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Bio Zombie Streaming. Product: Bio Zombie Average customer review: Amazon Price: Sale Price Too Low To Display Click Below To See Amazon Sale Price Add to cart to see discount price@ Availability: In Stock Usually ships in 24 Hours Free Shipping At Amazon

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I first saw this movie a year ago at Otakon 2000, an anime convention, and it had me and everyone else in the audience rolling on the floors with laughter. Bio-Zombie is position around two slackers, Crazy Bee and Woody Invincible who work in a cd shop at a local mall. One night the two are running an errand for their boss when they hit a pedestrian, not being too colorful they mask the body in the trunk of their car and head encourage to the shop. Unfortunatly the man doesn’t pause listless and soon is spreading his mysterious Zombie infection through the mall. Now Bee and Woody, along with a handfull of survivors are forced to fight their scheme through the maze-like, zombie infested cooridors to freedom. Combining all the classic elements from cheesy alarm flicks and some found exclusivly in video games, Bio-Zombie comes out as a swiftly paced meander of of gorry thrills, and witty humor. If you’re a fan of movies like Army of Darkness than this is a movie that shouldn’t be missed especially in subtittles.

This film served as a spacious reminder of why I cherish watching movies. It’s been a while since I’ve seen a film that I knew, before it was even over, that I would want to search for it again and again.

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It follows 2 young shopkeepers in a Hong Kong mall who can’t seem to cease out of difficulty. When they hit a pedestrian who, unbeknownst to them, is going to turn into a zombie, they camouflage him in their trunk. Returning to the mall, the zombie escapes and traps many of the shop keepers inside. Sparkling soon our heros are leading the flee mission since they have experience killing zombies - from video games of course!

This film has stupendous lighting, a tremendous record line, and some of the best written characters I’ve seen in a long time. You will actually care for them and be in suspense when a zombie pops up hoping noone gets bitten.

Some of the camera work is sub-par but there are lots of inventive shots. This zombie film does not have loads of gore like some others, but it does acquire large amounts of intentional comedy that will fabricate you beg for a sequal.

The sigh acting (for english dubbing) is stupendous I might add. Their dialog flows nicely with the actors expressions and moods, and even seem fitting voices for the actors.

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This film will be a cherished piece of my collection and is a proper asset to the comedy-horror genre!
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Watch Verdict on Auschwitz Online. Product: Verdict on Auschwitz Average customer review: Amazon Price: Sale Price Too Low To Display Click Below To See Amazon Sale Price Add to cart to see discount price@ Availability: In Stock Usually ships in 24 Hours Free Shipping At Amazon

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From 1963 to 1965, twenty-two men, all customary members of Hitler’s SS who had served as officials at the Auschwitz death camp during World War II, were rounded up and set on trial in Frankfurt, Germany, for so-called “crimes against humanity” - a euphemistic phrase that is all too stale in describing the unspeakable atrocities these incarnations of inferior perpetrated on their fellow human beings. The documentary “Verdict on Auschwitz,” made for German television in 1993 but not released theatrically in the United States until early 2007, provides a engaging, soul-searing fable of that trial.

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The 175-minute movie is divided into three sections that accelerate roughly an hour apiece and cloak slightly different aspects of the trial. The first, entitled “The Investigation,” focuses on the German government’s efforts in the unhurried 1950’s and early 1960’s at tracking down many of the key Nazi leaders who had either fled the country (many to South America) or were living prosperous and collected lives under assumed names in the very same country where they had perpetrated their crimes. Portion I also details the early stages of the trial which included taped testimonies from a number of the survivors (over 350 in total), as well as from “outsiders” who visited the camp on “official” business. Because cameras were not allowed in the courtroom after the first fifteen minutes of the trial, these audio tapes, in many cases, have become our sole connection with the participants in the drama. These voices, echoing down the corridors of time, provide a chilling first hand story of the atrocities. In addition to the recordings, the film includes interviews with a number of the participants in the trial, newsreel footage of the camp both before and after its liberation by Russian forces, and, perhaps most chillingly, shots of Auschwitz as it appears today (or more accurately, in 1993), its traditional, abandoned buildings serving as silent, ghostly witnesses to the most mind-numbing human tragedy of the 20th Century.

The second section, labeled simply “The Trial,” chronicles in greater detail the testimony and documentation the prosecution worn to bolster its case over the two-year course of the trial (the Nazis were nothing if not efficient in recording their actions for posterity) . The third allotment - “The Verdict” - wraps up the case with the closing statements by both the prosecution and the defense as well as final statements by the men on trial. Even though the “verdict” seems preordained from the launch, there’s no denying that there is an intensely purgative execute for both the victims and the rest of us in seeing these human monsters exposed for what they are and finally brought to justice, even if the sentences do not seem exactly commensurate with the gravity of the crimes.

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Like any work of art that attempts to approach to grips with the horrors of that period, “Verdict on Auschwitz” can go only so far in providing answers for an event for which no apt answers could ever truly be found. Why in this particular position? Why at that specific time? And how could such seemingly rational, “civilized” individuals - most mere businessmen with wives and children of their maintain - forsake all sense of accepted decency and humanity, and coldly and methodically participate in the wide scale torture and wholesale extermination of so many of their fellow human beings? We will surely never know the answers to these questions, but a movie like “Verdict on Auschwitz” serves as a painful but invaluable reminder that such things have happened in the past and they could very well happen in the future (as they clearly are in various parts of the world at this very moment) . The lesson of “Verdict on Auschwitz” is that we ignore such reminders at our danger.

Verdict on Auschwitz is a harrowing three-hour ordeal of history and personal recorded testimony, and a filmed represent of the disagreeable Nazi excuse: I was fair following orders. Rolf Bickel and Dietrich Wagner almost do too excellent a job, chronicling so many stories, so many details, and so noteworthy anguished testimony that the entirety is almost unbearable for a single viewing. This is a fable of men who committed plain crimes and a timid German society that finds itself revisiting a dismal past through the Frankfurt trials, lasting almost three years.
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Download Star Trek: The Original Series - Season Two. Product: Star Trek: The Original Series - Season Two Average customer review: Amazon Price: Sale Price Too Low To Display Click Below To See Amazon Sale Price Add to cart to see discount price@ Availability: In Stock Usually ships in 24 Hours Free Shipping At Amazon

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The second season of Star Trek: one of television’s most cherished programs of all time and the precursor to an additional five television series and eleven feature-length films arrives on Blu-ray with high expectations to meet or surpass the lofty standards area by the first season’s unbelievable Blu-ray release. It should near as no surprise that season two picks up exactly where its predecessor left off, boasting a fabulous array of quality episodes presented with ravishing 1080p transfers, full-fledged DTS-HD MA 7.1 lossless soundtracks, and plenty of bonus features.

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Arguably the most necessary of any Star Tear season throughout the franchise’s entire 29 season speed, season two of the Modern Series area the stage for a myriad of themes, tale lines, and characters that would net their procedure into Star Sail lore in the 40 years after the season’s modern television debut on September 15, 1967.

Superficially, this season’s most clear contribution to “Star Shuffle” lore lies in the introduction of Pavel Chekov (portrayed by Walter Koenig) as a necessary cast member. Arguably debuting too leisurely in the series’ bustle, his absence in the season one episode “Situation Seed” but integral role in the history of Eugenics War villain Khan Noonien Singh as seen in the 1982 filmed sequel The Wrath of Khan represents one of Star Trek’s most glaring inconsistencies, perhaps the only flaw to be found in my approved Star Streak movie.

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Season Two of Star Slouch features what I assume is the most loved episode of them all, “The Pains With Tribbles.” Featuring the franchise’s best-known non-humanoid species, making for its funniest episode, and serving as the inspiration for the highly-innovative Star Trek: Deep Station Nine episode “Trials and Tribble-ations” that stands as one of that show’s finest hours to be found outside the Dominan War fable arc, “Tribbles” is simply Star Swagger at its finest.

Video 9.5 out of 10

The Video Transfer

CBS gave the Blu-ray release a label current video encode at 1080p, compressed with VC-1, with pillar boxing to withhold the fresh 4:3 aspect ratio.

Also what about those original digital special effects shots that have been such a hot topic? They have never looked better.

The enormous thing about these Blu-ray sets is the seamless branching, so you can determine which scheme you want to scrutinize, with the new effects, or the unusual. Season two of Star High-tail comes onto Blu-ray with an expectedly stellar 1080p, 1.33:1-framed transfer that preserves the series’ new broadcast aspect ratio and places vertical sad bars on either side of the image when replayed on a 16X9 conceal.

Though it can a bit soft at times, seemingly a fault of the source and not the Blu-ray transfer, there’s not a moment where this presentations fails to absolutely label. It boasts a moderately heavy layer of grain throughout; effects shots as seen in the non-remastered versions are in particularly rough shape, though given the source material and the composition of the unusual effects, there’s no need to fault the transfer and the rough-around-the-edges notice lends a charm to the proceedings that’s absent from the remastered versions.

Colors tend to jump off the mask with the natural appearance of every shade in the spectrum, highlighted by the mustard, red, and baby blue colors of the Starfleet uniforms. In addition, glowing object detail is most impressive. Viewers will become privy to Spock’s heavy make-up and the many beads of sweat that often appear on Dr. McCoy’s face. A scar on Mirror Universe Sulu’s face features an fantastic amount of visible clarity and texture. Uniforms, too, are highly detailed; eagle-eyed viewers will gape stitches, loose threads, a zipper that runs from the side of the neck and down, and even the faint residue of a Starfleet insignia patch that was removed on one particular red uniform in “Mirror, Mirror.”

The clarity of the 1080p resolution even allows you to get out certain stunt doubles in several long-distance action scenes. Blacks are generally solid but occasionally see a bit too smart, but flesh tones never veer too far from a natural shade. A shrimp amount of brilliant and the occasional speckle of dirt are the only proper hindrances to an otherwise stellar transfer.

Audio 10 out of 10

CBS has done an fantastic job with the sound on the Blu-ray dwelling. Audio is worthy harder to restore and squeeze extra clarity from as compared to film, so it is quite a testament to the technology we have today that these discs sound as fine as they do. The audio is stored as DTS-HD Master Audio which is a lossless compression, which means this is as profitable as it will find and is available in 7.1 lossless soundtrack.

Just like Season One, the audio is determined, with dialogue well prioritized, it is never drowned out by other sound effects. Another well designed touch is the sense of ambiance mixed into the surround channels. When on the bridge you are engulfed in the sounds of ship.

However purists are again considered as CBS included the mono track as well. It can accessed by choosing Communications in the main menu and then selecting Audio Options.

The remastered blu-ray version also has a significantly greater sense of region and atmosphere. Listeners will often hear the hustle and run of the ship in the background as characters hump and talk about the bridge and Enterprise corridors, whether during calmer shots or more intense action sequences.

Extras

Each disc in this site contains bonus features, though some discs are far more feature-packed than others. Additionally, each episode is available for viewing with either current or enhanced special effects.

Disc One

Disc one begins with Starfleet Access in conjunction with the episode “Amok Time.” This is a picture-in-picture feature that offers an extensive background on the episode via video commentary with various Star Ride crew members and historians. The part also features pop-up trivia tidbits. Also included on this disc is Billy Blackburn’s Care For Chest, the second portion of a collection of “rare home movies and special memories” as recorded on the station of Star Waddle by the recurring background character.

Along with numerous clips from the explain, Blackburn recalls his varied experiences on the position through many of the different episodes that populate season two. Rounding out the special features on disc one are previews for each episode on the disc and BD-Live and Mobile-Blu functionality.

Disc Two

Only previews for the episodes that appear on this disc and BD-Live and Mobile-Blu functionality are included on this disc.

Disc Three

As with disc two, disc three features only 480p previews for the episodes that appear on this disc and BD-Live and Mobile-Blu functionality.

Disc Four

Disc four is entirely devoted to Tribbles. “The Inconvenience With Tribbles” is the only new series episode to be found on the disc, and available with it is a feature-length commentary track with David Gerrold, writer of the notorious episode. Also included is Starfleet Access, the picture-in-picture commentary/trivia track.

Perhaps the best feature on the disc is the inclusion of two additional Tribble-related episodes: “More Tribbles, More Troubles” from “Star Trek: The Fascinating Series,” and “Trials and Tribble-ations” from Star Trek: Deep Position Nine. The musty, featuring David Gerrold commentary, is presented in 1080p high definition with a 1.33:1 aspect ratio and a DTS-HD MA 7.1 soundtrack. The episode runs for 24:13. The video and audio quality are wonderful and bode well for a possible future Blu-ray release of the entire series. Meanwhile, “Trials and Tribble-ations” features a 1080i, 1.33:1 aspect ratio that I feel is no better than the same episode’s upscaled DVD counterpart. The episode does feature a DTS-HD MA 7.1 lossless soundtrack.

Trials and Tribble-ations: Uniting Two Legends takes viewers deep into the episode’s belief. It features plenty of cast and crew interview clips, behind-the-scenes footage, and segments from the completed episode. Trials and Tribble-ations: An Historic Endeavor is a similar fraction that looks at how the episode came about, focusing this time on the special effects that made the exhibit work. Star Trek: TOS on Blu-ray is a allotment featuring a panel of Niel R. Wray, Denise and Michael Okuda, Dave Rossi, and later, Writer David Gerrold, delves into the creation of the Blu-ray region and why it makes for an improvement over previous releases. Also included is the preview for “The Grief With Tribbles.”

Disc Five

‘To Boldly Go…’ Season Two is a retrospective allotment that looks wait on on “The Exertion With Tribbles,” Chekov’s character, the stories slack “Amok Time” and “Mirror, Mirror,” how Star Slither integrated the issues of the 1960s into Science Fiction, and more. Also included are the previews for each episode on the disc and BD-Live and Mobile-Blu functionality.

Disc Six

The principal supplement on disc six is Designing the Final Frontier is a observe at the location designs for many of the episodes throughout Star Trek’s three-season speed. Also included are the previews for each episode on the disc and BD-Live and Mobile-Blu functionality.

Disc Seven

The final disc in this state begins with ‘Star Trek’s’ Approved Moments in which features both fans and the cast and crew of the various Star Toddle series recalling their common episodes and the series’ influence on their lives. Writer’s Notebook: D.C. Fontana looks at the principal role of writers, editors, and the script itself on Star Sail.

Life Beyond Trek: Leonard Nimoy, features the actor discussing what he’s been up to since “Star Waddle.” Next up is Kirk, Spock, & Bones: Star Trek’s Tremendous Trio is a seek help on the chemistry between the distinguished characters. Star Trek’s Divine Diva: Nichelle Nichols features the actress looking wait on on her character. Also included are the previews for each episode on the disc, BD-Live and Mobile-Blu functionality, and the enhanced visual effects credits.

I feel that season two of Star Mosey is the best of the unique series and I also feel that it is the most primary in the franchise’s long history. Completing the cast by adding Pavel Chekov and debuting characters, setting trends, and introducing themes that would remain throughout Star Slip for a long time.

This is the ultimate edition of a beloved classic, whether you’re a purist or someone that likes the fresh special effects. The remastered series was meant to be seen in HD.

Star flow has been written about probably more than any prove. From its countless pop culture references, to it examination of political and social commentaries, Star Budge has been talked about ad nauseam. Given the huge amount of writings, in some ways, its almost arrogant to try and add something recent. However, if you’re reading this, you’re probably not as involved in a review of the series and episodes as grand as you’re eager in whether the Blu Ray is worth getting. I will say this fresh Blu-ray is something rather special. The describe is astounding, and I feel almost like I’m watching the note again for the first time, kind of like when you’ve heard a joke a hundred times, but then one day you hear it a diminutive different and you laugh, like its fresh but familiar as well.

However, the pain is that the Blu ray is almost too worthy. I can thunder when the build up meshes with sincere skint. I can shriek when a punch misses the target. In fact, the Blu Ray is so sure that you can actually gawk and clearly identify the stunt doubles as they are intermixed with the stop up of kirk or whoever is fighting. So your interest in the Blu ray may vary. While the show’s strengths in myth and acting are highlighted, the weaknesses of the technology are made the more apparent. That being said, I care for having the ability to stare both the current and musty effects addition, as well as the slew of special features included makes this a must have for me.
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Buy Bucket of Blood/Attack of the Giant Leeches Blu-Ray. Product: Bucket of Blood/Attack of the Giant Leeches Average customer review: Amazon Price: Sale Price Too Low To Display Click Below To See Amazon Sale Price Add to cart to see discount price@ Availability: In Stock Usually ships in 24 Hours Free Shipping At Amazon

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Though Marengo does not have thousands of titles available, that is what makes them current. Each title can have more attention devoted to it and time to score the best elements. Though this was an early (pre equipment upgrade at Marengo) offering, it is well illustrious that this copy of “Attack of the Giant Leeches” is the best print available on DVD! It was the first time I was able to explore what was happening in murky scenes and the rest is crisp. Marengo has several apprehension titles available and many other genera with more on the contrivance - most all double feature at bargain prices without the bargain quality.

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As for “A Bucket of Blood”, it does have some early splices but again, overall the element was well-kept and crisp. A enormous addition for those who do not have either title.

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These two films are from the Corman production mill. Roger directed A Bucket of Blood, which is a very involving (and brief) satire on coffeehouse/beatnik art pretensions. The Giant Leech movie has a couple of silly scenes with Bruno veSota and Yvette Vickers but otherwise falls flat. The print of A Bucket of Blood feeble for this DVD starts off very badly; it’s choppy and distracting from the amazing opening monologue (”I will talk to you of art, for there is nothing else to talk about…”) . Worse, the sound quality is muffled, and it sounds like noise reduction was applied to a master tape that wasn’t recorded with Dolby - instead of removing scream, all the high and improper tones are reduced to a flat middle-range. Sometimes it’s difficult to understand the dialogue for this reason. The MGM VHS release looks and sounds better than this DVD, but of course, that tape comes without Attack of the Giant Leeches…
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Lowest Price on 9 to 5 - Sexist, Egotistical, Lying Hypocritical Bigot Edition - Widescreen. Product: 9 to 5 - Sexist, Egotistical, Lying Hypocritical Bigot Edition - Widescreen Average customer review: Amazon Price: Sale Price Too Low To Display Click Below To See Amazon Sale Price Add to cart to see discount price@ Availability: In Stock Usually ships in 24 Hours Free Shipping At Amazon

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This film is one of the rare achievements in comedy: I can gaze this over and over (and I have) and collected laugh at the same parts. The jokes never wear out after a viewing or two. That’s due in fraction to the genuine camaraderie between Jane Fonda, Lily Tomlin, and Dolly Parton. I simply can’t imagine this film without any of those three, for they made their roles what it is and the interractions between the three of them are hilarious. Dabney Coleman as their sexist boss with an extremely naive wife is also hilarious as he gets his comeuppance.

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Jane Fonda plays a mousy lady who enters the work force after her husband runs off with his secretary. Seeing her flustered by the photocopier is hilarious and it’s fun to search for her transformation into a confident lady who can contain her believe (gun) against the boss.

Lily Tomlin plays the lady who’s been at the company for a long time and is passed over for a rightful promotion because she’s a woman. I appreciate her scene when she schemes to prefer a body from the hospital, mistakingly thinking it’s her boss’s unimaginative body. When she’s in a doctor’s white coat and a candy striper stops her and apologizes when she realizes she’s interrupting a doctor, Lily says, “that’s factual, I’m a doctor…so why the hell am I talking to you? ”

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Dolly Parton plays the secretary who uses her God-given endowment to laughable execute. Dabney Coleman can’t wait on to push pencil holders off his desk so she can bend down and engage them up while he gets to sneak a peak. It was this film that has made me a lifelong fan of Dolly Parton because I admire how she rebukes her boss by telling him that she set up with his behavior because of the scheme she was brought up and won’t tolerate it anymore and if he messes with her, she’ll gladly turn him “from a rooster to a hen in one shot!” I especially loves how she tells him, “I never plan I’d live to say this about another human being, but you are noxious, that’s upright, Infamous TO THE CORE!” Yow! She means business, but it only makes the boss more turned on, so she has to support her words with deeds, thus fulfilling her fantasy sequence.

The dream sequences are hilarious and it is provocative to glimpse the scheme they each advance factual. I savor Lily Tomlin’s Disney-esque dream sequence, the one that causes the most problems. While the movie does veer off in a surprising intention, and some might say outlandishly unrealistic, and while one reviewer mentioned that it doesn’t waste with a “gargantuan bang”, I consider the ending was delightfully ironic. The ladies improved the office environment, no one missed the boss, someone even higher up noticed the improvements and justice prevailed. Aesthetic!

I was only a kid when I saw this film in theaters and it has been one of few films where the humor never gets old-fashioned. Anytime I need a laugh, I can rely on this film to provide them despite the numerous times I’ve seen it. That’s a credit to everyone keen in making this film, but most especially to the three actresses who really play well off each other with comedic brilliance! I’m satisfied they have released a special edition, as I waited to assume it on DVD for objective such an edition. Now the long wait is over.

FIRST THOUGHTS - -

This movie is among the greatest 100 diminutive entertainment fests in existence. “9 to 5″ reaches and touches everybody, both male and female somewhere personal and strangely satisfying. Though the site is gigantic and really moves, it is the incandescent “fantasy-revenge” ideas, dialogue and strong characterizations that withhold this from becoming mean-spirited and thereby enable this movie to work so well for a diverse audience.

We need to salute Director/Screenwriter, Colin Higgins first. Higgins was the Screenwriter for “Harold and Maude”, “Silver Scramble” and “Scandalous Play”, picking up a Golden Globe nomination for “Nefarious Play” in 1978. All of Higgins films have an air of sophistication and exhibit a refreshing respect for the audience particularly in avoiding the clear mean-spirited cliches that many of his films’ topics’ encompass. Also, Editor Pembroke J. Herring who was nominated for 3 Academy Awards for Editing and also edited “Ground Hogs Day”, did an amazingly seamless job of keeping “9 to 5″ so coherently glued together. Herring was nominated for “Best Editing” for; “Tora! Tora!Tora!”, 1970, “Paddle For Glory”,1976, “Out Of Africa”, 1985 and edited many other favorable comedies and dramas. Higgins and Herring worked together on a number films all of which turned out the better for their contribution and “9 to 5″ is one of them.

The three female leads all embody some type of stereotype. Lily Tomlin, as Violet Newstead is the widow with four children, going it alone and trying to wreck into the male dominated executive world of substantial business for the past 12 years - UNSUCCESSFULLY. She is confident and pleasurable but she is a woman in a man’s world, so she is very dissatisfied with the treatment she has been getting by the male establishment embodied through F. Hart [Dabney Coleman]. Jane Fonda, as Judy Bernly, is in the middle of a divorce in which her no-good husband, Dick, played deftly by Lawrence Pressman, left her for his secretary. Judy is now entering the workforce unprepared and for the first time and especially unprepared for the living embodiment himself, F.Hart. Dolly Parton as the toothsome Doralee Rhodes, who F.hart chases round and round the office and even tries getting to conventions that do not exist all for a reliable time - HIS, examplifies how office rumors can extinguish peoples’ reputations and of course by the living embodiment himself. That’s F.Hart of course and he is the bane of these three “innocent women” and as we behold, represents most everything that is nasty in their lives as they seek it. BTW, Dolly Parton in this role was nominated for an “Oscar”, “Best Song”, and 3 “Golden Globes”, includeing “Best Actress in a Musical or Comedy”.

This film could not find off the ground without a pleasant adversary to these very potent femme fatales in training. Dabney Coleman as Franklin Hart or fair F.HART, delivers an oscar first-rate pains in his role as the living embodiment of almost every despicable thing a man in charge can do to women under him at the office. He is “his” 3 “GIRLS” reason for being the diagram they are, at least throughout the film. Coleman very generously lends himself to the same type of role Carrol O’Connor did in “All In The Family” as a means of illustrating that some things are clearly and obviously harmful and need to be changed. Comedy and Cliches are grand tools for evoking awareness and change and “9 to 5″ serves that cause well, chiefly through the utterly ghastly nature of Coleman’s character. Man or woman, we all savor Coleman’s comeupance and so will you.

My approved scenes are the three completely different fantasies our heroines relay to each other while under the influence of marijuana. Naturally, these flights of love all keen some overdue and interpret revenge against F.Hart. Even such fascinating Disney characters as “Snow White” invent an appearance in Tomlin’s depiction of Hart’s demise. Naturally, the reality nearly repeats Tomlin’s fantasy on the very next day, which leads our heroines to stealing a corpse, evading the police, kidnapping and powerful, remarkable more.

The scenes and gags in this film all further the spot and unprejudiced dove-tail so nicely and so entertainingly together that it is over all to soon. We are left wanting more without realizing we have objective sat for over 100 minutes and the issues and conflicts motivating the characters and fueling the film’s state have been resolved.

This is a terrific dark comedy. Our characters [3 female leads] catch our empathy as they enter into a kind of twilight zone where both their personal survival and convictions stretch these women and allow their characters to explain what they are made of and finish both personal growth and unexpected satisfaction. Their foil, F.HART after showing all how cross he was, literally plunges into the abyss as if sent to purgatory and then hell for his misdeeds against women as the space unfolds. “REEL JUSTICE”, super and mercurial!! The topic and the settings have outmoded very well and even after a quarter century this film in no diagram seems dated.

–* THE CAST –* Colin Higgins - Director / Screenwriter

Jane Fonda - Judy Bernly

Lily Tomlin - Violet Newstead

Dolly Parton - Doralee Rhodes

Dabney Coleman - Franklin Hart Jr.

Sterling Hayden - Tinsworthy

Elizabeth Wilson - Roz

Henry Jones - Hinkle

Lawrence Pressman - Dick

Marian Mercer - Missy Hart

–* THE AWARDS –*

Best Song (nom) Dolly Parton 1980 Academy

Best Actress- Musical or Comedy (nom) Dolly Parton 1980 Golden Globe

Best Recent Song (nom) Dolly Parton 1980 Golden Globe

Novel Star of the Year - Female (nom) Dolly Parton 1980 Golden Globe

DVD FEATURES:

It is widescreen [1.85:1] and worthy clearer than the VHS release. The Disney characters in Violet’s fantasy display this definite color and clarity improvement over the video release. It has 1 trailer and of course scene selection and is available on the same DVD in either English or French with English or Spanish subtitles or no subtitles at all [of course]. Naturally, some interviews and a orderly featurette would be nice but again this is a substantial improvement over the broken-down archaic video releases.

FINAL THOUGHTS - - This improbable film is highly recommended and “9 to 5s” entertainment value stands up very well to repeated viewings and the passage of 26 years.

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Chained Heat 2 Streaming. Product: Chained Heat 2 Average customer review: Amazon Price: Sale Price Too Low To Display Click Below To See Amazon Sale Price Add to cart to see discount price@ Availability: In Stock Usually ships in 24 Hours Free Shipping At Amazon

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In the “sovereign area of Czechoslovakia” blooming young women have been space up, arrested, tried, and sentenced to ten-year drug-possession terms in a prison. The latest victim is an American girl. the prison is bustle with an iron hand by a drug-addict warden, with the assist of her sadistic lover, both of whom see lustfully upon the newcomer. Some of the inmates were killed by a mystery torturer, and as prostitutes for a local casino. They were also set to work nude in preparing drugs. There is heavenly of nudity, sex, violence, substance abuse, profanity, plus sadism in this movie. The waste is a microscopic too simple and not realistic, but that’s what you inquire of from the most of movies. This are also some action screnes.

Brigitte Neilson was very sexy as the warden, and when sheinspects the novel lop of young female inmates she does a astounding jobof lusting over her current playthings! I also really liked her German-accented female assistant. One of the best scenes (in my plan) is when she helps a young girl out of a bathtub, running her hands all over her blooming rear slay. She’s later seen laying in bed with her, again caressing her legs and curvy b***! Very nice!!! The director/writer of this flick had a kindly imagination, and knew how to invent a sexy women-in-prison film!

That’s not to say this movie was perfect! The set really dragged at times, and several scenes could have been done better (again, in my conception only!) The girls-showering-together was nice, but not as sterling as it could have been. And I was particularly disappointed with the scene where the warden (Brigitte Neilson) finally gets together with the lovely minute American inmate she’s lusted after for so long. It was fair kind of bland, when it promised so grand! I teach you, they need to hire ME to create & perform a really hot women-in-prison flick! I’d do it True!!! Waste
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If I remember correctly, this movie was not rated well when it was first released in theatres. I couldn’t understand why since it was well made, had a decent cast and had a conception provoking residence based on suitable events.

The cinematography is very attactive in showing the badlands of South Dakota and featuring looks into the Indian reservations. Also, the music was well done and offered a nice perspective of Native American sounds and environments.

This movie also sends a message about a darker time in America’s past when the govenrment perpetrated some devious acts against the Native Americans. Maybe it was high time that these events came out into the begin so that more people would know what happened and know that what the U.S. government did was very rank.

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Val Kilmer proved to be well beneficial for the “by the book” FBI agent that came of age and got in touch with his Indian heritage and learned to do the correct thing. Sam Shepard, a mammoth actor as always, played the role very well of the “shaded horse” FBI agent with skeletons in his closet and a secret agenda on the Sioux reservation. Graham Greene could not have done any better as the reservation police officer. Showing his pride and dignity as an Native American along with the silly backlashings at Val Kilmer made for qualified interactions throughout the movie.

A movie worth watching again and again.

Time over time, Val Kilmer has proven that he is not honest a aesthetic face. He has continually impressed even the most severe critics that he is a formidable actor. THUNDERHEART, to me, is among his best performances.

There is some predictability in the plot: Kilmer portrays an FBI agent who is piece Native-American. When he is sent to a reservation to investigate a crime, he begins to respect and embrace the heritage he had not previously acknowledged. What is not predictable, however, is how well the script avoids sentiment and focuses on Kilmer’s transformation.

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Loosely based on the accurate events surrounding Leonard Peltier’s American Indian Movement, and the murders of FBI agents on the Pine Ridge reservation (all of which is the subject of Peter Matthiessen’s book “In the Spirit of Crazy Horse”), THUNDERHEART is a distinguished examination of the surreal and unpleasant life on Native American reservations. Brutality is everywhere: whites against Indians, Indians against Indians, etc. Director Michael Apted does a worthy job of tempering the violence with scenes of beauty and with images of a peace-loving tribe of people. This is a heartbreaking film at times, but there is a sense of justice in the long-run. THUNDEHEART is not a fragment of hunk-actor mind candy. This is a considerable (and underrated) film that demands your attention. It is well-worth it.
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I contain that the 1950 Disney adaption of the fairy yarn by Charles Perrault is one of the most approved Disney movies released since 1937. This movie is humorous, dark, and charming at the same time, which may sound impossible for some movies.

I have watched this movie since I was 2, and I am now 12, and let me bellow you that after 10 years, you never net tired of it. I have the Masterpiece copy on this page, and it is very, very customary out, so I cannot wait for Disney to re-release this classic on Disney VHS and DVD in 2007, so I can retract it and technically fetch my hands on it!

Anyway, this movie is about a girl named Cinderella, who’s father and mother have both died. She is forced to live with her vain and ghastly stepsisters and cruel stepmother, and furthermore is forced to become a slave in her bear home.

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Cinderella’s only friends are the genuine mice, the birds, the dog an also the horse. One day, an invatation arrives from the palace, stating that every eligible maiden in the kingdom has to support to a royal ball, honoring the return of the prince.

Cinderella’s stepmother lies to her, saying she can go only if she gets her chores done, and if she finds something agreeable to wear.

She does all her chores, while her animal friends accomplish a dress for her. Sadly, the stepsisters wander it up, and leave. However, Cinderella meets her Fairy Godmother, who sends her off to the ball, but she has to be support before the stroke of midnight, otherwise, the spell will be broke…

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Enjoy this Disney masterpiece once again, which proves that dreams can near correct.

In an concern to revive his sagging animation department, Walt Disney turned once again to a fairy memoir. This time around, he chose one of the best known and oldest of them all, Cinderella.

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The yarn is familiar. A pretty girl is abused by her stepmother and stepsisters and forced to work as their slave. When a ball is given for all the eligible maidens in the kingdom, Cinderella dreams of going too, only to have her hopes dashed at the last runt. With a gift of magic, she is able to go, but only until the stroke of midnight.

The sage is so well known, if fact, that any legend about an underdog coming from unhurried and winning is called a Cinderella legend. Disney’s job here was to build the fable sharp for 75 minutes. The solution here was creating the animals. Mice Jaq and Gus and their constant struggle against the despicable cat Lucifer is silly and tying this sub-plot to the ultimate outcome is shiny. The other standout character is the stepmother who is frighteningly dismal with no natty powers.

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As with any Disney movie, this one also has gigantic songs. Arguably the best known is “Bibbidi-Bobbidi-Boo.” Fair leisurely it is “A Dream is a Wish Your Heart Makes.” My common, however, is the often overlooked admire song “So This is Worship.”

While not the best release in the Platinum series, it mild stacks up well. The movie has been restored, and it looks tall to me. I’m not a nitpicker, but I can’t derive any problems with the burly frame narrate, the recent aspect ratio. There is an enhanced 5.1 home theater mix, which doesn’t seem quite as impressive as some other releases. It seems more like the sound coming equally from all speakers. Of course, given the age of the film, there probably isn’t mighty more they could do. For purists, there is an new soundtrack on the disc as well.

The extras in this situation seem to be split between jabber for kids and adults, with the kids winning. Disc one includes a unique version of “A Dream is a Wish” with the stars of several Disney Channel series. It also has several “Cinderella stories” in sports moments, a odd feature to me. Disc two includes several features about living like a princess.

Also on disc two are the bonus features adult fans of this movie will want to inspect. There are two “deleted scenes,” which are really abandoned songs with the storyboards created for them. In edition there are more abandoned songs with no storyboards on here. It’s heavenly keen watching how various ideas went from one acquire to another before finally making it into the movie. Other extras include a thirty-eight diminutive documentary about the creation of the prove, including achieved interviews with the animators unhurried the exhibit. We are also treated to an overview of how the movie progressed over the years it was in development, a tribute to the “Nine Worn Men,” Disney’s “Laugh-O-Gram” version of the anecdote from 1922, and radio promotion from the time. I was thrilled to eye trailers from the movie’s multiple releases here. Unfortunately, there is no commentary in recognize.

This Platinum DVD release means that all of Disney’s appealing movies have been save on DVD at some point in the last few years. While the Platinum series isn’t quite as nice for adult fans as they obsolete to be, this is quiet a release that fans of the movie will want to hold up.
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Synopsis: Armand “The Blackbird” Degas (played by Mickey Rourke) is a professional criminal who travels to the Detroit plot to conduct some criminal activities. He runs into low-life criminal Richie Nix (Joseph Gordon-Levitt), whom Degas takes a gleaming to despite Nix’s reckless and sociopathic tendencies. The two choose to bewitch in an extortion attempt on a realtor and inadvertently involve husband and wife Wayne Colson (Thomas Jane) and Carmen Colson (Diane Lane) into their schemes. Well, after Nix is injured during the extortion attempt, the duo initiate focusing on revenge more than the valid extortion. Meanwhile, the yarn begins placing added emphasis on the deteriorating relationship of the Colsons, who prior to meeting Degas and Nix were considering divorce. One thing leads to another and the Colsons have to stare notice protection to flee attempts on their life. But not even examine protection will terminate the criminals from trying to accumulate the couple…

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First off, I enjoyed the film because of it’s setup. The locations were salubrious (my grandparents conclude in Algonac, Michigan, so seeing portions of that and Detroit in the movie are awesome.) I also conception the casting was ample too; you didn’t abhor Rourke despite the fact that he was a violent person and Levitt’s character was one you LOVED to disapprove. The movie was intense but not entirely predictable like most action films are. In the slay, you have a movie that feels like an action-romance chronicle that could be equally spirited as either or despite how violent the movie is.

What bums me out is what we didn’t behold in the film. The film wrapped post-production up in 2006(!!!) but didn’t salvage to scrutinize the a wide release because many felt the account was confusing (and it can be at times; but this is a movie that’s meant to watched twice.) This lead to any and all scenes enchanting Johnny Knoxville (who played the role of a Deputy) to be removed from the film entirely. I would have loved to have seen the uncut version of this film but for continuity purposes, this is the film that was provided to us.

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All and all though, it’s aloof one that’s worth checking out and recommended to people who’d want to spy what an action/romance film would peep like.

Armand “Blackgird” Degas (Rourke) is a hitman for the Toronto mafia. When his dedication to the job brings about the wrath of his employers, he falls in with Richie Nix (Gordon-Levitt), a two-time crook who’s a bit too anxious for his beget noble. When they try one of Nix’s many extortion schemes, they hurry into struggling couple Wayne and Carmen Colson (Jane and Lane) . Degas is certain to let no one who sees his face live. Wayne and Carmen going into protective custody isn’t about to discontinuance that.

KILLSHOT is a perfectly decent thriller, with a fantastic premise that, though not wholly believable, is at least exciting and novel. I haven’t read the current yet, though I idea to do so; I have a feeling the new (written by the renowned Elmore Leonard) explores the thematic potentials more fully than the film, which at times feels like a mish-mash of scenes rather than one solid whole. (This can be blamed on the long delay; I first saw previews for KILLSHOT years–literally years–ago.) The script itself is fairly solid, except for a few cliched lines of dialogue; there are a few expedient surprises, and even some damned-fine humor and action sequences.

Thomas Jane is solid as usual (I won’t say “always;” he’s had some clunker roles in the past, though it’s usually the film’s fault and not his), and Diane Lane manages to capture quite a few scenes. Overall, though, the film rests squarely on the mountainous shoulders of Mickey Rourke, who is delightfully tainted, and Joseph Gordon-Levitt, who is overly campy and thoroughly delicious. The interaction between the two isn’t quite fleshed out like it should be (and their relationship isn’t at all believable; a pro like Degas would never hook up with a small-time punk like Nix, no matter how mighty the latter resembles the former’s deceased kid brother), but each actor holds his contain in different ways: Rourke shows his mastery of restraint (glimpse THE WRESTLER for another example of this talent, albeit under extremely different circumstances), and Gordon-Levitt has one hell of a proper time camping it up, letting his character’s long hair and unjustified ego waft.

KILLSHOT isn’t quite what it could have been, but it’s aloof a solid film that’s worth a contemplate or two. It’s posthaste and suspenseful; if you can overlook some of its logistics errors, it’s an engaging thriller that offers some solid acting and an sharp area.
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Two big, one suitable and one uneven film invent up this collection of well-known director Billy Wilder’s films, a microscopic fraction of his colossal total output and not at all representative, but mild worth having for the work portrayed.

“Kiss Me, Unimaginative” is a farce, based loosely on the classic French effect requiring misrepresentations, impersonations, and loveable terrible guys and schnooks. Peter Sellars was slated to star but had to withdraw because of illness; Ray Walston, a ravishing player himself, was recruited as replacement at the last exiguous but he’s soon overwhelmed by the movie’s streak and old-fashioned script. Typically, a moment of pleasure is almost immediately followed by tedium, and some of the tricks played on Dean Martin’s character - who is only a shade different from the dependable Dean Martin - give him no quarter for any intelligence. Put this for a night of insomnia.

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Enthralling up the scale, peek “The Fortune Cookie” next. Jack Lemmon portrays a tv sports photographer who is injured while shooting from the sidelines of an NFL game. His brother-in-law is a shyster lawyer played by Lemmon’s classic foil/partner on film, Walter Matthau. Matthau - who earned a best-supporting Oscar for this film - gets an oversized settlement for Lemmon who then has to remain disabled in public, even though he has suffered no permanent injuries. Unfortunately, the player who hit Lemmon feels guilty and visits frequently, and Lemmon feels guilty about all of the money he now has. Soon he wants to become an impartial man; of course Matthau will do anything to end him. Humorous, but mostly cynical-funny, not laugh-out-loud amusing. BTW, this was Lemmon and Matthau’s first movie together.

Then to the amazing b/w classic “The Apartment,” which today would be classified as a dramedy. Starring Shirley Maclaine as an elevator operator and Jack Lemmon as a low-level accounting functionary in a tremendous Manhattan corporation, the two have a fine acquaintanceship whenever their paths unpleasant. Lemmon works for Fred MacMurray, whose character is a vice president of the corp.; Fred enjoys polishing the sleazy unlit angles of his role. MacMurray and other executives perform utilize of Lemmon’s ideally situated (and well-stocked) apartment for late-afternoon trysts; in fact, Lemmon’s job depends on this “favor.”

One night Lemmon returns home to bag Maclaine a near-victim of suicide in his salubrious. He summons the great doctor from next door and they assign her life, and a deeper friendship between the two ensues. But only a friendship; while Lemmon loves Maclaine, she is foolishly and hopelessly in worship with MacMurray, and unable to discover that he will never leave his wife for her. Lemmon confronts MacMurray about his shabby treatment of Maclaine but folds when he is rewarded with a private secretary and a private office and no work to do. To lisp more is a Spoiler; honest contemplate this a must-see movie. Between its colossal storytelling about people and like, there are also Wilder’s only slightly subdued comments on the role of the heartless corporation in original society, no doubt empathized by Wilder’s co-author, the big I.A.L. Diamond.

My approved of the four is the priceless, unbelievable “Some Like It Hot” - one of the few movies I’d ever call zany. The place summary is qualified, but what’s truly principal is a cast that’s in top develop and giving everthing they have to this incredibly well-written and well-directed production. This b/w film will demonstrate you why Marilyn Monroe became a legend; she is at or approach her peak in it and every frame of film depicting her oozes sex (Family-Friendly Warning: many of Monroe’s clothes are highly transparent) . I first saw this 1959 movie in 1973 in an melancholy but sold-out college auditorium; the laughter was deservedly deafening. By current standards of story-telling the movie drags in a few places; a exiguous impress to pay. Retain in mind also that most comedies made before 1970 allowed for a few moments of audience laughter in a theatre to die down before the dialogue resumes; on your tv cover, you wonder, “what??? ”

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As I contemplate of “The Apartment” and “Some Like It Hot,” I am recalling a powerful younger person, born in the early ’70s, I knew who flatly refused to peep black-and-white movies, which he told me were “too hard to understand.” I am strongly opposed to colorization. If you assume you don’t like b/w, give it a try in a good-quality theatre that is using a top-quality print. Directors like Wilder, Frank Capra, David Lean, Erich Stroheim, John Ford and many others knew how to spend shades of light and black as well as any color. (Maybe the kids born into the Sesame Street media revolution will have to be fed fair innumerable fleet cuts and about every camera trick invented. In the first 10 minutes.)

Yes, you can definitely get a list of the four top Billy Wilder movies and it would not match what is in this plot. But that list would include the two Wilder masterpieces (”Some Like It Hot” and “The Apartment”) and “The Fortune Cookie” is very very underrated. So to have those three in one space is nothing to quibble over. And the fourth film, “Kiss Me Uninteresting”, is unruffled both captivating and an curious step on Wilder’s progression towards “Avanti!”. So if you bear now Wilder you should begin with this boxed residence.

My only vow with this dwelling is that the version of “Some Like It Hot” is not subtitled. But given the excellence of the movies themselves this did not detract from my rating or my enjoyment.
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