Wednesday, July 25, 2012

Nuit et brouillard

Nuit et brouillard

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Nuit et brouillard Review

I first saw "Night and Fog" in a 16mm format when I was a senior in high school in 1970. So powerful and devastating was the imagery of this extraordinary short documentary, that it took me another 30 years to be able to watch other films on the Holocaust, such as "Schindler's List." When I saw "Night and Fog," I said to myself, "No other film needs to be made about the Holocaust. This is the definitive film." The stark, black and white images are devastating and powerful. In reading about the availability the film on video, I was astonished to see that the film had been made in 1955, so soon after the war. In the ensuing 45 years, it has lost none of its potency. For me, this is still the film that set the standard for all subsequent work on the Holocaust. Resnais' treatment of this subject will still burn the images right onto your retina.I have since seen other films depicting the Holocaust, including "Schindler's List" and "Life is Beautiful," both of which were excellent. But "Night and Fog" is still the one work that will shake you to your marrow. I visited the Holocaust Museum in Jerusalem in the late 70's, and the emotional experience was identical to and of the same wrenching caliber as watching "Night and Fog."Truth is truth. We need to look at it, even when it would be more comfortable to turn away. Thank God someone like Resnais had the courage to tell the truth of the Holocaust in a ruthless and inescapable way that holds us all accountable. "Night and Fog" should give us all the courage to call evil by its name out loud when we see it, and to stand together to stop it. This should be required viewing for everyone. Help other customers find the most helpful reviews� Was this review helpful to you?�Yes No Report abuse | PermalinkComment�Comments (15)

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Tuesday, July 24, 2012

Le Rêve de Cassandre

Le Rêve de Cassandre

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Le Rêve de Cassandre Review

The critics seem to enjoy beating up Woody Allen. "Cassandra's Dream" follows in the trend of the last 15 or so years of the public and critics turning their back on Allen and his films. I've found that they sometimes take cheap shots. It's one thing not to like an Allen film, but often I read personal attacks against Allen the man. Remarks are made concerning his age, personal life and his relationship with Soon-Yi. Rarely do critics stick to comments concerning editing, cinematography or acting without inserting a jab at Allen.

Every review I've come across for this film has been negative. "Variety" did not like it, spending a majority of the review complaining about the characters accents and the language used in the film, citing it is not authentic if you are British. Roger Ebert did not like it nor did the Chicago Tribune while the New York Times seemed luke-warm to it.

Once again however I find myself on the outside of public opinion. "Cassandra's Dream" is one of 2007's best films. Many may want to compare it to Allen's "Match Point", Allen's other film set in London revolving around murder and social class. Don't! The films are very different. "Match Point" I felt used metaphor in a more superior way. I thought Allen did a better job expressing his views on society in that film, but, "Cassandra's Dream" should not go without its due praise.

The film follows two lower class brothers, Ian (Ewan McGregor) and Terry (Colin Farrell) trying to get by and climb the social ladder to success. Terry has a bit of a drinking and gambling problem. For now the gambling is paying off. Winning small amounts at cards and betting on the dog track. Ian on the other hand works at the family restuarant but dreams of investing in hotels. In many ways he wants to be like his rich uncle Howard (Tom Wilkinson), who has travelled all over the world.

One day Terry's luck runs out, he losses big at a poker game and is 90 thousand pounds in debt. Where will he get the money? Ian has some money saved for his hotel investments but not 90 thousand pounds. Their only hope is their rich uncle.

Before their uncle will give them the money he has a favor to ask. There is a whistle-blower at Howard's company who is going to testify against him for some questionable business moves he made. Howard needs the man to be, shall we say, eliminated. And he can only turn to his family for such a request.

At the heart of Allen's film is what lies in men's souls. Are good people capable of bad things. The brothers may have their faults, but they are not criminals. The tagline line for the film is every dream has a price. It's key to the film. How far would you go to reach your dreams? How severely will we allow our moral judgement to punish us for "sinful" acts?

We saw this question present itself in Allen's "Match Point" and "Crimes and Misdemeanors" (which also had brothers planning a murder. In fact the original title for the film was "Brothers") .

McGregor is good in the film as his character I felt was better defined and goes through more of a transformation. Farrell is the weak link of the bunch. His character seems underdeveloped. In honesty both characters could have used more work but McGregor adds something to the character through his presence as an actor. He makes the part more interesting then it was written. Farrell keeps his performance at the page level. Meaning he doesn't flesh the character out to make it his own but instead simply sticks to the page.

The major acting find here is Hayley Atwell. She is a treasure playing Angela Stark, a love interest for Ian. She is an unknown actress who has the potential to be a star. Unfortunately Allen and his legendary Hungarian cinematographer Vilmos Zsigmond, whose credits include "The Long Goodbye", "The Deer Hunter", "Blow Out" and Allen's "Melinda and Melinda" don't linger on Atwell. Allen should have had the camera follow her more aggressively, making the camera and the viewer fall in love with her. But that may have changed the tone of the film.

Zsigmond though for his part does get some beautiful country side shots as Allen shows as a different side of London than what we saw in "Scoop" and "Match Point". We see a more gritty side of London.

The editing of the film I also found effective. It slowly builds tension. As I first began watching the film I thought to myself this is a "good" Allen film. Then I slowly became more and mroe involved. How would the murder happen? Would they do it? Will they get away with it? How will such a film end? The film really grabbed my attention. My eyes became glued to the screen.

Sure there are downsides to the film, some of the performances, I thought more could have been done with Atwell and I found the original score by Philip Glass, at times unsuccessful in creating the proper mood. I didn't think it added much to the film. I thought the best scenes were the ones without any music. But "Cassandra's Dream" is worth seeing. Yes the negative remarks will continue, but for me at least, I'm glad I saw this film.

Bottom-line: One of 2007's best films. Despite some flaws Allen manages to keep his audience engaged. The film slowly creeps up on you.

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Monday, July 23, 2012

Take Me Back to Oklahoma (1940)

Take Me Back to Oklahoma (1940)

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Take Me Back to Oklahoma (1940) Review

Tex Ritter teams up with Bob Wills and the Texas Playboys for this 1940 Monogram offering. Tex's old buddy Ace (Carleton Young) is in need of some help; the stagecoach line he works for is under attack from ruthless outlaws. Tex shows up just in time to save a runaway stage carrying Ace's sweetie (Terry Walker), then signs on as the new stage driver in town. Meanwhile, Storm (Karl "I'm not Buddy" Hackett) and his gang plot to get rid of ol' Tex by any means necessary. They actually put two plans into play simultaneously: if framing Tex for robbery doesn't work, they'll just send Mule Bates (Olin Francis) to kill him. Of course, before things get too hot and heavy, Tex helps put on a show to raise money for the local church, bringing in Bob Wills and his boys to help out (and to back him up against the outlaws).

Tex always has a sidekick, and this time around it's Slim Hunkapillar (Slim Andrews). Slim plays his role strictly for laughs, even more so than Tex's partners back in his Grand National film days. He's not afraid to do the same gag twice, either. He's funny at times - the old horse-mounting pratfalls always work, and he gets off a few good one-liners - but he can't sing a lick. Aside from his contribution, though, the music is really something to hear and see. Bob Wills was famous in his own right, and he and his boys give us a couple of good songs. Wills seemed to have his own style of fiddling, as I've never seen a fiddler move around so much, arms and all, while playing. As for Tex, he helps out on a couple of songs, but the only real jewel in this film is his rendition of You Are My Sunshine (backed up by Will and the boys).

There's nothing new about the plot, as most of Tex's movies were basically alike, but Take Me Back to Oklahoma is probably one of the more enjoyable Tex Ritter movies. Between Slim's cowboy hijinks and Robert McKenzie's distinctive voice and high-strung nature, Take Me Back to Oklahoma is probably one of Tex's funnier films. The music is definitely a plus, as well. Tex fans won't want to miss this one.

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Sunday, July 22, 2012

roy orbison live from australia dvd dvd Italian Import

roy orbison live from australia dvd dvd Italian Import

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roy orbison live from australia dvd dvd Italian Import Review

Comparing this DVD to modern DVD presentations, or even to latter-day Orbison shows will leave you disappointed.

However, as a document of an Orbison concert from 1972, this DVD is great considering what they had to work with. It's clear that all they had to work with was this black and white videotape master from Australia. The restoration job (a comparison between the unrestored and restored footage is included on the DVD) does indeed improve the picture.

This was a transitional period in Orbison's career, thus the show is a strange mixture of powerful performances of Orbison's own self-penned hits and a number of cover versions. It's a bit odd to see such an amazing songwriter perform so many cover versions (most of which don't come near his greatest songs), but it's also interesting to see him perform songs that certainly aren't available on any other video or DVD. It's also a bit odd to see him in a bit of a Elvis Vegas-style mode, with a jumpsuit and a bit of theatrics pumping his arms during one song. But this DVD is a perfect historical document of the show.

Plus, Roy's voice still sounds amazing.

I give this DVD 5 stars because it is a commendable, accurate, and succinct presentation and an important historical document of Orbison's career. The footage looks and sounds as good as possible, and presumably the full show as originally aired in Australia is included. The bonus documentary footage only adds to the excellent job this DVD does of documenting this era in Orbison's career.

If you're an Orbison fan, this is a must-own, and it is enjoyable. If you want the best live Orbison show on DVD, the "Black and White Night" or "Austin City Limits" DVD's are better shows in terms of song selection and stage presentation. If you want something other than late 80's or 60's-era footage of Orbison, this DVD offers an excellent document of Orbison in the 70's.

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Saturday, July 21, 2012

Warner Home Video Mc-matrix [dvd/terminator 4 Movie Cash]

Warner Home Video Mc-matrix [dvd/terminator 4 Movie Cash]

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Product Feature

  • Set in the 22nd century, The Matrix tells of a computer hacker (Reeves) who joins a group of underground insurgents fighting the vast and powerful computers who now rule the earth. The computers are powered by human beings. Format: DVD MOVIE Genre: SCI-FI/FANTASY Rating: R Age: 883929073931 UPC:� 883929073931 Manufacturer No: �1000098863

Product Description

Set in the 22nd century, The Matrix tells of a computer hacker (Reeves) who joins a group of underground insurgents fighting the vast and powerful computers who now rule the earth. The computers are powered by human beings...

Warner Home Video Mc-matrix [dvd/terminator 4 Movie Cash] Review

With over 2,000 reviews, there is no sense discussing the movie so I will just address this to readers wondering if the Blu-Ray transfer is as good as they, perhaps, have heard.

Yes, it is - it's incredble. I am not a particular fan of the film, especially the sequels, so I say these remarks with no bias. I just rented this first "Matrix" to see how it looked. Well, it Blu (pun intended) me away!! At this point, I've seen around 50 Blu-Ray DVDs and this is as good as it gets. I can't imagine how you could make it any better. It's so sharp, I just sat there mesmerized by it. The sound also is outstanding....another upgrade. I've seen this movie three times now and I swear I heard a lot of background talk and stuff I never heard before.

So....if you read that the audio and visuals are 5-star caliber - believe it; it's true.

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Friday, July 20, 2012

Prison Break - L'intégrale de la Saison 1

Prison Break - L'int �grale de la Saison 1

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Prison Break - L'intégrale de la Saison 1 Review

With a plot that sounds like it might have come from an Alfred Hitchcock or Brian De Palma movie "Prison Break" seemed the least likely candidate for buzz and a large following on Fox. I expected the show despite the high quality writing, top notch pilot episode directed by theatrical director Brett Ratner ("X-Men: The Last Stand" and "Red Dragon") to tank with audiences.

Boy was I wrong and happy about it. The suspenseful series got the right promotional push from Fox and luckily audiences were ready for another ground breaking series using a season long story arc much like "24" and "Lost". I would have expected a show like "Prison Break" to be on HBO or Showtime (as their answer to "OZ" another ground breaking prison drama that focused less on the gimmicks of this show) not on Fox's network. Reportedly the producers planned a shelf life of "Prison Break" for two seasons recognizing the issues they had with shows such as "The X-Files". I suspect that if the show continues to be popular this will morph into something akin to "The Fugitive". The show also was clearly inspired by "The Shawshank Redemption" and the TV show "OZ" but has its own unique flavor making it much more than a simple copycat. Between top notch writing, directing and acting the show has become the only breakthrough hit from last season worth following.

If you know what this show is about skip this paragraph and go to the extras. The story for those that haven't followed the show is quite simple; Michael Scofield's brother Lincoln has been sentenced to die in the electric chair for a crime he didn't commit. Michael will do anything to get him out of prison. As the clock is ticking and its clear that legal options are limited he obtains the prison blueprints to get his brother out. How can he get them to his brother so he can use them? Simple Michael has them tattooed on his back. He then stages a bank robbery to get himself thrown into the same prison as his brother. His plans are to break out with his brother and eventually disappear. While their lawyer tries to get Lincoln out legally Michael must move forward with his plan and also negotiate a complex peace with inmate John Abruzzi (the marvelous Peter Stormare best known for "Fargo" and "Constantine") who controls many of the inmates inside the prison to achieve his goal.

"Prison Break" is presented in its original widescreen presentation and looks quite good here. There were occasional compression artifacts and edge enhancement but nothing too distracting. Overall colors are accurate with nice clarity and definition to the images. The surround tracks are used quite effectively as well evoking the atmospheric surroundings of the prison.

For those interested in the extras included with this set they are quite extensive. We get multiple commentary tracks on the pilot episode by Paul Scheuring & Dominic Purcell with a second one by director Brett Ratner & Mark Helfrich. Similarly we get multiple commentary tracks on the following episodes:

Cute Poison Commentary #1 by: Paul Scheuring, Dominic Purcell & Wade Williams

Cute Poison Commentary #2 by: Matt Olmstead and Silas Weir Mitchell

Riots, Drills and the Devil (Part 1) Commentary #1 by: Paul Scheuring, Dominic Purcell, Robert Knepper, Sarah Wayne Callies, Amaury Nolasco & Wade Williams

Riots, Drills and the Devil (Part 1) Commentary #2 by: Nick Santora & Bob Mandel. Part two of "Riots, Drills and the Devil" has a single commentary track by Paul Scheuring, Dominic Purcell, Wade Williams, Amaury Nolasco & actor Peter Stormare

We also get commentaries for Odd Man Out Commentary by: Garry Brown & Karyn Usher & Bobby Roth, Brother's Keeper Commentary by Paul Scheuring, Robert Knepper, Sarah Wayne Callies, Amaury Nolasco & Wade Williams with an alternate commentary track by Greg Yaitenes & Zach Estrin. Extras also include 2 Alternate Scenes for Cute Poison as well as three featurettes. The first "If These Walls Could Speak: Profile of the Joliet Correctional Center" takes you inside the correctional facility. "Beyond the Ink: Tattoo Featurette" focuses on the extensive "map" that plays a key role in the series tattooed on the back of Michael Scofield and one of Fox's routine " Inside Look" previews. All in all an exceptional package of extras considering the price for the series that will definitely make this set worthwhile for both new fans and ones that have been following it on the Fox network since its premiere last year. This set arrives just in time for the premiere of the second season as well.

A terrific, comprehensive set from fox "Prison Break" has been packed with commentary tracks and has three featurettes two of which vary from exceptional to very good with one so-so one recycled for this set. Overall this is a great value and is highly recommended. I suspect that the creators of the series weren't sure if the show would last more than one season and, as a result, structured the series so that it could be easily wrapped up if necessary but also allowing an out for a second story arc recognizing that fans would be frustrated if they remained within prison walls beyond the first season of the series.

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