My whole family loved this film and could not wait for it to come out on DVD. It is a great send by Disney about Disney - but what really makes it work is the cast: Amy Adams is excellent in her ingenuous role as a typical Disney Princess and the rest of the cast (you'd hardly recognise Patrick Dempsey alias Cyclops/X Men) are brilliant. Would really recommend it as a film for the whole family
"Dragon Wars" - a failed Korean hero of 500 years ago is reborn as a reporter in Los Angeles in the twenty-first century. The woman he failed to save is back as a... in a gym(?), a cafe(?). I don"t think it is clear what she does. And the two dragons - Good and Bad - that were vying over back in days are returning for another shot. Our formerly star-crossed and now reincarnated lovers are run-ragged as they flee the Bad across the city and... Sounds like fun, doesn"t it? Well. The script, acting and direction of "Dragon Wars" are all lacklustre; its special effects second tier - its too long battle sequences look worse than the in game graphics of most recent computer games; and its plot, replete with corny flashbacks and voice-over narration absurd and messy. Some might hail it as a cult classic, so bad it is good. The problem is that "Dragon Wars" doesn"t even have the camp or schlock horror with a heart appeal of Ed Wood"s worse fair or "Cannibal Holocaust": The low budget has not inspired the makers of the film to innovate, but rather recycle tired clichés and mindless battle sequences a little worse and more worn than they were last time you saw them. Is there anything positive to say about this movie? Is it sooo bad it is good? I don"t think so, but others, those who enjoyed "Transformers" and "300", might. If you dug those movies why not give this a try too.
I am sceptical about Kenneth Branagh films, over theatrical and lacking cinematic flair, but "Sleuth" took me by surprise. That is not to say that it is not theatrical - a remake of an 1972 film, this time adapted by playwright Harold Pinter (and Branagh) from the play by Anthony Schaffer and directed by Branagh, "Sleuth" takes place in a single location, sparsely decorated and elaborately lit like a stage. This, however, rather than ruining the film, as I would expect, stylised the visuals to the extent that its unusual camera angles and use of close-ups reminded me the way atmosphere and tension are built in Japanese anime (and I have long wondered why live action films do not, successfully, reproduce the cartoons" often effective and charming compositions). This was no more the case than with the attention grabbing opening shot as hairdresser, and wannabe actor, Milo Tindle (Jude Law) rings the door bell of mystery writer Andrew Wyke"s (Michael Caine) conservative looking country house. The only shot in the film outside of the house (and outside of Wyke"s surveillance system), this is shot from a birds eye view on the very edge of the house - when Wykes answers the door all we see of him is his outstretched hand. From this point on the story revolves around plays of sexual jealousy (Tindel is sleeping with Wyke's wife), and the power associated with it and sex as the two men role-play themselves through burglaries and other scenarios. The dialogue, by Pinter, is predictably snappy and witty; and the actors performances strong - although Caine is much better than Law. So, despite being like watching an elaborately filmed play, I enjoyed "Sleuth", and feel that many others would too. It is certainly better than Law"s last Michael Caine outing "Alfie", and is an interesting and entertaining watch.
This DVD features Amy Winehouse Live at Shepherd's Bush Empire on her 2007 tour. This tour took place amidst a deluge of bad press, missed shows and famously booing during the Birmingham gig. However this hometown gig shows Amy Winehouse to full effect as spurred on by a supportive crowd she puts her troubles behind her and turns on the magic. Highlights include a snarling, defiant "Rehab" "I told You I was Trouble" "Back To Black" "Valerie" and a funky "Hey Little Rich Girl" the between songs banter shows the real Amy Winehouse to be a slightly shy overwhelmed girl. This performance highlights the quality of Amy Winehouse's material and the tightness and professionalism of her backing band. The DVD also contains an excellent 50 minute documentary "I told you I was trouble" This is a great companion piece to the "Back to Black" Deluxe edition CD and a must for any fans.
The scenes of the all four cubs and their mum laying around in the shade or cooling off in the water is a sight to behold. To see the playful and loving nature of the wild animals was eye opening.
But the joy of the film is also in the miriad of other animals caught in their natural behavour.
This is a must see to anyone with even a mere liking of the majestic tiger.
Tigers like you've NEVER seen them before on film. The beauty of this series is that because the tigers are unaware that they are being filmed we as the viewers are let into their world and it's amazing.
Tim Bisley (Simon Pegg) and Daisy Steiner (Jessica Stevenson) are back for the 2nd installment of the channel 4 comedy series Spaced with new characters and old helping on their new adventures are Mike the former soldier, Brian the artist, Marsha the landlord and Twist daisy's best friend.
Written by and starring
Simon Pegg and Jessica Stevenson
Also starring
Nick Frost, Julia Deakin, Mark Heap and Katy Carmichael
Directed by
Edger Wright
Unloved, force fed garlic, staked through the heart, exposed to sunlight and promptly decapitated by critics the world over; Francis Ford Coppola's studious, if uneven, adaptation of Bram Stoker's 'Dracula' has lain dead & buried for over a decade...until now. As if in response to strange, spontaneous acts of collective reappraisal, 'Dracula' rises from its cinematic grave; no longer the overblown, big-budget debacle marred by overacting, dodgy accents and a haphazard narrative structure, but restored to its rightful place in film history as an enjoyable, wonderfully bizarre B-horror with an A-list cast. I was rather disappointed first time around, after all, one expects a lot form 'The Godfather' and though this movie's commercial success kept 'American Zoetrope' out of the red, it was arguably the last time we saw Coppola the innovator at work. Championed by Winona Ryder (who had to drop out of 'The Godfather III' due to illness), both star and director where eager to put a new spin on an old story; and thus Coppola turned his focus to a timeless love affair between the Count (Gary Oldman) and Mina (Ryder). Personally, I didn't like on the idea of mixing an author's literary inspiration (i.e. historical Vlad Tepes being Stoker's template for Dracula) with a director's cinematic ambitions, for the clash often detracts from Stoker's motifs of religious violence (i.e. crusades as a symbol of man's failure & greed) societal collapse under an unstoppable juggernaut of modernity (a very real, and not entirely irrational, Victorian fear) and perceived internal apostasies (e.g. Darwinism, women's lib etc) as harbingers of a moral & intellectual dark age culminating in the destruction of faith, order and civilisation itself. Screenwriter James V. Hart almost botches an otherwise interesting pre-credit origin story by fictionalizing aspects better told as fact, whilst the filmmakers desire to portray Vlad Tepes a.k.a. Vlad 'The Impaler' as some kind of tragic anti-hero, doesn't work beyond a particularly thrilling, monstrous encounter with professor Van Helsing (Anthony Hopkins) towards the end. In Stoker's novel, Dracula represents the worst of both worlds; a predatory, fanatical ideologue who exalts archaic delusions with lines like: "blood is too precious a thing in these days of dishonourable peace..." and "...glories of the great races are as a tale that is told". Here, Drac never really convinces as having been part of 'The Order Of The Dragon': an ancient neo-pagan, proto-Masonic Christian cult who took part in many crusades alongside the Serbs and began hostilities against the Ottoman-Byzantine House of Sultan Okhan Bey Ibn Ghazi (eventually leading to the Islamic Turkish invasion & conquest of Europe). One of the main reasons why 'Dracula' was laughed off our screens was down to its inaccuracy: Not entirely faithful to the Irishman's Gothic masterpiece (whose name only appears due to a last minute title change after 'Dimension' films secured the rights to 'Dracula' sans Stoker for their own film). Another was the oddball cast: Now what can you say about Keanu Reeves's English accent that hasn't already been said? the man is living proof that there is a God, and its His will that Keanu act no matter how bad he is at it. Winona Ryder is stunning as usual, giving a good performance as Mina Harker; her character a metaphor for the advent of women's lib in synch with emerging secular ideals; breaking away from Victorian repression towards an exhilarating, and dangerous new horizon. Anthony Hopkins gives the best performance by far, and seems to be the only actor who's got the measure of the movie; playing it fast & loose with his spot on portrayal of eccentric vampire killer Professor Van Helsing. Some say Van Helsing represents Protestantism's last stand against both the anachronistic bloodlusts of its crusading predecessor, the looming threat of the industrial revolution as a pre-curser to another age of imperial tyranny / intra-faith corruption (i.e. Protestant colonialism of Asia, Africa, Australia and the Americas). Its an interesting theory, especially since Dracula is allegedly a close relative of Deutschland's Saxe Cobourg Gotha (i.e. the British Royal family), Busch (i.e. George H.W. Bush & family) with the story representing a variety of symbolic acts associated with the so-called global elite. Also look out for an unexpectedly credible performance by Sadie Frost, yes Sadie 'worst actress in the world' Frost, who somehow manages to hold her own against Ryder, as the reinvigorated Count's first victim; Lucy Westenra. Frost's traumatic transition from giddy bride-to-be to bloodthirsty bride of Dracula is excellent, for the aesthetic, atmospheric brilliance of the sepulchre scene when she finally turns, is enhanced by her ability to look genuinely evil / lost to the dark side. I usually find her acting style intensely annoying, but credit where credits due: 'Dracula' easily ranks as Sadie's finest hour. A visually arresting picture with plenty of cinematic flair (e.g. the peacock feathers to train tunnel transition, a nod to Bava with the Count's eyes in the sky etc) 'Dracula' is a film I've grown to like over the years. And if, like me, you're a Gary Oldman fan; then I'd definitely recommend watching the extras for some great rehearsal footage with Oldman taking himself far too seriously, scaring Winnoa Ryder with his outbursts (though to be fair, it must be frustrating to try and get the lines right) and generally acting up like a true ac-tour ought to. Fangs for the memory Francis.
The plot, the storyline, the set and visual effects all go to make this film a truly spectacular piece of screen entertainment for the whole family. However many stars you would like to rate this film could quite easily be multiplied ten-fold purely down to the film's leader star, one of today truly modern day comedy genius Jim Carrey. His many appearances as a forever growing number cunning characters each time in a even more spectacular costumes really does make the film a truly wonderful delight to watch! The 2 disc Special Edition contains a mind- blowing array of special features, which really make the entertainment value much more appealing. A must see, miss at your peril!!!
Boyd and his team return in the sixth series of one of the best crime dramas on TV. With a new forensic scientist (Eve Lockheart), this series proves to be as professionally made as the last five.
Occasionally Boyd's constant SHOUTING about RANDOM THINGS! gets a little trying, but his conversations with profiler Grace are superbly scripted.
The Cast is fantasic, David Morrisey is a surperb lead, his performance is mezmorising. David Tennant fans will not be disapointed, he is as lovely and charming as always, with his wonderful scottish accent, and his acting can't be faulted. Sarah Parish is also a pleasure to watch and her protrayal of a women with true depth is beautiful. The cast isn't the only gem in this master piece though, the script, the songs and the choroyography will leave you with a big grin on your face and just wanting more. It is hard to critise any aspect of this exceptional BBC series, however the one of follow up 'Viva Blackpool' does let its precuel down slightly and only contains two of the orginal cast but it is still worth a watch and this box set is definatly a must have.
Set in Blackpool it starts on the opening night of a new casino, the next morning a body is found in the casino and a murder investigation is starts with exciting and surprising consiquences for all involed.
Fortunate enough to ride the crest of the wave created by popular, cliché ridden, MTV dramas like 'My So Called Life' (good), 'Party of Five' (blah) and 'Dawson's Creek' (an embarrassingly indecisive love/hate relationship) Roger Kumble's 'Cruel Intentions', part of the late 90s zeitgeist, is an eminently watchable, if distinctly lightweight, re-imagining of 'Dangerous Liaisons' (Frears film, Hampton's play and Laclos's book). Fuelled by the music of Placebo (whose classic 'Every Me & Every You' features prominently), Blur, The Cardigans, Aimee Mann, Richard Ashcroft and Fatboy Slim, this popular teen movie spawned a pair of rubbish sequels but just about manages to keep its head above water. And almost a decade later, still works as an unflinching insight into the sexual decadence of the American bourgeoisie. Preppy WASP Sebastian (a smug and, on reflection, surprisingly complex turn by Ryan Philippe) has obviously bought into Frank T.J. Mackey's 'Seduce & Destroy' programme, for the chiselled cad beds a variety of girls including, hilariously, his psychologist; an attractive older woman won over by Sebastian's eloquent appreciation of her legs, and his unashamedly sleazy request to photograph them. Not a patch on John Malkovich's Valmont, though Philippe's lecherous lothario obviously has the kind of teen appeal this movie was going for, his wicked partner in crime and step-sister Kathryn is played to the hilt by none other than Sarah Michelle Geller (reunited on screen with Philippe a year after 'I Know What You Did Last Summer'). Buffy puts in an incendiary, OTT performance that works like a charm; with a neckline as low as her moral integrity Kathryn is the perfect, hence instantaneously lethal, blend of every guy's wildest fantasy, and worst nightmare. A calculating nymphomaniac and nefarious schemer; with cocaine concealed inside her crucifix, she's the girl you'll love to hate and kudos to Geller for playing against type, going all out to create one memorable, super-bitch of a character. This thoroughly unlikeable, yet nonetheless interesting, duo place a wager; whereby Sebastian promises to deflower well known virgin Annette (Reese Witherspoon in her first major role after cult favourites 'Freeway' & 'Election'); if he succeeds, he gets to indulge in incest with Kathryn, if he fails; she gets his Jaguar. Nice people. And so begins an amoral game of socio-political intrigue and sexual machinations, played out under a haze of lust amongst the white marbled edifice of Ivy League elitism, and empty materialist pleasures: Sebastian and Kathryn have a lot of work to do, and you know it'll be tears before bedtime before they're done. With strong support from Selma Blair, Sean Patrick Thomas and Joshua Jackson, 'Cruel Intentions' is an enjoyable picture, though not nearly as good as it thinks it is or how popular it was with the MTV crowd back in 1999. Cool soundtrack, decent script, good looking actors: perfectly acceptable teen movie fare, though a far cry from the relative innocence of the John Hughes era. Philippe and Witherspoon would go onto greater things; marriage and divorce for example. Reese fulfilled her potential with films like 'Legally Blonde', 'Rendition' and an Oscar winning performance in 'Walk The Line'. Ryan, however, in spite of choosing good projects like 'The Way Of The Gun', 'Crash' and 'Flags Of Our Fathers' is still waiting to make a lasting impact on film. A slick and colourful snapshot of a certain time & place; when Kevin Williamson was king, the name Neve Campbell meant something and James Van De Beek could still get a table, 'Cruel Intentions' is more of a fleeting encounter than a film to love forever, definitely worth a look, especially if you're attracted to the (in)discrete charm of the bourgeoisie. One night stand.
Harrowing and realistic depiction of the massacre of Iraqi civilians killed by U.S. troops on November 19th 2005: Veteran documentarian Nick Broomfield ('Ghosts', 'Kurt & Courtney') constructs an intense, harsh and sobering account of the well documented atrocity, in an approach described as 'Real Cinema'. Iraqi resistance groups, inspired to action by the courage of their martyred compatriots in Fallujah, mount a fresh series of retaliatory strikes against the occupation; an Improvised Explosive Device (IED) successfully putting an American armoured vehicle out of commission and killing one U.S. Marine onboard (a set up not dissimilar to British Iraq war film 'The Mark Of Cain'). But as we ought to know from Vietnam; an occupying force is always indoctrinated to murder at least ten natives for every one of theirs (a policy frequently enacted by Hitler's 'SS', Israeli storm-troopers, British Coldstream Guards, 'Black & Tan', French 'Foreign Legion' etc) hence Kilo Company's Corporal Ramirez and Sergeant Ross (real Iraq war veterans Elliot Ruiz and Eric Mehalacopoulos) are drafted as part of the death squad used to commit said slaying. A flawed film, 'The Battle of Haditha' isn't so much a docudrama like Michael Winterbottom's 'The Road to Guantanimo' as it is an economical, dramatic re-enactment of that infamous day told from three perspectives: the Iraqi resistance, one family in Haditha and the American troops. Broomfield's attempts at an even-handed, 'Rashomon'-esque narrative, prove awkward when judged against the origins and wider context of the war; after all, U.S. marines are portrayed as essentially decent, intellectually (and definitely economically) impoverished young men; cruelly moulded into sadistic serial killers by the powers that be who, by their very existence / deeds, are realistically depicted as the worst of all villains. For lest we forget, and Broomfield should have mentioned this fact on a pre-credits title card; that this war has seen more conscientious objection and A.W.O.L cases than any other conflict in the recorded history of human civilisation, for to quote Elliot Ruiz: "...you ask 90 percent of the guys (U.S. soldiers), they'd rather not be there". Yet at the same time, to what extent are we asked to sympathise with people who are, albeit at the lowest level, engaged in an ongoing war crime; should we, by Broomfield's rationale, also pay tribute to Nazi troops who perished in Stanlingrad, shed a tear for 'IDF' helicopter gunship pilots downed over Lebanon or lament the scores of Romans burnt to death by England's barbarian queen Boudica? Now I'm all for absolving soldiers for the sins of their superiors, but undermining free will and individual responsibility is something else altogether, and its with this in mind that Brian De Palma's 'Redacted' comes closer to the awful truth of how the military can be systematically disfigured to reflect the evil, banal and soulless degeneracy of its bestial masters. In real life; the Marines, (all of whom were unsurprisingly let off by the U.S. government; kind of like asking Himmler to try Groening for the Reichstag fire) claimed they were only following orders, and that Coalition rules of engagement specified such crimes could be committed with impunity. An old excuse which, though morally unacceptable, sounds entirely plausible: given that Zionist torture manuals issued by 'The Pentagon' and containing detailed instructions on how to subject victims to the kind of abuse we saw in 'Abu Ghraib', are used by the occupation on a regular basis. I found the idea that Jihadist leaders were using the massacre as a propaganda coup to recruit more fighters/control Haditha, unconvincing in light of the evidence; as every imperial construct in history has had to distort the truth, especially when it comes to representing any force that seeks to stem its avaricious acts of psychotic megalomania. Recall the corporate media's expectedly negative response to Cuban intervention on behalf of native resistance groups combating an invasion by the racist South African military & Belgian mercenaries in Angola, circa 1988. For our hemisphere's leaders (along with Israel) provided tacit support for SA's brutal apartheid regime, with then PM Margaret Thatcher tacking her colours to the wall early on; branding African resistance illegitimate and Nelson Mandela a terrorist. Hence if Syrian, Jordanian, Saudi Arabian, Turkish or Iranian partisans are aiding the Iraqis, they could, as Fidel Castro did at the U.N., convincingly argue that they're fulfilling their basic internationalist duty to help resist a fascistic, militarily aggressive empire; one that has, in no uncertain terms, threatened each & every one of the aforementioned countries with invasion. For the Islamic world; in spite of its disunity, ineffectual, often tyrannical, governments and petit bourgeois collaborators is, on some level, united by faith, language
& culture, thus any rational observation / analysis would conclude that the only foreign entity in Iraq is the Anglo-American-Israeli collation, or to use its unflattering sobriquet: 'The Triangle Of Terror' along with its private army of contractors & mercenaries. Love him or loathe him, Nick Broomfield is one our most provocative and talented directors, whose 30 years in film have seen him address issues as diverse as the class divide in England, to the mysterious death of a grunge icon whilst practically inventing confrontational documentary (an approach now employed by everyone from Michael Moore to Louis Theroux) and, as was the case in 'Ghosts', Broomfield manages to coax strong performances from a cast mostly made up of non-actors. Some unexpectedly amusing, buddy cop banter between insurgents Ahmad & Jafar (played with aplomb by Iraqi refugees Falah Abraheem Flayeh and Oliver Bytrus) is almost 'Lethal Weapon'-esque in its gallows humour, and I was keeping an ear out for that classic Danny Glover line: "I'm getting too old for this shit" as veteran soldier Bytrus prepared an ambush. Elliot Ruiz's barracks breakdown was also excellent; his frustrations coming to the fore in a surreal, hyper-real maelstrom of staged drama & bitter memories: "I have to live with this guilt for the rest of my life: I hate the officers who sent us in: They don't give a f*** about us". Ruiz reminded me of Terrance Howard here, and could easily go onto find work in other films if he so desires, the same goes for Eric Mehalacopoulos who delivers an ironic and memorable line after the massacre; congratulating his comrade on winning the "battle" of Haditha. Scenes with the Iraqi family are difficult to watch, and I was particularly impressed with Yasmine Hanani, who delivers an astoundingly powerful performance as Hiba. Hanani"s naturalistic style was reminiscent of a young Shabana Azmi and her genuine sense of desperation, panic, resolve, defiance and grief looks as if it serves to accurately encapsulate the feelings of an entire nation. Iraq is the modern day Carthage, pursued / devastated with parasitic professionalism by occidental cultists & in-house traitors; of course no film, book or documentary could fully convey the misery of living under military occupation, for in the words of ex-Marine Mehalacopoulos: "As we speak, this is going on. The film only shows a little bit, there's so much more to tell...those who are responsible for crimes are responsible for crimes, but the ultimate responsibility is above". And on that we can all agree, after all: occupations are never won, but always ended.
Doug Liman makes classy, slick movies, Swingers, Go, The Bourne Identity, Mr & Mrs Smith. They"re not always brilliant but they always have a strong cast, Vince Vaughan, Matt Damon, Brad Pitt, Angelina Jolie, they"re some of the biggest money-spinners in the industry. It appears that Liman has a lot of pulling power in Hollywood and his latest effort Jumper is no different. Hayden Christensen, Samuel L Jackson and Jamie Bell is a considerable cast list.
With Jamie Bell fresh from starring in the slightly odd but still excellent Hallam Foe he was probably looking for something a bit more physically thrilling, and he found it. Jumper is packed with action and locations, locations, locations, some might feel a little forced, others will feel realistic, well if you could jump by the power of your mind anywhere in the world then you probably would go to Rome, Paris, Fuji and London wouldn"t you?
The script is by David S Goyer who"s written just about everything that there is in the field of comic book and graphic novels adaptations, he"s a bit hit-and-miss for me but maybe that"s because I sometimes confuse him with Guillermo del Toro who I"m not too keen on because Hellboy is rubbish. But back to Goyer... I didn"t enjoy Batman Begins even though with the stellar cast and director it should have be fantastic but the Blade trilogy was mostly very good as was The Crow, but I don"t think we should forget how awful his short-lived TV series Threshold was. Never-the-less Jumper is certainly in the "good" category.
Jamie Bell is certainly the standout performer here and overshadows Christensen in the scenes that they have together, and as always Jackson is fun to watch as "the bad guy". Jumper is a fun film, it"s enjoyable and fast paced and it"ll stir up conversation and debate on the way home from the cinema, but probably not a lot longer.
There's an awful lot of baggage on that old Exo-Skeleton: Arnie's woeful foray into far-right politics, Ed Furlong's bleary eyed descent into alcoholism and Jim Cameron's self-aggrandising pomposity coupled with a worrying penchant for nuclear warheads (which make an appearance in every Cameron movie besides 'Titanic'). But dismiss what fate had in store for its stars, and love 'The Terminator' films for what they are: Sci-fi classics. George Orwell was about twenty years out with his prediction of a totalitarian society in '1984', so that was the year some B-movie hack bought us a vision of 2029: where machines lord it over humans like Israelis over Palestinians, for super computer system Skynet, in classic neo-colonial fashion, tries to rewrite history by sending a Terminator back in time to assassinate our unborn saviour's mother. And despite some impressive action sequences, its the cracking storyline and strong central performance by Linda Hamilton which makes 'The Terminator' (1984) as compelling today as it was 24 years ago. 'T2: Judgement Day' (1992) is just as good, if not better; as the character arcs are refined for a more cerebral conclusion. 'T3: Rise Of The Machines' (2003) though hardly in the same league, is an above par, consistantly entertaining action movie and features an unexpected, stunning climax that's arguably more impressive than its predecessors. An excellent series of films, brilliantly executed with endless repeat viewing potential. Franchise terminated, but not forgotten.
This DVD has been a long time in the making, I should know, I interviewed Alun Williams at the studio where he was shooting the footage and in the time between then and now there has been much water under the bridge, so to speak. I can say, however, that the result is more than worth the wait, as "Total Body Defence" is the most comprehensive and inter-active DVD I have reviewed and is quite literally the next best thing to having personal tuition with Alun in a live class. "Total Body Defence" has taken the technology available and run with it, presenting the viewer with a multitude of practical options, packing the DVD with relevant information and visual flair, to the point that I believe "Total Body Defence" is now the template for the modern self-defence DVD.
There is so much to admire here and foremost is the fact that Alun readily brings his regular instructors into the mix. This might seem a minor detail but it is important in that it proves the techniques do not simply work for their originator but also for those he teaches as well. Alun himself is a fluid communicator, both verbally and physically and acts as an able and engaging host. Whilst talking about the physical elements, Alun wisely concentrates on just eight techniques, giving the viewer variety without weighing them down with too much choice, a genuine case of "less is more". The techniques are straightforward yet explosive and incorporate striking, grappling and footwork, the culmination of Alun"s years in Goshinkwai Yawara and twenty odd years in the martial arts overall.
If we take Alun William"s ability and experience as a given, what is a revelation are the technical elements of the DVD that emphasise just how much work has gone into this superior offering. As mentioned, only eight techniques are examined but the total running time of over two hours hints at the wealth of detail to be discovered. Each technique has its own (very easy to navigate) page and within this framework the potential student has multiple inter-linked options, the whole providing a complete dissection of the technique in the most comprehensive audio/visual manner. Everything is shot using five cameras therefore the technique is displayed from a variety of angles and ranges, even the demo section benefiting from 3 separate angles. The instructional aspect is handled very much as a class environment, with Alun demonstrating and talking through the technique as it is repeated from varying angles.
So far par for the course but where the DVD really ex cells is in the extra features that can be found for each technique, notably the simple but very effective flip technique mode that instantly reverses the action. Added to this is a commentary track that imparts valuable additional information that would be too "wordy" for the instructional section but really adds an extra dimension to the viewers understanding of the technique. If this were not enough there is the magazine style slide-show that further breaks down the technique and a unique "Matt" man, giving a biological insight into the effect the strikes and locks have anatomically on bones, muscle and tissue. The result is a technique that is explored thoroughly both practically and theoretically to provide an in-depth rather than surface understanding of the mechanics involved.
It almost sounds too good to be true but "Total Body Defence" really is that slick, professional and informative. There"s even icing on the cake, in the form of a number of extra features, including defence against gun and knife and, before I hear you groan, Alun is at pains to point out that defence against such weapons is a controversial area and insists that his techniques are not a guaranteed solution rather they offer the viewer slightly better odds in a genuinely life-threatening situation. To conclude, this is the best DVD I have seen in terms of presentation, content and technical achievement and "Total Body Defence" is the perfect fusion of technique and technology creating the ultimate inter-active training aid.
Knowing the time and energy that has gone into the production of this DVD, all I can say is the old-adage really is true-"good things come to those that wait."
Malcolm Martin martial arts commentator for Sky and Channel 5
Alun Williams is the Chief Instructor (5th Dan) and Founder of the Total Body Defence System. He trained extensively in Goshinkwai Yawara and has over 20 years experience in martial arts and self defence instruction. This highly innovative style is rooted in some of the most ancient of combative forms. It incorporates principles of striking, grappling & footwork. Here, Alun takes you through eight explosive techniques, giving detailed instruction on this highly practical & effective system.
The Total Body Defence DVD, larger than a conventional dual layer DVD is packed with features providing a unique interactive Dojo which has every possible teaching aid. Shot entirely in digital widescreen it provides unique footage of this dynamic art, with something for the novice and skilled martial arts practitioner.
This to me is a good series of that 70's show, it would've been better if Ashton and Topher were still in it. I don't think they should have replaced them with Randy it spoiled it for me.
I think all the actors/actresses are going to go very far with their acting careers, this has been one of the best american comedy programmes for me.
I only wish they had left it at the end of series 7.
That '70s Shows tell us the life of six teenagers living in Wisconsin through the hippie period.
Another series of great comedy from the likes of Wilmer Valderama, Danny Masterson, Laura Prepon, Milla Kunis, Kurtwood Smith, Debra Jo Rupp, Don Stark and Tommy Chong.
A wonderful story that will appeal to everyone. The happy merry plot of the story appealing to the younger members of the audience and the quip one liners giving adults a small chuckle to. Adult and children alike will find many comparisons with some of the Earlier Disney works. Cinderella, Snow White and sleeping Beauty to name but a few. As many of the memorable moments from these story's make a brief appearance.
The only downside I found was towards the end when Prince Edward and Nancy (Robert's girlfriend) went back to Andalasia and married. There was barely a hint that they migh like each other but then again does anything need to make sense when it is aimed a children. Especially when they are more interest in the dragons or happy ever after's.
A brilliantly done cross between animation and live action. A much better one than some I've seen and a real feel good film.
5 Star.
Giselle (Amy Adams) is your average fairytale princess waiting for her prince to come. She enjoys her days singing and being happy with her animal friends in true Disney style. Until her prince comes in the form of Prince Edward (James Marsden). He proposes and the wedding happens that very day. However the bride does not make it to the wedding. Edward's stepmother the Queen (Susan Sarandon) dressed as an old crone dispatches her from the animated world of Andalasia to the real world of downtown Manhattan.
It is there that she soon wishes for her prince to come and rescue her and rescue her he does. However it is not prince Edward that rescues her but a cynicl divorce lawyer called Robert (Patrick Dempsey). Who as decided that his girlfriend of five years would make a good mother for his daughter. His daughter however as other ideas and decides that her father should help Giselle. Which he does and she in return teaches him about love and romance and happy ever after.
Prince Edward follows his would be bride to Manhattan and tries to find her. The queen is not to happy with this and she sends her manservant Nathanial (Timothy Spall) to get rid of Giselle once and for all. How being the witless idiot he is he fails at every turn and the prince is reunited with his love.
It is then the Queen makes the rip to Manhattan and does the task herself. She succeeds where he fails but it is Robert and true loves kiss that brings Giselle back. The queen is not happy and she turns herself into a dragon and takes Robert on to the roof. It is then upto Giselle to rescue him and defeat the evil queen.
This is an enthralling, beautifully made film, with an exceptional performance from Marion Cotillard, as Piaf, for which she won a well deserved Oscar.
The superb photography, the poignant background music, often only a single accordian, evokes the true atmosphere of the Paris of Piaf. The narrow mean streets, the gloomy cafes and bars and the brothel, where Edith, as a child, experienced "mother" love for the first time in her life, from a prostitute. How much of this is poetic licence I am not sure, but it illustrates the pathos of her life.
It is, however, the sublime portryal of Piaf by Maron Cotillard which makes this an outstanding film.
She acts every facet of the singer's character faultlessly.
She is the bawdy, outrageous, rude exhibitionist and the desperately sad, lonely "little sparrow".
Her search for love, her loss of love, her grief and her dsperation are tangible.It would require a heart of stone not to be moved by this performance.
The only fault I could find in this film is the disjointed use of flasbacks, which are confusing at times.
The film is subtitled but this did not in any way detract fom my enjoyment.
It is udoubtedly a sad film, but it is also a triumph.
At the height of her career Edith met Marlene Dietrich and her words sum up the entire film for me "Your voice is the soul of Paris" The photography, the acting, the music do indeed portray the soul of Paris.
I can only urge you see this film - miss it and you miss one of the best films in a long time.
I guarantee you will be hummimg "Je ne regrette rien" for days after.
I really enjoyed this film and laughed throughout it. I have watched it twice already. From the outset you think it might be another American Pie movie, but it is 10 times better!!
Fantasic my 5 year old daughter loved it. Spellbinding and quite magical and I would highly recommend, really lovely film and I really enjoyed it too especially Patrick Dempsey!
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