I was lucky last year in that I got to search for Waste Bill volume 1 weeks before it was released last year. I plan it was one of the greatest things I’ve ever seen on film and went on to recognize it eight times in theaters. I even chose it as the best film of 2003. Surpassing even the remarkable Lord of the Rings. Something I notion would never happen. Me being a tremendous Lord of the Rings fan.
So with such high praise for volume 1 my hopes were very high for volume 2. And it more than delivers. Where volume 1 focused more on the action and was quick paced. This one is at a slower lunge and is more dialogue driven. Which is what Tarantino does best anyway. At approximately two and a half hours it is also a lot longer than the first one. Don’t disaster though End Bill volume 2 is not without it’s fraction with tremendous fight scenes and memorable fresh characters. The most memorable is Pei Mei the martial arts master who trained the bride and the other members of the Stupid Viper Assassination Squad. Played wonderfully by Gordon Liu (who also played Johnny Mo in volume 1) Pei Mei even over shadows the noteworthy Hattori Hanzo played by Sonny Chiba in volume 1.
Other memorable performances approach from Michael Madsen as Budd a.k.a Sidewinder and David Carradine as Bill. Madsen gives another Mr. Blonde caliber performance as the feeble assassin turned trailer park alcoholic. Claustrophobics grasp caution the confrontation between Budd and the Bride is really intense and very claustrophobic. Darryl Hannah is deliciously inferior as Elle Driver. She’s about as immoral as can be. What should be celebrated is the fight between Elle and the Bride. What is unquestionably one of the most knock down, crawl out, intense fights ever place to film. Tarantino pulls no punches here. Great credit should once again be given to the sound department on this one. You can almost feel ever blow. It is the best fight in the whole of Waste Bill.
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Never seen and only heard in volume 1 we finally find to recognize the performance we’ve been waiting for. David Carradine is of course colossal in the title role. He plays the role with such a laid relieve ease. Both intimidating and frosty. You don’t know whether to sympathize with the guy or disfavor him.
Those who said Uma Thurman deserved an Oscar nomination last year will probably say the same thing this year and then some. Where Thurman was praised for the intense action in volume 1, in this one she really goes all out. No longer a nameless assassin out for revenge she is now with a name (to be revealed in the film) and is now seen more as a person then a nameless killer. Not that the nameless killer thing was a poor thing. It was a immense action role. This time the emotions arrive out. Thurman really lets herself go in the emotional scenes. Well righteous of a nomination.
So is End Bill volume 2 a suited conclusion? Absolutely. Is it as action packed as volume 1? No. But that’s not a poor thing because we procure more of the big Tarantino dialogue. Was there anything I found immoral with the film? Well, there was one slight thing. The credits go on forever. So if your like me and you like to sit through the credits you’ve been warned. Destroy Bill volume 2 will not be without it’s enemies. Those who didn’t like volume 1 will probably not appreciate this one. If you’re a fan of volume 1 then you should be more then jubilant.
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Matt Putnam
April 02, 2004
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Several months ago, eclectic director Quentin Tarantino regaled our senses with a visceral thrill-ride known as “Waste Bill: Volume 1″. This first half of Tarantino’s chronicle narrative of revenge introduced to the enigmatic aged assassin known as the Shaded Mamba (Uma Thurman) and the circumstances that led her to embark on a quest to `kill Bill’. Mamba miraculously survived an assassination by Bill and his original hit squad (although her entire wedding party was murdered), only to demolish up in a coma for four years. Once she regained consciousness, she began to real brutal vengeance on those responsible.
In “Vol. 1″ she took out Vernita Green/”Copperhead” (Vivica A. Fox) and O-Ren Ishii/”Cottenmouth” (Lucy Liu) . The revenge was purely physical and graphically brutal. It was a veritable assault of visual images and thrilled the audience with the completeness and thoroughness of Mamba’s revenge. Fascinatingly, “Slay Bill: Volume 2″ is a drastically different film even though it continues the same legend. “Vol. 2″ takes a more philosophical reach to Mamba’s revenge, whereas “Vol. 1″ was the more physical advance. While more talkative possessing less action, “Vol. 2″ is no less effective than “Vol. 1″. What “Vol. 2″ brings is the rest of the chronicle that “Vol. 1″ rightfully left out. In this concluding episode, we now know more about the history between Bill and Mamba. We learn more about why Bill ordered Mamba’s assassination. As an added bonus, after seeing a steely-eyed killing machine in “Vol. 1″, we catch to leer a more vulnerable Mamba in this installment. The combination of the two volumes completes this tale. One is the yin to the other’s yang. The choice to split the film into two parts now not only seems moral, but well-known.
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Doubts about Tarantino tranquil having `it’ should be paunchy dispelled by this extraordinary cinematic achievement. “Slay Bill” honors martial-arts films of the past while setting a standard for future films to emulate. “Raze Bill” manages to thrill the senses while involving the mind. Tarantino showed that he had this talent when he made “Pulp Fiction”. “Waste Bill” is the next step in the evolution of Tarantino’s work. Where he goes from here is anyone’s guess, but it has the potential to be spectacular.
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I have read the negative and obvious reviews of this film, especially noting the numerous complaints about historical accuracy. But considering the era from which this memoir is created, and the various possibilities regarding genuine time and site of events, (if they ever occurred at all), I assume the film is a truly graceful, thought-provoking portion about King Arthur.
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Bringing in the aspect of the Sarmatians was long overdue in the Arthurian arena. Although various historians may argue the point, distinguished evidence does point to the exercise of stirrups by about 8000 Sarmatian cavalry in the Roman army as early as 175 AD. With the commonly held notion that the stirrup was not introduced until many centuries later, I plan it a gallant disappear for the movie makers to incorporate this into the film as well. It seemed to be one of the most commonly famed ‘discrepancies’ by reviewers, but I disagree – it is very fair.
If you have watched only the PG13 version of this film, by all means, please witness not only the Director’s Nick version, but occupy the time to also watch/listen to Antoine Fuqua’s story over the film. His narration explains a lot, especially about how they had to change things drastically to accomplish the mandated PG 13 rating. His explanation regarding his version of Lancelot and Guinevere is quite a statement as well.
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The alternate ending was quite gloomy, or perhaps even depressing, in a diagram. I don’t know which ending is more agreeable, and actually would have liked to have seen perhaps a different ending altogether, honest don’t know what that would have been.
I view the actors were incredible; the battle scenes (director slice) some of the only such scenes I’ve ever watched that let you identify the main characters’ roles during the fighting; the photography was the best I have ever seen; the music illustrated and enhanced; and this movie left you wanting to contemplate more when it was over.
There was no set on employ of special effects for blood and gore, or rediculous feats of super-power athletics, or campy remarks that would bring you immediately befriend to your bear century. The horses were not constantly being tripped during battle scenes, either. All these were a welcome change from so many movies of today.
Above all, it passed the proper test of a tremendous movie – it left you with ‘a feeling’ after it was over.
In short, I loved it. Antoine Fuqua, you are a genius.
The movie is comely superb BUT spy the directors cleave only, however, historically and geographically it’s a bit awry.
YES there was a Romano-British warlord called Artorius Castus, YES 4000 Sarmatian heavy cavalry were sent to northern Britannia around 180 AD from southern Russia, it was fraction of a peace deal between Marcus Aurelius and the Sarmatians. YES the sword religon was a Scythio-Sarmatian ritual of the sacred sword, blood, plunging it into the earth etc
However most of their desendents by the 450’s AD (when the movie is status) when the romans left britain would have been native british, and half were conception to have left to fight with Constantine in Europe.
NO they wouldn’t have conventional armour as in the film. The Picts were Modern peoples of northern britain (Scotti were immigrants from Dal Ria in North Ireland) . They may have aged blue (Woad) body paint as unusual research has suggested it had antiseptic properties to protect against wounds, they did utilize composite bows and crossbows. The romans invited in the Saxons as mercenaries against the Irish, Scots, Welsh (no such term as Celt then! thats an 18th century invention) and other Saxon raiders. They rebelled when they weren’t paid and took over southern britain, brought they’re families over and the rest is history (evenually to become Aenglaland…England) . One of the biggest mistakes in the film though is that all the romano-british v saxon fighting took space in southern britain, not around Hadrian’s Wall, and the final battle of Baden Hill is plan to be in south-western england.
But if you’re not too bothered by that it’s not poor, particulary the less sanitised Directors Nick version with the blood restored!
If you’re eager check out the book “Arthur the Dragon King by Howard Reid” for a agreeable comprehensive historical epic.
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At some time in the future a young woman named Iria and her brother Glen, both bounty hunters, join in an contract to rescue the passengers from the atomize of a situation transport. This mission takes a turn for the worse when the rescue team secure themselves face to face with an indestructible killer – Zeiram. The result is disastrous; one team member killed, and Iria is forced to leave her brother gradual to fight the monster. For the rest of the episodes Iria dedicates herself to solving the mystery of the Zeiram and saving her brother.
Several things spot this 1995 OVA series apart from female (or male, for that matter) gallant anime. While the necessary position isn’t entirely recent the characters are significant and are allowed to accomplish well-crafted personalities. Iria is young, smart, and fiercely respectable – a completely independent woman. Fujikuro is more than a tiny twisted, but, despite his antics, proper to Iria. Bob – a bounty hunter turned into a computer ghost. And Kei, who is a younger reflection of Iria. All of these characters and others leave lasting impressions as the result of the win scripting and conceptual work of Keita Amemiya.
The artwork remains outstanding even by today’s standards. The series is based on an novel live action film, but animation can go where file can only follow at gargantuan cost. Character acquire (Masakazu Katsura) and position form (Amemiya, et. al.) combine to provide a original looking universe that combines weak Japanese and Chinese elements with fantasy visions that rival Yoshitaka Amano, peopled with contraptions that Da Vinci would have envied.
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The state includes an additional DVD with graphics and interviews with Amemiya, Katsura and several of the disclose actors. If you are lucky enough to fetch the puny edition you will also derive a metal container for the region. This is another of those ‘must see’ that both stretch the boundaries of anime and provide colossal entertainment as well.
I could be incorrect, but I deem I’ve found the holy grail of anime sci-fi action. But what makes for a superior sci-fi action display? In my experience, it a combination of a likable character, respectable fight choreography, a sweet soundtrack, chilly weapons and gadgets, atmosphere, and action, action, action.
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First of all, this OVA has some of the slickest presentation I’ve ever seen in an anime. The opening, the closing, the music, the blueprint the shots are detached…10 out of 10. The animation and artwork are also absolutely superb. Looking at the backgrounds in this exhibit made me judge of some of the awesome idea art we sometimes gaze in the opening or closing of a demonstrate but almost never in the staunch display. How to represent the style? It’s a bit like the very best art in Outlaw Star, but kicked up a notch. Everything has a kind of oriental/Star Wars Episode IV style to it (from people wearing faded battle armor with cloaks over them to cities and transportation that looks like it’s made of stuff found in a futuristic junk-yard) .
As far as characters go, the main one in this present is much cold. Iria wears ceramic-looking body armor, carries a wintry looking gun, and has more gadgets for fighting than you can shake a light-saber at. Of course if you are into sci-fi gadgetry there are also the speeder-type transports that can jump into hyper-space, personal energy shields, and the holographic fighting simulators (and we’re objective getting started) . Wintry stuff.
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The fights in this expose are broad. Some people might salvage tired of seeing our hero fight the same villain for hours, but personally I loved it. The fights unbiased secure more and more intense, as the unsuitable creature called Zeiram simply refuses to die. During her fights with the monster, Iria will do all kinds of martial-arts moves, fire weapons until they speed out of ammo and grab another one only to sustain blasting, dodging, running, and doing all kinds acrobatics. Very slick.
Of course Iria herself is also an extremely likable person, and as we slowly learn more and more about her and how she came to be a hunter we arrive to care about her more and more. Iria may be tough-as-nails, and cool-as-ice, but in the kill she’s level-headed a girl with a diminutive bit of growing up to do, and she’s not out to display anything or harm anyone, impartial to ruin the monster that threatens to end everyone it comes finish to. Iria is now officially one of my common anime heroes.
Really, the pacing of this anime is wonderful. It starts out at rapid, and the tension unprejudiced keeps building until by the ruin of the final episode we fair know that either Iria or the monster is going to die. The desperation in the battle is palpable, and the viewer is on the edge of their seat. I fancy this anime. If you like action, you probably will too.
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This is one of the finest coarse budget crime films of the fifties, one that manages to collect an unbelievable number of things accurate. After a dozen years of film noir and tough detective films, one would have imagined that most of the angles would have been tried and worked to exhaustion, but PICKUP ON NOON STREET managed to be amazingly current and novel. It is also a multi-layered film. On one level, it is an espionage film, with federal authorities, with the relieve of local police in Novel York, on the wander of a group selling secrets to the Communists. Interestingly, the collaborators are not treated as political individuals, but utterly unprincipled capitalists. As Joey, Richard Kiley’s character, puts it early in the film to his dilapidated girlfriend Candy, “How many times do I have to advise you we’re not criminals. This is substantial business.”
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The film features a first rate cast. Except possibly for his cover debut in KISS OF DEATH, Richard Widmark was never better than he was in this film as three-time loser pickpocket Skip McCoy. The ultimate anti-hero, McCoy’s motives are complex and opaque, even at the demolish. Jean Peters, later Mrs. Howard Hughes (to whom she was married from 1957 to 1971), is fetching as Candy, a shady dame with a past but with the proverbial heart of gold. Richard Kiley is suitably slimy as Joey, the seller of secrets to the Communists. Kiley would later (after his deliver darkened) become the narrator for dozens upon dozens of National Geographic specials (such a familiar affirm that they joke in JURAISSAC PARK about getting him to do the exclaim over for their guided tour) . Thelma Ritter, as she did so often in the forties and fifties, steals every scene she is in as the necktie-selling, police informing Moe Williams, who is saving up for her gravestone and burial spot (”If they buried me in potter’s field, it would unbiased end me”) .
The psychology of the characters comes straight from Mickey Spillane. A important instance is the blueprint Candy falls for Skip McCoy. This aspect of the film isn’t merely improbable: it is impossible. Skip picks her pocket. He causes her to go on a long search for him while paying off stoolies along the procedure. He slugs her upon their next meeting when he finds her going through his things, robs her purse while she is unconscious, and then pours beer on her face to wake her up. After kissing her, he unceremoniously tosses her out on the street. When she returns, he kisses her some more, before pushing her down, taking all the money out of her purse, and then shaking her down for more money. And, of course, by this time she is hopelessly in worship with him. In what universe is this possible? None, but for the sake of the drama we come by it effortlessly.
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The film is stuffed with helpful details, whether dialogue, music, or sets. No one seeing the film could ever forget Skip’s bizarre waterfront lodgings, in which he cools his beer (and stores his booty) by lowering a wooden box into the East River with a rope. Among dozens of tall touches, one of my favorites is when a stoolie, eating Chinese food, takes his tip money and puts it in his pocket using chopsticks. The acquire, by the relatively unknown Leigh Harline, nonetheless manages to be almost as edgy as Edward Hermann.
Interestingly, for all the film’s cynicism and edginess, it actually ends up with a more musty jubilant ending than most of the hardboiled crime films of the forties and fifties. The guy and the gal demolish up together, and perhaps even overjoyed. Moe tells Skip, “Halt using your hands, Skip, and open using your head.” He does, and all ends well. By the demolish, the awful guys are all either dreary or in jail. What is captivating about all this is that it was a converse violation of the Code, which decreed that all characters who grasp in crime must be shown as paying for those crimes by the slay of the film (which is why all those Humphrey Bogart and James Cagney villains of the thirties always died by the kill of the film) . Skip McCoy is not only a roam, he is a thief, yet at the kill he is not only punished: he is given a natty bill of health for cooperating in taking down Commies. As such, he is one of the most original anti-heroes of the age.
This is an absolute must-see film though I would like to add that for a Criterion film, this has perhaps the smallest number of satisfactory features that I can choose. The print itself is pristine and glorious, but you obtain no additional video features. All the features are either articles or printed interviews.
The face of film noir wouldn’t have been the same without the distinctive face of Richard Widmark who exploded into the genre with his memorably over-the-top performance as baddie Tommy Udo in 1947’s Kiss of Death. For my money, however, it’s the underrated Victor Ragged who really carries that film, although Widmark gets all the flashy scenes (his pushing of a wheelchair-bound Mildred Dunnock down the stairs is widely considered one of the cruelest in film history) .
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In Jules Dassin’s Night and the City (1950) and Pickup on South Street, however, Widmark truly comes into his enjoy with two of the finest film noir performances of all time. The stage trained actor had added some substance to the flash. You bag yourself sympathizing with the callous Skip McCoy (Pickup on South Street) and nervous Harry Fabian (Night and the City) despite their awful qualities. There’s an underlying vulnerability late all the tough talk and rough gestures (the fact that Widmark looked so undernourished in the ’50s may have also had something to do with it) .
With the uncompromising Sam Fuller (Shock Corridor) at the helm and Thelma Ritter (All About Eve, Rear Window) in a scene-stealing supporting role, you can’t go foul. An considerable release for the film noir afficionado.
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I’m not saying this unprejudiced because I am a Original Yorker, but GREMLINS 2–THE Modern BATCH is slightly better than the recent. First, it’s a powerful less mean-spirited film than the first (which I also gave five stars, but for different reasons) . Unprejudiced the fact that a character who was crushed to death in the first film, shows up in the sequel (wearing a itsy-bitsy cast) because he really was likeable, shows that Joe Dante and the scriptwriters were going into this film for the fun of it. Second, the casting was flawless. Whoever chose Tony Randall to do the lisp of the strangely-William F. Buckley-sounding, intelligent gremlin was responding to nothing short of divine inspiration. Everyone enthusiastic in this production had their hearts in the lawful places and the enact shows. GREMLINS 2–THE Recent BATCH is an fabulous allotment of comical fantasy and fright that should endure.
Gremlins 2 has a bigger scope than the first film. It takes station in Manhattan and deals with a lot more than the new did. The main dissimilarity is that Gremlins 2 is kind of a spoof of the first. With frequent references to it (even by Leonard Maltin at one point) and only 2 characters (or 3 if you include Gizmo) it’s not really continuing the Gremlins yarn but using it to get fun of early `90s gargantuan city culture.
There are a gazillion in-jokes and dozens of cameos all over the area. Including Jerry Goldsmith who’s music is even better in this movie than in the first. It is such a wintry and catchy minute theme. I care for it.
The Gremlins seem cuter and funnier in this one. My fave Gremlin is Daffy, he’s insane. The other main ones are George (the frowner), Lenny (the insensible one) and Mohawk (the one with the uh…mohawk) . And of course there’s Gizmo. I wish so powerful that Mogwai were genuine because he’s so cute and adorable.
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Rent this movie or regain it on TV. If you like it wait for Warner to release the DVD. The opportunity for extras and invention is endless.
One last thing. Conclude with this movie until the credits have finished.
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Be advised that Amazon is combining the reviews of the VHS position of this series ‘Christianity: The First Thousand Years’ with the reviews of the DVD station which combines the first thousand years and the second thousand years. Thus, some reviews will only refer to the first thousand years (those who have reviewed the VHS place), and other reviews will hide the entire history of Christianity (those who have reviewed the DVD situation) . My review will hide both, with an emphasis on the first thousand years, but also addressing briefly the second thousand years.
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The series ‘Christianity: The First Thousand Years’, narrated by Ozzie Davis and Ruby Dee, was originally entitled ‘The Rise of Christianity’. From the outset, the narrator states the purpose of this series as not being a stare at the Bible or theological and spiritual ideas, but rather a history of the church, of Christendom and the whole institution of Christianity. Because this was done in four, fifty-minute episodes (roughly 250 years per segment), the history has had to be more selective than history ordinarily is. The documentary navigates a helpful and absorbing course between major figures, events and ideas and enchanting trivia and elements of the Christian experience.
Given the audio-visual nature of the documentary, there are lots of pictures of artwork, architecture, archaeological/historical sites, and re-creations of events; there is also a respectable deal of music as a background – in the first thousand years, the famous music of the church was plainsong and chant, so that is most frequently broken-down here (besides the orchestrated theme and background music that turns up regularly) .
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One of the limitations of the audio-visual medium of documentaries is that deep theological issues cannot be examined in detail – one hopes that one of the benefits of a series like this is to spur interest in reading the loyal works of the people being discussed. For example, a few excerpts from Augustine’s ‘Confessions’ are venerable in that segment, but there is so considerable to Augustine that it is impossible even in a fat documentary focussing exclusively on him to give more than a passing acquaintance with his work to the viewers. This is correct for all major theological thinkers, from any era.
Another site of interest is in the historical development of Europe overall, during the first thousand years, and the spread of the church as the Europeans spread throughout the world, during the second thousand years. Again, the purpose of the documentary being to stare the history of the church, one should not request a stout historical development even of the areas directly touched upon – peaceful, this documentary does a gracious job at setting the overall context in political, social, military, economic and shining terms.
This is a history produced in sizable strokes – the overall aspects and trends of Christian history advance through in wonderful do, even if the details are not as fully developed as an historian might care to have. We have customary these videos in church history classes at my seminary as a supplement to the considerable texts and history surveys that students read – this really does succor bring history to life.
The scholars represented on this video approach from a very diverse background – the Roman Catholic and Orthodox members of the scholar team on this documentary may be surprised to catch themselves classified and dismissed as ‘Jesus Seminar types’ (particularly people like Eastern Orthodox Archbishop Kalistos Ware) ; interestingly, this is not a documentary about the Bible, either what it says or how it was made – in this regard, that might be one of the gaps of this particular documentary series (how the Bible was made gets relatively cramped position in this video) . On the other hand, A&E have another series, ‘Who Wrote the Bible’, which involves scholars, theologians and religious leaders who were alive to in the production (and again, a diverse bunch – Jerry Falwell would not qualify as a ‘Jesus Seminar’ type either) .
This is a very excellent video series for the novice, the general interest seeker, and for students and pastors who want an introduction or refresher into the overall scope of church history.
It gets three stars, because powerful if it is right, and it’s presentation is very well-done. I appreciated it for its cinematographic value.
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There are several errors that I spotted here, and I would request more out of A&E.
Such errors include:
1) James, not Peter, was the leader of the first Christian community.
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This is clearly erroneous. The spacious consensus among scholars is that Peter was the leader of the early Christian community. Check out the Encyclopedia Britannica article “Peter”, as well as anything published by Oxford University, as well as unprejudiced about every book on Church history.
The “historical consultant” for the 1st 1000 years was Dominic Crossan of the funny Jesus seminar. He wrote a book titled “James, the Brother of Jesus”. It’s radiant great his understanding, and the thought of his runt circle of scholarly rejects that James, not Peter, was the leader of the early Church.
James may have had immediate leadership over Jerusalem, but important leadership was Peter’s This is evidenced in the very name “Peter” itself. Stare Matthew 16:13-19, as well as the Church Fathers.
Also, the DVD is inconsistent. It begins by introducing the disciples, and it actually identifies Peter as their leader. 20 minutes into the documentary they say the leader was James. Inconsistent.
2) The role of women in the early Church.
There is not one documented recount of a woman serving in a clerical role. You did have orders of deaconesses, but the liturgical manuals we have in our possession, like the “Apostolic Tradition” and the canons of the Council of Nicea, design it obvious that these were not ordained positions.
The early Church did have prominent women figures. There were orders of virgins, widows, and deaconesses. But these were forerunners to the unusual nun, not “women clergy”, as the film implies.
3) The film says that the three-fold hierarchy of bishop, priest, and deacon was “proposed” by Ignatius of Antioch, in the 100s A.D..
It is moral that Ignatius’s letters, written around 107 A.D., are among the first references we have to this hierarchy, but they aren’t THE first. Such appears in the Letter of Pope Saint Clement I to the Corinthians, and is certainly implicit in the Bible itself.
Not only that, but by the time Ignatius had begun writing his letters, on his arrangement to martyrdom, he had already been bishop of some 40 years. So we know for a fact that there was a three-fold hierarchy at least by 67 A.D., when the Apostles were collected alive. (Granted, this system was not universal in Apostolic times, but it certainly was by the 2nd century) . It’s also principal to mention that Ignatius was a disciple of John the Apostle. The documentary fails to mention this. The indicate also says that Ignatius was among the first to bar women from the clergy. Again, there is no evidence of this. Saint Paul himself had barred women from preaching in the churches.
4) Not once in the first disc of the film is it mentioned that the orthodox branch of Christianity was known as “the Catholic Church”. This is a serious fly-over. One hears the of this one Christian body, but it isn’t called “catholic” until DVD disc 2, which starts off in the year 1000. Ignatius was the first one to spend the term, and it was frail to distinguish orthodox Christians from heretical ones.
5) The DVD says that Pope Saint Leo I was the first Pope to roar authority over the East. Again, this is fake. Pope Saint Clement I, Pope Saint Victor, Saint Ireneaus, the Ecumenical Councils prior to Chalcedon, etc. all affirmed the primacy of the Pope. The Popes of Rome frequently took it upon themselves to excommunicate heretical Eastern Patriarchs, and later on Eastern Christianity sided with them.
6) In Disc 2, Post-Reformation Catholicism is passed off as completely anti-intellectual and anti-technology. When the Church condemned “Modernism”, it wasn’t condemning change or technology, but rather what we call today “liberal Catholicism”. And Vatican II didn’t change any of that.
7) The series ends on a negative effect with the document “Dominus Iesus”. What isn’t mentioned is that “Dominus Iesus” was dinky more than a re-statement, word for word, of the teaching of Vatican II. (It’s presented as anti-ecumenical) . It’s positive that the producers of the series did not bother to read the document.
The Church in Colonial America is presented as pro-slavery, with positive exceptions among friars. This is not suitable. All the popes, even prior to 492, condemned slavery as incompatible with the Catholic religion. They were largely ignored, but the penalty of excommunication “ipsi facto” (the same punishment given to women who commit abortions today) was threatened, and applied, to those who kept slaves.
9) The lie that Pope Pius XII did nothing to befriend Jews is told in this documentary. Pius XII helped achieve over 800,000 Jews, more than any other nation did. H did this through monasteries, convents, fallacious baptismal certificates, and sneaking Jews in the Vatican among the Swiss Guard. Catholics were the 2nd-largest group murdered in the Holocaust, after Jews. Of the 5 million non-Jews murdered in the Holocaust, 3 million were Catholics.
I’m not trying to be an apologist for Catholicism (yes, I am Catholic), but I deem that all my comments and discrepancies are justified and unprejudiced.
Pretty suitable, but hold it with a grain of salt.
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The Le Mans 24 Hour Urge is one of the most insane sporting events ever. “Le Mans” attempts to describe the excitement, the urge, the sound, and the surreal quality of the urge, and yes, some of the boredom and stupidity as well.
Steve McQueen is at his most restrained playing Michael Dalaney. Seldom has the professional racing drivers’ mentality and single mindedness been shown with such clarity. Dalaney has respect for his colleagues, but no warmth towards them. Nothing is allowed to secure in the plot of the bustle itself, and importance of winning the rush.
There’s a cramped, fragmented, rather irregular sub-plot which features a exquisite widow from the previous year’s rush, if you are a profitable viewer then this chronicle seems to only enhance the single mindedness of the drivers. There’s also a rivalry between Delaney and another driver. But again, the rivalry seems manufacturered as worthy by the media (shown at their most noxious) rather than any just emotion between the men concerned.
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The right stars of Le Mans are the brutal, resplendent sports racing cars of the early 1970s. several meet horrific ends in uninteresting motion crashes that are simultanously aesthetic and horrific to inspect.
Above all else, from the beginning to the waste Le Mans has a surreal quality where run and concentration result in all other aspects of ‘real life’ being forgotten.
We’re unlikely to accumulate as just a portrayal of professional motor racing ever again, and certainly not from Hollywood…
Of all the classic speed movies out there this is probably the most minimalistic and puristic one. Don’t look this movie for the rudimentary appreciate myth (if one can call it that design) . Don’t recognize it for dialogue – Steve McQueen does not jabber more than a 100 words in this film I would guess. Search For this movie for the breath-taking drama that develops in the pictures, since in racing a recount says definitely more than a 1000 words. The camera work is outstanding, and the epic is built in a very detail-minded, documentary-type style that matches the coolness of McQueens persona. We leer his charcter produce almost entirely in his actions, in the remarkable flashback to an accident a year ago that he reflects upon as he returns to the same scene on the same track. As he drives to the track, stops his Porsche at the scene of the accident and stares wait on into the past, we initiate to understand what kind of a racer he is .We search for the composed, yet passionate rivalry between him and his major competitor for the title in the Le Mans 24 hour run and we inspect his equally collected interaction with the widow of the fellow driver who perished in that fateful accident. While personal interactions are very subdued, the proper passion erupts on the race-track and this movie is ample in this regard. We scrutinize a marvelous and well-filmed explain of the greatest prototypes and road-racers out there at the time. If you are a race-fan, you must eye this movie, if you are not, you probably won’t catch it. As a bustle fan I give 5 stars.
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Posted on 23 February '10 by allanpark1962, under Le Mans. No Comments.
This movie is worthy. I stumbled onto it on the Gain accidentally because of the leading actor (Ioan Gruffudd) and his earlier portrayal of another classic character–Hornblower. Huge Expectations is by far my common of Dickens and of all other classic literature, and this movie portrays the book wonderfully! Every scene–nearly every WORD can be found in some gain in the book, from the younger Pip’s nervous recital of Customary Clem, to Orlick’s reappearance and attempted revenge. As with all adaptations, there are a few drawbacks (and for this reason I would HIGHLY reccomend reading the book itself!) . But I’ve seen very few movies adapted as accurately as this. Very very resplendent!
First off, our friend below from Aussieland, is not true. This IS the performance that aired here on Masterpiece Theatre in 1999 (it like other stuff on the WGBH notice includes Russell Baker’s openings and closing (singular as he did not do a closing for section 1) . There is another BBC release from 1981 also on DVD which I do not know anything about. This version came out around the time the “recent version” shown on the immense mask with Gwyneth Paltrow came out which takes station in unique Miami. Suffice it to say, this is the second time Masterpiece Theatre aired a upright representation of this classic while the mountainous shroud achieve out a flop (the first time was Moll Flanders in 1996 which shadowy to say the single disc copy I bought here at Amazon is no longer in print and who knows how the double disc rerelease is doing) . Ioan Gruffudd as Pip is as mammoth as his performance in Hornblower. It also tells most of the chronicle which several of the enormous cloak versions leave out. If you are building a library of “Masterpiece Theatre” classics, then (even though it only aired in 99) this belongs in that library.
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Bagdad Cafe is an outlandish film, and I mean that as a compliment. The characters are all greatly flawed individuals who, as the film starts, are largely discouraged. CCH Pounder plays Brenda who owns the cafe. This woman could apprehension the cover off a cat with that shrill disclose that drives her husband off to park in the desert and ogle her with binoculars for the rest of the film. Jasmin, the Bavarian German who likes her coffee strong, is full and seems to change clothes regularly despite having a suitcase supposedly filled only with men’s clothes. She is not the typical Hollywood star, but she comes to salvage our hearts. Jack Palance as Rudy Cox, the plot painter from Hollywood, lives in a trailer and sees the world through rose colored glasses. His costumes are pure Santa Monica Boulevard chic. He charms us as he falls in like. The sequence of paintings he does as Jasmin gets progressively less dressed is hysterical. The other characters are also recent. Brenda’s son who also has a son, a baby, wants nothing more than to play piano all day. The daughter dresses in trendy teenage garb and seems to repeatedly race off with anything with two legs and pants. Debbie, the tatoo artist, seems like an S&M freak, and eventually leaves because “there is too worthy harmony.”
The thing I worship about this film is that most all of the characters change. Jasmin’s unfolding is glowing. The themes in the movie of racial misunderstanding and harmony are also spicy. Jasmin has never seen blacks and pictures herself in tribal Africa being roasted for dinner. She’s amazed at how light the palms of Brenda’s daughter’s hand is, a simple detail but splendid in its innocent sense of wonder. The DVD version doesn’t add a titanic amount of extras such as bonus material, but the movie itself is the reward. If you like upbeat films somewhat off the beaten track, examine out this cinematic gem.
Filmed not too far from here in the town of Baghdad in the Mojave Desert, Percy Adlon’s BAGHDAD CAFE has charmed impartial about everyone who has stumbled across this literally off-the-beaten track 1987 gem that’s now available for the first time in a bare-bones widescreen DVD transfer.
The yarn is deceptively simple. Marianne Sägebrecht is a German tourist who leaves — and is subsequently abandoned by — her husband(? ) in the California desert. In the middle of nowhere, she makes her draw to the run-down, failing, Baghadad Cafe and Motel speed by C.C.H. Pounder (ER’s Dr. Hicks) . The plump Sägebrecht rapid becomes a section of the eccentric family under Pounders tough-talking rule. Not only that, her presence is the catalyst that transforms the forgotten roadside conclude into a bustling business and a life-altering experience for all point to. Jack Palance is astounding as an ex-Hollywood site designer and artist who sees Sägebrecht’s proper beauty and becomes obsessed about capturing it on canvas. What he sees Sägebrecht becomes and in the process impacts those she touches. This astonishing film is about loving and accepting and believing and discovering and being. The novel music by Bob Telson includes the haunting “Calling You” sung by Javetta Steele. This is one for the digital library. Highest recommendation.
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Posted on 17 February '10 by allanpark1962, under Bagdad Cafe. No Comments.
I applaud this release of the entire first season of Gunsmoke on DVD, and hope the remainder of the best TV western ever made will also be released.
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Gunsmoke, the longest running western in TV history (or TV drama for that matter at 20 years and 635 episodes), is complex and textured, dealing with old themes and unforgettable characters that became section of our culture. It was billed as the first `adult western.’
I grew up watching the series, which debuted in 1955 as a half-hour dim and white indicate then progressed to an hour in its seventh season, and began being produced in color in 1966.
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The unique opening depicted the Marshall in a fast-draw gunfight against a villain he killed, but this was toned down years later after groups complained of violence. As a result, rather than seeing the villain plunge dull, the camera instead stayed only on Dillon as he drew his `peacemaker.’ In the 70’s, the opening eliminated the gunfight altogether and depicted Dillon riding speedily across the range. In the 1960’s, early episodes of the series were rebroadcast as `Marshall Dillon.’
The much-honored and beloved explain went off the air in 1975. Thirty-nine fine shadowy and white half-hour shows comprise this unbelievable space.
Few need to be told what his western depicted: It’s the yarn of Marshall Matt Dillon (played to perfection by James Arness) who tamed the lawless Dodge City, Kansas, in 1873. He did so not only with his six-shooter but with his courage, sense of honor, justice and irreproachable integrity slow the badge.
A radio explain predated the TV series and aired from 1952 to 1961. The radio Marshall was voiced by William Conrad (who later portrayed the lead role of the portly private investigator `Cannon’ in the 1970’s.) When CBS decided to beget a TV series, Conrad wanted the role, but wasn’t chosen because of his girth. The rumor that western icon John `Duke’ Wayne was offered the pivotal role of Dillon, but he turned it down and instead recommended his reliable friend Arness, has largely been debunked.
In addition to Dillon, the core characters are Miss Kitty Russell (Amanda Blake), owner of the Longbranch Saloon and Matt’s long-time cherish and lover; the crusty but sensitive Doctor Galen Adams (Milburn Stone) ; and Deputy Chester Goode (Dennis Weaver) . Burt Reynolds also had a recurring role as Quint Asper from 1962-1965. Ken Curtis replaced Goode as `Matthew’s’ Deputy Festus Haggen, who portrayed the loveable deputy who couldn’t read from 1959 through the raze of the series. Gunsmith then deputy Newly O’Brien (portrayed by Buck Taylor) moved to Dodge City in 1967 and remained until the reveal went off the air. Pat Hingle portrayed hard-nosed Doctor John Chapman for six episodes in 1971 when Milburn Stone left briefly for health reasons.
Arness and Stone remained through the series entire 20-year urge, while Blake brilliantly portrayed the red-headed Kitty for 19 seasons.
Weekly guest stars represented the cream of the acting cut for decades! Here’s an example: Bette Davis, Victor French, Morgan Woodward, Jack Elam, Denver Pyle, Jeanette Nolan, Jim Davis, Warren Oates, Jacqueline Scott, George Kennedy, Ed Nelson, Michael Learned, Forrest Tucker, Paul Fix, Slim Pickens, Bruce Dern, Harry Morgan, Steve Forfest, Richard Kiley, Beverly Garland and Leonard Nimoy.
Here are the episodes included in this boxed set: Matt Gets It (Debut) ; Hot Spell; Word of Honor; Home Surgery; Obie Tater; Night Incident; Smoking Out the Nolans; Kite’s Reward; The Hunter; The Queue; General Parcley Smith; Magnus; Reed Survives; Professor Lute Bone; No Handcuffs; Reward for Matt; Robin Hood; Yorky; 20-20; Reunion ‘78; Helping Hand; Tap Day for Kitty; Indian Scout; The Pest Hole; The Tremendous Board; Hack Prine; Cooter; The Killer; Doc’s Revenge; The Preacher; How to Die for Nothing; Dutch George; Prairie Happy; Chester’s Mail Order Bride; The Guitar; Cara; Mr. and Mrs. Amber; Unmarked Grave; and Dread and Noble Valley.
After waiting so many years and being teased by three compliation releases, Gunsmoke is finally being released on DVD in a complete season package.
By releasing the first season of the expose on DVD, Gunsmoke is finally being accorded the honor due it but first given to many other shows who didn’t last as long and/or weren’t nearly as fine. The point to didn’t last 20 years without capturing the imaginations of a lot of viewers. Succor in 1955, CBS belief viewers were ready to contemplate an adult Western – one that was not created and written for kids, but one that intended to tap into the huge audiences that were rushing to theaters to watch Gary Cooper, James Stewart, John Wayne, and Henry Fonda on the prairie.
Casting Wayne protege James Arness as Dodge City, Kansas US Marshal Matt Dillon, Gunsmoke space the stage for all of the grand television Westerns that came after it, like Bonanza, The Rifleman, Cheyenne, and others. First, the hero or heroes were stalwart, salt-of-the earth types that resonated humanity and virtuosity, like Arness’ Dillon (and also situation the stage for very vast leading men like Chuck Connors of The Rifleman and Clint Walker’s Cheyenne Bodie) . Next, stock the explain with a spectacular supporting cast – Milburn Stone as Doc, Amanda Blake as Kitty, and Dennis Weaver as deputy Chester Goode. Add a weekly blend of terrific guest stars, throw in genuine writing and directing, and the Western television series had its device. And television had one of its best shows of any genre.
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