http://www.youtube.com/watch?v=0yH5TKXlYwA&hl=en
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In a way, it is a musical. The plot is thin, yes, and can get quite tedious after seeing the DJ get dejected and missing them until the end, but its still one. Like when he's shocked that a ticket costs some guy is trying to sell him in the beginning, cue Money, Money, Money (I know I'm stretching it, but in certain explanations, they do seem stretched). But that's besides the point. This, along with certain other ABBA DVDs, is the only way to see them live, because, as most fans know, they didn't like to travel. And its a real treat to hear Get on the Carousel as they'll probably never release it on any kind of music format. The other songs sound great live especially SOS, Money, Money, Money, He Is Your Brother, Intermezzo No. 1, Why Did It Have to Be Me, Fernando, Dancing Queen (actually, all the songs sound good live). The three music videos (The Name of the Game, Eagle and Thank You For the Music) are in the movie, mainly (like anything that girl, you know who I mean, the one from the Disney Channel, she's like Superman/Clark Kent except with a bad wig and she likes to "leak" suggestive pictures of herself onto the Internet but still calls herself a roll model for young girls, puts out with that garbage show/concert "movie"/feature length "movie") just to plug them as the songs that will be featured on their next album (aptly titled "The Album").
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From the first episode of LOST I was hooked. The cliffhanger kept me begging for more. That's a drive that is still going strong waiting for the final season this January. The first season is my favorite just because there is so much mystery. Nothing is known of these characters when they crash, but you quickly bond with them and began to understand what makes them tick. There are flashbacks in every episode that helps fill in the backstory of each character. The island is a mystery that you and the survivors attempt to figure out. There are tons of plot twists and mysteries to keep you on the edge of your seat. LOST is filled with mystery, drama, comedy, and suspense. There are tons of characters that help develope the plot. As they try to investigate the island you attempt to figure them out. LOST is the best show on TV. The writting never stops to amaze and shock you. The cast never misses a beat either. They are on top of their game at all times. If you haven't seen LOST pick this blu ray up today you won't be disappointed. This show stabs you in the jugular and doesn't let go.
Also the blu ray looks amazing. LOST is shot digitally and is the best looking show on Blu Ray. I had the first season prior to this on DVD, and I still am going to pick up the entire series on Blu Ray next year. This is a great series that has the best writting staff and cast on TV. Don't miss this saga. Every adventure has a beginning don't miss it.
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INGLORIOUS BASTERDS is brilliantly scripted, has two of the best acting jobs all year, and is purely Tarantino. If you've seen any of the Kill Bill series or The Grindhouse films, you'll know to expect a bit of blood and brutality. This is, however, Tarantino's first dip into alternate history, and he does a great job at it. However I do think he toned down the bloodshed a tad. Perhaps he's becoming more aware of it, or perhaps he just didn't feel the film warranted it. Whatever the reason, it balanced out nicely ...compared to his other films which tended to go overboard on the crimson.
The alternate history involves three unique perspectives: Colonel Hans Landa (Christoph Waltz) aka The Jew Hunter. Lieutenant Aldo Raine (Brad Pitt, Burn After Reading). And Shosanna (Melanie Laurent). All three of these perspectives are taken to extremes (no surprise, again, considering we're talking about a Tarantino movie) during WW II in which we see a persecuted Jew get her just dessert by killing Hitler in her own version of "The Final Solution." We get to see Lt. Aldo Raine (Pitt) gather a group of ruthless "Gnat-see" killers and carve swastikas into their foreheads. And finally we get the cream of the crop, Jew Hunter Colonel Hans Landa (Waltz) who's ability to sniff out hiding Jews have given him his title.
Without Christoph Waltz and Brad Pitt in their respective roles, I feel this film wouldn't have been a fraction as good as it was; probably a testament to the casting heads. But specifically to Waltz as Landa, who played the slimy Nazi brutalist only interested in saving his own skin by the end of the war. I think he deserved top billing, not Pitt (although Pitt did his usual extraordinarily great job). Waltz was so key to the entire film that he really held the reins of the story throughout its length. And his range of emotions, from anger to giddiness, was astoundingly disturbing. I loved every second he was on-screen. The fact that the Hollywood Foreign Press gave him a Golden Globe for his supporting role was most appropriate (and I noticed he's garnered praise from many other award ceremonies and, I'm hoping, the Academy Award roster will list him this year).
Brad Pitt as the countryfied, American Nazi-hunter was great. But most of his notable lines are delivered whenever he's on-screen with Waltz. The ending sequence in the woods with Lt. Raines' knife and Col. Landa's ...umm ...life, are wonderfully vicious.
Of course, we cannot leave out French actress Melanie Laurent as the persecuted Shosanna who is forced to watch her family slaughtered by Landa then flee to Paris and blend in with society. Only later does she learn that her new life and career sets her up perfectly to exact revenge on the Nazi party ...and its top leaders; the very top, in fact. She also is forced to fight off the advances of a German soldier whom she finds both endearing and loathsome.
By the end of Inglorious Basterds, you feel like you've been on a wild ride at a theme park, until you realize you've never left your seat. It's a remarkable film that is cast exceptionally well. This one's worth owning for sure.
Now, this isn't one more big-screen comic book. As the masterly opening sequence reaffirms, Tarantino is a true filmmaker, with a deep respect for the integrity of screen space and the tension that can accumulate in contemplating two men seated at a table having a polite conversation. IB reunites QT with cinematographer Robert Richardson (who shot Kill Bill), and the colors and textures they serve up can be riveting, from the eerie red-hot glow of a tabletop in Adolf Hitler's den, to the creamy swirl of a Parisian pastry in which Landa parks his cigarette. The action has been divided, Pulp Fiction-like, into five chapters, each featuring at least one spellbinding set-piece. It's testimony to the integrity we mentioned that Tarantino can lock in the ferocious suspense of a scene for minutes on end, then explode the situation almost faster than the eye and ear can register, and then take the rest of the sequence to a new, wholly unanticipated level within seconds.
Again, be warned: This is not your "Greatest Generation," Saving Private Ryan WWII. The sadism of Raine and his boys can be as unsavory as the Nazi variety; Tarantino's latest cinematic protégé, Eli (director of Hostel) Roth, is aptly cast as a self-styled "golem" fond of pulping Nazis with a baseball bat. But get past that, and the sometimes disconcerting shifts to another location and another set of characters, and the movie should gather you up like a growing floodtide. Tarantino told the Cannes Film Festival audience that he wanted to show "Adolf Hitler defeated by cinema." Cinema wins. --Richard T. Jameson
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