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Over the years, it seems that the Robin Hood saga has been a popular of sorts for film makers to re-invent, manipulate, and showcase again and again. No doubt due to global appeal and the premise of a hero taking from the rich, giving to the dreadful, and fighting the safe fight.
Of all the Robin Hood films ever produced, it’s readily apparent that Prince of Thieves relies less on respectable historical accuracy and leans more toward Hollywood flair which unruffled makes for an involving film. Despite using no English accent (which appears to grate on some reviewers for some reason), Kevin Costner presents himself well in the role of Robin Hood. Coupled with lovely performances from Morgan Freeman, Alan Rickman, Christian Slater, and Mary Elizabeth Mastrantonio, (to name fair a few), the record moves at an titillating journey and hits the imprint as a stand up adventure movie that doesn’t disappoint.
As for the unique 2 disc special edition release of this movie, it unbiased got a whole lot better. Not having to flip the disc over any more to recognize the entire feature like in the first release, you now have a novel digital transfer and a remastered DTS 5.1 soundtrack and both are outstanding. On disc 2 you have enormous bonus material enhancing the value and enjoyment even further. Included is a decent documentary on the making of Prince of Thieves, Bryan Adams performing his music video of ‘(Everything I do) I do it for you’, an interactive mediaeval weapons gallery, cast and crew bios, production notes, interviews with cast and crew, and trailers and t.v. spots.
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You don’t really have to be a die-hard Robin Hood fan to delight in this movie. The film has a few flaws and stretches the historical aspect somewhat but it plays out well with plenty of action, adventure, humor, and fun. This special edition release would be a kindly addition to any DVD collection and I recommend it to everyone.
I was at [local store] one day and saw the extended Robin Hood DVD on sale. I decided to choose it. I opinion that I liked all the swordplay, action, fantasy tales. I have to bellow you. It was a enormous seize! It was only [$$] for such a substantial extended movie.
Plot – Our celebrated Robin Hood is in a Jerusalem prison. He escapes with a moor, Azeem (Morgan Freeman), and his friend, Peter. Peter doesn’t beget it, but wants Robin to promise that he will protect his sister, Marion. Robin agrees and finds his contrivance home with Azeem. They ogle Robin’s father unimaginative and their servant blinded. The Sheriff of Nottingham (Alan Rickman, who is perfect in the role) killed Robin’s father and is doing obnoxious deeds to the terrible people in the plot. Robin and Azeem kill up in Sherwood Forest and meet its occupants, including John Itsy-bitsy and Will Scarlett. They all team up and resolve to fight aid against the Sheriff. (94/100)
Acting – A lot of people detest how Kevin Costner speaks in this movie. I really didn’t behold a change in his stutter at all. So it didn’t really bother me! I opinion Kevin did well as Robin. Christian Slater and Alan Rickman were the two who stole the movie. Christian was large as the mysterious and confusing Will Scarlett. Alan Rickman was hilarious and putrid as the Sheriff. They both were gargantuan and should have deserved mountainous credit for their positions. Also, there is a short cameo by Sean Connery. (96/100)
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Action and Violence – There is a lot of action and violence in this movie. It could have been rated R. There is a lot of swordplay, arrows being fired into faces, fist fights, and blood. I reflect any action man would like this movie. Indispensable Action Scenes : Overrun By Celts, Fiery Assault, Cheating The Hangman, Storming The Castle, and Final Duel. To check out these scenes, purchase the DVD and access them through Scene Selection. (95/100)
Sexual Themes – There are some sexual themes in this sage. There is a scene where Marion is about to be raped from the Sheriff. Also, Robin swims around nude under a waterfall. So there is some sexual train. I don’t really assume it was needed though. (89/100)
The Two Discs and The Extended Version – The extended version is very first-rate. It explains a lot more about the Sheriff. There is also some action set aside into some places. It is worth the money.
The extended version comes with two discs. Thankfully, you didn’t have to “turn the disc over” to survey the “whole” movie. So I was satisfied that I could objective search for the whole feature film on one disc. The other discs are loaded with extras. There is commentaries, documentaries, making of features, galleries, trailers, and more.
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Extended Version (98/100) The Two Discs (94/100)
Overall, this movie is very well done. It is very noble and worth the money to catch. Don’t secure the novel disc. It isn’t worth it! Objective grasp this. It has tons of action, romance, some comedy, elegant sets and landscapes, and unprejudiced an all around enormous feel to it.
Overall – 94 A
The extended version is supposedly UNRATED.
UNRATED for strong violence, action, sexual themes, and brief strong language.
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Buy Sunshine Cleaning Blu-Ray at Amazon.
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Every review I’ve read has been quasi-negative but not being one to listen to critics, I took a chance. I was very pleasantly surprised. Depending on why you go to a movie, you may not like this because it is not escapism. It deals with exact life issues and things most of us can characterize to. I found the movie to be very refreshing and all the characters true to life. The main character is a single mom trying to raise a precocious son. She has to deal with a dead-end relationship and an aging father, an irresponsible sister and a job she hates. How she copes and what she does is more believable than most of the “chick flick” films out today. I assume this is one of the better movies in a sea of fluff to expend time and money on. Amy Adams is amazing and it is always refreshing to survey Alan Arkin. Please don’t dismiss this film because of iffy reviews. It is worth going to contemplate.
A very exquisite quirky film which is after alot more then hastily easy laughs. This film gets fair serious at times and what an palatable mosey it is made easier by the stellar cast. Amy Adams as Rose and her sister Norah, Emily Blunt, tend to Rose’s 7 year broken-down son, Oscar and their enjoy cleaning business they are starting. This is no ordinary cleaning business but a crime scene shipshape up after the bodies have been moved and evidence secured and all that remains are the blood and the remanants of the deceased’s life. What I loved about this film is the humanity of the characters, true people, exact problems and trusty situations that have you pulling for them even as you shake your head at their mistakes. Alan Arkin is a joy as the cranky, scheming father of Rose and Norah, he is at a situation as an actor that he brings so considerable of what you examine from him as an actor while also bringing such subtle differences to all his characters that you never feel you’re seeing the same character you might’ve seen in another movie. Amy Adams is a intelligent revelation of eternal optimism and she has you pulling for her as she tries score over her absorb demons. Emily Blunt and Jason Spevak as Oscar are wonderfully amusing and genuine. There is a sincere honesty amidst some outrageously comic stuff that never panders or lectures and never cheats the audience. I only felt cheated at the ruin when the movie ended. I wasn’t ready to leave this family leisurely and wanted to live with them a small longer. That is a agreeable thing when a movie leaves you wanting more.
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Lowest Price on The Golden Age of Cartoons: Cartoons for Victory! at Amazon.
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One of the most spellbinding areas of the classic animation genre lies within the short films which were produced during the World War II era. This was made plainly positive with the astronomical success of Disney’s “On The Frontlines” DVD release of 2004. Extensive as this astounding station was, the scope was somewhat itsy-bitsy, highlighting only the Disney studios productions of the era. Many other animation venues were utilized for the war efforts as well, and producer Steve Stanchfield of Thunderbean Animation has now produced a current DVD sampling, providing a wider range of war era films for us to gaze. Specifically,” Cartoons For Victory” is a single disc compendium of animation offering a more global overview, even including rare materials offering the perspective of the Axis powers. Films produced in Britain, Czechoslovakia, Nazi Germany, Occupied France, and of course the USA, can be found here, and it makes for a most intelligent and though-provoking mix!
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The cartoons are grouped in two separate categories, with a third devoted to the Bonus Features. The first grouping includes entertainment/propaganda films that are sparkling effective at vilifying the enemy. Of particular designate is “Bury The Axis” a first class terminate motion section that is not only funny, but very clever in the musical department as well. It’s very similar in appearance to the George Pal Puppetoons. For an Axis perspective there is the diabolical “Nimbus Libéré” which shows viewers how Mickey, Donald, Goofy, Felix and Popeye, are happily bombing French civilians in order to “Liberate” them. This has to be seen to be believed! Another improbable film is “The Springman and the SS” a film produced in Czechoslovakia, that is a masterpiece of lampoon. The film is an worthy satire of the perceived extremisms of the Nazi Reich, and centers on the almost clownish antics of a Nazi leader who seems obvious every home is a haven for Allied sympathizers. A chimney sweep decides enough is too worthy and dons sofa springs upon his feet, and a shroud made of a sock, with a hole from the heel serving, as his stare portal. Helpful up, he bounds to the roof top of the ministry, and catches the SS corps attention by giving out a long yodel and then blows his nose with their flag! He then leads them on a slither that exploits their single mindedness to the point of their enjoy destruction. A very clever film! There are four other equally intriguing films to be explored here as well.
The second and larger grouping consists of educational/training films. Most vital are the “Private Snafu” and “Mr. Hook” cartoons. The immoral “Private Snafu” series was produced by Warner Brothers for the Army-Navy Camouflage Magazine presentations and were directed by legends such as Robert Clampett and Frank Tashlin. These films have developed an almost cult following, and for estimable reason. Because of the military’s willingness to allow a cramped more creativity along adult lines, the subject matter focused more on young enlisted men’s attitudes and interests, and censorship was relaxed accordingly. Two of titles which appear here, “Booby Traps” and “Censored”, are celebrated for their “pinup girl” stylings. For instance in “Censored”, Snafu’s gal Sally Lou is portrayed in a sexy topless vignette, albeit demurely covered by an arm, while chatting on the telephone.
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The Mr. Hook cartoon series is extremely rare to fetch, being produced for the United States Navy. Only four films are known to exist, and all are included here! The uniting theme within these cartoons was to support sailors to set aside their money for after the war, preferably in war bonds. Hook himself was more of an average Joe than Snafu, but soon exhibited all of the guile and resilience expected of an American soldier when challenged by an enemy. The character was actually created by Hank Ketchum, who is more widely known as the creator of the “Dennis the Menace” cartoon strip. The debut cartoon in the series was produced at the Walter Lantz studios, in Technicolor no less!, Titled Retract Mark Mr. Tojo (1943) the film was, until this DVD release, obtainable only through “grapevine” trading ventures, and those almost always being of very marginal quality. Here we have the abet of a sparkling pristine print source, looking like it was made yesterday!
Another menu selection offers a grouping of films that concentrate on more generic approaches to instructional training for the armed forces. These are surprisingly intriguing, considering how dry the subject material is. In particular “Cloak” demonstrates the why and how of the subject in an easily understood, but attention keeping manner. Filmed in Technicolor by the First Motion Narrate Unit of the US Army Air Corps, it was directed by Disney mature Frank Thomas, and boasts fine production values. The instructional aspects of the film are explained by “Jehudi” a chameleon that is well versed in the applications of veil. (naturally!) Blending equal measures of humor and seriousness, this is another first rate inclusion in this DVD release.
This may well be the finest collection of films Thunderbean has keep together since the “Popeye The Sailor-Original Classics” DVD release. Producer Steve Stanchfield has blended together an estimable variety of rare war-era cartoon films. To be objective the visual quality is a bit lower than usual, but it is more than made up for by the comparative rarity of the films found within. Most of this material has never seen the spotlight of a home video production, so there is a newness here that is rarely experienced in a classic animation genre DVD. And these films are composed highly curious! I guess the best compliment I can pay this release is to say it belongs correct along side my “On The Frontlines” place, and it wouldn’t surprise me at all if I viewed it more often than the Disney state!
Del Walker
thank you to the people who attach this unbelievable collection of war time cartoons together! these “living history” cartoons are all from the war years and have cartoons from all over the world(includeing some german cartoons of the time that must be seen to be belived) . this is really one collection that i hope they set out a section 2 and more of. the transfers examine mammoth and as history these are a stout collection of cartoons!!!!! a must have!!!!!!!!!!
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Buy The Last Enemy DVD at Amazon.
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I was having a discussion with a distinguished younger person, a college freshman, who was talking enthusiastically about how distinguished she accomplishes on the internet: banking, investing, shopping, updating her information on Facebook. I suggested that she read George Orwell’s 1984, Margaret Atwood’s Handmaid’s Narrative and notice the movie The Gather. Also to check out what happened during the 2003 North East Blackout when debit cards wouldn’t work, computers stopped, cell towers were overloaded so it was hard to obtain a call and if you needed a card to enter a building, you’re out of luck. This BBC drama takes the whole scenario even further to note the respectable and the abominable of using surveillance technology to protect us as long as we are considered “the safe citizens.” You don’t have to be particularly paraniod to inspect how many of the things written about in 1984 and The Handmaid’s Record have become matters of course.
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This series has safe acting, plenty of suspense and makes you want to survey it all in one viewing. It’s enthralling as well as thought-provoking.
An consuming thriller based on the fright that government can and eventually will endorse a 24/7/365 total reach to control and ‘right think’ a populace ala Orwell’s Mountainous Brother.
As London has become the de facto standard in regards to CCT video, advances in heuristic computer modeling via known association, and biometric recognition software – ‘Enemy’ drops a shining computer engineer into this coming world via the mysterious death of his estranged brother, a illustrious and respected field succor worker helping the less fortunates of the world. A brother that may have stumbled into an international cover-up of a possible global pandemic.
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Equally hideous and remarkable, this stark well-made BBC production (a standard that we in the US should strive for IMO) has already been added to my library.
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Doubt Review At Amazon.
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In “The Devil Wears Prada”, Meryl Streep armored herself in an icily glamorous veneer, striking horror into the hearts of subordinates with a deadly combination of haughty contempt and soft-spoken venom. Her turn as an Anna Wintour-ish magazine editor was silly, yet subtle, never succumbing to over-the-top theatrics that would have propelled the performance into caricature. As the formidable Sister Aloysius in John Patrick Shanley’s original film version of his Broadway hit, “Doubt”, Streep again assays the role of an unlikable character, this time with a unpleasant earnestness that eschews subtlety for the ferocious passion of a woman for her beliefs.
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Set in an urban Catholic school circa 1964, “Doubt” unfolds in a speedy changing America that many aren’t yet ready to embrace. The Kennedy assassination is composed novel in everyone’s minds, and the civil rights movement has resulted in the enrollment of the first dismal student in the Italian-Irish parish school. The parish priest, a forward-thinking and open-minded (relative) newcomer, is destined to clash with the school’s significant, an old-school, fire-breathing dragon of a nun. When a expect of priestly impropriety with the murky student arises, all hell breaks loose, as Sister Aloysius jumps at the opportunity to rid her world of a man whom she clearly considers unworthy of wearing the robes of the priesthood. Whether her certainty of the priest’s guilt is a manifestation of her disapprove for the man, or a prove of suited danger for the welfare of the young student, becomes a point of contention between Sister Aloysius and the younger, sweet-natured Sister James who, naively, started the ball rolling in the first area. As Sister Aloysius relentlessly presses on with her unofficial (and unsanctioned) witch hunt, the filmmakers play on the audience’s doubts, not only about the nun’s motivations, but whether or not the priest actually engaged in an defective relationship with the boy.
As already celebrated, Meryl Streep’s Sister Aloysius is a force to be reckoned with. A gloomy clad harpy who eats nails for breakfast and has acid for blood, she’s a likely descendant of Vincent Price’s witchfinder general in “The Conqueror Worm”. Utterly humorless, Sister Aloysius inhabits an obsolete world in which everything can be viewed as either dusky or white, suitable or ghastly. There are no grey areas and, thus, no room for doubt. That the times are changing is not lost on Sister Aloysius and, with her stern, strident face and posthaste, huffy mannerisms, the frustration is evident, even as she tries to enforce her sense of normalcy and values—her draconian Catholicism–on an institution that she fears will soon gain her musty. It is not honest the boy’s welfare that is at stake, nor that of the priest, nor even the Catholic Church—it is the future of Sister Aloysius, herself, that hinges on evicting the interloper and his near-blasphemous (in her mind) ideas of progress and forward movement (thus calling into quiz the Sister’s contain authority) . But impartial when deem you’ve had enough and are secretly hoping that the priest, Father Flynn, will throw this merciless, headstrong woman out of a window, the actress gives us something–a gesture, a leer, a tone–to remind us that Sister Aloysius is not invulnerable, that she is a precise person who, slow the corporeal severity, is shocked and all-too-human.
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Meryl Streep has long been regarded as one of the world’s premier film actresses. There’s a reason for that, and it’s on exhibit proper here in this film. She has always had the ability to totally inhabit the characters that she’s portraying, but in “Doubt”, she goes a step further, causing me to momentarily forget that I was watching Meryl Streep giving a performance. For the duration of the film, she actually was Sister Aloysius. She’s such a splendid actress that it’s almost impossible to imagine her leaving the site to drive one of her kids to soccer practice. Or going home to prepare dinner. She’s uncannily, impossibly, almost inhumanly reliable, and her performance in this film reminded me, once again, of what a spectacular talent she is.
For all of five minutes, Streep is nearly matched in the acting department by Viola Davis, a little-heralded actress who excels (all-too briefly) as the mother of the alleged victim. The scene where she and Streep poke along a sidewalk, discussing the implications of what the Sister is suggesting, and the subsequent reaction of the child’s mother, is shattering. It is completely keen, without ever seeming maudlin or manipulative, the procedure plays-to-movies sometimes are.
As Father Flynn, Philip Seymour Hoffman does a pretty job of bringing to life a conflicted, ambitious priest who wishes only to connect with the larger community and compose the Church more inclusive, less intimidating. Being parish priest, Father Flynn occupies a loftier space than Sister Aloysius (demonstrated when he casually takes over her desk during meetings), but to her, he clearly occupies a lower apt plain: he smokes, he laughs and jokes with the students, he uses sugar in his tea—it’s not a tall leap from there to child molesting in Sister Aloysius’ mind. On the surface, Hoffman’s Father Flynn is a genuine, genial character, but as with other Hoffman roles, there’s something edgier (and possibly a cramped perverse) going on underneath; in “Doubt”, the request of guilt is never proven, and yet the ambiguity of Hoffman’s performance causes doubts to remain long after the movie is over.
As Sister James, the right fair center of the memoir, Amy Adams is (as usual) intellectual, even without makeup, and brings a convincing emotional depth to her character. Initially suspecting some sort of impropriety between Father Flynn and his pupil, Sister James almost immediately comes to regret her decision to confide in Sister Aloysius. An immensely watchable actress, Adams seems to be branching out and testing her mettle in more serious pieces of work, after a string of frothy, feel-good films of varying quality.
In shifting his Broadway success from stage to hide, director Shanley does an admirable job of making a serene transition; I never got the impression that I was watching a filmed play, and the (roughly) 105 runt running time flew by so lickety-split that I’m not obvious I ever blinked. Sitting in an audience tranquil largely of senior citizens, I noticed that not one of them got up to go to the bathroom during the movie, so that alone, speaks volumes.
At a Catholic school circa 1964, doubt has begun to enter a world of certainty. Times are changing and the Catholic Church is becoming more liberal. This sets the stage for a battle between distinguished Sister Aloysius (Meryl Streep) and Father Flynn (Philip Seymour Hoffman) . Sister Aloysius suspects Father Flynn of evil behavior with a student (Joseph Foster II) on very circumstantial evidence and makes it her crusade to choose him from his dwelling. As she says, she has no proof, but she has her certainty.
It is this certainty which seems to originate her a monster, as she dismisses each bit of information or alternate interpretation of events that would cast doubt on her view. But this would not be such a rich film if writer / director John Patrick Shanley had made it that simple. The viewer is never given well-behaved ground for completely siding with either the sister or the father. While it is very positive that Sister Aloysius is very rigid, chilly, and judgmental, it is also possible that she is fair. I care for the draw Shanley encourages us to reflect about the issues raised and way our occupy conclusions, which is why I was very disappointed in the final moments of this film, in which Shanley makes explicit a element of his theme that would have been better left understated, ending his script on a rather jarring label. Amy Adams, who plays the young sister caught in the middle of this battle, and Viola Davis, who plays the boy’s mother, also deserve mention for their remarkable performances.
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Robin Hood – Men in Tights Review At Amazon.
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Love Robin Hood? Well, Mel Brooks has made fun of this timeless account in one of the “best ideas since pay toilets.” This favorable and witty film has continued Mel Brooks’ legacy of wacky, unfriendly films such as Blazzing Saddles, Young Frankenstein, Spaceballs and History of the World Fraction I.
Cary Elwes probably described his possess performance best: “Unlike some other Robin Hoods, I can state with an English accent!” Cary Elwes brought comedic timing and a wacky calmness to literature’s most brave and stern characters.
Other sizable performances included Richard Lewis as Prince John who is constantly annoyed by the noise in his castle and his outstanding mobile mole. David Chappelle brings soul to the cast in a midevil attitude sort of contrivance with impersonations of Malcolm X and distinguished lines such as “awww, white men can’t jump!” Roger Rees also brings a wacky interpritation to one of history’s greatest villains. Price Blankfield brings and incredibly comic wacky blindman to life with respectable delivery and rapidly punchlines. Also, inspect out for Small John, “but don’t let the name fool you, in dependable life, he’s accurate ample!” played by Eric Kramer. Some other noticible performances were given by Amy Yasbeck, Megan Cavanagh, and Matthew Porretta.
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Watch out for many well-known stars making brief appearances such as Isaac Hayes, Tracey Ullman, Patrick Stewart, Dom DeLuise, Dick Van Patten, and of course, Mel Brooks.
You’ll want to contemplate this hillarious movie over and over again to acquire some of the faster jokes and to purchase up on some of the older ones. I have seen this movie many times and I aloof advise lines from it on almost a daily basis.
As Mel Brooks would say this movie is “the best thing to arrive since pay toilets!”
When Mel Brooks is “on,” nobody is funnier. “Robin Hood: Men in Tights” is another side-splitting parody from the director, and like his other hits, it has some moments that have me falling out of the chair no matter how many times I examine them.
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The space loosely (very, very loosely) follows the Robin Hood saga of yore. Robin, looking a lot like Errol Flynn, is surrounded by his Merry Men. They’re merry, alright–they do a singing, dancing number entitled “Men in Tights” after trying to hike up said garments in “Ye Olde Privy.”
Robin is lured into a obnoxious archery contest concocted by the harmful Prince John, with the encourage of Don Giovanni. This particular “Don” is played to the hilt by Dom DeLuise, doing a perfect imitation of Marlon Brando as Don Corleone. This is one of the aforementioned scenes that has me unable to sit in the chair! It is literally a show-stopper; so humorous that it’s hard to hear the lines.
When Maid Marion hears of the set, she rides into the forest to warn her beau–accompanied by her massive Brunhilde of a chaperone (the aside to the audience by the chaperone’s horse is another can’t-miss fraction of hilarity) . Robin can’t resist showing off his archery talents, however, and rides off to the tournament, brilliant he is marked for death.
Need I say it–everything turns out expansive in the slay. Except for the viewer, who has had a heart attack from laughing too hard! This is a must to add to your collection. Another Mel Brooks classic.
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