Retro-review: New this week on BluRay from Arrow Films/MVD Visual! RETURN OF THE KILLER TOMATOES (1988) Directed by John De Bello Written by Stephen Andrich, John De. Nombre de usuario o correo electr. Las 10 frases que nunca debes decir a una amiga que est For Grand Theft Auto V on the PlayStation 3, FAQ/Walkthrough by Bkstunt We do not log traffic or session data of any kind, period. We have worked very hard to craft the specialized technology we use to safeguard your privacy.
This Week on Blu- ray: July 2. Show all Blu- ray releases this week. For the week of July 2. Universal Studios Home Entertainment is bringing Hardcore Henry to Blu- ray.
Archiv der Rockmusik Sendung Rockpalast, Open Air, Loreley 1996. The legendary concert film Ladies & Gentlemen.The Rolling Stones has been fully restored and remastered from the original film print and multi-track audio masters.
Make no mistake that plot plays secondary in Hardcore Henry. Unlike its superior sci- fi brethren, and even some of the games from which it draws its inspiration, it has precious little to say about anything. The movie thrives on its visual acumen, its ability to seamlessly create chaos right in front of the camera as an individual jumps, runs, climbs, and shoots his way through impossible obstacles and a parade of bad guys. The film's driving force is its ability to maintain repetition - not breaking the first- person perspective - while keeping it as fresh as possible by throwing Henry onto increasingly challenging obstacles and through increasingly impossible odds. But the movie does start to fatigue when it becomes clear that plot plays completely secondary to the spectacle. Sure it's fun to watch, and try to figure out, how the filmmakers accomplish this or that and awe at the movie's daring stunts and seamless transitions, but the shaky- cam style and breathless, relentless pace begin to wear thin and threaten to wear the viewer down.
The movie is more experience than it is emotional engagement, more entertainment than it is meaningful moviemaking. It knows its place, plays to its strengths, and doesn't overstay its welcome. It's not anything special beyond the surface, but it doesn't try to be, either. Reynor plays Conor's older brother Brendan, and it's his guidance of his younger brother's musical travails that gives Sing Street its extra resonance. The film follows very basic concepts of love and affection, friendship, rebellion, family strain, uncertainty, and escape. Its timeframe is important insofar as it influences the style of music, the dress, even the technology the band uses to make their music and videotape their performances, but beyond the cruder era- specific details is a much more grounded and absorbing coming- of- age story of maturity beyond the moment and love beyond lust. Certainly, though, the music shapes and reflects the movie's story, dramatic rhythm, and soulful arc.
Music is the story, literally and metaphorically alike, with lyrics that get to the core of Conor's feelings, just with a pop- happy beat. The movie is, then, at once both a contagiously catchy toe- tapper while at the same time a tender, honest, and wide- eyed look at what it means to grow up, in Conor's case right in front of the audience's eyes, in love, behind the microphone, and as a human being all at the same time. Blending classic hits with original songs - which are strikingly authentic to the era and, frankly, about as good as anything to come from it, particularly up against the real- life hits that play such an important role in the film - Sing Street's pulse and purpose is shaped by those tunes, by lyrics that mean something, and some catchy beats, too. And this is hardly surprising as there is no other director that understands how to film bodies quite like Malick does - in his films simple looks and gestures routinely reveal a lot more than words can. Here large segments of the film are essentially dialog- free because everything that you need to know about the feelings and experiences of its characters is channeled through carefully observed body movements and sounds. There are a few segments where it does feel like Malick goes slightly overboard with the panoramic/meditative footage and causes an unusual shift in the progression of the relationship between Smith and Pocahontas. However, the shift also allows Malick to essentially leave some gray areas in the narrative that make it easier to (rightfully) interpret their actions in different ways.
In the final act Pocahontas travels to London with John Rolfe (Christian Bale) and her experience there is also used to force you to rethink what the discovery of the New World in a slightly different context.