Last Boy Scout, The movie downloads

August 28th, 2008 by reviewsofmovies

Download Last Boy Scout, The

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Last Boy Scout, The Reviewed By Slyder Posted 01/07/04 08:25:22

"The last film that you could think of to be entertaining" (Worth A Look)

Well, now here

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August 27th, 2008 by reviewsofmovies

Download Edtv

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Edtv

EdTV **1/2 (out of 5) (1999)

Cast: Matthew McConaughey, Woody Harrelson, Jenna Elfman, Sally Kirkland, Martin Landau

Directed by Ron Howard

  A struggling San Francisco TV station throws a hail mary to save themselves, wherein they will film the life of a local citizen for 24 hours a day and broadcast it live. They locate Ed Pekurny, a not-too-bright but very engaging personality who becomes an instant sensation. But the constant filming causes tensions within his family and his new girlfriend. When popularity starts to dip, the station begins contriving situations for Ed, but his happiness begins to dissolve but can’t get out of his contract.

The successful marriage of director Ron Howard with screenwriters Lowell Ganz and Babaloo Mandel, who joined forces for NIGHT SHIFT, SPLASH, and PARENTHOOD, has finally encountered it’s first dud. The film is a wildly mixed bag, seeming to hit it’s stride every few minutes only to be undercut by prolonged periods of stupidity and redundancy. A lackluster but energetic cast do what they can, but the plot is a mess and most of the characters are unnecessary. On top of this is the overwhelming sense of deja vu having just seen THE TRUMAN SHOW the year before, and MTV’s THE REAL WORLD for many years before that. Too many ideas, too many characters, too many contrivances and not enough depth keep this from being nothing more than a collection of a handful of funny moments strung together by a series of phony baloney plot devices you’ve seen before (and seen better).

Back to Qwipster’s Movie Reviews

 

 

 


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online White Noise movie

August 26th, 2008 by reviewsofmovies

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I can tell how disturbing a DVD I’ve just watched was by how easy or difficult it is to turn out the lights and go upstairs when it ends! “White Noise” left my heart pounding and my eyes shifting quickly about the darkened living room. Very scary movie. At times plodding, confusing, and manipulative, the core idea & execution nevertheless was incredible creepy.

The part that made this film different for me was when the Michael Keaton character has a conversation with a blind medium. She warns him that her otherworldly contacts consider his obsession with EVP “meddling” & that he leaves himself unprotected from the ones who do damage. Very prophetic, it turns out.

Anyone who has ever “messed around” with a Ouija board might relate to the warning that not all are friendly ghosts. And while the notion that the dead can use all sorts of technologies to communicate with open minds ( see “Ghost in the Machine” or “Virtuosity” ) , the use of EVP was very effective to me. 

One word of warning… I would think twice about allowing young viewers to see this movie. There are certain scenes which happen very fast but include some horrifying imagery. You may not realize exactly what you are seeing, but your mind retains those images subliminally. I watched some of these frame by frame….do your kids a favor, they don’t need to see these memories!

Would I reccomend this movie? Depends on if you believe in ghosts…  

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August 25th, 2008 by reviewsofmovies

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Johnny Depp and his hairdresser work overtime in the goofy thriller “Secret Window,” and it’s a tossup which guy has come out looking better for his efforts. Depp stars as Morton Rainey, a writer who’s gone down the emotional rabbit hole after separating from his wife. Tucked away in the countryside with only a milky-eyed dog for company, Mort has all but shut out the outside world, a condition and a genre conceit that all but assures that it’s just a matter of time before something or someone comes banging on his door with a vengeance. Trouble appears in the person of John Shooter (John Turturro), wearing a wide-brimmed black hat and carrying a battered manuscript and a grudge as weighty as Cain’s. ADVERTISEMENT A Mississippi dairy farmer with a molasses-drip voice, Shooter lands on Mort’s porch uninvited and unwelcome, claiming that the successful author has stolen his story. Mort denies the plagiarism charge and brushes the interloper off, setting off a violent chain of events that eventually involves some household tools, the local law (Len Cariou), a private investigator (Charles S. Dutton), the writer’s estranged wife (Maria Bello) and the wife’s clueless boyfriend (Timothy Hutton). Things go bump in the night, dogs howl, people scream and houses disintegrate along with one transparently addled mind and one very thinly realized story. Directed with loud comic undertones by David Koepp, a familiar studio go-to guy (his writing credits include “Panic Room”), and based on a novella by Stephen King, “Secret Window” opens with a close-up of Depp and rarely strays from the actor in the scenes that follow. The strategy proves to be one of the film’s strengths as well as one of its major weaknesses. Although Koepp tosses in a few flashbacks and some off-site scenes, much of the film’s action unfolds inside Mort’s country house, a space that — much like the Overlook Hotel in King’s “The Shining” — assumes escalating metaphoric resonance. King knows that a creative refuge can easily become a penal colony, especially for someone devoted to a life of the mind, but as a writer he’s careful to make sure it doesn’t become a narrative prison as well. Koepp has it tougher than King with this story partly because the medium in which he’s working doesn’t bend easily to stories hinged on the life of the mind. The director keeps up a busy front, mostly by tagging after his star, but there are limits to what each can do with the material. A character actor at heart, Depp likes to dig under the skin of a character — either by retreating into Zen-like blankness or letting his eccentricities rip — but there isn’t much for him to chew on here. Of course, playing a guy named Mort sounds as if it might pose a challenge for this blissfully exotic bird, but because “Secret Window” hinges on a nominal mystery, the actor is forced to keep his wilder side, if not his hair, in check. That doesn’t mean that it isn’t fun to watch Depp, only that it’s not fun enough considering his gifts and what Koepp seems to have in mind for the film. Unsteadily pitched between horror and comedy, “Secret Window” turns out to be neither terribly scary nor especially funny. Unlike King, a master of ambiguous intention, Koepp seems caught between self-amusement and a desire to scare the stuffing out of the audience, and as a consequence he never finds the right tone, a perilous shortcoming in a thriller. Still, Depp fusses through the film with restrained superfluity, nervously clutching at his tatters like some latter-day Miss Haversham. When Shooter comes a-knocking, essaying a crude variation on Robert Mitchum in “The Night of the Hunter,” you half expect Mort to greet his gentleman caller with a smile. Secret Window MPAA rating: PG-13, for violence and terror, sexual content, language Times guidelines: bloody violence against an animal and some people Johnny Depp…Mort Rainey John Turturro…John Shooter Maria Bello…Amy Timothy Hutton…Ted Charles S. Dutton…Ken Karsch Columbia Pictures presents a Pariah production, released by Columbia Pictures. Director and screenwriter David Koepp. Based on the novella “Secret Window, Secret Garden” by Stephen King. Producer Gavin Polone. Director of photography Fred Murphy. Production designer Howard Cummings. Editor Jill Savitt. Costume designer Odette Gadoury. Depp hairdresser Martin Samuel. Music Philip Glass. Running time: 1 hour, 37 minutes. In general release.
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August 24th, 2008 by reviewsofmovies

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The Movie:





Director Steven Spielberg jumped right from “War of the Worlds” to this epic thriller revolving around the events that took place after 11 Israeli athletes were taken hostage and killed during the 1972 Olympic games in Munich. The picture is based upon the book, “Vengance”, by George Jonas, and is “inspired by” the events. The opening moments of Spielberg’s film recreates (with some archive footage) moments of the events that occured (the documentary “One Day in September” takes a detailed look at the events in Munich) and then follows the response from Israel, with flashbacks to the events in Munch seen at points throughout the movie. Not long after, Prime Minister Golda Meir (Lynn Cohen) calls for the creation of a secret squad who will find and kill the 11 Palestinians responsible for the murders in Munich.



The majority of the film follows this squad - lead by one of Meir’s most respected former bodyguards, Avner (Eric Bana) - as they plot their retribution. The other members of the squad include: Steve (Daniel Craig, the next 007), Robert (Mathieu Kassovitz, “Amelie”, director of “La Haine”), Hans (Hanns Zischler) and Carl (Ciaran Hinds). Each of the group has specific skills that will be needed, but none of them have any experience as assassins. The group is assigned a handler named Ephraim (Geoffrey Rush), who informs them they’re to be funded by a fund that doesn’t exist (and technically, neither will they after accepting the task.) Despite a wife that is not far from giving birth, Avner accepts the mission and sets out to establish contacts to get information.



After visiting an informant, the team goes across the globe, hunting down their targets one-by-one. However, things go wrong (in one incredibly tense sequence, a target is not home and his young daughter unexpectedly is, requiring a quick abort of the mission) and, for each of the assassinations, there is retribution by the Palestinians as the cycle of violence continues with no apparent end in sight. Additionally, the targets that the team does get are replaced by another, potentially more dangerous one. Eventually, the team finds itself becoming hunted as well, leading Avner to become increasingly paranoid as he gets in deeper and deeper. Should he trust his contacts? The picture works best in the second half, as Spielberg continually builds a feeling of isolation and paranoia.



While “War of the Worlds” was likely Spielberg’s most visually flashy picture yet, “Munich” is one of his most technically accomplished. The fantastically gritty and ground-level cinematography by usual collaborator Janusz Kaminski is one of the best elements of the nearly 3-hour picture. Production design, costume and other departments do remarkable work for a production on such a tight schedule. The result is a movie that boasts strong mood and atmosphere.



As for the length of the film, while it could certainly have been edited down to a tighter 150-minute length (or even a bit shorter), I didn’t feel that any section of the film dragged noticably. Making the picture a more streamlined affair would have carried the tension that some sections built a bit further throughout the picture. The film’s several action sequences are so suspenseful as to be riveting, with Spielberg slowly building towards the events, creating a sense of foreboding. The film’s locations (filming took place in Paris, Hungary, New York City and elsewhere) are also quite stunning, as well.



The film’s lead performance also worked well for me, as I found Bana to be very good in the role of Avner. The actor’s portrayal of a man gradually coming apart due to guilt and paranoia is convincing and often quite powerful. Craig, Rush, Kassovitz, Hinds and others provide expert supporting performances, also.



Munich” will likely divide audiences; it’s a bleak, grim picture and those who are not involved with its story early will find that they have a long sit ahead of them. Personally, while I didn’t think the picture was without some issues (I didn’t find that the film dragged, but some tightening would have helped keep the tension up) I found it to be a tense, somber and haunting political drama/thriller that offered strong performances.




The DVD



VIDEO: “Munich” is presented in 2.35:1 anamorphic widescreen. Aside from a brief intro by Spielberg, the movie has the disc to itself, which gives the nearly 3-hour epic some breathing room on the disc. The resulting image quality is largely excellent, aside from a couple of very slight issues. Sharpness and detail are quite good, as the picture appeared well-defined throughout the majority of the film.



The presentation does have a few moments where light edge enhancement shows up, but it didn’t cause that much irritation. Otherwise, the film looked crisp and clean, with no print flaws, pixelation or other issues. Colors appeared intentionally subdued and looked accurately presented. Black level remained strong, while flesh tones always seemed natural. Overall, an excellent presentation of the film.



SOUND: The film is presented in Dolby Digital 5.1. The film’s sound designer is Ben Burtt (both the original and recent “Star Wars” trilogies) and while there are many dialogue-driven stretches of the picture, there are also quite a few stretches of the picture that open up the audio superbly. The action sequences put the surrounds to superb use to place sound effects (gunfire, etc.) and light ambience around the viewer. During the more intense sequences, it’s impressive how much “depth” the audio seems to have, as well, resulting in a greater feeling of envelopment in the scene. Audio quality is terrific throughout, with crisp dialogue, clear effects and a rich-sounding John Williams score.



EXTRAS: The single disc edition only contains a brief introduction by director Steven Spielberg, where he discusses his feelings on the film and what he was trying to accomplish.



The supplements on the second disc of the 2-DVD Collector’s Edition offer some insights into the production, but they really do not go into the kind of depth (Spielberg filmed the movie on an extremely quick schedule, given the size of the production - I’d have loved to have seen an hour-long doc on that) that one would expect for this kind of film. Additionally, there’s really not much about the history behind the film, as the supplements mainly focus on the production. The first featurette is “The Men: The Mission”, which offers some notes about the development of the script, the main characters (interestingly, Spielberg first thought about possibly casting Bana when he saw him in “The Hulk”) and the experiences that the actors had working with one another.



“Memories of the Event” is an 8-minute featurette that has Spielberg and screenwriter Tony Kushner (as well as others from the film) discussing the details and their memories of what happened at
Munich. “Portrait of an Era” is a 13-minute look at the production’s attempts to recreate the era in terms of everything from specific locations to clothing.



“On-Set Experience” essentially provides a brief 14-minute look at the director’s quick schedule and how he approached shooting scenes largely on-the-fly, without storyboarding. “The International Cast” is a 12-minute look at gathering the varied cast and creating characters. Finally, “Editing, Sound and Music” is a too-brief 12-minute look at the film’s rapid post-production.



Final Thoughts: Spielberg’s best film in many years, “Munich” is a technically stellar, powerful and well-acted political drama/thriller that doesn’t have the answers, but intends to start a dialogue on the issues within. The DVD edition offers strong audio/video quality, but little in the way of supplements. The additional supplements on the 2-DVD edition provide a few insights into the production, but definitely don’t into the kind of detail on the history or the production that they should. Fans of the film should pick up the cheaper single disc edition, while those who haven’t seen the film yet and are interested should definitely rent it.



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download Godfather, The movie trailers

August 23rd, 2008 by reviewsofmovies

Download Godfather, The

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Godfather, The

The Godfather is a tough film to review, as it’s almost hallowed ground to some fans out there, and many others who might argue that it’s the greatest film of all time.  I’m not even going to bother getting into any such arguments for or against The Godfather except to say that it isn’t just damn good movie-making, it’s just damn good storytelling.  In fact, one can trace the roots of this kind of storytelling if you go back some ways, back before the Italians to their predecessors, the Romans, and while you’re at it, the Greeks.  The Godfather is a modern day epic, and, if you’ll indulge a personal hyperbole, I would go so far as to compare it to film what "The Iliad" is to literature.  Timeless.

Marlon Brando (Superman, The Score) delivers one of filmdom’s most memorable performances as Don Vito Corleone, aka the Godfather, who heads one of New York’s leading crime families, offering favors to those who ask with respect in return for a favor somewhere down the road.  He pulls strings from lowly morticians all the way up to police, judges, and politicians.  The good times for his family begin to turn sour when the trafficking of narcotics begins to infiltrate organized crime, which Don Corleone wants nothing to do with.   The hit is put out for Vito, who is considered a dinosaur in his ways, but the job is botched and now vengeance pulls the family together in respect and defense of the fallen Don.  His sons try to keep the family together, and the business as well, while also seeing to it that those who disrespect the family pay for it with their dear lives.

The Godfather is a resounding success on every level.  Although many options were considered in terms of casting, some of them falling through, you can’t really argue with the end results, especially with Brando and Pacino (Serpico, The Godfather Part II) for portraying their respective roles with the complexity required.  Although Pacino would come to be known as one of the best actors in the business, most memorably when he cuts loose, one can also see how equally fine he is when having to contain himself, and in no other role does he say so much from utter silence as he does as Michael Corleone.  You can see the aloofness to the family business in the opening wedding scene, to the resolute vengefulness when Don Vito is gunned down, to the cold-hearted businessman he would later become, and all the while we know these things without having to be told. 

Brando plays Don Vito, not as the country’s most dangerous criminal, but as a caring family man who does what he does in protection and not out of avarice.  The scariest realization comes when we realize we actually have come to care for this man who has murdered and bribed his way to power, and the conflictions within us only serve to bolster what a well-developed and brilliantly portrayed character he is.   The rest of the cast is just as fine (well, ok, James Caan (Rollerball, Bottle Rocket) would not have been my choice for Sonny), giving just the right amount of flavor to what could have easily been cookie-cutter parts.

However, the real lion’s share of the credit goes to Francis Ford Coppolla (The Rainmaker, Apocalypse Now) for his vision and flawless directorial instincts.  Although the film is a long three hours, there is so much detail that it’s astonishing how he was able to fit so much in, while also taking time to for poignant moments like the wedding, the baptism, and a moving death, while also ingeniously incorporating them all into the main themes of the film. 

I could go on forever on this, so I had better not attempt it.  I will say that I especially am impressed with is how Coppola is able to resolve whole side-plots with a mere sentence or gesture.  We know Johnny Fontane (Martino) gets his starring role when the Don gets flowers and we know Michael’s broken cheekbone has been fixed when Fredo (Cazale, The Deer Hunter) tells him that the doctor had done a fine job.  By tying all of these loose ends up without the need for screen-time, Coppola can then more finely key us into the characters and their development as the story progresses.  The Godfather is the perfect blueprint on how to tell a story, regardless of genre.

The Godfather is filmmaking at its best, and is recommended for adults seeking an intelligent drama with depth and emotion.  Like the classics of Ancient Greece and Rome, this is a tale on the level of the gods and mortals, and we can only but sit and watch as the titans battle for supremacy.  Hubris, pathos, justice, and gravitas are all in the mix in Coppola’s epic derived from the book by Mario Puzo.  It’s a story for the ages.

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Strangers with Candy full length movies

August 22nd, 2008 by reviewsofmovies

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In 10 Words or Less
Longer isn’t always better

Reviewer’s Bias*
Loves: “Strangers with Candy,” Stephen Colbert
Likes: Amy Sedaris, Principal Blackman
Dislikes: Jerri Blank
Hates: Being disappointed

The Movie
Excitement is not the emotion I, a fan of “Strangers with Candy,” felt
when I heard the series was being converted into a feature-length movie.
Only when the original source material is reimagined or used purely as
inspiration, like the satirical “The Brady Bunch Movie,” does the
transition from TV to movie usually work. The differences between the
two mediums are too substantial to overcome easily.

Here, the film acts as a prequel to the series, showing Jerri Blank (Amy
Sedaris) as she returns home from prison, and adjusts to her new life.
The time that passed between the series’ end and the film has resulted
in some changes to the cast, including the unfortunate replacement of
Jerri’s dad with Dan Hedaya, which changed the value of the character
entirely.

Though the faces have changed, the story has stayed the same, just with
a lot more time to tell it, time that they probably didn’t need. In fact
there’s nothing in this film they couldn’t have done in the series,
including the guest stars, which they had regularly. To be honest, I
can’t figure out why this movie exists, other than to allow the creators
to visit the SWC playground again.

The story is similar to the tales the series’ told, as Principal
Blackman (the wonderfully over-the-top Greg Hollimon) has to justify the
funds he’s been stealing from the school and sees the upcoming science
fair as his chance. To ensure the victory, he recruits superstar science
teacher Roger Beekman (Matthew Broderick), a move that frustrates
Flatpoint High science teacher Chuck Noblet (Stephen Colbert). It gets
worse when Noblet’s “friend,” art teacher Geoffrey Jellineck (Paul
Dinello) joins forces with Beekman, after being rebuffed by Noblet.

As would be expected, it comes down to Jerri to save the day, after
managing to ruin it in every possible way. In between, the bizarre
nature of high school and the Blank family is viewed through Jerri’s
hazy eyes. Though her home life, including late-series addition Stew the
Meat Man, doesn’t provide anything really new, Colbert, Dinello and a
host of others, including Allison Janney and Phillip Seymour Hoffman as
members of the school board and Sarah Jessica Parker as a grief
counselor, make high school funnier than it’s ever been.

While the movie is certainly enjoyable and should be welcomed by fans of
the series, it doesn’t reach the heights the show did, limited by the
time to fill and the slower pace dictated in film. If they tried to
replicate the feel of the show over 90 minutes of movie, audiences would
tire out quickly, and the filmmakers would run out of material just as
fast. Making a TV movie (bringing the parody closer in line with those
old afterschool specials) or a multi-episode arc would have made for a
better return to Flatpoint.


The DVD
A standard keepcase holds the one-disc release, which features an animated anamorphic widescreen main menu, with options to watch the film, adjust the set-up, select scenes or check out the special features. Language options include Dolby Digital 5.1 and 2.0 English tracks, along with Spanish subtitles and English closed captioning.

The Quality
The anamorphic widescreen transfer on this film looks great, with vibrant color and excellent detail. With no dirt or damage, nor any digital artifacts, there’s nothing to not like about the image on this movie.

The Dolby Digital 5.1 soundtrack is actually pretty impressive for a film that wouldn’t seem to need it. However the sides and rear speakers get a lot of work building atmosphere and enhancing music, while the dialogue comes across crystal clear. It’s a surprisingly dynamic mix for a film that’s mainly about people talking.

The Extras
The extras start off with a feature-length audio commentary by Sedaris, Colbert and Dinello. The trio works together very well, and their comfort results in a commentary track that’s fun, with a lot of good behind-the-scenes info and stories from the set, as well as comparisons between the show and the film.

18 deleted scenes provide quite a bit of entertainment, including some fun scenes with Parker, for whom I have some new-found respect. These can be watched separately or all together in a 20-minute block. There’s also a music video for “Atomic Car” by Delano Grove, starring Iris Puffybush, the Flatpoint High school secretary. It’s simply ridiculous.

The disc wraps up with the film’s theatrical trailer and a handful of other ThinkFilm trailers.

The Bottom Line
The rapid-fire pacing of “Strangers with Candy,” including the surreal word play, funny sight gags and great afterschool special parodies, have given way to higher production values and a bounty of cameo appearances, though the excellent comedic acting from Sedaris, Colbert and company remains firmly in place. Despite that, the film doesn’t quite work, most likely due to the tripled length which wrecks the pacing. The DVD presentation is spot-in, and the extras, though slim, are a nice complement to the film. If you like the show, you’ll probably enjoy the movie, but keep your expectations in check, unless you want to be disappointed.


Francis Rizzo III is a native Long Islander, where he works in Internet Publishing and also teaches journalism. In his spare time, he enjoys watching hockey, writing and spending time with his wife, daughter and Schnoodle.

Visit his MySpace page


*The Reviewer’s Bias section is an attempt to help readers use the review to its best effect. By knowing where the reviewer’s biases lie on the film’s subject matter, one can read the review with the right mindset.
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August 21st, 2008 by reviewsofmovies

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Alibi, The
Her Alibi Reviewed By Scott Weinberg Posted 01/15/03 11:59:37

"I’ve seen bales of cotton candy with more substance." (Pretty Bad)

To describe this one as lightweight would be a stunning understatement. Her Alibi is a trifling confection, a near-invisible farce, cinematic pocket lint. That

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August 20th, 2008 by reviewsofmovies

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Background: One of the most popular anime genres involves large mechanized robots fighting one another under various circumstances. This has been the case for twenty five years or more and shows no signs of letting up as fans clamor to see more advanced robot designs that employ the most advanced anime techniques and creative fighting styles, with fans demanding more engaging plots as well. Thankfully, the folks at FUNimation are wise enough to listen to what fans want and beat a rival to the punch when securing the rights to the second season of a popular mech show earlier this year with the initial release being Full Metal Panic!: The Second Raid. In a rare and interesting development, the company partnered up with ADV Films who did the subtitles and English language dub track, making me wonder what happened, though in fairness, I have long been a fan of keeping the same voice actors on a series for continuity purposes if nothing else (I get accustomed to hearing specific actors play the roles, just like a number of others).


The menu page was nicely handled.

Movie: Full Metal Panic!: The Second Raid is the true second season of the franchise that we last saw released from ADV Films with Full Metal Panic: Season 1. There was a shorter side series by the name of Full Metal Panic: FUMOFFU but it was largely a gimmick show that left the mechs behind in favor of concentrating on the schoolroom drama as the Sousuke continued to protect his charge, Kaname. As I’ve said previously about the initial season of this fine show: “The show centers on young Sergeant Sousuke Sagara, a man assigned to an anti-terrorist organization, Mithral. Mithral was designed to combat well-funded terrorists that pilot various mech-robots against targets protected by friendly governments; using technology about ten years ahead of the rest of the world. Recently, there has been an advance in the design of such robots and both sides lay claim to the technology behind the advance and use it for their missions. The series has Sousuke on a long term protection mission of a high school girl, Kaname, and this being anime, the two fall for one another (yet won’t openly admit to this fact). Apparently, she has a gift (somewhat of a mystery at this point in the series) that relates to the new technology and is considered too precious to go unprotected. As the cast goes on a number of missions, we learn a bit more about them and the near-future technology behind the show.”


The special effects looked a lot better than my screen capture.

The press release for the show said this: “FUNimation Entertainment Awarded Rights to Full Metal Panic: The Second Raid by Kadokawa Pictures USA Volume 1 DVD set to street on October 3
FORT WORTH, TX — May 26, 2006 — FUNimation Entertainment, a wholly-owned subsidiary of Navarre Corporation, announced that it has been awarded Full Metal Panic: The Second Raid by Kadokawa Pictures USA. Full Metal Panic: The Second Raid is the third season in this popular anime series and FUNimation has scheduled October 3, 2006 as the street date for the first DVD. “We are excited to work with Kadokawa Pictures USA on this series,” said Gen Fukunaga, president and CEO of FUNimation Entertainment. “These are the first steps in a mutually beneficial relationship and releasing Full Metal Panic: The Second Raid, with its high quality production values and established fanbase, is a great way to start.” “We are very excited to collaborate with FUNimation in releasing Full Metal Panic: The Second Raid, which marks Kadokawa Pictures USA’’s first North American DVD release. We have found FUNimation to have a well thought-out sales strategy and an incredible management and support team. Their passion to distribute and promote this title was remarkable, and we look forward to working with them again in the future,” said Takashi Sakuda, General Manager of Kadokawa Pictures USA, Inc.
The first Full Metal Panic: The Second Raid DVD and starter sets have been scheduled for release on October 3, 2006.”


Gratuitous nudity is always appreciated by fans.

As a fan of Full Metal Panic: Season 1, my fears that the show might not be up to par were quickly allayed upon watching the first few minutes of the show, proving that advances in technology, bigger budgets, and the kind of care that FUNimation is known for were clearly in evidence. The back cover of the show put it like this: “To Sousuke Sagara, undercover high school student and member of the mercenary group Mithril, life in Tokyo seemed the same as always. But underneath the promising exterior spin the wheels of a conspiracy that threatens to destroy the peace. Unrelated at first glance, a series of tactical assignments draws Mithril’s Special Response Team into a tangled web, with the spider wearing a haunting face from the past! With inside help and technology to rival their own, this adversary is after the Arbalest no matter the cost. And don’t forget that math test.”

The four episodes on the DVD were 001) The End of Day by Day, 002) The Scene Below the Water, 003) Labyrinth and Dragon, and 004) Daylight. Without missing a beat, the missions were underway with the Mithral team on a rescue mission to save a bunch of villagers from a petty dictator, only to find out the mission is a trap. The dictator has employed another group to provide supporting firepower and the surprise element catches the Mithral forces off guard, resulting in some losses that weren’t anticipated. This sets the stage for the rest of the series as the high school comedic elements were minimalized to give the action more room. After the first two episodes conclude, the team knows that the enemy they are about to face has superior resources and intelligence to anyone they’ve faced in the past, translating into an end of the “things as usual” approach they were getting away with previously. The second mission involves another attempt by the enemy to exploit their surprise factor upon Mithral, resulting in heavy casualties as the apparent target of the group is to capture Sousuke’s AS (his robot for the uninitiated) by using some Chinese hostages as the pretext for the trap. The Commander figures out what needs to be done a bit late so the edge of the advantage bounces back to Mithral but only slightly considering the circumstances.


Sousuke’s AS is the most advanced in the series.

If you liked the original Full Metal Panic: Season 1, you’re going to love this one even more if this first volume is any indication, dispensing with the overuse of the comedy to get the balance right once more. There is already a Kaname subplot going on (as expected), but fans of the genre seem to agree with me that they’d rather watch the action elements fully explored and this opening salvo does just that. The continuity of subtitles and the English language dub will undoubtedly appeal to many fans (I love the way FUNimation handles these areas but ADV Films has already shown recent improvement and the simple fact is that letting a new staff take care of this would change the show on some level as evidenced by how the Saiyuki series has yet to come across right as handled by Geneon). In terms of the action, this was top notch fun with the kind of quality that BOTH companies can be proud of and if future collaborations prove as successful, perhaps a merger of sorts might be in order.


The use of graphic hand to hand violence was interesting too.

I’m going to rate the show as Highly Recommended for all the quality it displayed, the incredible array of extras, and the manner in which the show was presented. If the future volumes hold up as nicely, I could see a package containing them all as getting even higher accolades thanks to the care that was put into this one. Sgt Sousuke and Mithral has long been one of the better action mech shows and I have the feeling that this isn’t going to change around award time, thanks to FUNimation’s dedication to offering up a great package in even the regular version of the volume that I received for review.

Picture: Full Metal Panic!: The Second Raid was presented in the original 1.77:1 anamorphic widescreen color it was shot in by director Yasuhiro Takemoto. The colors were fine, the blending of CGI with more traditional styles of animation was better than ever, and the minimal problems of lines, compression artifacts and aliasing practically nonexistent. Kadokawa Video of Japan seems to have gone all out in trying to prove their worth compared to the bigger and more established anime houses of Japan and the consumers on both sides of the ocean are the main benefactors as a result. The use of lighting, textures, and other elements to enhance the look of the show might not have been a quantum leap forward from earlier releases but it was a major step forward and I think fans of the show that take the time to compare Full Metal Panic: Season 1 with this one will be pleasantly surprised (the Full Metal Panic: FUMOFFU series really didn’t have that broad a range in most episodes to really push the technology like this one did but it was colorful and clean too).

Sound: The audio was presented with four different tracks, a 5.1 Dolby Digital Surround version in the original Japanese and English language dub as well as a 2.0 Dolby Digital version in both languages, all with optional English language subtitles. First off, if you have a 5.1 home theatre you’re going to find this to be one of the best releases of the year regardless of which language you prefer to listen to. I lean towards the original tracks but the talents of Chris Patton, Luci Christian, Hilary Haag, Monica Rial and others (notably, John Swasey as the villain called Gates; a subtle reference to Bill?) were not lost on me. I liked the use of the stock voices that ADV Films started the show with being continued and I praise FUNimation for using their rival to provide a continuity that would’ve otherwise been lost. If anything, they were better than ever as the dub voices and while the Japanese track was still excellently acted, the dub was very well handled too and they should be congratulated on their efforts). As far as the separation of the elements is concerned, the 5.1 tracks were superior in every way that I could determine with the rear channels used nearly as effectively as the front set up, however sparingly. The dynamic range was also solid with the special effects and music providing superior balance to an already great show.


Here’s one last look at the two newest dangers facing Mithral.

Extras: While few anime releases these days have much to offer in terms of extras, Full Metal Panic!: The Second Raid is a notable exception to this rule. The cardboard slipcover didn’t hold up to well for me but the rest of the package was stunning. There were FOUR audio commentaries by the Japanese cast, giving away some spoilers but also seeming to revel in the fact that they have a lot of fans devoted to their exploits. It wasn’t always easy to keep up with who was speaking but I strongly recommend you listen to them if you’re a fan. There was also a short infomercial episode Bonus Episode 000 that will help newcomers to the show understand more about the basic premise but it was well handled and I thought a slightly longer version should become standard for all shows in terms of introducing characters and a series to new fans. Granted, the six minutes wasn’t exactly perfectly spent but it was a nice touch in addition to everything else. There was also a set of feature productions including a tour of the Japanese Self Defense Force (although I was surprised to not see any of those popular Godzilla units so common in moves these days, the first in a series of Scouting Locations in Hong Kong, and a lengthy visit to the Dawn of the Light novels company where the show and novels it was based on were focused on (usually, you see a couple of minutes of material but this pasted longer than an episode and I drooled at the sight of the store they visited with scores of titles all lined up in many rows). There were also clean opening and closings, some trailers, and an excellent 12 page paper guidebook that combined artwork, interviews, and background data worthy of a big thumbs up. There was also the usual FUNimation catalog and double sided DVD cover too but in general, these are the kind of extras that companies need to offer if they are serious about fighting fansubs and bootlegs so prevalent on the internet. Great job!

Final Thoughts: Full Metal Panic!: The Second Raid was a wonderful return to the characters I enjoyed so much over the last few years in all new settings but with what appeared to be a larger budget and better use of more advanced technology. The extras package alone elevated this one in my eyes as coming dangerously close to the DVD Talk Collector rating, a rarity for a single volume anime release to a series, and I think fans of the show are going to find the best of both worlds here with FUNimation and ADV Films each taking a part of the credit. In short, Full Metal Panic!: The Second Raid was one of the rare birds that treads new ground while keeping old fans happy, handling the balance in such a way that newcomers will almost feel compelled to go pick up the previous series, especially Full Metal Panic: Season 1. If you like anime with action, robot shows, and even a little fan service as shown above, you’re going to find this one appealing on many levels.

If you enjoy anime, take a look at some of the recommendations by DVDTalk’s twisted cast of reviewers in their Best Of Anime 2003, Best Of Anime 2004, and Best of Anime 2005 articles or their regular column Anime Talk.

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August 19th, 2008 by reviewsofmovies

Download Rent

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Based on Puccini’s La Bohemia, Rent is the big screen adaptation of the Jonathan Larson hit Broadway musical of the same name, about 7 friends trying to survive life in East Village New York in the 80s. Half of them have AIDS, are taking drugs or used to take drugs, they don’t have jobs or the ones that have a job are just making enough money to barely eat, and of course they can’t pay their rent. They don’t care though, because they are bohemians and that’s the life they want, focusing on their friendships and loves. It’s a musical, so for those who dislike musicals this is not for you. The story is also dated, I mean, AIDS is not as big of a topic these days as it was back then (still very important though), and the bohemian life is sadly kind of forgotten. Luckily for me that doesn’t matter because I love the 80’s and I also like musicals very much. I really enjoy them. I’m also a lover of liberalism and the way of life portrayed in the movie. About Rent though, I’ve never seen the Broadway play, and I’m embarrassed to admit that before Team America World Police last year I had no idea what this was about. I got a better picture earlier this year with the trailer, but my first impression was that it looked stupid and that the song was annoying. Upon repeated viewing though, the song got stuck in my head and I started liking it. After seeing the movie now, I still can’t get Five Hundred Twenty Five Thousand Six Hundred Minutes off my head, but it is ok, because I truly love it. The celebrated lives are those of Angel (Wilson Jermaine Heredia), Collins (Jesse L. Martin), Maureen (Idina Menzel), Roger (Adam Pascal), Mark (Anthony Rapp), Joanne (Tracie Thoms) and Mimi (Rosario Dawson). And there’s also Benny (Taye Diggs), who used to be their friend and roommate to Mark and Roger, but he married the building’s landlord and failed his promise to not charge their friends living there. He’s a suit now, and is trying to empty the buildings to build a cyberspace company. Mark and Roger still live there. Mark is a wannabe filmmaker who starts filming his and his friends’ lives for a documentary. Roger is a musician still trying to write that one perfect song. He’s emotionally down though, because he lost a girlfriend due to drugs and AIDS, so when Mimi, an exotic dancer, puts an interest in him, he pulls away because he knows she does drugs. They both also happen to be HIV positive. Mark was recently dumped by Maureen, a revolutionary performer who starts a protest against Benny, who Mimi used to go out with. Maureen’s new love is Joanne, a Harvard lawyer who gets easily jealous (rightly so) when Maureen flirts with other women and men, which happens a lot. And finally, and the hearts of the movie, Collins and Angel, who meet after Collins is beat up and robbed in an alley near the guys’ apartment, and they quickly fall in love. Collins is an unemployed professor, and Angel is a street performer drag queen. They are also HIV positive. The performances are amazing, with emphasis on Wilson Jermaine Heredia and Idina Menzel’s. All of them put their hearts in these characters and you can feel it. The music is really amazing too. Many songs to love like the aforementioned Seasons of Love, and then Another Day and La Vie Boheme. The singing is great, and is all lip-syncing except for Over The Moon, which Idina Menzel sings live. But the lip-syncing works great here, especially if they actually filmed in the cold of New York. Either that or they did an amazing job simulating it, especially the breathing. Directed by Chris Columbus (Home Alone and the first two Harry Potter movies) and adapted for the screen by Steve Chbosky, Rent is affecting and engaging, and after you understand that is ok that these people are singing on the screen, it all becomes natural and like me, you’ll find yourself singing with them every song until the credits are done.

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