Movie Title: My Father’s Glory
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My Father’s Glory is the first of two films dealing with the novelist/filmmaker Marcel Pagnol’s childhood. The film really does not have a space. Marcel’s parents Joseph, a beloved school teacher, and his mother Augustine, a dressmaker meet, descend in treasure, and catch married. Soon afterward Marcel is born, as is his brother and sister. Marcel’s family, along with his Uncle Jules and Aunt Rose, vacation in the South of France, and his father wins a hunting contest. On the surface there is not considerable to bear the film together. Yet the position of the film is not what makes it so worthwhile. The film’s chief strength is the plan that each character is developed. We can peruse that Joseph is a worthy and descent man, a masterful teacher, and most especially a devoted father and husband. Young Marcel idolizes his father, and wants all others to realize the father’s substantial qualities. The father is not perfect, and Marcel has questions about his doubt of all things religious. Marcel admires his mother as well, who is a nurturing and caring soul. The other major characters are both richly developed and varied.

The setting of the film is sumptuous. The miniature French town where Marcel and his family hail from seems realistic and the viewer can feel as if he/she has stepped assist in time. The music adds to the film and perfectly blends with the scenes and characters.

Some may feel that the film is too saccharinely sweet. This can be an easy dismissal of a film that is unashamedly lavish, nostalgic, and sentimental. Such critics are cross, however. The film shows Pagnol’s appreciation for his parents, and how their first-rate qualities played such a considerable role in the man he would later be.

La gloire de mon pere and its sequel, Le chateau de ma mere are two of those fabulous Sunday afternoon type films that bring help sun-filled days of childhood secrets and adventures. This is Marcel Pagnol’s homage to the south of France and the family he loved so dearly. The opening music is dreamy and bittersweet as it perfectly captures the nostalgia that the stale narrator conveys in his voice-overs of his childhood escapades. We follow an adorably young Marcel, his proud, school-teacher papa, Joseph, and his sweet, handsome mother, Augustine, through the birth of his brother Paul, their go to Marseilles, and then on to their summers in the hills of Provence. There, Marcel’s heart is forever captured by the song of the cicadas, the smell of wild thyme and lavender, and the pursuit of what lies over the next hilltop. I was charmed by scenes of French school days at the turn of the last century, and Marcel’s longing for the holidays and their promise of fun with his steadfast friend, Lili. You too will be cheerful by jolly Oncle Jules and promenades in Parc Borély. But most of all, you will be touched by this sensitive and serious young boy who shows such cherish and loyalty to his father and mother.
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Movie Title: Strings
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I promise you, you have never seen anything like this.

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The myth is a very suitable fantasy, a young king coming of age among scandalous advisors. The presentation is marionettes, some of the most unbelievable I’ve ever seen. Each one is beautifully crafted and articulated, and each is a sure personality. The puppeteering is generous. The figures fade beautifully well, even in modern actions like swimming. They depart well even when they finish in with each other so distinguished that their strings risk tangling.

What makes this movie unusual is the puppets’ awareness that they are puppets. The opening scene is a suicide in which one character cuts his enjoy head-strings. Sword-fights center on cutting the other character’s strings. Characters are fully aware that they are carved from wood, and subject to the kinds of decay that wood can experience. Even birth consists of a carved, wooden doll, brought to life when – well, you’ll have to contemplate for yourself. There’s no need for suspension of disbelief, at least at this level: these puppets are clearly and consciously puppets.

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All of which leaves a strangely involuted quiz of free will. The characters all act because of their fill impulses, but disappear only when their strings disappear them. What connects that will to that motion? I wonder whether this is the sense that puppeteers sometimes salvage, when the painted wooden characters seem to manufacture personalities of their have.

There is nothing like “Strings.” It’s a kid-safe epic, but you don’t have be a kid to be fascinated.

//wiredweird

I guarantee you have never seen anything like this.

This is an chronicle fairy account, with kings and princesses and swordfights and quests and romance and betrayal and death and…

…marionettes?

Yup. The whole movie is acted by marionettes with itsy-bitsy facial movement, but seemingly infinite physical limitations.

I was startled by the opening sequence. An elderly king sits over his desk, in the rain, writing a suicide letter to his son. My first plan was that it was a bit over-dramatic to have “rain” on the inside of his castle, but I went with it. As I carefully followed along to his voice-over, about the two warring civilizations and the ability of his son to unify the country, I saw this king raise his sword over his head…

…and gash his head-string. Monotonous.

I sat goggle-eyed for the next 90 minutes, seeing things I really couldn’t beget.

Beautiful shots of strings ascending to the heavens…(I concept, so THAT’S why it was raining indoors. There are no ceilings) …swordfights with warriors aiming for the strings…marionette SURGERY that was horrifying to me, a surgeon!

The set in and of itself is a fairly standard one: nothing modern if you’ve ever read a classic fairy fable or your basic Shakespeare.

But the addition of these…these “strings’…enables the filmmakers to comment on the nature of God, the connectivity between one another, the fragility of life…even the mischief between two children.

…the birth scene was surprisingly touching. As was a death scene bright a feeble ancient man. The device they re-interpret life and death with “string” theory is simply radiant.

There is imagination and creativity in this film at a level I don’t mediate I’ve ever seen. We’re talking Peter Jackson/Steven Spielberg-type cinematic creativity, but also with ingenious storytelling and fabulous visuals.

And as you’d inquire, the technical puppetry here is beyond view. The method they collect the tilt of a head or a shrug of a shoulder unprejudiced moral. It’s unbelievable. Couple with vocal work by Sir Derek Jacobi, Catherine McCormack and others, you soon terminate noticing that the marionettes’ mouths do not depart. You derive THAT carried away with this.

The final scene was poetic in its’ simplicity and beauty.

Please check out this movie. It will be SO worth your time.
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Movie Title: Contempt – Criterion Collection
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Criterion does it again. A extraordinary, inviting 1963 film rescued from dreadful, outmoded prints and dismal video transfers and made to glimpse – like Criterion’s equally outstanding refurbishment of Fellini’s “Juliet of the Spirits” – almost like a brand-new movie; as neat and as dazzling as I have ever seen it. Not everyone will “come by” what Jean-Luc Godard is up to with “Contempt”, and some will net it but mild not care for it – sparkling enough. He never claimed to be making movies for every audience any more than he claimed to be making them for rarefied elites, nevertheless a huge spectrum of us do understand and luxuriate in his artistic project (of which this is one sublime outcome), and if you can suspend for two hours the narrow, ragged expectations Hollywood product has cultivated in many of us, that number may include you. Robert Stam’s alternate-channel audio commentary provides many inviting insights regarding the significance and filmmaking innovations of “Contempt”, along with kindly analysis of the sources of the narrative (in Homer and original Italian literature) and the performances, and some information regarding how the movie came to be cast and produced, which goes a long device toward explaining why Godard made the movie he eventually made. “Contempt” may be Godard’s most “traditional” film, but then art is not only about innovation, but also about mastery. If the performances are not always so subtle they are nevertheless wonderfully nuanced, including that of the astronomical director (and non-actor) Fritz Lang, and Brigitte Bardot – peaceful at the apogee of her Gallic voluptuousness – reveals a depth unimagined by those lickety-split to dismiss her bathtub sex kitten persona – not to mention, most of her legendarily shapely naked body, in Technicolor and CinemaScope. It’s as powerful about how things don’t work in a relationship as it is about how they don’t work (for the purposes of art) in the movie business, and is as relevant to both subjects today as forty years ago. The second disc supplements include gripping and palatable interviews (especially the conversation between Jean-Luc Godard and Fritz Lang), and a short subject about Bardot and the photographers who followed her around relentlessly (“Paparazzi”) that’s unbiased fun. Disc two also features the perfect antidote to today’s movie trailers that go on and on and spoil everything: the one for “Contempt” shows you images from the film but manages to disclose almost nothing about it! This was a home urge, Criterion – thank you, thank you, thank you!

No one has captured the waste of a relationship on film better than Godard in Contempt. In between the excrutiatingly right scenes between Piccoli and Bardot are musings on the nature of cinema, Homer’s Odyssey, Godardian polemics and a practical treatise on the expend of color in film by Raoul Coutard. And those tracking shots of Godard! This is a terrific DVD – the image and color are splendid, sound crystal definite. Another mountainous presentation from the Criterion Collection. But what I really appreciated was that on the disc’s menu cover there was a plump rendition of George Delerue’s fine main theme, easily one of the most resplendent motif’s ever written for film. Worth the tag of the DVD for that alone.
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Movie Title: Hostel – Part II
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I unbiased didn’t contemplate the storyline was as eerie as the first one. Maybe it’s because there was more of a mystery surrounding the organization that was responsible for allowing these killings in the first Hostel. Now we acquire to actually observe them do the bidding over these girls. It unbiased looked really cheesy to me. The darkness and suspense that was display in the first film was no longer there.

“Hostel Fraction 2″ picks up the thread where the modern left off. After this effective opening chapter, director Eli Roth starts telling the horrifying tales again, about three American college students in Slovakia. For the sequel Roth changes the gender of the students to female (Lauren German, Heather Matarazzo and Bijou Phillips) and also includes the sub-plots of “buyers” or sadistic tormentors played by Roger Bart and Richard Burgi.

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Not distinguished can be said about the thin site originally inspired by urban legends. “Hostel Share 2″ like its predecessor takes it granted that legends are correct. As a consequence all we have to do is to wait for the tortures to open, and raze. The sequel provides the gross tortures and tiring, deaths and is chubby of blood and screams. The extremely graphic film, however, is hardly called scary because it has no nuance or subtlety suggesting the horrors that are to reach.

In fact the film does not attempt to mask the fact that awful fates await the characters. There is no sense of suspense; what we don’t know is the device how these unsuspecting students are tortured. But maybe two “Hostel” films are supposed to be like that. Roth is quite worthy at making the bloody torture scenes and the sad interior sets are impressive. The photography showing the countryside is also very grand, attractive and creepy at the same time.

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There is another thing Eli Roth is fine at and that is the casting. The main cast is very top-notch (and they are all talented), but here I’m talking about the cameos. Ruggero Deodato, director of “Cannibal Holocaust” briefly appears, doing something I shouldn’t mention. Milan Knazko (who was really Minister for Culture of the Slovak Republic) appears as “Sacha.” To discover cameos and references to other films would be delicate droll to me because they are virtually the list of the people Roth idolizes. Was there Quentin Tarantino? Yes, peruse the TV closely.

However, I couldn’t like the film very distinguished despite (or because of) these “merits.” From at distinct point “Hostel Piece 2″ starts being too self-conscious. Should we rob seriously the middle-aged lady taking a shower of blood, apparent reference to Elizabeth Báthory? Should we laugh when Roger Bart’s character refers to one Disney animation character he played? The third act of the film almost becomes slapstick with gores.

“Hostel Portion 2″ with the structure that has been getting more and more repetitious since the unusual has surprisingly less scares than you inquire, being emotionally mild from the viewers, almost cynical in its tone in describing the characters (trustworthy or terrible, killing or killed) and their behaviors. The film is deny with doing what it does, often disregarding the audiences who want to be unnerved or (if I may spend the word) entertained.

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Movie Title: Sink the Bismarck!
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The British have made war and historical movies with an unrivaled consistency of quality, and Sink the Bismarck is no exception. The details are meticulous, the casting marvelous (except for a hokey voice-impersonation of Churchill), and the battle sequences marked by accuracy and splendid special effects.

This otherwise magnificent film is marred, however, by the unfounded depiction of one of the major characters, Admiral Lutjens, commander of the Bismarck. In the film, he is stereotyped as the typical Nazi – a Hitler sycophant, careerist and wild-eyed fanatic. This was most certainly not the historical Lutjens, who was by no means a Nazi fanatic. Lutjens was a naval hero from World War I, who served out of duty and dedication, not Nazi conviction. (Lutjens protected Jews under his squawk, and members of his family were in anxiety for their anti-Nazi views.) This is at complete odds with his depiction in Sink the Bismarck, which I get inexcusable, given that the above information was certainly available to the production. In fact, an lawful depiction of Lutjens would have, in my notion, added interest to the station.

Nevertheless, Sink the Bismarck is eminently watchable and a blooming addition to any war movie collection, if you contain in mind the above caveat.

I’m not entirely clear why I like this movie so very considerable, but I have loved it from the very first time I saw it more than 20 years ago and quiet discover it often. It is a dramatization of the accurate anecdote of the short-lived first flit of the German battleship “Bismarck”, of the destruction it wrought and of the hunt to net and ultimately extinguish it. Yes, there are some inaccuracies in the details of which ships took share in the hunt, as well as in the portrayal of German Admiral Gunther Lutjens, but the fact that this is a British movie, made while the scars of war were detached a strongly living memory, should be borne in mind in this regard.

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Among the things that earn it worth viewing are: the presence of Edward R. Morrow recreating the atmosphere of his wartime London radio reports, the recreation of the Naval boom center underneath the Admiralty building and the highly believable performance of Kenneth More (himself a wartime naval officer) as the deeply wounded Captain Shepherd. Dana Wynter also gives a delicately nuanced performance as Second Officer Anne Davis. The moment when she enters Shepherd’s office and realizes that he is crying is beautifully done.

The highly restrained romantic undercurrent doesn’t interfere with the main account line and is very believable for wartime professionals. One comes away from this movie vivid that a grand menace to the eventual survival of Britain has been eliminated and that there may be hope for both the UK and for two lonely people.

The inclusion in the unique DVD of some newreel footage of the valid event is a nice shrimp bonus. The subject of the hunt for and destruction of the “Bismarck” has also recently been the subject of some novel documentaries. The narrative retains its impact, even after more than 60 years.
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Movie Title: Case Closed – Deadly Illusions
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Okay, I’ve seen a lot of stores and websites advertising Deadly Illusions as Case Closed vol. 2. It isn’t. It’s actually volume 1 of the fourth series and starts at episode 53 “The Mist Goblin Abolish, share 1″. For some reason, Funimation seems to be releasing seasons 1 and 4 simultaneously. Yeah, wierd, huh? Anyway, the series is about a 17-year-old genius detective named Jimmy Kudo. Because of an experimental poison slipped to him by some mysterious men in dusky, he is shrunk into the size of a second grader. To veil the fact that he lived from the poor guys, he poses as Conan Edogawa, only letting his neighbor, Dr. Agasa know the truth (and getting a lot of frosty gadgets from the marvelous doctor in the process) . There is supense in every episode (it is a mystery series, after all), humor (in the originate of the bumbling detective Richard Moore, whom Conan/Jimmy uses to track down clues leading to the Men in Sad), and some romance (in Jimmy’s now frustrated crush on Richard’s daughter, Rachael) . I highly recommend the entire series to anyone who’s a fan of animes like Lupin III, or a fan of mysteries like Sherlock Holmes.

I was really gay I picked up this DVD. ^^; I like how they’re releasing the episodes now, since they took Case Closed/Detective Conan off Adult Swim so it’s nice to eye the fresh episodes.

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These were generous episodes, and I especially liked the Mist Goblin ones. ^^; I’m a sucker for any Jimmy/Rachel (Shinichi/Ran) moments. The 3rd episode really got me thinking. This is a big series if you cherish to solve mysteries and like some romance. It usually always keeps me thinking, and some of the ways the assassinate takes status are awfully bizarre. I especially like how they’re translating the Japanese songs into English. It’s involving to hear, and I actually retract the English songs sometimes over the Japanese. ^^’ If you’re a fan, go ahead and remove up this DVD, it’s got some capable episodes and current songs.
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Movie Title: Boston Legal: Season Four
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In my understanding this is one of the best seasons of Boston Good. I am really disappointed however that the fifth will apparently be it’s last.

Shatner continues to yell a top notch character. One of the highlights of the season and in my notion the best episode when Denny and Alan go before the Supreme Court, what an capable episode!!

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I am really looking forward to season 5 and rewatching the whole season from the open.

I was heading to Kuwait when this season started, so I only got to inspect the second episode before I left, and I was freaked out that Brad Hump was the A.D.A. now, Paul Lewiston was gone, and replaced by Carl Sack played by John Larroquette. So I honestly wasn’t planning on buying this apt away. But being over here, in the Army with nothing really to do except go to work, and pretend I’m not here, I picked it up. Well I really couldn’t resist because William Shatner is my biggest hero, and I fancy the character of Denny Crane.

Watching this season from the beginning to slay I realized this demonstrate was a lot better than I had expected, in fact better than season three, which kind of left me wanting a minute bit more. Season Four brings benefit a lot of characters and stories from past seasons, more so from season two; witch is my popular season over all.

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I was going to give this station a four star, because a few of the episodes it was a slight hard to suspend disbelief, like when Alan go to the U.S. Supreme Court, I acquire it hard to maintain they wouldn’t have shut Alan down when he honest unloads on them. But I had to give it five stars, because even though some episodes are hard to enjoy, for the most fraction, it tries to be fine when it comes to both sides of the issues, more so than Fox news itself, which they even purchase shots at from time to time. That’s wintry for a exhibit that’s a Fox property. But more than that I found myself laughing so hard in some episodes, I completely forgot that I was in this bleak and desolate country and felt like I was benefit home in the states among friends.

It is dismal that this next season is going to be short and last season, which surprises me because of all the praise and awards this demonstrate, has received over the years. But that falls on the suits at ABC, which they also hold a few potshots at towards the kill of this season. So one can only hope when they accumulate to the Finale, they waste it with a BANG.

So until next time…

DENNY CRANE, OVER AND OUT.

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Movie Title: Winx Club – Battle for the Codex – Season 2, Vol. 2
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DISC ONE

GANGS OF GARDENIA

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THE Imperfect RIGHTERS

MAGIC IN MY HEART

THE FOURTH WITCH

EXCHANGE STUDENTS

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HEART OF CLOUD TOWER

SHADOWS IN BLOOM

DISC TWO

THE FIRST CHARMIX

TROUBLE IN PARADISE

LAST RESORTS

DARKENSS AND LIGHT

DESPERLY SEEKING BLOOM

STORMING SHADOWHAUNT

THE ULTIMATE POWER COUPLE FOR THE OTHER EPISODES Observe AT SEASON 2 VOLUME 1 THANKS

Great video and audio quality! My niece and I like to eye this series together.

It does not have subtitles on any of the disk which was disappointing.

For an American dub of the unusual Italian series, it is not that dreadful.
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Movie Title: Lagaan – Once Upon a Time in India
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I know nothing about the Indian culture or music, and I was a bit skeptical that a 4-hour subtitled movie filmed in India about CRICKET would be of interest to me. I loved every miniature. Not only was this movie visually handsome and well paced, it also has a “worthy heart.” Although a classic chronicle of valorous current folk rising up against oppressors, the fable is told with humor and affection and with an infectious joy and innocence that is very enthralling. One example of the director’s skill is that even though most of the film is concerned with cricket, a sport about which I know absolutely nothing, the movie never lags or slows down, but keeps an active scurry.

The singing and dancing were very delightful. Even though I had never been exposed to Hindi singing before, my “Western” ears level-headed found the music very pretty.

I can peep why the actor who played Bhuvan is a stout star in India–very charismatic and charming, as well as very splendid looking.

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I will definitely peer this again and again. We made an “Indian Evening” out of it, getting recipes off the Internet for Indian food, and munched on Tandoori chicken and vegetable curry while watching the DVD at home. Big fun!

As the parched earth waits for the rain, the village girl Gauri (Gracie Singh) waits for the young village farmer Bhuvan (Aamir Khan) to behold her heart. Together they fight for freedom from tyranny as Gauri encourages Bhuvan in his quest to pick on the most primary challenge of his life.

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This is a fable of triumph over oppression. A anecdote of how the human spirit rises to unusual heights to overcome injustice. The space is uncomplicated, which leaves room for engrossing choreography, discussions of cultural issues and moments of pure abandon. The dance sequences thunder stories only dance can sigh. It brings together the thoughts and feelings of the characters and creates a sacred plot where the characters enter the realm of spirit.

Set in the 1890s, the residents of a itsy-bitsy farming village in rustic Gujarat, India are waiting for the monsoon when they glance they will now have to pay twice the amount of lagaan (agricultural tax) they normally have to pay. With honest enough food to survive they are literally going to have to fight to survive.

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Captain Russel (Paul Blackthorne) almost overplays his portion as the colonial officer (of the cantonment which rules over the neighboring villages) to emphasize the absolute absurdity of the spot. He demands complete obedience with no regard to the human suffering his laws will originate. He challenges Bhuvan to a game, shiny he has never played Cricket. If the village loses, they must pay triple the tax (lagaan) . Bhuvan must not only get the befriend of the panicked villagers, he must rally a team and relate them within a few months.

It is completely unfair and the officer’s sister, Elizabeth (Rachel Shelley), takes pity on the farmers. Against her brother’s will, she starts teaching the villagers how to play the game of Cricket. In the process she falls in fancy with Bhuvan. It is a shallow savor at best. While she is pretty, Gauri is completely animated in her complete innocence. Gauri’s jealousy over Bhuvan’s attentions towards Elizabeth is spectacularly portrayed in dance.

The sweeping cinematography creates a magical ambiance and seems to invoke a definite unity of purpose. The savory wide shots are sumptuously filmed, completely inspiring your entire being. This movie will acquire your complete attention, even through the Cricket scenes. One you descend in like with Gauri and Bhuvan, you rally to their cause and the sheer tension of the moments during the Cricket games keeps you completely entranced.

The worship epic is exotic, the choreography like you have never seen, the songs are intoxicatingly lovely with poetic lyrics. I’ve never imagined anyone could combine so many elements into one movie. Sports and a musical? It is extraordinary how Ashutosh Gowariker knows how to appeal to the human heart in such a plan as to combine a musical, political drama, universal emotions, poetry, community culture, romance, dance, artistic cinematography, patriotism and the brute strength of valor.

A movie that emerges slowly and works its procedure into your heart. First peeking out of the ground and then bursting into plump bloom in moments of sheer beauty that will win your breath away correct up to the racy climax.

Story Telling at its Finest!

~The Rebecca Review
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Movie Title: Tin Cup
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Kevin Costner should stick to playing likeable average guys in films like ‘Tin Cup’! Ron Shelton, who had worked with the actor earlier in one of the best baseball films ever made (‘Bull Durham’), takes on the trials and tribulations of a journeyman professional golfer in this outing, and while it lacks the charm and comraderie of the earlier film, it manages to form the solitary nature of golf more human and acceptable to all the non-golfers out here.

It is not the best golf film ever made (that honor goes to the Randy Quaid comedy, ‘Dead Solid Perfect’), and it does have flaws (the slow pacing, some overlong scenes), but there is such a warm, fuzzy feeling to the entire film that you destroy up rooting for Costner, both on the golf course, and in his pursuit of Rene Russo (who is fantastic!)

Cheech Marin provides welcome comedy relief, and Don Johnson’s slick smarminess is a perfect counterpoint to Costner’s gonzo arrive to golf and life.

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Costner’s laid-back charm, perhaps his greatest asset as an actor, is often lost in sci-fi epics like ‘Waterworld’, and ‘The Postman’, or tearjerkers like ‘Message in a Bottle’. Sports films are a far better venue for him (‘Bull Durham’ and ‘Field of Dreams’ are cases in point), and he is relaxed and confident in ‘Tin Cup’, making this one of his best performances.

Buy it! You won’t be disappointed!

Kevin Costner is one of the most athletic actors in film history. Not many others could have made Break Davis believable in Bull Durham. In this movie, Costner shows his athletic ability again, playing a round of golf with a variety of gardening tools and swtich-hitting his drives.

Costner also shows another side of his talent – his title role is a not-too-bright loser. This is a tremendous departure from his sage heros in Waterworld and The Postman. As you might suspect, he’s a better loser than he is a hero.

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One other thing about the golf in this movie – while some of it is dazzling out there (does ESPN really televise pro-am’s from podunk towns in West Texas? ), there’s nothing really unstable. No PA guys doing play-by-play or generic white uniforms or anything like that. The scene on the driving range before the US Commence is a classic!

The rest of the cast is solid, and Cheech Marin nearly steals the movie (as he often does) . The space does maintain one astronomical surprise (the extinguish isn’t what you consider it’s going to be), but is fairly predictable otherwise. The soundtrack is broad, the West Texas and North Carolina scenery is ample, and there’s more than a few laughs.

Pick it up and indulge in!
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