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Crocodile Dundee/Crocodile Dundee 2/Crocodile Dundee in Los Angeles Movie Streaming. Product: Crocodile Dundee/Crocodile Dundee 2/Crocodile Dundee in Los Angeles 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 have always been a grand Crocodile Dundee fan. This DVD site was unbiased the impress. They were all advantageous quality, and I was especially impressed with the case. Most DVD sets approach with each DVD being individually cased. This site came with impartial one normal size case, but it was able to accommodate all three DVD and I was able to fit it in my DVD rack. A genuine room saver. The delivery time was fine as well.

I hadn’t seen the third one. It was glorious terrible as I guessed it would be. Fortunately the first 2 peaceful possess up to the memories I had of them.
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Zack and Miri Make a Porno Streaming. Product: Zack and Miri Make a Porno 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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First there was Kevin Smith, with his patented heed of hugely over-the-top raunch in CLERKS. As he “matured,” he added a level of fair feeling leisurely this work in CHASING AMY. And then he sort of lost his scheme with a few pleasing abominable films. Meanwhile, Judd Apatow established himself as the King of Sweet Raunch with 40 YEAR Conventional VIRGIN, KNOCKED UP, SUPERBAD, etc. In these films, the characters spoke about sex with a level of filthy detail never before heard. They indulged in reckless behavior. They were the kinds of people films had for decades told us were “dreadful.” Yet we recognized people we knew in them, or even ourselves. They were also infused with an innocence and an acknowledgement that late all the strutting bluster, we all unprejudiced want to be loved. They acknowledged the weakness in men, and the strength in women who can effect these men pull themselves up by their bootstraps and inaugurate to seize life seriously. This was the Apatow “mark.”

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Now Kevin Smith has approach storming relieve to reclaim his fragment of that microscopic mountain. While his ZACK AND MIRI Produce A PORNO doesn’t re-establish him as King, it reminds us that Apatow and others owe him a debt…and that he’s unruffled friendly of out-raunching the raunchiest stuff we’ve seen. And, as will be no surprise to anyone who has seen the trailers for the film, he mixes in the “sweet” stuff splendid well too.

The presence of Apatow disciple Seth Rogan makes the film seem more like an Apatow film than perhaps it really is. For example, in movies like SUPERBAD, there is actually relatively small sex being had. Characters talk about it, and they distinct would like to be indulging in it…but not powerful happens. In ZACK & MIRI, a sizable deal of sex is had and shown. It is a far more visually explicit movie than Apatow’s (the chubby frontal male nudity in Wobble HARD being a critical exception) . I wouldn’t want to compare the level of explicit imagery in the dialogue side by side with a SUPERBAD, but I suspect that ZACK & MIRI is also verbally honest a smidge more explicit as well.

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Zack (Rogan) and Miri (Elizabeth Banks) have been friends since first grade, and now, on the eve of their 10th High School Reunion, they are roommates sharing a rundown rental and one very hurry down car. They both have dead-end jobs and apparently no ambition. They also have not paid bills in quite awhile. While neither seems exactly Tickled with life, both are divulge in the puny routines they have to salvage through the day.

Miri forces Zack to go with her to the reunion, because she’s hoping to shamelessly throw herself at the “boy” she crushed on in school (Brandon Routh) . Zack, meanwhile, has an moving conversation with this guys boyfriend (a hilarious Justin Long, as we’ve never seen him), who apparently is a notorious pleased porn actor. Naturally, Miri is crushed to pick up this guy she intended to sleep with is delighted, but the two are more upset to accumulate their hot water and electricity has been turned off. But Zack comes up with the “vast” plan to develop a pornographic movie in order to pay their bills.

I won’t dwell on the specifics anymore, but you can imagine how things might acquire. The two hapless friends have no money and no video camera, so they have to turn to friends to underwrite their crazy venture, and an unlikely troupe of filmmakers develops. There are obligatory scenes of auditions and the struggle to near up with the correct title for the film. (If this weren’t a “family” location, I’d portion a few…the one spicy a twist on LAWRENCE OF ARABIA honest about made me spew soda through my nose)

It’s all quite, quite raunchy. While not literally as explicit as a precise porn film, not all that distinguished is held assist. I can definite contemplate why Smith had to fight to avoid an NC-17 rating. Under absolutely no circumstances to you want to perceive this film with your kids…no matter how ancient your kids are!

Will Zack & Miri fetch out they are good for each other? Will doing porn kill their discovery? The film holds few set related surprises, frankly. It is the verbal dazzle that keeps you entertained.

And the performances. Seth Rogan blooming distinguished gives us the same character again…but he does have an ease about his acting that makes him appetizing. His characters may be shy, but Rogan is not. But it is Elizabeth Banks who surprises the most. I’ve seen her in a lot of smaller roles (on “Scrubs”, for example) and to be just, she’s struck me as vaguely perky but lightweight. Here, it is frankly a bit startling to watch her good in this raunchy mix, her mouth as dirty as anyone else. Smith has empowered her, that’s for obvious (don’t know if that’s a excellent thing for “society” or not) . She also finds some proper depths in Miri, particularly as the film winds down, that elevate her performance to a special level. It’s not Oscar winning stuff, exactly, but it will construct people sit up and seize explore of her. This, and her praised performance in W., have made it quite a superb year for her.

The movie is hilarious. That’s what you want to know, isn’t it? My wife and I both laughed uproariously many time. It will offend you, too. Smith loses control a few times, with some random scenes that grind the record to a finish. Most revolved around the character played by Jason Mewes (better known as “Jay” in a myrid of Smith’s earlier films) a young man who makes it into the film due to some “special talent.” He’s comic, but his stuff seems out of site…as though Smith stopped his movie to let his customary buddy riff on some dirty stuff. There’s also some stuff about a constipated actress that devolves into the nastiest couple of seconds you’ve ever seen, that even so are astonishing, unlikely, unfunny AND distract from a key moment for the record.

(By the scheme, I apologize if I’ve offended anyone with the review…tough to talk mighty about this film without stretching the boundaries a dinky. If you rep my review offensive…please skip the film.)

Overall, Smith has made a humorous and sometimes tender film. If Judd Apatow had never existed, this film would be groundbreaking. Now it is a familiar formula, with the raunchy dial turned to 11. But, if that’s something you’ve enjoyed before, you’ll score many astronomical laughs from ZACK & MIRI!

I won’t beat around the bush: “Zack and Miri” is easily one of the funniest movies I’ve ever seen. It’s a laugh riot from beginning to slay, and even after the credits role (hint hint) .

There is no disguise or misdirection; it’s exactly what is expected. It’s foul-mouthed concoction of obscenities, smut, juvenile humor, tons of pop-culture references, and a sterling deal of shiny dialogue. It’s parody at the pinnacle of the genre, making fun of the 70’s and 80’s porn industry, when it was in a developmental and transitional phase before today’s high-end adult films - or so I’ve heard anyway. Create no mistake; however, there is also a very serious near taken (which gets a bit sappy), and accurate devotion and respect is paid to not only porn (which is irregular), but also the hilariously crass Smith (Apatow-esque) comedy (which is expected) . Smith nails it.

There are countless highlights and laughs throughout. The best scenes, however, are those leading up to filming of the cheesy porn. Selecting the name for the movie, coming up with “Star Whores” (and hilarious names for the rest of the series), while ripping through raunchy variations of several other movies, almost made me convulse from laughter. Some may have a spot believing Seth Rogen as a porn star, thinking the opinion as proper as the silicone on a typical adult plot, but Ron Jeremy dazzling mighty negates that argument. There is no doubt, however, that Elizabeth Banks could easily be a megastar if she were to turn to the murky side. Their onset chemistry is definitely what makes the movie work.

It’s definitely not for the easily offended. I’d go so far as to say that it’s a fairly quick-witted comedy if one can find around perpetual F-Bombs. It’s a witty movie about raunchy intercourse that pushes the socially inhibition and sexually awkward buttons.

The intention I gawk it, there are two groups of people who will peer this movie. One group knows what they are getting into; they’re going to discover a Kevin Smith flick that is distinct to be improper and possess poop humor. The other group will be people who will frown at the profanities and camouflage their eyes at the vulgarity. To the customary I say: You’ll absolutely bust a gut watching this movie. I know I did. To the latter I say: What the heck were you expecting? Are you really so wearisome as to not know what you were about to spy? It’s called “Zack and Miri Originate a Porno” for goodness sakes! Go glimpse a nice chick-flick or a documentary instead.

In closing, this was the best comedy of 2008, and it’s not even conclude. They are so devoted to thought of this movie that there is even a guy on the crew named Buster Pile! I kid you not. Hilarious.
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Buy Blood Ties: The Complete Season One DVD. Product: Blood Ties: The Complete Season One 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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Blood Ties is a Canadian production that was filmed as a 22-episode season. In the US, Lifetime TV decided to split was was actually one season into two, with the first eleven episodes (”Blood Stamp” to “Post Partum”) as Season One and the remaining eleven (”Norman” to “Deep Dim”) as Season Two. Blood Ties fans have waited desperately for any news after Lifetime dropped the prove like a hot potato despite intensive fan campaigns including blood drives and donations to charities. Their decision to split the demonstrate into two is heart-broken from a DVD standpoint; The British Blood Ties box situation features all 22 episodes, but the US release features what is essentially half the (only) season. However, there are some righteous episodes here, such as the two-part Heart of Ice / Heart of Fire and the two-part pilot Blood Trace. However, where the British status was devoid of extras, the US version will feature behind-the-scenes materials (and there was rumor of a gag/blooper reel mentioned in an interview) . The release for Season Two is tentatively scheduled for September 2009; with the popularity of Moonlight - The Complete Series, Right Blood: The Complete First Season (HBO Series), and Twilight (Two-Disc Special Edition), sales should be high.

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Blood Ties revolves around Victoria “Vicki” Nelson, an ex-cop with Toronto’s Metro police. Vicki was forced to resign due to a degenerative peruse disease, retinitis pigmentosa, and is trying to build a living as a private investigator. Her fiery romance with fellow cop Mike Celluci is an on-again, off-again affair, and her first case as a PI gives her more than she bargained for: someone is summoning demonic forces, and Henry Fitzroy, her unique partner on the case, impartial happens to be a 480-year-old vampire and is the illegitimate son of Henry VIII.

The series pilot Blood Brand is faithfully based on Tanya Huff’s Blood Stamp (BLOOD SERIES) . The remainder of the season finds Vicki exploring demons, incubi, reanimated corpses, shapeshifters, mummies, voodoo, ghosts…while caught in a crackling fancy triangle between archaic flame Mike and sensual, deadly Henry. Vicki’s recent assistant is the perky Goth Coreen, who also has her inspect on Henry.

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Blood Ties consistently satisfies my cravings for an intelligently handled supernatural cop drama. Its premise sounds promising in print, but without Blood Ties’ cleverly crafted memoir arcs and meaningful character interaction, it would amount to miniature more than a tired monster-movie-of-the-week retread. This is a reveal that wisely knows not to steal itself too seriously, leading to quickly and mad one-liners, visual gags and impeccable comedic timing. The entire Canadian cast and crew does a consistently extraordinary job of bringing Blood Ties to life, and it’s tremendous to discover a Canadian production receive airtime in the States.

The show’s setting is Toronto but is filmed in Vancouver (with exterior shots of identifying Toronto landmarks), but it’s serene Canadian through-and-through, a rarity in days where tired Toronto is expected to double as Everyamericancity. This may be the first present since Forever Knight - The Trilogy, Portion 1 (1992 - 1993) and Due South: The Ultimate Collection - Three Complete Seasons that revels in its Canadianness.

Although Blood Ties is currently off-air, its fan bad continues to spread through word of mouth, Astronomical Fish’s Blood Ties hidden object game featuring characters, locations, and audio from the exhibit, and Internet groups, thereby bringing unique viewers into the fold. It has been at least a decade since I felt so strongly about a TV show; I was so moved by Blood Ties’ strong female role model and spellbinding blend of romance, police procedural, and the supernatural that I downloaded several episodes via iTunes and recruited several friends to the note.

Blood Ties remains my popular post-Forever Knight - The Trilogy, Fragment 1 (1992 - 1993) for its bewitching blend of humor, passion, action, right dilemmas, and the mortal (and immortal) ties that bind. Tanya Huff’s source material has been toned down enough to allow families to indulge in Blood Ties together. Blood Ties protagonist Vicki Nelson (Christina Cox) is a strong certain role model for women through her physicality, self-reliance despite disability, and intelligence.

It’s instantly clear (except to American/Canadian networks who were reluctant to remove up the point to for a second season, grrr…) why Blood Ties was nominated for numerous awards such as Constellation and Leo Awards. The entire cast, headed by Christina Cox (Vicki), Kyle Schmid (Henry), Dylan Neal (Mike), and Gina Holden (Coreen), has an outstanding chemistry that shines on-screen, and I can’t wait to finally bear Blood Ties on DVD!

Vampires are very hot lawful now — the bestselling “Twilight” series, the hit TV expose “Factual Blood,” and the tragically cancelled “Moonlight.”

And one of the better vampire stories to emerge from the crypt is “Blood Ties,” a too-brief prove based on Tanya Huff’s urban fantasy series. The first season has a slightly boring begin, but it’s a solid action/fantasy series with plenty of sensual romance, gritty crime, and supernatural spookery.

On her diagram serve from a date, PI Vicki Nelson (Christina Cox) sees a caped figure attack and end a young man — leaving the body drained of blood. The victim’s girlfriend hires Vicki to earn the culprit. But as Vicki starts prodding around goth clubs and alleyways, she encounters the mysterious Henry Fitzroy (Kyle Schmid) who is doing his absorb destroy investigation.

Turns out Henry is also a sexy 500-year-old vampire, and the bastard son of Henry VII. Together they have to get a creepy demon-summoner, before something far worse is unleashed. And soon she has to deal with a lot of other supernatural problems, with the abet of Henry and her customary partner Mike (Dylan Neal), who detest one another.

Among the problems: voodoo priest and his zombies, a murderous “imaginary friend,” a heart-crushing Celtic ghost, a suburban incubi, a man-eating Wendigo, Egyptian gods, a Medusa, a fertility clinic that produces creepy results, the return of creepy demon-summoning dude, and an immortal priest with an unending vendetta against Henry.

“Blood Ties Season One” fits into the same niche as “Moonlight” and “The Dresden Files” — a detective series with vampires and spooky things, and a human mired in the supernatural. But it’s not entirely the same — “Blood Ties” has a distinctly dim, grimy feel, with lots of pale light, dusky urban streets and a novel vampire (”I don’t have mojo. I have charm!”) .

It also has a nice dismal mystery in each episode, with monsters ranging from distinguished (zombies!) to obscure (svartalfar!), tightly hurt action scenes and some very sensual bloodsucking. And the writers plod up some pleasing dialogue for Vicki and Henry, usually to each other (”It’s fair a conversation, it’s nothing to danger about.” “That’s what my father said to Anne Boleyn”) .

And Cox is splendid as Vicki — tough, strong and beneficial of handling her possess life, but with the vulnerability of a degenerative peruse disease. And she’s backed by Neal as a skeptical, straight-and-narrow cop who obviously has a thing for Vicki, and Gina Holden as a perky Goth who appoints herself Vicki’s original secretary/gofer/research assistant.

And Schmid is the perfect good-guy vampire — he’s devastatingly hot, and he mingles roguish charm, sensuality, ferocity and down-to-earth quirkiness (”If this book isn’t at the printer’s by the ruin of the month, my editor’s gonna demolish me… again!”) . His most knowing work is the prolonged torture of “Heart of Fire,” especially during Henry’s heartrending struggle against his bloodthirst.

“Blood Ties Season One” starts off a limited tedious, but the solid writing and great acting create this one of the better vampire shows to hit TV screens.
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Buy Evita DVD. Product: Evita 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 fair purchased this DVD and I remembered instantly why I enjoyed this film so noteworthy when it came out. I would unbiased like to reply some of the critiques listed here.

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1) The character of Ché was always meant to be a nemesis to Evita, but not the true character as such . In the stage production that I saw, it was a man with the typical beret and machine gun singing to the side of the action. It would have been ridiculous and historically wrong to recount Ché as such in the movie version. Ché Guevara was serene a medical student when Eva died. I judge it is very effective to blend Ché into various characters because it represents the quiet and not so tranquil opposition to the Perón Revolution. The only time the two characters meet for dependable interaction is when Evita is having delusions. The song argued in that moment perfectly clashes Ché’s “idealism” with Evita’s “realism.” Ché is always there in some fabricate, yet Evita is oblivious to his presence, brushes him off with a fleet lyric or purposely chooses to ignore him. This adds a metaphysical dimension to the area as if Evita were increasingly self-justifying her growing power as a simple tool to abet the impoverished.

2) The soundtrack to the movie is not an operatic stage version but the songs are presented using the operatic techniques of repetition. This was done on purpose, not due to a lack of creativity.

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3) When I saw this off off broadway, the people that were with me were straining to understand the singing beside the fact that they had no concept about the history of post WWII Argentina. I don’t believe they enjoyed it as mighty as they wanted to let on.

4) Madonna sings very well and is completely understood. I had the argument with some friends that heard the soundtrack and notion she was singing off key on the last couple of tracks… Ummm. Not really. She was about ready to pass away in those scenes which in the movie are close-ups. It would have been ridiculous to have anyone belt out the lyrics in such an intimate moment before passing on. It sounds like she is dying, because she is…

5) The cinematography is simply astounding. The funeral scene at the very beginning was improbable as well as the scene where Eva puts her foundation to work. Pictures of the precise Evita meeting the Pope and others perfectly match the costumes stale in the movie.

6) For me, the main focus of the movie is the strategy of propaganda and how it can dominate reason. The mystery lies in how worthy of the persuasion was authentically from the heart of the Peróns and how worthy of it was naked manipulation. The movie captures both aspects and yet leaves them unanswered…Grand like the historical analysis of Eva Perón.

This movie is an awesome production …

Boy do people miss the point on this movie. You can’t prove a movie like a broadway present. Everytime this has been attemped, historically, the results are terrible, most adaptions of celebrated shows are only OK at best, some are abominable. The medium is totally different, the demands are different, the singing is different, the acting style is different. Yes, the shows usually are “better”, in a sense, that’s how it was originally written, as a stage play. You have got to really change things to do a successful movie.

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So how suitable an ADAPTION is this? Very wonderful indeed. The epic was changed to very effectively fit the medium. Madonna stretched herself unbelievably to do this role, and I reflect she did very well. You may quite validly take the stage version of Evita (I like both), but its almost like apples and oranges. As safe as Patti Lupone and Mandy Patinkin were, they would, if they played it the same arrangement anyway, advance off mannered and absurd in a movie context. All the conventions of the stage would be droll. (unless it was simply, of course, an loyal filmed stage production) . On the other hand, Madonna and Banderas are not nearly strong and polished enough for a stage. Most of the changes (a few I don’t understand), create a lot of sense, when you assume how a movie has to gallop.

As for this movie not being deep or historical, its a musical for Pete’s sake, not “Saving Private Ryan.” I don’t know enough about Eva Peron to really say, but I don’t survey how you could display a staunch historical drama in a musical context. I believe the quandary is people don’t like or understand opera, which this essentially is. Most of the mammoth operas have ludicrous myth lines! Also if you are going to go in shiny you “abhor” musicals, “loathe” Madonna, then fair, this is not to your taste. Banderas is not a polished singer, but his rough edged singing is very piquant and effective in this context.

The cinematography, costumes are outstanding, and assist the myth well. Only as the dying Evita, do I glean Madonna not very believable. I judge Evita is thrilling, its one of my common movies of unique years.

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I like the display Evita, and I appreciate this too, but in a very different plot.
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2001: A Space Odyssey Movie Streaming. Product: 2001: A Space Odyssey 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 haven’t seen any of this, but I idea anyone alive to in this unusual edition might come by it useful, since it’s currently not in the product description.

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The 2001: A Region Odyssey (Special Edition) DVD will feature the following bonus materials:

* Commentary by Keir Dullea and Gary Lockwood

* Theatrical trailer

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* Channel 4 documentary: 2001: The Making of a Myth

* Standing on the Shoulders of Kubrick: The Legacy of 2001

* Vision of a Future Passed: The Prophecy of 2001

* 2001: A Residence Odyssey - A Gawk Gradual the Future

* 2001: FX and Early Conceptual Artwork

* Look: Stanley Kubrick!

* Audio-only interview with Stanley Kubrick

In regards to the uneducated 2.35:1 zealot reviewer, as a Director of Photography, I can region unequivocally that 2001 is supposed to be in 2.20:1 aspect ratio. It was shot in 2.20:1. It was not shot in Cinemascope (or anamorphic Panavision), which is 2.35:1. It was shot with straight lenses in Shipshape Panavision 70 (65mm negative, 70mm projection print with soundtrack) . Natty Panavision 70 is a 2.20:1 aspect ratio format. When you are watching a 70mm print in a theater you are watching 2.20:1, which was never as wide as the anamorphic formats. Learn your aspect ratios.

Not to mention the fact that Kubrick went to the improbable anguish of exposing his special effects composite shots as successive passes on the unusual undeveloped 65mm negative (after it being held sometimes in refrigeration for up to a year or more waiting for the next pass) so that all the composite visual elements are first generation on the current camera negative, rather than the cheaper and more popular optical composite dupe negative inserts. Unbelievable. That is why it looks as obliging as it does. No optical negative generations.

A Comely Film…and one of the best executions of the 70mm format ever.

A proper Visual Masterpiece.
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Buy Scouts to the Rescue DVD. Product: Scouts to the Rescue 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 was righteous, a 12 piece boy scout action/adventure series. If you are interested in Boy Scouts you will savor. We showed this at a YMCA Lock in our Troop did, and a lot of the boys really got into it. I hold all of these musty scout videos I acquire, this one was definetely novel.

VCI Entertainment and Universal Pictures reveal…”Scouts to the Rescue” (1939) (Dolby digitally remastered), a 12 Chapter cliffhanger from a thrilling adventure of breath taking exploits and suspenseful Universal serial featuring a safe cast — Starring Jackie Cooper, David Durand, Bill Cody Jr, Vondell Darr,William Ruhl and Sidney Miller — Directed by Alan James and Ray Taylor and released in November 5, 1939, our legend line and film has the leader of Martinsville Troop No. One, Eagle Scout Bruce Scott (Jackie Cooper) searching for buried appreciate with a way supplied by current scout Skeets Scanlon (Bill Cody Jr) ….what is this hidden fancy in “Ghost Town” that the scout pack have uncovered, and why are the counterfeiters also keen in this unusual win…what tribe of Indians are living in the mountains who have been lost for centuries and are now witnessing civilization closing in on them….can G-Man Hal Marvin (William Ruhl) breakup this counterfeiting ring of Pug O’Toole (Ralph Dunn) and Doc (Jason Robards Sr) who are ready to go to press…will Jackie Cooper set the bacon of everyone concerned in this 12 chapter play and sustain Universal Pictures in the forefront of weekly serial cliffhangers…don’t leave the theater until the final chapter is over and done with “The Boy Scouts Triumph”….unbiased remember double thrills, chills, mystery and suspense…hitting the bull’s explore with excitement…don’t miss a single spine thrilling episode..return next week to this local theater for another episode of action and adventure that will maintain you thrilled until the next chapter.

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Under director’s Ray Taylor and Alan James, associate producer Henry MacRae, screenplay by George Pympton, Basil Dickey, Wyndham Gittens and Joseph Poland, fresh narrative by Irving Crump of “Boys Life” magazine, dialogue director Ella O’Neill, musical fetch by Charles Previn, stunts by Eddie Parker (stunt double for William Ruhl) …the cast includes Jackie Cooper (Bruce Scott), David Durand (Rip Rawson), Vondell Darr (Mary Scanlon), Edwin Stanley (Pat Scanlon), William Ruhl (G- Man Hal Marvin), Bill Cody Jr (Skeets Scanlon), Sidney Miller (Hermie/a Scout), Ivan Miller (Turk Mortensen), Ralph Dunn (Pug/henchman), George Regas (Lukolu/high priest), Jack Mulhall (Scoutmaster Hale), Jason Robards Sr (Doc/henchman), Dick Botiller (Leeka/leader of warriors), Tom Steele (Runaway surry driver), Eddie Parker (Joe/rider with message), Franklin Delano Roosevelt (Himself/archive footage), Iron Eyes Cody (Indian), Victor Adams (Hurst/hencman) ……..special footnote, actor Jackie Cooper playing “Daily Planet” editor Perry White is one of only four actors to appear in all four “Superman” films (the others were Christopher Reeves, Margot Kidder & Marc McClure), Cooper up to the display 2005 is the youngest actor to be nominated for “Best Actor in a Leading Role” at the Academy Awards……..meanwhile help to our Universal Serial which is always pleasant till the last topple and this serial is no exception…there is a big deal of entertainment here for the cliffhanger fans out there…all courtesy of VCI Entertainment, who in my humble understanding is the best there is in restoring early serials and features.

BIOS:

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1. Jackie Cooper (aka John Cooperman Jr)

Birth Date: 9/15/1922 - Los Angeles, California

Status: (unruffled living as of 2005)

2. Sidney Miller

Date of Birth: 22 October 1916 - Shenandoah, Pennsylvania

Date of Death: 10 January 2004 - Los Angeles, California

3. Alan James (Director)

Date of Birth: 23 March 1890 - Port Townsend, Washington

Date of Death: 30 December 1952 - Hollywood, California

4. Ray Taylor (Director)

Date of Birth: 1 December 1888 - Perham, Minnesota

Date of Death: 15 February 1952 - Hollywood, California

CHAPTER TITLES:

1. Death Rides the Air

2. Avalanche of Doom

3. Trapped by the Indians

4. River of Doom

5. Descending Doom

6. Ghost Town Menace

7. Destroyed by Dynamite

8. Thundering Hoofs

9. The Fire God Strikes

10.The Battle of Ghost Town

11.Hurtling Through Space

12.The Boy Scouts Triumph

If you’re into vintage serials as I am, why not choose up a copy of the following titles from VCI Home Video:

VCI CLIFFHANGER TRAILERS:

1. Adventures of Red Ryder (Don “Red” Barry)

2. Adventures of the Flying Cadets (Bobby Jordan)

3. Buck Rogers (Buster Crabbe)

4. Captain Midnight (Dave O’Brien)

5. Captain Video: Master of the Stratosphere (Judd Holdren & I. Stanford Jolley)

6. Dick Tracy’s G-Men (Ralph Byrd)

7. Don Winslow of the Navy (Don Terry)

8. Don Winslow of the Sail Guard (Don Terry)

9. Drums of Fu Manchu (Henry Brandon)

10.Fighting Kit Carson (Johnny Mack Brown)

11.Flash Gordon Conquers the Universe (Buster Crabbe)

12.The Green Archer (Victory Jory)

13.Jungle Girl (Frances Gifford)

14.Jungle Jim (Grant Withers & Raymond Hatton)

15.The Lost City (Kane Richmond, William Stage Boyd & George Gabby Hayes)

16.Lost City of the Jungle (Russell Hayden & Keye Luke)

17.Mandrake the Magician (Warren Hull & Dick Curtis)

18.Miracle Rider (Tom Mix & Tony Jr)

19.The Painted Stallion (Ray “Shatter” Corrigan)

20.The Phantom (Tom Tyler)

21.The Return of Chandu (Bela Lugosi)

22.Riders of Death Valley (Dick Foran, Leo Carrillo & Buck Jones)

23.Secret Agent X-9 (1937) (Scott Kolk & Henry Brandon)

24.Secret Agent X-9 (1945) (Lloyd Bridges & Keye Luke)

25.Sky Raiders (Donald Woods & Billy Halop)

26.Undersea Kingdom (Ray “Fracture” Corrigan)

27.Winners of the West (Dick Foran, Harry Woods, Roy Barcroft & Charles Stevens)

28.Zane Greys “King of the Royal Mounted” (Allan “Rocky” Lane)

29.Zorro’s Cliffhanger Collection (Reed Hadley, John Carroll & Linda Stirling)

Great job by VCI Entertainment for releasing “Scouts to the Rescue” (1939), the digital transfere with a natty, obvious and crisp print…looking forward to more high quality releases from the vintage serial era of the ’30s, ’40s & ’50s…order your copy now from Amazon or VCI Entertainment where there are plenty of copies available on DVD, pause tuned once again for top notch action mixed with deadly adventure from the “King of Serials” VCI…unbiased the map we like ‘em

Total Time: 235 mins on DVD ~ VCI Entertainment 8484 ~ (5/29/2007)
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No dependable surprises here, but I made obvious to have no expectations as only two people came over from the first Road Saunter (DJ Qualls and the tour mom) . Tale follows our college youth who compete in a nationals beer pong tournament and the troubles they go through in getting there. Along the draw we come by treated to some dead subplots, plenty of lovely breasts, and lots of beer pong. I dig these kind of movies and they can rent/sell very well when it revolves around beer, but this was unprejudiced below average in entertainment value.

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The recount and sound were pleasing, but the supplements were funnier and more absorbing than the movie. Including:

* On The Road to Victory/Making Of - 25 runt featurette containing the cast/crew interviews; which had some laughable insights like how stoked the writer was that he got the sequel director on board (this crew has made the Bring It On follow-ups, the American Pie and Slap Shot sequels) and how the director had cast the tour mom in this film not even lustrous she had been in the first Road Lumber.

* Bodacious Babes of Ta Ta’s - 3 miniature blurb on the gals that filled their roles (and half-shirts) for that sequence of the film.

* Chastity Bus - 3 minutes on the fun that group of gals had playing their parts.

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* Derive Your Balls Wet - 9:28 microscopic acquire on how the cast feels you should play the game, I utter it would be the vital for those wanting to learn the finer points. Covers what they learned in doing their “research” for the film.

* In The Buff - 5 minutes on the party they had in filming the concert sequence towards the slay.

* Deleted Scenes - 5 minutes of forgettable cuts.

* Bloopers - 7 minutes long, and honestly it was funnier than the entire movie.

The unrated is only a puny longer and I did not search for anything monumental of “unrated” quality. Another one of those you have playing in the background at a party. One for the movie and two for the extras, skipper otherwise. Relish.
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How powerful abuse can one body capture? When we last left Chev Chelios (Jason Statham), he had fallen from a helicopter, bounced off a car, and landed on a street in the middle of Los Angeles. And this was after being injected with a toxin that stopped the production of adrenaline. Now he finds himself in the middle of an operating room, his still-beating heart removed from his chest and replaced with an artificial version that’s twisted up to a battery. When the battery gets destroyed, he’s left with only an implanted backup generator, and in order for that to support working, he must hold himself electrically charged. Sometimes, that involves sticking his finger into a car socket. At other times, that involves clamping jumper cables to his nipple and tongue, at which point the person gradual the wheel hits the accelerator.

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The unique “Crank” was shameless, high octane fun, and so is “Crank: High Voltage,” a film that doesn’t know the meaning of the word “excessive.” There’s not a imprint of humility to be found in any one of its ninety-six minutes. It’s an unabashedly low crime caper that uses four-letter dialogue as if being paid by the letter. It’s an in-your-face assault on the senses, a hyperactive video game that never makes exercise of the conclude button. Normally, these would be the hallmarks of a God-awful film, but in this case, they’re the hallmarks of a stylish thrill poke that’s impartial as amusing as it is frightful. It’s a movie so mettlesome in its insanity that I fair worthy have to recommend it; it may not be the most qualified thing you’ll ever watch, but it certainly will be the most unforgettable hour-and-a-half you’ve had all spring.

The story: An Asian gangster named Johnny Vang (Art Hsu) is somewhere in Los Angeles with Chelios’ heart, which is said to be indestructible and therefore perfect for harvesting. Chelios, with only a weakly powered artificial heart to work with, goes on a frantic search, stopping every so often to recharge. Along the intention, he meets a number of … attractive people. There’s his ancient flame, Eve (Amy Shining), who now works as a stripper. There’s a Chinese prostitute named Ria (Ling Bai), who clings to Chelios like a dog in heat and uses language that would invent a sailor blush. There’s Venus (Efren Ramirez), who’s on a mission to avenge the death of his twin brother, Kaylo. Chelios has an occasional phone conversation with Doc Miles (Dwight Yoakam), who was once a heart surgeon before losing his license.

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The movie is filled with fabulous moments, but there are three in particular so priceless that I have to report them. The first takes plot at Hollywood Park, where a horse rush is being held. Miles tells Chelios that, in a pinch, skin to skin friction will generate enough static electricity to preserve his battery going. When Eve learns of this, she and Chelios start creating their enjoy “friction”–in the middle of the racing track to a cheering crowd of thousands. The second takes site in a power grid. Chelios and Vang originate fighting, at which point the scene turns into a cheesy Asian monster movie, complete with unconvincing miniatures and makeup effects. The third is a peculiar flashback sequence revealing Chelios as a child (Billy Unger) . He and his mother are on a talk demonstrate discussing why he became such a juvenile delinquent.

None of this has any loyal bearing on the story; they’re nothing more than excuses for the movie to be ill-mannered and/or goofy. There are, of course, many other instances of these extremes, but they’re all so over the top that I probably wouldn’t be able to recount them anyway.

I leave it to you to stare what happens at the kill. Let it suffice to say that the shot before the demolish credits perfectly sums up everything the filmmakers place out to do. It would not be enough to say that this movie is bizarre; it’s so unfamiliar that it resplendent remarkable defies the conventions of genre. Comparisons can be made to “Shoot `Em Up,” Michael Davis’ no-holds-barred, brilliantly modern action film from 2007 that made employ of stylized violence and a delightfully sick sense of humor. Both films also feature a British leading man. This leads me to why “Shoot `Em Up” is the more successful film: Clive Owen gave us a performance we hadn’t seen him give before. Jason Statham, on the other hand, has starred almost exclusively in coarse action films, so there’s very diminutive he can do to surprise us.

Nevertheless, I’d be lying if I said that I didn’t appreciate this movie, and it has everything to do with how far it goes. There’s a dissimilarity between a movie that goes too far and a movie like “Crank: High Voltage”–the latter goes so far, it actually surpasses offensiveness and becomes inviting. This is cinematic decadence at its most potent, an unbridled foray into the mind-numbing depths of action, comedy, and yes, even sex. One of the earliest cues is given by John de Lancie, who plays a TV anchorman; he describes the events of the first film as implausible. No, he doesn’t honest say the word. He pauses momentarily before accenting the word, as if to let the audience know that they’re in store for yet another round of sheer lunacy. The writing/directing team of Brand Neveldine and Brian Taylor could have made a tamer film, I deny, but like Chev Chelios, they’re hearts unprejudiced weren’t in it.

Like a car break - in this case something like an oil tanker colliding with a school bus pudgy of baby kittens - Crank: High Voltage is disturbing to an intense degree, yet it’s difficult to gape away. Topping its predecessor in every manner of excessive vulgarities, Crank’s acknowledgment and subsequent self-reflective mockery of its fill escapist anti-realism produces a highly provocative employ in both parody and hurdling over the boundaries of ample taste. Wholesome entertainment this is not. But it’s entertainment nonetheless.

For relentlessly revenge-driven and eternally mad hitman Chev Chelios (Jason Statham), not even death could dumb him down. After being poisoned, beaten, shot, and falling several thousand feet onto unforgiving pavement, Chelios is alive and well, place for having his indestructible heart stolen by Chinese mobsters and replaced with a mechanical one. Now forced to re-energize his ticker with bursts of electricity at frequent intervals, the bitter killer must hunt down his assailants while simultaneously fending off nearly limitless enemies from his past. On his side is vitriolic girlfriend Eve (Amy Colorful), maniacal ex-doctor Miles (Dwight Yoakum), spastic ally Venus (Efren Ramirez) and an unquenchable thirst for vengeance.

Crank: High Voltage finally recognizes the shortcomings of the current and uses them to its advantage. Realizing that an attempt at serious hardcore action gave blueprint to unrealistic, hyper-stylized, implausibly frenetic chaos and unintentional humor allows High Voltage to demolish free from its restraints and fully embrace the over-the-top humor that Crank reservedly craved. The convey nonsense that surrounds this fast-paced sequel that refuses to choose itself seriously oozes with bloodthirsty violence, overdoses of risqué sex in very public places and crazily callous cursing.

“Fatal” means nothing to the seemingly invincible Chelios or to the wide assortment of oddballs that frequent his odyssey. It’s outrageous, cruel, low, and off-color and perhaps the best brainless escapism to bombard the action film scene in powerful too long. From the opening scene in which Vang smugly flicks cigarette ashes onto Chev’s exposed “strawberry tart” during open-heart surgery, to Doc Miles’ reminiscing about the loss of a medical license due to his wife’s failed vaginal rejuvenation plan in the basement, to Venus’ untimely fat body Tourette Syndrome attacks, Crank: High Voltage quadruples the action, fatalities, feeble lady defilement, random nudity, and unbelievably crooked villains, and even has time to throw in a John Woo homage or two and opera music for advantageous measure. Unbiased watching this film will obtain you high.

- The Massie Twins
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“Public Enemies” proves that Michael Mann is factual up there with Martin Scorsese at directing compelling crime dramas. This film, based on a book detailing the nexus of John Dillinger, J. Edgar Hoover, and Melvin Purvis, covers the last year and a half in the life of the noted bank robber, who was branded “Public Enemy Number 1″ by Hoover, who was building what would become the FBI. Chasing Dillinger for Hoover was Purvis, who relentlessly pursued Dillinger until the fateful night outside the Biography Theater in Chicago.

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Johnny Depp plays Dillinger as a fun-loving but uncertain criminal whose only belief seems to be to live life on the edge until he falls off. As usual, his performance is spicy and utterly believable. Billy Crudup wonderfully plays Hoover as a man obsessed with growing the Bureau, obsessed with public relations, and obsessed with capturing John Dilliger, and Christian Bale plays Purvis as an knowing, kindly, and caught in the difficult space of trying to regain Dillinger while at the same time lovely a demanding, overbearing publicity seeker.

The film features tremendous supporting performances from Marion Cotillard as Dillinger’s girlfriend, Billie Frechette, and Stephen Lang as a musty Bureau agent assigned to hunt Dillinger.

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This is film has plenty of action and thrills, but also possesses sizable acting, shiny writing, and masterful directing by Mann. Public Enemies is one the best films to approach out in the summer of ‘09.

“Public Enemies”, helmed by eminent director Michael Mann, is a thriller of the most testosterone fueled variety. It’s a speedily paced actioner brimming at the seams with intense shootouts and a well-stocked cast of steely-eyed, square-jawed men harboring classic narcissistic complexes. Johnny Depp makes a suave, calculating Dillinger. It’s more of a manufactured character than an interpretation of the genuine life Dillinger, but this is of miniature consequence because Depp achieves big theatrics with his morose glare and devil-may-care attitude. He plays it grand as I imagine Steve McQueen would’ve in his heyday, plowing through his world with a sort of darkly icy, apathetic demeanor that suggests he doesn’t care one procedure or the other about anything.

The supporting characters are superlative as well, particularly Stephen Dorff as Homer Van Meter. There’s an intensity to his character that Dorff really brings out. In fact, I didn’t even see him at first (interestingly, he looked very similar to actor Tim DeKay) . Jason Clarke, who portrays John “Red” Hamilton, is an actor primarily known for his television work. I surmise he was chosen for his striking resemblance to the actual life criminal; impartial compare his photograph to the sinful mug of Hamilton. He’s probably the most featured gangster, other than Dillinger, being that Hamilton is portrayed as his suitable hand man. Of course, Christian Bale turns in an able performance as respected G-Man Melvin Purvis - donning yet another one of his celebrated accents for the role.

The film begins in media res with an gripping jailbreak, something which I greatly enjoyed. I was glad the film didn’t extinguish time trying to account for Dillinger’s childhood and upbringing. There is no hollow attempt to apply reason to his actions or residence blame for his anti-social behavior. In the ruin it doesn’t matter what led him to a life of crime, particularly since over the years the man has transformed from a folk hero into a veritable epic. It’s definite Mann’s vision was ambitious. He attempted to pack all the nuances and complexities of Dillinger’s world into only two hours and because of this the kill product is a bit too busy. I rep the feeling that a bit of streamlining the script might not have been an abominable belief. That aside, it’s positive that Mann knew what audiences wanted to eye is a rip-roarin’ pick on the robberies, shootouts, and defiance of the law that filled the bulk of Dillinger’s life moral on up until the bitter demolish. This film performs those functions in spades!

The major lacking feature of the film is that characterization takes a backseat to the action. This is, perhaps, inevitable considering the colossal ensemble cast and the fact that nearly every character is based on a very loyal, very well-known person. Often many seemingly piquant characters never quite gel with the audience because their screentime is so brief. One such character is Gilbert Catena, portrayed by Domenick Lombardozzi (probably best known for his role on HBO’s The Wire) . Serene, those aspects aside, every performance here is stellar. Unbiased scrutinize at the supporting cast which includes: David Wenham, Marion Cotillard, Giovanni Ribisi, and Billy Crudup, among others. It’s my enthusiastic hope that upon its release to home video there’s an extended prick of the film because I would appreciate to gaze more of these characters (especially Fine Boy Floyd, since he is only in the film for a scant couple of minutes) .

I’ve noticed many critics mention that the film unnecessarily milks the climax of the film, which is obviously Dillinger’s execution outside of the Biograph Theatre. I didn’t mind this so powerful because it’s such an iconic event of the Public Enemy era, and more than that, the film portrays Dillinger’s death with trusty detail and follows what we know of the right event to the letter. The scene features numerous clips of the film Dillinger watched: Manhattan Melodrama, the gangster vehicle starring Clark Gable.

The film surmises, with agreeable reason, that Dillinger probably identified with Gable’s character. It illustrates this by showing one of the haunting final scenes, when William Powell offers to have his death sentence commuted, Gable replies with “You assume you’re doing me a favor by keeping my locked up in this joint for the rest of my life? I don’t want it. If I can’t live the map I want, then at least let me die the plot I want.” Dillinger’s face expressed gargantuan conception, perhaps even compassion, with this statement. It’s a immense cinematic moment, especially since the audience is very well aware of what is about to transpire in his contain life.

I give bonus points to the production crew for so aptly depicting mid-west America during the Depression. Many real-life buildings were redressed to peek as they did during the time and their efforts greatly enhance the atmosphere. Then there are the detailed setpieces (one of my favorites, though it’s a blink-and-you’ll-miss-it one, is Gilbert’s shop), the hairstyles and slick suits, the classic cars - they hit all the notes correctly. There’s even some venerable slang film fans will remember from gangster films made in the thirties, such the calling of prison guards “screws”.

The robbery scenes, being the lynchpin of any Dillinger memoir, are somewhat brief but accurately relate Dillinger’s tactics and methods. Also, concerning proper history, this film does grasp liberties with what really occurred (like any film does) . Perhaps the most egregious liberties are taken concerning the demises of the various gangsters. For instance, Beautiful Boy Floyd is depicted as being killed months prior to Dillinger’s death (Dillinger even references his demise to Pervis), when in fact he died months afterward. Also, Homer Van Meter survived Dillinger, only to be killed a month later. These aspects are often a considerable scandalous, because a filmmaker must strike a balance between reality and entertainment - and the two do not always intersect seamlessly. If you want a version that follows the facts exclusively - select the book.

In summation, “Public Enemies” may not be remembered as a classic action film, but it will be remembered as a classic gangster film. The most gratifying aspect is that, recent for most action films, all the actors turn in very memorable performances. Some critics and the press have commented on how Bale is absent from nearly all the trailers and promotional materials for this film, but when you explore it, the reason is quite understandable. This is unquestionably Depp’s film, and though I concede to not having a particular predilection for him, his role here is not to be missed. This is well worth the notice of admission!
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I loved this movie. It was totally bonkers: a human baby accidently ends up on the north pole and grows up among the elf community that supports Santa Claus. Buddy, as he comes to be known, knows that he’s “special” however, since he can’t withhold up with the other elves. Never mind the fact that he’s about three times as enormous as any of them and barely fits in the shower.

When he’s 30, and unruffled young by Elf standards, he learns that he’s really a human. Buddy decides to go in search of his father (who’s on Santa’s playful list), to win out where he belongs. He walks to Unusual York (through the Lincoln tunnel), and is immediately speed over by a cab. The chain of events starts at that moment …

Buddy is a enjoyable and inspiring character with many special talents and a childish personality. He is naive to the point of stupidity, but charming all the while. His lovable demeanour gains him friends in spite of his clumsy efforts. He is sweet, kind and grand. When his father at first rejects him, Buddy ends up in a department store where other elves (people who pretend to be Santa’s elves) are working, and stays up all night to decorate the location. When the department store Santa isn’t the trusty Santa, well, you can guess what happens …

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Buddy eats spaghetti covered in syrup, smarties and pop tarts; he gets drunk in the mail room of his father’s office and his young half-brother shows him to ask a girl out on a date.

But all the while, things are looking awful for Santa Claus (and also Buddy’s father) . How will Buddy rescue the day? When Santa crashes his sleigh in Central Park, it’s Buddy’s moment to shine.

Abstract, engaging, child-like madness all originate up this sparkling movie. Absolutely appetizing and recommended to viewers of all ages. If you want a Christmas feel-good movie, this is it.

First of all, this was the funniest film I have ever seen; I was in tears half method through. Yes, it is a kids’ movie, but adults pick up to search for Will Farrel rip the heart out of Christmas by camping it up and being ridiculously genuine. Watching Farrel initiate a fight with a false Santa for “sitting on a throne of lies” is about as fun as films derive.

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Those reviewers who judge that this was cheesey nonsense - duh. It was supposed to be, and that is what made it so comic. And you seem to have missed the whole essence of the film.

Oh, and the kids liked it too.
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