The best season yet, filled with old enamies and new ones, you also see old friends from SG-1, Also shows he return of atlantis's worst enamie Micheal, well worth a buy for Seasoned fans and brand new blood people will love this season
Stargate Continuum is an action-adventure featuring the whole team and includes a welcome return from Richard Dean Anderson as General Jack O'Neill, as well as an appearance by the late Don S. Davis as General Hammond.
This film is an original storyline, returning to the classic style and mythology of the show. While it is an excellent addition to any Stargate fan's DVD collection, it also has enough for non-fans to find it watchable as an action/science fiction film.
The action is thrilling and the visual/special effects are spectacular as would be expected from the Stargate franchise. However these moments of explosive action only serve to make the quiet moments in between, seem slow despite some of the heart-nreaking moments, and you are left waiting for the pace to pick up again. When it does, it could easily rival any blockbuster release.
This film has everything you would expect from the TV series - action, humour, mythology, science, heroic acts and tragic moments but all on an epic scale. All of these elements combine to create a film that will hopefully mark the start of a new series of similar films featuring SG-1.
Set after the events in Stargate the Ark of Truth and before its spin-off Stargate Atlantis' fourth season, sees the team going off world to witness the execution of Ba'al. Along with General O'Neill, SG-1 discover to their horror that there's another Ba'al out there - setting in motion a plan that will change the timeline forever.
It's been over a decade since Paul Veerhoven's expectedly visceral, ultraviolet and unashamedly sadistic sci-fi satire; 'Starship Troopers' (1997), turned Robert A. Heinlein's cult novel into a blood & sun soaked bullet festival of co-ed showers, improbably huge guns and exploding heads. Released to some acclaim and respectable box office, the movie made good use of up-and-coming, though now pretty much down-and-out, stars like Denise Richards, Dina Meyer and iron jawed, All American hero; Casper Van Dien. Focused on an interstellar war between Earth and the Bug planet of Klendathu, our vacuous threesome join the armed forces on behalf of Earth. Earth, incidentally, is ruled by 'The Federation', with its Nazi symbolism and Spartan values; unseen rulers withhold citizenship to all but those who put in military service. And it was only months later that I picked up on the gag that our protagonists are part of some Aryan master race: whitebread North American bozos who seem to have taken over the world, how else can you possibly explain "Buenos Arians": Rico (Van Dien), Ibanez (Richards) and Flores (Meyer)? And what of the claims that 'Starship Troopers' is an ode to Hitler or Zionism? Well it is to an extent, but then again, how seriously are we expected to take a story that has soldier's making love to their clones (in the novel) or lines like "We're going to get the Big Brain on Planet P?" Its far-out fiction with a love of militaria, ideas of collective servitude and warlike camaraderie but one that's put up on screen as a camp, gaudy, tongue-in-cheek indictment of all that deadly propaganda frequently imposed upon the masses with furrowed brows and earnest sentiments, beneath the yellow tasselled flags of fascism. Caspier Van Dien is a good 'bad actor' in that he gets the premise immediately and we're laughing with him, not at him as Rico spouts some inane rhetoric about patriotism and honour or is confronted by a multiple amputee who beams: "Congratulations son, Mobile Infantry made me the man I am today!". 'Starship Troopers' is the best of an unplanned trilogy and quite frankly, there was absolutely no need to go back: "Do You Want to Know More?". No, but I've a feeling you're going to tell me. 'Starship Troopers 2: Hero Of The Federation' (2004) is such utter bollards that not even an out-of-work Caspier Van Dien or Denise Richards could be tempted back, and who can blame them? After all, 'ST2' looks like someone saw 'Pitch Black' and decided to remake it, only removing all those unnecessary elements like story, character, suspense, SFX and cinematography. Scribe Ed Neumeier ('Robocop', 'Starship Troopers') seems to be winging it with some on-the-sly hokum about Troopers patrolling Quarantine Zones, whilst our humorously named heroes are a largely indistinguishable bunch of grunts, though I liked Pvt. Sahara (no dry spells for her, I hope) played by brassy broad Colleen Porch; an actress with the good looks of a beauty pageant winner, albeit a pageant held in a maximum security women's prison. Kelly Carlson's Pvt. Soda is essentially Eva Braun with an RPG though her comrades just blur into a rumble of gunfire, overacting and incomprehensible noise; one reasonably exciting battle sequence is the best you can hope for here. 'Starship Troopers 3: Marauder' proves that trying to remodel a concept that's been subverted to the point of satire is difficult, nay impossible, though 'ST3' can hold its head a little higher than its predecessor, in that Casper Van Dien returns to reprise his role as Johnny Rico. And I think its fair to say that Van Dien's a better actor than the material he's given to work with; for our all action uberman puts in a reasonably good performance (Van Dien proves to be somewhat of an offbeat comic genius, in that he does the entire movie as John Wayne) which begs the question: why wasn't this guy recruited for 'GI Joe'? After all, Casper didn't exactly embarrass himself acting opposite one Johnny Depp in 'Sleepy Hollow' and even turned in a none too shabby performance as Tarzan in 'Tarzan And The Lost City' . Ed Neumeier has another go, this time managing to work in some well written witticisms smashed home with the steel rod of irony, and yet, you can't help but notice that the material simply doesn't work in the 'Starship Troopers' universe anymore, mainly because the 'Starship Troopers' universe came to its natural end ten years ago at the 125 minute mark of Paul Veerhoven's 'Starship Troopers'. That said, 'ST3' still has some killer lines like Federation officials declaring " A) God exists, B) He's on our side and C) He wants us to win", lines not a million miles away from apostate Rabbi Khane's hate speech declaring Zionist Jews the superior race, SS Gestapo's with their 'God Is With Us' belt buckles or evangelical U.S. troops acting as modern day tools of the 'Knights Templar'. Alas, reality seems to have overtaken satire: for the banal, 'Robocop'-esque newscasts are no more absurd than the real ones you can see on 'Fox News' whilst 'Shock n' Awe' fascist degeneracy can no longer be viewed with the comfort that such things could never come to pass in our time; and that's more a sad reflection on the society that let it happen, than the political villains who made it so. Performances range from bad to awful, though Jolene Blalock lifts proceedings somewhat as hot ensign Lola Beck, and not quite knowing how to end it, they opt to rip off that power suit scene from 'The Matrix Revolutions' (itself a riff off Kazutaka Miyatake's OVA 'Uchû No Senshi' which was inspired by Henlin who got it from E.E. Smith who got it from Tokusatsu). 'ST3' keeps the Bug war rolling, though politicising it in an overt but inchoate manner, only serves to remind us that Neumeier probably should've saved his script for a different movie. And as for the Arachnids? I don't see much point in drawing direct parallels or analogies with any particular conflict, for the bug simply represents our implanted concept of 'The Other' as defined by Sigmund Freud's nephew Edward L. Bernays in his seminal work 'Propaganda'. Whether that other is an Arab, Jew, Hispanic or Vietnamese person is irrelevant in terms of how impressionable, intellectually stagnant and vulnerable minds can be twisted to see the world as those in power want them to see it. But if I were compelled to offer some kind of real world equivalent, I'd have cite Fritz Hippler's loathsome Nazi propaganda film 'The Eternal Jew' (1940) in which anti-Zionist, orthodox Jewry were consistently equated with vermin in an absurd, demented, but tragically successful, ploy to manufacture consent for their extermination, in the European Holocaust to come. 'Starship Troopers' is the best of the lot here; an all or nothing, balls-to-the-wall sci-fi that doesn't brake for anyone whose not in on the joke, for is it any wonder that those who got 'Starship Troopers' giggled & cringed through 'Black Hawk Down'? 'ST2' & 'ST3' have their moments, but aren't quite deserving of the 'so bad its good' label, you'll probably watch them once for a laugh before they gather more dust than an abandoned outpost on Klendathu, but you may, like me, find yourself revisiting the original every now and then. For as a Mobile Infantryman once said: "Kill, kill, kill!"...I'm sorry, could you repeat that? I didn't quite get the second word.
Living legends the Wachowski brothers ('The Matrix') well scripted, visually stunning adaptation of Tatsuo Yoshida's 1960s anime is bound to split audiences faster that its titular hero laps competitors at the 'Casa Cristo 5000'. 'Speed Racer' charts the hyperactive, ADD adventures of teenage racing sensation: Speed (played straight by indie regular Emile Hirsch from 'Imaginary Heroes' & 'Into The Wild') who hails from a hard working family of honest-to-goodness race enthusiasts (Susan Sarandon & John Goodman are mom n' pops). And yet theirs is a troubled past, haunted as they are by memories of Speed's sibling: Rex Racer (newcomer Scott Porter) presumably killed in a crash on the notorious 'Casa Cristo' circuit like Brazilian driver Aryton Senna, only to be defamed in death like South African Cricketer Hansie Cronje for cheating. Speed maintains his brother's innocence (and even questions whether Rex may still be alive) but struggles to reconcile his views with industry plutocrats who seek to influence public opinion, and use corporate muscle or "The unassailable might of money" as one character puts it, to liquidate small businesses like the one run by his family. Bribed then threatened to sell out by 'Royalton' industry's CEO; played with smarmy brilliance by Brit actor Roger Alam, who some will remember as vitriolic propagandist / war criminal Lewis Prothero in 'V: For Vendetta' and as an English feudal lord in 'The Wind That Shakes The Barely'. Speed teams up with sassy girlfriend Trixie (Christina Ricci), mysterious rival Racer X (Matthew Fox from 'Lost') and enigmatic racer Taejo Togokhan (young Korean actor Rain, soon to be seen in James McTeigue's 'Ninja Assassin') to take on the powers that be at the dreaded 'Crucible' a.k.a. 'Casa Cristo 5000'. Andy & Larry Wachowski do wonders with a property that's been kicking around Hollywood for well over a decade; a non-starter since 1992, 'Speed Racer' was once touted as a star vehicle for Johnny Depp, then Keanu Reeves (in fact, Hirsh does have an air of Keanu's blankness about him) and saddled with a string of high profile directors including Paul Thomas Anderson, Gus Van Sant and Alfonso Cuarón. In the end, I think it went to the right pair; for the brothers pioneering use of NAC Hi-Motion, Sony CineAlta F23 Zeiss DigiPrime Lenses and both Phantom HD Cameras, is as innovative a cinematic development as bullet-time was in 'Bound' and 'The Matrix'. This process works in such a way that the background remains as sharp and in focus as the foreground, hence achieving an altogether new level of sharpness & clarity: 'Blade' was the first movie to convey a sense of in-car hyper kinetic motion, 'The Fast & The Furious' built upon that whilst 'Speed Racer' takes it full throttle into new and uncharted territory. Now don't be put off, as I almost was, by the opening few scenes; for it'll take a couple of minutes for your eyes to adjust to the relentless audio-visual assault to come; yes its intense, yes it redefines excess and I'll admit to slight nausea and a mild headache in the second hour, but by then; you"ll either be having too much fun to notice, or simply won't be in the room, having walked out a long time ago. Some of the performances are a little too exuberant for a live-action movie (though they're dead on imitations of Hiroshi Sasagawa's Japanese 'Manga' style) and its about 20 minutes too long, still, 'Speed Racer' is an SFX landmark in modern cinema and boasts some of the most spectacular visuals you'll see for miles around. Go Speed Racer Go!
It's been almost a decade since director Kimberly Pierce traumatised a generation with her harrowing, devastatingly powerful biopic of tragic transsexual Teena Brandon in 'Boys Don"t Cry'. She returns with an MTV produced, Iraq war film focused on the stop-loss policy: where the U.S. government, in the face of an unpopular, amoral and increasingly desperate conflict, sends soldiers who've completed their contractual tours of duty, back into battle. One such solider is Texan good ole boy Sgt. Brandon King (an on form Ryan Philippe), still wracked with guilt for a fatal blunder in Tikrit (shown in the well directed, 'Three Kings' style opening) he's forced to return to Iraq by order of the Bush administration: "With all due respect: F**k the president" comes his apt and succinct reply, but that's about as political as 'Stop-Loss' is prepared to get, for the rest of the movie follows Brandon and friend Michele (Abbey 'Candy' Cornish) on a road trip to meet some senator Brandon naively thinks will help him. Meanwhile, we're left to witness the soul destroying, PTSD ('Post Traumatic Stress Disorder') that afflicts his comrades; played with aplomb by Channing Tatum ('Step Up') and the excellent Joseph Gordon Levit ('Brick'). In many ways, 'Stop-Loss' actually does somewhat of a disservice to Texans, who aren't all clueless, beer sodden, Baptism happy, lickspittle hicks. After all, lets not forget broadcast journalist & groundbreaking documentary filmmaker Alex Jones, who exposed the truth about 9/11 ('9/11: The Road To Tyranny' & 'Terrorstrom') and secretly filmed those highly disturbing, Satanic rituals of the Anglo-American-Israeli elite at 'Bohemian Grove' ('Dark Secrets: Inside Bohemian Grove') is from Austin, Texas whilst some of the most pointed, informed indictments of the Bush clan's criminal legacy are put forward by Texans who've known them for a lot longer than anyone else. 'Stop-Loss' is more a collection of good scenes than a movie which works as a whole; you'll remember Levit's violent breakdown or Tatum's inability to let go of automated routine, wince as Philippe's badly injured brother-in-arms jokes that he's prepared to go back; as his death will grant his family green cards and so on, however, 'Stop-Loss' is at a loss when it comes addressing the wider implications of the war itself or the fraudulent nature of how it all began. And by failing to confront such pertinent issues, inadvertently suggests that plebeians have no scope to think beyond their immediate set of circumstances hence leaning towards an outmoded, perhaps even Althussain, confirmation of society as predicable slave to the Ideological State Apparatuses (i.e. only being able to think within dictated paradigms). The ending is a cop out, though I suppose we have to take into account that Pierce's brother is currently serving in Iraq thus, to an extent, its to be expected. 'Harsh Times' did a better job of depicting the veteran's struggle at home, but what about the troops? Well as 'The Violent Femmes' once sang: "you know you got my sympathy; but don't shoot, shoot, shoot that thing at me" (or anyone else for that matter) for you'll often find yourself wondering: 'Haven't any of these people ever heard of conscientious objection', and isn't a year in stockade better than a lifetime of guilt or being complicit in an imperial misadventure that'll go down in history as one of the first war crimes of the 21st century? You'll wish all these characters would come together, not on the battlefield or at the bar, but in world famous Texas movie theatre 'The Alamo Draft house' and watch an Alex Jones documentary, read a book that isn't propaganda or simply examine the evidence in a sober and rational manner. You'll probably want to do for them what Tim Robbins Andy Dufresne did for the inmates at 'Shawshank', for make no mistake; these troops are mercilessly indoctrinated, psychological hostages to Zionist banality and Orwellian misinformation. 'Stop-Loss' is an earnest, presumably well meaning picture that simply hasn't got to grips with the reality on the ground: The Anglo-American-Israeli invasions & occupations of Iraq and Afghanistan, have seen more AWOL and conscientious objection cases from the U.S. military than any other conflicts in the recorded history of human civilisation, and I'd rather see a film about those who've made that choice, than someone whose dithering. 'Stop-Loss' is worth seeing once, but its no 'Redacted'.
fantastic series! filled with tension, and constantly keeps you watching! this series gets better the more you watch, totally recommend to anyone who will listen!
When the first season of Heroes came out last year, it became an instant hit. Never before had people seen a tv show brimming with so many intriguing characters and a breathtaking premise. The plot was constantly changing to keep up with the fast and energetic pace of the show itself. I am glad to say that the second season of this spectacular show has succeeded in keeping up with such a high quality that the first season set. Although this is a significantly shorter season because of the writer's strike, there is still plenty to enjoy. Perhaps by recognising some flaws in this season, that is why so much care and attention has been put in to create this dvd package. The extras are excellent by giving extraordinary insights into the making of individual episodes and we get a sneak peek into the making of season 3. A very good second season and an even better dvd boxset.
An instant phenomenon
Spider-man 3 is a great film as it manages to complete both of the films into this one film. But it has it faults as it tries to do to much in one film with three villans new goblin,sandman and venom. But the film was very enjoyable which let me forget all about that and the last 10 mins made up for the whole film.
Peter Parker (spider-man) has managed to balance out his life between being a super hero and going out with MJ. But when his suit turns to black he starts to feel better and stronger - the suit brings out his darkside. And soon he starts to ignore the people who care about him. In the end he has a choice to make to get rid of the suit or to keep it. As Peter has to go against 3 of his greatest villains - the new goblin,sand man and Venom.
This is a great show to watch as a child. It truely lets you imagination run wild. It is funny and captures you straight away with the creative character and interseting situations they get in to.
A young teenage girl who finds out she is a witch and learns how to handle her powers and realising it is not always as easy as she thinks.
Skins Series 2 is the latest series of the cult TV programme Skins, which was shown on E4 and Channel 4.
Based in Bristol, England, Skins follows a group of A Level students through their time at their Sixth Form college.
Series 1 ended with Tony (Nicholas Hoult)being hit by a bus, Series 2 continues with this, but 6 months after the tragic accident, where Tony is rebuilding his life, despite being physically unable.
The teenager drama is something that can be enjoyed by people of all ages, it's both comedic and dark at times, and despite a very young relatively unknown cast, very easy to get emotionally attached to the characters.
Skins Series 2 will play on all your emotions throughout and will have you on the edge of your seat and wanting more!
I think that dirty dancing is one of the best chick flicks made...every woman (and the occasional man) can watch dirty dancing a billion times and never tire of it!
Joe Wright could not have had an easier directorial debut than Jane Austen"s Pride and Prejudice. He could simply have sat back and made the expected film, featuring some big stars to divert attention away from any niggling "it"s my first time" mistakes he made. Unfortunately, rather than taking the opportunity to settle in to the craft of film making, learning how it differs from the TV dramas he is used to and then developing from a solid base, he seems determined to run before he can walk.
The most immediately obvious problem with the film is the acting of the two leads. Had Wright managed to evince even mediocre performances from Keira Knightley and Matthew MacFadyen the film would have been raised immeasurably in overall quality. Alas this was not to be, as Mr. Darcy and Elizabeth Bennet seem thoroughly bored throughout. Their acting in general is not particularly good but when they are together, the time when they should be at their best, they seem even less competent. Worse still, their speech is broken and stumbling as they struggle with their words, making the most heartfelt expressions of love appear confused, and lacking in any emotion save a desire to complete their lines quickly and be done with them.
Fortunately some of the more minor characters give excellent performances throughout, with Donald Sutherland a brilliant Mr. Bennet. He blends the love he feels for his daughter with the restraint that society demanded exceptionally well, creating a sympathetic character with whom the audience can identify. Sutherland"s English accent should also get a mention as it is consistently very good, with only a couple of pronunciations indicating that he is in fact Canadian. Brenda Blethyn plays the hysterical Mrs Bennet well, but Judi Dench, potentially the best actor in the film, lets herself down by putting in an unexceptional performance.
The director"s choice of shots is also highly questionable. An over-abundance of shallow focus shots force the viewer to look at what the director wants them to at all times. This is extremely annoying in very busy scenes where there is a lot of movement and interest on a large scale, which the director does not allow us to see. Even in the final scenes between Elizabeth Bennet and Mr Darcy, where there is an empty, natural green background, Wright focuses solely on Knightley"s face, making her head, already enormous in comparison with her minuscule body, appear even larger.
In an attempt to make the film seem "dark" and "gritty" Wright also uses a large number of fast zooms. Unfortunately this only serves to make the film seem like it has been shot by a ten year old who has been given their parent"s video-camera and just found the zoom button. In one scene the camera moves in so fast on Matthew MacFadyen it is surprising he does not dive out of the way in an attempt to avoid a horrific facial injury. It almost seems Wright is attempting to make a documentary about a romance. The subject demands long, still shots or sweeping motions, not the kind of "wobbly-cam" work used so liberally by the makers of television documentaries about the ways in which the police suppress football hooliganism. It is possible, I suppose, that the documentary style could have worked to make Pride and Prejudice an example of social realism, but the acting styles, particularly the caricature-like Mr. Bingley, emphasise the unreality of the film. Of course unrealistic acting is an acceptable technique but the jarring mishmash of styles on display here serves to emphasise Joe Wright"s inexperience.
Despite its flaws, the film did do fairly well, and with some good reasons. It is worth seeing for the performance put in by Sutherland; Tom Hollander is also excellent as the slimy Mr Collins. Just don"t be upset if you end up feeling a little seasick.
The year is 1876 and the Pensylvania coalfields are the setting.Coal is needed to fuel the Industrial Revolution at the lowest price and the miners toil for a pittance.
Sean Connery and Richard Harris work well together in this period drama,at the time both could write their ticket and chose this production.
Gritty and realistic,authentic and rich this could have been set in Central Scotland or anywhere in Europe for that matter.The heart of the story is the labour for low wages,the hard graft at the coalface and the hard life above ground.
With stock actors such as Anthony Zerbe amongst others the story unfolds in the struggle to survive in a harsh enviroment with subterfuge and deceit playing alongside the miners(and their families)toil & squalour.10/10
Period drama accurately set and well played.
FANTASTIC! This is by far my favorite and the best season...There's some more outstanding story lines and the new characters fit in so well. They bring even more new and exciting twists and turns! I wanna see Bette and Tina work it out and get back together for the sake of Angelica xXxXx
well this dvd proves the money spent by benitez didnt go to waste, finally capturing mascherano, aquiring the flair of dutch football in ryan babel and the massive signing of torres from athletico madrid !! excellent dvd showcasing the talent of the entire team and not just the individuals mentioned. Even though i watched almost every game this dvd makes me feel like i was back in the action as i sit on the edge of my seat. A must for all liverpool fans and other football fans alike. Great interviews with key players and in depth analysis. A+++++
In a series that has in a way become a victim of its own successful formula, this volume comprises the three best episodes of the fourth series. While people might be opposed to Russell T. Davies' shopping list approach to crafting stories in other volumes, the episodes here are undeniably original and behind-the-sofa-scary.
"Silence in the Library" and "Forest of the Dead" form a two-parter, and are written by Steven Moffat- the man who will replace Davies as head writer in 2010. Moffat's creepy creation this time, in the footsteps of the living statues and gas mask children before them, is the Vashta Narada, a race that lives in swarms, devouring meat like "piranhas of the air." Moffat seems to revel in scaring the hell out of younger viewers, and here they're made to fear the dark, as the swarms terrorise the Doctor and the motley crew of archaeologists that explore the long since abandoned library. The story is full of wonderfully original elements, including a sub-plot with Donna Noble, brilliantly played by Catherine Tate in this one, living in a virtual existence in which she becomes entirely immersed. The performances are top-notch, as is to be expected from David Tennant's Doctor and the sterling guest cast that the series attracts, here headed by Alex Kingston and the enigmatic River Song.
The fear factor doesn't let up in the following episode, written by Russell T. Davies himself- "Midnight" is on a much smaller scale than we usually see in Davies' somewhat overblown finales, and I personally think he writes better in stories like this than in epics featuring the Daleks or Cybermen. This is very much an episode written for David Tennant on the surface, as it's somewhat "companion-lite", surrounding the Doctor with hostile characters in an environment where he swiftly loses control. You can appreciate what a master of his craft Tennant is when you consider that single scenes last up to about 20 minutes at a time in a confined environment in this episode. It's the claustrophobia of this episode that makes it so effective, and the pace is kept up without the aid of action setpieces that have tended to characterise said Dalek stories. Lesley Sharp too is excellent here as the unfortunate Sky Silvestry, a surprise for someone like me who generally can't stand Sharp or her previous performances- a testament to the quality of Davies' writing here. All of this makes for a truly frightening episode, the likes of which Davies should've done more of- the only other Davies episode that's anything like this one is Series 3's "Gridlock", another exemplary episode.
To conclude, to any fan of Doctor Who, this volume is a must-buy, and it's a terrific jumping-on point for new viewers to. The sheer terror that is invested in these episodes epitomises the show's mission statement, but perhaps caution should be taken before letting more easily scared children watch. "Midnight" is the last great Davies episode before another one of "those" finales, while the Library two-parter is a good omen of Moffat's reign as head writer come Series Five in two years' time.
Three episodes of Doctor Who's fourth series. In "Silence in the Library" and "Forest of the Dead", the Doctor and Donna come up against creatures that live in the dark and feast upon the flesh of their victims in the biggest library in the universe, which has curiously enough been abandoned. A team of archaeologists entering the library thickens the plot as a figure from the Doctor's future, Professor River Song, claims a connection to the somewhat oblivious Time Lord. After that, the terrifying "Midnight" sees the Doctor isolated on a tour bus that's exploring the planet of the title. The other passengers turn on each other as the Doctor is left at his most vulnerable, once something starts knocking on the side of the bus from what's supposed to be an uninhabited world...
Without an actual plot, this film isn't to all tastes, but it should satisfy those with an interest in American independent cinema. It cruises between strange conversations and events within the town of Austin, Texas - each one seemingly more and more bizarre. With very few cuts in this film (and roughly a third of the total of cuts occuring in the last 10 minutes) the film is very slow, but the characters are all interesting and engaging, in a similar way to how Linklater's "Waking Life" is a fascinating series of dreamy events. If you like films that are different, but not far-out arty nonsense, then this is a very interesting film with a lot of mileage, the conversations read like that of Kevin Smith films or, to a lesser extent, the pop-culture babble that can appear in Quentin Tarantino films (I should point out that Kevin smith actually credits 'Slacker' as the film that inspired him to make his own). In all this film portrays an amusing and original side of the 90s American disillusioned-youths, but you might want to break up the viewing in the middle.
Richard Linklater's debut tells episodic storys and conversations in the town of Austin, Texas. Summing up the lives of youths or "Slackers" that inhabit the town.
Waking the dead is one of the best TV dramas, with it's gripping story lines and twists and turns it will have you guessing about whodunit until the end.
it was a joy to re watch Malcolm and Brenda in the second series of this wonderful comedy. I have been waiting years for it to be released onto dvd, having still got all the old tapes of the programe ( which are all falling to bits slowly). Please release all the other series's as this was a comedy which just got better and better with the introduction of Brenda's mum and brother, and the snobiness of Pamala. Hope to enjoy series 3 soon.
NYPD Major Case Squad detectives Goren (Vincent D'Onofrio) & Eames (Kathryn Erbe) are back on the beat as creator Dick Wolf diligently ensures every major world religion gets it in the neck: Protestants, Muslims, Jews, Catholics, all they had to do was include Sikhs, Agnostics, Hindus and a few cults like Zionism, Freemasonry, Apocalyptic Zionism, Scientology and Atheism and we'd have had the whole set! 'Law & Order: Criminal Intent' began to gain momentum in its second season; working on back stories, inter-departmental dynamics and even shedding some light on Goren"s stint in the military (which, one hopes, went better than that of D'Onofrio's character in 'Full Metal Jacket'). We're also introduced to 'Criminal Intent's' signature villainess; Elizabeth Hitchens / Nicole Wallace (played with calculating, murderous glee by Oliva D'Abo of 'Kicking & Screaming' and 'Wonder Years' fame) now Miss Hitchens (perhaps a sly dig at erstwhile left wing author turned fascist Rottweiler Christopher Hitchens) is an ideal antagonist for Bobby & Alexandra in that she's just as skilled in psychological warfare as the detectives. 'Criminal Intent' is, in many ways, a calling card to the moral conscience of an America gone awry; one of the few TV shows prepared to address the issues of our time in a robust, sober and rational manner. Nowhere was this more evident than in Seasons 4 & 5 which, though hampered by problems off set, were the strongest by far with classic episodes like 'Stress Position' & 'Running Scared' both of which featured unforgettable performances by Vincent D'Onofrio. D'Onofrio, though ably supported by an integral cast of co-stars, is 'Criminal Intent', as important a factor in this show's popularity & success, as Mandy Patinkin was in 'Criminal Minds'. For Vincent creates a unique character in Bobby Goren; in that he's someone working within the establishment who struggles against its duplicitous motives and yet, despite all that he encounters, shows us that they're still those public servants who honourably uphold the original law of the land, as opposed to those who shamefully enforce the law of the jungle, or debased doctrines like 'The Patriot Act'. Chalk up another one for Wolf, for 'Criminal Intent' is arresting television.
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