widescreen (1.77:1 aspect ratio) . In addition, the disc offers loads of chilly extras, including a feature commentary with director Gordon and actor Godden; interviews with the director and actors; a featurette on Gordon’s career as a director of dismay films; DVD-ROM goodies; and more! Well worth amazon.com’s reasonable asking stamp.
In short, “Dreams in the Witch House” is a highly bewitching and critical entry in the dread genre, and it is arguably the best entry hitherto in Showtime’s MASTERS OF Scare series. Indeed, in spite of its made-for-cable origins, the film rivals many full-length fear films released in theaters these days, and all serious genre fans should reflect adding the film to their growing collections.
Stuart Gordon, best known for the low-budget shocker classic Re-Animator, not to mention many adaptations of H.P. Lovecraft dread yarns, brings another one to life for Showtime’s Masters of Dismay. Dreams in the Witch House re-unites Gordon and his Dagon star Ezra Godden as Godden plays a physics student renting a dingy room in an dilapidated house that also has a single mother and a seemingly crazy religious traditional man as tenants as well. Soon enough, he’s having dreams of a human faced talking rat and an defective witch that wants the baby’s blood, and plans on using him as a diagram to acquire it happen. For most of it’s running time, Dreams in the Witch House is a compelling and inventive fright anecdote that makes the most of it’s source material, and the shocker ending sets it apart from other episodes in the series. Once again, the gore and makeup effects are superbly done by KNB, which objective makes the package all the sweeter. All in all, Dreams in the Witch House is one of the best episodes in Showtime’s anxiety anthology series, and for Lovecraft fans this should expose delicious as well.

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Don’t consider for one second that director Neil LaBute and screenwriters David Loughery and Howard Korder didn’t know what they were doing. “Lakeview Terrace” is not merely a disturbing thriller about a dark cop that hates his neighbors for being an interracial couple; it’s an vivid, thought-provoking examination of hurry relations in general, strengthened by its atypical cinematic reach to racism. How different would the reaction to this film be if the roles were reversed, if it told the record of a racist white cop that hated his sad neighbor? It would most likely be ignored, because goodness knows we’ve seen such movies before. “Lakeview Terrace” is refreshing in its willingness to view at things from a largely unseen perspective, which in turn gives the audience more to consider about. What a faded turn for LaBute, who completely missed the note with his God-awful 2006 remake of “The Wicker Man.”

It should be renowned here that Lakeview Terrace, a suburb of Los Angeles, is where Rodney King was beaten and arrested by the police in the spring of 1991. This is obviously not a coincidence on the filmmaker’s share, and neither is the fact that the fable is ambiguous in its social commentary. Essentially, LaBute expects up to get up our occupy minds about who’s legal and who’s base. Granted, it seems shapely clear-cut throughout the film; LAPD officer Abel Turner (Samuel L. Jackson) goes to mountainous lengths to demolish the lives of his current next-door neighbors, and he does so because the husband, Chris Mattson (Patrick Wilson), is white and the wife, Lisa (Kerry Washington), is shadowy. Turner begins slowly, dropping a series of subtle hints. His security lights, for example, approach on in the middle of the night, and they shine directly into the Mattsons’ bedroom. As the film progresses, his hostility escalates into full-blown psychological warfare.
I’m making this sound far too simple. Turner is not merely an atrocious man; as both a cop and a single father, he’s seen his pretty fraction of injustice. To clarify would give too distinguished away, but rest assured, he has very sure reasons for hating his neighbors, for wanting to not only earn them out of Lakeview Terrace, but also to drive a wedge between them. Chris and Lisa are introduced as a lovey-dovey couple delighted to be first-time homeowners. But it isn’t long before tensions open mounting. Example: Chris is hesitant to initiate a family even though Lisa is keen. He has legitimate reasons for wanting to wait; they objective moved in, after all, and they need time to determine into their unusual lives. In spite of this, one can’t back but gain it has nothing to do with settling in. While not directly stated, it may, in fact, have to do with raising biracial children. This, as it turns out, is a source of tension between Chris and Lisa’s father, Harold (Ron Glass), who never seems to address his son-in-law without a grand deal of pains.

Is it possible that Chris and Lisa were never meant to be together? Did they tumble in cherish for all the atrocious reasons? Again, none of this directly stated. But considering the contrivance they’re now treating each other, it seems very likely that they’re rethinking some of the decisions they’ve made. Lisa thinks their biggest mistake was inspiring to Lakeview Terrace, not unprejudiced because their neighbor is unfavorable, but also because she’s away from her family and her friends. Chris, certain to expose himself as both a husband and a man, refuses to leave the neighborhood. This paves the procedure for the film’s last twenty minutes, which, on the surface, unfolds in grand the same draw as an ordinary thriller. Below the surface lies miscommunication, inconvenience, and a lifetime of hard feelings, none of which earn it easy to decide who represents capable and who represents harmful. I say this because, when the climactic final battle between Chris and Turner begins, we immediately peep that both men are pointing guns at each other.
The most challenging moments in “Lakeview Terrace” occur within the first ten minutes, when Turner and his children meet at the breakfast table. His young son, Marcus (Jaishon Fisher), comes downstairs wearing a Lakers jersey. Turner wants him to consume it off because it displays the number twenty-four, which is Kobe Bryant’s number. He’s made it abundantly determined that from now on, they’re giving all their encourage to Shaq. Why? Is it because of Bryant’s highly publicized extramarital affair? Immediately afterwards, he scolds his fifteen-year-old daughter, Celia (Regine Nehy), for not using apt English. Is he encouraging his children to be the best they can be, or is he controlling them because scandalous speech reminds him of someone he hates?
While these questions are never answered, they peaceful add a substantial amount of depth to the memoir, solidifying Turner as a man holding a grudge against the world. I have no doubt that some audiences will peek things from his point of view; when life hurts you a few too many times, hatred is completely understandable. On the same token, I’m certain that many will have no sympathy for him at all. Some will gaze him as a heartless monster preying on an innocent couple. Both arguments are respectable. You should win them into consideration when watching “Lakeview Terrace,” a taut, suspenseful human drama that will beget you heart-broken no matter what side you select. My hope is that it will inaugurate a line of communication. If it doesn’t lead to peace, then maybe it will lead to an view. Of all the things noticeably absent from “Lakeview Terrace,” a line of communication is the most notable.
There’s an inherent pickle with making a movie of this kind: unless you’re a creative genius of your time, these sorts of movies have the potential to turn sincere generic, Trusty quick.
Reminiscent of Denzel Washington from Training Day, we eye Samuel L. Jackson play an overly aggressive cop with an agenda, with the movie focusing on the problems he’s causing for his fresh neighbors. A completely realistic space that can consume site anywhere. Quandary is, because a movie like this is completely character driven, after you have the nice tedious obtain up to the climax, once the tension snaps, you’re relegated to basically a generically default final act of the movie where “the terrible guy finally comes out of the proverbial shadows and literally chases the hero.” (i.e. Disturbia, The Glass House) . It’s a shame too because the buildup on this was very qualified. Samuel L. Jackson was really scary here, he played that bullying, obsessive character perfect. The only acting problems I saw were 2-3 moments from Kerry Washington where her black face was done poorly, with overly done lip quivers and facial movements (similar to Kirsten Dunst’s crying scenes from the Spider-Man movies, except done in a Awful design) .
With a movie like this, you handsome considerable have these possible outcomes:

4) a Tall ending.
Unfortunately we usually earn number one, since they wanna give the satisfying, reliable, effective, tried and apt, Hollywood ending. Most people are explain with those types of cop out endings. I’m not.
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I’ve said it before and I’ll say it again: Finally, Steve Reeves on DVD! The version sent to me was by Gemstone Entertainment; but appears to be the same version as United American Video. A few years relieve I was on Steve’s web plot and commented that I was disappointed that there were none of his films on DVD, and the retort that I got encourage was, “Only on VHS now; but impartial wait a bit longer….” Though watching Italian movies can remove a limited getting old-fashioned to, mainly due to the editing practices, in addition to dubbing the sound in after the movie had been completed, this movie holds the test of time very well, considering that it’s almost 45 years weak. This edition of Hercules Unchained is a notch or two up from the edition of Hercules that I previously reviewed. The print was obviously in great better condition, as the colors are generally very agreeable, most of the describe is though-provoking, and the sound is better. My only true complaint is that it’s not presented in a natural widescreen format. Like I said with my Hercules review, some day I’m hoping to spy a higher grade edition, in widescreen, possibly with the film digitally restored a bit better and maybe a few extras; but until then, this will more than suffice. Watching these two befriend to perform makes for a very delicious afternoon or evening; so don’t hesitate to check out these classics!
This movie, a sequel to the unique box-office rupture, is a fantastic treat for those of us who marveled at Steve Reeves and his awesome presence in a series of otherwise forgettable 1960s sword and sorcery adventures. Reeves, a worn Mr. America and Mr. Universe, was absolutely stunningly glorious, and as a result became the perfect archetype for young pubescent males looking for a role model. While his fabulous baritone swear was dubbed (grand later I heard him talk on “Entertainment Tonight” about the newer types of bodybuilders coming to the fore under the influence of steroids, and he squawked out an respond in a tinny miniature scream that made one instantly realize why he never achieved wider stardom in more diverse American films.
But he was all beef and brawn here, and with the magic of a well-dubbed vocal trouble became the star of the decade. This, like the modern, was a continuation of his first role, as the immortal Hercules, and here again Reeves plays the fraction well. As someone who saw both movies dozens of times in the theaters, own me, it was all Reeves that explained the hit movies and the string of successors that followed. Of course, film producer Joseph E. Levine threw in the pleasing Sylvia Koscina and a traditional cast of character actors. The special effects are a bit dated, and the sets are nice, but any chance to witness Reeves going through the motions is an spend in watching someone so glorious and so well built that none of the rest of it mattered. Not a astronomical movie, but one that is fun to gawk to remember intention serve when….Relish!

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Orange Revolution is an invigorating film that reaffirmed my faith in the power of the people when it comes to deciding the future of a country. The determination and perseverance of the Ukrainian population inspired me to actually care again about what is going on here in the United States. I don’t contemplate the filmmakers were necessarily trying to detail the dirty progression of the election, blow by blow. Their diagram, and well-conveyed I would say, is to stammer us the incredible fable of how a tall group of people can near together and can actually fill an entire political regime accountable.

I was particularly taken with the interviews. You are completely aware that you are getting a first-hand yarn from those that were on the ground, making things happen. If you would like to learn the narrative of how and why Yuschenko was successful in the kill, I suggest watching this film.
This is the memoir of how the power of people, once mobilized, can carry out the impossible. Although about Ukraine in particular, it is a universal theme – and seems particularly appropriate as we enter into an election year here in the US and face the possibility of voting irregularities. The footage of the people on the streets, living in tents, sleeping on escalators, sharing food and warm clothing is wonderful. Also especially inviting was the transformation of Yuschenko’s face after the poisoning. There is a lot of humor and fun in the movie too, from the rock and roll performances (I didn’t miss Ruslana) to the stunts with the eggs (you have to examine the movie) to the news footage of Putin refusing a breathmint being offered by Yanukovich while they review a military parade. Priceless moment. Highly recomment this film if you are at al fervent in political revolutions.
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I got to study this film at a sneak preview. I got free tickets at an 80’s club I frequent. I only had a unexcited interest in seeing this film when I saw the trailers. In other words, this one was going to be one to wait for on dvd. Free is free, and I went with a tribe of folks on a Wednesday night.

To my surprise, this was a really sweet, amusing, well-acted, and truly sizable film. Yes, this is a film, not some flash-in-the-pan, cash in on the youth market, atrocious out comedy. Definite, it has elements of that too, but they’re more subdued and the humor is less ample and more sublte. It’s basically about characters you already know or have met in your life. It takes status in the 80’s and it’s basica location involves the panic any 20-something would face during a recession, getting a really crappy summer job!
The genuine revelation I found with this film came in the create of Kristen Stewart. She’s the exact deal. I had seen her in Twilight recently and found everything anyone did in that film to be hollow. Here, she really shows her acting chops playing a confused youth panicked of the unknown. Jesse Eisenberg is the main character in the film, and I expected nothing but greatness from him, I previously saw him in the lustrous The Squid and the Whale. He is a very talented young actor who I inquire of to inspect a lot more from in the future.

The film has all the details of a youth summer job that sucks pegged. Everything from the one hot-chick that everyone wants, the low-rent customers, the over-zealous and possibly dellusional bosses, and on-job romance. It’s all done with fine emotion and situations. Nothing feels contrived or forced. Characters develop mistaks and things go sinister, but there are no moments of the characters becoming overwrought and giving prefunctory speeches regarding the film’s main themes. This is really well written.
I must warn all the video game obsessed, vapid, youth drones about what they’re getting with this film. It has trusty characters, and a believable set. It’s a hang-out relate. You unprejudiced consume time getting to know a particular group of characters who part the same crappy theme park summer job. There is no contrived space devices, like switched or confused identities, no one is masquarading as one of the opposite sex, no region devices to maintain a untrue account going, and no gags honest stuck in the film like an overlong action sequence to salvage yucks. Yes, the kids procure wasted and high, but it has more to do with them coping with their boredom, and it also helps lead to their bonding.
The film manages to be honestly touching as well, something I really didn’t seek information from from this share. It was made by the same director of Neat Abominable, a really smart and droll youth comedy, but it is nothing like it. It’s not as substantial, but its not going for the same thing. The humor comes from character and objective situations and not from over-blown funny situations fair dwelling up for the yucks.
If this film would’ve been advertised differently, I would’ve paid to discover it.
Recommended for a tremendous cast, novel setting & memorable characters, and a well-written script, this movie will particularly appeal to those who grew up during the 1980s. But “Adventureland” is detached timeless enough to please a broader audience.
Mismarketed as a wild comedy follow-up to “Superbad”, this small-scale mini-wonder is a perfect date film, but also a ample chase through young adulthood.
The legend is both poignant and silly, and the cast is uniformly ample throughout. Special acting honors go to Kristen Stewart, whose understated and tender performance was exceptionally spirited to me (although she may be obviously glad, her straight-girl role is believable, and although I’d never heard of her before, I will be exploring every other film she’s in, simply on the basis of this role) . I can’t say enough about her performance here, and she’s going to be a major actress in years to approach.
Almost every sign of the script rang lawful to me until the final ten minutes, which were a worn satisfied Hollywood ending that probably wouldn’t have happened in real-life. But I can’t fault the coming-of-age sage for needing such a denouement, even if it was largely wish-fulfillment. And so, for Greg Mottola’s script & direction, and for Kristen Stewart, five stars. A keeper.
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