Stream Baby Babble – Speech-Enhancing DVD for Babies and Toddlers Movie Online

February 4th, 2010 by august2771691
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Movie Title: Baby Babble – Speech-Enhancing DVD for Babies and Toddlers
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I, too have a child with autism. He is 4 1/2 now. I have found that this was one of the most belief out videos for speech development. Regarding my son, he objective needed to glimpse it repetitively – as most autistic people do. Once, he got ragged to it, he LOVES it. It now holds my son’s attention, as well as my 19 month stale who now repeats so noteworthy from it and names thsome of the toy props they exhaust – “ball, balloon, bubbles, car, etc.) I conception it was well made and applied. It has a lot of sensory movement which I feel is vary appropriate for our son. The visualization of sounds by the therapists is quite proper. My son is fixated on their mouths and tries to mimic their lips. My daughter’s speech thrapist has continuously aske to borrow it because other families want to discover it,too. I am purchasing two more of them (another for myself and one as a donation to our local library) . I like Baby Bumble Bee, too. It is very well made and I assume that having children as the interaction is a notable fragment of the learning process. It is too advanced for my son, though.

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We honest got our copy yesterday. All three of my children cherish to spy it (5,3 and 2) . My non-verbal 24 mth aged laughs and giggles through the whole DVD and most importantly has attempted some of the sounds. We are really impressed with it. In fact, as far as encouraging leisurely talkers, we would rate this one up there with “The Miracle of Mozart Numbers and Shapes”. “The Miracle of Mozart” takes a different near by using kid’s voices to entice children to show what they hear. This DVD uses Speech Therapists and is really usefull in motivating our non-verbal toddler. It will also exhibit you how to promote language. I can view why the parent of a typical child with normal speech development might not be impressed with this product- but if you are a parent looking for something to attend promote language, this is a tremendous choice. Agreeable Luck.
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Streaming Ealing Studios Comedy Collection Online

January 28th, 2010 by august2771691
Streaming Ealing Studios Comedy Collection Online. Streaming Ealing Studios Comedy Collection Online.

Movie Title: Ealing Studios Comedy Collection
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Ealing Studios Comedy Collection is available for streaming or downloading.

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Though by my anecdote there is only one unqualified homerun in this collection(”Whisky Galore”), the sum of this set’s parts are a very satisfying whole. Not only is this British comedy at it’s best but this collection is a mirror of the social history of the island nation( rationing, intrusive government buracracy, loss of personal freedoms) post World War II and serves to vent the frustrations of the British citizens. Anchor Bay, this collection’s distributor, should be commended for releasing this region. Alas, like alot of Anchor Bay product, there are scant extras, not even trailers. This is disheartening because I understand that TCM recently ran a documentary on Ealing and I’m obvious there are enough film scholars that could have contributed commentary on these landmark films. That said, this collection makes a astronomical companion fraction to the Alec Guiness and Peter Sellers sets that Anchor Bay released as a great overview of British comedy post-war through the early sixties.

“The Titfield Thunderbolt”-The aged link in the location. Mildly funny yarn of a microscopic hamlet that takes over the local railroad line so that the transport department won’t shut it down. Elicits composed chuckles but only seems to approach to life when Stanley Holloway as the town’s wealthy souse is on cloak. Three stars.

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“Whisky Galore”-Outright funny masterpiece, period. Residents of dry Scottish island abscond with some of the cargo of a wrecked ship carrying 50,000 bottles of whisky during World War II in the process thwarting efforts by the home defense to purchase it. Sparkling characters, evocative storytelling, impartial an outright joy. Five stars.

“A Urge For Your Money”-Minor film about two Welsh brothers who derive prize money and a move to London to spy an England-Wales rugby match only to be sidetracked by a female con artist and a Welsh harp player. Film is elevated by the likability of the main characters and the picturesque understanding of London in the early fifties. Alec Guiness is on hand in one of his less showier roles as a newspaper garden reporter whose job it is to escort the lads. Four Stars.

“Passport to Pimlico”-Clever, maybe a wee bit too clever, yarn about a London residential estate who divulge a deed that reveals that they are not British subjects but citizens of Burgundy. At first things go swimmingly as the residents unshackle themselves from rationing and other government hindrances, however, they soon procure out that as foreigners they will be treated as such. Of course, this means war. Comical, but falls impartial short of classic state. Four stars.

“The Maggie”-The Ealing equivalent to screwball comedy. Captain of a aged “puffer” hoodwinks American airline mogul into hauling his prescious cargo. Once the mogul gets wind of the wily skipper’s map he attempts to hunt down the ship and reclaim his cargo, unsuccessfully. Consistently laughable film that ends kind of melodramatically but is overall a success. Four stars.

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Why is British cinema so lightly regarded? Unlike many such general questions, there is an identifiable reason why British film, especially from the thirties, forties, and fifties, fares so poorly in vital regard, and that reason is French auteur criticism. In the fifties, as Andre Bazin and other Cahiers du Cinema critics were formulating their ideas, it was decided that British film was second rate. David Lean was rejected, Michael Powell and Emeric Pressburger had not yet been rediscovered, and while Carol Reed’s talent was acknowledged, he wasn’t considered to belong to what Andrew Sarris would popularize as the Pantheon of mountainous directors. I judge this judgment to be utterly unjustified, but dwelling prevents a detailed discussion. I personally have long loved and enjoyed British films and one of the colossal frustrations of my enthusiasm it has been the tremendous effort in finding the variety of films that I would have liked. Needless to say, I’m always satisfied when sets like this one are released. I had seen all of the film included before except for THE MAGGIE, but I am grateful that all are now readily available.

Ealing Studios were responsible for a tremendous number of the finest films of the forties and fifties in Stout Britain. Though they made a wide range of films, their comedies, especially a string of colossal Alec Guinness vehicles, remain among their most beloved. The films here are among their finest non-Guinness films (he appears in A Rush FOR YOUR MONEY, but in a supporting role) . Though quite diverse, they section a number of accepted elements. Honest as in the United States technological advances led to more and more filming off studio lots and on site, so in Britain films were being shot outside the studio. As a result we gather in these films some of the best visual portraits of specific locales at the time. The films are also powerful for their top-notch orchestral scores. Unlike the United States, writing for motion pictures did not contain the stigma in Britain that it did in Hollywood and as a result you gaze some first rate composers writing directly for the cover.

PASSPORT TO PIMLICO is an almost surreal comedy about residents of a street in Pimlico (a fraction of London) learning shortly after WW II that their status had actually been ceded to Burgundy centuries earlier. The rest of the film is a struggle between the community, asserting its legal to ignore the rationing that following WW II, and London over the ownership of the noteworthy admire that was found along with the Burgundian documents. It is on one level amusing, but it is elevated to a apt comedy due to the talents of the cast. Easily the most recognizable actor in the film is Stanley Holloway, who later would earn an Oscar as Eliza Doolittle’s father in MY Splendid LADY. It also features one of the least successful film appearances of the magnificent acting duo of Basil Radford and Naunton Wayne (they were worthy better in films like Hitchcock’s THE LADY VANISHES, Carol Reed’s NIGHT Philosophize TO MUNICH, and the golf segment of Dull OF NIGHT) .

WHISKY GALORE is easily the finest film in the place, a narrative in the Outer Hebrides. Based on a sincere life ship rupture, it is the myth of how whisky-deprived Scots during WW II raid a ship stranded on rocks salvaged a few hundred cases of whisky and the efforts of the over zealous home guard officer to recover it. This is an absolutely outstanding cast, filled with vast performances both by folks whose faces are familiar but names are unknown, as well as a handful of name performers. Among the latter, Basil Radford, here without Naunton Wayne, is safe as the home guard officer. I have always concept that Joan Greenwood was one of the most enticing actresses in the history of film. If I could cast anyone from history in the role of Circe, she would be the one. She was not only exquisite and a attractive actress, she possessed one of the titanic voices in film (effect to colossal consume in the Michael Redgrave version of THE IMPORTANCE OF BEING EARNEST) . Jean Cadell steals every scene she is in as an overbearing mother, while a very young Gordon Jackson, later to execute fame in UPSTAIRS, DOWNSTAIRS, plays her son.

A Urge FOR YOUR MONEY concerns two Welsh miners who score a prize for two hundred pounds and a trudge to a soccer match in London. Though ostensibly starring Donald Houston and Meredith Edwards, the film is largely taken over by supporting characters. Moira Lister is magnificent as a confidence woman, but even better is the great Hugh Griffith as a Welshman who earlier left their town of the improbably named Hafoduwchbenceubwllymarchogcoch for success in London, but had been so reduced to poverty that he had had to hock his beloved harp. Alec Guinness is pleasant in attend, though not as gracious as one might interrogate. Interestingly, he acts here without his wig, one of the few times in his career he would appear au natural (though one of his characters in KIND HEARTS AND CORONETS was wigless-several other bald actors, including Fred Astaire and Humphrey Bogart, never appeared in a film with their maintain hair) .

THE MAGGIE I had never seen before. It features a elegant performance by Alex Mackenzie as the master of a coal boat in what was almost inconceivably his film debut, even though he was in his behind sixties. The cast is largely unknowns, though the American actor Paul Douglas stars as the American businessman whose goods the Maggie attempts to transport. This is not a titanic film, but I was transfixed by the sizable number of powerful region shots throughout Scotland.

THE TITFIELD THUNDERBOLT is the kind of understated charming film that the British seem to excel at. The spot is simple: the local line of the railway is being shut down, but the locals team together to retain the line running, despite the machinations of the local bus company. This was one of the first color films that Ealing did and it is from first to last an delicate film to witness at. Like with the other films, there is the sense of a time that has been lost being captured on film. It is not the kind of film that will beget you laugh; it is more the kind that will design you smile and grin. My only complaint is a remarkably abrupt ending. The cast is a strong one, with Stanley Holloway, Hugh Griffith, and Naunton Wayne, here without Basil Radford. The declare feeble at the slay of the film was authentic, an engine over a hundred years veteran at the time of filming.

All of these films have been wonderfully restored and the images for all are absolutely first rate. However, I’ve never seen such a bare bones location in my life. No extras, no commentaries, not even trailers. This is a disappointment, especially given the cost of the place, but at least the prints are suitable, and thankfully these not-always-easy-to-find films have at least been made available on DVD. I heartily speed anyone eager in high quality comedy to give these films a try.
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Stream Puccini – Tosca / Gheorghiu, Alagna, Raimondi, Muraro, Cangelosi, Pappano, Royal Opera Movie Online

January 27th, 2010 by august2771691
Stream Puccini - Tosca / Gheorghiu, Alagna, Raimondi, Muraro, Cangelosi, Pappano, Royal Opera Movie Online. Stream Puccini – Tosca / Gheorghiu, Alagna, Raimondi, Muraro, Cangelosi, Pappano, Royal Opera Movie Online.

Movie Title: Puccini – Tosca / Gheorghiu, Alagna, Raimondi, Muraro, Cangelosi, Pappano, Royal Opera
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Puccini – Tosca / Gheorghiu, Alagna, Raimondi, Muraro, Cangelosi, Pappano, Royal Opera is available for streaming or downloading.

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This is a magnificent film version of Tosca. One should impress that it is not a aged recording of an opera performance. It is essentially a film and should be judged in that context. But do not question a Zeffirelli-type operatic film either. There is a deliberate intercutting of the operatic sequences with shaded and white shots of the singers and orchestra in the recording studio. Far from detracting from the experience, this intercutting adds to the vibrancy of the film and shows the timelessness of Puccini’s creation. It also shows the very act of creation in progress. The music and dramatic tension are not overtly harmed by this cinematic procedure. We are reminded throughout that we are watching an opera, that this is a chronicle that despite its realism, is smooth unprejudiced a sage told on film. That said, when you are transported into this operatic reality, it is done so well that you fully gain in that reality so that cinematic devices like having voiceovers singing the characters’ thoughts without the singers themselves visibly singing do not feel out of state. The operatic staging is in the traditonal style and very beautifully done. The performers, particularly Raimondi and Gheorghiu, are expedient. However, traditionalists will almost certainly not like this. It received very mixed reviews when it premiered in 2002, its critics very scathing in their attacks, mainly for its cinematic style and what they saw as its deviation from the used map of depicting opera onscreen. But judged from a cinematic viewpoint it is a heavenly production, visually sumptuous and dramatically lively from commence to achieve. Seldom have I felt so worthy hatred for Scarpia as I did here. The performances are second to none. Despite the carping from its many critics, they do agree on one point, the singers are outstanding. And it’s always a pleasure to be able to view Angela Gheorghiu, one of the loveliest sopranos to grace the stage. If it can attract a younger audience to the pleasures of opera, so considerable the better for it.

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The demonstrate DVD edition is another matter. This film was released on DVD throughout Europe in 2003. The best European version is on the BBC/Opus Arte effect. It is a resplendent release with the film presented in its unusual 1.85:1 widescreen with anamorphic enhancement. It comes with the recent DTS 5.1 soundtrack as well as a CD-quality PCM Stereo track. It also has separate interviews with Angela Gheorghiu, conducter Antonio Pappano, and director Jacques Benoit. The French edition (TFI) goes one step better in the sound department with both a 6.1 DTS-ES and a 6.1 Dolby Digital Surround Ex soundtrack although it doesn’t have the other supplements. Usually BBC/Opus Arte would follow its European edition with a subsequent American release but unfortunately the American distribution rights for this movie fell into the hands of California-based Kultur.

Kultur obviously doesn’t judge great of this film. It has presented it in the new widescreen but letterboxed into a 4:3 frame (No anamorphic enhancement) . As a result you are confined to playing it on a standard TV. On a widescreen exhibit it looks substandard. On a petite mask the image is soft but otherwise acceptable. Where the BBC/Opus Arte edition offers optional subtitles with both the unique Italian libretto and an English translation available, the Kultur version has the English subtitles burnt permanently onto the print. There is no intention to turn them off. Kultur has also done away with the novel DTS and Dolby 5.1 Surround tracks. Instead American customers are offered a pathetic 2.0 basic stereo track. (This is not the same as the uncompressed PCM Stereo track offered on the BBC/Opus Arte DVD but a compressed “lossy” version with poorer sound reproduction.) Kultur has also done away with any Extras. No interviews. Nothing whatsoever. A 20-Page Illustrated Booklet? Forget it. Americans only deserve a single-sheet insert with the chapter listings.

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The European versions may cost more with freight charges and all, but they are worth every single extra dollar. Do not reward mediocrity by buying this Kultur DVD. If they know they can come by away with it, we will be faced with more of this lackadaisical standard in the future. You can accept the European editions from any of Amazon’s European websites. But be positive your system can play Set 2 discs and is good of displaying PAL format. (Most European DVDs are in PAL format as opposed to standard American NTSC.)

This film of Tosca has been available in Europe for some time already. And now the Americans can notice forward to being able to stare a unique and halt to perfect film-version of this opera. Tosca is one of the first operas I’ve ever watched on dvd and it captured me from the very begin. This is passionate drama from beginning to destroy. An extraordinary adrenaline run. The music of Giacomo Puccini’s play is overwhelming in many senses, it’s strong, but also incredibly pretty and bulky of emotions. It takes you through your whole register of feelings in about two hours, from alarm and jealousy via passion to absolute agony and in the extinguish wild rage and total despair which ends when Tosca is hurling herself from the roof of the castle.

The true stars of this Tosca are Angela Gheorghiu and Ruggero Raimondi. To me, Raimondi is the best Scarpia ever on disc and he surely didn’t disappoint me in this film either. His Scarpia is a man you don’t mess around with. Raimondi is obviously a man with huge authority both on and off stage. While the film is running we are also shown some brief cuts from the recording session in studio and you’ll witness Raimondi getting up from his chair to narrate his share at the same time as you’ll peep Scarpia enter the church in the first act. He doesn’t need costumes or anything else to give you the impression that here comes a really unsightly human being. It’s also quite clear that he lusts for Tosca and he is very top-notch in portraying how noteworthy strength it takes to refrain himself from unprejudiced taking her violently…. Raimondi has an absolutely pretty voice; dim and rich even if he’s now becoming an older man and he can sound both immoral as well as strangely radiant. His scenes with Tosca both in the church and in the castle where Cavaradossi is being tortured are outstanding. Eye and listen to him roaring: “Begin the doors so she can hear his cries!!!!” Monstrous! And when Tosca begs him to set Cavaradossi he unbiased looks at her, laughing and saying “I..???? You!!!” in the most arrogant manners ever. To me there will never be another Scarpia.

Angela Gheorghiu who’s in possession of a fantastic utter is an outstanding Tosca and it’s determined that she loves being in front of the camera. She flirts with both the camera and Cavaradossi. I guess the passionate scenes are easier for Tosca and Cavaradossi in this film, being husband and wife in proper life. But here Gheorghiu seduces both Cavaradossi and the viewer. The absolute peak of her performance in this film must be the scenes with Scarpia where she perfectly portrays her despair when Cavaradossi is being tortured. Her assert is great of doing so without becoming shrill and you won’t hear any of the warcries that some other sopranos vow during these scenes. Her facial expressions and other gestures are also very dramatic, but never affected. The scene where she kills Scarpia makes you sit on the edge of your chair. I’ve seen Gheorghiu in some other operas on dvd, but this is by far her best role ever. Even better than La Traviata.

To me, the disappointment of this film must be Alagna. His acting skills are better than his singing, but even so they can’t cloak up a content that in my plan is too light and I salvage his constant vibrato somewhat disturbing. His phrasing isn’t too trustworthy either, which in my concept ruins his singing. His cries in the torture scene (Ahime!) instantly made me believe of those of a whimpering boy. (Listen to Carreras’s cries in Karajans recording from 1980. That’s how it should be done….)

The sacristan’s acting is also better than his singing. Angelottis’ singing and acting are adequate, but his role is only a minor role, so it’s actually hard to mediate how edifying this singer is. Spoletta’s verbalize I accumulate slightly bad, but I guess that makes him more top-notch for this role. He is agreeable in portraying his underlying fright of Scarpia. All in all the supporting cast are doing a pleasant job.

The filming of Benoit Jacquot is a masterpiece; there are so many smart effects in this film. You objective have to perceive for yourself. I also savor Antonio Pappanos’ conducting which is both energetic and emotive.

If you want an evening of passionate drama, choose this Tosca. I know that I will be watching this again and again in the years to advance.
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Watch Zatoichi 24 – Zatoichi in Desperation Online

January 26th, 2010 by august2771691
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Movie Title: Zatoichi 24 – Zatoichi in Desperation
Average customer review:

Zatoichi 24 – Zatoichi in Desperation is available for streaming or downloading.

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I have about 20 Zatoichi movies, and this one is quite a departure.

It’s far darker and grittier than the others. Less humor, but more drama and trauma. But, horror not, the expected carnage; red geysers, flying body parts.

Starting with Ichi accidently contributing to a grandmother’s death, going through torture and deaths (beatings, sex abuse, suicide) of children, vividly abused prostitutes, to Ichi’s torture and subsequent violent revenge, it stands apart.

Even the music and editing seem experimental. Very 70’s. I suspect actor/director/producer Katsu Shintaro was trying to be Michelangelo Antonioni (BLOW UP) or Richard Lester (Support!) .

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For Z-collectors, this may be a must. For newcomers, maybe it’s a bit harsh.

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I knocked off a star because although it was a edifying departure/experiment, it

often went a bit too far. I peruse forward to reading others’ idea on this one.

This Zatoichi movie is not THAT trustworthy!!!

because:

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* No awesome moves by Shintaro Kaysu (Zatoichi) .

* No action until the ending.

* Zatoichi fight with his hands tied to the swordcane all the time except in the beach scene.

* The ONLY trustworthy thing is the Ravishing colors of the movie!!!

Thank you for lisen.
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Streaming Possessed Online

January 26th, 2010 by august2771691
Streaming Possessed Online. Streaming Possessed Online.

Movie Title: Possessed
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Possessed is available for streaming or downloading.

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This is a superlative film in which Joan Crawford gives the performance of a lifetime. This 1947 film opens with an disoriented woman (Joan Crawford) wandering the streets of Los Angeles and searching for someone named David. She is ultimately brought to the psychiatric ward of a hospital for evaluation, after she collapses. She is now catatonic.

The film then flashes serve to those events that brought her to that status. It turns out that she is Louise Howell. She had an affair with David Sutton (Van Heflin), a man who treated her badly and did not return her worship. For him, she was objective a slip, while for her, he was more, considerable more. She smothered him and obsessed over him. This is the beginning of her dumb descent into another reality.

Her marriage to a wealthy man (Raymon Massey) sets into motion a series of events that over time cause Louise’s already tenuous grip on reality to loosen even more. Louise’s obsession with her musty lover finally takes her over the edge into the unchartered territory of a paranoid schitzophrenic with most unhappy consequences for David.

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Ms. Crawford’s performance of a woman descending into the snakepit of madness is a wonder to observe. One senses her tenuous grip on reality. One feels her face life with trepidation, and her apprehension and confusion is palpable. This is certainly one of Ms. Crawford’s best and most poignant performances. The viewer gets the sense that Ms. Crawford poured her heart and soul into this exquisite performance.

Joan Crawford fans and lovers of classic movies will savor this engaging film.

Any of the numerous detractors who complain about Joan Crawford’s acting ability need to seek a screening of the Warner Bros Noir classic “Possessed”. I’m distinct they will be pleasantly happy by the fabulous range of ability displayed by Joan in what is without a doubt one of her finest performances during the 1940’s.

Often overshadowed by her incredible performance in her first Warner film in 1945 “Mildred Pierce”, for which she won an Oscar as Best Actress, “Possessed” fervent a far more difficult acting task for Joan Crawford in a role that had numerous layers of complexity dealing as it did with the tragic thunder of schizophrenia and its effects on the mind. Crawford rises admirably to the task and received a second Academy Award nomination for her work here. “Possessed” (not to be confused with an earlier film of the same name that Joan made costarring Clark Gable at MGM in the 1930’s) tells the narrative of a personal nurse Louise Howell who suffers through a one sided like affair with David Sutton (Van Heflin in a stand out performance) an eternal bachelor type who is not willing to commit to an ongoing relationship and treats Louise with a dimissive attitude that feeds her inner uncertainity. The tragic consequences of this lack of like in Louise’s life eventually leds to kill and a total mental breakdown with her being taken to a psychiatric hospital. Despite eventually marrying the husband (Raymond Massey), of her sick charge after her death as a beget of compensation the obsession with David never leaves Louise and when he returns to her fraction of the world after working in Canada the mature attraction that Louise conception she had buried forever returns with tragic results. The lack of response in David to her advances unhinges Louise’s mind and she eventually forsakes her recent family and shoots David as a design of revenge for the damage he has caused her. This action springing from her schizophrenia completely sends louise over the edge to the extent that she looses the knowledge of who she is and what she has done.

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Joan Crawford’s handling of this complex role is light years away from distinguished of her earlier work at MGM. Her depiction of the schizophrenic mind at work and how it distorts the personality is brilliantly displayed. Crawford made a eminent quote about this film in that she stated that she worked harder on “Possessed” than on any other film in her career and it is easy to view that she was corrct in saying that. She is at times loving, desperate, frantic in her illusionary world and lack of control of it, and heart wrenching as her character progressively looses her seize on reality. Besides her power house performance most of the other characters have a hard time competing. Van Heflin is delicate as the object of her desire who moves from a naughty dismissing of Louise’s affections to an almost initiate hostility towards her to his have detriment and Raymond Massey in a surprise performance creates a sympathetic portrayal as Louise’s devoted husband who marries her despite intellectual her attention is elsewhere and who battles trying to fully understand Louise’s condition and possible treatment. One standout in the cast is young Geraldine Brooks as Louise’s step daughter Carol who begins a relationship with David under Louise’s nose unwittingly triggering off Louise’s psychotic tendencies. Done with all the customery gloss of the noir genre at its height the film benefits from attractive photography and a distinctly dusky gloomy and white ogle. This dusky carry out really heightens the “grey” feel of the epic and makes the progression of Louise’s character so powerful more sharp to glimpse. This is an instance where colour photography would have been a grave error. In “Possessed” Joan Crawford has rarely been photographed more stunningly and it’s a shame that it almost marked the last time she was so flatteringly photographed fair prior to the hardening that her camouflage image began to purchase on in the gradual 1940’s.

Depressing and heavy the theme of “Possessed” may appear to the reader however what unfolds is an appealing yarn that is courageous in the theme that it explored. Schizophrenia is not a topic often tackled by mainstream Hollywood but it is dealt with in an unprejudiced and straightforward manner. Joan Crawford’s opinion of this role gives the film a strong conviction that rings legal and it all adds up to an keen melodrama of the higest order with an provocative storyline, terrific performances and a bit of education of unprejudiced how the mind can react under different circumstances. Bask In Joan Crawford in her greatest acting role of her 1940’s career.
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Watch The Adventures of Robin Hood Movie Online

January 26th, 2010 by august2771691
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Movie Title: The Adventures of Robin Hood
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The Adventures of Robin Hood is available for streaming or downloading.

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The pinnacle of Errol Flynn’s string of swashbuckling adventures…The most expensive film Warners had ever made (until 1938), and in resplendent Technicolor, to boot…The film with the most cherished of Erich Wolfgang Korngold’s many film scores…The film that literally area the standard for every ‘Robin Hood’ and ‘Knighthood’ movie since…One of the greatest films, not only of the 1930s, but of all time…THE ADVENTURES OF ROBIN HOOD is, in EVERY sense of the word, a CLASSIC, and the fresh DVD edition is LONG overdue!

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The legend of Sherwood Forest’s current bandit had been a movie staple since still films (Douglas Fairbanks’ acrobatic 1922 version was regarded as one of his finest roles), and the WB, riding high on a string of hits by Fairbanks’ younger and sexier successor, Errol Flynn, knew they had all the elements in location to design a ample entertainment that no other studio could match!

Originally intended for James Cagney, the property had languished for three years, until Errol Flynn exploded onto the scene, and the studio knew they had the actor ‘born’ to play the role. Not wishing to hasten into right problems with United Artists, who’d produced the 1922 film, an novel script, incorporating elements of “Ivanhoe”, mature legends, medieval ballads, a well-liked 19th century stage production, and a bit of Howard Pyle, was written by Norman Reilly Raine and Seton I. Miller (with some uncredited assistance by Rowland Leigh) . Casting nearly all of their “British Colony” in speaking roles, the studio brought serve Alan Hale to reprise his 1922 role of Petite John (an marvelous choice, as Flynn and Hale had terrific rapport), casted elephantine humorous actor Eugene Pallette (Guy Kibbee was the first choice) as a gravelly-voiced Friar Tuck, and Flynn’s LIGHT BRIGADE costar, Patric Knowles, as Will Scarlett (David Niven was unavailable) . As the villains, Claude Rains played the fey Prince John, and Basil Rathbone (whose duel with Flynn in CAPTAIN BLOOD was a film highlight) was perfection as the villainous Sir Guy of Gisbourne, Maid Marion’s Norman suitor, and Robin’s arch-nemesis. In the role of Marion, could anyone OTHER than Olivia de Havilland have been cast? Flynn and de Havilland had already done two films together (and would do four more, after ROBIN HOOD), and their chemistry was so perfect that 1930s veil magazines were always hinting of a romance between the two (there wasn’t, despite overtures by Flynn; they remained simply friends, with Olivia and Errol constantly playing pranks on each other) .

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Not that the production was problem-free; the fresh director, William Keighley, was axed after the state shooting was completed, as the studio didn’t like his advance to the script and actors; Michael Curtiz, who had ‘made’ a star of Flynn, in CAPTAIN BLOOD, was hastily brought in, adding his sense of drama, lighting (the

‘light-and-shadow’ climactic duel between Robin and Sir Guy was a Curtiz ‘trademark’), and style. Both Curtiz and Keighley would fragment the ‘Director’ credit when the film was released.

THE ADVENTURES OF ROBIN HOOD was Warners’ biggest box office hit of 1938, became a multiple Academy Award winner (with the most statuettes of any film that year), and it’s luster has only increased through the years, being named as one of the AFI’s 100 Greatest Films of All Time. This is a classic that TRULY lives up to the term, and is an absolute MUST for your DVD collection!

There are a tiny number of films in the history of Hollywood that can actually be considered perfect. “The Adventures of Robin Hood” with the incomparable Errol Flynn is one of them. With over a hundred reviews already, there is diminutive for anyone to add. I will, however, provide a brief summary as to why this film is indeed perfect, a term I utilize very rarely.

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The cast–the greatest of all swashbucklers at the peak of his charm and athleticism, Errol Flynn– Olivia De Havilland, a gorgeous woman, a elegant actress and an ideal partner for our hero–Basil Rathbone, oozing outrageous from every pore–Claude Rains, conniving and outrageous as always–Eugene Palette, a jovial yet formidable Friar Tuck–Alan Hale as rough and ready Minute John–and on and on–even the most minor character is impartial correct.

The sets and costumes–absolutely gorgeous–the archery contest is objective one of many scenes where technicolour shows its stuff!

The Directors–Messrs. Keighley and Curtiz could not have brought this fable to life more expertly.

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The Music–unforgettable Korngold regain.

Add all these ingredients and you have honest cinema magic!

Warner Bros–the DVD is marvellous, and the extras on the second disc ( detailed in other reviews ) provide more treats for the lucky viewer. What a fine job!

So–if you have that wearisome Kevin Costner/Robin Hood DVD, throw it on the trash heap, and revel in the right thing! A triumph!
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Stream Ocean’s Trilogy Online

January 22nd, 2010 by august2771691
Stream Ocean's Trilogy Online. Stream Ocean’s Trilogy Online.

Movie Title: Ocean’s Trilogy
Average customer review:

Ocean’s Trilogy is available for streaming or downloading.

Click Here to Stream or Download Ocean’s Trilogy

The pros:

Brilliant ensemble cast

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Entertaining chronicle lines that are scrumptious through multiple viewings

The cons:

Lack of special features (Ocean’s 12 disk special feature consists of…drumroll please…the TRAILER alone)

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No actual justification to remove box position unless you are unprejudiced really really aroused about owning, well, the box

This boxed position the best thing I’ve bought from Amazon.com to date. I admire the Ocean movies for their star-studded cast, the incredible humour, and the hundreds of other things that construct these movies current. The extras aren’t all that colossal, but I usually rob movies for the dependable movie, not the extras… So if a lack of gorgeous special features doesn’t bother you, and you don’t have the movies already, you should definitely salvage this situation. Easily worth 5-stars in my book.
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Scooby Doo, Where Are You! – The Complete First and Second Seasons Movie Streaming

January 22nd, 2010 by august2771691
Scooby Doo, Where Are You! - The Complete First and Second Seasons Movie Streaming. Scooby Doo, Where Are You! – The Complete First and Second Seasons Movie Streaming.

Movie Title: Scooby Doo, Where Are You! – The Complete First and Second Seasons
Average customer review:

Scooby Doo, Where Are You! – The Complete First and Second Seasons is available for streaming or downloading.

Click Here to Stream or Download Scooby Doo, Where Are You! – The Complete First and Second Seasons

My earliest and most fondest memory of watching the classic 1969 Scooby-Doo, Where Are You! was in the 70s early in the morning when it was mild sunless outside. Considering how Scooby is often parodied today, this may surprise you but support then (to my young eyes) Scooby-Doo was kinda scary and creepy thanks to the creepy background settings, the monsters (my favorite: the skeleton-headed spaceman with the crazy laugh) and Ted Nichols’ creepy underscore which could develop up tension like Bernard Herrmann did for Hitchcock. Luckily, the tension would be broken with Scooby and Shaggy’s comedic antics. Antics which typically resulted in the “musical plod numbers” which would enact with the “monster” getting trapped, then unmasked followed by the villain’s obligatory “And I would’ve gotten away with it, too, if it hadn’t been for those meddling kids”…[and their dog]. As predictable, or even corny as others believe it be, all of this – the pure 60s/70s fun – is what has eternally endeared Scooby-Doo, Where Are You! to me above all the other versions. Created and produced by William Hanna and Joseph Barbera, Scooby-Doo’s mystery-solving format remains one of most often imitated shows to date. Fangface, Clue Club, Captain Caveman and the Teen Angels, Rickety Rocket, Jabberjaw (impartial to name a few) all owe credit to Scooby-Doo. After the two seasons here in this collection the quality of the point to was diminished to rather “cartoony proportions.” Though, some versions were smooth arresting to eye such as 1972’s The Unusual Scooby-Doo Movies where the gang would team up with guest stars such as Batman & Robin, The Addams Family, Jerry Reed, Tim Conway, Sandy Duncan, and such. There were three versions of Scooby-Doo’s opening theme for the two seasons in this collection: One is a rare instrumental only version ancient in the first few episodes of season one; the other is the classic vocal version performed by studio singer Larry Marks venerable for the remainder of season one; and then there’s the one that has the same music and lyrics as the classic version but was performed by “creep songs” artist Danny Janssen for season two. For the “grooviest” adventures of Freddy, Daphne, Velma, Shaggy, and Scoob, this DVD collection is definitely the best prefer!

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Features:

Featurettes

Music videos

DVD challenge

Buy,Download, Or Stream Scooby Doo, Where Are You! – The Complete First and Second Seasons! Click Here

Episodes:

What a Night for a Knight (1969)

A Clue for Scooby Doo (1969)

Hassle in the Castle (1969)

Mine Your Beget Business (1969)

Decoy for a Dognapper (1969)

What the Hex Going On? (1969)

Never Ape an Ape Man (1969)

Foul Play in Funland (1969)

The Backstage Rage (1969)

Bedlam in the Huge Top (1969)

A Gaggle of Galloping Ghosts (1969)

Scooby-Doo and a Mummy, Too (1969)

Which Witch Is Which? (1969)

Go Away Ghost Ship (1969)

Spooky Dwelling Kook (1969) “That crazy spaceman, yeah!”

A Night of Terror Is No Delight (1970)

That’s Snow Ghost (1970)

Nowhere to Hyde (1970)

Mystery Screen Mix-Up (1970)

Scooby’s Night with a Frozen Terror (1970)

Jeepers, It’s the Creeper (1970)

Haunted House Hang-Up (1970)

A Tiki Horror Is No Handsome (1970)

Who’s Shocked of the Sizable Abominable Werewolf? (1970)

Don’t Fool with a Phantom (1970)

The 1976-1977 Saturday morning TV season saw the premiere of The Scooby-Doo/Dynomutt Hour. This display was calm of a half-hour Scooby-Doo episode and a half-hour Dynomutt episode. These were the first original Scooby-Doo episodes produced in 3 years, and the very first episodes ever of Dynomutt. In total, 16 episodes of Scooby-Doo and 16 episodes of Dynomutt were produced for this season. After only 13 airings of The Scooby-Doo/Dynomutt Hour, the present proved approved enough that it was expanded to 90 minutes and renamed The Scooby-Doo/Dynomutt Note, adding repeats of the fresh Scooby-Doo, Where Are You! episodes for the extra half-hour. The Scooby-Doo/Dynomutt Explain aired the final 3 unusual episodes of each, and then repeated all 16 episodes of each for the remainder of the season. This is the ONLY season of The Scooby-Doo/Dynomutt Hour/Show, and so, YES, this DVD is complete with all 16 episodes produced for both Scooby-Doo and Dynomutt that aired under that title.

The 1977-1978 Saturday morning TV season saw the premiere of Scooby’s All-Star Laff-a-Lympics, a 2-hour note collected of the half-hour debut of the Laff-a-Lympics, the half-hour debut of Captain Caveman and the Teen Angels, plus a half-hour of Scooby-Doo, and a half-hour of Dynomutt. The half-hour of Scooby-Doo aired repeats from The Scooby-Doo/Dynomutt Hour/Show, PLUS 8 recent episodes. Similarly, the half-hour of Dynomutt aired repeats PLUS 4 unique episodes as well. It’s these novel episodes of Scooby-Doo and Dynomutt that aired during Scooby’s All-Star Laff-a-Lympics this season that some folks refer to as the “2nd season”.

The 1978-1979 Saturday morning TV season gets even more confusing. 16 more novel Scooby-Doo episodes were produced for this season. No unusual Dynomutt episodes were produced. The first 9 of these novel episodes were first aired under the half-hour Scooby-Doo, Where Are You! indicate, complete with the unusual show’s opening credits, unbiased with modern episodes. The remaining 7 unusual episodes (plus repeats of all 16) aired as share of the renamed Scooby’s All-Stars, a 90-minute indicate smooth of recent and advise half-hour episodes of the Laff-a-Lympics, modern and advise half-hour episodes of Captain Caveman and the Teen Angels, and original and inform half-hour episodes of Scooby-Doo. It’s these 16 unusual episodes of Scooby-Doo that some folks refer to as the “3rd season”.

Now to add even more confusion, all Scooby-Doo episodes from these past three seasons, 40 episodes in total (16 + 8 + 16), were re-packaged together as The Scooby-Doo Display for syndication reruns. All Dynomutt episodes, 20 in total, were re-packaged together for both network and syndication reruns as Dynomutt, Dog Wonder. So most folks only know these episodes from the syndication repeats airing on cable networks like Cartoon Network, and not from their new airings.

As for the DVD, the Edifying news is that, YES, this DVD is complete with all 16 episodes produced for both Scooby-Doo and Dynomutt that aired under The Scooby-Doo/Dynomutt Hour/Show, from the ONLY season that the explain aired. The video and audio are both astronomical for a 30-year customary indicate, with the Dynomutt episodes honest a bit under par compared to the Scooby episodes. The bonus features are the best of any Scooby-Doo DVD site released thus far, particularly with the interviews with the impart cast: Casey Kasem, Nicole Jaffe, Heather North, etc.

But, there is Terrible news and REALLY Abominable news. The Unpleasant news is that the 2006 Hanna-Barbera DVD releases so far for this year, for both this DVD dwelling, and for The Flintstones Season 5 DVD dwelling, present the “cheapening” in production for the product packaging. Gone are the plastic outer covering transparent trail covers that were on all the 2004 and 2005 Hanna-Barbera moving DVD sets. The DVD discs themselves are now stored two to a page, with one on top of the other, overlaying half of the one underneath it. More likely to scratch one while trying to come by to the one below it, especially with the two-sided discs. It does form for a thinner boxed space.

And the REALLY Dreadful news: I was fully expecting to search for The Scooby-Doo/Dynomutt Hour episodes as they originally aired support in 1976 when I first watched them on Saturday mornings. That means with the novel opening credits with the unusual Scooby-Doo/Dynomutt theme song, and with the novel closing credits. Heck, even the assist of the DVD box listed partial lyrics from the current theme song. I was even hoping to view the modified opening credits when the reveal changed from Hour to Exhibit, which was also distinguished on the assist of the box. Whoever did the text for the abet of the DVD box certainly did his homework and knew his stuff. But, boy was I surprised when I watched my first episode, and each episode thereafter. What you accept is the opening credits for the syndicated re-packaged The Scooby-Doo Explain followed by the Scooby-Doo episode, followed by the closing credits of The Scooby-Doo Demonstrate, followed by the opening credits of the re-packaged Dynomutt, Dog Wonder, followed by the Dynomutt episode, followed by the closing credits of Dynomutt, Dog Wonder. This is NOT how these shows originally aired in 1976.

Overall, if you are a fan of either Scooby-Doo or Dynomutt, and want to add these episodes and bonus material to your DVD collection, you will greatly relish this collection. However, if you are a completist, and want the episodes as they aired on their new network airing, or want every episode that aired in the re-packaged syndication reruns, you will be disappointed.
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Stream Stargate SG-1 Season 1 Online

January 20th, 2010 by august2771691
Stream Stargate SG-1 Season 1 Online. Stream Stargate SG-1 Season 1 Online.

Movie Title: Stargate SG-1 Season 1
Average customer review:

Stargate SG-1 Season 1 is available for streaming or downloading.

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Ten years after this series premiered, I am only now finally beginning to scrutinize “Stargate SG-1.” I had always liked the 1994 movie, but never really belief that it needed continuation, and beginning watching this season only after I promised a friend I would give it a chance. I was pleasantly surprised, to say the least. I have not seen any further “SG1″ seasons yet, so forgive me if I don’t know where stuff is going yet (I concept on starting Season Two soon) .

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The first episode is a mumble sequel to the 1994 film. It turns out that Ra wasn’t the only great alien out to enslave humanity, and another one (named Apophis) has arrived to kidnap humans to succor as hosts for this despicable hasten (given the name of the Goa’uld) . In the first episode, the Goa’uld kidnap loved ones of Jack O’Neill and Daniel Jackson from the first movie– Jack’s friend and Daniel’s wife– and bear them. The rest of the season concerns the “Stargate team” SG-1’s attempts to track down Apophis so those two can rescue their loved ones, but of course, this being a TV series, this main space is deviated from quite a bit (for better and worse) . O’Neill and Jackson are joined on SG-1 by the intellectual Samantha Carter, and the alien Teal’c, a broken-down Apophis servant who’s betrayed his master to benefit the people of Earth.

Apparently this season has a abominable reputation amongst “Stargate” fans who delight in the better seasons to approach, but I found this to be a very effective introduction. Since it’s the first season, many episodes focus on developing the team, and design them more empathetic to the audience. For example, O’Neill has unfinished business with his stupid son that haunts him (shown in “Wintry Lazarus”), and Jackson continually laments the loss of his wife (most notably in “Thor’s Hammer” and “Fire and Water”) . We also acquire to glance the soft sides of the normally hard-headed Carter (in “Singularity”) and the normally emotionless Teal’c (in “Bloodlines” and “Cor-Ai”), and Teal’c in particular is paralyzed by the crimes he committed while serving Apophis.

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Of course, character development aside, the present is best watched for the action and adventure, and this season often delivers. The first episode “Children of the Gods” serves as an effective bridge between the movie and display (although those with a ancient stomach should lift note– the Goa’uld possession scenes are graphic from both a nudity sense and a grotesque sense) . “Thor’s Hammer” is probably the most shimmering and satisfying episode of the season; not only does it have colossal character development, but it also introduces a frigid unusual hurry (the Norse) and a gross villain in the beget of Unas, who’s voiced by no less than the God of movie villain voices, James Earl Jones. “The Torment of Tantalus” introduces cold arcs for both Jackson and Catherine, a minor character from the “Stargate” movie. “The Nox” and “Bloodlines” are friendly action episodes. “There But For the Grace of God” is a chilly modern twist on the outmoded “alternate universe” sci-fi cliché. And “Within the Serpent’s Hold” is a grand cliffhanger that effectively sets up Season Two, which I can’t wait to originate.

Between these tall episodes, we glean the expected groaners as well. “Emancipation” is both pointless and an dejected throwback to the mature “colored tribe demands white woman” stereotype. “Hathor”– with its “sexy alien woman seduces the men and the women have to kick ass” plotline– is comical fun, but also contains some sorrowful out-of-character moments and discouraged subtexts (why isn’t Jackson more upset that he’s helped to effect more of the rush that he wants to wipe out, even if he “wasn’t himself” at the time? ) “Politics” is a famous “flashback” episode, although it introduces some appetizing human villains into the series. “Tin Man” is an annoying play on Asimov, even if it has a wintry twist at the kill. Overall, the season borrows quite a bit from Star Journey (Examples: virus that ages people hasty, aliens possessing humans, unstable body doubles being created, God-like aliens shaking their heads at the comic antics of humans and their enemies), although this can be forgiven with the argument that Star Trek’s been around so long it’s probably done everything possible in sci-fi. Apophis, although scary in the first episode, seems to glean more campy as the season goes along. Finally, O’Neill makes a decision at the raze of the final episode that’s a bit head-scratching (wasn’t there a arrangement to disable that person without killing him? )

In spite of its flaws, the first season of “Stargate SG-1″ is astronomical fun, and recommended to all sci-fi fans. I can’t wait to open Season Two, I feel so far slack everyone…

Most TV shows spun off from movies are uninvolving and dreary (”Blade,” anyone? ), and hopefully die and are forgotten.

That wasn’t the case with the spinoff of the 1995 movie “Stargate,” an okay science fiction movie that spawned an safe television series, “Stargate SG-1.” The first season is not nearly as bright as the ones that followed it, but it’s a welcome change from distant spot operas — marvelous writing, acting, and a sense of humor about itself and its characters.

The Stargate has been slothful for a year — until it is activated, and a bunch of Egyptian-styled warriors near through and kidnap a young officer. General Hammond (Don S. Davis) pulls Jack O’Neill (Richard Dean Anderson) out of retirement to learn what really happened on the planet of Abydos, and where these mysterious aliens have arrive from.

O’Neill and a puny team go to Abydos and obtain Daniel Jackson (Michael Shanks) who has been learning about a sizable network of Stargates over the past year. But when Daniel’s wife Sha’re and brother-in-law Skaara are abducted by the same warriors, O’Neill, Jackson and Air Force scientist Sam Carter (Amanda Tapping) consume the Stargate to venture to where they’re being kept.

What they earn is an alien run who inhabits human hosts, the Goa’uld, and their ruthless slave warriors, the Jaffa. Carter, O’Neill and Jackson are captured by the mighty Apophis — but to speed, they must have the aid of an unlikely ally: Teal’c (Christopher Think), Apophis’ First Prime. Since Earth has now annoyed the Goa’uld, several exploration teams are formed to go through the Stargate and gain weapons and allies.

And SG-1 — Carter, O’Neill, Jackson and Teal’c — encounters some very curious problems: a plague that turns people into savages, a people who live only a hundred days, a Viking planet, a Stargate explorer stranded since 1945, a microscopic girl turned into a bomb, the seductive Goa’uld queen Hathor, and coming benefit as robots. And when the military shuts down the SG program, Daniel reveals that the Earth is about to be destroyed by Apophis’ armies…

The first season of “Stargate SG-1″ isn’t the most impressive, though the last three episodes hint at the series’ future greatness. And thankfully, it drops the usual status opera stuff — instead we accept Stargates, dependable military, and a very plausible reason why everybody in the galaxy (more or less) looks honest like us.

It’s graced with kitschy Egyptian-styled sets, lots of shoot-em-up action from Marines and Air Force, and plenty of planets influenced by Earth cultures, like the Minoans and the Vikings. Best of all is the like a flash dialogue, mostly from the tart-tongued O’Neill (”Temperature–ground 1700 degrees Fahrenheit. Air–seems to be in pockets, ranging from 1500 degrees down to 200.” “Sounds like LA”) .

And the makers add some poignant and/or warm scenes, such as the involved Abydonian teenagers celebrating with O’Neill and his pals, Teal’c reunion with his outcast family, or Sam bonding with a doomed petite girl. All the characters rep these moments, which really makes them seem human.

Instead of Kurt Russell’s suicidal O’Neill from the movie, Anderson does a quirky, disrespectful, pop culture-lovin’ guy with a hidden tragic past — his “Icy Lazarus”double role is one of the best of the display. Tapping and Shanks are also broad, as an keen geek and a shiny, helpful military woman. Sadly Reflect gets shortchanged as the stern, beneficial Teal’c, but he’s radiant when he’s spotlighted.

The first season of “Stargate SG-1″ is not the best of the series, but it’s serene a solid, imaginative sci-fi myth with some astronomical writing and even better acting. A must-have for sci-fi buffs.
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Stream 24: Redemption Movie Online

January 19th, 2010 by august2771691
Stream 24: Redemption Movie Online. Stream 24: Redemption Movie Online.

Movie Title: 24: Redemption
Average customer review:

24: Redemption is available for streaming or downloading.

Click Here to Stream or Download 24: Redemption

“24:Redemption”, two-hours long TV movie that premiered last night, is a “bridge” connecting the last season that ended 18 months ago and the unusual one which we, the fans of the note have been waiting impatiently and which is scheduled to initiate in January 2009. The film takes state in sincere time format, unbiased like all episodes do. After watching it, I am inflamed about upcoming season and I hope that 24 – Season 7 will be more like season 1 than season 6. Judging by the movie, “24: Redemption”, there are many reasons for hope. The film is thrilling, inspiring, it uses every one of its minutes effectively, and it is worthy more plausible with its residence and Jack’s relations and intentions. It was a noble thought to seize Jack out of LA and position him in one of hot places on the planet, Sangala, the fictional country in Africa, with very proper problems that gaze too familiar. Jack is aid, and he is in tremendous shape, peaceful invincible, resourceful, the man of action who would not lose ability to believe clearly and to effect the fair decision even when being brutally tortured. I am truly sorry that we may not survey Robert Carlyle again – the chemistry between him and Sutherland was very true, and their last scene together moved me like not many scenes during all seasons did. But who knows, nothing is what it seems when it comes to 24. Jon Voight’s presence promises a creepy unsafe villain, and if the writers of the series retain up with what they did for the movie, we are in for thrilling, engrossing, unforgettable 24 hours from the life of one very special Federal Agent, Jack Bauer.

Let me originate by saying that I esteem “24.” I savor each season for its occupy particular strengths. I even loved Season 6, with all of its flaws. But as for “24: Redemption,” I can only say that it’s…OK. Granted, the producers had a blooming ample hurdle to overcome from the outset, with 18 months of anticipation having built up. But the movie was operating under so many constraints that it never developed any of the depth that makes the series more than objective an action present. It was as if the producers were expecting us to be so wowed by the exotic African and DC locations that we wouldn’t peep that the epic was extinct. Having Jack trying to rescue a group of bad, oppressed African children was not only stereotypical, but it tried to play on the sympathies of the audience in the most blatant manner imaginable. Having the child soldier pointing a rifle at Jack while repeating “Destroy the cockaroach” over and over, before running away in horror at the supposed power of Jack’s words, gets my vote as probably the worst moment ever in any episode of “24.” And, of course, they managed to cram in the obligatory torture scene from which Jack immediately recovers without missing a beat. I reflect the main spot was that they tried to give us two storylines in only two hours. They usually have 24 hours in which to construct a sage. As a result, neither plot-line really ever went any space captivating. If the makers of “24″ ever return to their plan of making a “24″ feature film, they really need to learn some lessons from this experiment, because for me it proved that “24″ can’t work in a two-hour format without some serious overhaul. After all, everyone knows that Jack and company (except for those who pick up offed) are eventually going to close the terrorists, before the season even starts. It’s the shrimp moments that beget “24″ big for me. I esteem it when Mandy the assassin is reduced to tears by the death of her girlfriend, while she stands in the crosshairs, in the first season. I like the conversation that Senator Palmer has with the two vandals who wreck his windows in Season 1. I like Palmer’s impeachment in season 2, and the pained stare on Mike Novick’s face throughout. I like the final moments between Jack and Chappelle in season three. I savor Michelle’s farewell to Gael, also in season three (probably my approved season) . I like it when Jack robs the convenience store in season four. I care for the survey on Lynn McGill’s face as he helplessly watches a fellow CTU agent die, in season five. And I admire it when Assad says “You’ve taken the nefarious path, Shaheed” as he kills the friend who betrayed him in season six. These are the kinds of moments you lose when you have to strip everything down to two hours, and for me, “Redemption” showed that the action and intrigue alone aren’t enough to form it stand out from the plethora of similar shows and movies. I’ll leave my critique at that. I’m certain that other diehard “24″ fans will waste up buying the DVD, anyway, but for those who are recent to “24,” I’ll unbiased say that this is not the best starting point. Stick to the series. And I hope that Season 7 ends up being worthy better than this.
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