Don Giovanni (1979)

This is possibly the most beautiful opera video ever produced. It was not filmed on stage, but on location in Vicenza, Italy, with absolutely stunning setting. It features excellent performances, including Ruggero Raimondi (the perfect Don) and Kiri Te Kanawa (the perfect Donna Elvira). Of the 5 or 6 greatest operas ever written (all Mozart's, in my opinion), some say Don Giovanni stands out as the most perfect achievement. Whatever your opinion may be, by getting this video you will be getting the very finest rendition of this masterwork I have ever seen. It is sung in the original Italian, with English subtitles. Incidentally, one reviewer complained of the poor quality of the sound. This is unfortunately true (shame on Kultur Videos!) but don't let this stop you from purchasing this excellent video you won't regret it.

This is a "movie opera", and I am not a fan of them, because I find some of the passion is filtered out when the singing is separated from the acting, and though this film is well done, it has a lot of that "lip-synch" look, which dims the dramatic impact. I would rather watch a filmed live performance, with less gloss, and more feeling.

The lavish production is stunning to look at, with great art direction (by Alexandre Tauner) and cinematography (by Gerry Fischer), a very attractive cast, and of course, Mozart's score, which I think is his most sublime masterpiece.

The singers are excellent: Kiri Te Kanawa as Donna Elvira, and Edda Moser as Donna Anna really shine above all, both so lovely and graceful, and vocally wonderful. Moser especially manages to be emotionally expressive. Ruggero Raimondi is a fine Don Giovanni, Jose Van Dam a rather elegent Leporello, with John Macurdy as Il Commendatore, Kenneth Riegel as Ottavio, Teresa Berganza as Zerlina, and Malcolm King as Masetto rounding out the cast well.

The sound: The volume fluctuates depending on where the singer is placed in the scene, fading out as they walk away for instance, which is dramatically appropriate, but a musical disaster. There is a quartet that is bizarre in its balance, since two of the singers are in the background. Lorin Maazel conducts the Paris Opera, which in this, and other recordings I have heard, does not have the richest and fullest sound in the world, and may be adding to the problems.

The Don's demise however, starting with the Commendatore's "Don Giovanni a cenar teco" is marvelous, and despite the camera inexplicably lingering on the servant boy instead of the action at times, it is a riveting scene, with some of the most superb music ever written.

Though well worth viewing, I would put this film into the "rent not buy" category, unless one is an inveterate opera collector.

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Joseph Losey's Don Giovanni is masterful. The opening scenes resonate perfectly with the music. The gathering clouds slowly darkening the sky and the melancholy sea beating against the shoreline foretell of a sea-change. Bad days are ahead for the Don. Ruggero Raimondi is the perfect Don Giovanni totally believable and true to Mozart's characterization. The location shots add a dimension to Opera that take this production to another level. Losey makes sure the music is always in sync with the action. When Don Ottario is singing in the Gondolla, for instance, the oarsman is keeping perfect time with the music which, esthetically, is a major improvement over what is normally a dry section of the Opera. Another interesting touch that Losey gives to this production is the character, played by Eric Adjani, called the "Silent Valet." A sly mephistophelean presence that provides an excellent counterpoint to the levity of José van Dam's Leporello. Though he never speaks, his demeanor encourages the Don's baser instincts (one might even argue that he is an image of the younger Giovanni). Losey is masterful in creating visual images that give the story more depth. There is a scene in particular, in which Giovanni watches a nude girl bathing. While she is unaware of his presence the scene is a combination of innocence and sensuality. When she does become aware of the intrusion, Giovanni gives her his penetrating stare, which she returns with a look that is knowing and somehow sad. There has indeed been a sea change and the Don is travelling inevitably down a road that will lead to his demise.

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I have a very personal relation to that production. Being a teenage vandal I used to record heavy metal music over the operatic masterpieces on Decca's cassettes there was a shortage of a quality tape in Russia these days.

One day in was Don Giovanni soundtrack's turn to fall victim my friend's Black Sabbath album yearned to be duplicated. I was in a strange mood so I just turned on the opera to make things worse for me the usual teenage masochism.

The sounds streaming from Hi-Fi made me listen till the end. Then I pushed the rewind and listened once more. Got hold of the film next day. Yesterday was a day of my 100th viewing give or take a couple times.

Since then I've seen a lot, but Losey's film is still my favourite. The movie is a perfect introduction to the world of opera.

It takes care of many preconceptions that prevent lots of people from enjoying the genre.

The casting is perfect. Many of us have a problem with separating a voice and a body. Young lovely virgin sung by colossal diva does not look veritable. Wrinkled and potbellied owner of the divine tenor voice makes us wish for a younger and leaner replacement for the romantic lover's part. How to solve that?

The sensous lips of deliciously breasted Sophie Lourent were opening to the voice of Renata Tebaldi in Aida's production but the result is pure kitsch.

Enter the Losey's masterpiece. Everyone is perfectly cast. Ruggero Raimondi makes you care for the character, despise the lecher and respect the brave man who challenges Fate. He contributes his eyes to the best closeups in opera films, his non-athletic body to the bathtub scene, when the fluffy clothes are shod and we see that sagging flesh the striking visual commentary on the nature of sin.

Kiri Te Kanawa is passionately unrestrained, she stalks the monster, warns the potential victims...and loves him till the final pyrotechnics. I suspect well after that too.

Donna Anna cradles her purity so fervently that you begin to suspect that such fervor is meant to fight the temptation that is equally strong.

Don Ottavio is corpulent and not very brave his self-inflammatory singing warms him up for the task ahead. And he looks funny when informed that after all these trials the physical consumation of his love is postponed for a whole year!

The rest of the singers are also the perfect match except maybe Theresa Berganza's Zerlina, who is lamely coquettish and unconvincing.

The production was filmed in Vicenza, the villas, the canals and gardens combine in a world of beauty. And very laconical, truly classic beauty that is. No dusty curtains of theater just marble, sky and greenery.

That production is terribly underrated, it does not occupy the place it deserves the DVD is a must, but there is still no disc, while a host of mediocre opera films has already got their tickets to eternity.

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I truly wanted to enjoy this Don Giovanni. Unfortunately, not enough advantage is taken of the film medium (for example, the entire "Mille torbidi pensieri" section of "Sola, sola in buio loco" is done in a single shot, with all the actors standing in a line, providing no advantage over a staged production). The sound, as it has been said before, is quite terrible, but what I simply cannot force myself to overlook is the character interpretation.

Raimondi is a decent enough Don Giovanni, being sinister, shameless, and coldly proper. Unfortunately, Don Giovanni is not the only character in the opera. If he were, this would be a pretty good movie. Much of our view of Don Giovanni's character has to do with his servant. Typically, Leporello is unwisely played as a complete doofus. In this case, Leporello is the opposite, if just as bad--almost completely devoid of personality, which is nothing short of a wonder, considering both the music and the text given to the character. I never knew that "Ah, pieta, signori miei" could be sung almost completely lifelessly. He looks somewhat unconcerned when his life is threatened in "Sola, sola in buio loco," and, far from being afraid of his master, seems quite indignant when Don Giovanni tries to blame him for the attack on Zerlina. The amount of propriety he displays would work for a more typical servant role, but Leporello is not a typical servant role, being both our access to the story and our contact with reality, and most of the comedy in the opera, to boot. I was severely disappointed in this case. I wanted the wit and sarcasm of Leporello to have more than a cameo appearance. I wanted him to have a little humor to him, maybe even the capacity for a smile. I wanted him to actually make sense.

Kiri Te Kanawa is a wonderful singer, but she seems to have a similar problem to Jose van Dam's in her Donna Elvira. She is angry, but there isn't exactly a personality to go with her anger. She reacts to the situations and the text, but without any great thought to why her character reacts this way. I found it very odd, actually, that she's singing "God protect my trusting heart" with a joyous smile. Her "Mi tradi" is slow, frustratingly lyrical, and altogether unsatisfying, but that is truly the fault of the conductor.

The filming of Masetto's "Ho capito, signor si" is a little silly. He is standing outside the house into which Don Giovanni and Zerlina have disappeared as he sings to them, which works until he sings, "Vengo, vengo" ("I'm coming, I'm coming"). This line is meant to be sung to Leporello, who is urging him to come away to Don Giovanni's palace. When Masetto sings this to the air, it doesn't make sense. Unfortunately, this sort of disregard for the text occurs throughout the opera. For example, Leporello imitates the footsteps of the statue without having actually heard them--he only sees a brief, ghostly visage of the statue, which quickly fades in and out, but never walks at all.

The rest of the cast is made up of gorgeous voices. I could have closed my eyes and been quite happy, but watching them is quite boring. The only one that shows a real glimmer is Zerlina (thank God for Teresa Bergonza), who very much seems to enjoy tormenting Masetto during "Batti, batti."

I did like the way the Catalogue Aria was filmed, if not the way it was sung. It is visually interesting for various servants to pull out enormous volumes and spread their single lengthy page far, far across what appears to be Don Giovanni's front lawn, down into the nearby village. It's over-the-top, but appropriately so. I also like that Donna Anna is not the first to see her father dead--that the Commendatore is killed in the middle of a street, and people are gathering and some servants are even lifting the body onto a stretcher when Donna Anna and Don Ottavio see the scene. I was quite happy that Don Giovanni and Leporello are literally shouting in each others' faces at the end of "Eh via, buffone," even if Leporello appears more stuck-up than angry.

One scene which made me excited for a brief moment was the Act I finale, just as we are entering the "Tremor, tremor, scellerato!" section. Don Giovanni seizes Leporello and pushes him through the crowd, and the Anti-Giovanni Wheel follows them. "Ah! Camera movement!" I thought excitedly. "They're taking advantage of the action in the music!" It was short-lived. The Don and his servant quickly reach a point where they stop and keep singing while everyone else stands some distance away. This is what I mean when I say this movie does not take advantage of the film medium.

There are definitely better Don Giovannis on DVD, including even the all-right von Karajan production with Samuel Ramey. Far superior is the Met production of 2000 with Bryn Terfel, Renee Fleming, and Ferruccio Furlanetto, which I have reviewed on Amazon. While no specific production will please everybody, some come closer than others, and regrettably, this one does not even come close for me.

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Big Mommas: Like Father, Like Son (2011)

Big Mommas House 1 was good. Big Mommas House 2 was much better. Big Mommas House: Like Father Like Son was better then the the first movie, but not as good as the second movie. I enjoyed this movie a lot. I wasn't crazy about the musical dances. I'm not crazy about musical movies. But I enjoyed it any ways.

I am not sure why this movie is getting so many bad reviews.

What I Can Tell You: I have seen all the Big Momma Movies and still crack up when I see Martin Lawrence as Momma/Malcolm. Come on, too funny. Lawrence and Jackson are funny together. My favorite scenes were any that Jackson had to act like a chick with hot dorm girls walking around in towels. Classic comedy at its best. A dude in drag, done a hundred times, but still funny. Oh, and I have got to mention Momma does nude modeling. Hahahaha...hysterical.

Although I missed Nia Long, as Malcolm's girlfriend I thought as far as a third attempt goes, this was funny.

This is obviously not an Oscar worthy movie, but, if what you are looking for is a good time, a few laughs at hidden identity and some physical comedy, this is a good choice.

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I have the other two DVD's of Big Momma so I knew I had to have the 3rd DVD. This movie is funny just like the other two dvds. I always like a good laugh.

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Personally I preferred part 1 and 2 the best.

This 1 is lacking some of the humor and comedy of it.

It is a good film and well worth watching. But I suggest watching part 1 first if you have never seen it.

It was much Much Better.

I couldn't wait for this to be aired so I could watch it then When I seen it I was glad I never Spent extra on it.

All in all yes I am sure I will watch it again. But it is not as funny as 1 and 2

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I love Big Momma but this one is the stupidest he has ever made. On top of that, it's very small Widescreen Version. You'd think they'd atleast make Anamorphic. If there is a 4th Big Momma in the future, Please come up with a sense able prequel.

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Race to Witch Mountain (Three-Disc Edition: Blu-ray/DVD/Digital Copy) (2009)

You'd think a Las Vegas cab driver had seen it all, especially with that UFO convention in town, right? Almost right, until two solemn children show up in his car. They have a wad of cash that they don't seem to understand very well, an urgent need to reach some desert destination, and a schoolbook way of speaking. It seems as legal as anything in Las Vegas and the money's green, so they're off.

So, a moment later, are the government goons in their black SUVs, in hot pursuit. The kids turn out to be something pretty special. The big bad gov guy calls them "illegal aliens," without stating just which laws they broke or just how alien. Then the chase is on with a few extras thrown in, like a killer robot and the only UFOlogist in the world who actually has a clue.

There's plenty of action, a bit of bloodless violence, some ominous but ambiguous threats against the kids, and a steady stream of one-liners to keep the mood from getting too grim. Maybe this isn't one for the ages, but it provides some popcorn entertainment where no one gets killed and everyone keeps their clothes on. Enjoy!

-wiredweird

More action than the original! A new step forward for the popular sci-fi Walt Disney film.

As a fan of the original 1975 film "Escape to Witch Mountain", I have to admit that I felt a bit standoffish about a retelling of the film series. With Dwayne Johnson cast as the primary character in the film, it was evident to me that the new film "Race to Witch Mountain" would be a more action-based film but over 35 years since the first film, you can only wonder how far special effects would go for and how campy but yet entertaining and family friendly, the new storyline would be.

Taking on the helm as director for "Race to Witch Mountain" would be Andy Fickman (producer for "Anaconda" and director of "The Game Plan", "Who's Your Daddy"). The screenplay would be written by Matt Lopez ("Bedtime Stories") and Mark Bomback ("Deception", "Live Free or Die Hard" and "Godsend"). Music by Trevor Rabin ("12 Rounds", "Get Smart", "National Treasure: Book of Secrets", etc.) and cinematography by Greg Gardiner ("Herbie Fully Loaded", "Elf", "New York Minute", etc.).

The film would star Dwyane Johnson ("The Scorpion King", "Gridiron Gang", "The Game Plan" and "Get Smart"), Carla Gugino ("Sin City", "American Gangster", "The One", etc.), AnnaSophia Robb ("Bridge to Terabithia", "Charlie and the Chocolate Factory" and "Jumper"), Alexander Ludwig ("The Sandlot 3' and "A Little Thing Called Murder"), Ciaran Hinds ("The Sum of All Fears", "Lara Coft Tomb Raider: The Cradle of Life", "The Phantom of the Opera", etc.) and Garry Marshall ("Pretty Woman", "Chicken Little" and "Murphy Brown").

"Race to Witch Mountain" continues Disney's dedication of a 3-Disc release with the Blu-ray, DVD version of the film and a Digital Copy.

VIDEO & AUDIO:

"Race to Witch Mountain" is featured in 1080p High Definition (with an aspect ratio of 2:40:1). Overall, picture quality is good but where many other Walt Disney films tend to utilize more daylight scenes, "Race to Witch Mountain" is shot indoors in dark spaces or outdoors during the night. There are daylight scenes but more the most part, you find the main characters trying to utilize darkness in order to give a sense of the group trying to hide out. So, for the most part, the film is not exactly vibrant or colorful but you can expect a lot of blacks and blues being utilized during the darker scenes in the film.

During the daylight scenes, there is a little softness (not by digital noise reduction) but picture quality is not as vibrant as other recently released live-action Disney-related films but I think the somewhat muted colors was a personal decision by cinematographer Greg Gardiner. But overall, picture quality is good, it's just a film that leans more towards darkness with a lot of shadows.

As for audio quality, the audio is well done. The English 5.1 DTS-HD lossless soundtrack really capture the action. There were several scenes that I just had to replay because it really shook my living room (a scene where Jack and the kids are riding on the railroad tracks), there is serious LFE in this film and you can expect your subwoofer to be utilized. Where the dialogue is crisp and clear through the center and front channels, there is also a lot of surround and rear surround usage during the action scenes.

Frankly speaking, "Race to Witch Mountain" was quite pleasing to listen to. It's an aggressive soundtrack and maybe not as aggressive as a film like "Transformers" or "Quantum of Solace" but still a lossless soundtrack that you can expect metal shrieking, car crashes and deep explosions that you can feel through seat. This is one of the most aggressive lossless soundtracks I have heard from Disney (for a live-action film) thus far.

Subtitles are featured in English SDH, French and Spanish.

SPECIAL FEATURES:

"Race to Witch Mountain" comes with the following special features presented in HD and standard with English 2.0 Dolby Digital audio:

* Deleted Scenes (23:21) Optional introduction by Director Andy Fickman, the following deleted scenes are featured: Intro, Extended Opening Ray's, Extended Ray's Telekinesis, Jack Beats Up Zacha, Tina Meets Siphon, Sara Foils Security Fence, Alex Foils Guard, Extended Goodbye Scene and the Original Ending. It's important to note that the alternate ending which is literally an extended version is quite important and would build up to a sequel. Personally, the alternative ending would have worked but Director Andy Fickman decided to keep it simple which is understandable.

* Bloopers (3:37) The blooper reel featuring Dwayne Johnson, Carla Gugino, AnnaSophia Robb, Alexander Ludwig and Garry Marshall having fun and messing up their lines.

* Backstage Disney (8:20) Director Andy Fickman reveals hidden references to the original movies "Escape to Witch Mountain" and "Return from Witch Mountain" and other Disney tie-ins.

* Learn How to Take Your Favorite Movies on a Go (1:04) Your typical Disney information trailer of what digital copy is.

JUDGMENT CALL:

With the recent release of "Escape to Witch Mountain" and "Return from Witch Mountain" on DVD, it was good to rewatch the classic films since so much time has passed since I watched those two films and prepare me for "Race to Witch Mountain".

For the most part, "Race to Witch Mountain" has no similarities to the original with the exception that the antagonist are going after the children. And also, in this case, also Jack Bruno. The other major difference is that the children in "Escape to Witch Mountain" are orphans who just want a loving family and are blessed with supernatural abilities which they don't know why. It's not revealed of what they are until the end of the film, whereas "Race to Witch Mountain" reveals what the kids are right after the beginning and from then on the film becomes more action-based and a more aggressive cat vs. mouse type of film.

So, needless to say, the film is not the same type of film that children in the 1970's grew up with. Where the older films were definitely crafted as innocent family films, "Race to Witch Mountain" is a film that was created to appeal to both children and adults. You know that with Dwayne Johnson, you're going to see some major butt kicking and with these two extraterrestrial kids, really take advantage of their power and of course, with modern technology, definitely giving the film a much more modern spin to their powers, the look of their spacecraft and of course, everything looks quite slick.

It's important to note that despite the film being much different than the previous two films, director Andy Fickman who was a big fan of the original knew that there should be some tie-in to the original. So, the original characters that played Tony (Ike Eisenmann) and Tia (Kim Richards) in the first two films, have a significant part in this film rather than short few second cameos. Also, Fickman made sure to put a lot of references of the original film, in this new film as well (note: there is a special feature dedicated to director Andy Fickman showing the various homage paid to the original film).

For parents who are wondering if the film is safe, I watched this film with my six year old and we both enjoyed the film. If anything, its the aggressive soundtrack that I think that freaked him out (of course, I loved it) because there are plenty of explosions and action sequences that will utilize your home theater but might be a bit too much for the kids. There are scenes with the kids being manhandled by the alien Siphon and since it is an action film, there is many chase scenes and fighting. So, there is violence in that regard. But for the most part, the film doesn't show any blood. In fact, despite the beating Jack Bruno (Dwayne Johnson) goes through, he's not bruised and bloody. Disney made sure the film is kept tame for families to watch.

Overall, I understand that if some parents who felt the wholesomeness of the original films has been thrown out the door with this new film "Race to Witch Mountain". Personally, I enjoyed this film and enjoyed the hidden tie-ins of the original film and to see the original talent in this film... that was fun!

But this is a more action-driven film that focuses on a man who has had his troubles in the past, keeping his promise in making sure that these kids get to their destination. Of course, Dwayne Johnson's Jack Bruno is no Eddie Albert's Jason O'Day but there is a feeling of guardianship that both Jack and Dr. Alex Friedman feel for the children and are willing to sacrifice their own lives to protect them.

As for the Blu-ray release, "Race to Witch Mountain" sports one of the most aggressive Disney lossless soundtracks that I have heard so far. But it's also important to note that the picture quality was good but not as magnificent and unlike other Disney releases on Blu-ray, there are far less special features included. But you do get the two other discs which include a DVD and a digital copy of the film.

"Race to Witch Mountain" is an enjoyable film and definitely a step forward in bringing the "Witch Mountain" to a more modern time for today's audiences. But for those who enjoyed "Escape to Witch Mountain", personally I feel that director Andy Fickman did the best thing by leaving the original alone and let that film be known for its merit and not copy it but showing his own respect for the original film film his way and it worked. I can also understand those who loved the originals, as they were more character driven, feel-good family storylines whereas this film goes in another direction and focuses primarily on the action. And it's also important to note that the sequel "Return from Witch Mountain" is also a film that is very different from the original film and a bit more darker in its storyline as well. So, in a way all three "Witch Mountain" films are quite different in presentation but yet they all retain a sense of family, it's just presented differently.

Overall, "Race to Witch Mountain" is a fun, enjoyable film definitely worth recommending!

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Jack Bruno (Dwayne "The Rock" Johnson) is a cab driver. He has a shady past but is trying to put all that behind him. It's time for the annual science fiction convention in Las Vegas, which means his cab is filled with weirdos, including Dr. Alex Friedman (Carla Gugino), one of the speakers.

Yet the trouble comes in the forms of two teenagers. Seth (Alexander Ludwig) and Sara (AnnaSophia Robb) appear in his cab at the start of one shift. They offer him a wad of cash and ask to be taken to an undisclosed location. When they arrive, Jack discovers it is an abandoned cabin in the middle of the nowhere. Not wanting to leave them alone, he discovers something he never imagined. Is he in over his head? Can he help Seth and Sara complete their mission?

I hadn't watched the originals growing up, but I did watch them earlier this year to prepare for this one hitting theaters. It turns out it really didn't matter. They could have slapped any name on this and it would have been just as enjoyable. That's not saying they didn't acknowledge their roots. Original Witch Mountain kids Kim Richards and Ike Eisenmann make cameos in a diner scene as Tina and Anthony. There are another couple fun nods to the original.

The movie got going pretty quickly and only increased in intensity from there. Our heroes have several different groups hunting them, so there is never a dull moments. Yet the comic moments are plentiful as well, especially any time Garry Marshall is around as a science fiction writer. And the movie made me truly care for these characters.

The special effects were impressive with several truly mouth dropping moments. The preview pretty much gave those away, but I still loved them. There is plenty of action and stunts, too, which are probably what earned the movie its PG rating. It is intense at times, so kids who frighten easily should steer clear. Every one will enjoy it.

I do have two minor gripes about the movie. The first is a scene that preaches to us about global warming. It feels a little out of place and gratuitous instead of a real part of the film. Secondly, a sub-plot about Jack's past coming back to get him is dropped near the end.

Just so you know, there are a few scenes during the credits you'll want to catch.

Despite the dropped plot point, I had a smile on my face when the movie was over. In fact, I was kind of surprised at just how much I enjoyed it. If you are at all interested in seeing it, do. You'll have a good time with an enjoyable movie.

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As I continue to smell what the Rock is cooking, it strikes me that it's been a while since I've thought of him as a wrestler in WWE. Nowadays dude is doing big things in Hollywood. The trend seems to be that wrestlers don't become movie stars, their over-the-top ring personas being hard to translate into serviceable movie acting chops. 'Stone Cold' Steve Austin and Hulk Hogan both fell on their faces, and John Cena doesn't impress me. Before the Rock, I think only 'Rowdy' Roddy Piper had successfully parlayed his wrestling cachet into a noteworthy flick (and that would be John Carpenter's cult classic They Live). Oh, and Andre the Giant had a small cute part in the quite awesome The Princess Bride (20th Anniversary Edition).

But it's looking more and more as if Dwayne "the Rock" Johnson really is here to stay as an actor and a big box office draw, and never mind that he seems to have put the people's eyebrow on ice. RACE TO WITCH MOUNTAIN is his latest flick with Disney (after The Game Plan (Widescreen Edition)), and sure enough it garnered the number one spot in its first week of theatrical release. Not that it's so overwhelmingly a terrific picture, mind you. It's got its flaws. Suffice to say that overall I liked enough about it to give it a semi-warm recommendation. But the key reason the movie works is that the Rock is in the thing. As always the Rock brings in his reliable physicality, along with a certain comfort level in front of the camera and an easy-going sense of humor.

Did you know there were three Witch Mountain pictures before this one? I grew up on Escape to Witch Mountain Special Edition (1975) and Return from Witch Mountain Special Edition (1978), and as a kid I had a serious crush on Kim Richards who played Tia (I remember having one on Pippi Longstocking, as well). So it's particularly gratifying to see Kim Richards here in a cameo role as a helpful diner waitress. Ike Eisenmann, who played her brother Tony, also resurfaces as a sheriff in the same scene. I missed out on the third Witch Mountain project, a failed pilot that aired on the Wonderful World of Disney and was intended to lead into a television show, except that the series never got off the ground. Anyway, back on point...

I think the best word to describe RACE TO WITCH MOUNTAIN is "nice." It's a nice sci-fi adventure movie for the family, but it won't blow you away with its scope or special effects or acting. But neither does it suck arse. It's middle of the road stuff, with the Rock turning in another ingratiating performance, Carla Gugino again being criminally underused, and the kid actors showing enough range to sorta kinda make you care about what happens to them. There's nothing here that's too disturbing or violent or inappropriate for de kids. Yeah, it's nice. It really could've used more of an edge.

Dwayne Johnson plays Jack Bruno, a former wheelman for the Las Vegas mob but currently a cabbie in Sin City. Bruno's trying to stay on the straight, even though his shady past keeps trying to pull him back in. So any more grief is not what he needs. It's what he gets, though, when two odd kids suddenly show up in the back seat of his cab, sporting formal speech patterns and with a desert destination in mind and waving fistfuls of cha-ching. And there goes Jack Bruno, embarking on a very strange, very dangerous journey.

If you've caught the trailer or seen the prior Witch Mountain films, then it's no spoiler that the two kids, Sara and Seth, turn out to be extra-terrestrial children. Sara is a telepath who also happens to be telekinetic. Seth is able to adjust his molecular density and can therefore phase thru solid objects or stop an SUV cold with his superdense body. Sara and Seth's planet is dying, and they've come to Earth to retrieve their scientist parents' rejuvenation device. This device, hidden in an isolated cabin in the Nevadan desert, can in theory save their world. However, their planet's military has its own pretty insidious plans for Earth.

Jack Bruno, a bit (or a lot) out of his depth, still finds himself channeling his inner dad or inner older brother. That, or he's a really dedicated taxi driver because the man intends to carry on until the kids get home, and that means making sure Sara and Seth end up in their spacecraft, which is currently being heavily guarded and poked and prodded by the government in full-on paranoid mode. The movie is pretty much Bruno and the kids and, later on, a sexy down-and-out astrophycisist (Carla Gugino, natch!) scrambling like crazy and trying to stay one step ahead of an unstoppable alien assassin, a shady government agency focusing on extraterrestrial threats, and Bruno's former hoodlum associates.

As said, the special effects are decent, and I got a nostalgic kick out of the diner scene. The Las Vegas science convention sequences are also a hoot, even if I feel that the movie could've mined more comedic/satiric gold out of those scenarios. An unexpectedly touching emotional core is built around the rapport and warm interplay between Dwayne Johnson and AnnaSophia Robb, who was so good in Bridge to Terabithia (Widescreen Edition) and she does pretty okay here as well, as the more appealing kid alien. Sorry to say, but Alexander Ludwig as Seth remained somewhat of a cold fish.

Disney, the bastion of fluffy family friendly fare, plays it safe, and the result is a tepidness to the film, a lack of punch, despite all the glitzy swagger onscreen. I saw RACE TO WITCH MOUNTAIN during an eighteen hour overseas flight, and I'm forever grateful that it kept me engaged enough that I wasn't as miserable as I would've been (because I really loathe flying!). The film is basically an extended chase scene, with several pit stops made so that the Rock and the kids can bond and the Rock can crack jokes. In the final say, I had fun in watching it, and wouldn't say no to a sequel, which going by how the movie ends (check out the end credits), seems very likely. The Witch Mountain franchise continues...

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This was a really fun movie to watch. Dwayne Johnson is perfect as the reluctant hero, slowly going from driver to protector. Carla Gugino is the true scientist who so wants to prove ETs really exist, beyond the scifi world. Great fun for those of all ages.

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Simply Irresistible (1999)

First of all let me say I am a HUGE Sarah fan, and this film has gotten bad reviews from alot of people. This is not a film for you if you are looking for action, if you are, don't get this, because you won't like it. If you like romantic dramas, you will definetly like this. This movie wasn't made expecting EVERYONE to fall head over heels in love with it, it was made for people who enjoy films like this. Sarah plays a young girl who has no parents, and she lives by herself, and she runs her mom's resturaunt with her aunt. When the resturaunt may have to close because rent can't be kept up, somehow, Sarah's character starts to make delicious, delectable, irrisistible food that everyone falls in love with. She meets this guy who is opening a resturaunt, and the film just flows out from there. It's a great film, and it's great for those who want to watch a good movie with their girlfriend or boyfriend or for someone who just wants a good Saturday night movie to chill and watch. Sarah Michelle Gellar gives an amazing performance as usual, and you will not be dissapointed.

Simply Irresistible may not have done well in the box office, but that certainly doesn't mean that this film doesn't have any charm. Just because a movie doesn't find a proper following doesn't make it any less charming, in my opinion. Simply Irresistible is one of the best movies I've seen that hasn't had much viewership. It's fun, sweet, romantic, and just simply enjoyable all the way through.

This movie certainly boasts a top-notch cast that is led by the wonderful and amazing Sarah Michelle Gellar and Sean Patrick Flanery. Amanda, played by Sarah Michelle, starts off as an awful chef but almost magically turns into a wonderful one overnight. She then begins falling in love with Tom, played by Sean Patrick, who is the owner of a popular department store.

Simply Irresistible tells a wonderful and romantic story of how scary falling in love can truly be and how wonderful it can be all at the same time. If you're in the mood for a light, romantic comedy, then I highly recommend this movie.

Buy Simply Irresistible (1999) Now

I rented this movie purely on the basis of a pretty charming little rave print review by Roger Ebert,and was glad I did (ended up even buying a copy on VHS for myself). The movie is slight and whimsical -lots of magic, not a lot of gritty reality -but it's sweet and strange and has a lot of charm. The characters are daffy and whimsically painted, and don't go the usual hollywood movie route. Gellar is sweet and insecure as the heroine -a much less glamorous role than her weekly (equally fabulous) vampire slaying Buffy heroine -while Buckley and Flanery and the fine supporting cast are all enjoyable to watch in the romantic mishaps that ensue. The wonderful Patricia Clarkson meanwhile is so much fun that she steals every scene she's in without detracting a bit from the appeal of her costars -a pretty good trick (it's worth the price of admission to hear her say, "This is nutty. Hazel-nutty.").

I really loved this movie - started out wondering where it was going, but by the end I didn't care - the writing is offbeat and fun, not so by the book. The movie's not "Schindler's List" or anything, sure -it's pretty lightweight -but it doesn't feel as Hollywood-ish as your usual romantic comedy, and you really never know what the characters will say next. The food also looks glorious and really adds to the sense of whimsy. The soundtrack is as sweet and fun as everything else -if you need cheering up, or convincing that there's still a bit of Astaire and Rogers in the world, this one's a great choice, where a perfect eclair can create true love, and a wonderful meal can make people weep with delight (and float in the air a time or two)...

Read Best Reviews of Simply Irresistible (1999) Here

"A good cook is like a sorceress who dispenses happiness." ~Elsa Schiaparelli

Sarah Michelle Gellar's softer side appears as she picks up the batterie de cuisine and tackles saving a restaurant from certain death. When it looks like Amanda's career is about to end as a chef, an angel appears in her life and gives her some sage advice about looking for a door that will open when another one closes. As the chef of a failing 70 year-old restaurant, the Southern Cross, she only has her loyal clientele who are not there for the food.

To say she is adorable as a chef is an understatement. She appears in a variety of fashionable outfits and weaves a sweet innocent spell on the viewer. Worth watching to see Sarah dressed up in a variety of outfits and different hairstyles.

There are also scenes of outdoor markets, beautiful orchids and of course restaurant scenes, Sarah shopping, cooking and crawling about on the floor chasing after magical crabs all to romantic music.

Instead of slaying vampires, "Buffy" bewitches Tom Bartlett (Sean Patrick Flanery) and entices love right into her life through cooking a variety of gourmet dishes. If every man has his weakness, Tom's weakness is luscious cuisine.

"She can cook things that make you crazy." ~Tom

As every kitchen sorceress has discovered, the right food can create the right mood and can invite happiness and love into your life. I loved the dance scene and the scene where Tom and Amanda disappear into the scented mist. This movie emphasizes the aphrodisiac qualities of food.

Amanda Shelton (Sarah) only discovers her true cooking talents after meeting Tom. At first she seems unaware of her current fate while Tom seems to be trying to control his fate. He is disturbed by his lack of emotional control and when he falls "in love" with Amanda, his world seems to be spinning out of control.

"My whole life was ordinary and then we met and these amazing things started to happen." ~Amanda

Is it love that makes Amanda a better cook and makes her cooking taste even better to Tom? Are their senses in a state of heightened awareness from the chemicals rushing through their bodies or is there magic floating about? Once she finds a recipe for caramel éclairs, Tom is even more attracted to her.

There are very few movies about cooking or chefs so this one is a treat. Tear drops in the food reminded me of Like Water for Chocolate. The emotions Amanda feels are somehow magically mixed into the food she is cooking. Either the dishes make people cry, stun them or make them lose their inhibitions. She seems to have a magical gift for culinary creations that have an effect on anyone who consumes them.

Is the orchid plant in this movie the "Oncidium Sharry Baby?" It did look similar, although I can't say for sure. Some people say it has a fruity vanilla scent and not really a chocolate scent. Most types of vanilla do not produce the vanilla beans. If you wanted to cook with flowers, you would want to make sure that the flowers you added to your cooking were edible. Orchid flowers are apparently edible.

Vanilla beans are the cigar-shaped seed pods from a climbing orchid and the pods must be picked, boiled and heated in the sun. It literally takes months to produce the delicious vanilla flavor. It actually takes 100 beans to make 1 gallon of vanilla extract. If you love vanilla extract, you might also enjoy: Fiori di Sicilia flavoring for your baking.

After watching this movie you may want to feed your lover oranges, invest in some expensive vanilla extract, get lost in a kiss or cook up some bliss. If you are looking for the best vanilla for your cooking, Bourbon-Madagascar vanilla is superior.

Deliciously cute, silly spells, sweet innocent love and a few hot and steamy kissing scenes in the kitchen. For romantics and lovers of kitchens and cuisine. Almost a culinary Cinderella story.

You might enjoy these books:

The Seduction Cookbook by Diane Brown (Baked Salmon with Raspberry Cabernet Sauce, ideas for late night seduction snacks and information on growing an erotic herb garden.)

A Passionfruit Cookbook by Patrick Jesse Pons-Worley (The flavor of passion fruit is so seductive and exotic.)

Written with a Spoon (Poetry and Recipes)

The Illustrated Encyclopedia of Orchids by Alec Pridgeon

The Edible Flower Garden by Rosalind Creasy

InterCourses: An Aphrodisiac Cookbook (The "Fig Pastries" are decadent and naughty.)

Crab Cooking: Famous Recipes from Famous Places by Joyce Lafray

Movies with Food Themes:

Babette's Feast

Like Water for Chocolate

Scent of Green Papaya

My Big Fat Greek Wedding

Big Night

~The Rebecca Review

P.S. If you need a recipe for the caramel iced éclairs to entice someone with see the comments section for the link.

Want Simply Irresistible (1999) Discount?

Mmmm, mussels...

They provide an excellent metaphor for this little known romantic comedy as they are an unforgiving shell surrounding an unmistakeably unique tasting meat. Either you like them or you don't and so it is with this film. If you have trouble enjoying the average Tom Hanks/Meg Ryan canoodler then this movie probably isn't for you. Only the truly romantic who believe in spells and rapture will appreciate "Simply Irresistible".

The story doesn't always make sense as it tends to meander off in odd ways just like the character Stella, (played dizzily by Betty Buckley), but this is also part of its charm, it's unpredictability. There is a woozy style to the filmmaking that perfectly captures the story's setup. A young chef finds love and fulfillment at the claws of a magical crab. As silly as it sounds, "Simply Irresistible" is also incredibly sincere with first rate performances from all involved.

However even the tastiest mussels sometimes get gritty and there are enough (what the?) moments in "Simply Irresistible" to snap first time viewers out of their trances. This is a film that actually improves the more you watch it, as the discordant moments tend to soften with exposure.

The ending is by far the movie's weakest link as it asks the viewer to believe in an instantaneous makeover for the movie's star and revisit a restaurant scene that has long exhausted its interest. How much better would it have been if leading man Tom, (Sean Patrick Flanery), had met Amanda, (Sarah Michelle Gellar), on the pavement in front of the department store and taken her for a walk through the nighttime streets of midtown Manhattan? We would have gotten to see more of their admirable chemistry and maybe been given a glance at how their relationship would develop after the credit roll. Instead were left literally dangling in mid air feeling a bit silly.

Because of its flawed ending, I can only give "Simply Irresistible" four stars and certain plot holes would have reduced this score to three if it weren't for the always inventive use of soundtrack in the movie. One plot hole that particularly disappoints is the disappearance of Amanda's benefactor Gene O'Reilly, (played wonderfully by playwright Christopher Durang), after the film's first few minutes. More of his presence might have helped to ease the audience into the magical realism the script so heavily relies upon.

Thankfully moments of spontaneous convergence abound, when the dialogue, acting, and direction merge into such effortless liquidity that it's like watching a lava lamp; hypnotic. Nothing creates this effect better than Patricia Clarkson's sumptuously brassy performance as Tom's assistant Lois. Every scene she's in she steals and her seduction of department store tycoon Jonathan Bendel, (Dylan Baker), more than justifies the suspension of disbelief this film requires.

Flanery and Gellar work well together here with Flanery delicately walking a fine line as an ambitious yet romantically feckless young executive enchanted by Amanda's cooking and then by Amanda herself. My favorite moment: when Tom arrives at Amanda's very busy restaurant to break it off with her only to be smitten all over again as she hands him a customer's plate to deliver. The song "Secret Smile" by Semisonic starts to swell as Amanda intones "The mussels are ready" while beaming a thousand watt grin in his direction. It's the kind of magic scene that enlivens this unusual and giddy confection of a film.

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Blade Runner: The Final Cut Blu-ray SteelBook

Having seen this movie probably more times and in more different formats than most people, I thought it was time I write a few words about this masterpiece of filmmaking. Truly, I wasn't boasting with my assertion that I've seen this movie as much as I have (I watch this movie almost once a week and have done so for almost 10 years). I own several, still unopened, VHS tapes that for a large part of the nineties I did my best at collecting. I own the Japanese Laserdisc version, a rare bootleg VHS version that was distributed over the internet a handful of years ago that has the narration selectively placed back into the Director's Cut version of the film, not called the Esper Version as some would want to label it, the Director's Cut and now the HD version of the Final Cut. That makes 5, but 6 if you count the Workprint version that comes with this box set. So, I would say that's one more than most.

Blade Runner first and foremost, is probably the greatest film ever made, from beginning to end and in all of its variations. A bold statement when the film doesn't even rank in the top 10 in the American Film Institute or on IMDb. Spots #97 and #104 respectively (ahem). But as these kind of lists are subjective and truly under the control of mere mortals and their own strange whims, and I take no offense that so many so-called aficionados have over-looked this film for so long. Roger Ebert slammed Ridley Scott and the film during the first theatrical release by stating that `Scott cared more about the lush environment of the film than he did of the story', which as we all know and even Ebert now, in hindsight, has stated that he was unkind and grossly unfair to both Scott and the film.

For years, Blade Runner was divided into two different camps, or rather four and they are: Those that preferred the narration and those that did not and the other camp was those that thought Deckard was a Replicant and those that thought he was either human or felt it was left ambiguous. Ridley Scott has very gracefully over the years, given homage to these thoughts and made many statements that most readers are aware of, chiefly that Deckard was a Replicant. Unfortunately, due to the studios fingering with the film during post-production, Warner Brothers had the right to trim anything after the 120 min mark, and thus butchering the nuance of the film and leaving several things vague and forcing Scott to tack on the Happy ending and the narration because as we all know ... we're all just too stupid to get it.

The new and most refreshing part of the new argument, evinced in the 210 (wow!) min documentary `Dangerous Days' is that Scott gives equal time to those that enjoyed the film with the narration, with Guillermo del Toro (Pan's Labyrinth / Hellboy) in the forefront, with his very candid telling of how Blade Runner changed his life and launched him down the road into filmmaking. We also get to hear a very lucid and warm retelling from Harrison Ford of the nightmare that he not only endured making the movie but the further commitment of having to do the Voice Over narration months later, which ended up having its own strange story as well.

So, now with 5 versions available in this box set, you get to see Blade Runner in every single angle imaginable and it is engrossing every time. Ebert also said in the Nineties that the re-release of the movie for the Director's Cut gives you yet another version of the film, but fails to handle the main problems that were so apparent the first time around. As the film has changed Ebert has gone from student flippancy to utmost respect and enjoyment. Ebert's own site has all three versions of his reviews which are interesting to read in context to the passage of time if you're interested.

There are so many layers to Blade Runner and so many things that can be said from the brilliant look of the newly restored cut, the awesome remixed sound, the Original Score by Vangelis, and the story itself. Blade Runner is probably the high water mark of all films and will probably stay that way for quite some time. Internet voting puts the film as the 4th greatest movie of all time, according to AFI's own user polls so that really puts perspective on AFI's and IMDb's so-called Final Lists.

On a final note, when people watch this film, a lot of people come away with a strange feeling of familiarity regarding the content, the story and the character of Rick Deckard the protagonist, the Detective, the Blade Runner. You should know that Philip K. Dick was an incredibly huge fan of Raymond Chandler and absorbed every one of his stories on a personal level. Hampton Fancher, the screenwriter was privy to this when he penned the screenplay while making the adaptation for `Do Androids Dream of Electric Sheep?' and did his best to not only pay homage to this for Dick but for Chandler as well. Movies like `The Big Sleep' really bring it home and make it evident to the viewer. The novel almost reads like the narration and in latter years I find impossible to not hear Harrison Ford's voice as I read `The Big Sleep'.

"What do you think of my Owl, Mr. Deckard?"

"Is it real?"

Due for re-release in December, this motion picture is one of the finest science fiction films of the 20th century. Part of this is because it projects a future that could be the earth as a place with a ruined environment populated by people that couldn't or wouldn't make the jump to one of the more habitable off-world colonies. The other part is because the film questions what it means to be human, and explores the possibly unsatisfactory answers you might get if you could, like the replicants, hunt down your maker and ask him Why am I here? Why must my life end? I'll pretty much let Warner's press release do the talking from this point forward. Basically you have your choice of three different sets 2-disc, 4-disc, and 5-disc. The discs are described as follows:

Disc 1 Ridley Scott's All-New "Final Cut" Version of the film Restored and remastered with added & extended scenes, added lines, new and cleaner special effects and all new 5.1 Dolby Digital Audio. Also included is commentary by Ridley Scott and a host of others that worked behind the camera.

Disc 2 Documentary Dangerous Days: Making of Blade Runner A feature-length documentary revealing all the elements that shaped this cinema landmark. Cast, crew, critics and colleagues give a behind-the-scenes, in-depth look at the film from its literary roots and inception through casting, production, visuals and special effects to its legacy.

Disc 3 1982 Theatrical Version The original that contains Deckard's narration and has Deckard and Rachel's (Sean Young) "happy ending" escape scene.

1982 International Version Also used on U.S. home video, laserdisc and cable releases up to 1992. This version is not rated, and contains some extended action scenes in contrast to the Theatrical Version.

1992 Director's Cut Omits Deckard's voiceover narration and removes the "happy ending" finale. It adds the famous "unicorn" sequence, a vision that Deckard has which suggests that he, too, may be a replicant.

Disc 4 BONUS Disc "Enhancement Archive" Eight featurettes, image galleries, radio interview with the author, and screen tests for the part of Rachel.

Disc 5 Workprint Version This rare version of the film is considered by some to be the most radically different of all the Blade Runner cuts. It includes an altered opening scene, no Deckard narration until the final scenes, no "unicorn" sequence, no Deckard/Rachel "happy ending," altered lines between Rutger Hauer and his creator Tyrell (Joe Turkell), alternate music and much more.

Also included is commentary by Paul M. Sammon, author of Future Noir: The Making of Blade Runner and a featurette "All Our Variant Futures: From Workprint to Final Cut".

2 Disc Edition : Discs 1-2

4 Disc Edition : Discs 1-4

5 Disc Edition : Discs 1-5

The downside of this 2-disc version is that you are only getting the Final Cut version of the film and the documentary disc. You won't get the bonus disc of featurettes, the disc of past releases, and the workprint version of the film. The upside is that the 5-disc version of the film has some expensive packaging and promotional material included that seems to really raise the price of the entire package.

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Well... here's the deal...

Blade Runner stands as one of those films whose editting and final cut were always a subject for debate. As you may know there are two known cuts of this film: the original theatrical version (shunned by many who claimed it was a producer's cut who did not believe in Scott's true vision) and the director's cut (which is not really the director's cut... it is more a screenplay's cut... with some changes who merely unmade some of the things the producers did on the previous cut).

It is this second version that you will find here (while the first version is no longer available) with a face lift... a new transfer... better sound... and that's it.

In one way, this version is badly needed because all the previous Blade Runner DVD incarnations come from the first years of DVD when you didn't even have a decent menu. And since the DVD technology has evolved a lot since then... why not a new version of Blade Runner, right?

But.......

The mystique surrounding Blade Runner says that director Ridley Scott never REALLY got HIS REAL version of this film. And more... A such an important and much loved film like this should have lots of extras to bring a new light to a film that is so fundamental and trendsetting.

And it seems that after 25 years, all the legal problems preventing all this from happenning were really sorted out between the film's former producers who battled for years for the film's rights.

And now, with all problems solved, we know that in 2007, we'll have that multi-disc version all the fans always dreamt of.

SO, THE DEAL IS... IF YOU ONLY CARE ABOUT THIS VERSION, BUY THIS EDITION. The good thing is you won't even go through those stupid snap cases anymore. Even if you already have it, the better image and sound on this release will certainly make up for it.

BUT IF YOU CANNOT BE SATISFIED WITH ANYTHING LESS THAT THE WHOLE MULTI-DISC EDITION COMPRISING ALL THE VERSIONS AND TONS OF EXTRAS... forget about this version and wait a few months for the longer, bigger, more complete, celebratory, multi versioned, multi disc set that will give you the FULL BLADE RUNNER deal.

It will cost more, naturally, but we've been saving money for it since our childhood, right? ;-)

I'm a big fan. So I'll wait. This version is a quick, just and much needed repairment: a great new transfer (with no extras) for those who just want the film. An entry level I'd say. And I think it is good that Warner Home Video has this version for those who just want the film at bargain price.

But more is coming in 2007. In full!!

So, I'll wait impatiently!!!!!

Read Best Reviews of Blade Runner: The Final Cut Blu-ray SteelBook Here

I fully agree with the previous reviewers. I already have the original 1992 Director's Cut and have been waiting ages to upgrade it. However, now that the producers have finally settled their legal problems, we are being deluged with a surfeit of Blade Runner editions. This is the first and the least promising of three planned editions. The 1992 Director's Cut is a compromise cut. This barebones DVD is the same as the previous DVD except that it has been fully restored and given an anamorphic remastering.

Following this edition, there will be another entitled, "Ridley Scott's Blade Runner: The Final Cut," to be released in early 2007 to mark the 25th Annversary of the movie, which will include newly restored scenes and will be Scott's final word on the film. Then later in 2007, there will be the "Ultimate Blade Runner" which will contain all 4 versions of the film, the original U.S. theatrical cut, the expanded international theatrical cut, the 1992 Director's Cut and the 2007 Final Cut, all fully restored and in anamorphic transfers plus tonnes of extras. In addition, Blade Runner will also be released simultaneously on both Blu-ray and HD-DVD formats.

Buy this with your eyes open. It is recommended only if you're a completist or have only passing interest in the film. This edition will have a limited run of just 4 months before it is withdrawn prior to the arrival of the next edition.

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Finally, the version I've been waiting for and many others as well. For years Blade Runner fans have been subject to the insane number of versions of Blade Runner and even the 5 disc Blu Ray copy that really is not worth the price you pay. The Final Cut is the version to have if you truly love the Blade Runner experience and have always hated the annoying voiceover by Harrison Ford that has plagued various copies of the film. Ridley Scott himself was able to have full artistic license with this film and you will not be disappointed. What you will be greeted with is a very clean, crisp HD version of the film and just the best single copy out there without all the extra discs of fluff and crappier versions. This version has the omitted voiceover, alternate ending without the "happy resolution" and the inclusion of the Unicorn dream. Any other reviews that knock the film are most likely fans of the voiceover which spoon feeds you information and takes away the lonely rainy feeling you get when watching the film for the first time. Plus in my opinion without the added commentary you are able to judge the film for yourself and not be guided through every single little plot detail. The acting is spot on and perhaps my personal favorite Ford role to date. If you are going to have any science fiction film on your shelf please get this version you will not be disappointed. 5 stars on audio, visual effects, crisp colors and picture quality.

NFL: Pittsburgh Steelers - Road to XLIII (2009)

The first disc the NFL produced for this season teased us a little, but now we can watch the whole post-season + a great Baltimore-Pittsburgh late-season battle in high-definition. Hopefully the NFL will be putting out their "America's Game" for Superbowl XLIII and that will be when the players tell more of the story of the whole season, these discs only have the games, but what FANTASTIC games they are!

The first disc has Game 15 of the regular season-a hard-fought Steelers-Ravens game for the AFC North title in Baltimore as well as the Divisional Playoff game where the Steelers face off against the Chargers. The second disc has the absolutely brutal defensive fight for the AFC Championship-a grudge match of the Steelers vs. Ravens, followed by arguably the best superbowl, the Steelers vs. the Cardinals in Superbowl XLIII. The under-respected and unexpectedly great Cardinals fight tooth & claw against the Steelers from start to stop. The Steelers show why they are the #1 defense watching Harrison's 100-yard interception return for a touchdown NEVER gets old. The Pittsburgh offense puts together the most memorable finish (maybe the Giants from the year before could lay claim to an equally-impressive run) as they move from deep in their own territory to make a huge last minute drive ending with a Roethlisburger-Holmes reception in the corner of the endzone.

There aren't too many extras (in fact there's only two) but I was really excited to to see that they have an alternate audio track for the Superbowl featuring the WDVE broadcast. So if you've ever enjoyed listening to the Pittsburgh guys calling the games, it might just warm your heart a little to hear the game called by the unashamedly partisan WDVE crew. The only other special feature is a trivia track that pops up during the superbowl. Watching these games in high-def is definitely an improvement and the Steelers look better and better each time I see these games.

I am a diehard Steelers fan through and through. For any Steeler fan this is a must have to your collection of Steeler DVDs. I went to the Steelers Sideline Stores which have it priced the same as Amazon for it. The DVD consists of....

Week 15 vs. Baltimore Steelers clinch division

AFC Divisional Playoff vs. San Diego

AFC Championship Playoff vs. Baltimore

Super Bowl XLIII vs. Arizona

This collection is a near perfect collection...what I don't like is

*You have 2/3 of the classic matchups with Baltimore this past season. EACH game was a classic. Why did they omit the Monday Night thriller against Baltimore? This series has done this before. For the Giants Road to XLII DVD which I have they added the Week 17 loss to the Patriots and the 4 playoff games so the 5th disc has happened and I would have added that game

*You have minor hesistations in the presentation of the Super Bowl and some minor skips in the other games but they are not big enough to complain about but you will notice them (esp. SB XLIII) but it should not disappoint

*There are no special features...which is terrible...what I loved about the Road to XL DVD was the featurettes about the Steelers, the Giants Road to XLII DVD for the Super Bowl had an option of Michael Strahan doing his commentary on the game..there are no Special Features on this DVD

What I like about this....

*Those Steeler fans that bought Road to XL remember the Steelers Radio Team of Bill Hillgrove, Tunch Ilkin, and Craig Wofley do the play by play well its not the case, you get the TV annoucers so you get John Madden's last game as an analyst, historic there. NFL Films started this with the Colts Road to XLI dvd

*These are the actual games...not NFL Films cutting material or NFL Films tapes like the "Road to XXXIX Patriots"

Overall If you love the Steelers, if you love football, if you love John Madden this is an absolute must and for $25 $30 you get to relive in my eyes 2 great games with the Week 15 Baltimore and Super Bowl, and two ok games in the AFC Championship (which you can relive the Troy Polamalu touchdown return) and San Diego game.

Buy NFL: Pittsburgh Steelers - Road to XLIII (2009) Now

I'm disappointed with this "Super Bowl XLIII" DVD set. Sure, it contains four football games as advertised, but that's about all the good I can say about it. In almost every way this set is inferior to the "Pittsburgh Steelers Road to Super Bowl XL (Post-Season Collector's Edition)" DVD box set.

The video quality is quite similar and almost exact. However, the video presentation seems quite rushed on the XLIII set, as if the on-field action was cut even shorter than the XL set. (The DVD menus are "flashier" this time around, although you look at them for about three seconds.)

The XLIII audio track features the inferior television commentary as opposed to the superior radio commentary used for the XL set. The XLIII set also uses an audio track that seems to have been mixed in a studio with a four-year-old child constantly pushing buttons. The audio track is very uneven and distractingly so. (The crowd noise keeps rising and falling although nothing is happening on-screen and it occurs too often to be replays on the "Jumbotron".) BOTH sets, XL and XLIII, feature English-only subtitles. (But considering the target audience, I'm not surprised.)

The XLIII set is without any extras. NO extras. None. Zilch. Zip. Nada. This is a major disappointment. The XL set had one documentary per disc.

The packaging is different and less eco-friendly. However, I personally prefer the hard plastic XLIII packaging to the cardboard XL packaging for long-lasting presentation.

Here's the short version:

Super Bowl XL (40) set

VIDEO DVD

AUDIO Radio commentary

EXTRA One documentary per disc

PACKG Cardboard

Super Bowl XLIII (43) set

VIDEO DVD

AUDIO TV commentary

EXTRA None

PACKG Plastic

While I believe that the video quality of the XLIII set "MAY" be better due to the fact that a Blu-Ray version was produced, it's imperceptible on DVD. I also believe the extras were cut to make room on the discs for this imaginary "improved video quality". The audio commentary difference is one purely of preference and is obviously inferior to me. The omitted extras are a disappointment.

Aside from having four more football games on DVD, this set is almost a WASTE OF MONEY. (A DVR-version would be better, at least then I'd have the commercials.) The XL set is far superior. Buy that. (Pittsburgh Steelers Road to Super Bowl XL (Post-Season Collector's Edition))

Read Best Reviews of NFL: Pittsburgh Steelers - Road to XLIII (2009) Here

As a long time Steeler fan, and an owner of the Road to XL dvd set, I was looking forward to getting this set. The quality of the dvd's is great. The video and sound is fantastic. If all you want is the same old, tired commentary of Al Micheals and John Madden, then by all means, buy this set. However, if you have a dvd recorder, you could have done just as well, except for editing of commercials, of course, but I kinda like them

If, however, you are like me, and were looking forward to hearing the Steelers radio announcers, as in the Road to XL set, you will be VERY DISAPPOINTED, as I am. While the quality, as I said earlier, is great, the decision to include NO BONUS MATERIAL...NONE!!!, is a MAJOR disappointment. If you didn't record the games, these are worth having, if you did record them, save your money.

I hope the NFL corrects this mistake soon and releases another set of discs soon. I am sending them a request, and my opinion of this set, tonight.

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this is exactly what i was looking for. four entire games, including the super bowl win. no commercials, just every minute of the games. the win against baltimore to win the division, the two playoff games and the super bowl. every steelers fan will love this.

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Incendies (Two-Disc Blu-ray/DVD Combo) (2011)

INCENDIES began as a play of the same name by Wajdi Mouawad and was opened up as only cinema can do by the author with the assistance of Canadian director Denis Villeneuve and consultant Valérie Beaugrand-Champagne. The result is a staggeringly powerful film whose story is so well revealed by a cast of sterling actors that telling too much of the plot would be a disservice to those who come to this experience for the first time. In this viewer's opinion it is simply one of the finest films of the decade and it bound to become a permanent part of the cinematic library.

The opening of the film reveals many clues as to the direction the story will take. In a stark room young boys are having their hair shorn: one of the boys as a tattoo on his heal three aligned dots on the Achilles tendon. After this unsettling beginning the camera moves to Canada in the office of notary Jean Lebel (Rémy Girard) who has the responsibility of executing the will of his secretary Nawal Marwan (Lubna Azabal in an illuminating performance that plays through the entire film) and presenting the will to Nawal's Lebanese-Canadian twin children Jeanne (Mélissa Désormeaux-Poulin) and Simon (Maxim Gaudette) Marwan. The will divides Nawal's worldly goods equally between the children, but describes in detail how the deceased mother is to be buried (naked, face down, with no coffin in an unmarked grave) and provides two letters charging Jeanne and Simon to find the father and brother they did not even know existed. The remainder of the film moves back and forth between the past and the present as the twins attempt to find their living relatives and the story of how Nawal's life was an unbelievable nightmare. Nawal was a Christian Lebanese, had a lover who was a Palestinian, and when her lover is killed she realizes she is pregnant, shaming her family and thus forced to give up her boy child to an orphanage but not before her grandmother sensitively tattooed the three dots on his heel for future recognition. From that point Nawal becomes a mathematician, a hired killer, is imprisoned and tortured and once again becomes a mother. The twins trace clues as detectives to follow the rocky road of Nawal's life and make discoveries that are astonishing.

Though Lubna Azabal is clearly the central star of this film, the entire cast particularly Mélissa Désormeaux-Poulin and Maxim Gaudette as the twins is exemplary. Very little of the tragedy of Nawal's life is spared but the power that comes from the moments of discovery of the truths of that life lies in the quiet shock in the eyes of the twins. This is an amazingly powerful film that keeps the audience tension level high making the surprising ending just that much more powerful. The cinematography by André Turpin manages to capture both the vast power of the Middle Eastern desert and villages as well as the moments of intimacy. The musical score by Grégoire Hetzel enhances the atmosphere and the story line very subtlely. But in the end it is the sensitive direction of Denis Villeneuve that brings with human tragedy of a story alive. Highly recommended. Grady Harp, September 11

To begin with, this is a foreign language film with English subtitles. It will appeal, above all, to viewers who might be drawn to original, story-driven cinematography complimented by rich cultural details. It also provides exceptional panoramic and intimate shots of a bustling Middle Eastern country generally shrouded in mystery. In fact, I've seen a lot of films, but I don't think I've ever come across a plot/story that even comes close to the one depicted in "Incendies".

The title of my review will give you the nexus. Although the film's religious conflict deals with the historic competition and horrific violence bewteen Christian and Muslim Arabs, it also includes a "special feature" in which current day residents of the region are interviewed--some of whom vow death and eternal vengeance on "The Jews". So--everybody's covered in this one.

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Powerful, intriguing. For mature audiences who can handle traumatic and violent subject matter and scenes.

Not a gratuitous film, and there is no propaganda here (If so, it was not obvious to me).

I watched this film twice and believe I might purchase it and watch it some more.

Highly recommended for film watchers who need something to "up the ante" and break out of the boring routine mold.

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I rented "Incendies" because it was a nominee for the Best Foreign Language Oscar. I've seen a lot of good films from that category and "Incendies" is one of the best. This film is not for the weak of heart. It deals with the basest of human failures and it leaves the viewer emotionally exhausted. However, the film is well worth watching for many reasons. The acting, although not outstanding, is very good. The various characters are victims of different abuses yet most of them carry an innocence that is well-displayed. There is a variety of locations and a variety of cultural settings and issues that are very engrossing, sometimes almost too engrossing. The back and forth from present to past is very well done and greatly enhances the the suspense of the movie.

The ultimate message that I took from "Incendies" was the depth to which hatred can destroy otherwise decent people. The innocence I previously mentioned about some of the characters is a key to the success of "Incendies". In a war-torn Lebanon there are good and bad but it is the innocents that make us take a personal involvement in the events that take place. What do we do with that involvement? Do we fight or flee or do we just ignore? There's not much you can ignore in "Incendies".

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First, don't pay attention to the reviews dating from 2004. They are NOT discussing "Incendies". Next, be sure to see it in the theater for maximum impact. There are some very emotional scenes, but very little violence, which is amazing, considering what was happening in Lebanon in the '70's.

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Terry Fator: Live from Las Vegas (2009)

I just saw his Vegas show at the Mirage. The characters are so realistic. You believe Terry is conversing with another person. He is so musically talented in many different genres! This is a great keepsake if you have seen him live, and for those not able to go to the Mirage, it will be a great substitute. He is a major entertainer of our day!

Ever wonder what happen to some of those American's Got Talent winners. Bianca Ryan who was the first winner seem to vanish after her first CD.

However when it comes to Terry Fator, you see he has ventriloquism talent and musical chops to pull off a show worth a million bucks. His "Wooden" friends are believeable and enjoyable.

When I got the screener DVD, it did not have the commentary tracks as the final copy did, it only had the filmed concert. This is-according to a friend who seen his live show at the Mirage -his live show. It transfer well to DVD. Better than some of Jeff Dunham's DVDs. The show of puppets and music will keep you laughing and humming along. His range and vocal talent is so verse for entertainment

There is one problem with this show, there is a Micheal Jackson comedy duet with one of the puppets that seems to fall flat due to MJ's death.

One of the highlighs of the show is when Fator makes a male live audience member into a Cher puppet (dress and all). Fator does Sonny for a I got you Babe song

This is real family entertainment with an edge for young and old alike. After you see this once , you want to see this again

So Terry, when is the next DVD. I want to see more!

Bennet Pomerantz AUDIOWORLD

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I saw Terry Fator at the Mirage Hotel in Las Vegas. I never watched "America's Got Talent" so I didn't know who he was. What a show this was!! Terry Fator's characters are so funny and they seem so real because they each have a personality of their own, and Terry can really sing. He can sing anything Rock, Soul, Country, etc. I obviously can't keep going to Vegas so I am ordering this DVD so I can view this show in my own living room. I can't wait to get the DVD so I can see him again. We absolutely loved him!!!

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I followed Terry on America's Got Talent and pegged him to win from his first audition. I saw him at the Mirage in Vegas

and he was unbelievable! I can't wait to get the DVD!!

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Our family first saw Terry Fator on America's Got Talent. We instantly fell in love and were rooting for him from the very beginning. Hit talent to not only do ventriloquism, but also do amazing impersonations, blew us away. When he won AGT, we were thrilled for him and began watching his performances whenever we could on talk shows or You Tube. We have always watched him with our kids as he always presented good, clean family entertainment. We were so excited when he released his DVD. We bought it and sat down to watch it as a family. Within the first few minutes we were disappointed at the amount of adult humor. We were expecting the same "good, clean family entertainment" that he'd provided our family with in all his past performances. On this DVD, even the puppets that my children loved on You Tube were making inappropriate jokes or using vulgar language. My husband and I still really enjoy watching him, but we are sadly disappointed that the purchase we made for our family is inappropriate for our children, who love Terry Fator. We do understand he is a Vegas act and needed to make some changes to be in Vegas in order to sustain his act for an hour for an audience of adults; but were not expecting all the vulgar humor that we saw. Since I was not prepared at all for the PG-13 humor, I wanted to write a review in hopes that someone else is better prepared for what they would see if they bought it. Make no mistake, we feel that Terry Fator absolutely deserved to win AGT and is one of the most talented entertainers ever! We love him, but were disappointed at his changes in his act to make it more adult geared and less family entertainment.

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The Counterfeiters (+ BD Live) (2008)

Die Fälscher (The Counterfeiters) deserves its Oscar as the Best Foreign Film of 2007. Based on a true story and singed with horrifying details of the Nazi treatment of 'detainees' (primarily Jews) during WW II, the inner story of this film is one of resilience and survival against near impossible odds and how one man turned his criminal gifts into a system so impressive that he served as a 'provider' of funds to the financially depleted Third Reich war effort. The story is in itself fascinating enough to hold our interest for the duration of the film, but it is the incredibly ingenious and wily character of Salomon 'Sally' Sorowitsch that burns a space in our minds of how one man survived the concentration camps and in his own way helped fellow Jews to likewise survive the Holocaust.

Salomon 'Sally' Sorowitsch (Karl Markovics) is a brilliant counterfeiter, a Russian Jew so gifted in his ability to forge documents such as passports that he is able to live the 'good life' money, women, gambling, etc. until he is arrested by the Nazis and placed in a detention camp Sachsenhausen north of Berlin. His facile mind sees his possible extermination and leads him to make a deal with the Nazis to spare his life (and the lives of his elected doomed accomplices) in return for making counterfeit money (British pounds) so desperately needed to fill the coffers of the dwindling Nazi resources. He and his confreres are afforded comfortable living space, good foods, and other amenities in a special sector of the concentration camp, a place where they can spend their time turning out volumes of money for the Nazis. In this way many of these 'selected' men manage to stay alive until the war is over, but the 'hero' character of Sally Sorowitsch remains an enigma of sorts: his cunning ideas are basically self centered and his focus remains on his own survival and ultimate gratification of yet another successful counterfeit business. In other words, his story leaves a feeling of uneasiness with the viewer is this a survivor to admire or is this a 'player' whose sense of compassion is marred by his own selfish goals? The viewer is left to decide.

Though Karl Markovics is very strong in the leading role, the supporting cast of some of Germany's finest actors brings a depth of humanity and perception to the major issue the film addresses both death and survival in the onerous concentration camps of the Nazis. Director/screenwriter Stefan Ruzowitzky deserves kudos for the manner in which he shows both sides of the seminal situation. His cinematographer Benedict Neuenfels manages to capture the lurid light of the confined men and makes the intolerable almost tolerable to watch: the haunting musical score by Marius Ruhland completes the atmosphere. This is a powerful movie on every level, but it is a very disturbing film in many ways. It will make the viewer think and that is most definitely a strong point of this film. In German with English subtitles. Grady Harp, August 08

The New Germany and Austria by extension have been in the process, these past several years, of divesting themselves of National Guilt in regards to the atrocities of World War 2: "Sophie Scholl," "Downfall" and also the superb "Lives of Others" (though set in post WWII East Berlin, it reeks of submission and totalitarianism) speak to the redemptive qualities of confession and penance.

And now we have "The Counterfeiters," the story of Solomon Sorowitsch (Karl Markovics), a Russian-born Jew who spends his life forging documents thereby attaining the reputation of a master counterfeiter. Ultimately he is arrested and sent to a Camp at which he is given the assignment of forging the British Pound note for The Third Reich. This is 1945 and the disastrous German War effort is in dire need of cash to carry on its war effort.

"Counterfeiters" is all about survival and to what means we, as human beings will do to comply in order to live: anything pretty much sums it up and anything pretty much is the reality of our collective desire to live despite the cicumstances.

Director Stefan Ruzowitzky is walking a slippery slope here as the counterfeiting was done in the Nazi concentration camp at Sachsenhausen and the technicians involved were almost all Jews, "The Counterfeiters" raises some provocative moral dilemmas.

Also, the Sorowitsch of Markovics is no paragon of honor. Instead he is a squirrelly, only thinking for himself, con man. He's happy to do what the Nazi's ask of him in order to get the perks of his "exalted position" in Sachsenhausen: clean clothes, good food, soft bedding, and weekly hot showers. "The Counterfeiters" begins with a post war sequence of Sorowitsch spending thousands of counterfeit British Pounds in Monte Carlo: gambling, grooming himself, dining, dating...basically enjoying the fruits of his labors and those of his fellow counterfeiters.

Sorowitsch is one who feels that: "Only by surviving can we defeat them."

"The Counterfeiters" is a difficult film to like but ultimately it speaks to something in all of us: the drive, the desperate need to survive despite the circumstances in which we might find ourselves. Sorowitsch is flawed, a nasty piece of work actually but he's intelligent, crafty and grudgingly and ultimately deserving of our respect.

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Oscar-winning (Best Foreign Language Film) "The Counterfeiters" is inspired by true events during World War II. Some of the main characters of the Austrian/German film are based on real persons and one of them Adolf Burger, a Slovak typographer, wrote a memoir "The Devil's Workshop" which became the basis of the film. Burger's book is about "Operation Bernhard," Nazi's secret plans of forging English and American currency. Against the background of one of the largest counterfeiting schemes in history, Director Stefan Ruzowitzky (best known for his medical suspense "Anatomy" starring Franka Potente) has successfully created a tense thriller with powerful moments.

The film centers on Salomon Sorowitsch (Karl Markovics), forger of documents. After being arrested in pre-war Berlin, a Russian Jew Solomon Sorowitsch is sent to a concentration camp. We discover though Salomon is not a heroic figure, he is clever. He learns to survive the horrible conditions of life there by drawing portraits of Nazi officers.

But more drastic change awaits him when he is later put in charge of one secret mission conducted by Nazis code-named "Operation Bernhard" Salomon and other inmates (mostly Jewish prisoners) are confined in an inner section at Sachsenhausen concentration camp and are ordered to forge British bank notes.

One thing is certain. They must succeed. They also know Nazi officers would not wait long. But to succeed means to prolong the war and some of the fellow counterfeiters are aware of that too. This is where Adolf Burger (brilliant August Diehl) steps in, insisting on sabotage even though the delay could mean their death.

"The Counterfeiters" is not only a gripping thriller; it also poses some questions about what we would and should do in most extreme situation. I only add that in his interview Adolf Burger said (he visited Japan in November 2007) that the episodes about the inmates playing ping pong and singing songs before the Nazi officers are both true.

Perhaps this moral dilemma of Salomon represented by Salomon and Adolf could have been explored more. Some scenes of the film are obviously the results of fictionalizing process on the side of filmmakers who wanted more dramatic moments. The film is certainly flawed, but, supported by unanimously great acting (Karl Markovics as Salomon Sorowitsch is stunning), "The Counterfeiters" is a gripping and fascinating thriller and drama.

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This 2007 Austrian film won an Academy Award for the Best Foreign Language Film of the year. I can well understand why. Startling, somber and disturbingly haunting, it is based on the true story of a Jewish criminal counterfeiter who was imprisoned by the Nazis. The film is brilliantly directed by Stefan Ruzowitz, who manages to humanize both the prisoners and the Nazis.

Karl Markovics is cast as Salomon Sorowich. We first meet him after the war, visiting an upscale Monte Carlo casino with a briefcase full of American money. There is then a flashback to 1936, when we see him as a successful counterfeiter who, for a fee, specializes in providing foreign passports for those who are trying to get out of Germany. He is arrested and sent to a concentration camp. He manages to survive in awful conditions by drawing flattering portraits of the concentration camp guards. He is so good at it that he is provided with the materials to do portraits of the guards and their families.

This privileged status in the camps comes to an end, however, when he is taken to another concentration camp where he and a select group of prisoners, which includes printers and graphic artists, are forced to produce counterfeit English pounds and American dollars for the Nazis. Here, they are given privileges unknown to other inmates. Their food is good, they sleep on beds with sheets and blankets, and their work conditions mirror those of a real print shop in the outside world. Salomon Sorowich thrives in this atmosphere. However, Aldoph Berger, played by August Diehl, another prisoner who believes in Communist ideals, accuses Sorowich of "selling his soul" and does everything in his power to sabotage the effort. Somehow, the English pound is produced, but the counterfeiting of the American dollar project lags behind. The prisoners all want to stay alive and would like to kill the Communist because no matter how luxurious their treatment, they all know they can be shot at any time. How this all plays out is stuff that high drama is made of. It kept be on the edge of my seat the whole time.

I did some research on this film which was adapted from a memoir of the Communist who, after the war, suffered periods of depression and later committed suicide. Salomon Sorowich, however, escaped to Argentina where he continued his counterfeiting lifestyle by forging works of art.

This is not a film for everyone. It is sad and disturbing. But I do highly recommend it because it is a fine film with great acting, a well-paced storyline, and an extremely thought provoking theme.

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"The Counterfeiters" is a deliberately-paced, affecting personal drama about how thorny ethical dilemmas are in real life, and won a deserved Best Foreign Language Film award at the Oscars in 2008. The main character is Salomon Sorowitsch, a Russian Jew who is arrested for counterfeiting in 1939 and sent to a concentration camp. His artistic skill is quickly picked up, however, and he is eventually used in a counterfeiting operation known as Operation Bernhard, a plan to de-stabilize the British economy by flooding it with counterfeit currency. Since Sorowitsch is such a master at counterfeiting, he is able to pull off a perfect re-production of Bank of England notes that pass the inspection of even the highest inspectors. So the SS now turn their counterfeiting operation to the Dollar. Another inmate involved in the counterfeiting operation, Adolf Burger, realizes that they are effectively financing the Nazi war effort, and believes that a massive printing of counterfeit dollars could make a serious difference in the war. Burger begins destroying the negatives, and wants Sorowitsch to sabatoge the whole operation. This puts Sorowitsch in a dilemmaif the Nazis find out about the sabatoge, then all the counterfeiting inmates, who enjoy a comparatively privileged and comfortable life, will be sent to the death camps. If they continue with the operation, they will help the Nazis.

Which is more importantensuring your own survival, or fighting for a just cause at the possible cost of your life? "The Counterfeiters" shows that such a dilemma is very difficult to resolve in one's day-to-day struggles, especially when great duress and oppression is present. The moral complexity of the movie is stunning. Whether the counterfeiters delaying tactics were what led to the Nazis' downfall or not, they did a very brave thing, and this movie does a great service in bringing their story to the public.

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