http://www.youtube.com/watch?v=zFTxK5hcmx4&hl=en
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Continuing, Rambo & Co Bao get to this Vietnamese military camp they save 1 of the POW's Rambo & Co Bao split Rambo & the POW go to the LZ they come under gunfire by Vietnamese troops Murdock tells them to abort leaving Rambo & the POW to be captured. So Rambo is getting tortured then some Soviet military guys show up Rambo has the bad @** line Murdock I'm coming to get you! Co Bao posing as a prostitute helps Rambo escape later on she asks him will you take me to America & he will. But she is killed by a Vietnamese soldier Rambo is mad as h**l he tears through Vietnamesse & Soviet military @** rewrites history & wins the Vietnam war. the endin is great "There's POW's find them or I'll find you!" That speech at the end he sells it. Richard Crenna has strong dialogue like before Charles Naiper plays the slime ball well. Now I know I'll get an idiotic comments it's unrealistic I know but you have to escape realism but if you don't like it go watch your pretty boy who thinks he can shoot Matt Damon.
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King Kong is Merian Cooper's story about a giant ape and the beauty who ultimately brings him crashing to earth. But you would have to search pretty far afield to find a better supporting cast than the variety of Mesozoic nasties King does battle with on Skull Island. Cooper's initial take on the film was to feature a man in a gorilla suit and Komodo dragon lizards as the dinosaurs. However, after seeing footage from an unfinished epic by Willis O'Brien, the dean of dinosaurs, Cooper hired O'Brien to bring his ape and other animals to life, and O'Brien delivered.
The story, which at one point in pre-production went under the title The Beast, tells the tale of a film crew shooting on location on the mysterious Skull Island. The filmmakers discover a wall constructed by the natives to protect them from something mysterious that lives on the other side of the island; something called Kong. During the night, actress Ann Darrow (Fay Wray) is kidnapped by the natives and tied to a sacrificial altar; the better to become the bride of Kong. To everybody's surprise and horror, a giant ape arrives and takes the girl. The crew, headed by Carl Denham (Robert Armstrong) and John Driscoll (Bruce Cabot), gives chase and soon encounter terrifying dinosaurs who succeed in killing most of the rescuers. Ann is finally rescued and Kong is captured and taken to New York, where he escapes and destroys much of the city before meeting his fate atop the Empire State Building.
Much of O'Brien's animation work was done by matching live action footage with minatures and models, but he also utilized specially constructed tabletop sets and a variation of the then-accepted form of rear-screen projection. It was arduous work, but the results are some of the most memorable dinosaur scenes in movie magic history, including Kong's fight to the death with a Tyrannosaurus Rex, an Apatosaurus rising out of the water and capsizing a raft, and Kong fighting a Pteranodon as it tries to carry Ann away (physically impossible, but extremely entertaining and well-animated).
I could go on and on about this truly classic film, but I won't. Just do yourself an enormous favor and buy it.
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Dawn of the Dead (2004). Whats the point? 3/5.
I'm really failing to see the reasoning behind making a Dawn of the Dead (Ultimate Edition) remake (read my review for the original), especially when this movie has very little to do with Romero's original zombie classic. I am not one of those horror fans that are against updating old horror films; sometimes a horror movie needs a face lift in order for new generations of horror fans to rediscover the original classics. Unfortunately this new version of Dawn of the Dead doesn't follow even remotely the plot of the original, it just takes advantage of the name (still of the coolest names for any horror movie ever) in order to make more money then it otherwise would, and should, have made. Night of the Living Dead the remake was a wonderful homage to the original black and white classic and really could brag being a remake. This movie could have been called any other name, they didn't have to call it a remake because in fact it really isn't, but they did. Don't be fooled, this movie has almost nothing in common with the original so to refer to it as a remake is unfair and misleading.
Now, to the movie itself. Set in modern day Milwaukee Dawn of the Dead follows the life of Anna, a nurse at a local hospital, as a strange and unexplained virus brakes out and quickly throws the world into chaos. One night her life is relatively happy, she's talking about taking a three day weekend with her husband and complains about her rude bosses; then the next morning she watches in horror as her beloved husbands neck is bitten off by the neighbor's sweet little girl and sees him turn into a bloodthirsty killer. Escaping from her home, she looks on as the quiet little suburban neighborhood she lives in is transformed into a battlefield as hundreds of dazed and confused people wander though the streets watching their homes burn and their lives fall apart. Mixed amongst these unsuspecting bystanders are dozens of zombies carrying with them a plague of biblical proportions. Within a week social order collapses, in a month there is nothing but silence. Anna manages to survive by escaping with a former cop, a gangster and his wife, and a guy that works at Best Buy to the local fortress, the Crossroads shopping mall.
It is at that point this scary and intriguing film starts to fall apart. The director made a terrible mistake by deciding to take Anna out of the chaos so quickly. The five minutes between Anna waking and her escape to the mall are by far the most interesting parts of this movie. The chaos in the streets, the mad scramble by the military and police to make sense of the unbelievable situation, and the random zombies running though the streets almost unnoticed are very chilling and by far are the scariest parts of this film. No other zombie film with the exception of 28 Weeks Later (Widescreen Edition) showed the madness that would result from a crises of this nature. However, it only lasts five minutes. Once they enter the mall they are safe, the zombies can't get in and they can't go out, so any advantage gained by making the zombies sprinters instead of walkers is lost. What good is having a running zombie if the characters are unreachable? of course this is a recipe for disaster as the director realizes his mistake and resorts to petty scares like the classic lights going out gag, and everyone going into the dark and creepy basement, and then zombies popping out of nowhere and yelling "boo." These zombie scenes come off as forced and unnatural, making the viewer suspend their belief far too many times for it to be taken seriously; and this movie desperately wants to be taken seriously. This could have been so much better if they had just made it a spoof, but instead they tried to be serous and ended up with this mess.
Although this movie has plenty of memorable moments, it doesn't really add anything new to the zombie genre, unless of course you count the zombie baby which I don't because Peter Jackson already did it in Dead Alive. It contains none of the social commentary of the original and relies of cheap scares and mediocre actors far too much.
Re-watch value; medium.
Land of the Dead. Romero's Best. 5/5.
I Loved Romero's previous zombie movies, of which Day of the Dead (Divimax Special Edition) was the best followed closely by Night of the Living Dead (Millennium Edition) with Dawn of the Dead (Ultimate Edition) coming in last(so sue me it wasn't as good as the others).Land of the Dead beats them all. In the story the world of the previous movies has been completely over run by an army of undead zombies with humanities last survivors' safe behind the walls of a fortified city. To survive, they must leave the safety of their city to gather supplies. But in the outside world once known as earth, the zombies are evolving.
If your not already a zombie, horror, or disaster movie fan I don't suggest you watch this film. Go rent Bambie 2 or whatever it is you wimps watch. This movie is jam packed with gore and flesh eating zombies that the faint of heart might fined disturbing. So if your man enough and don't throw up at the first of blood, go to your nearest wall-mart (or whatever place that sells movies) and pick up a copy of George Romero's Land of the Dead.
Re-watch value; low.
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District B13 (Banlieue 13) is your standard low budget action flick, lots of action sequences and fight scene with a weak plot about a ghetto district in Paris where the gangs are so bad, that the French gov't built a wall around it. Now in 2010, with no hope of bringing peace to the district, the French gov't is going to blow up the district with a bomb. Our two heroes fight their way to the bomb only to fight over whether the bomb is going to blow up or deactivate when the time reaches zero. The 2 heroes bring the bomb to the presidents office and use it to persuade him to open up district 13 and tear down the wall.
District 13: Ulimatum (Banlieue 13: Ultimatum) is the sequel, with a slightly higher budget, better camera work and a deeper plot. Surprise, nothing has changed, the wall is still up and gangs still control district 13. Now in 2013, big surprize 2012 didn't happen, the French gov't has become corrupted and is sparking a war between the gangs and police to convince the president to blow up district 13. The Department of Internal State Security is taking care of anyone that will get in the way of their plot including our 2 heroes. Leito breaks Damien out of jail and the two snoop around in police headquarters and find out what's what. Paris is about to erupt in riots, and the president is about to blow up district 13. So our 2 heroes and the 5 gang lords unite to break into the control room where the president is about blow up district 13 and expose DISS' plot to the president. After stopping the president from blowing up the district *spoiler* the 5 gang leaders and leito agree it's best just to rebuild and the president blows up the district anyway. *spoilers*
As you can see from my plot summaries the sequel has more plot, which does mean less action but makes it a more well rounded movie. I perfer the French audio as the English audio is just a word for word translation without much thought toward lip syncing and can get annoying.
Bottom line: If you just want a flick like Mortal Kombat just go with District B13. If you like plot more than action get District 13: Ultimatum. If both sound good, get this.
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It's astounding to ponder that I was twenty-three years younger at the tender age of eight when Clive Barker's directorial debut scared me out of my hi-tops in that splendid year of our Lard, nineteen hundred and eighty-seven. The mind boggles, really. However, the how and why of that venture are at least as entertaining as the features of this disc, which I'll attend to in just a few minutes.
From memory, I can't retrieve the paper name of my babysitter. No matter; as I knew her then as Fat Legs (her most prominent attribute, especially from my then-diminutive perspective), so shall she be known again, if only to avoid confusion. Fat Legs and I arranged numerous clandestine trips to the cinema that my dear mother never knew anything about until I confessed all to her a few years ago. In this way, I was able to view many films that were otherwise verboten and she had a place in which lengthy heavy petting with her noxious boyfriend was possible (I scarcely noticed, though that spectacle beside me was surely more offensive to the senses than anything found in this picture).
Still furious that I hadn't been allowed to attend a screening of "Blue Velvet" the year before and enticed by a crude TV spot, my little boy's heart was set on, nay, utterly devoted to seeing "Hellraiser." When Fat Legs protested by informing me that one of her friends had told her it was "gross," I threatened to reveal her cache of weed, from which I'd confiscated a joint in case she didn't take my threats seriously. Even then, I knew that petty, opportunistic women only understand force, a fact which has helped me to avoid unimaginable suffering.
On a bright, warm weekday in September, we were transported in the IROC-Z of Fat Legs' imbecile beau from the far-flung countryside into culture-free Philadelphia suburbs, and I was treated to my very first taste of horror on the big screen. This was equivalent to learning how to swim by being dropped into the ocean amid a battery of barracudas, though far bloodier. I emerged bewildered, very shaken, vaguely aroused and troubled by nightmares for the next two months...without a single regret.
Working against conventional wisdom, Barker realized that a filmic adaptation of his terrific novella, "The Hellbound Heart," would be best served by a unique M.O. Here, gore is good and more is MORE, but these excesses never overshadow the very human drama at the the story's core. Gruesome and twisted, those now-iconic Cenobites plastered on the walls of nearly every '80s horror enthusiast aren't really the monsters of the movie; they're merely impartial enforcers of the underworld, present only to retrieve one who's escaped them and savage anyone who dares interfere. No, the real villains are a pair of deranged lovers - one alive, the other resurrected - driven by love, lust, frustration and monomania to the cruelest murder and deception.
Prior to this, Barker's only movie-making experience had resulted in two awful short films that he wrote, directed and co-starred in during the '70s. Here, his first stab at feature direction is so skillfully indulgent that one would imagine he'd helmed at least a half-dozen major productions before taking this on. Admittedly, he hasn't directed many films since then (and certainly little of worth), but no matter - "Hellraiser" is a movie that stands the test of time. Barker's style is preoccupied with sweaty close-ups and gory effects, but never to the extent that he neglects his gifted performers, for whom he clearly has enormous respect. "Hellraiser's" longevity can be attributed to the fact that it incorporates at least as much character development as grue-trigger, and it's all the better for it.
This is the kind of birthday present that's filled to brimming with features to please devoted fans and many invocations of memories long dormant. Twenty-three years later, I've been reminded that I still love "Hellraiser" to death, though I'd like to think that the feeling isn't mutual.
All of the DVD's menus are decorated with an excess of chains, Cenobites and the famous Lament Configuration, and both the main and extras menus feature music from Christopher Young's sweeping, unforgettable score. Like most Anchor Bay releases, the feature's audiovisual quality is first-rate. Properly restored to its 1.85:1 theatrical aspect ratio, the picture is as sharp and vibrant as one could expect from SD. The remastered Dolby Surround 5.1 track has a punchy quality, driving home every sickening snap of bone and thrusting orchestral swell. Though hardly as lucid or forceful, the Dolby Surround 2.0 track is perfectly adequate, and no doubt better suited to smaller speaker configurations. For those of us who grew up watching one washed-out, muddled, mutilated VHS edition of this film after another, this really is a sight and sound for sore eyes and ears. Twenty-eight easily navigable scenes can be accessed from thumbnail selections.
Of this disc's wealth of special features, the commentary track voiced by Barker, Ashley Laurence and horror screenwriter Peter Atkins is by far the best. Personable and self-effacing, Barker and Atkins analyze every aspect of the film's themes, characterizations and production, and tell a few great stories related to the conception and development of the picture. Laurence - whose presence in the movie repeatedly distracted this viewer from the commentary itself - also has a fine sense of humor and a prodigious memory, with which she effortlessly describes myriad difficulties related to any number of scenes with good-natured charm. Genuinely funny, informative, conversational commentary tracks aren't so common, so it's always a treat to hear one.
This edition contains five featurettes - about two more than I needed or wanted, but it can't be argued that Anchor Bay isn't catering to completists. In "Hellraiser: Resurrection," a slickly edited featurette shot a decade ago, Barker and Laurence hadn't much to say that they didn't reiterate more ably in the commentary track. Still, Barker and Doug Bradley read some intriguing passages from "The Hellbound Heart," and there's plenty of discussion with Cenobite actors and the film's makeup wizards on the challenge of creating and wearing those ghastly cosmetics. In "Under the Skin," Pinhead actor Bradley explains in far greater detail the exhaustive physical and psychological difficulties of his stolid role, his interactions with Barker and footage cut from the film that nobody else seems to know about. His interview is interspersed with video shot between takes that I haven't seen anywhere else.
If you own a prior edition of "Hellraiser" on DVD, the three interviews with Andrew Robinson, Ashley Laurence and Christopher Young that are new to this disc really don't warrant its purchase, but they're very good. In addition to his talent as an actor, Robinson is a great orator (why he's not called on to record commentary tracks is inexplicable), and his insights regarding the movie's characters and his fellow performers bear terrific nuance. He also explains his career in summary by recounting his work with Don Siegel and Clint Eastwood on "Dirty Harry," and his subsequent typecasting - a story that should have been featured on the substandard "Dirty Harry" DVD.
Laurence's interview begins and ends with her best impression of a teenage airhead, a persona that's been unintentionally adopted by most middle-aged American actresses nowadays. With an affection for trivia mongers, she describes her casting and character, the arduous nature of the shoot, the disappointment of insubstantial sequels and her (rather good) fantasy artwork. Her career is a curiosity - she hasn't the depth to be an actor of any distinct excellence, but she's still much more talented than most other attractive women who are typecast as ingenues and shrieking eye candy; a comparison with her performance and that of the wooden, unappealing Terry Farrell in the second sequel confirms that much.
Composer Young also has plenty to relate: his earliest influence in film music (Herrmann, to no surprise), how he was chosen over British musical group Coil to score the movie, his working relationship with Barker, the dynamics of composition and the challenge of composing another score for the sequel, "Hellbound."
Three trailers and four TV spots are included. Of the two U.S. theatrical trailers - one "R-rated," the other "G-rated" - the latter is certainly better, more suggestive and restrained, and edited with a keener eye. The international trailer is essentially a long, poorly-cut spoiler sporting a very stupid tagline; it's only interesting because Sean Chapman's vocals aren't dubbed over by an American voice as they are in the movie. I remember the TV spots well enough - brief, murky little allurements that filled my juvenile noggin with such longing for those sights they had to show me!
Over two hundred images can be viewed in the still gallery slide shows, which can't be accessed one-by-one, but can be navigated like any other video. These include photos of the cast and crew while performing; application of makeup; prosthetic fabrication; the many alignments of the Lament Configuration prop; the design, development and execution of special effects; American, French, German and English publicity photos; Japanese theatrical posters; plenty of storyboards, including a shot-by-shot comparison of the footage and storyboards of Frank's resurrection.
Both the first and final drafts of the screenplay in PDF format can be accessed with a DVD-ROM drive.
Those who intend to buy the Blu-Ray edition should note that nearly all of the aforementioned features are available therein.
A year after I saw this, I was much more prepared for its sequel...but that's another story for another review.
North Face was a great film - in German with subtitles. Its a true story, though i am sure poetical license was taken in some areas. Great climbing shots set in 1936 when two men on a shoe-string set out to do what no one had done before; as a warm up for the Olympics and Arryan supremacy under the Nazi regime; with the eager Austrian eyes watching and following.
There are some moving moments with the reporter from Berlin who grew u with the two men and is attached to one of them. What happens on the mountains and all the other great bits which i will not share so as not to spoil it!
Good scenery, great filming, story line is great and all-in-all the film was well worth watching.
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This is a great movie! And it is an exploitation horror film. Also Rob did the best job ever making this movie, especially since it was his first (i think). And for the people who say that this movie is crap, 1.you should go wathc something else, 2.you obviously have no imagination, and 3.ummm...Get Over It! (sigh)...so anyway, this is an awesome movie, and it is now one of my favorites. Kudos to Rob Zombie!!! A.
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While I was a huge fan of the original FMA anime, I'm going to have to out on a limb and say that this new series has,
insofar, provided more action, more character development, and more of almost everything else, than the first thirteen
of the 2004 series. There is (almost) no filler, and the plot moves along at a more satisfying clip than before.
The reason for this is that "Brotherhood" hews a lot closer to Hiromu Arakawa's original manga, and has a lot more
material to adapt than the first series. Those who were weary of the initial series' slow start need have no worries
with this new version.
The English voice acting is as amazing as ever, with the talented Vic Mignogna giving his all as tormented young
alchemist Edward Elric, the role which made him famous in the anime community. There are a few changes in casting,
the most noticeable being Maxey Whitehead taking on the role of Alphonse, Edward's bodiless younger brother, a
role original occupied by Aaron Dismuke (for those curious about that change: Dismuke's voice had matured too much
for him to be able to reprise the role; he does, however, play the part of Young Hohenhiem in "Brotherhood.")
Whitehead does a good job with the part, though, and diehard fans will get used to her voice after the first
episode or two.
The animation is top-notch, and looks especially good on the Blu-Ray release. The music is also phenomenal,
especially the excellent opening and ending themes by Yui and SiD, respectively. But really, would you expect
any less than great animation and music from the sequel to one of the most skillfully-animated and musically-interesting
anime of the past decade?
"Fullmetal Alchemist: Brotherhood" is one of the best anime of the year, for both fans of the old series and complete
newbies to the franchise. This set is a no-brainer purchase.
Animation: A+ (In a word: Gorgeous.)
Music: A+ (Some of the best BGM I've heard in ages, sandwiched between a catchy opening and ending theme.)
Sound (Dub): A+ (Just as good as the original, especially the outstanding Mr Mignogna.)
Sound (Sub): N/A (didn't watch; I didn't like the Japanese V.A.s in the first series, so I suspect I won't like them here.)
OVERALL: A+ (One of the finest anime I've seen in years, and a great addition to anyone's collection.)
Edward and Alphonse Elric s reckless disregard for alchemy s fundamental laws ripped half of Ed s limbs from his body and left Al s soul clinging to a cold suit of armor. To restore what was lost, the brothers scour a war-torn land for the Philosopher s Stone: a fabled relic which grants the ability to perform alchemy in impossible ways.
The Elrics are not alone in their search; the corrupt State Military is eager to harness the artifact s power. So too are the strange Homunculi and their shadowy creator. The mythical Stone lures exotic alchemists from distant kingdoms, scarring some deeply enough to inspire murder. As the Elrics find their course altered by these enemies and allies, their purpose remains unchanged and their bond unbreakable.
Stills from Fullmetal Alchemist: Brotherhood Part 1 (Click for larger image)
(1. Fullmetal Alchemist, 2. The First Day, 3. City of Heresy, 4. An Alchemist's Anguish, 5. Rain of Sorrows, 6. Road of Hope, 7. Hidden Truth, 8. The Fifth Laboratory, 9. Created Feelings, 10. Separate Destinations, 11. Miracle in Rush Valley, 12. One Is All, All Is One, 13. Beasts of Dublith)
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I don't know how funny this would be the second or third time around, but it was pretty funny the first. What we have is the run-up to an invasion of an unnamed Middle Eastern country with the focus on American and Brit governmental operatives as some advance the program and others try to stop it. It's an over-the-top satirical comedy, a kind of burlesque version of the real run-up prior to the invasion of Iraq.
Tom Hollander stars as a nice boy minister who wants to stop the war train. Peter Capaldi plays some kind of Brit gov attack dog with a bad case of coprolalia who enjoys nothing more than humiliating subordinates and the occasional Yank as he salivates about the marvelous maiming and killing to come. David Rasche plays Linton Barwick the American Secretary of...well they don't say, but it would be Defense. Rasche has the voice and mannerisms of the real Secretary of Defense during the Iraq War (Donald Rumsfeld) down pat. Rasche's parody of the ultimate micromanaging war-nit was for me the highlight of the movie.
There's a nice comedic take on the relationship between Karen Clarke, who plays an American assistant secretary and her intern played by Anna Chlumsky resulting in a lampoon of polticos running helter-skelter as they go about managing the ship of state.
Everything is lickity-split. The dialogue comes at you like water from a fire hose, and everybody is just drunk with nerd-gov power. There is a certain truth behind the sexually demeaning expletives coming out of just about everybody's mouth, revealing a kind of repressed macho that is the dream of persons in positions of petty power. The script and the improvs by the actors set a new high water mark in the creative use of not only the f-word but in the expression of the myriad ways one can get really hosed in various orifices.
Anyway, "In the Loop" is good for a one-time viewing with many laughs and some insight into the stupidities of our glorious leaders and their staffs.
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This is Bruce Willis' defining collection, The Die Hard Tetralogy. As a huge Bruce Willis fan I was very excited to get this because it's a 4-disc set of his greatest movies ever. I really don't have a favorite movie because this is a very rarely collection, in that each film is as good as the last/next.
Included in this set:
Die Hard (1988)
Rated-R/112 mins.
It's Christmas Eve and Bruce is on a mission to save an entire building from a slew of terrorists.
5/5 stars
Die Hard 2: Die Harder (1990)
Rated-R/124 mins.
This time Bruce is trying to save a D.C. airport from complete and total destruction.
5/5 stars
Die Hard With a Vengeance (1995)
Rated-R/131 mins.
Teamed with Samuel L. Jackson, Bruce is on the streets of New York, playing a deadly game of Simon says.
5/5 stars
Live Free or Die Hard (2007)
Rated-PG-13/107 mins.
Bruce now has to contend with cyber-terrorists in this 21st century thrill-fest.
5/5 stars
Each disc includes a TON of extras, too. Each movie/disc includes trailers, featurettes, movies, documentaries, interviews, bonus clips and alternate endings. I especially enjoyed the "Die Hard With a Vengeance" alternate ending. It was so funny and so different from how the movie actually ended.
All of the movies look pristine in 1080p blu-ray. I never saw Bruce look or sound so great. This includes 'lossless audio' as well as 'smart menu technology' (the ability to use the menu while the movie is up on the screen).
This comes packaged in a standard blu ray case and the size of this 4-disc collection is roughly the size of 1 standard DVD. Isn't that cool? Each disc includes a color silkscreen picture of Bruce from that particular movie, as well.
I understand Bruce is in negotiations to make "Die Hard 5" and can only imagine that it will be just as exciting and thrilling as these 4 movies are. If you have any interest in action, adventure and even comedy you must get this set.
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