VeggieTales - Sumo Of The Opera (2006) Reviews

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The latest episode of everyone's favorite vegetables is packed full.

First up is "Going Up," a "silent" film starring the three Veggie Stooges working to deliver a very heavy piano up a very tall flight of stairs.

Next up is our silly song, the hilarious "School House Polka." Where do they get these great ideas?

Then comes a new segment. "Lufti's Fanciful Flanographs" features the story of St. Patrick. I found this retelling rather funny myself.

Finally comes the title feature. Larry takes the main role of The Italian Scallion, a sumo wrestler who never takes anything seriously. Will he follow through when he challenges Apollo Gourd to a championship match?

All this is held together by Bob trying to convince Larry, via phone, to go to the charity event he's supposed to be at.

While the last couple of episodes have been great, they've had fewer laugh out loud moments in them do to the nature of the stories they were telling. This episode is all out laughs. I loved every segment. The last one had plenty of references adults will appreciate as it spoofs underdog sports movies. Throughout the show, the theme is still clear perseverance is rewarded by God.

As always, anyone looking for more won't be disappointed by the DVD. For adult fans, they've got behind the scenes documentaries and an audio commentary. Kids will enjoy the trivia game, maze, and craft ideas. And, as always, picture and sound are top notch.

It seems my love of VeggieTales grows with every episode I see. This is no exception. If you love these shows, be sure to add this one to your collection.

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This VeggieTales release is another winner. With four excellent segments, this show has enough variety to win over lots of different tastes.

"Going Up" is a spoof of Laurel and Hardy mixed with The Three Stooges, and while this has some dialogue (not in the actual story, but in the special dialogue cards that go with it), the original "unrestored" version that was going to be part of the show before it was changed is included as a bonus DVD feature.

"Schoolhouse Polka" is a pretty good Silly Song, though not as good as some other recent greats like "Sport Utility Vehicle" and "Belly Button." It's also kind of short. A good segment, nonetheless.

"St. Patrick's Day" tells the story of Saint Patrick in a mix of 2-D and 3-D animation, within the context of a flannelgraph. It's a great story on church history and it's very funny to boot.

The main segment, "Sumo of the Opera," is wonderful with a great color palette, excellent animation, and a good story. This one also has a good score.

As usual there is a Bible verse at the end, but a surprise happens to QWERTY. Hopefully he'll be repaired by next show.

The DVD features are as to be expected from Big Idea top notch, including Easter Eggs and the standard behind-the-scenes interviews. There are previews for two upcoming shows, "The Princess and the Pie War" (January 2005) and "Minnesota Cuke" (May 2005), as well as a progression reel and art gallery. My favorite feature is always the audio commentary, and David Pitts and Mike Nawrocki (who also did the commentary on "A Snoodle's Tale") do a great job with the audio commentary on this DVD. For the St. Patrick's Day segment, Mr. Nawrocki is joined by Brian K. Roberts, who animated the entire segment. After the segment is done David Pitts come back and he and Mr. Nawrocki finish the rest of the commentary.

One minor concern -Phil Vischer is almost nowhere to be found on this DVD. Aside from voicing Bob, Jerry Gourd, Pa Grape, and his other usuals, and singing in the Japanese vegetable choir, he seems to have had little to do with this episode, and he's not in any of the DVD features either. Hopefully he will be more involved in the upcoming episodes.

Overall a great episode and a great DVD -surely another classic for everybody's VeggieTales library.

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Despite the fact that Veggies Tales and Big Idea are now owned by a larger company, the creativity and Biblical messages haven't stopped coming. THE SUMO OF THE OPERA is the latest episode to be released in the Veggie Tales series.

The entire episode revolves around a message of perseverance. Larry isn't on the show because he's supposed to be delivering some toys to some kids. However, he's gotten lost and is about ready to give up when he calls Bob asking for help. What follows are several films aimed at trying to keep Larry from giving up with what he set out to do.

The first short in the episode is a "silent" film called "Going Up". The short film is kind of a tribute to the Three Stooges and involves a trio of vegetables (who look like the Stooges) trying to deliver a piano up a mountain of stairs. The film is introduced by a hand-puppet in the shape of a cucumber which is operated by Khalil.

The second short on the tape is the usual Silly Songs with Larry. This one is entitled "Schoolhouse Polka" and has Larry singing about homophones. The song is rather short, but it is original and reminiscent of the Silly Songs from the original Veggie Tales episodes.

A third feature on the tape is "St. Patrick's Day" which tells the history of St. Patrick. The story is illustrated with images that look like pictographs, but pictographs which move 3-Dimensionally. The story is quite informative and educational. However, I have no idea why it's on this episode since St. Patrick's Day isn't until March and the video was released at the end of August.

The final installment on the episode is "The Sumo of the Opera". "The Sumo of the Opera" can best be described as a tribute to Rocky, interspersed with Oriental dressed vegetables who sing songs to the tunes of Gilbert and Sullivan. Quirky, yes. But it works and provides enough vibrant colors and short tunes to keep even the youngest children involved.

Overall, SUMO OF THE OPERA is a great Veggie Tales. There's a lot crammed in one tape, but most people like their veggies plump.

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I won't waste time repeating the praises of others here. The Rocky Balboa references in "Sumo of the Opera" are spot-on as usual as is the 3 Stooges bit. My 3-year old loved it even though he has yet to experience the ecstacy of the first 2 Rocky movies (and the utter agony of the others...)

I want to mainly focus on the seemingly controversial "St. Patrick" flannelgraph segment. I'm a Catholic and I see nothing at all irreverent about the piece. It's humorous, yes, but there are many parts of the story of St. Patrick which strike one as odd, possibly fanciful, possibly miraculous, and humor is not out of place in the telling of the story. It is certainly not inaccurate in the demonstration that many pagans of the Emerald Isle dropped their religion in favor of Christianity almost as immediately as the cartoon characters drop their tree branches. This is something which is especially necessary for children to learn since they will be pummeled with the nonsense in schools and universities that the Church relentlessly persecuted pagans as a regular principle and forced them to convert.

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My wife and I eagerly anticipated getting this for our daughter, who does indeed love her Veggie Tales. Contrary to other certain reviews, this wasn't bad at all, but it will go over the heads of some kids. My wife and I were able to laugh most of the way throughout the whole thing.

This isn't the first episode where the message could have at one point gone over the head of a kid or 2. In "Lyle, the Kindly Viking" they put Archibald Asparagus and the French peas as host and co-hosts, yet it was easier to get the message.

But it starts out with Bob getting a phone call from Larry, who is to help with a toy rally, gets lost, gets upset and bent out of shape, and is frankly ready to throw in the towel because it is getting too tough. The whole show is all about persevering, or as Bob tells Larry, "To keep on keepin' on!" It has a silent version of the 3 Stooges, but then gets complicated to some kids. They go on to tell about St. Patrick, and that's when my daughter went on to doing something else for 1 reason. There was no Bob or Larry at all, and it did go way, WAY over her head. But then you get to the main event! It focused on the Italian Scallion vs. Apollo Gourd. I really loved the way that Pa Grape made a good Mickey-like character, yet without all the bad language. The Italian Scallion is known for not finishing what he starts, and he wants to quit when the pressure is on once his big fight with Apollo. So while over the heads of some, it is a message for all to see, yet it might appeal to an older kid crowd.

Now while other people may have their um, big ideas, so-to-speak, let's give some credit where credit is due. Because while some of us never finish what we start, this does go a long way to deliver a lesson worth far more than riches, and that's what counts. Very encouraging for everyone! Also a great silly song with "School House Polka"!

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If for you the remarkable things about the galapagos include the iguanas, tortoises, and finches, you will be disappointed in this program. After a cursory glance at the earthand air-borne species, the camera goes underwater and examines fish. The imagery is lovely, but we are NOT seeing those creatures which have made the galapagos famous! A fairer title would have been "OCEAN ENVIRONMENTS AROUND THE GALAPAGOS AREA."

No quibbles with the glory of the presented creatures, but we had been expecting much more about what makes these islands unique!

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I agree with the other reviewers that this should be entitled 'Underwater life around the Galapagos'. The movie spends far too much time underwater instead of focusing on the magnificent scenery and wildlife on land. Why can't the IMAX producers simply let the gorgeous images of wildlife speak for themselves instead of dreaming up a tacky storyline about a beautiful marine biologist and her oh so dangerous explorations? At one point she rappels down into a cave and worries about the possibility that the rocks above her will collapse. I was in the Galapagos last month and visited the same cave (on the island of Santa Cruz) what they don't tell you is that there are stairs into the cave from the other end! The naturalist guides we spoke with in the Galapagos regard the IMAX movie as a joke, all the sadder because members of the IMAX team died making the film.

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Used to some great IMAX productions, I was very keen on seeing this production, but was very disapointed with the cinematic result of such a large and costly undertaking. The production was marred with challenges, including reduced flora and fauna after a devastating El Nino and the tragic death of two team members. I fully understand that these and other circumstances diminished the amount of quality footage the crew was able to obtain during their 8 weeks in the Enchanted Islands, however, I would have hoped for a documentary that truly introduces these natural marvels to the viewers instead of focusing on a very superficial plot of a marine biologist getting her thrills in exploring the deep ocean floor surrounding the islands in a submarine. There is so much to tell and show about these islands that a one hour program will never be able to do it justice, however I would have expected a better effort in documenting the uniqueness of the flora and fauna and the history of the islands, including the dangers presented to them through fishing, over population and introduced species. I sincerely hope that in the near future a producer finds the courage to do these islands justice by returning with an IMAX team to film a documentary that will allow the world to share the wonders of the Enchanted Islands maybe he will want to call it "IMAX Galapagos Revisited"

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The title is misleading it is not about Galapagos Islands, as I expected but mainly shows boring underwater pictues. I do not recommend buying this DVD. It the same waste of money that I suffered buying IMAX Antarctica.

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I was disappointed with this movie. The director had an interesting, unique environment he could have pointed his camera toward the island's vegetation and wildlife are the two things I had hoped to see. Instead the first half of the movie is focused on a woman biologist's bare legs, and the second half is focused on the people and the sub retrieving deep water marine life.

Perhaps the film is targeted toward younger audiences which the director feels can't assimilate more than a few species of animals, birds, and fish.

For an IMAX feast for the eyes, I recommend Amazon. It's scenic and informative.

Review of Key Largo (1948)

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"Key Largo" is one of the great film dramas. It is truly refreshing, in this day of "in your face" violence and sex, to see a film that builds tension almost entirely through dialog and characterization. This is one of Humphrey Bogart's most underrated performances. Bogart plays a returning WWII veteran who has become somewhat jaded by his war experience. He comes to south Florida to visit the father (Lionel Barrymore-Mr. Potter in "It's a Wonderful Life) of a dead war buddy, who owns a hotel and is living with his son's widow, played by Lauren Bacall. Bacall, especially, is noteworthy in that she has very few speaking parts and communicates fear and anger primarily through looks, glances, and body movements. This is in contrast to her previous roles ("To Have and Have Not" and "The Big Sleep") in which was glamorous and sensual. In a way she is barely recognizable here. Edward G. Robinson is perfect as the insecure and easily manipulated gangster, Johnny Rocco. The entire film centers around Rocco and his cronies taking over the hotel and keeping the above characters hostage during a hurricane. The movie becomes a psychological cat and mouse game between Bogart and Robinson. At first, Bogart's "head" tells him to watch out for himself, but later he follows his "heart" in attempting to protect and free the hostages. Bogart is understated in communicating a man who is psychologically wounded by the war and who questions the very values he and others fought and died for. By the end of the film he becomes a heroic figure, but not in the mundane or facile sense. He is heroic in that he sublimates his own feelings of survival for that of the greater good and recognizes the need for one man to fight the evil represented by Rocco. This is directed by John Huston ("The Maltese Falcon") and in spite of the fact that all the action takes place in just a few rooms, his direction is dynamic and action packed.

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KEY LARGO sits right beside THE BIG SLEEP as a very entertaining film noir classic. It features Humphrey Bogart and Lauren Bacall in one of their most memorable pairings.

Based on the play by Maxwell Anderson, KEY LARGO tells the story of ex-GI Frank McCloud (Bogart) who travels to a hotel in Key Largo owned by his old army buddy's widow Nora Temple (Bacall) and her crippled father-in-law (Lionel Barrymore). Also staying at the hotel is notorious gangster Johnny Rocco (Edward G. Robinson), his cronies and his good-hearted moll (Claire Trevor).

As Johnny holds Frank and Nora hostage in the hotel, a vicious storm rages outside, rivalled only by the storm of passions and tempers inside the hotel at Key Largo.

Claire Trevor won a well-deserved Oscar for Best Supporting Actress here. Her heartbreaking performance includes singing the song "Moanin' Low".

The DVD includes the trailer.

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Somewhat enigmatically, the text only "Behind the Scenes" Special Feature on the KEY LARGO dvd tells us that director John Huston was so angry with producer Jerry Wald for forcing him to deal with the "delicacies" in Maxwell Anderson's stage play of the same name that he barred him from the set. What's more likely is that co-screenwriters Huston and Richard Brooks gutted Anderson's play of most everything but the title, took a few veiled swipes at the House Un-American Committee, and threw an incredible cast at it.

Claire Trevor won the Best Supporting Oscar for her role as a boozy, faded nightclub singer, but Edgar G. Robinson steals the show. He's simply wonderful as Johnny Rocco, an old gang lord (reportedly styled after real-life gangster Lucky Luciano) with happy dreams of returning to the old days maybe they'll reinstate prohibition! Lionel Barrymore plays a crusty old hotel keeper, Lauren Bacall his daughter-in-law, and Humphrey Bogart is the ex-Army officer blown into town to tell the widowed Bacall, and Barrymore, about her late husband's heroic military career.

This was Bacall's third movie with Bogart, and they seem to fall in love by osmosis this time around. Bogart plays the disillusioned vet with quiet dignity, which works for the movie's sake but robs the audience of the opportunity to see any high sparks ignite between his and Robinson's character.

Ah well. We can't have everything. This is still a great movie, one of Bogart's most underrated gems.

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I've heard a lot about this 1948 film and had never seen it. I sure was in for a treat. Filmed in black and white, the tension starts right at the beginning and doesn't let up till it runs its full 101 minutes. It's the story of an ex-GI who visits a Florida Keys hotel run by the father and widow of a former buddy who was killed in action. The hotel, however, has been taken over by gangsters. And there's a hurricane brewing. Add some great directing by John Huston from a play written by Maxwell Anderson. Then throw in the stars of the day. What a mix! What a film!

I'm not a big Humphrey Bogart fan. I usually find him stiff and wooden. But he's better in this film, showing real emotion and animation on his face. Maybe it's because his leading lady is Lauren Bacall, cast as the widow. She fresh and young and beautiful and there is real chemistry between them. And then there is Edward G. Robinson. His gangster screen presence sure is real. He's the best of the best in this kind of role. All the performances were great but Lionel Barrymore, cast as the crippled owner of the hotel, is one of the best actors I've ever seen. With all this talent and terrific screenplay, though, the only academy award winner in the lot was Clare Trevor. She's cast as the gangster's girlfriend, aging and alcoholic. There's one scene in which she's forced to sing in order to get a drink. She's lost her voice but she pushes through the song as her small audience exchange knowing looks between them. It was more than an outstanding performance; it was absolutely sensational.

And then there's the hurricane. And a scene on a boat. All this was done so well that I didn't miss any high-tech special effects. The mood was set. The danger was there. There's even a great theme about good and evil and willing to put your life on the line. And it was all combined perfectly with the screenplay, the directing and some of the best acting to come out of that era.

I give this film one of my highest recommendations. It's a real treat. And a classic that has not only stood the test of time, but has aged like fine wine. Don't miss it.

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Key Largo gives the viewer a chance to see three of Warner Brothers' greatest stars in one movie: Humphrey Bogart, Edward G. Robinson, and Lauren Bacall. Bogart stars as Frank McCloud, a WWII G.I. who has seen death firsthand, and it's taken a toll on him. While visiting a late G.I. buddy's wife (Bacall) and father (Lionel Barrymore), Bogart finds himself held prisoner in their hotel by mobster Johnny Rocco (Robinson). Bogart's mettle is repeatedly tested as he is challenged by Robinson to fight back. Ultimately, he has to decide if there is still a hero inside him that the war didn't kill. The performances are all very good, especially Claire Trevor as Robinson's much abused, alcoholic girlfriend. Robinson is also terrific, and has a great opening shot smoking a cigar in his bathtub. John Huston, the director, creates a tense, realistic atmosphere in the movie. You can almost feel the humidity in Key Largo. The script is intelligent, and it's an opportunity to see Bogart and Bacall together in a different type of relationship on camera than most movie buffs probably remember them for. The movie presents memorable characters in a suspenseful situation, and it's very well made.

Buy How Do Dinosaurs Say Good Night... and More Stories That Rhyme

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These are very cute stories mainly for the 3 6 year old crowd. How do dinosaurs say goodnight? sometimes very naughtily at times. Zin Zin A Violin would be of great use to music teachers. The other stories as A Big, Big Pond and All of the Colors of the Earth are very good stories too. Altogether, a very nice DVD, like all Scholastic DVDs.

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I was hoping there would be more "How Do Dinosaurs Say..." stories on the DVD but there isn't. My 3-yr-old son and 4.5-yr-old daughter still enjoy watching them, though not as often as the Very Hungry Caterpillar DVD.

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My grandkids love this book and the stories within, while sometimes they think they want more exciting stories once I start reading they love it.

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MY KIDS LOVE THIS BOTH IN DVD AND IN BOOK.ITS VERY ENTERTAINING N HAVE OTHER GOOD STORIES.

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this is a favorite at bedtime. We have most of the series and this is a consistent must-read. there is also a video of the book distributed by scholastic (I think). It has the same illustrations as the book, some animation with someone reading the book. Anyone with kids that love dinosaurs will find this is a great read and speaks to a kid's imagination.

Cheap Across the Pacific (1942)

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I was eager to see this film because it reteamed THE MALTESE FALCON leads (Humphrey Bogart and Mary Astor), and the Director (John Huston).It did not dissapiont. Not Bogart's best film, but I enjoyed this film a lot anyway. I thought that it was well-acted, with a good plot. The plot is fairly simple: Humphrey Bogart follows some spies to Panama, meeting up with a girl (Mary Astor) along the way. The film is similar to some other films made during the 1940s, but it still has a unique feeling to it. In regards to the film's name, I'm not sure why it's titled "Across The Pacific", but I think it might be refering to what was going on across the Pacific at the time the movie took place. It ended on December 7th, 1941 (HINT HINT).

I would reccomend this film to anybody who is a Humphrey Bogart fan, or a fan of THE MALTESE FALCON.

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The movie opens with Humphrey Bogart being discharged from the army for stealing money; he goes to Halifax to join the Canadian army, but they've heard of him and don't want him either. So he hops a freighter for the Orient via the Panama Canal when he sees pretty Mary Astor go aboard (there's the romantic angle for the picture). The scene is set for another outing where Bogart plays the "I-look-out-for-only-me" guy who is forced to change his mind for the good of his country, except that 30 minutes into the picture we see that he is actually working undercover for the US Government already, trailing Japanese spys who want to blow up the canal. It's a nice, but totally unexpected, twist.

Sidney Greenstreet plays the head Japanese bad guy, and he is excellent his is the best performance in the movie. The dialogue and much of the love-play between Bogey and Astor are top-notch, too. John Huston directed, but left the production (gleefully) right at the point where Bogart is being held captive and the Japanese are about to take off in a plane to bomb the canal. Huston left to join the army, thinking he left Bogart in an impossible situation (a good joke), but he forgot this was Hollywood where anything is possible: Bogey gets free, stops the Japs, arrests Greenstreet, and wins Astor! Hooray for Hollywood! Not a great, great movie by any means, but it's very well done and highly entertaining.

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If you're in any way a Bogie fan or liked the Maltese Falcon then this film is a must see. Well directed by John Huston (Maltese Falcon, Treasue of Sierra Madre). Sydney Greenstreet steals the film in one of his usually intriguing character roles. Mary Astor also shines in the role of the heroine. Nice action, music and cinematography. Humphrey Bogart is one of the best actors to have ever graced the screen and this is easily one of his best films.

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As a follow up to "The Maltese Falcon" with John Huston directing and Humphrey Bogart and Mary Astor paired again, "Across the Pacific" promised to be an entertaining film and so it is. The film is an unbelievable thriller in which Bogart infiltrates a group of Japanese sympathisers plotting to blow up the Panama Canal. Sydney Greenstreet heads the traitors and is as enigmatic as he was in the previous film. The film was made at the time of Pearl Harbour so the plot contrivances are an understandable nod to the current events of the day.

The real interest of the film though is in the amusing by play between Bogart and Astor who were never more relaxed on the screen. They have some very funny moments. The film is beautifully staged by Huston with the exception of some pathetic models of ships. In fact, they are so poor that they add to the unreal comic nature of the film. You can not help but laugh out loud! The DVD preserves the film's beautiful black and white photography in an exceptional print and comes with a load of extras.

First of all, there is an excellent featurette which describes the major role Hollywood would play in the war effort, whether it be with ground breaking films such as "Confessions of a Nazi Spy" or Bette Davis and John Garfield forming the Hollywood Canteen. This is a valuable history lesson. A Warners Blooper reel for 1942 is included and these are always entertaining, particularly if you know your Warner's films.

The DVD also contains a Warners Night at the Movies in which the theme is certainly propaganda. The short film extols the virtues of 4 airman, ordinary men joining the forces for their country. Among the Warners starlets performing is a very young Eleanor Parker. The film is preserved in excellent technicolour and while you may cringe at the naivety and patriotism, one can see how it would have been used as a recruitment tool. One Newsreel item tries valiantly to put a positive spin on the devastation in Pearl Harbour by showing a Jap plane which was shot down. The cartoon is yet another recruiting poster in the form of a draft horse trying to enlist. It is funny in parts, when you are not cringeing. Finally, for coming attractions, there is a superb technicolour trailer for "Captain of the Clouds", a Cagney film which celebrates the Canadian Air Force.

As part of the second set of the Bogart Signature Collections, this DVD is particularly good value.

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Not only did "Across the Pacific" add some brightness to Bogart's rising stature as an actor, it more than justified the promise shown by director John Huston after his success with "The Maltese Falcon."

The story begins on November 17, 1941. Lt. Rick Leland (Humphrey Bogart) is being cashiered from the Army at Governor's Island, New York... The reasons are vague, but before five minutes have passed, Bogie is decked out in his familiar trenchcoat... Leland tries to enlist in the Canadian army, but his disgrace is so widespread that they won't have him... Wondering aloud if perhaps the Japanese will take him on, Leland buys a ticket on the 'Genoa Maru' bound for Yokohama via the Panama Canal... On board the freighter, Leland meets Alberta Marlow (Mary Astor), who lies about her past, and Dr. Lorenz (Sydney Greenstreet), a sociologist with an undisguised affinity for all things Japanese...

It's really not spoiling anything to reveal that Leland is engaged in counterespionage because neither Huston nor the screenwriters take the material very seriously... For most of the film, they're more interested in the cutesy shipboard romance between Leland and Alberta--getting seasick, drunk, sunburned...

As a thriller, the film doesn't really get wound up until the third act, when it has a few fine moments, most memorably a long chase scene in a Spanish-language movie theater, and a conventional conclusion...

Sydney Greenstreet was excellent as a jovial yet cunning Japanese sympathizer and Mary Astor played a doubtful role with the same mental adroitness she had displayed in "The Maltese Falcon."

Bogart, of course, carried the story line here and it was a delight to watch his enigmatic character change from one of calculated indifference to that of relentless determination...

Review of Northanger Abbey (1992)

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Though below the standard of any other Austen film I've seen (I haven't yet seen Persuasion) in terms of quality and acting, this film version of Northanger Abbey is strangely satisfying or perhaps I should say not completely dissatisfying. After hearing so many terrible things said of the music and dream sequences I was expecting something far worse something entirely laughable. What I've found is that with such low expectations the film did alright.

Before one watches or reads Northanger Abbey it is almost vital that one reads Anne Radcliffe's masterpiece, The Mysteries of Udolpho. The reason for this is that NA is consistently referring to the book and is often a direct parody. What was obvious from this film, is that the filmakers had never read Udolpho and didn't understand Austen's jokes. What made it quite clear that Udolpho had not been read were the strange fantasy sequences, as they did not have anything to do with the book or Radcliffe's style at all. What is portrayed in the film is far more graphic and horrific than the book Catherine makes reference to. As a result, the fantasy sequences are over the top and even make Catherine seem a bit mashochistic, which is completely different from Austen's intent. If you haven't read Udolpho, you shouldn't notice these issues at all, however if you have, the filmmaker's approach will seem rather bizarre.

Aside from that, one of my main complaintd is that the music does not fit the film whatsoever and did at times become a distraction. The chanting celtic sounding voice may have sounded better without the synthesizers and St. Elmo's Fire saxophone playing with it. The rock guitar that occasionally flared up was much easier to stomach than the lusty saxophone that played at the most unusual times. On top of this, there were some unnecessary changes made to explain the character of Major Tilney and further create the Gothic suspicions that Catherine harbors. I thought this actually lent her actions more credence instead of making them more ridiculous (and hilariously stupid) as they are in the book. The filmaker's need to validate Catherine in this way really removed hilarity from many of the greatest scenes. It was strange to see the BBC and A&E of all people, do this to a piece of literature. However, the changes were not so strong as to entirely change the story.

Casting also plays a key role in the quality of this film. Isabella is twice as annoying, maybe thrice, as in the book. The actress who plays her smiles in such a large and ghastly way that her attractiveness to men is entirely unbelievable. Her brother, Catherine's unwelcome courter, is better cast, however the scriptwriters portray him as more of a scary abuser than an awkward baffoon as he is supposed to be. Mr. Tilney, our hero, is at times perfect in his role, and then awkward, but in the most important moments, pulls off his character perfectly. Northanger Abbey itself is an historical inaccuracy, as they use a castle and assume we don't know what an Abbey is. Major Tilney is perfect, and one of the better actors in the film. However, it is Catherine herself that made the film worth watching for me. She was the embodiment of everything Austen described her to be and I can't imagine another actress in the role who could have done better. She had the awkwardness of Catherine, yet at times could be unbelievably beautiful, and at all times maintained the innocence you would expect her to have. I would very much like to see a remake with this same girl in the role, however, I'm sure she's much older now.

Oh, and one more thing, this may be the only film in which the filmmaker's were ever allowed to use the actual waters at bath built originally by the Romans. It is remarkable to see how they were used. Men and women actually climbed into the waters fully clothed, hats and all, and stood around and talked. In this film, the showed the actors with some sort of floating plate tied around their necks. It looked like the plate was covered with flowers or something that was possibly an aromatherapy type treatment. Very interesting for history buffs and likely never to be done again.

In summary, this film is worth watching if you are a true Austen fan. However, if you aren't, the whole thing may come off as some strange Saturday afternoon made for tv movie gone wrong. If you aren't familiar with Jane Austen or films of her books, don't start with this one. However, if you are getting to the bottom of the pile for Austen things to read or watch, this is worth the effort.

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I'm not certain why this movie is so low-rated. Is it a movie in the same manner as "Sense and Sensibility" and "Pride and Prejudice"? No. Is it a good movie? Yes.

The movie follows young Catherine Morland, an addict of early gothic novels, with a vivid imagination. When the kindly, wealthy, childless Allens take her on a trip with them to Bath, Catherine is overjoyed. She soon befriends gushing Isabella Thorpe and her vulgar brother John, who appear to be fortune-hunters. Catherine also befriends the kindly, wealthy Tilney brother and sister, Eleanor and Henry. There is also a brother, Frederick (who is VERY interested in the newly-engaged Isabella) and their eerie, falsely-enthusiastic father General Tilney.

Eleanor invites Catherine to their eerie family estate, Northanger Abbey. In the mysterious castlelike building, with a death harkening back many years, Catherine's imagination soon disrupts reality, and her slowly growing affection for Henry.

I must contradict the people who said that you need to read the book to understand the movie: I haven't, and I did. This movie contains the staples often found in a Jane Austen story: witty repartee, a flurry of manners and morals, dancing and dresses, creeps and nice people, and a chastely tense romance wherein at least one of the people involved must learn a lesson. While in "Pride" it was learning about pride and prejudice, and in "Emma" it was meddling; in this particular movie, it is learning about distinguishing reality from fantasy.

Katherine Schlesinger is perfect as Catherine Morland, smaller and wider-eyed than the usual blonde girls in this film. Peter Firth is sexy and sweet as Henry Tilney, who occasionally launches into monologues that both insult and compliment ("She is a disgrace to her sex... and it is a quality I will be sad to see her lose") and Ingrid Lacey is delightful as the haunted Eleanor Tilney. Cassie Stuart is good as gushy fortune-hunter Isabella Thorpe, whose constant effusion hides a mercenary little excuse for a soul; Jonathan Coy is also good, in his relatively brief role, as the rotten John Thorpe.

This movie is filmed in a slightly different manner than most Jane Austen films. Reality is interspersed with Gothic fantasies and nightmares of Catherine's; however, this will be entertaining if you have even a passing knowledge of books like the "Mysteries of Udolpho." The soundtrack is relentlessly, over-the-top Gothic in a way that is downright funny. We also get to see more of Bath than in movies like "Persuasion"--I thought those gardens were extremely pretty. The movie is shot in a misty sort of way, with looming decaying buildings and white-clad heroines--it seems to be half spoof, half serious story. And as Jane Austen was a master of satire, I imagine she'd be highly amused.

I'm a little surprised that the travesty of Mansfield Park is rated higher than this (watch the BBC version, where they care about the original story) as this is a darn good movie. It's not exactly like Emma, Pride and Prejudice, Sense and Sensibility; however, it's still very good.

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After having seen Mansfield Park (80's version) the latest Pride and Prejudice and Sense & Sensibilty we Austen fans were under the naive notion that all adaptations of the authors work were as wonderful. Therefore, we had no compunctions about laying out $ to purchase this video.

Good heavens! If only we had known! We should have guessed we were in trouble with the tasteless "gothic scenes" which open the movie. But like fools we plodded on.

Indication number two came in the form of the female leads. They looked like they were refugees from Simi Valley! The young actresses were either badly directed or actually were from the Valley or the English equivelant.

Indication number three was the music. The other Austen adaptations featured lively piano pieces or suitably tear-jerking melodies. This soundtrack seems to be ripped off from the Young and the Restless. (Note to aspiring soundtrack composers: there were no saxaphones in the early 19th century)

We couldn't finish this sad movie and returned it halfway unwatched. This is the worst Austen adaptation (perhaps it ties with the 1995 version of Persuasion) we have ever had the displeasure of viewing and can only warn clever Austen fans to indeed avoid it like the plague.

PSthe book is well worth the time of any thinking person, enjoy Austen's delicious satire of Gothic romance.

Honest reviews on Northanger Abbey (1992)

I made the very large mistake of watching this adaptation of Northanger Abbey BEFORE I read Jane Austen's beloved book! Never again shall I do anything so foolish . . . (please ignore my silly review further downdrat these non-deletable forms!).

Being a very great Austen fan, I came across the 1979 BBC version of Northanger Abbey at my local library and promptly snatched it up. I had not yet read the book, and in my still fairly immature stages of Austen-mania, did not really know how to judge such a film. I didn't know yet that JA wrote Northanger Abbey as a satire on the gothic novels of the day, so I missed much of the intentions of the novel (as, I must say, did the screen-writer!). Now that I have read Northanger Abbey (more than once) and come to regard it as my favorite novel second only to Pride and Prejudice, I find myself greatly annoyed by the unreasonable and unwanted changes that were made between the book and the movie.

The roles of Henry Tilney and Catherine Moreland were played quite well by Peter Firth, and Katherine Schlessinger, respectively. Ms. Schlessinger especially deserves kudos for taking on the role and preserving the "innocent, wide-eyed" look that one would imagine for Catherine Moreland. This film has been a subject of great debate among people who love the story, for, as they claim, is does do a fair job of butchering the story. However, all in all, the basic plot line is maintained, and the costuming and scenery are well represented. Many well-known "true brit" actors are in the cast, including Robert Hardy (Sir John Middleton in Sense and Sensibility) as General Tilney, Googie Withers as Mrs. Allen, and Cassie Stewart as Isabella Thorpe. Other characters that are exceptionally portrayed are Eleanor Tilney & Captain Tilney. James Moreland and John Thorpe don't seem to fit the part, but that is probably more the fault of the script writers than the actors. The same would be case for Henry Tilney, who is portrayed as a snuff-sniffing, cane-twirling "Mama's boy" type, as opposed to the gorgeous, swashbuckling hero that we read about in the story. Another sad thing is that the movie doesn't even mention the fact of his being a clergyman, which, in my humble opinion, is one of the qualities that makes him so very endearing! On the other hand, if one is not comparing Peter Firth's portrayal of Henry Tilney to the real Henry Tilney, his character can be quite pleasing. To be sure, he does not utter some of Henry's most endearing lines (journals, etc.), but other good lines were created for him, and he delivers his lines with feeling and animation. Some of his "looks" are particularly humorous and exactly how one could imagine Henry looking!

My objections to this film are many, simply because there were many added and unnessesary scenes. First of all, the presence of General Tilney's "friend and confidante", The Marchioness. Her character is utterly strange and completely out of place. I cannot account for how she was created or the rational for settling her in this film. Secondly, the music is very "eighties", featuring new-age sounds, chanting voices, and a type of "nighclub" percussion effect. It doesn't fit the movie at all (on the other hand, maybe it DOES fit the movie, just not the story?). Another item to mention would be the strange "flashback" sequences, which are actually supposed to be Catherine's "flights of fancy"-her imaginings and dreams. Some of them are a bit creepy (Mrs. Allen poking a needle through her finger? General Tilney washing his hands in a basin of blood? Give me a break!), yet silly to the point of being boring and stupid. They contribute to the film moving along way, way too slowly. Then there is the issue of Eleanor Tilney having a secret lover, which seems quite out-of-character for her, and happens to be another addition of the screen-writers which I positively can make no sense of. Here's yet another. . . John Thorpe, who is really supposed to be just a foolish, not-so-bright young man, is portrayed as a scemeing, conniving, deceitful, and wicked fellow. I understand that the screenwriter may have wanted a rake as in Pride and Prejudice and Sense and Sensibility, but it really wasn't necessary.

The proposal scene in the end could either melt your heart or make you absolutely hate the film and never want to see it again. Again, it doesn't fit the story, and certainly does not seem like a scene that JA would have written! However, if you have always longed to know more about the proposal (which JA actually "leaves out" of the story), and you're a true romantic--one who adores white horses, men riding out of the mist, and strange night-club music in the background, than you'll love it. For your benefit (and not actually quoted directly, but just pulled from my memory), here are the lines that Henry speaks as he approaches Catherine. . .

Henry: "Miss Moreland, do not be afraid. I promise not to oppress you with too much remorse or too much passion. . . though since you left us, the white rose bushes died of grief. Catherine, are you still a disgrace to your sex? Does your face betray all that your heart feels, or may I hope that it holds a secret? You know that I do not need my father's permission to marry?"

Catherine: "But he knows you are here?"

Henry: "Yes"

They kiss.

Okay, there you have it. Somewhat sappy, somewhat sweet. I loved it the first time I saw the film-in fact, I rewound that particular part about a dozen times. The kiss is pretty beautiful, but I still can't get over the fact that the scene doesn't fit the story. Alas and alack!

Well, I have likes, I have dislikes. Notwithstanding the films' obvious problems, I still enjoy watching it very occasionally. However, I am greatly looking forward to the new film which Andrew Davies is in the process of writing, and which should hopefully be finished in the year 2000!

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It is hard for a lover of the novel Northanger Abbey to sit through this BBC adaptation and to keep from throwing objects at the TV screen-in fact, if Jane Austen herself were to see this, she would be somewhat amused and possibly put out. Maggie Wadey's adaptation has made Northanger Abbey into what it satirized, the Gothic novel (and the readers of Gothic novels).

The role of Catherine Morland in the adaptation is portrayed fairly closely to Austen's Catherine, a open-hearted, generous girl whose imagination simply runs away with her. But the Henry Tilney of the novel is not a snuff-taking, cane-wielding, sappy-line-making hero of a Gothic novel-he is a tease, a nearly-handsome man with a messy room and a living (that's right, Henry Tilney is a clergyman, a charm that is completely dropped from the script). Some of the best scenes from novel, when Henry, completely deadpan, outrageously teases the literally-minded Catherine on diction, journals, Mrs. Radcliffe, etc., are not portrayed in the adaptation. A large section of Henry's personality is lost when those scenes are not adapted. Besides, Peter Firth's appearance is not accurate-Henry Tilney is supposed to be 24 or 25, dark hair and a brown skin, not 35 or 40 and blond.

There are so many other absurdities within the adaptation that invoke surprise and disgust-who is the Marchioness, and what is she doing in the story! Why is John Thorpe less of a dunce and more of a schemer? Why is Northanger Abbey a castle? Catherine of the novel, with her romantic visions, expects hidden passages and dark tapestries, but is very disappointed to discover that Northanger Abbey is actually a comfortable, modern house-another element of satire! Why portray General Tilney as a drunk? Why does Catherine have those strange visions of Mrs. Allen threading her finger, etc.? Catherine's imagination only runs away with her at Northanger, with Henry there to correct her gently. And lastly, why are so many facts concerning the Tilney family and Mrs. Tilney's death altered unnecessarily? To make the story more "horrible?" All of these oddities and more simply are too strange to be overlooked.

Oh, and Henry never "rode through the mist" on his way to propose. Such cheesiness should be eternally banned.

The BBC is highly regarded in its accuracy when adapting great works of literature to the screen. Perhaps they were having off-day when they decided Wadey's Northanger Abbey actually captured the essence of the deliciously funny satire Austen wrote. Or maybe they never understood what the essence of the novel was in the first place.

Buy Winx Club: The Secret of the Lost Kingdom Movie (2012)

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Even though I have two boys, we have two girls the same age as them next door so my boys are constantly introduced to girly items. I don't remember when I first heard about Winx Club but when I saw this moving was coming out I thought it looked cute. The movie is based off the television series and from what I read the animation is a little more vibrant in the movie than the traditional show. I think the movie has amazing colors and really makes the fairies "pop!" The movie is a decent length (just over an hour) and you also get a second disc with seven episodes. For about $15, this is a great value as you get a lot of Winx Club for your money. My boys didn't mind at all that it was a girly movie, there are some guys in the show and they were just amazed at the colors and characters. I do like though that this set includes an actual movie and episodes, whereas some sets say movie but really just include a bunch of episodes. The story is simple too, about a girl who is looking for her parents.

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I found this movie very good when I saw this movie on Nick. My only complaint is they could have made this movie longer.

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There were no complaints this was definitely a cool movie to watch! I watched via the internet and I got to have it! :)

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My daughter is really into Winx, but be warned that this is better suited toward older kids. The content is advanced for my 6 year old with romantic pairings.

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I've been watching the newest season on Nickelodeon, having been a fan of the original Italian series since 2004. The original version of this movie was released in 2007, and I have to say, the old saying is true; nothing compares to the original.

This movie was...meh at best. The dialogue was bad, the voice-acting was mediocre, and a lot of important, story-building content was cut out. Worth the buy since it's cheaper than most movies nowadays, but definitely make it a point to watch the original Italian with English subs or the Rai English dub on Youtube, you'll see the differences!

Cheap Garfield's Pet Force 3d (2010)

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This movie is completely innane, but my kids love it. I was a little surprised at its G rating--I would save this movie for older children (the villian says "shut up" which I think is inappropriate for young children and the tension/violence is a little scary for younger children, etc.) Unfortunately, if your kids see this once, they'll want to see it again and again.

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Garfield's Pet Force is based on the paperback books by Garfield's creator Jim Davis and is more action-packed than the previous Garfield outings. Here we get Garfield and Friends teaming up with superheros to stop an evil baddie and her army of zombies from taking over the world.

Garfield's Pet Force is a fun movie for the entire family.

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Garfield's Pet Force

This is a really funny and eye-popping movie that kids will love. There's never a dull moment, the animation is brilliant, and Garfield actually demonstrates some redeeming qualities -he saves the universe! There's also a really cool game on the DVD called Professor Wally's Moscrambulator. If you're a fan of Garfield, of superheroes, of comic books, this is a great movie for you.

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This movie wouldn't download so I canceled it. But I see Amazon still charged me for it. I think I'll switch to Redbox since this is the second time I paid for movies in error without any recourse.

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My children started watching this on Netflix and by some miracle was removed. Several months later, my son asked to watch it, and my wife bought it.

Do yourself a favor and never let your children see this movie. Poorly animated, poorly written and directed. Even the voice acting is lack luster. It's at best a glorified fan made movie.

Buy Hell's Angels (1930)

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Hell?s Angels is an amazing film. It is certainly the best WWI aviation film, although Wings runs it close, and it has flying sequences that are simply staggering, because they are so obviously real. There is a wonderful sequence depicting the attack on an enormous Zeppelin which shows how the giant airship actually operated and gives a sense of its size, slowness and vulnerability. Also worthy of note is a mass dogfight involving a captured German bomber, Baron Von Richthofen?s Flying Circus and what seems like most of the Royal Flying Corps. At times the sky is filled with bi-planes performing thrilling manoeuvres, but the film does not fail to show the individuals in this fight and to point out the horrific human cost of the fighting. Hell?s Angels is in fact surprisingly violent, showing men consumed in flames and screaming to their deaths. Actually it is remarkably frank in a number of ways. Jean Harlow gives a star-making performance which oozes sex. She never looked better especially when uttering her famous line ?Would you be shocked if I put on something more comfortable?? Here is a woman who knows what she wants and doesn?t allow conventions to get in her way. What?s more the film doesn?t attempt to tone-down this characterization. She frankly admits she wants nothing to do with marriage and family values and it is this frankness which must have seemed so shocking to contemporary audiences. Hell?s Angels is also not afraid to show flyers full of fear and questioning the point of the war. It?s most sympathetic character is a coward who just wants to live. The story is thus rather unusual, especially for a war film, for it does not contain the heroics and the heroes so familiar from the genre, but rather shows the grim determination of scared men to get the job done.

It is possible to find a few criticisms of this film. The two leading men are only adequate as actors and lack the charisma of more familiar thirties leading men. Furthermore they are not particularly convincing as Englishmen for they make little attempt to disguise their American accents. Also the German characters are a little too stereotypical and at times slightly ludicrous, especially in one scene where they show their Teutonic willingness to die for the Fatherland by jumping from a Zeppelin.

The print used for this MCA Universal video is first class. It has been restored so that it includes some tinted night and early morning scenes and includes a wonderful early Technicolor party scene. The sound is better than is often the case with early talkies; there is very little background noise, although there are some snatches of dialogue which are a little indistinct. This is a high quality video and essential viewing for fans of WWI aviation films.

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Three reasons to watch this film:

still-teenaged Jean Harlow, radiant in her only Technicolor footage, and giving a much better performance under the direction of (I assume) James Whale than she would in "Public Enemy" a year later;

a riveting nighttime Zeppelin attack with an astounding payoff;

aerial battle scenes unmatched for realism that truly convey the terror of fights-to-the-death in the skies (apparently three pilots died doing the remarkable stunts).

Ben Lyon is the only lead performer whose acting seems fairly modern and somewhat natural while the other male leads are still stuck in that strange, stilted early-talkie mode (the film was begun as a silent and morphed into a talkie over a two-year shoot spanning 1928-1930). The biggest flaw is the ridiculous stereotypical portrayal of the German commanders as sadistic Huns straight out of a WWI propaganda film; this is the most dated element in what remains, given the period in which it was produced, an amazingly entertaining film, beautifully restored in its current DVD incarnation by UCLA film restoration experts.

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I just purchased this video and watched it last night. By any standards it is a stunning work, and, considering when it was made, was a groundbreaking achievement for its time. As reported in other posts, the acting is only pedestrian. However, it was interesting to see Jean Harlow in her prime. One can see why she was viewed as the Marilyn Monroe of her era. This film is worth watching for a variety of reasons. First of all the ariel sequences are amazing, particularly the Zeppelin segment and the final dogfight (over California?). I doubt if any film has surpassed the conveyance of sheer terror in these sequences. Of interest was the pilot who was taking repeated swigs from a bottle hidden in his cockpit to maintain his courage during the dogfight. The sight of so many planes in the air at once rival (and surpass in many respects) similar scenes in the Blue Max. In fact, the films Blue Max and Zeppelin owe much to this film re: their ariel sequences. The other standout feature is the clever use of color. Some early morning sequences are in red tint, night in blue, and, an amazing ballroom scene in multicolor. Whether you are a fan of war films, vintage films or flying, this is a MUST SEE film. A review of it is easy. Watch it and share a bit of the thrill Howard Hughes had when he made his ultimate flying film!!

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"Hell's Angels", the first film directed by Howard Hughes, is one of the most remarkable unremarkable films you will likely ever see.

If you have seen "The Aviator", you know a little about the production of this film. Hughes, who suffered from Obsessive Compulsive Disorder, was a rich man who moved to Hollywood, ready to conquer the industry. He labored over every frame, spending a lot of his own money and taking a lot of time to make sure every frame was just right. Just as the film was ready to be released, sound was introduced to movies with "The Jazz Singer". Hughes decided that he needed to reshoot the entire film in sound. Adding more money and time to his production schedule. The film was finally released in 1930 and caused a sensation. More on that later.

The story is about two brothers, Monty and Roy, and their German friend, Karl, all of whom are attending Oxford just before World War I begins. A few months earlier, on a trip to Germany, Roy is caught having an affair with the wife of Baron Von Kranz. Challenging him to a duel, the Baron expects to see Roy at sunrise. However, Roy flees back to Oxford. Monty decides to uphold the family values and fight in his place, getting wounded. They return to Oxford, where Monty begins romancing Helen (Harlow). As soon as war is declared, Karl is yanked back to Germany and all three become members of their respective country's air forces. You can probably guess what will happen throughout the remainder of the narrative. We have all seen variations of this narrative a hundred times since.

"Hell's Angels" is remarkable for two reasons. The first are the aerial battles. As documented in Scorcese's film, Hughes was obsessed with making these two scenes realistic, terrifying and memorable. He succeeds. The first involves a Hindenburg airship flying towards London. The RAF receives word of the ship approaching and the brothers fly off to destroy it. These scenes are remarkably realistic. Considering the film was made before 1930, it is difficult to tell which parts of the scenes were shot using real people and which, if any, were shot using special effects. We get the sense that we are actually on the flight deck on an airship as the German officers try to determine where to drop their bombs. The first shot of the airship coming out of a bank of clouds, tinted dark blue for night, will be an image that I remember for a long time.

The second scene involves two squadrons of flyers, one British, the other German, fighting it out in the air. This is the scene Hughes was making during the beginning of "The Aviator". If we are to believe that film, this was shot with real airplanes, actors, and cameras. And it is also amazing. It has a different sort of visual poetry to it, but it is no less effective than the previous scene. The planes flying around, fighting, dropping through clouds ("We need clouds." "There are clouds in Oakland."), are fantastic to watch. Again, both of these scenes are all the more amazing because they were shot before 1930.

The second remarkable thing about "Angels" is that it marked the first starring role for Jean Harlow. Harlow, 19 at the time, would become one of the biggest stars in Hollywood before she died at a young age. Hughes, always looking to provide the audience with the latest in technology, chose to use color tinting throughout the film, a fairly common practice in silent films. Filmmakers used a color to provide the scene with an overall feeling, to enhance the drama or action unfolding on the screen. Night scenes were frequently tinted dark blue. A suspenseful scene might be tinted purple. Hughes goes one step further. He uses early color techniques for one scene featuring Harlow. I believe this is the only color film of Jean Harlow to exist in a motion picture. The scene itself is unremarkable except that we get to see this icon, this future sex symbol, in as close to an approximation of real life as possible. Imagine if we had never seen Marilyn Monroe in color and you begin to get the idea of the importance of this small segment of the film.

Watching the film for the first time seventy-five years after it's initial release, I noticed something in the credits. James Whale, the director of "Frankenstein" and other films, is credited with directing the dialogue scenes in "Angels". This caused a number of things to click into place for me. In "The Aviator", Hughes is portrayed as being obsessed with getting the aerial scenes just right. He needs a twenty-fourth camera. He wants clouds in the background to give the planes a feeling of speed. He wants everything to be perfect. His other passion was creating fast airplanes. Both of these elements would seem to fit together, to make sense. It would be natural for someone like Hughes to be more than a little disinterested in worrying about something like dialogue or story. He left this part of the filmmaking process to Whale.

When I watch a film for the first time, I try to think about the film as it might have been perceived in its original release. This was nigh on impossible for me with "Angels". The three male leads all appear to be in a high school play, attempting bad British accents, speaking bad dialogue. Even the actor playing Karl, the German friend, appears to be "acting" British. They walk stiffly and everything is staged as it would be in a play. This was actually a lot more common in the early days of film, because they simply didn't know how to stage the action in a more interesting way. There are a number of films from this period that have much more engaging acting.

The plot is very predictable. I can't imagine that this story was fresh even in 1929 or 1930. It seems lifted straight out of a parlor drama or from the stage, from a play that may have been popular at the time, but which we have never heard of since. Rightfully so. If you think about the story I have outlined above for a few moments, you will be able to predict all of the turns in the story.

When a filmmaker goes to such great pains to create a part of their film in such vivid detail, you would expect the rest of the project to be of an equal caliber. A good modern example of this would be James Cameron's "Titanic". Cameron spent a lot of time and money recreating the ship and then sinking it. This happens close to two hours into the film. What keeps the audience watching until this point? It is the romance between Kate Winslet and Leonardo DiCaprio. Yes, the story is predictable, and we have seen it a million times, but it works. Cameron spent a lot of time on the special effects, but he also devotes a lot of time to the story and characters leading up to the event. If we don't care about the people on the boat, we won't care that the boat is sinking.

Hughes creates two great aerial sequences, which run about 20 minutes. Unfortunately, you have to sit through almost 110 minutes to get to them. And, ultimately, as good as these sequences are, we really aren't that concerned with the outcome, because we don't know or care enough about the people in the planes to care if they crash.

"Hell's Angels" was a huge hit, earning a profit for Hughes and leading him to direct "Scarface" starring Paul Muni. Audiences were no doubt awed by the aerial scenes and less critical of the rest of the story.

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"Hell's Angels" will no doubt return to public attention for a time because of the success of Martin Scorsese's "The Aviator," and that attention is well deserved. Howard Hughes' World War I epic is notable on a number of levels, not the least of which is the fact that it introduced Jean Harlow. The flying/action sequences were clearly ahead of their time and still hold up quite well, and this alone puts this film in rare company. There have only been a few notable films about the air war in World War I ("Wings," "Dawn Patrol," "The Blue Max," and maybe "Darling Lili")and this is about as good as it gets. The zeppelin sequence is just simply outstanding. The story and individual acting...well, Huges should have delgated to James Whale who was a part of the production. Harlow does stand out, but that was not difficult. Her peformance was allowed to sizzle (and she did that), and the rest of the cast was not at all memorable. The making of the film is the stuff of legend and that story is becoming known via the hype surrounding "The Aviator" (also a good film). The restored film on DVD is something of a treasure. Rarely do we see films from this era in such good shape. The production evolved in that awkward period between silent film and "talkies" and it shows in places. The dialogue is stilted, and the musical score is only barely serviceable, but the sound effects, like the visuals, are at times unbelievable for the time. A great value at a low price, and well produced and packaged by Universal, this is a must for serious film buffs.

Cheap All Through the Night (1941)

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This movie is an often ignored part of Humphrey Bogart's movie career. After all, this is the guy who was in The Maltese Falcon, Key Largo, The Treasure of Sierra Madre and The Caine Mutiny just to name a few highlights. Some people might have trouble adjusting to the rather silly mood of this film. However, you will probably enjoy it more if you know what you're coming into.

Bogart plays a New York gambler with mob ties who always wears gloves and has a weakness for cheesecake. When his favorite baker is murdered, he sets out to discover whodunit and in the process uncovers a Nazi plot for terrorism.

But, to tell the truth, I wasn't interested in this movie for the plot. It was the cast that interested me. Conrad Veidt, Peter Lorre and Judith Anderson play the Nazi villains and who can think of a better bad guy line-up? All of them are excellent although I had a bit of trouble accepting that small-framed Lorre as the strong-arm of the group.

Bogart is particularly amusing when he tries to bluff his way through a Nazi meeting when he has no idea what is going on and his knowledge of German is limited to two words! In fact, the entire cast seems to be enjoying themselves and as a result, the audience enjoys the movie even more.

While this is not a masterpiece, it is certainly enjoying for what it is: an action/comedy with propaganda elements that just happens to have some of the greatest actors of the time. The double talk is fast and funny, the plot doesn't make much sense but the script throws everything but the kitchen sink at you so you don't really notice.

Verdict:

You will like it: If you are a rabid Veidt, Lorre, Bogart or Anderson fan. If you want a fast, funny way to spend an evening.

You will not like it: If you expecting another Casablanca. If you are overly choosey about "serious" plots.

Enjoy!

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A nice change of pace for Bogie--still a shady character (with a soft spot for his Mom [Jane Darwell, who gets "a feelin'" that something isn't quite right, and sets Bogie on the case] and his favorite cheesecake, baked in the old neighborhood), but willing to take on the Nazis after they murder the baker....

As others have noted, the "double-talk" sequence with Bogie and Demerest is priceless, and director Sherman keeps the pace quick and snappy.

An overlooked gem in Bogie's films, and one you should check out!

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Humphrey Bogart stars as "Gloves" Donahue, who looks into the murder of a family friend, and the investigation gets him involved with a mysterious nightclub singer (Kaaren Verne), the art world, and Fifth Columnists (people in the US helping the Nazis during WWII). There's a lot of action and humour along the way as Gloves discovers that things aren't what they seem. This isn't a typical Bogart film from this time period, and it's a nice change of pace. Bogart is supported by a terrific cast. Conrad Veidt, Peter Lorre, and Judith Anderson are properly menacing as the Fifth Columnists, while Frank McHugh, Jackie Gleason, and especially William Demarest are a lot of fun as Bogart's boys. The double talk sequence as Bogart and Demarest try to pass themselves off as Nazi sympathizers at a Fifth Column meeting is hilarious and memorable. I liked this film and I thought it was great that humour could be used in a film about an otherwise serious subject at a time when the world was at war.

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Funny, charming, witty. Bogey is surronded by am all out star studded cast in this hilarous comdey. This is a must video to have.

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There are lots of reasons to love this film. The stellar cast, including Wm. Demarest, Jane Darwell, Phil Silvers, a young Jackie Gleason, Frank McHugh, Conrad Veidt, Peter Lorre, Judith Anderson...well, it doesn't get much better. Consider the 1942 release...the war was at it's peak. Then there's Bogie, playing a likeable gangster who makes good with rival gangsters to beat up a Nazi infiltration in NYC. Add tons of humor and the beautiful Kaaren Verne, and you have a delightful mix of suspense, angst, intrigue and American triumph (as well as a cute love story). It may not be a great film, but I think it's my favorite Bogie film, if only because it's so much fun to watch. Where's the DVD? UPDATE: The Humphrey Bogart Vol 2 includes this fine film, and the resolution and presentation is crystal clear. "Let's knock those heels back on their axis..."

Puppet Master Review

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A marionette maker dies, but his puppets don't... and they have a vengeful, murderous dark side. This is a classic low budget horror movie that works well. Watch it in 2D here or elsewhere (ASIN: B000A8OJOK ), or get the full series boxed set (ASIN: B000FNYXYQ ).

This (2D version) is the first movie in the Full Moon series of Puppet Master films. (No relation to a Donald Sutherland movie by a similar name.) This movie was good enough to launch a long series of sequels, and is a clever premise.

Included is what is advertised as a 3D version -don't believe it. Most of it looks like a flat image that was just pushed back in depth slightly, but is still flat. Then there's inside-out, broken, eye-strain / nausea inducing imagery that doesn't conform to any definition of 3D that I'd use. The DVD author simply offsets the video by one or two frames in one eye, and on rare occasion (less than 2 percent of the movie, apparently) this produces something that looks somewhat like 3D. The other 98 percent of the time, it just looks like unwatchable poop.

The original filmmakers did not do this 3D conversion. It does not even look like an earnest attempt.

This is a +4 star horror movie, with a -2 star fake-3D assault to the eyes. Hence the 2 star rating.

If you haven't seen Puppet Master and like low budget horror movies (I do), then this DVD is probably worth purchasing (for the 2D version). -If you like 3D (I do) or think the 3D might be a fun extra, then this is probably NOT the DVD for you, since the 3D is extremely un-3D and a complete waste of money. Saying that this is bad fake 3D, would be a gross understatement.

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Apparently someone out there had the good sense to re-release the box set of the brilliant Full Moon series "Puppetmaster". Fans of the series will recall the previous ill luck that befell the original release back in 2000 when they had to recall the sets due to licensing issues with the now defunct Pioneer. (According to rumor, Full Moon had not gotten approval from Pioneer to sell the series on DVD.)

The box set is comprised of the first seven films in the series, from the first wonderful Puppetmaster to the inferior sequels that came after it. I have to admitI really didn't like the later movies nearly as much as I did the first three. They have their "charm", I suppose, but overall they're just a little too cheesy for my tastes. There is also an additional disc in the boxset, a collection of trailers for the films. I have to admit that as far as extras go, I was a little underwhelmed. It's been about 20 years since the first film was releasedwasn't there anything else they could put in there?

Now for what the series is about. Since Amazon has no description of the actual series, I'm going to give a brief outline of the series. Killer puppets that frequently end up in the hands of the wrong people. Ok, so maybe it's a bit more complex than that, but the beauty of the series lies in how the series' creators were able to take a simple idea & turn it into one of what is arguably one of the most infamous series in horror. Forget Jason & Freddy. If you haven't seen this series or at least the first movie, you can't call yourself a true horror movie buff.

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It has a few spots from bad film processing,every once in a while you see black spots where the developer had bubbled and not made contact with the film surface leaving black spots every so often.It can be fixed with digetal editing touch up the spots in the digetal video processing.

I know about those fixes because I studied computer animation in school and I used to work in a film processing lab.

seems like they wanted to improove it but not put the money into making it look flawless.

I didn't notice those spots on the cheap Echo Bridge copies on standard def. just on this blu ray.

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Do we really have to get infinite details on the 3D or production qualities of this film? The truth is, it works emotionally because Toulon, in this movie, cares about his puppets, and they strike back in a world that frankly doesn't care about much of anything. When the skeleton puppet is rushing through the hotel to warn his master that he is in danger -that's loyalty. And it works for the story line. Movies aren't about production values, folks, they're about a story, unless you are a nitpicky little creep.

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Long ago, a puppet maker named Andre Toulin (William Hickey) has discovered the means of bringing puppets and dolls to life with ancient Egyptian magic techniques and a potion that brings them to life making them into vicious little killers. Years later, a group of psychic investigators (Paul Le Mat, Irene Miracle, Matt Roe and Robin Frates) are called in with each other as they investigate an old hotel only to discover that Toulin's puppets are on the loose and wants their blood.

One of the most well known killer doll flicks, this flick started the "Full Moon" company back in 1989 when Charles Band's company "Empire" was bankrupted, it instantly became a genre favorite among fans. Barbara Crampton ("Re-Animator") does a nice cameo in this movie as a costumer for one of the psychics, the movie was inspired by an early Charles Band production "Dolls" as this became a follow-up of sorts. Alongside the Zuni Doll and Chucky, these puppets are pure evil creatures that deserve to be horror icons.

Now if only MGM or Paramount or Full Moon can re-issue this movie with the rest of the movies on DVD then that would be great.

Also recommended: "Trilogy of Terror", "Child's Play Series", "Dolls", "Magic", "Devil Doll (1964)", "Re-Animator", "Dead of Night (1945)", "Making Contact (a.k.a. Joey)", "Pinocchio's Revenge", "Stephen King's IT", "A Nightmare on Elm Street", "Tourist Trap", "Black Christmas", "Dolly Dearest", "Poltergeist", "Pumpkinhead", "Cemetery Man", "Carrie", and "Demonic Toys".

Reviews of Forever Evil

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OK, I recently bought this film, because I saw an old intro from USA's "Saturday Nightmares" which featured this film. I vaguely remembered it, and after seeing it again, it's easy to understand why I forgot it lol.

This film is, incredibly, cheesy to the Nth degree. It's terrible in every facet possible. However, there's just something appealing, to me, about these, unintentionally, funny horror films, with the worst acting, horrible and boring dialect and cheesiest effects possible.

The film makes little sense, and just seems to drag along forever. Honestly, the more I watch it, the more I enjoy it, but then again, my mind is warped like no other. So unless you enjoy really terrible, cheesy, 80's schlock, I wouldn't recommend it.

80's cheese at it's worst!

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This movie, trying to incorporate some pieces of Lovecraftian lore into its cheap, brittle storyline, was an utter travesty. Besides having a budget that barely rivaled the popcorn and drink ingested during its showing, its ties to the otherworldly menace, Yog Kothag, and the essentially useless book, The Necronomicon, were simply veiled attempts to bring in viewers. It was, by and far, an insult to my horror-watching eyes.

The storyline, if you can call the bumbling plot that the wretched actors follow a story, is as follows:

We start with a fortune teller as he reads a client's cards. What he sees frightens him enough that he funnels her money back into her hands (plus thirty dollars), pushes her out the door abruptly to be killed, and then runs into a monster that couldn't rival most Halloween costumes. Cut to a foolish guy, joined by his pregnant girlfriend, his brother, and three others, as they meet at a cabin in the middle of nowhere to discuss his newest invention (an emergency grappling hook that straps to your wrist, the dumbest idea I've ever been privy to). Here, they get drunk, play cards, fire off some banter that does incorporate a bit of humor, and subsequently start the dying one by one. Still, he gets away and is hit by a car, landing himself in the running for the stupidest man alive awards and on the trek to torment some movie watchers. Later, skipping a heap of the bumbling plot, he is joined by a detective that knows something is going on, a lady that also lived through an attack by this presence by hiding under her porch for days, and a one-hundred year old dog that really didn't mean anything in the movie except that there was a way to burn more time. Together they find out that there is a ghost quasar pulsing to the murderous beat of the thing doing the killings, that some monstrous creature named Yog Kothag is trying to come back, that the Necronomicon only has a dozen pages, that you can add a zombie into a movie just because you feel like it, and that a lack of research before you make a movie can always be countered by a good ceremonial dagger.

Yes, this movie was bad. If you have to check it out because you have some Lovecraftian completionist need, you'll hate it. If you like cheap horror movies, you'll hate it. I don't even think the people who made it like it.

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When an investigating official somberly invokes the name of Charles Manson, he inadvertently gives Manson credit for having enough taste to find this film appalling. Speaking for all humans, I strongly agree. "Forever Evil" is a marginally coherent low budget monster movie that not only features terrible acting, a dreadful script, and inept special effects, but it also succumbs to a numbingly slow pace that makes the four hours of "entertainment" featured here seem to take weeks to plow through. You may need external support to make it all the way to the end. Please drink responsibly.

The movie starts in an old cabin where several completely unlikable college friends are having an extremely lame party complete with horrid dialogue and subplots about a new invention and an unintended pregnancy. In the middle of the party, pregnant Holly (Diane Johnson) decides she can't live another minute without showering. As we all know, showering leads to murder. Holly is slaughtered in the bathroom by an unknown entity, and instead of calling the police immediately, these college graduates go hunting for the killer. The carnage that ensues leaves only Marc (Red Mitchell), Holly's ex-boyfriend alive, but hospitalized. Leo (Charles Trotter), the old crusty cop in the trenchcoat who responds to the scene says things like "It doesn't look like the head was cut off, it looks like it was pulled off". At this point you may note that you still have over an hour and a half to go. I feel for you. The film meanders over hill and dale for a while with Marc teaming up with a girl named Reggie (Tracey Huffman) who is interested in the case because she once had something similar happen to her. Whatever.

Through the magic of special effects, the evil of the title makes his first appearance as a pair of glowing red eyes in a black cowl. During the course of the investigation some creepy old witchcraft books are found, along with a story about a ceremonial dagger used for sacrifices that have been occurring for many years in a pattern only Marc understands. After a friendly black dog scares Reggie repeatedly, Marc gives the backstory about the party at the cabin. (Question: why does Marc wear a bathrobe with four stripes around the ends of the sleeves like a ship or airline Captain?) The reason for the party was to celebrate commencing the patent search for a device that Marc and his brother designed called the "Emergency Grappling System" (EGS). This thing looks like it just came off the utility belt of Batman, only it's far less plausible. Because it's such an otherwise pointless plot deviation, you know the EGS will play a crucial role later in the film.

Marc has also figured out that the evil creature kills when there is a huge pulse of energy from the "Q8 Ghost Quasar", a claim Leo is rightfully skeptical of. After zombie-Holly returns to haunt Marc with a self-Cesarean and red-eyed demonic birth scene (the special effects are beyond cut rate), Leo is killed by the evil. Marc and Reggie discover that the next Q8 quasar pulse will be "next Thursday", and engineer a plan to use themselves as bait, which, of course, succeeds. Marc astutely notices a pattern in the homicides on the map, which the trained professional law enforcement officials have not noticed despite it's being completely obvious upon first glance by anyone in the audience. Of course the pattern is a pentagram, which Marc immediately calls a "pentagon". The evil (with the worst rubber mask worn in any movie since at least 1950: think "Tales From the Crypt", only cheesy) finds the hapless duo and a lengthy rumble ensues. Obviously the EGS is employed to good effect, as is an ax, some gasoline, a gun, and the magic dagger. It sounds like it would be exciting, but don't believe it. The brawl moves to Marc and Reggie's motel room, where the now charred-to-a-crisp evil being stabs Marc with the magic dagger, although Marc turns the tables on him, and in a retaliatory strike, stabs the evil being.

So that's the end, right? So sorry, no.

It turns out that there's an immortal ghost Realtor (born in 1874) who is actually the mastermind in bringng evil back during the Q8 quasar pulses. He confronts Reggie and says things like "One of the requirements is that you die in terror, for which I really do apologize". He is quite proud of himself for recruiting Marc to be his new killer zombie. Because of their newfound and painfully expressed love, Marc saves Reggie in a startling conclusion that will surprise nobody, but is easily the best scene in the movie, as it is signals the film's end.

There are several versions of this available on DVD, and sadly mine contained both the "Director's Cut" and the "Home Video Premier Cut" as well as trailers, still photos, and a director's commentary that requires real mental toughness to get through. If you absolutely insist on seeing this film, I recommend the "Home Video Premier Cut" as it is seven minutes shorter. A better option, though, is to not watch either of them. Ever.

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FOREVER EVIL is an appropriate title, as the film may possibly be the longest and most uneventful Horror entries ever made. After his friends are killed by an undead monster, Marc must set out to destroy the evil lurking in the forest with the help of a young photographer that escaped the terror years earlier herself. It is impossible to overlook the staged scripting and horrific acting even though the film was made on a a limited budget. The emotionless characters turn the otherwise serious tone into an unintentionally hilarious mess as they calmly discover each of their closest friends and lovers brutally murdered without so much as flinching. Evans liberally borrows from THE EVIL DEAD series, ineffectively incorporating a mish-mash of evil forest spirits, zombies, and possessed foliage while also attempting to employ similar camera techniques. The plot fumbles around aimlessly for over an hour as the characters search for the source of the evil, which drives the pacing to a halt and offers no action or thrills. A few bloody gore scenes and decent low-budget make-up FX serve as the only redeeming qualities in this otherwise tiring Indie Horror effort.

-Carl Manes

I Like Horror Movies

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Okay, the HPL fan inside overrode reason and I bought this film off of ebay. It is truly a bad, terribly made low budget horror. But, in the long run aren't most of them?

It did have a Lovecraftian theme, but not really enough to warrant the money I spent (it wasn't very available when I got it, so I was ripped off.....in my opinion, 5 dollars is ripped off with this stinker)

I thought it sucked, but I guess you'll have to decide for yourself.

Two tentacles down on this one. The elder gods are ashamed