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Murderous Intent Review. Product: Murderous Intent Average customer review: Amazon Price: Sale Price Too Low To Display Click Below To See Amazon Sale Price Add to cart to see discount price@ Availability: In Stock Usually ships in 24 Hours Free Shipping At Amazon

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For some curious reason the very blooming Australian/British film LIKE MINDS underwent a name change and hit the US market as MURDEROUS INTENT. The current title is so mighty more apropos of the story: the alternate title tends to perform the audience pass over ‘just another death film’ category that prevents this well-behaved miniature film from lively to a wide audience. Writer/Director Gregory J. Reed and his talented cast and production staff deserve better as this is a lovely psychological drama well worth seeing.

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The setting is an all boys’ prep school and among the students is Alex (a very resplendent young Eddie Redmayne) who happens to be the son of the headmaster (Patrick Malahide) and is a intelligent scholar - if somewhat of a troublemaker at the same time. Into this setting arrives a fresh student Nigel (an equally ravishing young Tom Sturridge) who is a darkly still, malevolent, colorful lad preoccupied with history and necrophilia. The two boys are placed together as roommates, remarkable to Alex’s objections, and gradually secrets are unraveled that demonstrate how the two boys become, via gestalt, a sum of tainted greater than its parts. Alex is timorous and yet fascinated with the ritual-influenced deaths that open to occur and when Nigel himself is murdered, Alex is the blamed.

Enter the police: McKenzie (Richard Roxburgh) arrests and charges Alex with execute, but requires substantiation from a forensic psychologist Sally (the always capable Toni Collette) . Sally interviews Alex, observes his behavior and manages to collect inside his mind, learn about the historical data that has directed the rotten from her astute questioning sessions with Alex, and begins to follow her bear intuition about the case. There are twists and turns, flashbacks to incidents, investigation details, and discoveries bordering on the occult that slide this sad tale like a helix of alarm. The ending will surprise the viewer.

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The script is satisfactory, the acting is top notch, the production earn is accomplished and the musical obtain by Carlo Giacco is simply bright. This is a magnificent art film, graced by the quality of excellent acting space by Collette, and is a tense drama that will hold an audience thinking and interested to the final credits. Highly Recommended. Grady Harp, August 07

Four-star ticket is for a mis-catching accent of teen-boy characters presenting an top-notch account of the Catholic school high-grades, whose thirst for individual achievements and ring-leading is well-mixed with mutual attraction and pathologic urges.

They are not Hannibal] yet, but a determined young predators alike those of Grimm Love] adults surely.

Not so terrible police/school thriller.
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Stream The New York Yankees Fall Classic Collector’s Edition 1996-2001 Online. Movie Title: The New York Yankees Fall Classic Collector’s Edition 1996-2001 Average customer review: The New York Yankees Fall Classic Collector’s Edition 1996-2001 is available for streaming or downloading. Click Here to Stream or Download The New York Yankees Fall Classic Collector’s Edition 1996-2001

Make some room on your DVD shelf next to your Yankeeographys because MLB Productions have a hit on their hands. They answered the 2004 Boston Red Sox box position with a Yankee compilation that was second to none.

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While the Red Sox spot included only the 2004 World Series the Yankees collection includes some of the greatest World Series Games of the Joe Torre Era. The Red Sox residence is guaranteed to last 86 years so it should support the Sox fans elated for a long time. This position includes five complete World Series Games, all of which are Yankee victories of course. And if that wasn’t enough, in addition to the complete games there are two bonus disks.

As racy as the complete games are, unfortunately it doesn’t include John Respectable and Michael Kay like the YES Network Yankee Classics do. It does include the fresh national broadcasts, which has commentators that feature Bob Costas, Joe Buck, Tim McCarver and Joe Morgan. The relate couldn’t be sharper and it does seem to be a fat featured DVD as opposed to some past releases.

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The paunchy games included 1996 Game 4 which features Jimmy Leyritz leading the Yanks support from a 6-0 deficit to a 8-6 extra inning triumph that tied the series at 2 all. The next game is another advance from tedious victory. The third game of the 1998 series features the Bombers beating San Diego ace reliever Trevor Hoffman.

The third complete game is another game three, this one again against the Braves that features a traipse off homer by Chad Curtis. Mariano Rivera took a fetch this time around instead of his usual assign. The forth complete game DVD is a Game 5 series ender against the Mets in 2000, the first Subway Series since 1956. The Yankees won it in the top of the ninth on a single by trim sub Louie Sojo. Mike Stanton got the gain in relief of Andy Pettitte. The loss went to passe Yankee farmhand Al Leiter.

The final complete game while a Yankee victory is current in the fact that the Yankees lost this series to the Arizona Diamondbacks. What made this game unusual was that this was the 911-year and due to the suspension of baseball that year at midnight of that game it became November. It was the first baseball game played in November. And Derek Jeter homered in the bottom of the tenth thus becoming the first “Mr. November”.

The two Bonus DVDs are worth the sign of admission on their absorb. They include all the MLB World Series videos plus a plethora of bonus footage that includes Roger “Rocket” Clemens 2000 ALSC game 4 masterpiece. Other inclusions are highlights from Gooden’s No Hitter, David Cone’s and David Well’s Perfect Games, Jeter’s ALDS series saving flip, and many other highlights by names like David Justice, Jim Leyritz, and Paul O’Neill. There is abundance of unhurried the scenes footage that includes locker room, interviews and press conferences and remarkable, great more.

The packaging is a Trivia Buffs delight as it is paunchy of boxscores, highlights and facts. It will jar your memory reading the cases alone.

These disks are a must have for Yankee fans. As soon as I posted the banners I saw many of you pre order these aesthetic DVDs. So what are the rest of you waiting for?

The only regret I have about this DVD plot is that it isn’t as titanic as, or bigger than MLB’s overly indulgent 2004 Red Sox state. The five games selected for presentation in this position are bright to eye in quality more pristine than any Yankee fan’s off-air recording might be, but the dwelling IMO could easily have included five more games from this era, including primary ALDS and ALCS games as well.

The truly nice thing is that in presenting these game broadcasts, we collect them unedited. The FOX and NBC graphics are left intact as are the promos for other shows, all of which usually gets chop out of ESPN Classic replays. Chapter stops are conveniently keyed to individual half innings which is very profitable for accessing key moments of the games.

The supplementary material also makes this dwelling a must-have. The 2000 WS was the last official highlights video to be released in VHS only at the time it came out, so Yankee fans can now for the first time have the four WS highlight videos of 96-98-99-00 in a better format. Also, in incompatibility to the supplementary material one finds in the Yankeeography discs, key games like the Wells and Cone perfect games are spotlighted with up to a paunchy half inning of action rather than impartial one batter’s worth of action.

Yankee fans should bewitch this up and hope that MLB might do a Volume 2 spot devoted to this broad era of the Yankee dynasty sometime in the future.
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Frost/Nixon Movie Streaming. Product: Frost/Nixon Average customer review: Amazon Price: Sale Price Too Low To Display Click Below To See Amazon Sale Price Add to cart to see discount price@ Availability: In Stock Usually ships in 24 Hours Free Shipping At Amazon

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“Frost/Nixon is a riveting historical drama, based on the play by Peter Morgan. Morgan wrote the movie’s screenplay, as well as screenplays for “The Queen,” and “The Last King of Scotland.” The controversial 1977 Frost/Nixon interviews are dramatized here, and Frank Langella’s favorable performance as the disgraced broken-down president, Richard M. Nixon, is worth the stamp of a movie rental alone.

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Richard Nixon resigned from the office of the presidency on August 9, 1974, rather than face impeachment by Congress for his role in the Watergate scandal, and subsequent events. He was the only US president ever to do so. The film shows actual footage of the Nixon family, leaving the White House and boarding a helicopter - the first step in a roam which will prefer Mr. Nixon into exile.

David Frost, (Michael Sheen), a British celebrity talk reveal host, watches this event on television and decides that an interview with Nixon would be impartial the thing to relaunch his waning career. He pursues the project for some time and winds up financing it out of his acquire pocket, while searching desperately for backers. Creepy literary agent Irving “Swifty” Lazar, (Toby Jones), negotiates the deal. Nixon agrees to do more than 20 hours of on-camera interviews with Frost, and will receive $1 million or more in fees and profits for the sessions. He is in serious debt. He has sizable apt bills and support taxes to pay and needs the money. Under the terms of the contract, Nixon will have no control over roar of questions or editing, and will not view any of the questions in come. Of course, he can always refuse to respond questions, but he will have to do so in front of a mammoth audience.

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Frost is a most incongruous choice for interviewer, as he has no journalistic experience and is known for being an entertainer and playboy. Yet he manages to upstage major TV networks with their beneficial interviewers, like Mike Wallace, Walter Cronkite, and David Brinkley, and find the gig. Nixon, after almost three years of silence, out of the public peep at his home in California, looks to the series of interviews as an opportunity to vindicate himself and resurrect his very tarnished image. He believes that Frost, a lightweight, will not ask the tough questions, and allow him to forward his fill version of his time in office and Watergate.

Frost brings British John Birt, (Matthew Macfadyen), with him to California, to roar the production. They hire radical researcher James Reston, Jr., (Sam Rockwell), who wants Frost to play hardball and try Nixon in the public study. TV producer Bob Zelnick, (Oliver Platt), signs onto the project also. Caroline Cushing, (Rebecca Hall), Frost’s pretty girlfriend, accompanies the team. Nixon takes label of her beauty on several occasions. He rattles Frost, before the beginning of one session, by asking if “he had done any fornicating” the night before. I have never known anyone else who is great of using such unpleasant language, frequently, and remain in a formal stance while doing so. However you leer at him, RMN is a very formal man…he never looks relaxed - in accurate life or as played by Mr. Langella.

Nixon has his gain team. US Marine officer Jack Brennan (Kevin Bacon), a Vietnam ancient, is Nixon’s most steady fan, and Diane Sawyer, (Kate Jennings Grant), is a consultant and assistant. Nixon tells Frost at the get-go, “I shall be your fiercest adversary. I shall arrive at you with everything I’ve got. Because the limelight can only shine on one of us.”

Ultimately, forty-four million viewers turned-out to seek Richard Nixon go head-to-head with David Frost, about a third of the U.S. viewing public at the time. Director Ron Howard brings the tension and drama of this event to the camouflage…and then some. He focuses more on the psychological aspects of the characters rather than on the politics keen - to mammoth achieve. Howard explores each man’s insecurities and the enormity of their egos. He really captures the intensity of the interview sessions, including shots of Nixon mopping perspiration from his upper lip with a handkerchief.

I was somewhat terrorized by one scene, a contrived midnight telephone call that Nixon, who had been drinking, makes to Frost. As so distinguished of this film is lawful, or mostly fair, the insert of a purely fictional event, is mighty but misleading. Mr. Howard took dramatic license too far in this instance.

Again, Mr. Langella’s portrayal of Richard Nixon is stellar. Two monologues, in particular, stand out as exceptional. The final interview scenes, with close-ups of Mr. Nixon’s/Langella’s face, of his thoughtful, almost poignant expressions are phenomenal as he admits that he, “let the American people down.”

This is a film which brings grand depth to the event which it portrays, and to the characters interested. As a baby boomer, who clearly remembers Watergate, and the events surrounding it, I was riveted to the cover. Highly recommended.

Jana Perskie

After the Watergate scandal and his subsequent resignation, Richard Nixon (Frank Langella) is living in relative seclusion wait on in California. But, following a lucrative interview offer from British talk reveal host David Frost (Michael Sheen), Nixon sees an opportunity not only to design some easy money but to return himself to the public spotlight. Meanwhile Frost, best known for chatting with celebrity lightweights, views this as a chance to gather fame and respectability as a journalist in America.

Frost is encouraged by his research aides to go hard after Nixon. But instead Frost throws softballs for the first three interview segments and is easily overwhelmed by his more experienced adversary. Then, on the night before the final interview, Frost receives a unfamiliar phone call from Nixon, who basically goes off on a drunken rant. Frost, smelling blood, decides to remove a more aggressive advance and on the final day Nixon ends up making humiliating admissions about his role in the Watergate cover-up, perhaps cementing his tarnished legacy in American politics.

How grand you like this movie will probably depend on how distinguished interest you have in the subject matter. But there is no doubt that this is one of those rare motion pictures that reaches arrive perfection in terms of filmmaking. The acting, especially by Langella, is obedient and the sense of dramatic timing is impeccable. The slight details were also well handled, such as film’s space on depiction of the 70’s and Nixon’s bizarre fascination with Frost’s Italian leather shoes. This is probably the best directorial outing in Ron Howard’s career. Highly recommended.
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Watch The Joan Crawford Collection, Vol. 2 Online. Movie Title: The Joan Crawford Collection, Vol. 2 Average customer review: The Joan Crawford Collection, Vol. 2 is available for streaming or downloading. Click Here to Stream or Download The Joan Crawford Collection, Vol. 2

These are the Films of the first just Movie-Star, Miss Joan Crawford. I cannot wait for this DVD dwelling, because it will include some of Joan’s best movies!! And, the movies in this boxed residence include Joan at her most lovely! “Sadie McKee” is absolutely my popular movie, ever. Joan looks so dazzling in this 1934 MGM classic. I first saw this movie 5 years ago when TCM did a month-long Joan Crawford marathon; this was the first movie I ever saw with Miss Crawford and since then I became a vast fan and completely fell in savor with this kind, pretty and very talented actress! I also absolutely like “Odd Cargo.” This is one of Joan’s best pictures with her number-one leading man, Clark Gable; and as far as I’m aware it is the only movie she ever made with Mr. Gable where she took second billing! After you notion these movies you will gape why Miss Crawford was the hardest working woman in Hollywood!

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Isn’t the describe on the veil of this location really resplendent! Below is a list of each movie included in this region, all movies are shown in pan and scan except for “Torch Song” which is in widescreen. (Scroll down, to contemplate a list of each one of the special features included, as well)

Sadie McKee (May 9, 1934) (Studio: MGM)

Runtime Listing: 90 mins.

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(Joan played: Sadie McKee Brennan)

Color/BW: Shaded and White

Brief Synopsis:

A working girl suffers through three alarmed relationships on her road to prosperity.

What Miss Crawford had to say about this movie: Everything about “Sadie McKee” was upright - Gene Raymond, Franchot Tone, the script, Clarence Brown’s direction, Adrian’s customs, the works.

Strange Cargo (March 1, 1940) (Studio: MGM)

Runtime Listing: 111 mins.

Color/BW: Murky and White

(Joan played: Julie)

Brief Synopsis:

Devil’s Island escapees are changed forever by a prisoner who thinks he’s Jesus.

What Miss Crawford said about her last characterize with Clark Gable: Two absolutely amazing films and so different (also discussing “Susan and God”) It’s a shame I couldn’t have retired lawful then, and advance serve to do “Mildred Pierce.” Clark and I did our best work together in “Irregular Cargo.” We had always been terminate, sometimes too end, but now we knew each other as old persons and the chemistry was aloof there and it added to the fire.

A Woman’s Face (May 14, 1941) (Studio: MGM)

Runtime Listing: 105 mins.

Color/BW: Dusky and White

(Joan played: Anna Holm aka Ingrid Paulson)

Brief Synopsis:

Plastic surgery gives a scarred female criminal a current outlook on life.

This is what Miss Crawford says about this picture: I have nothing but the best to say for “A Woman’s Face.” It was a stunning script and George(George Cukor, the director) let me race with it. I finally skittish both the critics and the public into realizing the fact that I was, at heart, a dramatic actress. Mammoth thanks to Melvyn Douglas; I mediate he is one of the least-appreciated actors the conceal has ever stale.

Flamingo Road (May 6, 1949) (Studio: Warners)

Runtime Listing: 94 mins

Color/BW: Shadowy and White

(Joan played: Lane Bellamy Reynolds)

Brief Synopsis:

A stranded carnival dancer takes on a unpleasant political boss when she marries.

Here are Miss Crawford’s comments on this film: …This script missed, Curtiz (the director) missed, I missed. I unbiased didn’t jell, that’s all, and it’s another time when my judgment screwed up completely, because we were shooting it I belief it would be well-behaved.

Torch Song (October 23, 1953) (Studio: MGM)

Runtime Listing: 90 mins.

Color/BW: Color (MetroColor aka EastmanColor)

(Joan played: Jenny Stewart)

Brief Synopsis:

Musical comedy memoir Jenny Stewart, who has been hardened by the worst life has to offer, finds romance when blinded war-veteran Tye Graham becomes her fresh piano accompanist.

Miss Crawford’s comments on this movie: …Support at Metro, after all those years… it was like a homecoming, and half the people on the place, the prop men and the grips…. they remembered me and I remembered them. I loved doing that film. It gave me a chance to dance again, to pretend to deny, to emote all over the state and in color yet! (Note: This is Miss Crawford’s first staring role in a major motion narrate that is entirely in color!) If I hadn’t brought it off I’d only have myself to blame because all the elements were there.

This boxed area also includes a lot of special features, many of which I enjoyed very noteworthy. I especially got a kick out of Joan’s “Torch Song” recording sessions! And, I enjoyed Joan’s rendition of “Flamingo Road” very considerable because this is one of her first radio performances that I have heard and it also included a brief interview afterwards!

Sadie Mckee Special Features:

Goofy Movies Number Four (1934) (Studio: MGM)

Runtime listing: 9 mins.

Color/BW: Dim and White

Brief Synopsis:

This is an MGM short which contains feature stories with droll commentary.

“Contented Harmonies” “Toyland Broadcast” (December 22, 1934) (Studio: MGM)

Runtime listing: 6 mins.

Color/BW: Color (Technicolor)

Brief Synopsis:

This is an MGM short of an arresting cartoon. The toys note a musical revue on their gain radio space.

Sadie McKee Trailer (1934) (Studio: MGM)

Runtime Listing: 2 mins.

Color/BW: Shadowy and White

Strange Cargo Special Features:

Crawford & Gable

Runtime Listing: 14 mins.

More About Nostradamus (January 18, 1941) (Studio: MGM)

Runtime Listing: 10 mins.

Color/BW: Dark and White

Brief Synopsis:

This is an MGM short which includes a brief biography about Nostradamus and highlights some of his accomplishments.

Strange Cargo Trailer (1940) (Studio: MGM)

Runtime Listing: 2 mins.

Color/BW: Sad and White

A Woman’s Face Special Features:

You Can’t Fool A Camera (May 1941) (Studio: MGM)

Runtime Listing: 10

Color/BW: Dismal and White

Brief Synopsis:

This short starts out with a dramatization in a documentary-format. Then it ends showing some of the stars of the time with a salute to the actors who have entered the armed forces.

Note: On the disc it is subtlitled as “A Recent Romance of Celluloid,” however I did not gawk this anywhere on the short.

Little Cesario (August 30, 1941) (Studio: MGM)

Runtime Listing: 7 mins.

Color/BW: Color (Technicolor)

Brief Synopsis:

This is an bewitching MGM short.

Screen Guild Playhouse (April 19, 1942)

Runtime Listing: 30 mins.

Color/BW: N/A

Brief Synopsis:

Bette Davis gives a radio performance of “A Woman’s Face.” This is only an audio recording.

Note: This can not be snappy forwarded.

Also Note: While this is playing, the camouflage impartial includes the “A Woman’s Face” special features menu up.

Lux Radio Theater (November 2, 1942)

Runtime Listing: 57 mins.

Color/BW: N/A

Brief Synopsis:

Ida Lapino gives a radio performance of “A Woman’s Face.” This is only an audio recording.

Note: This can not be swiftly forwarded.

Also Note: While this is playing, the hide honest includes the “A Woman’s Face” special features menu up.

A Woman’s Face Trailer (1941) (Studio: MGM)

Runtime Listing: 3 mins.

Color/BW: Dismal and White

Flamingo Road Special Features:

Crawford at Warners

Runtime Listing: 12 mins.

Curtain Razor (May 21, 1941) (Studio: Warners)

Runtime Listing: 7 mins.

Color/BW: Color (Technicolor)

Brief Synopsis:

This is a Warners short/cartoon that features Porky Pig as a talent scout.

Screen Director’s Playhouse (May 26, 1950)

Runtime Listing: 25 mins.

Color/BW: N/A

(Joan played: Lane Bellamy Reynolds)

Brief Synopsis:

Joan gives us a very special treat when she reprises her critically acclaimed role from “Flamingo Road” for radio! Joan’s radio performance comes in at 22 minutes and afterwards there is a brief interview with Joan and the director, Michael Cortiz.

Note: This can not be posthaste forwarded.

Also Note: While this is playing, the veil fair includes the “Flamingo Road” special features menu up.

Flamingo Road Trailer (1949) (Studio: Warners)

Runtime Listing: 2 mins.

Torch Song Special Features:

Tough Baby: Torch Song

Runtime Listing: 12 mins.

TV of Tomorrow (June 6, 1953) (Studio: MGM)

Runtime Listing: 7 mins.

Color/BW: Color (Technicolor)

Brief Synopsis:

This is an MGM short which discusses television viewing “of tomorrow” in a very comic design.

Jimmy Fund Public Service Announcement (1953) (Studio: MGM)

Runtime Listing: 3 mins.

Color/BW: Murky and White

(Joan played: herself in a public service message)

Brief Synopsis:

This is a commercial that Joan made which was shown before her movie, “Torch Song.” Many fans, including myself have seen this scarcely-seen commercial, but this includes the entire announcement in its entirety!

Unreleased Torch Song Recording Sessions/Rehearsals (1953) (Studio: MGM)

Runtime Listing: 31 mins.

Color/BW: N/A

(Joan played: more or less the character of Jenny Stewart)

Brief Synopsis:

This includes incredibly-rare, uncut audio clips of Joan singing for “Torch Song.”

Note: This can not be lickety-split forwarded.

Also Note: While this is playing, the mask unbiased includes the “Torch Song” special features menu up.

Torch Song Trailer (1953) (Studio: MGM)

Runtime Listing: 3 mins.

Why was Miss Crawford such a lively and unconventional star…?

Miss Crawford was a sterling star, who worked her a-s-s off to accumulate to where she was! And, do you know what she did once she got there? She worked 10 times harder…! Joan had the longest and most impressive film career of any star during Tinseltown’s noted Golden Age of Cinema! Joan’s career lasted 5 decades! And her career proved to be more real to her than any lover or husband! Miss Crawford was always known for her fashion-sense, classical beauty and the ability to constantly re-invent herself (half a century before the Material Girl was a household name!)

Joan Crawford started her career in 1925 as a flapper, playing in bit parts as a contract-player for the most radiant studio in town, MGM. She was nothing more than a glorified prop, unbilled in her first film, “Lady of the Night.” Soon, Joan was promoted to leading-lady, appearing in such critically-acclaimed pictures as, Harry Langdon’s Tramp Tramp Tramp, and Lon Chaney’s The Unknown. But it wasn’t until Joan celebrated the role of Diana Medford, in Our Dancing Daughters that she became a bona fide star! By the slay of the decade Joan had more than 20 pictures under her belt!

In the 30’s when many tranquil stars were bowing out gracefully, Joan was support with a vengeance! This time Joan was the slight shop girl that Depression-Era American ladies (and maybe even some boys, too) could really identify with. Miss Crawford could be seen acting in such renowned movies as, “Letty Lynton,” Rain, Great Hotel, and one of my personal favorites, Forsaking All Others (1934) . Some of the 25 classics that Joan also made during the 30’s include: Dancing Lady, Laughing Sinners, Dance, Fools, Dance (Forbidden Hollywood), Chained, “No More Ladies,” Fair Hussy, Worship on the Speed (1936), The Bride Wore Red, Mannequin (1938) and of course one of her most celebrated ever, The Women!

“No more goddamn shop girls,” Joan was once quoted as saying to MGM chief-honcho, Louis B. Mayer. In the 40’s Joan yet again came support in another one of her many incarnations, this time as the society matron in such movies as, When Ladies Meet, Reunion in France and Above Suspicion (1943) . In 1942 Miss Crawford donated her entire salary from Columbia’s They All Kissed the Bride to the war-effort and then she turned around and fired her agent when he didn’t do the same! After 18 years of being a member of the MGM family, Miss Crawford took a mammoth gamble and decided to branch out, this time working for the actor’s studio, Warners. Joan’s first film for Warners, was her most notorious movie, and it garnered her the Oscar for Best Actress; playing the title role in her defining-film, Mildred Pierce . Joan also made a slew other ample pictures during this period, such as: Humoresque and Daisy Kenyon . Piquant to Warners really paid off for Miss Crawford, because she also received her second Academy Award nomination for Possessed, playing the harried Louise Howell! Of course, Miss Crawford had all the time in the world for our servicemen. Joan was often seen at the Hollywood Canteen racy our boys; …how many of today’s movie stars glean off their pedestals to do this?

The 50’s marked a very pivotal time in Joan’s distinguished career. Because in the next chapter of her portray resume, she played the obvious and strong matriarch in many amazing dramatic cinematic masterpieces. Such as, Harriet Craig, Queen Bee, “Female on the Beach,” The Damned Don’t Weep, “Goodbye My Esteem,” Memoir of Esther Costello and Autumn Leaves. Miss Crawford also received her third Academy Award nomination playing Myra Hudson in RKO’s Sudden Alarm. And never one to be typecast, Joan made a great splash in Johnny Guitar, portraying a tough saloon owner in the wild-west! Also beginning in the 50’s, Joan took up the campaign as official spokeswoman for Pepsi-Cola; a coveted role that she enjoyed for more than 18 years!

In the 60’s Miss Crawford didn’t monotonous down for a second! Nope! She came out swinging. Joan made the whole country ask in droves, What Ever Happened to Baby Jane? . In one of her most famous pictures ever, Joan played Blanche Hudson, opposite another very talented actress, Ms. Davis, in this shapely Warners film! Throughout all the 60’s Joan was known as the “Yowl Queen.” She stared in such cult-favorites as, Strait-Jacket, Della, I Saw What You Did and Berserk!! It was also around this time, that Miss Crawford penned her autobiography, A Portrait of Joan Crawford.

Even in semi-retirement, Miss Crawford calm always kept busy during the 1970’s. This time she was the Hollywood Sage, and everyone knew it! When the movie studios weren’t knocking on her door, she switched to television. In one of her last television appearances, Miss Crawford played the allotment of Joan Fairchild in ABC’s “The Sixth Sense: Dear Joan: We’re Going to Horror You to Death.” She also wrote her second book, the best-selling My Plot of Life. And, Joan always found the time for some of her approved charities; donating her talent and time to The Muscular Dystrophy Association and The American Cancer Society. Of course, Joan also made time to insist to her pleasurable friend and journalist Roy Newquist. Mr. Newquist was actually the only journalist that Miss Crawford chose to verbalize to during the slow 70’s, and his thoughtful (and unprecedented) interviews with Joan were published in the 1980 book, Conversations with Joan Crawford.

Miss Crawford perished a second time when the majority of the public threw her away and vilified her as a lunatic. But this death was grand more painful. Because not only were Joan’s films forgotten, but all of the friendly she did during her lifetime was also completely erased! The apt Joan Crawford was kind, compassionate and fine to a fault. Joan was a self-made lady who worked for everything she got. She honest wanted to preserve her head above water in a man’s world where women didn’t have a instruct or a choice. Miss Crawford never for a second forgot where she came from or who she was, and she never for a moment let her beloved fans down! All Joan wanted was for someone to give her a chance and possess in her. I really am so jubilant that this status is coming out because maybe now the public can scrutinize the true Joan Crawford and remember her as she truly was!

This is the long awaited second volume of the Joan Crawford Collection. Joan had a very long career in films spanning from the calm era and MGM into the 1970’s. She was one of the few actresses to successfully perform the transition from silents to sound, and this area gives you a sampling of her roles from 1934 to 1953. The following are the five films in this location and their extra features:

Sadie McKee (1934)

One of the last precodes, this film is a melodrama that has Joan Crawford playing a totally virtuous character throughout. She’s a maid who is fired for telling off the head of the household (Franchot Tone) . Next, her boyfriend deserts her for a chorus girl. She ends up marrying an alcoholic millionaire strictly as a matter of survival, but she does aid her husband cure himself of his alcoholism. Afterwards she asks for a divorce so she can go notice for her musty boyfriend, who is now alone and quite ill. This movie introduced the song “All I Do is Dream of You” by Arthur Freed and Nacio Herb Brown.

DVD Special Features: (waiting confirmation from Michael Crawford)

Vintage comedy short Goofy Movies #4

Classic cartoon Toyland Broadcast

Theatrical trailer

Strange Cargo (1940)

Andre (Clark Gable) is a convict in a French penal colony in South America. The first time he tries to race saloon girl Julie (Joan Crawford) turns him in. His second attempt is successful, and this time he throws in his lot with several other escapees, one of which seems to always know what is about to happen, and is even able to intention lawful maps of elope routes. During this race Andre runs into Julie again. At the conclusion of the hurry Andre realizes the reason for the one prisoner’s improbable abilities and has a change of heart. A very peculiar film and a odd role for Crawford, although I found it animated. Directed by Frank Borzage who is eminent for his treasure stories provocative crime, loss, and redemption.

DVD Special Features:

New featurette: Gable & Crawford

Vintage short More About Nostradamus

Classic cartoon The Lonesome Stranger

Theatrical Trailer

A Woman’s Face (1941)

One of Joan Crawford’s best performances as a woman whose scarred face embitters her and leads her into a life of crime until a surgeon (Melvin Douglas) decides to operate and select her outer scars. However, her inner scars remain and she finds it hard to change even with the back of the genuine doctor. This film initially failed at the box office, but was recognized as a classic years later. Directed by George Cukor.

DVD Special Features:

Vintage Romance of Celluloid Short You Can’t Fool a Camera

Classic cartoon Itsy-bitsy Cesario

Two audio-only radio adaptations with Bette Davis and Ida Lupino

Theatrical trailer

Flamingo Road (1949)

Lane Bellamy (Joan Crawford) is a dancer touring with a carnival who falls in admire with Fielding Carlisle. However, a marriage to a carnival dancer is not what Fielding’s political handler, Titus Semple, considers a righteous fade for his protege. Thus he has Lane framed and sent to jail and arranges a loveless marriage for Fielding with a girl more appropriate for the future he has planned for him. Once out of jail, Lane falls in esteem with and marries another prominent person, but their future together is threatened when Fielding comes to call. Directed by Michael Curtiz.

DVD Special Features:

New featurette: Crawford at Warners

Classic cartoon Curtain Razor

Audio-only radio adaptation with the film’s stars

Theatrical trailer

Torch Song (1953)

This was Joan Crawford’s return vehicle to MGM after having left ten years earlier, and is the weakest of the films in the bunch, but that doesn’t mean it’s unpleasant. Instead it is broad fun because it is such a camp classic. Too terrible there’s no commentary, because I would really like to know what went on leisurely the scenes in this one. It has everything - Technicolor, an over-the-top wardrobe for Joan, and of course there’s Joan as a steamroller of a woman that no man can stand up to except a British pianist, blinded in WWII. And then there are the musical numbers - well, you’ll have to ogle it for yourself.

DVD Special Features:

New featurette: Tough Baby: Joan Crawford and Torch Song

Audio bonus: Joan Crawford recording session

Public service announcement trailer: At Home with Joan Crawford

Vintage MGM cartoon: TV of Tomorrow

Vintage MGM short

Theatrical trailer

All films B&W and Mono, in 1.37 aspect ratio, except Torch Song, which is Color and 1.77 aspect ratio as originally shown in theaters. The details for the extra features arrive from a press release from Warner Home Video. This location is currently scheduled for release on February 12.
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Stream Prison Break: Season Two Online. Product: Prison Break: Season Two Average customer review: Amazon Price: Sale Price Too Low To Display Click Below To See Amazon Sale Price Add to cart to see discount price@ Availability: In Stock Usually ships in 24 Hours Free Shipping At Amazon

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As the second season of Prison Rupture opens, things obtain absorbing along rather snappily. Michael (Wentworth Miller), Linc (Dominic Purcell), Sucre (Amaury Nolasco), C-Note (Rockmond Dunbar), and John (Peter Stormare) have escaped from prison and are on the hurry. After going their seperate ways, shady FBI Agent Mahone (William Fichtner) arrives on the scene with one main intention: conclude Michael and Linc from escaping the country. In the meantime, T-Bag (Robert Knepper) goes to some tremendous lengths to earn what he wants, and Captain Bellick (Wade Williams) is mild hot on the brothers’ lag. The conspiracy that was apparent in season one is even more farther reaching here, as revelations are made that will cost everyone keen dearly, and by the extinguish of the season, not everyone that has been here since the beginning will calm be standing. What makes Prison Rupture so agreeable is that the exhibit never relents from it’s wreck neck pacing. This could easily be a awful thing, but the minds gradual Prison Shatter manage to retain the constant pace stable enough so you never know what to quiz next. Even with the major change of scenery for the main characters, the reveal stays more compelling than ever as it becomes a high octane game of cat and mouse. Undoubtedly one of (if not the) best shows on prime time network television today (and on Fox), Prison Shatter fair keeps getting better, and by the slay of the season finale, you’ll be salivating for more.

I know the opinions about season 2 will be more mixed than season 1, but I personally possess that season 2 is fair as lively as 1. The only incompatibility is that there’s a change of scenery and a focus on some different characters. But I unexcited get Prison Fracture to be one of the best shows on tv legal now and impartial as compelling and heart-pounding as ever! Prison Crash tranquil manages to be engrossing, simple enough to follow, with immense characters people really care about. In particular, Paul Adelstein (who plays Agent Kellerman) does a really fantastic job this season, whereas last season he was more of a minor character. And unlike Lost, this exhibit actually manages to retort questions and fade the place along. This season has also held right in the ratings unlike some other shows, which must mean that it’s doing something correct. As always, the biggest weakness is that it’s as ludicrous as it was first season, but this is fiction. If I wanted reality, I’d contemplate a documentary. And I don’t deem it’s really any more unrealistic than any other action drama on tv today. I give this season 5 stars and can’t wait to watch what the writers will cook up for season 3.
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Stream National Geographic: In the Womb - Multiples Online. Movie Title: National Geographic: In the Womb - Multiples Average customer review: National Geographic: In the Womb - Multiples is available for streaming or downloading. Click Here to Stream or Download National Geographic: In the Womb - Multiples

This documentary follows the multiple pregnancies of three different women, from view to shortly after the birth. Rachel (the only one who isn’t a first-time mother) is having fraternal twins (a boy and a girl), Jennifer is having triplets (two identical boys plus one fraternal brother who was conceived on a different day), and Julie is having identical quads (girls) . All three of these sets of multiples were conceived naturally, even Julie’s (the odds of having naturally-conceived identical quads are one in eight million!) . Using cutting-edge 4-D technology, we’re able to procure a bright gaze at impartial what goes on in the womb during these gestational periods. Not only do we obtain to view what the embryos/fetuses spy like as they earn, but we also gather to glance the kinds of interactions they have with one another, interactions that vary from up-close and personal (if they’re together in the same amnion and chorion, no barriers between them) to only able to feel one another through membranes if they’re in separate amnions and chorions.

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This documentary is loaded with objective about everything you ever might have wanted to know about multiple pregnancies. Topics include the different types of twinning, what might cause conjoined twins, how interactions in utero continue playing out after birth (such as one place of twins in which the dominant twin often kicked his brother, who do his head down on the placenta for comfort instead of fighting back; as they grew up, the submissive twin would go to his room and save his head on the blanket when bullied by the dominant one), why older women are more prone to naturally-conceived multiples (one theory is that the eggs a woman is left with by then are weakened by age and therefore more likely to split), why many twins are mirror images of one another, and how a woman’s height affects how terminate to term she can bring a multiple pregnancy. I knew that sometimes triplets can be carried almost to corpulent term and delivered naturally, but didn’t know that the odds are greater for such a thing if the mother is taller. Jennifer, the triplets’ mother, was almost six feet ample, though she ended up having to have a C-section that wasn’t as conclude to rotund term as had been hoped.

In addition to luminous a light on the extraordinary process of development a fetus goes through, it also lets one into the mysterious world of what it’s like to actually be in there, and to be on the same astonishing perambulate with one, two, or even three other companions. One can’t benefit but wonder how powerful these newborn multiples remember of their time in the womb, when they formed a bond like no other with their womb-mates.

this documentary gives in-depth perspective of the development of multiples in the womb - and it’s done with wonderful material. Valid life echoes, shown in multiple dimensions, and spellbinding views of the inside world of the womb. You can almost imagine what it’s like in there. Although many knowledgable facts are told, it’s all brought in a very comprehensive map.
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Thank you for your promt service. I like getting the DVD hastily so I can bask in it and carry out fittness success.
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Somewhat disappointed in this DVD of Lewis’s life. Never knew that there are no Known images of him on film. Huge man and I adore all of his books except the sci-fi series.
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Streaming 2046 Online. Movie Title: 2046 Average customer review: 2046 is available for streaming or downloading. Click Here to Stream or Download 2046

Continuing his unparalleled examination of human relationships, Wong Kar Wai returns to the character of Chow from In the Mood for Worship, who had one chance for like, lost it, and has never gotten it relieve. (While it is not primary to have seen the extinct film to understand 2046, In the Mood for Fancy is such a fantastic film, that I recommend it to anyone who likes 2046) . Tony Leung gives a fantastic performance, clearly showing that he knows he should treat his women better than he does, but after giving his heart once in vain, he is not prepared to ever do so again.

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2046 appears at first to be a year in the future, but is ultimately revealed to be the number of a hotel room where Chow had his one chance at happiness. He finds a modicum of that innocence once again, this time in 2047, with a different woman (the daughter of the innkeeper, played by Wang Faye), the only one he treats with anything like the affection he had for the woman who had shared (platonically) 2046 with him earlier. He writes a narrative for her, called 2047. She says she likes it, but wishes it had a happier ending, something fans of Wong Kar Wai sometimes long for, but realize would not be right to that which goes on during his stories.

Aside from Tony Leung’s masterful performance, 2046 is the perfect platform for the greatest Chinese actresses of today, demonstrating once again that no one can crash your heart like Maggie Cheung, no one can build you elated like Wang Faye, no one can be a [...]like Zhang Zi Yi (albeit one that can level-headed have her heart broken because she uses a hard exterior in a vain attempt to protect a brittle interior) and no one could ever be as pleasing as Gong Li.

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Like most of Wong Kar Wai’s movies, the ending can be called bittersweet at best. He has only had one semi-happy ending, in Chungking Whisper, which also featured Tony Leung and Wang Faye (the only other time she has appeared in one of his movies) . This time, the only character who ends up gay is Wang Faye’s, largely due to Tony Leung’s intervention. I don’t know if that is a coincidence, or perhaps a comment on the fact that it isn’t really possible to have anything but a elated ending when her intellectual cheeks and eyes bless the camouflage. For all of the other characters, however, we survey considerable of the same unfulfilled longings and reconciliation to the alienation so many feel toward their families, friends and lovers.

Each of Wong Kar Wai’s films has built up to this ultimate section on what it means to be human and to know other humans. You should really scrutinize all of them, but even if you unbiased search for this one, you will be the richer for it.

As a young college student many years ago, I took a film class as a kind of lark and to fulfill some requirement or other. It was graceful distinguished a ruin of time. There was one camera to go around among twenty students, so we each got about a week with the thing and hardly anybody got anything done. The one estimable thing was that we got to peek some avant-garde films. They were genuine eye-openers, in that film, to me, had fine mighty always been a depiction of a linear epic line with a beginning, middle, climax and destroy. The avant-garde films we watched rarely had any kind of a myth line at all, but despite this the better ones were aloof able to elicit a satisfying emotional or radiant response.

The first thing you have to remember when you peep 2046 is that there is not a venerable yarn line here. In fact, the haphazard nature of the film’s scenes–past, explain, future, imagined and “sincere”–don’t even produce sense in their contain illogical framework. You have to know this going in because if you strain to obtain sense of the plot–as we have all been conditioned to do–you will miss the point. Indeed, I had to peep this a couple of times.

The film consists of a series of scenes primarily focusing on a Chinese writer named Chow. He is in Singapore, and leaves a radiant woman tedious who may or may not have loved him. He is in Hong Kong, and falls for another radiant woman who is murdered in her hotel room. He tells the hotel-keeper that he wishes to go into this room–2046–because he is evidently trying to return to this set in his mind and his heart. Of course, he can’t, literally or figuratively, so he is given the room next door. He begins an affair with a prostitute who moves into 2046 and who loves him with every fiber of her being. He uses her as a prostitute only. He falls in adore with the hotel-keeper’s daughter who herself is in adore with a distant Japanese man her father despises. He writes a science-fiction piece–visualized in the film and entitled 2046–which is a fable of the future and a narrate on which female androids assist one but with whom one must never topple in cherish, and on which he imagines himself to be Japanese.

Ehh, no, this is not a coherent storyline. The future is mixed with the past which is mixed with the prove which is mixed with his record which is mixed up with his imagination. In the ruin, it occurs that it is entirely possible that all of these women are the same person; that they are simply some ideal of like he has concocted in his mind. Maybe not.

Visually, the film is a stunner. Every scene, every backdrop, every set-piece is carefully and meticulously orchestrated. Cigarette smoke drifting above a cluttered desk; a beautifully-clothed female effect asleep on a bed; cards laid out on a green table in a shaded restaurant: you could paint these scenes and hang them in an art museum. The framing method is also very artful. It is constrained and prevents us from seeing what we want to seek. It is hard to comprehend. More importantly, the attention that is being paid to these details and the beauty with which they are rendered concentrates the viewer’s attention: something incredibly distinguished is going on. This feeling is reinforced by the musical score–opera and classical mostly–which drifts in and out plaintively.

The acting, from the smaller to the larger roles, is spectacular. So powerful is going on beyond that which is said, and beyond that which is implied. All of the actors and actresses are profitable, but special mention must be paid to Ziyi Zheng, who plays the prostitute, and who burns a hole in the mask every time she appears on it. She is an un-erupted volcano of barely restrained emotion: thin, ravishing, lonely, sensual, and terribly, terribly dark.

In the demolish, and without perhaps realizing it, we understand that the film works as a statement on the human condition, and the clumsy, random arrangement we try to notice happiness in it. We observe honest admire after our chance for it is over, or after our previous actions have rendered it impossible. Or maybe because we failed to eye it altogether. Or maybe because we are not Japanese, or younger, or older. Complete, unfettered happiness only exists in 2046, a room we cannot enter; a year that is in an unfathomably distant future.

That this film is an fresh and successful experiment with the medium, that it is so beautifully photographed and scored, that it is so perfectly acted, and that its vast themes are completely realized, create it one of the best films of the year, if not the decade.
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Stream Bus 174 Online. Product: Bus 174 Average customer review: Amazon Price: Sale Price Too Low To Display Click Below To See Amazon Sale Price Add to cart to see discount price@ Availability: In Stock Usually ships in 24 Hours Free Shipping At Amazon

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On June 12th, 2000, a man boarded a bus in Rio de Janeiro with the arrangement of robbing its passengers. When the robbery turned sour, Sandro, the perpetrator, turned the driver and the passengers into hostages, threatening to extinguish them one by one if his demands weren’t met. Carried live on Brazilian television, the event garnered national attention as the tense standoff between Sandro and the police played itself out. “Bus 174,” a riveting documentary by Jose Padilha and Felipe Lacerda, is an myth of that event.

Not notify to merely rehash the details of that day’s experience, the filmmakers consume their film as an opportunity to query many of the social ills that laid the groundwork for the tragedy in the first space. The harshest criticism is reserved for the Brazilian government and the Brazilian people who search for the other contrivance when it comes to the hundreds of homeless children living on the crowded streets of Rio de Janeiro. Sandro was himself such a child, having witnessed the execute of his mother at a young age then turning to street life and street crime as his only means of survival. We learn that not only is the quandary of such people routinely ignored by the mammoth majority of Rio’s residents, but that both citizens and government officials have taken a proactive portion in harassing and, in some cases, even killing these children. Sandro is clearly a product of his environment, and his actions on that day largely extend from the lack of a societal connection he’s felt all his life. The directors also engage swipes at an incompetent, obnoxious police force, a brutal, dehumanizing prison system, and a sensation-seeking, voyeuristic public who feeds on the unfolding live tragedy as if it were a Hollywood action movie or some kind of lurid scripted drama.

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Interwoven with footage from the precise incident are interviews with various participants in the drama, ranging from police officials to SWAT team members to surviving hostages to tortured prisoners to social workers to psychologists to friends and relatives of Sandro himself. Through these interviews, Padilha and Lacerda weave a tapestry of Brazilian society that spares no one and indicts us all in one method or another. What is most impressive about “Bus 174″ is how our emotions catch all tied up in a knot, as we accumulate our loyalties shifting serve and forth between the various participants in the drama. At one moment we sympathize with Sandro and all the suffering he’s experienced, and the next with the innocent hostages who simply want to speed this madman and return to their normal lives. At times, we gain ourselves rooting for the befuddled cops, while at others, we are inclined to side with the downtrodden and peep the law enforcement officials as the lawful villains of the part.

The events that occurred on that day shook a nation, serving as a wakeup call for a society that has attempted to sweep its injustices and social ills under a blood-stained carpet. Yet, this isn’t a position new to Rio, by any means, for Sandro’s fable is representative of what happens in all major cities when poverty and misery are allowed to go unchecked and when indifference to suffering becomes the norm of the privileged classes. “Bus 174″ is more than objective a recounting of an isolated incident; it is a examine into the shadowy heart of Man that we all ignore at our hold pain.

A word of advice: if you are going to review, please DO NOT give away the ending…I’m overjoyed I read all these reviews after I saw the video…fragment of the film’s power is the suspense.

ANYway, I showed this video to my criminal justice class and we did a compare/contrast to the shootings at Columbine high school. Emotions in the class ranged from frustration to inflame to sadness and students left the room talking about it!

Although the film may be viewed as biased, there is no put a question to to reality when one sees the interior of the jails and the treatment of the inmates, learns of the lack of training and sees it in the Rio PD, and observes the street kids as they huddle on cement in shabby blankets, sniff paint & glue from a plastic bottle, and don stale clothing with American sports logos. It is gritty, it is suspenseful, it is sad and eye-opeing and everything you would want in a documentary. The needless kill of human beings, the surreal world outside of the US and inside of a Rio jail, and the videos of the streets where “Sergio” survived is in your face without being preachy or judgemental.

I highly recommend this video to other educators, and when you compare it to Columbine high school shootings, it brings it home with a peruse at culture, law enforcement, government, etc.
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