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| 101. Don't Tell Her It's Me Director: Malcolm Mowbray | |
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Reviews (42)
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| 102. Snoopy Double Feature Vol. 9 (Life's a Circus, Charlie Brown/Snoopy's Getting Married, Charlie Brown) Director: Bill Melendez | |
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Reviews (4)
Snoopy gets ready to tie the knot in Snoopy's Getting Married, CB. His brother Spike is the best beagle (he comes all the way from Needles, CA to see Snoopy get married. The gang has taken care of catering with a composition by maestro Schroeder and a salad by Lucy. Will Snoopy marry the dog or disappoint Schroeder's composition and Lucy's salad?
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| 103. Emma Director: Douglas McGrath | |
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Amazon.com Reviews (195)
Casting was well done. Northam provides a sturdy, but not overly-stern, Knightley, and Paltrow does an amazing job of convincing us that she is, indeed, British in her portrayal of Emma. Her accent is nearly flawless, and I felt that she truly captured the personality of Austen's most spoiled heroine. The sets and lighting are bright, airy, and perfectly suited to the comedic approach taken by this particular director. The scenes are edited just brilliantly. Each scene flows seamlessly from one to another, and the pace of the plot runs along just perfectly. It moves fast enough to keep everyone interested and slowly enough to make sure that everyone has enough time to absorb what's going on. The criticism I've heard most often is that the film really only touches on the Jane Fairfax/Frank Churchill subplot for the briefest of moments. I did not find that to be injurious to the film. It's plain, while watching this version, that the director wanted to keep the story light and funny. Adding Jane and Frank's saga would have done two things: First, it would have seriously darkened and dramatized the bouncy and bright atmosphere of the entire film. Second, it would have taken the spotlight off of Emma Woodhouse as the focus of the story. I felt that, given the abbreviated length of time that a movie has in which to communicate a story...the omission of Frank & Jane's affair was a wise choice. The second criticism I've heard of the film is that it's just too clean and "pretty" to be accurately representative of Regency England. Again...this didn't bother me. The focus of this film is NOT to be true to history. It is not a Regency documentary. It is a fun and aesthetically pleasing depiction of Emma Woodhouse and her friends. It's romantic, funny, charming, and very very pretty to look at. I loved it.
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| 104. Caro Diario Director: Nanni Moretti | |
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Description Reviews (18)
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| 105. Freddie Mercury Tribute Concert Director: David Mallet | |
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Reviews (61)
Best of all, you get a renewed sense of how strong Queen's songwriting and performing talents were (and still are). And all of the artists singing in Freddie's place give it their all and make the versions their own, all without detracting from Freddie's original version. You're an IDIOT if you don't get this concert DVD!
The Queen Medley by the great band Extreme was probably the best part of this show, not only because the way they played, but also because the playlist choice. A Medley of Bohemian Rhapsody, Bycicle Race, Another One Bites Dust, Keep Yourselves Alive, and others leading to one of the most beautiful moments of the show: the Radio Ga Ga ending, leading the audience to tears. I would never exchange the old original laserdisc for this useles "extra materials" with a bunch of new footage.
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| 106. The Thomas Crown Affair Director: John McTiernan | |
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Reviews (279)
As I watched again and again the (new) Thomas Crown Affair, I realize I came to enjoy it more and more. Dense entertainment: action, tumultuous and steamy romance, inspired direction from McTiernan ("Die Hard", "The Hunt for Red October"), and appropriate musical score. Good performances from Brosnan, Russo and Leary. A tour-de-force for Rene Russo ("tougher" in her portrayal of the insurance agent than Faye Dunaway in the original affair), considering the fact that in real life she is very much unlike the character she plays in this movie (see Russo's press and TV interviews). Kudos for Pierce Brosnan - much better and diversified delivery here than in all his three James Bond impersonations. (The wonder of the last 007, "The World Is Not Enough", is Sophie Marceau - not just good looking, but a good actress !) No, I am not saying we should ever go out steal Manet, Monet, Degas, ... as a passe-temps, but, we do like this film because no matter who we are, deep-down in our subconscious mind lies the desire to be successful, which, somehow means being wealthy enough to allow us to indulge, satisfy all our needs, whims, and caprices, to be "rewarded" with an absorbing and adventurous life. Pierce Brosnan and Renee Russo's affair is, perhaps, more alert, technical, and graphic (adapted for the 90's) than the original one involving Steve McQueen and Faye Dunaway. I have distinct praise for the 99 rendition of this fantasy, but I believe Steve McQueen and Faye Dunaway are better actors (watch their other films), and their 68 performance is just better. Do not trust me ! Watch both films on DVD or VHS, and decide. Steve McQueen has presence, is sure of himself (that is what makes a man sexy !), and Faye Dunaway does not have to wear a see-through dress to make us feel she is sophisticated, beautiful, and desirable. The dialogues there are shorter, sparse, and to the point. Exquisite direction (and good use of the split-screen tech) from Norman Jewison teaming with Michel Legrand who raved us with the Oscar winner "Windmills of My Mind". The 68 "chess seduction scene" (subtle touching, teasing, warm eyes) has no equal in the 99 film, and the "chemistry" between the characters played by McQueen and Dunaway is more intense. There is more entertainment packed in the 99 film, while there is more film in the 68 entertainment ! Enjoy both affairs !
I've never seen the first "Thomas Crown Affair" so I have nothing on which to judge this film but on it's own merits. Where once stood Faye Dunaway and Steve Mcqueen, we now have Rene Russo as the sultry insurance investigator Catherine Banning and Pierce Brosnan as high-living billionaire Thomas Crown. Both actors are good in their respective roles, especially Russo who basically steals the show from Brosnan and everyone else around her coming off as both smashingly smart and sexy. Unfortunately Brosnan and Russo share no chemistry and generate no heat. This subsequently renders their romance sequences together, from passionate love-making in Crown's apartment to basking in the sun light of a sandy island beach, all the more uninteresting. But the problems don't stop there. Russo and Brosnan's characters also never seem really interested in each other in an emotional sense. Throughout the entire film I never felt Catherine Banning's interest in Crown stretched beyond revealing him as a crook. Her only purpose for sleeping with him or accompanying him to his island getaway always seemed to be just killing time. But that's not to say the movie is without it's bright spots of which it has plenty. The actual caper is a cleverly devised one, and whenever time isn't being wasted on romance the movie is often highly entertianing and genuinely interesting. Still, so much time is wasted with Crown and Catherine jetting around for recreation that the final twist isn't nearly as astonishing as it should have been, simply because we've lost track. All in all, "Thomas Crown Affair" is a glossily-textured, gorgeous-looking package. It's not a bad film by any means, and has alot of terrificly played sequences. There's a general lack of suspense and drama but it's still entertaining enough.
I love the sound track of the movie and will be doing my own remake--going Duo Discus glider riding with my significant other ;). The love scene is wonderful, the chemistry between the actors works like a MIT Lab experiment and the whole movie is simply spot on. I recommend it highly!
(...) The ART of the earlier version is a unique and compelling one and makes that film so fascinating to watch in widescreen! ... Read more | |
| 107. American Anthem Director: Albert Magnoli | |
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Description Reviews (10)
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| 108. Message in a Bottle Director: Luis Mandoki | |
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Had to watch this one two times! I highly recommend it for husbands and wives who want and need to rekindle their relationships.
A woman is a writer, and finds a bottle written with a very beautiful note. She wants to find the author of the notes and possibly write a story on him. She does meet him, and ironically falls in love with him. She collects the notes any way she can loving him even more. While on her journey, she spends a lot of time with the new man she's fallen in love with. She has to leave to be with her son who was with his dad over the holiday. Problems arise, and hardships are endured. The novel and movie are both very touching and romantic.
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| 109. Adventures of Young Indiana Jones, Chapter 11 - Oganga, The Giver and Taker of Life Director: Mike Newell, Sydney Macartney, Bille August, Nicolas Roeg, Carl Schultz, Terry Jones, Robert Young (III), Gavin Millar, Jim O'Brien, René Manzor, Joe Johnston, Vic Armstrong, Gillies MacKinnon, Dick Maas, Peter MacDonald, Deepa Mehta, Simon Wincer, David Hare | |
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The action is limited to the first five or so minutes, where Lieutenant De Fonz (aka Indy) disobeys his superior and tells the troops to advance instead of retreat. This results in victory, and a promotion to Captain, but also the Major holding a grudge. Naturally, Indy and the Major are then teamed up on a mission to retrieve some weapons. The opening battle sequence was even more graphic then "Trenches of Hell", and when Indy grabs the machine gun and mows done countless men, we see just how far he's come (or fallen) in less than a year. I love this one for all the character developement Indy undergoes, especially in relation to the previous videos. It's good to keep in mind that it's now December of 1916, and just last February all Indy cared about was the prom, and driving a cool car to said event. More has happened to Indy in ten months than happens in real peoples' entire lives. That's where he is at the start of "Oganga". By the end he's changed even more, due to all the slow death he's had to witness. "Onganga" is great just for the fact that Indy is more human in this than he's ever been. He gets feverish, delusionary, and downright depressed. He seems like a real 17-year-old who's in way over his head. This isn't your typical Indy. While it's good to see Indy's interaction with Schweitzer, and how it changes his outlook on life, I can't help but note that Harrison Ford's Indy seems to have forgotten the whole thing. He's back to killing with nonchalance, and even glee. Perhaps the Young Indy writers should have tried to be more consistent with the already established future. But at least they are consistent within the series, because in the next video ("Hawkmen") Indy changes his approach to the war by joining the secret service. Kudos to Sean Patrick Flanery, he's a great Indy, especially in this one.
George Lucas used some of the best writers, directors and acting talent available to him and filmed the series on location around the world. As a result, despite being made for television, they are gems. Ordinarily, I hate it when movies are used to send a message, but the messages in the series generally flow naturally from the plots without being overly heavy-handed. In this installment, Indy is an officer serving in the Belgian army in Africa during the Great War who is sent on an important and dangerous mission. In the process, he learns much about leadership, European colonialism, death, and ultimately what is important in life. The series skillfully interweaves real-life people into the plot, and in this installment Indy meets Albert Schweitzer. Parents should be advised that, while uplifting, this is a war movie and that death, from both battle and disease, is integral to the plot.
I have always wanted to be a director and these movies have already taught me alot about the types of movies people like. I have used these and other George Lucas and Steven Spielberg films to use as exaples. Right now my friends and I are working on a film. We hope to have it completed by Jr. High.
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| 110. Danielle Steel's Once in a Lifetime Director: Michael Miller | |
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Reviews (6)
What makes this movie so special . . is once you become involved, you almost stop to wonder - this is exactly what I want to have a ONCE IN A LIFETIME experience with someone special.
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| 111. Ethan Frome Director: John Madden | |
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Amazon.com Reviews (11)
I promise you this: there are at least two love scenes in this film that are so amorous and seductive that you will most certainly rewind the tape just to reassure yourself that it was accomplished completely without nudity. Liam Neeson (Ethan) is at his expected best, portraying a character who is astonishingly sexy and lovable regardless of his physical deformity or intensely tragic circumstances. And Patricia Arquette (Mattie) exquisitely personifies a beautiful and kind young woman approaching her first peak of sexuality. All of the actors are wonderful and the film follows the book very closely. Buy the video, read the book, and then if you are a true Romantic you will watch the video again and again. Do read the previous reviews from other customers, I enjoyed reading all of them.
In the book, Ethan's crippled condition is only barely highlited, yet in the movie, it is dragged out to almost hillarious proportions. This reduces the novels intended effect on viewers of the movie, as the fact that it is supposed to seem almost a punishment on Ethan is lost almost completely. Zeena, the lifeless doll which we see with a certain sense of dread at her introduction in the novel, is a beautiful young woman when she appears in the movie, with only a little less charm later on, when, in the events of the novel, she is supposed to seem almost like death itself. Zeena in the movie is constantly portrayed as being not as bad as we are led to see in the book, therefore making us care for her and almost wonder why Ethan would want to have an affair when he has such a 'good' wife. Also, the character of Mattie, an innocent, vivacious character in the novel, is portrayed as a flirtatious... and almost instigates the affair more than Ethan. In the novel, Ethan is the one who truely begins everything, secretly longing for her, but never able to express his feelings to her until he fears she will be gone. All these changes destroy the tone with which the author of the book adressed Ethan, and ruined the message that we were supposed to get out of her work. Instead of feeling for the characters of Ethan and Mattie as the evil Zeena destroys Ethan, we feel a sense of disgust at Mattie and Ethan's affair. While the movie was true to the book in many ways, it was the ways in which it wasn't that make this movie sub-par, and almost disgraceful to the book.
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| 112. A New Leaf Director: Elaine May | |
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Amazon.com Reviews (35)
It's got laugh-out-loud moments, and is packed with enough wry scenes and subtle performances that it demands multiple viewings to catch them all. Many touching insights, too, but never a long rest between chuckles. Things do slow a bit at the end, but no more than most great comedies. Now I read Maltin's capsule review and am amazed that May distanced herself from the final edit. Good gravy, could it have been significantly better? While not a masterpiece of cinematography or special effects, this certainly ranks as a comedy which, particularly if Maltin is correct, demands a Director's Cut.
I'm only adding this review to encourage lobbying to bring this film out on DVD and restore it to May's original cut. So if each person who reads this will get the movie and show it to 10 friends, and so on, and we get a huge deman for the full three our releas on DVD, we might create movie history. It is a crime that this movie has been so badly neglected since if was first released.
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| 113. Doctor Who - The Daleks Director: Rex Tucker, Julia Smith, John Gorrie, Ron Jones (II), Alan Wareing, David Maloney, Richard Martin (IV), Peter Moffatt, Derek Martinus, Fiona Cumming, Joe Ahearne, Derrick Goodwin, Christopher Barry (III), Darrol Blake, Euros Lyn, Pennant Roberts, Michael Leeston-Smith, Rodney Bennett, Timothy Combe, Gerald Blake (II) | |
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Amazon.com Reviews (19)
For starters, the Daleks are awfully talky, which kind of minimizes the effect (not to mention that they are a bit hard to understand what with the Dalek voices and 1960's era sound quality). Susan, again, is frequently hysterical, which just seems odd for a character who is supposed to be so brave and who has traveled throughout time and space. The Thals (...) are too one-dimensional to hold one's attention for this many episodes, even taking into account that Doctor Who was, at the time, a children's program. The one truly interesting part of this set is the fairly in-depth look at how the Daleks function. At least we get an acknowledgement about the Daleks' mobility issues and weaknesses and a sense of what makes them work. Unfortunately, the humans are far less interesting, especially the Thals, although the romantic tension between Barbara and one of the blonde Thal he-man is sort of interesting as well, although not nearly as interesting as watching the white shirts and dresses of all the characters stay perfectly white as they tramp through the mud and the swamp over the course of several days, suffering through the early stages of radiation poisoning without a dry cleaner in sight. These episodes gain a little in impressiveness when you realize they were done around the same time that Star Trek was taking off in the states, and the comparison is fun to watch, although here there is something to be said for the usually annoying American habit of wrapping everything up in one tidy hour. This story arc deserves more than an hour, but could have easily been finished in 4 episodes. Instead, it just drags on. Get it for the historical value, but don't expect to be riveted.
The story contains all the original cast, being only the second adventure in the entire Doctor Who series. It is also includes the first appearance of the Daleks. The story effects are impressive for their time. I particularly like the dead forest and the view of the Dalek city. One other memorable aspect is the eerie metallic sound used in the scenes shot within the Dalek city. There were few disappointments for me with this story, apart from William Hartnell having trouble with some of his lines. I understand however that this was a continuing problem throughout his tenure. One thing to bear in mind for this and all the Doctor Who stories is that they were originally designed as a television serial. Individual episodes were screened each Saturday afternoon. It therefore inevitably alters the viewing experience to watch each story as a complete series of episodes on one tape. Individual perceptions of each Doctor will also be influenced by personal history. I grew up in the sixties and prefer the early Doctors. Other people that I know grew up in the seventies and prefer the Tom Baker years. Notwithstanding the above there should be a reason for all Doctor Who fans to own this tape.
In retrospect, "The Daleks" is helped by its seven-episode length. Half an hour goes by before we even see a Dalek and an hour before we see a Thal, and those are the first two alien races the show ever gave us. But there's something even better in their place: sets. Even though it's confined to studio, Skaro is a thoroughly alien world. The establishing shots are overexposed, making everything look "white and ashy". There's also a creepy alien corpse and a pristine flower (that, naturally, the Doctor ignores). When we finally get to the Dalek city, the doorways are weird and angular. Tristram Cary's unnerving score further sets the mood. While Skaro looks more impressive than you'd expect from the story's 1963 vintage, here's a TARDIS crew completely at odds with each other. William Hartnell's Doctor is as selfish as he ever got, sabotaging his own ship just so he can lure the others down to the city. After Ian and Barbara (who calls herself an "unwilling adventurer") demand food, he takes them to his food machine... and doesn't offer them a thing. When he learns that Skaro's air is poisonous, he's ready to run back to the TARDIS and take off... leaving the missing Barbara behind. He's a childish old man, and, thanks to a daring script, is on death's door 20 minutes later. Although the story takes seven episodes to tell, each individual episode is built entirely around one key concept. Though all of the third episode is devoted to "The Escape", for example (events which in the show's later years could be compressed to eight minutes), it's very carefully done. There's innocence, for example, when no-one realizes that the Daleks are monitoring their cell. The Daleks' interrogation of the Doctor is creepy, as the ailing Doctor is forced to kneel in a pool of harsh white light, with the Daleks willing to let him die since they can't spare anti-radiation drugs. Once the TARDIS crew escapes, the Thals (withheld from view until the third episode) take over the story. We're told the natural history of Skaro -- a war waged with neutron bombs which ended thousands of years in civilization in a single. The Dals, the philosopher-kings, became twisted creatures living in metal shells, dependent on static electricity. The warmongering Thals became tall, elegant farmers, whose onscreen presence is even more imposing thanks to shrewd direction -- when Susan meets the story's first Thal, Alydon, he appears to be ten feet tall, until we see he's just standing on a ledge. The story's moral centerpiece is the debate about pacifism versus non-violence. How far will the Thals go to keep their core values while fighting off the Daleks? The Daleks, merely paranoid in the first episodes (killing the Thals' pacifist leader, wrongly believing him to be a spy), quickly become ruthless when they realize that they'll have to flood Skaro with more radiation in order to survive... even though all the Thals will die. Most of episodes four and five are concerned with Ian's attempts to teach the Thals that "some things are worth preserving". On the flip side of that argument is the Doctor (and a vengeful Barbara), who merely want to turn the Thals into disposable shock troops, so the Doctor can retrieve his lost equipment from the city and leave the Thals to chance. It's a long argument, and a risky one, and, in the end, neither side is right, and he Thals' death toll mounts quickly. However, Ian's plan (stealth and intelligence, not violence) wins the day. It's been said that the final "Doctor Who" TV story, 1989's "Survival", featured a "harsh" repudiation of Ian's morality. I don't think this a good idea, or even an accurate one. More important by 1989 was the realization that Susan didn't have to be a screaming teen afraid of walking alone outdoors. On the whole, Ian's morality remains intact under today's scrutiny; the Thals would have all died, without it. Even so, we're not meant to applaud Ian's simulated kidnapping of a Thal woman. At any rate, Hartnell's Doctor was not a pacifist, and without the human element of Ian and Barbara, would never have become the hero the series later needed him to be. When the Dalek plan is halted, a dying Dalek approaches the Doctor for mercy: "Stop our power from wasting." His response? "Even if I wanted to, I don't know how." The story ends with an extended dialogue, as the Thals mourn their dead and the Doctor, a hero at least, offers benedictions (with a grim warning of "other wars to fight"). There aren't too many light moments in the story (apart from the exchange where Ian finally nails the Doctor for getting his last name wrong), but it's all very pleasant at the end, and we even learn a little more about the Doctor's past. You could believe, from watching "The Daleks", that "Doctor Who" was built to a careful master plan. Each character (even Susan) was allowed room to grow and regress, early on. By the show's third season, the creation process was more haphazard, with things made up as they went along -- witness the Daleks' descent into comedy villains. However, "The Daleks", in spite of being only the second show, is quite possibly as good as "Doctor Who" gets.
This was the good Doctor's first of many encounters with his arch-enemies, the Daleks. This was the second Doctor Who adventure, and it would be something that would solidify the show's popularity for years to come. It is in this adventure that TARDIS crew land on a eerily deserted planet, a planet that had gone through a devastating neutronic war between the two races, the Thaals and the Daals. Soon they are being affected by the radiation fallout, are captured by the Daleks, they make their escape and meet the Thaal people. Soon a final battle is engaged, and the Thaals are victorious over the Daleks. I enjoyed this adventure, for it is a prime example of intelligent writing and powerful acting. This story is very multi-layered as it serves as a sort of social allegory for what could happen as a result of the use of nuclear weapons for war. In addition, it serves up a fair amount of drama in regards to how far can one stay the course of pacifism before taking action. Some other great points are the Thaals themselves, the males in particular, the wardrobe makes them look as if they are part of the Kevin Sorbo Appreciation Society. but seriously, this is a great adventure and very essential for any Doctor Who fan.
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| 114. Adventures of Young Indiana Jones, Chapter 13 - Adventures in the Secret Service Director: Mike Newell, Sydney Macartney, Bille August, Nicolas Roeg, Carl Schultz, Terry Jones, Robert Young (III), Gavin Millar, Jim O'Brien, René Manzor, Joe Johnston, Vic Armstrong, Gillies MacKinnon, Dick Maas, Peter MacDonald, Deepa Mehta, Simon Wincer, David Hare | |
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The movie starts out with Indy helping 2 Austrian brothers get to Austria through the German barricades. This first half of the movie is good and has a lot of suspense. But once they get to Austria and Indy is re-assigned to Russia, the plot falls apart. It gets very confusing, and character development is underdone. There is some guy that is chasing Indy throughout the first half of the movie, and we never know who he really is. And then suddenly Indy is friends with some people in Russia, and we don't know how they came to be friends. It sort of clears up at the end when the Bolsheviks march through the streets of St. Petersburg, but even then, it is still confusing. Other than that, it is a good movie, and the portrayal of spying here is magnificently accurate. If you're a fan of Indiana Jones, this is worth seeing, but if you're not, you should probably think before seeing this movie.
I've seen pretty much most of the Young Indiana Jones series and have quiet a few recorded off TV from it's TV run (it's amazing that my tapes still work after 11 years) and personally, I like the Russian one. Oh yeah, I remember seeing in one comment that said that all of Indy's Russian friends were Bolsheviks. In fact only two of them are. If one would read the novelization of this episode, it would explain it more clearly (and it explains why Indy is friends with them). But even in the episode, it shows their differences. The two that are Bolsheviks are Sergei and Irina, the couple that loves each other. The girl that falls for Indy is Rosa and her political philosophy goes toward a democratic socialist government, simular to what many countries in Europe have today (and yes, socialists and communists are different), the man studying to be a priest is Dmitri and would support a Czarist goverment since the clergy was important back in that former government and would not support the Bolsheviks since they support atheism. And the last friend, Boris, is an Anarchist (who doesn't support government at all). The reason I like this episode is because it shows me that Bolsheviks aren't evil creatures of doom. That they are in fact human with hopes and dreams. Yes, we tend to demonize communists, but that's because the idea was corrupted by human failings and became a dicatorship. And the first episode on this tape. Eh. It's not my favorite, but it's interesting though.
There are more great moments of humor in the first half, along with lots of running around, and it's all very entertaining. Indy is somewhat grumpy the whole time, which, come to think of it, made him more similar to the older Indy played by Ford. The second half finds him reassigned to Russia, which is weird in itself, but the bizzare thing was that Indy moves in with a bunch of Bosheviks, and becomes very good friends with them. How he managed this, and why, isn't addressed, since we're just plopped into the middle of his stint in Petrograd. The fact that the Bolsheviks, knowing full well that Indy is a capitalist American working for the French secret service (some secret), allow him to join their midsts is hard to believe. One girl even falls in love with him. Indy dislikes desk work, and so did I. It was rather boring, watching him mull around the stacks of paper looking like they meant something to him, but we never understand what. He never really did anything in this half, except fail at just about everything he was supposed to be doing. The ending was the worst ending yet, and left me wondering just what we were supposed to make of Indy's politics. The second half is good for two things, 1: showing that Indy still has a whole lot of growing up to do, and 2: that his birthday is in July (some trivia if you ever need it). But the first half was great, so the video is worth it.
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| 115. Doctor Who - Revenge of the Cybermen Director: Rex Tucker, Julia Smith, John Gorrie, Ron Jones (II), Alan Wareing, David Maloney, Richard Martin (IV), Peter Moffatt, Derek Martinus, Fiona Cumming, Joe Ahearne, Derrick Goodwin, Christopher Barry (III), Darrol Blake, Euros Lyn, Pennant Roberts, Michael Leeston-Smith, Rodney Bennett, Timothy Combe, Gerald Blake (II) | |
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Description Reviews (18)
This is a well-written and interesting story - it is here that we discover the effect gold has on the Cybermen, who are at their menacing best. The characters are well-thought-out, there are some memorable scenes, the cybermats are finally creepy rather than comical and there is a nice doom-laden soundtrack. Seeing the Doctor arriving in the past of a location he visited in a previous story is also an interesting idea.
"Cybermen" is Tom Baker's only tangle with this staple villain of the Dr. Who series; the clanking, droning, mechanical men bent on...gasp!...conquest of the universe (why do machines always want to conquer the universe?) He twice battled both the Daleks and the Sontarans, and crossed swords with the Master at least three or four times, but for the tin men, this his is his sole contribution. Apparently, fans of previous doctors found the Cybermen as they are portrayed in this episode to be extremely lame and toothless, and felt a good villain had been wronged with a weak portrayal. I have admittedly little interest in the other doctors, being a Baker freak, so I can't really say, though I admit the more mobile (and combustible!) versions I saw in "The Five Doctors were more threatening. "Revenge" is an underrated episode for several reasons. First off, it makes excellent use of the underground caves in which it was primarily shot; given the show's modest (meaning pathetic) budget, Dr. Who episodes were generally stronger when shot on location than when they were entirely confined to sets. The costume design is very good, the script clever and full of double-crosses, the villains suitably evil (excluding the admittedly boring Cyberleader), and the plot imaginative and well-developed. I also thought the regular cast (the Doc, Harry & Sarah) and the guest starts worked very well together. The story is, I think, one of the better and more inventive of the series, since it does not depend on the standard formula of A) the Doctor delivering some or other race from oppressive masters or B) the Doctor foiling yet another conquest of Earth by aliens. "Revenge" is about an earth beacon designed to monitor space traffic around Jupiter is quaranteened when a plague breaks out on board. Only three crewmen and a smarmy scientist named Kellerman, who is on board to study a newly discovered moon of Jupiter, remain alive on the dismal space station. Cue the Doctor and friends, who as usual arrive just in time to be blamed for causing the plague. Of course, the Doc quickly figures out that the plague is not a plague at all, but a poison delivered by a nasty mechanical slug which, as it turns out, answers to Kellerman, who controls it like a homicidal radio-controlled car (but then he's a homicidal guy). The Doc recognizes the technology as that of the Cybermen, and when he realizes Jupiter's new moon is in fact the blasted remains of planet Voga, whose population are the Cybermen's natural enemy, he puts two and two together: the tin men, still smarting from the beating they took in their last war with the Vogans, have arrived to wipe them out once and for all. Unfortunately, he does not do his addition in time to stop the Cybermen from showing up and knocking everybody cold with their silly head-mounted stun guns, and then forcing them to carry into the planet core the bombs which the metalheads plan to use to blow the planet to bits, thus eliminating the universe's most ready supply of gold (which said Cyberman find lethal) and allowing the Cyber army to, well, conquer everybody. The story moves to the planet, where it turns out a scheming Vogan bigshot named Vorus has been planning all along to lure these last remnants of the Cybermen back to Voga and then blast them into tin foil with a big ass rocket. This is the story's nicest twist, and features a very unexpected double cross, but Vorus' scheming backfires all the same, and now it is a race to see which side's ultimate plan will carry the day. This episode has some silly moments (those head-mounted guns are as intimidating as slingshots that shoot marshmallows), the Cybermen are indeed dull villains with their plodding gait and monotone voices, and there are some logical inconsistencies you can drive a truck through (if gold kills Cybermen, why are guns which fire gold bullets useless against them but handfulls of gold dust thrown into their chest apparatus fatal?...why isn't the gold-dust-laden air poisonous to them? Why don't the Vogans, the arch-enemies who defeated them in the space war, have weapons that would kill them?) But I feel none of these things does enough to drag "Revenge" down. It is a good, solid, fun episode from, if you will pardon the pun, the show's "golden age" and it deserves a second chance.
The adventure starts aboard the space station from The Ark In Space, where the TARDIS crew are waiting for their wayward time machine. The Doctor opens a door and a body leaning on the other side falls toward him. But in a sterile atmosphere, with "no sign of injury" and "nothing to indicate a cause of death," what could have happened? The Doctor, Harry, and Sarah have to tiptoe through a trail of bodies sprawled along the corridor. Captured by Commander Stevenson and his second-in-command Lester, they learn that a plague is responsible. With the discovery of a Cybermat, the Doctor realizes who's behind the deaths of 47 crewmen. Key to this is Voga, the legendary planet of gold instrumental in wiping out the Cybermen in the Cyber Wars centuries ago. Two factions, the long-haired Councillors wearing tatty fishnet robes, and the Guardians, with clipped shorter hair and wearing black vests with gold pinstripes, are at odds with each other, although the cautious but kindly Councillor Tyrum is clearly the wiser as opposed to the audacious and ruthless Guardian leader Vorus. A Cyberleader makes his first appearance here and this is one of the most curious ones ever. He has an obvious non-British accent and speaks of Voga in a hateful tone. How can creatures of logic use words like "unhappily," and "it is good"? Even the Doctor says, "For a moment, I thought he was going to smile." The Doctor also has fun taunting the Cybermen: "You have no home planet, nothing. You're just a bunch of tin soldiers skulking around the galaxy in an ancient spaceship." And thanks to the glittergun, Cybermen were nothing but "gold-plated souvenirs that people used as hat stands." Ouch and double ouch! The Cybermen are the same as in The Invasion, with the handlebars on both sides of their heads, but with slight modifications. One item of curiosity: the Seal of Gallifrey is apparent in Councillor Tyrum's chamber, appearing on his table, and on Vorus' uniform. Was there a Gallifreyan influence on the Vogan civilization, i.e. a time agent of the Celestial Intervention Agency? The symbol later appears in The Deadly Assassin so I wonder if the series producer coopted it to become the Seal of Gallifrey. Interesting. Another is Sarah's remark of travelling for weeks, meaning that there were further adventures after Genesis Of The Daleks, the previous televised story. Michael Wisher who plays the worrying Magrik, has an offscreen role as crewman Colville. Busy guy, considering he was Davros in the previous story, Genesis Of The Daleks. Kevin Stoney (Tyrum) also appeared in another Cybermen story, The Invasion, playing Tobias Vaughn. Goof: English words on a Cybership's screen? Uh, hello? Revenge Of The Cybermen is a perfect season closer and was the last story of Tom Baker's debut season, but as the second Nerva Beacon story, was filmed back-to-back with The Ark Of Space so they could continue using the same set before it was taken down.
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| 116. Die Hard Director: John McTiernan | |
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Amazon.com essential video Reviews (189)
You, the viewer, can examine and re-examine, review and re-edit bits and pieces of the film in the editor's workshop section. Believe me, you've never seen anything like this before. Besides being fun to have the power over what you're manipulating, an added appreciation for the craft of editing is easily achieved. The entire screenplay is also on the second disk, word for word as it originally was handed to the actors. This allows the views to see how the script evolved in the hands of those who made the film. The usual outtakes, bloopers, and deleted scenes are here (fairly standard nowadays), too. Commentary and behind the scenes words from those who were there are also here for your enjoyment. The best appreciated bonus is the amazing clarity of the digital transfer. Cinematographer Jan de Bont's dark and moody work is seen sharper and clearer than anything which could have been put on a silver screen in any cinema house. The full-bodied sound is spectrually sharp and defined. This is how all film experiences should be. If you're tired of DVDs which are little more than "theatrical trailer, feature, and scene selection" (and SOOOOO many are just that), then get your hands on this special set right away and see what the DVD experience is all about. For those who don't yet own DVD, this would be the perfect excuse to invest in a player. My only warning would be to not expect all these fabulous goodies on every DVD you buy--for now. I know this set is going to revolutionize the way companies package and "re-package" their upcoming DVD releases.
John McClane (Bruce Willis) is a New York police officer who has arrived in Los Angeles for Christmas. His wife (Bonnie Bedelia) has accepted a vice-president position with Nakatomi Corporation. While McClane is attending a Christmas party at his wife's new office building, a group of terrorists led by Hans Gruber (Alan Rickman) seize the high-rise so that they may steal millions of dollars in negotiable bonds. McClane takes it upon himself to defeat the terrorists and free the hostages they have taken. "Die Hard" does introduce some novel aspects to the genre - it's a nice change of pace to see an everyman hero instead of the typical secret agent or military super-soldier at the center of an action film, it's nice to see an action hero with a sensitive side, and it's also nice to see a villain with a degree of sophistication. But "Die Hard" intermixes these elements with so many loud explosions and gunfights that one becomes numb after awhile. Throw in too many supporting characters who are deficient in the intelligence department and one inexcusable resurrection at the end, and all you're left with is a film that is great to look at but nothing more. Willis more than proves he can play an action hero and Bedelia adds a welcome degree of charm to the proceedings. Yet, "Die Hard" turns out to be only a smidgen better than its action contemporaries from the period and that is not enough to make it something special.
"Die Hard" is, quite simply, as good as an action film can be. Just what makes this movie so different from all the other generic rip-offs out there? "Die Hard" has just the right blend of witty, intelligent writing (yet still not forgetting the profanity), exquisite acting, intense plot twists, and just the right amount of bloody killing. And to top it off, all of this expertly directed at break-neck speed by John McTiernan. This DVD gives the film a cleaner, newer look, keeping it looking fresh and exciting for the digital era. The sharper picture and sound maybe even add a little something. After "Die Hard", every action movie was just a wanna-be. They try to mimic what "Die Hard" managed, but never even come close. (This group of films even include the two sequels the film spawned.) If you're looking for something fun, intense, intelligent, action-packed, and maybe even a little graphic, look no further than the legendary "Die Hard".
Fresh of his success with the popular television series "Moonlighting", Bruce Willis takes his stab at the motion picture business with full force. "Die Hard" works on many levels--mainly as an action flick with a powerful leading star that adds a touch of normalcy and humor--but it also discusses more important views such as the criticism of the culturization of Japanese technology that was taking place at the time as well as the horrific, ongoing threat of terrorism. It s a film that shows just how vulnerable any business or workplace really is to a terrible force but also how one man can stand up to the challenge and ultimately make a difference. John McClane (Willis) is a New York City cop who travels to the Los Angeles area to reconcile with his seperated wife (Bonnie Bedalia) and family, who left him to pursue a lucrative job with a Japanese financial industry skyscraper. While participating in a Christmas Eve party, the building is overtaken by German terrorists who want to use the hostage Japanese executives to break into the company safe. McClane watches as the head terrorist (played brilliantly by Alan Rickman) blows the brains out of the Japenese CEO realizes that the game is on. With the help of a gun-shy cop (Reginald Vel Johnson--yes, that's right--Mr. Winslow from "Family Matters") and to the annoyance of police chief Paul Gleason, McClane runs around like a chicken with its head cut off attempting to save the hostages. While on the explosive one-man war, Bruce Willis plays McClane in a very believable, humorous fashion--which is the quintessential reason for the film being one of the best of its kind. "Die Hard" is a non-stop frenzy of excellent action sequences, a superb and witty screenplay written by Jeb Stuart and Steven D. de Souza (adapted from the Roderick Thorp novel), and top-notch, edge-of-your-seat direction from McTiernan. The Five Star Collection DVD features a deleted scene and some excellent commentary from cast and crew. One of the best action films of the 1980's. A superb roller-coaster ride of thrills. ... Read more | |
| 117. Princess Mononoke Director: Hayao Miyazaki | |
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Description Reviews (687)
In terms of sheer execution this is one of the best anime capers you'll see, replete with beasts of mythic proportions, lush forests, sparkling waterfalls, and some mind-numbing inter-galactic slaughter. I could wager in a blink that this is what inspired Tarantino to do that little anime insert in Kill Bill Vol 1. Plus, the film has some swank credentials under its belt: the Japanese voices are dubbed, not just subtitled, by big *American* stars -- Billy Bob Thornton, Minnie Driver, Claire Danes, Bill Crudup, etc -- who lend their laryx to a host of universally relevant issues such as the plight of indigenous people and nature in the face of unchecked business interests, the death of spirituality in the name of social progress, misogyny in its many variations, etc. But I have my gripes. The film is violent. Very violent. Sometimes senselessly violent. I had to frequently turn my volume knob to the left. There are gigantic guns, and blood and guts splatter the landscape every minute. Most of this soon seems overdrawn (and the film is looooong) with all this supposedly cool action amounting to precious little in terms of any clear message about good versus evil. The underlying purpose is summed up brilliantly by a roadside beggar when he says something like the world is cursed, but we still find a reason to live. I also found something lacking in the animation itself. While exquisitely vivid it seems to lag in its flair for capturing natural motion. Disney or Pixar movies pore over a sense of suppleness when an eye is raised or a muscle is twitched by a character. Miyazaki's animators on the other hand haven't penetrated beyond the skin, the moving creatures feel inarticulate and jerky, particularly when played against the very 2D painted backgrounds. But that still doesn't stop me from recommending this powerful cult flick, a must if you're an anime acolyte. If not, then be prepared for a Tarantino x 100 and you'll do fine. ... Read more | |
| 118. Adventures of Young Indiana Jones, Chapter 15 - Daredevils of the Desert Director: Mike Newell, Sydney Macartney, Bille August, Nicolas Roeg, Carl Schultz, Terry Jones, Robert Young (III), Gavin Millar, Jim O'Brien, René Manzor, Joe Johnston, Vic Armstrong, Gillies MacKinnon, Dick Maas, Peter MacDonald, Deepa Mehta, Simon Wincer, David Hare | |
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| 119. Down and Out in Beverly Hills Director: Paul Mazursky | |
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Amazon.com essential video Reviews (15)
Based on the '30s French farce Boudu Saved from Drowning, the American director Paul Mazursky does a terrific job of fusing stinging satire with mock pathos as Nick Nolte's street bum Jerry, having lost the last thing important to him--his dog--decides to end it once and for all. Stumbling into the upper crustean Beverly Hills, he manages to locate a swimming pool at whose bottom he decides to meet his maker. The pool, as it happens, belongs to Richard Dreyfuss' Dave Whiteman, a very wealthy wire hanger mogul, and his daffy wife played by Bette Midler. Dave's maid, the always fetching Elizabeth Pena, is playing hanky-panky with Dave, yet Dave is not without a heart. He catches sight of Jerry right after his plunge and rescues him, and the rest, as they say, is hysterical. Everybody, as it happens, winds up loving Jerry--Dave's wife, Dave's maid, Dave's dog, Dave's son, and Dave's daughter. And even Dave himself. What 'love' means here depends on who is doing the loving. Dave's neighbor is Little Richard who can't help but toss in a couple of his songs here and there, which adds to the romp that is this film. Jerry manages to teach just about everybody a thing or two about life--even the dog learns how to eat regular dog food from him. These days, as the rich get slightly--but not a lot--less rich, and the poor definitely get poorer, it's refreshing to see a comedy that irreverently laces into both. This really refers to class under attack here, and that word has more than one meaning. Social class, what we think of as class (as in 'a class act'), and what we learn from each other (it's Jerry who leads the class--he's the real teacher here) all get the treatment. A great satire well worth watching, if not owning. Don't miss. ... Read more | |
| 120. Pink Floyd - Pulse Director: David Mallet | |
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What makes "Pulse" remarkable is the selection and order of the songs played, and all done very musically and with precision. Gilmour's guitar work here is second to none. This video is far superior to "Delicate Sounds of Thunder" (which I also liked), in that the camera work is seamless and stays focused on the members of the band. If I find any fault at all with this concert, it was in the saxophone player. While he played it straight, there wasn't much life breathed into it. See Scott Page's renditions in "Delicate Sounds of Thunder" to see what I mean. Between 1 and 10, "Pulse" gets an enthusiastic 9.
"We chatted this week to our friends at Pink Floyd Management (formerly known as EMKA), about future and upcoming releases. Whilst at the moment there are a number of details that are far from being definite, we felt that you would want to hear what there is - however brief! Certainly from the many emails we receive each week, upcoming releases are of major interest. PULSE DVD - they are hoping that this may be released, worldwide, at some point in October. Any actual dates you may have already heard for its release are simply supposition at this stage. In terms of content, the main feature is finished, and some decisions are being made at the moment with regard to additional content to complete the package. Any DVDs you already see for sale (on, for example, online auction sites) are fakes, created from either the original VHS tapes or from laserdisc. A lot of work has been done on the official version and it should be worth waiting for! We will be speaking to PFM again shortly for an update on this project..." Maybe THIS will be the final time that we hear that it's coming.
2 other DVD or videos to purchase for Floyd Fans are The Delicate Sound of Thunder and Live at Pompeii. Live at Pompeii is good because Roger actually is controlling his ego. Cool seeing all of them together when they were younger. I would have to say that Pulse and Pompeii should be in EVERY true Floyd fan's collection! Don't waste your money on any solo efforts by Roger Waters. They stink, pure and simple.
The show opens with a medly of Shine On You Crazy Diamond(I-IV)/Shine On.. (V-IX)/Learning to Fly. After this spectacular opening has finished, Gilmour welcomes the fans and immediatly begins the awesome High Hopes, complete with a crazy video presentation that will make you wonder what he was on when creating it. After this is a medly of Take it Back/Coming Back to Life. This is awesome and needs not to be described, but seen! After this is Sorrow, a mammoth song with an awesome guitar solo at the start(The effects during this are wild!). Following this, they do Keep Talking, where theegyptian writing streaming across the stage, complete with lasers, adds to the already great song. They then follow with the only low point of the show; a medly of Anoter Brick in the Wall pt. 1/pt. 2. This starts out promising, but then the vocals come in. Pratt and Gilmour are not suited to this song, as you will see. However, the other guitarist, Tim Renwick, saves the day with an awesome solo following Gilmour's. Now, the next song is One of These Days, which to this day is one of the coolest things I've ever seen. You must see this to believe it. On to the second set. Here the band does a perforanc of the entire Dark Side of the Moon album, with On the Run, Time, Us and Them, and Brain Damage/Eclipse being total highlights. Sadly, Money is drawn-out and the solo isn't done as well as before. After this, Gilmour thanks the fans and the band walks off. The encore begins with Wish You Were here, where most of the audience is holding out lighters. After this is the best performance, Comfortably Numb. Gilmour goe son this solo for roughly 5 mintues, and all of it is wild. To end the show, they chose Run Like Hell. This may seem odd, but when you see it, you'll know why. In short, buy this VHS. Also, if it ever comes out on DVD, which it should, buy that too. Cheers! ... Read more | |
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