Movie Title: The Celestine Prophecy
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“Trying to control isn’t the retort. When we get the apt `God Experience’, the fight over whose religion is best–it fades. There’s unbiased one truth.” – From the movie

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A Unusual York Times best-selling book published in 1993, The Celestine Prophecy by James Redfield has sold 14 million copies and has been translated in over 45 languages. Written in current effect, The Celestine Prophecy describes the synchronistic adventures of John Woodson as he travels to Peru to earn out more about an passe prophecy that describes new life in startling detail–as well as the future evolutionary path of humanity. While there, he meets up with Father Jose, guardian of the scrolls, as well as others who are dedicated to disseminating the transformative nine Insights found in the Celestine Prophecy.

Redfield had wanted to do a movie version of The Celestine Prophecy, but despite offers from several mammoth studios, the timing didn’t feel moral. In the spirit of the book, which advocates following intuition and gut hunches towards a more aware, purposeful life, Redfield waited–and now the time has approach for the film to be birthed into the world.

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After seeing the Indigo movie debacle and the mediocre acting in What the Bleep Do We Know!?, I admit that I didn’t believe worthy hope for the movie version of The Celestine Prophecy. However, after watching the film and its special features last night, I was surprised and glad at the results.

The Celestine Prophecy was one of the first “Fresh Age” books I read while in the process of coming out of organized religion as both an adherent and a minister. It’s been years since I read it, but I remembered that the prose was a bit clunky and didactic, but the information on synchronicity, auras, and control dramas were spiritual gold. I was especially impressed with the types of relationship control dramas humans exercise to “choose” energy until they learn to tap into their believe internal reservoir.

Because the new was heavily instructional (as I remove), I figured that the movie would be more “telling” than “showing”–one of the biggest mistakes a writer can invent. Yet, Redfield’s screenplay was utterly elegant–translating the nine Insights into a compelling demonstration that both the characters and audience experience for themselves. For example, instead of explaining the types of control dramas, one scene shows John trying to coerce Marjorie into getting together with him. Through seamless special effects, we gawk his red aura extending and then encroaching upon Marjorie’s scared blue aura. John is modern to the world of energy, and through interactions with Father Sanchez, Wil, Julia and the other characters, he learns what it means to generate energy for himself through openness and awareness.

Another example of “showing” instead of telling occurs when the characters vibrate to such a level that they become invisible. Rather than account for to the viewers about vibration (in fact, I don’t even deem the word “vibration” is dilapidated in the movie!), we are shown how focused intent and awareness made them invisible to the violent Peruvian rebels and tainted law enforcement agents.

The sparkling musical bag supported magnificent cinematography and well-behaved acting. Next to the screenplay, perhaps this was the most surprising of all: the convincing performances by a magnificent site of actors. Annabeth Gish, resembling a young Sigourney Weaver, looked so familiar to me–and then my husband pointed out that we had fair seen her in the holiday TV movie Candles on Bay Street. The actors who played Father Sanchez, Wil, and Jensen were especially compelling, and while watching the performance of Sarah Wayne Callies, I had the notion “Boy, she would have been a worthy better Lois Lane than Kate Bosworth in Superman Returns.”

Perhaps one reason these actors were so incredible was because Redfield wanted, specifically, actors that were on a spiritual path that would “collect” the gist of The Celestine Prophecy movie. (Needless to say, Hollywood would have royally botched this movie.) One by one, the players came to HIM, as we collect out in the special features. Especially attractive was how actor Thomas Kretschmann, who plays Wil, relied on intuition and hunches to sprint East Germany as a youth. He felt to talk to someone on the street and this person happened to be a central cog in the underground railroad that smuggled individuals across the Iron Curtain into the West. Because Kretschmann “lives” by following intuition, his character was even more believable. In fact, in less deft hands, Wil could have advance across as noble and preachy–but this aesthetic actor portrays his character as humble, wise, and laissez faire.

On a personal mark, I had three synchronistic events happen to me concerning The Celestine Prophecy movie:

1.A few days ago, I received in the mail The Plot Experiment by Lynne McTaggart. Unaware of the book, I hadn’t even requested a copy from the publisher. Yet, somehow, someone in the publicity department of a major publisher had my name and address–and sent me the book. I’m four chapters into this book and it’s extraordinary: if you’re scientifically minded and want “proof” for the Insights that Redfield writes about–especially the reality of energy, light, and consciousness in living organisms–you MUST collect this book.

2.While watching the special features of this film, Redfield mentions that Barnet Baine produced the movie What Dreams May Reach. I received only one DVD for Christmas (from my husband), and guess what it was?

3.Last night, I was taking a bath and was debating on watching The Celestine Prophecy (I had the film for a week, but couldn’t bring myself to gaze it fair yet) . I opened up my copy of Original Age Retailer that I received in the mail that day, and guess what I turned to? A full-page ad for The Celestine Prophecy movie!

Several of the enchanting truths found in this movie include:

* Follow hunches!

* Instead of taking energy, give it.

* We are helped–we are not alone.

* Wonderment can be restored–and fascinating, valorous living opens unexpected doors.

* Powerful change is coming in the world–and the shift has already begun.

*”The guidance within evolves the world towards a heaven that is already here. To know this is to know our destiny.”

In addition to serving as a astounding reminder for those familiar with the book, The Celestine Prophecy movie provides a gentle, entertaining introduction to those unique with the subtle world of energy, “coincidences”, and power/control. Bravo, Redfield and company, for doing such a beautiful job on this film!

(Note: This DVD includes both Widescreen and Paunchy Mask versions and includes The Making of the Celestine Prophecy–interviews with Redfield, the actors, producers, etc. The movie is about 90 minutes long and is rated PG for violence. In my idea, the violence/shooting is closer to PG-13, so you may want to recognize it first before introducing it to young children.)

Janet Boyer, author of The Aid in Time Tarot Book: Relate the Past, Experience the Cards, Understand the Expose (coming Tumble 2008 from Hampton Roads Publishing)

Synopsis: John (Matthew Resolve), a recently laid off history teacher from the United States, follows a series of synchronistic events which lead to a remote region in the Peruvian rainforest. Upon arrival he finds romance, adventure and a recent plot of perceiving reality based on 9 mystical insights that may bring to fruition the next step in mankind’s spiritual evolution.

Based on the best selling fresh by James Redfield, `The Celestine Prophecy’ (’05) is an arresting film with some of the most resplendent scenic cinematography I’ve seen in quite some time. I was also impressed by the cast which delivers strong, heartfelt performances, doing their utmost best to provide an delectable evening of entertainment along with their spiritual message.

Be forewarned, this film is first and foremost an instructional tool for Recent Age teachings on the nature of spirituality and the contrivance of reconnecting with divine energy. So if you’re not sympathetic or launch to the message you probably won’t stick it out to the demolish. I recommend you give it a chance, you might learn something.
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Movie Title: V – The Final Battle
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Anyone who has seen “V” will want to notice this sequel, as well. “V” was one of most current made-for-television movie of its time. It spawned this sequel and its very fill television series. It was able to do this with a cast of virtual unknowns because of the strength of its record line. “V” is simply titanic sci-fi, and “V – The Final Battle” is a must have DVD for all those fans who enjoyed the modern mini-series.

As those of you familiar with “V” already know, human looking alien visitors landed on Earth, led by an alien innocuously called John (Richard Herd), who gave Earth a benevolent message that fooled many into thinking that the visitors came in peace. Some humans even ended up working collaboratively with them. There were some, however, that were skeptical of the visitors’ motives, and mistrust turned to dismay when scientists and doctors began to be rounded up and mysteriously disappeared.

Mike Donovan (Marc Singer), a hunky cameraman, had his maintain misgivings about the aliens, but once he observed the visitors literally shedding their skins, revealing that that they were not human at all, but rather, nothing more than reptilian looking aliens, his misgivings were reinforced. Mike also discovered that they meant mankind pain and were hell-bent of the conquest of Earth and divestiture of one of Earth’s most necessary natural resources without which humans cannot live.

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Mike joined the resistance, headed by sparkling medical doctor, Julie Parish (Faye Grant) . As the underground resistance battled the visitors, many humans were detached convinced that the visitors were benevolent and being misjudged by these so-called freedom fighters. As fascist rule supplanted democratic government throughout the world, under the pretext of law and order and at the direction of the visitors and at the behest of their human puppets, the viewer cannot back but be aware of the allegorical implications.

This two disc DVD provides three episodic treats. The resistance continues its struggle against the visitors with the assistance of an alien fifth column, working secretly together, side by side. Mike Donovan and Julie Parish are now joined by disagreeable and laconic Ham Tyler (Michael Ironside), a customary special forces agent with a chip on his shoulder and the military strategy indispensable to coalesce the resistance movement into a lean, mean, fighting machine.

This sequel mini-series is action packed, as the visitors and the resistance fighters duke it out for control over the Earth. The exquisitely blooming, gross alien, Diana (Jane Badler), stops at nothing to get her ambitions. Not direct with being the science officer for the invading forces, she seeks military glory at all cost. She is the one from whom both humans and aliens have worthy to dismay.

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The allegorical thread also continues, as humans start to be rounded up routinely and trucked off to a processing plant. After all, it is the visitors alive to desire to attend man…literally. It seems that in addition to the Earth’s water, the visitors are secretly looking to humans as a food source.

There are some sharp special effects for its time, as well as some cheesy ones. There are also some key performances. Most necessary are those of Jane Badler, in the role of the diabolical Diana, and Michael Ironside, as Ham Tyler, the alien hating resistance fighter. Scrutinize also for Robert Englund, who would go on to Freddy Kreuger fame the same year as the release of this mini-series sequel. He continues in the role of Willie, a serene loving visitor who allies himself with the resistance.

This film has everything, suspense, action, thrills, a attractive epic line, a proper message, and an inter-species birth. How can anyone resist? This is sci-fi as it should be. Bravo!

The DVD provides a crystal definite, widescreen recount and perfect audio, but limited else. It provides none of the engrossing extras found on the “V” DVD. Instead, the buyer will have to be delighted with the usual interactive menus, as well as scene access, and subtitles available in English, French. Spanish, Portuguese, Chinese, Bahasa, Thai, and Korean. All in all, notwithstanding its shortcomings, this is a DVD well worth having in one’s collection, if one is a sci-fi diehard.

It is sad that the television series based upon this highly successful mini-series did not fare well. The knuckleheads in charge of programming sentenced it to death honest from the beginning by scheduling it opposite the then number one television demonstrate, “Dallas”. The series never even had a chance coming out of the gate. I only hope that a DVD collection of the series will be forthcoming.

Sure, a courageous and sweeping statement. Also, utterly honest. Television viewers of 1984 had never seen anything like V, and anyone who has seen it would agree that there’s been nothing made since to even remotely touch it in terms of sheer entertainment.

V: The Final Battle consisted of the last three 2-hour installments of the series, preceded by the first two installments of V aired the previous year. Aliens have finally arrived on Earth, looking like us and posing as friends to all mankind while their motherships waft menacingly over every major city of the world. But cameraman Mike Donovan infiltrates the Los Angeles mothership and makes an astonishing discovery: the benevolent “Visitors” are actually reptiles in disguise, intent on harvesting all of the natural resources of the planet, which includes tapping us humans as a food source! Donovan joins up with a rag-tag resistance movement led by Julie Parish, and together they lead their fugitive band in the overthrow of alien tyranny.

Like any tremendous work of SF, V hits a lot of hot-button social issues, including abortion, inter-racial relationships and tolerance, and cultish brainwashing. And the allegory of the Visitor infiltration of our world to the rise of Naziism in 30′s Europe is hard to miss. Fair down to the Visitor insignia, a sort of high-tech update of the Swaztika, as well as scenes with truckloads of confused humans being transported in the middle of the night to Visitor “processing” plants. Joining with the social commentary is a lovely and able cast, led by “Beastmaster” Marc Singer as the independant Donovan and Faye Grant as the tough yet fragile resistance leader Parish. Heading the Visitor invasion is Jane Badler as the catty Diana, along with thier supreme leader John, played by Richard Herd. These main players are surrounded by a fantastic supporting cast, all of whom are given time to be fleshed out into full-fledged characters you care about. In particular, Michael Ironside gives a knock-out performance as hardass “Ham” Tyler, an ex-CIA spook with minute social grace but a lot of firepower. V is wonderfully well crafted, with its rousing action sequences, amazing-for-TV SFX, and surprisingly touching moments. And they really pace things up with two show-stopping sequences: Grant’s great interrogation scenes, and the unforgettable “birth” sequence, a right SF classic. Even the dodgy puppeteering can’t retain me from the edge of my seat everytime I discover it.

But, this IS SF, and this IS TV, so we have some obligatory lapses in logic. Why do the visitors halt in thier human disguises even when out of human notion on their ships? Speaking of which, how does a thin layer of false skin earn such a convincing human appearance for these lizard-like menaces? And how, with thousands upon thousands of soldiers and 50 ships three miles across hovering over every major city, do the Visitors manage to support losing to the rabble resisters? And is it unprejudiced me, or is the V:TFB music theme suspiciousy similar to that of “The Terminator”, also released this year? The respond, of course, is who cares?! Honest be pleased the wobble and don’t ask so many questions, okay? Also, while the mini-series remarkably doesn’t feel too dated even 15-16 years after it was made, its pedigree occasionally pokes through. In particular, in V:TFB, the scene where Mike and Julie finally hook-up really stands out as a glaring fraction of early 80′s cheese.

In what has become a market of extremely lame disease/disaster-of-the-week TV movies, V was something really special: an anecdote SF event, lovingly crafted and with no expense spared. I accelerate to add that it was a defining moment for the generation that saw the rise of Pac-Man and Mario into common culture. The TV movies were followed that descend by V: The Series, which struggled for a year and was finally cancelled. Recent broadcaster NBC has attempted to recapture the magic of V with a number of fantasy TV “events” in original years, including “Gulliver’s Travels”, “The Odyssey”, “Merlin” and “The 10th Kingdom”. None of which possessed the same elusive magic as V, however. It was simply a glorious achievement, one I’m troubled to say may never be repeated again.
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Movie Title: Monty Python and the Holy Grail
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Certain individuals have erroniously indicated in these reviews that the Special Edition will not have commentaries or other special features. They are noxious.

The special edition will bear the following:

A “21st anniversary” chop of the film that is 24 seconds longer, Dolby digital 5.1, a subtitle track for people who don’t like the film (with text from Shakespeare’s Henry IV), an onscreen screenplay option, audio commentary with Terry Gilliam, Terry Jones, John Cleese, Eric Lazy and Michael Palin, and Follow the Killer Rabbit option. Disc 2 contains “Three Mindless Sing-Alongs” and “The Quest for the Holy Grail Locations” featurette, “How to Exercise Your Coconuts” educational film, “Monty Python and the Holy Grail in Japanese” (with English subtitles), the BBC Film Night special “On Set with the Pythonos”, an interactive cast directory, mild galleries with Terry Gilliam’s recent sketches and behind-the-scenes photos, “A Load Of Rubbish” with mystery items, unused ideas and other material, and finally two trailers and weblinks.

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There will be no special features with the special edition? RUBBISH! This is not simply a reissue of the older DVD with unique sound and audio as some have implied.

This is one of the funniest movies ever committed to film, no doubt about it. Were I to mediate this DVD on the film alone, I would have given it five stars. If you are one of the few who have never seen this relate, do yourself the favor of and pick a copy on VHS straight away.

Purchasing this title on DVD, however, I have to consume marks away from an otherwise pleasant comedy. There has been absolutely nothing done to enhance the quality of this 25 year archaic film, and a DVD system drives the visual and auditory pitfalls home with feeling. The describe is grainy and jittery in many places, and the audio is mudded and elephantine of boom. I confess, I was looking forward to a sharper, cleaner viewing of one of my all time well-liked movies than I had ever had before. I was profoundly dissapointed.

It is an hysterical movie, but don’t watch for an experience above what is delivered on the average bargin basement SLP recorded VHS tape here. If you’ve never seen it, go rush and rent a copy from the local video store, and wait for a remastered release.

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Movie Title: Flesh for Frankenstein
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I happened to contemplate director Paul Morrissey’s “Blood for Dracula” before indulging in “Flesh for Frankenstein.” After having seen both films, I can unequivocally region I preferred “Blood for Dracula,” which is somewhat of a surprise considering “Flesh” was made first with “Blood” coming as almost an afterthought. By the time Morrissey and company started “Blood,” the cast and crew were exhausted from the non-stop schedule of making two films befriend to benefit. If you have microscopic familiarity with these films, they were made under the auspices of Andy Warhol’s Factory, a time when the creator of Op Art decided to branch out into other artistic mediums. If you are like me, you cringed when you heard that Warhol had an influence on Morrissey’s films. I could never bring myself to delight in anything associated with Andy Warhol; I always considered him and his associates talentless hacks of the lowest order. Not to inconvenience here, though. While the titles often carry Warhol’s imprimatur, he apparently had minute to do with any aspect of the production of either film.

“Flesh for Frankenstein” is a unbelievable retelling of Mary Shelley’s classic 1818 new. The apt Baron Frankenstein and his sister, in this instance also his wife, bring up the kiddies in a nice, creepy castle somewhere in Europe. The hardworking Baron spends most of his time mucking around in his laboratory attempting to develop a human being from scratch. Often toiling alone or with his creepy assistant Otto in tow, Frankenstein is on the verge of success when he finally puts the finishing touches on his female creature. The Baron has quite an affection for his experiment, as seen in a few extremely tasteless scenes, but he realizes he has a predicament. What capable is a woman without a man? Frankenstein snappy decides to invent a complimentary male figure so he can have a second family completely subservient to his maintain whims. Why would the pleasant Baron wish to have a second family? Perhaps because he doesn’t seem to earn along with his occupy family all that well.

Meanwhile, Baron Frankenstein’s wife tires of her husband/brother’s heavy workload and his tendency to neglect his children. Being lonely in a sizable castle in Europe wears on a person, so Baroness Frankenstein turns to the hired benefit for consolation. Her observe falls on the newly arrived Nicholas, a rotund stable boy who promises to alleviate the Baroness’s solitude. Nicholas came into the castle after he and his friend, a Serbian planning to devote his life to the priesthood, fell victim to a depraved crime on the road outside of the castle. Nicholas woke up from the assault to eye the attackers decapitated his friend. Angered by the senseless brutality of the crime, Nicholas soon comes to suspect Baron Frankenstein and Otto had something to do with the atrocity. While the stable boy entertains the Baroness, he starts poking his nose around the castle in an disaster to figure out what is going on in the Baron’s laboratory. Everything comes to a head (no pun intended) when Baron Frankenstein introduces his two creations to the family at dinner, and Nicholas notices with panic that his friend’s head rests on the neck of one of Frankenstein’s “visitors.” The servent swears to bring the dreadful Frankenstein and his sick experiments to an destroy, which he does in a finale both cheesy and gory in its execution.

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In “Blood for Dracula,” Morrissey turned Stoker’s narrative of the undead into an examination of class conflict between the decaying European aristocracy and the emerging proletariat. There is a bit of that class emphasis in “Flesh for Frankenstein,” but this movie also deals with the novel themes of Shelley’s fable. The arrogance of man to interfere in territory strictly reserved to God, and the subsequent nightmares resulting from such arrogance, appears throughout the film. Of course, Morrissey also throws in tons of erotica, stomach curdling violence and gore, and the cheesiest dialogue and performances in the history of cinema. You haven’t lived until you behold Arno Juerging (Otto), Udo Kier (Baron Frankenstein), Joe Dallesandro (Nicholas), and Monique van Vooren (Baroness Frankenstein) ham their plan through the movie. Dallesandro makes no difficulty to shroud his thick Current York accent even though the film is ostensibly residence in 18th century Europe. Arno Juerging and Udo Kier dispute camp dialogue at eardrum shattering levels, often with hilarious facial expressions and exaggerated motions. If you appreciate and luxuriate in truly wicked performances, you will esteem “Flesh for Frankenstein.” I know I did, although I deem “Blood for Dracula” was considerable funnier in terms of the campiness of Kier’s and Juerging’s performances. Further enjoyment comes from director Morrissey, who shot the film using lavish costumes, tremendous spot pieces, and pleasurable cinematography. On the surface, you would deem “Flesh” is a favorable production until you inspect how sleazy Kier, Juerging, van Vooren, and Dallesandro perceive and act. A movie like this must have ticked off some serious film aficionados.

The Criterion Collection decided to release this film, as they did with “Blood for Dracula,” with all of the trimmings. Included on this disc are a widescreen presentation of the film, a stills gallery, and a commentary track with Kier, Morrissey, and film critic Maurice Yacowar. I didn’t listen to the commentary in its entirety because I couldn’t stand Yacowar’s nasally insights into the film. If I planned on writing and publishing something about this film I would listen to such overblown pap, but I wanted to design my acquire impressions of the film. Lovers of cheesy films should perform “Flesh for Frankenstein” and “Blood for Dracula” required viewing. Heck, peep them as a double feature and indulge in.

One would be well-advised to effect my warning. This is one of the most violent, perverse, and laugh-out-loud (intentionally) amusing versions of the Frankenstein legend. It’s also one of my well-liked movies (I like it better than its sister production BLOOD FOR DRACULA, though most tend to rate that one a bit higher) and, as far as I’m concerned, the best film to arrive out of the Andy Warhol-Paul Morrisey collaborations of the 60s and 70s. Udo Kier is unbelievable as the enraged Baron Frankenstein, Arno Juerging is tremendous as his idiot assistant Otto, and Monique Van Vooren holds her occupy as Frankenstein’s wife-sister, whose insatiable sexual appetite is fed by hunky Joe Dallesandro. Bad Mary Shelley could never have imagined that one day her Gothic fright current would one day evolve into something as gross as this. But it’s all in suitable fun, as the Baron and Otto sew up resplendent corpses and talk science in the lab. One of the Baron’s hobbies is to accomplish like to his female zombie (Morrisey mercifully spares us the more graphic details in this scene) . He and Otto go to a bordello for the perfect male “whose overriding urges are sensual”. But – oops! – they select the substandard stud to behead. Instead of Dallesandro, they bewitch his friend, an aspiring monk who really didn’t want to be at a bordello in the first plot. When the Baron and Otto earn that their male creature is wintry, the position thickens. This film is NOT for people who are squeamish. The sex and violence is all of such a perverse nature that it isn’t the kind of thing you want to sit down and contemplate with grandma. It’s filled with campy humor and super-gory FX (imagine it as it premiered in 3-D!) . But, in spite of the usual Warhol-crowd tomfoolery, there is a very accurate sense of quality to the proceedings. Gorgeously photographed, with a sumptuous obtain and sparkling period detail, this is a itsy-bitsy too well-mounted to be written off as simply “a camp comedy”. Ironically, the final scene is genuinely tragic! Lively bit of film-buff trivia: This film (as well as DRACULA) was shot at the same time, in the same spot (Italy), and with powerful of the same crew as Polanski’s little-known sex comedy WHAT? . Polanski, who has a brief but hilarious cameo in DRACULA, let Warhol’s crowd travel into his Italian villa, but their eccentricities eventually drove him off. (As he has it in his autobiography: “They were a nice enough bunch, if a bit camp…”)

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Movie Title: All About My Mother
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“Todo Sobre Mi Madre,” or “All About My Mother,” revolves around the life of an organ transplant coordinator, Manuela, who was briefly shown in one of Almodovar’s most current movie “The Flower of My Secret”. After the death of her only child, Manuela sets off from Madrid to Barcelona to gain both his father and the traveling troupe who performs “A Streetcar Named Desire,” throughout Spain.

Argentinian actress Cecilia Roth is both capable and convincing as Manuela. Her performance for an actress not from Spain is current, since most of Almodovar’s leading startlets are Spaniards. Marisa Paredes as Huma, a fading starlet, reminded me of her performance in “High Heels,” wher she played a similar character. However the two emerging standouts in this film are Antonia San Juan as Manuela’s drag-queen friend (fact: although she looks like a man, San Juan is actually a woman) and the graceful Penelope Cruz, who plays a HIV-positive pregnant nun (only Almodovar can bring us such characters) . Cruz, who radiates natural beauty and style has become Spain hottest export to Hollywood since Antonio Banderas. Support an peek out for her in the reach future.

The visual procedure of colors, patterns, and clothes brings the film so mighty beauty it is unbearable not to perceive and cherish it. Almodovar’s camera illusions, especially watching a grieving Manuela hasten to her injured son, Esteban, after he is struck by a car (the camera looks like if the victim is watching his mother bustle in the rain) and the trick of watching Esteban write in his journal (we glimpse his pencil depart through a glass that is supposed to be his pad) is improbable. Only the pure genius that Almodovar is could have idea of this.

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This happens to be Almdovar’s best film in the past 10 years. Truly, if you are an artist, an admirer of Spanish culture, or fair care for art films, then this film will fascinate you. A fair gem in the evolution of Spanish cinema.

A flashy, sophisticated swirl of color, invent, and art nouveau excess courtesy of the city of Barcelona frame a melodramatic core of prima donna antics and suffering mujeres. These women are diagram past a nervous breakdown–Cecilia Roth’s raw emotions position the tone for remarkable of the film; the transgender Antonia San Juan provides the madcap Almodovar wit of his earlier movies. Penelope Cruz stands out–a black beauty who gives a haunting, fragile performance as an HIV-infected, pregnant nun. Throw in Marisa Paredes as an aging diva with ruby hair touring in a production of A Streetcar Named Desire and the stage is station for Almodovar’s tribute to suffering womanhood, replete with wistful references to All About Eve. Not as consistently luscious as some of his earlier work but perhaps more primitive and sunless, more resigned to the vicissitudes of fancy and death. It’s wonderful that Almodovar–the greatest Spanish director since Bunuel–could have remained factual to his sensibility and have won an academy award. He’s Bunuel with none of the bitterness–Bunuel with a smile and a wink at the absurd.
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Movie Title: Recess – Taking The Fifth Grade
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If you have bought “Recess: Miracle on Third Street” and/or “Recess: All Growed Down” and wondered what was up with the whole flashback thing…and why Disney is giving cross and disappointing DVDs..

It’s because usually Disney gives any cartoon series a 65 production limit (even if it’s a broad sucess [like Recess] or a sinister failure) but since Recess was SO common Disney hesitantly popular for 13 unique episodes to be made and they are being assign into DVDs or they were shown after the Recess: School’s Out movie (I mediate only 4 were shown on TV: Monstrous Tales of Recess, Lost Leader, Kurst the Not So Poor, and Mundy, Mundy) Sadly instead of Disney continuing to develop Unique episodes, that aloof has a potential gold mine of profit, Disney believes that kids won’t know any better and acquire showing the same 65 episodes again for syndication will do them reflect it’s mild recent. But my younger cousins (8-12 years archaic), and I know other kids are smarter than that…and can assert what are reruns..

But succor to the DVD, this DVD like the other 2 I mentioned earlier are loosely held together, but thankfully this time ALL OF THESE episodes are never before seen. There are three current episodes where TJ stands up against school changes, the gang inspect a 5th/6th grade club under the jungle gym, and when Spinelli thinks she is too old-fashioned for Halloween (this episode is spacious for kids around 10 who are questioning whether celebrating Halloween is childish or not) .

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The DVD contains two bonus TV series premiere episodes: The Demolish In, and the Fresh Kid.

TJ, his gang, and the school are not the only things that have changed! The new affirm actors for TJ and Mikey are different since the unusual actors’ voices had become too deep. (Their voices are OK, and you’ll eye the change but the spunk in TJ’s assert is kind of gone.) If you are hoping for any type of dialogue or conflict with the Ashleys, Gelman, Hustler Kid, or any other kid characters…there are very runt.

If you are terrorized about the characters not remembering their last year experiences…don’t disaster they do and the dialogue shows that.

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This DVD is announced as the final chapter to the Recess series, and I score it as a hollow disappointing finale (considering it’s supposed to be the finale.) I was expecting something stout, engaging, and momunmental like the Recess: School’s Out movie but the three stories seemed average and kind of flat.

(I notion a expedient finale would have been when the gang was leaving Third Street [ending 6th grade] since they would be leaving the school they had so many adventures in, they would be going to a modern school, and that Recess would never be the same since they are going into middle school.)

The “luster” of these stories in the 5th grade DVD are dulled somewhat by making the gang’s experiences more average or ordinary [like a regular, steady world school] compared to the TV series.

If you are gargantuan Recess fan, I’m definite you’ll want this to pick up up on your approved characters but don’t bear your expectations too high like I did.

It’s rumored that there is another DVD in August of 2004 called “Recess: First Day of School”…Hmmm I wonder what that’s about if this 5th grade DVD is the finale?

Anyway, it’s kind of shaded that Disney is throwing away such high-rated, award winning, and immense profit making cartoon. It’s unexcited grand that it’s serene airing on network television since descend of 1997, but ever since 2001…it’s now unprejudiced showing reruns.

I guess all suited things have to approach to an raze, it’s unbiased too terrible that it had to raze in a little solitary “kazooing” blow (you know those blowing toys the kids create noise with) …

I hope this review helps you guys out!

Recess Taking The Fifth Grade is awesome.This video movie is based on the Recess series and theatrical movie. This review contains spoilers. This movie isn’t unprejudiced one anecdote it’s three stories into one movie about T.J and his gangs’ misadventures in fifth grade. In the first fable T.J and his gang go to their first day in fifth grade expecting it to be the best first day ever, but instead they obtain out thatMiss Finster is the novel teacher. The food is disgusting,and the playground gets taken away from everyone in the school. T.J makes a teach to compose everything support to normal. Mr White makes an unexpected appearance,but don’t danger it has a agreeable ending. In the second record the gang goes to meet the fresh king Larry of the playground, who T.J thinks will give him a reward for the impart, but instead shows the gang to the secret fifth and six graders club. But when the gang finds out Mikey and Gus are making fun of the dinky kids the gang decides unexpectantly to ask a kid to benefit them finish. The extinct king Bob of the playground makes an appearence. In the third narrative it’s Halloween and Spinnelli is thinking she’s to veteran for Halloween. It will hold the gang and a puny aid from Mrs Finster to attend Spinelli have the Halloween spirit. This movie is awesome and as a treat the D.V.D has the first two episodes of the expose. Everone in the movie, including Robert Goullet as distinguished Prickly, do a enormous job.This movie has plenty of laughs and fun. If your a fan procure it!
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Movie Title: New Detectives Season 1-2 – AS SEEN ON DISCOVERY CHANNEL
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New Detectives Season 1-2 – AS SEEN ON DISCOVERY CHANNEL is available for streaming or downloading.

Click Here to Stream or Download New Detectives Season 1-2 – AS SEEN ON DISCOVERY CHANNEL

This is a tall series. The fresh trend in Discovery/History Channel shows is ridiculous: some bombastic narrator is walking briskly down the street, blabbering away, as jump-cuts and overblown sound effects drown out the command. Or the other kind: shaky-camera, Blair-Witch-Project style, as usually idiotic people try to sound incredibly aroused or panicked of the material they are trying to sigh viewers about, trying to jack up the mood and tension level, obscuring the source material, whether that source material is actually engaging or not. In both of these approaches, crazed sound effects, an altogether harmful level of groundless excitement and frequent commercial interruptions touting other, similar, series are all key ingredients.

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The Novel Detectives is the opposite: a mellow narrator, testy yet very light musical derive, and a focused, methodical development of the subject matter. Episodes go in depth, showing forensic methods broken-down to solve real crimes, many of which are well known cases. There is lots of science, and plenty of interviews with serious professionals. That being said, there is a mood and tone place here- and it is a creepy one, as this series deals mostly with abominable crimes. The music, narration, and some reenactments add to the atmosphere of still horror.

The right scurry and lack of grating sound effects and other nonsense fits the grim and frequently monstrous subject matter. This series is not for the squeamish or easily stupefied, as it goes into comely serious details of murders, serial killings, abductions, rapes, etc.

Buy,Download, Or Stream New Detectives Season 1-2 – AS SEEN ON DISCOVERY CHANNEL! Click Here

I worship this series- the serious treatment of the subject, the mellow, yet unruffled short-tempered style, and the very in-depth documentation of accurate cases in which forensic science was employed to solve crimes, plus the huge tag point, create this an generous DVD position.

This DVD residence is well worth the money. I had seen some of the episodes on TV, but many I had not seen were on here. The episodes veil an array of events, from young to faded, and how the crimes were solved. Don’t miss out on this area!
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Movie Title: The NeverEnding Story / The NeverEnding Story II
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The NeverEnding Story / The NeverEnding Story II is available for streaming or downloading.

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This DVD has THE NEVERENDING Sage on one side and the other side of the disc has THE NEVERENDING Narrative II.

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In THE NEVERENDING Fable, Bastian Bux (Barret Oliver) is an average student who finds himself repeatedly being abused by bullies who like to capture his money and throw him into dumpsters. Bastian’s mother is dull and both he and his father are composed trying to cope with the loss. However, Bastian’s father is a realist and thinks that Bastian spends too great time drawing pictures, reading books, and daydreaming. He wants his son to buckle down and earn serious about school and life. He means well, but his advice doesn’t do grand to improve Bastian’s condition. Eventually Bastian ends up meeting a unfamiliar bookstore owner that leaves a book, “The Neverending Chronicle”, where Bastian is able to borrow it. Bastian sneaks away to the attic of his school, locks himself in, and begins reading. The myth is a entertaining myth about a status called Fantasia, a seeming endless world filled with countless creatures of every shape and size. Fantasia is under attack by an unknown force known as the Nothing that destroys everything in its path. The Childlike Empress (Tami Stronach) selects the considerable warrior from the plains people, Atreyu (Noah Hathaway) to go on a ride and gain the one person who can put Fantasia from total annihilation. Atreyu sets forth on a long, difficult sprint, traveling all over Fantasia, but no one seems edifying of helping him. As Atreyu journeys, Bastian secretly accompanies him and shares in all of his adventures. The book reads like none other that Bastian has ever read and it seems that he is a fraction of the anecdote. As the Nothing grows stronger, Bastian has to resolve if he will give into reality of what he sees around him or allow his imagination engage control.

In THE NEVERENDING Account II Bastian (Jonathan Brandis) is once again transported to Fantasia. Bastian is no longer threatened by bullies, but is instead taunted by his classmates when he joins the dive team. His father (John Wesley Shipp) misguidedly prods Bastian into overcoming his fears. Frustrated, Bastian returns to Mr. Koreander’s bookstore and though he is warned that the myth in “The Neverending Legend” doesn’t remain the same, Bastian borrows the book and ends up returning to Fantasia. Upon entering Fantasia, Bastian finds that he has the symbol of the childlike Empress, Auryn, around his neck. He is informed by the giant bird Nimbly (Martin Umbach) that anytime he makes a wish, the power in Auryn will create the wish arrive right. However, there is a black secret to Auryn. To assign Fantasia, Bastian must gain out Auryn’s secret, defeat the unfavorable witch Xayide, and terminate the Emptiness from curious Fantasia.

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Of the two movies, THE NEVERENDING Account is a far ample film that its sequel.

The DVD doesn’t offer many extras. On THE NEVERENDING Memoir side of the disc, there are some notes about the book and characters and a trailer for the film. THE NEVERENDING Memoir II side has a trailer, cast & crew list, and a word plug game called “Bastian’s Challenge.” Also, both movies are shown in burly veil and not widescreen.

The modern NeverEnding Record movie was a masterpiece. A complete work of art. I remember watching that movie when I was a kid, it amazed me. I behold today, and it amazes me how it unruffled draws me into that anecdote so easily. In my belief, it is a pure fantasy world with no flaws, in acting, in site, in direction, in visuals; the characters are all wonderfully unusual and well played.

*sigh* Now…to the sequel.

Besides the fact that every single character was recast (aside from the bookkeeper? ), and besides the fact that every character has a tag current personality which contradicts how they were in the first movie. Besides the fact that Bastian had brown hair in the first movie, and now all of a sudden he has blonde hair. Apart from the fact that Bastian’s dad has quite the receding hairline in the first movie, and now, in the sequel, where’d that plump head of hair arrive from? Aside from the fact that Falcor turned tiresome for something reason. Apart from the fact that Atreyu, the valorous warrior in the first movie, turns into a confused sidekick that can only converse broken english now…

*sigh* aside from all of that…

The thing that gets me the most, throughout the sequel they call the Empress, “The Child-like Empress”… *sigh*

…She is not child-like; she is, in fact, unprejudiced a child! “Child-Empress”!!!

The magic that was the first movie disappeared in the second. I believe the thing that sets the movies apart the most, a thing that hurts the sequel quite a bit, is the fact that we have to views of the tale, in the fresh, Bastian’s point of idea as he reads the book, and then Atreyu’s and the others opinion from inside the account.

With the NeverEnding Memoir II, there is no outside conception. It’s very linear, inside the fable only, except of course, arrive the waste, when the father starts reading the book, but the adult point of belief doesn’t fit in very well with the account.

I unprejudiced popped in The NeverEnding Chronicle into my VCR. The visuals are heavenly, the Fantasia world in the novel movie is so well thought-out, and obviously so. But there’s something lacking with the sequel, it seems like you’re in a different, low-budget version of Fantasia.

*sigh*

So, I judge I’m done with my rant.

But if you’ve lasted with me this long, here’s my advice:

The new movie is, no doubt, a must have in anyone’s movie collection. If you must ogle the second one, objective to glimpse how awful it is (if you haven’t seen it already), borrow it from someone or rent it, but don’t seize it. It’s not worth the money.

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Movie Title: 3 Strikes
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3 Strikes is available for streaming or downloading.

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This is a estimable comedy. It seems some people want to have every sad movie be akin to Boyz ‘N the Hood or Do the Fair Thing. First off, everything does not have to be favorable. This is made to originate you laugh. Obliging performances turned in by Brian Hooks, and the awesome bit section turned in by Earl Stephens, a.k.a. E-40. Oh no, but don’t forget Faizon Admire. If you’re trapped in the the house by unpleasant weather or whatever, steal this up for non-stop laughs.

This movie is your average laughable shadowy comedy, Brian Hooks plays a man who has been in jail twice and is out on parole, one more strike and he is out (25 to life), its a humourous comedy about the miscoincidenes that happen to him unbiased after he is out of jail, he is caught in a stolen car and is then seeked by the police.

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Movie Title: The Night Evelyn Came Out of the Grave
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I am blissful to study the universal intolerance voiced here with SD’s tiny DVD of one of the most indispensable of the 1970′s Italian Sex & Anxiety Demonstrate movies. THE NIGHT EVELYN CAME OUT OF THE GRAVE is a total classic, with a showcase appearance by Erika “LEGS” Blanc as a stripper keen with a set to drive a wealthy young duke out of his skull. Classy, filled with big intellectual sets, “frosty” music and a astounding modernist glance, this is a Giallo that really isn’t a Giallo at all & sort of mocks that specific sub-sect of Italian scare by having the killer wearing yellow gardening gloves [Giallo is Italian for "yellow"] instead of the usual sexy sad variety.

With that said, you’ll be better served buying one of the cheapo fullframe releases from Alpha Video or on one of the Brentwood Home Video box sets TALES FROM THE BONEYARD and Dread NIGHT: This is a reburn of Nasty Cinema’s DVD-R release, which suspiciously found it’s plan into the market about 6 – 10 weeks before this release and wasn’t even transferred at the advantageous aspect ratio by SD, which is why the represent looks “squished” — all of Sinister’s widescreen releases are optimized for 16:9 screens with the flick of a switch, but sadly nobody told SD’s technicians this before they ripped off the transfer.

So whatever: If you want a codefree reburn of Sinister’s work that appears to have been engineered by circus chimps who had acess to DVI technology, here you go. Fair be forewarned that it will notice unpleasant, you’ll want your money serve, and then you can advance here & allotment your harm with us. We feel for you, and want to try and serve.

It indicates on the DVD’s case that this film has been digitally transferred. One would then put a question to that the film would exhibit a crystal-clear image with vibrant colors. Well, put a question to again – this DVD is a fraction of crap!

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The colors are washed-out, the images are fuzzy, and the aspect ratio is all horrible! Automobiles peek like they are three feet long and six feet ample! The magnificent Erika Blanc is made to glimpse as though she is twelve feet vast and suffering from terminal anorexia nervosa. The DVD is watchable with worry, but preserve aspirin nearby in case you bag a headache from focusing on the distorted images.

If you score a chance to search for a favorable print of the eminent Italian mystery from the 1970s, please do so – you will relish it. However, leave this edition alone!
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