2011/06/30

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Review: `Cars 2' is a clunker (AP)

Pixar's track record has been close to impeccable for turning out intelligent, emotionally rich, beautifully detailed animated films, with plenty of humor and heart to appeal to movie lovers of all ages.

But the weak link in the chain, at least from a narrative standpoint, has always been 2006's "Cars," with its two-dimensional talking autos and hokey, borrowed tale of small-town life.

Sure, it was bright and zippy, which was enough to appeal to the little ones, and it became a merchandising juggernaut. Just try finding a kid who doesn't have some sort of "Cars" stuff. My 19-month-old son has a Lightning McQueen sippy cup and I have no idea how he got it — these things just show up on their own. That's how ubiquitous they are.

So sure, why not make a sequel? Trouble is, "Cars 2" is such a mess, it makes the original look like it ought to rank among Pixar's masterpieces by comparison.

What has set the studio's films apart from all the other animated fare is story: It's paramount. Innovative tales like "WALL-E" and "Up" get you choked up just thinking about them, they're that good. "Cars 2" tries to encompass many kinds of stories at once, none of which is terribly clever or compelling. And the fact that Pixar mastermind John Lasseter is back as director is the most baffling part of all. This is the man who kicked it all off with the soulful and groundbreaking "Toy Story" back in 1995. This is not someone from whom you would expect empty glossiness.

Here, working from a script by Ben Queen, Lasseter makes a transparent attempt at catering to the ever-expanding global moviegoing audience by having the hero of the original "Cars," Lightning McQueen (voiced by Owen Wilson), compete in an international grand prix through Japan, France, Italy and Britain. The sponsor is a Richard Branson-type Range Rover-looking vehicle (Eddie Izzard); McQueen's main rival is an arrogant Italian Formula 1 racecar (John Turturro).

At the same time, "Cars 2" panders to middle America by placing Mater, the rusty, aw-shucks tow truck, front and center. McQueen is flashier but this is Mater's time to shine, as it were; Larry the Cable Guy, who voices the character, even gets top billing over Wilson. But a little of the comedian's twangy shtick goes a long way — for the audience, and for McQueen, who gets annoyed with Mater's boorish behavior in all these refined settings. Still, Mater is there to teach us some lessons about valuing the underdog. Or not judging people because we think they're different or stupid. Or something.

But wait, there's more. "Cars 2" is also a James Bond spoof, with Michael Caine providing the voice of the elegant English sports car, superspy Finn McMissile. Finn and his rookie sidekick, Holley Shiftwell (Emily Mortimer), run into Mater, who has tagged along with McQueen on this globe-trotting journey, and mistakenly believe he's the American undercover operative they're supposed to meet during their latest mission. This ties into a whole `nother subplot involving alternative fuel sources and the German villain (Thomas Kretschmann) who has big plans to keep cars reliant on Big Oil.

With all these new characters and various narrative strands competing for our attention, there's not much room for fun. "Cars 2" is one thing a family-friendly summer blockbuster should never be: boring. Yes, it looks beautiful, lavishing in photorealism as so many Pixar movies do. In 3-D (because of course it's in 3-D), the chase scenes have their thrilling moments, and the many shiny surfaces do have a tactile quality. Young kids — at whom so much of this material is clearly aimed — will probably enjoy the bright colors and incessant motion.

But as the structure grows repetitive and Mater's corny puns and malapropisms become tiresome, we — like the anthropomorphized autos — feel like we're just spinning our wheels.

"Cars 2," a Disney Pixar release, is rated G. Running time: 114 minutes. One and a half stars out of four.

___

Motion Picture Association of America rating definitions:

G — General audiences. All ages admitted.

PG — Parental guidance suggested. Some material may not be suitable for children.

PG-13 — Special parental guidance strongly suggested for children under 13. Some material may be inappropriate for young children.

R — Restricted. Under 17 requires accompanying parent or adult guardian.

NC-17 — No one under 17 admitted.


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Talented performers make a low-budget musical sing (Reuters)

LOS ANGELES (Hollywood Reporter) – Hollywood has lost interest in big-budget movie musicals in the wake of "Nine," "Burlesque" and other misfires.

A radically different approach just might save the genre. The no-frills, no-star, no-budget African-American musical, "Leave It On the Floor," which had its world premiere at the Los Angeles Film Festival over the weekend, demonstrates the possibilities. It actually takes some chances.

Most recent movie musicals that succeeded, including "Chicago" and "Dreamgirls," incorporated most of their songs as production numbers performed on stage, so they didn't challenge audiences' preference for realism. But in "Floor," the characters burst into song on the subway or in convenience stores, and the performers are so dynamic that we buy into an ancient musical convention that has fallen out of fashion.

The film doesn't have huge box office potential, but it could develop cult status and find a niche audience.

The script by Glenn Gaylord is an uneven, sometimes threadbare affair, but it does take off from a core of truth: the homophobia within the African-American community. At the start of the film, Brad (Ephraim Sykes) is kicked out by his mother when she discovers that he's gay. He ends up being adopted by a group of drag queens who compete in monthly balls held at downtown L.A. dance clubs. A similar milieu inspired the documentary "Paris Is Burning" a couple of decades ago, and director Sheldon Larry has been tantalized by the idea of making a fiction film on the subject ever since seeing that earlier film.

It's too bad that Larry and Gaylord hew to formulaic storytelling, but the script has never been the most important element in a musical. The key is song and dance, and here "Floor" delivers. The songs by Kimberly Burse (music director for Beyonce and other performers) run the gamut from rap to ballads, and a few of them -- including a sly homage to Justin Timberlake called "Justin's Gonna Call" -- are genuinely rousing. The choreography by Frank Gatson Jr. is equally ebullient.

Characterizations are thin, but the gifted actors help to put the roles across. Sykes has a thrilling voice and an unmistakable charisma. Miss Barbie-Q, playing the den mother of the ragtag group, also sings excitingly and emerges as a force of nature. Andre Myers and Phillip Evelyn as the rivals for Brad's affections both strike sparks with the hero.

Some of the plotting is primitive. A sudden car crash seems convenient rather than convincing, but the funeral scene that follows -- a musical duel between the dead boy's family members and his adopted drag community -- is one of the strongest in the film because it finds the humanity in both contingents.

Larry's direction is sometimes clumsy but always energetic, and the production team makes good use of the gritty locations. The filmmakers' enthusiasm for the musical genre proves to be contagious. This movie may not win awards, but it's a good-hearted joyride.


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2011/06/29

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How To Book Commercials: Your IMAGE Will Get You Work Faster Than Your READ

Most actors I meet who really want to do commercials and aren't booking jobs can't seem to figure out WHY it's so difficult. They're sent out for an audition, work on the copy, go through the process of auditioning and then wonder, "My audition was so good. Why didn't I book that spot?? Or at least, get a call back?"

To take some of the mystery out of the process, let's deal with some basic facts.There are only a few reasons WHY anyone gets booked on a major market commercial:

1 - You LOOK like the Spokesperson the client had in mind- the corporate guy in the Amex or Citibank spot.

2 - You LOOK like the "family member" they were trying to match up for the group scene - A family dinner at the Olive Garden.

3 - You LOOK like "the girl next door" the company needed to be their "image" - CoverGirl or Ivory, he suburban Dad building a deck & buying stuff at The Home Depot, the Mom with her kids having burgers at McDonald's.

Did you notice that for all the examples above the word "LOOK" was very important. How you look determines whether or not you will be cast. And that includes how you DRESS. It's not your BFA degree in acting, your "talent," your acting training in Meisner, Method, Stanislavsky or Classical theatre. As a matter of fact, over 30% of all commercials don't even have "lines" you can perform so your acting technique may not be considered at all! It's your "LOOK," how you present yourself in those precious 22 seconds or more accurately, the first 4-10 seconds during your SLATE that is so important!

That's when the Client, the Producer, the Writer and the Advertising Exec's decide WHETHER TO HIRE YOU OR NOT! Does that mean that everyone who wants to work in commercials has to look like a model or be perfect?On the contrary, everyone who wants to work in commercials today (with the exception of those "beauty or cosmetic spots for shampoo, lipstick or fashion) needs to LOOK REAL-like a real person. What does "REAL" mean?

A REAL housewife, mom, dad, neighbor in the suburbs, a high school coach, a handyman, the telephone guy, The FEDEX delivery guy, a small shop owner, the saleslady at the boutique at the mall, the teenager at the pizza parlor or the kids with their parents at the beach or on a picnic-these are all "marketable types" and niches that most people fit into. The LESS you look like an actor and the more you LOOK like a real person in "Middle America (west of the Hudson, east of the Pacific) the more you'll get booked! Commercials cater to the average American Suburban family because those are the people who buy 95% of the products produced and therefore advertised.

But, in the Commercial World, REAL people have an attractive or "polished" appearance. That means, hair is clean, well styled, trimmed, NEAT. Teeth look white not uneven, discolored or unattractive, wardrobe is in vibrant colors not dark, dingy, wrinkled or "urban chic". Unless stated clearly in the "breakdown" description, any actor appearing to be a disenfranchised individual (unless their casting a goth or hipster)- one with tattoos, body piercing, odd-colored hair or a weird haircut will probably NOT be considered for the job. You get the picture. And there is a professional standard that even the average real person may not adhere to. Casting Directors politely call it "CAMERA READY". As an actor you need to understand that COMMERCIALS are a photogenic medium. You are cast by how you look on camera.

People who have a polished appearance will ALWAYS BOOK THE JOB over those who don't. That means you need to "spiff up". It pays off because booking a major market spot could earn you $$$thousands weekly/monthly in "passive" income as your spot is viewed nationally and sometimes globally. So, get the advice of an Industry Pro- a Commercial Casting Director, a Career Coach, a TV Director or Agent before accepting an audition for a commercial.

The standard rule is WYSIWYG. What You See Is What You Get. Don't think for a minute that "THEY" will hire and "fix" you- cut your hair, polish your teeth, change your clothes. If you present yourself unprofessionally, you won't be hired! If on the other hand, you look "perfect" for the character they need to cast, you'll not only be hired, they may even ask you to bring that shirt, sweater or jacket you wore in the audition with you for the Shoot! BINGO! You hit the nail on the head! You've been booked! You provided them with exactly what they needed.

Here are a few Camera Tips to Keep in Mind:

1. Don't wear Red, Black Or White for the camera

Red can turn an odd or ugly color on camera-from fucshia pink to dark blood, rust, orange or firey red - not attractive for anyone with any coloring and may create a mood of anxiety or fear. Black takes all the energy from the frame of the shot and signifies something serious or possibly negative- death or depression. NOT wearing black also means not wearing dark navy, dark green, dark purple, brown, dark gray. Dark colors will definitely lose you the booking! White creates a "ghost" of green light around you. Looks bad and tells them you are an amateur,not understanding camera work and lighting.

2. Bring HAIRSPRAY and "Fix" your hair problems.

If your hair tends to get in your eyes, is whispy, frizzy, uncontrolled or is hanging limply, blocking your face in any way it will probably cost you the booking. If they can't see your face or your hair is annoying to watch while watching you read copy, they won't cast you! Girls with long straggly straight hair will almost NEVER get booked! Cut the hair, have layers put in or have it styled -use product - so it frames your face and "flows" naturally. Or don't waste your time going out for commercials. (Sorry, but it's easier for guys! For you, don't use too much mousse or product or you'll appear to be greasy or wet!) Remember you are shooting from the waist up for the most part so wardrobe below the waist is not that important (the exceptions would be an "athletic" or "action" spot where you may be jogging, playing tennis or golf. Then dress for the full length camera angle).

3. Bring and Use POWDER.

Everyone looks greasy, shiny on camera. It's how light affects everyone's skin. If you powder, (guys too) you'll look more professional. Yes, these details make a difference. But you're saying to yourself - "I didn't study acting to learn how to wear make-up"! No, you didn't. But if you want to make the money commercial residuals can offer you, LEARN! Just as you learned dialects, dance, singing, stage combat or wearing 18th century clothing not to mention different styles of acting, learn how to adapt to this area of the performing arts. It's one more skill to add to your professional bag of tricks. The rewards will be enormous!

Happy Auditioning and Successful Marketing!

Gwyn

Gwyn Gilliss is the creator and Executive Director of TAM, The Actor's Market, a marketing firm for actors. They provide monthly FREE seminars/teleseminars, FREE weekly marketing tips as well as access to top photographers, graphic artists and videographers who provide every marketing tool an actor needs. As the foremost Marketing Coach and Mentor to actors, Gwyn's acting career spans several decades during which time she appeared on and off-B'way, in classical roles in American Repertory companies, in over 18 contract and recurring roles in Daytime and Primetime TV, Films and dozens of network commercials/V.O.'s. She has special Coaching programs for ready-to-succeed actors.

SIGN UP for our FREE Weekly Marketing Tips here: http://thetamstore.com/cart/


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2011/06/28

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A faulty documentary on transsexual tennis star (Reuters)

LOS ANGELES (Hollywood Reporter) – "Renee," Eric Drath's documentary about transsexual tennis star Renee Richards and her battle to play as a woman in the 1977 U.S. Open, is as fascinating as it is frustrating.

Made for ESPN Films and shown in the current Los Angeles Film Fest prior to broadcast later this year, the film brings you up-to-date on a personality who once dominated headlines but has now largely faded from public view.

Drath tries to get to the bottom of two people, Richard Raskin, who was born in 1934 into a comfortable upper middle-class existence, and Renee -- "French for 're-born,'" she reminds -- following Raskin's gender reassignment surgery in 1975.

Richards has written two autobiographies and seen two movies made about her life, the TV movie "Second Serve" starring Vanessa Redgrave and now this one. Yet she remains elusive. This enigmatic quality isn't just about the schizophrenia of Dick and Renee but about the contractions and self-doubts each possessed.

Drath, who comes from a tennis-loving family, remembers as a boy Dr. Raskin, an eminent eye doctor who treated his sister, yet later appeared in a skirt at the U.S. Open, and wants to find out what happened. Good luck.

Observing Richards in an interview today and then in old footage and old interviews, one clearly observes a war going on within this person, not so much between male and female, as between what one friends calls the "private person," who is extremely wary of all this attention, and a headstrong and arrogant individual who craves the limelight.

How else to explain a person who, having undergone gender reassignment, a name change and a switch of coasts from New York to California in order to live anonymously, suddenly wants to resume a tennis career. (Dick reached the final of the men's national 35-and-over tennis championships in 1972.) No one familiar with tennis, a friend tries to tell her, will fail to recognize Dick Raskind's serve no matter how she dresses. RenOe won't listen. Then a local southern California reporter does a little digging and her cover is blown.

One detects more than a little regret over the impact the sex transition had on others in Renee's life although apparently none over the surgery itself. She can be a little evasive on-camera but is willing to express doubts now about the 1977 New York Supreme Court decision that allowed her to play in the U.S. Open without having to submit to sex test.

The film's main focus is on the son Richards had during a brief marriage to a fashion model. A curt Nicholas Raskin does appear on camera briefly to answer questions. He still calls Renee his father and labels her decision to abandon her family for the sex reassignment "selfish." Yet they seem to be close.

On the other hand, Renee talks about her son's drug and alcohol problems although none is evident during his interviews. He is clearly a restless and disturbed man, who still resents the teasing he took as a schoolboy over his father's sudden notoriety.

Nick's mother evidently refused to cooperate as she is scarcely mentioned and never appears. There are other gaps. No mention is made of Richards' Jewishness, which apparently made him feel like an outsider in the WASPY Ivy League schools he attended. He excelled as an athlete as well as a medical student, yet broke off his one serious romantic relationship.

He traveled to Europe as a woman and even arrived in Casablanca, where the only surgeon in the world to specialize in gender reassignment operated a clinic. Then Dick chickened out. He returned to New York, married, fathered a son and only when he feared his own suicide did he have the operation.

One final gap has to do with Dick and Renee's sex life. This comes up only once and with it comes the surprising admission to "sex escapades" with men and women but that Renee never found the love with men that Dick found with women. Say what? No follow-up questions to that?

In person today, the rangy and angular six-foot-two woman still struggles to suppress the alpha male that Dick once was. The practice of medicine -- Richards by all accounts is an even better doctor than tennis player -- sustains her life and, she says, keep her sane. But when speaking of her son or the problems she caused for those close to her, a melancholy settles over her and the film.

One cannot know if more time devoted to interviewing Richards or the casting a wider net to bring in more voices belonging to friends, colleagues or experts in transsexualism might have brought more clarity or understanding to the story of Renee Richards. For in the end, this movie adds to the mystery rather than solves it.


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Things To Consider When Choosing Film Locations in Los Angeles

Hollywood, California is synonymous with movies. As part of the city of Los Angeles, Hollywood attracts hopeful movie industry workers and tourists alike from all over the globe. Having sunshine and a wide array of desirable film locations in Los Angeles, California was an ideal place for the fledgling U.S. movie industry.

As a movie setting in Los Angeles has been shown to be able to fulfill a number of disparate duties. Iconic and prototypical, L. A. has been made to serve as both micro and macrocosm for filmmakers wishing to discuss American lives. It is sprawling landscape, ethnographic history, and charming reputation make L. A. not just a practical backyard for Hollywood storytellers. As the ways of interpretation as well as representation in film making have changed, so too has American movies experienced major shifts as a manifestation of the popular consciousness.

Film locations in Los Angeles known as the Entertainment Capital of the World; Los Angeles is really a popular location for film making with plenty of natural and excellent filming locations. To some people it's a paradise of breathtaking beaches, buxom bodies, Beverly Hills, and also the world's most pimped-out cars. As a way to fully understand the bigger picture of Los Angeles, you need to know the way the city moves in and out of its local landscape. These are the areas that run the city; they're the parts that make L. A. just what it is. They're areas created so that other, possibly a lot more minor activities can take place here. Once you know the way they function, how they create a system, the way they consort and are connected, these areas have beauties to them.

With regards to producing high quality productions in Los Angeles, whether it is a reality show, commercial, motion picture scenes, or episodic television, the filming location you select could make the difference between a product that is sub-par and one which will be taken seriously. Here's what to take into consideration when choosing a film locations in Los Angeles. Expert staff, team, and actors already are aware of the very best way to get to the most often used film locales like those in the Burbank Media district. Picking a film location in Burbank or perhaps in nearby North Hollywood is simple and will be well-known to most people involved. Choose a location that has a lot of parking and you'll prevent a real headache.

Pulling off a professional production necessitates the location to provide all the stuff needed to keep everybody relaxed. Aside from having the cast and staff well treated, they also need to be the standard anatomy of film production set up: enough electrical hook-ups and power, high ceilings, lighting grid, cargo doors, as well as area for production workplaces.

Film locations in Los Angeles take into account the recognition of areas, or record exciting homes, complexes, cemeteries, carnivals, forests, beach locations as well as other places to go, or see and think that it could be fantastic locations specifically in film making. The main point here is the Los Angeles movie scouts mostly are looking for a site that will create an impression of authenticity.

Mixed media art is oftentimes utilized in a film locations Los Angeles. This type of art gives style to motion pictures that highlights famed artists and requires pivotal backgrounds.


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AP Source: Hulu mulls putting itself up for sale (AP)

LOS ANGELES – A person familiar with the matter says the board of online video service Hulu has begun to explore options to sell itself after the company, now owned mainly by media companies, received an unsolicited offer.

The person said the offer was large enough for the board to consider and seek other potential bidders.

Hulu, which is jointly owned by The Walt Disney Co., News Corp., Comcast Corp.'s NBCUniversal and Providence Equity Partners, is preparing to hire bankers to start a formal search process. It provides television and other video content free and by subscription.

The person spoke on condition of anonymity because the discussions are confidential.

A Hulu spokeswoman declined to comment.

The development was earlier reported by The Wall Street Journal, which is also owned by News Corp.


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Southern documentary an exalted endeavor (Reuters)

NEW YORK (Hollywood Reporter) – First-time writer-director Robert Persons establishes himself as a maverick personality with his lyrical collage documentary, "General Orders No. 9," which opens Friday in limited release.

An elegiac contemplation of the price of progress in the Deep South and its heavy toll on nature, history and community, the film plays more like a moody art installation than a conventional exploration of the clash between environment and urban development.

Screened at a number of second-tier festivals over the past several months, including Slamdance, this is unquestionably an exalted endeavor. It no doubt will find passionate admirers who respond to its haunting poetry, its hushed solemnity and mournful view of the irreversible damage wrought by the contemporary world. Others are likely to reject the film as a ponderous sermon with a too-cramped field of vision. Either way, however, the meticulous, artisanal craftsmanship and conviction Persons brings to his thesis are difficult to dismiss.

Persons' fascination with maps, patterns, shapes and symmetry informs the work in both structure and content. The principal refrain of the narration, read with somber gravity by William Davidson, is "Deer trail becomes Indian trail becomes county road." Also central is the star-and-satellite relationship of courthouse to town to county, with the weather vane at the top of the courthouse clock tower piercing the center of an intersection within many intersections.

Any harmony in that configuration was shattered when the interstates were built, transforming a neat grid into a chaotic web of interconnected veins. "The interstate does not serve, it possesses," intones Davidson.

Chris Marker appears to be a significant influence, but the spiritual bent in evidence also gives the film a vague tonal kinship to Terrence Malick's "The Tree of Life." There's a deep personal investment in the material, which Persons reportedly spent 11 years developing. But where Malick considers the soul of man, Persons' concern is the soul of the land. The film's specific geographic focus is the triangle of Alabama, Mississippi and Georgia, bordered on the east by the Mississippi River and on the west by the Savannah River.

As Davidson's voice ruminates on the metamorphosis of these tribal lands into sprawling, concrete hubs, Persons' exquisite camerawork caresses remnants of the past -- coins, bones, artifacts, fossils, faded family portraits -- or trains its still, serene gaze on gorgeous images of rural tranquility.

Over Chris Hoke's ambient music, the narration suggests that echoes of the war fought 100 years before this generation was born can still be heard, and Persons' shots of weathered graveyards reinforce that claim. The title -- a reference to Robert E. Lee's post-surrender address to his troops, issued at Appomattox courthouse -- appears to allude to land ceding to industry. But there's more emotionality than reasoning behind the film's formula of nature = good/urban development = bad.

The desecration of "a world covered over" and the rumblings of the past as "something pushing up against the surface of things" are emphasized in brooding Atlanta cityscapes, often digitally animated to heighten the sense of invasion by alien elements. Derelict structures and sterile, empty corridors portend a future with no place for humanity. These sequences are fluidly integrated by editor (and producer) Phil Walker to mirror the stately feel of symphonic movements.

Persons expresses his bereavement for communion and belonging -- concepts that have grown more abstract as progress marches on. His melancholy film urges us to look at the land rendered invisible by relentless construction; to treasure the remaining patches of wilderness and the totems of those who came before; to reassess the deceptions of modern life and appreciate again the constancy and truth of nature.

Those are all noble sentiments, eloquently expressed. But despite the film's beauty, such an earnestly romantic view of a world gone wrong needs to take a moment to weigh the gains against the losses. Without that balance, its wounded sanctification seems simplistic.


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Mortal Kombat

Mortal KombatWith a return to the mature presentation and classic 2D fighting plane Mortal Kombat is the most accessible and competitive MK game coming to the PlayStation 3 and Xbox 360. Mortal Kombat further extends the brutal experience with a visually striking story mode that will rewrite the ancient history of the Mortal Kombat Tournament.Story Summary:After centuries of Mortal Kombat Emperor Shao Kahn has finally defeated Raiden and his allies. Faced with extinction Raiden has one last chance. To undo the Emperor's victory he must strike Shao Kahn where he is vulnerable...The Past.Key Features: Making a big return to mature presentation and classic 2D fighting engine. Captivating storyline that rewrites the history of the Mortal Kombat Tournament. State-of-the art technology showcasing stunning 3D environments and characters. Re-invigorating the franchise with new multiplayer components. First fighting game to be displayed in Stereoscopic 3D.Format: PS3 Genre: FIGHTING (VG) Rating: M Age: 883929158867 UPC: 883929158867 Manufacturer No: 15886

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2011/06/26

Stream Direct Tv Technology - Satellite Tune

Satellite Tune, Over 4600 Hd Channels. Powerful Eye-Catching pitch page. Brand new fast selling high converting Tv to Pc with almost zero refund rate. We sell what we describe. Earn 75%. Make $350 per day averagely. SatelliteTune.com/Affiliates.html


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Corel VideoStudio 10/11/Pro X2 Complete Training - Video Tutorials

Over 5 hours of high quality How-to Videos with easy to follow step by step instructions. Video Capture, Titling, Editing and Special Effects. Create videos with 5.1 Audio Surround Sound. Affiliate: http://www.videostudiotutorials.com/affiliateinfo. php


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Veho VCC003MUVI Micro DV Camcorder

Veho VCC003MUVI Micro DV CamcorderVeho USA VCC-003 Muvi Digital Camcorder VCC-003-MUVI Camcorders

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James Cameron's AVATAR Movie Jake Sully RDA AVTR Program Backpack

James Cameron's AVATAR Movie Jake Sully RDA AVTR Program BackpackHe'll be a blockbuster hit at school with this boys' Avatar backpack.
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Transcend 8 GB Class 6 SDHC Flash Memory Card TS8GSDHC6E

Transcend 8 GB Class 6 SDHC Flash Memory Card TS8GSDHC6EFully Compatible with SDA 2.0 specification. Suitable for SDHC compliant devices, MLC flash chip with High Speed transfer rate. Perfect for highend digital devices. Please make sure your device can support SDHC format before you purchase! SDHC host devices can use both SD and SDHC memory cards.

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Satellite PC Pro Tv on PC Software - Earn $30 Per Sale!

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2011/06/25

Johnny Cash (Middle Finger 2) Music Poster Print

Your favorite parts of the Internet customized the way you choose, available in a dash. Over 1,000 free apps can be displayed at the touch of a finger. Choose from your favorite information and entertainment content including weather, traffic, social networking, movies, music and more--pushed right to your kitchen, bedroom, or office. The Dash Personal Internet Viewer connects quickly and easily to your existing wireless network and features a vibrant 7-inch LCD touchscreen for accessing a variety of video services for online music and viral videos, full-length feature movies and TV shows. You can also listen to MP3s and Internet radio via the built-in stereo speakers, or by using the headphone jack (headphones not included).

Make the Internet uniquely yours and access over 1,500 free apps with the Dash Personal Internet Viewer. Click to enlarge.

The compact size maximizes counter, bedside, and desktop spaces.

Access a variety of video services for online music and viral videos, full-length feature movies and TV shows.

Your favorite parts of the Internet customized the way you choose, available in a dash.

Streamline Your Life with Free Apps
The 1500-plus apps available for the Dash Personal Internet Viewer deliver the information and entertainment you want--weather, traffic, social networking, movies, music, and more--right to your kitchen, bedroom, or office.

Listen to What You Want
The Dash Personal Internet Viewer is a compact audio multi-tool: listen to MP3s and Internet Radio out loud with the built-in stereo speakers, or privately by using the headphone jack (headphones not included).

Customization
Customizing the Dash home screen to fit your own personal needs and style is easy. Simply choose your favorite apps and theme that you want displayed.

Access to Sony Content
Get access to the best Sony has to offer: movie trailers, minisodes, music videos, game trailers, and the latest deals from SonyStyle.com.

7-Inch LCD Touchscreen
The WVGA 800x480 LCD touchscreen displays crystal clear photos and video from a wide viewing angle, and automatically adjusts the display for an upright or horizontal orientation.

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Connect quickly and easily to your existing wireless network.

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The compact size maximizes counter, bedside, and desktop spaces, and the timeless design blends in with any decor.

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When you enter your zip code the device automatically sets the time for you. Set up custom alarms, either one-time or recurring, with the option of waking to Internet radio stations, built-in alarm sounds, or your favorite app.5

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Access a variety of video services for online music and viral videos, full-length feature movies and TV shows you can watch and control on the brilliant LCD.

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For a great photo viewing experience the Dash Personal Internet Viewer conveniently loads and displays your photos from online services such as Photobucket, or you can simply view your photos directly via USB. The touchscreen user interface allows you to set effects, rotate photos, zoom, and play or pause photo slide shows.

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Sony Dash Personal Internet Viewer and user's manual.

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Proper Clapboard Use

The clapboard is also known as a clapstick, sound stick or movie slate board. I've been on two television shoots recently for national, professional productions where the crew did not use the clapboard properly.

There are many types of clapboards. Some are made of blackboard material, some are wipe boards and some are digital. The iPad has a clapboard app that I don't like very much. Most boards have a place where you can write in information about the production or takes. It is common to see spaces that allow the user to add the name of the project, the take number, the scene name and some crew names. I particularly like the digital ones that allow you to jam sync time code to each camera.

By far, the most important role of the clapboard is to allow the footage from each camera on a multi-camera shoot to be easily synced up in the edit room. The loud "clap" sound that is made when the stick slams against the board creates a visual waveform on the audio line of the editing system. This allows the editor to easily line up all of the footage saving both time and money. In order for this to really work, ALL CAMERAS must simultaneously shoot the clapboard when it makes the "clap" sound. If you find yourself without a clapboard, you can just clap your hands together or slap a clipboard loudly. As long as it makes a loud, sharp noise and all of the cameras are rolling on it at the same time, it will work. If you need to "slate" the shot, in other words, share the written information on the clip board, you can verbally say whatever information needs to go with the take.

One common mistake is just showing one camera the clapboard. Although each camera can hear the "clap" sound, seeing the visual of the stick hit the board on each piece of footage can really speed things up in edit. Another mistake is clapping the board to each camera individually. I'm not sure what that is supposed to accomplish. I supposed if the clapboard has digital time code, it could help line up the footage with a little trial and error but you will still miss that synchronized "clap." Either way, you end up frustrating your editor more than anything. A frustrated editor is not creative nor very fun.

A word about the iPad clapboard app. It doesn't work very well for two reasons. One, to make the clap sound, you have to push a little button. By doing so, you cover up the iPad screen which takes away your visual. Two, the clap just isn't that loud. Sometimes there can be too much technology. An old-fashioned hand clap works much better.

In some instances when the cameras are in shooting position, they are unable to see the clapboard at the same time. For instance, one camera may be shooting an arrival from outside a house and one from inside the house. In that case, bring the cameras together, start rolling and "clap" the clapboard. Then move back into position while the cameras are still rolling. When all else fails, do the best you can.

Visit http://www.docsandtv.com/ for more production tips and to learn more about the author, Sydnye White. Sydnye White is a National Emmy Nominated Producer who's credits include the series Home Made Simple for TLC and Moneywise with Kelvin Boston for PBS. Her documentaries include Great Books: The Autobiography of Malcolm X for The Learning Channel and the Discovery Channel's Detroit SWAT.


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Civil war documentary told with power and grace (Reuters)

LOS ANGELES (Hollywood Reporter) – At once impressionistic and precise, "The Tiniest Place" (El Lugar mas pequeno) is a beautifully rendered memory piece that insists on the necessity of memory. The focus is a remote village in the mountains of El Salvador, decimated in the country's civil war of the 1980s and rebuilt by its surviving residents. When they first returned, one woman notes, the frogs sang. She also recalls the bones and body parts they had to gather and cart away -- the remains of guerrillas and national guard soldiers, enemies intermingled.

Such is the balance between hope and despair, a potent poetics, in Tatiana Huezo Sanchez's first feature-length documentary. Screening this week at the Los Angeles Film Festival, "Place" has the historical insight and visual eloquence to ensure not only further fest berths but also an ardent critical response that could bolster an art-house release in the hands of the right distributor.

The Salvador-born and Mexico-raised director spent two months in Cinquera, her grandmother's native village, and the intimacy and trust she established with the townspeople is evident in every frame. Her decision to record only the audio of their testimony was an essential ingredient of that trust, and it shapes the piece in a brilliant way. Working with two editors, Huezo Sanchez layers the villagers' thoughtful, sometimes harrowing voiceover recollections with cinematographer Ernesto Pardo's fluent footage of them as they go about their daily lives -- lives most Westerners would call simple, devoid as they are of electronic gadgets. The lucent imagery and rich sound design make the verdant setting immediate.

The villagers find meaning and joy in their connection to the land, which they've worked for generations without owning. Gradually, their stories pinpoint the moments of awakening that separated "the aware" from "the sleepers" as war spread across the country. Residents recall the terrors and atrocities they endured, the choices they made: toddlers who saw their mothers beaten and raped, teens who joined the guerrillas, families who hid for two years in a startlingly narrow cave, revisited with the filmmakers.

"Closure" is not a part of these Salvadorans' vocabulary; rather than expecting to recover from their losses, they carry them with a sense of clarity: insomnia for one man, nightmares for another, but also the hard-won knowledge that "a people with memory is more difficult to oppress." In Nuevo Cinquera, a piece of a military helicopter is prominently displayed, as is a mural that pays tribute to the village's dead.

Just as the residents of this town honor the most difficult moments of their lives, Huezo Sanchez and her astute film honor their will to live, and the way unquenchable grief informs their joy. Framing her observations subtly yet with full impact, she's there when that insomniac, who once served as lookout for government soldiers, tends his pregnant cow, and when a woman who had to bury the mutilated body of her daughter lovingly coaxes a hen to incubate eggs not her own.


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Pirates of the Caribbean: On Stranger Tides - A Little More Penzance Than Last Time

In what could be called "Captain Jack and the Last Crusade," we say goodbye to Will and Elizabeth Turner (Orlando Bloom and Keira Knightley, respectively) and hello to a more expensive look, drearier set pieces, and a more puzzling plot line. However, one benefit of the Pirates films is that no matter how twisted the story may be, and no matter how questionable things may get, everything seems to fall into place. The franchise has always had a firm rooting in faith, spirituality and things seemingly happening for a reason, with the hint of a moral compass always guiding the way, so in that aspect the film gives itself room to take outlandish turns, so long as everything fits. On Stranger Tides is certainly no exception to this rule, but At World's End (2007) had that market cornered.

I have to say, and I know I'm one of the few, but I missed seeing Bloom and Knightley side by side with Johnny Depp. I always took them to be the crux of the trilogy, especially because their stories were the forefront: them meeting, discovering more about their pasts, getting married, having a baby, etc., all while Captain Jack Sparrow gets himself in one scrape and out of another. But, inevitably, their story drew to an end in At World's End, giving this film more of a chance to focus on Sparrow's past - lost love, old friendships, all that. As the film opens, Captain Jack (Depp, as savvy as ever) impersonates a British judge to escape hanging for crimes he may or may not have committed, though he probably did; he's just not ready to hang for them. The opening of the film tells us this: Jack is in London looking for a ship and a crew. This is true, but not in the sense that everyone thinks it is; in fact, it's an impostor posing as Jack. Her name is Angelica (Penelope Cruz) and she's the only one with enough guts to impersonate the infamous captain and get away with it. She's an old love, or as close as Jack has gotten to it. Meanwhile, Jack is looking for the Fountain of Youth. The catch is, so is the Spanish kingdom, the British Navy, helmed by Captain Barbossa (Geoffrey Rush, back from the first film and looking barely alive), and Blackbeard (the performance of the film, from Ian McShane), along with his daughter, Angelica. Spoiler? Not really.

The franchise, regardless of how fun it is, is tired. It's been tired since 2003 when we discovered The Curse of the Black Pearl. There shouldn't have been a second film, or a third one, and I like to think that everyone recognizes the lack of a need for a trilogy, but Dead Man's Chest (2006) and At World's End managed to give us a story that feeds off of the first one and into the third one, kind of forcing a trilogy on us. On Stranger Tides feels like it's the final part, but Disney can keep threatening a fifth installment. With the financial success of the films so far, it'd be a fool's bet to say they wouldn't do it. It'll be big, it'll be loud, it'll be expensive, Depp will be loads of fun, the story won't make much sense for most of the film, and there will be millions of bags of popcorn sold all over the country. Sounds about right.

Something that's bothered me since Dead Man's Chest is the incomprehensible editing. Other than story-depth, that's what has seemed to take the biggest dip in quality. Remember the quality of the sword fights in The Curse of the Black Pearl? Or how exciting it was watching Orlando Bloom and Jack Davenport swash-buckle on a giant rolling wheel? Okay, maybe that's a stretch, but that scene was brilliantly composed, even if lacking in the logic department. One thing that makes or breaks action movies is the editing. Pirates had that, then it lost it, never to get it back. At least the quality of the cinematography, music and art direction seems to only be improving. The music here, composed by Hans Zimmer, has as much life as it ever has, and it's put to staggeringly good use, considering this is a Rob Marshall film.

A note about Rob Marshall: he's possibly one of the most hit-or-miss directors alive. He made a masterpiece with Chicago (2002), but Nine (2009) was a miserable mess, and for anyone who has seen his TV version of Annie (1999), well... I'm sorry. Here, though, I'd venture to say he's back on the right track. This isn't the best of the Pirates films, nowhere close, but he has managed a minor success in his filmography. If there is a fifth film, and they can't convince Gore Verbinski to come back and do it right, then I hope they bring Rob Marshall along for the ride again. He kept the film lively and bouncy, and the final joke in the film, a small delivery between Jack and Angelica, had me laughing for a good five or six minutes. A perfectly produced moment.

The performances are the bright spot. Depp has made a wonderful character out of Jack Sparrow. He has never once made fun of the character; he believes Sparrow with every ounce of his considerable talent and keeps him from being a repetitive mess. His swagger doesn't ever feel forced, and hasn't for four movies now. It's no wonder his first outing as the captain garnered him his first Oscar nomination. Geoffrey Rush is obviously having fun as Captain Barbossa, and Penelope Cruz continues to be one of the most compulsively watchable actresses alive. Her alarming beauty and quick comedic timing are put to extremely good use; Marshall knows how to direct her. The best performance in the film, however, comes from Ian McShane as Edward Teach (Blackbeard, as we've come to fear him); he's slimy, contemptible, but fun - the ideal Disney villain.

Contact the Author: ScottMartin@MoviesIDidntGet.com

Scott invites you to visit 'Movies I Didn't Get' for latest news in indie film. For more information, reviews and comments check out the fastest growing indie film blog: http://www.moviesididntget.com/.


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Has YouTube Ruined Movie Watching?

It's an increasingly familiar phenomenon. From online clips to "red band" trailers, it's possible for movie fans to see large chunks of their favourite movie ahead of its official release. If they make the pilgrimage to the influential San Diego Comic-Con, they can see so many 10- or 20-minute showreels of forthcoming treats from the studio slate that they could probably stitch together a Frankenstein's Monster of a movie, a harlequin of bits and pieces.

All part of the marketing strategy of the modern movie, but maybe the process is beginning to belittle the experience of sitting down in the dark and expecting to be surprised by the latest blockbuster. Have we been so ruined by YouTube that we think nothing of viewing the 'edited highlights' out of context or dramatic heft?

Of course, PR folk are in the business of making even the most mediocre product look enticing, so these previews include all of the coolest explosions in a blockbuster (or the best jokes in a comedy) - the so-called 'money shots'? The very existence of 'red band' trailers is designed to ensure that horror movies (usually censored of their gory set-pieces) don't get left out. Trouble is, when you get around to seeing the actual movie, you realise that there isn't an awful amount left in the spaces in between!

The other problem is overkill. Exclusivity is fine, except the PRs aren't all that bothered about exclusivity. The same clip is fired across the Internet and it's rare to find a movie blog that won't automatically republish it. The fanboys - in constant fear of being left out of the pack - are propagating the meme to the point where it becomes meaningless, just another toxin polluting our capacity to enjoy the movie when it eventually comes out.

There are a few directors who have mastered the art of catering to the Comic-Con crowd. Christopher Nolan's use of enigmatic Easter-egg hunts generate huge buzz without actually giving anything important away. Even when he eventually gets around to releasing extended footage - chiefly, the opening sequence from The Dark Knight - it doesn't dilute the film's overall narrative impact. Not coincidentally, Nolan's recent films have been amongst the biggest box-office hits of recent times.

But for marketing departments less adept at supplying information to the hungry blogosphere, back-handed attempts at hype are increasingly counter-productive. Perhaps, before too long, the answer might be to take the radical step of releasing nothing until the film is released. For contemporary audiences, the thrill of seeing something genuinely new might be more valuable than yet another sneak peek.


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Xbox 360 12 Month Live Gold Card

Xbox 360 12 Month Live Gold CardA big world of entertainment is yours with Xbox LIVE 12 Month Gold Membership. Enjoy instant HD movies and TV shows from Netflix or choose from 3,500 live and on-demand sporting events and highlights from ESPN on Xbox LIVE. Jump right in to online games with friends around the world. Plus, enjoy personalized music with a Zune Pass and Last.fm, update your status on Facebook and be part of what's happening on Twitter right on your TV. Launching in November is the Xbox 360 Kinect which makes your entertainment even more extraordinary. Imagine controlling movies and music with the wave of a hand or the sound of your voice, or chatting on your TV with Video Kinect. Upgrade to Gold Membership today for more games, entertainment and fun online with the Xbox Marketplace.

Price: $59.99


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2011/06/24

Marvel Thor The Mighty Avenger Movie Large Backpack

Marvel Thor The Mighty Avenger Movie Large BackpackMeasures around 16x12x4". Large size.
Made of durable canvas.
Main zippered compartment & 1 front zippered pocket.
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Unbroken: A World War II Story of Survival, Resilience, and Redemption

Unbroken: A World War II Story of Survival, Resilience, and RedemptionOn a May afternoon in 1943, an Army Air Forces bomber crashed into the Pacific Ocean and disappeared, leaving only a spray of debris and a slick of oil, gasoline, and blood. ?Then, on the ocean surface, a face appeared. ?It was that of a young lieutenant, the plane’s bombardier, who was struggling to a life raft and pulling himself aboard.? So began one of the most extraordinary odysseys of the Second World War.

The lieutenant’s name was Louis Zamperini. ?In boyhood, he’d been a cunning and incorrigible delinquent, breaking into houses, brawling, and fleeing his home to ride the rails. ?As a teenager, he had channeled his defiance into running, discovering a prodigious talent that had carried him to the Berlin Olympics and within sight of the four-minute mile. ?But when war had come, the athlete had become an airman, embarking on a journey that led to his doomed flight, a tiny raft, and a drift into the unknown.

Ahead of Zamperini lay thousands of miles of open ocean, leaping sharks, a foundering raft, thirst and starvation, enemy aircraft, and, beyond, a trial even greater. ?Driven to the limits of endurance, Zamperini would answer desperation with ingenuity; suffering with hope, resolve, and humor; brutality with rebellion. ?His fate, whether triumph or tragedy, would be suspended on the fraying wire of his will.

In her long-awaited new book, Laura Hillenbrand writes with the same rich and vivid narrative voice she displayed in Seabiscuit. ?Telling an unforgettable story of a man’s journey into extremity, Unbroken is a testament to the resilience of the human mind, body, and spirit.

BONUS: This edition contains an excerpt from Laura Hillenbrand's Seabiscuit.

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Gere criticizes China over abuse in Tibet (AP)

SEOUL, South Korea – American actor Richard Gere is taking a swipe at China for what he calls its widespread abuse of Tibetans.

Gere is in Seoul to promote a Tibet-themed exhibition of photos taken by him and other photographers. He's a practicing Buddhist and a longtime supporter of the Dalai Lama and Tibet.

Gere said Wednesday at the Seoul Arts Center that it's impossible to look at the photographs and not feel Tibet's suffering.

He said China's government is torturing and killing people in Tibet.

China maintains that Tibet has been part of its territory for centuries. But many Tibetans say the region was functionally independent for much of its history.

Gere's films include "Pretty Woman," "Unfaithful" and "Chicago," for which he won a Golden Globe.


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Harry Potter and the Deathly Hallows, Part 1

Harry Potter and the Deathly Hallows, Part 1AS HARRY RACES AGAINST TIME AND EVIL TO DESTROY THE HORCRUXES, HE UNCOVERS THE EXISTENCE OF THREE MOST POWERFUL OBJECTS IN THE WIZARDING WORLD: THE DEATHLY HALLOWS.

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"Self Made" a self-indulgent acting exercise (Reuters)

LOS ANGELES (Hollywood Reporter) – The first feature by British conceptual artist Gillian Wearing, "Self Made" is an experiment in creativity that has far more resonance for its participants than it will for most audiences.

The documentary chronicles a three-week project that immersed seven non-actors in a specially devised Method workshop. They would each star in a short film designed to embody the inner truths they'd worked to lay bare.

With a premise that's likely to intrigue students of theater and psychology (although they won't need the onscreen definition of "improvise"), this selection of the Los Angeles Film Festival would be a good fit for arts-oriented TV schedules. But the prospect of watching sense memory exercises is a doubtful lure for most moviegoers.

The subjects' willingness to expose themselves doesn't entirely allay the sense of intrusiveness that hangs over the proceedings. They were chosen from hundreds who answered a simple ad -- "Would you like to be in a film? You can play yourself or a fictional character" -- and their receptiveness to new ideas is key. In an apparently unheated space in Newcastle (most keep their coats on), Method teacher Sam Rumbelow guides them through a series of exercises, scenes and rehearsals. He's an exceedingly clear-eyed, even-keeled facilitator as he nudges them toward the mother lode of emotional truth and listens to dark confessions (one man has chosen the date of his suicide).

Still, as the camera prowls the rehearsal space, it's easy to see why some acting teachers broke from the Method, choosing not to focus on the personal psychology of the performer. The liberation and expression of emotion doesn't have to rest on the unraveling of the actor -- but in Wearing's fast-track scenario, it does.

The five shorts that are included in the doc were written by Wearing and playwright Leo Butler (a fact made clear in the press notes but not in the film) and range from period B&W drama to stylized updates of Shakespeare and contemporary slices of life centered on acts of terrible violence. The power of some of the participants' performances is unquestionable, and there's a certain purity to their work because they're unfettered by career-driven posturing.

"I don't think the camera likes me," fortyish Leslie, a sweet-faced blonde, says at the outset of the film. One of the most memorable group members, she has disproved that statement by film's end. Those blind spots in self-awareness are among Wearing's concerns. Having explored self-expression in much of her previous work, with "Self Made" she examines the notion of identity as a kind of performance and performance as a way of breaking through self-consciousness.

They're rich fields of inquiry. But by the time the carcass of a pig -- poor innocent creature -- is enlisted for an acting exercise, the concept of self-indulgence overshadows the quest.

(To read more about our entertainment news, visit our blog "Fan Fare" online at http://blogs.reuters.com/fanfare/)


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2011/06/23

LEGO Star Wars Snow Trooper Army Pack (8084)

LEGO Star Wars Snow Trooper Army Pack (8084)Defeat the Rebels with Imperial might! Build up your Imperial forces and celebrate the 30th anniversary of The Empire Strikes Back! When the Rebels' secret base is discovered on Hoth, the Empire attacks with a force of cold-weather Snowtroopers(tm). Includes LEGO battle station, Imperial Speeder, 2 Snowtroopers, AT-AT Driver and Imperial Officer Battle station armed with rotating flick missile firing gun! Speeder measures over 5 (12cm) long. Battle Station measures over 3" (10cm) long."

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Red Riding Hood 2011 Review

Red Riding Hood is a fairy tale gone thriller. It opened in March of this year and attempted to retell the tale of the Red Riding Hood to adults. With Amanda Seyfried in the lead and a budget topping over $40 million, not a heck lot could go wrong, or so it seemed. Is this a great interpretation of the famous fairy tale? Or does it fall short, becoming one of the many highly anticipated downfalls this movie season, let's learn.
Story

Red Riding Hood is set in medieval times in a small village haunted by a werewolf. Meanwhile Valerie, a young girl played by Amanda Seyfried, falls in love with a "bad boy" called Peter. The problem being that her parents had set up an arranged marriage with higher-class Henry.

The first plot comes quickly when a new king attempts to tackle the threat by putting the town under siege during the red-moon season. From there the movie becomes an audience's guessing game, as they try to predict the killer in human form. This is done well by the director by offering plenty of leads and awkward/exciting moments. The writers weren't scared of making radical things happen, which helped the story progress.

The acting of Red Riding Hood is somewhat off at times. The romantic lines, for example, are so cringe worthy that it becomes even more far-fetched than the characters' state of mind. Nevertheless the main characters have delivered very decent performances, compensating for the few less-convincing lines in the movie.
Presentation

In the early days of HD releases, movies were very subject to noise generated in darker scenes. Luckily this is fixed because there're a lot of dark scenes in Red Riding Hood. The picture remains grain-free even during the darkest of times.

The overall level of detail is decent without excelling compared to other recent 1080p movies. The country wheat, during the fire scene, could've reflected more details to name an example.

The special effects (especially the werewolf) look amazing and are very convincing. He might be unnatural strong, even for a mythical creature, but has the visuals to match his killing character.

Red Riding Hood offers the next generation of sound, conveniently dubbed: Dolby digital true-HD or DTS-HD. Unfortunately I wasn't near a set that supports these formats, so I had to fall back on the traditional DTS format. In this mode the movie does well to suggest the werewolf's whereabouts. They used the 5 channels to great extend, accompanied with a satisfying movie score.
Conclusions

Red Riding Hood is a decent movie with a compelling story that leaves the audience guessing the entire 100-minutes through, helped by strong and brave writing for the most part. The image does well without blowing any senses out of the water, with the sound up there with the best. Taking everything in consideration leaves me with this: Watching Red Riding Hood is entertaining and time well spent, despite the minor issues here and there.

I'm Robin Chung. In my spare time I like to write articles and stories. My ultimate dream is to write a life altering story for a lot of readers. Feel free to visit my website and learn more!

Robin Chung


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'Jackass' star died from Pa. crash's impact, fire (AP)

PHILADELPHIA – "Jackass" daredevil Ryan Dunn and his passenger died from the impact of the violent car crash and the resulting fire, according to a coroner's report Tuesday.

The Chester County coroner listed blunt force trauma and thermal trauma as the official causes of death for both men. Toxicology results will take four to six weeks to complete, coroner's office spokeswoman Patty Emmons said.

The 34-year-old Dunn and passenger Zachary Hartwell died early Monday, shortly after leaving a pub in West Chester where Dunn had tweeted a photo of the pair and a third man drinking just hours before the crash. The photo has since been taken down.

Barnaby's of America manager Jim O'Brien declined through an employee to speak to The Associated Press. He told The Philadelphia Inquirer that Dunn was drinking with several friends at the bar but didn't appear drunk.

West Goshen Township police declined Tuesday to discuss the ongoing investigation in detail but believe speed may have been a factor in the suburban Philadelphia crash.

A preliminary examination of the crash site suggested that Dunn's Porsche might have been traveling more than 100 mph in the 55 mph zone when it jumped a guardrail, flew into a wooded ravine, struck a tree and burst into flames.

The 30-year-old Hartwell was credited as a production assistant for the second "Jackass" movie.

Dunn's brother, Eric Dunn, said in an emailed statement to the AP that his family was "devastated."

"We appreciate the support of Ryan's fans during this time, and we are grateful for your thoughts and prayers," he said. "Ryan will be greatly missed, but he will forever remain in our hearts."

Mourners placed flowers and took photos at the accident scene in West Chester, while Facebook and Twitter were buzzing Tuesday with condolences from fans around the world and friends from Hollywood to Chester County.

Among those expressing their sorrow online were Good Charlotte guitarist Benji Madden, reality TV star Brody Jenner and Dunn's "Jackass" movie and TV cohorts Bam Margera, Stephen "Steve-O" Glover and Jason "Wee Man" Acuna.

Margera, who was in Arizona at the time of the crash, visited the crash scene Tuesday evening and was visibly overcome with emotion, rocking back and forth in agony at the guardrail that the car crashed through, WCAU reported.

"I've never lost anybody that I cared about. It's my best friend," he told WPXI, weeping. "He was the happiest person ever, the smartest guy. He had so much talent, and he had so many things going for him. This is not right, not right."

Margera stood at the guardrail that Dunn pierced with his Porsche Monday morning with such force that the car slammed through about 40 feet of trees before exploding into flames.

Dunn was born in Ohio and moved at age 15 to Pennsylvania, where he met Margera on his first day of high school, according to a biography posted on his website.

Glover tweeted, "I don't know what to say, except I love Ryan Dunn and I'm really going to miss him." Glover also canceled six upcoming stand-up comedy shows in Sacramento, Calif., and the venue said it was issuing ticketholders refunds.

There was also criticism, most notably after movie critic Roger Ebert posted on Twitter that "friends don't let jackasses drink and drive." Margera erupted in expletives on his own Twitter page. Ebert's Facebook page was flooded with derogatory posts and briefly taken down; Facebook apologized a few hours later and said the page was "removed in error."

Ebert responded Tuesday that he didn't mean to be cruel and was "probably too quick to tweet" after the crash.


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Are Comic Book Movies Dying Instead of Thriving?

June has marked the release of one of the year's most critically panned movie. No I'm not talking about the mediocre movie The Hangover Part II. I'm not talking about the brilliant X-Men: First Class. As much as it pains me to say it, Martin Campbell's Green Lantern may become the worst disaster for comic book movies since the likes of The Fantastic 4 hit cinemas. And it was all going so well this year...

As I've mentioned before about the likes of Thor and X-Men: First Class, comic book movies have needed to drastically improve in order to survive at the box office. Throwing a special effects extravaganza at audiences just doesn't cut it anymore. Movies need to develop interesting characters, and generate a good story before worrying about spectacular special effects. That's where comic book movies are struggling. With so much choice now for comic book movies, the films can't afford to be lazy. Thor told a great father-son story, First Class added some historical gravitas to a superhero story whilst Green Lantern fails on just about every level...

Terrible plot holes, bad pacing, boring characters (unlike the comic book versions) and a bland story keeps Green Lantern's feet firmly on the ground. It's also an example of how a generic 'popcorn' superhero movie just doesn't cut it with critics and fans alike. If Green Lantern bombs, DC will probably shy away from moving forward with projects such as The Flash and Wonder Woman. This could cause serious ramifications for comic book movies because; Marvel's on screen catalogue of comic book characters will eventually run dry. With no alternative to go to, fans will inevitably get bored of Marvel throwing every B-List character under the sun at them. The same goes for DC's Batman and Superman franchises. They will eventually run dry and DC will have nothing left to offer.

That's what's most disappointing about the Green Lantern movie. There was so much riding on it, and despite having Green Lantern wiz Geoff Jones behind the scenes; the movie has killed off all momentum for DC. Yes they have The Dark Knight Rises coming next year, but considering that's up against Marvel's Avengers, don't expect it to reach the heights of The Dark Knight.

If the genre is dying, every upcoming comic book movie needs to be unique. The initial awesomeness of seeing Marvel's finest united on screen will undoubtedly hold off bad reviews, but other projects such as Spider-Man, Wolverine and Superman might not be so fortunate unless they give the characters and the story proper attention. It's time studios take these movies seriously. From the moment the initial GL trailer hit the net and viewers were treated to a classic Ryan Reynolds 'I KNOW RIGHT' scene, it was clear Warner Bros weren't treating GL seriously. And that's why the genre is struggling. It needs more X-Men: First Class, less Van Wilder in space.

2012 will be make or break for the comic book movie genre...


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2011/06/22

Cars McQueen Hardshell Bicycle Helmet and Protective Pad Value Pack (Toddler)

Cars McQueen Hardshell Bicycle Helmet and Protective Pad Value Pack (Toddler)Keep little riders safe with the help of their favorite characters! Stylized hardshell helmet and elbow/knee pads are a great safety measure for riding bikes, in-line skating and other outdoor activities. Fits boys ages 3 to 4. Complies with U.S. CPSC Safety Standards.

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"Hangover" tattoo lawsuit settled (Reuters)

LOS ANGELES (Hollywood Reporter) – Fans of "The Hangover: Part II" can rest easy: the tattoo on Ed Helms' face is staying in the film.

Warner Bros. has settled the lawsuit brought by Missouri tattoo artist S. Victor Whitmill over the mark on Helms' face, which Whitmill claimed infringed a copyrighted tattoo he created for boxer Mike Tyson.

Terms of the settlement were not disclosed. "Warner Bros. and Mr. Whitmill have amicably resolved their dispute. No other information will be provided," Whitmill's attorney Geoff Gerber said.

Sources say the deal was hammered out during an all-day mediation in St. Louis on Friday.

Whitmill, who created the original tattoo and registered the copyright, sued in April asking that a federal judge halt the release of the blockbuster comedy sequel because it prominently features the tattoo without permission.

But on May 24, just days before the film was scheduled to be released, a judge denied Whitmill's request for a preliminary injunction. The judge did suggest that she saw merit in the case, even referring to the studio's defenses as "silly."

In subsequent court filings, Warners said that it planned to digitally alter the tattoo for the home video version of the film if the case didn't settle quickly.

And now it has. A notice of dismissal is expected to be filed shortly, putting an end to one of the odder copyright cases in recent memory. The film, meanwhile, has gone on to earn almost $500 million worldwide.


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The Dark Knight Film Review

The 2008 action drama The Dark Knight is distributed by Warner Bros. Some of its stars include Christian Bale as Batman/Bruce Wayne, Michael Caine as Alfred Pennyworth, Heath Ledger as The Joker, Gary Oldman as James Gordon, and Maggie Gyllenhaal as Rachel Dawes. The writers are Jonathan Nolan (The Prestige), Christopher Nolan (Batman Begins), David S. Goyer (The Unborn), and Bob Kane (Batman). The director is Christopher Nolan.

The film opens roughly a year after the events of Batman Begins. The Joker and his men rob a bank in the first scene. New District Attorney Harvey Dent joins Lieutenant Gordon and Batman to help destroy the mob. During a mob boss meeting, a Chinese mafia accountant named Lau informs them that the stolen money has been hidden and he has fled to Hong Kong. The Joker interrupts the meeting and tells the mob bosses that Batman will go after Lau and he will offer to kill him if he receives half the shares. They refuse and place a bounty on the Joker's head. Batman does go after Lau in Hong Kong and brings him back to Gotham City.

He agrees to testify against the mob bosses, freeing up Dent to arrest and charge them. Because of these recent events, the Joker threatens to kill people until Batman reveals his true identity. The first deaths are Commissioner Loeb and the judge presiding over the mob boss trial. A later attempt to assassinate the mayor is foiled and Lieutenant Gordon appears to be killed. In order to prevent further loss of life, Bruce Wayne plans to reveal himself until Harvey Dent says he's Batman to keep the truth secure. While being transported across the city, the DA is captured by the Joker's men. In the process, the Joker himself is arrested.

He reveals to Batman that Dent and Rachel Dawes, Bruce Wayne's love interest, have been placed in separate buildings at opposite ends of town, each surrounded with explosives. The Caped Crusader goes after who he thinks will be Rachel while Gordon, who had faked his own death to lure the Joker, goes after Dent. Batman arrives and discovers that Harvey Dent is the one held captive there while Gordon fails in his attempt to save Rachel. In the explosion, Dent is badly burned on half his face and is distraught over her death.

When I first heard about this film, I was thrilled because the Joker is my favorite Batman villain. But, as I found out later, there is very little of the Joker's main attributes displayed in the film. Things like the Joker's venom don't make any appearance. With the exception of a couple of tricks, which includes the Joker card, none of this psychotic's well-known characteristics are ever shown. In effect, any sort of criminal could have been the main antagonist in The Dark Knight; it didn't have to be the Joker. The Joker appears to be more of a terrorist in this film than one of Batman's freakish enemies.

When I discovered what they were going to call the film, The Dark Knight, I initially believed that it was just referring to Batman and his black suit, but I was wrong. The title of the film was referring to a Dark Knight opposing a White Night. A Dark Knight is someone who will stop the bad guy at any cost, legal or not. A White Knight, on the other hand, will attempt to stop him by legal means. A line early in the story gives it away, "Either you die a hero or you live long enough to see yourself as the villain."

Ironically, both Batman and Harvey Dent prove this to be true. At the start of the film, the people of Gotham are still unsure of what Batman really is, hero or villain. He did save the city from Ra's al Gaul in the previous movie but, in this one, he appears willing to capture the bad guy at any costs, even if it means invading other people's privacy or viciously beating up a man during interrogation in order to have the information he needs. The new district attorney follows a similar path. He starts out as this bold prosecutor going after every bad guy in Gotham, no matter how bad they are. Later on after his fiance Rachel is killed by the Joker, he becomes more of a vigilante. Dent goes around killing everybody that he believes was responsible for her demise.

To wrap, The Dark Knight is actually a pretty good film, but lacks most of the joking aspect of a Batman movie featuring the Joker.

Written by Kevin Dillehay
http://www.moviefilmreview.com/author/Kmonk10

Kevin T. Dillehay has written nearly a hundred movie reviews from all genres. He provides a unique perspective on the movies you see all the time but may not stop and think about in depth. You are invited to check out his work at http://www.moviefilmreview.com/author/kmonk10.


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2011/06/21

101 Dalmatians (Walt Disney's Classic) [VHS]

101 Dalmatians (Walt Disney's Classic)  [VHS]Back in 1961, Walt Disney got a little hip with 101 Dalmatians, making use of that flat Saturday morning cartoon style that had become so popular. The result is a kitschy change in animation and story. Pongo and Perdita are two lonely dalmatians who meet cute in a London park and arrange for their pet humans to marry so they can live together and raise a family. They become proud parents of 15 pups, who are stolen by the dastardly Cruella De Vil, who wants to make a fur coat out of them. Cruella has become the most popular villain in all of Disney; she's flamboyantly nasty and lots of fun. But it's the dalmatians who shine in this endearing classic, particularly those precocious pups. Telling the story from the dogs' point of view is a clever conceit, a fundamental flaw of the live-action remake. --Bill Desowitz

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Sony movies pulled from Netflix streaming service (AP)

LOS ANGELES – Sony movies were pulled from Netflix Inc.'s online streaming service Friday because of what Netflix said is a "temporary contract issue" between Sony Corp. and its pay TV distributor, Starz.

Netflix notified its members in a blog post on Friday, when movies such as "Easy A" and "Grown Ups" stopped being available on its "Watch Instantly" service. They are still available to be rented as DVDs through the mail.

Starz said in a statement that "all parties are working diligently to resolve the issue."

A person familiar with the matter said Netflix's explosive subscriber growth triggered a clause in Sony's agreement with Starz that resulted in the stoppage. The person was not authorized to speak publicly and requested anonymity.

Netflix has said that it ended March with 23.6 million subscribers in the U.S. and Canada.

The temporary outage comes at a time when Starz is doing its best to show Netflix how much customers appreciate being able to watch movies from its studio partners, Sony and The Walt Disney Co., over the Internet.

Netflix' ability to stream Disney and Sony movies aided its spectacular growth, but its deal with Starz is up next year.

Analysts expect Netflix to pay handsomely to renew the deal. Earlier this month, Netflix CEO Reed Hastings said it "wouldn't be shocking" if Netflix paid more than $200 million per year for Starz' service, far more than the estimated $30 million a year it is paying currently.


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