Sabtu, 07 Januari 2012

The Filth and the Fury: a Sex Pistols Film

  • Candid Interviews
  • Exclusive Footage
  • Performances
  • Rehearsals
  • Recording Sessions
"Ever get the feeling you've been cheated?" sneers Johnny Rotten at the Sex Pistols' farewell performance. After seeing this picture you'll understand his disgust, but Julian Temple's sharp portrait of the ragged, raw band of working-class Brits won't leave you disappointed. The Sex Pistols left their legacy in a whirlwind 26-month reign, spitting out a caustic, confrontational brand of rock & roll that became the rallying cry for angry, disaffected youths in late 1970s England and defined the punk movement. Their story was first told two decades ago in the cynical The Great Rock and Roll Swindle, also directed by Temple but produced by the Sex Pistols' smarmy manager, Malcolm McLaren, who stage-managed the film into a self-promoting vanity project. For The Filth and the Fury, Temple! turns to the four surviving band members to tell their own stories. His vibrant, vigorous direction captures the period of social unrest and alienated youth without turning into a history lesson, and shows the Pistols in all their insolent glory: spewing obscenities and gesturing lewdly to audiences and press alike, screaming out lyrics, overcoming musical limitations with pure passion and attitude. Rare, raw concert footage (including their final performance, which is appropriately enough the song "No Fun") and previously unseen interviews with the deceased Sid Vicious further energize the portrait. There's even footage of the smiling band cutting cake for kids at a fundraiser with nary a nasty gesture or sneering comment. Now there's a side of the Pistols you don't see everyday."Ever get the feeling you've been cheated?" sneers Johnny Rotten at the Sex Pistols' farewell performance. After seeing this picture you'll understand his disgust, but Julian Temple's sharp port! rait of the ragged, raw band of working-class Brits won't lea! ve you d isappointed. The Sex Pistols left their legacy in a whirlwind 26-month reign, spitting out a caustic, confrontational brand of rock & roll that became the rallying cry for angry, disaffected youths in late 1970s England and defined the punk movement. Their story was first told two decades ago in the cynical The Great Rock and Roll Swindle, also directed by Temple but produced by the Sex Pistols' smarmy manager, Malcolm McLaren, who stage-managed the film into a self-promoting vanity project. For The Filth and the Fury, Temple turns to the four surviving band members to tell their own stories. His vibrant, vigorous direction captures the period of social unrest and alienated youth without turning into a history lesson, and shows the Pistols in all their insolent glory: spewing obscenities and gesturing lewdly to audiences and press alike, screaming out lyrics, overcoming musical limitations with pure passion and attitude. Rare, raw concert footage! (including their final performance, which is appropriately enough the song "No Fun") and previously unseen interviews with the deceased Sid Vicious further energize the portrait. There's even footage of the smiling band cutting cake for kids at a fundraiser with nary a nasty gesture or sneering comment. Now there's a side of the Pistols you don't see everyday. --Sean Axmaker"Ever get the feeling you've been cheated?" sneers Johnny Rotten at the Sex Pistols' farewell performance. After seeing this picture you'll understand his disgust, but Julian Temple's sharp portrait of the ragged, raw band of working-class Brits won't leave you disappointed. The Sex Pistols left their legacy in a whirlwind 26-month reign, spitting out a caustic, confrontational brand of rock & roll that became the rallying cry for angry, disaffected youths in late 1970s England and defined the punk movement. Their story was first told two decades ago in the cynical The Great Roc! k and Roll Swindle, also directed by Temple but produced b! y the S ex Pistols' smarmy manager, Malcolm McLaren, who stage-managed the film into a self-promoting vanity project. For The Filth and the Fury, Temple turns to the four surviving band members to tell their own stories. His vibrant, vigorous direction captures the period of social unrest and alienated youth without turning into a history lesson, and shows the Pistols in all their insolent glory: spewing obscenities and gesturing lewdly to audiences and press alike, screaming out lyrics, overcoming musical limitations with pure passion and attitude. Rare, raw concert footage (including their final performance, which is appropriately enough the song "No Fun") and previously unseen interviews with the deceased Sid Vicious further energize the portrait. There's even footage of the smiling band cutting cake for kids at a fundraiser with nary a nasty gesture or sneering comment. Now there's a side of the Pistols you don't see everyday. --Sean Axmaker"Ever get ! the feeling you've been cheated?" sneers Johnny Rotten at the Sex Pistols' farewell performance. After seeing this picture you'll understand his disgust, but Julian Temple's sharp portrait of the ragged, raw band of working-class Brits won't leave you disappointed. The Sex Pistols left their legacy in a whirlwind 26-month reign, spitting out a caustic, confrontational brand of rock & roll that became the rallying cry for angry, disaffected youths in late 1970s England and defined the punk movement. Their story was first told two decades ago in the cynical The Great Rock and Roll Swindle, also directed by Temple but produced by the Sex Pistols' smarmy manager, Malcolm McLaren, who stage-managed the film into a self-promoting vanity project. For The Filth and the Fury, Temple turns to the four surviving band members to tell their own stories. His vibrant, vigorous direction captures the period of social unrest and alienated youth without turning i! nto a history lesson, and shows the Pistols in all their inso! lent glo ry: spewing obscenities and gesturing lewdly to audiences and press alike, screaming out lyrics, overcoming musical limitations with pure passion and attitude. Rare, raw concert footage (including their final performance, which is appropriately enough the song "No Fun") and previously unseen interviews with the deceased Sid Vicious further energize the portrait. There's even footage of the smiling band cutting cake for kids at a fundraiser with nary a nasty gesture or sneering comment. Now there's a side of the Pistols you don't see everyday. --Sean Axmaker"Ever get the feeling you've been cheated?" sneers Johnny Rotten at the Sex Pistols' farewell performance. After seeing this picture you'll understand his disgust, but Julian Temple's sharp portrait of the ragged, raw band of working-class Brits won't leave you disappointed. The Sex Pistols left their legacy in a whirlwind 26-month reign, spitting out a caustic, confrontational brand of rock & roll tha! t became the rallying cry for angry, disaffected youths in late 1970s England and defined the punk movement. Their story was first told two decades ago in the cynical The Great Rock and Roll Swindle, also directed by Temple but produced by the Sex Pistols' smarmy manager, Malcolm McLaren, who stage-managed the film into a self-promoting vanity project. For The Filth and the Fury, Temple turns to the four surviving band members to tell their own stories. His vibrant, vigorous direction captures the period of social unrest and alienated youth without turning into a history lesson, and shows the Pistols in all their insolent glory: spewing obscenities and gesturing lewdly to audiences and press alike, screaming out lyrics, overcoming musical limitations with pure passion and attitude. Rare, raw concert footage (including their final performance, which is appropriately enough the song "No Fun") and previously unseen interviews with the deceased Sid V! icious further energize the portrait. There's even footage of! the smi ling band cutting cake for kids at a fundraiser with nary a nasty gesture or sneering comment. Now there's a side of the Pistols you don't see everyday. --Sean AxmakerThis documentary about the punk band The Sex Pistols sheds some light on the boys' backgrounds. It also tracks their way through the punk era while showing the band's journey from zero back to zero. With, lots of interviews and comments of folks who were involved, you'll learn a lot and love it at the same time!
  • Actors: Paul Cook, Stewart Copeland, Stephen Fisher, Bill Grundy, Billy Idol
  • Directors: Julien Temple
  • Format: Closed-captioned, Color, Dolby, Letterboxed, Widescreen, NTSC
  • Region: Region 1 (U.S. and Canada only. )
  • Aspect Ratio: 1.85:1
  • Number of discs: 1
  • Rating:
  • Studio: New Line Home Video
  • DVD Release Date: October 10, 2000
  • Run Time: 103 minutes
  • DVD Features:
    • Available Audio Tracks: English (Dolby Digital 5.1)
    • Commentary by: director Julien ! Temple
    Size: 7 1/2" x 5 1/4" x 1"
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Investigating History - Butch Cassidy & the Sundance Kid (History Channel)

  • The last bandit riders, Butch Cassidy and the Sundance Kid were America's most famous outlaws in 1900. Cassidy and his Wild Bunch robbed banks and trains along an outlaw trail from Wyoming to Colorado to Southern Utah. But with Pinkerton detectives pursuing, Butch and Sundance fled to South America. Trapped by Bolivian officers, they died in a bloody gunfight. Or did they? Was Butch reborn as
Paul Newman and Robert Redford set the standard for the "buddy film" with this box office smash set in the Old West. The Sundance Kid (Redford) is the frontier's fastest gun. His sidekick, Butch Cassidy (Newman), is always dreaming up new ways to get rich fast. If only they could blow open a baggage car without also blowing up the money-filled safe inside... Or remember that Sundance can't swim before they escape a posse by leaping off a cliff into rushing rapids... Times are changing in the west and lif! e is getting tougher. So Butch and Sundance pack their guns, don new duds, and, with Sundance's girlfriend (Katharine Ross), head down to Bolivia. Never mind that they don't speak Spanish - they'll manage somehow. A winner of four Academy Awards (including best screenplay and best song), here is a thoroughly enjoyable blend of fact and fancy done with true affection for a bygone era and featuring the two flashiest, friendliest funniest outlaws who ever called out "hands up!"This 1969 film has never lost its popularity or its unusual appeal as a star-driven Western that tinkers with the genre's conventions and comes up with something both terrifically entertaining and--typical of its period--a tad paranoid. Paul Newman plays the legendary outlaw Butch Cassidy as an eternal optimist and self-styled visionary, conjuring dreams of banks just ripe for the picking all over the world. Robert Redford is his more levelheaded partner, the sharpshooting Sundance Kid. The film, written! by William Goldman (The Princess Bride) and directed b! y George Roy Hill (The Sting), basically begins as a freewheeling story about robbing trains but soon becomes a chase as a relentless posse--always seen at a great distance like some remote authority--forces Butch and Sundance into the hills and, finally, Bolivia. Weakened a little by feel-good inclinations (a scene involving bicycle tricks and the song "Raindrops Keep Falling on My Head" is sort of Hollywood flower power), the movie maintains an interesting tautness, and the chemistry between Redford and Newman is rare. (A factoid: Newman first offered the Sundance part to Jack Lemmon.) --Tom KeoghPaul Newman and Robert Redford set the standard for the "buddy film" with this box office smash set in the Old West. The Sundance Kid (Redford) is the frontier's fastest gun. His sidekick, Butch Cassidy (Newman), is always dreaming up new ways to get rich fast. If only they could blow open a baggage car without also blowing up the money-filled safe inside... Or remember that! Sundance can't swim before they escape a posse by leaping off a cliff into rushing rapids... Times are changing in the west and life is getting tougher. So Butch and Sundance pack their guns, don new duds, and, with Sundance's girlfriend (Katharine Ross), head down to Bolivia. Never mind that they don't speak Spanish - they'll manage somehow. A winner of four Academy Awards (including best screenplay and best song), here is a thoroughly enjoyable blend of fact and fancy done with true affection for a bygone era and featuring the two flashiest, friendliest funniest outlaws who ever called out "hands up!"This 1969 film has never lost its popularity or its unusual appeal as a star-driven Western that tinkers with the genre's conventions and comes up with something both terrifically entertaining and--typical of its period--a tad paranoid. Paul Newman plays the legendary outlaw Butch Cassidy as an eternal optimist and self-styled visionary, conjuring dreams of banks just ripe f! or the picking all over the world. Robert Redford is his more ! levelhea ded partner, the sharpshooting Sundance Kid. The film, written by William Goldman (The Princess Bride) and directed by George Roy Hill (The Sting), basically begins as a freewheeling story about robbing trains but soon becomes a chase as a relentless posse--always seen at a great distance like some remote authority--forces Butch and Sundance into the hills and, finally, Bolivia. Weakened a little by feel-good inclinations (a scene involving bicycle tricks and the song "Raindrops Keep Falling on My Head" is sort of Hollywood flower power), the movie maintains an interesting tautness, and the chemistry between Redford and Newman is rare. (A factoid: Newman first offered the Sundance part to Jack Lemmon.) --Tom KeoghPaul Newman and Robert Redford set the standard for the "buddy film" with this box office smash set in the Old West. The Sundance Kid (Redford) is the frontier's fastest gun. His sidekick, Butch Cassidy (Newman), is always dreaming up new ways t! o get rich fast. If only they could blow open a baggage car without also blowing up the money-filled safe inside... Or remember that Sundance can't swim before they escape a posse by leaping off a cliff into rushing rapids... Times are changing in the west and life is getting tougher. So Butch and Sundance pack their guns, don new duds, and, with Sundance's girlfriend (Katharine Ross), head down to Bolivia. Never mind that they don't speak Spanish - they'll manage somehow. A winner of four Academy Awards (including best screenplay and best song), here is a thoroughly enjoyable blend of fact and fancy done with true affection for a bygone era and featuring the two flashiest, friendliest funniest outlaws who ever called out "hands up!"This 1969 film has never lost its popularity or its unusual appeal as a star-driven Western that tinkers with the genre's conventions and comes up with something both terrifically entertaining and--typical of its period--a tad paranoid. Paul New! man plays the legendary outlaw Butch Cassidy as an eternal opt! imist an d self-styled visionary, conjuring dreams of banks just ripe for the picking all over the world. Robert Redford is his more levelheaded partner, the sharpshooting Sundance Kid. The film, written by William Goldman (The Princess Bride) and directed by George Roy Hill (The Sting), basically begins as a freewheeling story about robbing trains but soon becomes a chase as a relentless posse--always seen at a great distance like some remote authority--forces Butch and Sundance into the hills and, finally, Bolivia. Weakened a little by feel-good inclinations (a scene involving bicycle tricks and the song "Raindrops Keep Falling on My Head" is sort of Hollywood flower power), the movie maintains an interesting tautness, and the chemistry between Redford and Newman is rare. (A factoid: Newman first offered the Sundance part to Jack Lemmon.) --Tom KeoghStudio: Tcfhe Release Date: 05/10/2011 Rating: Pg13This 1969 film has never lost its popularity or its unusual ! appeal as a star-driven Western that tinkers with the genre's conventions and comes up with something both terrifically entertaining and--typical of its period--a tad paranoid. Paul Newman plays the legendary outlaw Butch Cassidy as an eternal optimist and self-styled visionary, conjuring dreams of banks just ripe for the picking all over the world. Robert Redford is his more levelheaded partner, the sharpshooting Sundance Kid. The film, written by William Goldman (The Princess Bride) and directed by George Roy Hill (The Sting), basically begins as a freewheeling story about robbing trains but soon becomes a chase as a relentless posse--always seen at a great distance like some remote authority--forces Butch and Sundance into the hills and, finally, Bolivia. Weakened a little by feel-good inclinations (a scene involving bicycle tricks and the song "Raindrops Keep Falling on My Head" is sort of Hollywood flower power), the movie maintains an interesting tautnes! s, and the chemistry between Redford and Newman is rare. (A fa! ctoid: N ewman first offered the Sundance part to Jack Lemmon.) --Tom KeoghThis 1969 film has never lost its popularity or its unusual appeal as a star-driven Western that tinkers with the genre's conventions and comes up with something both terrifically entertaining and--typical of its period--a tad paranoid. Paul Newman plays the legendary outlaw Butch Cassidy as an eternal optimist and self-styled visionary, conjuring dreams of banks just ripe for the picking all over the world. Robert Redford is his more levelheaded partner, the sharpshooting Sundance Kid. The film, written by William Goldman (The Princess Bride) and directed by George Roy Hill (The Sting), basically begins as a freewheeling story about robbing trains but soon becomes a chase as a relentless posse--always seen at a great distance like some remote authority--forces Butch and Sundance into the hills and, finally, Bolivia. Weakened a little by feel-good inclinations (a scene involving bicycle tr! icks and the song "Raindrops Keep Falling on My Head" is sort of Hollywood flower power), the movie maintains an interesting tautness, and the chemistry between Redford and Newman is rare. (A factoid: Newman first offered the Sundance part to Jack Lemmon.) --Tom KeoghThis 1969 film has never lost its popularity or its unusual appeal as a star-driven Western that tinkers with the genre's conventions and comes up with something both terrifically entertaining and--typical of its period--a tad paranoid. Paul Newman plays the legendary outlaw Butch Cassidy as an eternal optimist and self-styled visionary, conjuring dreams of banks just ripe for the picking all over the world. Robert Redford is his more levelheaded partner, the sharpshooting Sundance Kid. The film, written by William Goldman (The Princess Bride) and directed by George Roy Hill (The Sting), basically begins as a freewheeling story about robbing trains but soon becomes a chase as a relentless p! osse--always seen at a great distance like some remote authori! ty--forc es Butch and Sundance into the hills and, finally, Bolivia. Weakened a little by feel-good inclinations (a scene involving bicycle tricks and the song "Raindrops Keep Falling on My Head" is sort of Hollywood flower power), the movie maintains an interesting tautness, and the chemistry between Redford and Newman is rare. (A factoid: Newman first offered the Sundance part to Jack Lemmon.) --Tom KeoghThe last bandit riders, Butch Cassidy and the Sundance Kid were America's most famous outlaws in 1900. Cassidy and his Wild Bunch robbed banks and trains along an outlaw trail from Wyoming to Colorado to Southern Utah. But with Pinkerton detectives pursuing, Butch and Sundance fled to South America. Trapped by Bolivian officers, they died in a bloody gunfight. Or did they? Was Butch reborn as William T. Phillips in Spokane 20 years later? Did the West's last badman escape the law in the end?
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Jumat, 06 Januari 2012

A Decade Under the Influence

  • The 1970s was an extraordinary time of rebellion, and of questioning every accepted idea. As political activism, the sexual revolution, teh woman's movement, and the music revolution contributed to social unrest across the country, American cinema witnessed the emergence of a new generation of filmmakers. Galvanized by a new freedom of expression, these ground-breaking artists began targeting
The 1970s was an extraordinary time of rebellion. As political activism, the sexual revolution, the women's movement, and the music revolution contributed to social unrest across America, American cinema witnessed the emergence of a new generation of filHow did Hollywood make so many great, challenging, offbeat films in the 1970s? A Decade Under the Influence lists the reasons--or rather, lets the people who did the filmmaking list the reasons. The decade-shaping interviewees include Martin Scors! ese, Robert Altman, Francis Coppola, et al. The film's argument has actually been conventional wisdom for at least 10 years, but it's well-supported by an abundance of clips, which should inspire even hardcore film buffs to seek out rarities such as Thunderbolt and Lightfoot or The King of Marvin Gardens. One might observe that the scarcity of women directors or black filmmakers suggests that the decade was not entirely golden, and the memories may be burnished a bit by nostalgia. But there's no question that the big studios were far more adventurous back then, and this briskly moving survey gives a lively Film 101 lecture in exactly why. --Robert Horton
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The New Adventures of Superman - (DC Comics Classic Collection)

  • These adventures were the first time that Superman (and his alter ego Clark Kent), Lois Lane and Perry White had been seen in animated form since they were immortalized in the iconic Superman short films of the 1940s. In addition, this series marked the animation debut of Jimmy Olsen andic Superman villains like Lex Luthor and Brainiac. This animated Superman was forerunner show that lead to all t
When Batman (Adam West) and Robin (Burt Ward) get a tip that Commodore Schmidlapp (Reginald Denny) is in danger aboard his yacht, they launch a rescue mission. But the tip is a set-up by four of the most powerful villains ever, who seek to defeat the Dynamic Duo once and for all! Armed with a dehydrator that can turn humans into dust, the fearsome foursome intends to take over the world! Can the Caped Crusaders use their high-flying heroism and groovy gadgetry to declaw Catwoman (Lee Meriwether! ), ice the Penguin (Burgess Meredith), upstage the Joker (Cesar Romero), and stump the Riddler (Frank Gorshin) in time?Holy camp site, Batman! After a fabulously successful season on TV, the campy comic book adventure hit the big screen, complete with painful puns, outrageous supervillains, and fights punctuated with word balloons sporting such onomatopoeic syllables as "Pow!," "Thud!," and "Blammo!" Adam West's wooden Batman is the cowled vigilante alter ego of straight-arrow millionaire Bruce Wayne and Bruce Ward's Robin (a.k.a. Dick Grayson, Bruce's young collegiate protégé) his overeager sidekick in hot pants. Together they battle an unholy alliance of Gotham City's greatest criminals: the Joker (Cesar Romero, whooping up a storm), the Riddler (giggling Frank Gorshin), the Penguin (cackling Burgess Meredith), and the purr-fectly sexy Catwoman (Lee Meriwether slinking in a skin-tight black bodysuit). The criminals are, naturally, out to conquer the world, but with a li! ttle help from their unending supply of utility belt devices (! bat shar k repellent, anyone?), our dynamic duo thwarts their nefarious plans at every turn. Since the TV show ran under 30 minutes an episode (with commercials), the 105-minute film runs a little thin--a little camp goes a long way--but fans of the small-screen show will enjoy the spoofing tone throughout. Leslie H. Martinson directs Lorenzo Semple's screenplay like a big-budget TV episode minus the cliffhanger endings. --Sean AxmakerWhen Batman (Adam West) and Robin (Burt Ward) get a tip that Commodore Schmidlapp (Reginald Denny) is in danger aboard his yacht, they launch a rescue mission. But the tip is a set-up by four of the most powerful villains ever, who seek to defeat the Dynamic Duo once and for all! Armed with a dehydrator that can turn humans into dust, the fearsome foursome intends to take over the world! Can the Caped Crusaders use their high-flying heroism and groovy gadgetry to declaw Catwoman (Lee Meriwether), ice the Penguin (Burgess Meredith), upstage the! Joker (Cesar Romero), and stump the Riddler (Frank Gorshin) in time?Holy camp site, Batman! After a fabulously successful season on TV, the campy comic book adventure hit the big screen, complete with painful puns, outrageous supervillains, and fights punctuated with word balloons sporting such onomatopoeic syllables as "Pow!," "Thud!," and "Blammo!" Adam West's wooden Batman is the cowled vigilante alter ego of straight-arrow millionaire Bruce Wayne and Bruce Ward's Robin (a.k.a. Dick Grayson, Bruce's young collegiate protégé) his overeager sidekick in hot pants. Together they battle an unholy alliance of Gotham City's greatest criminals: the Joker (Cesar Romero, whooping up a storm), the Riddler (giggling Frank Gorshin), the Penguin (cackling Burgess Meredith), and the purr-fectly sexy Catwoman (Lee Meriwether slinking in a skin-tight black bodysuit). The criminals are, naturally, out to conquer the world, but with a little help from their unending supply of utility be! lt devices (bat shark repellent, anyone?), our dynamic duo thw! arts the ir nefarious plans at every turn. Since the TV show ran under 30 minutes an episode (with commercials), the 105-minute film runs a little thin--a little camp goes a long way--but fans of the small-screen show will enjoy the spoofing tone throughout. Leslie H. Martinson directs Lorenzo Semple's screenplay like a big-budget TV episode minus the cliffhanger endings. --Sean AxmakerHoly camp site, Batman! After a fabulously successful season on TV, the campy comic book adventure hit the big screen, complete with painful puns, outrageous supervillains, and fights punctuated with word balloons sporting such onomatopoeic syllables as "Pow!," "Thud!," and "Blammo!" Adam West's wooden Batman is the cowled vigilante alter ego of straight-arrow millionaire Bruce Wayne and Bruce Ward's Robin (a.k.a. Dick Grayson, Bruce's young collegiate protégé) his overeager sidekick in hot pants. Together they battle an unholy alliance of Gotham City's greatest criminals: the Joker (Cesar Rom! ero, whooping up a storm), the Riddler (giggling Frank Gorshin), the Penguin (cackling Burgess Meredith), and the purr-fectly sexy Catwoman (Lee Meriwether slinking in a skin-tight black bodysuit). The criminals are, naturally, out to conquer the world, but with a little help from their unending supply of utility belt devices (bat shark repellent, anyone?), our dynamic duo thwarts their nefarious plans at every turn. Since the TV show ran under 30 minutes an episode (with commercials), the 105-minute film runs a little thin--a little camp goes a long way--but fans of the small-screen show will enjoy the spoofing tone throughout. Leslie H. Martinson directs Lorenzo Semple's screenplay like a big-budget TV episode minus the cliffhanger endings. --Sean AxmakerHoly camp site, Batman! After a fabulously successful season on TV, the campy comic book adventure hit the big screen, complete with painful puns, outrageous supervillains, and fights punctuated with word balloons ! sporting such onomatopoeic syllables as "Pow!," "Thud!," and "! Blammo!" Adam West's wooden Batman is the cowled vigilante alter ego of straight-arrow millionaire Bruce Wayne and Bruce Ward's Robin (a.k.a. Dick Grayson, Bruce's young collegiate protégé) his overeager sidekick in hot pants. Together they battle an unholy alliance of Gotham City's greatest criminals: the Joker (Cesar Romero, whooping up a storm), the Riddler (giggling Frank Gorshin), the Penguin (cackling Burgess Meredith), and the purr-fectly sexy Catwoman (Lee Meriwether slinking in a skin-tight black bodysuit). The criminals are, naturally, out to conquer the world, but with a little help from their unending supply of utility belt devices (bat shark repellent, anyone?), our dynamic duo thwarts their nefarious plans at every turn. Since the TV show ran under 30 minutes an episode (with commercials), the 105-minute film runs a little thin--a little camp goes a long way--but fans of the small-screen show will enjoy the spoofing tone throughout. Leslie H. Martinson directs Lorenz! o Semple's screenplay like a big-budget TV episode minus the cliffhanger endings. --Sean AxmakerWhen Batman (Adam West) and Robin (Burt Ward) get a tip that Commodore Schmidlapp (Reginald Denny) is in danger aboard his yacht, they launch a rescue mission. But the tip is a set-up by four of the most powerful villians ever, who seek to defeat the Dynamic Duo once and for all! Armed with a dehydrator that can turn humans into dust, the fearsome foursome intends to take over the world! Can the Caped Crusaders use their high-flying heroism and groovy gadgetry to declaw Catwoman (Lee Meriwether), ice the Penguin (Burgess Meredith), upstage the Joker (Cesar Romero), and stump the Riddler (Frank Gorshin) in time?Holy camp site, Batman! After a fabulously successful season on TV, the campy comic book adventure hit the big screen, complete with painful puns, outrageous supervillains, and fights punctuated with word balloons sporting such onomatopoeic syllables as "Pow!," "T! hud!," and "Blammo!" Adam West's wooden Batman is the cowled v! igilante alter ego of straight-arrow millionaire Bruce Wayne and Bruce Ward's Robin (a.k.a. Dick Grayson, Bruce's young collegiate protégé) his overeager sidekick in hot pants. Together they battle an unholy alliance of Gotham City's greatest criminals: the Joker (Cesar Romero, whooping up a storm), the Riddler (giggling Frank Gorshin), the Penguin (cackling Burgess Meredith), and the purr-fectly sexy Catwoman (Lee Meriwether slinking in a skin-tight black bodysuit). The criminals are, naturally, out to conquer the world, but with a little help from their unending supply of utility belt devices (bat shark repellent, anyone?), our dynamic duo thwarts their nefarious plans at every turn. Since the TV show ran under 30 minutes an episode (with commercials), the 105-minute film runs a little thin--a little camp goes a long way--but fans of the small-screen show will enjoy the spoofing tone throughout. Leslie H. Martinson directs Lorenzo Semple's screenplay like a big-budget TV episode! minus the cliffhanger endings. --Sean AxmakerBATMAN:HOLY BATMANIA! - DVD MovieWhen Batman (Adam West) and Robin (Burt Ward) get a tip that Commodore Schmidlapp (Reginald Denny) is in danger aboard his yacht, they launch a rescue mission. But the tip is a set-up by four of the most powerful villians ever, who seek to defeat the Dynamic Duo once and for all! Armed with a dehydrator that can turn humans into dust, the fearsome foursome intends to take over the world! Can the Caped Crusaders use their high-flying heroism and groovy gadgetry to declaw Catwoman (Lee Meriwether), ice the Penguin (Burgess Meredith), upstage the Joker (Cesar Romero), and stump the Riddler (Frank Gorshin) in time?Holy camp site, Batman! After a fabulously successful season on TV, the campy comic book adventure hit the big screen, complete with painful puns, outrageous supervillains, and fights punctuated with word balloons sporting such onomatopoeic syllables as "Pow!," "Thud!," and "Blamm! o!" Adam West's wooden Batman is the cowled vigilante alter eg! o of str aight-arrow millionaire Bruce Wayne and Bruce Ward's Robin (a.k.a. Dick Grayson, Bruce's young collegiate protégé) his overeager sidekick in hot pants. Together they battle an unholy alliance of Gotham City's greatest criminals: the Joker (Cesar Romero, whooping up a storm), the Riddler (giggling Frank Gorshin), the Penguin (cackling Burgess Meredith), and the purr-fectly sexy Catwoman (Lee Meriwether slinking in a skin-tight black bodysuit). The criminals are, naturally, out to conquer the world, but with a little help from their unending supply of utility belt devices (bat shark repellent, anyone?), our dynamic duo thwarts their nefarious plans at every turn. Since the TV show ran under 30 minutes an episode (with commercials), the 105-minute film runs a little thin--a little camp goes a long way--but fans of the small-screen show will enjoy the spoofing tone throughout. Leslie H. Martinson directs Lorenzo Semple's screenplay like a big-budget TV episode minus the cliffh! anger endings. --Sean AxmakerThese adventures were the first time that Superman (and his alter ego Clark Kent), Lois Lane and Perry White had been seen in animated form since they were immortalized in the iconic Superman short films of the 1940s. In addition, this series marked the animation debut of Jimmy Olsen and classic Superman villains like Lex Luthor and Brainiac. This animated Superman was forerunner show that lead to all the subsequent animated superhero programming.
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Sabtu, 31 Desember 2011

Pirates of the Caribbean: At World's End (Two-Disc Limited Edition)

  • Condition: New
  • Format: DVD
  • Subtitled; Color; Special Edition; Widescreen; NTSC
From Michael Cunningham, the Pulitzer Prize-winning author of The Hours, comes this widely praised novel of two boyhood friends: Jonathan, lonely, introspective, and unsure of himself; and Bobby, hip, dark, and inarticulate. In New York after college, Bobby moves in with Jonathan and his roommate, Clare, a veteran of the city's erotic wars. Bobby and Clare fall in love, scuttling the plans of Jonathan, who is gay, to father Clare's child. Then, when Clare and Bobby have a baby, the three move to a small house upstate to raise "their" child together and, with an odd friend, Alice, create a new kind of family. A Home at the End of the World masterfully depicts the charged, fragile relationships of urban life today.
From Michael Cunningham, the Pulitzer Prize-winning author of ! The Hours, comes this widely praised novel of two boyhood friends: Jonathan, lonely, introspective, and unsure of himself; and Bobby, hip, dark, and inarticulate. In New York after college, Bobby moves in with Jonathan and his roommate, Clare, a veteran of the city's erotic wars. Bobby and Clare fall in love, scuttling the plans of Jonathan, who is gay, to father Clare's child. Then, when Clare and Bobby have a baby, the three move to a small house upstate to raise "their" child together and, with an odd friend, Alice, create a new kind of family. A Home at the End of the World masterfully depicts the charged, fragile relationships of urban life today.
From Michael Cunningham, the Pulitzer Prize-winning author of The Hours, comes this widely praised novel of two boyhood friends: Jonathan, lonely, introspective, and unsure of himself; and Bobby, hip, dark, and inarticulate. In New York after college, Bobby moves in with Jonathan and his room! mate, Clare, a veteran of the city's erotic wars. Bobby and Cl! are fall in love, scuttling the plans of Jonathan, who is gay, to father Clare's child. Then, when Clare and Bobby have a baby, the three move to a small house upstate to raise "their" child together and, with an odd friend, Alice, create a new kind of family. A Home at the End of the World masterfully depicts the charged, fragile relationships of urban life today.
With score composed by famed singer/songwriter Duncan Sheik, A Home At The End Of The World also features songs from the '60s and '70s through the '80s, including tracks by Jefferson Airplane, Bob Dylan, The Band, Yaz, Patti Smith, Paul Simon, Leonard Cohen, Laura Nyro and more. Sheik's emotional score captures the essence of the characters' journeys through their lives and the relationships they develop along the way.Adapted from the novel/screenplay of Pulitzer Prize winner Michael Cunningham (The Hours), Colin Farrell gives an inspired performance as a tragedy-stricken youth whose search for iden! tity and happiness forms the core of its unconventional friendship and romance. Its warm, admirably eclectic song-based soundtrack echoes the film's two decade arc with selections that span both era and emotion, from the innocence of Dusty Springfield's "Wishin' and Hopin'" and Yaz' infectious "Only You" to the angst-ridden classic rock-era bookends of "Somebody to Love" by the Jefferson Airplane and Patty Smith's epochal "Because the Night." The score's classical selections continue that thread with excerpts from Mozart's Cosi Fan Tutte and contemporary minimalist Steve Reich's vibrant Music for Eighteen Musicians. But it’s the half-dozen warm, introspective new tracks from Duncan Sheik that form the soundtrack's evocative emotional core, with melancholic, production-rich standouts like "Something Somewhere" infusing it with a smart, contemporary atmosphere in the bargain. --Jerry McCulleyJust when he s needed most Captain Jack Sparrow (Johnny Dep! p) that witty and wily charmer of a pirate is trapped on a sea! of sand in Davy Jones Locker. In an increasingly shaky alliance Will Turner (Orlando Bloom) Elizabeth Swann (Keira Knightley) and Captain Barbossa (Geoffrey Rush) begin a desperate quest to find and rescue him. Captain Jack s the last of the nine Pirate Lords of the Brethren Court who must come together united in one last stand to preserve the freedom-loving pirates way of life. From exotic Singapore to World s End and beyond from Shipwreck Island to a titanic battle this adventure s filled with over-the-edge action irreverent humor and seafaring myth and magic. Everything has led to this twisting turning wild swashbuckling ride in this final chapter of the Pirates Of The Caribbean trilogySystem Requirements:Run Time: 165 minutesFormat: DVD MOVIE Genre: ACTION/ADVENTURE Rating: PG-13 UPC: 786936293012 Manufacturer No: 04099100Pirates of the Caribbean: At World's End is a rollicking voyage in the same spirit of the two earlier Pirates films, yet far darker in spo! ts (and nearly three hours to boot). The action, largely revolving around a pirate alliance against the ruthless East India Trading Company, doesn't disappoint, though the violence is probably too harsh for young children. Through it all, the plucky cast (Keira Knightley, Orlando Bloom, Geoffrey Rush) are buffeted by battle, maelstroms, betrayal, treachery, a ferocious Caribbean weather goddess, and that gnarly voyage back from the world's end--but with their wit intact. As always, Johnny Depp's Jack Sparrow tosses off great lines ; he chastises "a woman scorned, like which hell hath no fury than!" He insults an opponent with a string of epithets, ending in "yeasty codpiece."!

In the previous The Curse of the Black Pearl, Sparrow was killed--sent to Davy Jones' Locker. In the opening scenes, the viewer sees that death has not been kind to Sparrow--but that's not to say he hasn't found endless ways to amuse himself, cavorting with dozens of hallucinated versions! of himself on the deck of the Black Pearl. But Sparrow is nee! ded in t his world, so a daring rescue brings him back. Keith Richards' much ballyhooed appearance as Jack's dad is little more than a cameo, though he does play a wistful guitar. But the action, as always, is more than satisfying, held together by Depp, who, outsmarting the far-better-armed British yet again, causes a bewigged commander to muse: "Do you think he plans it all out, or just makes it up as he goes along?" As far as fans are concerned, it matters not. --A.T. Hurley

On the DVD
Here's something you can't say about just any DVD extras: There appears to be more of Keith Richards in the outtakes, interviews, and other special features on the At World's End disc than in the actual film. For those scenes alone, this special edition is well worth the price. Richards looks as woozy and gamey as all the rumors suggested, and answers questions he's not asked, with Johnny Depp sitting next to him, almost acting as a translator. Richards offers pit! hy comments like, "Everything I do is original, you better believe," and smiles when other cast members call him "Two-Take Richards" for supposedly nailing his scenes.

The packed second disc also includes a terrific mini-doc on how the filmmakers created the famous maelstrom, in an enormous hanger in Palmdale, California, with the ships floating 30 feet off the ground. "Just moving the Black Pearl was an enormous undertaking," says producer Jerry Bruckheimer with serious understatement. Other cool extras include "Tale of the Many Jacks," deleted scenes with great commentary, "The World of Chow Yun-Fat," a bio of composer Hans Zimmer, features on the set designers, a look at the impressive Brethren Court, and some hilarious bloopers. "You can't curse in a Disney film," deadpans Depp when a costar blurts out something blue. "See? I told him." The extras are truly as much of a rollicking adventure as the film. --A.T. Hurley

! Beyond Pirates of the Caribbean: At World’s End


Our Pirates of the Caribbean Store
Pirates of the Caribbean: Curse of the Black Pearl
Pirates of the Caribbean: Dead Man’s Chest

Pirates of the Caribbean: At World’s End Soundtrack
! Why We Love… Bill Nighy
Johnny Depp Essential DVDs
Stills from Pirates of the Caribbean: At World’s End (click for larger image)

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Chapter 27

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Jumat, 30 Desember 2011

The Cat in the Hat

  • Hardcover
  • Juvenile beginning reading
  • Stories with verses
  • Rhymed verses.
  • English


Features include:

•MPAA Rating: PG
•Format: DVD
•Runtime: 82 minutes
The Cat in the Hat is a marketing ploy disguised as a wildly designed movie for hyperactive kids, and it could use a dose of Ritalin. It hardly matters, though, because kids will surely enjoy the rampant romp that occurs when the top-hatted feline convinces young Sally (Dakota Fanning) and Conrad (Spencer Breslin) to wreak havoc in the home their mother (Kelly Preston) has neatly prepared for an upcoming party. It's all in the name of fun, and while Seuss's classic rhymes are relegated to voice-over narration, director Bo Welch capitalizes on his background as one of Hollywood's most gifted production designers (with credits including Edward Scissorhands and! Men in Black), turning the Seussian town of "Anville" into a playful pastiche of pastels. As played by Mike Myers under layers of fur and latex, Dr. Seuss's mischievous Cat is mayhem personified, and the movie suffers from his anything-goes approach to getting a laugh. And though Myers delivers a few laughs while channeling voices from his own comedic repertoire (including "Coffee Talk" maven Linda Richman), a little of this Cat goes a long way, and he nearly wears out his welcome. --Jeff ShannonPoor Dick and Sally. It's cold and wet and they're stuck in the house with nothing to do . . . until a giant cat in a hat shows up, transforming the dull day into a madcap adventure and almost wrecking the place in the process! Written by Dr. Seuss in 1957 in response to the concern that "pallid primers [with] abnormally courteous, unnaturally clean boys and girls' were leading to growing illiteracy among children, The Cat in the Hat (the first Ra! ndom House Beginner Book) changed the way our children learn h! ow to re ad.
He may be an old standby, but he never lets us down. When in doubt, turn to the story of the cat that transformed a dull, rainy afternoon into a magical and just-messy-enough adventure. There's another, hidden adventure, too: this book really will help children learn to read. With his simple and often single-vowel vocabulary, the good Doctor knew what he was doing: hear it, learn it, read it--laughing all the way. The Cat in the Hat is a must for any child's library.
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Gonzo: The Life and Work of Dr. Hunter S. Thompson

  • Directed by Oscar winner Alex Gibney (Taxi to the Dark Side and Enron: The Smartest Guys in the Room) and narrated by Johnny Depp, this Collector s Edition takes a probing look into the uncanny life of Dr. Hunter S. Thompson inventor of gonzo journalism and author of the landmark Fear and Loathing in Las Vegas. Format: DVD MOVIE Genre: DOCUMENTARIES Rating: R Age: 876964001
Recorded by Hunter S. Thompson between 1965 and 1975, these tapes capture his thoughts and descriptions both as they're happening and in reflection, as he would often go back to rerecord commentary while writing. Filmmaker Alex Gibney, producer Eva Orner and Gonzo archivist Don Fleming were given permission by Thompson's widow to explore the boxes of tapes stored in the basement of his Owl Farm home in Woody Creek, Colorado, left behind after Thompson's suicide in 2005. Fleming transferred the audiocassettes and reel-t! o-reel tapes to digital files, and they made their way to the cutting room for the film Gonzo: The Life And Work Of Dr. Hunter S. Thompson. Now for the first time these previously unreleased recordings are available in a 5-CD set. The Gonzo Tapes features original cover artwork by Gonzo artist Ralph Steadman, an amazing 44-page booklet full of never-before-seen images from Hunter S. Thompson's estate, along with memorable photos and an introduction by film director Alex Gibney, an essay by journalist and Thompson's fellow foreign correspondent Loren Jenkins, and notes by The Gonzo Tapes producer Don Fleming, former front man of the Velvet Monkeys and Gumball who has produced Sonic Youth, Alice Cooper, Hole, and more.Oscar® winning director Alex Gibney presents a probing look into the uncanny life of Dr. Hunter S. Thompson inventor of gonzo journalism and author of the landmark Fear and Loathing in Las Vegas. Accompanied by an iconic soundtrack, this fast moving, wildly ent! ertaining film addresses the major touchstones in Thompson s l! ife from his intense and ill fated relationship with the Hell s Angels to his deep involvement in Senator George McGovern s 1972 presidential election.After Enron: The Smartest Guys in the Room and Taxi to the Dark Side, Hunter S. Thompson seems like an odd subject for Alex Gibney to take on. Unlike the Enron executives or Baghram guards, the gonzo journalist didn't bilk old ladies out of their savings or torture Iraqi citizens. Nonetheless, the director's follow-up to the Oscar-winning Taxi shares an interest in the uses and abuses of power. Gibney recounts the major biographical details, from birth to suicide, but his film really comes alive when he gets to the late-1960s. Though Thompson remains best known for Fear and Loathing in Las Vegas, Gonzo concentrates on his coverage of the 1968 and '72 presidential elections. The author was particularly excited about George McGovern, and chose advocacy over non-partisan reporting. McGovern, Pat Buchana! n, Ralph Steadman, Rolling Stone editor Jann Wenner, and others testify to Thompson's enthusiasm for the South Dakota senator--and hatred for Nixon. Gibney argues that the fire started to die after Hunter witnessed the brutal treatment of protesters at Chicago’s Democratic Convention. Disillusionment led to an erosion of his talent and an escalation of his self-destructive tendencies. As Johnny Depp, who played him in Fear and Loathing, reads passages from his work, the doctor's friends and family provide a glimpse of the insecure man behind the brash image. Gibney's evenhanded depiction may disappoint true believers hoping for a glorified puff piece, but Thompson's ability to speak truth to power with wit and passion comes through loud and clear. --Kathleen C. Fennessy
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