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DOWNLOAD MOVIE On the Line Just $2.99 for a complete movie! No additional software or browser plug-ins required! You can play them for unlimited number of times whenever you want. Downloaded movies will work perfectly on any PC, DVD player, PDA etc.
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On the Line Reviewed By Kelly Palma Posted 06/10/02 10:48:30

"A light fluffy pop music filled romantic comedy" (Worth A Look)

Lance Bass’ foray into the world of cinema wasn’t as painful as I thought it was going to be. ‘On The Line’ is a cute romantic comedy that will leave all the teenyboppers swooning with all the pop melodies roaming through it. The supporting cast includes: Emmanuelle Chriqui as Abbey – the love interest, fellow *NSYNC mate Joey Fatone as Rod – best bud, Gregory Qaiyum as Eric aka GQ – roommate, James Bulliard as Randy – best bud, Tamala Jones as Jackie – Kevin’s nemesis at work, Dave Foley as Higgins – Kevin’s boss, Jerry Stiller as Nathan – the copyguy/mentor, Amanda Foreman as Julie, and Dan Montgomery Jr. as Brady – Kevin’s nemesis from High School and the writer who catapults the story in the public eye. Also some fabulous cameos from the likes of Richie Sambora as ‘The Mick’, Al Green, Ananda Lewis, Joanie Laurer as Chyna, and also from *NSYNC Chris Kirkpatrick and Justin Timberlake. This movie is definitely worth the rental and a bucket of popcorn.Bass portrays Kevin Gibbons in ‘On The Line’. Kevin is a character who has everything going for him. Then he meets Abbey commuting on the ‘L’ train. Abbey turns out to be the girl of his dreams, his soul mate if you will and all Kevin can think to say is, “It was a pleasure commuting with you.” Known by his friends as the guy who ‘chokes’ when it comes to girls, Kevin fails to get her name and number. Thinking he missed his golden opportunity with the girl of his dreams, Kevin plasters Chicago with posters to find his mysterious Train Girl. Much to his chagrin and through some local media coverage, Kevin becomes the target of every young woman’s affections in the Chicago area. What ensues is a story about many miscommunications between Kevin, Abbey and his friends; who attempt to date all the women that respond to the poster campaign. This works for a awhile until the real train girl, Abbey herself calls and GQ attempts to take her out with hilarious consequences. Then things seem to go downhill for Kevin and his friends, their scheme to date all the women blows up in their faces. Kevin gets dissed and ultimately ignored when he sees Abbey and she won’t even look at him, he gets taken off the Reebok account at work, and his mentor Nathan ends up in the hospital. In the end his friends attempt to right their wrong and find Abbey, he gets put back on the Reebok account, and Nathan finally tells him the ‘baseball’ story.Through its use of music and flashbacks this is a thoroughly entertaining movie. The imagery and messages are good ones for its intended audience. Paper airplane and baseball clichés mixed with messages of love and you will be loved along with put yourself ‘ON THE LINE’ and maybe just maybe that love will be returned. Come on now how can a movie guest starring Al Green and his music go wrong. I for one fell for it Hook Line and Sinker and will be picking up the soundtrack soon. This is just further proof that I will forever remain a kid at heart and a sucker for romance.
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DOWNLOAD MOVIE Executive Decision Just $2.99 for a complete movie! No additional software or browser plug-ins required! You can play them for unlimited number of times whenever you want. Downloaded movies will work perfectly on any PC, DVD player, PDA etc.
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Executive Decision Reviewed By Rob Gonsalves Posted 01/13/07 09:47:24

"Boring, but at least Seagal isn’t in it much." (Pretty Bad)

‘Executive Decision‘ is as bland as its title. What’s more, it finally gives us what Hollywood has been threatening for years, the movie nobody was waiting for: ‘Airport ‘96.’It’s got everything — the mad bomber; the plucky stewardess; the Who’s Who passenger list (though this movie uses character actors, not faded stars as in the Airport series); the hero who knows how to do everything except land a plane, which of course he’s called upon to do.The plot is one of those bewildering pieces of cheese about terrorists and anti-terrorists, all of whom have huge guns and identical constipated expressions. A famous terrorist has been arrested, and his cohorts hijack an airliner and demand that America set the terrorists free. Or else what? Well, there’s a nerve-gas bomb on the plane, ready to detonate when it lands in Washington. Kurt Russell, as some sort of fancy intelligence agent, is the only one smart enough to figure out this plan. He and a pack of commandos (led by Steven Seagal) decide to take another plane up and break into the airliner. I’d just as soon not go into how they do it, because it’s complicated and probably the most entertaining section of the movie. After that, though, Executive Decision loses altitude fast.The two or three remaining members of the Steven Seagal Fan Club should know that his presence in the movie is grossly exaggerated in the ads. Great character actors like J. T. Walsh sit around, obviously bored and wondering when they’ll get to do anything. Joe Morton (as an injured commando) spends most of the film on his back. Halle Berry (as the plucky stewardess) looks anxious. Oliver Platt, who tries to disarm the bomb, sweats a lot and chews a straw. Marla Maples Trump shows up, too, as another stewardess. That’s how you really know this is Airport ‘96. As he proved in StarGate, another throwback to ’70s schlock, Kurt Russell has a way of shouldering a big retro load like this without too much strain. He’s not bad here; as an actor, he always projects solid common sense and intellect, and he keeps Executive Decision halfway watchable. But you’d hardly know from his bespectacled, buttoned-down performance what a witty actor he can be. Apart from the movie’s specific flaws, there is something distasteful about Hollywood’s insistence on foreign terrorists, especially after the extreme reality slap in Oklahoma City. Executive Decision has an odd and bitter element: The title refers to the government’s decision to destroy the airliner — with 400 innocents aboard — before it can touch down and release the nerve gas. The movie is full of toxic gas itself. It demonizes both foreigners and the U.S. government in a way that reminded me of the militant paranoia of Rambo — the definitive Reagan-era fantasy.‘Executive Decision‘ would fit better in any era but this one. It’s for people who still want to believe the enemy isn’t us.
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DOWNLOAD MOVIE Kingdom of Heaven Just $2.99 for a complete movie! No additional software or browser plug-ins required! You can play them for unlimited number of times whenever you want. Downloaded movies will work perfectly on any PC, DVD player, PDA etc.
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The Movie

Ridley Scott dreams big – no stranger to larger-than-life films, his resume boasts one outsized work after another: Legend, 1492: Conquest of Paradise, Gladiator, Black Hawk Down - hell, even Hannibal feels operatic and infused with a sense of grandeur. It stood to reason that his 2005 offering, Kingdom of Heaven, elbowing for room in a year crowded with historical tentpole pictures (here’s lookin’ at you, Alexander and Troy), would deliver trademark Scott style, somehow standing out from the crowd. But it was not to be – Troy led the year off and flopped, while Alexander fared even worse, so it was with trepidation, rather than anticipation, that the world awaited Kingdom of Heaven.

The theatrical cut of Kingdom of Heaven is a technically impressive epic, devoid of soul and a cohesive narrative – sweeping battle scenes give way to strangely choppy exposition, rendering William Monahan’s clearly well-researched historical drama an inchoate mess. Had 20th Century Fox not panicked in light of the two other high-profile misfires and drastically altered the flow of Scott’s film (as has been hypothesized on several Internet sites), who’s to say what impact Kingdom of Heaven would’ve had? While technically accomplished, it’s also a breakout role for Orlando Bloom, who as Balian, sheds the nagging notion that he’s merely a Tolkien pretty boy, unable to shoulder the load of headlining a massive period epic.

I’ll skip summarizing the theatrical cut’s plot (for that, check out my colleague Randy Miller III’s review of Kingdom of Heaven) and will instead address the changes, revisions and additions to the film. It’s estimated that between 40 and 60 minutes were snipped by Fox upon the eve of Kingdom of Heaven’s release – the running time here is a healthy 191 minutes (the theatrical cut runs around 144 minutes, which suggests roughly 45 minutes were reinstated), offered in a roadshow format – which includes a 60 second video introduction from Scott, a 90 second overture that plays prior to the studio titles and a 140 second entr’acte beginning the second disc. The film is split neatly between the first and second discs, with one hour, 39 minutes on the first disc and one hour, 34 minutes on the second. According to several sources, this extended cut was released theatrically (briefly) at the Laemmle Fairfax Theatre in Los Angeles in December 2005 and was critically hailed, even ending up on a few year-end best-of lists.

Some spoilers may follow for those who have yet to view the film. The most significant alteration to Kingdom of Heaven is that Sibylla (Eva Green) now has a son by Guy de Lusignan (Marton Csokas), Baldwin V, who suffers from leprosy and meets an untimely fate at the hands of his mother. This subplot fleshes out precisely why Sibylla descends into madness in the film’s final third and not only provides a handful of superb moments for Green, but makes her characterization that much richer. The village priest (Michael Sheen) seen burying Balian’s wife at the beginning of the film is revealed to be his half-brother, which accounts for the tension between them. In addition, King Baldwin IV (Edward Norton, in his uncredited role) is seen refusing final communion and Balian crosses swords with Guy near the film’s climax.

While all of these changes to the film indeed draw out its running time, in no way does Kingdom of Heaven feel overlong or laborious – with the narrative restored and characters given full, detailed arcs, screenwriter William Monahan and Scott fashion a palpably real world, one that draws you in and keeps you absorbed for the duration. The cast is exceptional throughout and the technical aspects are stunning. Put simply, Kingdom of Heaven is a masterpiece of filmmaking that has been restored to its proper glory. Ridley Scott’s big dream is no longer a nightmare.

The DVD

The Video:

As with the theatrical cut, Kingdom of Heaven is presented with a sterling 2.35:1 anamorphic widescreen transfer that doesn’t suffer from a trace of damage – vivid, crisp and a glittering showcase for John Mathieson’s stunning cinematography, the Crusades come to powerful life and will serve as near-reference quality material for many – Kingdom of Heaven looks truly glorious here.

The Audio:

Dropping the Spanish and French Dolby 2.0 stereo tracks from the theatrical DVD release, the director’s cut features only Dolby Digital 5.1 and DTS 5.1 tracks – having sampled both during the course of the film, DTS has a slight edge in terms of spatial clarity and warmth, although the Dolby Digital track is no slouch. Screams, clanging swords and immersive surround activity makes this one of the more kinetic home theater experiences I’ve encountered in quite some time. Simply put, this is pure aural enjoyment that will delight audiophiles no end. English, French and Spanish subtitles are also on board, as is closed captioning.

The Extras:

The $64,000 question lingers: hold on to the two-disc theatrical release or pitch it on eBay? While the two-disc will likely be shoved aside in favor of this lavish four-disc set, those die-hard Kingdom of Heaven fans should keep it, as “The Pilgrim’s Guide” text commentary, interactive production grid, the A&E and History Channel documentaries and behind-the-scenes featurettes aren’t ported over – if you want the complete picture, I’d argue for a six-disc set, incorporating both the admittedly flawed theatrical cut as well as these extras.

But enough championing of the previous release – anyone annoyed at a perceived lack of supplemental material on the first DVD release will be quieted by this stunning, dense set. Fox has given the director’s cut of Kingdom of Heaven a stylish presentation, placing the four discs in separate trays inside a fold-out slipcase which fits snugly within the slipcover. Very handsome. Spread over the first two discs is a trio of commentaries – Scott, Bloom and Monahan sat separately for the first commentary, which mainly details how each man came to the project and in the case of Scott and Monahan, how Tripoli gave way to this project, as Bloom fills in his take on the film and its subject. The second commentary features executive producer Lisa Ellzey, visual effects supervisor Wes Sewell and first assistant director Adam Somner (all three recorded separately), which focuses on the more technical aspects of this mammoth production. The third and final commentary features editor Dody Dorn flying solo and detailing not only changes to the film, but her thoughts on Kingdom of Heaven. Supplanting “The Pilgrim’s Guide” from the initial release is the “Enginer’s Guide,” newly created for this cut and outlining production notes and film trivia.

Discs three and four are where producer Charles de Lauzirika really earns his paycheck: on a par with the exceptional multi-disc re-releases of both Black Hawk Down and Gladiator, the six-part behind-the-scenes documentary “The Path To Redemption” is fat-free, compelling and essential for anyone with even a passing interest in Ridley Scott’s film.

Disc three includes the first three sections of “The Path To Redemption,” presented in 1.78:1 anamorphic and Dolby 2.0 stereo. Easily navigable and helpfully split in manageable chunks, I’ll outline the contents of the various sections below (it should be noted that while these are listed separately, the option for playing them as one long documentary exists):

Part I: Good Intentions (featurette detailing the genesis of Kingdom of Heaven), 36 minutes and 26 seconds
“Tripoli” Overview and Gallery (text and images)
First draft by William Monahan (text)
Story notes (text and images)
Location scout gallery (text and images)

Part II: Faith and Courage (featurette detailing the pre-production process) 19 minutes and 53 seconds
Cast rehearsals featuring Bloom, Liam Neeson, David Thewlis, Csokas and Green (video) 13 minutes and 22 seconds
Ridleygrams (images)
Costume and weapon design featurette (video) 32 minutes and 14 seconds
Production design (video) six minutes and 52 seconds
Costume design galleries (text and images)

Part III: The Pilgrimage Begins (featurette detailing the production in Spain) 19 minutes and 31 seconds
“Creative Accuracy: The Scholars Speak” (Video) 26 minutes and 37 seconds
Storyboard galleries (viewable separately or together): “Balian’s Village,” “Forest Ambush” and “Pilgrim’s Road” (multi-angle video and images)
Photo galleries (text and images)

Disc four includes the final three sections of “The Path To Redemption,” presented in 1.78:1 anamorphic and Dolby 2.0 stereo. Easily navigable and helpfully split in manageable chunks, I’ll outline the contents of the various sections below (it should be noted that while these are listed separately, the option for playing them as one long documentary exists):

Part IV: Into The Promised Land (featurette detailing the production in Morocco) 31 minutes and 14 seconds
“Unholy War: Mounting The Siege” (video) 17 minutes and 5 seconds
Storyboard galleries (viewable separately or together): “Kerak,” “Battle Preparations” and “The Siege” (multi-angle video and images)
Photo galleries (text and images)

Part V: The Burning Bush (featurette detailing the post-production process) 37 minutes and 26 seconds
15 deleted/alternate scenes, presented in anamorphic widescreen, playable separately or together for an aggregate of 30 minutes with optional Scott/Dorn commentary (video)
Sound design suite – sample tracks of dialogue editing, ADR, Foley, sound FX editing and final mix (video and audio)
Visual effects breakdowns (viewable separately or together for an aggregate of 20 minutes, 35 seconds with optional Wes Sewell commentary) – “The Burning Man” (fire effects and face replacement), three minutes, 12 seconds; “Building Jerusalem” (digital matte painting and 3-D modeling), five minutes, 59 seconds; “Casualties of War” (artificial intelligence and virtual warriors), seven minutes, 38 seconds and “Medieval Engines” (the physics/firepower of Trebuchets), four minutes, 44 seconds.

Part VI: Sins and Absolution (featurette detailing the release of the theatrical and director’s cut) 18 minutes and 20 seconds
Four trailers (presented in anamorphic widescreen with optional Scott commentary and viewable separately or together for an aggregate of six minutes, 43 seconds) and 50 TV spots (viewable separately or together)
The ShoWest presentation (video)
The press junket walkthrough at the Ritz Carlton in Pasadena (video) six minutes and 17 seconds
Footage from the New York, Japan and London premieres (video) three minutes and 40 seconds
Domestic and international poster gallery (images)
Special shoot gallery (images)
“Paradise Found: Creating The Director’s Cut” (video) six minutes and 27 seconds
Director’s cut credits (text)

Final Thoughts:

If you’ve made it this far and still can’t figure out why picking up this deluxe edition of Ridley Scott’s intended vision for Kingdom of Heaven is a no-brainer, then there may be no hope for you – a masterful film that ranks among Scott’s best, a thorough, utterly compelling selection of extras and top-notch audio/visual presentation makes this four-disc set a cinch for DVD Talk Collectors Series status. This is how DVD is done – Kingdom of Heaven in its director’s cut incarnation, will be on many, many year-end lists.

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DOWNLOAD MOVIE Magnolia Just $2.99 for a complete movie! No additional software or browser plug-ins required! You can play them for unlimited number of times whenever you want. Downloaded movies will work perfectly on any PC, DVD player, PDA etc.
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Without a doubt, Magnolia is my personal pick for best film of 1999, and if it weren’t or The Shawshank Redemption, I’d say it was the best film of the 1990s.  No, it wasn’t nominated for an Academy Award, and with weaker films like The Sixth Sense and Cider House Rules making the cut, it’s truly a great shame.  Perhaps Magnolia isn’t on everyone’s list, as it’s a hell of a bitter pill, dealing with cancer, death and the unloved.  However, within the tale of Magnolia is something better, more motivational and inspiring beneath the surface that says, "Learn from our mistakes".

Magnolia employs interweaving storylines involving several people through the course of the three hour movie.  Jimmy Gator (Hall, The Insider) is the host of the longest running game show, "What Do Kids Know" and is dying of cancer.  His daughter, Claudia (Walters, Boogie Nights) , refuses to speak with him any longer, and she’s also a junkie who sleeps with strange men.  Claudia is visited by Jim (Reilly, For the Love of the Game), a lonely cop who takes a liking to her.  Stanley (Blackman, Crown Heights) is a child prodigy on the Gator’s game show, who feels like a freak due to everyone telling him what to do.  Donnie (Macy, Mystery Men) is the child prodigy from the show’s past, who pissed his life away because he couldn’t live up to everyone’s expectations.  Earl Partridge (Robards, Quick Change) is the show’s producer, and he too is dying of cancer.  His wife Linda (Moore, The End of the Affair) married him for his money, but comes to realize she loves him very much, unlike Earl’s estranged son Frank (Cruise, Eyes Wide Shut), who now sells motivational speeches on how to seduce women.  And everyone is very, very unhappy.

The movie Hard Eight debuted an unknown talent named Paul Thomas Anderson.  Boogie Nights put his name into the spotlight as an up and coming talent.  Magnolia now puts him among the elite filmmakers in Hollywood today.  With a profound knack for the visual and emotional, with heavy doses of bitter truths and biting comedy, Anderson weaves Magnolia into a fine tapestry of misery and hope, not afraid to plunge into the surreal and biblical to address the issues at heart.  There are a lot of directors out there, and only a few dare to be different.  NPerhaps no other could be one as successful as Anderson in turning pure guts and bravado into a work of greatness as Magnolia.

I suppose I’ve given enough adulation for P.T.  The powerhouse performances by the stars are also worth raving over.  Tom Cruise — outstanding.  Jason Robards — outstanding.  Philip Seymour Hoffman — outstanding.  Julianne Moore — outstanding.  There isn’t a bad actor anywhere in the bunch.  With actors of this quality, it would seem easy to make a decent movie, but this is not just a decent movie, and it certainly isn’t easy.

Still, it isn’t for the great performances or the virtuoso style of its writer-director that makes it my choice for best picture of 1999.  There is one quality that sets it above all others — the film has a soul.  There is an inspired, living entity that permeates every scene that wants to speak to us, to deliver a message.  The film doesn’t want to entertain for three hours.  It doesn’t want to give us our money’s worth.  It doesn’t try to garner Oscars for it’s makers (there is no lead actor or actress to give Oscars to).  It wants our attention and does everything it can to hold it for 188 minutes.  Like the characters in the film, it feels it’s important to get all those things we keep hidden out in the open for our perusal and judgment.  It doesn’t beg for our approval.  Rather, it wants to change us, to make us better people.  It demands we look at these pathetic lives, and examine our own.  Like the little genius in the film, the film wants us to treat each other better.  It wants to save us from ourselves.

Magnolia isn’t going to change the world, not by a long shot.  It’s also not going to be able to speak to everybody.  As a matter of fact, most conventional moviegoers may find it too weird or depressing to take.  However, for those in tune with what the film is about, perhaps it’s a film that can change a life.  While the fac
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DOWNLOAD MOVIE E.T. the Extra-Terrestrial Just $2.99 for a complete movie! No additional software or browser plug-ins required! You can play them for unlimited number of times whenever you want. Downloaded movies will work perfectly on any PC, DVD player, PDA etc.
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E.T. the Extra-Terrestrial Reviewed By Scott Weinberg Posted 04/30/04 19:04:57

"A close-up look at Spielberg’s Classic in its new DVD form." (Awesome)

First, the easy part: E.T., the immortal classic and worldly beloved family flick, is finally available on DVD. This is, of course, a cause for rejoice, as the movie is as wonderfully entertaining as its ever been. I’m one of those 30-year-old movie animals who saw this movie probably five times during it original theatrical run, and time has not sullied the film one iota in my eyes. E.T. should be considered annual family viewing (much like The Wizard of Oz), and I suspect it’s a movie that will be adored 150 years from now.OK, now that I got that out of the way, I have a whole slew of minor complaints (minor in that the numerous things irritating me in no way damage the experience of the film). I’m not about to broach that whole ‘special edition’ debate that everyone loves to argue about. Masters Spielberg and Lucas have the right and the power (and the money) to ‘facelift’ their own films as much as they see fit. I (and millions more) don’t have to like it, but that’s just life in the big city. (The big city being Hollywood, where old product sells just as well as new product… sometimes better!)But here’s what bugs me: the changes stink. Sure, they’re totally unnecessary to begin with, but they also just stink. The entire presence of the titular alien shifts in the new version; in an effort to make the creature more lifelike, the director has also (ironically enough) made him more cartoonish. Like many old-time fans, I know this movie right down to E.T.’s facial expressions… all of which are completely jumbled in the enhanced version. I realize that “If it ain’t broke, don’t fix it” is one hoary old cliché, but it’s never been truer than in this case. Heck, the original version made 34 billion dollars and is adored from Spain to Swahili; why not leave well enough alone? Surely making a public outcry about how awful guns (and the word “terrorist”) are draws more uncomfortable attention than just leaving a harmless family flick as is!The new scenes are more jarring than anything, as anyone familiar with the film would recognize these sequences as if they were lit in bright red neon. Spielberg can attest all he wants about “things I DID want in the film”; all I see are a few bells and whistles jammed in so the theatrical re-release (and enhanced DVD) will earn a few extra bucks. Call me cynical if you like, but just four paragraphs ago I was swooning like a little girl over how much I truly adore this movie.(It’s at this point that I’m feeling a bit guilty for not actually “reviewing” the movie, but c’mon; who needs me preaching about a movie you’ve seen eleven times? It’s E.T.! You know this is one of those truly special movies, and if you don’t then no amount of soppy and nostalgic praise from me will convince you otherwise.)So the whole CGI rhinoplasty/re-release/money-grub aside, we’re still talking about a phenomenal piece of pop movie art. (And most importantly of all things, the ORIGINAL unaltered, unblemished, and gloriously widescreen 1982 version is included in this 2-disc set, so all complaints are tempered with a sense of overall satisfaction.) BUT… what’s with this wacky DVD fiasco?The original press release from Universal promised two separate editions: a 2-disc set with the enhanced version and a supplemental disc (approx. $20.00), and a 3-disc Ultimate Gift Set. The fancy set was meant to offer a swanky case, some additional supplements, AND the 1982 version. In other words, the original version was meant to be released only as part of a $60.00+ gift set. Then late word got out that both versions were in both packages. Combine this discrepancy with Universal’s announcement that no screener copies would be made available to the online press, and you’re looking at some rather odd goings-on.Buzz states that Spielberg intervened at zero hour and asked that both versions be included on both sets, and that Universal’s sudden embargo was borne out of concern for their Gift Set’s profitability. (Again, this is just conjecture on my part, but there is a certain logic to my paranoia.) Several people I know initially planned to purchase the ‘expensive set’ and were thrilled to learn that they wouldn’t have to after all.So now comes the release, and there’s a whole separate parcel of frustration. Now, this may sound like the silliest complaint ever made about a DVD release, but here goes:The spine doesn’t have the title on it.I know; I’m a freak, right? But I have about 150 DVDs, all of which have the titles printed on the skinny side of the DVD case. As pedantic as this sounds…that’s how you know what movie you’re pulling off the shelf! Sure, E.T. has a lot of nighttime scenes, but am I supposed to recognize the DVD case just because it’s blue? I digress; it’s a silly complaint about a silly packaging screw-up.As far as the extras go… I was unenthused. Sure, you could just blame me for not dropping cash on the bells and whistles edition, but heck - I just want the movie. Period. Since the goodies are offered, I’ll comment:Disc 1 contains a rather sweet feature: an all-new soundtrack, recorded at a live concert/re-release screening. Imagine watching the movie with an orchestra in your living room, and you get the idea. (Sadly, you must sit through the new & improved edition of the film in order to enjoy this track, but I’d say it’s probably worth it. Better yet, just play this audio track just for the music!)There’s a 20-minute featurette that brings us behind the scenes of the March 2002 event, focusing on composer John Williams’ meticulous timing and his orcherstra’s astounding musical skills that were needed to pull the experiment off. This is a mildly interesting addition, though it’s not something you’ll ever visit twice. Rounding out the first disc is a wholly ridiculous feature called “Space Exploration”, which is the “E.T. voice” offering quick lessons on each planet of the solar system. Of interest solely to aspiring astronomers or those smoking a joint.Disc 2 starts out with a 25-minute behind-the-scenes featurette… most of which centers inevitably on the digital facelifts and new scenes. (I’m not one to quote Shakespeare, but after hearing such effusive arguments as to why the enhancements were so necessary, I got the idea that the filmmakers were ‘protesting too much’.) All the principals drop by to heap truckloads of gushy love-talk all over each other (I’m not saying the sentiments aren’t sincere; I’m saying they’re bland and redundant) in between plugs for the re-release (why try to sell me an item I just purchased three hours ago?), but fans of the movie will certainly enjoy the few snippets of on-set footage, FX tests, and general monkeying around. Not an awful featurette, but it’s basically one part meat and three parts Jell-O. (Oh yeah: there’s a considerably longer version of this feature on the three-disc set, so start saving your pennies.)A twenty-minute reunion piece is pretty solid, in that it offers all the central players (Henry Thomas, Peter Coyote, Dee Wallace, Drew Barrymore, Robert MacNaughton, producer Kathleen Kennedy, and Spielberg himself) in a laid-back and chatty style. Though a good segment of this feature is a rehash from the prior supplement, there are a handful of warm and wistful nuggets passed around. (Coyote and Thomas offer some particularly insightful comments about the movie.) This is mostly a back-pat-a-thon, but they’ve kind of earned it on this flick.The “Designs, Photographs, and Marketing” gallery offers all sorts of production stills, artwork, character concepts, FX designs, and marketing hoo-hah. Worthy of a perusal, nothing more. You’ll also find 2 DVD trailers, which leads me to my final little whine: the original theatrical trailer for E.T. is not included. (Not surprisingly, that 1982 trailer is (in a weak move) included in the pricier Gift Set.) I’m not at all interested in trailers for a 2002 E.T. re-release or for the DVD set of Back to the Future… while the original trailer for a movie as beloved as E.T. is actually something historical. (I know, I know: I get what I deserve for not dropping the sixty bucks, right?)Lastly are some typical promotional additions: cast/crew bios (hey, this Spielberg guy could have a real career!), production notes, and a few ‘special announcements’ about how The Special Olympics, adoption, and theme parks are all Universally intertwined.Forgive my rambling and non-traditional review, but this release has got me all sorts of confused. My feeling about the allegedly enhanced version can best be summed up by something that Henry Thomas (now a grown-up) says during an interview about how E.T.’s eyes MADE the character real. The enhanced E.T. doesn’t have those eyes. He now has big goofy Scooby-Doo eyes; the character is different, the movie suffers. But, like I said way back at the beginning: I now own yet another classic movie I loved as a kid, so none of the extra B.S. (pointless gimmicks, fluffy supplements, questionable marketing ploys, etc.) really matters.I’d never wish failure on a guy like Steven Spielberg, but I’m partially thrilled that the big 20th Anniversary re-release didn’t go over like gangbusters. Maybe he’ll think twice about ‘enhancing’ whatever infinitesimal flaws he may find in Raiders of the Lost Ark. (You just know he’s considered it.)Spielberg’s often stated that the new edition of E.T. was made for a ‘new generation’; parents, do your kids a favor: stick with the real version and I bet they’ll appreciate the difference one day.
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DOWNLOAD MOVIE Undead Just $2.99 for a complete movie! No additional software or browser plug-ins required! You can play them for unlimited number of times whenever you want. Downloaded movies will work perfectly on any PC, DVD player, PDA etc.
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The Movie

From the grass-roots movie-world of good ol’ Australia comes Undead, an “everything and the kitchen sink” genre stew that’s equal parts splatter, sci-fi, satire, and outright weirdness. It’s not particularly unique, nor is it, by my estimation, destined to become the cult classic it so desperately wants to be … but as someone who’s always had a soft spot for low-budget indie horror and the fine people of Australia, I found enough to enjoy here to warrant a recommendation to my fellow gore-geeks.

The setting is the backwater burg of Berkeley, Queensland, and something decidedly strange is afoot. Small particles of space-rock are hurtling through town, a few of which splatter themselves directly through some of the citizens. And if that’s not bad enough, it seems that these space particles come with a nasty side-effect. Basically, they turn people into your standard ravenous zombies.

A small gang of disparate dumbasses get holed up in a cabin together, but are forced to seek new lodgings when they discover that there’s no food to eat. So off they go into the zombie-covered Aussie plains…

…and then things really get weird.

Basically, Undead feels like something cooked up by a hyperactive 14-year-old with more imagination than storytelling ability. First-time filmmakers Michael & Peter Spierig are not ashamed to wear their genre-love on their blood-splattered sleeves, but one gets the impression that with Undead, the enthusiastic young fellas tossed about three too many ingredients into the crock pot.

When Undead sticks to the standard zombie-flick conventions, it’s a fairly successful (if not particularly unique) homage to Romero’s trademark sub-genre … but Undead also manages to wander deep into spacy sci-fi territory, gets helplessly lost near Act III, and never really manages to get itself back on track. The end result is a movie that boasts several isolated scenes which stand out and command your attention, but it’s never able to congeal into a satsifying whole.

Those Spierig boys do everything they can to provide the pulpy dramatics and over-extreme splatter-bits that’ll earn their flick a few comparisons to Peter Jackson’s early work, and some of the bits really do shine — but the brothers always seem to veer in one specific direction for way too long. Sometimes Undead is a broad, physical comedy … but then it also wants to be kinda scary and intense. And then a whole bunch of outer-space hoo-hah gets teleported in from left field, which will prompt even the most devoted genre fan to stop for a second, scratch his head, and go “Whaaaaa…??”

But for all its mood swings and intermittently self-defeating tonal shifts, Undead sure isn’t boring. Indulgent and silly, loud and obnoxious, joyously juicy and pretty darn insane, yes — but never boring. And it’s always great to see a colorfully crazy horror-type flick emerge from other shores. Just in the past few months I’ve been treated to gory delights from Australia (Undead), France (High Tension), England (Evil Aliens & The Descent), Japan (Infection), Ireland (Dead Meat & Isolation), and a bunch more I can’t even remember because I watch way too many horror movies — and it’s consistently fun to see the numerous horror conventions tweaked, teased, and touched up from young filmmakers all over the globe. Apparently we all grew up watching the same exact horror flicks, and these young filmmakers, though perhaps a bit rough around the edges, clearly possess a deep, passionate, and appropriately irreverent affection for the genre. Undead might be a huge, loud, stonking mess, but for the most part it is oddly entertaining — and the splatter moments (the ones that avoid the usage of CGI, that is) are suitably, sloppily satisfying.

My bet is that those nutty Spierig boys learned a lot of great lessons with Undead, both during the production and after the flick was unleashed across the globe. Here’s hoping they storm back with a sophomore effort that’s just a little more cohesive and a little less scattershot, because there’s some really solid stuff in Undead, but it’s surrounded by a lot of rambling nonsense that doesn’t bring much to the party.

The DVD

Video: Anamorphic Widescreen (1.85:1), and (considering the seriously low-budget origins of the flick) the picture quality is pretty darn impressive.

Audio: Dolby Digital 5.1 or 2.0 (English only) with optional subtitles in English and Spanish. The aural presentation is just fine, although you might notice that the volume levels range from soft-spoken dialogue (which, admittedly, is pretty rare in this movie) to blaring musical cues.

Extras

Love the flick or hate it, there’s no denying that Lions Gate has packaged it up with a whole lot of extra treats! First up is a pair of audio commentaries, the first one with the writing / producing / editing / directing / FX team of Michael & Peter Spierig, make-up artist Steve Boyle, and cinematographer Andy Strahorn; the second chat-track is with cast members Mungo (”Marion”) McKay, Emma (”Molly”) Randall, and Dirk (”Hunter”) Harrison. The crew track is the more technically-minded, of course, but all of the Aussies look back on their goofy little flick with much affection (and amazement).

Moving on to the Behind the Scenes section of the extras menu…

Supanova Convention Q&A with the Cast and Crew(4:34) — The Undead gang visits a pop culture expo in Sept. ‘04 and answers a few interesting questions from the patrons.

The Making of Undead (35:40) is a very entertaining look at the production process on this exceedingly low-budget import. Cast and crew members share their own Undead war stories in between frequent trips to the set. From pre-production to shooting to post-time spent on music and FX, this nifty little featurette packs a lot of info into a colorful little package.

“Midnight Madness” - The Toronto Film Festival Screening (9:04) goes with the Spierig brothers to North America’s most prestigious film festival, where Undead was included among the midnight movie selections. Interestingly enough, this was the very last movie that would ever play at Toronto’s (now-gone) Uptown Theater, and what a lovely movie palace it was. The festival patrons whoop it up before and during the flick, and then settle in for a jocular Q&A with the sibling directors after the credits have rolled.

The Zombies - Internet Featurette (1:45) is a brief look at what goes into zombie-making: make-up, contact lenses, exercise, and gore.

Rounding out this supplemental section are some Camera and Make-Up Tests (2:12), a Homemade Dolly Construction Video (2:04), and an Animatic to Film Comparison (11:59) of the movie’s big finale.

Check out the Undead Trailers section for the internet teaser trailer (0:22), the (apparently non-internet) teaser trailer (1:32), and the Australian theatrical trailer (2:29).

Under the Extended Scenes heading you’ll find the following:

Bank Scene (1:45)
Agent on Phone Scene (1:17)
Cricket Scene (1:58)
Entering the Bomb Shelter Scene (3:48)
Alternate Title Scene (0:34)

There’s also a Deleted Scenes vault that delivers:

Basement Scene (0:31)
Bomb Shelter Scene (3:08)
Action Moments (0:32)
Outside the General Store Scene (1:04)
Wayne at the Register Scene (0:43)

Capping off an impressively swollen goodies department is a collection of Artwork and Design Sketches and a Saw 2 preview.

Final Thoughts

Take the iconic hero-type from The Evil Dead, the nasty-ass aliens from Independence Day, and the shufflin’ corpses found in every zombie movie ever made, and toss ‘em all into a blender with a liberal shot of self-deprecating Aussie wit … the result is Undead, a comedic horror sci-fi mixture that manages to be sly, stupid, obvious, and creative — and often all at the same time.
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DOWNLOAD MOVIE Casino Just $2.99 for a complete movie! No additional software or browser plug-ins required! You can play them for unlimited number of times whenever you want. Downloaded movies will work perfectly on any PC, DVD player, PDA etc.
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I’m not a huge James Bond fan. Not to say that I don’t enjoy the adventures of the beloved superspy, but just that I’m not as big a fan as I am of, say, the Star Wars movies. Especially the last few years of Bond movies. While I think that Pierce Brosnan made a suave Bond, his scripts let him down. The movies became clones of action movies, trying to top one another in the sheer ridiculous quotient. (Denise Richards as a nuclear scientist named Dr. Christmas Jones, solely for the filthy double entendre at the end that you could see “arriving” from a mile away). Much like the Batman series once Schumacher took over, the movies seemed to exist for the toys, even if the Bond toys were solely on screen. And now we have Casino Royale, which actually continues the Batman comparison with the “rebooting” of the franchise from the beginning. Low tech, bringing the series back to it’s roots, showing a beloved hero from the beginning, etc. The comparisons are endless, and the greatest comparison is that they, like Nolan and his Batman Begins team, made an unbelievably kick ass movie that washes away the taste of some of the lesser films that came previously.

Daniel Craig, the uber suave lad from Layer Cake and Munich, takes over the reigns as Bond. James Bond. And he does a great job. Gone are the horrible puns and double entendres. Now, we have a no nonsense, take cahrge kind of Bond. But he’s also a little more vulnerable, as he is still a bit wet behind the ears. Hell, he only achieves his double “0″ status (as in 007) at the beginning of the movie. Our Bond also has a bit of an ego problem. this wouldn’t be so bad if the script didn’t keep reminding us of this every twenty minutes or so. (I attribute this to the collaboration on the script by Paul Haggis, who also brought us the “racism is bad” theme in the Oscar winning Crash. It was kind of hard to miss that point. Haggis writing Crash is also a fun fact to consider in the beginning of the film, when Bond is at the Ugandan embassy, shooting at black men, while he is the only white guy there. Not an intentional theme, but something fun to think of nonetheless).

So, we have a new Bond, fresh from his promotion to 007 status, in Uganda, where he pursues a bomb maker. The bomb maker, it turns out, is a student of parkour, the ridiculously awesome stunt movements featured prominently in District B13. However, the chase scene that ensues between Bond and the bombmaker is ten times better than all the scenes in B13 combined. Seriously. In fact, all the action scenes in Casino Royale feel fresh and re-invigorated. If there’s any CGI enhancement, it’s done seamlessly. But they feel like a return to old fashioned stunt work. There are no car chases with gadgets and smoke screens. bond gets royally abused, beaten down, and almost castrated. (That was a fun scene). He’s not invincible, and Casino Royale reminds you of this. The action scenes are only half the pleasure, though. The story follows Bond as he tracks down Le Chiffre, who has a weird eye and likes to compute statistics. He’s also a banker for terrorists. Le Chiffre has a plan, involving war lord money and the stock exchange. When Bond foils this (I won’t spoil the hows and whys) Le Chiffre puts all his money on a poker game. Yes, a poker game.

And Bond’s new mission is to beat Le Chiffre in this poker game. Which takes place at… wait for it… Casino Royale! (Title!) I realize I write about how there’s a new dramatic force behind this film, and it’s main set piece revolves around a poker game. (Changed from the original Ian Fleming novel’s baccarat, I’m guessing due to popularity). But it lends itself to some suspensful scenes, but more importantly, it lays down the groundwork for some important moments in the Bond legacy, namely his discovery of good martinis and the tux. That scene with Bond first putting the tux on is done quite nicely. There are other staples of the Bond series, such as the elaborate credit sequence (with a song courtesy of ex-Soundgarden/current Audioslave frontman Chris Cornell), the classic Aston Martin and beautiful Bond women. (Eva Green plays Vesper Lynd, and holds her own against Craig. And she’s quite easy on the eyes to boot).

But the movie isn’t interested in winking and nodding to the audience about these things. It’s about establishing Daniel Craig as James Bond in a post 9-11 (and more importantly post-Bourne) society. For this alone, the movie is a complete success. I credit director Martin Campbell, director of the first Brosnan Bond “Goldeneye”, as well as the criminally underrated and terminally badass “No Escape” Craig plays Bond very well. I’m not going to make ludicrous comparisons to previous Bond actors, because opinions vary on other Bond portrayals. Is he as good as Connery was in the role? Hells yes. Craig is suave, sophisticated, but just unhinged enough to make you believe him as a real man, not just the super agent we’ve come to associate Bond with. You even get to see Bond fall in love, a rarity for the series. And you also get to see him kick some ass. And take some names. Craig was the first step in many steps that assured Casino Royale would turn out to be a really good movie. For once, I’m truly excited when I see the words “James Bond Will Return”. PS- I didn’t give him any credit, but Jeffrey Wright plays series staple Felix Leiter. I didn’t single him out because the very fact that he’s in a movie means he’s going to be awesome. Casino Royale proves this point.

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DOWNLOAD MOVIE Deep Impact Just $2.99 for a complete movie! No additional software or browser plug-ins required! You can play them for unlimited number of times whenever you want. Downloaded movies will work perfectly on any PC, DVD player, PDA etc.
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Deep Impact Reviewed By Slyder Posted 08/20/01 14:35:17

"A Deep Impact Down Into Hell" (Total Crap)

Honestly, I’ve seen well-made depressing flicks that at least give a final touch that is uplifting and help raise your feelings towards the very end. That’s a type of example that you can find on excellent films like The Elephant Man or Kramer Vs. Kramer. But this film, just goes down into depression at its worst, and gives more of a feeling that it’s best for you to commit suicide right there whether it was the theater or the TV screen. That’s how I felt after watching this fucking awful piece of inbreeded shit. Honestly, if you even liked this movie, you’re probably a fucking retard, I was desperately looking for a suicide solution after watching this turkey, I couldn’t sleep for the rest of the night, it was JUST that bad.So, there’s e big-ass comet the size of Mount Everest, orbiting near Earth, a kid called Leo (Elijah Wood) discovers it, and becomes famous, well, many years later because the guy who confirms the discovery and finds out that the comet is in a direct path to Earth, is killed in a freak car accident, due to desperation and freakish bad luck (Bah, unoriginal). Then a MSNBC reporter called Jenny Lerner (Tea Leoni) tries to uncover a supposed sex scandal in the White House, and a girl called “Ellie.” She later finds out that it’s actually E.L.E (Extinction Level Event), and that it’s a meteor, not a girl, which is the problem. Then she meets President Tom Beck (Morgan Freeman), who tells her about the government’s plans to sent a spaceship called “The Messiah,” headed by Capt. Spurgeon “Fish” Tanner (Robert Duvall), to head out and try to destroy the comet, which of course they don’t, in fact, they divide the comet in two (That’s no spoiler, you know they’re not going to destroy in the first shot) and the fucker is still headed towards Earth. Guess the outcome.Ok, first of all, how could such great actors like Morgan Freeman, Robert Duvall, Maximillian Schell, and Vanessa Redgrave sign up to this fucking drek? Furthermore, why the fuck was Steven Spielberg involved in this film? What a bunch of wasted talent. With such a lame-ass script written by Michael Tolkien, the film tumbles right from the beginning. Ok, the only upside was the probability of the situation, a meteor wiped the dinosaurs 65 million years ago, and it could happen today, we just don’t know when. That’s the only high point; it goes all downhill from there. The supposed twist at the beginning is so unoriginal and idiotic; it makes me want to cry. The rest of the plot leads to an artificial exercise in emotional manipulation that tries to make you feel sorry for the characters in the film. Sure, like I’d give a shit about Tea Leoni’s antics and problems. Mimi Leder can sign herself as candidate for worst director of the new millennium, because the manipulation exercise she gives out, doesn’t deliver a damn thing, and furthermore, it will either give out a few chuckles or even more so, a couple of pissed off rants. Also because Leder has directed such trash favorites like The Peacemaker and Pay It Forward. Leoni gives out one of the most wooden performances ever in the film, and like other people here, I was glad that she ended up dead in that huge-ass wave that hits the coast when the piece of meteor hits the earth, because Leoni is so bad here that sometimes I think if she had shown her tits and ass, maybe I would’ve liked this film, but I seriously doubt it, since with or without them, she can’t act, or maybe she doesn’t. Now, are we supposed to feel a damn thing about Leo marrying his sweetheart (Leelee Sobieski) at age 13? Guess not, because I didn’t feel a thing. As said before, the film is so repulsive and depressive that in the end, it doesn’t give out anything uplifting and leaves you in a dark void, just waiting for the knife to strike. Not even the speech of our President can help us from our utter depression.LOOK, lets cut the bullshit. The fucking film was predictable, if you’re smart enough like I think you are, the human side will always win, no matter what. That’s how many summer shit movies are always going to end. The good side always wins. Shit, how formulaic. Ok, maybe I’m going a bit off the edge, if a good movie uses this formula well, then yes, it’s worth a praise, but not this one. The ending of the film or climax has to be one of the lames plotholes ever, all wasting itself with the hill-climbing scene, which was a crock of shit. The FX was okay, but when it got to the comet, I just wanted to laugh. IT LOOKS LIKE A FUCKING PIECE OF CHEESE!!! What a lame effect, ugh.The worst of it all, was EVEN yet to come after the film ended. How in the FUCK did this film manage to gross so much millions, and how did it get so much positive praise when in reality it’s another wasted pile of celluloid? The answer lies in the billing. The fucker studio execs said probably “Hey, well, we have a bad script, but lets just bill Steven Spielberg on it, and we’ll fork out 150 million.” Yeah, that hype technique never fails, and unfortunately we don’t realize how shitty can a film turn out until we’re inside the theater praying for our lives and with our seven bucks wasted.The performances were horrible all over, Lot’s of talent wasted. To all those great actors and actresses that participated in this film: Please, next time read the script before agreeing to appear in it, because if you don’t, you’ll end up in the annals of Hollywood all without work and treated as has-beens, and that’s what kills an actor. Tea Leoni, please, go back to acting school because tits and ass aren’t going to get you far, I guarantee you, talent does, and unless you do something about it, you’ll end up being a talent-less bitch. Director Mimi Leder, you have a great future in girlsploitation, keep on going on your task in being Spielberg’s other bitch, since that’s what your only good for. Forget about filmmaking FOREVER!!!In the end, avoid this film, at all costs. I only recommend it for people who have certain suicidal tendencies, believe me; this is better than the knife or the pills. For us intelligent people, stay away from it man, it’s not worth your money or your life. (0.5-5)
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DOWNLOAD MOVIE Employee of the Month Just $2.99 for a complete movie! No additional software or browser plug-ins required! You can play them for unlimited number of times whenever you want. Downloaded movies will work perfectly on any PC, DVD player, PDA etc.
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If you’ve ever been to a Costco store, you’ll recognize the layout of Super Club, the fictional chain of warehouse stores that sell cheaper than your local market through bulk sales and membership fees.  Just as they make shopping there seem like a privilege to their customers, so too do they with their very own employees, with lounges that only certain workers can go in, hierarchical tiers of advancement, and gift incentive, such as the new(-ish) car they are giving away to the employee of the month. 

Vince Downey (Shepard, Zathura) is the star cashier of the store and always the winner every month, and many customers shop there just to see him do his thing at the checkout counter.  He gets no love from the slackers in the store, most notably Zack (Cook, Waiting…), the aimless box boy who loves to get Vince’s goat, spending more time disrespecting Vince than actually working.  Zack’s attitude changes when Super Club hires a new employee, Amy (Simpson, The Dukes of Hazzard), who is not only the hottest woman in the store, but is also rumored to always want to have an affair with whomever wins the Employee of the Month award.  Zack, not wanting to see Vince steal away another girl he is interested in, decides to change his ways, and soon, the competition is on to see who gets the award, the car, and the girl.

Employee of the Month falls into the category of a "time killer" comedy, whereby the typical person intending to view it does so only intending to be amused and mildly engaged for over 90 minutes, but doesn’t really want to invest too much mental energy in thinking too hard about it.  It’s the kind of movie I wouldn’t mind renting and watching with a group of friends, or perhaps catching late night on cable when I can’t sleep, but it’s so shallow and instantly forgettable, it’s far from worth paying money for tickets, gas, and parking to see at a theater. 

As mentioned previously, you don’t want to think too hard while watching it if you’re planning on enjoying it for the mildly amusing comedy that it is, or you will likely be frustrated.  Not much thought went into this movie, as the entire premise of it makes little sense.  What can you say about a company that has only one employee that even bothers trying to get employee of the month for seventeen consecutive months?  What can you say about the company that monitors every single employee like a hawk but can’t figure out that half the staff do absolutely nothing all day?  Why do customers seem to like when their items are juggled, flung and slam-dunked into their cart in acrobatic fashion?  How does such a large and popular store with literally millions of dollars worth of merchandise not have any security during closing hours?  How does the fact that a woman will sleep with anyone who wins the Employee of the Month ever make it into their permanent employee profile, considering it would probably be grounds for a lawsuit if discovered? Considering the month in question is November, and the local Costco has Christmas displays as early as late August, why is the store devoid of any holiday items?  How is it that every single employee in the company works every single day of the month — don’t they get a day or two off every week (especially during the Thanksgiving period)?  Why in the world is the annual baseball game held at the end of November, presumably one of the coldest weather days of the entire year?

You can probably tell by the above questions that I committed the sin I warned about by thinking too much while viewing Employee of the Month, and came away not really enjoying it.  In my defense, had the film been funnier and more engaging, I probably wouldn’t have had the idle time thinking about the strange inconsistencies and weird logic involved in nearly every facet of the plot of the film.  It seems to me that in less than two hours, I probably gave more thought to the story than the three screenwriters ever bothered to do during the many months of the film’s production.  I think it’s safe to say that these thoughts probably occurred to them as well, except that they felt a bit contemptuous toward the film’s target audience to bother trying.  Anyone coming into Employee of the Month is looking for a dumb comedy anyway, so why play anything above a dumb level, right?

In the hierarchy of films released into theaters, Employee of the Month is the "box boy" of entertainment.  It’s an entry-level endeavor that no one expects much out of, doesn’t have any aspirations to be anything more than it is, and no one remembers once their entertainment experience is over.  They say in writing that you should write about what you know, but I think one of the exceptions is writing if all you know is how to be lazy.  Why do most of the films about slackers have to be made by such slackers?

 Qwipster’s rating:
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DOWNLOAD MOVIE Winning London Just $2.99 for a complete movie! No additional software or browser plug-ins required! You can play them for unlimited number of times whenever you want. Downloaded movies will work perfectly on any PC, DVD player, PDA etc.
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I think one of the main complaints that I hear, aside from the quality of movies in general, is that there really isn’t anything good for young audiences - rather than flash, parents are looking for movies that are not only entertaining, but educational. The Olsen Twins, who gained fame in the 80’s on “Full House”, have gone on to build their own empire - magazines, movies and other licensed products. I found myself sitting down to watch their latest adventure, “Holiday In The Sun” and was displeased - the film seemed like a 90 minute advertisement for the resort it was filmed at. The director of that film even admitted that he was attempting to make a feature-length music video in the supplements.



“Winning London“, while still not anything more than fluff, is a feature that I found a bit more entertaining than the other effort from the Twins that I viewed. This time around, the girls are visiting London with their high school class to compete in the Model United Nations. While most of this film seems devoted to what these Olsen Twins pictures are devoted to - in other words, shopping, fashion, music and romance - there is at least some little tidbits of educational information thrown in about London, as well as some interesting side-trips by the characters to such places as Westminster Abbey.



“London” has some of the irritating aspects that I saw in “Holiday in the Sun”, but not nearly to the level that that picture had - for example, a nearly wall-to-wall soundtrack of mostly Z-level pop tunes. While some of the dialogue is downright corny again here, there were at least a few moments where I got a slight laugh or two. The performances aren’t quite as bad here, either. Overall, while “Winning London” provided a mildly better and slightly more substancial piece, 93 minutes of adventures with the Olsen Twins is still stretching thin adventures too far.




The DVD



VIDEO: “Winning London” is presented in 1.33:1 full-frame. The back of the box even notes that the film is “presented in a format preserving the aspect ratio of its original camera negative”. The presentation is certainly nothing noteworthy and does not look as good as most feature films. Sharpness and detail are probably the strongest element of the picture quality; the image remained consistently crisp and nicely defined throughout.



Yet, a few irritants showed up here and there, taking away from the picture quality. Edge enhancement was occasionally visible and distracting, while some dirt and specks were seen on the print used. No pixelation was seen, though. Colors remained fairly bright and lively throughout, not really appearing exceptional in any way, but not appearing smeared or otherwise flawed, either.



SOUND: “Winning London” is presented with a rather dull Dolby 2.0 presentation. The music sounds rather flat, while dialogue comes through crisply, if still sounding not particularly well-integrated.



MENUS: Basic main and sub-menus with only some background music on the main menu.



EXTRAS: Short promotional featurette on the movie and the fashion, trailer and bios.



Final Thoughts: While I’m sure that “Winning London” will please the target audience, I don’t think this is something the whole family will want to watch together - most adults will probably be bored. Although the DVD quality and supplements are nothing too impressive, Warner has at least set a low retail price of $19.99.



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