Ravenous [VHS]

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Product Description

It's a recipe for nonstop action and excitement when the inhabitants of an isolated military outpost go up against a marauding band of cannibals in a deadly struggle for survival.

Ravenous [VHS] Review

This is going to sound strange, but "Ravenous" is a very intelligent movie about cannibals, vampirism (of an unusual sort) and the history of the west. At it's heart is a metaphor about power, exploitation, and ravenous greed. It is much more than simply a thriller, horror, slasher picture.It is set during the time of westward expansion in the youthful United States, which is significant for discovering what the movie is all about. This movie wouldn't make sense in 20th century Manhattan, or in 1930s Chicago. It is set during a time when european settlers still had a long way to go towards 'conquering' most of North America. Without giving too much away of the bizarre and twisted plot, the movie explores not only cannibalism, but cannibalism as a means of regaining life, energy, or power. You eat another, you take the life energy of that person. This notion of cannabalism (which is more along the lines of mythology than of a slasher movie) allows the movie to be completely unpredictable, disturbing and poignant all at once. At the end of the movie, one realizes that it would've been almost impossible to have guessed what was going to happen at each plot turn. If you enjoy bizarre, almost surreal surprises, this movie is packed with them.The crucial moment in the film is towards the end when Robert Carlyle's character is rhapsodizing about "manifest destiny." Here it is revealed that what's behind the ravenous hunger depicted in the film is a statement about how the west was won, and perhaps still being won. There's a lot in this film to chew on (it's impossible to avoid stupid puns when writing about movies in which people are eaten, sorry), and "Ravenous" does not belong in the same category as B-slashers or gore or shock flicks.In fact, it's almost impossible to determine what category to put "Ravenous" in. People who avoid gore movies will probably also want to avoid this one (it can be pretty disgusting), and people who enjoy gore and slash will probably feel disappointed because there's simply more going on than random and senseless killing. It's no surprise that this movie bombed, and it will probably gain cult status and continue to confuse most viewers, but for that reason it will probably be around for a while.The performances are great all around, but Robert Carlyle really, really shines. The story is so original it nearly defies categorization, and the opening sequence is one of the best I've ever seen. The music is meant to be off-kilter and dissonant, which adds to the film's offbeat tempo.Overall a great movie, but one that may confuse viewers. It's not a comedy (though it is funny), it's not a slasher/thriller (though it is gorey and thrilling), and it's not a western (though it is set in the right era). The best thing to do is see it and find out. You may hate it, or you may never be able to stop thinking about it. There are not many movies like this out there. Help other customers find the most helpful reviews� Was this review helpful to you? Yes No Report abuse | PermalinkComment Comments (6)

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All Areas: Live in Bonn 2002

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Price: $110.93   

All Areas: Live in Bonn 2002 Review

This 2002 concert in Germany is a solid performance by Saga with a great variety of songs from their 25-year history. Ian Crichton's guitar work is amazing at times. Being a guitarist myself, I watch in awe of his speed and style.

All Areas has gotten far more playing time at my house than Saga's previous DVD, Silohuette, but I find All Areas lacking in "bonus" features such as interviews and non-concert footage. Being that this is a celebration of their 25th anniversary, I would have expected more features.

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Character (1997)

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DISC ARE IN LIKE NEW CONDITION...

Character (1997) Review

A few remarks and additions to the reviews so far. - The place where the story is situated is near and in the old harbour in Rotterdam (the Netherlands). It was filmed partially on the fifth floor of an old harbour building, with additional scenes in Antwerp (if i recall it correct), in Germany and in Poland. In Rotterdam, i was part of one scene. As a professional calligrapher, i had earlier prepared several properties for the film, and then was asked to be on stage, too. Mike van Diem made a lasting impression, a friendly and capable director indeed. The hours of waiting, the minutes of shooting, resulted in a few seconds of appearance in the final version of the movie - that's obviously the way it goes. In the last half minute, the hand of Jan Decleir (seemingly - it's actually my hand) writes the signature of the testament. It was a small contribution to a masterpiece, which is strongly based on two novels of F. Bordewijk, 'Karakter' and 'Katadreuffe'. Charakter is the kind of movie that is worth to have on video. Be it for the enticing music (Paleis van Boem), be it for the convincing main characters (the divinely beautiful Tamar van den Dop, the talented Fedja van Huet, the majestic Jan Declair), or the intriguing story. Even my critical son of 19 could admit the permeating quality, which is remarkable for someone who mainly grew up with Quentin Tarantino and similar. - Having seen this film several times, the tragedy of the bailiff Dreverhaven appeared in a new light. The ruthless tyrant was deeply unsatisfied with himself, and he who punished so many, beseeched to be punished himself - the natural law of balance. Who else than his own son could be the executor, in the moment of his greatest triumph, when he achieved to be an attorney. That is where this oscar-winning movie ends... and begins.

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Lost, saison 3 [Blu-ray]

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Price: $123.91   

Lost, saison 3 [Blu-ray] Review

Warning! Major spoiler alert!

I believe that Season Three of LOST is one of those seasons of a show that will have a significant impact on the dynamics of television quite apart from the merits or demerits of the season itself. This is mainly due to various tensions the networks have had in broadcasting serial dramas. Season Two of LOST provoked vast viewer anger over the seemingly endless repeats. All season long they would give us four or five new episodes, only to do three or four repeats. No one knew sometimes if they would be tuning into a repeat or a new episode. To counter this, ABC made the decision to broadcast six episodes in the fall to be followed by sixteen episodes shown without interruption beginning in January. Unfortunately, the six episodes they showed in the fall were almost universally perceived as the weakest group of episodes in the show's run. The results of all this I think will be threefold:

1. In the future, I think the trend with popular serial dramas will be to broadcast shows in uninterrupted hunks. We had already seen this happening with 24. I think after the Season Three debacle with LOST, which saw the show lose a huge number of viewers during its break, this will become far more commonplace.

2. The general perception of the first six episodes of the season was that they dawdled too much, provided too little plot development, and simply didn't advance the narrative sufficiently. Shows tend to learn from the mistakes and failures of other series. Damon Lindelhof of LOST has stated that the writers on the show have attempted to avoid the piling up of mysteries that occurred on TWIN PEAKS and the lack of focus on character rather than plot on THE X-FILES and to emulate the focus on character within the overall narrative that was seen in BUFFY THE VAMPIRE SLAYER. I believe in the future that writers on other serial narratives will strive to make sure that the mysteries on a show are being revealed at a good pace. (Just as I think future writers will try to emulate the pace at which this has been done on BATTLESTAR GALACTICA.)

3. There was also a widespread perception that in much of Season Two of LOST and the first six episodes of Season Three, the overall narrative was simply being padded out to ensure a long run for the show. From the beginning looked like a show that needed fewer rather than more seasons to be truly good, but it appeared that with the ratings monster it was in the first two seasons that the powers that be were hoping they could stretch it out to seven or eight seasons instead of five or six. Luckily, the huge backlash against the show following the first six episodes--a backlash that occurred both among everyday fans and among TV critics--seems to have created a reassessment and in the spring it was announced that LOST would be back for three more sixteen-episode seasons. I was delighted with how positively this announcement was greeted by fans and critics alike. I think the result has been for the networks to recognize that certain kinds of series have only a limited potential in terms of the number of episodes that can be produced, that there are certain series that you can really only produce if you anticipate their going four or five or at most six seasons. The other series this is happening with is BATTLESTAR GALACTICA, which like LOST is more or less telling a single story. Both of these are outstanding series that will benefit from a smaller number of series (the debate among the producers of BSG at the moment is whether they need to end the series at the end of Season Four or whether they will need a Season Five). As a negative example there is PRISON BREAK, which currently is threatening to fall apart for lack of any real plan.

The great news about Season Three is that after the long break the show came back as good as ever. If we were rating this as one would rate an ice skater, we'd have to give it a lower rating based on some slips and falls early in its routine. But it rebounded wonderfully and the frustration that most viewers experienced in the fall rarely if ever returned in the spring. Furthermore, they started giving us concrete answers to a host of questions that had been bothering us for ages. We found out all about the others (though not where they originally came from), about the lay out of the island, about the facilities on the island, and a few of -- though by no means all of -- the island's secrets. At the end of the season there were still things we'd like to know about -- Just who is Jacob? What's up with the black smoke? What makes the island so special? What was the genesis of the Dharma Initiative -- but there is no doubt that we knew vastly more than we knew before. There were also many new characters. Ben, whom we knew in Season Two as Henry, was back and became one of the most fascinating characters on the show. And we were introduced to the enigmatic Juliet, whose sad and wistful smile was as impossible to comprehend as the Mona Lisa's. We learned that following the decimation of the hatch at the end of Season Two Desmond experienced visions of the future and seemed doomed to reenacting events. The deep attraction between Jack and Kate was made more explicit even though she ends up furthering things with Sawyer. And as many fans suspected as early as Season One, Locke's father turned out to be the real Sawyer. Our Sawyer coming face-to-face with the real Sawyer was not only one of the highlights of the season but of the entire series.

I want to say something about the finale, but without giving away the details of how the last five minutes of the season changes absolutely everything we know about the series. The changes are, interestingly, not so much in new revelations as in ways that are open for the show to proceed narratively in the future. For the past three seasons the narrative has proceeded in the present with flashbacks to the past of various characters. That is no longer possible. In the future the narrative will of necessity either proceed on the island with flash forwards or will take place in the future with flashbacks to events following the end of Season Three. (Sorry to be vague here, but I really think that one should watch Season Three without knowing what happens at the end of the season to change everything so completely.) I honestly have no idea what way they will proceed. If I had to bet, I would say that the show will continue to use flashbacks, but that the main narrative will proceed in the present. The first three seasons took place pretty much exclusively in the calendar year 2004. I believe Season Four could well take place in 2008 with flashbacks to the previous four years. Regardless, the surprising ending changed everything.

There is one beef I want to make with the show. As much as I love this series, it has to handle the death of characters worse than just about any I have seen. The first series to kill off a substantial number of central and beloved characters was BUFFY THE VAMPIRE SLAYER. There had been other deaths on television series, to be sure. The death of Deep Throat at the end of the first season of THE X-FILES was close to unprecedented at the time. Previously characters largely died because they wanted to leave a show, like the death of Edith on ALL IN THE FAMILY or Denise Crosby's departure from STAR TREK: THE NEXT GENERATION. But BUFFY created the habit of killing off key characters. I'm not sure I've ever been so completely shocked at the death of any character on TV as I was when Angel killed Jenny Calendar in Season Two of BUFFY. It shattered the hallowed tradition on TV that you simply don't kill off characters you like. It ushered in a new era on TV to great effect. Suddenly, a new sense of danger was introduced to TV. Before you always knew that all the characters would survive any catastrophe, no matter how dire, simply because that was the nature of TV. But after BUFFY and the way that other series so quickly picked up on its willingness to kill characters, a new sense of precariousness extended to almost every show on TV. And TV was certainly the better for it. One thing that made the deaths on BUFFY so compelling was that each one carried such a great price and had such enormous consequences. All the deaths were exceedingly well done. But this has not been the case on LOST. Perhaps the deaths will be made less meaningless by developments in the final three seasons, though I somehow doubt it. Characters were killed off in almost random fashion. At least there was no real sense about why they were killed off. It seems like someone said, "Well, we need to kill someone off." And some of the deaths seemed to be caused by off screen activities. Michelle Rodgriguez's death in Season Two was thought by many to be in response to a violation of probation that might have required some jail time and impinged on the shooting schedule (she claims she only signed up for one season). In Season Three Adewale Akinnuoye-Agbaje's great character Mr. Eko was killed reportedly because he was hated by all his fellow cast members and he hated them all in return (some anonymous cast members reported that he was dictatorial to the extent of telling other actors what they should do or how to speak their lines--all reports are that no one was sad to see him leave the set). But even so his death felt like he had been ripped from the show prematurely. And a major death in the season finale felt equally unnecessary. I believe that this will also influence future shows. I think "the body count" is a permanent fixture in any series with an adventure element, but I think that future shows will strive not to make the death of characters as superfluous as they have been in LOST.

The final three seasons will all begin in the winter and be broadcast for sixteen straight weeks with no interruptions. I love this not merely because it means no dead times between episodes but because it puts definite limits on how much time they have left to finish the story. I think most fans of the show feel a lot better about how things are going now than they did last fall. Then the series seemed moribund and seemed almost to be drifting. Now it feels like it is heading somewhere definite. And it ended the season by doing something that all the really great shows do: it took a gigantic risk that changes everything. I look forward with excitement to what happens next.

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Crime in the Museum of Horrors

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Price: $99.99   

Product Description

Horrors of the Black Museum (1959) is a British horror film starring Michael Gough and directed by Arthur Crabtree.[1] It was the first film in what film critic David Pirie dubbed Anglo-Amalgamated's "Sadian trilogy" (the other two being Circus of Horrors and Peeping Tom), with an emphasis on sadism, cruelty and violence (with sexual undertones), in contrast to the supernatural horror of the Hammer films of the same era.

Crime in the Museum of Horrors Review

Michael Gough suavely chews the scenery in yet another one of his revenge-inspired madman film roles. He does them so well, why hire anyone else? Please, let others be your guide to the quality of the movie. (Suffice to say that I love it, but then again it's exactly the sort of movie I love, so it doesn't have to try very hard!) I'll tell you about the DVD...The picture quality is a bit soft, more so in the darker scenes, but nothing too unpleasant. It'll look fine on a big television. (I check all my DVDs on a computer for consistency, but it's a bit less forgiving of image quality problems - which is a bonus, because I can spot them easier to let other people know!) It's an anamorphic (16:9 or "enhanced for widescreen televisions") widescreen presentation, framed at about 2.30:1. The colors are good, which is a good thing because it's a colorful film. The sound is decent, though mono (of course) and therefore nothing spectatular. The extras are abundant, and since the Amazon listing doesn't detail them (as of this writing), I'll list them:A video tribute to Herman Cohen (producer) by film journalist Tom Weaver and lifelong friend and associate, Didier Chatelain
English and French language option
Original US theatrical trailer
Original European theatrical trailer
Hypno-Vista opening featuring psychologist Emile Franchel*
Commentary by Herman Cohen (from archival materials)
Commentary by music composter G�rard Schurmann and film critic David Del Valle
Phone interview/video featurette with Herman Cohen by Scarlet Street publisher Richard Valley
3D motion menus
Scene selection, photo gallery, biographies, bonus trailers**, booklet insert****Now, about the Hypno-Vision introduction. It IS included on the disc (unlike the French release of this movie on DVD), but NOT as part of the feature as intended. Instead, it is an extra, and although it is widescreen, it's non-anamorphic. The feature's running time is 78m 06s because it doesn't incorporate the introduction...that the back cover reads "94 minutes" is a bit of a cheat in that respect.**Apart from the two trailers already mentioned, the disc also includes trailers for many other movies either related to producer Herman Cohen or VCI (the company that released this disc). They are: Target Earth (also newly available on DVD), The Headless Ghost, Blood and Black Lace, The Whip & the Body, City of the Dead, Ruby and The Bird With the Crystal Plumage.***The booklet insert isn't just a single sheet of paper with a chapter listing - it's a foldout, with a European poster reproduction on the inside and a liner note essay on the other. I think that's very nice indeed.Oh, and before I forget, the disc is region free, too! All in all, a very nice package for a relatively obscure little horror movie. If you like this one, also seek out "Konga" (also with Gough) and "The Woman Eater" with George Coulouris. Help other customers find the most helpful reviews� Was this review helpful to you?�Yes No Report abuse | PermalinkComment�Comment

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