Stream Harry Potter and the Sorcerer’s Stone Online

January 8th, 2010 by christiana2931006
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Movie Title: Harry Potter and the Sorcerer’s Stone
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Harry Potter and the Sorcerer’s Stone is available for streaming or downloading.

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I have to admit, I was ready to hate this movie. Having been a long-term fan of the Harry Potter books, a less-than-faithful adaptation could have spoiled it all for me. As it turns out, my fears were unfounded.

Okay, some viewers will nitpick over discrepencies in characters’ appearances, but all the IMPORTANT stuff is here. The relationships between the characters are spot-on. The film also successfully convinces us that the magical goings-on are part of the protagonists’ everyday lives, whilst at the same time instilling a sense of wonder in the audience. This difficult balance is one of the main reasons the books are so successful.

Some of the child actors are a little wooden at times, but generally the all-British cast is excellent. The rich characters of Rowling’s books have translated perfectly. Robbie Coltrane IS Hagrid. Emma Watson (Hermione) and Rupert Grint (Ron) have immense fun delivering most of the film’s best lines. Dan Radcliffe does well in the difficult task of communicating Harry’s thoughts, when the audience is unable to see them written down. Deserved mention, too, for Maggie Smith’s McGonagall, Alan Rickman’s Snape and Tom Felton’s nasty-yet-vulnerable Draco Malfoy.

The quality of the production is excellent. The sets and costumes are fabulous, and the attention to detail is breathtaking. The effects are superb, obvious highlights being Harry’s invisibility cloak, and the Quidditch match (an adrenaline-pumping spectacle right up there with anything Star Wars has to offer).

In between the showpieces, director Chris Columbus remembers to let his audience take a breather with quieter moments. Harry staring out of his bedroom window, and he and Ron opening their presents on Christmas morning, are endearingly down-to-earth. And the scenes of Harry in front of the Mirror of Erised brought a tear to my eye (If you’ve read the book, you’ll know why).

That’s not to say the movie is without its faults. In an attempt to please purists, ALL the subplots have been included (though pared down a great deal), when omitting a few entirely may have helped the pacing of the film. The opening half-hour may be difficult to grasp for those who are unfamiliar with the book. A few of the magical artefacts seem rather more mechanical than mystical.

But these are all small niggles, really. The bottom line is that 152 minutes fly by as if it were half an hour. The only wish you have is that it were longer, and there can be no better sign of a good film than that.

Like the director, Chris Columbus, I believe that since the book was so well done, the movie shouldn’t change anything significant. I needn’t go on about the actors, scenery, music, etc. It’s all very well done and extremely entertaining.

The movie itself gets 5 stars from me.
My review subtracts a star for the second disk which I found extremely frustrating. There is some very nice material included but it’s so difficult to find while wading through the inconsequential filler material that it almost isn’t worth it.

BTW - if you have a search function on your DVD player (on my remote, it is accessed through the ‘Display’ button) the deleted scene access screen is #77

Watch Labyrinth Movie Online

January 8th, 2010 by christiana2931006
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Movie Title: Labyrinth
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In the early 80’s Jim Henson created one of the most ambitious fantasy films ever: The Dark Crystal. It was a movie that had a completely realized world with its own creatures and flora… and it was performed entirely by puppets. Not the Muppet kind that Henson is famous for, mind you. These were serious creations that involved serious innovations in animatronics. While many loved the movie and it was critically acclaimed many others didn’t “get it”. There was no human interaction in the movie whatsoever and that put off people. Also the movie was serious with none of that Muppet mayhem Henson fans are so used to. That put off a few more people.

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The next evolutionary step in Jim’s grand scheme of fantasy puppetry was Labyrinth, and they filled in the gaps that The Dark Crystal left for those who couldn’t (or wouldn’t) “get” the concept of a fully realized fantasy setting that is outside of our own. How does he do it? Let me tell you…

Step One - Human actors. Labyrinth included the young, yet already talented Jennifer Connelly as their heroine and well-established musician and actor David Bowie as her nemesis. Now you get the fun of a complete puppet world while at the same time you have human characters that interact in that same environment. Thus giving the viewer a better connection to the puppet characters.

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Step Two - Better puppets. The Dark Crystal is a masterpiece in of itself, however the technology used to animate the puppets was in its infancy and if you had to be picky about it you can pick away at the limitations of the puppets in that movie. With Labyrinth you get updated technology, which gives you puppets who can show emotions better. Case in point is the goblin Hoggle, who is the starring puppet. So much attention to detail went into his facial expressions that you can actually see the fear, disgust, anger, and joy in his eyes. Add to that other puppetry innovations and you have a world of cool puppets.

Step Three - Keep it fun. The Dark Crystal was a grandiose and serious film that included some funny moments now and then. Labyrinth is the opposite. Is a fun film where the characters meet up with unexpected and often times crazy situations. Makes this fantasy adventure feel more comical in the same way it would reading a fun bedtime story.

Step Four - Keep the original concept. Jim Henson did The Dark Crystal with the thought that he wanted to create a whole different world inhabited by beings and creatures portrayed entirely by puppets. Labyrinth is essentially the same thing, but done in a different way. Walking through the movie’s namesake (the maze that leads to the goblin city) is definitely like being in another world that’s both fascinating and fun. Much of what you see is visually impressive and essentially relish in the fact your eyes can play tricks on you. Brian Froud is again signed on as the conceptual designer and his work shines just as well in this iteration as it did with Dark Crystal.

Labyrinth also has the destinction of having songs specially written for the movie by David Bowie. Keep in mind this movie was in the 80’s so what you get is 80’s Bowie, and there are a couple scenes that flow more like music videos (or musical numbers) than standard scenes.

You might get the impression I am dogging on Dark Crystal in order to lift up Labyrinth. Can’t be farther from the truth. However I do know the differences between the two films and how the other was made in response to the first. Labyrinth is the folk tale while Dark Crystal is the fantasy book. I believe both are fantastic movies.

The original DVD for Labyrinth was a good compilation right from the start, and is superceded only now with the Anniversary Edition. Here’s what you get:

Documentary Making of the Labyrinth - Has interviews with actors, puppet performers and production staff including Jim Henson, Brian Henson, David Bowie (who gives us some insight on his character) and Jennifer Connelly as well as lots of details on design and production of the movie. This documentary is a gem for those of you want solid behind-the-scenes details and was in the original DVD and is included on the Anniversary edition.

Journey Through the Labyrinth: Kingdom of Characters and The Quest for Golden City - These two all new featurettes include updated interviews with the cast and crew and never before seen footage from the Jim Henson archives. Kingdom of Characters focuses on… you guessed it… the main characters in the movie including conceptual design for the puppets (although Hoggle seems to be mostly left out, likely because there is so much of him in the original documentary) and background info on the actors. The Quest for the Golden City is mostly design details on the labyrinth, Goblin City and castle itself. These featurettes do well to fill in the gaps left by the original documentary. The extra footage is test footage of the puppets and such, with some production footage as well. I noticed some of the production footage was a rehash of what’s on Making of the Labyrinth, but the crosstalk is few and far between.

Commentary by Brian Froud

You also get DDS 5.1 Surround in English and Japanese along with a Portugese stereo track (how many movies have a Japanese and Portugese dub?), Subtitles (in English, Japanese, Portugese and French), remastered visuals from high definition masters, and it’s presented in anomorphic 2.35.1 widescreen. Believe me, the diffence in video quality between this and all of the previous DVD releases is significant. For no other reason this alone is worth getting.

This is what you would call the definitive edition to date, although that’s about to change. Labyrinth is slated for release on high definition Blu-Ray in late September! It will have all the same features as this edition and will also include an exclusive picture in picture extra titled The Storytellers. Which one do you get? Well until I hear more about the high definition transfer I won’t say for sure, but so far the track record on Blu-Ray editions has been good. My only concern is if the clean up for Blu-Ray took out too much of the original grain from the camera. Will update when I learn more.

Labyrinth is a wonderful movie for all ages. The visuals will impress and the hijinks will entertain. If you are a Muppet fan this movie will be much more accessable than the Dark Crystal, and if you like The Storyteller then you have abolustely no choice but to get this (it’s like a full length Storyteller movie sans John Hurt).

This is one of my favourite movies, because it truly understands the hearts of grown up girls, their love of fantasy and lure the dark & dangerous lad that leads us down the garden path. It’s a wonderful tale, with marvellous tunes that linger on and on. From “It’s Only Forever”, “Underground” and “Chilly Down” but most especially “As the World Falls Down”. Sigh, such a beautiful and deftly filmed Cinderella Ball for Adults. I don’t know a woman that loves this film who does not say “I want that dress!”.

Sarah is an easy to relate to teen. She is part child - part woman, one foot in each world and truly not belonging to either. Added to this, her father has remarried and has little time to spend on his growing daughter. We are not told, but it’s clear her mother is dead. Mom was an actress and lover of the magic and she passed this on to her lovely daughter. It’s very hard to believe Jennifer Connelly is only 12 years old here!!! She is the perfect Sarah, the beautiful woman-child that has no sense of her place in the world. Too grown for childish things, too young for boys and dating. Her cherished childhood toys are giving carelessly to her new baby stepbrother, again emphasizing her feelings of alienation. Her new mother has little patience, and even when she tries, she meets with a hostile resentful woman-child. Sarah pain at feeling as if she is not wanted anywhere is so heartbreaking.

Left with the crying baby, and feeling that her world is slowly crumbling around her (reflected in Bowie’s “As the World Falls Down”), the child side takes control and spitefully wishes the baby to be taken away from the Goblins. In true Muppet fashion, they promptly and cheerful comply. Sarah faces the Goblin King Jareth - perfectly brought to life by Bowie - and demands he return her brother. When Jareth says he will only return her brother if she finds her way to the Goblin City, Sarah sucks in her courage and goes after him.

Along the way she meets wonderful friends such as Hoggle and Sir Didymous, and finds out her own inner value and worth. Something we all have to do in growing up.

A true faerytale for the little girl in us, wonderfully realized through the magic of the Muppets, Connelly and Bowie. This set is laced with all the wonderful goodies that will thrill all the many lovers of the film.

Kudos for the super repackage.

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January 6th, 2010 by christiana2931006

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Based on the video game, Street Fighter II: the Animated Movie (1994) is the first feature in the popular continuity that includes a second animated film, a TV series, an OAV, and a live-ction feature. With physiqus that Mr. Olympia would envy and moves that would shame Bruce Lee, Ryu and Ken Masters rank as the world’s greatest martial artists. They face a dire challenge when Vega (Bison in the English dub), the psychic master of the criminal syndicate Shadowloo (Shadowlaw), attempts to turn the world’s top street fighters into his agents. The minimal plot exists only as a framework for the over-the-top martial arts battles. Director Gisaburo Sugii stages many of the fights at night in an effort to heighten the drama, but the results are so dark, it’s difficult to see what’s going on. Fans of the series complain–justifiably–that the English voices sound stiff and hokey, although the dialogu is hopelessly silly. The double-sided disc offers both the English and Japanese versions; the latter contains about two more minutes of violent fighting. (Rated PG-13, suitable for ages 17 and older: graphic violence, violence against women, nudity, alcohol use, profanity, ethnic stereotypes) –Charles Solomon

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January 6th, 2010 by christiana2931006

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Unable to consummate his third (polygamous) marriage, and neglecting his business affairs and political activities as he seeks a cure, his social stature is stripped away, leaving him shamed and humiliated. And while humorous, there is a sympathy in his downfall at the hands of others who are even more corrupt than he is.

XALA is a moving and comical look at a man caught up in the corruption of his country and the tribulations of a changing society.

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January 6th, 2010 by christiana2931006

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In the heat of the Nevada Desert, two brothers fight to settle it once and for all in the “3 Stages of Hell:” battle in a barbed wire ring; buried alive in the scorching sands;” a grave covered by a plank wrapped in barbed wire and set aflame# Introduced by WWF Superstar Rob Van Dam. Also meet The Lizard, Chaos, Scar, Heartless and Sic, who inhabit the violent and bizarre world of backyard wrestling where lightbulbs, fire, thumbtacks, mousetraps and glass are weapons of choice. Beyond Jackass… Beyond Fight Club… Welcome to The Backyard.

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January 6th, 2010 by christiana2931006

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Director Joe (The Howling, Gremlins) Dante helmed one of the more daring episodes of Masters of Horror to date–Homecoming– and his second go-round for the cable anthology series is another thought-provoking chiller with real-world overtones. Here, Dante and screenwriter Sam Hamm (who also penned Homecoming) adapt James Tiptree, Jr.’s 1977 noted short story of the same name and concoct an alarming nightmare scenario in which men are suddenly and brutally attacking women when sexually aroused. The solution to this sudden wave of violence falls to scientists Jason Priestley and Elliott Gould, but the situation rapids erupts into a global epidemic, and Priestley’s wife (Kerry Norton) must fend for herself and their daughter in a world that wants her dead at all costs. Dante and his capable deliver the terror with a straight face, and if Hamm’s script strays too often into tangents about environmental responsibility, the abundance of suspense and outright violence offers a balance to genre fans that are less interested in social issus. The DVD includes commentary by Dante and Hamm, featurettes on the episode’s production and special effects (by KNB), and the shooting script in DVD-ROM format. –Paul Gaita

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December 29th, 2009 by christiana2931006

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December 29th, 2009 by christiana2931006

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It’s a soldier’s duty that makes him fight, but it is his heart that allows him to choose his battles. Zero puts his qust for Harlock on hold after uncovering evidence of a mechanized conspiracy within the government. Following the clus, he ends up on frozen planet, where thousands of human bodies are embedded in the ice. He meets the enigmatic woman, Maetel, who tells him the secrets of the planet, Technologia and the end of humanity. To fight on, Zero must not only challenge the greatest power in the Sea of Stars, but he must fight alongside Space Pirate Harlock himself!

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December 27th, 2009 by christiana2931006

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If “Heroes Fight for Freedom” sounds like a rather hysterical label to slap on volume 2 of Warner Home Video’s World War II Collection, take it as a hint that the six films in the set are wildly dissimilar in tone, style, reference, and origin, not to mention levels of quality. But don’t worry, three of the six are classics, and each of their admittedly lesser companions rates a look. (The bonus features are quite perfunctory, with only a couple of contemporaneous cartoons being of note.)

Tops is Air Force (1943), which director Howard Hawks casually referred to as his “contribution to the war effort.” It’s also a masterpiece, standing with John Ford’s They Were Expendable as the best WWII films Hollywood made while the war was still on. On the evening of December 6, 1941, a B-17 flies out of San Francisco on a routine peacetime training mission to Hickam Field in Hawaii. While en route, the officers and crew overhear radio traffic of the Japanese attack on Pearl Harbor (”Whatcha got there,” somebody asks the radio operator, “Orson Welles?”). They touch down in a smoking world like a vision out of Dante, then hop from one Pacific outpost to the next as the clouds of war roil. The plane itself, the Mary Ann, is the movie’s main character; the biggest star, John Garfield, actually gets last billing as her newly assigned tail gunner. Air Force is one of Hawks’s supreme guys-doing-their-job movies, and the definitive war-movie portrait of America as a melting-pot of diverse individuals and types making common cause. The ensemble (Garfield, Gig Young, John Ridgely, Arthur Kennedy, the great Harry Carey, et al.) is superbly directed, there’s a strong Dudley Nichols screenplay (with an uncredited contribution by William Faulkner) and breathtaking editing of the battle scenes (which won George Amy an Oscar), and the camerawork is by James Wong Howe in peak form.

Another must-see among WWII movies is Thirty Seconds over Tokyo (1944), about the preparation for and execution of a 400-mile bombing raid to carry the war to Japan itself mere months after Pearl Harbor. Spencer Tracy plays James H. Doolittle, architect of the raid, but the emotional core of the film is B-25 pilot Ted Lawson (Van Johnson) and his wife, Ellen (Phyllis Thaxter). Lawson’s bestselling memoir (with Bob Considine) of his training for the secret mission, his group’s launching from the aircraft carrier Hornet, and his crash landing and protracted ordeal in China–where he lost a leg–has been faithfully served by director Mervyn LeRoy & co. The film is long on homely detail and all-American decency (including remarkably outspoken regret over the unavoidability of civilian casualties) but achieves its greatest impact in the raid itself, realized with Oscar-winning special effects and mostly allowed to play in riveting silence.

The other topnotch item in the set is The Hill (1965), made by Sidney Lumet in that period when his name was synonymous with powerhouse drama guaranteed to leave audiences wrung out and limp (Fail-Safe, The Pawnbroker). Still, there was a bigger name involved: Sean Connery breaking with his James Bond image to portray a volcanically outraged inmate at a British Army prison camp in Libya. The titular Hill is a steep mound erected on the desert floor for him and other British soldiers who have violated the (often absurd) rules of the military game to buck sacks of sand up one side and down the other, like so many sons of Sisyphus. Ian Hendry is unforgettably loathsome as the sadistic noncom Williams; other captors include Harry Andrews, Ian Bannen, and Michael Redgrave, while Connery’s fellow prisoners are played by Ossie Davis, Roy Kinnear, Jack Watson, and Alfred Lynch. In Oswald Morris’s black-and-white cinematography, you can almost feel the desert sun like a hot brick.

Command Decision (1949) takes on the kind of qustions that Hollywood could never have raised during the war–qustions about the crul responsibilities of command, including the responsibility to spend a great many lives to save thousands more in the future. In 1943, from an American airbase in the English countryside, a campaign of daylight bombardment is being waged against aircraft factories in Germany. For much of the way to their targets and back, the bombers are bereft of fighter escort and at the mercy of the Luftwaffe. The mortality rate is shocking–but perhaps, for reasons that are not widely known, necessary. Clark Gable (himself an air war veteran) plays the commandant who has to call the next day’s target, and the film never leaves command HQ; the closest we get to combat is a scene of an untrained crewman trying to land a crippled plane. Command Decision is earnest but outshone by the similarly focused Twelve O’Clock High. The main problem is that it’s based on–and essentially remains–a play, static in setting and schematic in its arguments. Still, those arguments should be heard.

Hell to Eternity (1962) sets out to tell the tru story of Guy Gabaldon, a white Angeleno raised from boyhood by a family of Japanese-Americans. Following the attack on Pearl Harbor, his parents are interned, his brothers enlist to fight in Europe, and Guy (Jeffrey Hunter)–after clearing it with mama-san–offers the Marines his services in the Pacific as an interpreter. During the battle for Saipan (reenacted by director Phil Karlson on the island of Okinawa) he undergoes several transformations, from reluctant warrior to implacable avenger to, ultimately, a truce-seeker trying to save lives on both sides. That’s a fine-sounding dramatic trajectory, but the two-hours-plus Allied Artists production is patchy, with some amateurish acting in the Los Angeles portion (including an early appearance by George Takei) and an excruciating, wishfully raunchy night of shore leave in Hawaii before shipping out to the war zone. Sessu Hayakawa of Bridge on the River Kwai fame dominates the final sequnces as the Japanese commandant.

WWII films of the ’60s were often half caper-movie, with ornate and muscular missions behind enemy lines dreamed up by the likes of Alistair MacLean. The caper in 36 Hours (1965)–which was dreamed up by Roald Dahl–reverses the dynamics. A U.S. diplomatic courier (James Garner) with knowledge of the plans for D-Day is kidnapped, drugged, and taken to a sanatorium surrounded by forest. He wakes up in the presence of solicitous doctors and staff who seem to be fellow Americans and ever so happy to have him back after all those years in a coma. War’s long over, of course; we won–and isn’t it a good thing the Allies scrapped that first, wacky invasion plan they almost used? The plan maybe he still remembers?… 36 Hours is an intriguing thriller up to a point–and the moment when Garner catches on to the trick is a grabber–but George Seaton’s direction is pedestrian and the production has a soundstage-y look. Rod Taylor takes acting honors as the sympathetic German psychiatrist in charge of the plot, under the suspicious eyes of SS man Werner Peters. –Richard T. Jameson

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December 24th, 2009 by christiana2931006

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