Bobby Fischer Against the World traces the Grand Master from child prodigy to Cold War hero to controversial recluse. Cutting interviews with Bobby and the people who knew him with footage and news reports Bobby Fisher Against the World is a mesmerising portrait of the rise and bizarre fall of one of the great American icons. In 1958 14-year old Robert James Bobby Fischer stunned the chess world by becoming the youngest Grand Master in history launching a career that would make him a legend. Raised by his mother in Brooklyn he taught himself to play chess at the age of six and started beating seasoned adult chess players at eight. Throughout the sixties as his star rose Bobby would appear regularly on TV and tour the world resounding beating all. His career highlight came in 1972 when he played the Russian Grand Master and reigning champion Boris Spassky - a series that was equally tied in with the Cold War as it was with chess. After his victory Bobby became the most famous person on the planet and his already erratic behaviour began spiralling out of control turning this genius into an unrecognisable recluse and pariah.
John C. Reilly and Sean William Scott star in The Promotion - a comedy about two mid-level Chicago supermarket employees, Doug and Richard, who compete ruthlessly for the managerial position at a brand new store!The Promotion is the directorial debut of Steve Conrad, the writer of The Pursuit Of Happyness.
Like any good brand, the Rolling Stones know to preserve the formula even when updating the package, and this long-form concert video underscores that market strategy. As with each of their tours since the early 1980s, the quartet, augmented by a discreet auxiliary of backup musicians, gives the fans new eye-candy while dishing up a familiar set list spiked with Mick Jagger's lip-smacking vocals and Keith Richards' signature guitar riffs. The visual twists are at once spectacular and conservative: a cyclopean main stage design with massive pillars (presumably the Babylonian connection), a vast oval video screen (shades of Big Brother), and a hydraulic bridge enabling a mid-concert sortie into the audience, with the Stones playing a more stripped-down, intimate set on a small satellite stage. That huge physical setting doubtless made the live shows eye-filling rock spectacles, but the video crew necessarily accepts the limitations of the small screen, focusing more on close-ups of the band, rapid cuts, and racing, hand-held tracking shots to convey excitement while keeping the viewer close to the action. The evening's repertoire sticks to the band's most familiar hits, and if the Glimmer Twins occasionally slip their masks to let the routine show, the real wonder is how effectively they keep the playing focused. During the first half of the programme, the band's newest songs (especially "Saint of Me" and "Out of Control") elicit conspicuously higher energy from the band, if not the audience. But just as the show seems doomed to a certain anonymity, the escape onto the smaller, no-frills stage pumps up players and crowd alike, particularly when they launch into "Like a Rolling Stone", a cover that winds up sounding like a great idea too long deferred. --Sam Sutherland, Amazon.com
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