Sunday, November 13, 2011

Hell Ride

  • The story deals with the characters Pistolero, the Gent and Comanche and the deadly, unfinished business among them. Format: DVD MOVIE Genre: ACTION/ADVENTURE Rating: R Age: 796019810876 UPC: 796019810876 Manufacturer No: 81087
Actor Larry Bishop, who made his name in the '60s as the star of biker pictures like The Savage Seven, revives the genre with Hell Ride, a rough and raunchy action-drama produced by indie director and cult film aficionado Quentin Tarantino. Bishop, who wrote, produced and directed the film, is also top-billed as Pistolero, chief of the outlaw Victors, who cruise the sunbaked Southwest to avenge a fallen mama. Their target is Billy Wings (Vinnie Jones), head man for the Six-Six-Sixes, and Michael Madsen, David Carradine and Dennis Hopper (himself no stranger to biker flicks) are along to make sure that the job is completed. As pure exploitation,! Hell Ride delivers the goods: the cast overacts with relish, and the on-screen excitement is divided equally between chopper action, fistfights and shootouts and plentiful female nudity, all set to a soundtrack of new and vintage fuzztone rock. However, those expecting the complexity and sheer cheek of Tarantino's own features may find the picture a little too retro-minded for their own tastes, and Bishop's pulpy dialogue is more overcooked than Tarantino at his most self-indulgent. Still, those craving old-school cycle movie satisfaction are likely to find that action with Hell Ride. Bishop is front and center for the DVD commentary, in which he explains in the most passionate of terms how he conceived and executed the project with Tarantino's help; featurettes on the cast (split between male and female) are brief and flashy, with "The Guys of Hell Ride" providing the most juice by focusing on the veteran actors. There's also a look at the film! 's custom made bikes, but the most "special" of the Special Fe! atures i s Michael Madsen's video diary, which gives amusing insight into his distinctly offbeat perspective. -- Paul Gaita

Stills from Hell Ride (Click for larger image)

 

Actor Larry Bishop, who made his name in the '60s as the star of biker pictures like The Savage Seven, revives the genre with Hell Ride, a rough and raunchy action-drama produced by indie director and cult film aficionado Quentin Tarantino. Bishop, who wrote, produced and directed the film, is also top-billed as Pistolero, chief of the outlaw Victors, who cruise the sunbaked Southwest to avenge a fallen mama. Their target is Billy Wings (Vinnie Jones), head man for the Six-Six-Sixes, and Michael Madsen, David Carradine and Dennis Hopper (himself no stranger to biker flicks) are along to make sure that ! the job is completed. As pure exploitation, Hell Ride! deliver s the goods: the cast overacts with relish, and the on-screen excitement is divided equally between chopper action, fistfights and shootouts and plentiful female nudity, all set to a soundtrack of new and vintage fuzztone rock. However, those expecting the complexity and sheer cheek of Tarantino's own features may find the picture a little too retro-minded for their own tastes, and Bishop's pulpy dialogue is more overcooked than Tarantino at his most self-indulgent. Still, those craving old-school cycle movie satisfaction are likely to find that action with Hell Ride. Bishop is front and center for the DVD commentary, in which he explains in the most passionate of terms how he conceived and executed the project with Tarantino's help; featurettes on the cast (split between male and female) are brief and flashy, with "The Guys of Hell Ride" providing the most juice by focusing on the veteran actors. There's also a look at the film's custom made bikes, but the! most "special" of the Special Features is Michael Madsen's video diary, which gives amusing insight into his distinctly offbeat perspective. -- Paul Gaita

Stills from Hell Ride (Click for larger image)

 

!

Food, Inc.

  • In Food, Inc., filmmaker Robert Kenner lifts the veil on our nation's food industry, exposing the highly mechanized underbelly that's been hidden from the American consumer with the consent of our government's regulatory agencies, USDA and FDA. Our nation's food supply is now controlled by a handful of corporations that often put profit ahead of consumer health, the livelihood of the American farm
Studio: Sony Pictures Home Ent Release Date: 05/13/2008 Run time: 82 minutes Rating: PgGeorge, Dave, Ray, and Rodney. Not a singing group, but four real-life individuals dedicated to controlling the entities that don't take kindly to their efforts. George Mendonca is a topiary gardener who spends his time taming tendrils of plant life into animal shapes. Why? Because he can, and apparently it's no easy job. One slip of the clipper and a green and leafy body part can go bye-bye for years. Dave Hoo! ver takes on big cats under the big top. An admirer of the famous lion tamer, Clyde Beatty, Dave comes out of the lion ring covered with sweat. Not from working hard, but from hand-trembling fear. Ray Mendez, a mole-rat expert, waxes eloquently about the social structure of these sightless, hairless natural wonders who wear their teeth on the outside of their lips. But if you want to see a real wacko at work, watch Rodney Brooks, a robotics expert who is convinced our extinction will be the first step in a takeover of tin men.

In Fast, Cheap & Out of Control, documentarian Errol Morris proves that the weird and obscure are just as interesting as the rich and famous. Morris tries to add depth to his subjects with his out-of-control editing technique, which after a while becomes an annoying distraction; these guys are fascinating enough all by themselves. The blare of the background music is also a bit much. Despite these shortcomings, though, if you like taking a! voyeuristic peek into other people's lives, Fast, Cheap & ! Out of C ontrol gives you plenty to look at. --Luanne BrownGeorge, Dave, Ray, and Rodney. Not a singing group, but four real-life individuals dedicated to controlling the entities that don't take kindly to their efforts. George Mendonca is a topiary gardener who spends his time taming tendrils of plant life into animal shapes. Why? Because he can, and apparently it's no easy job. One slip of the clipper and a green and leafy body part can go bye-bye for years. Dave Hoover takes on big cats under the big top. An admirer of the famous lion tamer, Clyde Beatty, Dave comes out of the lion ring covered with sweat. Not from working hard, but from hand-trembling fear. Ray Mendez, a mole-rat expert, waxes eloquently about the social structure of these sightless, hairless natural wonders who wear their teeth on the outside of their lips. But if you want to see a real wacko at work, watch Rodney Brooks, a robotics expert who is convinced our extinction will be the first step in a ta! keover of tin men.

In Fast, Cheap & Out of Control, documentarian Errol Morris proves that the weird and obscure are just as interesting as the rich and famous. Morris tries to add depth to his subjects with his out-of-control editing technique, which after a while becomes an annoying distraction; these guys are fascinating enough all by themselves. The blare of the background music is also a bit much. Despite these shortcomings, though, if you like taking a voyeuristic peek into other people's lives, Fast, Cheap & Out of Control gives you plenty to look at. --Luanne BrownFood, Inc. lifts the veil on our nation's food industry, exposing how our nation's food supply is now controlled by a handful of corporations that often put profit ahead of consumer health, the
livelihood of the American farmer, the safety of workers and our own environment. Food, Inc. reveals surprising and often shocking truths about what we eat, how it's produced and who w! e have become as a nation.

Q&A w ith Producer/Director Robert Kenner, Co-Producer/Food Expert Eric Schlosser, Food Expert Michael Pollan and Producer Elise Pearlstein

How did this film initially come about?
Kenner: Eric Schlosser and I had been wanting to do a documentary version of his book, Fast Food Nation.  And, for one reason or another, it didn't happen. By the time Food, Inc. started to come together, we began talking and realized that all food has become like fast food, and all food is being created in the same manner as fast food.

How has fast food changed the food we buy at the supermarket?
Schlosser: The enormous buying power of the fast food industry helped to transform the entire food production system of the United States.  So even when you purchase food at the supermarket, you’re likely to be getting products that came from factories, feedlots and suppliers tha! t emerged to serve the fast food chains.

How many years did it take to do this film and what were the challenges?
Kenner: From when Eric and I began talking, about 6 or 7 years.  The film itself about 2 ½ years.  It has taken a lot longer than we expected because we were denied access to so many places.

Pearlstein: When Robby brought me into the project, he was adamant about wanting to hear all sides of the story, but it was nearly impossible to gain access onto industrial farms and into large food corporations.  They just would not let us in.  It felt like it would have been easier to penetrate the Pentagon than to get into a company that makes breakfast cereal.  The legal challenges on this film were also unique.  We found it necessary to consult with a first amendment lawyer throughout the entire filming process.

Who or what influenced your film?
Kenner: This film was really influenced by Eric Schlosser and ! Fast Food Nation, but then as we were progressing and had actually gotten funding, it became very influenced as well by Michael Pollan and his book Omnivore’s Dilemma. 

And then, as we went out into the world, we became really incredibly influenced by a lot of the farmers we met.

What was the most surprising thing you learned?
Kenner: As we set out to find out how our food was made, I think the thing that really became most shocking is when we were talking to a woman, Barbara Kowalcyk, who had lost her son to eating a hamburger with E. coli, and she’s now dedicated her life to trying to make the food system safer. It’s the only way she can recover from the loss of her child. But when I asked her what she eats, she told me she couldn't tell me because she would be sued if she answered.

Or we see Carol possibly losing her chicken farm … or we see Moe, a seed cleaner who’s just being sued for am! ounts that there’s no way he can pay, even though he’s not guilty of anything.  Then we realized there’s something going on out there that supersedes foods. Our rights are being denied in ways that I had never imagined. And it was scary and shocking. And that was my biggest surprise.

So, what does our current industrialized food system say about our values as a nation?
Pollan:
It says we value cheap, fast and easy when it comes to food like so many other things, and we have lost any connection to where our food comes from.

Kenner: I met a cattle rancher and he said, you know, we used to be scared of the Soviet Union or we used to think we were so much better than the Soviet Union because we had many places to buy things.  And we had many choices.  We thought if we were ever taken over, we’d be dominated where we’d have to buy one thing from one company, and how that’s not the American way.  And he said y! ou look around now, and there’s like one or two companies do! minating everything in the food world. We’ve become what we were always terrified of.

And that just always haunted me â€" how could this happen in America?  It seems very un-American that we would be so dominated, and then so intimidated by the companies that are dominating this marketplace.

How has the revolving door relationship between giant food companies and Washington affected the food industry?
Pearlstein:
We discovered that the food industry has managed to shape a lot of laws in their favor.  For example, massive factory farms are not considered real factories, so they are exempt from emissions standards that other factories face.  A surprising degree of regulation is voluntary, not mandatory, which ends up favoring the industry. 

What have been the consequences for the American consumer?
Kenner:
Most American consumers think that we are being protected.  But that is not the case.  Right now the USDA! does not have the authority to shut down a plant that is producing contaminated meat.  The FDA and the USDA have had their inspectors cut back.  And it’s for these companies now to self-police, and what we’ve found is, when there’s a financial interest involved, these companies would rather make the money and be sued than correct it.  Self-policing has really just been a miserable failure.  And I think that's been really quite harmful to the American consumer and to the American worker. 

Pearlstein: The food industry has succeeded in keeping some very important information about their products hidden from consumers.  It’s outrageous that genetically modified foods don’t need to be labeled.  Today more than 70% of processed foods in the supermarket are genetically modified and we have absolutely no way of knowing.  Whatever your position, you should have the right to make informed choices, and we don’t.  Now the FDA is contempla! ting whether or not to label meat and milk from cloned cows. ! It seem s very basic that consumers should have the right to know if they’re eating a cloned steak.

Is it possible to feed a nation of millions without this kind of industrialized processing?
Pollan:
Yes.  There are alternative ways of producing food that could improve Americans’ health.  Quality matters as much as quantity and yield is not the measure of a healthy food system.  Quantity improves a population’s health up to a point; after that, quality and diversity matters more.  And it’s wrong to assume that the industrialized food system is feeding everyone well or keeping the population healthy.  It’s failing on both counts.

There is a section of the film that reveals how illegal immigrants are the faceless workers that help to bring food to our tables.  Can you give us a profile of the average worker?
Schlosser:
The typical farm worker is a young, Latino male who does not speak English and earns about $! 10,000 a year.  The typical meatpacking worker has a similar background but earns about twice that amount.  A very large proportion of the nation’s farm workers and meatpackers are illegal immigrants.

Why are there so many Spanish-speaking workers?
Kenner:
The same thing that created obesity in this country, which is large productions of cheap corn, has put farmers out of work in foreign countries, whether it’s Mexico, Latin America or around the world.  And those farmers can no longer grow food and compete with the U.S.’ subsidized food.  So a lot of these farmers needed jobs and ended up coming into this country to work in our food production.

And they have been here for a number of years.  But what’s happened is that we’ve decided that it’s no longer in the best interests of this country to have them here.  But yet, these companies still need these people and they’re desperate, so they work out deals where they ca! n have a few people arrested at a certain time so it doesn’t! affect production. But it affects people’s lives.  And these people are being deported, put in jail and sent away, but yet, the companies can go on and it really doesn’t affect their assembly line.  And what happens is that they are replaced by other, desperate immigrant groups.

Could the American food industry exist without illegal immigrants?
Schlosser:
The food industry would not only survive, but it would have a much more stable workforce.  We would have much less rural poverty.  And the annual food bill of the typical American family would barely increase.  Doubling the hourly wage of every farm worker in this country might add $50 at most to a family’s annual food bill.

What are scientists doing to our food and is it about helping food companies’ bottom line or about feeding a growing population?
Schlosser:
Some scientists are trying to produce foods that are healthier, easier to grow, and better for the! environment.  But most of the food scientists are trying to create things that will taste good and can be made cheaply without any regard to their social or environmental consequences.

I am not opposed to food science.  What matters is how that science is used … and for whose benefit.

Can a person eat a healthy diet from things they buy in the supermarket if they are not buying organic? If so, how?
Pollan:
Yes, the supermarkets still carry real food.  The key is to shop the perimeter of the store and stay out of the middle where most of the processed food lurks.

How are low-income families impacted at the supermarket?
Kenner:
Things are really stacked against low-income families in this country.  There is a definite desire of the food companies to sell more product to these people because they have less time, they’re working really hard and they have fewer hours in their day to cook.  And the fast! food is very reasonably priced.  Coke is selling for less th! an water .  So when these things are happening, it’s easier for low-income families sometimes to just go in and have a quick meal if they don’t get home until 10 o’clock at night.  At the moment, our food is unfairly priced towards bad food.

And, in the same way that tobacco companies went after low-income people because they were heavy users, food companies are going after low-income people because they can market to them, they can make it look very appealing.

What can low-income families do to eat healthier?
Schlosser:
As much as possible, they can avoid cheap, processed foods and fast foods.  It’s possible to eat well and inexpensively.  But it takes more time and effort to do so, and that’s not easy when you’re working two jobs and trying to just to keep your head above water.  The sad thing is that these cheap foods are ultimately much more expensive when you factor in the costs of all the health problems that come later.

Pollan: It’s possible to eat healthy food on a budget but it takes a greater investment of time.  If you are willing to cook and plan ahead, you can eat local, sustainable food on a budget.

If someone wanted to get involved and help change the system, what would you suggest they do?
Pearlstein:
I hope people will want to be more engaged in the process of eating and shopping for food.  We have learned that there are a lot of different fronts to fight on this one, and people can see what most resonates with them.  Maybe it’s really just “voting with their forks” â€" eating less meat, buying different food, buying from companies they feel good about, going to farmers markets.

People can try to find a CSA â€" community supported agriculture â€" where you buy a share in a farm and get local food all year.  That really helps support farmers and you get fresh, seasonal food.  On the local political level, p! eople can work on food access issues, like getting more market! s into l ow income communities, getting better lunch programs in schools, trying to get sodas out of schools.  And on a national level, we’ve learned that reforming the Farm Bill would have a huge influence on our food system. It requires some education, but it is something we should care about.

What do you hope people take away from this film?
Schlosser:
I hope it opens their eyes.

Kenner: That things can change in this country. It changed against the big tobacco companies.  We have to influence the government and readjust these scales back into the interests of the consumer.  We did it before, and we can do it again.

Pollan: A deeper knowledge of where their food comes from and a sense of outrage over how their food is being produced and a sense of hope and possibility of the alternatives springing up around the country.  Food, Inc. is the most important and powerful film about our food s! ystem in a generation.

For most Americans, the ideal meal is fast, cheap, and tasty. Food, Inc. examines the costs of putting value and convenience over nutrition and environmental impact. Director Robert Kenner explores the subject from all angles, talking to authors, advocates, farmers, and CEOs, like co-producer Eric Schlosser (Fast Food Nation), Michael Pollan (The Omnivore's Dilemma), Gary Hirschberg (Stonyfield Farms), and Barbara Kowalcyk, who's been lobbying for more rigorous standards since E. coli claimed the life of her two-year-old son. The filmmaker takes his camera into slaughterhouses and factory farms where chickens grow too fast to walk properly, cows eat feed pumped with toxic chemicals, and illegal immigrants risk life and limb to bring these products to market at an affordable cost. If eco-docs tends to preach to the converted, Kenner presents his findings in such an engaging fashion that Food, Inc. may well reach the very ! viewers who could benefit from it the most: harried workers wh! o don't have the time or income to read every book and eat non-genetically modified produce every day. Though he covers some of the same ground as Super-Size Me and King Corn, Food Inc. presents a broader picture of the problem, and if Kenner takes an understandably tough stance on particular politicians and corporations, he's just as quick to praise those who are trying to be responsible--even Wal-Mart, which now carries organic products. That development may have more to do with economics than empathy, but the consumer still benefits, and every little bit counts. --Kathleen C. Fennessy

Donkey Punch [Unrated]

  • Three hot girls, four guys, and one mega-swanky yacht collide for a serious night of drugs and sexual deviancy. One debaucherous act goes too far though, turning this teen joy ride into a weekend of bloody bedlam. Format: DVD MOVIE Genre: MYSTERY/SUSPENSE Rating: NR MA Age: 876964001816 UPC: 876964001816 Manufacturer No: 10181
After meeting at a nightclub in a Mediterranean resort, seven young adults overindulge in champagne and ecstasy. Completely letting go of their inhibitions, they capture their wild partying aboard a luxury yacht on video camera. But when their reckless sexual endeavors are taken too far, one of them dies in a freak accident. The remaining members of the group argue about what to do, which leads to a ruthless fight for survival.

Creepshow III

  • Creepshow III consist of five vignettes of horror and humor. In "Alice", a teenage girl finds her family has changed. or maybe it's her? In "The Radio" security guard Jerry has no ambition. That is, until he buys a radio which starts dictating what he should and shouldn't do, from eating, to stealing, to murder. "Call Girl" tells the story of a young guy who hires a call girl, Rachael, who turns
THREE TALES OF HORROR: A HIT AND RUN DRIVER IN THE HITCHHIKER A WOODEN INDIAN ON THE WARPATH IN OL' CHIEF WOODENHEAD & FOUR FRIENDS WHOSE VACATION ON A SECLUDED LAKE TURNS INTO ANIGHTMARE IN THE RAFT. FEATURES: WIDESCREEN, THEATRICAL TRAILER, PHOTO GALLERY.What is it about hitchhikers that makes them such a sure-fire bet for horror? This question is addressed in the final segment of Creepshow 2, another Stephen King-George Romero collaboration. "The Hitchhiker" is the simplest and best of the! three tales on display here, with Lois Chiles as a cheating wife who just can't seem to get rid of a hitchhiker... no matter how hard she tries. The collection gets off to a slow start with "Old Chief Wood'n Head," a sleepy story of Native American justice. "The Raft" is a passable teens-in-peril number, but it worked better on the page than on screen. Romero adapted the King stories but emphatically did not direct, which accounts for the drop-off from the kicky fun of the first Creepshow. King appears as a dimwitted truck driver--a foreshadowing of Maximum Overdrive? In any case, this one's for diehard fans only. --Robert HortonThe rotting Creep himself is back with three new gruesome tales of horror that will make your skin crawl: a cigar store wooden Indian comes to life to avenge the store owner's brutal murder at the hands of three punks in Ol’ Chief Woodenhead. Then four teenagers become the target of a terrifying, man-eating oil slick i! n The Raft. The chills continue with The Hitchhiker, the chilling tale of a woman who keeps running into, and over, the same mutilated man on a lonely road. Prepare for a terrifying roller coaster ride from the masters of horror!What is it about hitchhikers that makes them such a sure-fire bet for horror? This question is addressed in the final segment of Creepshow 2, another Stephen King-George Romero collaboration. "The Hitchhiker" is the simplest and best of the three tales on display here, with Lois Chiles as a cheating wife who just can't seem to get rid of a hitchhiker... no matter how hard she tries. The collection gets off to a slow start with "Old Chief Wood'n Head," a sleepy story of Native American justice. "The Raft" is a passable teens-in-peril number, but it worked better on the page than on screen. Romero adapted the King stories but emphatically did not direct, which accounts for the drop-off from the kicky fun of the first Creepshow. King appears as a dimwitted truck driver--a foreshadowing of Ma! ximum Overdrive? In any case, this one's for diehard fans only. --Robert HortonCREEPSHOW 2 - DVD MovieWhat is it about hitchhikers that makes them such a sure-fire bet for horror? This question is addressed in the final segment of Creepshow 2, another Stephen King-George Romero collaboration. "The Hitchhiker" is the simplest and best of the three tales on display here, with Lois Chiles as a cheating wife who just can't seem to get rid of a hitchhiker... no matter how hard she tries. The collection gets off to a slow start with "Old Chief Wood'n Head," a sleepy story of Native American justice. "The Raft" is a passable teens-in-peril number, but it worked better on the page than on screen. Romero adapted the King stories but emphatically did not direct, which accounts for the drop-off from the kicky fun of the first Creepshow. King appears as a dimwitted truck driver--a foreshadowing of Maximum Overdrive? In any case, this one's for diehard fa! ns only. --Robert HortonCreepshow III consist of five v! ignettes of horror and humor. In "Alice", a teenage girl finds her family has changed... or maybe it's her? In "The Radio" security guard Jerry has no ambition. That is, until he buys a radio which starts dictating what he should and shouldn't do, from eating, to stealing, to murder. "Call Girl" tells the story of a young guy who hires a call girl, Rachael, who turns out to be a man-hating serial killer. It soon becomes apparent that he also keeps a deadly secret. In "The Professor's Wife", prankster Professor Dayton is finally getting married. But when two of his students meet his beautiful fiance, they become suspicious that she's another one of his inventions. Dr. Farwell is abad doctor with a bad attitude. He causes the death of a transient by giving him a tainted hot dog to eat, and the dead guy starts following the Doc everywhere.Creepshow 3 revives the venerable horror anthology feature with a quintet of grisly stories aimed at the splatter audience and those who recal! l the original film (which was helmed by George Romero and written by Stephen King) and its sequel with fondness. Unfortunately, neither Romero nor King are involved with this film, which was written and directed by low-budget filmmakers Anna Clavell and James Glenn Dudelson, whose previous efforts include an in-name-only sequel of Romero's Day of the Dead. Clavell and Dudelson have also jettisoned any connection to '50s horror comics like Tales from the Crypt (which lent the original Creepshow much of its ghoulish style and verve), though there are a few odd moments of CGI animation that serve as framing devices. The stories are suitably bloody--a serial-killer prostitute meets a client with a horrible secret in "Call Girl"; a pair of students takes a hands-on approach to discovering whether their former professor's new bride is human or mechanical in "The Professor's Wife"; and a new TV remote wreaks havoc on the mind and body of a bratty schoolgirl i! n "Alice"--but lack any sense of suspense or, in several cases! , cohere nce (the black humor of the '50s comics is sorely missed too). And with no real name actors on hand (save Eileen Dietz, the face of Pazuzu from The Exorcist), flat, unimpressive direction, and hit-and-miss special effects, it's difficult to imagine horror fans flocking to Creepshow 3 like they did to its predecessors. -- Paul Gaita

The Fast and Furious 5 Step Organizing Solution: No-Fuss Clutter Control from a Top Professional Organizer

  • ISBN13: 9781592334193
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Feel like you’re buried in clutter? Are you in desperate need of an organizational overhaul? Having trouble finding your first-born underneath all those toys?

With The Fast and Furious 5 Step Organizing Solution, you can turn your chaotic casa into a peaceful palace by simply applying this simple, time-saving method throughout your home:

Step 1: Plan
Step 2: Weed and Sort
Step 3: Remove
Step 4: Name to Create Boundaries
Step 5: Containerize

Author and professional organizer Susan C. Pinsky will show you the perfect and most maintainable method for every room and space in your home and how to achieve it in the fastest time possible. She’ll also provide you with! tactical strategies and simple solutions for something you never thought possible: keeping it that way!

Filled with inspirational and instructional photosâ€"including real-life before and after photos of every room in a typical homeâ€"The Fast and Furious Five-Step Organizing Solution will show you what you need to do to achieve the results you only thought possible on television. Your dream home is just five steps away!


George A. Romero's Diary of the Dead

  • From legendary frightmaster George A. Romero comes one of the most daring, hypnotic and absolutely vital horror films of the past decade (fangoria.com). Romero continues his influential Dead series, this time focusing on a terrified group of college film students who record the pandemic rise of flesh-eating zombies while struggling for their own survival. Format: DVD MOVIE Genre: HORROR
From legendary frightmaster George A. Romero comes one of the most daring, hypnotic and absolutely vital horror films of the past decade (fangoria.com). Romero continues his influential Dead series, this time focusing on a terrified group of college film students who record the pandemic rise of flesh-eating zombies while struggling for their own survival. Intensely gruesome and relentlessly grisly fueled by the directors signature realistic special effects Diary of the Dead is must-see horror that is Romero a! t his finest (bloody-disgusting.com).George Romero has always come up with new ways of treating his zombies, and Diary of the Dead is no exception: Romero keeps his dead fresh, with an original approach to the undying subject. This one purports to be the video record of a group of young people who are shooting a low-budget horror movie when the terror strikes: corpses begin re-animating, intent on chewing the living. Our heroes trek across Pennsylvania, encountering the staggering zombies as they go. Other pieces of video are incorporated, which gives Romero a chance at some great set-pieces, including the brilliant opening sequence, a live local-TV feed that goes horribly, horribly wrong, and a home-video tape from a family birthday party, where the party clown turns out to be a dead ringer. All of Romero's Dead films are political, and this one's no exception, with a stark view of the way things are today; it doesn't offer the Hawksian heroics of the survivo! rs in Dawn of the Dead or Land of the Dead for c! omfort, just a group of bickering, shocked youths. There's too much talk about the detachment of watching things through a lens, but in general this is a bracing, intelligent movie. Plus, there's some excellent splatter. --Robert Horton

Citizen Kane (Two-Disc Special Edition)

  • A fascinating story of idealism corrupted by wealth, Citizen Kane is frequently named the greatest film of all time and is credited with inspiring more directorial careers than any other film in history. Orsen Welles and Agnes Moorehead star.Running Time: 119 min. Format: DVD MOVIE Genre: DRAMA Rating: PG Age: 053939656527 UPC: 053939656527 Manufacturer No: T6
Orson Welles’ timeless masterwork is more than a groundbreaking film. Presented here in a magnificent 70th anniversary digital transfer with revitalized digital audio from the highest quality surviving elements, it is also grand entertainment, sharply acted and superbly directed with inspired visual flair. Depicting the controversial life of an influential publishing tycoon, this Best Original Screenplay Academy Award Winner (1941) is rooted in themes of power, corruption, vanityâ€"the American Dream lost in the mystery of a dyin! g man’s last word: “Rosebud.”Arguably the greatest of American films, Orson Welles's 1941 masterpiece, made when he was only 26, still unfurls like a dream and carries the viewer along the mysterious currents of time and memory to reach a mature (if ambiguous) conclusion: people are the sum of their contradictions, and can't be known easily. Welles plays newspaper magnate Charles Foster Kane, taken from his mother as a boy and made the ward of a rich industrialist. The result is that every well-meaning or tyrannical or self-destructive move he makes for the rest of his life appears in some way to be a reaction to that deeply wounding event. Written by Welles and Herman J. Mankiewicz, and photographed by Gregg Toland, the film is the sum of Welles's awesome ambitions as an artist in Hollywood. He pushes the limits of then-available technology to create a true magic show, a visual and aural feast that almost seems to be rising up from a viewer's subconsciousness. As Kan! e, Welles even ushers in the influence of Bertolt Brecht on fi! lm actin g. This is truly a one-of-a-kind work, and in many ways is still the most modern of modern films from the 20th century. --Tom KeoghThe story of an immensely wealthy newspaper publisher, as he is remembered by his friends and former wife after his death. Loosely based on the life of William Randolph Hearst. Frequently called the greatest film of all time.
No Track Information Available
Media Type: DVD
Artist: WELLES/COTTEN/COMINGORE/MOOREH
Title: CITIZEN KANE
Street Release Date: 09/24/2002
Domestic
Genre: DRAMAArguably the greatest of American films, Orson Welles's 1941 masterpiece, made when he was only 26, still unfurls like a dream and carries the viewer along the mysterious currents of time and memory to reach a mature (if ambiguous) conclusion: people are the sum of their contradictions, and can't be known easily. Welles plays newspaper magnate Charles Foster Kane, taken from his mot! her as a boy and made the ward of a rich industrialist. The result is that every well-meaning or tyrannical or self-destructive move he makes for the rest of his life appears in some way to be a reaction to that deeply wounding event. Written by Welles and Herman J. Mankiewicz, and photographed by Gregg Toland, the film is the sum of Welles's awesome ambitions as an artist in Hollywood. He pushes the limits of then-available technology to create a true magic show, a visual and aural feast that almost seems to be rising up from a viewer's subconsciousness. As Kane, Welles even ushers in the influence of Bertolt Brecht on film acting. This is truly a one-of-a-kind work, and in many ways is still the most modern of modern films from the 20th century. --Tom Keogh

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