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Usually I’m not the kind of person to go seize a concert of an artist. I was on my design from the USA on Lufthansa and saw this video in the in-flight entertainment menu – decided to give it a try – was pleasantly surprised. Bought the DVD as soon as I got befriend home. Would definately recommend this to ANY Rihanna fan! It’s honest awesome!!!!
I have a lot of respect for Rihanna, she has captivate the world with her unusual style, performance and vocals. Some disapprove her squawk, I say she is fresh, she is Rihanna and for that she gets 5 stars. The Wonderful Girl Gone Unpleasant album is undoubtably her best, my first Rihanna CD I bought and did not regret, the videos left on me a gigantic impression, I mean who can forget the improbable “Umbrella” video with her painted in metalic silver (I wonder if she borrowed the belief from Madonna’s “Fever Video”), mountainous dance sequence, her body is hot, incredible. “Shut up and Drive” another mountainous video Rihanna looks hotter than hot, I can go on and on. I am however not impressed with all the other releases of this album “Reloaded” and “Remixed” they are really milking it for what its worth.
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Anyway getting aid to the subject at hand the “Gracious Girl Gone Abominable” live DVD. I guess I expected too considerable, I expected to seek her dance like she does in her videos but she rarely does, she also seems to have save on a miniature (and I’m unprejudiced being nice) weight on the hips, I was looking forward to contemplate the hot bodied Rihanna from the Videos, it was not interpret enough as I wanted it to be for such a successful album. She does however articulate all her hits from this improbable album including a few from her previous album including the massive UK #1 hit “SOS”, the sound quality is big as well and the slow the scenes are comely icy to inspect at, you perceive her in a different light, she seems like a really down to earth lady and she will always be exquisite. The exhibit is okay, I ask distinguished more, but hey collect yourself a copy and glimpse for yourself.
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Stream Heavy Metal Online
December 22nd, 2010 |
Stream Heavy Metal Online.
Movie Title: Heavy Metal Heavy Metal is available for streaming or downloading. |
I can’t own the number of negative reviews this movie has gotten! I bet these people don’t like James Bond movies, either.
To fully like Heavy Metal, one has to understand the era it came out in. At the time, most animation, at least what was seen in the US, was frequently of the “family entertainment” variety seen in Saturday morning cartoons and TV commercials. Apart from Ralph Bakshi, most animators were basically shackled by the need to expose something that was “rated G”. Heavy Metal took the accurate opposite route. It was a liberating experience for the animators working on the film to be allowed to method things they usually weren’t allowed. And they got paid to do it, too!
After the opening Soft Landing sequence, we’re introduced to the Loc-Nar, a resplendent green orb responsible for all the infamous that has plagued the universe (or at least, that which has plagued the human rush) . The various stories contained in the film are told by the Loc-Nar to a young girl, as examples of it’s awesome power.
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The stories include the film noir homage Harry Canyon, the male “wish fulfillment fantasy” of Den (which demonstrates the versatility of the gradual John Candy, who voices both Dan, the science nerd who gets transported into an alternate dimension by the Loc-Nar, as well as Den, the Conan/He-Man-esque beefcake that he is magically transformed into), the highly humorous Captain Sternn (trivia: the exclaim of the prosecutor is done by John Vernon, the actor who portrayed Dean Wormer in Animal House), the EC-esque B-17 (aka Gremlins, which went through so many script revisions, it’s a miracle it got finished at all), the bizarrely hilarious So Elegant And So Risky (ok, maybe there’s some truth to the juvenilia charges during this segment, but only a corpse could sustain from laughing at this section), and revenge scenario of Taarna (imagine a tougher, sexier version of Xena, only about a decade and a half earlier) .
While there IS some element of juvenilia here, it’s no worse than any other movie that’s been released by any major studio during the last 25 years. In fact, I bet it’s a diminutive more cerebral than most of those other movies. Harry Canyon is a rather crafted film noir homage, while some elements of Taarna are clearly patterned on Sergio Leone’s spaghetti westerns. And while there are a couple sex scenes and a obvious amount of excessive violince in Heavy Metal, again, it’s nothing compared to some of the garbage that’s shown on cable TV these days. I’d certainly rather view this than Basic Instinct or No Draw Out.
This movie is a classic part of animation. Yeah, some of it’s rough around the edges, but that has a lot to do with Columbia’s decision to travel up the deadline so they could have the modern movie out in time for the summer 81 season. One has to reflect the scope of the undertaking, and the relatively short time that was at hand to manufacture it.
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Look at the “travelling sequence” during Taarna, where she’s shown riding her mount (a sort of grand bird creature) over a rolling landscape, and mediate that it was done WITHOUT the exercise of any kind of computer generated work. It’s explained in the audio commentary on the rough carve of the film, as well as during the documentary how it was done, and why it didn’t quite turn out as planned) . No one had ever done anything like that, and it had to all be done by hand.
Really, you can’t prefer this movie too seriously. It’s a movie that exists soley to entertain. There’s no astronomical message or point to the movie. Unbiased effect the DVD in the player, turn out the lights, turn up the volume LOUD, and impartial devour the dash.
It should be renowned, that this disc also contains some of the best bonus features I’ve seen on any DVD. Besides the regular movie, you obtain a rotund length “rough slit” of the film, consisting of storyboards, pencil tests, and some completed animation. The only audio for this rough slash (besides the optional audio commentary, by Carl Macek, who also does a completely different commentary for the finished movie) is the dialog. There’s long stretches of silence, but it’s worth watching, as there’s lots of bits of dialog that were slit from the final movie (we learn, for instance, that Katharine, like Den, was also transformed when she was transported to this mysterious alternate universe) . It’s also challenging to tag that the stories weren’t always in the order that they were in the final movie.
There’s also a half hour documentary with interviews from many of the filmmakers eager in making the film. We finally regain out why we gape a model of a house blowing up at the demolish (because they didn’t have time to accomplish the animation for that one bit), and also why Cornelius Cole’s Neverwhere Land was slash from the movie (either for reasons of length/continuity, or because Cole didn’t attain it in time, depending on exactly which version of the chronicle you wish to have.
You also earn a few minutes of deleted scenes, most notably the above mentioned Neverwhere Land, which was originally supposed to link Captain Sternn and B-17. There’s also a few minutes that surround an early version of the framing myth (in whence the Loc-Nar was actually the power source of a magical merry-go-round, and the various objects on the merry-go-round related in one arrangement to the stories…ie, there’s a taxicab, Taarna’s mount, etc…each time the girl takes a trip in a different vehicle on the merry-go-round, she experiences a different memoir) .
And finally, you glean all Heavy Metal covers up through 1999, plus various bits of production drawings, cels, etc.
In short, this is a classic film that should be viewed by all fans of animation and/or heavy flicks. Prudes and conservatives who collect cranky at the very conception of a movie being ruined by a small too mighty flesh or blood (and really, there isn’t THAT mighty of either in this film) or a puny warped humor (ok, there’s PLENTY of that here) are advised to sustain away. I objective wish they had restored Neverwhere Land to it’s current residence between Captain Sternn and B-17.
Some critics and film historians have labeled 1981′s HEAVY METAL as the last film to genuinely mediate the mishmash sensibilities of the post-hippy 1970s counter-culture, and stylistically and thematically this appears to be . Based on the adult counter-culture cult silly of the same name, HEAVY METAL definitely is a sort of spacey concatenation of disparate visual aesthetics and heterogeneous science-fiction/fantasy narratives. But despite being a hodgepodge as a whole, the film quiet manages to offer a very tantalizing blueprint to demolish 90 minutes.
As with the magazine, the film is basically aimed at horny male adolescents, offering plenty of nude, amply bosomed women running around in the midst of stylized violence and gore; lots of rock music (though these ditties from common metal bands of the unhurried ’70s may not appeal to the unique generation of horny male adolescents) ; and references to the drug-oriented sub-culture (definitely not a cartoon for the pre-teen crowd) . Each individual segment of HEAVY METAL was scripted and directed independently of the others, which likely accounts for the varying ravishing and fable styles. But many of these contributors were (and are now) some of the most talented people in the film industry, including writers Dan O’Bannon, Len Blum, and Daniel Goldberg, and directors John Bruno, John Halas, and Jimmy T. Murikami. (Gerald Potterton, listed in the credits as the film’s director, was in reality the overseer for the project as a whole.)
Because the film does not beget a single cohesive plotline, it is best to evaluate each bewitching segment in its beget apt. Some of those individual stories are quite thought-provoking or humorous–or both–and even some of the more mediocre segments serene offer some amazing visuals. One of the most intellectually bright is a memoir called DEN, in which a young bespectacled geek is transported into a parallel universe and transformed into a aesthetic, muscled barbarian hero. After falling in appreciate with a curvaceous maiden, he helps her set her people from their draconian Caligula-like dictator. B-17 is probably the most earnest segment, though there seems to be no intrinsic logic to the sparse myth. In it, the insensible crewmembers of a WWII bomber plane are inexplicably resurrected as flesh-eating zombies, subsequently seeking to effect a meal of the plane’s still-living pilot. Visually, however, this segment is quite splendid, evoking the deliciously unpleasant artistic style of the faded E.C. comics of the ’50s and early ’60s. And in the funniest segment–entitled SO Attractive, SO DANGEROUS–a stunning Pentagon secretary is inadvertently sucked into an alien spaceship that resembles a astronomical smiley face. After confronting the spaced-out druggie crewmembers, she ultimately becomes the lover of the ship’s robot and decides to remain aboard.
After its initial release, HEAVY METAL attained a cult following of sorts and became a celebrated of the midnight-movie crowd. Unfortunately, its release to the home-video market was delayed for years due to disputes over copyrights for some of the rock songs conventional in the soundtrack. Because of this, poorly produced bootlegged copies of the flick were illegally sold (usually at Sci-fi cons) and swapped among fans, and the immoral video quality contributed to the film’s unfair reputation for being a mediocre film. But the music disputes were eventually resolved somehow, and the film became commercially available to the home market in the mid 1990s and regained its popularity as a wintry cartoon. (Some statistics demonstrate that it is the most accepted film in the Columbia/Tristar home-video catalog.)
Columbia/Tristar’s Special-Edition DVD of HEAVY METAL offers a radiant digital transfer of the film and soundtrack, along with some really wintry bounus material. For animation fans, one of the best of the bonus features is a captivating feature-length pencil-test version of the film (with optional commentary) . Columbia/Tristar also offers a version of the HEAVY METAL in their SuperBit collection, but as with their other SuperBit films, the disc station required for the higher bit rate precludes the inclusion of any bonus material. Unless the buyer has a high-definition TV and can relish the increased recount quality of the SuperBit disc, the Special-Edition version is the arrangement to go. Either plan, HEAVY METAL offers enough entertainment value to fabricate it a well-behaved addition to the DVD collection of any SF or animation fan.
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How to have the Cheap Out of a Lower price Automobile Rental
October 25th, 2010Discount auto leases are so challenging to come by, and in recent times, cheap car leases simply mean you pay less for some thing less, and lets face it, sometimes if you pay less for a car rental, you end up with some thing that looks much more like a farmer’s truck than a vehicle. Mazda center caps. It’s difficult to come up with a price range friendly rental, so how do you obtain a discount car or truck rental nowadays? Effectively here are a few tips to boost the value of your money, auto rental wise.
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2.To obtain the cut price off of lower price auto rental, make early reservations, some vehicle rental businesses give reductions or no cost upgrades for consumers who reserve their vehicles early.
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8.Get cut price automobile rentals by reserving your automobile via the net. Most rental firms have internet only discounts that can save you a lot of money, appear up the rental firm that has the greatest cheap for the same value.
9.To have a low cost auto rental upgrade, try going to pick up your car just as the shop is opening, there’ll be a shortage in the economy cars, and you’ll probably obtain a free upgrade when they can’t offer you the car you reserved.
Positive Aspects of leasing
October 25th, 2010Despite aggressive low-interest financing, cash-back presents and other
buying incentives offered by leading auto-makers to buyers, leasing
numbers hold increasing steadily more than the years. Leasing is not only an
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Leasing also provides paying for flexibility: it allows you to defer the
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Leasing offers a lot of short-term rewards. It reduces your initial cash
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Stream Aristide and the Endless Revolution On The Net
July 14th, 2010
Movie Title:Aristide and the Endless Revolution
Average customer review: 
Click Here to Watch or Download Aristide and the Endless Revolution Instantly.
This film effectively takes apart the Bush Administration’s rationale for supporting the February 2004 coup in which democratically-elected President Jean-Bertrand Aristide was removed from Haiti in what Aristide describes as “a modern-day coup”. This film eschews the deceptive “objectivity” of corporate news (which is careful to avoid anything which might offend the considerable), and it definitely has a point of view: its sympathies lie with the awful majority of Haitians who since their homeland became the first independent dark republic in 1804 have repeatedly been screwed by the superpower to the North (leer Paul Farmer’s generous history “The Uses of Haiti”, the seminal book on the US exploitation of Haiti) . The film lets the facts enlighten for themselves, and lets anti-Aristide hardliners in the Bush Administration like Roger Noriega argue their case for supporting the removal of a constitutional government. The arguments are about as convincing as the various excuses for launching the Iraq war, and an extensive on-camera interview with Aristide (in exile in South Africa) clarifies how the Washington-backed propaganda campaign curved basic facts and repeated lies while paramilitaries attacked from the Dominican Republic.
Rossier’s film vividly chronicles the rise and descend of Jean-Bertrand Aristide, Haiti’s first democratically elected president; from Catholic priest to demagogue; from liberation theologian to cult figure; from populist president to political pariah.
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Through even-handed interviews with high-powered supporters and opponents of Aristide, Rossier is able to remain honest. However, unusual revelations about the CIA, the Haiti Democracy Project, and the International Republican Institute’s involvement in Haitian politics buoy the film’s integrity to a level of clairvoyance, helping us understand the events precipitating Aristide’s removal from office.
By interweaving Haiti’s history throughout the film, Rossier blends context with original events. In the raze, we clearly glimpse Haiti as a nation so depleted of resources, it can no longer press for justice in the international arena. The film is a must-see for anyone queer but intrigued with the process by which the U.S. and other colonial powers have historically maintained control over underdeveloped nations.
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See The Family Jewels On The Web
July 13th, 2010
Movie Title:The Family Jewels
Average customer review:
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18 years after the making of this gem, he would star with Robert DeNiro as the King of Comedy. Well, this is the King at his finest. Each character is glowing, though I must admit that Uncle Bugsy is my approved. The scene where he makes Donna (his adorable young niece) recite an arithmatic jam is classic mature school comedy, and classic Lewis. While such classics as “The Nutty Professor”, “The Disorderly Shipshape” and “Cinderfella” made him a comedy icon, this charming and hilariously humorous film is clear to accept a station your heart. Righteous family entertainment.
This is one of Jerry’s last film appearances and undeniably is one of his best. A young heiress must resolve which one of her six uncles (all played by Lewis) should fetch to be her accurate guardian. Each one of the seven different roles played by Lewis (the six uncles, plus the chauffer Willard) are diverse and portrayed expertly. The movie is very laughable and gripping as any of Lewis’ other films. If you’re a devoted Lewis fan, then this video should be in your collection.
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Watch The Twilight Zone – Season 1 Online
July 13th, 2010
Movie Title:The Twilight Zone – Season 1
Average customer review:
Click Here to Watch or Download The Twilight Zone – Season 1 Instantly.
Right around the time of their release a couple years ago, I invested in Image’s series of five 9-Disc box sets that mild every Twilight Zone episode from the unusual ’59 series. From a collector’s standpoint, this seemed like a substantial fade, as these sets turned out to be worthy more affordable than the previous releases, which were 45 individual volumes. I figured I had the collection and could sit attend and relax. I really enjoyed the sets (my reviews of them can be found here, as a matter of fact) and watched them ritually once I owned them.
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In March 2004 when the rumors first hit that definitive season-by-season sets were to hit, I assign my collection on e-bay and received almost all the money I invested in them in return. Yes, as a diehard TZ fan, I wait on the definitive releases wholeheartedly. Piece of being a DVD collector is vivid that upgrades are imminent. In fact, this may not be the last time I invest in the series… experts forsee Blu-ray coming into play within the next 5 years and a company like Image with no single film or TV property to their name bigger than The Twilight Zone may someday release these with HD transfers on Blu-ray disc. DVD, like a cheaper version of Laserdiscs, is ten times the collector’s format that VHS ever was.
In short, Image doesn’t question everyone to upgrade. They’re not trying to bleed the same customers dry. But they are making a ton of the diehards and DVD collectors truly happy. What hasn’t been mentioned in any of the reviews here yet is THAT THE VIDEO AND AUDIO HAVE GONE THROUGH A RESTORATION PROCESS — they Recognize AND SOUND BETTER than they ever have before, whether your first exposure to them was on CBS in the early 60s, in the gradual 70s (when the re-runs were very accepted), or during the holiday marathons of the 90s and today on the Sci-Fi Channel. Not only that, but included are Rod Serling’s “Next week…” teasers and, for the first time, audio commentaries by major players in the episodes themselves as well as crew members (Martin Landau in “Mr. Denton…”, Earl Holliman in “Where is Everybody? “, and Kevin McCarthy in “Long Live Walter Jameson” immediately spring to mind) . As a TZ diehard, I idea I’d seen and heard as remarkable as I’d ever net to, but Image has set together something fresh for me to seek forward to. The “audio lecture” Amazon refers to is from Sherwood Oaks College and is split into several parts. There is a grand deal of discussion regarding “Walking Distance” for instance — and we are able to listen to it while watching the episode at the same time. It runs nearly the entire length of the episode. Dependable treats also include Zicree’s interviews conducted in the unhurried 70s for the writing of his book with such stars as Burgess Meredith and Anne Francis.
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Also — the customary collections tried to theme the episodes on each disc, but this simply didn’t work for me. Too often I’d only want to perceive one of the episodes on a disc and would have to frequently change out. With this region, we’ll be getting the first season which, in a point that is rarely disputed, is the best of the series:
Where Is Everybody?, One for the Angels, Mr. Denton on Doomsday, Sixteen Millimeter Shrine, Walking Distance, Hurry Clause, The Lonely, Time Enough at Last, Perchance to Dream, Judgment Night, And When the Sky Was Opened, What You Need, The Four of Us Are Dying, Third from the Sun, I Shot an Arrow into the Air, The Hitch-Hiker, The Fever, The Last Flight, The Purple Testament, Elegy, Mirror Image, The Monsters Are Due on Maple Street, A World of Contrast, Long Live Walter Jameson, People Are Alike All Over, Execution, The Vast Broad Wish, A Nice Plot to Visit, Nightmare as a Child, A Conclude at Willoughby, The Chaser, A Passage for Trumpet, Mr. Bevis, The After Hours, The Grand Casey, and A World of His Maintain.
So while Image doesn’t examine you to double dip, you gotta feel expedient going bright you have that option someday. I don’t mediate “corporate greed” factors into the equation as grand as customer request from fans like myself (as well as the logical necessity) for one of the best shows of all time to have an exhaustive and organized situation of releases. Buy care and we’ll inspect you in the fifth dimension!
This unique DVD version of The Twilight Zone 1959 Season One is remastered from the modern camera negatives and the current magnetic soundtracks. It has the best recount quality ever and is a titanic situation for fans.
This six disc region is packed with some incredible extras-
*Audio commentaries by Earl Holliman,Martin Landau,Rod Taylor,Martin Milner,Kevin McCarthy,Ted Post and William Self.
*Vintage audio recollections with Burgess Meredith,Douglas Heyes,Richard L Bare,Buck Houghton,Ann Francis and writer Richard Matheson.
*Rod Serling audio lectures from Sherwood Oaks College.
*Isolated music scores from Bernard Herrman,Jerry Goldsmith and more.
*Rod Serling promos from “next weeks indicate”.
*The unique unaired pilot from “Where Is Everybody? ” with Rod Serling’s Network pitch.
*Rare Rod Serling blooper.
Some information about the above audio commentaries- Ann Francis starred in the classic 1950′s movie “Forbidden Planet,Kevin McCarthy starred in the fresh 1950′s version of “The Thing”,Rod Taylor starred in the classic Hitchcock movie “The Birds” and the 1960 George Pal classic “The Time Machine”.
Martin Landau guest-starred in both the unique 1959 and 1985 versions of The Twilight Zone as well as the unusual “Mission Impossible” and “Station 1999″.
Writer Richard Matheson also wrote stories for both of the recent and 1985 Twilight Zone series.
This classic television explain has become allotment of western culture and language. People now the term exhaust the term “in the Twilight Zone” for description in newspapers or interviews. It’s starting do-do-do-do theme has now become piece of the culture and is traditional to denote something queer happening. The singing group Manhatten Transfer even had a top ten represent with the title.
One mark of criticism- this fresh version is a improbable exertion for a expose that is 45 years aged,but fans that have bought previous sets could be entitled to ask why this wasn’t done in the first residence,some having spent many hundreds of dollars on the three previous releases. Firstly,we had the “best of” TZ 40 episode dwelling followed by the 4 episode discs sets followed by the Volume 1 through to Vol 5 sets. And now we have this unusual spot. That is enough to test the patience of any fans and they have every apt to complain at this sort of exploitation.
In a few years,I predict that a modern TZ space in high definition will be released.
So fans,if you want the definitive(we hope) DVD box situation on the modern Twilight Zone,then sell your other copies and bewitch this.
It is really well done and hopefully fans can maintain this for many years to advance.
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Check Out TCM Greatest Classic Films Collection: Best Picture Winners Online
July 12th, 2010
Movie Title:TCM Greatest Classic Films Collection: Best Picture Winners
Average customer review:
This is one of the first of what is planned to be 27 sets of four films each from Warner Home Video. They are cheap bare-bones releases of classic movies sold at a discount to introduce classic film to the masses. That is a well-behaved belief, and for that I salute Warner Home Video. The following are the contents of this state -
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Mrs. Miniver (1942) – This is a sterling film, and it has expansive acting, but it is one of those films that probably won because of the times. It depicts how the British coped while under seige during World War II as experienced by one British family headed by Mrs. Miniver.
Casablanca (1943) – This one probably won because of the wartime theme, but it is a substantial allotment of moviemaking that unbiased gets better with time. The chemistry between Ingrid Bergman and Humphrey Bogart honest oozes off the conceal. It’s more what’s not said than what is in this film. The fact that Bogart didn’t pick up best actor was one of the gigantic injustices of all time.
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An American in Paris (1951) – Of course the point of this film not the set, it is Gene Kelly’s dancing, which is unbelievable as always. It inspired the expeditiously thrown together and even more common “Singin In the Rain”.
Gigi (1958) – The academy award winner in the year of my birth objective does not inspire today. There are a couple of gracious songs, but not many. Plus the screenplay is antiquated and outright campy by today’s standards.
Casablance is the finest Best Recount winner in the Warner Home Video archives. However, I judge a better selection to round out the three of the total four films would have been Gone With the Wind (1939), Ben-Hur (1959), and My Delicate Lady (1964) . Also realize that Casablanca, Gigi, and American in Paris have current deluxe releases, if you are involved in extra features.
I am 80 years traditional and saw these films when they were first released. In an age when there were no VCRs, considerable less DVDs, a film came your arrangement, you saw it and from then on they were memories. These films were considered classics then and seeing them again I would say that they stand up well against unique stuff. Different acting style, proper, but the dramatic impact and the fable lines are as estimable as any. It is refreshing to peer the dancing in American… and Gigi. Is today’s stuff really more energetic? The traditional days were so worthy more sparkling – boom me about Ginger Rodgers and Fred Astair. The sizable relief? I cannot imagine Mrs. Minniver using the coarse language that we hear in too many films these days. How refreshing!!!
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See Pat and Mike On-line
July 12th, 2010
Movie Title 
at and Mike
Average customer review: 
MGM does a expansive job in restoring this 1952 comedy classic to DVD perfection!!! Presented in Black/White, Standard Shroud size (4:3 tv aspect ratio – before WideScreen (1953) ) .
This was Spencer Tracy’s & Katherine Hepburn’s 7th film together and as always are Classic Team mates!!! Now digitally remastered and on DVD makes it even better. Flawlessly digitalized makes the narrate quality absolutely unbelievable to survey. Hepburns athletism can be more appreciated especially during the golf scenes when she drives the balls into the far distance (only now can we look these petite spheres in the distance with DVD clarity!) .
Summary; Masterfully directed by George Cukor, Athletic Pat (Hepburn) plays a very skillful amateur female sports nut who seems trapped in a rich socialite engaged to be married life. Mike (Tracy) a sports promoter eyes Hepburn in a Pro-Amatuer Golf match & sees a gold mine to be had. Hustling her to turn pro & be his client Hepburn decides this is a arrangement to speed her melancholy dominating fiances & to be married life. Hepburn shows hows some improbable athletic talents in golf & tennis. Tracy & Hepburn are a vast pair to discover & Hollywoods 1950′s gay ending prevails. This is a keeper and the DVD is a beauty!
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Special Features include: Cast & Crew, Slow the Scenes, Theatrical Teaser & Trailer.
Pat & Mike is huge family entertainment & Katherine Hepburn shows how women can be independent (wearing slacks), athletic (fantastic golfer& tennis player) & feminine (delicate & vunerable) all in one. Delight In.
PAT & MIKE is the seventh Tracy-Hepburn collaboration, and it stars Spencer Tracy as Mike Conovan, the moneyminded sports racketeer with a heart of gold, and Katharine Hepburn (looking a sizable deal younger than she did in 1951′s THE AFRICAN QUEEN) as his aesthetic ‘property’, Pat Pemberton. Pat is an all-round ‘lady athlete’, adept at golf and tennis (not to mention shooting, basketball and presumably swimming), but completely frazzled whenever her fiance Collier Weld (a suitably smarmy William Ching) is around and watching her. In a articulate to become more in control of herself and her life, she (contrarily) submits to Mike’s management and he takes her around the country as a golf and tennis pro. It doesn’t win noteworthy imagination to realise what happens next–Mike’s ‘handling’ of Pat is the kind of handling she’s willing to catch (switch ‘Tracy’ for ‘Mike’ and ‘Hepburn’ for ‘Pat’ and you bag also a description of Tracy and Hepburn’s real-life relationship), and before long, Collier is sparkling distinguished left in the dust.
This film is evidently a star vehicle for Tracy and Hepburn, containing next to no artistic pretensions or even any trusty attempt to press a subtle feminist point (in difference with other Tracy/Hepburn films like WOMAN OF THE YEAR or ADAM’S RIB) . In fact, the film seems to be unbiased a comfortable, familiar joke between actors, writers and audience–we know these characters, we know these actors, we know what kind of relationship they always have (bantering, sparring, and in the ruin unprejudiced a perfect fit) … the only thing that’s different is the names of the characters. Sam, Adam, Mike–Tess, Amanda, Pat–what’s the dissimilarity?
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To be gorgeous, Hepburn’s character of Pat Pemberton is remarkable softer and more vulnerable than either Tess Harding or Amanda Bonner. This character variation doesn’t shroud the steady point of the screenplay though–Ruth Gordon and Garson Kanin evidently wanted a chance to prove both Hepburn’s natural athletic abilities (phenomenal for a non-professional, but possibly not 100% believable against sports stars like Babe Zaharias) and her fantastic legs. Well, they did succeed at both of these things, to gargantuan attain. It’s mountainous fun for a Hepburn fan, having read about her deep and abiding treasure of any and all sports, to acquire a chance to actually eye her playing golf and tennis onscreen. (This doesn’t mean, of course, that the frequent and long golf scenes don’t test one’s patience occasionally!)
Spencer Tracy has immense fun as Mike as well, the sports agent who originally wants Pat to flub a game and advance in second. He claims early on in the film that the inconvenience with her is that she’s got too unbiased a face–it’s only Tracy’s ability to earn rough-and-tumble characters believably vulnerable at heart that makes his later declaration (“I must have caught something from you” i.e. honesty) acceptable. The chemistry between the two is probably closer to the comfortable rapport they shared in ADAM’S RIB as man and wife than the fireworks that went off between them in WOMAN OF THE YEAR. Whatever the case, it is serene always a joy to leer Tracy and Hepburn together onscreen, and it’s largely because this film stars who it does that you can allow yourself to luxuriate in and be taken in by what is evidently a cutesy star vehicle written by the stars’ friends (Gordon and Kanin), and directed by the leading lady’s best and favourite director George Cukor. (Some of the visual tricks, particularly Hepburn’s face appearing on that of a horse, are actually more disturbing than flattering, and I–for one–would win not to pursue the metaphor through to its slay.) Tracy and Hepburn are also boosted by an superior supporting cast, particularly William Ching as Pat’s execrable suitor and Aldo Ray as Mike’s dimwitted star protege (until Pat comes along, that is!) .
PAT & MIKE is a romantic comedy, but it’s also romantic-comedy-*lite*. There are no forced or groundless separations that are geared towards wringing tears from viewers before a reconciliation (difference again with ADAM’S RIB and most formulaic films in fresh years) . The film is honest a slight portion of elated fluff–not taxing at all for either the writers, the actors, or the viewers. For a smart amusing set-piece, seek out for the scene in which Pat takes on the two seedy sports racketeers and dispenses them with great ease and efficiency. Otherwise, gawk PAT & MIKE with the knowledge that this is neither Tracy and Hepburn’s best, nor is it their worst. If you retain your expectations down, you’ll certainly appreciate watching this film because it aims indecent (aiming only to please and amuse, and not necessarily to take and thrill), and fulfils those aims very well. 8/10.
totalgym
bowtrol
Streaming The Red Shoes – Criterion Collection On The Web
July 11th, 2010
Movie Title:The Red Shoes – Criterion Collection
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Many of Powell and Pressburger’s films leer the life of the artist and the power of the artistic imagination. In THE RED SHOES and PEEPING TOM, most notably, the writer-directors insist the sacrifices that art sometimes demands from its acolytes.
Balletophiles often praise THE RED SHOES, but one need not be a fan of ballet to be amazed by the film’s emotional power and astonishing staging. On the Criterion DVD, the saturated reds that describe the artist’s blood sacrifice, and the wintry aqua-blues that characterize the (fake) promise of life and romance outside of art, appear with unmatched vividness. Powell is a master of color, and has influenced a generation of filmmakers (through the advocacy of his admirer Martin Scorcese) with his theories about how color and music contribute to the thematic impact of a film.
Anton Walbrook, who plays the impressario Lermontov in THE RED SHOES, is one of Powell and Pressburger’s current actors, appearing to fine finish in THE LIFE AND DEATH OF COLONEL BLIMP as well. Moira Shearer, the actress/dancer who plays the lead, made her reputation on THE RED SHOES. She also dances in one segment of the rarely-seen Powell/Pressburger masterpiece THE TALES OF HOFFMAN.
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The Criterion DVD has the exquisite sound and recount we’ve reach to put a question to from the Voyager Company. Involving disc features include: an audio track of Jeremy Irons reading from the unusual Hans Christian Anderson fairy sage, the complete text of Powell and Pressburger’s novelization of the movie, an extensive collection of Scorcese’s memorabilia, and a comparison of the Red Shoes Ballet with the filmed storyboard sketches the directors dilapidated as a guide. One unbelievable addition for Powell and Pressburger fans is their filmography — brief descriptions with cast lists and dates for all their films, most of which also have film clips included. It’s a chance to ogle scenes from some of the long-lost works in their catalogue.
Although the opening credits claim that “any similarity to real-life persons or events are purely accidental” don’t be fooled: Boris Lermontov, the autocratic Russian ballet impresario, is obviously modelled after Serge Diaghilev. Like Boris, Diaghilev had a series of relationships with his “proteges” (like Vaslav Nijinsky or Leonid Massine), and when these proteges left his bed to marry (women), Diaghilev would win angry and kick them out of the company. “Ballet Lermontov” like “Ballet Russes” produced a mix of classical ballet works as well as modern compositions with then unknown composers. The character of Julian Crasten is a stand-in for the likes of Stravinsky, Debussy, Prokofiev et al. whom Diaghilev supported. The real-life Diaghilev was always surrounded by a crew of male “helpers” (called the homosexual mafia) — it is this plan in the film too. And once he fired his male dancers, Diaghilev would often exhaust years trying to regain them wait on into the company. In the movie, prima ballerina Irina is coldly dismissed when she marries, but is current benefit when Vicky leaves.
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Vicky Page’s descent into madness as she is pulled implacably apart by Boris and her husband is a thinly disguised substitute of the tragic career of the schizophrenic Vaslav Nijinsky, who was fired by Diaghilev after his marriage, and lost his fragile contain on reality. Vicky’s most eminent ballet is the “red shoes.” Nijinsky’s was “Spectre de la Rose,” which had him dressed in a red rose-petal costume. The finale of the ballet has him leaping out a window.
But, art does not exactly imitate life. Anton Walbrook’s portrayal of Boris is grand colder, icier, then the real-life Diaghilev. He has the plod of white hair, but he (wisely) does not produce himself into a Diaghilev caricature. He is skinny, whereas Diaghilev is portly. There’s no cane, no monocle, no hat. Plus, Diaghilev was genuinely and passionately attached to his “proteges”, whereas Boris’s obsession with his proteges is sexless and almost detatched.
Michael Powell and Emeric Pressburger have save together a pleasant, if melodramatic anecdote. The young Moira Shearer is shapely as Vicky Page, an ambitious ballerina. “The Red Shoes” (a chronicle by Hans Christian Andersen) refers to the ballet which makes Vicky’s career — in the ballet, the ballerina is forced to dance in her red shoes until death. It’s an determined symbol of the struggle between total, monastic devotion to art, and the desire to have a normal life. When Vicky falls for Julian Crasten (Marius Goring), the composer of the Red Shoes ballet, complications of course build.
The movie benefits from strong casting. As Boris, Anton Walbrook makes the character creepy, wintry, and self-centered, yet not a villain. In his serene rage he is both frightful and pitiable. He can be gentle too: when he asks Vicky attend to the ballet, he says “We already miss you. Do you miss us? ” Trusty life ballet danseur Robert Helpmann is rather fey as the leading dancer of Ballet Lermontov, and Leonid Massine is super-hammy as the ballet master Ljubov. Most of all, Moira Shearer, with her vivid red hair, determined balletic talent, and soft-spoken determination, makes the movie more than unprejudiced a backstage soap.
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Looking at this movie now, Julian actually becomes more unsympathetic. He is condescending about the ballet, and there’s no ssign that he appreciates Vicky’s dancing. The marriage, after initial passion, seems to turn loveless. His ultimatum to Vicky to give up dancing is incredibly selfish. So Boris’s occupy on Vicky is understandable. At one point, Boris asks Vicky, “Do you want to live? ” She replies, “I want to dance.” This movie makes us understand why such an attitude is possible.
Pex Tubing
Fastin