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| 81. The Ten Commandments Director: Cecil B. DeMille | |
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Reviews (169)
I enjoyed Katherine Orrison's commentary track quite a bit (and have put her book on the movie on my wish list), although much more about the movie than some of her amateur theological comments. After spending so much time with Henry Wilcoxon, DeMille's right-hand man on this and many other movies, she has anecdotes and understanding that help you understand how the film was made. I had no idea it took five full years to make, or how some of the seemingly-odd decisions were made or even how some of the effects were created. The other extras are a bit disappointing. The six-part documentary (complete with titles in Paramount's "Star Trek" font because they can't recreate the hand-lettering of the movie's titles, over leather that shows up in richer color than I've ever seen it) doesn't offer nearly as much as AMC's "Cecil B. DeMIlle" biography from earlier in 2004. That special included pre-matte shots of the parting of the Red Sea - the actual water in the tank, including the sides of the parted Red Sea, and how it was created. Paramount may not own that documentary, but some of that footage should have been on this disc. Without it, there are still some good interviews, but not enough behind-the-scenes footage that we now know exists. If you like "The Ten Commandments" and don't have it on DVD, this is for you. If you have the older version but like it a lot, this one's also for you - but get the Cecil B. DeMille biography when it comes out on DVD, too.
C.B. DeMille was the star along with Heston, Brenner and Baxter. There should have been more attention given to the 'stars'. Why was I surprised that the packaging was 'downgraded'. You actually have to remove 'the first' disc to get to the second disc and no chapter card insert. It takes too much time to sum up this mess. Lets just hope that Warners will get the next edition right. This one needs work - except for the transfer that is which was fine the first time around without the ho hum 'extras'. ... Read more | |
| 82. Always (Widescreen Edition) Director: Steven Spielberg | |
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Reviews (44)
Richard Dreyfuss stars as Pete, a dare-devil aerial firefighter with a penchant for taking a lot of unneccesary chances in his line of work. As much "fun" as he has, he is worrying not only his partner Al (John Goodman), but also his one true love Dorinda (Holly Hunter). After much pressure, including Hunter's threat to leave him, he agrees to settle down and become an instructor for up-and-coming flyers in Colorado after one last mission. But on that mission, in the process of saving Goodman when his plane catches fire, Dreyfuss loses his life when his aircraft explodes. Goodman is horrified, and Hunter devastated. In heaven (or a burned-out section of forest), Dreyfuss is met by a guardian angel (Audrey Hepburn, in her final role). He comes back to earth as a spirit, to help a rookie fire-fighter (Brad Johnson) learn the tricks of the trade. Johnson does this and more; unfortunately, he also falls head over heels for Hunter, and Dreyfuss feels the pain of having to watch this, not being able to let go. But Hepburn gives him very good counsel, and he is redeemed by saving Hunter from a fiery death in a flight through a nightmarish firestorm. One of Spielberg's most touching movies, ALWAYS was unfairly castigated by critics as being heavy-handed and manipulative. I, however, am extremely cynical of such critics who only analyze certain films and don't really FEEL anything. This is a film of pure emotions, ranging from comedy, both dark and slapstick, to tear-jerking drama to a suspense and terror-laden climax. The cinematography and the special effects are typical for Spielberg--convincing and top notch. Spielberg, however, wisely, does not stint on the drama. Dreyfuss and Hunter are excellent, as are Goodman and Hepburn. Johnson, often heavily trashed, does a fairly good job with his role, complete with his John Wayne imitation (specifically borrowing a line from John Ford's THE MAN WHO SHOT LIBERTY VALANCE). A typically fine score by John Williams, which presages his work for Spielberg's controversial 2001 sci-fi drama A.I.: ARTIFICIAL INTELLIGENCE, tops off ALWAYS, one of the most misunderstood movies of recent times. For poignant romantic drama, this is an essential movie, a true must-see.
Directed by Four Time Oscar-Winner:Steven Spielberg (Empire of the Sun, Schindler`s List, A.I.-Artifical Intelligence) remade this from a 1947 film named A Guy named Joe. Dreyfuss is in Top-Form here. John Goodman is good in this supporting role, so is Holly Hunter as the second lead of the film. Two-Time Oscar-Winner:Audrey Hepburn (in her last film) is also great as Dreyfuss Guide. DVD has an sharp non-anamorphic Widescreen (1.78:1) transfer and an excellent Digitally Remastered:Dolby Digital 5.1 Surround Sound. This is a touching, funny, life-affrming and lightweight. Fine music score by John Williams (Fiddler on the Roof). Grade:A-.
Fires are raging out of control in the forest. As one of the particapants of the containing of the fires, Pete (the likeable Richard Dreyfuss) is torn between his true loves, his tomboy girlfriend, Dorrinda (the beautiful Holly Hunter), and his career. His choices would be made too soon. When his friend Al (John Goodman, hilarious as ever) is in danger when his plane engine catches fire, Pete heads for the rescue, only to get killed himself. Not aware that anything has happened to him, he meets up with a strange yet kind angel named Hap (Audrey Hepburn's last role) who tells him what really happens. Pete has one more duty to do before leaving Earth. Hap gives gim an assignment, six months after his death, of helping a rookie fire fighter pilot named Ted (Brad Johnson in his first movie) in the ways of getting the job. Things don't go too well for Ted, for it is obvious he has a lot of work to do after dumping red fire retardent all over Al. Things begin to go for Ted, but bad for Pete as he begins to fall in love with Dorrinda. Pete soon realizes that he has to help Ted with his blossoming relationship with Dorrinda, his firefighting carrer, and that it's not his time anymore, and that life must go on, for them anyway. I loved the movie from the start and immediately purchased it. Some people may not like it, but it is their choice. I will Always love this movie, and I suggest it to anyone who needs a little drama, and laughter rolled together in a movie. 5 stars to a great Spielberg movie once again.
I really did not enjoy this movie. Being a Spielberg film and one that I was not familiar with, I gave it a shot. This was a fairly weak effort, Holly Hunter does not make a good leading lady at all. I like Richard Dreyfuss, but his creepy stalking of his old girlfriend was just that - creepy. I like Brad Johnson, he's an ok actor and he did well with the poor script he was given. The film was very melodramatic and Hunter delivered her lines as if she was in a high school play. Audrey Hepburn was still as lovely as ever playing the character "Hap" who sends Dreyfuss' back. The writer's understanding of the afterlife and angels was very poor though, (I know it's only a fantasy film). I have seen the original with Spencer Tracey but did not find that memorable at all either. Allow me to go up on my soapbox for a moment (cause I feel like it). Yes I know it's just a movie but it got me thinking. You will not learn anything of the afterlife from watching Hollywood movies. This one, like Ghost, show that if you are what the world considers a "good person", you will go to a good place when you die. In Ghost, the baddies got dragged of by demons when they died whilst the goodies went off to God. In reality, it's only through Jesus' death and sacrifice that we are made ready for heaven and those who live in wilful sin (such as Dreyfuss and Hunter shacked up in a fornicating relationship), show no true faith or repentance and would not enter heaven. As far as good or bad people, only Jesus was a perfect human being, everyone else is sinful and needs God's forgiveness which is available to all who will sincerly come to Him and ask Him for it, (you don't need to go through a priest either, there is only one go-between, his name is Jesus). All of us have broken God's ten commandments, (the first one is to love Him with all our hearts, who has done that?). In conclusion, Always is a mediocre film that could have been great had the script been more interesting and even theologically sound (...)that everyone goes to heaven and that there are many ways to God. Check out a christian movie "escape from hell" if you want to see a film that is based on fact and that shows the afterlife as it could be. (...) ... Read more | |
| 83. Jean De Florette/Manon of the Spring | |
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Reviews (2)
It's the harmonica music [TOOTS THIELEMAN] that always stays with you, brings back the memories of standing on one of the dry hills, smelling the hot pine needles on the night air - all of that sensory [stuff]! For the romantic? Daniel Auteuil's face, THAT face of utter despair. The population? There's Yves Montand as the stoic, dessicated old uncle/landowner, a bitter, vitriolic, poisoned person. An underrated artist. Auteuil, as the nephew, returns from WWI with those perfect carnations, and the cycle begins ..... Gerard Depardieu,now the unassuming giant of French Cinema, a worthy successor to Jean Gabin, moves in next door as the hunchback farmer-neighbor. [His then real wife, Elizabeth plays the spouse, even son Guillaume is present in a minor role]. An epic of greed and frustration - it deserves to be held high for the absolute reflection of consequences it presents. Like a delicate souffle, slightly burnt, almost bland, with an odd bitter aftertaste it surprises you with a deep heartburn of the soul. A work about loneliness, and loss giving a fragment of hope and satisfaction at the end. Beautifully photographed on location, Claude Berri's work well deserves to be seen over and over again. It's for those moments when you feel bad about life - and need a little cheer! Companions: The original "Fanny" Trilogy [different, but soulmates].
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| 84. The Very Best of the Bob Newhart Show Box Set | |
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Description Reviews (6)
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| 85. It's a Mad, Mad, Mad, Mad World Director: Stanley Kramer | |
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Amazon.com Reviews (212)
After a bouncy, splashy Saul Bass animated title sequence, the story begins with a brief car chase in the California desert. Bank robber Smiler Grogan (Jimmy Durante) wrecks his car, and with his dying words reveals a secret about buried treasure to the seven strangers who stopped on the roadside. 'Look for the big W' in Santa Rosita, he says, and then he kicks the bucket. After a brief attempt at cooperation, the treasure hunt is on and it's every man for himself, in four teams. Mickey Rooney and Buddy Hackett decide to take to the air but their pilot, Jim Backus, gets hammered on Old Fashioneds. Husband-and-wife Sid Caesar and Edie Adams can only find a biplane cropduster. The lone truck driver, Jonathan Winters, can't get gas. And his mother-in-law Ethel Merman fatally hampers Milton Berle, with his wife Dorothy Provine. So all four teams scamper across the landscape, across the broad canvas of this movie, wound tight by desperate greed and calmly monitored by a Sergeant Culpepper, Spencer Tracy. This is the framing story for an amazing string of billed appearances and unbilled cameos so many that at last your senses are sort of dulled. Oh, it's Carl Reiner in the control tower. Oh, look, it's Stan Freberg, yeah. The best cameo, hands down, is Jerry Lewis, who comes barreling down Long Beach Boulevard in a moment of exuberant stupidity and runs over Spencer Tracy's hat. Probably my favorite, I have so many, co-star was Terry Thomas who plays a vacationing Englishman in a rattling station wagon, who picks up Milton Berle. He's talkative. He prattles away (accurately) about why it is that the American male is positively preoccupied with booo-sums, and says things like, "I'll wager you anything you like, if American women stopped wearing brassieres, your whole national economy would collapse overnight!" This sequence, within the context of the movie so far, has a single funny moment when this whole vast farce might come alive, find its voice, and this circus might make sense - Terry-Thomas finds the tone for the rest of the movie. I find it compelling that the aesthetic success of all this footage, all these appearances, all this thoroughly American spectacle, suddenly pivots around a few fussy syllables about breasts. But once the moment passes, Terry-Thomas is efficiently neutralized and dismissed by Ethel Merman, and on we go. The array of challengers eventually reach Santa Rosita, and several unexplainably humorous events occur. These I will not reveal to you and allow you to view the movie on your own time. I must add though, that if you do see this movie, reserve several hours. Like most from its decade its LONG... VERY LONG... But allow me to assure you, you wont be disappointed.
I can see why MGM would want to keep their pristine 35mm print whole and transfer that to DVD but perhaps they should have included a 2nd disc and a 2nd version that patched together all the missing scenes, no matter what condition, and reconstructed the film as best as they could to the longest originally released version.
Cast: Spencer Tracy ... Capt. T.G. Culpeper Intended to be the comedy to end all comedies, with a cast including virtually all the name comedians at the time. Jimmy Durante plays a guy who is in a fatal auto accident, but before he dies, tells 5 bystanders where there is $350,000 hidden under a "W", whuch leads to a chase to find the money. Meanwhile, Capt. T.G. Culpeper (Spencer Tracy) is aware of the stolen money and he and his policemen observe the chase with interest through the desert, mountains, and along the California coast, with the contestants using aircraft, cars, trucks, a bicycle and every method of transportation in their attempt to be first to reach the money. Tracy was ill when the film was shot, and so only worked four hours per day. The long shots and physical stuff was performed by stand-ins. This is a fun movie. If there is a criticism, it is that the comedy is perhaps overdone. With so many top comedians, there is certainly no dearth of funny lines, pratfalls, and laughs--that's for sure. Joseph (Joe) Pierre ... Read more | |
| 86. 9/11 - The Filmmakers' Commemorative Edition Director: Gédéon Naudet, Jules Naudet, James Hanlon, Rob Klug | |
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Amazon.com Reviews (126)
Originally planned to be a documentary about a probationary firefighter, the filmmakers, two French brothers, just happened to be filming at the firehouse on that horrible morning. The first brother was actually riding along with some of them firemen who were on a call right near the World Trade Center. He managed to capture on film the roar of the first plane overhead and the startled looks of the firefighters hearing it, then actually followed the first plane's path into the building. He stayed with the team and actually has footage of being inside the lobby of the Tower. He stayed there until the second building was evacuated. The second brother also managed to capture some truly remarkable film, as he stayed with the "newbie", then set off to find his missing brother, who he assumed was killed. This film is not about gore, but just a very real, very personal story of a bunch of guys who were just doing their jobs and what happened to them that morning and in the days following the disaster. This is a great story.
Only God, knowing what was going to happen, could have placed the Naudet brothers exactly where they needed to be to fully cover this horrific event. With the brothers separated, one inside Tower 1 and the other outside anxiously trying to get to his brother, we are able to witness what the firefighters and New Yorkers experienced on September 11, 2001. We also see the trauma of loved ones separated from each other as the filmmakers try to find each other. The suspense of waiting for each of the firefighters to return to the station at the end is also well orchestrated by God with the initial focus of the film, Probationary Firefighter Benetatos being the last to arrive. WELL DONE JULES AND GEDEON NAUDET! PTL! ... Read more | |
| 87. The World At War - 9 Volume Gift Set | |
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Amazon.com essential video The Second World War was different from other wars in thousands of ways, one of which was the unparalleled scope of visual documents kept by the Axis and Allies of all their activities. As a result, this war is understood as much through written histories as it is through its powerful images. The Nazis were particularly thorough in documenting even the most abhorrent of the atrocities they were committing--in a surprising amount of color footage. The World at War was one of the first television documentaries that exploited these resources so completely, giving viewers an unbelievable visual guide to the greatest event in the 20th century. This is to say nothing of the excellent, comprehensible narrative. Some highlights: The World at War will remain the definitive visual history of World War II, analogous to Gibbon's Decline and Fall of the Roman Empire. No serious historian should be missing The World at War in a collection, and no student should leave school without having seen at least some of its salient episodes. Rarely is film so essential. --Erik J. Macki Reviews (75)
Narrated by Sir Laurence Olivier and covering all aspects of the war, this definitive series is used by many colleges and universities as a source for History and Documentary Film courses. There is an incredible depth of archive footage used; skilfully woven with interviews of major figures in the War from Britain, US, Canada, Europe and Japan. Many major eye-witness leaders and ordinary people who were still alive in 1981 contributed sometimes surprising, sometimes incredible, and sometimes haunting interviews. Yet, for all its skilful editing and historical sophistication, it is clearly presented and emotionally compelling. In my opinion, it is, along with Kenneth Clark's "Civilisation", the best ever produced British documentary. What makes this a stellar and overpowering account of the War is Olivier's narration. Never blustery, patriotic, or theatrical, Sir Laurence delivers pointed, thoughtful analysis with his incredible command of English and oration. Music for the series was composed by Carl Davis and even the opening credits set an unforgettable tone in a haunting image of a child in a photograph, dissolving in flames. This series is for those trying to make sense of a 6 year period when the world went mad. Five Stars PLUS.
I wanted to give 4.5 stars and only knock a half off for the sometimes annoying menu (it could have been presented in a more orgnaized fashion, I thought), or other small problems, but half points aren't allowed on the system. Very close to perfect!
If you are a war buff, particularly WW2, this is the set to have. Can't say enough good things about it. ... Read more | |
| 88. All About My Mother Director: Pedro Almodóvar | |
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Reviews (103)
Like other Almodovar films, the complex story line shows the strains that pull apart and bring together relationships. The emotional lives of the characters are laid bare. While there may be melodrama, there is a strict avoidance of sentimentality. The acting is wonderful, especially Cecilia Roth, who for some reason reminds me of the British actress, Hannah Gordon. My only criticism is the use of coincidence. This is also a feature of other Almodovar's films; but here he stretches it a bit far. For instance, first the Cecilia Roth character steps in to take the part of an actress in a professional stage play, to great acclaim, and then when she leaves it, her transvestite friend, who as far as I know has never acted in his life, effortlessly takes over. This is a small criticism. "All About My Mother" is a splendid film by a great film maker. Without being a dreary feminist polemic, it is a celebration of women in all their roles: as mothers, as lovers, as carers; and to those who want to be women. Warmly recommended.
Good enough.
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| 89. Kiki's Delivery Service (Widescreen Edition) Director: Hayao Miyazaki | |
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Reviews (219)
The themes of Kiki's Delivery Service are noble ones. There are far worse ways to spend a few hours (or a few dozen) than watching a young girl make friends and gain self-confidence, especially one as appealing as Kiki. Buy yourself an extra copy of this video. When you wear the first one out watching it by yourself, you'll need the spare to placate the kids.
The themes of Kiki's Delivery Service are noble ones. There are far worse ways to spend a few hours (or a few dozen) than watching a young girl make friends and gain self-confidence, especially one as appealing as Kiki. Buy yourself an extra copy of this video. When you wear the first one out watching it by yourself, you'll need the spare to placate the kids.
The flying scenes are especially exhilirating. Like much of the movie, these scenes are slow paced so you can enjoy them. As Kiki wends her way high over ocean, countryside, forest, city, you feel as though you are flying with her. My favorite is when she is flying over the city lights at night.
A few spoilers I left out aside, that's the gist of the movie. I read once in an interview with writer/director Hayao Miyazaki that he does not sit down and write scripts so much as he sits and draws, letting the story evolve from there. This method has worked beautifully for Miyazaki in movies like PRINCESS MONONOKE and SPIRITED AWAY (two far superior films). Sadly, KIKI is not such a film. The movie, like the story's heroine Kiki, just kind of wanders around, pointless. The movie tells the audience Kiki has to go away for a year to "learn how to use her powers," but how exactly is she supposed to learn without anyone to teach her? She has no real mentor. And Kiki's main ability is flying. But she can already fly before she leaves home on her journey in the first place. The reclusive artist lady who lives in the woods is also another mind-boggler. Other than a semi-sage like character (who doesn't give any really great advice), she serves no real purpose. The translation for this film was also the worst. Stay away altogether from the English dub with a young Kirsten Dunst as the voice of Kiki and the late Phil Hartman as the voice of Kiki's talking black cat, Gigi. The translation for that dub was terrible. I think the point the film is trying to make under all these silly adventures is that young women can be strong and independent and overcome obstacles. A good message, but one that can be gained much more effectively and entertainingly in other films, such as Miyazaki's own film SPIRITED AWAY.
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| 90. The Avengers '66, Set 2 | |
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Amazon.com To these add "The House That Jack Built." This mind-bending tour de force finds Mrs. Peel at the mercy of a vengeful techno-obsessed mastermind who has rigged a mansion to drive her insane. Also included in this collection are "The Danger Makers," in which umbrella-toting gentleman spy John Steed (Patrick Macnee) and Mrs. Peel uncover a secret society of thrill-crazed soldiers; "A Sense of History," about a deadly clique of university students; and "How to Succeed... At Murder," in which secretarial assassins take their orders from, yes, a puppet. The mysteries are intriguing, the villains suitably mad, and the banter between Steed and Mrs. Peel charged with erotic possibilities. With the ravishing, knee-weakening sight of Emma decked out as Robin Hood in "A Sense of History," as a harem girl in "Honey for the Prince," and--be still my beating heart--as the Queen of Sin in "A Touch of Brimstone," this Avengers collection boasts very potent Emma "a-Peel." Each volume is also available for purchase separately. --Donald Liebenson Reviews (6)
Oh, yes - Patrick Macnee is here too, lest we forget that he was the only actor to have starred in every season of the show. And he gets to play dress-up in these episodes, as much as Diana Rigg dresses down. As usual, the interplay between the two is delightfully witty and sparkling, their interaction with numerous flamboyantly unusual villains (and more common thugs) well-choreographed and exciting.
In this day of fatuous, vulgar entertainment, it is a genuine pleasure to be able to watch Steed and Mrs. Peel battle evil-doers with their incomparable panache. There's nothing on current television that can even hope to compare -- not even the excellent "X-Files," which (not coincidentally) owes so much to "The Avengers." The episodes in this collection are exceptionally fine. If you have a heart condition, however, you may want to give "A Touch of Brimstone," with Mrs. Peel as the "Queen of Sin," a miss -- her outfit (with her in it, of course!) is heart-stopping. Come and relive your childhood memories -- with the even more appreciative eye of an adult!
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| 91. Strawberry & Chocolate - - Subtitled in English Director: Juan Carlos Tabío, Tomás Gutiérrez Alea | |
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Reviews (27)
Though based on a short story ('El Lobo, el Bosque y el Hombre Nuevo') by screenwriter Senel Paz which explores opposite ends of a political ideology, knowledge of recent Cuban history isn't a prerequisite for viewers of STRAWBERRY AND CHOCOLATE, a small gem from co-directors Tomas Gutierrez Alea and Juan Carlos Tabio. Far from a mere political tract, this is a joyous celebration of life and non-conformity, distinguished by Perugorria's extraordinary performance as the camp but dignified Diego, who rejects his friend's unquestioning loyalty to the Cuban political system that is stifling their beloved homeland. Their budding relationship is complicated by Diego's unrequited love for David, depicted here with remarkable honesty and compassion, particularly for a mainstream film. But it's their political differences which ultimately unite the two characters, even as Diego is forced to reap the whirlwind of his public defiance. Much of the narrative unfolds within Diego's crumbling apartment building, where David enjoys a liaison with flaky neighbor Nancy (Mirta Ibarra), who introduces the inexperienced student to the joys of sexual liberation! It isn't a terribly cinematic film, but production values are solid, and the characters are so vivid, and played with such integrity, it hardly matters; this is a movie in which ideas take precedence over action, and the emotional payoff is quite powerful indeed. Beautiful music score by Jose Maria Vitier, too. Now the bad news: Buena Vista's DVD version is incomplete, missing approximately six minutes of footage. Absent material includes a brief conversation about racism during David's first visit to Diego's apartment, and a sad little sequence in which the two characters pretend not to notice each other after meeting by accident in a bookstore. These revisions were perpetrated before the film's North American theatrical release by Buena Vista's 'art-house' subsidiary Miramax, a company which is notorious for the cavalier manner in which it treats its foreign acquisitions (their version of THE HORSEMAN ON THE ROOF is similarly incomplete). The alterations imposed on STRAWBERRY AND CHOCOLATE seem completely arbitrary, and demonstrate little more than contempt for American audiences. For the record, the UK video version runs 105m 51s at 25fps in the PAL format, which corresponds to 110m 15s at the original 24fps. There are no extras, not even a trailer (there's a puff-piece which trumpets Miramax's involvement in a 'golden age' of cinema, which is ironic given the way they treat their movies). So, four stars for the movie, two for the DVD, and only because the sound and picture quality are so good, despite a worrying amount of grain in the film's opening sequence. The running time quoted below doesn't include the Miramax/Robert Redford logos which open the US DVD print and weren't part of the original film. 103m 53s
My only complaint is why there hasn't been a DVD release of this movie just yet! With such vastly overrated mediocrities such as "Like Water For Chocolate" or "Babette's Feast" now available, it should only be a matter of time. A phenomenally enjoyable film, whatever your personal preference.
Considered by many to have been a major catalyst in improving the treatment of gays in Cuba; this film presents a rich and interesting view of Cuban society. ... Read more | |
| 92. Bryan Kest - Power Yoga Boxed Set | |
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Amazon.com Volume 3, Sweat, is a slightly shorter version of the challenging class Kest teaches in person. There are still all the gentle, firm admonitions to listen to your body, not to feel competitive with anyone else in how you do the pose (and as long as you heed them, you'll do fine). But Kest combines the classic warm-ups and longer-hold poses with a rapid succession of sun salutes, which will be gratifying to the advanced yoga student, but may make a first timer feel as though he dropped in to a Rockettes rehearsal by mistake. But if you keep at it, the workout is very easy to follow, and Kest's gentle, gruff voice is so soothing you find yourself relaxing even as you're pushing your body to its limits. As long as you keep in mind his personal mantra--"If you're doing the best you can, you're doing this class perfectly"--you and Kest should have many satisfying years of workouts together. --Anne Hurley Reviews (44)
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