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Butch Harmon’s Ultimate Golf Series Movie Streaming

breanna93404 — Sun, 21 Mar 2010 23:46:38 +0000

Butch Harmon’s Ultimate Golf Series Movie Streaming.

Movie Title: Butch Harmon’s Ultimate Golf Series
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Butch Harmon’s Ultimate Golf Series is available for streaming or downloading.

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As a brand new golfer I found the nuggets of advice very helpful. There are just too few of them. Mr. Harmon spends half of the DVD reminiscing about the past. I give the advice five stars and the reminiscing zero stars so they average to 2.5 stars. I rounded up to give him the benefit of the doubt. I saw this video for sale at a golf store for over twice the Amazon price. I’m glad I own it at the Amazon price. I would be ticked-off if I had paid the higher price.

Received this for Christmas and was excited about it; after viewing the dvd’s, I can only say that I’m extremely disappointed. Very little - if anything- is “new” here; in fact, you could get lots more useful information by subscribing to a golf instruction magazine. My package did come with a putting training aid - which was a bonus, but it can’t help the “staged” interaction and stale lessons. Also, this instrutional DVD is now over 5 years old (when he was still Tiger Woods’ coach). This set my be satisfactory to a complete beginner, but most golfers should pass on this one.
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Stream Puccini: La Boheme Movie Online

breanna93404 — Sun, 21 Mar 2010 07:12:38 +0000

Stream Puccini: La Boheme Movie Online.

Movie Title: Puccini: La Boheme
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This is one of the better DVD releases of the Met’s recent enormously popular live HD moviecasts. The cast sings well, the production is one of Franco Zefferelli’s less tacky creations, and La Boheme remains one of the singer-proof operas. Puccini’s music is so affecting that even rather average singers can make the experience moving.

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Fortunately this La Boheme has assembled a cast that is far from average. I saw the production in its opening night with the same cast. I found both Vargas and Gheorghiu’s voice to be a tad small for the large cavernous Met, but one cannot argue with the beauty of their voices. Gheorghiu’s voice in particular has a dusky, husky, fragile sounding timbre that gives us the illusion of a consumptive. Her snow-white skin and dark black hair also adds to the appearance of someone who has been sick for quite awhile, although for my money no one was ever able to look as believably consumptive as Teresa Stratas in the earlier Met video with Jose Carreras. She has some unusual phrasing during “Si mi chiamano Mimi” — she seems determined to take the aria at a slower pace than the conductor, and she also eschews the traditional portamenti. Vargas’s voice is bright, ardent, and he’s a sensitive musician. He hits the high C in “Che gelida manina” delicately and if his voice is a bit too small and lyric for the role he still always sounds beautiful. Ainhoa Arteta makes no particular impression as Musetta but she is much better than the screechy, over-the-hill Scotto in the Stratas/Carreras video.

Dramatically, this Boheme does not work as well. Ramon Vargas is another in a long line of pleasantly plump and somewhat phlegmatic Rodolfos. (Caruso, Bjoerling, Tucker, Pavarotti all were way too plump to be entirely believable as a starving poet.) But he makes Rodolfo sweet and likable, which is more crucial than looks. More problematic is Angela Gheorghiu’s Mimi. Her stage persona has a certain hardness, and she makes Mimi a rather aggressive pursuer of Rodolfo. She says backstage that Mimi “is not innocent” but she goes too far in the other direction, in my opinion. The minute she enters the garret, swaying her hips knowingly and with a somewhat smug smile, you know that this Mimi probably blew out her candle on purpose to meet Rodolfo. There is no reason Mimi should be a wilting innocent flower (after all, she does supposedly run off with a rich count, and early reviews of La Boheme upbraided Puccini for celebrating loose morals), but to make her so openly seductive kind of ruins the charm of the opening scene between Rodolfo and Mimi. At its best, it suggests two young people falling in love unexpectedly. These complaints are mostly in the first two acts. By the third act, Gheorghiu’s Mimi has turned believably tragic. She is less fussy, and content to let her voice and the music speak for itself. The Act 3 quartet is very affecting.

So in other words, another worthy addition to the Boheme video collection. Of the videos I have I love the Australian Opera production, and the Scotto/Pavarotti video. But as usual, Puccini’s opera is the real winner. There is a reason why audiences all over the world never tire of this simple story of boy meets girl, boy loses girl. It’s a perfect opera.

Note: to respond to the review above, I did attend opening night but I also watched the moviecast. This review is I guess based on a mix of my own memories of opening night AND the moviecast.

Britten - Peter Grimes (The Metropolitan Opera HD Live Series)

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This DVD is a recording of the performance of La Boheme at the Met on April 5/2008 which was transmitted in HD worldwide. The first night was on 3/29th with the same cast, and the reviews in NY papers and the one here by Ivy Lin were based on the the opening night performance, not the one used on this disc. I attended the opening and agree with most of Ms. Lin’s observations, i.e.: Vargas ‘ voice being “lyric,bright,ardent” hitting

the high C in Che Gelida Manina “delicately”; Gheorghiu’s aggressiveness and sluttishness, and her being out of sync in her Act1 aria. I do not agree with her claim that Vargas was too chubby and phlegmatic to be a believable Rodolfo, but I tend to agree with her comments about the Mimi. I cannot blame Ms. Lin because I myself found Ms.Gheorghiu to be trying hard to appear too romantic and taken with her man. She practically mauled him at the Cafe Momus with her exuberance. I did not attend the April 5th performance but I listened to the PBS radio broadcast and saw the moviecast of the event,and was very happy with the positive changes and improvement over the opening night performance. The excessive touching, smooching and other distractions were toned down, and the musical matters went on smoothly.

This disc has outstanding video and audio worthy of the Met’s 50-yr old classic Zeffirelli production with an ideal casting of Angela Gheorghiu and Ramon Vargas in the principal roles, supported by a fine mix of veterans and newcomers to the Met. Everyone in this line up is gifted with enormous talent, rich voice and fine musicality. The conductor is a young but highly talented Italian who certainly knows his Puccini, and one who knows how to accommodate his singers’ ideas without sacrificing the integrity of the music. True, he used some rubatos and expansive tempos here and there but always to enhance rather than diminish the musical and dramatic values. He supported his singers sensitively and the orchestera responded beautifully.

For some time, I was hoping the two singers would be cast together in any opera, not just Boheme, because I always believe that their voices are a perfect match in size, coloration, expressiveness and range. Plus, they possess truly beautiful voices, musical intelligence, innate musicality and elegant singing style. All of these qualities are evident on this disc. What I was not sure about was their chemistry together. Having seen the close-up of their facial expressions and subtle dramatic expressions, the total commitment and involvement throughut the opera by both artists and even split-second reactions, I do not know of any pair that could match such chemistry. Just incredible! They seem to inspire each other. Now I can understand why Gheorghiu, in Acts1&2, tried to convince everyone including the audience, her man and herself that she was REALLY in love with him. She was going to use this bit of realism to help her go through her slow death in Acts3&4 with searing intensity and poignancy. And Vargas responded with such convincing sincerity that one cannot help but feel for the unfortunate lovers.Gheorghiu has been acclaimed for her acting, in addition to her singing, throughout her career, but it’s hard to tell who the better actor is of the two here.

How about the singing ? Stunning, mesmerizing, magical, heartbreaking, ethereal. Stunning was Vargas when he discarded his lyric, bright-toned Che Gelida Manina on opening night and used his burnished, dark-hued spinto of late while preserving his customary warmth and sweetness. Mesmerizing was Gheorghiu in her Act1 aria with the movement of a graceful ballerina. Magical was the expansive Soave Fanciulla with Vargas visibly stunned at the sight of the radiant, beautiful Mimi bathed in moonlight and ushering in the sweeping splendor of this music with his magnificent sound. Heartbreaking was Mimi’s farewell to the love of her life. Ethereal was Vargas’ “alla stagion dei fior “, ethereal as the snow flakes falling on the lovers at the end of Act3.

So, whose BOHEME is this ? Is it Mimi’s or Rodolfo’s ? Buy this DVD and find out. Enjoy the quest for the answer.

Lost in Austen Movie Streaming

breanna93404 — Sat, 20 Mar 2010 22:37:02 +0000

Lost in Austen Movie Streaming.

Movie Title: Lost in Austen
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I first started hearing about this at a favorite fanfiction sight. I ended up buying a Region 2 DVD from England and buying a multi-region DVD player just to satiate my curiousity. I WAS NOT DISAPPOINTED. The premise of modern day Pride&Prejudice fanatic, Amanda, finding herself swapping places with Elizabeth Bennet is right out of a sci-fi, paranormal flick– but once the story gets rolling in Regency England, the pace is fast and one better not blink! The quick, cheeky conversations, and the twists & turns far flung from Jane Austen’s original are entertaining and LOL funny. Elliot Cowen as Mr Darcy is outstanding. I think Jane Austen herself would have cast him! He had just the right amount of haughtiness, pride, arrogance, distain and finally tenderness. He gave me chills when he gave Amanda a proper set down at Netherfield; so believable. The escape from Austen’s usual canon was surprisingly refreshing and the play with characters was delightful. If you are expecting Austen’s masterpiece P&P, this is not it. However, my Austenite sensibilities were not in anyway offended by this blatant & somewhat contrived story. Not wanting to give anymore away, let’s just say that the entire ensemble was perfectly cast. It is all done in good humour and very tongue-in-cheek. But I must admit, that had I been in Amanda’s shoes, I am certain I would have behaved better! And yes, I’ll probably pre-order the Region 1 DVD, too!

I watched this on Oxygen, and it is delightfully done and thought provoking. The tired-of-her-modern-world protagonist yearns for the world of Jane Austen, when she inadvertently goes through a portal in her bathroom to find herself not only back in time, but in the imaginary world of Pride and Prejudice. This is a wonderful addition to anyone hungry for more Austenmania.
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King of New York Movie Streaming

breanna93404 — Sat, 20 Mar 2010 17:33:27 +0000

King of New York Movie Streaming.

Movie Title: King of New York
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Some way into Abel Ferrara’s ‘King Of New York’, two gangsters conspire in a small cinema showing F.W. Murnau’s 1922 horror classic ‘Nosferatu’. Playing the scene where the vampire disembarks his corpse- and rat-ridden ship docked in England, it has clear reference to Ferrara’s protagonist, Frank White (Christopher Walken in one of cinema’s great, mercurial performances), a drug-smuggler recently released from a long period in prison, hoping to reassert his local criminal power. White refers to his return as ‘coming back from the dead’, and Walken’s long, haunted figure and dancer’s movements have some of the aristocratic grace of a famous screen Dracula, Christopher Lee. Mostly seen at night, he gathers new recruits (fresh blood) around him to ‘feed’ on. One remarkable shot, after a prolonged sequence of speedy violence, has him lit so his eyes shine like some haunted undead; another has the camera following him through a railway station until it is stopped by bars - it can only impotently watch as White glides up the stairs to be swallowed by the night. The film even has as one of his opponents a cop played by future vampire-slayer Wesley Snipes.

But the ‘Nosferatu’ allusion points to something else - Ferrara’s strange absorption of silent cinema. In terms of content, ‘King’ is a gangster film like any other: loud, ugly, violent, brutal, lurid, hysterical. But it has a purity and beauty very different from the stylised melodramas of Martin Scorcese, whose equally bloodthirsty ‘Goodfellas’ came out in the same year. The first ten minutes is an astonishing, virtually wordless, visual tour-de-force, not simply presenting the main character, his situation and environment, but introducing symbolic motifs that are all the more powerful for being real, a part of Frank’s world, and not simply imposed. Bars and grids (in prison, gates, bridges etc.) are the most prominent, signifying initially Frank’s literal imprisonment, then his difficulties with the law and fellow criminals, and his frustrated ambitions (including a Guiliani-like zero-tolerance programme to clean up the streets), but eventually, as we might expect from a Ferrara littering his film with religious iconography, something much more metaphysical, outside the confines of genre (hence the references to Melville).

After this, there is a lot of talk - noisy, profane, funny, aggressive, threatening - but the best sequences retain this silent aesthetic: the night-club double cross leading to a car chase and man-hunt under a bridge; a police funeral in which a limousine hit provokes the scattering of black-clad, bankside mourners; the ‘Le Samourai’-like subway confrontation between gangster and cop [although the film's very greatest scene, Larry Fishburne's Jimmy Jump ordering fast food just before being busted for murder, depends for its effect on the conflict between talk and silence, his bluster oblivious to the soundless arrests playing out behind him]. The use of huge, intense close-ups recall the emotional silent era, as does Ferrara’s camerawork, more deliberate and heavy than Scorcese’s flash pyrotechnics. The staging of set-pieces is as artifical as Murnau’s setscapes in ‘Sunrise’; the underworld carnival is more Celine than Scorcese. Even the use of blue filter in key scenes is less a signifier of atmosphere or artifice than a nod to the practise of ‘colorising’ monochrome silents.

By employing this style from a period he clearly loves, Ferrara is able to inject a spirituality and ceremonial gravitas not immediately apparent in the crudity of the genre subject.

KING OF NEW YORK is, for my money, the most valuable (and the most underrated) film of the last 20 years. It is a homage to the classic American genre - the gangster fable - with the depth and subtext of a European art-movie. It’s a precursor to urban crime thrillers like New Jack City and Menace II Society (Ferrara points out they first used a rap-score in 1982). An ode to drug-culture. A pitchblack satire of capitalism and its grotesque fallout. It’s got a cast to die for, and a close-knit crew at the height of their powers.

It’s shot across an array of locations including Sing-Sing, Donald Trump’s Plaza Hotel, and various crack-lanes; it weaves seamlessly between an original score, and the music of Vivaldi and Schooly D; the film is meticulously colour-coded (as pointed out by Nick Johnstone in his book) to add up to a cold critique of the red WHITE and blue, the all-American war-on-drugs; the tempo is expertly-managed, the movie simmers for a while then explodes into heavy-metal carnage, and then it dies with a sad whimper. The film is spectacularly violent, but think about the handling of the violence. There’s a big Peckinpah slo-mo shootout, then the audacious shootout in Chinatown. But in the 2nd half of the movie the deaths are direct, painful to watch, and pitiful in their execution.

And then there’s the cast: Walken was never better. He mesmirises you, brilliantly charismatic. And he looks so otherworldy, what with the hair and the deathly complexion, he’s like the man who fell to Earth, the oddest looking `hero’ you’ve ever seen. Fishburne reinvented a character imagined for James Russo and the whole movie turns on that transition. Its simply impossible to imagine how it could have worked ½ as well with Russo, or any1 else for that matter. Caruso is a fire-engine red ball of rage. The scene when he rushes from his colleagues funeral is one of the most beautifully played-out expressions of vigilantism ever put on film. Argo as a weary, deflated, pill-poppin’ `old man’ who has been there and knows the war is unwise and un-win-able.

As far as Im concerned, every sequence, every line of dialogue (”I’m not the problem, I’m just a businessman”) is pure gold. Ferrara’s is the cult-of-cults, his movies usually too far-out or nihilistic to get much of a following. But this one I bet Tarantino wishes he’d made.

And the DVD package…The documentary is not comprehensive, but it re-enforces what sets Ferrara’s films above those of most of his contemporaries, the sheer degree of collaboration involved. Abe’s anarchist mentality has freed up guys like Joe Delia (music), Anthony Redman (editor), Charles Lagola (production design) and Ken Kelsch to make exactly the sort of films they want. Kelsch makes the most telling statement towards the end, which might explain why Ferrara hasn’t made a film for about five years (after a Woody Allen-esque burst of creativity in the 90s). In fact, as basic as it is, the doco is startlingly honest and revealing about its subject.

Ferrara previously contributed a delirious commentary to The Driller Killer, but this time round you kinda feel sad listening to his hazy lack of insight, having the suspicion that his personal curse has robbed him of both his allies and his inspiration at the moment when he’s finally getting his dues. But the commentary track is actually a blast! Abel and his best-mate Frankie crack open a few brews, he makes some funny asides about Walken’s hair and the reaction to the film on release. And if you get to the credits, you get to listen to Abel bang out Schooly’s title-track on an acoustic guitar with a Dylan drawl.

Check out the title card on the trailer. Under the title it reads (a Ferrara / St. John original), like the credits on the label of a 45″ record. Like Mick and Keef, or Scorsese and Schrader, these guys made dynamite 2gether. KONY is their towering achievement, it’s one of the great films ever made.
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Stream Cold War Hysteria Movie Online

breanna93404 — Sat, 20 Mar 2010 13:45:35 +0000

Stream Cold War Hysteria Movie Online.

Movie Title: Cold War Hysteria
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Almost all of the movies contained on these three discs were made by the government during the early cold war. If you are interested in either movies about nuclear tests, or survival after an attack, you will like this DVD.

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It could have been organized a bit better, the movies could have been put in chronological order, for instance, so you aren’t watching a movie about the H-bomb and then see something about the Hiroshima attack.

In fact, all the nuclear test videos could have been put on one disc, and another disc could have contained the movies concerning civil defense.

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Some of the movies about the tests are detailed, but they tend to repeat themselves over time, and some have been edited, because- even 50 plus years after the fact- they contained some classified material.

The civil defense movies are a bit naive- everyone always survives- and if they are seperated from their family- they always turn up safe at another shelter. However, a lot of what is presented about the dangers of fallout could still come in handy in today’s “dirty bomb” environment.

A couple of the movies could have been excised entirely- one called “This is not a test” is a good example. It’s just a lousy movie with an A-Bomb attack as one of it’s labored plot elements.

It takes 17 hours to watch all the discs, so stock up your fallout shelter and make sure you have enough batteries for your DVD player, and then enjoy.
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Stream The Bitter Tears of Petra von Kant Online

breanna93404 — Sat, 20 Mar 2010 10:03:45 +0000

Stream The Bitter Tears of Petra von Kant Online.

Movie Title: The Bitter Tears of Petra von Kant
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The Bitter Tears of Petra von Kant (1972), one of Fassbinder’s masterpieces, explores the tortured connections between desire and power. Not only is the DVD of exceptional quality, it includes both of Fassbinder’s fascinating short films (”The City Tramp” and “The Little Chaos”) plus a revealing documentary.

Although Bitter Tears remains one of Fassbinder’s most controversial films - in part for its severely limited depiction of women’s lives - it is also one of his most powerful. Fortunately, the range of lesbian-themed films in the past thirty years has presented women’s experiences in considerably more diversity and fullness, so perhaps now we can better evaluate the film’s considerable merits.

Fassbinder’s casts are always uniformly strong, but this one is extraordinary, especially Margit Carstensen in the title role (she won several awards), Hanna Schygulla (with whom Fassbinder made 20 pictures) as her new lover Karin Thimm, and Irm Herrman as Petra’s mysterious assistant Marlene who, without uttering one word, at times dominates with her sheer presence.

The film is astonishing for its interweaving of raw emotion with stunning and meticulous design. Fassbinder and director of photography Michael Ballhaus (who shot about half of the director’s films, and now does all of Scorsese’s pictures) wrest every bit of visual interest from the single claustrophobic set (we never leave this one apartment). The endlessly inventive deep focus compositions provide a series of emotionally penetrating, and technically virtuosic, comments on the action - ironic, allusive, symbolic, and visually gorgeous. The only picture which approaches this level of achievement - in making limited physical space utterly compelling as cinema - is Cocteau’s Les Parents Terribles (1948), but he had all of two sets!

Fassbinder also makes acerbic use of every carefully placed object in the lavish apartment. Most notable is a gigantic blowup of Poussin’s painting “Midas and Bacchus,” which reminds us that Petra - like Midas, whose life was blasted by the “golden touch” - should be careful what she wishes for. The nude Bacchus stands in the center of the mural - and not infrequently Fassbinder’s compositions - with the body of, well, a Greek god, a larger-than-life male in a film peopled entirely with women. Some critics argue that this overbearing backdrop represents the patriarchal system which underlies, and perhaps even dooms, the relationship of Petra and Karin. Fassbinder includes many other witty, even playful, elements throughout the film, both to give it greater resonance, and to keep it from descending into bathos. For instance, dramatic form has rarely been so drolly encapsulated as when Petra changes into a new wig - “symbolically” indicating her emotional state - in each of the film’s five scenes (each unfolds in continuous time).

Although it would be unfair to reveal the ending, a tentatively optimistic reading may be possible: For one character it revolves around a newfound self-respect, for another because she has, for the first time, genuinely reached out to someone else. The film is so rich, on so many levels, that you may find yourself seeing it differently on each viewing. Few works so creatively, and powerfully, manage to subvert our desire for cathartic drama while simultaneously fulfilling it.

FASSBINDER’S SHORT FILMS ARE ALSO INCLUDED on this DVD. Both were made in 1966, when he was 19. “The City Tramp,” about a homeless man who finds a gun, is a work of extraordinary, stark visual design and intriguing commentative sound (street noise juxtaposed with classical music juxtaposed with silence). It boasts excellent performances, with Fassbinder raising it far above the level of a “vanity piece” for financial backer cum star Christoph Roser. It also introduces several of the filmmaker’s recurring themes, including alienation, the role of the outsider, exploitation, and violence, while its sporadic playfulness highlights another vital, and fun, aspect of his work. “The Little Chaos” is about three friends who use their knowledge of American crime movies (and Godard’s 1964 film Band of Outsiders) to rob a woman. Although not as visually striking or emotionally rich as “City Tramp,” it features first-rate performances and has a refreshing exuberance. The DVD also includes “Rainer Werner Fassbinder, 1977,” an engrossing half-hour documentary.

Boy, oh, boy! The crankiest lesbians you’d ever want to see just talking and fighting, talking and drinking, talking and dancing to the Platters! I can’t think of a better way to spend two hours. This one’s amazing. Perhaps the ultimate Fassbinder: excruciating for many, sheer heaven for a lucky few. When brittle but oh-so-vulnerable Petra, wearing her bizarre Wagneresque ‘gown’ with the glittery pretzel-shaped decolletage, puts “In My Room” on the phonograph and starts bitching to gorgeous, scheming Karin about her first marriage, it’ll send you into the stratosphere. Kinky, trashily hilarious, profound and political — what more could you possibly want in a movie?
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Stream Gundam Wing - Endless Waltz Online

breanna93404 — Sat, 20 Mar 2010 06:22:15 +0000

Stream Gundam Wing - Endless Waltz Online.

Movie Title: Gundam Wing - Endless Waltz
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I bought this DVD the day it came out and loved it instantly. But I didn’t really have anything to say about it until watching the ending of another great anime series, Neon Genesis Evangelion. Both the TV and movie versions of that series angered me to no end, but they made me realize how great “Endless Waltz” is.

The ending of the “Gundam Wing” television series wasn’t really that at all. Sure, the ‘bad guys’ were defeated, but anyone who thinks that’s all that matters isn’t a fan of good storytelling. “Endless Waltz” answers pretty much every question you might have about the fates of the characters, and I don’t mean just the Gundam pilots, either. Every important character of the series is brought into play, and even some not-so important ones. As icing on the cake, this DVD also answers many(though not all) questions about the characters from before the start of the series.

The animation, characterization, and excellent soundtrack (”White Reflexion!”) all make up for the fact that the plot is slightly silly and a little cliched. More of a bad guys versus good guys thing as opposed to the complexity of the series. But hey, it’s a movie, how deep do you want them to get, here?

Two more reccomendations. Watch the movie version, as opposed to the OVA version. You’ll be glad you did. It contains extended and all-new footage that really makes the story flow better, plus there’s some great music in certain scenes that were silent in the OVA vesion. Secondly, and this is something I never ever say about anime, watch it dubbed. No, I’m not insane. It’s actually better, I swear to God. I’ve seen it in both languages, and simple lines (such as many of Heero’s) just sounded better delivered in English.

…but what an ending! Told mostly through flashbacks, the story of Endless Waltz is rock-solid. If you’re a fan of the series, this explains the characters backgrounds and how they came to be, which is quite interesting (Trowa’s origin, for example, was not only interesting, it’s shocking). If you’re new to Gundam Wing, well… it wouldn’t be the best place to start… and at the same time, it would be if you don’t want to sit through all those episodes (which is why I liked the flashbacks: I can show it to my friends and they wouldn’t be left out in the cold as to what’s going on in the film). Whenever you try to get someone’s interest in a series, it’s not always easy: nobody really has time to sit through a whole set of tapes/DVDs, and that’s if you even have them; and when you try to show them a movie inspired from the series, they know nothing of the characters, and it seems that most movies expect that you already do (take, for example, Tenchi Forever: you can’t show that to a first-time Tenchi viewer, as it wouldn’t quite register [i.e., no explanation as to how the characters came about]). But, like I said, Endless Waltz gives you a whole background of the characters through the flashbacks, yet, doesn’t take away from those that have followed the series–no easy feet. So what’s the story here? Taking off a year after the Gundam Wing series ended, Mariemeia–the illegitimate daughter of deceased war leader, OZ chief Treize Krushrenada–has made plans to become the ruler of the new nation–thus taking over Earth and the Space Colonies. Obviously, this isn’t good; it’s, as the movie said, “An endless waltz of peace, war, and revolution.” And obviously, our heroes aren’t taking this lightly, either. Past villians are now good guys, the characters are more emotional than ever, and the battle scenes are the best in the entire Gundam Wing series–in fact, I honestly felt this was the peak of everything to the series: the characters have more depth, the story is at its finest, and the battle scenes are beyond amazing. If you’ve seen any of the episodes, you already know about dubbing: it’s perfect. Very few anime titles I’ll say I actually loved the dubbing, but the whole Gundam Wing series is just great. The animation is a bit dated (it was made quite awhile back), but the detail is still sharp. I’ll be honest… the first time I seen Gundam Wing, I didn’t care for it–I’m a Macross/Robotech fan, and I’ll always fell that Macross/Robotech is king when it comes to mecha in anime… but I started liking it after awhile, and I truly feel that this movie represents all of Gundam Wing at its finest. Endless Waltz is a great, action-packed, anime movie that, hopefully, will get the success it truly deserves–definitely do not pass this up when its release day comes.
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Watch Odd Couple - The Centennial Collection Online

breanna93404 — Sat, 20 Mar 2010 02:31:50 +0000

Watch Odd Couple - The Centennial Collection Online.

Movie Title: Odd Couple - The Centennial Collection
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Odd Couple - The Centennial Collection is available for streaming or downloading.

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I grew up with the Tony Randall/Jack Klugman sitcom version of “The Odd Couple.” Everything about it is funny. Having seen for the first time the movie, I never before imagined how smart Neil Simon could be. The movie outshines the TV series, and is worth the space on any standard comedy DVD library shelf.

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In the TV series, Klugman’s Oscar is a bohemian bachelor living in slop, and apparently content. In the movie, Walter Matthau’s Oscar is no neater, but five times as deep. Although he lives in a divorced man’s squalor of old cigars and warm beer, he wants more. He’s lonely for his wife and kids, and regrets not making his alimony payments. His life is so disorganized that he wastes money by squandering cash on dinners out and gambling.

When Felix Ungar, as played by Jack Lemmon, Oscar’s poker buddy, comes to stay when his wife divorces him, lifestyles clash.

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On the surface, the clash is about organization and housekeeping. More deeply, Felix and Oscar duel as Super Ego and ID. Consistently archetypal, they are, in a more modern sense, like Marge and Homer Simpson, each seeing life through their limited expressions. Felix is uptight, and forever second-guessing himself. Oscar is living life for the moment, and never stopping to consider his responsibilities.

Oscar cares about Felix more than their other poker buddies, and connects with him as alter self, regarding their friendship worth pursuing. Since Felix needs a place to stay, Oscar offers up his ample apartment. The conflicts arise soon after, but not without each appreciating what the other brings to the relationship. Ironies abound when Felix’s hypersensitivities gain him the affection of two dimwitted but attractive sisters, and Oscar’s unbridled hormones.

Oscar can’t help but enjoy Felix’s great cooking and cleaning habits. He eats better, saves money, and finds his home is a nice a place to be when cigarette butts don’t litter the floor.

No remake could collect such a cast. Matthau and Lemmon are known here as a duo on par with any of the great matches, like Bogie and Bacall, Bing and Bob, or Abbott and Costello. John Fiedler as the soft spoken family man, Vinnie, and Herb Edelman as Murray the cop are casted primely. One reason “The Odd Couple II” misses is this class cast. Matthau and Lemmon bring a lot to the table, but with Murray and Vinnie (plus Monica Evans and Carole Shelley respectively as the giggly sisters, Cecily and Gwendolyn Pigeon), anything made 30+ years later won’t do.

Superbly written, “The Odd Couple” is one of those comedies with intelligence. Never does Neil Simon try to pan off one-liners. Even as Oscar tosses out slicing one-phrased commentaries as swiftly as Grouch Marx, there is more than a quick chuckle behind it. It is the myriad of layers, subtle commentary and sly interjections that lift this script up an extra level, placing it as a classic.

Surprisingly entertaining is the theme. It is the same them as in the TV series, but plays in varied orchestrations throughout the movie’s context. It was one of the great TV themes, and to hear it extrapolated in several variations makes it so much more enjoyable.

I fully recommend “The Odd Couple.”

Anthony Trendl

editor, HungarianBookstore.com

It just doesn’t get too much funnier than Matthau & Lemmon in this movie. Each scene is a treasure. I’d heard that Matthau wanted to play Felix first, saying that he could’ve “phoned in” his performance of Oscar. But, this was perfect casting. A line that still is one of the best is when Oscar goes through his littany of things that irritate him about Felix. He tells him to stop the little notes he leaves on his pillow. “We are all out of toilet paper. F.U. It took me three hours to figure out that F.U. meant Felix Unger!” You gotta own this one. It’s a classic.
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Stream Cowboy Bebop Remix: Anime Legends Movie Online

breanna93404 — Fri, 19 Mar 2010 22:27:55 +0000

Stream Cowboy Bebop Remix: Anime Legends Movie Online.

Movie Title: Cowboy Bebop Remix: Anime Legends
Average customer review:

Cowboy Bebop Remix: Anime Legends is available for streaming or downloading.

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Look up the word `cool’ in any dictionary and it says “see Cowboy Bebop”…well, not really…but it should, because Cowboy Bebop is the quintessence of coolness. If you don’t already know, Bebop is a stylish 26-session masterpiece chronicling the thrilling triumphs and tribulations of those space-sailing, chain-smoking, bounty-hunting buddies, Jet Black and Spike Spiegel. Jet is a bald and burly bonsai tree collector with an artificial left arm and a comma-shaped piece of metal under his scarred right eye. A former ISSP officer–known on his home satellite, Ganymede, as the tenacious “Black Dog”–Jet is now the owner/pilot/mechanic of the spaceship Bebop. The wiry gunfighter and martial arts master, Spike, has fuzzy green hair, mismatched eyes and a checkered past. These two intrepid space “cowboys” hop from one astral gate to another to hunt down wanted criminals all across the galaxy, hoping to earn enough woolongs to enable Jet to finally add some actual beef to his famous “Bell Peppers and Beef” stir-fry. In Session 2, Spike and Jet rescue a Welsh Corgi “data-dog” named Ein from the notorious pet thief, Abdul Hakim. In Session 3, they meet up with an unscrupulous Blackjack dealer who turns out to be the infamous yellow-clad femme fatale, Faye Valentine. And in Session 9, they meet an androgynous red-headed net-diver with an occasionally invisible nose who calls herself Edward Wong Hau Pepelu Tivrusky, IV. Only by working together can this motley little crew of hungry hunters overcome the ruthless gangsters, senile chess players, broken showers, biting mutants and bad mushrooms that stand in their way as they attempt to nab the endless lineup of bad guys profiled daily on Punch and Judy’s Big Shot television show.

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Cowboy Bebop showcases phenomenal jazz music and exquisitely detailed animation that perfectly captures the mean streets and spaceways of a future world that’s simultaneously strange and familiar, with technology that’s grungy and realistic (like the hardware of the original Star Wars trilogy) and a uniquely multi-cultural cornucopia of characters. Unlike most animes, Bebop is primarily episodic, so the shows can be enjoyed individually, without requiring the viewer to watch the entire series in one sitting. My personal favorite is the suspense-filled horror spoof, “Toys In the Attic,” which opens with red-tinged video footage of a dingy tunnel, reminiscent of the long-forgotten Sega CD game, Sewer Shark.

The “Remix” of Cowboy Bebop allows you to hear the unforgettably exhilarating opening theme, Tank! (as well as the rest of the exquisitely-scored soundtrack), in speaker-rattling Dolby Digital 5.1 audio. This affordably-priced Anime Legends set collects the entire Bebop series (not the movie) on six colorfully silk-screened DVDs. A plethora of special features are included, among them: three English-language trailers for Cowboy Bebop on DVD; four Cartoon Network promos; interviews with Wendee Lee, the voice of Faye Valentine and Cartoon Network producer, Sean Akins; subtitled commentary on Session 1 with the Japanese voices of Spike and Jet, Koichi Yamadera and Unshou Ishizuka; commentary on Session 5 and 10 with Wendee Lee and ADR producer, Yutaka Maseba; a laughter-filled commentary on Session 17 with director, Shinichiro Watanabe, and legendary composer, Yoko Kanno; Session 24 commentary with the Japanese Faye, Megumi Hayashibara, and the Japanese Ed, Aoi Tada; a behind-the-scenes look at the making of Cowboy Bebop, called Session 0; plus a music video featuring the full-length version of Tank! Audio options consist of the aforementioned Dolby Digital 5.1 mix in both English and Japanese, as well as the original English and Japanese Stereo tracks. The ONLY downside to this release is that all six discs are awkwardly crowded into one plastic keepcase, each held in place with tiny tabs that are easily broken. Shucks howdy, this is an anime collection that would even satisfy those crotchety old geezers, Antonio, Carlos, and Jobim. So come out of your cryogenic sleep and order yours today! Highly recommended to all animation fans, cop show fans, jazz enthusiasts and corgi owners. “Once the channel is set, you will no longer be able to escape!”

Instead of giving some hack review of the story, I’ll skip it and assume you either know the story already or know how to google for it.

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This box set of a solid anime is finally released in its newest form (improved and cleaned-up picture and 5.1 surround mix) at a very affordable price. Honestly, $40 is a steal considering what you had to pay for all of the discs individually. All 6 discs are in a clamshell case, similar to that of the Back to the Future. No insert inside, just the DVDs.

What I think of the improved picture:

It’s not bad. Not perfect but not bad. You’ll notice the picture is cleaned up a lot if you compare it with pre-improved releases. Scenes that are brighter or more colorful really come through. But I did notice something that kinda bothered me some. Scenes where there is a lot of black (which are many; the story is mostly in space. who knew?) seem off. What I mean by that is, the black areas aren’t a consistent black. This could be a result of the clean-up process but I’m not sure. Either way, it’s slightly distracting but by no means a deal breaker. (EDIT: This was an issue I experienced on the first disc and not later ones; not sure if it was with the disc or my TV’s brightness setting. Either way, not a big problem.) You’re getting a better copy of the show visually.

What I think of the sound:

Ok, if you know anything about Bebop, it’s that there is a great soundtrack. Snappy jazz with the opening credits and sad blues penetrate this series. Needless to say, with a diverse score like this one, the surround mix really pays off. Surround effects and bass response are dead on and not overwhelming. Scenes take advantage of the surrounds to create a balanced ambiance and you might even glance behind your shoulder at times. Don’t feel dumb if you do; I did it too. Gunfights and action scenes take good advantage of the subwoofer. But nothing overwhelming, it’s well balanced and just gives that extra punch you’d expect.

So what should you do?

If you don’t have this series, this is probably the best offer you’re going to get. If you laid down the money for each remastered disc, nothing is added for you content wise, other than your anger for Bandai not releasing this sooner.

A quality series with an upped picture quality and surround mix, offered at a reasonable price. Til next time Cowboy.
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Stream Madagascar Online

breanna93404 — Fri, 19 Mar 2010 20:43:12 +0000

Stream Madagascar Online.

Movie Title: Madagascar
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Madagascar is available for streaming or downloading.

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I have to admit I was underwhelmed by the ads for “Madagascar”, it just didn’t look that good. But my kids were anxious to see it so I dragged myself into the theater on Saturday ready to see another kiddie movie along the lines of “Shark Tale” or “Home on the Range”. I did not expect to enjoy the movie as much as my seven year old….if not more. “Madagascar” is not only a great animated film and packs as many laughs into it’s hour and half as either “Shrek” movie did, “Madagascar” is just a great comedy. There were several times in the movie that were just laugh out loud funny, the scene with the Penguins in Antarctica was worth the price of admission for me! There are plenty of jokes aimed at an older audience, like the reference to “The Twilight Zone” episode “How to Serve Man”. The story is great and the characters are really fun. The visuals are stunning and the animation is top-notch. Add all that together with a great soundtrack, and I think “Madagascar” is a great way to kick off the summer movie season. This one ranks right up there with “The Incredibles” and “Shrek”.

Madagascar is a cute and funny movie. Parents and kids were laughing through most of the movie. (there was an little while where the story gets boring.) But, I love the penguins and the fact that they are always so sneaky; they really steal the show from the main characters. If you have kids this is a definite must see, we had kids laughing the whole time and most loved the bright colors, music and especially dancing. You saw a lot of little kids dancing in their chairs. People without kids or older kids will also enjoy the movie as it has a lot of jokes for adults to keep us entertained and laughing; the bright colors are also great for us as well as the dancing and music. I felt this cartoon lived up to its previews and the way it was perceived. My only hope is if they do a 2nd one that they include more of those sneaky penguins.
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