Pittys Blues: Eine Liebesgeschichte (German Edition)

Pittys Blues: Eine Liebesgeschichte (German Edition) Jun 23, by Julia Gäbel · Kindle Edition. $$ Available for download now.
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Amazon Rapids Fun stories for kids on the go. Then one weekend a group of horny teens head to one of their parents' ranch and are then picked off one by one by someone in the darkness. I watched this film with low expectations as a majority of these types of films tend to be rubbish, but I was pleasantly surprised that this was actually quite different.

The basic formula is the same as other slashers where scantily clad teens run about and getting killed off in various brutal ways by an unknown killer, but the thing that stood out in this movie was the ending which really was an excellent twist and quite a shock. The killings aren't all that original and there aren't that many of them either. In fact, the first person doesn't actually get killed until over 30 minutes into the film, which I felt built up the tension and the story a lot rather than just jumping straight into the murders. The killer is really obvious and if you don't get it within the first few scenes, you must really not be paying attention.

It's not that important though as the suspense and surprises more than make up for that. One thing I strongly advise though is NOT to buy this on Blu Ray as the picture quality is absolutely terrible - at times even worse than some bad quality standard DVDs.

Overall this is a watchable, enjoyable and typical teen slasher flick that is one of the better ones that have been released over the past few years and has some believable performances from the cast after watching the interview with Heard, she must be a good actor as she seems quite intelligent in the film! Probably worth a rent rather than a buy as it isn't one I'd watch again, at least for a long while.

This definitely has the potential to be a cult hit, I just hope that they don't follow this on with numerous unnecessary sequels. We are introduced to Crowe's alter ego, William Miller Patrick Fugit , at home, where his progressive mom a superb Frances McDormand has outlawed rock music and sister Anita Zooey Deschanel has slipped him LPs that will "set his mind free. A simple visit with the band turns into a three-week, life-altering odyssey into the heyday of American rock. Of the characters he meets on the road, the two most important are groupie extraordinaire Penny Lane Kate Hudson in a star-making performance and Stillwater's enigmatic lead guitarist Billy Crudup , who keeps stringing Miller along for an interview.

From the handwritten credits done by Crowe to the bittersweet finale, Crowe's comedic valentine is an indelible, heartbreaking romance of music, women, and the privilege of youth. As murders continue, Megan gets psychic leads and is haunted by the ghosts of the wrongly deceased, but cannot solve the case. And the conundrum posed by Megan in her therapy group is engaging: Although the ghosts hallucinations are unconvincing, and Dushku probably could have used more research before she took the role, Alphabet Killer captivates because it shows how convoluted layers of reality can confuse even the sharpest detective.

The disturbing thing about Alphabet Killer is not the film itself but the idea behind it: This film is definitely one of my favourites films. The fact it won 8 oscars underlines just how amazing the film is - the story,the acting, the editing and the music are extraordinary. However I gave this 3 stars and not 6! I currently own the directors's cut DVD and to me the difference in quality throughout the film was only marginal.

The majority of the transfer definitely showed a deeper range of colour and less signs of video compression. However it just isn't enough to warrant a release on blu ray. Indeed some scenes looked pretty much the same as my DVD, particularly the opening scene. And I'm in the group of people trying to persuade others how good blu ray is. I mean if you look at how they have restored the Bond films from the 60s, this "upgrade" might well be seen as a rip off. I remember some of the scenes in Dr. No looked spectacular - as if they had been filmed yesterday with bitrates often above 30Mbps in visually rich scenes.

Amadeus is certainly not short of visually rich scenes with all the costumes, palaces, salons and stages but nothing was made of it. The VC-1 transfer seemed to hover at around 15Mbps for the majority of the film sometimes climbing to the twenties and rarely to 30 and sometimes dropping to 6Mbps. It is better quality - but with the smallest justifiable margin. If you have not seen the film, buy it already - this film IS brilliant and this is still the best quailty in which you can view it. If anyone else agrees about the picture quality - post a review as well.

Bob Rafelson, who cocreated the prefab four's hit television series, penned this psychedelic showbiz satire with Jack Nicholson, star of the director's acclaimed follow-up Five Easy Pieces. In an accompanying interview, Rafelson acknowledges, "Quite frankly, there was a bit of acid involved. It's rambling and discursive, but the musical sequences, which anticipate the video era to come, are great. This Criterion edition comes with a swell selection of extras, including commentary from the band, trailers and promo spots, a snazzy slide show, an awkward TV interview, screen tests in which the quartet's innate charm shines through, and an informative documentary about BBS the production company of Rafelson, Bert Schneider, and Steve Blauner with historian Douglas Brinkley and critic David Thomson, who describes Rafelson and associates as "hippies, dopers, party animals to the max.

Fennessy Easy Rider This box-office hit from is an important pioneer of the American independent cinema movement, and a generational touchstone to boot. Peter Fonda and Dennis Hopper play hippie motorcyclists crossing the Southwest and encountering a crazy quilt of good and bad people. Jack Nicholson turns up in a significant role as an attorney who joins their quest for awhile and articulates society's problem with freedom as Fonda's and Hopper's characters embody it. Hopper directed, essentially bringing the no-frills filmmaking methods of legendary, drive-in movie producer Roger Corman The Little Shop of Horrors to a serious feature for the mainstream.

The film can't help but look a bit dated now a psychedelic sequence toward the end particularly doesn't hold up well , but it retains its original power, sense of daring, and epochal impact. Written and directed with remarkable restraint by Bob Rafelson, the film is the result of a short-lived partnership between the filmmaker and Nicholson--the first was the zany formalist exercise, Head, while the equally impressive King of Marvin Gardens followed Five Easy Pieces.

Quiet and full of long, controlled takes, this film draws its strength from the acutely detailed, nonjudgmental observations of its complex protagonist, Robert Dupea--an extremely crass and frustrated oil worker, and failed child pianist hiding from his past in Texas. Dupea spends his life drinking beer and sleeping with and cheating on his annoying but adoring Tammy Wynette-wannabe girlfriend, but when he learns that his father is dying in Washington State, he leaves. After the film transforms into a spirited road movie, and arrives at the eccentric upper-class Dupea family mansion, it becomes apparent that leaving is what Dupea does best--from his problems, fears, and those who love him.

Nicholson gives a difficult yet masterful performance in an unlikable role, one that's full of ambiguity and requires violent shifts in acting style. Several sequences--such as his stopping traffic to play piano, or his famous verbal duels with a cranky waitress over a chicken-salad sandwich--are Nicholson landmarks. Yet, it's the quieter moments, when Dupea tries miserably to communicate and reconcile with his dying father, where the actor shows his real talent--and by extension, shows us the wounded little boy that lurks in the shell of the man Dupea has become.

There is no plot per se, though the ebb and flow of Hector's relationship with his bullying coach Bruce Dern, Silent Running runs throughout the movie.

14+ FIRST LOVE (2015)

The opening sequence, in which the guerrilla theater troupe disrupts a basketball game, is stunning, and the raw immediacy of how Nicholson, a notorious basketball fan, shot the playing was hugely influential. Contemporary audiences may grow impatient with the loose narrative, but visually intriguing moments and empathetic turns of character abound--if you surrender to the movie's idiosyncratic flow, Drive, He Said is a rewarding experience.

While the film technically tells the story of Susan, a. Noah Tuesday Weld , and her tenuous relationship with the more conservative Fred Phil Proctor , A Safe Place operates more like a poetic, colorful dip into the consciousness of the characters who star in the film. Editing goes chronologically awry, flashing back and forth, repeating and skipping scenes; settings and conversations tie loosely together according to Susan's skewed logic; and a few key plot digressions create a melancholy, psychedelic mood more than they fortify Susan's tale in any straightforward way.

These traits make the film. While time slips away under the spells of a homemade Ouija board that Susan and her friends play with, and is marked by her preoccupations with a mysterious Magician Orson Welles pulling rainbows out of boxes and trying to make zoo animals disappear, A Safe Place evokes the mystical, idealistic climate of the s. Somehow, through Jaglom's abstract, theatrical storytelling method, which is further explained in some informative director interviews in the extras, themes reveal themselves elegantly.


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On one level a simple love story, A Safe Place invites viewers to dig deeply into the universal fears inherent to most relationships: All these fears, collaged into a patchwork of scenic moments and clips, miraculously express levels of human awareness that far exceed those in the average romantic comedy. Based on the novel by Larry McMurtry and lovingly directed by Peter Bogdanovich who cowrote the script with McMurtry , this drama has been interpreted as an affectionate tribute to classic Hollywood filmmaking and the great directors such as John Ford that Bogdanovich so deeply admired.

It's also a eulogy for lost innocence and small-town life, so accurately rendered that critic Roger Ebert called it "the best film of ," referring to the movie's one-year time frame, its black-and-white cinematography by Robert Surtees , and its sparse but evocative visual style. The story is set in the tiny, dying town of Anarene, Texas, where the main-street movie house is about to close for good, and where a pair of high-school football players are coming of age and struggling to define their uncertain futures.

There's little to do in Anarene, and while Sonny Timothy Bottoms engages in a passionless fling with his football coach's wife Cloris Leachman , his best friend Duane Jeff Bridges enlists for service in the Korean War. Both boys fall for a manipulative high-school beauty Cybill Shepherd who's well aware of her sexual allure.

But it's not so much what happens in The Last Picture show as how it happens--and how Bogdanovich and his excellent cast so effectively capture the melancholy mood of a ghost town in the making. As Hank Williams sings on the film's evocative soundtrack, The Last Picture Show looks, feels, and sounds like a sad but unforgettably precious moment out of time. When Dern invites Nicholson to get involved in a plot to buy a tropical island with someone else's money, Nicholson goes along for the ride.

Everything about the film is surreal, from Ellen Burstyn as Dern's girlfriend, who begins to realize she's aging out of the games Dern plays, to the way the film is shot, with conversations on horseback and a private reenactment of the Miss America pageant with Nicholson in the Bert Parks role, singing "Here she comes, Miss America…. Extras include interviews with Burstyn, Dern, and Rafelson in which Rafelson admits Nicholson's opening monologue comes from a college essay that got him kicked out of class. Wer nicht wirklich weiss, was man sich unter einem Martyrium vorzustellen hat, er wird es nach diesem Film wissen.

Ich bin gespannt wie der Film von anderen hier empfunden wird und bin auf deren Rezessionen gespannt. If that statement doesn't horrify you, it should; Norton is so fully immersed in his role as a neo-Nazi skinhead that his character's eloquent defense of racism is disturbingly persuasive--at least on the surface. Looking lean and mean with a swastika tattoo and a mind full of hate, Derek Vinyard Norton has inherited racism from his father, and that learning has been intensified through his service to Cameron Stacy Keach , a grown-up thug playing tyrant and teacher to a growing band of disenfranchised teens from Venice Beach, California, all hungry for an ideology that fuels their brooding alienation.

The film's basic message--that hate is learned and can be unlearned--is expressed through Derek's kid brother, Danny Edward Furlong , whose sibling hero-worship increases after Derek is imprisoned or, in Danny's mind, martyred for the killing of two black men. Lacking Derek's gift of rebel rhetoric, Danny is easily swayed into the violent, hateful lifestyle that Derek disowns during his thoughtful time in prison. And yet British director Tony Kaye who would later protest against Norton's creative intervention during post-production manages to juggle these qualities--and a compelling clash of visual styles--to considerable effect.

No matter how strained their collaboration may have been, both Kaye and Norton can be proud to have created a film that addresses the issue of racism with dramatically forceful impact. The plot is mostly an excuse for director Vincente Minnelli to pool his own extraordinary talent with those of choreographer-dancer-actor Kelly and the artists behind the screenplay, art direction, cinematography, and score, creating a rapturous musical not quite like anything else in cinema.

The final section of the film comprises a minute dance sequence that took a month to film and is breathtaking. The Bret Easton Ellis novel "American Psycho", a dark, violent satire of the "me" culture of Ronald Reagan's s, is certainly one of the most controversial books of the '90s, and that notoriety fueled its bestseller status. This smart, savvy adaptation by Mary Harron "I Shot Andy Warhol" may be able to ride the crest of the notoriety; prior to the film's release, Harron fought a ratings battle ironically, for depictions of sex rather than violence , but at the time the director stated, "We're rescuing [the book] from its own bad reputation.

Bale is razor sharp as the blank corporate drone, a preening tiger in designer suits whose speaking voice is part salesman, part self-help guru, and completely artificial. Carrying himself with the poised confidence of a male model, he spends his days in a numbing world of status-symbol one-upmanship and soul-sapping small talk, but breaks out at night with smirking explosions of homicide, accomplished with the fastidious care of a hopeless obsessive.

The film's approach to this mayhem is simultaneously shocking and discreet; even Bateman's outrageous naked charge with a chainsaw is most notable for the impossibly polished and gleaming instrument of death. Harron's film is a hilarious, cheerfully insidious hall of mirrors all pointed inward, slowly cracking as the portrait becomes increasingly grotesque and insane.

PART II to track down a singer named Johnny Favorite on an odyssey that will take Angel through the desperate streets of Harlem, the smoke-filled jazz clubs of New Orleans, and ultimately to the swamps of Louisiana and its seedy underworld of voodoo in this cult thriller that is at once eerily thrilling, darkly sensual and completely unforgettable. Willem Dafoe, Charlotte GainsbourgDirector: Nearly three decades on, is "Anvil!

The recipient of far-reaching acclaim, and with a real run for being named film of the year, this is a superb documentary, that is all the more staggering for being true. The Story Of Anvil" follows the band of its title, a heavy metal group who enjoyed moderate success in the late 70s and early 80s, but kept going even when the light of fame and success shone elsewhere. Al Pacino, coach of the fictional Miami Sharks the NFL declined involvement in this production , struggles with the most time-honored of sports movie dilemmas: Comedian Jamie Foxx does a marvelous dramatic turn as the rookie quarterback whose ego and talent are equally impressive, while Pacino seems more at ease in Oliver Stone Land than any actor since regular James Woods on hand as well as a sleazy team doctor.

Prowling the sidelines, shouting spittle-flecked orders, seizing up in almost physical pain when a play goes the wrong way, Pacino is as unashamedly--and entertainingly--hyperbolic as Stone's whirling montages of boiling storm clouds, bloodthirsty fans, and players smashed into the mud.

Once again football, perhaps the most sophisticated of team sports, is viewed cinematically as a bunch of guys hitting each other in slow motion. To drive the point home, Stone includes Charlton Heston--the aging "Ben-Hur"--in one of many star-powered cameos. All in all, "Any Given Sunday" is never dull, but never very enjoyable, either. In the tradition of such obsessively driven directors as Erich von Stroheim and Werner Herzog, Francis Ford Coppola approached the production of "Apocalypse Now" as if it were his own epic mission into the heart of darkness.

On location in the storm-ravaged Philippines, he quite literally went mad as the project threatened to devour him in a vortex of creative despair, but from this insanity came one of the greatest films ever made. It began as a John Milius screenplay, transposing Joseph Conrad's classic story "Heart of Darkness" into the horrors of the Vietnam War, following a battle-weary Captain Willard Martin Sheen on a secret upriver mission to find and execute the renegade Colonel Kurtz Marlon Brando , who has reverted to a state of murderous and mystical insanity. The journey is fraught with danger involving wartime action on epic and intimate scales.

One measure of the film's awesome visceral impact is the number of sequences, images, and lines of dialogue that have literally burned themselves into our cinematic consciousness, from the Wagnerian strike of helicopter gunships on a Vietnamese village to the brutal murder of stowaways on a peasant sampan and the unflinching fearlessness of the surfing warrior Lieutenant Colonel Kilgore Robert Duvall , who speaks lovingly of "the smell of napalm in the morning. The Wrath of God", this film is the product of genius cast into a pit of hell and emerging, phoenix-like, in triumph.

Coppola's obsession effectively detailed in the riveting documentary "Hearts of Darkness", directed by Coppola's wife, Eleanor informs every scene and every frame, and the result is a film for the ages. The Western has been an endangered species, on and off, for something like 40 years now. Parker novel--first because it exists at all, but even more because Harris as star, director, and co-screenwriter with Robert Knott has managed to bring it to the screen with no hint of fuss or strain, as if the making of no-nonsense, copiously pleasurable Westerns were still something Hollywood did with regularity.


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Harris plays Virgil Cole, one of those ace gunfighter-lawmen whose name need only be mentioned to make a saloon go still. Cole and his shotgun-toting partner Everett Hitch Viggo Mortensen accept a commission to enforce law and order in the New Mexico town of Appaloosa. That basically means protect it from rapacious rancher Randall Bragg Jeremy Irons, looking right at home on the range , who murdered the previous town marshal like swatting a fly.

Life becomes complicated when, about the time Bragg has been jailed to await trial, a fancy-dressing piano player calling herself Mrs. Cole commences to have feelings, and as he ruefully reminds Hitch, "Feelin's can get ya killed. The film's main disappointment is that it would benefit from more running time to allow things to stew a bit longer, especially in the second half. The character work is choice, from the moment Tom Bower, James Gammon, and Timothy Spall step into view as Appaloosa's civic leaders; the director's father Bob Harris contributes a cameo as a mellifluous-tongued circuit judge, and an age-thickened Lance Henriksen turns up midfilm as gunman Ring Shelton, trailing affability and menace.

In collaboration with Dances With Wolves cameraman Dean Semler, Harris sets up shots and scenes in such a way that we often see into and out of Appaloosa's various buildings simultaneously, to excellent dramatic and atmospheric effect, and there's a thrillingly vertical dynamics to a scene involving a train at an isolated water stop.

The action is lethal when it needs to be, but never dwelt upon. Cole's response says it all: The latest testosterone-saturated blow-'em-up from producer Jerry Bruckheimer and director Michael Bay "The Rock", "Bad Boys" continues Hollywood's millennium-fueled fascination with the destruction of our planet.

There's no arguing that the successful duo understands what mainstream American audiences want in their blockbuster movies--loads of loud, eye-popping special effects, rapid- fire pacing, and patriotic flag waving. Bay's protagonists--the eight crude, lewd, oversexed but lovable, of course oil drillers summoned to save the world from a Texas-sized meteor hurling toward the earth--are not flawless heroes, but common men with whom all can relate.

In this huge Western-in-space soap opera, they're American cowboys turned astronauts. Sci-fi buffs will appreciate Bay's fetishizing of technology, even though it's apparent he doesn't understand it as anything more than flashing lights and shiny gadgets. Smartly, the duo also tries to lure the art-house crowd, raiding the local indie acting stable and populating the film with guys like Steve Buscemi, Billy Bob Thornton, Owen Wilson, and Michael Duncan, all adding needed touches of humor and charisma.

When Bay applies his sledgehammer aesthetics to the action portions of the film, it's mindless fun; it's only when "Armageddon" tackles humanity that it becomes truly offensive. Not since "Mississippi Burning" have racial and cultural stereotypes been substituted for characters so blatantly--African Americans, Japanese, Chinese, Scottish, Samoans, Muslims, French Or, make that white "male" America; the film features only three notable females--four if you count the meteor, who's constantly referred to as a "bitch that needs drillin'," but she's a hell of a lot more developed and unpredictable than the other women characters combined.

Sure, Bay's film creates some tension and contains some visceral moments, but if he can't create any redeemable characters outside of those in space, what's the point of saving the planet? A movie that only true horror buffs could love, "Army of Darkness" is officially part 3 in the wild and wacky "Evil Dead" trilogy masterminded by the perversely inventive director Sam Raimi, who would later serve as executive producer of the popular syndicated TV series "Hercules: Raimi's favorite actor, Bruce Campbell, returns as Ash hero of the first two "Evil Dead" flicks , a hardware-store clerk who is magically transported--along with his beat-up Oldsmobile and a chainsaw attachment for his severed left forearm--to the brutal battlefields of the 14th century.

He quickly assumes power who else in the Middle Ages packs a shotgun and a chainsaw?

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The frantic action is fun while it lasts, but even at 80 minutes "Army of Darkness" nearly wears out its welcome. You know that Raimi can maintain the mayhem for only so long before it grows tiresome, and fortunately this madcap movie quits while it's ahead. Of all the movies made about or glancingly involving the 19th-century outlaw Jesse Woodson James, "The Assassination of Jesse James by the Coward Robert Ford" is the most reflective, most ambitious, most intricately fascinating, and indisputably most beautiful.

Based on the novel of the same name by Ron Hansen, it picks up James late in his career, a few hours before his final train robbery, then covers the slow catastrophe of the gang's breakup over the next seven months even as the boss himself settles into an approximation of genteel retirement. But in another sense all of the movie is later than that.

The very title assumes the audience's familiarity with James as a figure out of history and legend, and our awareness that he was--will be--murdered in his parlor one quiet afternoon by a backshooting crony. The film--only the second to be made by New Zealand—born writer-director Andrew Dominik--reminds us that Dominik's debut film, "Chopper" , was the cunningly off-kilter portrait of another real-life criminal psychopath who became a kind of rock star to his society. The Jesse James of this telling is no Robin Hood robbing the rich to give to the poor, and that train robbery we witness is punctuated by acts of gratuitous brutality, not gallantry.

Nineteen-year-old Bob Ford Casey Affleck seeks to join the James gang out of hero worship stoked by the dime novels he secretes under his bed, but his glam hero Brad Pitt is a monster who takes private glee in infecting his accomplices with his own paranoia, then murdering them for it. In the careful orchestration of James's final moments, there's even a hint that he takes satisfaction in his own demise. Affleck and Pitt who co-produced with Ridley Scott, among others are mesmerizing in the title roles, but the movie is enriched by an exceptional supporting cast: Sam Shepard as Jesse's older, more stable brother Frank; Sam Rockwell as Bob Ford's own brother Charlie, whose post-assassination descent into madness is astonishing to behold; Paul Schneider, Garret Dillahunt, and Jeremy Renner as three variously doomed gang members; and Mary-Louise Parker, who as Jesse's wife Zee has few lines yet manages with looks and body language to invoke a wellnigh-novelistic backstory for herself.

There are also electrifying cameos by James Carville, doing solid actorly work as the governor of Missouri; Ted Levine, as a lawman of antic spirit; and Nick Cave, composer of the film's score with Warren Ellis and screenwriter of the Aussie "Western" "The Proposition", suddenly towering over a late scene to perform the folk song that set the terms for the book and movie's title.

Still, the real costar is Roger Deakins, probably the finest cinematographer at work today. The landscapes of the movie mostly in Alberta and Manitoba will linger in the memory as long as the distinctive faces, and we seem to feel the sting of its snows on our cheeks. Interior scenes are equally persuasive. Few Westerns have conveyed so tangibly the bleakness and austerity of the spaces people of the frontier called home, and sought in vain to warm with human spirit.

Watching the early reels of Australia, there's certainly no doubt who's in charge: When the two are forced to team up along with a motley crew of misfits to take a herd of cattle through the hostile landscape, their way is challenged by the dastardly plans of the local beef baron Bryan Brown and his elaborately evil lieutenant David Wenham.


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At some point you realize that this film's main commodity is not cattle, but corn: Luhrmann piles on the melodrama and the old-school climaxes with his usual frantic glee. Those with a taste for un-ironic silliness might just go for this stuff, but even fans of the Baz will have their patience tested by the broad comedy and the absence of discernable chemistry between Kidman and Jackman. Australia does manage to skewer the culture's prejudices against the Aboriginal people, but in this context such a victory comes across as rather tinny. The journey begins with three movie versions: And that's just what's on the first Blu-ray disc.

The set's bonus feature run more than eight hours and include over 45 minutes of deleted scenes; actor's screen tests; on-location footage; feature-length documentaries on the film's groundbreaking production; an interactive scene-deconstruction feature that lets you explore different levels of production for 17 scenes; a comprehensive guide to the world of Pandora; and more.

The greatest adventure of all time just got bigger and better. Contents of the Blu-ray Extended Collector's Edition What follows is the back-of-the box summary of the Blu-ray set's contents and then a complete listing of everything that's included. Filmmaker's Journey Over 45 minutes of never-before-seen deleted scenes "Capturing Avatar": Original pitch of the "Avatar vision" Brother termite test: Original motion capture test The ILM prototype: Visual effects reel Screen tests: Pandora's Box Interactive scene deconstruction: Explore the stages of production of 17 different scenes through three viewing modes: The following extras may be available a limited-time only and are subject to change over time: After 12 years of thinking about it and waiting for movie technology to catch up with his visions , James Cameron followed up his unsinkable Titanic with Avatar, a sci-fi epic meant to trump all previous sci-fi epics.

Set in the future on a distant planet, Avatar spins a simple little parable about greedy colonizers that would be mankind messing up the lush tribal world of Pandora. A paraplegic Marine named Jake Sam Worthington acts through a 9-foot-tall avatar that allows him to roam the planet and pass as one of the Na'vi, the blue-skinned, large-eyed native people who would very much like to live their peaceful lives without the interference of the visitors.

The movie uses state-of-the-art 3D technology to plunge the viewer deep into Cameron's crazy toy box of planetary ecosystems and high-tech machinery. Maybe it's the fact that Cameron seems torn between his two loves--awesome destructive gizmos and flower-power message mongering--that makes Avatar's pursuit of its point ultimately uncertain.

That, and the fact that Cameron's dialogue continues to clunk badly. If you're won over by the movie's trippy new world, the characters will be forgivable as broad, useful archetypes rather than standard-issue stereotypes, and you might be able to overlook the unsurprising central plot.

The overextended "take that, Michael Bay" final battle sequences could tax even Cameron enthusiasts, however. It doesn't measure up to the hype what could? The film itself is our Pandora, a sensation-saturated universe only the movies could create. From Hollywood's legendary Cocoanut Grove to the pioneering conquest of the wild blue yonder, Martin Scorsese's "The Aviator" celebrates old-school filmmaking at its finest.

We say "old school" only because Scorsese's love of golden-age Hollywood is evident in his approach to his subject--Howard Hughes in his prime played by Leonardo DiCaprio in his --and especially in his technical mastery of the medium reflecting his love for classical filmmaking of the studio era.

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Even when he's using state-of-the-art digital trickery for the film's exciting flight scenes including one of the most spectacular crashes ever filmed , Scorsese's meticulous attention to art direction and costume design suggests an impassioned pursuit of craftsmanship from a bygone era; every frame seems to glow with gilded detail. And while DiCaprio bears little physical resemblance to Hughes during the film's year span late s to late '40s , he efficiently captures the eccentric millionaire's golden-boy essence, and his tragic descent into obsessive-compulsive seclusion.

Bolstered by Cate Blanchett's uncannily accurate portrayal of Katharine Hepburn as Hughes' most beloved lover, "The Aviator" is easily Scorsese's most accessible film, inviting mainstream popularity without compromising Scorsese's artistic reputation. As compelling crowd-pleasers go, it's a class act from start to finish.

In delivering PGrated excitement, "Alien vs.

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Predator" is an acceptably average science-fiction action thriller with some noteworthy highlights, even if it squanders its opportunity to intelligently combine two popular and R-rated franchises. Rabid fans can justifiably ask "Is that all there is? This disposable junk should've been better, but nobody who's seen "Mortal Kombat" or "Resident Evil" should be surprised by writer-director Paul W. Anderson's lack of imagination.

As a brisk, minute exercise in generic thrills, however, Anderson's work is occasionally impressive For those who found 's "Aliens vs. Predator" too lightweight in the gore-and-guns department, "Aliens vs. Requiem" offers a marked improvement in both categories, as well as a respectable amount of rumbles between the title extraterrestrials. Set in the 21st century which predates the story to all of the "Alien" features , "Requiem" sends a crippled Predator ship crashing to Earth in a small Colorado town; unbeknownst to the locals, the craft is loaded with H.

Giger's insectoid monsters, which make quick work of most of the population. As the human cast is slowly whittled to a few hardy if unmemorable souls, a Predator warrior also arrives to complicate matters and do battle with the Aliens, as well as a ferocious alien-Predator hybrid dubbed a Predalien by the sci-fi and horror press. Visual-effects designers and music-video helmers The Strause Brothers who make their feature directorial debut here keep the action on frantic throughout, which is wise, since the dialogue and characters are threadbare at best; that should matter little to teenage male viewers, who are inarguably the film's key audience.

Fans of the "Alien" franchise, however, may find the offhanded nod to the series' mythology given during the finale its sole saving grace. Germany in the s: Murderous bomb attacks, the threat of terrorism and the fear of the enemy inside are rocking the very foundations of the still fragile German democracy.

The radicalised children of the Nazi generation led by Andreas Baader Moritz Bleibtreu , Ulrike Meinhof Martina Gedeck and Gudrun Ensslin Johanna Wokalek are fighting a violent war against what they perceive as the new face of fascism: American imperialism supported by the German establishment, many of whom have a Nazi past. Their aim is to create a more human society but by employing inhuman means they not only spread terror and bloodshed, they also lose their own humanity. The man who understands them is also their hunter: And while he succeeds in his relentless pursuit of the young terrorists, he knows he s only dealing with the tip of the iceberg.

Doch manchmal ist es auch genau andersherum. Da wird das nette Aufpassen auf die Kinder anderer Leute zum echten Albtraum. Unheimlich, blutig und spannend Schon auf dem Weg zur abgelegenen Farm der Stantons geht ihr Auto kaputt. Der kleine Sam ist schon im Bett. Voller Schrecken ruft sie die Polizei und Rick an. Doch die anonymen Anrufe sind erst der Anfang, denn bald steht ein unheimlicher Mann vor ihr, der sie angreift. Gerade als sie das Haus verlassen wollen, greift der furchtbare Mann wieder an. In all dem Durcheinander hat jedoch Sam seinen Cowboyhut verloren, den er bis dahin noch nicht einmal abgesetzt hatte.

Was nun passiert, entzieht sich jeglicher Vorstellungskraft. Kann die arme Angie diesem Horror entkommen? Was in diesen schrecklichen Minuten geschieht, ist wirklich der Hammer. Director Werner Herzog's career is a catalog of extremes, and "Bad Lieutenant: Port of Call New Orleans" fits in nicely. Shot in post-Katrina New Orleans presumably so that Herzog could take advantage of an atmosphere of decay and wreckage that no production design could match , "Bad Lieutenant" stars Nicolas Cage as Terence McDonagh, a cop who injures his back and becomes addicted to drugs.

But even before he became addicted he wasn't a nice guy, and afterward he's still capable of being honorable As his drug use and gambling spiral out of control, he doggedly pursues a drug dealer suspected of murdering a family. Anyone looking for a conventional thriller or police procedural will be baffled by Herzog's unpredictable direction--the camera will suddenly linger on an alligator by the side of the road, for example--as well as Cage's weird yet compelling performance, reminiscent of some of his early, off-putting acting in movies like "Peggy Sue Got Married" and "Vampire's Kiss".

He seems disconnected from the rest of the movie arguably like his drug-ridden character is disconnected from reality , yet perfectly in sync with Herzog's off-kilter visions of iguanas and break-dancing souls. The tension that results between the realistic setting and Cage's meta-performance will make some viewers recoil, but others will have a unique and possibly wrenching experience.

It always comes up when people are comparing their most traumatic movie experiences: That primal separation which is no less stunning for happening off-screen is the centerpiece of "Bambi", Walt Disney's animated classic, but it is by no means the only bold stroke in the film. In its swift but somehow leisurely 69 minutes, "Bambi" covers a year in the life of a young deer. But in a bigger way, it measures the life cycle itself, from birth to adulthood, from childhood's freedom to grown-up responsibility.

All of this is rendered in cheeky, fleet-footed style--the movie doesn't lecture, or make you feel you're being fed something that's good for you. The animation is miraculous, a lush forest in which nature is a constantly unfolding miracle even in a spectacular fire, or those dark moments when "man was in the forest". There are probably easier animals to draw than a young deer, and the Disney animators set themselves a challenge with Bambi's wobbly glide across an ice-covered lake, his spindly legs akimbo; but the sequence is effortless and charming.

If Bambi himself is just a bit dull--such is the fate of an Everydeer--his rabbit sidekick Thumper and a skunk named Flower more than make up for it. Many of the early Disney features have their share of lyrical moments and universal truths, but "Bambi" is so simple, so pure, it's almost transparent.

You might borrow a phrase from Thumper and say it's downright twitterpated. A richly-acclaimed World War II drama, and one that deserved the many plaudits it garnered, "Band Of Brothers" remains as compelling, gripping and moving as it was when it first appeared over half a decade ago. And now it makes a very welcome debut in high definition. Across ten haunting episodes, "Band Of Brothers" follows the real-life story of the American army?

Along the way, not only do Easy Company take part in some of the most infamous battles and events of the War, but they also suffer many, often brutal losses. And "Band Of Brothers" pulls no punches in putting those moments across on screen. At it's heart, this is the tale of a group of men relying on one another to get them through unthinkable situations. And this camaraderie is brilliantly put across by the generally unknown cast of actors, many of whom turn in outstanding performances here.

The quality production values are sustained behind the camera, as "Band Of Brothers"? The show gives all the impression that little expense was spared in depicting the right visual look, and the results are on screen to be admired. In short, "Band of Brothers" remains a vital, brilliant piece of television drama, and one that will stick in your mind long after the credits have rolled on the final episode. A cheerful, energetic, and completely entertaining movie, "The Bank Job" follows some small-time hoods who think they've lucked into a big-time opportunity when they learn a bank's security system will be temporarily suspended--little suspecting that they're being manipulated by government agents for their own ends.

The result is that the movie doubles its pleasures: While the robbery itself has the usual suspense of a heist film, when the robbery is over the hoods find themselves being hunted by the police, the government, and brutal criminal kingpins who were storing dangerous information in a safety deposit box. Director Roger Donaldson "No Way Out, Species" propels the action along with vigor, editing zippily with perfect clarity among multiple storylines and various colorful characters.

Jason Statham "Snatch, The Transporter" , as the leader of the bank robbers, successfully steps away from his usual bone-crunching roles to a more human presence. The rest of the cast--including Saffron Burrows "Deep Blue Sea" , Keeley Hawes "Tipping the Velvet" , David Suchet "Poirot" , and many faces familiar from British film and television--give their characters the right degree of personality and flavor without getting fussy or detracting from the headlong rush of the story. A little sex, a lot of action, a sly sense of humor, and a twisty plot; if more movies had these basic pleasures, the world would be a happier place.

The word "Baraka" means "blessing" in several languages; watching this film, the viewer is blessed with a dazzling barrage of images that transcend language. Filmed in 24 countries and set to an ever-changing global soundtrack, the movie draws some surprising connections between various peoples and the spaces they inhabit, whether that space is a lonely mountaintop or a crowded cigarette factory.

Some of these attempts at connection are more successful than others: And there are other amazing moments, as when sped-up footage of a busy Hong Kong intersection reveals a beautiful symmetry to urban life that could only be appreciated from the perspective of film. The lack of context is occasionally frustrating--not knowing where a section was filmed, or the meaning of the ritual taking place--and some of the transitions are puzzling.

However, the DVD includes a short behind-the-scenes featurette in which cinematographer Ron Fricke "Koyaanisqatsi" explains that the effect was intentional: In the world was at Stanley Kubrick's feet. A Space Odyssey", and "A Clockwork Orange", released in the previous dozen years, had provoked rapture and consternation--not merely in the film community, but in the culture at large. On the basis of that smashing hat trick, Kubrick was almost certainly the most famous film director of his generation, and absolutely the one most likely to rewire the collective mind of the movie audience.

And what did this radical, at-leastyears-ahead-of-his-time filmmaker give the world in ? A stately, three-hour costume drama based on an obscure Thackeray novel from A picaresque story about an Irish lad Ryan O'Neal, then a major star who climbs his way into high society, "Barry Lyndon" bewildered some critics Pauline Kael called it "an ice-pack of a movie" and did only middling business with patient audiences.

The film was clearly a technical advance, with its unique camerawork incorporating the use of prototype Zeiss lenses capable of filming by actual candlelight and sumptuous production design. But its hero is a distinctly underwhelming, even unsympathetic fellow, and Kubrick does not try to engage the audience's emotions in anything like the usual way.

Why, then, is "Barry Lyndon" a masterpiece? Because it uncannily captures the shape and rhythm of a human life in a way few other films have; because Kubrick's command of design and landscape is never decorative but always apiece with his hero's journey; and because every last detail counts. Even the film's chilly style is thawed by the warm narration of the great English actor Michael Hordern and the Irish songs of the Chieftains. Poor Barry's life doesn't matter much in the end, yet the care Kubrick brings to the telling of it is perhaps the director's most compassionate gesture toward that most peculiar species of animal called man.

And the final, wry title card provides the perfect Kubrickian sendoff--a sentiment that is even more poignant since Kubrick's premature death. The take-no-prisoners sex thriller from now stands as a milestone in the career of screenwriter Joe Eszterhas, but in the hands of director Paul Verhoeven "Basic Instinct" is an undeniably stylish and provocative study of obsession.

In the role that made her a star and showed the audience a little more skin than she intended , Sharon Stone plays the cleverly manipulative novelist Catherine Tramell who snares San Francisco detective Nick Curran Michael Douglas with her insatiable sexual appetite during the investigation of her boyfriend's murder.

Tramell is the prime suspect, but the plot twists and turns until Curran is trapped in a dangerous cycle of dead ends and unsolved murders, never sure if Tramell is committing the crimes or if it is some other, unknown suspect. With a plot that keeps viewers guessing, "Basic Instinct" is the work of a director who is clearly in his element. In retrospect, "Batman Begins" is perhaps even more of a towering achievement than we first realised. Much of the credit, of course, should go to the pairing of Christian Bale and director Christopher Nolan. Bale steps where the likes of Michael Keaton, Adam West and George Clooney have stepped before, and yet his Batman is darker and more complex than any of them.

His film is packed full of memorable characters, and he draws together a staggering cast, yet none of them are shortchanged. We just need "The Dark Knight" to join it in high definition. But calling it the best superhero movie ever seems like faint praise, since part of what makes the movie great--in addition to pitch-perfect casting, outstanding writing, and a compelling vision--is that it bypasses the normal fantasy element of the superhero genre and makes it all terrifyingly real.

Harvey Dent Aaron Eckhart is Gotham City's new district attorney, charged with cleaning up the crime rings that have paralyzed the city. He enters an uneasy alliance with the young police lieutenant, Jim Gordon Gary Oldman , and Batman Christian Bale , the caped vigilante who seems to trust only Gordon--and whom only Gordon seems to trust.

They make progress until a psychotic and deadly new player enters the game: Further complicating matters is that Dent is now dating Rachel Dawes Maggie Gyllenhaal, after Katie Holmes turned down the chance to reprise her role , the longtime love of Batman's alter ego, Bruce Wayne. In his last completed role before his tragic death, Ledger is fantastic as the Joker, a volcanic, truly frightening force of evil.

And he sets the tone of the movie: Eckhart and Oldman also shine, but as good as Bale is, his character turns out rather bland in comparison not uncommon for heroes facing more colorful villains. Director-cowriter Christopher Nolan "Memento" follows his critically acclaimed "Batman Begins" with an even better sequel that sets itself apart from notable superhero movies like "Spider-Man 2" and "Iron Man" because of its sheer emotional impact and striking sense of realism--there are no suspension-of-disbelief superpowers here.

At minutes, it's a shade too long, and it's much too intense for kids. But for most movie fans--and not just superhero fans--"The Dark Knight" is a film for the ages. The detail and colors are tremendous in both dark and bright scenes the Gotham General scene is a great example of the latter , and the punishing Dolby TrueHD soundtrack makes the house rattle. After giving us only Dolby 5. One of the most interesting elements of "The Dark Knight" was how certain scenes were shot in IMAX, and if you saw the movie in an IMAX theater the film's aspect ratio would suddenly change from standard 2.

For the Blu-ray disc, director Christopher Nolan has somewhat re-created this experience by shifting his film from 2. While the effect isn't as dramatic as it was in theaters, it's still an eye-catching experience to be watching the film on a widescreen TV with black bars at the top and bottom, then seeing the 1. The main bonus feature on disc 1 is "Gotham Uncovered: You can watch the film and access these featurettes when the icon pops up, or you can simply watch them from the main menu. A welcome and unusual feature is that in addition to English, French, and Spanish audio and subtitles, there's an audio-described option that allows the sight-impaired to experience the film as well.

Disc 2 has two minute documentaries on Bat-gadgets and on the psychology of Batman, both in high definition. They combine movie clips, talking heads, and comic-book panels, but aren't the kind of thing one needs to watch twice. More engaging are six eight-minute segments of Gotham Central, a faux-news program that gives some background to events in the movie, plus a variety of trailers, poster art, and more.

The BD-Live component on disc 1 is more interesting than on some earlier Blu-ray discs, which could be simply a matter of the content starting to catch up with the technology.

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With the help of Lt. The triumvirate proves effective, but soon find themselves prey to a rising criminal mastermind known as The Joker, who thrusts Gotham into anarchy and forces Batman closer to crossing the fine line between hero and vigilante. Maggie Gyllenhaal joins the cast as Rachel Dawes. Creation of a Scene: The incredible gadgets and tools in HD Batman Unmasked: The Psychology of The Dark Knight: The Joker cards, concept art, poster art, production stills, trailers and TV spots Digital Copy of the feature film Stills from " The Dark Knight " click for larger image.

This special edition boxed set includes an exclusive Red Hood figure approx. Batman faces his ultimate challenge as the mysterious Red Hood takes Gotham City by firestorm. One part vigilante, one part criminal kingpin, Red Hood begins cleaning Gotham City with the efficiency of Batman, but without following the same ethical code. Killing "is" an option. And when The Joker falls in the balance between the two, hard truths emerge and old wounds reopen.

With a fantastic voice cast headed by Bruce Greenwood, Jensen Ackles and Neil Patrick Harris, this dazzling DC Universe Original Animated Movie twists and turns through action-packed battles and exciting surprises for a thrill ride you can't miss! Blu-ray also includes Digital Copy and over 3 hours of exciting extras: The German offensive in December became the basis for this all-star Hollywood take on the Battle of the Bulge. Henry Fonda is an officer who predicts the assault, Robert Ryan and Dana Andrews are Army brass skeptical of his intuitions, and Robert Shaw his hair dyed yellow and his eyes glinting with malice is a German officer leading the tank attack.