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| 21. Don't Eat the Pictures - Sesame Street at the Metropolitan Museum of Art Director: Bob Schwarz, Jon Stone, Eva Saks, Jim Henson, Randall Balsmeyer, Stan Lathan | |
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Reviews (9)
Granted some of the acting seems weird because of the programing shift, but I seriously doubt that it would scare today's little kids. I watched it as a little girl, and keep hoping that it will be released. One of the unexpected side effects of this non-condescending treatment is that young adults such as myself still fondly remember this movie and are not at all bored by the pace. Whatever your chronological age, you will find this program timeless in it's appeal and beloved by all. That is what indicates real staying power, not how many toys one can invent, market and make profit from. ... Read more | |
| 22. Nova - Trillion Dollar Bet | |
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Reviews (2)
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| 23. This is Elvis Director: Malcolm Leo, Andrew Solt | |
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Description Reviews (20)
Much has been said here already about this film, so I will focus on two much-maligned aspects of the film--the dramatic reenactments and the voiceovers. The first moments of the film are dramatic reenactments. We open with a reenactment of Elvis's loved ones finding his body at Graceland, and then we have reenactments of scenes from Elvis's childhood growing up in Tupelo and then, Memphis. While the phrase "dramatic reenactment" can immediately bring to mind fears of copious cheese, this need not be the case here. These portions of the film are tastefully done and decently acted and directed. Most importantly, they are crucial to the structure of the film. It would have been odd, indeed, for a film claiming to be a definitive portrait of Elvis to pick up when he's nineteen or so and cutting records. We need a vision of his earlier life. Since there is no video record of that time, the dramatic reenactments are necessary to fill the void. At any rate, these only take up about the first ten or so minutes of the film. Some have also criticized the use of narration, in general, and the first-person narration of the Elvis impressionist, in particular. First of all, without narration, this film would be nothing more than a collection of video clips strung together. Narration is called for to give this collection the shape of a narrative (as the term "narration," of course, suggests). That said, one might still ask, why first-person narration? Personally, I find the use of first-person narration here to be inspired. It draws the viewer in and gives the story an immediacy and an intimacy that third-person narration would lack. The first-person narration works equally as well for the secondary subjects of this documentary (Priscilla, Gladys, etc.) The film is all the more compelling for the use of this dramatic device. And now for some brief notes on other aspects of the film. I thought the way it handled the issue of Elvis's infidelity to Priscilla was smart and tasteful without skirting the issue. His cheating is never explicitly mentioned, but we do get two instances of Elvis discussing his dalliances with women, during the time that he was married to Priscilla. It is surprising then, that Vernon's brush with the law is baldly misrepresented. The voice of Elvis says that Vernon was sent to jail for writing a bad check--the more full truth is that Vernon forged a check. At the same time, the film references Elvis's displeasure with many of his movies and with his film contracts--even though Col. Parker was a technical advisor on the film. So, in some ways, the film is surprisingly honest, and in other areas, the viewer is advised to take its assertions with a grain of salt. That said, I rate this video five stars. There is a great wealth of footage here, and we are treated to *full* performances--not just little clips and tidbits. We get to experience a bit of Elvis's personality--I had no idea how hysterically funny he could be, or how self-effacing. It is also great to see the reaction of the popular media to his music, particularly in the 1950s. We get clips of a number of officials denouncing Elvis for bringing n****r music to white America. This really helped me to put Elvis into the cultural context of his time, and to understand just how truly groundbreaking and controversial his contribution was.
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| 24. Zoboomafoo - Sense-Sational Animal Friends Director: Jacques Laberge, Pierre Roy (III) | |
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Description Reviews (2)
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| 25. Woodstock - 3 Days of Peace & Music (The Director's Cut) Director: Michael Wadleigh | |
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Reviews (67)
Not having been alive in the 60s, I only know what I've read and been told by those older than myself, but I'd guess that the first assessment is a bit idealistic, while the second is unfair, and that the truth is "somewhere in between," to fall back on the cliche. What the film does successfully document, I gather, is what it felt like to be young and hippie and excited about music and social protest and all the things Woodstock at least appeared, at the time, to represent. The feeling is what's embodied in the filmic techniques, the scenes chosen, and the performances themselves, and this makes Woodstock a successful documentary. The 60s were many things, and no film could capture all of them. Actually, in spite of the fact that it allows itself to get very much caught up in the excitement, I think the film has its moments of ironic distance and sobering reality, such as the port-a-san scene (particularly the extended shot of the average joe cleaning the things). For a good counterpoint, I recommend the Isle of Wight festival film, which captures the darker, more selfish side of the hippie generation.
Despite the mud and the squalor, this is an extraordinarily beautiful film, with the screen often breaking up into two or three segments. (Note on the closing credits the name of Martin Scorsese on the production team.) It's well worth contrasting this movie with the DVD of the 1970 Isle of Wight festival. Only a year separates the two concerts, but the late 1960s idealism of Woodstock gets replaced by prototype British vandalism. The Who perform at both concerts, and make an equally good account of themselves. Daltrey's emotional delivery of 'See Me, Feel Me' helps to explain why 'Tommy' became such a phenomenon in America. Hendrix also performed at both, but his meandering solo at Woodstock was not of the highest standard. The other highlight of the show was Santana, a Latino band only just beginning to establish themselves in California at the time. As others have noted, the drum solo by Mike Shrieve is impressive for one so young. As with the Who, Santana's album sales will have multiplied as a result of their Woodstock performance. It's interesting how many great acts weren't at Woodstock -- e.g. Joni Mitchell (despite her song about the concert!), the Doors, Bob Dylan or the Stones. The first two clearly realised how important these festivals were in the breaking of artists into markets, and so they appear on the Isle of Wight DVD. For most of my life, Woodstock has been a set of static images, largely taken from the cover of the album. But as this film reveals, there is so much more imagery than pictures of beautiful women bathing in the lake. Quite apart from all the idealism of passing whisky bottles and reefers around, of sliding in the mud, the film shows the flip side: of people queuing in the mud to phone home, of helicopters rescuing the sick, of helpers cleaning toilets, and of barefoot stragglers looking for a pair of shoes amid a post-concert site that looks more of a wasteland than the trenches of the First World War. Enjoy it in all its glory and all its grime.
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| 26. Nova - The Miracle of Life | |
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Amazon.com Reviews (17)
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| 27. Our Friend, Martin Director: Vincenzo Trippetti, Rob Smiley | |
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Amazon.com The story is also remarkably moving, as Matt and Randy learn what Dr. King did for humanity, and come to see him as a real person, not a historical figure. Matt and Randy experience segregation firsthand when they aren't allowed to eat on a train together. Together, they witness the bus boycott, the Birmingham riots, and the "I Have a Dream" speech. They discuss the theme of "non-violent resistance" with their new friend Martin and the work of Ghandi in India. As King tells Matt, "We must meet hate with love. It will take time, but somebody's got to start." Authentic historical footage blended with animation make this an excellent choice for teaching kids about the legacy of Dr. King. --Elisabeth Keating Reviews (26)
This video truly encourages children to think about the choices they make. Not only does it make Dr. Martin Luther King, Jr. someone a child can relate to, but it explores the idea that one person can make a difference. It urges children to stand up for the right thing even when it is difficult.
It was refreshing to see a show on the Civil Rights movement that did not show The Selfless and Heroic White Man coming in to save and protect the apathetic and helpless minorities, but instead portrayed the courage and determination of the people who had engaged in the struggle for freedom for years... centuries. It gave was a good portrayal of the attitudes and realities that made the Civil Rights struggle so difficult, desperate, and dangerous. ... Read more | |
| 28. Misunderstood Minds: Understanding Kids Who Struggle to Learn | |
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Amazon.com Reviews (3)
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| 29. Why Dogs Smile and Chimpanzees Cry Director: Carol L. Fleisher | |
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Reviews (9)
The section on maternal love is wonderful, with one exceptional segment by wildlife photographer Martyn Colbeck who follows a herd of elephants, and captures the tremendous patience and devotion exhibited towards a recently born calf as he struggles to walk. There are many instances of incredible sacrifice, including the story of a dog who saves a young boy. Produced, written and directed by Carol Fleisher, and calmly and carefully narrated by Sigourney Weaver, viewing this documentary is time well spent; it is informative as well as entertaining, but parents of young children should realize that though there is plenty of fun and frolic, it is far from being a cute animal film, and there are scenes of violence and tragedy. Total running time is 95 minutes.
I believe that animals have emotions and found reinforcement for my pre-existing belief in this video. I was entertained and moved, but would rather this video challenged my beliefs as well as those of people who might disagree. A presentation of the scientific (and political) debate over this issue would have improved this video.
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| 30. National Geographic's Really Wild Animals: Totally Tropical Rain Forest Director: William Kronick, Jack Kaufman, Bert Haanstra, Irwin Rosten, Terry Sanders, Nicholas Clapp, Nick Cominos, Jeff Myrow, Ed Spiegel (II), Nicolas Noxon, Robert Guenette, Jack Haley Jr., Barbara Jampel, David Seltzer, Dennis Azzarella, Alexander Grasshoff, Walon Green, Aram Boyajian | |
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Amazon.com Reviews (3)
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| 31. Baseball - A Film by Ken Burns | |
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Amazon.com essential video Reviews (93)
He hits all aspects of the game: The development of the game itself and the leagues, the labor history, the stars and great teams and personalities, the great moments in the history of the game, and so on. He also gives us a pretty good look at the old Negro leagues and we get to hear some of the great stories from those days before MLB was integrated. The only bad thing I can say about this collection of dvds is that by the time it was over I was really sick of hearing different versions of "Take Me out to the Ballgame." The great stories in this collection more than make up for that one drawback, however. He does more than just interview and quote the players, managers, umpires, owners and sports writers. He includes stories from fans. Doris Kearns Goodwin told about how she grew up rooting for the Brooklyn Dodgers, then after they moved away, she found herself in Boston, becoming a Red Sox fan, just in time to have her heart broken again. All fans of baseball should see this collection.
In the case of "Baseball," the unrelenting focus is on New York City, Babe Ruth & Jackie Robinson, and to be fair, there is no way you could discuss the subject of baseball without devoting a great deal of time to these subjects. However, the title of the documentary is "Baseball," not "The New York City, Babe Ruth, and Jackie Robinson Story," and it is possible to watch this documentary at times and come to believe that nothing else was happening out side of New York most of the time. I recall reading a Sports Illustrated article a few years ago that discussed the Philadelphia Athletics from 1929-1931, and made the case that that team was better than the famed "Murderer's Row" Yankees of 1926-1928, and possibly the best team in baseball history. The article's author crunched the numbers, compared the stats, and made a pretty compelling case. He then asked why so little attention has been paid to the A's over the years, and posited that because most of the nation's important papers and sportswriters were based in New York City; by default the majority of the great sportswriting was devoted to the Yankees, while relatively backwater Philadelphia languished in obscurity. It seems to be the same situation with Burns. While other incredibly dominant teams such as (in the early years) the Chicago Cubs, the A's, the Pittsburgh Pirates & the Detroit Tigers are given passing mention, they are quickly shoved on the back burner in favor of the Boston Red Sox & New York Giants. Then the Yankees & the Dodgers begin to coalesce, and it is all New York, all the time. One gets no feeling for how dominant the 1929-1931 A's (or the St. Louis Cardinals of the mid-1930's) were, because Burns continually focuses on Babe Ruth & the Negro Leagues. When Burns gets to the 1950's he can be excused, because really it was a New York-dominated decade like no other. However, the other decades did in fact see a more competitive balance, and one would not get this impression from the documentary. It would have been nice if Burns hadn't crammed the last quarter century of his story into one "inning." Are you telling me that the stories since 1970 aren't as compelling as the early years of baseball. I don't believe that Burns would have had to devote that much more time to the post-1970 era to make it feel less cursory and rushed. This is a somewhat annoying tendency of his that was more griveously evident when he made "Jazz." Also, I get a little tired of the "poetry of baseball" school of thought. It isn't as though I am some knuckle-dragging troglodyte who gets all his news from sports radio; I am just as likely to go to the opera as to the ballpark. This baseball as metaphor for how the cosmos works gets on my nerves after a while (although I consider Roger Angell's comment "there's more Met than Yankee in all of us" to be priceless beyond description). It's not that baseball doesn't imbue our life with a little extra something special, it's just that some of these talking heads tend to get a little overwrought. I enjoyed watching the documentary the first time, and I have watched it probably half a dozen times since over the years. By comparison, I have watched "The Civil War" about 15 times, I would guess. I was so disappointed with "Jazz" that I managed only a second viewing. In any case, "Baseball" is very entertaining, and that is what largely accounts for my 4-star rating I would only caution those who don't know their baseball history that this documentary omits a great deal of what is a very good story.
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| 32. Hearts of Darkness: A Filmmaker's Apocalypse Director: Eleanor Coppola, Fax Bahr, George Hickenlooper | |
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Amazon.com Other incredible footage is not visual, but aural as the film includes tapes Eleanor Coppola recorded without Francis's knowledge. In them, he truly sounds like a madman as he confesses his fears about making a bomb of a movie. But while Hearts of Darkness is an amazing, voyeuristic experience, its importance lies in the personal reflections offered by those involved. Sheen, Coppola, and Dennis Hopper speak frankly without embarrassment, offering us an essential piece of film history. --Dave McCoy Reviews (15)
The filming of Apocalypse Now was supposed to take just sixteen weeks at a budget of $13 million. It wound up costing more than $30 million, much of it put up by Francis Coppola himself, and took almost three years to get to the public. Coppola' wife Eleanor and their three children went along on location in the Philippines. She was interested in making a documentary and shot a lot of behind-the-scenes footage, even secretly recording private conversations she had with her husband about the film. The authenticity of the experience really comes through, as everyone involved with the production seemed to go a little bit insane. Coppola had serious doubts throughout and we hear his words of despair as he thinks he's making a bad movie. We see the terrible typhoon that destroyed all the sets and realized that the helicopters that were being used for the shooting were actually property of the Philippine government who kept calling them away to fight a real disturbance that was going on just ten miles away. We see shots and scenes that never made it into the original film (although much of it eventually made it into the 2001 "Redux" version). We see and overweight Marlon Brando who insisted on being filmed in shadows. And we are right there to watch the filming of the scene in which Martin Sheehan has a mental breakdown. In order to do this he became bleary-eyed drunk, cut his thumb on a mirror and used the blood as part of the scene. The intensity is chilling and when, a short time afterward, he has a life-threatening heart attack at the age of 36, we're all there to see him as he is given first aid. Now, years later, some of the actors are interviewed about their experiences. We learn that they did a lot of drugs during many of the scenes - acid, speed, marijuana, alcohol, which certainly added to the authenticity as well as the craziness of the whole production. Robert Duval talks about how his famous line "I love the smell of napalm in the morning was improvised. And the whole cast talks about how they improvised a massacre scene. Laurence Fishburne was only 14 when the film was made, a real coming-of-age experience for him. But this very stirring film portrait belongs to Francis Coppola. We get to meet him as a very imperfect human being doing his best to create an art form out of the script, changing it constantly as he went along, and eventually turning out a small masterpiece which went on to be nominated for eight academy awards. I give this video my highest recommendation. It is a "must" for movie buffs. And an essential education for anyone involved in filmmaking itself. Don't miss it!
The amazing thing about the Coppola's efforts is the circular karma that seemed to go into overdrive: Francis tries to make a film based on "Heart of Darkness", a story about a man and a country that gets lost in his mental interior while probing the interior of an alien land. He uses the story to try and tell the story of a different man and a different country getting lost in their mental interiors while probing the interior of another alien land. In the process Coppola, trying to deal with his lead actor getting lost in his mental interior while probing the interior of an alien land, loses himself in his mental interior while probing...well, you get the picture. ... Read more | |
| 33. One Survivor Remembers Director: Kary Antholis | |
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Description Reviews (1)
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| 34. Terrorist Among Us - The Jihad in America | |
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Reviews (25)
As a result, I began reading more about the subject and to attend an occasional lecture by people I expected should know something about this growing cancer within our midst. Not much was available until 9/11/01, though, yet I found quite a few people in government (Congressmen, high security personnel) who were able to answer my questions. Amazingly, they all knew Steve Emerson, the producer of the tape, and they all continued to receive updates from him. Without exception, they all had great respect for him and for his relentless fight to bring out the truth about the danger brewing in the United States from the extreme segments within the Muslim community. The worst part about "Jihad In America" is that whatever had been already documented in 1994 must be by far worse today. This documentary--as profound and revealing as it is--must be only the tip of the iceberg. Any American who does not watch this video buries his/her head in the sand.
It's hard to believe that PBS once actually aired this mortal sin against multi-cultism. Complaints against its creator, Steve Emerson, from well-funded American Muslim groups helped get him blacklisted from NPR's All Things Considered for a while. Less subtle disapproval from less savory Muslims nearly landed him in the FBI's witness protection program. In response to the (non-existent) oppression of Muslims in America, PBS this past year aired its infamous pro-Islam infomercial, in which American Muslims are portrayed as no different from anyone else save for headgear and cuisine. It ain't so, and this film shows why. As Paul Harvey says, it is _not_ one world.
If I could say anything about the video, it would be that it was a definate 'eye opener' for my family. They had no clue that these 'peaceful muslims' had any intentions of attacking innocent people. Well, it's time to wake up. The world isn't that way anymore, and it's about time that Islam is exposed for what it really is: A CULT!
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| 35. The Decline of Western Civilization Part II-The Metal Years Director: Penelope Spheeris |