http://www.youtube.com/watch?v=ta1Sn6MtC9w&hl=en
Recommend : Outback Locations Soil Permeability Gateway IP
Recommend : Outback Locations Soil Permeability Gateway IP
Friends Link : Printers Store. LOWER Prices in The Same Item, Let Steel Thickness Sewage Spill
It is 1941. Nazi Germany has invaded Soviet Russia, straight through the Soviet Republic of Belorussia. Three Jewish brothers, Tuvia, Zus, and Asael Bielski (Daniel Craig, Liev Schreiber, and Jamie Bell), take refuge in the nearby forests. They are joined, more or less by accident, by other members of their Jewish community. It falls to the three brothers to take charge and defy the odds to save the lives of their fellow refugees.
Such is the premise of 2009's "Defiance", which shines a light on a obscure corner of World War Two's Eastern Front. Trapped behind the German lines, the Bielski group must battle lack of food and shelter, a harsh winter, and the vicious tactics of the German Army. They get little help from the local Soviet partisan group, which regards them with suspicion.
The narrative proceeds on parallel tracks. The otherwise ordinary Bielski brothers must grow, painfully, into leaders, while their fellow refugees struggle to maintain their sense of community under the most difficult of conditions. The interactions between the brothers ring true, thanks to some solid acting. Some of the best moments of the movie are the efforts of the people of the forest to fashion a new, if precarious, life for themselves in the midst of war.
"Defiance" narrates some painful events that may be difficult to watch. The partisan battle may be unknown to the average viewer, who is encouraged to explore the extra features explaining the history behind the movie. "Defiance" is very highly recommended to fans of the World War Two movie genre as something new and special.
Friends Link : SIP Trunking HP Printers Ink Vehicles Hybrid
See Also : Order Ink
My Links : Preview Games Console External Harddisk Store
David (Luke Wilson) and Amy (Kate Beckinsale) are a married couple in need of a place to stay as they are in the middle of nowhere. They stumble to a motel where they think they feel safe and more confortable as they have a TV with VCR to entertain them, but the videos shown are low budget slasher movies that actually are murder films. There's a secret about the motel that the owners are actually murderers who create snuff films for their pleasure, now David and Amy must find a way to escaped the motel from hell.
Intense and riviting psychological horror thriller from director Nimrod Antal and writer Mark L. Smith is a fun and very Alfred Hitchock-like suspenser. This one differs from the recent glut of torture flicks as it does focus on the plot and characterizations much like the original "SAW" movie but more to "Psycho" and 1980's underrated "Motel Hell". The film co-stars Ethan Embry and Frank Waley, it's a go-for-the-throat thriller that harkens back to the good old fashion psychological thriller days with suspense and twists.
This Blu-Ray gives a wonderful theatrical quality transfer on the image and terrific sound with a few extras like extended snuff films, featurette and deleted scenes.
A confined setting is a useful tool for thriller-makers, and Vacancy is definitely boxed in: a rundown motel way, way off the Interstate, the kind of place where unsuspecting movie characters go to get stabbed to death in the shower. If Vacancy doesn't quite live up to its Hitchcockian forbears, at least it provides 80 minutes of well-designed mayhem. You know somebody's paying attention just from the opening credits, a clever vortex with pounding music by Paul Haslinger. Then we meet unhappy couple Luke Wilson and Kate Beckinsale, driving along in the dark and forced to stay at the Pinewood Motel after a car breakdown. There's a night man (Frank Whaley, decadent) in the tradition of Dennis Weaver's Touch of Evil gargoyle, but the real mess of trouble is waiting in room number 4. Director Nimrod Antal, who scored a stylish international hit with the Hungarian thriller Kontroll, squeezes maximum juice out of the Route 66 atmosphere of the motel, although the movie doesn't get under your skin the way Kontroll did. Wilson and Beckinsale are a little too marquee-namish for this kind of heavy-breathing work, and the script doesn't give them much to play with. But hey, it's not that kind of movie. Where it really belongs is on the top half of a drive-in double bill, or maybe as a nightmare-scenario TV movie from the Seventies. Either way, it works. --Robert Horton
Stills from Vacancy (click for larger image)
More Vacancy on Amazon.com
Vacancy on DVD | Avoid Your own Travel Disaster | By the Director |
Friends Link : Dynamic Load Sharp Copiers Linksys Hub
Friends Link : Bulk Email Friendly Balance Scale Server Console
5 of 5 stars for the vampire and werewolf movie Underworld. I've seen this movie several times and continue to be amazed and the plot and visual look of the movie. Wow. I keep finding new subtle things in the movie overlooked in my first viewing. This movie is the starter for a 3 movie collection. Telling some of the history and moving forward with this story. Underworld and Underworld Evolution move the story further in time while the third movie tells the history of how we got here.
The story is about two races of beings, the upper class Vampires and the worker class Werewolves. In the old times, the races lived together in harmony, now they are at war. This story focuses on "a human" who we later learn has characteristics of both races and his blood is valuable to both races. Of course, our lead character (Kate Beckinsale) needs the help of a sleeping vampire lord. A very impressive movie with stunning visual look. Once you finish Underworld, keep on going with Evolution and Rise of the Lycans. Highly recommended and added to my list of favorite movies.
Visit : Windows Mobile Device
See Also : Iron Formula
Related : Home Alarm System Wireless Fax Broadcasting Corrugated Plastic
Friends Link : Polar Heart Rate Watches
Do not believe the Coen Brothers when they this is a true story. But it is something that can happen. People have been known to stage `wife kidnappings' for various reasons and things often go wrong in any crime.
Things do go horrendously wrong for William H Macy's car salesman character here, with Frances McDormand (the local sheriff) hot on his trail. She's pregnant and tired, but she does not give up. The two small-time criminals (played brilliantly by Steve Buscemi and Peter Stormare) hired by Macy for the dastardly deed seemingly cannot do anything right and leave a trail of bodies and blood on the snow. Of course, they do fall out with each other by the end of the movie and one of them ends up in a wood chipper.
The movie has plenty of light moments and humor despite the high body count and you will get a load of the Minnesota accent and dialect by the time it finishes. But all these elements are well integrated into the movie so that no incident feels out of place. The editor has done a superb job.
This movie will be remembered for its lush photography. The brilliant white snowy landscapes will challenge your telly and please your eyes. The blu-ray transfer is obviously not top grade, but this is the best picture available on any home video release of Fargo. The sound too is average, but then this is a dialogue driven movie with some action in between.
This is one of the Coens' best efforts, eclipsed only by their recent hits such as No Country for Old Men. It is not a walk in the park, for this is a movie that depends heavily on violent undertones. Fargo is a memorable film that deserves a place in your movie library.
Thanks To : Western Digital External PDA Mobiles Thermal Labels
My Links : Printer Ink Refills
What can I say about this suspense thriller that hasn't been said before? The twists and turns abound until the final minutes of the movie. "And just like that, he's gone." Excellent, tour-de-force performances from everyone. SPOILER WARNING!!! Pay attention to Verbal (Kevin Spacey) in the scene where Kujan (Chazz Palminteri) is yelling at him. SPOILER OVER!!! My only gripe is that Christopher McQuarrie didn't appear in any of the featurettes located on the flip side of the disc (though he briefly appears in the introduction to one of the featurettes). I highly recommend this movie. You'll be surprised. The movie is also very well-written by Christopher McQuarrie and expertly directed by Bryan Singer (both of them would reunite to, respectively, co-write [with Nathan Alexander] and direct "Valkyrie"; please see my review on that equally excellent movie). This movie should have been rated PG-13 for violence and some language.
My Links : Dish System Deal Phone
I was skeptical that 'Marley & Me' would be a horribly sappy story with an overly cute dog and no plot whatsoever. Well, I wound out watching it when I was sick and nothing else was on, and I was so very wrong about it. I was smitten - overwhelmed - by how good the movie is. Yes, it's sappy in places, but it's still a great movie. There's both comedy and tragedy, and some surprisingly good acting even from the normally amateurish Jennifer Aniston. Owen Wilson is fantastic as always, he never fails to surprise me with his ability to perform. In watching, I discovered that the movie is based on a real life story, told in the book 'Marley & Me' by John Grogan.
The movie starts with John Grogan's (Owen Wilson) marriage to Jenny (Jennifer Aniston) during a freak spring blizzard. They move to south Florida, get jobs, buy a house ... and to avoid filling the spare room too quickly with children, John buys a Labrador puppy which they name Marley (after Bob Marley). From the beginning, Marley is trouble with a capitol T. He humps everything in sight (especially poodles), fails obedience class, weighs 100 lbs and pulls them everywhere on the leash, eats mangos, chews up everything in sight, and is generally a bad, disobedient dog.
Grogan's family finally expands with the birth of their first child, Patrick, and Marley continues to be an important part of their life. There's fun, frolicking, and frisky adventure whenever Marley is involved.
'Marley & Me' is the life story of Marley, so get ready for some tears along with the laughs. It's a surprisingly pleasant story of a family growing and developing, along with a dog that never listens and is afraid of thunderstorms. The movie is saved from being too sweet by showing the tragedies of life too, such as Jenny miscarrying her first baby, and their second son suffering with colic. Great performance by Kathleen Turner as the dog trainer, and Alan Arkin as Grogan's boss Arnie Klein.
The screenwriter and director did an excellent job of capturing Grogan's tale of Life, starting with early marriage and two people in love with good careers and a happy life, through the birth and raising of their children and the difficulties faced by everyday life in aging and raising children and balancing homelife with careers, and eventually turning forty. Don't miss out on the book either, John Grogan is an excellent writer.
Like I said, the movie really surprised me at how good it is - a solid 5 stars! Don't miss out on this fun, well acted, well directed, and well written story. Enjoy!
Stills from Marley and Me (Click for larger image)
Friends Link : Iron Formula Barcode Inventory Microsoft Windows Mobile
Recommend : Burglar Alarm Systems Mass Text DNS Server IP
This last year, the galaxy-hopping "Stargate Atlantis" came to a premature end when its producers decided to devote resources to a new, less anticipated spinoff instead. But though it's gone, it's hardly forgotten -- "Stargate Atlantis: Fans' Choice" brings together both the pilot two-partner and the tense series finale on one blu-ray disk. But given the cast changes and massive plot developments mean you better have already seen the series or you'll be totally lost.
At the Antarctic base, Daniel Jackson (Michael Shanks) has finally figured out the location of Atlantis -- in the Pegasus galaxy. General Jack O'Neill (Richard Dean Anderson) gives the go-ahead for an exploratory unit to go to Atlantis -- even though they don't have the power to return back to the Milky Way, and will be stranded there. So Dr. Elizabeth Weir (Torri Higginson) leads an international group of scientists and military to another galaxy, and arrive in the sunken Ancient city of Atlantis.
Unfortunately, after ten millennia Atlantis is running out of power, and soon the whole place will flood. The military unit, including Major John Sheppard (Joe Flanigan), goes scouting for a planet to evacuate to, and encounter the friendly natives.
Meanwhile, the irritable scientist Rodney McKay (David Hewlett) tries to somehow salvage the city -- only to have it rise from the ocean floor. But then the SG teams accidentally wake an ancient enemy -- the parasitic, vampiric Wraith, who destroyed the Ancients long ago. Cut off from Earth, the expedition settles into the Ancient city and tries to make the best of their situation.
Then the story zips from the very beginning to the very end: the series finale "Enemy At The Gate. The expedition is told that the Wraith now have ZPMs and will soon have a hive ship capable of reaching (drumroll please) Earth and its juicy inhabitants. Even worse, the Wraith have sent a squadron to destroy Area 51, crippling Earth's Ancient defenses -- meaning that Earth's best chance for survival may be to return the Lost City. In other words: "You better get me the President. It looks like Atlantis is coming home."
"Stargate Atlantis: Fans' Choice" is not a good place to start for newbies -- with ninety-eight episodes in between them, you'll end up wondering, "Where did Carter and Woolsey come from? How did they contact Earth again? Where's Weir and Ford, and who's that big guy with the dreadlocks?" So basically this is what the title implies: the beginning and end, aimed at fans. With blu-ray players.
But it's nice to see the solid premiere and finale of this series, both for nostalgia and for a glimpse of how much changed in the five seasons between them; the finale also is left open for the forthcoming "Stargate: Extinction" movie. And they are both pretty good episodes: they're heavy on plot, with lots of nasty Wraith stuff (including some really gross lifesucking), space battles, and dialogue both funny ("Maybe he's turning over a new leaf." "Get those down to Zelenka immediately." "Or maybe they're going to blow up when you plug them in...") and quirky ("Now I'm thinking about a nice turkey sandwich").
There are some major changes to the cast between these two episodes, but all the actors included do a great job -- Torri Higginson made a solid commander in the first episode, while Robert Picardo's Woolsey made an unexpectedly likable one in the last. Paul McGillion and Joe Flanigan are wonderful as the hilariously asocial scientist and quirky military man, and there are also good supporting performances by the teddybearish David Hewlett, David Nykl, the "Chewie" Jason Momoa, and brilliant guest stars Amanda Tapping, Richard Dean Anderson, and Mitch Pileggi.
"Stargate Atlantis: Fans' Choice" gives fans a look at how "Stargate Atlantis" both began and ended, and frankly it makes me want to go watch this solid spinoff all over again.
Recommend : Microsoft Windows Mobile VOIP Device Thermal Label
Visit : Windows Mobile Device
I am not a huge fan of war movies in general. I find them all too often rather boring and redundant. I know that they have a huge fanbase but I just never found myself in that select group. I have enjoyed a few to an extent, but in general, if it's going to be a war movie, I much prefer the kind that involves bows and arrows and spears and armor, not guns and tanks. I think that it is my predisposition to war films that actually made `Jarhead' stand out to me as so well done. It is far from your typical war movie, mostly because the war is not a major character in the film. It is more a haunting enigma that hangs over the heads of every character in the film, a hushed secret that keeps eluding them the more they desperately reach out for it.
Anthony Swoffard is reaching pretty high.
`Jarhead' is based off of the memoir written by Swoffard. I have not read the book, although I hear that it is fantastic. It chronicles (as does the movie) the action, or lack there of, that takes place while these young men train to kill. What I loved so much about this film is that it really captures that desperation, that longing for purpose that these young men go through while separated from all they know and love.
Not too long ago I was on a cruise with the wife and we were talking with the other couples at our dinner table (whom we had never met before), one of which was on leave to get married and was going to be returning to active duty overseas. During our conversation he commented that a lot of the soldiers he knew, young soldiers, were there for the `thrill'. We collectively (at least the men at the table) agreed that a big draw for young ones to join the army is to get to try in real life what they spend hours doing in videogames. Even the `Army Now' campaigns on television focus on the action, the fighting, the `thrill'.
`Jarhead' exposes the reality behind that `thrill'.
Thanks to some very competent performances, `Jarhead' becomes impeccable. I have raved and then bashed Gyllenhaal in my reviews and in conversations. He has talent, he just doesn't always capitalize on it. This same year he did `Proof' and `Brokeback Mountain'. In my initial review for `Brokeback Mountain' I raved Gyllenhaal, but after subsequent viewings I realized how `out of place' he seemed at times. In `Proof' (which I have yet to review) he is just forgettable. In `Jarhead' he is marvelous. There is a quality to his eyes that portray an almost confused curiosity, as if he wants to know more but is afraid of what he'll learn. He conveys that so well here. Jamie Foxx also steps up his game by sinking into what could have been a generic and clichéd character and giving him a little extra life. The slew of supporting actors, not the least of which is Lucas Black, really bode well with the film and its purpose and deliver exceedingly well.
But, if you have read the four reviews that preceded this one you will know that this review was inspired by one man and one man alone; Peter Sarsgaard.
This is my favorite performance by Peter and truthfully one of the best supporting performances of this past decade. He has such power and control and dynamic character development. What is so wonderful about this performance is that he truly plays `supporting' very well. Throughout the first two thirds of the film he almost disappears behind the man that is Gyllenhaal, allowing the film to really root in Swofford's character. He makes a statement, sure, and he becomes that secondary character you want to learn more about, but he never crosses that line with showy actorly acrobatics. And then the sniper scene comes and this man crumbles and I was literally BLOWN away (seriously, best single sequence of acting in the year that was 2005). Everything that he has been gradually building up to just unloads in a single breathtaking scene. This mans entire existence shatters and leaves us with a devastating climax.
Sam Mendes is a director who I really have a lot of respect for. He has gotten a bad rap for winning the Oscar so soon (first film, `American Beauty') but his following films have proven his talent. While `Road to Perdition', `Jarhead' and `Revolutionary Road' all have there drawbacks (`Jarhead' doesn't really have one for me, but I understand why others find it less than rewarding, especially if they were expecting a generic `war' movie) they also exude a distinct knowledge of subject by Mendes. He understands how to create something that titillates the senses (`Perdition's' rain soaked sets, `Jarhead's' sun cloaked bodies, `RR's' rooms bathed in white) but also delivers a profound blow. I think that for a young director he has built for himself quite the resume (I still have not seen `Away We Go', but as per usual with Mendes, it has its raving and its scathing reviews).
If you are looking for something that is less typical and more thought provoking; less generic and predictable and more emotionally investing then I highly recommend you seek out `Jarhead' immediately. If you are looking for your average `blow `em up' type war film then stay far, far away.
The movie follows the trajectory of Swofford (played with thoughtful intensity by Jake Gyllenhaal) from wayward Marine recruit (he joined because he "got lost on the way to college") to skilled Marine sniper, and on into the desert in preparation for the attack on Iraq. No-nonsense, Marine-for-life Staff Sgt. Sykes (Jamie Foxx), the man who recruited Swofford and his spotter Troy (Peter Sarsgaard) into the sniper team, leads them in training, and in waiting where their lives are dominated by endless tension, pointless exercises in absurdity (like playing football in the scorching heat of the desert in their gas masks so it will look better for the media's TV cameras), more training, and constant anticipation of the moment to come when they'll finally get to kill. When the war does come, it moves too fast for Swofford's sniper team, and the one chance they get at a kill--to do the one thing they've trained so hard and waited so long for--eludes them, leaving them to wonder what was the point of all they had endured.
As directed by Sam Mendes (American Beauty), the movie remains very loyal to the language and vision of the book, but it doesn't entirely work as the film needs something more than a literal translation to bring out its full potential. Mendes's stark and, at times, apocalyptic visuals add a lot and strike the right tone: wide shots of inky-black oil raining down on the vast, empty desert from flaming oil wells contrasted with close-ups of crude-soaked faces struggling through the mire vividly bring to life the meaning of the tagline "welcome to the suck." But much of the second half of the movie will probably leave some viewers feeling disappointed in the cinematic experience, while others might appreciate its microcosmic depiction of modern chaos and aimlessness. Jarhead is one of those examples where the book is better than the movie, but not for lack of trying. --Dan Vancini
I saw this live on PPV when it happened on July 11th, and couldn't wait to get the Blu Ray. The blu ray for the most part, is fantastic. The HD presentation is 1080i, but looks as good as the HD broadcast on ppv. The card itself is awesome. The prelims were also great too. The bonus features include some promos for other products, nothing special. The real treat though was the behind the scenes look at ufC 100, which showed a lot of cool stuff. Also, the countdown to UFC 100 show was a nice compliment to UFC 100 and gets you hyped for the fights.
The only gripe I have, that keeps this from getting a 5/5, was that it seems the program is edited in a distracting way at times. For example, the entrance music tracks have been replaced by non-licensed royalty free music. Watching the PPV, I remember Frank Mir walking in to Kanye's "Amazing", but here it is replaced by a generic drum and base instrumental which sounds aweful. You can still hear the original entrance song in the background, although faint. It's an ugly effect. Also, some of the commentary is edited out, and Brock's famous rant at the end also got edited. He says most of the things, just not the bud light diss. Overall a great package still, but would have been better if it were unaltered.
Friends Link : Corrugated Plastic Network Hub Inkjet Printer Ink
Thanks To : SIP Trunking USB Barcode Scanner Thermal Label
I am not a great action movie fan - but I will watch almost anything associated with Robert Redford, whose "Three Days of the Condor" and "All the President's Men" are among my all-time favorites; as is "A River Runs Through It," his first collaboration with Brad Pitt. So, I figured, with these two in co-starring roles I couldn't really go wrong with "Spy Game"; and I certainly wasn't disappointed.
Told from a 1991 perspective - two years after the fall of the Berlin Wall, when the CIA changed from an agency run by operatives with field experience to one run by "suits" - "Spy Game" flashes back to the cold war, when American politics' overriding goal was to outmaneuver the Russian-controlled communist block; although Middle Eastern politics eventually did add more complexity. (Shot before, but released after September 11, 2001, as director Tony Scott and producers Douglas Wick and Marc Abraham note on the DVD's commentary tracks, the WTC attack had some effect on the editing process). The story begins with CIA operative Tom Bishop (Pitt)'s capture during an unauthorized rescue attempt in a Chinese prison, resulting in his former supervisor Nathan Muir (Redford)'s summons, on his last day in office, to a meeting of the agency's top brass, for an account of their operations between 1975 (their first meeting in Vietnam) and 1985 (their last operation in Beirut). However, already tipped off to Bishop's capture by an old confidant in the U.S. embassy in Hong Kong, as Muir gives his report his suspicion is quickly confirmed that his information won't be used to save Bishop but to construe a reason to let the Chinese execute him. So it is left to Muir, several thousand miles away, to come to his former protege's aid; and in so doing, break all his rules of survival: Put away some money to retire in a warm spot, never touch that money for anyone, never risk your life or career for an outsider, and if an agent goes "off the reservation" (engages in an unauthorized operation), don't go after him trying to pull him out.
Of course, most of this has been done before; in the aforementioned Redford movies, countless other celluloid tales of the past 50 years and the novels of writers who have built entire careers on this kind of material, from John le Carre to Tom Clancy and Frederick Forsyth. But "Spy Game" was directed by Tony Scott, who, like his brother Ridley, has already left his mark on the genre (see "Enemy of the State" and "Crimson Tide") and, with his arts and advertising background, understands that action movies are about visuals at least as much as about plot and character development: weak editing and camerawork will sink an action thriller as assuredly as weak acting. And Scott's direction is spot-on, in his choice of camera angles, movement and even coloring (providing every chapter with a unique color scheme), as well as his editing, so fast-paced that there are several details you only pick up on in your second or third viewing. Even in the largely static scenes in the CIA conference room, thanks to numerous small tricks, great dialogue and a cast of outstanding actors - including Stephen Dillane as Muir's intra-agency opponent Harker and Larry Bryggman as CIA vice-director Folger - Scott never loses the viewer's interest.
I do have a few issues with "Spy Game" - leaving aside that, as in most spy flicks, there are some sequences where I have to suspend just a bit too much of my disbelief (like the East Berlin sequences of the operation used to set up American mole Anne Cathcart [Charlotte Rampling] and parts of Muir's rescue operation for Bishop), I think it is a pity that a director/producer team otherwise so focused on authenticity didn't realize how many people would remember Robert Redford's looks in films like the above-mentioned ones, i.e. from the mid-1970s, coinciding with this movie's Vietnam and Berlin episodes; for although Redford has definitely gained in class and authority with his growing number of facial lines, which well behoove Tom Bishop's mentor, arguably there should have been at least some visible age difference between Muir's 1975 and 1991 looks. And just as an aside, from a native Berliner: Guys, much as I applaud your choice to substitute nightly Budapest streets for those of cold-war East Berlin, you shouldn't also have filmed the rooftop scene there, because neither the city's overall look nor its topography pans out to those who actually knew Berlin then. (Not to mention the "vopos"' obvious Hungarian accents and a few other details I won't go into here.)
But overall this movie is certainly a cut above the rest of its class, due to great directorial work as much as that of Redford, Pitt and Catherine McCormack as Elizabeth Hadley, the woman who finally comes between them in Beirut: Redford as the inscrutable, controlling master spy - whose past is, unlike in the original screenplay, kept suitably ambiguous -, Pitt as the young gun, aptly codenamed "Boy Scout," who is not above exploiting "assets" for an operation's sake but does fall in love with the wrong woman at last, and McCormack as the tough, no-frills activist whose feelings for Bishop ultimately endanger not only him but also herself. - Last but not least, Harry Gregson-Williams's soundtrack deserves special mention: With an excellent blend of classic rock tunes (Joe Walsh's "Rocky Mountain Way" and Dire Straits' "Brothers in Arms" ... where are these on the soundtrack CD???) and a score alternating between middle eastern and Asian melodies, a boy soprano (Bishop & Hadley's love theme) and techno grooves, it is always in tune with the action and provides a perfect frame for the movie's voyage from Langley to Vietnam, Berlin, Beirut and China. This may not be one of film history's all-time greatest moments - but it is a well-crafted thriller and definitely worth watching if you're looking for some action.
Also recommended:
Three Days of the Condor
Sneakers (Collector's Edition)
The Recruit
The Spy Who Came in from the Cold
Tinker Tailor Soldier Spy
Smiley's People
The Day of the Jackal
The Fist of God
Shibumi: A Novel
A River Runs Through It (Deluxe Edition)
See Also : VOIP Phone Systems
Incredible footage on par if not better than Planet Earth. The BBC has really done a wonderful job. The narrator's voice doesn't quite give me that "Child listening to grandpa tell a story" feeling that I get when I hear David Attenborough (sp?) talk. The film manages to touch upon the subject of conservation without being rediculously preachy. Thankfully, Galapagos does not speak of the fictional boogeyman of manmade global warming(or does it so briefly that I cannot remember), so I didn't have to roll my eyes or laugh at the absurdity of the idea at any point in the documentary.
One fixation the show has is on Charles Darwin. I am a believer in evolution, however, God designed his creations with that ability, ironically leaving humans to be largely unchanged (with the exception of our minds). Thankfully, Galapagos also avoids the sensitive subject of religion and manages to see Darwin's observations as simple science, leaving religion up to the viewer. One thing I do find myself wondering while watching is, "How can someone see things as beautiful as the life in this documentary and not believe that a perfect Being created it all?". Yes...Galapagos IS that breathtaking.
Recommend : Windows Mobile Smartphone
Thanks To : Cad Program USB Barcode Scanner
Visit : Outback Locations