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The movie was gracious, a few poor lines, but mostly the editing was really off, they shouldn’t have cleave the time down to under 2 hours and made it a PG-13 flick. That was a stout mistake, that’s like making Rambo a G-rated film, it’s fair not good. Christian Bale is profitable as John Connor, he gives an alright performance, but he could have done a minute better. Anton Yelchin (Young Kyle Reese) did a well-behaved job portraying the young hardened soldier who will eventually go support to protect young Sarah Connor, but not in this film. The movie is safe, but due to editing and script changes here and there, caused the movie’s awful performance at the box office. It’s unexcited a suitable film to gawk, it gives us a novel current discover at the world post Judgment Day. It’s NO James Cameron film by a long shot, but composed decent with pleasurable action. Unbiased don’t demand to follow the area as it has it’s ups and downs by the different writers that wrote the screenplay. Put A Question To a future blu-ray/dvd Terminator Salvation: Extended Prick (I don’t know what they will call it) to occupy most of the deleted scenes 30-40 mins worth with the modern ending and an alternate storyline to debut sometime in behind 2010. It’s an alternate version of the film, worthy like Donner’s Superman II chop. This only has 3 mins added, with Moon Bloodgood’s breasts and a couple of F-Bombs in this murky director’s nick.

After watching this 4th of the Terminator series, it is certain to me that James Cameron was the key reason slack the Terminator series’s success. McG, the director of this film, seems to be gifted in action sequences but rather awful in editing.

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Everyone knows that very few films will ever measure up to the first two Terminator films. The 2nd Terminator (Judgement Day) detached ranks as one of the greatest action movies of all time and the 1st Terminator does not obnoxious too far leisurely. This is an bright film which will unfortunately forever be compared to the first 2 films. This film falls short of the first two.

The best part of this film are the action sequences. The Aroused Max like thrilling action sequences are breathtaking. This Terminator film brings relieve remarkable of the veteran school special effects using right stuntman (not CGI) to beget very risky yet enchanting stunts.

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The film suffers from a noticeably poor editing. The sequences do not glide well in many scenes. For example, the scenary between the Blair Williams and the thugs are shown abruptly honest after Marcus Wright and Blair developes a romantic chemistry. The scene which a human prisoner is shot by a T-600 is best described as choppy. You will behold more than few sequences in which few hours of filming seemed to have been condensed into few seconds.

The storyline is also very choppy as well. It appears Dr. Serena Kogan’s role has been changed many times. That’s too poor since I believe Serena’s role could have been a pivtol and a curious one. Perhaps Marcus Wright’s recent role has been altered more than a few times. The storyline is not entirely coherent.

Moon Bloodgood, who plays Blair Williams, was the most convincing actor. Sam Worthington has proven himself to be a bonifide action star. And Christian Bale has done nothing to derail his action star residence.

Perhaps the director McG tried too hard to condense this film into under 2 hours. I believe the film would have benefited from another 15-25 minutes and a more consistent storyline.

Lastly, I deem this Terminator film does not relate the post Judgement Day human suffering well at all. Where are the starving and unhappy human existence? Does John Connor’s greatness reside primarily in his knowledge of the Skynet and the Terminators?

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4:3 ratio mask is very suited transfer. However, wide-screen isn’t really wide cover. it’s a 4:3 cloak chopped off from top and bottom. in other word, instead of having a whole theatrical portray, what you acquire is relate that’s been chopped up both vertical and horizontally. what we are seeing is only 1/3 of what’s filmed, which is even smaller than 4:3. somebody cheated gargantuan time from paramount. setup menu is spurious leading. I want to sight entire sail span on F-14! It does earn large dissimilarity on impact in fighting scene. movie this agreeable must be done suitable. and while at it, build it a anamorphic enhanced.

“Top Gun” is the mach ten 80s mega hit that status theatre attendance on fire and established producer Jerry Bruckheimer and actor Tom Flee as two of Hollywood’s king size titans, unhurried and in front of the camera. All about a military flight school accelerate for `the best of the best,’ the film stars Fly as Lt. Pete Maverick Mitchell. Pete’s too sexy for his leather bomber jacket and he knows it. He’s also short on pleasantries when it comes to wooing the femme fatale of the apt skies, Charlotte `Charlie’ Blackwood (Kelly McGillis) . But high flying maneuvers between Pete and Charlie snappy proceed from the school room to the bedroom. Then tragedy strikes and Pete has to pull it together to demonstrate himself as the hero of the hour. Val Kilmer costars as Pete’s annoying and priggish rival for the top honors; Tom `Iceman’ Kazanski. The cast also includes Tom Skeritt, Michael Ironside and Anthony Edwards.

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What sets “Top Gun” apart from similar military film fare of the 80s is its ability to combine a sense of the miraculous within the gritty world of tougher than tough obstacles. The dog fight footage is thrilling and the location moves effortlessly from drama, to melodrama, to action/adventure narrative on testosterone overdrive. There’s even a shirtless glimpse candy volleyball tournament thrown in, with the guys doing their machismo best to ignite interest in the female population. However, the soundtrack album, which fueled the film’s high octane performance at the box office, now seems to have dated at twice the rate of any other from the 80s - establish `Dirty Dancing.’ Kenny Loggins’ `Playin’ With The Boys’ and Tina Marie’s `Lead Me On’ have that faint tinny echo of a forgotten pop culture where hoop earrings and mammoth hair were synonymous with wacky-tacky red carpet glamour. Berlin’s `Take My Breath Away’ does anything but.

After the disastrous anguish effect forth on Paramount’s `Footloose’ special editon, I didn’t gain out noteworthy hope for this transfer either. However, “Top Gun’s” anamorphically enhanced transfer is remarkably natty and solid. Color saturation is very nicely rendered with velvety blacks and very pristine whites. Occasionally one will tag a shrimp hint of film grain. There are no digital anomalies (edge enhancement, pixelization, colorful of glowing details) for a unexcited video presentation that is positive to please. The audio has been remixed but continues to note that dated 80s quality that is best left to nostalgia for a time when sound wasn’t quite so integral to one’s overall appreciation of movie culture. Extras include an audio commentary that is adequate at best. There’s also a 6 portion documentary that really should have been played as one great one, four music videos which will confound people as to why MTV became so gargantuan, and some storyboards, production materials and vintage featurettes. So state your DVD player to `cruise’ control and score ready to location off for the wild blue yonder. “Top Gun” is a blast!

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Don’t be fooled by the theme of this show: The L Word is so considerable more than some throw-away contented point to. The themes are universal and should resonate with more than satisfied viewers.

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S2 lived up to its promise from the producers. In comparison to S1 (which was quite well-behaved), S2 provided mighty better storytelling and Ilene Chaiken and her production staff have become great better film makers. This indicate is a very adult drama. One example, the Bette and Tina (Jennifer Beals and Laurel Holloman: fiery chemistry) saga remind one of Bergman’s “Scene’s From A Marriage” as this couple struggles with issues of sexual inertia, miscarriage, infedility, the loss of self to a seductively potent and sometimes dismissive partner, wanting sexual intimacy with your partner while your partner is seemingly disinterested.

The themes dramatized are universal: in addition to those already mentioned, these include the terror of disaffection of a loved parent (Bette’s father, Melvin: performed by Ossie Davis who was nominated for an Emmy for his colorful turn as Melvin), the loss of a loved parent (Melvin), the lost soul (Shane) who craves like but thinks being in savor will ruin her, the best in class girl (Dana) whose parents savor her and who is their “golden girl” in all but her private life, the woman who miscarried (Tina) and wanted nothing but to conceive of a child with her partner, the woman (Tina) whose partner desired another woman and who got serve some of her sexual self-esteem and broken ego in the arms of another (Helena), the woman (Alice) who fell in esteem with her best friend, the timid and petrified woman (Jenny) who is trying to remember a traumatic childhood event and is spirilling toward a mushroom cloud of self-destruction, the down to earth and earthy woman (Carmen) who lives her life as she pleases while looking for someone to cherish and be loved in return.

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All of these stories are told with honesty and passion. The storytelling is not the familiar fare one (especially Americans) are passe to in their couch potato universe. You need to pay attention when viewing this series for it is not spoon fed to the viewer as are so many series.

Some viewers (the most vocal but who, imho, portray only a minority of viewers) have expressed disdain over the music of EZ-girl. I am not one of those viewers.

While I don’t applaud everything this composer has produced for this note in S2, she is not without talent. In fact, Betty is a very fun band to peek in person.

EZ-girl unprejudiced needs a bit of managing. (Her website has served as the red cape to some viewers. She is an in-your-face person and does shrimp to assuage the ridicule and hatred of some viewers. It seems the more vocal the minority is about their hatred the more she may be increasing the volume of her in-your-face fare. She is not that different from other artists in this vein like Emminem, etc.)

IMHO, a few scores of the background music she produced for S2 do not lend themself to the overall wait on of the production. However, (and this is where her talent comes to the fore) her background music was pristene for other scenes. Several reach to mind: Tina alone and very pregnant in Dr. Wilson’s office; Alice and Shane talking about Tina on their contrivance to the Planet; Tina and Alice walking to Tina’s Lawyer’s spare guest house; Bette drunk; Bette with hangover; Tina and Helena making savor in the pool; Melvin’s sick and death scenes (truly haunting scoring, imho) . There are more but those are objective a few of the ones that reach to mind.

Indeed it is a mixed bag. But, it is no where arrive as poor as some of her harshest critics passionately avow. As I said, her talent needs to be directed and the scores I mentioned in the last paragraph that showcase her talent and strength as a composer needs to be cultivated and encouraged by the producers. I am not sad that she will be coming serve for S3. My only wish is that her talent is as focused (and directed by the producers) as it was in the scoring scenes I mentioned.

The few things that didn’t work for me in S2 were a couple of the Shane and Carmen scenes and the Gloria Steinem scene in the finale (which was preachy and out of place: talking about feminism when they should have been telling stories about Melvin, Bette’s father, which brought them together in the first spot) .

The few Ez-girl missteps, a couple of the Shane and Carmen adore scenes and the Steinem scene in the finale are the reasons I am giving S2 a 4 but a solid one.

I already pre-ordered S2.

This demonstrate is groundbreaking. I have never seen on my TV some of the scenes shown on this demonstrate. For example, a very pregnant Tina making adore. Some people have been turned off by this for various reasons and others have rejoiced in its depiction. I descend in the latter category.

I have been a subscriber to Vanity Magnificent for over 15 years. I remember the scandal that was caused when Demi Moore posed pregnant on the mask. That squawk was mailed to me (and every other subscriber) in a brown paper mask so as not to offend. Imagine that. A pregnant woman not doing anything but being pregnant in corpulent magnificent bloom on the mask of a major American magazine: but it was considered by some to be disgusting and pornography. It was nothing of the sort.

So, for those of us who have been pregnant whether or not we are joyful, Moore’s pregnant mask girl and Holloman’s very staunch life pregnancy played out in Tina’s character (who was not ashamed of her body or of her sexual needs and desires) was elegant and very mighty welcomed and renowned in my household and among my partner and my circle of friends (straight and elated) .

So, brava to Ilene Chaiken and the people slack this display. Overall, improbable writing, directing, acting and production values.

Of course, every point to on TV can be improved upon and TLW is no exception. If a note has nothing to shoot for then why continue on with the present. There are so many stories left to order and I for one am looking forward to S3.

I recommend this display and the DVD without hesitation.

I have to admit, I started watching The L Word because I’m a guy who was channel surfing and I saw lesbians. Of course, anyone who I dispute about me liking the expose immediately assumes that I sight it as pornography, and that’s sort of what I was looking at it as in the first set.

But by the raze of the first episode, I was bent like no pornography could aspire to hook someone. The L Word isn’t about lesbian sex. Does it absorb some? Yeah. Do I like seeing it? Can’t shriek it. But the reveal is largely character and plot-driven, and if you try to look it with only shallow feelings in your heart, you will be sorely disappointed. Every character is current, with their possess flaws, misgivings and uncertainties, and it really makes them all very watchable. There are shows that have some characters that, you know, they’re okay, but you obtain yourself wishing for them to earn relieve to one of the more piquant characters. Not so with The L Word. Every interaction and every character is presented in a very current and unique draw, so that you never feel like they’re reusing material and you’re always glued to the TV camouflage to procure out what happens next.

My greatest regret about absorbing out of my parents’ house is that I can’t afford Showtime so that I can observe season 3.

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Transporter 2 DVD

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In this sequel to The Transporter Jason Stratham is in Miami working as a chauffer/bodyguard for a wealthy family who springs into action when the young son of his client is kidnapped. The movie is corpulent of high action car chases and stunts. Space in the fine Miami, Florida dwelling, so again if you don’t delight in high action movies, impartial sit serve and delight in the idea.

Highly recommended for fans of Jason Stratham , James Bond movies, and high action movies, especially car chases.

Gunner March, 2008

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If you deem the Hollywood movies have been a shrimp dull in action this Summer, the cure has arrived. Jason Statham has returned to repise his role as Frank Martin, The Transporter. Although Frank has traded in his BMW for an Audi, the character is the same and the action takes the first movie up several notches.

This time around, Frank is doing a favor for a friend and is “transporting” the son of a government official to and from school. Frank and the boy have developed a bond since the boy’s father (played by Matthew Modine) always seems to be away from home on business and has lost touch with the boy’s life (Modine’s character gets his son a complete baseball outfit for his birthday, only to gather out his son stopped playing last year and is now a shapely great soccer player) . Unfortunately, a Miami drug runner (played by Alessandro Gassman) has plans to kidnap the child and consume him as the carrier of a deadly virus to demolish his father. Now it’s up to Frank to establish the boy and win the antidote to cure him.

If you enjoyed the first movie, this one won’t disappoint. The fight sequences here are choreographed again by Corey Yuen (though he doesn’t command this time around) and Luc Beeson had a hand in the screenplay. This movie doesn’t stray far from the unique formula that worked so well (quickly cars, martial arts battles every few minutes, Statham’s unruffled manner even in the midst of a dozen guys out to obtain him, etc) . Statham keeps the character low-key through everything, as if nothing can danger the Transporter.

Unfortunately, in an attempt to buy everything a step further, there are a few sequences that go over the top. Using a wave runner-on land-to preserve up with a bus, literally dodging bullets in a hallway, and Martin’s unorthodox plan for disabling a bomb under his car are impartial a few of the moments to build you cringe. And the final battle with Gassman is so far steeped in unreality you’ll probably bag it hard to swallow the premise. Unexcited, when it comes to one-on-ten combat with an inflamed mob, Statham makes it attractive. In one scene of the first movie, he takes down two police officers while holding Qi Shu on his shoulders. In this movie, he disables several bodyguards at once in the same non-lethal manner. In fact, the movie wastes no time showing us Martin mild has the moves by giving us one of the best fights in the movie within the first five minutes. And through it all, he never wrinkles his suit. And the peek of Frank unhurried the wheel of a Ferrari made the entire theater inaugurate talking when I watched it. If you conception he could handle a Beemer, wait until he shows you what he can do with a really speedily car!

The return of a character from the first movie (I won’t spoil the surprise, since I never saw them in any of the previews) really shows us Martin’s not impartial a driving machine-he’s a man with friends.

If you’re looking for deep, Oscar-winning performances and the feel-good movie of the summer, you won’t get it here. If you’re willing to suspend your beliefs in reality for a minute while and want some over-the-top action and fun, you won’t want to miss The Transporter 2.

The Barbara Stanwyck Show, Vol. 1 Dvd Offer: Free From Blockbuster. Movie Title: The Barbara Stanwyck Show, Vol. 1 Average customer review: The Barbara Stanwyck Show, Vol. 1 is Available To Watch For Free Today. Click Here to Watch The Barbara Stanwyck Show, Vol. 1 With a Free DVD Trial from Blockbuster

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Originally named “The Barbara Stanwyck Theatre”, this anthology series starring the four-time Best Actress Oscar nominee made its debut on September 19, 1960, on the NBC television network. Renamed “The Barbara Stanwyck Exhibit”, the series ran for only one season, despite the fact that its host and star received the Emmy Award as Outstanding Actress in a Television Series (Lead) . A total of 36 episodes aired, but the explain never went into syndication following its initial run; thus, it has been virtually unseen by the general public for almost half a century.

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This eagerly anticipated DVD collection includes 15 of the series’ first 22 half-hour episodes, plus the never televised pilot episode. Missing are the first four episodes: “The Mink Coat”, “Satisfactory Citizen”, “Discreet Deception”, and “The Seventh Miracle”; episode 10, “We Are the Women Who Wait”; episode 12, “No One”; and episode 13, “The Cornerstone”.

The search to locate, maintain and restore the long lost gems offered in this collection has taken years of hard work and dedication on the piece of the copyright owner and a handful of obvious archivists, assisted by trusty fans of the supremely talented Miss Stanwyck. Their efforts are especially appreciated by ecstatic viewers like me, who have waited decades for the chance to view one of their common actresses in her first, acclaimed weekly television series.

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EPISODES INCLUDED:

“The Key to a Killer” (originally aired 10.31.1960) . Stella King’s (Stanwyck) husband is a sheriff and she’s his deputy. So when he falls ill, she’s left in pudgy charge of killer Leroy Benson (Vic Morrow) .

“House in Order” (11.07.1960) . Dr. Steele tells Elizabeth Mowry (Stanwyck) she needs heart surgery immediately. Elizabeth suddenly realizes that she may only have a few hours left to earn the cherish of her husband (Shepperd Strudwick) and daughter (Yvonne Craig) .

“The Miraculous Jog of Tadpole Chan” (11.14.1960) . In China, Josephine Microscopic (Stanwyck) is bickering with Mr. Dobson (Ralph Bellamy) of the American consulate about some silk dresses she wants to ship to Fresh York. This was the first of three episodes in which Stanwyck played Josephine Diminutive.

“The Secret of Mrs. Randall” (11.21.1960) . Liz Randall (Stanwyck) has been the president of an oil-drilling company since the death of her husband. She arranges for the parole of Roy Turner (Bruce Gordon), who was jailed for stealing the company payroll.

“Ironback’s Bride” (11.28.1960) . Ella (Stanwyck) doesn’t want her son to grow up like his father - shiftless outlaw Charlie Cahill (Gerald Mohr) . So she gets a divorce and becomes the mail-order bride of a wealthy man (Charles Bickford) .

“Out of the Shadows” (12.19.1960) . Mental patient Victor Brackett’s (William Stephens) case is coming up for review. But after interviewing Brackett, Dr. Susan Bryce (Stanwyck) decides that he’s not ready to be released.

“Night Visitors” (01.09.1961) . Estranged from her wealthy husband, Marian Andrews (Stanwyck) plans a breeze to Europe. Julie London and Michael Ansara guest star.

“Size Ten” (01.16.1961) . Designer Maggie Wenley (Stanwyck), relentlessly dedicated to her business, feels that her staff is completely actual. It’s a shock to come by that one of her secret sketches is missing. Robert Paige and Robert Strauss guest star.

“Dear Charlie” (01.23.1961) . Tessie and Elvie (Lurene Tuttle and Katherine Squire) are a couple of lonely faded maids who choose they need someone around the house to care for. They save an ad in the paper for a male boarder (Milton Berle) . Stanwyck hosts this episode, which was an unsold pilot for a proposed novel series for Berle.

“Dragon by The Tail” (01.31.1961) . Stanwyck returns as Josephine Minute, an American importer caught up in intrigue in Hong Kong. Anna May Wong guest stars.

“The Sisters” (02.06.1961) . Janet Jones (Stanwyck) indulges in a bit of shoplifting in Julius Ulrich’s (Michael Rennie) jewelry store … but it’s all piece of a understanding. Janet wants to meet Julius, the dilapidated husband of her sister Kate (Ellen Drew) .

“Expansive Career” (02.13.1961) . Harriet Melvane (Stanwyck) pursues a novel career against her husband’s wishes. Gene Raymond, Elizabeth Patterson, Frank Overton and Amanda Randolph costar.

“Confession” (02.20.1961) . Dejected in her marriage to Morgan Manning (Kenneth MacKenna), Paula (Stanwyck) seeks moral advice. Jud Hollister (Lee Marvin), her lawyer, believes a divorce may be difficult to come by, and suggests an alternate conception.

“Along the Barbary Cruise” (02.27.1961) . Stanwyck stars as Trixie Callahan, a con artist who falls in with awful company. Richard Eastham and Jerome Thor costar.

“Shock” (03.06.1961) . Rachel Harrison (Stanwyck) has unbiased made a discovery principal to the national defense. Before she can transmit the information, she gets news of her daughter’s death, and enters a position of shock. Eduard Franz, Mike Deene, Ross Elliott, and Donald Buka costar.

DVD BONUS FEATURES:

1. The never aired pilot episode, “Sponsor’s Table”

2. Stanwyck’s 1961 Emmy Acceptance Speech

3. Booklet including contributions by film historian and TCM host Robert Osborne

I am quite tremulous yet grateful this compilation of stanwyck’s tv show

from the 50’s is being brought to dvd. I commend the producers for this since where i live it is not being broadcast on tv and i dont remember it being on vhs…this series was highly regarded and reviewed well from what i read about it and i’m a titanic fan of stanwyck’s.Can’t wait!

anthony m

toronto

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I didn’t know what to put a question to after the opening 8-minute tracking shot spanned a Chinese factory’s powerful length. “Manufactured Landscapes” is about the work of Canadian photographer Edward Burtynsky, but this film is unlike any other I’ve seen on the subject of an artist and his work. Burtynsky has made a name -and many graceful photographs- in “industrial landscapes”. Struck by the ways in which original humanity has transformed Earth’s landscape, he seeks out “the largest industrial incursions” he can acquire. His photographs are involving and surprisingly resplendent representations of the heart of modernization and globalization.

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Director Jennifer Baichwal accompanied Burtynsky on several trips to Asia, observing the artist at work and allowing a movie camera to peep the industrial landscape as he does. This gives the photographs context that they don’t normally have, and Burtynsky takes the opportunity to comment in a spare narration. Baichwal wisely subscribes to the same philosophy as Burtynsky in never interpreting or demystifying the photos. I was pleasantly surprised to spy how many of Burtynsky’s photographs are presented in the film and amazed at how well the movie footage supports and directs the viewer into them.

After photographing extraction industries for 10 years, Burtynsky turned his attention to China, where all those materials coalesce and are turned into products we steal. We go with him as he documents the lickety-split changing landscapes at a factory, a village that recycles “e-waste”, a shipyard, coal mine, the astounding Three Gorges Dam, and China’s fastest-growing city, Shanghai. A short mosey to a shipwrecking beach in Bangladesh is particularly wonderful. “Manufactured Landscapes” showed me things I had never seen before. And it is jabber objective to prove them without judgment.

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The DVD (Zeitgeist 2007) : Bonus features include 5 additional scenes, a theatrical trailer, and 3 featurettes. “Discussion with the Director and Edward Burtynsky” (19 min) is very worthwhile. Richard Goddard interviews Baichwal and Burtynsky about questions of authorship, perspective, what the film brings to the photos, and touches on the controversial aspects of the Burtynsky’s photos. “Al Gore at the Nashville Film Festival” (9 min) records the primitive Vice President’s speech as he presents Baichwal with an award. “Mini-Interview with the Cinematographer/Collaborator” (5 min) talks with Peter Mettler about working with both a photographer and a director. Subtitles are available for the film in English SDH.

Jennifer Baichwal’s documentary is a companion to notorious artist Edward Burtynsky’s large-scale photographs depicting man’s violent alteration of natural environments. Burtynsky achieved notoriety when he documented mine tailings, rail cuts, quarries and oil refineries, mostly located in North America. Baichwal shows Burtynsky at a lecture and exhibition of this material then travels to Asia with him to document the process of creating art based on China’s industrial revolution. Manufactured Landscapes opens with an wonderful tracking shot from the sidelines of a factory so substantial that the shot lasts eight minutes. There are blooming views of recycling yards and mountains of electronic refuse. Manufactured Landscapes takes us to the set of the Three Gorges Dam, 50% bigger than any previous such project, and to the ruins of the eleven cities that had to be demolished to fabricate its construction possible. In Bangladesh, we look an location that’s become the final resting state for aged oil tankers, which are being scrubbed tidy of oil by teenagers. The central theme of Manufactured Landscapes is that the things we’ve reach to regard as indicative of progress and human advancement have created a immense dependence on the extraction of natural resources that undermines the health of our planet and consequently our believe. Beinchwal’s documentary doesn’t need to lecture because the visual evidence is so compelling and, ironically, so heavenly.

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I WASN’T EXPECTING Mighty BUT THE FILM HAD SOME VERY Comic MOMENTS. FOR A Uncouth BUDGET MOVIE THE Gape WAS VERY PROFESSIONAL AND BELIEVABLE. THE ACTORS LOOKED LIKE THEY HAD A LOT OF FUN MAKING THE MOVIE. THE FILM ITSELF WAS A Right Well-behaved SURPRISE AND WORTH THE Trace OF THE DVD.

The movie was gracious, but the exact essence of it was the actor Hunt Block. I can watch this man in many future movies. With talent like that, he has a astronomical career!

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This shows the second half of Ishizu v. Kaiba. Kaiba wins. Then an episode where Ishizu tells Yugi & Co. about how Marik was once an innocent child. Flashback to Ishizu and Marik sneaking out and walking around the Egyptian market state, and Marik wanting a motorcycle. Then they go befriend home, discover Odion being weakened by the Millenium Rod (in Japan, he was being whipped), Marik goes Yami and banishes his father to the Shadow Realm (in Japan, Marik stabs him to death) . Then the two-part duel, Y.Marik v. Y.Bakura, with regular Marik by his side. Awww, Marik and Bakura create a grand team, heh heh. If you like YGO and don’t mind the whole killing-the-father thing the dubbers left out, then you should catch this…

On this dvd you will recognize kaiba fighting ishizu.

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A battle with destiny.

Can kaiba choose off ishizou even that she can predict the future?

You will also gain the upright chronicle of marik and the reason why he wanted te revenge the pharaoh.

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The best duel of this dvd is gross marik vs snide bakura and marik.

Bakura takes the egyptian god card from outrageous marik, but the inquire of is if bakura can control the legal power of the winged dragon of ra and what about if ra has got more than one special abilities.

You will come by out if you retract this dvd.

Stream The Prisoner: The Complete Series Megaset Online. Movie Title: The Prisoner: The Complete Series Megaset Average customer review: The Prisoner: The Complete Series Megaset is available for streaming or downloading. Click Here to Stream or Download The Prisoner: The Complete Series Megaset

While the previous review was moral that the special features, remastering, audio and video are identical in this recent release there are a couple of things this version of the Prisoner Megaset has that others don’t, but should have had from the gain go. The first advantage is this collection has the disk peaceful in ten slim line cases, which cuts down on your shelf status considerably compared to previous releases and their bulky sized DVD cases. Also this release has a fair extensive PRINTED episode guide booklet that gives more than objective a synopsis. You also accept a runt history of the making of that episode. Another extra is a fold out of the classic village draw.

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Now these extras may not be worth the double dipping for those who already bought the previous sets, but for those who never took the topple now is the time. Not only do you win the enormous features from the unique region, but also stuff you can read and relish without having to build a disk in your player. I give the higher rating for this station, which is a more complete and more compact location than all the rest (minus one for not getting it good the first time) .

Let’s say you’re a business that already has made a fabulous “40th Anniversary Version” of a DVD location with all the bells and whistles… now why should you then be allowed to get a different version of the same thing only a few years later?

A&E should be ashamed of themselves for doing what everyone lately is now doing: they’ve realized that (most) of the DVD buying public will rob ANYTHING if you re-package it as a “Special Collection,” or a “Ultimate Collection,” “Director’s Lop,” “Unrated Reduce” or “Extended Nick.”

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But in the case of “The Prisoner: The Complete Series Megaset (Collector’s Edition),” we are seeing the “40th Anniversary Spot”, objective with current packaging.

I have been surfing around as of gradual and have found NOTHING to relate to me what’s included in the “fresh” package.

Any unique interviews? I don’t know.

Any novel lost footage? I don’t know.

Any kind of newer extras not on the “Anniversary version”? I don’t know.

Any other information anywhere online about what’s on it at all? I don’t know.

Remastered? They were the first time around.

Blu-Ray? Yes, but this could have been done with the same package.

You recognize where I’m going here. To quote the A&E website, who is also selling it, they are only saying “Within this complete 17-episode region, all is revealed. Or is it? ”

Now what kind of garbagey pap is that? What’s the technical slay? What’s included that is different from what’s already out there? It makes me wonder why they even needed to remake a “Collector’s Place” in the first plot.

It is essentially the “40th Anniversary” DVD box location, objective repackaged with a modern dwelling of covers. As far as I can peer from the item descriptions of both sets IT’S THE SAME ITEM THEY SOLD TO US A FEW YEARS Benefit.

To be unprejudiced, I was tickled with that spot as it fed my obsession, and I belief there was nowhere else to go with it. Perceive FOR YOURSELF!…

The Prisoner: The Complete Series Megaset (Collector’s Edition)

Product Details

* Actors: Patrick McGoohan

* Format: Box station, Collector’s Edition, Color, DVD, NTSC

* Language: English

* Number of discs: 10

* Rating: NR (Not Rated)

* Studio: A&E Home Video

* DVD Release Date: October 27, 2009

* Urge Time: 884 minutes

The Prisoner - Complete Series Megaset (40th Anniversary Edition)

Product Details

* Actors: Patrick McGoohan

* Format: Box place, Closed-captioned, Collector’s Edition, Color, Recent recording remastered, NTSC

* Language: English (Dolby Digital 2.0 Stereo)

* Region: Place 1 (U.S. and Canada only. Read more about DVD formats.)

* Aspect Ratio: 1.33:1

* Number of discs: 10

* Rating: NR (Not Rated)

* Studio: A&E Home Video

* DVD Release Date: July 25, 2006

* Urge Time: 884 minutes

Same running time, same number of discs!

This only leads me to Attain that they are neither adding nor subtracting anything to this release except to repackage a horse that’s been in the corral for over 3 years. But the query remains: Why are they doing this?

Well, it’s simple: to sell DVD sets to lots of naive customers who didn’t know the “Anniversary Plot” exists and then assume essentially the SAME ITEM at a higher trace!

Used box sets of the “40th” are fair cheap accurate now, so why purchase the redesigned package? - except to get A&E a few dollars more. Oh, and it’s no diminutive coincidence that they are releasing it about the same time as the upcoming AMC series “Prisoner” reboot.

This is dim, and once again, A&E should be ashamed of themselves.

And, to sidebar a moment about that unique series…

Now, even though Ian McKellen has been chosen to play Number Two (and that’s okay), how can anyone elaborate American actor Jim Caviezel as Number Six when we all know this was a British actor’s dream role?

I really can’t really name a movie or note he’s been in where he impressed me EXCEPT for his performance in “Frequency,” which according to the IMDB website, is all he’s ever done in the sci-fi realm.

I guess I’m picky when it comes to my choice of The Prisoner, because you would mediate they’d attach someone in there with a backbone - and DOESN’T Shout IN EVERY SINGLE ROLE HE’S BEEN IN. This potentially sounds Substandard.

I say give me Clive Owen, he seems changeable enough, and he proved to me he could tackle the complexities of sci-fi in his aesthetic role in “Children of Men.”

(Wait On to the DVD review, as I’m digressing too powerful here… but to glean a bit personal now…)

Cash is king and AMC and A&E are warming their collective hands over the bones of the highly-protective-of-the-series Patrick McGoohan, whom they waited patiently until he died so that they could then open mining his display that he created and wanted left untouched.

And to be unprejudiced, there are more than a few of us who’d also like to leave this kept pure as well. No, we didn’t need a remake or a reboot, and there are SO many people I know who’ve asked why do it at all?

The release of this DVD place only goes to note me integrity, like clothing, can be shed for the suitable note, and AMC and A&E will NEVER receive another consumer dollar from ME.

Once again, since there are no technical details available anywhere except from what I found on this very website, I’m sorry, but I’m going to have to select that it’s the same status objective re-packged to deceive people, and because of that I’m giving this one star.

THERE IS NO INFORMATION AVAILABLE ABOUT WHAT’S ON IT THAT’S Unusual, so why award a company clearly out for profit?

For the last time, and I’ll be just, it won’t be the last time for me… A&E should BE ASHAMED OF ITSELF for doing this.

I’m going to screech everyone I know to seek out for this deception AND NOT Assume THIS Site until I mysteriously vanish or this review is deleted, and since I’m the first one here to tell my dissention, I’ll be on some faraway island soon enough, assigned a number, and then be forced to survey Jim Caviezel weep.

Thanks for reading, and before I mysteriously die or vanish, read my other reviews and accumulate out the truth for yoursel================================

Watch The Wild Angels/Hell’s Belles Online. Movie Title: The Wild Angels/Hell’s Belles Average customer review: The Wild Angels/Hell’s Belles is available for streaming or downloading. Click Here to Stream or Download The Wild Angels/Hell’s Belles

I didn’t glimpse “The Wild Angels” until Drop, 2004; it was my first exposure to the biker film genre that ran for less than a decade in the leisurely 60s to early 70s. (I had, of course, seen Peter Fonda’s “Easy Rider” [1969], but that was more of a drug culture flick than a biker film) .

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Roger Corman’s “The Wild Angels” was released in 1966 and kicked off this biker film craze, which makes it the perfect introduction to the genre, not to mention it’s the best of the lot I’ve seen, by far. It only runs 88 minutes.

THE PLOT: Beautiful Blues (Fonda) and The Loser (Bruce Dern) are members of The Angel’s bike gang (obviously modeled after the Hell’s Angels) . The first half hour shows them and their “venerable ladies” (Nancy Sinatra & Diane Ladd) living the wild, free & crazy lifestyle of a biker gang in Southern California. Due to the extraordinary folly of the gang members, The Loser perishes. The final hour involves his death and subsequent funeral & burial in some limited town in the mountains. The gang members can’t handle their effort and peruse solace through excessive revelry, drugs & alcohol, criminal acts and dejected withdrawal.

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The first half hour is quite animated and precisely what you’d inquire of from a 60’s biker flick. The Southern California locations and cinematography are amazing and the chronicle is compelling. The film was shot in Mecca, Idyllwild and Palm Desert. While there’s some proper biker action in this initial segment, the final 55 minutes takes a dead, dim, solemn and completely horrid turn that will likely turn some viewers off if they’re not ready for it. This final hour shows that “The Wild Angels” is not an action film at all, so don’t examine a lot of action-oriented excitement if you’re catching it for the first time. It’s a biker drama that touches on some heavy issues — friendship, death and disaster, as well as alcohol, drug and sexual abuse.

I’m a enormous Marlon Brando fan so I’ve seen “The Wild One” from 1954, the unusual biker flick (for the 50s, that is), but the worst thing Brando and his gang do is brawl, drink and chew gum. This may be “wild” but certainly not mean-spirited or criminal.

“The Wild Angels” was filmed only 12 years later, so how powerful more “wild” could Fonda’s gang be? Well, if you’re seeing it for the first time, you’re in for a surprise because The Angel’s are Procedure beyond merely wild & free (as they’re depicted in the first 30 minutes), they’re totally unfavorable imbeciles! (Although Fonda himself, I should point out, is portrayed merely as the epitome of ‘cool’) .

Want proof? The Angels smash into the hospital to “free” The Loser and he ends up dying for lack of pleasant medical care for his essential injuries (sustained while trying to waft the police) . They build determined to come by him high before he dies though. While breaking into the hospital one Angel savagely attempts to rape a nurse. And guess what kind of thanks The Angels give to the minister who fine performs The Loser’s funeral? They beat him up and trash his sanctuary (!) . Guess what kind of comfort two Angel’s offer The Loser’s grieving girlfriend? They cruelly rape her (!) . To top it off they outrageously abuse The Loser’s corpse at the funeral party (!!) .

As you can peep, The Angel’s aren’t honest anti-heroes in this film, they’re THE SCUM OF THE EARTH. Not only that, but they’re a bunch of LOSERS who, as Fonda points out, honest “want to obtain loaded” (in his almost funny rant) . Hey, everyone needs to let their hair down and celebrate now and then (God even seems to thunder it in the Bible — Deuteronomy 14:26), but if the sole purpose of your life is to objective “derive loaded” you’re not gonna view very valid when you hit 35 (The Angels in the film are all in their 20s), and you’re certainly not going to have any energy, drive or charisma. Yeah, the “party animal” lifestyle gets ragged precise snappy, and then ya gotta grow up (everybody grows older but not everyone grows up) .

Despite what some say, Nancy Sinatra does a lovely job as Fonda’s girlfriend; she would later renounce the film, however, due to it’s over-the-top immorality.

In my teens I went through a “party animal” phase and actually partied with sincere bikers on quite a few occasions (albeit The Outlaws, not the Hell’s Angels) . These were some abominable dudes, to be positive, but they were generally fine and merry, sort of like modern-day Vikings; I never experienced anything that remotely resembles The Angel’s scandalous conduct in this flick. Hence, the uncouth immorality described above is an exaggeration. Shining that controvery sells, Corman portrayed The Angel’s in this manner simply for the sake of shock value. Most viewers, I’m obvious, realize this. Aloof, there’s at least SOME truth to the nature of such outlaw and outcast American biker gangs as depicted here.

FINAL ANALYSIS: The first time I saw “The Wild Angels” I was completely taken aback by the inferior immorality of The Angels; I simply wasn’t prepared to peep this in a 1966 record. I also felt the film really bogged down with The Loser’s death, funeral and burial (the last 55 minutes) .

I now consent to the film’s uniqueness and brilliance. This is a cult flick in the truest sense. Yes, some of The Angel’s behavior is incredibly reprehensible and, yes, the preacher in the chronicle was proper when he stated, “Woe to those who say rank is suitable and worthy is rotten.” Level-headed, the report successfully captures the utterly outcast and outlaw nature of The Angel’s bike gang. They’re like a itsy-bitsy, totally lost tribe living on the periphery of American society. In a procedure, one can’t benefit but pity the bad bastages.

Also, I now retort the genius of the final 55 minutes of the film, which involve The Loser’s death, funeral and burial. If you’re psyched up to examine an action film you’re going to be disappointed because “The Wild Angels” boldly sneers at such film conventions. The record is essentially about death and the nature of bereavement. It powerfully shows how the various gang members deal with their grief: They generally hiss it and attempt to lose themselves in drinking, drugs, revelry and criminal & perverse conduct. The leader (Fonda) can’t shake his mournful spirit of loss; he’s not even clear if he loves his “ragged lady” anymore. When everyone else scatters because “the heat” arrives, he stays — risking impending assume — to bury his fallen comrade.

The novel title of “The Wild Angels” was distinguished better and more fitting: “All the Fallen Angels.”

In conclusion, despite being a B-grade flick, “The Wild Angels” is horrid, plucky, recent and well splendid of its eminent reputation. In fact, it was banned in Denmark, one of the world’s most ‘liberated’ countries, when it was released. What thrusts it into the realm of greatness is its heavy commentary on the human condition in a world gone furious, which may be completely missed by some viewers who won’t likely glimpse beyond the frightful aspects.

If you’re watching it for the first time you’d better brace yourself.

[I haven’t seen the misnamed “Hell’s Belles” yet, so check out the other reviews for that film. If nothing else, it’s a nice bonus].

The film-quality of both movies is beneficial. The not-so-good news is that they are on the insensible side. The second movie is mis-named. The title “Hells Belles” led me to occupy the movie would be about two or more women and motorcycles. There are women in the movie, but only one has a piece, and it is a secondary one. The movie is about one man fighting another man and his gang over a stolen motorcycle. The movie made me contemplate Sylvester Stallone got the belief for Rambo after watching it.