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Posted By donfranco1957 on February 2, 2010

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I saw Mirageman at the Seattle International Film Festival two years ago. This is a vast microscopic film with no special effects but a tall chronicle. Very sharp for the over 13 crowd. Anyone wanting to perceive how a man could become a masked hero in the steady world will net this very instructional. It plays things very realistically in the beginning.

I objective saw this film a couple hours ago. I mediate it had some friendly fight scenes. This is an action packed film compared to the poorer Kiltro. It has many fight scenes. Marko actually hit and kicked the dreadful guys for staunch in this film. The only pickle was, it was nearly all the times too difficult to perceive that. The camera angle`s could have been better. As could the editing. I contemplate they did too noteworthy of this lickety-split sever editing.

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I judge Marko actualy punched too rapid in some of the fights. He punched so posthaste i couldn`t survey them. I believe they should have told him to tiring, down, so the viewers could actually peek the punches. I didn`t like the sound effect`s they traditional for the punches. I mediate it literally lacked punch and bass. Other than that, it was beneficial. I really liked the reporter in this film named Carol Valdivieso. I was objective glued to hide everytime she appeared. I adore those fair sunless brown eyes. What a looker!. But, one thing i didn`t like was that she dyed her hair blond later in the film. I believe she looked best with brown hair. So, if you was disappointed like me after watching Kiltro, you will be more jubilant to ogle this film. As said, many more fights than Kiltro.

Recommend.
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Posted By donfranco1957 on January 26, 2010

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THE MUMMY (1932) – 5 STARS

Boris Karloff is resplendent as the living mummy Im-ho-tep, who angered the gods by reading the scroll of Thoth, which would raise the humdrum body of his beloved Princess Anckesen-Amon. When Im-ho-tep’s tomb is discovered over 3,700 years later and one of the archeologists reads the scroll of Thoth, Im-ho-tep is brought befriend to life. He later removes his mummy wrappings and assumes the identity of Ardath Bey. Ardath meets and falls in care for with a reincarnated version of Princess Anckesen-Amon. In the raze, the Princess calls upon the goddess Isis, who zaps Ardath Bey/Im-ho-tep assist into a skeleton. This movie has withstood the test of time to become a classic.

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THE MUMMY’S HAND (1940) – 1 STAR

In this sequel, continuity is sacrificed at the expense of the contrived situation. The living mummy, played by Tom Tyler, is renamed Kharis. He remains in his mummy wrappings and slowly shuffles along for the duration of the movie. The scroll of Thoth is discarded, as the means for reviving the mummy involve boiling tana leaves and drinking their juice. Finally, the Princess is referred to as Princess Ananka. The archaeologist Steve Banning (Dick Foran), his buddy Babe Jenson (Wallace Ford) and a magician named the Immense Solvani (Cecil Kellaway) are played strictly for laughs. At the kill, Kharis is supposedly destroyed by being dwelling on fire.

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THE MUMMY’S TOMB (1942) – 4 STARS

Lon Chaney, Jr. assumes the role of Kharis in this movie, and is a grand improvement over Tom Tyler. A high priest brings Kharis to America to destroy those responsible for desecrating the tomb and digging up Princess Ananka. Kharis is brought to Mapleton, Massachusetts, where Steve Banning lives. Interestingly, he resides in a mansion which looks like a Southern style plantation. Kharis kills Steve Banning (hooray!), Steve’s elderly sister (boo!), and Babe Jenson (hip hip hooray!) in rapid succession. Kharis is supposedly burned to ashes when the mansion is region on fire.

THE MUMMY’S GHOST (1944) – 3 STARS

Lon Chaney, Jr. returns as Kharis, while John Carradine plays the high priest Yousef Bey. Yousef goes to Mapleton, Mass. to revive Kharis and Princess Ananka with the tana leaves. It works on Kharis but not on the Princess. Fortunately for Kharis, the heroine of the movie is really the reincarnated Princess. Yousef Bey has designs on her, which causes Kharis to ruin him. Even though there aren’t any swamps to deny of in Massachusetts, Kharis and Princess Ananka are chased into a swamp, where they supposedly drown together.

THE MUMMY’S CURSE (1944) – 2 STARS

Continuity is once again sacrificed, as Kharis (Lon Chaney, Jr.) and the reincarnated Princess Ananka (Virginia Christine) emerge from a drained swamp in the bayous of Louisiana. Although that setting makes perfect sense, give the Southern style mansion and swamp of the previous two movies, no explanation is given for them drowning in Massachusetts and being dug up in Louisiana! In the final film in this series, the reincarnated Princess Ananka is turned into a living mummy by drinking the juice of the tana leaves, while Kharis is killed when fragment of an traditional monastery collapses on him and buries him alive. Abbott and Costello would meet a different mummy, named Klaris, in their 1955 movie.

A TOTAL OF FIFTEEN STARS, DIVIDED BY FIVE MOVIES, EQUALS AN AVERAGE RATING FOR THE FILMS OF 3 STARS. The documentary entitled “Mummy Dearest: A Fright Tradition Unearthed,” the Mummy Archives of level-headed pictures and posters, and theatrical trailers for all five movies are well done, but not enough to raise the average rating for the boxed residence of films.

Universal Studios offers pleasurable dollar value with this collection. The films have all been re-mastered. The new trailers are included, and there’s a short feature about the creation of the recent film. With the exception of the transfer of the unique film itself their work is stellar. (Actually it’s lovely. The print of the unique film probably unprejudiced wasn’t in worthy shape to inaugurate with) . The trailers are exquisite but likely won’t be watched more than a few times. The documentary on the creation of the film is (for me anyway) one of the most exquisite in their entire series. The stories about Zita Johann and her clashes with (Director) Karl Freund are too humorous for words to picture.

The sequels are more fun to pass a bit of time with than the new was though. They’re light and not particularly demanding, and they’re filled with enough laughs (intentional and otherwise) to perform any hour a ample one. Archival bits weren’t matched well with the rest of the footage but apart from that the films are superbly crafted. Yes, the dialogue and the acting are unpleasant but the photography, sets and makeup are splendid. Grand of the lighting was done brilliantly. This combination of helpful with unpleasant gives them a sort of charm that hasn’t discontinue. At least, it hasn’t cease yet.

The Mummy ****

Karloff’s portrayal of Ardath Bey (Im-ho-tep) remains one of the best of its kind. His way of communicating intent by not doing things was ahead of its time. Zita Johann was an sterling foil for him. Her combination of demure femininity and exotic (but eccentric) sexuality fabricate her one of the most memorable of all of Universal Studio’s awe film heroines. Edward Van Sloan gave a performance that’s essentially another version of his portrayal of Van Helsing but it served the film well. The rest of the cast is solid, if not noteworthy.

The film has some scenes that are serene chilling. The first confrontation with the reanimated Mummy is exceptional. Karloff’s scenes with Johann while she’s under his spell weave mysticism with an undercurrent of shaded erotica in a design that pulls the viewer legal into their web. Accordingly, the dilemma and helplessness of the individuals trying to retrieve her from the fill Bey has over her is unbiased as compelling. The special effects veteran in the final confrontation between Ardath Bey and his pursuers were phenomenal then and remain impressive now.

It’s composed easy to notice that this film is far proper to the fresh remake.

The Mummy’s Hand **

The sequels the film spawned that began running in 1940 weren’t really sequels. The first of four featured the singing cowboy (Dick Foran) who didn’t hiss, a boob of a sidekick (Wallace Ford), a magician (Cecil Kellaway), a admire interest (Peggy Moran) and a no-name Mummy (whose name was Tom Tyler) . There’s also a victim (Charles Trowbridge) who has a name (and a piece worth mentioning), a couple other victims (who don’t have parts that are worth mentioning) and a satisfactory (even literate) villain (George Zucco) . They state off in search of the Tomb of the Princess Ananka but they fetch Kharis instead. Plenty of doo doo follows. All the victims fail to out hasten the slowest menace on the planet and Peggy Moran turns out to be the one spook film heroine with the sense to wear flat shoes. It’s comical but it’s a lot of fun to stare.

The Mummy’s Tomb **

Two of the players from the first film returned (so they could gather killed) but a novel “Mummy” was brought on board. This time Lon Chaney was cast in the role of Kharis. He moved as slowly as Tom Tyler but at least didn’t gaze like a moth caught in headlights the contrivance Tyler did when caught in close-ups. The archaic villain (George Zucco) came serve as well but had the sense to recruit a modern dummy (Turhan Bey) to find shot at. In this film thirty years have passed since the first encounter and the remnants of the unique cast have grown obsolete but technology hasn’t progressed a whit.

The Mummy’s Ghost **

A original reincarnation of the Princess Ananka is played by Ramsay Ames. She’s named “Amina” (which sounds like something gastric or an additive for laundry detergent) and she’s surrounded by the usual lot of hapless defenders (played by nobody anyone ever heard of) . They mean well but couldn’t hit a barn door with a cannon. The most able among them turns out to be a slight dog named “Peanuts”. John Carradine was cast as the heavy in the portion and (except for the fact that he looks about as noteworthy like he’s from Egypt as a Penguin would) he did a comely capable job with the role. Chaney was befriend as the Mummy as well and he lurched along at the same tear as before. He was reportedly drunk for distinguished of the shoot but had no dialogue so the only slurring came from his left leg. For all that, he is peaceful genuinely menacing when need be. Lon was too gracious an actor to ever blow it totally.

The Mummy’s Curse ***

This one has to accumulate the extra star. It has the same flaws as the rest (comical dialogue, awful acting, absurd stereotyping and non-progressive technology) but the situation is more captivating and the casting is better. Peter Coe (as the heavy) at least seems as if he could be from someplace other than America. Virginia Christine took the role of Ananka and, though she didn’t behold like she could be from Egypt, was exotic enough to conjure the conception of being from somewhere far away. Chaney also gave his best performance in the role of Kharis. His movements are aloof tedious but the raw strength and relentless nature of the character were depicted well. That alone could have spot it above the rest.
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Posted By donfranco1957 on January 15, 2010

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“Desert Hearts,” directed by Donna Deitch, opens in Reno, Nevada in 1959. The film, which is based on a unusual by Jane Rule, tells the myth of Vivian (played by Helen Shaver), a prim-and-proper college professor who has approach to Nevada to collect a divorce. There she meets Cay (Patricia Charbonneau), a lusty, free-spirited casino worker. The relationship between these two dazzling women is the focus of the film.

“Desert Hearts” is a astounding film. It’s very erotic, tender, and animated. The women’s account is complemented by suited production values and effective utilize of period music. The performances are worthy all around. The leads are backed by a gigantic supporting cast; Audra Lindley is particularly expedient in a zesty, touching performance as Cay’s stepmother. But it’s the noteworthy chemistry between Shaver and Charbonneau which ultimately drives the film. Every scene between them is one to be savored.

The DVD version of the film includes a moving feature-length commentary track by director Deitch. She discusses the recent unique, her bear relationship with novelist Rule, the casting process, the music of the film, key scenes, and grand more. Particularly challenging is the window she offers into the financial realities of independent filmmaking.

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“Desert Hearts” is about romantic cherish between two women. It’s also about a mother-daughter relationship and about friendship between women. The glowing scenes of the land and horses as well as the casino scenes give added appeal to the account of these interconnected relationships. I highly recommend this delectable and touching film.

Most people purchasing this item have seen the film. Desert Hearts is a contemporary classic and ahead of it’s time when first released. It’s a standard now in most every gay-girls DVD collection. This newly released two-disc edition includes some bonus materials.

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I’ll review the bonus disc as there are plenty of well written reviews of the staunch film.

1. The “never before seen footage” of the noted appreciate scene. This is the first bonus item on the extra disc. It is NOT a re-cut extended scene. This is the raw footage from, argueably, the most noted lesbian cherish scene ever. We are not necessarily given more convey, but simply the same whine from different angles, over multiple takes.

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2. Commentary by director Donna Deitch. Fun and informative.

3. Interviews with the two main stars by director Deitch. To me, this feature is worth the label of this collection. Donna Deitch interviews both Patricia Charbonneau ( Cay ) and Helen Shaver ( Vivian ) . These are one-on-one sessions which hold memories of filming and, more importantly, the impact the film had on both actresses. These interview sessions were done in March 2007. The only thing that might have made them more bright would have been if the actresses had actually been reunited for the interviews. They are each interviewed, separately, by Deitch. While both actresses are fun to search for, it is Helen Shaver and her insights that are the most rewarding.

4. The Theatrical Trailer – This is actually racy because, while the film fill up strongly, the trailer comes across as rather dated.

All in all, I’d recommend this station. It’s a extraordinary film, and the bonus disc will add a nice dimension to viewing it again.
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Posted By donfranco1957 on January 5, 2010

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Sony has confirmed that, with the modern popularity of 3-D movies, they are going to include 3-D versions of “SPOOKS” and “PARDON MY BACKFIRE” in this site.

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This will perform up for the fact that 1953 brings about the shadowy cost-cutting practice of re-releasing an older short with a few minutes of novel footage and giving it a original name.

1952

A MISSED FORTUNE – a frail re-working of a broken-down Curly short Healthy, Wealthy & Boring. The Stooges live the high life on an inheritance.

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LISTEN Believe – One of my favorites from this period. Three electricians are hired to acquire a short in the Judge’s house.

CORNY CASANOVAS – The Stooges are all engaged to the same gold-digging girl. Told mostly as three seperate stories.

HE COOKED HIS GOOSE – One of their first off-the-mark solo offerings. Larry is a petshop dealer who’s seeing Moe’s wife while at the same time trying to choose Shemp’s fiancée.

GENTS IN A Plight – Shemp’s rich Uncle Phineas comes to visit the Stooges who are broke and about to evicted. It is a petite painful to observe Emil Sitka collect kicked in the face multiple times. It feels like Jules White duirected it, but he didn’t.

THREE Unlit HORSES – The Stooges accumulate into the political ring as bent Kenneth MacDonald (later a believe on Perry Mason) hires them to cast the winning votes.

CUCKOO ON A CHOOCHOO – One of their wierdest shorts. Only Larry & Shemp are teamed, living in a stolen whisper car. Moe is the railroad detective hired to regain the tell car. Shemp spends most of his time dancing with an imaginary girl canary. Larry does his best Marlon Brando impression.

1953

UP IN DAISEY’S PENTHOUSE – A re-working of the Curly short “Three Plain Clucks”. Shemp impersonates his dad who is about to marry a golddigger planning to bump him off.

BOOTY AND THE BEAST – A partial re-issue of “Fill That Lion” which includes CURLY’s cameo as a sleeping explain passenger.

LOOSE LOOT – This includes the second half of Occupy THAT LION with an all modern first half.

TRICKY DICKS – A top notch detective spoof showing that the writers serene have the stuff for a expedient comedy.

SPOOKS! *** 3-D *** – As pie salesmen, the Stooges are captured by a wrathful scientist and his gorilla. Needless to say, the pies advance flying directly at us, the audience.

PARDON MY BACKFIRE *** 3-D *** – This is pure wire-up-the-nose Stooge slapstick. When Moe aims the grease gun at the us, the audience, we win it in the face (well almost) .

RIR, SEW & STITCH – (re-issue of “Disclose A Song Of Six Pants” from vol.5)

BUBBLE Grief – (re-issue of “All Gummed Up” from vol.5)

GOOF ON THE ROOF – O.K., maybe I have more than one well-liked in this situation, this is the ultimate slatstick as the Stooges try to hook up a television antenna wire to their friend’s TV plot.

1954

INCOME TAX SAPPY – Yes, it is that time of year again. Again, the Stooges work seperately.

MUSTY MUSKETEERS – (re-issue of “Fiddler’s Three” from vol.5)

PALS AND GALS – (re-issue of “Out West” from vol.5)

KNUTZY KNIGHTS – (re-issue of “Squareheads Of The Round Table” from vol.5)

SHOT IN THE FRONTIER – One of the last edifying Stooges shorts made. The three greatest gunslingers approach to town and have a shoot out with the outlaws. The most memorable gags are the lymricks read out on the tombstones.

SCOTCHED IN SCOTLAND – (re-issue of “Hot Scots” from vol.5)

There is enough unique material here to obtain this situation worth getting. Add to that the inclusion of the 3-D shorts, and you have a “MUST-HAVE” site here. As a devoted Stooge fan I will be getting all 9 DVD sets, but this will be the last 5-star space.

According to a press release from sony, both the 3-D and 2-D versions of Spooks and Pardon my Backfire will be included, along with viewing glasses! This plot will also have several Shemp shorts that have never been on DVD. Goof on the roof, Gents in a Quandary, Income Tax Sappy and Corny Cassanovas to name some. Sony has done a spacious job on all the previous sets, so the relate quality and sound should be immense.
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Posted By donfranco1957 on December 23, 2009

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The is a movie of aesthetic images that taken together provide a attractive and ironical montage of “the edifying life.” In fact, by the extinguish I was reminded simultaneously of Thoreau’s statement that the mass of people live lives of unruffled desperation and Kierkegaard’s understanding that the natural condition of human beings is that of despair. There is no state. The movie consists of a series of loosely or unconnected scenes with petite or not attempt to link them. Many of the scenes are pleasing. Some are disturbing. None of them are dull, which is powerful given the length of the film (166 minutes) .

The beginning is memorable, with a helicopter flying over Rome with a statue of Christ hanging underneath. A celebrity journalist, portrayed brilliantly by Marcello Mastroianni (the current producer, Dino de Laurentiis, pulled out of the project when Fellini refused to cast Paul Newman in the lead role), is following the statue in order to write about it, but he and his team fetch distracted by women sunbathing in bikinis on a rooftop. In this and many other scenes, the astronomical gap between veteran and historical symbols of meaning and modern preoccupation with mere pleasure is articulated. The overwhelming sense in the film is of the great triviality of these people’s lives and the loss of good purpose. There are only two exceptions in the film: Marcello’s end friend Steiner, whose life is a search for meaning and truth, and a young girl Marcello first meets at a restaurant where she is a food server and then sees again in the last few moments of the film. But Steiner’s search is a futile one, leading him not merely to slay himself but his two children as well. And the young girl is not merely a symbol of innocence, but of innocence lost, not to be found again. In the last few seconds of the film, after a drunken debauch, Marcello walks to the seashore at dawn. There he sees the young girl across a watery divide. She waves to him, and tries to bawl something to him. But her words are drowned by the waves and the wind, and eventually they both smile, realizing that they he will never be able to hear what she has to say. The map that Marcello wistfully shrugs his shoulders is almost an acknowledgement that he is one of the damned. It is one of the most heartbreaking moments in recent film, as well as one of the most poignant.

Rome itself is as prominent in this film as any of the characters, but it is not the Rome one finds in ROMAN HOLIDAY. Remarkable of the city looks not historic or pleasing, but antiseptic, shoddily fabricated, barely reclaimed novel ruins. There are a number of shocking modernistic buildings and a number of the areas observe bleak and abandoned. This is all, of course, highly symbolic of the bleakness of the lives of the characters. Many films have discussions like this imposed on them (I consider of some of the radiant parodies in episodes of Monty Python), but LA DOLCE VITA almost demands metaphysical discussion. Fellini is concerned with the fate of human beings in the recent world, with what we have all lost and what we have failed to obtain in its set.

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Special mention has to be made of the unbelievable music for the film written by the incomparable Nino Rota, and easily stands as one of the very greatest film scores ever written, as integral to the success of the film as Bernard Hermann’s scores for NORTH BY NORTHWEST or PSYCHO or Ennio Morricone’s for A FISTFUL OF DOLLARS. It is not myth or histrionic, but naughty and light, almost ironic, as if to underscore the manner in which the characters whistle while Rome burns itself out.

A spectacular film, one of my favorites ever. It is arguably Fellini’s greatest film, and one of the mountainous monuments of cinema.

LA DOLCE VITA is neither awful nor overrated. There is something to be said for the beautiful titanic number of film fans who esteem this one. It is an episodic film, but that is a feature of grand of Fellini. In several films, Fellini builds his meaning in this way: not so distinguished with a single continuing set, but with a series of smaller stories that add up to a total collection of ideas.

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Maybe the secret (if there is one) of LA DOLCE VITA’s appeal is that it’s so darned engrossing all the time. This especially applies to the station concerning Steiner. Steiner is the key figure in the film, apart from Marcello himself, who is Fellini’s and the viewer’s counterpart. What Steiner represents to Marcello is of prime importance. The young reporter sees the older man as a perfected, idealized version of himself. He longs to emulate Steiner and is convinced this man knows how to live life fully. There is irony aplenty in the entire Steiner tale. When Marcello brings his wife to the Steiner party, they meet a few though-provoking, but mostly insufferablty pretentious ‘intellectual’ types. (the notorious Fellini ‘careless’ post-dubbing of dialogue in this scene particularly amusing: it seems to add to these characters’ disconnection from a accurate self, as though they don’t even realize what they are actually saying) . Steiner himself associates with these people, yet does not truly seem to be one of them. He feels trapped by his possess pretentious circle of intellectuals. When Marcello screech him how considerable he envies and admires him, Steiner replies:

“Don’t be like me. Salvation doesn’t lie within four walls. I’m too serious to be a dilettante and too noteworthy a dabbler to be a professional. Even the most heart-broken life is better than a sheltered existence in an organized society where everything is calculated and perfected.”

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This gives Marcello worthy to perceive for the rest of the film. And Steiner’s subsequent suicide confirms the deep suspicion growing within the protagonist that all of existence, as he himself has known it thus far, is fundamentally absurd and meaningless. For this reason the film is existential in its outlook. Marcello is the unusual, urban human, trapped in an absurd universe. But Fellini, seems not fully despairing in his outlook. Contemplate, for example, the significance of Marcello’s interaction with the blonde girl in the cafe–she represents a simpler life away from the city and the over-complications of new existence. Many viewers have missed the fact that it is this same girl who waves to Marcello on the beach in the film’s final scene: she waves and is telling something he is never able to hear, so he waves once, and turns serve to the empty, inebriated crowd as they speculate about the unknowability of nature, embodied by a grisly, bloated fish.

LA DOLCE VITA is a tall film for the draw it pulls some viewers in and forces them to survey the right teach of what they are seeing. The film’s main theme is one it shares with fims of Antonioni: recent man has become disconnected from the natural world and he suffers because of it. LA DOLCE VITA’s visual style is poetic, some of its characters are more than compelling and hard to forget, and its musical derive by Nino Rota is among the most memorable of all time.
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Posted By donfranco1957 on December 20, 2009

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Transporter DVD

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Transporter is a high action movies piquant an ex-Special forces soldier who earns his living transporting “packages” for various clients, mostly shady. In this movie, the transporter ( Jason Stratham ) violates his believe rules ( he’s sincere colossal on rules ) and looks inside the package, doesn’t like what he sees and doesn’t complete the delivery. Terrible notion, now the client is after him, along with the police. The movie is situation in the French countryside so if you don’t be pleased the thrill-a-minute action, honest be pleased the notion.

Highly recommended for fans of Jason Stratham , James Bond movies, and high action movies, especially car chases.

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Gunner March, 2008

I wasn’t expecting to bask in an action flick last night, but when my hubby popped in Transporter I found my attention held almost against my will. I don’t generally settle action for my enjoy movie nights. Unexpectedly, the combination of fantastic but well-pulled-off stunt sequences and the undeniable charisma of Jason Statham curved me in.

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In case you (like most law-abiding citizens) didn’t know, a transporter is the guy who not only acts as a high-priced delivery service for such luscious folk as mobsters, but also occasionally lands gigs driving the getaway car from the scene of the crime. From the opening scene where he is doing impartial that, our transporter, Frank Martin, is clearly the best in the business. A series of extraordinary car stunts and narrow escapes during the getaway streak establishes the general hastily pacing of this movie and the slick professionalism of our “hero”. And guys, his Beemer almost has enough gadgets to qualify as a 007 model.

This transporter made the fatal error of breaking one of his possess rules when a mobster hired him to express a package: Never Study Inside. Clear enough, he discovered a conscience within himself. From that point on, his fate was site against the great underground smuggling cartel dealing in human cargo.

The poke scenes, fight scenes, and general action that ensues throughout the film are interspersed with impartial enough site twist to support it consuming and honest enough humanity to hold it grounded without becoming maudlin. This is a somewhat toned-down version of a James Bond-like fantasy, position in the stunning rural countryside of France and riddled with bullets and explosions that prefer out cars and buildings instead of entire islands. Of course, there is the obligatory fine female who can’t maintain her hands off of Martin. Substantial for the testosterone and the estrogen all at once.

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In the raze, the Transporter did its job: I had fun without rolling my eyes once.
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Posted By donfranco1957 on December 19, 2009

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THE BIRD WITH THE CRYSTAL PLUMAGE

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[L'Uccello dalle Piume di Cristallo]

(Italy/W.Germany – 1969)

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Aspect ratio: 2.35:1 (Cromoscope)

Theatrical soundtrack: Mono

Even those who don’t care for writer-director Dario Argento’s later baroque extravaganzas may warm to his debut feature, a well-received thriller in which an American writer living in Rome (Tony Musante) witnesses an assault on a woman in an art gallery and is subsequently targeted by the would-be assassin, a crazed psychopath who’s been terrorizing the city with a series of brutal murders. Typical of an Argento thriller, the hapless hero’s investigation unleashes a cycle of violence which culminates in a climactic unmasking that will assume some viewers completely by surprise.

Loosely inspired by Fredric Brown’s unusual ‘The Screaming Mimi’ (filmed under that title in 1958), Argento’s first film is a fairly straightforward thriller with awe asides, anchored by a strong chronicle, an increasingly bizarre series of supporting characters, and a strong Everyman hero who slots the puzzle together section by section before realizing that the most necessary clue to the killer’s identity was there in front of him all the time. Musante is given reliable encourage by English actress Suzy Kendall as his girlfriend (the scene in which she’s besieged alone in her apartment as the killer hacks through the door with a knife is truly the stuff of nightmares) and Enrico Maria Salerno as the cop charged with finding the killer before he/she strikes again.

Despite Argento’s prior screenwriting credits, including necessary contributions to the script of Sergio Leone’s ONCE UPON A TIME IN THE WEST (1969), producers were unconvinced of his directorial abilities and wanted to pull him off the describe during the first few weeks of shooting, but Argento persevered under an iron-clad contract and ultimately proved his critics scandalous with the finished product, a genuinely spirited mystery punctuated by scenes of explicit terror.

The film puts a late-1960s Italian hurry on the kind of movie that Hitchcock had already popularized in America, and is leavened with the same kind of uproarious humor: Salerno gets the best line of dialogue during a police line-up when he despairs: “How many times do I have to deliver you? Ursula Andress belongs with the transvestites, not the perverts!” And later, an outrageously camp antiques dealer offers a jaw-dropping description of one of the killer’s conventional victims: “It was said she preferred women. I couldn’t care less – I’m no racist, for heaven’s sake!” Briskly edited by Franco Fraticelli, and featuring a brief appearance from distinctive character actor Reggie Nalder (Imprint OF THE DEVIL, SALEM’S LOT) as an assassin-for-hire, “Bird” is arguably Argento’s warmest, most humane thriller until TENEBRAE in 1982.

There are two types of Dario Argento films: those after “Four Flies on Grey Velvet” (excluding “The Five Days of Milan,” which was never released in the U.S.) and those before it. “The Bird With the Crystal Plumage,” Argento’s first film, belongs to the category of the before and includes the noticeable differences between the two. While the entire body of Argento’s work is something to worship, his first three films are surprisingly well-plotted, given Argento’s well-known lack of interest in matters of sage structure. “Bird” begins with Sam Dalmas, an American writer living in Rome, witnessing an attempted execute in an art gallery. Though he is unable to do anything, his fortuitous arrival saves the victim from almost clear death. His passport confiscated and at first held as a suspect, Sam is told by the police that this is the fourth attack in one month. The only inequity is, the victim, a aesthetic woman named Monica Ranieri, was the first to survive. Apprehensive by the conception that he saw something that didn’t quite fit, he soon begins his contain investigation, putting both his life and the life of his girlfriend at colossal risk. Several attempts are made on their lives, and everytime Sam is able to learn of someone who might be able to abet him, that person is murdered. Finally, in a double-twist ending, Argento reveals the identity of the killer in a cleverly constructed manner. A pure delight from launch to do, “Bird With the Crystal Plumage” is one of the most enthralling (if minimal) thrillers since Hitchcock. Another attribute is Argento’s knack for always creating a cast of wonderfully offbeat characters. Be definite to secure Inspector Morosini’s exclamation regarding the “perverts” in the line-up sequence. Shaded humor is equally interwoven with proper amounts of suspense to originate a fast-paced and clever mystery/thriller.
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Posted By donfranco1957 on December 18, 2009

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Over the years, it seems that the Robin Hood saga has been a popular of sorts for film makers to re-invent, manipulate, and showcase again and again. No doubt due to global appeal and the premise of a hero taking from the rich, giving to the awful, and fighting the helpful fight.

Of all the Robin Hood films ever produced, it’s readily apparent that Prince of Thieves relies less on favorable historical accuracy and leans more toward Hollywood flair which composed makes for an engaging film. Despite using no English accent (which appears to grate on some reviewers for some reason), Kevin Costner presents himself well in the role of Robin Hood. Coupled with shapely performances from Morgan Freeman, Alan Rickman, Christian Slater, and Mary Elizabeth Mastrantonio, (to name honest a few), the account moves at an engrossing accelerate and hits the tag as a stand up adventure movie that doesn’t disappoint.

As for the original 2 disc special edition release of this movie, it honest got a whole lot better. Not having to flip the disc over any more to contemplate the entire feature like in the first release, you now have a current digital transfer and a remastered DTS 5.1 soundtrack and both are outstanding. On disc 2 you have vast bonus material enhancing the value and enjoyment even further. Included is a decent documentary on the making of Prince of Thieves, Bryan Adams performing his music video of ‘(Everything I do) I do it for you’, an interactive mediaeval weapons gallery, cast and crew bios, production notes, interviews with cast and crew, and trailers and t.v. spots.

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You don’t really have to be a die-hard Robin Hood fan to devour this movie. The film has a few flaws and stretches the historical aspect somewhat but it plays out well with plenty of action, adventure, humor, and fun. This special edition release would be a splendid addition to any DVD collection and I recommend it to everyone.

I was at [local store] one day and saw the extended Robin Hood DVD on sale. I decided to prefer it. I view that I liked all the swordplay, action, fantasy tales. I have to deliver you. It was a mountainous purchase! It was only [$$] for such a large extended movie.

Plot – Our renowned Robin Hood is in a Jerusalem prison. He escapes with a moor, Azeem (Morgan Freeman), and his friend, Peter. Peter doesn’t earn it, but wants Robin to promise that he will protect his sister, Marion. Robin agrees and finds his intention home with Azeem. They sight Robin’s father boring and their servant blinded. The Sheriff of Nottingham (Alan Rickman, who is perfect in the role) killed Robin’s father and is doing evil deeds to the dreadful people in the region. Robin and Azeem kill up in Sherwood Forest and meet its occupants, including John Dinky and Will Scarlett. They all team up and choose to fight support against the Sheriff. (94/100)

Acting – A lot of people loathe how Kevin Costner speaks in this movie. I really didn’t seek a change in his inform at all. So it didn’t really bother me! I idea Kevin did well as Robin. Christian Slater and Alan Rickman were the two who stole the movie. Christian was titanic as the mysterious and confusing Will Scarlett. Alan Rickman was hilarious and irascible as the Sheriff. They both were gigantic and should have deserved sizable credit for their positions. Also, there is a short cameo by Sean Connery. (96/100)

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Action and Violence – There is a lot of action and violence in this movie. It could have been rated R. There is a lot of swordplay, arrows being fired into faces, fist fights, and blood. I believe any action man would like this movie. Distinguished Action Scenes : Overrun By Celts, Fiery Assault, Cheating The Hangman, Storming The Castle, and Final Duel. To check out these scenes, assume the DVD and access them through Scene Selection. (95/100)

Sexual Themes – There are some sexual themes in this sage. There is a scene where Marion is about to be raped from the Sheriff. Also, Robin swims around nude under a waterfall. So there is some sexual bellow. I don’t really mediate it was needed though. (89/100)

The Two Discs and The Extended Version – The extended version is very satisfactory. It explains a lot more about the Sheriff. There is also some action save into some places. It is worth the money.

The extended version comes with two discs. Thankfully, you didn’t have to “turn the disc over” to ogle the “whole” movie. So I was glad that I could unbiased glance the whole feature film on one disc. The other discs are loaded with extras. There is commentaries, documentaries, making of features, galleries, trailers, and more.

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Extended Version (98/100) The Two Discs (94/100)

Overall, this movie is very well done. It is very pleasant and worth the money to grasp. Don’t catch the new disc. It isn’t worth it! Fair rob this. It has tons of action, romance, some comedy, comely sets and landscapes, and fair an all around broad feel to it.

Overall – 94 A

The extended version is supposedly UNRATED.

UNRATED for strong violence, action, sexual themes, and brief strong language.
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Posted By donfranco1957 on December 16, 2009

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I got zigzag on Adam-12 when Tv Land aired it a few years ago. It’s one of the best done cop shows that has ever aired on television. It has a serious, straight forward contemplate at life on the streets, but there is plenty of humor to give it a perfect balance. Dranget and Emergency also blended well. Jack Webb was in charge of all of the shows mentioned above. I can only hope that Roar Factory will release the rest of Adam-12 and then release the final three years of Dragnet. I am afraid that Dragnet did not sell well enough to continue releasing it. Anyway, recall the third season of Adam-12, you won’t regret it.

I unprejudiced spent the last 2 days doing my absorb version of a mini marathon watching Adam 12 – Season 3. Bawl Factory came through with another attractive product. There were no difficulties with watching the DVDs. The portray was crisp and tidy, colors were not ancient and conventional out. The audio was also nicely done! Sizable job! I survey forward to buying Season 4 whenever it becomes available.

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This is my accepted series (other than Star Pace) .
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Posted By donfranco1957 on December 14, 2009

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It’s almost impossible to accept any reviews of Kanon that refrain from comparing it to the expose Air. Now that Funimation has acquired the rights to bring both of these (already similar) shows out unprejudiced one week apart will likely do shrimp to differentiate one from the other. Having impartial watched the two series literally support to wait on, I can attest to the fact that Kanon succeeds in many areas where Air comes short. Yes there are some similarities between the two that will warrant converse comparison throughout my review but in actuality, Kanon is certainly more emotionally taxing in its prose and scope. Well before I win ahead of myself here, let’s inaugurate at the beginning, shall we?

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Released across 4 discs, Funimation is packaging up TBS Animation’s Kanon in a complete series box state. The packaging is quite appropriate if slightly mysterious in its rear panel summary. Inside is a pair of beautifully artistic thin packs, each of which contains two discs. The choice of whites and pale blues is subtly appropriate for the oft-snowy setting of the chronicle itself. I may even go on relate as saying that the thin pack exterior art is the finest Funimation has released to date. In all the expose runs 576 minutes and earns a fairly conservative TV PG rating (no nudity, language, or violence to philosophize of) .

The situation, as has been the trend of slack, contains virtually no extras to narrate of although the language options are thorough (English dub and unique Japanese with or without English subtitles) .

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With stories like this that play out literally as emotionally driven mysteries, I feel it’s essential that I don’t provide any spoilers while attempting to summarize the site here. That said, the yarn follows a high-school age young man who comes to finish with his aunt and female cousin after a seven-year hiatus. The viewer is treated to the same laid abet pacing that Air relished and Kanon even operates off the sometimes-monotonous rhythm of daily routine. Where Kanon succeeds over Air is through the utilize of witty dialog that actually manages to be humorous. The lead character (Yuichi) has many profitable moments of interaction, especially early on when the massive cast is being established.

Interestingly enough, set for one other male, the cast is entirely female. It sounds suspicious but manages to work surprisingly well. Powerful of the account plays off the fact that Yuichi basically comes help to town with amnesia of his previous visit (which was unprejudiced over summer vacation seven years prior) . The viewer is along for the unveiling of the facts factual along side the lead character through frequent flashbacks that shed a bit of light show situations.

I won’t sugarcoat the reality that this isn’t a exhibit for the overly sensitive as heartbreaks and a advance endless succession of tragedies abounds. However, if I can offer any insight without taking away from the show’s charm it would be to possess off on passing judgment until you’ve followed it all the method through to completion. Many of the show’s mysteries and seeming impossibilities don’t initiate making sense until the final couple episodes. In fact, the bigger recount isn’t fully realized until the last allotment of the final episode!

Like such classic films as the Sixth Sense, Kanon is setup with clues and hints all along the device that cannot be fully appreciated until the second or third time through. Objective prepare for a few of those “how could I have not realized this the first time” moments.

The show’s art is simply flawless throughout. Landscapes, textures, lighting, and ambiance are truly second to none. Worthy of the demonstrate takes region over the course of a winter but don’t for a exiguous suspect this left the artists with a pallet of drab grays and whites. Truthfully, the sunsets, snowfalls, crunching sound of boots and steamy clouds of exhalation objective dazzle consistently throughout.

Additionally there are many that attempt but few shows that succeed in so charmingly capturing mood. Acting work, especially in the English dub, is outstanding. This is especially admirable considering that such a gargantuan cast of similarly broken-down females surely required modern performances for distinction. I should mention that a few characters do sound a lot alike but in the slay the choice was most certainly deliberate.

With each of my reviews I like to attempt to nail down a single attribute that could be the show’s greatest strength. With Kanon I may have to bend my contain rule on yarn of the fact that so many aspects arrive off so well. I was initially leaning toward character development as, in this case, it is detrimental in captivating the account along. Here we have a cast of characters that is approach impossible not to love for their sincerity, innocence, sense of humor, and in many cases, realistic interaction with each other. Coupled to the comely visuals and solid yelp work, it’s tough to praise one aspect over the others.

In all, I won’t kid you into thinking Kanon won’t be difficult to market to the domestic general public. Upon first impression of the shroud art, I feared a sage leaning toward the female-set what with the five glassy-eyed girls and pink lettering and all. However, and worthy like Air, this is a display with an abundance of heart and enough appealing elements along the draw to soften up even the hardest viewer. It’s a chronicle that transcends fads, styles, cultures and even defies genres reach to assume of it. We simply have nothing like this in the United States for a jabber comparison and I’m obvious that accounts for a lot of its charm. It’s definitely not for everyone on record of the fact that what it lacks in action sequences is made up for with the viewer’s ability to connect with the cast.

Take even the name Kanon for example- it is cleverly explained in one scene to have been inspired by the musical definition (canon) whereby a composition consists of a single melody repeated over and over with the addition of more elements each time. In a intention I cannot judge of a more appropriate metaphor for the indicate itself in its portrayal of life as being essentially the same day lived over and over with the addition of fresh experiences layered atop the familiarity of our routines.

Shows like this are successful not for their ability to focus on one aspect of the human condition but rather because they manage to grab believe of all of the petite things that justify humanity then set aside those elements together across a plod at which nearly anyone can report. Kanon is more of an experience, a chance to briefly live among someone else’s creative vision than it is simply entertainment. Kanon is truly timeless storytelling in the strictest sense of the word.

This is my all-time popular anime series. You have to be prepared to glance it multiple times, as the status is so delightfully interwoven. I’m from upper Current York Location and was born in a snowdrift, so the plain chilly winter scenery is breathtakingly sparkling and the viewer will forget he/she is watching an tantalizing production. Anyone reading this, beget me; I serene the individual discs while spending over $200. I never expected this to become available. It is a bargain. You glean the entire 24 episodes here. Comical, thought-provoking and very serious, not to mention absolutely improbable music, this series will rush you through the emotional mill! I cannot recommend “Kanon” enough. I won’t give away any of the fable but you’ll not be able to close watching.

Sincerely, Harold.
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