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Despite having far trustworthy product for distribution via Pixar, Disney collected tries to churn out their occupy animation these days. While the golden days of yesteryear are gone and the resurgence wait on in the early 90s are long unhurried us, it’s nice to contemplate disney achieve out a couple respectable titles here and there.

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“Flow” is fine first-rate. It’s predictable, to be clear. In fact, some of it reminds me of Disney’s other new dog film, “Beverly Hills Chihuahua,” in that a dog is removed from a somewhat priviliged background and forced to live like a regular dog. Like any fine animal movie, Streak meets friends along the contrivance. Upstaging Bound is Rhino, a hamster who worships Rush and moves around in a itsy-bitsy plastic ball.

What Disney has succeeded in doing is injecting a diminutive heart help into their product. It’s something they’ve really not been able to successfully do since “Lilo and Stitch.” There’s a really touching scene between Skedaddle and a stray cat named Mittens that not only captures the heart of the film, but really makes you consider twice about animal abandonment!

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Performances are grand all around and the animation is top notch. For some reason, I feel that Disney aloof wants to compete against their enjoy partner Pixar. Unexcited, the characters aren’t quite as multidimensional. And considering the hero’s quandary to collect relieve to his owner Penny, Penny really gets puny time in this. The film has a fun road movie quality and the film makers seemed to have fun with the action sequences. It’s a fun gaze, but dazzling far from Pixar quality.

“Saunter” really blew me away; this is the first time that I have seen a CGI film that shows a level of mastery that allows the visual artistry of the film to be the driver rather than the capabilities of the computer. The characters have the typical CGI look–extremely well rendered, with the 3D type explore you’d quiz. However, the backgrounds have the behold of a ancient painting. Art Director Paul Felix should be commended for this mixing of styles which works out extremely well. The overall lighting, colors, and style of this film are its hallmark in my idea. The record is really not anything that will blow you away; in fact, it is somewhat predictable; however, with the characterizations, action sequences, visual quality, and the vocal talents tedious the characters, “Run” becomes a must-see.

In a nutshell: Dart (John Travolta) is a super-hero canine…at least in his occupy mind and to TV viewers everywhere. In order to protect his performance and withhold it “precise,” TV execs have sheltered Plug and he believes that what he accomplishes on his present is all done on his contain, not through special effects. Scoot is deeply devoted to his human costar, Penny, a minute girl (Miley Cyrus), who is also deeply devoted to him as well. Mistakenly thinking that Penny is in disaster at the hands of the TV villains, Scoot escapes his trailer and finds himself in the exact world, where his desirable powers are not so trim. He accidentally gets shipped to NYC, and thinks that the pink styrofoam peanuts clinging to his fur are the cause of his loss of power. With the serve of a hamster named Rhino (Ticket Walton) and a street-tough kitten, Mittens (Susie Essman, who is Extraordinary!), Trot must score his diagram serve to Hollywood and his beloved Penny. It is a myth of growth, maturity, and love; again, nothing really earth-shattering, but in this recycled myth that we have seen in other movies, it is done so well that you forgive the studio for its predictability.

BONUS MATERIAL:

“Desirable Rhino” (4:27) –Rhino the hamster gets the spotlight in this tantalizing short focusing on him. Cute!

Deleted Scenes: 2 deleted scenes (”Dog Fight in Vegas” and “River Sequence”) with introductions by directors Chris Williams and Byron Howard. They are both shown in storyboard effect and neither is really missed from the final recount. They were not stale mainly because they wanted to heighten the emotional level of Wobble finding out about his lack of powers.

“In Session with John Travolta & Miley Cyrus” (:59) –This one is like a blip on the radar…very short! Interviews with both stars as they gain ready to whisper the duet from the movie “I Opinion I Lost You.” They are truly a mutual admiration society, with Travolta comparing Cyrus to the appeal of Olivia Newton John in “Grease.”

“I Belief I Lost You” Music Video–Interspersed with footage of Travolta & Cyrus and clips from the film.

Bolt’s Be-Awesome Mission–High def video game is somewhat more bewitching and fun than the typical Disney video game extra. Inaugurate at level 1, The Burning Warehouse and notice how far you can progress! Takes a dinky bit of mastering of the controls on the remote.

“A Modern Breed of Directors: A Filmmakers’ Lunge” (4:34) — The two directors discuss what it was like to earn “Tear,” and how John Lasseter was a tremendous mentor and guide in the process. Fun to study the sizable plastic hamster ball that the animators played in to diffuse tensions around the office. Obviously mammoth camaraderie was apparent with the team, as they also stopped shaving in unison during the last 9-10 weeks of work on the film.

“Act, Jabber! The Voices of Dawdle” (9:47) –Always gripping to ogle how each actor has to represent their lines independently, making the process of playing off the other characters next to impossible. Really takes talent to produce it work. Travolta began in voicework (commercials), so this was a return to his roots. He comments that “You can only contribute your content…the most engaging this was seeing the marriage with the animation.” Brand Walton, a Disney animation team member, did the scratch shriek of Rhino, and was so perfect that he was cast in the final movie. The precise video of him finding this news out is touching to glimpse as you leer his unbridled enthusiasm. Susie Essman (”Curb Your Enthusiasm”), the lisp of Mittens, was aroused to present her map acting skills, but was told by the Disney team to be herself. They wanted a tough kitten with a Recent York accent. As Susie says, “It’s honest me.” Disappointingly enough, she never met Travolta during her recording sessions, even though practically every scene in the movie involves her character interacting with Travolta’s.

Bolt Art Galleries: Character Construct, Color Script, Storyboard Art, and Visual Development. Positive is incredible to look this sizable pieces of art filling up a widescreen high-def TV. The quality is really astonishing, and obvious beats the used days of DVD when art gallery images were in low-res and fairly cramped.

“Creating the World of Slither” (6:45) : The wonderful work of art director Paul Felix and lighting director Adolph Lusinsky is detailed here. They actually visited the many locations across the country to build obvious that they were able to remove the light of each novel scenic setting. Felix wanted the painterly looks of traditionally captivating Disney films, and he definitely succeeds. Titillating to sight this featurette.

Also included:

Digital Copy disc and a DVD of the feature with all the bonus features except the art gallery and video game.

SPECS:

Video: 1080p High Def/1.78:1. Disney is to be commended for having high-def extras as well. Whereas most studios go to the usual crappy video quality, Disney consistently upgrades even the extras. Especially exquisite for the video game.

Audio: English 5.1 DTS-HD Master Audio (48 kHz/24-bit) and Spanish 5.1 Dolby Digital. I actually had to turn the volume down a bit, as this movie really gives the speakers a work-out. Sound comes out of all your speakers, and with a number of action sequences, the subwoofer really rumbles! Extremely impressive! Subtitles: English SDH, Spanish.
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I have always had a fondness for anime that explored the Bushido period; much hits such as the anime series “Basilisk” and the anime film “Ninja Scroll” have garnered a much following. Most recently the almost Okamoto/Kobayashi inspired “Shigurui Death Frenzy” has left me in apprehension. Director Masahiro Ando with screenplay by Fumihiko Takayama has adapted a yarn from the fresh epic by “Bones”. “SWORD OF THE STRANGER” (aka. Sutorenjia Muko Hadan) is an entertaining film with wonderful action that uses the Sengoku period (a period of warring states) as its backdrop. It is a account of faith, ambition and survival.

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The film was a nominee for Best captivating Feature at the 81st Academy of film awards.

A young boy named Kotaro (voiced by Yuri Chinen) and his dog are wandering the lands of Japan; fleeing the Ming forces led by Lord Bai-Luan. They near across a nameless Ronin (Nanashi, voiced by Tomoya Nagase) who is apprehensive by the memories of his past and who has vowed to sustain his blade sheathed. Chinese mercenaries are dispatched to claim the slight boy for a curved ritual for immortality. Seeing the remnants of his past within the boy, the nameless samurai chooses to act as his protector but does he have the well-known skills to hold him from the clutches of the Ming and their blood thirsty, gold-haired swordsman named Luo-Lang (Kouichi Yamadera)?

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The film uses this chaotic period in feudal Japan; the Sengoku period or the era of the Warring States is a period after the decline of the second shogun. The film ponders the question: What makes a man profitable or noxious? Is it the corruption of the amount of political power or the ambition to rise to such powers? Is it the skill of swordsmanship or the manner he serves his Lord? “Sword of the Stranger” does flesh out these questions in the spirit of its characters. Itadori is a general whose skills as a swordsman allowed him to rise above the ranks. He is ambitious and power hungry and he serves a snide feudal lord in the persona of Akaike; who in turn is driven by greed and lust for more power. Bai-Luan is an aide to the Emperor and seeks immortality to prolong his dwindling life. Luo-Lang is a warrior who serves the Ming Emperor but he is flawed in a draw that he is longing for a suitable opponent. He is proper, but only as that loyalty serves him. The nameless swordsman is a man exhausted, he has killed and served his Lord in the past–such actions have made his soul empty. He has tied a knot on his sword to sustain him from drawing his blade, but his skills are qualified enough to fell highly trained opponents.

The film captures definite interpretations of the evils that men would do, for ambition, greed and loyalty. Kotaro represents the innocence and purity of youth, and as such he is the key to the Xian drug, believed to be the key to immortality. Kotaro’s dog, Tobimaru also plays a indispensable role in the film, as he proves to be the catalyst for Nanashi and Kotaro’s allegiance. The film has some touching and comical moments, as we recognize the dog practice generosity and sacrifice. After all, if an animal can learn compassion, why can’t us human beings? The nameless swordsman’s past in shown in the effect of dreams and flashbacks. (Also, there is a short film in the DVD’s features that further develops his character)

It is easy to ignore the film’s subtle meanings, as the film does have unbelievable action sequences that rival Ryuhei Kitamura’s “AZUMI”. The action scenes bear a trustworthy amount of gore and loads of blood. But not too bloody that the film should be rated `R’. I loved the map Nanashi defends himself without even drawing his sword, it is a factual testament to his skills which provokes Luo-Lang’s obsession in facing him in single combat. The fights are long, stylish and brutally violent at times. Chinese Wuxia meets Japanese swordsmanship in the encounters. I liked the manner in which Luo-Lang and Nanashi were developed through their separate fights, it allows them to be further developed and allows for build-up in the inevitable final encounter. One flaw the film has is that Kotaro’s past wasn’t fully fleshed out and the reasons for him being special weren’t really fully explored.

The action is well spellbinding and the moves are fluid and soft. The spot designs have that minor touch of CGI, and the backgrounds almost see very photo-realistic. The mood is cleverly expressed through its effects in the develop of blowing wind, ominous snowfall and the darkening of clouds. The character designs may peer simple and may not be as define as other anime films of this kind, but it was tranquil aesthetic worthy. The music track perfectly complements the film’s mood and attitude; I found the music quite rousing in its believe proper.

“Sword of the Stranger” is one safe part of interesting feature. I am aloof rather impressed how the Japanese can withhold adult themes in the construct of animation, whereas here in the U.S. animation is often associated with “kiddie-flicks”. The film is bulky of very wintry action, violence that pushes the PG-13 envelope with a strong humanity that can let the film stand on its possess. The viewer has to survey beyond the action otherwise; he may lose some of the subtle details and may fabricate him believe the location is a puny contrived. It may not arrive the classic state of other acclaimed anime hits but it is keen enough to preserve the experienced anime fan enthralled and to attract those weird with Japanimation.

Highly Recommended! [4- Stars]

Video/Audio: 1.78 ratio anamorphic widescreen. Nice, dapper transfer with some muted colors on some scenes. The 5.1 Japanese Language track is distinguished and positive with beneficial Subtitles. There is also the option of an English Language 5.1 track.

Extras: Elegant bare bones, there are trailers and commercials but the pilot film called “Muko Hadan” is worth a leer. There are also character interviews.

This movie made a one day appearance at the theaters and thanks to a killer trailer I made a point of not missing it. Despite the movie being relatively novel, there’s a outlandish nostalgia I felt while watching it. For one, most or all of the art is hand drawn. On the expansive camouflage, the line quality is very noticeable, especially since the past decade most animation has been exempt from any line quality at all en lieu of 3D. So seeing the hand of the artist in motion was a feeling I had missed from the old-fashioned days of watching Charlie Brown How I manage to establish Charlie Brown and a Master Samurai in the same sentence…I don’t know.

But anyway…

The other thing that grabbed me was that this movie actually spends time developing both chronicle and its characters, and it does an wonderful job at that. Granted, the status itself is a bit cliche: The unpleasant guys are after an immortality potion that requires a young boy, Kotaro, to be sacrificed in order for the potion to work. But the cliche is padded with a strong historical encourage topple that gives the legend a surprising gritty realism. While so many movies crop away at a friendly record and evolving character elements, this one slows down objective enough to obtain you actually care about the fate of the Nameless Samurai, Kotaro and even his dog.

The precise pacing was a expedient device to form up to an ending so loaded with tension that I could actually feel my muscles locked up. As the Nameless character does battle with his enemies, you can’t abet but to feel that he may be in plot over his head. In a lot of procedure, the movie reminded me of “Ninja Scroll”: there are a host of foes that the Nameless Saurai must confront and you’ll have your doubts about his skills being matched to each one. Such doubts are the hallmark of a exciting account.
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I saw this film on theatrical release in and was very disappointed. Of course, alot of the disappointment initially had to do with the wonderful hype build-up that accompanied the unusual trilogy. Nothing could have lived up to the public’s expectations.

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That having been said, The Phantom Menace is disappointing not so noteworthy because it stinks, but because, I fell, with some additional tweaking, it could have been distinguished distinguished better. Its almost as if Lucas got the station ideas and character concepts developed to a schematic level and then sort of lost interest in them and did not produce them any further.

Specific gripes:

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1. We never really bond with or understand Qui-Gon’s character or his relationship with young Anakin. He states that he thinks Anakin may be the chosen one, but that is not really sufficient. We need to witness an emotional bond or some kind of identification between the two, but it honest isn’t there.

2. Not to take on Jake Lloyd (he’s probably a mountainous kid), but Lucas or whoever impartial did not find a capable performance out of him. Plus, there is no hint in young Anakin at this point of character traits or flaws that might later foreshadow his tumble. Yoda says he sees nettle and apprehension in Anakin and the Jedi Council design vague predications that he may eventually be hazardous, but we as audience members unbiased don’t peep it. We are supposed to infer that Anakin is somehow damaged by his life as as slave and subsequent separation from his mother, but again, we don’t spy any of this. His life as a slave doesn’t seem to reveal any hardship; his titanic scene saying goodbye to his mom is not particularly inviting (mainly due to wooden acting by Lloyd; Pernilla August as his mom does a sterling job conception) . Also, if he’s a slave, how does he have time/resources to invent robots and pod racers? Objective not very lawful to life.

Perhaps if we had seen Anakin and/or his mom subjected to some sort of abuse or exploitation we would have a better indication both of the dismay and nettle in Anakin and also a potential emotional reason for why Qui-Gon wants to rescue Anakin. When I reflected on it, I view it would almost be better if Anakin were like the feral boy in Road Warrior II: an unkempt, unclean, and agressive character that had to be somewhat tamed and civilized by his Jedi rescuers. We don’t seek any character flaws, any slight hints of selfishness, madden, apprehension or frustration. As is, young Anakin is objective an average cute kid; we don’t inspect any depth to why he wants to dash his life as a slave or hasten off to join the Jedi so we don’t really care.

3. Source of humor: The new series had a mix of humor based upon the droids 3PO and R2D2 and also with the human characters (primarily interactions between Solo, Leia, and Luke) . In TPM, the famous source of humor is generated from droids and Jar Jar Binks with limited or no laughable banter or interaction between human characters. This has two effects: 1) relying on computer-generated characters for humor means the well-known design of humor becomes physical slapstick, which is one of the main complaints about the Jar Jar charcter; and 2) the interactions between the human main characters, when deprived of humor, makes their relationships seem dry and mechanical, another source of the shallow characterizations.

The one silly moment that stands out is when, after being ambushed by the Trade Feds at the beginning, Obi-Won says to Qui-Gon with a wry smile: “Well, you were moral about one thing Master….the negotiations were short!” This one moment stands out because it is one of the few jokes between human characters and it works and expresses some of Obi-Won’s personality. It also effectively echoes some of the banter and attitude that made Solo’s character so liekable and crucial to the recent films, an attitude and sensibility that is lacking in TPM. As is, we are stuck with Jar Jar’s pratfalls for yuks, and it unbiased doesn’t work unless you are 5 years feeble.

4. The shallowness of Darth Maul: Similar to other problems with character depth, we don’t know enough about Maul. He says early in the film that at last he will have revenge on the Jedi. Revenge for what? We never know beyond vague notions that the Sith and Jedi are obsolete enemies. That is not enough. We either need to be shown more support epic on this or have some reason for Maul’s motivation. His fight scenes with the Jedi at the raze are dynamite and clearly the actor is very skilled in martial arts and projects a menacing attitude with only minimal dialog or cover time, but we never really know anything about him other than “he is a awful guy” and that is not enough.

5. Place goofiness. As others have pointed out, all the midi-chlorian business is a red herring of mumbo-jumbo that takes the mystical mystery out of the Force and reduces it to a medical condition. The Jedi are supposed to be wise, great seers, but them seem oblivious to the presence and intentions of the unpleasant guys over and over again. Having young Anakin make C3PO is comic and seems like a forced “cricle closer”. Further, having Anakin open out on Tatooine doesn’t seem accurate and seems liek another circle closer that is forced. Wouldn’t he remember all this years later as Darth Vader in Episode 4? Wouldn’t there be some result of this coincidence? As celebrated above, having a slave that doesn’t seem to be deprived or suffering and has the time/resources to earn robots and pod racers as a hobby seems goofy too.

Again, it seemed to me like Lucas got the situation and characters to a distinct point and then stay on them. With only a dinky extra grief or different emphasis on definite elements, the movie could have been worthy improved and the audience would have had more insight into the characters and identified with them more. As is, the lack of character development combined with wooden acting makes it hard for the audience to care. The special effects spot pieces are spectacular, and the computer generated elements are pioneering and well executed, but without a reason to care about or like the characters, its hard to net too enraged.

Again, not a repulsive movie, but frustrating because with unbiased a few changes or extra distress, it could have been so considerable better.

Int. evening - A dimly lit room.

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George: The movie must have a child-friendly laughable relief, and we also need some clever doll to sell afterwards… hmmmmm… Jar Jar Binks!

George: Wait it can’t be too child-friendly or we’ll loose the fans! Throw Maul into the ring, oooooh he’s scary… hmmmm… we’ll slice his dialogue down to three lines so the action figure can maintain them all!

George: Liam Neeson is starting to complain about his lame character and dialogue… hmmmm… let’s objective give him a pleasant death at the destroy of the movie… wait we’ve already done that.. aaah what the hell! Everybody loves a cliché!

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George: Wait! The script is a runt thin… hmmmmmmm… Wait I enjoy this icy Special FX company they’ll possess out the holes!

George: All the chilly authors have expanded my universe making it diverse and vivid… but let’s unbiased focus on places we know… like Tatooine!

George: Anakin is really intelligent… we’ll let him form C-3PO… wait why doesn’t Vader view him later? Oh yes… he’s unprejudiced been ignoring him… heh heh…

George: Oh yeah I’ve also invented these midiclorieans… which they for some odd reason haven’t heard about in the recent episodes… well the knowledge has honest been lost in the substantial Jedi massacres later on!

*George continues like this for months*

Actually I’m a Star Wars fan… and I like Episode I because of the frosty action scenes, spectacular special FX and I actually don’t reflect that the acting is so abominable, and Jar Jar is ravishing comic at times. I unprejudiced have this love/hate thing for this episode. The whole Star Wars spirit, the innovation unhurried the former trilogy has been replaced by some kind of Disney oriented commercial family pack! To noteworthy money (minus 1 star) too tiny creativity (minus 1 star) … and George you better clone Darth Maul in Episode II and fabricate it bloody and substandard for Anakin, and realease the fresh episodes on DVD (and not develop 6000 special editions), or I’ll carve off that beard of yours while you sleep! (can you win sued for this? )
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Supersleuth Hercule Poirot bets his beloved mustache that he can solve a murder more quickly than a truculent French detective in this excellent collection of four movies based on Agatha Christie mysteries. The bet takes place in Murder on the Links; a body found on a golf course points to a crime committed years before–but the real qustion is, has Poirot’s good friend Captain Hastings (Hugh Fraser) found tru love? Similarly, though the twisty plot of Hickory Dickory Dock revolves around diamond smuggling and a death in a student hostel, for many fans it’s the story in which Poirot’s ever-precise secretary Miss Lemon (Pauline Moran, nowhere near as ugly as Christie’s description of the character) makes a rare mistake. In Dumb Witness, a fox terrier gives Poirot the final insight to catch the killer of a wealthy woman, cutting through the seance-crazed antics of a pair of eccentric old sisters. But perhaps the best of the quartet is Hercule Poirot’s Christmas, featuring a sexy Spanish spitfire, a vengeful marked woman, and one of the most unsavory victims in all of Christie’s work. Through it all, fastidious and scrupulously observant, Poirot sifts through the slippery details and comes to his unerring conclusion. As the Belgian detective, David Suchet has taken a character who could easily be a cartoon or a cardboard cutout and made him three-dimensional and sympathetic. One starts to wonder, what is his home life like? Does he grow lonely? Such musings are the mark of a truly vivid performance; Suchet never fails to drive each movie forward, step by irrevocable step. (The extras are meager; filmographies, sketchy biographies, and odd bits of trivia.) –Bret Fetzer

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“It’s like Christmas with guns,” is how one happy member of the Soady family describes the opening day of hunting season. Ruben Soady (Jeff Daniels) is on the verge of becoming the oldest member of the entire line of Soady men to have never shot a buck. To change his luck, Ruben tries to convince his father and brother to change some of the time-honored rituals of their annual hunting pilgrimage, but this seems to set off a series of uncanny incidents involving UFOs, cards, backwoods whiskey, flatulence, and possession by native spirits. Escanaba in da Moonlight is a comic homage to hunting in upstate Michigan, written and directed by star Daniels. It’s not for everyone–vegetarians, among others, will find its blithe celebration of deer hunting repugnant–but venison eaters may find Escanaba’s offbeat Midwest humor entertaining. –Bret Fetzer

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Secluded in the French countryside, a brilliant, obsessive doctor attempts a radical plastic surgery to restore his beloved daughter’s once-beautiful face, but at a horrifying price. Lauded as a tru rarity of horror cinema, Eyes Without a Face (Les Yeux sans visage) has influnced countless films in its wake and stunned audiences around the world with its shocking yet poetic imagery. The Criterion Collection is proud to present Georges Franju’s lyrical black-and-white classic in a long-awaited, high-definition DVD edition.

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Watching things get blown up provides a certain adrenaline-rushed thrill, and What a Blast: Architecture in Motion provides that thrill, many times over. This exploration of the demolition industry also offers a bit of insight into the explosions that it features, in a DVD that offers education as well as entertainment. The first half of the program introduces the men and women who plan and execute the quick dismantling of those huge buildings. The second half features the music of Tangerine Dream over eight videos highlighting the beauty of destruction. The use of kaleidoscopic and multiple-image camera effects makes the explosions even more intricate, and allows the program to live up to its name. –Zachary Lively

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“Trust me… I’m a designer!” Many neighbors did… and regretted it. Others had their doubts but were delighted. It’s all here: the highs, the lows, the tears and the tantrums that make up the best of Changing Rooms, hosted by Carol Smillie, with personal insights from some of your favorite designers.

DVD Features:
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Japan’s top anime creators bring a richly romantic action/adventure fantasy in an imaginary planet where retro-futuristic sky vehicles permeate the skies. Against this lavish background are the lives of young and heroic van ship sky porters — Claus and Lavie who are forced to take on the mission to deliver a mysterious girl Alvis to the battle ship Silvana. Before they know it, they become entangled in an aerial adventure between two countries gripped in an eternal war of magnificent air battleships.

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Last Exile was likable! You have to do this movie! A magnificent performance by Johnny Yong Bosch & Kari Wahlgren make Last Exile a “must perceive” movie!

The breathtaking cast includes Johnny Yong Bosch, Kari Wahlgren, Crispin Freeman, Steven Jay Blum, Julie Anne Taylor. This cast just make Last Exile the more miraculous!

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