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| 161. Pokemon - The Johto Journeys - Flying Ace (Vol. 43) Director: Masamitsu Hidaka, Kunihiko Yuyama | |
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Description Reviews (3)
"Ignorance is Blissey", featuring Blissey, a really happy nurse pokemon that is the evolved form of Chansey. This episode reminds of when I saw certain patients in a hospital. But that's OK. "A bout with Sprout", featuring the sprout tower, which reminds me of going to school. And the ultimate episode of volume 5, "Fighting Flyer with Fire" featuring the first gym leader of the Gold and Silver video games, Falkner. This episode is a total blast! The reason why I'm goin' to love this ultimate volume is because of the following: 1. It reminds me of going to a hospital. 2. It reminds me of going to school, regardless of grade number. 3. Falkner is the first gym leader-he uses flying type pokemon in his battles. Once again, thank you for your cooperation on what to rank. Good luck to all pokemon trainers out there. ... Read more | |
| 162. Jack and the Beanstalk Director: Jean Yarbrough | |
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Reviews (7)
The movie itself is a pleasant children's story with music. After a "modern" prologue in monochrome, Bud and Lou adapt their usual sharpie-and-patsy roles to colorful fairytale settings, and Buddy Baer is an excellent foil as the fearsome giant. (Listen for cartoon-voice Mel Blanc playing several roles in the "I Fear Nothing" song.) Makes a nice kiddie matinee, best for small children but older A & C fans will enjoy it, too.
In retrospect, this may not be one of their greatest films (it's not on par with Abbott and Costello Meet Frankenstein, for instance), but it's a fun retelling of the classic Jack and the Beanstalk story, casting Lou as Jack and Bud as the crooked butcher who swaps him magic beans for a cow. Transplanting the boys into the fanciful setting works, and although some of the stuntwork and sets seemed pretty threadbare at times the story and the comedy still click well. This is also one of the few films the boys ever made that could be classified as a musical. For completists who love Abbott and Costello and are still impatiently waiting for the rest of their films to come out on DVD, this is a must-have. Also recommended for folks with kids -- it's a wonderful movie for the young.
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| 163. Pokemon - The Final Badge (Vol. 20) Director: Masamitsu Hidaka, Kunihiko Yuyama | |
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Amazon.com Reviews (7)
In short, this video is great. Now, after Mewtwo came and went in the first series, we will all just have to sit back, relax, and await his return in Johto. "But still..." Gary's voice dropped to almost a whisper, a slight tremble in his countenance. "No one will ever defeat the Pokémon that I saw..."
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| 164. The Over-the-Hill Gang Director: Jean Yarbrough | |
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Reviews (3)
From the Aaron Spelling stable of TV movies comes this tale with Ricky Nelson (and his wife Kris Nelson) as an idealistic couple. Ricky is running for Mayor of a small western town against Edward Andrews who plays a corrupt town boss. Jack Elam is his Sheriff and Andy Devine is his Judge, both firmly entrenched in his back pocket. Pat O'Brien comes to town as Ricky Nelson's father-in-law, a retired Texas Ranger who rounds up his old partners (Walter Brennan, Edgar Buchanan and Chill Wills)!!! Throw in Gypsy Rose Lee as the owner of the local saloon and you got yourself a pretty good (for TV) rip-snorting western. You know how it's going to play out, but watching the all these stars in action makes up for a sub-par script. Unfortunately the transfer is from a well-used print that looks like it was recorded in long play mode. At times, scenes taking place at night are almost unwatchable. But the chance to see these stars of westerns in their later years is a treat you should not miss if you're a fan of the western genre. Brentwood/BCI put in their usual extras, six chapter stops, a DVD dictionary, trivia game and a short subject (Hal Roach's "Little Rascals"). This movie is also in a 10 pack of westerns at about triple the price for this one film from Brentwood Home Video called "The Wild West" and is available from Amazon.com.
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| 165. Pokemon - Picture Perfect (Vol. 17) Director: Masamitsu Hidaka, Kunihiko Yuyama | |
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Description Reviews (4)
What I didn't like was that J+J can't get along with B+C. Luckily, my fanfics fixed that.
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| 166. Las Vegas: Then & Now Director: Peter O'Fallon, Greg Yaitanes, Paul Shapiro, Tucker Gates, Frederick King Keller, Guy Norman Bee, Perry Lang, Peter Markle, Craig Zisk, David Solomon (II), Daniel Sackheim, Kevin Hooks, Timothy Busfield, Robert Duncan McNeill, Michael Grossman, Michael W. Watkins | |
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Reviews (1)
"Destination: The Strip" also beings with a brief history of Las Vegas. This is followed by a brief history of Sin City's world class entertainers, including the always popular showgirls. The swinging era of Frank Sinatra, Dean Martin, and Sammy Davis, Jr. (the Rat Pack) is followed by the greatest entertainer who ever lived, Elvis Presley. Wayne Newton, Siegfied and Roy, Lance Burton (an excellent magician) and Danny Gans (a great comedian and impressionist) are also mentioned. The Bellagio, Mandalay Bay, Circus Circus and the Rio Hotel are featured for their unique offerings to visiting tourists. A visit to the natural beauty of Red Rock Canyon makes a nice contrast to the glitz and glamor of Las Vegas. "Thrill Rides, Las Vegas Style" is the bonus feature. It shows the Big Shot ride on the top of the Stratosphere tower, as well as the roller coaster outside of the New York, New York casino. Bungee jumping, water slides and helicopter rides are among some of the other thrill rides featured in this section. It's an interesting extra to go along with the main sections of this well made DVD. ... Read more | |
| 167. Divine Trash Director: Steve Yeager | |
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Reviews (13)
From there I will go on to say what an impressive piece of work this is. Having long been a fan of the movie Hairspray, which raised my curiosity about Divine in the first place, a natural progression enabled my curiosity about John Waters. This is primarily his story, the story of his work, with plenty of interview time with him. What an intriguing individual! What a creative time and place he lived in! How fortunate for all freedom loving Americans that such explorations were possible in that time and place. I doubt they could ever happen today. True, the films do seem to be in questionable taste, with little, if any, socially redeeming value. But look closer, and you may find your own reflection. What is the value of shock value? What are its drawbacks? What have we gained? What have we lost? John Waters was not shallow, nor was he untintelligent. He was creatively inspired, and no matter how we react to his work, react we do. Such is the nature of art. I feel like I got to know the man just a little, which is exactly what I wanted to do. I understood a little more about his work, and its success. Do I approve? I still don't know, but I do know that whether I approve or not doesn't matter. I do approve of freedom. I believe that no one was hurt, and that violence was not empowered through the message, which makes many of today's movies filthy in comparison. John Waters is an interesting individual. It would have been intruging to have been in his entourage. One could not have escaped coming out a changed individual. He created a cocoon, a chrysalis, where larvae were nurtured and outrageous butterflies emerged. They loved what they were doing, and they were successful. If nothing else, it is a deep meditation on the nature of success in a country that considers it a superior export. ...geminiwalker
Waters comes across as an intelligent and surprisingly normal guy, and it's interesting to learn how his moviemaking style evolved, but the constant references (by others) to his important role in moviemaking history is mostly bunk. The guy made crudely-produced gross-out movies. Nothing wrong with that, if that's what you wanna watch, but Fellini he ain't. Definitely worthwhile for hardcore Waters fans; of marginal interest to everyone else. ... Read more | |
| 168. Dreaming Out Loud Director: Harold Young | |
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| 169. Pokemon - Into the Arena (Vol. 24) Director: Masamitsu Hidaka, Kunihiko Yuyama | |
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Description Reviews (2)
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| 170. Cold Sweat Director: Terence Young | |
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| 171. Pokemon - Jigglypuff Pop (Vol. 14) Director: Masamitsu Hidaka, Kunihiko Yuyama | |
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Description Reviews (12)
The pattern is always the same: Jigglypuff begins its song, everybody falls asleep, Jigglypuff gets upset that nobody stayed awake to hear the entire song, out comes the marker ... PUFF! It's priceless. My one complaint is that a collection of Jigglypuff episodes hasn't been released. Its later appearances are just as funny, especially in "Attack of the Prehistoric Pokemon" (where we even see Jigglypuff's fantasies of stardom). But "The Song of Jigglypuff" is still well worth seeing.
The other episodes include a fake magician using Eggsecutor to hypnotise people, and Meowth falling in love. All good Pokemon fun.
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| 172. Wedding Peach - Pluie's War (Vol. 2) Director: Kunihiko Yuyama | |
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| 173. My Favorite Martian Director: Alan Rafkin, Byron Paul, James Komack, James V. Kern, Wes Kenney, David Alexander, Oscar Rudolph, Sheldon Leonard, Sidney Miller, Leslie Goodwins, Jean Yarbrough, John Erman, Mel Ferber | |
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| 174. Black Tights Director: Terence Young | |
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| 175. Time Stranger Director: Kunihiko Yuyama | |
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| 176. Petticoat Junction Director: Donald O'Connor, Jean Yarbrough, Peter Baldwin, Stanley Z. Cherry, Richard Whorf, Dick Moder, Charles Barton, James Sheldon, Sherman Marks, Richard L. Bare, Guy Scarpitta, Ezra Stone, Hollingsworth Morse, David Alexander, Elliott Lewis, Ralph Levy, Dick Wesson | |
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| 177. Martin and Lewis Director: John Gray | |
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| 178. The Phantom Lover Director: Ronny Yu | |
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Reviews (3)
When the bank threatens to foreclose upon the troupe after an unsuccessful performance, the young actor Wei, encounters the ghost of Sung Danping. Sung Danping (in the tradition of Phantom of the Opera), teaches him to sing. Can Wei save the opera house before the bank forecloses? And what about the mysterious Sun Danping? Phantom Lover was partially inspired by Andrew Lloyd Webber's 'phantom of the opera' but I liked this one a lot better, because it was set in China, and Sung's love for Yuyan was eternal. The musical score was simply beautiful, and Wei was convincing as a young naive actor, down on his luck. I recommend this movie for fans of Chinese romantic movies. You won't be disappointed!
"The Phantom Lover" arguably ranks alongside John Woo's "Bullet in the Head" (Dip Huet Gaai Tau, 1990) as one of the crowning achievements of Hong Kong cinema. With spectacular Gothic sets designed by the late Eddie Ma Poon-chiu and swooping camerawork by world-class cinematographer Peter Pau Tak-hei (whose expansive images demonstrate the full potential of the Panavision frame), this sublime masterpiece represents a sensational marriage of old-fashioned storytelling with cinematic technique. The fast-moving narrative is heightened constantly by director Yu's operatic filmmaking style, a style which he perfected two years earlier in his acclaimed fantasy "The Bride With White Hair" (Baak Faat Moh Nui Juen, 1993), providing a near-perfect combination of plot, characterization and technical virtuosity. The script (by Roy Szeto Cheuk-hon, Raymond Wong Pak-ming and director Yu) is essentially a reworking of "Midnight Song" (Ye Bang Ge Sheng, 1937), an early effort by pioneering Chinese horrormeister Maxu Weibang, though Yu's film emphasizes atmosphere and melodrama over outright horror, and the film's central section - the heartbreaking disintegration of Cheung's relationship with Wu - is played to perfection by an attractive cast, and nicely underscored by Chris Babida's melancholy score. The only false note is sounded by Cheung's contribution to the soundtrack, a handful of feeble songs which struggle unsuccessfully to convey an appropriate sense of heartache and tragedy. Such blatant insincerity may help to explain his less-than-flattering appraisal of the film since its initial release. Overall, there are few Hong Kong films as deserving of a two-disc special edition as "The Phantom Lover", but Tai Seng's region-free DVD (which runs 101m 47s) is a mixed bag. Whereas the 'modern' sequences (set in 1936) should have been sepia-toned with splashes of color - a deliberate artistic choice by the filmmakers - this DVD drains them to the verge of near-total black-and-white, and the full-color flashbacks pale in comparison with earlier laserdisc/DVD editions from the Far East (compare the clips in the accompanying featurette with the corresponding scenes in the film itself). The results are often drab and unappealing. Similarly, Tai Seng were unable to afford a new anamorphic transfer, so the image is merely letterboxed at 2.35:1, with optional subtitles in the lower masking. Though released in Hong Kong with a dubbed Cantonese soundtrack (included here, in 5.1 surround), viewers are urged to select the original sync-sound Mandarin track (also in 5.1), an effective remix of the theatrical DTS version. There's also an English track in 1.0 mono which is fairly sensitive to this particular film's demands. Two separate commentaries are provided by the chief architects of the film's artistic success (Yu and Pau, respectively), and it's here that one learns the film's final cut was assembled in TWO WEEKS (!!), an astonishing revelation which is a testament to the remarkable skills of editor David Wu Tai-wai. By contrast, an equivalent Hollywood movie would have taken several MONTHS to work its way through the editing process! The second disc is a major disappointment: Three featurettes are promised, but they all turn out to be the same documentary repeated in English, Cantonese and Mandarin! In itself, it provides a fascinating glimpse into the filmmaking process, but the packaging seems to indicate three distinctly separate items, which is misleading. Trailers, photo galleries and biographies round out a pretty meager package. Tai Seng are to be commended for treating the film with due respect, but this two-disc set fails to meet expectations. Perhaps a single-disc arrangement (minus two of the three featurettes) might have been a wiser move? Despite its flaws, this ambitious 'collector's edition' ultimately represents the best version of "The Phantom Lover" on home video to date, and is therefore highly recommended to anyone who loves the thrill of Pure Cinema. After all, it's the presentation which falls short of the mark, not the film itself.
Both the original synch-sound Mandarin soundtrack and the Cantonese dub sound great (lead Leslie Cheung's real voice is heard on both). The visual transfer, howeer, is not quite as impressive as I was expecting, as the image sometimes seems a bit fuzzy and drab, lacking the clarity one associates with DVD. Still, it looks better than most U.S. homevideo releases of Hong Kong movies (I'm particularly thinking of Columbia's recent 'Once Upon A Time in China' disk), and some of the "drabness" may be due to deliberate choices on the parts of Yu and Pau, with them favoring a softer image that doesn't work as well on disk as on the big screen. But what about the movie itself? Although engrossing, it didn't bowl me over like 'The Bride with White Hair' did. The story is partially inspired by Gaston Leroux's 'Phantom of the Opera' (it's a remake of 'Song at Midnight,' a classic 1930's Chinese that was in itself a semi-remake of the silent 'Phantom' with Lon Chaney). Leslie Cheung's character is clearly meant to be the most sympathetic (and least murderous) Phantom in any version of this story, but he also comes across as cold and narcissistic, needlessly cruel to the woman (the luminous Chien-lien Wu of "Eat Drink Man Woman') who was supposedly his One Great Love. Cheung is a great actor and an accomplished singer, but I find his vocals a bit treacly, and the music isn't nearly as stirring as the score for 'Bride with White Hair.' Still, I much prefer this to the Andrew Lloyd Weber musical or to any of the various sound versions of Gaston Leroux's original novel. If nothing else, director Yu and cinematographer Pau are amazing visual stylists (it's almost insulting that, after doing this, the only U.S. gig they could get was 'Bride of Chucky'). ... Read more | |
| 179. New Kimagure Orange Road - Summer's Beginning Director: Kunihiko Yuyama | |
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Amazon.com Reviews (12)
It's an oddly paced piece of work, to be sure. The bulk of it works at the probably inevitable task of achieving some sort of reconciliation between Kyosuke and Madoka and Hikaru, and then, this accomplished, it suddenly veers jarringly off into 'Kyosuke really, really wants to get laid.' This first is done about as gracefully as one could expect; ie, fairly. It threatens to venture into well-trodden 'allegedly comic misunderstanding' territory at one point, but, surprisingly, it dodges this bullet, for once. Some may complain that the integrity of the events in the first movie is ruined by mitigating the quite violent breaking off of relations, but I don't really see that...it's only natural that, as time does its wound-healing thing, people should mellow out a bit, and, let's face it, Hikaru was treated pretty shabbily in the original; it seems only fair. Not that fairness is always warranted, of course, but in this case it's all good. But then it just gets sort of weird; the material with Kyosuke wanting to have sex with Madoka feels very drawn-out and not a little pointless. Firstly, I find the idea that they didn't consummate their relationship in the two years between the first film and this one VERY hard to swallow, even if we ARE dealing with Anime Romantic Comedy Land, which is known to be inhabited by the most superhumanly restrained people in the universe. And secondly...well, so what? I suppose the creators wanted to finish off the whole enterprise with a bang (okay...poor choice of words), but it's such an inevitable formality that I had difficulty bringing myself to really care. And don't get me started on Kyosuke's impassioned, if not particularly coherent, little speech before the big moment. I found the kiss at the end of the TV series to be much more affecting, honestly. What else to say...for unknown reasons, this film features new character designs. Less cartoony, perhaps. This doesn't bother me as much as I thought it would, but I still can't say I see the point, although the more mature-looking Hikaru is well-done, once you get over your double-take the first time you see her. One thing that I found a bit disappointing was the lack of a number of characters from the show. Even if they weren't integral to the plot, it would've been nice to at least see them. I mean, come on, guys, it's not like we're talking great art here; a little pandering to the fans wouldn't kill you. Komatsu and Hatta make brief cameo appearances (which, let's face it, is really all one needs), but Yusaku--who I was quite curious about--is nowhere to be seen, nor are Kazuya or Akane (okay, so she was a minor character, but I still like her and wish she'd been in more than just a few OVAs), or, puzzlingly Kyoksuke's father. But the ultimate insult: no Umao and Uskiko! Come on, guys--get it together here. I suppose you could watch and more or less understand this film without having seen the earlier material, although I have no idea why you'd want to. As for established KOR fans...well, what's the point in saying anything? Obviously, you're going to see it. And it is unlikely that you'll be particularly disappointed--it's not everything I could have hoped for, but it's not anything I would have dreaded, either. That's pretty good.
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| 180. Orazi e Curiazi Director: Ferdinando Baldi, Terence Young | |
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