Product: The 40-Year-Old Virgin
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Surprise, it’s a morality anecdote disguised as a sex comedy.

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Imagine you combined a few of the best parts of Something about Mary, 40 days and 40 nights, Sideways and ( as uncommon as it might sound) an after school special. Now, throw in more profanity than really well-known and imagine that the combination worked.

Plus, unlike the Josh Hartnett film, 40 days and 40 nights, there is some accurate concept given to the kind of person who is shown.

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It’s not Shakespeare. It’s not Once Upon a Time In Mexico. And it’s not the Usual Suspects, but for what it is it works.

And what it is, is the smartest insensible movie I’ve seen in a very long time.

Among its many surprises, is you have a peep group of men who actually witness out for each other.

You also have an handsome grandmother who is not the standard cookie-cutter grandmother.

These are unbiased two of the many departures from the expected that design this anything but the one-note comedy that the commercials design it seem like.

The 40 year-old is reduce from the same cloth as Steve Martin’s early masterpiece, the Jerk, and as someone in his thirties, it’s refreshing to study a comical movie, where the main character is not a 20-something.

Plus, the soundtrack is a surprising combination of some of the forgotten treasures of pop and broadway.

Perhaps, the best of all, it’s nice to be reminded that everyone is running on their occupy schedule in life.

My first viewing of “The 40-Year-Old Virgin” was slow in its theatrical bustle. By then it had been banished to the smallest theater in the multiplex, so me and (I seize) the only other middle-aged virgin in town were its sole audience. I wish I’d seen it sooner, because it’s now one of my all-time popular comedies.

Forty-year-old Andy Stitzer lives a comfortably regimented singleton life - similar to the main character from “About a Boy,” except chaste, uncool, and with no internal monologue. He works in the service department of Intelligent Tech, a Circuit City-like electronics store. One day, a couple of coworkers ask him to be the fifth man at a poker party. He accepts, but during the game is outed as a virgin. The rest of the movie revolves around his friends’ imperfect attempts to obtain him curved up, along with Andy’s certain efforts to overcome his terror of women and woo Trish, an glorious customer who owns an online auction store the street.

This could easily have been another lowbrow copulation comedy. However, it’s powerful better than that. Steve Carell (also a co-writer) does a fair job of making Andy into a sympathetic character. Indeed, I easily identified with his motivations and actions: the awful experiences that led him to forsake dating, his sprint into fantasy, and even the mundane activities he uses to bear his solitary life. Andy’s friends are also fascinating because they portray flawed approaches to women. David (Paul Rudd) is obsessed with a gal who dumped him years ago, Cal (Seth Rogan) objectifies females, and the serial cheater Jay (Romany Malco) can’t commit to his longsuffering girlfriend.

The movie has been lengthened in this DVD edition by 17 minutes with additional and extended scenes. As for DVD extras, this edition is packed with a decent assortment. Deleted scenes like Andy’s public karaoke debut added depth to the characters. A series of outtakes include the usual blown lines, gaffes, and laughing fits. The keen commentary contains gripping bits of trivia on the filmmaking process. However, it was a bit too crowded for my taste (impartial about everybody shows up), and Seth Rogan has a tendency to dominate the proceedings. Unfortunately, Catherine Keener is a glaring absence. Her portrayal of Trish is advantageous, and I really wanted to hear her perspective. Finally, the other featurettes, such as the waxing scene “making-of” bit, are stock, but passable.

Although it’s somewhat raunchy, as a Christian I have to commend “The 40-Year-Old Virgin” for a single crucial thing: it’s the only mainstream movie I know of that makes chastity until marriage notice like a large notion. That alone is enough to recommend it (even if my pastor disagrees) . But the humor, yarn, characters, and performances are also worth the gaze - especially if someday, like me, you hope to boom “Age of Aquarius” on your honeymoon.
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Product: Anne of Green Gables - The Sequel
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First of all, “Anne of Green Gables– The Sequel” is merely the Canadian name for “Anne of Avonlea”, as it was renamed in the States. I view a lot of reviews here which slam the third movie, but that was “Anne of Green Gables– The Continuing Legend”. I won’t argue with this slammage, but the Amazon DVD offering at convey here seems, by the title and the photo, to be “Anne of Avonlea/Anne of Green Gables– The Sequel”. So on to my review:

I contemplate this movie is a gem; aloof intensity and charm. You can read a million reviews of that aspect here: I’m concentrating on the disc quality, since no one else seems to.

First of all: this disc is a “flipper” (you have to flip the DVD over in the middle of the movie), but people accustomed to changing tapes in the middle of the demonstrate on the ragged VHS version aren’t going to shriek that grand when they have to do the DVD equivalent. I know I didn’t.

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That said, the recount quality is the worst I’ve ever seen. Yes, the *worst*. Worse even than when Sullivan assign the recent miniseries out on DVD. The transfer is exceptionally grainy, and the opening credit montage, with seaside vistas of shoreline and ocean, has immoral compression-artifact induced pixellation: there are ghastly globs of blocky-looking areas in the ocean, in the rock, even on Megan Follows’ face. It is dim that a glorious recount like this has been marred by such an unprofessional transfer.

My advice is not to remove this disc. Sullivan Entertainment fooled me once when they sold me the first version of Anne of Green Gables “Digitally Restored” on DVD and it looked unpleasant. Shame on them. They fooled me twice when they build out a “Collectors Edition”, and I assumed that they were so embarrassed by the gawk of the current that surely they *must* have remastered it. Shame on me. They fooled me a third time with Anne of Green Gables: The Sequel, which is supposedly “Digitally Restored”, too, but honestly looks more like an MPEG-1 VCD than a DVD. And all three releases are for the ridiculous effect …to us Stateside fools.

I was a trusting fool. Don’t be fooled like I was. Preserve your VHS tapes, no matter how old. Avoid this release like the bubonic plague, and hope that a video distributor like Buena Vista with *some* standards for quality gets the rights to this film, and is able to do it true. I am very disappointed, and Sullivan Entertainment will *never* again score any more of my cash.

The modern mini-series of “Anne of Green Gables” ended with Anne (Megan Follows) on speaking terms with Gilbert (Jonathan Crombie), but detached the only person in Avonlea who does not know that the two of them are meant to live happily ever after. “Anne of Green Gables” is adapted by writer-director Kevin Sullivan from the second, third, and fourth novels in the series, drawing primarily on the last one, “Anne of Windy Poplars” for her experiences teaching at a girl’s school. There is also a major subplot regarding a rich widower who seems to offer Anne everything she has ever wanted that is largely Sullivan’s creation; Morgan Harris (Frank Dispute) is considerable older than Anne’s other beau in the series. The primary thing is that he keeps the ending of “Anne of the Island.”

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I am obvious most of you like all of the Anne books and the first two films, which means the command is why you should also bewitch up the DVD versions. The respond is simply the director’s commentary. There are a few missing scenes, several of which are alternative takes, and some behinds the scenes level-headed photographs, but the chief charm here is listening to director Kevin Sullivan talk to the film’s editor about the production (she does not have great to say; I mediate she was there to give Sullivan a staunch person to talk to during the almost four hour film) . From this commentary you will learn where many of the scenes were shot on PEI but mostly around Toronto (we tracked down several of them on the drag home from PEI, including THE BRIDGE), what he took (and why) from the three Lucy Maud Montgomery novels this film was based on, Dame Wendy Hiller’s accident that almost made her conclude the film and the scene she insisted Sullivan shoot for her, and loads of other spicy shrimp details about the production and the performances.

This is certainly an above average commentary track and fans of the film will not be disappointed. It would be nice if the DVD features closed-captioning, which I like to turn on while doing the director’s commentary, but despite this rather unique omission, I assume fans will bask in this addition to their collection. Besides, it is not like we have not already lovely great memorized the entire display. Final Note: If you contemplate the opening scene of “Anne of of Green Gables: The Sequel” or whatever it is being called this time around) you will search for Anne Shirley bicycle by Dalvay by the Sea, the “White Sands” hotel from the “Avonlea” series. I mention this because I stayed at the hotel for a couple of days at the open of my honeymoon on PEI, where I picked up both of the “Anne” DVDs after seeing the musical version of “Anne of Green Gables” in Charlottetown.
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Product: Battleship Potemkin (The Ultimate Edition) (2pc)
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The Battleship Potemkin uprising happened in June, 1905, when the ship’s crew rebelled against their oppressive officers. It is usually regarded as one of the first leading events to the 1917 Russian Revolution.

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This legendary film was produced in 1925 by Mosfilm, at the height of the still cinema period and is, perhaps, the most noted example of the Soviet school of editing whose style and theories are deeply influential even today!

The film is divided in five episodes: “Men and Maggots” (showing the sailors revolting when forced to eat foul meat), “Drama at the Harbor” (which shows the revolt being smashed and its leader killed), “A Wearisome Man Calls for Justice” (showing the people of Odessa crying the loss of the revolt’s leader), “The Odessa Staircase” (showing the Army marching over the people - and killing them) and the final episode: “Rendez-Vous with the Squadron” which closes the film.

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Now, the dilemma with BATTLESHIP POTEMKIN is that, being regarded as a masterpiece (like METROPOLIS, BIRTH OF A NATION, PANDORA’S BOX, INTOLERANCE and CABIRIA), it is also a work with a high degree of political squawk (like TRIUMPH OF THE WILL) and, like many of those films, it has been censored, reduce, re-cut several times… until virtually none of the several circulating versions of it (most in public domain and lousy shape) meets the version made by Eisenstein.

Kino joined forces with the Deutsche Kinematek, the Russia’s Goskinofilm, the British Film Institute, Bundesfilm Archive Berlin, and the Munich Film Museum in order to note this all fresh restoration. Shots have been replaced, and all 146 title cards restored to Eisenstein’s specifications.

Edmund Meisel’s definitive 1926 gain, magnificently rendered by the 55-piece Deutches Filmorchestra in 5.1 Stereo Surround, returns Eisenstein’s masterwork to a manufacture as stop to its creator’s valorous vision as has been seen since the film’s 1925 Moscow premiere. In fact, a amusing tale goes that BATTLESHIP POTEMKIN opened in Moscow alongside ROBIN HOOD (the 1922 version with Douglas Fairbanks) and the Soviet government expected it would fetch more money than the American film… representing the power and revitalization of Soviet cinema. It lost. (laughs) :p

Featuring on this double disc edition are:

1) “Tracing Battleship Potemkin,” a 42-minute documentary on the making and restoration of the film.

2) The restored film with newly-translated English intertitles.

3) The restored film with fresh Russian intertitles (and optional English subtitles) .

4) The modern 1926 Edmund Meisel salvage, performed by the Deutsches Filmorchestra, presented in 5.1 Stereo Surround.

5) Photo gallery.

This film is a landmark in Film History and deserves to be seen by anyone who’s serious about film making.

Based on trusty events of 1905, tranquil film THE BATTLESHIP POTEMKIN concerns an Imperial Russian ship on which terrible conditions lead to a mutiny. Timorous by conditions on the ship, citizens of the port city Odessa rally to the mutineers’ support–and in consequence salvage themselves at the mercy of Imperial forces, who attack the civilian supporters with savage force.

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POTEMKIN is a film in which individual characters are distinguished less essential than the groups and crowds of which they are members, and it achieves its fantastic power by showing the clash of the groups and crowds in a series of extraordinarily visualized and edited sequences. Amazingly, each of these sequences manage to top the previous one, and the film actually builds in power as it moves from the mutiny to the citizen’s rally to the massacre on the Odessa steps–the latter of which is among the most famed sequences in all of film history. Filming largely where the exact events actually occurred, director Eisenstein’s vision is fabulous as he builds–not only from sequence to sequence but from moment to moment within each sequence–some of the most memorable images ever committed to film.

To recount POTEMKIN as a huge film is something of an understatement. It is an absolute important, an absolute necessity to any one seriously keen in cinema as an art acquire, purely visual cinema at its most shimmering, often imitated, seldom equaled, never bested.
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Product: Dario Argento’s Phantom of the Opera
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I have nothing against the plan of doing “The Phantom of the Opera” as a splatter flick. But with both Dwight H. Little’s 1989 version starring Robert Englund and Dario Argento’s danger from 1998 the spot is not the blood and gory but the liberties they select with Gaston Leroux’s current modern. For the musty it was the notion the Phantom had been marked by the Devil and was pursuing Christine Daae through time, and for the latter it is the opinion that the Phantom was raised by rats. If you are not reminded of the flashback in “Batman Returns” where the infant Penguin is dispatched in a basket on a river when the parents of the Phantom do the same thing in the opening of this film when they send their baby sailing away on a Paris sewer then it is only because you have not seen both films. Apparently the rats are telepathic, which explains how it is the abandoned infant grows up to disclose, play music, and design a pipe organ in the catacombs beneath the opera house.

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Despite the shroud art for the DVD this Phantom, played by Julian Sands, does not wear a veil. This is because he does not need to; there is nothing inappropriate with his face, but inside he is crooked as a result of being raised by telepathic rats. The rats actually become an considerable share of the record, but more in a “Willard”/”Ben” draw than a “Tarzan of the Apes”/”The Jungle Book” arrangement. But before we derive to them let us mediate the changes in the admire triangle that Argento and co-writer Gérard Brach have near up with for this version of the familiar memoir.

You can easily choose out the trio from the rest of the cast because they are the ones with long hair. This time around Raoul De Chagny (Andrea Di Stefano) seems to be as warped as the Phantom, although this might because he spends too great time with his brother at a local opium den surrounded by naked people of both sexes and all sizes. The Phantom does not exhaust a lot of time teaching Christine (Asia Argento, the director’s daughter) how to verbalize, because she is sounds lovely great the first time she gets on stage in the empty Opera House and starts singing high notes. But he does set aside a psychic link with her so that instead of fetching her down to his lair he can impartial send out a call. For all those of you who have been waiting for the Phantom and Christine to consummate their appreciate, this is the version of “The Phantom of the Opera” to glance. The pickle is that I do not know why Christine turns on the Phantom or what besides a hail of bullets drives her into Raoul’s arms. But then I do not know why the director wants to photograph his daugher naked (my Italian bloodline has been watered down too worthy I content) .

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Then there are the rats. Ignace (Istvan Bubik), the head rat-catcher has been around for eight years and has killed over 4,000 rats and counting. He keeps tabs by keeping the tails of each rat he kills in a jar of formaldehyde with the month, year, and tail total written on the heed. Given that every time a rat gets killed the Phantom must be hearing the rodent equivalent of a death recount in his mind you would have plan that the Phantom would have tracked down this murderer well before this time, but that is not the case. Instead Ignace has a poor encounter with the rats and decides the best recourse is to manufacture a killing machine that can be driven around on the unruffled floors of the catacombs while it does all sorts of engaging things to the rats it catches.

You preserve thinking that the whole rat catching bit is simply droll relief, and for noteworthy of the film it is. But it turns out that it is Ignace and not Raoul that the Phantom has to distress about. Besides, as long as Ignace and that pervert passing out Swiss chocolates to the under-aged girls of the corps de ballet is running around, the Phantom is not the biggest monster running around and/or under the opera house. However, if I had to recall a grievous point in “Il Fantasma dell’opera” it would have to be the arrangement Argento caps off the tumble of the chandelier with a joke. I was already trying to figure out how what the Phantom was doing with the titanic mallet would bring around the desired result (although I understood the work was hard enough for him to ditch his shirt), so my confusion turned to fear when the illustrious danger becomes objective another joke at the expense of diva Carlotta Altieri (Nadia Rinaldi) .

Is this the worst version of “The Phantom of the Opera”? I have no quandary with the notion that it is the least faithful, even compared to Little’s movie, but even if you disagree with the changes there are some things of interest here. The opera house in Budapest is pretty and there are some nice gory special effects, although certainly not as many as you would quiz from Argento and none of them really standout pieces of blood and gore that are seared into your brain forever. The opium den scene is the most memorable scene and it has the least to do with the position than anything else in the entire film, relying on dozens of bronzed naked bodies to perform its impression. Ronnie Taylor’s cinematography makes things perceive apt to your eyes even when your brain is complaining about the account. The performances are all adequate, but I found that for me the most sympathetic character ended up being Carlotta: the Phantom attacks her and she unruffled shows up to deliver, the strongest moment of anybody in the movie.

Ennio Morricone is credited with the glean, and there is also additional music by Maurizio Guarini, but the film makes nice employ of precise operatic arias and overtures fom “Carmen,” “Faust,” “Lakmé: Air des clochettes,” and “Romeo & Juliet.” This also makes the film sound classier than it is. This DVD is the unrated director’s lop, while you can accept the novel R-rated version on VHS (I have no concept where it is the gore or sex that makes up the differences) . I am not enough of a fan of Dario Argento to be offended by this particular grief and have seen enough liberties be taken with the yarn of “The Phantom of the Opera” to be rather jaded by what happens here and knock off another star. There are enough warnings here and in other reviews to know whether you want to be disappointed either as a fan or the director or of the epic.

Well, after the elegant unpleasant by Argento standards Trauma and the near-perfect Stendhal Syndrome, Dario Argento pulls off his most expensive in-joke yet!

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This is a very difficult film that demands a lot from it’s viewers. It is not always easy to read between the lines of an Argento film. It never has been easy after all.

Argento does not care to build a feeble anxiety film, that’s for clear. Instead, he creates a self-ironic film, deliberately balancing between shots of poetic grace (the Phantom’s visions of children pierced by mousetraps - chilling) and shots of extravagant kitch (Asia’s appearance in the same scene!) .

Argento’s choice of not to have his Phantom disfigured was not without a point: This man is disfigured from the inside, and thanks to the script, it shows. Let’s not forget that Gerard Brach, the co-scripter, is the man who co-wrote “Frantic”, “The Valiant Vampire Killers” and many other Polanski films. He lived up to our expectations once again.

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The film is deliberately comical in places but it contains some very outlandish scenes (like the one in the brothel - incredible for an Argento film) . I would say that it is his most ‘Fellini-esque’ film yet. It is his “8 1/2″. This is his contribution to a tradition kept by directors such as Fellini or Visconti for that matter (he is often called “the Visconti of violence” after all) .

Let’s not forget the support he gets from his actors: Julian Sands couldn’t be a better choice. His phantom is gentle, vicious, romantic and ugly all at the same time. Asia on the other hand seems to be stoned for most of the film which adds more to the dreaminess of the understanding me thinks.

Sergio Stivalleti has done some spacious work with CGI, especially in a scene where a terrible guy gets impaled (you consider it’s really happening!) . Ronnie Taylor’s photography is NOT up to perfect standards (it is known that he could not stand the weather conditions and wanted to leave as soon as possible) but the known quality of his work is there, once again.

A movie that belongs more to the Art-House portion than to that of Panic, I might add. Don’t miss it though. And take the Ennio Moriconne soundtrack, it is a masterpiece!
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Movie Title: Danielle Steel 2 DVD Collection
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Danielle Steel 2 DVD Collection is available for streaming or downloading.

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This collection of movies from Danielle Steel is quite a treat, including the movie The Promise starring, Stephen Collins bka “Dan Broderick” from the famous A Woman Scorned, and a very young and stunning Kathleen Quinlan.

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PALOMINO: After seeing this one I wanted to inherit a ranch and fall in love with a handsome farm hand!!!

Secrets: Reminds me of the days when prime-time soaps ruled! I truly enjoyed the fantastic ensemble cast, which includes a very handsome Christopher Plummer! That man has aged so well!!!

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Star: Eventhough this love-triangle roots for the main character played by Jennie Garth, I really liked and felt sorry for the second choice wife, played by the very beautiful Terry Farrell. I remember her from the tv movie and short-lived series Paper Dolls.

The Promise: This is a bonus movie included that’s well worth watching, about a young couple very much in love, but a horrible accident tempts their fate.

This dvd set is a must for any Danielle Steel fan or if you just enjoy watching great tv movies minus the long commercials. I rarely watch Lifetime network anymore because their commericals are so long (5 minutes or more, I counted). I’d rather buy the movies on dvd! I just wish some other classic tv movies would get released on dvd in the US like Lace, starring Phoebe Cates, Deceptions, starring Stefanie Powers, and Mistral’s Daughter!!!

The “palomino” is actually the flax-tressed Lindsay Frost as a recently divorced photojournalist who sets her sights on a hunky horseman played by Lee Horsley. More flannel-tearing than bodice-ripping, the bosoms still heave as shutterbug and cowboy begin a hot-n-heavy affair among the Quarterhorses and haybales. Tragedy strikes and the suds lather, but Palomino is a well-done weepie for romantics who also like horses. There’s a nice subplot involving therapeutic riding for disabled children. Based on a novel by Danielle Steele.

Staci Layne Wilson

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]]> http://tomassblog.lostinkuwait.com/2010/02/11/danielle-steel-2-dvd-collection-streaming/feed/ http://tomassblog.lostinkuwait.com/2010/02/10/buy-dragonball-z-vol-1-arrival-dvd/ http://tomassblog.lostinkuwait.com/2010/02/10/buy-dragonball-z-vol-1-arrival-dvd/#comments Thu, 11 Feb 2010 04:33:54 +0000 darylhouston1990 http://tomassblog.lostinkuwait.com/2010/02/10/buy-dragonball-z-vol-1-arrival-dvd/ Buy Dragonball Z, Vol. 1 - Arrival DVD.

Product: Dragonball Z, Vol. 1 - Arrival
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Well, I enjoyed this first of the many DVD’s that Pioneer made of the Dragonball Z episodes. I was a exiguous disappionted in this one though. I was expecting some extra stuff to be added on the DVD that wasn’t on the VHS version. Like the DVD version of The Wearisome Zone had some deleted TV scenes that really kicked ***. Also, The World’s Strongest had a Battle Arena option that showed the many fights of Goku. I belief that option was a tall notion. Anyways, there are some things that are genuine about this title. The portray and sound quality are at its highest. And if you have the obliging equipment, that makes the experience even more fulfilling. Well, that’s my two-cents on this title. Honest an average DVD that could have been a huge DVD if some more danger were achieve into it.

I recently got bent on DragonBall Z (DBZ) from Cartoon Network’s Toonami, and I saw this DVD for such a substantial notice and I went for it….It is worth it! This DVD introduces you to all the main Characters with the first 4 Episodes of this enormous Series. Unfortunatly, this DVD doesn’t have subtitles nor is Closed Captioned, but the english dub works well. A Nice plus about the DVD is that it also gives you the previews for all of the Episodes on the Next DVD. It also gives you a brief introduction to Goku and the epic late the fresh ‘DragonBall’ Series in case you didn’t accept to watch them. This DVD is a colossal device to pick up started with anime! Hold the DVD instead of VHS if you can, it works out better! Mammoth DVD!
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Movie Title: Un Chien Andalou
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Un Chien Andalou is available for streaming or downloading.

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The Facets DVD of Un Chien Andalou is a disgrace. The frame was severly cropped at the top (some scenes feature actors lopped off at their foreheads). Contrast was boosted to the point where significant detail is lost. As if this weren’t enough, there is a wide unsightly glitch running horizontally across the screen that lasts for 5 or so frames. Despite the interviews with Bunuel’s son which are the only things worth the time here, I would avoid this disc. The film itself I think is great. It’s a shame that a staple of art cinema has been handled so poorly for DVD.

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Luis Bunuel made his directorial debut with 1929’s “Un Chien Andalou” — a 17 minute short film. The film was made in collaboration with the great surrealistic artist, Salvador Dali; this pairing was repeated for the 1930 masterpiece “L’Age D’Or.” Viewing the first tentative steps of two giants is obviously fascinating, which is enough to recommend “Un Chien Andalou.”

As with other great surrealistic films, the plot, such as it is, does not make any sense. Of course, themes can be derived from the work, although surrealism essentially is meant to be non-thematic. Some of the images from “Un Chien Andalou” are shocking and justifiably famous — most notably a scene depicting a straight razor slicing into a woman’s eyeball. Yes, these scenes are somewhat disgusting but also amazing for a film over 75 years old.

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The film has not been updated or cleaned up at all, so the DVD image is somewhat murky. Bunuel added a music track in 1960 to what was originally a silent film; the score works beautifully. The DVD extras include an interview with Bunuel’s son in which he discusses “Un Chien Andalou” as well as his father’s rather tumultuous relationship with Dali. An audio commentary by Spanish surrealism expert Stephen Barber is also included; unfortunately, this track is pretty much unlistenable as Barber drones on about the history of surrealism in a deadly dull manner. Skip the audio commentary and just enjoy Bunuel’s work as is.

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]]> http://tomassblog.lostinkuwait.com/2010/02/10/watch-un-chien-andalou-online/feed/ http://tomassblog.lostinkuwait.com/2010/02/05/watch-one-night-with-the-king-online/ http://tomassblog.lostinkuwait.com/2010/02/05/watch-one-night-with-the-king-online/#comments Sat, 06 Feb 2010 00:08:25 +0000 darylhouston1990 http://tomassblog.lostinkuwait.com/2010/02/05/watch-one-night-with-the-king-online/ Watch One Night With the King Online.

Product: One Night With the King
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Before anything else, I must say that I’ve read the Biblical book of Esther but NOT the book “Haddassah” by Tommy Tenney and Brand Andrew Olsen on which this film is based. With that said, I’ll treat this film as unbiased another cherish record and not an interpretation of the Biblical yarn of Esther, which does vary from this film quite a bit.

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The yarn revolves around Haddassah (Tiffany Dupont), the heavenly, wholesome Jewish daughter of Mordecai (the always incredible John Rhys-Davies), a scribe for King Xerxes (Luke Goss) . Early in the film, Xerxes “removes” his queen from power through the meddling of Prince Admantha (John Satisfactory) and Haman (wickedly fun James Callis), both of which have their beget delusions of grandeur in mind. Soon after, Xerxes goes on a quest to gain a recent queen to replace is “removed” one. Women throughout all the kingdom are taken to the king’s palace and treated to all the wonders and niceties one would inquire of from the King of Persia. Eventually Xerxes falls for Haddassah (who’s changed her name to the less Jewish-sounding Esther, for protection) . While the two are falling for each other, Admantha and Haman are both putting their hold plans for taking the kingdom into motion. One of those plans involves the destruction of all Jews in the kingdom. With both men attempting to convince Xerxes of their fill plans, Esther has to halt the destruction of her people. If you’re familiar with the Bible’s version of “Esther,” you already know how this memoir ends.

Were liberties taken with the memoir? Yes, many in fact. Does it kill the memoir of Esther? Absolutely not. This is a very apt film with a amazing cast. Unlike others, I failed to watch the terrible acting of the performers in this movie. Dupont did an suitable job of portraying Esther as a kindhearted and very loving person. John Rhys-Davies was fun as Mordecai, both proud and protective. Callis was probably my accepted of the bunch, portraying the double-crossing and vengeful Haman with vigor. Tommy “Limited” Lister played Hegai, the Royal Eunuch in a loving manner. I feel that he loved Esther like a sister as powerful as Xerxes loved her as a wife.

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I found no quandary with the sound quality. I understood every word very clearly. Secondly, the visuals, especially the CGI created palace, were improbable. The colors in this film hearkened support to the days of the former technicolor shimmering, popping colors that have long archaic from many memories.

Overall, I highly recommend this film as a fantastic savor memoir. Are there better films out there that are Biblically based? You bet. But as far as worship stories go, this is one of the best in the last ten years.

The first time I went to peruse this movie, I enjoyed it (despite the determined production flaws), but I was thoroughly overwhelmed by all the history & all the unfamiliar names & all the multiple/twisty-turny plotlines & so I walked out of the theater feeling like I didn’t really assume everything that happened …

So then I went home & read the entire book of Esther (it doesn’t engage very long — it’s a runt book) & then went Aid to the theater & watched the movie AGAIN …

BIG Dissimilarity!

At that point, I was also able to identify all the “poetic license” that was taken with the book of Esther, but I do NOT deem that it detracted from the overall message & profound truth of the Biblical myth — rather, I believe that it ENHANCED it.

And now, after watching “One Night With The King,” the book of Esther is very Staunch to me — like it NEVER has been before.

********

NOTE: IF YOU FOUND THIS REVIEW Obedient, THEN PLEASE GO & GIVE MY “THE LAST MIMZY” REVIEW A VOTE, BECAUSE IT IS CURRENTLY BEING SLAMMED BY FOLKS WHO Assume IT IS Outrageous TO WRITE A MOVIE REVIEW FROM A CHRISTIAN PERSPECTIVE. AND, IF YOU’RE REALLY FEELING Worthy, THEN PLEASE ALSO VOTE FOR MY “DADDY’S Limited GIRLS,” “UNACCOMPANIED MINORS,” “APOCALYPTO” & “WE ARE MARSHALL” REVIEWS. (Contemplate OF IT AS A “RANDOM ACT OF KINDNESS” THANK YOU! & LOTS OF HUGS & BLESSINGS TO ALL MY BROTHERS & SISTERS IN CHRIST <
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Product: Barbie Fairytopia: Mermaidia
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I should have known when I saw this was a follow on from Fairytopia that I would be disappointed. This is the narrative of Elina, who in the movie Fairytopia saved her country of Fairytopia and gained her wings. In this she is sent an urgent message from the Prince of Mermaidia (who briefly appeared in Fairytopia) who asks for her to back him. The movie is paunchy of the trials and tribulations she goes through for him, along with his girlfriend Nori. I inquire of it is deliberate they have named the Mermaid heroine after Japanese Edible seaweed but it seems ill-considered.

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Anyway - the well-behaved things about the movie, it is brightly coloured, and the costumes for the characters are dazzling, when Elina becomes a mermaid she looks fair glowing. There are really nice messages in this - about overcoming jealousy, selflessness, sharing and the power of team work. Some of these messages are laid on with a trowel, but on the other hand it is for young children and I mediate the message needs to be strong. And lets rep steady here, the movies aren’t aimed at adults. However I thinksome of hte best movies are those that can easily be watched by Adults and children together - and the best Barbie movie (I reflect) was Princess and the Pauper where I aloof obtain it easy to sit down with my kids and glance it. I wish Barbie movies would collect befriend to that sort of gracious, singing fun.

the things I found difficult is that although there was a strong basic sage (getting the immunity berry) the whole thing was quite confusing for my under 5 year olds. There is so powerful going on that they hasty lost track of what was happening and who was who. There were too many characters and they all seemed to have marketing tie-ins - lots of mer-ferry’s, snails, mermaids, turtles, dolphins - the list went on and on. The overall anecdote which seemed to begin it all seemed a extinct conception from the launch. Some of the characters faces were too provocative. In the early Barbie movies there tranquil seemed to be a semblance of reality, but the merferries and so on did seem oddly characterised, almost like Japanese Anime. Perhaps it is something children like, but I acquire the customary animation, certainly the mix of the two was unsettling at times. Lastly, there is a moment when Elina and Nori fetch marks of courage which eye like tatoos - call me conservative, but I don’t want my under 5 year former even thinking a tatoo is frigid - no matter what construct it takes.

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There were some genuinely edifying moments in this film and despite its faults my children have watched it a couple of times, but it doesn’t really interest them in the diagram that the early dancing ones (swan lake for instance or Princess and the Pauper) I really hope the next movie planned is one of these sort.

I caught this today with my 4-year-old daughter on the Crop premier, and she loved it. And honestly, it wasn’t too difficult for me to sit through either. Having seen, and owning, every Barbie movie that has arrive down the chute, I can say that this was by far the best of them, and will be picking it up on release day for myself.. er, my daughter.
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Product: The Complete Mr. Arkadin
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Orson Welles wrote and directed “Mr. Arkadin” based on 3 episodes of “The Lives of Harry Lime” (1951-1952) radio demonstrate, in which Welles starred as antihero adventurer Harry Lime, reprising his role from the 1949 film “The Third Man”. Guy Van Stratten (Robert Arden) -con artist, “petty adventurer”, and, according to himself, “the world’s greatest sucker”- was smuggling cigarettes with girlfriend Mily (Patricia Medina) in Naples harbor when a man named Bracco (Gregoire Aslan) was stabbed on the dock. Bracco whispered 2 names to Mily with his dying breath. One name was Gregory Arkadin (Orson Welles), a fabulously wealthy international financier. Thinking that Bracco’s dying words might be worth something to Arkadin, Guy tries to ingratiate himself with Arkadin’s daughter Raina (Paola Mori), while Mily uses her charms to bag cessation to him. Disapproving of Guy’s relationship with Raina and realizing his ambitions, Mr. Arkadin proposes to pay Guy to investigate his past in exchange for Guy abandoning Raina. Arkadin claims to suffer from amnesia, sparkling nothing before he found himself in Zurich in 1927 with 200,000 Swiss francs in his pocket. With this information, Guy criss-crosses Europe trying to reconstruct Arkadin’s past. (4 stars)

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“Mr. Arkadin” has been called a burlesque and a pastiche of Orson Welles’ earlier films. It’s not definite whether to grasp it literally, figuratively, or as satire -although the film’s outrightly humorous scenes are its best. Robert Arden’s performance is often considered the old-fashioned dwelling in the film, because he doesn’t beget Guy Van Stratten sympathetic. I mediate Arden portrays Guy’s clumsy, heinous ambition rather well actually. He’s not a sympathetic character, but a junior Mr. Arkadin. There are many improbable supporting performances. The weakness is Mr. Arkadin himself, who is a caricature rather than a character. Called “the ogre” by his daughter and a “phenomenon of an age of disillusion and crisis” by his enemies, Mr. Arkadin has a ridiculous appearance and manner, and his actions rarely do sense. A gargantuan man with a conspicuously coiffed hair and beard, he is simply absurd. Welles’ interested sense of the absurd comes through in canted camera angles and lavish, chaotic art direction. The seemingly recent memoir is area before an involving medieval backdrop of castles, peasants, and religious ritual. The Goya-inspired masquerade ball adds a touch of grotesque to the already unsettling tone.

Adding to the absurdity, Welles often changed his mind about structure and dialogue, forcing some scenes to be dubbed later. Welles himself dubbed several parts, including Bracco and The Professor. That was probably for technical reasons, but it’s wretched. Scenes dubbed out of artistic whim are recognizable for speech that doesn’t match the actors’ lips. Welles lost control of the film in the editing process, as usual, ultimately resulting in several different versions of “Mr. Arkadin”. Producer Louis Dolivet, a stealthy character himself, took the film away from Welles, because he was editing only 2 minutes of final product per week. Louis Dolivet was a communist who had been Welles’ political mentor for a few years in the 1940s. Dolivet later had brilliant career as a Soviet espionage agent, but insofar as “Mr. Arkadin” was concerned, he did the capitalist thing and sued Welles. The Criterion Collection offers 3 versions of the film in this “The Complete Mr. Arkadin” dwelling (5 stars) . Optional English subtitles are available.

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DISC 1: The “Corinth Version” (99 minutes), discovered by Peter Bogdanovich in the early 1960s, is plan to be the last extant version to be under Orson Welles’ control. Welles stated that the editing within scenes is honest to his intentions. This version isn’t defective, bu it cuts to Guy and Zouk in the Berlin apartment repeatedly in such a manner as to disrupt the hobble of the film. Arkadin’s rendition of the scorpion-crossing-the-river sage is the worst that I have seen, and it spoils his entrance. Bonus features on Disc 1: There is a nice audio commentary by Welles scholars Jonathan Rosenbaum and James Naremore. They discuss the film’s origins, visual style, themes, performances, and Welles’ directing methods. “The Lives of Harry Lime” (90 min) includes the 3 radio reveal episodes (audio) on which the film was based, for play on a computer, DVD or MP3 player. The sound quality is not very satisfactory. “Reviving Harry Lime” (20 min) is an interview with Harry Alan Towers, who created and produced the radio reveal. He recalls how Orson Welles came to work on the display, putting the prove together, and who may have actually written the 6 episodes credited to Welles, namely Ernest Borneman. There is also a “Stills Gallery” of production stills and behind-the-scenes photos.

DISC 2: The “Confidential Relate” version (98 minutes), or the Louis Dolivet edit, which was released in 1955 in Vast Britain. This version has the best recount quality, but it’s the worst edit. It assumes that the audience will not be able to follow the record unless it is spelled out. The flashback structure is simplified, which at least eliminates choppiness. But the audience is guided by an overburdened voiceover narration. Extraneous scenes are included, particularly in the first 15 minutes, while more lively material was slit. The introductions to both women, Mily and Riana, gain them out to be weaker characters than they are. The scene on the dock with Bracco is longer, contains more explication, and a different intent. The bonus feature on Disc 2 is “Men of Mystery” (25 min), an interview with Welles biographer Simon Callow, who talks about Orson Welles, Louis Dolivet, actor Michael Redgrave, and includes some interview tapes with Robert Arden.

DISC 3: This “Comprehensive Version” (105 minutes) has recently been assembled by film historians/archivists Stefan Drossler and Claude Bertemes from 5 different versions of the film based on comments that Welles made in the years following the film’s novel release. It is an attempt to fabricate a Welles edit, not the best edit. Although we may know Welles’ intentions, it is impossible to know what he would have done had he had the footage in front of him. This version is great to the others, because the interpret flashback structure has been restored to working order. But it errs on the side of including too mighty. For example: Additional footage of Guy approaching Zouk’s apartment house gives that scene an inappropriately unhurried wander. In one scene, Mily’s dialogue is interrupted then resumed, apparently a mistake. A clip of the plane crashing makes dinky sense, because it is a subjective camera in an empty plane. Bonus features on Disc 3: “On the Comprehensive Version” (20 min) in which Drossler, Bertemes, and Peter Bogdanovich account for some of the decisions in the unusual edit. “Outtakes and Rushes” (30 min) are from footage found at the Cinematheque de Luxembourg. “The Spanish Actresses” are alternative scenes with the Baroness Nagel (4 min) and Sophie (7 min) shot specially for the Spanish language version with Spanish actresses Amparo Rivelles and Irene Lopez Heredia.

Orson Welles more than any film director understood that film is a mosaic of tiles, and that it is in the act of piecing them together that a film is made. He also failed to do so about half the time, in share due to his nature, in fragment due to the nature of the business. He wrote, acted, directed in this manner, creating puzzle pieces considerable in the draw Brian Wilson created “Smile” musically, and with similar results on “Mr. Arkadin”. Wilson finally finished “Smile” two years ago; Welles has “Arkadin” finished for him with this box station.

Welles deliberately filmed “Arkadin” so that only he could fuse the fragments together properly to protect himself from interference. Then the producers took it away from him and over time arranged and released five different versions of it, none of which had the structure or memoir line Welles intended, one or two of which literally do not acquire sense. Working that procedure, juggling it all in his head, Welles did let some balls tumble - in particular the opening share seems to have missing shots or even scenes (scenes which appear in the current version included here, begun by Welles and finished by his secretary) . This box area includes the two best previously released versions, both titillating but flawed, and then a unusual version crafting together in beautifully remastered image and sound something considerable closer to what Welles would have done if he could have. It’s smooth rather like the Former Roman modern (the first surviving) “Satyricon”, fabulous titanic fragments of a gigantic work in ruins. But what ruins. The flea circus scene, Michael Redgrave’s pawnbroker, the Christmas orgy, the German ghetto, are all among the best stuff Welles ever filmed. Holes in the location - holes that could have been explained or worked out but weren’t - remain, but if you’re fervent in Welles you will indulge in the unique version a lot.

It would rate a four if not for the extras, which include footage of Welles doing takes as an actor and even better Welles directing the very ordinary actor in the lead (the film would be another level higher with someone like Richard Basehart instead) and his non-actress wife, who plays Arkadin’s daughter. Five minutes only, the later is priceless for anyone enthusiastic in the craft of acting on film. If you have only seen the English versions, you’ll be thrilled with the lost ending, the raze credits, whole scenes that were only in the Spanish version. Except for the young leads, the actors are improbable. Welles neophytes should begin elsewhere, but anyone who has digested “Citizen Kane” will secure “Arkadin” compelling, for all the flaws in makeup, post-dubbing, the music which was written without cue lengths so the audio cuts are clumsy, even the botched initial set-up for the flashback structure (’We’re about to be murdered so let me yell you the whole narrative…’) .

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