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No movie protrayal can match a respectable book, but Jackson’s attempt is the best ever wretchedness in the history of movies. His team’s mammoth amount of research, attention to detail and adore of the fresh literary work comes through. Yes, some space lines are altered in minor ways to retain the off-screen characters section of the movie as it unexcited has to relieve an audience that didn’t read the books, but overall anyone must worship their work. Yes, all of us Tolkien fanatics would treasure to discover a movie of 139 hours in length that shows every scene and includes every line of dialog from the books, including Tom Bombadil and the everything else, exactly as written, but that obviously isn’t going to happen.

Sam - please read the books again as many of your review details are immoral. Gollum does have an internal struggle of Smeagol vs. Gollum, it’s good in the book. It is gorgeous distinct in the movie that Sam is disgusted by Gollum and Frodo is more pitying him, same as the book. There is the conflict between Arwen and Elrond about her relationship with Aragorn and her struggle with remaining elfen and going West vs. staying with Aragorn. But it is subplot not detailed in the books as powerful, but Jackson is trying to flesh out characters. Aragorn does have doubts and struggles about coming out of hiding to rise to the thrown, he sets this up more in movie #2 for movie #3 but it is there in the books. Saruman does have control over nameless character “A” which nameless “B” breaks with a struggle and in the movie he has to design it determined (over-do-it) what is going on or movie-goers would go “what the heck? ” since they aren’t reading the book. Saruman does rip down all the trees and into forest which P-O’s the Ents, racy them into action, which WAS inspired by Tolkien’s detest of the industrial age (more to arrive in movie #3 I’m positive as in the books) . There are warg-riding (i.e. immense rats) orcs (even assist in the Hobbit books) - READ THE BOOKS AGAIN!!!

But some variations are needed for a movie version for the general public; I’ll agree with you that all were not needed _FOR_US_, but there is the Joe Blow imprint buyer he is trying to entertain as well, to actually beget money on this tall project (which was completed, by the plot, before movie #1 came out and was composed a gamble then; hindsight only shows he could have gotten away with “less”, perhaps) .

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It’s easy to hobble down select on every detail especially when movies are based on books. But this has to be (with the others in the series) some of the best movies ever made, and clearly the best attempt to mirror books on the screen; especially with the fantasy setting and special effects requirements. “To Destroy a Mockingbird” is another expansive adaption, but it’s not so hard to salvage a runt Southern town and a guy named “Boo” as it is to accomplish Balrogs, Orcs, Rings of Power and the Spy that Never Sleeps. Give him a shatter.

It’s hard to know where to start in articulating a coherent summary of so spectacular an yarn as Peter Jackson’s rendering of Tolkein’s masterpiece. Perhaps the most incisive comment I can obtain is that, having been a fan of “The Lord of the Rings” since I first read the trilogy nearly 35 years ago, I’m impressed by Jackson’s fidelity to the spirit of the novel literary work.

“The Two Towers” is a very different kind of film than its predecessor. Don’t quiz the intimacy of “The Fellowship of the Ring”; the evolution of the legend precludes it. The dissolution of the Fellowship scattered the indispensable characters of the first film into three sure sub-plots: Merry (Dominic Monaghan) and Pippin (Billy Boyd), whose retract by the Uruk-Hai takes them into Fangorn Forest and their ultimate influence on the fate of Saruman (Christopher Lee) ; Legolas (Orlando Bloom), Gimli (John Rhys-Davies), and Aragorn (Viggo Mortensen), who re-unite with a resurrected Gandalf (Ian McKellan) in the climactic battle of Helm’s Deep; and Frodo (Elijah Wood) & Sam (Sean Astin), who continue their quest to ruin the Ring at Orodruin (ably played by Mount Doom) in Mordor. That’s a lot of threads to weave into the overall tapestry of the memoir, and it necessarily calls for some fairly abrupt and fleet scene changes. The action is so fast-paced that you will barely have time to accept your breath.

One of the most personally meaningful aspects of the film — and so far, it has been proper of both “The Fellowship of the Ring” and “The Two Towers” — is Jackson’s uncompromising adherence to Tolkein’s vision of the timelessness of the legend itself. The author was definite NOT to write a memoir that served as an allegory for any of the fresh events of his time, but rather hoped to address considerable broader issues that are rooted in the fundamentals of human nature. In so doing, the trilogy has remained relevant to the human condition in a arrangement that transcends nationalities, ethnicities, and the various idiosyncratic cultural zeitgeists of any of the historical periods it has spanned. I glean genuine personal relevance in Aragorn’s struggle with his believe destiny. It’s not a predetermined kind of destiny, as in “fate”, but rather the self-determined destiny of one who follows his heart and his enjoy integrity. Ditto for Eowyn (Miranda Otto), whose struggle to fulfill her desire for valor in the service of grand is established in “The Two Towers”, and will culminate in the final installment, “The Return of the King”.

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But Jackson’s triumph runs powerful deeper than his artistry in character development; many enormous films piece that characteristic. It is his mastery in the expend of surpassing technological innovation as an back in the storytelling rather than as an waste in itself that raises the bar for all subsequent films. His combination of digital, fabricated, and natural scenery in creating the world of Middle Earth is simply breathtaking. The battle scenes are repugnant without being overwhelming in their reliance on gratuitous violence or repulsive bloodshed. [I will allow my daughters (8 and 12 years of age) to stare the films, and I am probably more protective of their sensibilities than most parents I know.] And Jackson’s creation of the creature Gollum (Andy Serkis) is without equal or precedent in filmmaking history. Gollum is more than simply “believable”; he is steady. His role in the fable is pivotal, and it was Jackson’s test of fire to beget an all-digital character whose range of expression and movement could carry such an distinguished fraction in the fable. It is a masterpiece of moviemaking art.

It will seem incomprehensible to the uninitiated that my only lament about the three-hour film is that it is too short. That’s hardly a criticism, for Jackson has included everything that is relevant to the chronicle line in setting the stage for the trilogy’s climax in the third film. As a matter of practicality, the film can’t exceed three hours for simple economic reasons. A longer film would mean fewer showings — not satisfactory for the profitability of movie theatres — or a higher notice of admission, which would not be favorite with moviegoers. So, the filmmaker has had to accommodate those constraints, and I occupy it’s a job well done.

Still, it’s inevitable that one who has read the book will obtain discrepancies or omissions in the film, but that’s not the basis of my wish that the film were longer. Rather, it’s more a matter of being sorry that it was over at the destroy. “The Two Towers” is so bewitching, so utterly challenging a film-watching experience, that I found myself wanting more. What better statement could one manufacture about the success of the filmmaker who wants his customers to approach relieve for the third and final piece of this record trilogy? The consolation to those who want more will undoubtedly be in the release of the special edition DVD, which — like its counterpart for “The Fellowship…” — will add well-known additional footage to the theatrical version.

Finally, for all the unparalleled technological excellence of the film, the most compelling reason of all to survey it is the anecdote itself. If you treasure tall movies crafted by professionals with vision who stutter a noteworthy narrative exceedingly well, you simply must glance “The Lord of the Rings”. It’s certain that the trilogy has found a special region in moviegoers’ hearts. I saw “The Two Towers” at Edwards Cinema in Brea, California at a matinee showing on December 23, 2002, in a full-house audience of people of all ages. When the initial title “The Lord of the Rings” appeared on the conceal, the audience spontaneously burst into applause. I have never seen that happen at any movie I have ever attended, and for marvelous reason - there has never been a movie like this before.
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I gain both the US and international versions of this film, and the international edition is great better. Both versions carry a limited sexual tension throughout between Leon and Matilda, and the uncut version is more pronounced in this spot, but that isn’t the reason to select it.

The extra 24 minutes on the uncut version provides a deeper opinion of the relationship between the two as the film progresses. For example, in the US version Matilda never becomes a genuine “cleaner” or hitman. It’s only hinted at when they shoot a jogger from a rooftop with blanks. In the uncut version, Leon takes her completely under his sail and teaches her the trade, including scenes where the pair rush around killing dreadful guys and such. In the process, Leon teaches her the “ring trick” by tossing a grenade at a victim and keeping the ring and grenade pin in his hand. This scene sets up the final scenes in the movie in a draw that the US version left short and unexplained.

If you enjoyed the US version, you’ll probably treasure the uncut version more, if only because the characters and their relationships are great deeper.

French director Luc Besson (”The Messenger”; “The Fifth Element”) made his U.S. film debut with this radiant thriller of an Italian hitman who is untouchable. “The Professional” stars Jean Reno (”The Tremendous Blue”) who plays Leon, a professional hitman with ninja-like skills, who eliminates rivals for a mob boss (Danny Aiello) .

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After a ghastly cop (Gary Oldman) eliminates the family residing next door due to a drug transaction gone improper, Leon finds himself the guardian of young Mathilda (Natalie Portman in her camouflage debut) . Taking Mathilda under his helm, Leon teaches her the art of the “cleaner”. However, pains lurks around every corner, and Leon must protect Mathilda from the same cops who killed her family.

Considered by many to be his masterpiece, “The Professional” was originally released internationally under the title “Leon”. However due to the feeling that American audiences might secure some material unacceptable, over 24 minutes of the film was edited out. Finally, Columbia/Tri-Star has made an great decision in releasing the uncut, international version of this gracious film in the U.S. as it originally was called in August 2000.

While the film’s central theme revolves around Leon and his job, the subplot where Mathilda develops an attraction for Leon is reminiscent of the novel/film “Lolita”. The chemistry between both characters in a father/daughter relationship can be intense, especially as we ogle that Mathilda is in her puberty-stage.

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Jean Reno is apt as always, and Gary Oldman gives a chilling performance as Stansfield, the contemptible DEA officer who murdered Mathilda’s family in frigid blood. However, the genuine scene-stealer in this film has to be Natalie Portman. This handsome young girl radiates beauty and professionalism throughout the film. Her porcelain-looking skin, and her great brown eyes are well utilized in this film, making her character more childish, yet used to a positive extent. Portman proved to audiences in this film that she was no flash in the pan, and in her subsequent films, she continues to be a scene-stealer. She is truly Hollywood’s most gifted young actress.

In the international version, most of the 24 minutes that were left out in the film’s 1994 release in the U.S. mainly involves both Leon and Mathilda going on “cleaning sweeps” where she gets first hand training in the art of assassination. The other half of these minutes focuses on Mathilda’s attraction to Leon. Her persistent attempts to be intimate with Leon all fail, but we finally understand why Leon remains a loner when it comes to affairs if the heart. Some might be gloomy about the thought of Mathilda and Leon sharing a bed together, but Besson paints this scene as one captivating platonic care for and not sex.

In wrapping up, I recommend this film for anyone who enjoys a nonstop, high-impact thriller in the same tradition as the “Matrix,” “Blade,” or “Slow Smooth”. Luc Besson truly is one of the world’s greatest action directors, and “Leon” captures his magic. An friendly, pulstaing film from beginning to kill!
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It provides an great reply to some of the reckless propaganda in Moore’s movie. It’s intereseting to stamp that Captain Video provides the only negative review so far. However, his entire commentary is based on associations that the movie has and not the order of the movie. I looked at his other reviews. Dazzling predictable stuff: 1 star if it has a conservative slant and 5 stars if it has a liberal slant. He decries this movie for having a conservative bias yet his review of Moore’s film doesn’t admit to any liberal bias! What an gleaming fraud.

If you loved Fahrenheit 9-11, you HAVE to scrutinize this. This is an enlightening review of grand of what’s said against Bush, by Moore and others, showing what really happened with NO amusing editing and presented neutrally.. Reflect for yourself, and you’ll arrive out SURPRISED at what you’ve learned, and be jubilant you did.

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I shows, among other things, corpulent information and proof that Bush really DID fetch Florida, in spite of what the democrats like to say. And what the Patriot act really is. And noteworthy more that your liberal friends don’t know, and don’t want you to know.. They composed acquire that the Supreme Court voted 5 to 4 against the Florida report..But it was 7 to 9 ..remember?? And were the blacks prevented from getting to the polls?? There is proof here that they weren’t .

I saw it at a screening in LA, and the reaction was hugely sure, from people on both sides..It doesn’t cause infuriate, even in partisans.. It enlightens.
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Imagine. A clam serene morning. A promise of a current day. A promise of treasure, of hope, of joy and prosperity. A promise shattered. A original dream takes over . . .

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Welcome to this gallant fresh world, teaming with the hungering legions of the damned and demented. An inexplicable virus has taken over the barren husks of those who have died and has risen them as recent beings - - - beings who must sate themselves on the gory, writhing remains of the living. And, in the soulless eyes of these macabre creatures, a original world takes perform - - - a world filled with the wails of the tormented dying, a world drenched in the blood of innocents, a world where corruption and decay rule all, a world where hope has died and been buried. In this Stygian realm, the few survivors must create a recent scheme of life, must lock themselves in a fortress of solitude for their physical safety. They must, regardless of the consequences, band together against the grisly hordes that await their warm flesh. However, will the plain onset of mental imbalances, unrequited loneliness, and barren heartedness eat them alive before their loved ones do? Only time will mutter. The clock is ticking. The wearisome are waiting. Step up to the gallows. . .

- - - - - - - - - - - - - - - - - - - - - - - - - - - - - -

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A Film to Die for:

While the dread genre has long been home to the musings of the demented, Dawn of the Dreary takes depression and loneliness to a whole original level creating a film that, simply build, is to die for. The aura is suitably, almost entrancingly, morbid as the film delves into not only the gory rampages of the newly turned, but on the all too precise emotions experienced by the few survivors as they struggle to remain alive and, even harder, sane. While Dawn of the Expressionless is by no means a deep film, it does have that definite something, that inexplicable magic, that makes the viewer care. Yes, indeed, this is one those films that you will utilize yelling at the cover, warning the unwitting characters to turn around, or not go down that creepy corridor, or even better, not to waft advance those that have fair died, indulging in long moments of exertion without remembering honest what happens to the corpses of the infected victims. Yes, the characters lack that definite brain power, but, unlike most zombie flicks, it’s believable. They reside in a world that rotates around death, not life. A world that overnight turned into a carnal house stacked with the bodies of those they once loved so it is acceptable, even believable, that the characters would have worry grasping the ramifications of some of their actions, including their “audacious” notion in the conclusion.

Of course, the best chronicle in the world is only as sterling as its telling. How many times have we, the exalted viewers of America, been presented with an arresting movie understanding that despite the ingenuity has failed on every level (Aeon Flux comes to mind) . And, conversely, how many times have we been presented with a simple, unadorned fable that for some reason spellbinds the entire audience (believe of Paper Moon.) Dawn of the Dreary most certainly falls into the later category. Like most George Romero films (with the exception of that travesty Land of the Lifeless) the acting is lustrous and emotional, the special effects are surprisingly (and sometimes upsettingly) realistic, and the entire aura of the movie from beginning to demolish is rank yet somehow, strangely titillating. Dawn of the Listless creates a rotten world, yet the viewer will want to visit it again and again.

As the movie gains force, the conclusion rushes forward and although, as briefly mentioned above, the characters’ intrepid design does display the viewer with major qualms, it is believable and even well-behaved. Unlike those “cliff hanger” movies that misconstrue intrigue with irritation and determine to ruin with no revelation or meaning Dawn of the Lifeless ends dramatically, poignantly, and memorably satisfying the viewer and rounding out the entire movie nicely, leaving no room for complaints or questions. Also, one word of advice, be positive and glance the ending credits because an indispensable event is actually portrayed as the credits role. This is piece of the conclusion and is highly significant.

Extra Information and a Stamp to Potential Viewers:

The version of Dawn of the Dreary that I viewed was the unrated director’s chop (which I highly recommend) . The film was originally rated R in theaters. Since this movie contains low gore, violence, abominable language, and brief scenes of nudity, viewer discretion is advised (and yes, I got that from TV) . For those who are eager in the actors/actresses these are some of the names of the outstanding cast: Sarah Polley, Ving Rhames, Jake Weber, and Mekhi Phifer. Also, Dawn of the Boring boasts an suitable soundtrack especially the concluding song, so don’t miss it!

- Ravenova

Let me inaugurate by saying that I am a spacious fan of the Romero trilogy, and beget that those movies are irreplaceable. Every fan of the apprehension genre should maintain those films. However, this does not mean that I was not able sight this remake without an start mind. In fact, I loved this movie. Rather than try to completely re-do the Romero film, and in so doing step on Romero’s toes, the filmmakers went for a different crawl on Romero’s basic belief.

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For those of you who are familiar with the current Romero version of Dawn of the Plain, you know that Romero was not going for the full-fledged dismay movie execute. Distinct, the movie had some jumps and some gore, but for the most piece Romero’s film was a satire. Romero did a gargantuan job of combining social commentary with some scare elements, which is, in itself, a statement. This remake, however, merely goes for the thrills and chills.

The 2004 version of Dawn of the Tedious throws you immediately into the horror/gore, and just from the onset of the opening credits you know that this film is no satirical statement. Sarah Polley plays a nurse who wakes up one morning to pick up herself in the middle of a nightmare…only, it’s not merely a nightmare but a waking reality. Her neighbors and husband have been turned into walking (running) corpses (more similar to those in 28 Days Later than Romero’s slow-moving, rigor mortis ridden zombies) and she must discover hurry before thinking twice. She meets up with a few other lucky survivors, and they all score shelter in a shopping mall (aptly named “Crossroads Mall”) . This generous haven seems almost too friendly to be honest with all the supplies they need to last until more benefit arrives, and it is. When the “noble haven” in which the survivors are staying is compromised, they must devise a thought and again race the horrors of the bloodthirsty walking insensible.

Overall, I mediate this was a stout film that all fans of awe should be able to like. The acting was well-behaved, the effects were grand, and the space was cohesive. Though the movie maintained some of the elements from the recent Dawn of the Expressionless (the shopping mall setting, some cheesy mall music playing in the background, some lines of script that served to epitomize the blase routines many people continue to follow throughout their blase consumer-driven lives), for the most piece this was an entirely different film. I really liked the fact that the filmmakers chose not to chop and paste Romero’s script, but rather build a modern film based on his colossal concept. I mediate that anyone who enjoys jumping in their seats at the theater, and intense dread films in general, will worship this movie. I, for one, will anxiously await the DVD release!
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Samurai Champloo is the long-awaited next project from Cowboy Bebop director Shinichiro Watanabe. His two short films in the Animatrix compilation (Kid’s Record and Detective Record) give American audiences a sneak see at the phenomenal art style of this series, but they barely hint at the jaw-dropping action and unorthodox blend of history and music contained therein.

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The first four episodes of Champloo introduce its three protagonists: the vagrant swordsman Mugen, the rogue samurai Jin, and the tea-shop waitress Fuu. This unlikely and volatile trio open a road lope through post-shogunate Japan (ca. 1780), brought together by circumstances best seen to be believed.

“Champloo” means mixed-up or stir-fry, and that’s what this series is: a stylish blend of aged school values and situations, meshed with more recent sensibilities, fighting styles, and visual compose. Over the lush, dynamic art, a soundtrack of some of the best hip-hop from recent Japan plays. Though it’s a noticeable contrivance in the first few episodes, it doesn’t acquire long before the music feels like second nature despite the anachronism.

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Champloo is many things: a archaic drama, an action series, an uproariously silly comedy and a visual feast. Watanabe-san demonstrates here that the success of Cowboy Bebop was uniquely his, and no fluke - fans of that series will not be disappointed, despite how radically different the two storylines are from one another.

As the first title card of the first episode of Samurai Champloo says, “Unbiased shut up and gaze.”

“Champloo” is an Okinawan word (more properly pronounced champuru) meaning “mix” or “blend,” and is most often applied to worn food dishes such as “Goya Champloo” or “Stir-fried Champloo.” It’s basically a mixed stir-fry with a seemly infinite number of potential ingredient, and a very fitting description of Watanabe Shinichiro’s current series “Samurai Champloo,” an eclectic blend of traditional and unique, hip-hop and koto, and stunning noteworthy everything else thrown into the mix.

Watanabe is a heck of a chef, and manages to balance such dissonant elements as a bookish but deadly Ronin (Jin), a wild sword-swinging roustabout (Mugen) and a kooky but positive waitress (Fuu) into a tasty dish respectable of his previous concoction “Cowboy Bebop.” Each ingredient supports the flavor of the other perfectly, creating a variety of tale possibilities that couldn’t be found by following honest one personality. Hip-hop music sets the background for a Japan where a wild swordfighter uses capoeira moves to slash and dice with a fury, and an titanic man known as the Oni smashes skulls with his massive club.

This first DVD sets the stage accordingly, with the trio being pushed into an discouraged alliance, attempting to split up, and finding their destinies inexorably intertwined. Fuu leads them on a quest for the “Samurai who smells of Sunflowers,” providing the McGuffin that keeps the account arresting.

Watanabe’s trademark style is on pretty note, with still animation and a expeditiously and flowing tale punctuated with serene moments of reflection. The anecdote builds at a top-notch high-tail, allowing all the characters to originate in time. If “Cowboy Bebop” is anything to go by, we can ask quite the scurry and explosive do to “Samurai Champloo”
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Do not rob this supposedly original, anamorphic version. It is not, and the quality is bad. I contemplate they slipped the musty cruddy DVD version in this “recent” case. The plot free Bluray looks like it is probably of sterling quality.

This is the same non-anamorphic disc as before, but repackaged. Which makes Lionsgate liars, because the aid of the insert claims it is “16×9″. Thanks for taking my money, scumbags.
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“Tammy and the Bachelor” is the best of the “Tammy” series, with fantastic and very engaging performances by its stellar cast, including the energetic Debbie Reynolds, who not only entertains the viewer with her role as the backwoods Tammy Tyree, but also actually becomes her! Debbie Reynolds also had significant success with the movie’s theme song, “Tammy” (better known as “Tammy’s in Cherish) .” One of the most memorable scenes to me is of Tammy performing as a Southern lady tour guide and gives a amazing and sentimental performance that you won’t forget! Also primary is Fay Wray as Pete’s mother, Mrs. Brent and Mildred Natwick as the eccentric Aunt Renie, artist and cat lover extrodinaire! “Tammy and the Bachelor” is followed by three sequels, with Sandra Dee taking on the section of Tammy Tyree in “Tammy, Sing Me Good” and “Tammy and the Doctor,” and then Debbie Watson as Tammy Tarleton in 1967’s “Tammy and the Millionaire,” which is sadly missing from this area. Though all three movies included her in this status are luscious and exciting in their occupy design, “Tammy and the Bachelor” is a right classic movie gem and should not be missed! The three “Tammy” movies tranquil here are a welcome addition to any classic movie dvd library and will add a nice touch of ’50’s innocent whimsy to your classic romantic comedy dvd collection! It’s astronomical to finally observe these fantastic titles getting the dvd treatment!

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“Tammy and the Bachelor” (1957)

Sentimental and sugary behind `50’s comedy with extraordinary performances throughout, “Tammy and the Bachelor” is one of those movies that you simply cannot succor but like watching again and again! The situation involves a beautiful, young man who has unprejudiced crashed his plane in some backwoods swamp. The man is then rescued by young and aesthetic Tammy Tyree (Debbie Reynolds, who gives a heartfelt performance) who lives with her lay-preacher-cum-moonshiner grandfather (wonderfully performed by Walter Brennan) in a houseboat next to the riverbank. The young man introduces himself as Peter Brent (Leslie Nielsen), and is charmed by the sweet bewitching Tammy. Before Peter leaves, he tells Grandpa that if he ever needs any encourage, to approach salvage him. It isn’t long until Grandpa is sent to jail for his moonshining, so he sends Tammy to halt with Pete. Tammy discovers that Peter Brent is not only a delicate bachelor, but is also very wealthy! Pete, as well as his entire family, fetch caught up in Tammy’s home cooking, enthusiasm and quaint sunshiny personality which brings about changes in Pete’s family and in Pete himself!

“Tammy, Voice Me Moral” (1961)

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Following the success “Tammy and the Bachelor,” Sandra Dee takes on the portion of the backwoods, riverboat gal, Tammy Tyree. In search of an education to better herself, Tammy is off to college and is soon caught up in the lives of the college staff, especially young and stunning college professor, Tom Freeman (John Gavin) . A fun and energetic romantic comedy that is both inspiring in it’s simple record telling and the comedic situations. Tammy tries her hand at babysitting some unruly kids whose parents refrain from disciplining them. And the outcome is hilarious! I also enjoyed the astounding scenes with Tammy becoming a paid companion to a wealthy widower, Mrs. Annie Call (Beulah Bondi, who gives a colossal performance) and discovers a kindred spirit in the seemingly bitter ancient lady. “Tammy, Snort Me Just” is enthralling in its storytelling and the cast gives spicy performances. Sandra Dee’s acquire on the “Tammy” role is intelligent and she is (as always) sweet and lovable to search for. A fun and luscious addition to “Tammy and the Bachelor” that you’ll appreciate watching again and again!

“Tammy and the Doctor” (1963)

Sandra Dee reprises her role as the down to earth Tammy Tyree in this third installment of the “Tammy” series. Though attractive in its overall storytelling, “Tammy and the Doctor” seems more corny than accurate in the cast performances this time out. The situation consists of Tammy becoming a candy striper at an dwelling hospital, where she meets young and aesthetic Dr Designate Cheswick (Peter Fonda) . The nurses have a laugh at Tammy’s backwoods philosophies and once again, Tammy has to plot things straight in each of their lives. An appetizing cast includes Macdonald Carey as Dr. Wayne Bentley and Beulah Bondi reprises her role as Mrs. Annie Call. Though not up to par as it’s predecessors, “Tammy and the Doctor” is savory enough for an occasional night of TV viewing.

This has been a broad year for Ross Hunter on DVD. In addition to the Lana Turner melodrama double feature, Universal now gives us three comedies for a grievous tag in this station. All three “Tammy” films made from 1957-63 are included. If you are looking for some family entertainment or an evening of nostalgia, this situation is for you.

Taken chronologically, the first film “Tammy and the Bachelor” was released in 1957. Producer Hunter borrowed Debbie Reynolds, who was under contract to MGM, to play Tammy Tyree (short for Tambey which means immortal) . This was a enormous A-budget film in Technicolor and CinemaScope. I am determined he knew that if he didn’t have a “Tammy”, he didn’t have a movie.

Reynolds is a delight as the truth-telling, blunt river girl who finds herself sharing lodgings with the Brent family. Leslie Nielson is the very splendid pilot who crashes a plane in a swamp and is rescued by Tammy and her grandfather (Walter Brennan) . A lot of viewers seem to remember that the Brents were rich, but they actually didn’t have considerable money. Son Peter (the “Bachelor” of the title) was trying to rep a blueprint to construct the land pay for itself. The only income the family had was from the tourist trade who visited their mansion each year. When Grandpa is thrown in jail by the revenuers, Tammy hitchhikes with her goat Nanny to BrentWood.

Most of the narrative is taken up with fish out of water scenes, but this is the type of comedy that Reynolds excels in. The supporting cast is safe, with attractive turns by Fay Wray, Mildred Natwick, Sidney Blackmer, Phil Ober, and Mala Powers.

Reynolds especially impresses in a actual scene at the tourist gathering where she “improvises” a yarn about the dress she is wearing and her arrival at the house in the previous century. The viewer really can’t attend but be charmed by her. She also sings the title song which became a great picture hit for her. In fact, the film was doing only ordinary business until Reynolds recording began to earn a lot of radio play. Universal-International set it benefit into several hundred theaters and drive-ins and made a LOT of money.

“Tammy and the Bachelor” on DVD in widescreen has grand color. Directed by Joseph Pevney with some nice on region photography, it clocks in at a brisk 89 minutes. The disk it is on includes the fresh trailer and English SDH and French subtitles. Audiences loved this movie and continue to do so. First week sales of the DVD in stores and online was wonderful.

The second and third films in the series are one disk. “Tammy Screech Me Apt” was released in 1961 and starred Ross Hunter discovery Sandra Dee as Tammy. Dee was certainly not the actress that Reynolds was, but she does bring a comely charm to the role. The script was by Oscar Brodney (who wrote all of the films), and it was directed by Harry Keller. It was released in a different widescreen process and you will fetch bigger image on your shroud with both the movies on this disk. Both films also have the SDH and French subtitle options.

Taking up where “Bachelor” left off, Tammy is with the Brents. Pete has gone off the agriculture college, and Tammy is left waiting at Brentwood. With typical Tyree pluck, she decides she needs to come by some education and takes the Effie B shanty boat down the Mississippi River to assist Seminola College as a “special student.”

The Dean of Women, Miss Jenks (played by Virginia Grey, a friend of producer Hunter) recognizes Tammy’s innate humanity and welcomes her to sit in on classes in modern events and public speaking. The latter is taught by instructor Tom Freeman. He and Tammy met earlier in the day by a tree in the park.

Tammy is also sent to be a companion to Mrs. Annie Call (Beulah Bondi) . Mrs. Call is a bitter, mean faded woman - as she says herself. Her niece misunderstands Tammy’s background and sends her away. When Tammy sneaks serve into the backyard and has a heart to heart talk with her, Mrs. Call hatches a understanding. She runs away to the Effie B to relive her childhood times of life on the river.

There are complications. Tammy isn’t current by the others in school, she gets a couple of babysitting jobs, and she is even eventually accused of kidnapping and robbery. Don’t grief it all works out in the waste.

The supporting cast here is unprejudiced as challenging as in the previous film. In addition to Grey and Bondi, we have Gigi Perreau (frail child star), Taffy Paul (who would become Stephanie Powers), Charles Drake, Hayden Rorke, Billy Mumy, Edgar Buchanan, and Juanita Moore. We also recognize some familiar exteriors on the Universal backlot including the house that would belong to the Munsters and the exterior of the house that the Kettles won and lived in for several entries in that movie series.

Dee isn’t quite as lucky in the leading man department here. She is stuck with John Gavin, who is more pretty than Leslie Nielson to be distinct, but unbiased can’t act. The scene where he is to laugh at things Tammy says is so forced, it is embarrassing to peek. He does say the same line that Nielson says to Reynolds: “If I’m laughing at you, it’s with pure delight.” And that isn’t said with noteworthy conviction either.

No trailer is included with “Tammy Instruct Me Correct”, but it does have the gorgeous novel bag by Percy Faith, one of his few fresh film scores. There is a title song that serves the purpose, but the modern by Ray Livingston and Jay Evans is missed. There is no other credit for the tiny singing performance, so until otherwise informed, we have to catch the Dee did her occupy singing here. This film is the longest of the trio at 97 minutes and is directed by Harry Keller.

The final theatrical feature here is “Tammy and the Doctor” released in 1963 At least we collect a trailer with this film, though it certainly isn’t in very profitable shape.

Dee suffers from a bad choice of leading man here, too. One would believe that Peter Fonda would be able to assure some kind of emotion or at least some charisma on the shroud. Here in his debut, he is a zero. His delivery of the line “If I’m laughing, it’s with pure delight” is even worse than Gavin’s. And Dee is getting a bit stale to play the innocent wide eyed Tammy. Producer Hunter must have decided that they had to glean Tammy out of the abet woods and off the river. So with Bondi recreating her Mrs. Call role and needing heart surgery, she and Tammy are uprooted and transferred to Los Angeles.

As hastily as she was taken into college, Tammy is employed by the hospital. She creates several amusing incidents, but she is always set aside wait on to mopping floors (this gag wears out its welcome after the fourth time) . She becomes enamored of a young intern (Fonda) and decides she doesn’t esteem Tom Warren (Gavin) after all and sets her cap for young Dr. Impress Cheswick. Tammy is nothing if not fickle.

The supporting cast again is generous with MacDonald Carey (gross as he is), Margaret Lindsey, Alice Pearce (the recent “Bewtiched” Gladys Kravitz), Reginald Owen, and Adam West (unprejudiced before becoming Batman on television) . The accurate treat for trivia and movie fans in the cast is Joan Marshall. Who?? Well as Joan Arless she played the double male/female leading role in “Homicidal.” Here she is a handsome gargantuan redhead, and it’s fun to peep her as she really looks. Marshall was also originally cast as Lily Munster, but was replaced by Yvonne DeCarlo for the subsequent series.

Dee sings the unique title tune, although I am not distinct that is truly her announce. “Tammy and the Doctor” has the gratified ending you interrogate. And it is fun. It runs 88 minutes and Keller once again takes the helm.

Of the three films,this is the only one with a singular credit by writer Brodney. The others credit the new novels by Cid Rickets Sumner (Tammy Out of Time and Tammy Shriek Me Correct.) Sumner’s tale did not have a Tammy ending, she was murdered by her grandson.

All of the movies in this collection are exquisite, if you are in the legal mood, or if you fair like the stars. Certainly you can perceive the progression from unique project, to star vehicle, to assembly line feature making as you go along. It’s a noble history lesson in how Universal Studios was race and the product it was turning out. The only “Tammy” title missing is “Tammy and the Millionaire” which was actually a few episodes of a short-lived television series starring Debbie Watson edited together to perform a terrible feature film.

At the outrageous suggested retail imprint, you accumulate a lot of entertainment value. And you honest might laugh a time or two. Tambey - it means “immortal” you know!

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Dragon Ball Z Kai: Season One, Part One Blu-ray Description:

The Legendary Z Reborn!

For the first time in history, experience the legendary Z as the master intended: bigger, faster, stronger, and packed with the pulverizing power to blow your puny minds! Beef up your collection with this manga-centric, fresh take on Akira Toriyama’s original vision, featuring more action than you can handle, revitalized animation, and an amped-up audio experience that will make your ears beg for mercy!

The last descendants of an evil race of warriors known as the Saiyans are on a collision course with Earth, and Goku – the strongest fighter on the planet – is all that stands between humanity and extinction. To save his friends and the world he loves, Goku must travel to a realm from which few return, but should he survive, he’ll discover the power to face the villainous Saiyan warlord – Prince Vegeta.

• Amazon Sales Rank: #153 in DVD
• Brand: FUNIMATION PROD INC
• Released on: 2010-05-18
• Rating: NR (Not Rated)
• Aspect ratio: 1.33:1
• Formats: Full Screen, Color, Box set
• Original language: Japanese, English
• Subtitled in: English
• Dubbed in: English
• Number of discs: 2
• Running time: 325 minutes

Customer Reviews:

So Many Misconceptions…
I have to say there are so many misconceptions with this series that it’s not even funny. Let’s just go over a few of them, shall we?

1: This is a rip-off because there will be over 270 episodes!
-Wrong. This series is MUCH SHORTER. By Episode 13, Goku is already fighting Vegeta, as opposed to being in the 30’s by then. In fact, there’s probably only going to be up to 150 episodes at the MOST according to Toei Animation themselves.

2: This isn’t a new series, so no one will want it.
-Also wrong. While it’s not a new series, the logic behind a re-release is to introduce a new generation of youth to the series and create a new generation of fans. Plus it’s also going to be airing on television again soon, though again it will be severely edited.

3: The artwork is cheap!
-While it’s hardly groundbreaking, the artwork is NOT cheap. It’s simply a touch-up of the existing film, and anything that couldn’t be saved or deteriorated too much had to be redrawn. They did that as little as possible to maintain the classic look and style that Toriyama-sensei gave to his world.

4: The acting is horrible and so is the script!
-The thing is, this was Funimation’s first big anime. Most of the voice actors had not only no experience, but were STAFF working at the studio. They had to pick up the slack after a contract dispute with the previous cast went awry, and despite this, they still managed to make it a classic.

However, even if one plays the games, you can notice these actors have improved greatly over time. And this is a complete and utter redub. So they’re bringing all their added talent and experience into this with a much better script. I myself have heard some of the new dubbing, and you can actually FEEL the emotions in the characters’ voices.

And finally…

5: Cutting out the filler removes what let you get to know the characters better!
-Actually, the thing is… the way the characters are presented in the filler (With exception perhaps to the Garlic Jr Saga) are often times not the way they really are at all. for example, filler made Roshi into an even greater pervert than he was, made Krillin into a mere comic relief character half the time (which he’s not), made Gohan seem to be much more into fighting than he actually was, etc. What gives you the character development and background is the series DRAGON BALL, which is what comes before DBZ in the first place.

Now as for what this is… this was the original DBZ story as it was written by the author. This is the characters being treated with respect and not bashed because they look funny, this is the villains being darker, this is the story with more flow… It’s quite literally the manga (comic) in anime (animated) form. It’s got a great new dub, new script, even in the Japanese version, and an HD touch-up on the animation. Now we seem to think HD has to fit a certain eye-popping criteria, but that’s not always the case. What it means is that it’s crystal clear and smooth, no visible defects, not as much grainy effect.

If you’re new to the series, I suggest you watch. If you’re not new to the series, you’ll love it anyways. (But parents be warned, DBZ uncut is NOT the same as what you’ll see on TV. More violent, for sure)

But it’s well worth a purchase.

F***ing Amazing !
I just recieved my copy of Dragon Ball Z Kai on Blu-ray today. ( gotta love Rightstuf ) Anyway this is AMAZING ! packaging is awesome, quality is awesome, sound is awesome, redub is awesome, opening and closing credits, awesome. ( Keyword; just AWESOME ! lol ) But anyway this comes with 13 episodes; 9 on the first disc and 4 on the second disc. ( In my opinion I think the DVD version is going to have 7 in the first and 6 on the second ) There aren’t any extras but hey who CARES ! The redub is better then I expected. Although its the same voice actors they just act better then original DBZ and better script ( but thats probably because org DBZ was dubbed like 12 years ago ) Sond is of course 5.1 and Japanese 2.0. And Finally ! they have next episode previews in english ! Well.. nothing else I really can say..just have to GET IT ! and support DBZKai ! ( I’ll probably post pics up later today or tomorrow) =P

If We Have to Have DB in HD
This is the way to do it. This release deserves 5 stars simply for the fact that it ISN’T the planned Dragon Ball Z Remastered Season One Blu-Ray with the horrible Funi transfers. This is Dragon Ball Kai, the Toei Animation retelling of Dragon Ball Z. It uses the original japanese masters and has been remastered and edited down to about 100 episodes, removing all of the annoying filler that detracted from the flow of the story. No more five episode power up sequences, no more driving school, nada. This is the manga, animated. It’s also not simply a remaster of original footage, but also a reproduction. Lots of scenes that have been damaged over time have been reanimated, and other scenes have been redrawn completely. Lots of special effects have been improved and really shine on Blu-Ray.

Note: I own the japanese Dragon Ball Kai Blu-Ray releases so my review is based on that. The US release should basically be a copy paste with the Funimation english dub, which I’m excited to have on Kai.

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Sleepy Hollow Description:

Master storyteller Tim Burton (Batman, Edward Scissorhands) weaves an eerie, enchanting version of the classic tale of horror. Johnny Depp (Pirates of the Caribbean 1 & 2) is Ichabod Crane, an eccentric investigator determined to stop the Headless Horseman. Christina Ricci (Monster) is Katrina Van Tassel, the beautiful and mysterious girl with secret ties to the supernatural terror.

• Amazon Sales Rank: #3189 in DVD
• Brand: DEPP,JOHNNY
• Released on: 2000-05-23
• Rating: R (Restricted)
• Aspect ratio: 1.85:1
• Formats: Anamorphic, Closed-captioned, Color, Dolby, DVD, Widescreen, NTSC
• Subtitled in: English
• Number of discs: 1
• Dimensions: .20 pounds
• Running time: 105 minutes

Features

• ISBN13: 9780792164906
• Condition: NEW
• Notes: Brand New from Publisher. No Remainder Mark.

Customer Reviews:

Spooky, stylish film — Excellent look and sound!
This was a very enjoyable telling of the classic tale that is very heavy on atmosphere. The DVD has several extra features that really add to its value beyond the straight movie too.

The look and feel of the film are great. We are taken back to the late 1790s to a very convincing Sleepy Hollow that has lots of fog and smoke, distant lightning, scary jack-o-lanterns, and twisted trees. The movie has a great deal of suspense built into it, and we are treated to lots of tense moments when the horsemen is near, along with some fairly short, but sometimes very intense scenes of decapitation. The film is much more of a drama than a horror film — the plot is quite complex and usually laid out well.

For me, one of the best parts of the film was the Danny Elfman score — it was very rich, with lots of interesting effects built into — brooding strings, eerie children’s chorus, and tinkling bells. It added both suspense and humor to the film.

The acting was good. Johnny Depp and Tim Burton work well together — Depp shows a nice range of emotions as the somewhat nervous Ichabod Crane who was investigating the horseman’s murders. Christina Ricci played a very pretty but very mysterious young lady with links to the horsemen. The whole cast was very good and tended to play a bit over the top (this is Tim Burton after all).

A particular favorite for me was Christopher Lee in a small but powerful role as a judge who sends constable Crane off to Sleepy Hollow.

The DVD has several very good features, including commentary by Tim Burton, a nice set of interviews with cast and crew, and a good “Making of the Movie” feature that shows how a lot of the special effects (including decapitation) were done.

A good movie on a DVD with lots of features!

GREAT FUN now in HIGH DEFINITION!!! can you ask for more?
I love this film. Tim Burton really did a wonderful job creating that kind of atmosphere no other director can create… and the cast is superb!

Johnny Depp delivers one of his most offbeat performances… and Christopher Walken as the headless horseman… and Michael Gambon… all are great.

Now about the things you want to know… the image here is top notch. Crystal clear, high definition picture as you’ve never seen - which is interesting: since the film has a dark cinematography you’ll be amazed how well the High Def takes advantage of all it can do to give you a kind of image you’ll think you only get in a movie theatre.

In fact, to see the forest with all the fog and those trees in gorgeous high definition is a trully cinematic experience. And I do believe this is one of those movies who beg for high definition - And this HD-DVD edition delivers it just as you’d expect: flawlessly.

And when it comes to sound… boy, this is incredible… an umbelievable bass runs through my living room as the horse gallops through the woods. All I can say is thast I’ve rarelly seen a sound design job as well done as this!

Get this HD-DVD for a true cinematic experience!

Tim Burton does Hammer horror, with stunning results
Loosely based on both the original Washington Irving story as well as the Disney version, Tim Burton’s Sleepy Hollow takes a revisionist approach and ends up with a genuine horror classic. Johnny Depp stars as “Constable” Ichabod Crane, an 18th century detective keen on using scientific methods (unheard of in this period) to solve crimes. Annoyed by his unconventional methods, Magistrate Christopher Lee sends Depp upstate to Sleepy Hollow to investigate a string of grisly murders-by-beheading. Depp/Crane becomes involved in a supernatural situation that tests his lack of faith (a sub-plot resulting from a childhood trauma involving his mother [Lisa Marie] and sinister father) and makes him a full witness to the goulish decapitations. Christopher Walken is absolutely frightening as the horseman, and Christina Ricci and a cast of classic British actors flesh (pardon the pun) out the story with hints of shady business among the town’s statesmen. The commentary by Burton is fairly optional, but the “making of” and other features enhance the movie superbly. Burton uses a foggy, bleached style to enhance the appearance and tone of the movie, creating a genuinely unique vision. Be warned, though - there’s lots of loppings in this flick, so it’s definitely not for the squeamish. With homage to Hammer horror films but otherwise unique in the genre, Sleepy Hollow should easily take its place among other groundbreaking horror movies like The Shining or An American Werewolf in London. Need a movie to shake you out of your Friday-the-13th complacency? Get this DVD!

Amazon.com
The films of Tim Burton shine through the muck like a jack-o-lantern on a foggy October night. After such successes as The Nightmare Before Christmas and Edward Scissorhands, it should come as no surprise that Sleepy Hollow is a dazzling film, a delicious reworking of Washington Irving’s The Legend of Sleepy Hollow. Dark and moody, the film is a thrilling ride back to the turn of the 19th century. Johnny Depp stars as Ichabod Crane, a seemingly hapless constable from New York City who is sent to the small town of Sleepy Hollow to solve the mystery of the decapitations that are plaguing the town. Crane is a bumbling sort, with a tremendous faith in science over mysticism, and he comes up against town secrets, bewitching women, and a number of bodies missing heads. Christina Ricci, as beautiful as ever, is Katrina Van Tassel, the offbeat love interest who alternately charms and frightens Crane.

The film, while occasionally gory (as one should expect from a movie about a headless horseman), is not terribly frightening, although it is suspenseful. Both Depp and Ricci are convincing, and the art direction and production values give the village its harsh feel. Toward the end, once the secrets are revealed, the film does slow down; however, this stylistic horror film provides many tricks and even more treats. –Jenny Brown

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Download Species. Product: Species Average customer review: Amazon Price: Sale Price Too Low To Display Click Below To See Amazon Sale Price Add to cart to see discount price@ Availability: In Stock Usually ships in 24 Hours Free Shipping At Amazon

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While the film itself is a adore it or abhor hit kind of thing (as far as the legend and actors and whatnot), I would like to rate the steady quality of the disk and what separates it from the dvd version.

Buy,Download, Or Stream Species! Click Here

The Blu-ray version of this movie is mighty better than all the other version. Better quality images, better quality sound, and you even secure a frosty seek into Giger’s creative process with a extra on the blu-ray that shows him creating the “irascible articulate” sequence.

Personally, I liked the movie - but I deem what most people want to know is, is it worth buying the blu-ray version vs. the dvd version and the reply to that request is DEFINATELY!

Don’t be incorrect, the focus of this movie is to entertain. Mission accomplished! If your looking for a deep meaningful movie forget it. If your offended by nudity forget it. If action, gun play, and terror offend you forget it.

Species is a SciFi\Action thriller with sex appeal. From the opening to the conclude of the movie your senses are bombarded with the goings on of a very sexy and very often nude Natasha Henstridge’s fight for her alien life. The tale line is solid and cohesive, with a few twists and turns thrown in this classic SciFi fable. Species is filled with: gargantuan actions sequences, superb sound, very high quality production, and great acting from a good cast. A classic mix of SciFi and Action required viewing for any honest SciFi buff and an beneficial choice.
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