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Stream Christmas in Wonderland Online. Product: Christmas in Wonderland Average customer review: Amazon Price: Sale Price Too Low To Display Click Below To See Amazon Sale Price Add to cart to see discount price@ Availability: In Stock Usually ships in 24 Hours Free Shipping At Amazon

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great movie to notice, I’m giving 5 stars because is an awesome christmas to contemplate, droll and titanic performance if you are looking for a family movie grab this one you wont regret,I watched it with my family and friends and we did like it awesome!!

the only thing that I did not like is that the DVD does not have any subtitles, extras or languages available that is all, I would give 4 stars but since the movie aint got nothing to do w/the video effect I did not, it is a 5 stars for me.

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All I can say is it’s about time this movie has been available as a single DVD. Ever since its initial release this considerable film has had to deal with the regrettable and entirely undeserved stigma of being a lesser and forgettable footnote in the Bond canon. Nothing could be further from the truth.

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On Her Majesty’s Secret Service is a masterpiece, both as a James Bond movie and as an adventure movie in its have right– and it is far and away the best Bond movie that has ever been made thusfar. The reasons for this are manifold. For one thing it succeeds marvelously on both an artistic as well as an escapist level– imho it’s the only Bond film so far to effect this. Secondly it features what is easily the greatest derive in a Bond movie, and possibly the greatest action theme music ever–the ripping instrumental theme peaceful excites me every time I hear it after 25 years and more listens than I could possibly hope to remember. Thirdly it features one of the best ensemble casts of all the Bond movies– every portion was perfectly cast (yes even Bond) and they all played off each other wonderfully. Last but not least it was directed but arguably the best of all Bond directors, Peter Hunt.

On Her Majesty’s Secret Service is recent among the Bond movies in so many ways, most notably in that it stars the criminally underrated George Lazenby as Bond. Lazenby was a fight instructor with the Special Forces, a championship skier and swimmer– all of which contributed to him having a powerful physical grace, as well as the sort of magnificent magnetism, confidence and breeze that simply can’t be faked. In short, where most of the Bonds have been actors trying to be action heroes, Lazenby was an action hero trying to be an actor– and as far as I’m concerned this gave him a sure advantage over everyone else who has attempted the role. And he was bloody frigid. So chilly, in fact, that to this day, more than Connery even, watching Lazenby makes the 12 year-old in me want to speed out and attach the world. Topping everything off the man was a model and absolutely adored by women. In short he was, to my mind, far and away the most naturally valid of any of the actors who have ever played Bond. Yes, he was a diminutive rough around the edges in the acting department, but by God he had it where it counted and was diamond in the rough. It is one of the gargantuan tragedies of action cinema history that we didn’t obtain to discover him build as Bond.

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And then there’s the film itself. In addition to a astonishing lead it also contains one of the best villains of the series– Telly Savalas’ Blofeld. Egotistical, charming, entirely self-centred, vivid as well as menacing and physically imposing, he was the perfect counter to Lazenby’s Bond. You could literally sense the urgency and drive slow his egocentric madness– clearly he was a villain to be reckoned with. And there was that wintry draw he held his cigarettes. Furthermore, On Her Majesty’s Secret Service has what is probably the best anecdote of the series. It struck fair the honest balance between the absurd (the mountaintop fortress and conception to waste the world’s crops) and the serious (the character development and lack of gadgets and over-the-top astonishing elements) as well as touching on some quintessential male fantasy elements: a bevy of beauties atop a mountain hideaway on the one hand, and the palatable Tracy on the other. Let it be said here and now that as ridiculous as the belief of hypnotizing a group of delicate women to go out and do your bidding really is, it must be renowned that the whole plan is fantastically frosty on the level of fantasy on which Bond films have always had their legal niche. If Ian Fleming were alive to day I would give him a honorable pat on the help for that one.

Let us now deem the action scenes– some of the best of the entire series– not the least of which are the stellar fight scenes: brutal and personal, not to be approached in awesomeness until Casino Royale two years ago. And then there are the ski scenes– utterly astounding. The Piz Gloria run is easily the single most lively scene in the whole series, and it culminates so beautifully with Bond lost and alone at the ice rink, unsure what to do before lo! his guardian angel appears. I would go so far as to say that from the moment Bond is imprisoned in the cable-car room good through the ruin of the movie, we have perhaps the best extended action sequence in any Bond movie, perhaps in any action movie ever– and it’s scored brilliantly by the incomparable John Barry.

Above all, however, one gets a determined sense watching On Her Majesty’s Secret Service of how distinguished went into it. Starting with Goldfinger and culminating with You Only Live Twice the Bond movie producers went quite over the top and shifted the focus of the films away from character and depth into the realm of large budget spectacle– to the point that the character of Bond was reduced to a cheap toupe adorning all the nonsense going on around him. By the time On Her Majesty’s Secret Service was made they evidently decided to utter the series abet to its roots. One thing that stands out to me more every time I search for this film is how distinguished it is apparent that everyone enthusiastic with it achieve their heart and soul into making the “tale” Bond film. It broke all the standard Hollywood success rules– it blew the then just-established formula to smithereens, it was the first one to really address James Bond as a human being, it was the first to give Bond a chance to descend in savor, to have him register suited horror and emotion, and so on.

Looking support it’s almost as if some higher power intervened, realigned the planets and allowed the fireworks and spectacles to be save on possess for one movie so that the filmmakers could develop a movie from their heart, so they could state a memoir without sacrificing its integrity on the altar of crazy gadgets, whimsical plotlines and futuristic sets– and I consider it is this quality that gives OHMSS its honest pulse, that quality which, to me, makes it stand out more and more as the best film of the series with each viewing. Goldfinger and Thunderball may have embedded Bond firmly in the collective common consciousness, but On Her Majesty’s Secret Service captured perfectly the soul of Bond– and it hasn’t been topped since.

To paraphrase a tribute once given to a big historical personage: To a traveler standing reach a mountain range many eminences seem to have approximately the same altitude; it is difficult to disengage Everest from its lofty neighbors. But as the range recedes in the distance, the highest peak lifts more and more above its fellows, until it alone fills the horizon. So it has been with On Her Majesty’s Secret Service.

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This is the sixth “official” (meaning EON productions) movie in the James Bond series.

It is based on the 1963 new of the same name by the gradual Ian Flaming. This movie follows the set of this recent quite closely.

This is the only Bond movie to star George Lazenby as fictional MI6 agent James Bond, code number 007. (Sean Connery had discontinue after starring in five Bond movies.)

After “Dr. No” (1962), this is the only Bond movie with solely instrumental opening credits theme music. (This music is serene quite thrilling to hear after all these years.)

Yes, Ernst Stavro Blofeld, head of SPECTRE (SPecial Executive for Counter-intelligence, Terrorism, Revenge, and Extortion) is Bond’s nemesis in this movie. In fact, this is the second in what is considered to be the “Blofeld Trilogy.” (This means that the Bond movie before this one had Blofeld and the Bond movie after this one had Blofeld. In all three cases, Blofeld was played by a different actor. In this movie, the legendary Telly Savalas plays a proper Blofeld.)

What is especially new about this movie is that Bond meets, falls in fancy with, and eventually marries Contessa Teresa “Tracy” di Vicenzo (well-acted by Diana Rigg) . Notice that Rigg is the main Bond girl but there are twelve more. These dozen Bond girls are Blofeld’s unwitting “Angels of Death.”

During the Bond and Tracy courtship, there is the song “We have all the time in the world” sung by the incomparable Louis Armstrong. This song is special since this is his last recorded song.

I liked the dinky things the writers establish into this movie. I’ll mention unbiased a few of them:

(1) The gun-barrel sequence was slightly different from the ones Bond fans were venerable to seeing at that time. (2) At the raze of the opening sequence, Bond actually talks to the audience. (I don’t consider this has occurred in any other Bond movie.) (3) During the opening credits sequence, there are outtakes from previous Bond movies. (4) In one scene in this movie, Bond visits his office and takes out from his desk drawer gadgets from the previous Bond movies “Dr. No,” “From Russia with Appreciate,” and “Thunderball.” (Interestingly, this movie has minimal gadgets.) (5) In another scene, a janitor can be heard whistling the theme from “Goldfinger.”

There is mighty debate about George Lazenby’s James Bond. Personally, I liked him as Bond since he looks and moves like Bond. Due to the nature of the double spot, he had to be both sensitive and ruthless. He pulls it off. Unfortunately, Sean Connery was so closely identified with the role at the time such that people had a hard time seeing Lazenby in the role. (Lazenby, despite being offered a seven-movie contract deal, halt the role on advice from his agent.)

The only spot I had with this movie is that it takes a long time to dwelling up and viewers may derive bored because of this. But the wait is worth it! The last hour of the movie is essentially one long, thrilling action sequence. After watching this accompanied by the specially-composed instrumental music (described above), you might feel like going out and saving the world from detestable!!

Beware that this movie ends on a black price but the ending is realistic considering the nature of Bond’s job.

This movie was filmed on area in Switzerland, Portugal, and London, England.

It grossed eighty-seven million dollars worldwide (that’s a helpful five-hundred and thirteen million in today’s dollars) . It was one of the highest grossing movies worldwide at that time.

The DVD (released in 2009) is flawless in record and sound quality. This movie has been digitally restored and I’m certain the relate is objective as great (if not better!!) than when it was released forty years ago. There is one extra, an audio commentary.

Finally, here is some information to think. This DVD is actually the first disc of the two disc “Ultimate Edition.” Bond fanatics may want to lift this two-disc Ultimate Edition since the second disc has “the best collection of special features ever assembled for Bond.” (Unfortunately, the Ultimate Edition is no longer available but can be purchased second-hand.)

In conclusion, this is a unusual and fascinating James Bond movie that has been overlooked!!

(1969; 2 hr, 20 min; wide screen; 32 scenes)

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Download A Shot in the Dark. Product: A Shot in the Dark Average customer review: Amazon Price: Sale Price Too Low To Display Click Below To See Amazon Sale Price Add to cart to see discount price@ Availability: In Stock Usually ships in 24 Hours Free Shipping At Amazon

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Peter Sellers was a humorous genius, and nowhere is this more evident than in A Shot in the Black, the first of the Pink Panther series to exclusively feature Sellers’ Inspector Clouseau. It’s one case where the sequel is kindly to the modern! This film can only be described as gaspingly comic. I’ve seen this travel several dozen times, but it tranquil makes me howl with laughter every time I witness it. It’s extraordinary to assume that Sellers also made The Pink Panther, Dr. Stangelove, and The World of Henry Orient the same year (all titles I would highly recommend as well) . The fact that “Shot” is now on DVD in widescreen makes it that great more special. The supporting cast (Elke Sommer, Herbert Lom, George Sanders, and Bert Kwouk, among others) is perfect and provides a perfect ensemble foil to Sellers. The “Camp Sunshine” scene alone makes “Shot” worth seeing. This film is so droll, I can recommend that you capture it without having seen it first — it’s that obliging!

This is one of the very rare films where the sequel is better than the unique. This movie is absolutely a letter perfect comedy: suave yet silly; understated yet over the top; pompous yet reserved. You fetch the concept. A perfect film. I wouldn’t change one thing about this movie, even if I could. Peter Sellers defines the bumbling Clouseau as an individual better here than in the unique, and I contemplate the supporting cast is stronger as well. Elke Sommer is perfect as the splendid, naive assassinate suspect who Clouseau goes to any ends to defend, while George Sanders is fabulous as the vast scoundrel millionaire, Benjamin Ballon. Introduced for the first time in the series are Bert Kwouk as Kato (later spelled ‘Cato’), Graham Stark as Clouseau’s (extremely) patient assistant, Hercule, and my common of all the Panther supporting characters, the tremendous Herbert Lom as Inspector Dreyfus. Watching Lom go through the phases of psychosis in this film is one of the greatest experiences and delights a person can have as a movie viewer. (I particularly like his performance in the closing scene, and when reading the newspaper with trembling hands and twitching view.)

The position concerns Clouseau’s infatuation with a wrongly accused destroy suspect, and the chaos that develops from that unlikely site. The film is filled with a degree of nuance seldom seen in a comedy, and is probably the best crafted of all the Panther films (although I have to admit that the design over the top “Pink Panther Strikes Again” is my personal popular.) The physical comedy that Sellers could fabricate totally natural (peep the “spinning globe” scene for an kindly example) is serene unrivalled, and the nuanced interplay with other cast members is better than in any other comedy that I can reflect of (to view what I mean view the “twisted pool cue” scene and the interaction of both Monsieur Ballon and the butler.)

I highly recommend this film. The DVD print is safe, though there are few extras (the unusual trailer is very laughable and a tad on the unusual side.) It is slapstick, but it is very refined slapstick done by the master, Peter Sellers. If only they composed made movies like this today. I give it five stars only because Amazon won’t allow more!
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Blown Away Review. Product: Blown Away Average customer review: Amazon Price: Sale Price Too Low To Display Click Below To See Amazon Sale Price Add to cart to see discount price@ Availability: In Stock Usually ships in 24 Hours Free Shipping At Amazon

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“Blown Away” is one of the funniest (not intentional) and sexiest (very intentional) B-movies ever made. In what other film can you score Cory Feldam pulling improper 80′s dance moves and 90 seconds later behold Nicole Eggert (looking her absolute best) fully de-robing. Nicole engages in no less than five ‘scenes’ in this film. Whoah.

GOOD NEWS RE: 93 v. 91 Little RUNTIME: This DVD ordered from Amazon is the paunchy, uncut 93 itsy-bitsy version of the film. I have seen the VHS version which is missing ~2 minutes of Nicole. That was a tall disappointment. And while the DVD case itself says the running time is 91 minutes, don’t let that fool you: this movie is in its recent and perfect wholeness.

Let’s pick up this straight good from the begin. The only reason to witness “Blown Away” is if you desperately want to peruse Nicole Eggert or Corey Haim nude. If that is the case, I would highly recommend that you collect a copy of the unrated version. With that out of the blueprint, I can narrate you that this “thriller” is utterly ridiculous.

Nicole Eggert plays an gloomy teenager named Megan. She has a irascible habit of blowing up people she doesn’t like. That even includes her family. Somehow, Megan has got her hands on several bombs with those nifty slight digital readouts on them. Here’s the best portion though. These aren’t your regular run-of-the-mill bombs. Nope. These are special ones which explode so completely that there isn’t a label of them left after they blow up. And all this time I had plan that only guns and drugs were easily attainable in our school system. I guess untraceable explosive devices can be purchased as well.

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If you want to recognize how amusing this movie is, you only have to survey the first couple of minutes. “Blown Away” starts off by showing Megan’s mom driving her car down the road. A bomb is attached to the bottom of her vehicle and KABOOM! it goes off. Unfortunately, the explosion is a minor one and simply causes flames to shoot out of the help of her car. Fortunately, she loses control of her car and plows into two gas pumps which are conveniently located directly in front of her. No…I am not kidding. The movie continues in this amateurish fashion and the “surprise” ending is only a surprise if you have never seen a thriller before in your entire life.

“Blown Away” was the fourth movie to star Corey Haim and Corey Feldman together. While films such as “The Lost Boys” and “License To Drive” aged them well together, this movie uses their pairing simply as a gimmick. Kathleen Robertson (“90210″) has a relatively minor role and her presence is completely wasted. Halt away from this one unless your desire to peek Nicole, Corey, or Corey (yes…even Feldman is briefly in the buff) sans clothes.
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Buy The Chase DVD. Product: The Chase Average customer review: Amazon Price: Sale Price Too Low To Display Click Below To See Amazon Sale Price Add to cart to see discount price@ Availability: In Stock Usually ships in 24 Hours Free Shipping At Amazon

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This review refers to the DVD widescreen edition(Columbia/TriStar) of “The Trudge”…

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Marlon Brando and company mix it up tall time in a puny Texas town that is ready to explode with hatred and jealousy. And what company Brando keeps…Robert Redford, Jane Fonda, Angie Dickenson, Robert Duvall, Richard Bradford and the sizable E.G. Marshall fair to name a few. And there’s more..directed by the famous Arthur Penn, from a fresh by Horton Foote, a screenplay by Lillian Hellman and music tranquil by John Barry, this is one unbelievable flick.

The lines are clearly drawn in this limited Texas town. Class distinction, racial barriers, generation gaps, social injustice, vigilante justice and forbidden care for, are all a huge section of this tense account. Bubber Reeves(Redford), a one time resident, has fair escaped from prison, and has been accused of a execute he did not commit. He is sought out by everyone from the richest man in town(Marshall),to a drunken mob of vigilantes, and his wife(Fonda) who fears for his life. It’s up to Calder, the town Sheriff(Brando), to bring him in safely and glimpse that justice is done. Not an easy task, and our guy takes some dazzling tough knocks in the process(very tough for the Brando fan to consume) .

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This is a beautifully filmed intense drama, that will maintain you alive to from the first frame to the last. These gigantic stars are not unbiased window dressing or cameos. All the characters are pivotal to the record and all the performances are played with perfection.

The DVD transfer of this nearly 40 year weak film is radiant. The film is presented in anamorphic widescreen(2.35:1), with a nice determined recount and lustrous color. The sound is very superior, obvious and certain, but a DD5.1 enhancement would be a welcome addition to this film. The DVD includes subtitles in English, French Japanese, Portuguese and Spanish.

A classic film with classic stars from the 60′s to add to you DVD collection..Go For it and bask in…Laurie

also recommended:

Empire Falls (Every Microscopic Town Has a Titanic Yarn) Vol. 1/Empire Falls (Every Exiguous Town Has a Mammoth Sage) Vol. 2

White Man’s Burden

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I realize I gave this flick 4 stars–but I also have to say that Brando gets the highest rating of 5 stars. This film could have been greater than it was…and it objective may bother you for that reason. One of my problems is that it was shot on some studio backlot (probably Universal, as the dwelling looks a lot like the status old-fashioned for Serve to the Future) the other weakness is Robert Redford. You want to explore how tremendous Brando was in everything he did? Impartial try to compare what he does with what others do? Your eyes are always drawn to him, no matter who else is in the scene with the guy–and this film had an all-star cast, too……
The other thing that bugged me about this record is fair this: could a punk breaking out of prison (as does the Redford character in the film) by the name of “Bubber” Reeves (who ends up being falsely accused of abolish) cause so noteworthy turmoil and havoc in a redneck town like this? (Blame it on the screenwriters… Never read the unique the movie was based on, so can’t comment on that aspect of it.)

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My other complaint is also with the director, Arthur Penn. Someone else should have directed this thing–don’t ask who, maybe someone like Kazan (who reportedly turned it down) .

First saw this thing in the sixties in Chicago as a teen, and the damn represent, or rather the Brando character stayed with me all these years. He plays a decent man trying to do the just thing in a rinky-dink redneck Texas town, does his best to protect the Reeves character from the moronic townsfolk who are fervent to “lynch” him without a trial even.

Checked the DVD out the night BEFORE Brando passed away, not determined why, fair to perceive if the flick had withstood the test of time. Well, as you know, Brando passed on the very next day…and it left me, as it did so many others, plenty bummed out. I doubt we’ll ever leer another like him. So many actors try to duplicate what he did (and so often it is in your face clear and pathetic) and all it does is makes you ache for the new (in order to retract a second recognize at what the true thing was like.) This is why I had rented the DVD, as well as others over the years with Brando, because most actors don’t even arrive terminate.

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Anyway, I gave The Dart four stars, felt about it as I did relieve in the 60′s: Brando tremendous, but the telling of the story troubling ( maybe over the top/over-produced; too considerable station for what should have remained a far simpler record) .

I’ll say it again: should have never been made on fraudulent studio sets. The writers tried to do too worthy with too many characters, etc. Probably would have worked better had it been shot in dark and white, the design they did with The Last Record Expose (and they would have had a better movie than the vastly overrated Last Portray Expose.)

See it for Brando as Sheriff Calder. The gifted Marlon Brando lives on.
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Stream Don’t Knock the Rock / Rock Around the Clock Movie Online. Product: Don’t Knock the Rock / Rock Around the Clock Average customer review: Amazon Price: Sale Price Too Low To Display Click Below To See Amazon Sale Price Add to cart to see discount price@ Availability: In Stock Usually ships in 24 Hours Free Shipping At Amazon

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This double-feature DVD showcases the first rock-’n’ roll musical, “Rock Around the Clock,” and its sequel, “Don’t Knock the Rock.”

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“Rock Around the Clock” (1956) can be enjoyed again and again as a lightweight B-musical. It features faithful depictions of hit records (in fact, they ARE the hit records, persuasively lip-synched by the performers), and the small-town-band-hits-the-big-time plotline is pleasantly familiar. Bill Haley and His Comets are not called upon to act (Haley has only a few lines of dialogue), but they rush through many of their hits: “Rock Around the Clock,” “Gape You Later, Alligator,” “R-O-C-K,” “Rock A-Beatin’ Boogie,” and more. (Haley’s irrepressible sidemen Rudy Pompilli and Al Rex do some waggish shtick during the “Rudy’s Rock” production number.) The Platters direct two of their greats, “Only You” and “The Vast Pretender.” Freddie Bell and the Bell Boys offer exciting high-school-band arrangements, featuring vocals by the alive to Ernie Maresca, and Tony Martinez’s cha-cha band adds some Latin rhythms. Pioneer rock deejay Alan Freed appears as himself, and Johnny Johnston, Henry Slate, Alix Talton, Lisa Gaye, and John Archer acquit themselves nicely in the epic sections. This vehicle is so sturdy that the producer remade it almost scene for scene as “Twist Around the Clock” — no contest, the modern is far suited. Spacious fun, especially if you like the modern records.

“Don’t Knock the Rock” (1957) is another B-movie quickie, but this time a heavy-handed region threatens to overwhelm the music. The stuffy town fathers crusade against the scourge of rock-’n'-roll, leaving Alan Dale (miscast as the romantic lead) and Alan Freed to champion the cause and indicate the elders despicable. Ignore the area and listen to the music. Haley’s band is actually overshadowed this time, by Exiguous Richard and especially by The Treniers (the energetic “Rocking on Sunday Night” is probably the best number in the point to) .

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Between these two features you have an fine sampling of mid-1950s rock, as demonstrated by its originators. Highly recommended for B-musical and vintage-rock fans.

A big’thank you’ to whoever is responsible for giving us collectors(& the whole universe) what we’ve been waiting for(for what seems like an eternity) . My awful ol’ VHS copies have fair about dilapidated through to the other side. I cannot write a terrible word about either ‘Rock around the clock’ & ‘Don’t knock the rock’. They are 2 tall examples of what was(or about to) happen in 1956. Neither were made to rival ‘Gone with the wind’(or any other classic) . This is 1956(and the scheme it was), with the cars, the girls & of course the music. The Comets were then(& unbiased recently) the greatest bunch of musicians to play this genre(certainly there are indivual exceptions) . The 2 discs are worth their weight in gold honest to seek Rudy Pompilli(‘Rudys’ Rock’) & Fran Beecher(‘Goofin’ Around’) demonstarting their craft. The world first saw Puny Richard via ‘Don’t knock the Rock’. Then there are the Platters, the Treniers, the keen Freddie(i can’t possess he never had a hit) Bell & the Bellboys & let’s not forget Alan Freed. Without Mister Rock n Roll, there might not have been any Rock n Roll.

Excellent packaging & presentation. Pristine gloomy & white photography(i unruffled can’t close feeling sorry for the that terrible girl who somebody forgot to net) & blooming sound.

For collectors, 50′s music fans & anyone who has unprejudiced a passing interest in the greatest decade of the last century, purchase this DVD. A petite sign to pay for some expansive entertainment.

Finally, a plea to whoever the powers may be at making these things happen … a really nice double would be ‘American Hot Wax’ AND ‘Mister Rock n Roll’ … better together!!!!!! Now wouldn’t that unbiased be ‘the living end’!!!!!
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Stream Road House Movie Online. Product: Road House Average customer review: Amazon Price: Sale Price Too Low To Display Click Below To See Amazon Sale Price Add to cart to see discount price@ Availability: In Stock Usually ships in 24 Hours Free Shipping At Amazon

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Forget “Dirty Dancing”: Patrick Swayze’s career peaked in this and the similarly underrated “Point Rupture.” It doesn’t quite approach the stratospheric heights (or is it depths? ) of Arnold Schwarzenegger’s deservedly legendary “Commando,” but “Road House” is aloof the stuff of which B-movie story is made. Starring Swayze as the head bouncer at a rowdy Southern bar called the Double Deuce, “Road House” derives its appeal largely from the ingenious notion of having a bunch of rednecks for villains. You come by to search for Swayze’s Dalton, perhaps the only Mercedes-driving, philosophy-majoring bouncer in history, grasp on a seemingly endless succession of slack-jawed inbred troglodytes as he tames the Double Deuce and ensures victory for truth, justice, and the American design.

The Double Deuce is one of the those bars where it seems half the patrons are on parole, but that doesn’t halt them from throwing fists at the proverbial fall of a hat. I’ve always believed that bar fights held astronomical, untapped potential for the action genre, and this movie more than delivers the goods in that department. There are about five solid bar brawls in “Road House,” with glass flying around, Dalton employing his martial-arts expertise against dimwitted thugs in tight jeans, and blind guitar whiz Jeff Healey providing some rock-solid background music. Suffice to say, if you’re looking for a elegant and dignified stare at life in the South, you won’t pick up it here. A creep to the Double Deuce promises to be as snide and brutish as Hobbes’s place of nature, and a lot more fun to gaze.

And even for those who can judge of nothing that beats Patrick Swayze as an action hero, it gets better: they got Sam Elliott, one of America’s most underrated actors ever, to play Dalton’s long-haired, hard-living friend Wade! With an unkempt white mane and that unmistakable Southern speak, Wade dispenses plenty of rapier wit along with some …-whippings before outliving his usefulness. You also salvage to spy Ben Gazzara, slumming it as the snake-like villain Brad Wesley, somehow manage to fill a semblance of dignity in a movie that seems committed to insulting your intelligence every chance it gets. And as Dalton’s appreciate interest, Kelly Lynch adds exiguous in the intention of state advancement or dialogue, but she does provide some nice scenery… buying it.

To avoid any confusion, by rating this movie 5 stars I am NOT suggesting that it is in the same league as GLADIATOR, THE LORD OF THE RINGS (trilogy), GONE WITH THE WIND or any other top-calibre flick. However, this film doesn’t try to compete with the likes of top-rated movies, and that’s the beauty of it.

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Buy,Download, Or Stream Road House! Click Here

The fable is based on a agreeable bar bouncer (Patrick Swayze) who is compelled to call in his dilapidated mentor (Sam Elliot) for an especially tough project. Instead of impartial busting heads and throwing hoodlums out of the bar, these guys extinguish up having to establish the whole town!

This is a B-movie all the device. In my plan, it COULD be the greatest B-movie of all time. In short, despite being tiresome it is also immensely absorbing. The place is contrived. There are aspects of it that are contrivance, draw beyond being remotely believable. It seems the whole movie was inspired by pushing the envelope on the thought of the bar brawl.

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Despite its puny location, the DVD is surprisingly watchable. I’ve seen it at least 4 times and it’s always fun to re-watch. Patrick Swazye’s grand acting talents are wasted in this farce, but that’s OK. The film contains a nice sampling of gratuitous nudity, and Kelly Lynch is not exactly hard on the eyes.

So, if you want to stare a movie with minimum seriousness and maximum action, hang a left into the Roadhouse tonight. You won’t be disappointed.
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Watch Standard Operating Procedure Online. Product: Standard Operating Procedure Average customer review: Amazon Price: Sale Price Too Low To Display Click Below To See Amazon Sale Price Add to cart to see discount price@ Availability: In Stock Usually ships in 24 Hours Free Shipping At Amazon

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Representatives for film director Errol Morris told me during pre-production that “Standard Operating Way” would be the very best documentary on the abuses of Iraqi detainees at Abu Ghraib – the one that would stutter the whole truth.

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I had pinned enormous hope on that. It didn’t turn out that procedure.

My perspective on the Abu Ghraib scandal came from spending from September 2003 to February 2004 at the Iraq prison as a sergeant in Army Intelligence. Working the 8 p.m.-to- 8 a.m. night shift, it was impossible not to glimpse who was directing the operation. And I shared all this with Morris.

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But now I’ve seen the film and I’m disappointed. Morris does petite to pick up to the bottom of what happened. He muddies already opaque waters regarding who was actually responsible for the abuse of prisoners.

The film focuses on the terrible photos, the people in them and those who took them. This perspective plays apt into the hands of the cover-up artists. It perpetuates the memoir that the abuses are rightfully laid at the feet of those impressionable, but very human, young soldiers.

Morris should have been looking up the chain of command; at the civilian and military officials actually responsible for ordering these Military Police Reservists to rough up prisoners.

A no-holds-barred documentary? Give me a demolish.

Finally, the Whole Truth!

I was first do into contact with the makers of “SOP” while I was aloof in the Army. From the beginning, I was told this was going to be a substantial project with the production succor of Sony Pictures Entertainment; and that Morris, who had won an Oscar with his documentary, “The Fog of War,” would be at the helm.

This was to be the breakthrough investigation into what really happened at Abu Ghraib, who was responsible for the abuse and why it was ordered – the project that really got people’s attention, going where previous investigators and media had feared to tread.

Call me gullible but, believing this was to be a groundbreaking work, I fully cooperated with Morris. I assisted him in his quest for documents, videos, photos, notes and helped him contact fellow soldiers who were at Abu Ghraib and knew what happened.

When I was discharged from the Army in October 2006, I went to Boston for a two-day interview.

Morris asked me to trace several contracts before and after the interviews, and I did as he asked without paying distinguished attention to them. I do remember however, that in one contract Morris agreed to pay me one dollar.

In any event, I never got the dollar, but was reminded of this last week when I read in the Recent York Times that others got paychecks for their participation.

I have never asked for or taken money for media interviews. To me, that undermines the process and trivializes the importance of the issues of torture and prisoner mistreatment and their meaning for the factual atmosphere in our country as a whole.

When the film was finished, Morris told me he had intended to exhaust some of the footage from my two days of interviews and the materials I provided, but decided in the waste to “narrowly focus” on the Military Police. This, of course, is what so many others have done and is in the worst tradition of a Nixon-style “modified, cramped hangout.”

Chain of Boom?

Here’s the oddest thing: Even though Morris’s lens is trained on the Military Police, he does pick up room for a civilian interrogator, Tim Dugan, who worked at Abu Ghraib for CACI, a contractor factory for civilian interrogators.

I witnessed for myself how civilian personnel, like Dugan, corrupted the military. Indeed, they were the genesis of the crash from veteran interrogation techniques into what Vice President Dick Cheney hinted at when he spoke of the “sad side” of intelligence.

It was they who ordered the Military Police and some of my gain unit’s Military Intelligence soldiers to “soften” the detainees for interrogation, and encouraged the behavior depicted in the photographs. I know; I was there. And, of course, I told Errol Morris.

So I was surprised, to say the least, to study Morris giving Dugan a area to contend that, essentially, the abuses were all the military’s fault.

Odd indeed. Even Maj. Gen. George Fay, whose investigation of Abu Ghraib left great to be desired, reported the pernicious accomplish civilian interrogators had on the impressionable and inexperienced soldiers.

Fay reported, for example that Daniel Johnson, one of Dugan’s CACI interrogator colleagues, whom I knew at Abu Ghraib, was using Spc. Charles Graner as “muscle” for his interrogations.

And yet, Morris describes Dugan as “great.” Worthy, indeed, Errol.

Did no one train you that CACI, Dugan and several of his fellow interrogators were sued by their victims in Abu Ghraib, seeking to maintain them accountable for their behavior?

In the civil case brought by the Center for Constitutional Rights on behalf of Abu Ghraib prisoners, the lawsuit implicates Dugan in the abuse.

“CACI interrogator Timothy Dugan also tortured plaintiffs and other prisoners,” the lawsuit alleges. “For example, he physically dragged handcuffed plaintiffs and other prisoners along the ground to inflict hurt on them. He struck and beat plaintiffs and other prisoners. He bragged to a non-conspirator about scaring a prisoner with threats to such a degree that the prisoner vomited.

“When a young non-conspirator directed him to finish the torture and comply [with] Army Field Manual 34-52, Dugan scoffed at his youth and refused to follow the direction.”

The lawsuit further alleges that Dugan took section in a CACI cover-up of when a detainee died by going through “the charade of interrogating a prisoner who was already monotonous as section of the conspiracy’s efforts to cloak a destroy.” Dugan is accused, too, of threatening a fellow CACI employee who talked to investigators.

CACI has denounced the lawsuit as baseless, and the individual defendants were dismissed out on a technicality. However, on Nov. 6, 2007, U.S. District Court Deem James Robertson in Washington denied CACI’s motion for summary judgment and ordered a jury trial against CACI.

A criminal investigation also is pending in the Eastern District of Virginia concerning some of the CACI employees.

In “SOP,” Dugan presents himself as a whistleblower who tried to discontinuance the abuses. He claims that he reported to his “piece sergeant” that two Army female interrogators were stripping detainees naked as an interrogation technique, and how disturbed he was to inspect this.

Dugan claims he got the brush-off; was told not to secure keen. So who was this “share sergeant? ” And is he/she above the law?

Why did Dugan not offer himself as a notice in any of the various investigations? Where has he been if he felt then the intention he now says he did? Again, why sport the good-guy badge now?

I came away with the impression that Morris was unprepared for the interview and was being taken for a scamper.

CACI’s Defense

For certain reasons, CACI has gone to amazing lengths to separate itself from the horrors of Abu Ghraib, arguing that the military alone was at fault.

CACI recently announced the release of a book, Our Edifying Name: A Company’s Fight To Defend Its Honor And Rep The Truth About Abu Ghraib.

CACI contends strongly that its interrogators adhered to the military chain of verbalize, something it has been feverishly trying to set aside in the lawsuits against it.

And so, the behavior captured in the photos? That was the military’s responsibility, not CACI’s.

That is not what I observed from my ringside seat.

I told Morris that the reality was that the civilian contractors paid petite trace to the military chain of disclose, and that they were the ones actually running the prove. That didn’t construct it into the final version of “SOP.”

Even though it is now an established fact that between 70 to 90 percent of detainees at Abu Ghraib were completely innocent, something I learned directly on position, Dugan implies that the harsh interrogation practices applied there were legitimate – except of course for the failings of the military.

This myth-making is intended to gain CACI harmless and succor it enjoy its very lucrative government contracts. CACI International had $1.6 billion in revenues in 2005. Folks have always told me it all has to do with money; I order they’re honest.

But Congress should be asking some simple questions. It should initiate by asking why civilian contractors are being employed in connection with the interrogation of persons under detention in wartime, a function which previously has been entirely in the hands of the uniformed military?

This could yield some keen answers. Indeed, evasion of military rules and discipline as well as avoidance of congressional oversight might be at the heart of the answers.

Morris takes pride in calling “SOP” a terror movie and – with the mood music and the needless slow-motion reenactments – he makes determined of that.

However, “SOP” does shrimp more than humanize some of the “abominable apples” (a obedient thing, I screech), while gratuitously absolving the civilian interrogators actually responsible for fouling those apples.

But, wait. Abu Ghraib is not primarily about Military Police – or civilian interrogators. It is about the many thousands of wrongfully detained Iraqis – many of them abused, tortured and even killed. It is also about their families. What about their sage?

Morris has called “SOP” fair “the tip of the iceberg,” citing the unused volumes of material he’s peaceful since production began. But Morris owed his viewers a ogle of the whole iceberg, not honest the shrimp misleading allotment that bobbed above the surface.

He has announced his next film project: a comedy. Go figure.

As is determined in the complex responses to both the book and the film by Errol Morris and Philip Gourevitch, STANDARD OPERATING Device places in our faces some facts we would rather shield than discuss. The fable of the period of between September 2003 and February 2004 at the Abu Ghraib prison in Iraq is so well known not only from the news media but also from the Internet blogging sites that it need not be outlined in a review of this film. The facts documented by photographs taken by those who participated and observed the inhuman treatment of prisoners are indisputable: seeing them on the camouflage in stout frame and in close-up shots is almost more than the compassionate inspect can tolerate. But there it is and yes, we do need to stare the abuse and humiliation that describes the US prisoner treatment in Iraq, no matter who is to blame – enlisted personnel, MI, high ranking military officials, the White House. The fact that it occurred as such a spoiled abuse of human rights should awaken in all of us a more complete awareness that war makes humans do such things. It is grisly to recognize, difficult to digest, and extremely trying on our plot of beliefs that man’s inhumanity to man has and does exist despite our need to acquire otherwise.

Given the atrocities documented by this film, the style of the film as a work of cinema deserves to be addressed also. The stir of the documentary with the interplay of interview pieces by those heinous young people upon whose shoulders the blame was placed in what appears to be a diversionary technique to avoid deeper probing of the apt guilt, along with the images of the prison itself – stark lines of cellblocks and living conditions so wrong they seem to actually smell on the veil – is well conceived and beautifully/creatively captured by cinematographers Robert Chappell and Robert Richardson and enhanced by a strangely appropriate musical scoring by Danny Elfman. The film may be about things repulsive, but the technique aged to disclose the epic is high quality art.

Abu Ghraib, along with Guantanamo, will always be a scar on the conscience of America, even beyond the time that this repulsive Iraq war is over. We should all eye at this film with the hope that with seeing staunch footage of a nightmare may relieve prevent recurrences in the future. Grady Harp, November 08
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