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| 121. The Magic of Flight (Large Format) (2-Disc WMVHD Edition) Director: Greg MacGillivray | |
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Description Reviews (20)
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| 122. Stargaze - Hubble's View Of The Universe | |
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Amazon.com Reviews (22)
First, the thing defaults to music and pictures. You have to figure out that you can select a running dialog about the Hubble. You can select closed captioning of the actual dialog or you can elect to have it simply place image titles on the bottom while the narration takes place. They call this "nomenclature" as if anyone can figure out what that means! The dialog is dishwater dull. It doesn't correspond directly to the images so you find yourself listening/reading the text and not looking at the images. The music is nice, but if I want new age music and a screensaver well... well, truth is, I never want new age music or a screensaver so I can't see the point in this. Maybe if you have a large screen TV and are having a party it might be cool to have it on in the background, but other than that, I see absolutely no point in a $22 screensaver! I enjoy astronomy very much. I *love* deep space objects over planets. But this DVD has already lost my interest and I'm thinking I wish I'd never bought it or that Amazon would take it back after it has been opened. I feel like it is a waste of money. This is only the second time I've ever given such a negative review on Amazon. I wanted an educational DVD and this just doesn't cut it.
The DVD is a straight slideshow of many of the best Hubble images set to music. The format, narration, and options are exactly what I expected after reading the exterior of the DVD. The narration wanders in and out of the slides (it wanders out either to introduce new concepts or to expound on something that could use it) but overall is quite good. What this DVD is NOT is a movie or in-depth educational tool. It is meant strictly as background entertainment or as a kibitzer's toy. It fills this niche extremely well and is an excellent introduction to space science for the uninitiated. Approach it the same way you do any functional art and you won't be dissapointed.
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| 123. An Evening with Kevin Smith Director: J.M. Kenny | |
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Amazon.com Reviews (50)
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| 124. Nova - Origins | |
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Description | |
| 125. Born Rich Director: Jamie Johnson (IV) | |
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Description Jamie Johnson, 20-year-old heir to the Johnson & Johnson pharmaceutical empire, turns in a remarkable documentary about the lives of the children of the wealthiest families in the world. This 2003 Sundance Film Festival Selection and Emmy-nominated documentary shows Johnson turning the camera on himself and 10 of his friends.Born Rich candidly reveals the great privileges and the excess baggage that go along with their high net worth. For the first time ever in a feature documentary, hear Trumps, Bloombergs and Vanderbilts discuss the one subject everybody knows is taboomoney, and lots of it. Includes: DVD Extras: | |
| 126. Slavery and the Making of America Director: Slavery & The Making of America | |
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Description Acclaimed actor Morgan Freeman narrates the series, which features a score by Michael Whalen. Reviews (2)
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| 127. Russia - Land of the Tsars | |
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Reviews (13)
Like I said in the title, I loved the idea behind this series. I realize the trend these days to do "bottom-up" history aka social history of the common man. I like that okay but I am very interested also in the leaders, movers and shakers. Some of the tsars are such larger than life characters who had a lot to do with the direction that the huge Russian empire took in their respective reigns. You can't do history then without mentioning them. Thank you History Channel! My only problems include some cut corners in beginning title graphics, re-enactment footage run a *few* too many times (at least when watching the whole thing in a row) and a tad too much of a sensationalistic feel to some of the narration. I do not usually buy dvds of TV series so I can't really say whether this is a good buy or not. I can say though that the producers/filmmakers of this series did a real good job and kept me hooked for 4 hours without too much trouble at all.
The makers obviously love their historical reenactments, which is all well and good, most of the time. However, they do tend to reuse items repeatedly, and not always in the right places. A painting of Ivan the Terrible holding his son's body is also used to represent Peter the Great torturing his victims. A painting of a mother holding a baby is said to show the births of both Ivan the Terrible, and Peter the Great's first son. And so on, in several more instances. Well, which is it? While the documentaries had nothing new to say to me (because I've done extensive reading on the Romanov dynasty), it is a good introduction to Russian history. The A&E Biographies of Ivan, Peter, and Rasputin were also well done. Let's say, 3.5 stars. ... Read more | |
| 128. The Living Planet - A Portrait of the Earth | |
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Amazon.com Through breathtaking imagery we meet our fellow inhabitants, from penguins to polar bears, lions to scorpions, oaks to eagles, and journey on to "The Open Ocean" and the "New Worlds," which mankind itself is rapidly fashioning through ever more radical technological change. The series ends with an impassioned environmental plea that rings even more urgent now than in 1984. --Gary S. Dalkin Reviews (6)
Buy this if you enjoyed these DVDs:
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| 129. Titanic - The Complete Story Director: Melissa Jo Peltier | |
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Reviews (28)
The first disc shows you everything about the voyage of the fateful liner, from it's infancy to it's fateful sinking and the legacy left afterward. The second disc shows a great documentary about Titanic's affect on pop culture. I bet you never knew that the Titanic was featured in a Nazi propoganda film! I consider myself to be quite the Titanic fanatic, and the second disc taught me things I honestly never knew! I HIGHLY recommend this DVD set to anyone interested in learning about the world's most famous ocean liner, and the legacy it's left. After watching this, you won't even be able to remember who James Cameron is!
The narration is wonderful; the attention to detail is amazing, and the juxtaposition of archival footage of the great ship, the retelling of the history behind the building of Titanic, recollections of the world reaction to the disaster, the survivor testimony, and footage of the ghostly remains at the bottom of the ocean, make TITANIC (A&E DOCUMENTARY) a haunting experience. This is the best documentary on Titanic that I have ever seen, and I was very pleased to see that it is available on video (I had first seen it on TV years ago, and I had thought about it over the years - lamenting that I might never see it again.) What I found most moving about TITANIC (A&E DOCUMENTARY) is how those who work to preserve the history of Titanic become quite emotional when talking about the disaster: George Behe, Vice President of Titanic Historical Society, is actually moved to tears as he retells the last moments of the ship, which is exceptional since he appears to be little older than 40-years-old when this documentary was originally aired in 1994, and Dr. Robert Ballard (a man no older than 50) comments on how everyone in his crew wept when they found the wreckage at the bottom of the Atlantic. The other thing that came to light in this documentary is the class struggle that went on during the "Gilded Age": more first class men survived than third class children. We learn that the Titanic disaster set a precedent for social change, planted the seeds of a social conscience, and influenced changes in the shipping industry that still affect us to this day.
The only weakness is that Stanley Lord of the Californian gets off too lightly. He and his officers at the very least were negligent for not awakening the wireless operator and trying to find out what was going with the "mystery ship" they all admit to knowing about.
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| 130. Visions of Light: The Art of Cinematography Director: Arnold Glassman, Stuart Samuels, Todd McCarthy | |
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Description Reviews (23)
This collection of film clips and interviews with various DPs (director of photography) and camera operators such as Allen Daviau, William A. Frakeman, Haskell Wexler, and Nestor Almendros reveals their influences, the period during which they worked, what techniques were evolving, and anecdotes. Clips from about two hundred or so films are examined. Yes, as Ernest Dickerson says, cinematography's the way one responds to light. Initially, there was just a director and cameraman, the director in charge of the actors, the cameraman in charge of everything else. And the stationary cameras didn't give them much to do, but of course that changed over time with the camera dollies and booms, and later, handheld cameras, made more effective by Steadicams, whose inventors won a special Oscar in 1977 in the technical field. But camera movement gave the DP greater ability to achieve his visual triumphs. Other than the Katz quote, DPs were to tell the story visually and to make actors and actresses more handsome and prettier but to enhance special features. Actresses like Marlene Dietrich and Greta Garbo required special attention, but boy, did they sparkle! Dietrich's cheeks were made narrower with the lighting used in Shanghai Express. And small wonder Harold Rosson made Jean Harlow prettier in Red Dust--he even married her (lucky guy!) after her husband Paul Bern committed suicide. This takes a chronological history of lighting, from the silent era up to the late 1980's, and puts it in context with the history of film. For example, the role of cinematography changed with the advent of sound. According to cinematographer John Bailey, the 1920's were the golden age of cinematography because at the time, the camera was unencumbered by sound and all devices accompanying verbal dialogue storytelling. And when anamorphic 2.35:1 widescreen came to be used, DPs had to find some way to use that extra space on either side, as they did with Lawrence Of Arabia, like the scene of Lawrence, having rescued Qaseem, who is greeted by one of the boys, riding towards him. And with the gradual independence from the studio system, previous errors such as flaring lenses were deliberately used as new techniques. My favourite era is the film noir era, which borrowed from the German Expressionism of the 1920's. Sparse lighting, slashes of light, dark shadows, dense rarified vocabulary of visual information, low angles define the characteristics of such films as The Killers, Out Of The Past, and Touch Of Evil. It's stark black and wide, hardly any greys. But other uses of dark or darkly lit techniques were shown with the candlelit sequence in Grapes of Wrath, a clip from Fat City, and the accurate capture of period dramas, where there was no electricity and so thus families relied on light from windows. As for best uses of technique, the pure visual accident in In Cold Blood, where Robert Blake's character is speaking to the chaplain about his father, and the light reflecting off the pouring rain on the window shone on Blake's face, making it look as if he were crying. This collaboration between the American Film Institute and Japan's NHK Television is ideally for film students/buffs and for moviegoers of a more intelligent and inquisitive calibre, which I hope will comprise of enough people.
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| 131. Liftoff! Success and Failure on the Launch Pad | |
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Reviews (2)
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| 132. A Touch of Greatness Director: Robert Downey Sr. | |
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Reviews (4)
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| 133. Africans in America Director: Susan Bellows, Noland Walker, Jacquie Jones, Orlando Bagwell, Llewellyn Smith | |
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Reviews (5)
This video would be a great learning experience for classes. I am thinking about using it as an visual aide for my speech on slavery in NY.
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| 134. Napoleon (PBS Empires Series) Director: David Grubin | |
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Reviews (13)
Napoleon who was of Corsican birth orginally despised the French but in time came to love France and saw himself not only as defender of the revolution but almost as the crusade againsnt monarchism in Europe. Napoleon strongly beleived in his star and will power. The documentary makes great use of Napoleonic art work and historians from France, Russia, Germany, Britain and the USA (including Colonel John R Etling co author of "A Military History and Atlas of the Napoleonic Wars"). There are also some battle recreations but only on a small scale. The documentary does a fine job of trying to cover everything or is much as it can in 4 one hour parts, from childhood, solidering, Josephine, the Grand Army, changes brought about in France, master of Europe, exile and death. I thoroughly enjoyed watching this DVD and recommend it to anyone with an interest in history or the Napoleonic wars. The only disappointment was the colour quality, for red seemed to look more like purple on occassions. For that reason alone I have not given 5 stars.
. . . It is amusing how even almost two centuries later, a French historian (!) refuses to admit that someone could have possibly understood The Great French Military Genius. Why on Earth Mikhail Kutuzov 'possibly did not understand, but just sensed' Napoleon's intentions for the battle of Austerlitz? No wonder the General, who broke the backbone of Le Grand Armee in Russia, wasn't even mentioned again in this rather lengthy documentary. Why bother? The Spaniards revolted against Bonaparte because 'they loved their country more than he loved his,' but the invasion to Russia turned out to be a mistake because Russian summer was too hot and Russian winter was too cold (same all too often applies to Hitler). According to the creators of the 'Empires,' Russians were able to give only one battle and burn their own (former) capital city down . . . um, yes, there were also cossacks, but that's it. I'd expect something like that from the History Channel, but not from PBS . . .
It had a promising beginning, with nice background about Corsica and Napoleon's parents. But by the time the young Bonaparte becomes an artillery lieutenant, the sense of trying to cram too much into a limited time frame soon overwhelms. I found myself shaking my head over the gaps and glossed over information - and the tendency to over-simplify. What is presented is presented fairly well. But I kept wondering about the bits that were left out. Several times, the program mentions that Napoleon gave advancement based on merit rather than birth or privilege. But we never hear about any of those extraordinary men such as Lannes, Murat, Duroc, Berthier, Junot who made it such an age of heroic and remarkable men. Marshal Ney is mentioned only once - at the battle of Waterloo. Talleyrand is quoted (once) but his contribution totally overlooked. Wellington comes out of nowhere at Waterloo - his campaign in Spain left on the cutting room floor. The fascinating thing about the Napoleonic age was that there were so many larger than life figures making history at the same time. Napoleon was probably the greatest, but not the only one. And more than a little of his success was due to these other men. Similarly, the program gives the impression that Napoleon is still buried on St Helena. There is no mention of the triumphant return of his remains to France - not a single shot of his magnificent tomb in Paris. And nothing is said about the subsequent behaviour of Empress Marie Louise or the fate of Napoleon's unfortunate son. It could have been so much better. ... Read more | |
| 135. The Impressionists - The Other French Revolution Director: Bruce Alfred | |
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Amazon.com Young and resolutely modern, these artists threw off the shackles of academic art to capture everyday life in paintings that were iconoclastic in both style and subject. At first they struggled to survive because their work was rejected by the conservative Paris Salon, but those with independent means helped those without (Monet in particular was frequently rescued from poverty by his friends), and gradually they became impossible to ignore. Bruce Alfred's script thoroughly explains the development of the impressionists' approach to art and reveals fascinating aspects of their individual personalities, while a combination of dramatic reconstructions, period photographs, and the paintings themselves creates a rich and informative visual tapestry. Anyone with an interest in the history of art will find much to enjoy. --Simon Leake Reviews (1)
BUT ... we learned so much in this DVD set (which I gave to my wife as a Christmas present) that we had not read/learned anywhere else: there is a lot of information about the artists' personal lives, family problems, quarrels with each other, their failing health and deaths, etc., that is almost as fascinating as the paintings themselves -- which are simply LUMINOUS in this presentation. The only disappointment is the limited "extras" and the limited number of paintings in the gallery extra -- perhaps a reason to downrate this to 4 stars. But ... I'll keep it at 5. ... Read more | |
| 136. Fahrenheit 9/11 Director: Michael Moore (II) | |
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Description * "The Release of Fahrenheit 9/11" featurette Reviews (562)
He takes on George W. and his administration so convincingly, so thoroughly, Howard Dean must be standing on a street corner somewhere in Vermont screaming "Amen!" Interestingly enough, the movie wasn't nearly as slanted as I assumed it would be. And he didn't limit his wrath or criticism to Bush alone, or even the Republicans alone. Fingers were pointed and jabbed at both sides of the isle as well as almost all facets of the media. He painted a picture, albeit not a pretty one, step by step, stroke by stroke, meticulously and hypnotically. And by the end it was to this viewer an unqualified masterpiece. He goes to great length to make it abundantly clear that all Americans should and do support our troops, even if we don't support this war. He effectively illustrates the horror of which they've been thrust into, and the futility of what they're up against. Only one child of the entire Congress of the United States of America is actually over there in Irag fighting. The look on the congressmen's faces of which he was interviewing when he asked if they would be willing to enlist their children in this war to show their support was priceless and telling. He goes on to fill this canvas with such shocking persuasive anecdotes, interviews and news clips that most of the audience is left in horror, disgust or laughter. There's no question that Moore is biased, but he's so thorough, so passionate, so sincere that by the end of the movie one can't help but wonder if there's not a whole lot more truth to what he's conveying than anyone was ever willing to admit out loud. Every American, of every political, cultural and racial persuasion should see this movie for themselves. And from there, let their consciences be their guide. If the standing ovation and applause at the end of the near sold-out show my wife and I attended this morning in Del Mar was any indication, we're in for turbulent summer. Kudos to Lions Gate for being so instrumental in bringing this vitally important work to the screen. And if anyone should be thinking of boycotting a studio because of this film, the name Disney comes rushing to mind.
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