Amazon Instant Video ~ Douglas Ross
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Wednesday, November 2, 2011
Otherwise Engaged
Amazon Instant Video ~ Douglas Ross
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Tuesday, November 1, 2011
Risky Business
Amazon Instant Video ~ Sanford Bookstaver
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Cops and Robbers
Amazon Instant Video ~ ABC
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Arrested Development: The Complete Series (Seasons 1-3 Bundle)
Jason Bateman (Actor), Michael Cera (Actor) | Format: DVD
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Review & Description
Season two
In this five-time Emmy®-winning comedy's hilarious second season, Michael Bluth, once again determined to be free of his dysfunctional family, packs up the car and his son George-Michael and heads for Arizona. But he's soon pulled over by the police who tell him that his father, George Sr., has broken out of prison. Due to the company's shady business deal with Iraq, Michael could face prison time, so he returns home to clear his name even as George Sr. secretly flees to Mexico, Tobias decides to be an understudy for the Blue Man Group, and Lucille begins a torrid affair with her husband's twin brother, Oscar.
Season three
In this Emmy®-winning comedy's hilarious third season, Michael Bluth finally realizes that it's his Uncle Oscar serving time in prison, not his father. Reluctant to spring Oscar due to the effect it may have on the family business, Michael decides that the only fair thing to do is to find his father and place him under house arrest. Yet once found, George Sr. insists he was tricked into working with the Iraqis, leaving Michael no choice but to investigate his father's outrageous claim. But it isn't until Michael and Buster go to Iraq on a rescue mission to save Gob that the depth of the devious plot is revealed...and Michael learns which family member is the real brains behind all the madness.
Season One: Winner of the Outstanding Comedy Series Emmy its first year out, Arrested Development is the kind of sitcom that gives you hope for television. A mockumentary-style exploration of the beleaguered Bluth family, it's one of those idiosyncratic shows that doesn't rely on a laugh track or a studio audience; it's shot more like a TV drama, albeit with an omniscient narrator (executive producer Ron Howard) overseeing the proceedings. Holding the Bluths together just barely is son Michael Bluth (Jason Bateman), the only normal guy in a family that's chock full of nuts. Hardworking and sensible, Michael's certain he's going to be given control of his family's Enron-style corporation upon the retirement of his father (Jeffrey Tambor). The fact that he's passed over instead for his mother (Jessica Walter) is only a blip when compared to his father's immediate arrest for dubious accounting practices, and the resulting freeze on the family's previously limitless wealth.
Bereft of money, and even less family love, the Bluths have to band together in their moment of need--not easy when everyone's looking out for number 1. In addition to his scabrous parents, Michael has to contend with his lothario older brother (Will Arnett), his basically useless younger brother (Tony Hale), his greedy twin sister (Portia DeRossi), and her sexually ambiguous husband (David Cross). Michael's only comrade in sanity is his son George Michael (Michael Cera), but then again, the teenage boy harbors a secret crush on his cousin (Alia Shawkat). A peerless ensemble led by the brilliant Bateman (who ever knew he could be this good?), all the actors are pitch-perfect in their roles, delivering the dryly funny, sometimes absurdist dialogue with the speed and flair of classic farce. The unusual tone of Arrested Development takes a bit of getting used to--it's far different from anything you'll see on TV, even HBO--but once you buy in to the Bluths' innumerable dysfunctions, you'll be laughing your head off for hours.--Mark Englehart
Season Two: The axe of cancellation dangled perilously over Arrested Development during its second season, but the award-winning comedy fought against fate to deliver a hilarious if scattershot 18 episodes (reduced from the original show order of 22), and stayed alive for the beginning of a third season. Most likely, the creators and actors knew the clock was ticking down, so they didn't hesitate to throw their all into these manic, hilarious episodes, which have only the thinnest of plot arcs but an electrifying energy that makes them hard to resist. Some of the story antics were more of the same: good son Michael (Jason Bateman) tries to keep his company afloat, but is often foiled by older brother Gob (Will Arnett); the precarious marriage of Lindsay (Portia de Rossi) and Tobias (David Cross) undergoes a trial separation; and young George-Michael (Michael Cera) fights his attraction to his cousin Maeby (Alia Shawkat). Other show developments, though, were new and stunningly, uproariously bizarre: Buster (Tony Hale) joins the army, but later finds his hand bitten off by a seal (yes, a real seal), and Oscar (Jeffrey Tambor), the hippie brother of jailed George Sr. (also Tambor), rekindles an affair with sister-in-law Lucille (Jessica Walter), which may have resulted in Buster's conception years ago.
Jokes flew fast and furious, as did guest stars--Ben Stiller, Julia Louis-Dreyfuss, Christine Taylor, Thomas Jane, Ed Begley Jr., Ione Skye, and Zach Braff among them--making it hard to keep straight who was doing what and why. No matter, as each of the episodes was in and of itself was a perfect gem of comedy, strung together by sharp writing and fantastic performances. In addition to the regular cast, both Liza Minnelli, reprising her role as "Lucille Two," and Martin Short, as an, um, eccentric family friend, deserve special mention, with the episode both appeared in, "Ready, Aim, Marry Me," a frenetic exercise in slapstick farce. Typical examples of the show's offbeat humor were found in "Afternoon Delight," in which various members of the Bluth family discover the true meaning of the '70s ballad, "Meet the Veals," wherein the Bluths encounter the conservative parents of George Michael's girlfriend, and "Motherboy XXX," surrounding an unsettling mother-son traditional dance. The entire cast cohered perfectly through this season, and their give and take provided a perfect balance among the actors, all of whom were even better than the previous year. However, it's Bateman who should be singled out as the show's anchor, mixing dry sarcasm with impeccable comic timing. Despite plummeting ratings, Arrested Development didn't just keep its head above water, it swam with grace and hilarity. --Mark Englehart
Season Three: Arrested Development--one of the greatest comedies in the history of television--went out in a blaze of glory. The truncated final season packed more biting humor per minute than ever before. In only 13 episodes, dozens of intertwining storylines spun in all directions: In addition to the overarching story about the fractious infighting of the Bluth family and the family's housing development company being investigated for treason in Iraq (a plot arc that comes to a dazzlingly surreal conclusion), the put-upon "good son" Michael Bluth (Jason Bateman, Teen Wolf Too) pursues romance with a lovely British woman (Charlize Theron, Monster) who turns out to be woefully inappropriate; swaggering magician Gob (Will Arnett, Monster-In-Law) flees from his newly-discovered teenage son while still pandering for the affection of his self-absorbed father (Jeffrey Tambor, The Larry Sanders Show); flighty Lindsay (Portia de Rossi, Ally McBeal) and her sexually blurry husband Tobias (David Cross, Mr. Show) both get the hots for the family's new lawyer, Bob Loblaw (Scott Baio, Charles in Charge); and much, much more. It's difficult to describe what makes Arrested Development so brilliant. The ensemble is uniformly superb (Jessica Walter, as the family's boozing, scheming matriarch, is particularly devastating this season) and the surprising guest stars (including Andy Richter, James Lipton, Justine Bateman, and many others) are perfectly cast; the characters' abominable behavior defies conventional television notions of "likability", yet they only grow more endearing the more you watch; the humor embraces wild slapstick and sharp satire, often within a single scene; and the nimble documentary style allows for sly glancing references to jokes and scenes from long-past episodes, rewarding devoted fans. But the key is that, no matter how screwball Arrested Development becomes, the show offers a rich, textured, and wonderfully coherent world in which these characters feel genuine, a world completely unlike the flat, plastic simulacrum offered by the average sitcom. Arrested Development was true to itself to the end. Its followers will cherish it forever. --Bret Fetzer
Read moreMonday, October 31, 2011
Save The Last One [HD]
Amazon Instant Video ~ Phil Abraham
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Water for Elephants
Robert Pattinson (Actor), Reese Witherspoon (Actor), Francis Lawrence (Director) | Format: DVD
30 days in the top 100 
(63)Release Date: November 1, 2011
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Review & Description
ACADEMY AWARD® Winners Reese Witherspoon* and Christoph Waltz** join Robert Pattinson (The Twilight Saga) for this epic tale of forbidden love based on Sara Gruen’s acclaimed best seller. Against all odds, a veterinary student (Pattinson) and a beautiful circus performer from a bygone era (Witherspoon), meet and fall in love through their shared compassion for a special elephant. But their secret romance incurs the wrath of her dangerously volatile husband (Waltz). Sara Gruen's bestselling novel comes to glossy life in this period romance. A sparkle-free Robert Pattinson plays Jacob Jankowski, who studies veterinary medicine during the Great Depression. After a family tragedy, he loses everything, including the chance to graduate from prestigious Cornell, so he hops a train, where he finds himself part of the struggling Benzini Brothers Circus. Ringleader August (Christoph Waltz, echoing his Oscar-winning Inglourious Basterds performance) has doubts about the softhearted lad, but a fellow Pole smoothes the way, and Jacob becomes the company vet, which leads him to platinum-blond equestrian Marlena (Reese Witherspoon), August's wife. The two make eyes at each other, but an affair would surely end badly, so they concentrate on their work. When Marlena's prize steed falls ill, August purchases an elephant, hoping Rosie will turn their fortunes around, and enlists Jacob to train her. Unfortunately, she's slow to respond to commands until Jankowski unlocks her secret--and after August has beaten the poor thing into submission. After that, things start to look up until Jacob steals a kiss from his dream girl. As in The Notebook, the film it most closely resembles, an elderly version of the central character (Hal Holbrook, touching) narrates in the present day (screenwriter Richard LaGravenese also adapted The Bridges of Madison County). He tells an interesting tale, so it's too bad the leads strike so few sparks. For those who find big-top classics like Nightmare Alley too dark, however, Francis Lawrence's feel-better variant may be just the ticket. --Kathleen C. Fennessy Read more
Save The Last One
Amazon Instant Video ~ Phil Abraham
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Saturday, October 29, 2011
Slash Fiction
Amazon Instant Video ~ Not Specified
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Friday, October 28, 2011
Ghost World
Amazon Instant Video ~ Not Specified
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Chardee MacDennis: The Game of Games
Amazon Instant Video ~ Fox
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Harry Potter: The Complete Collection Years 1-7 [Blu-ray]
Daniel Radcliffe (Actor), Rupert Grint (Actor) | Format: Blu-ray
(39)Release Date: November 11, 2011
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Harry Potter and the Sorcerer's Stone
Here's an event movie that holds up to being an event. This filmed version of Harry Potter and the Sorcerer's Stone, adapted from the wildly popular book by J.K. Rowling, stunningly brings to life Harry Potter's world of Hogwarts, the school for young witches and wizards. The greatest strength of the film comes from its faithfulness to the novel, and this new cinematic world is filled with all the details of Rowling's imagination, thanks to exuberant sets, elaborate costumes, clever makeup and visual effects, and a crème de la crème cast, including Maggie Smith, Richard Harris, Alan Rickman, and more. Especially fine is the interplay between Harry (Daniel Radcliffe) and his schoolmates Ron (Rupert Grint) and Hermione (Emma Watson), as well as his protector, the looming Hagrid (Robbie Coltrane). The second-half adventure--involving the titular sorcerer's stone--doesn't translate perfectly from page to screen, ultimately because of the film's fidelity to the novel; this is a case of making a movie for the book's fans, as opposed to a transcending film. Writer Steve Kloves and director Chris Columbus keep the spooks in check, making this a true family film, and with its resourceful hero wide-eyed and ready, one can't wait for Harry's return. Ages 8 and up. --Doug Thomas
Harry Potter and the Chamber of Secrets
First sequels are the true test of an enduring movie franchise, and Harry Potter and the Chamber of Secrets passes with flying colors. Expanding upon the lavish sets, special effects, and grand adventure of Harry Potter and the Sorcerer's Stone, Harry's second year at Hogwarts School of Witchcraft and Wizardry involves a darker, more malevolent tale (parents with younger children beware), beginning with the petrified bodies of several Hogwarts students and magical clues leading Harry (Daniel Radcliffe), Ron (Rupert Grint), and Hermione (Emma Watson) to a 50-year-old mystery in the monster-laden Chamber of Secrets. House elves, squealing mandrakes, giant spiders, and venomous serpents populate this loyal adaptation (by Sorcerer's Stone director Chris Columbus and screenwriter Steve Kloves), and Kenneth Branagh delightfully tops the supreme supporting cast as the vainglorious charlatan Gilderoy Lockhart (be sure to view past the credits for a visual punchline at Lockhart's expense). At 161 minutes, the film suffers from lack of depth and uneven pacing, and John Williams' score mostly reprises established themes. The young, fast-growing cast offers ample compensation, however, as does the late Richard Harris in his final screen appearance as Professor Albus Dumbledore. Brimming with cleverness, wonderment, and big-budget splendor, Chamber honors the legacy of J.K. Rowling's novels. --Jeff Shannon
Harry Potter and the Prisoner of Azkaban
Some movie-loving wizards must have cast a magic spell on Harry Potter and the Prisoner of Azkaban, because it's another grand slam for the Harry Potter franchise. Demonstrating remarkable versatility after the arthouse success of Y Tu Mamá También, director Alfonso Cuarón proves a perfect choice to guide Harry, Hermione, and Ron into treacherous puberty as the now 13-year-old students at Hogwarts School of Witchcraft and Wizardry face a new and daunting challenge: Sirius Black (Gary Oldman) has escaped from Azkaban prison, and for reasons yet unknown (unless, of course, you've read J.K. Rowling's book, considered by many to be the best in the series), he's after Harry in a bid for revenge. This dark and dangerous mystery drives the action while Harry (the fast-growing Daniel Radcliffe) and his third-year Hogwarts classmates discover the flying hippogriff Buckbeak (a marvelous CGI creature), the benevolent but enigmatic Professor Lupin (David Thewlis), horrifying black-robed Dementors, sneaky Peter Pettigrew (Timothy Spall), and the wonderful advantage of having a Time-Turner just when you need one. The familiar Hogwarts staff returns in fine form (including the delightful Michael Gambon, replacing the late Richard Harris as Dumbledore, and Emma Thompson as the goggle-eyed Sybil Trelawney), and even Julie Christie joins this prestigious production for a brief but welcome cameo. Technically dazzling, fast-paced, and chock-full of Rowling's boundless imagination (loyally adapted by ace screenwriter Steve Kloves), The Prisoner of Azkaban is a Potter-movie classic. --Jeff Shannon
Harry Potter and the Goblet of Fire
The latest entry in the Harry Potter saga could be retitled Fast Times at Hogwarts, where finding a date to the winter ball is nearly as terrifying as worrying about Lord Voldemort's return. Thus, the young wizards' entry into puberty (and discovery of the opposite sex) opens up a rich mining field to balance out the dark content in the fourth movie (and the stories are only going to get darker). Mike Newell (Four Weddings and a Funeral) handily takes the directing reins and eases his young cast through awkward growth spurts into true young actors. Harry (Daniel Radcliffe, more sure of himself) has his first girl crush on fellow student Cho Chang (Katie Leung), and has his first big fight with best bud Ron (Rupert Grint). Meanwhile, Ron's underlying romantic tension with Hermione (Emma Watson) comes to a head over the winter ball, and when she makes one of those girl-into-woman Cinderella entrances, the boys' reactions indicate they've all crossed a threshold.
But don't worry, there's plenty of wizardry and action in Goblet of Fire. When the deadly Triwizard Tournament is hosted by Hogwarts, Harry finds his name mysteriously submitted (and chosen) to compete against wizards from two neighboring academies, as well as another Hogwarts student. The competition scenes are magnificently shot, with much-improved CGI effects (particularly the underwater challenge). And the climactic confrontation with Lord Voldemort (Ralph Fiennes, in a brilliant bit of casting) is the most thrilling yet. Goblet, the first installment to get a PG-13 rating, contains some violence as well as disturbing images for kids and some barely shrouded references at sexual awakening (Harry's bath scene in particular). The 2 1/2-hour film, lean considering it came from a 734-page book, trims out subplots about house-elves (they're not missed) and gives little screen time to the standard crew of the other Potter films, but adds in more of Britain's finest actors to the cast, such as Brendan Gleeson as Mad-Eye Moody and Miranda Richardson as Rita Skeeter. Michael Gambon, in his second round as Professor Dumbledore, still hasn't brought audiences around to his interpretation of the role he took over after Richard Harris died, but it's a small smudge in an otherwise spotless adaptation. --Ellen A. Kim
Harry Potter and the Order of the PhoenixAlas! The fifth Harry Potter film has arrived. The time is long past that this can be considered a simple "children's" series--though children and adults alike will enjoy it immensely. Starting off from the dark and tragic ending of the fourth film, Harry Potter and the Order of the Phoenix begins in a somber and angst-filled tone that carries through the entire 138 minutes (the shortest of any HP movie despite being adapted from the longest book). Hopes of winning the Quidditch Cup have been replaced by woes like government corruption, distorted media spin, and the casualties of war. As the themes have matured, so have the primary characters' acting abilities. Ron (Rupert Grint), Hermione (Emma Watson), and especially Harry (Daniel Radcliffe) are more convincing than ever--in roles that are more demanding.
Harry is deeply traumatized from having witnessed Cedric Diggory's murder, but he will soon find that this was just another chapter in the continuing loss he will endure. Lord Voldemort (Ralph Fiennes) has returned and, in an attempt to conceal this catastrophe from the wizarding public, the Ministry of Magic has teamed up with the wizard newspaper The Daily Prophet to smear young Potter and wise Dumbledore (Michael Gambon)--seemingly the only two people in the public eye who believe the Dark Lord has returned. With no one else to stand against the wicked Death Eaters, the Hogwarts headmaster is forced to revive his secret anti-Voldemort society, the Order of the Phoenix. This welcomes back characters like Mad-Eye Moody (Brendan Gleeson), kind Remus Lupin (David Thewlis), fatherly Sirius Black (Gary Oldman), and insidious Severus Snape (Alan Rickman), and introduces a short list of intriguing new faces. In the meantime, a semi-psychotic bureaucrat from the Ministry (brilliantly portrayed by Imelda Staunton) has seized power at Hogwarts, and Harry is forced to form a secret society of his own--lest the other young wizards at his school be left ill-equipped to defend themselves in the looming war between good and evil. In addition, Harry is filled with an inexplicable rage that only his Godfather Sirius seems to be able to understand.
This film, though not as frightening as its predecessor, earns its PG-13 rating mostly because of the ever-darkening tone. As always, the loyal fans of J.K. Rowling's books will suffer huge cuts from the original plot and character developments, but make no mistake: this is a good movie. --Jordan Thompson
Harry Potter and the Half-Blood PrinceThe sixth installment of the Harry Potter series begins right where The Order of the Phoenix left off. The wizarding world is rocked by the news that "He Who Must Not Be Named" has truly returned, and the audience finally knows that Harry is "the Chosen One"--the only wizard who can defeat Lord Voldemort in the end. Dark forces loom around every corner, and now regularly attempt to penetrate the protected walls of Hogwarts School. This is no longer the fun and fascinating world of magic from the first few books—it's dark, dangerous, and scary.
Harry (Daniel Radcliffe) suspects Draco Malfoy (Tom Felton) to be a new Death Eater recruit on a special mission for the Dark Lord. In the meantime, Professor Dumbledore (Michael Gambon) seems to have finally removed the shroud of secrecy from Harry about the dark path that lies ahead, and instead provides private lessons to get him prepared. It's in these intriguing scenes that the dark past of Tom Riddle (a.k.a. Voldemort) is finally revealed. The actors cast as the different young versions of Riddle (Hero Fiennes-Tiffin and Frank Dillane) do an eerily fantastic job of portraying the villain as a child. While the previous movies' many new characters could be slightly overwhelming, only one new key character is introduced this time: Professor Horace Slughorn (with a spot-on performance by Jim Broadbent). Within his mind he holds a key secret in the battle to defeat the Dark Lord, and Harry is tasked by Dumbledore to uncover a memory about Voldemort's darkest weapon--the Horcrux. Despite the long list of distractions, Harry, Ron (Rupert Grint), and Hermione (Emma Watson) still try to focus on being teenagers, and audiences will enjoy the budding awkward romances. All of the actors have developed nicely, giving their most convincing performances to date.
More dramatic and significant things go down in this movie than any of its predecessors, and the stakes are higher than ever. The creators have been tasked with a practically impossible challenge, as fans of the beloved J.K. Rowling book series desperately want the movies to capture the magic of the books as closely as possible. Alas, the point at which one accepts that these two mediums are very different is the point at which one can truly enjoy these brilliant adaptations. Harry Potter and the Half-Blood Prince is no exception: it may be the best film yet. For those who have not read the book, nail-biting entertainment is guaranteed. For those who have, the movie does it justice. The key dramatic scenes, including the cave and the shocking twist in the final chapter, are executed very well. It does a perfect job of setting up the two-part grand finale that is to follow. --Jordan Thompson
Harry Potter and the Deathly Hallows, Part IHarry Potter and the Deathly Hallows, Part I is a brooding, slower-paced film than its predecessors, the result of being just one half of the final story (the last book in the series was split into two movies, released in theaters eight months apart). Because the penultimate film is all buildup before the final showdown between the teen wizard and the evil Voldemort (which does not occur until The Deathly Hallows, Part II), Part I is a road-trip movie, a heist film, a lot of exposition, and more weight on its three young leads, who up until now were sufficiently supported by a revolving door of British thesps throughout the series. Now that all the action takes place outside Hogwarts--no more Potions classes, Gryffindor scarves, or Quidditch matches--Daniel Radcliffe (Harry), Emma Watson (Hermione), and Rupert Grint (Ron) shoulder the film almost entirely on their own. After a near-fatal ambush by Voldemort's Death Eaters, the three embark on a quest to find and destroy the remaining five horcruxes (objects that store pieces of Voldemort's soul). Fortunately, as the story gets more grave--and parents should be warned, there are some scenes too frightening or adult for young children--so does the intensity. David Yates, who directed the Harry Potter films Order of the Phoenix and The Half-Blood Prince, drags the second half a little, but right along with some of the slower moments are some touching surprises (Harry leading Hermione in a dance, the return of Dobby in a totally non-annoying way). Deathly Hallows, Part I will be the most confusing for those not familiar with the Potter lore, particularly in the shorthand way characters and terminology weave in and out. For the rest of us, though, watching these characters over the last decade and saying farewell to a few faces makes it all bittersweet that the end is near (indeed, an early scene in which Hermione casts a spell that makes her Muggle parents forget her existence, in case she doesn't return, is particularly emotional). Despite its challenges, Deathly Hallows, Part I succeeds in what it's most meant to do: whet your appetite for the grand conclusion to the Harry Potter series. --Ellen A. Kim
Harry Potter and the Deathly Hallows, Part II
The Deathly Hallows: Part 2 is the film all Harry Potter fans have waited 10 years to see, and the good news is that it's worth the hype--visually stunning, action packed, faithful to the book, and mature not just in its themes and emotion but in the acting by its cast, some of whom had spent half their lives making Harry Potter movies. Part 2 cuts right to the chase: Voldemort (Ralph Fiennes) has stolen the Elder Wand, one of the three objects required to give someone power over death (a.k.a. the Deathly Hallows), with the intent to hunt and kill Harry. Meanwhile, Harry's quest to destroy the rest of the Horcruxes (each containing a bit of Voldemort's soul) leads him first to a thrilling (and hilarious--love that Polyjuice Potion!) trip to Gringotts Bank, then back to Hogwarts, where a spectacular battle pitting the young students and professors (a showcase of the British thesps who have stolen every scene of the series: Maggie Smith's McGonagall, Jim Broadbent's Slughorn, David Thewlis's Lupin) against a dark army of Dementors, ogres, and Bellatrix Lestrange (Helena Bonham Carter, with far less crazy eyes to make this round). As predicted all throughout the saga, Harry also has his final showdown with Voldemort--neither can live while the other survives--though the physics of that predicament might need a set of crib notes to explain. But while each installment has become progressively grimmer, this finale is the most balanced between light and dark (the dark is quite dark--several familiar characters die, with one significant death particularly grisly); the humor is sprinkled in at the most welcome times, thanks to the deft adaptation by Steve Kloves (who scribed all but one of the films from J.K. Rowling's books) and direction by four-time Potter director David Yates. The climactic kiss between Ron (Rupert Grint) and Hermione (Emma Watson), capping off a decade of romantic tension, is perfectly tuned to their idiosyncratic relationship, and Daniel Radcliffe has, over the last decade, certainly proven he was the right kid for the job all along. As Prof. Snape, the most perfect of casting choices in the best-cast franchise of all time, Alan Rickman breaks your heart. Only the epilogue (and the lack of chemistry between Harry and love Ginny Weasley, barely present here) stand a little shaky, but no matter: the most lucrative franchise in movie history to date has just reached its conclusion, and it's done so without losing its soul. --Ellen A. Kim
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Thursday, October 27, 2011
Halloween, Pt. 1
Amazon Instant Video ~ Fox
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Wednesday, October 26, 2011
The Munsters: The Complete Series
Fred Gwynne (Actor), Al Lewis (Actor) | Format: DVD
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MUNSTERS:COMPLETE SERIES - DVD MovieSeason One
It has its own stormy weather and fire-breathing housepet named Spot, but the mansion at 1313 Mockingbird Heights is otherwise like any other American sitcom home. This is the address of the Munsters, the family that for two seasons, 1964-66, found a permanent place in pop culture--if not "monster" success. Developed by Leave It to Beaver team Joe Connelly and Bob Mosher, the series was a standard sitcom (complete with the same awful canned laughter), except that the Ward Cleaver character was a reanimated corpse.
Dad Herman (Fred Gwynne) was a Frankenstein's monster, mom Lily (Yvonne DeCarlo) and Grandpa (Al Lewis) were vampires, and son Eddie (Butch Patrick) a little wolf-boy. Munster niece Marilyn was inexplicably normal, which prompted much worry from the other members of the family (she was played in early episodes by Beverly Owen, who left to get married, and then by Pat Priest). The plots revolve around typically tortured sitcom situations: Herman must lose weight to fit into his old Army uniform, Herman has insomnia, Herman takes dance lessons from a crooked instructor. (As that list would suggest, 6'5" Fred Gwynne's wonderfully agile slapstick and Borscht Belt comedy made him the center of the show.) What distinguished The Munsters from Father Knows Best was the Universal horror-movie lineage and the ghoulish one-liners (the latter growing a bit tedious after a while). The three-disc DVD has all 38 first-season episodes in excellent transfers, a 15-minute pilot with different actors as Lily and Eddie, and no extras or commentaries. High points include "Hot Rod Herman," which features the tricked-out Munster Koach and Drag-u-la (boss wagons both), and "Eddie's Nickname," the one where Grandpa gives Eddie a potion that causes the boy's beard to grow (a weirdly memorable image, if you're a kid). The show was either pure kiddie farce or a radical comment on the absurdly unreal world of sitcoms. Either way, if you grew up with them as an alternate TV family, you can't help but have warm feelings for the Munsters, as clammy as they are. --Robert Horton
Season Two
The second and final season of The Munsters seamlessly carries on the sardonic picture of family life painted in the monster-comedy's first year. Family head Herman Munster (Fred Gwynne) continues to vacillate between thick-headedness and intellectual posturing. His wife, Lily (Yvonne DeCarol), has her feet on the ground, even if her daughter-of-Dracula looks skew her idea of beauty and grace. Grandpa (Al Lewis), the irascible vampire, spends his time concocting mad inventions and criticizing Herman. Young Eddie (Butch Patrick) goes to school and acts like any other kid except, well, he isn't. And lovely Marilyn (Pat Priest) is still stuck with low self-esteem, convinced by her Uncle Herman, Aunt Lily and Grandpa that she's an unattractive woman who scares away potential suitors. In the opening episode, "Herman's Child Psychology," Herman disastrously attempts to convince Eddie not to run away from home by acting as if his son's behavior is no big deal. The very funny "Herman, the Master Spy" finds the big man taken aboard a Russian submarine, where the undersea comrades assume he must be some sort of strange fish. "A Man for Marilyn" concerns Grandpa's ridiculous effort to turn a frog into a handsome boyfriend for Marilyn, an experiment he assumes must have worked when a good-looking guy turns up at the Munster home. (The fellow is there because he assumes Marilyn is being held against her will by monsters.) "Big Heap Herman" is a particularly silly but enjoyable story about an Indian tribe that has been awaiting the arrival of a god who looks, of course, like Herman.
Along with seasons one and two on The Munsters: The Complete Series are a couple of post-TV series, theatrical movies of differing quality. In Munster, Go Home, Herman discovers he's the new lord of Munster Hall in England. Crossing the Atlantic with his family to claim his inheritance, Herman is met with hostility by the would-be heirs (played by Terry-Thomas and Hermione Gingold) and a plot to eliminate him from a car race. While the film takes something away from The Munsters by placing them in foreign territory, Munster, Go Home is still a lot of fun. Less so is the cheap-looking The Munsters' Revenge, a 1981 potboiler in which Herman and Grandpa are charged with crimes committed by robot monsters from a wax museum. Hard to watch and kind of greasy-looking, Revenge is instantly forgettable, even with Sid Caesar's participation. --Tom Keogh Read more
Six Feet Under: The Complete Series
Peter Krause (Actor), Michael C. Hall (Actor), Adam Davidson (Director), Alan Ball (Director) | Format: DVD
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From Alan Ball, the creator of HBO's "True Blood," comes a series that digs where others fear to tread. When a bus kills Nathaniel Fisher, owner of the Fisher & Sons Funeral Home in Los Angeles, the tragedy casts a pall on the homecoming of his prodigal son Nate. Together with with mother Ruth, brother David and sister Claire, they must address the family business, and the many more personal matters that arise when your life is Six Feet Under. Relive every minute of this poignantly dramatic, unpredictably hilarious masterpiece, from its powerful premiere episode to its critically-acclaimed, haunting finale.Six Feet Under: The Complete First Season-The Fishers are your typical dysfunctional family. Ruth (Frances Conroy) is the stern matriarch who has trouble expressing emotion and snaps at the slightest problem. Daughter Claire (Lauren Ambrose) is an underachiever who cultivates a moody, mysterious loner image in high school (she's indulging in illegal substances too). Brother David (Michael C. Hall) works in the family business, and is uptight beyond belief (he's indulging in a secret homosexual relationship too). Elder brother Nate (Peter Krause) is the black sheep, who, eschewing responsibility, fled to Seattle but got lured back. And Dad (Richard Jenkins) watches it all bemusedly. Did we mention Dad's dead? Oh, and that the Fisher family business is a funeral home? It might sound off-putting, but coming from the mind of Alan Ball, the man who strip-mined suburban life to find the mordant wit underneath in American Beauty, Six Feet Under is a trenchant, stylish spin on standard family dysfunction.
This HBO series initially aspired to fits of Twin Peaks-like whimsy, with each episode starting with a death more outlandish than the previous, but soon settled into a comfortable groove that harkened back to the most familiar of TV family dramas (in fact, it's almost a mirror image of '70s drama Family, down to the three sibling archetypes). Of course, its HBO roots allowed it ample leeway with sex, drug usage, profanity, and violence. While the writing strove to be a little too clever, the overall look and tone of the show remained solid and sometimes profound (sometimes absurd too, but usually with good reason). Krause and Hall, as initially warring brothers who come to a wary understanding, are solid anchors, but it's the women in the cast who do the most phenomenal work. Conroy infuses her almost stereotypical mom with an obstinate but ultimately accepting heart, and Ambrose's Claire is by far the show's most appealing character. And stealing scenes left and right is Rachel Griffith's Brenda, a mystery woman with an outlandish backstory who meets Nate on a plane, has sex with him at the airport, and infiltrates his life. Like Brenda herself, Six Feet Under is fascinating--and highly addictive. --Mark Englehart
Six Feet Under: The Complete Second Season-In some ways, HBO's Six Feet Under plays kid brother to stellar BMOC The Sopranos: it's spunkier, less refined, chancier, and a bit of a punk. Nevertheless, the show set in the Southern California mortuary Fisher and Sons deserves its place in the pantheon of great television series. The initial season was a showcase for the most original characters, including tight-lipped brother David (Michael C. Hall) coming out of the closet, emotionally trippy mom Ruth (Frances Conroy), and the most complex girlfriend on the face of the planet, Brenda (Rachel Griffiths). Slowly, the major force in season 2 is the unassuming lead, Peter Krause. Part of the long line of good-looking actors who never get respect because they make it look too easy, Krause (Sports Night) finds the perfect blend of optimism with a wonderful, bittersweet anguish as Nate, the prodigal son.
The initial season's happy ending is forgotten as relationships change, the business is still under fire from the evil conglomerate Kroehner, and a lively dream sequence is just around the corner. As with the premier season, creator Alan Ball lets many others direct and write the show, but his stamp is all over it. The eccentricities of the characters are shaped, and not always suddenly. Take daughter Claire (Lauren Ambrose), who sheds her bad boyfriend only to find more complex relationships on her road to discovering her own groove. One person in the mix is Ruth's beatnik sister (Patricia Clarkson, in an Emmy-winning role), a joyous embodiment of thriving--if aging--counter culture. Another new character is Nate's old girlfriend, the granola-loving Lisa (Lili Taylor). With Brenda heading down another destructive course, Nate is at more than one crossroads by season's end. For fans who groove with the wild, serio-comedic world of the Fishers (and let's face it, many didn't), the second season goes down like a fine meal of fusion cuisine. The show shares an unfortunate family trait with its HBO big brother: although both were lavished with multiple Emmy nominations the first two seasons, both took home only token awards. But then there's always next year. --Doug Thomas
Six Feet Under: The Complete Third Season-No other show captures the ebb and flow of day-to-day human relationships like Six Feet Under, which chronicles the dysfunctional lives of the Fisher family, who run a funeral home in Los Angeles. Though the overt theme of the series is mortality--every episode opens with the death of someone whose body will end up on the Fishers' slab--but the third season, even moreso than the first two, explores the intertwining struggles for connection and for personal freedom. The season starts slowly but compellingly, laying out the changes in the Fishers' lives. Nate (Peter Krause, We Don't Live Here Anymore) has married and has a baby. David (Michael C. Hall) is settling into tense domesticity with his angry boyfriend. Claire (Lauren Ambrose) has launched into art school. Ruth (Frances Conroy), their mother, is reaching out for companionship from an emotionally stilted young intern, and Brenda (Rachel Griffiths, Hilary and Jackie), Nate's ex-fiancee, has apparently vanished from their lives.But as storylines unfold across the 13 episodes, the emotional heft of the season comes from the expanded roles of the family's intimates. Federico (Freddy Rodriguez), who has leveraged his way into a partnership with the Fisher brothers, finds himself fighting to be treated as an equal at work and struggling with his wife's depression at home. Trying to sort out their relationship, David and Keith (Mathew St. Patrick) negotiate everything from therapy to threesomes. Meanwhile Lisa (Lili Taylor, I Shot Andy Warhol), Nate's unhappy wife, increasingly becomes the center of the season as her jealousy and need become unbearable. Though big events happen, the most jolting drama on Six Feet Under comes from small conflicts--miscommunications, crossed desires, habits that don't mesh. The cast, writers, and directors can, with breathtaking skill and subtlety, spin a brief conversation into a microcosm of the character's lives. By this third season, the show has taken on the richness and complexity of a great novel; it's an impressive and deeply enjoyable achievement. --Bret Fetzer
Six Feet Under: The Complete Fourth Season-This penultimate season of Six Feet Under continues further down the darkly disturbing path so evident in the third season. To be sure, the signature--and ultimately undefinable--blend of tragic mishap with tripped-out comic eccentricity that has stamped the series from its debut remains pervasive. It's the concentration of the mix that has changed. Leavening moments seem less organic, much as the bizarre death sequences that open each episode often turn out to be rather contrived preludes to the ensuing thematic obsessions. Which isn't to say season 4 lacks the delightfully memorable quirkiness fans have grown to expect. Recurring incidents of fecal revenge bring tensions to the surface between Ruth (Frances Conroy) and her new husband George (James Cromwell), in turn leading to young intern Arthur's resignation (Rainn Wilson's spot-on characterization is so enjoyable that his self-imposed exile from the Fisher nest early in the season is a real loss). Ruth meanwhile hooks up again briefly with the irrepressible Bettina (Kathy Bates) for an excursion south of the border.
But brooding glimpses into chaos beneath the surface provide the emotional momentum of this season, right from the opening scene, as Nate (Peter Krause) inevitably gravitates back toward Brenda (Rachel Griffiths) in the aftermath of his wife's death. As usual, writers and directors vary for each episode, but the dark eccentricities of creator Alan Ball's original characters have become more sharply focused and sustained. We seem to spend even more time viewing the world through individual points of view: Nate's roiling anger and grief or Claire's (Lauren Ambrose) newfound sexual and artistic experimentation as she learns about "grinding the corn" and attains respect as a photographer. The toxicity of relationships continues to be a preoccupation. We get the Ruth-George meltdown as well as the painful unraveling of Rico's (Freddy Rodriguez) marriage to Vanessa (Justina Machado). But the most harrowing episode follows David (Michael C. Hall) through an increasingly perilous carjacking. This nightmarish fugue, midway through, ripples out into the rest of the season, posing another threat to his tenuous relationship with Keith (Matthew St. Patrick). It sets a course for further apocalyptic imagery of environmental collapse and fallout shelters. There's little to gentle the downward slide and exposure of vulnerability, save taking refuge in the quirkiness that seems to be the Fishers' birthright. But that, as they say, is to die for. --Thomas May
Six Feet Under: The Complete Fifth Season-So much anticipation pools up around the concluding episode of this concluding season that you might be tempted to head straight for said finale, titled "Everyone's Waiting" (and it's so rich you'll find yourself drawn to repeated viewings). But if you can avoid that impulse, it's worth following the full build-up of one crisis after another to get the real payoff. On an episode-by-episode basis, Six Feet Under's fifth season has a decidedly uneven quality, shifting in tone far more drastically, say, than the intensely dark season 4. Character traits that have already been developed at length begin to seem annoyingly repetitious--Nate's (Peter Krause) self-centered frustration and furious lashings out, Billy's (Jeremy Sisto) resurgent psychosis--like leitmotifs run amuck. But this season also benefits from the knowledge we've developed, over the years, of the Fisher family and their loved ones, so that what they end up facing has a real emotional wallop, sometimes jump-starting the drama just where it seems to be in danger of churning itself into circles.It's hardly a spoiler to mention that 6fu's final season, though bookended by the promise of new beginnings (a wedding in episode 1 to a departure for new prospects in the 12th episode), centers around loss and a pivotal death. The scripts contain more than an occasional sense of inconsequential filler, while some of the recurring thematics seem forced (we see David continue to cope with the scars from his abduction in the previous episode via over-obvious imagery of facing his "inner demons"). Other issues receive especially compelling treatment, above all Brenda's (Rachel Griffiths) desire to have a child and David and Keith's (Mathew St. Patrick) choice to adopt. But the real strength of this season lies in several gripping performances. Ruth (Frances Conroy) touches off a complex series of reactions, simultaneously sympathetic and judgmental, transcending the tendency to appear as a neurotic caricature. The super-talented Lauren Ambrose brings off Claire's emerging self-awareness and maturity with moving touches (she's also got some of the funniest moments as she takes on a stint as a temp in scenes that call to mind the hysterics of The Office). Griffiths' Brenda for her part undergoes a parallel maturing process. And as George's daughter Maggie, Tina Holmes adds a welcome tone of contrast.
6fu, of course, has always been about the paradoxes of finality. But anyone who has developed an attachment to the show's unique tone and creative sensibility will have a tough time saying goodbye. Alan Ball outdoes himself with his script (and direction) for the finale, "Everyone's Waiting," seeding it with echoes from the pilot episode that will enchant aficionados. And the famous fast-forward visions coursing through Claire's imagination as she heads down the highway give the perfect seal to this set of characters. Extras include especially insightful commentaries, including Ball on the finale, retrospectives, and a mini-feature on 6fu's cultural impact. It's safe to say that the show leaves some pretty unforgettable impressions in its wake. --Thomas May
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Harry Potter: The Complete Collection Years 1-7
Daniel Radcliffe (Actor), Rupert Grint (Actor) | Format: DVD
(35)Release Date: November 11, 2011
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Harry Potter and the Sorcerer's Stone
Here's an event movie that holds up to being an event. This filmed version of Harry Potter and the Sorcerer's Stone, adapted from the wildly popular book by J.K. Rowling, stunningly brings to life Harry Potter's world of Hogwarts, the school for young witches and wizards. The greatest strength of the film comes from its faithfulness to the novel, and this new cinematic world is filled with all the details of Rowling's imagination, thanks to exuberant sets, elaborate costumes, clever makeup and visual effects, and a crème de la crème cast, including Maggie Smith, Richard Harris, Alan Rickman, and more. Especially fine is the interplay between Harry (Daniel Radcliffe) and his schoolmates Ron (Rupert Grint) and Hermione (Emma Watson), as well as his protector, the looming Hagrid (Robbie Coltrane). The second-half adventure--involving the titular sorcerer's stone--doesn't translate perfectly from page to screen, ultimately because of the film's fidelity to the novel; this is a case of making a movie for the book's fans, as opposed to a transcending film. Writer Steve Kloves and director Chris Columbus keep the spooks in check, making this a true family film, and with its resourceful hero wide-eyed and ready, one can't wait for Harry's return. Ages 8 and up. --Doug Thomas
Harry Potter and the Chamber of Secrets
First sequels are the true test of an enduring movie franchise, and Harry Potter and the Chamber of Secrets passes with flying colors. Expanding upon the lavish sets, special effects, and grand adventure of Harry Potter and the Sorcerer's Stone, Harry's second year at Hogwarts School of Witchcraft and Wizardry involves a darker, more malevolent tale (parents with younger children beware), beginning with the petrified bodies of several Hogwarts students and magical clues leading Harry (Daniel Radcliffe), Ron (Rupert Grint), and Hermione (Emma Watson) to a 50-year-old mystery in the monster-laden Chamber of Secrets. House elves, squealing mandrakes, giant spiders, and venomous serpents populate this loyal adaptation (by Sorcerer's Stone director Chris Columbus and screenwriter Steve Kloves), and Kenneth Branagh delightfully tops the supreme supporting cast as the vainglorious charlatan Gilderoy Lockhart (be sure to view past the credits for a visual punchline at Lockhart's expense). At 161 minutes, the film suffers from lack of depth and uneven pacing, and John Williams' score mostly reprises established themes. The young, fast-growing cast offers ample compensation, however, as does the late Richard Harris in his final screen appearance as Professor Albus Dumbledore. Brimming with cleverness, wonderment, and big-budget splendor, Chamber honors the legacy of J.K. Rowling's novels. --Jeff Shannon
Harry Potter and the Prisoner of Azkaban
Some movie-loving wizards must have cast a magic spell on Harry Potter and the Prisoner of Azkaban, because it's another grand slam for the Harry Potter franchise. Demonstrating remarkable versatility after the arthouse success of Y Tu Mamá También, director Alfonso Cuarón proves a perfect choice to guide Harry, Hermione, and Ron into treacherous puberty as the now 13-year-old students at Hogwarts School of Witchcraft and Wizardry face a new and daunting challenge: Sirius Black (Gary Oldman) has escaped from Azkaban prison, and for reasons yet unknown (unless, of course, you've read J.K. Rowling's book, considered by many to be the best in the series), he's after Harry in a bid for revenge. This dark and dangerous mystery drives the action while Harry (the fast-growing Daniel Radcliffe) and his third-year Hogwarts classmates discover the flying hippogriff Buckbeak (a marvelous CGI creature), the benevolent but enigmatic Professor Lupin (David Thewlis), horrifying black-robed Dementors, sneaky Peter Pettigrew (Timothy Spall), and the wonderful advantage of having a Time-Turner just when you need one. The familiar Hogwarts staff returns in fine form (including the delightful Michael Gambon, replacing the late Richard Harris as Dumbledore, and Emma Thompson as the goggle-eyed Sybil Trelawney), and even Julie Christie joins this prestigious production for a brief but welcome cameo. Technically dazzling, fast-paced, and chock-full of Rowling's boundless imagination (loyally adapted by ace screenwriter Steve Kloves), The Prisoner of Azkaban is a Potter-movie classic. --Jeff Shannon
Harry Potter and the Goblet of Fire
The latest entry in the Harry Potter saga could be retitled Fast Times at Hogwarts, where finding a date to the winter ball is nearly as terrifying as worrying about Lord Voldemort's return. Thus, the young wizards' entry into puberty (and discovery of the opposite sex) opens up a rich mining field to balance out the dark content in the fourth movie (and the stories are only going to get darker). Mike Newell (Four Weddings and a Funeral) handily takes the directing reins and eases his young cast through awkward growth spurts into true young actors. Harry (Daniel Radcliffe, more sure of himself) has his first girl crush on fellow student Cho Chang (Katie Leung), and has his first big fight with best bud Ron (Rupert Grint). Meanwhile, Ron's underlying romantic tension with Hermione (Emma Watson) comes to a head over the winter ball, and when she makes one of those girl-into-woman Cinderella entrances, the boys' reactions indicate they've all crossed a threshold.
But don't worry, there's plenty of wizardry and action in Goblet of Fire. When the deadly Triwizard Tournament is hosted by Hogwarts, Harry finds his name mysteriously submitted (and chosen) to compete against wizards from two neighboring academies, as well as another Hogwarts student. The competition scenes are magnificently shot, with much-improved CGI effects (particularly the underwater challenge). And the climactic confrontation with Lord Voldemort (Ralph Fiennes, in a brilliant bit of casting) is the most thrilling yet. Goblet, the first installment to get a PG-13 rating, contains some violence as well as disturbing images for kids and some barely shrouded references at sexual awakening (Harry's bath scene in particular). The 2 1/2-hour film, lean considering it came from a 734-page book, trims out subplots about house-elves (they're not missed) and gives little screen time to the standard crew of the other Potter films, but adds in more of Britain's finest actors to the cast, such as Brendan Gleeson as Mad-Eye Moody and Miranda Richardson as Rita Skeeter. Michael Gambon, in his second round as Professor Dumbledore, still hasn't brought audiences around to his interpretation of the role he took over after Richard Harris died, but it's a small smudge in an otherwise spotless adaptation. --Ellen A. Kim
Harry Potter and the Order of the PhoenixAlas! The fifth Harry Potter film has arrived. The time is long past that this can be considered a simple "children's" series--though children and adults alike will enjoy it immensely. Starting off from the dark and tragic ending of the fourth film, Harry Potter and the Order of the Phoenix begins in a somber and angst-filled tone that carries through the entire 138 minutes (the shortest of any HP movie despite being adapted from the longest book). Hopes of winning the Quidditch Cup have been replaced by woes like government corruption, distorted media spin, and the casualties of war. As the themes have matured, so have the primary characters' acting abilities. Ron (Rupert Grint), Hermione (Emma Watson), and especially Harry (Daniel Radcliffe) are more convincing than ever--in roles that are more demanding.
Harry is deeply traumatized from having witnessed Cedric Diggory's murder, but he will soon find that this was just another chapter in the continuing loss he will endure. Lord Voldemort (Ralph Fiennes) has returned and, in an attempt to conceal this catastrophe from the wizarding public, the Ministry of Magic has teamed up with the wizard newspaper The Daily Prophet to smear young Potter and wise Dumbledore (Michael Gambon)--seemingly the only two people in the public eye who believe the Dark Lord has returned. With no one else to stand against the wicked Death Eaters, the Hogwarts headmaster is forced to revive his secret anti-Voldemort society, the Order of the Phoenix. This welcomes back characters like Mad-Eye Moody (Brendan Gleeson), kind Remus Lupin (David Thewlis), fatherly Sirius Black (Gary Oldman), and insidious Severus Snape (Alan Rickman), and introduces a short list of intriguing new faces. In the meantime, a semi-psychotic bureaucrat from the Ministry (brilliantly portrayed by Imelda Staunton) has seized power at Hogwarts, and Harry is forced to form a secret society of his own--lest the other young wizards at his school be left ill-equipped to defend themselves in the looming war between good and evil. In addition, Harry is filled with an inexplicable rage that only his Godfather Sirius seems to be able to understand.
This film, though not as frightening as its predecessor, earns its PG-13 rating mostly because of the ever-darkening tone. As always, the loyal fans of J.K. Rowling's books will suffer huge cuts from the original plot and character developments, but make no mistake: this is a good movie. --Jordan Thompson
Harry Potter and the Half-Blood PrinceThe sixth installment of the Harry Potter series begins right where The Order of the Phoenix left off. The wizarding world is rocked by the news that "He Who Must Not Be Named" has truly returned, and the audience finally knows that Harry is "the Chosen One"--the only wizard who can defeat Lord Voldemort in the end. Dark forces loom around every corner, and now regularly attempt to penetrate the protected walls of Hogwarts School. This is no longer the fun and fascinating world of magic from the first few books—it's dark, dangerous, and scary.
Harry (Daniel Radcliffe) suspects Draco Malfoy (Tom Felton) to be a new Death Eater recruit on a special mission for the Dark Lord. In the meantime, Professor Dumbledore (Michael Gambon) seems to have finally removed the shroud of secrecy from Harry about the dark path that lies ahead, and instead provides private lessons to get him prepared. It's in these intriguing scenes that the dark past of Tom Riddle (a.k.a. Voldemort) is finally revealed. The actors cast as the different young versions of Riddle (Hero Fiennes-Tiffin and Frank Dillane) do an eerily fantastic job of portraying the villain as a child. While the previous movies' many new characters could be slightly overwhelming, only one new key character is introduced this time: Professor Horace Slughorn (with a spot-on performance by Jim Broadbent). Within his mind he holds a key secret in the battle to defeat the Dark Lord, and Harry is tasked by Dumbledore to uncover a memory about Voldemort's darkest weapon--the Horcrux. Despite the long list of distractions, Harry, Ron (Rupert Grint), and Hermione (Emma Watson) still try to focus on being teenagers, and audiences will enjoy the budding awkward romances. All of the actors have developed nicely, giving their most convincing performances to date.
More dramatic and significant things go down in this movie than any of its predecessors, and the stakes are higher than ever. The creators have been tasked with a practically impossible challenge, as fans of the beloved J.K. Rowling book series desperately want the movies to capture the magic of the books as closely as possible. Alas, the point at which one accepts that these two mediums are very different is the point at which one can truly enjoy these brilliant adaptations. Harry Potter and the Half-Blood Prince is no exception: it may be the best film yet. For those who have not read the book, nail-biting entertainment is guaranteed. For those who have, the movie does it justice. The key dramatic scenes, including the cave and the shocking twist in the final chapter, are executed very well. It does a perfect job of setting up the two-part grand finale that is to follow. --Jordan Thompson
Harry Potter and the Deathly Hallows, Part IHarry Potter and the Deathly Hallows, Part I is a brooding, slower-paced film than its predecessors, the result of being just one half of the final story (the last book in the series was split into two movies, released in theaters eight months apart). Because the penultimate film is all buildup before the final showdown between the teen wizard and the evil Voldemort (which does not occur until The Deathly Hallows, Part II), Part I is a road-trip movie, a heist film, a lot of exposition, and more weight on its three young leads, who up until now were sufficiently supported by a revolving door of British thesps throughout the series. Now that all the action takes place outside Hogwarts--no more Potions classes, Gryffindor scarves, or Quidditch matches--Daniel Radcliffe (Harry), Emma Watson (Hermione), and Rupert Grint (Ron) shoulder the film almost entirely on their own. After a near-fatal ambush by Voldemort's Death Eaters, the three embark on a quest to find and destroy the remaining five horcruxes (objects that store pieces of Voldemort's soul). Fortunately, as the story gets more grave--and parents should be warned, there are some scenes too frightening or adult for young children--so does the intensity. David Yates, who directed the Harry Potter films Order of the Phoenix and The Half-Blood Prince, drags the second half a little, but right along with some of the slower moments are some touching surprises (Harry leading Hermione in a dance, the return of Dobby in a totally non-annoying way). Deathly Hallows, Part I will be the most confusing for those not familiar with the Potter lore, particularly in the shorthand way characters and terminology weave in and out. For the rest of us, though, watching these characters over the last decade and saying farewell to a few faces makes it all bittersweet that the end is near (indeed, an early scene in which Hermione casts a spell that makes her Muggle parents forget her existence, in case she doesn't return, is particularly emotional). Despite its challenges, Deathly Hallows, Part I succeeds in what it's most meant to do: whet your appetite for the grand conclusion to the Harry Potter series. --Ellen A. Kim
Harry Potter and the Deathly Hallows, Part II
The Deathly Hallows: Part 2 is the film all Harry Potter fans have waited 10 years to see, and the good news is that it's worth the hype--visually stunning, action packed, faithful to the book, and mature not just in its themes and emotion but in the acting by its cast, some of whom had spent half their lives making Harry Potter movies. Part 2 cuts right to the chase: Voldemort (Ralph Fiennes) has stolen the Elder Wand, one of the three objects required to give someone power over death (a.k.a. the Deathly Hallows), with the intent to hunt and kill Harry. Meanwhile, Harry's quest to destroy the rest of the Horcruxes (each containing a bit of Voldemort's soul) leads him first to a thrilling (and hilarious--love that Polyjuice Potion!) trip to Gringotts Bank, then back to Hogwarts, where a spectacular battle pitting the young students and professors (a showcase of the British thesps who have stolen every scene of the series: Maggie Smith's McGonagall, Jim Broadbent's Slughorn, David Thewlis's Lupin) against a dark army of Dementors, ogres, and Bellatrix Lestrange (Helena Bonham Carter, with far less crazy eyes to make this round). As predicted all throughout the saga, Harry also has his final showdown with Voldemort--neither can live while the other survives--though the physics of that predicament might need a set of crib notes to explain. But while each installment has become progressively grimmer, this finale is the most balanced between light and dark (the dark is quite dark--several familiar characters die, with one significant death particularly grisly); the humor is sprinkled in at the most welcome times, thanks to the deft adaptation by Steve Kloves (who scribed all but one of the films from J.K. Rowling's books) and direction by four-time Potter director David Yates. The climactic kiss between Ron (Rupert Grint) and Hermione (Emma Watson), capping off a decade of romantic tension, is perfectly tuned to their idiosyncratic relationship, and Daniel Radcliffe has, over the last decade, certainly proven he was the right kid for the job all along. As Prof. Snape, the most perfect of casting choices in the best-cast franchise of all time, Alan Rickman breaks your heart. Only the epilogue (and the lack of chemistry between Harry and love Ginny Weasley, barely present here) stand a little shaky, but no matter: the most lucrative franchise in movie history to date has just reached its conclusion, and it's done so without losing its soul. --Ellen A. Kim
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Tuesday, October 25, 2011
Demons
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The Opposite of Relaxation
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Monday, October 24, 2011
Bloodletting [HD]
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Harry Potter and the Deathly Hallows, Part 2 (+ UltraViolet Digital Copy)
Daniel Radcliffe (Actor), Rupert Grint (Actor), David Yates (Director) | Format: DVD
34 days in the top 100 (114)Release Date: November 11, 2011
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In the epic finale, the battle between the good and evil forces of the wizarding world escalates into an all-out war. The stakes have never been higher and no one is safe. But it is Harry who may be called upon to make the ultimate sacrifice as he draws closer to the climactic showdown with Lord Voldemort. It all ends here. The Deathly Hallows: Part 2 is the film all Harry Potter fans have waited 10 years to see, and the good news is that it's worth the hype--visually stunning, action packed, faithful to the book, and mature not just in its themes and emotion but in the acting by its cast, some of whom had spent half their lives making Harry Potter movies. Part 2 cuts right to the chase: Voldemort (Ralph Fiennes) has stolen the Elder Wand, one of the three objects required to give someone power over death (a.k.a. the Deathly Hallows), with the intent to hunt and kill Harry. Meanwhile, Harry's quest to destroy the rest of the Horcruxes (each containing a bit of Voldemort's soul) leads him first to a thrilling (and hilarious--love that Polyjuice Potion!) trip to Gringotts Bank, then back to Hogwarts, where a spectacular battle pitting the young students and professors (a showcase of the British thesps who have stolen every scene of the series: Maggie Smith's McGonagall, Jim Broadbent's Slughorn, David Thewlis's Lupin) against a dark army of Dementors, ogres, and Bellatrix Lestrange (Helena Bonham Carter, with far less crazy eyes to make this round). As predicted all throughout the saga, Harry also has his final showdown with Voldemort--neither can live while the other survives--though the physics of that predicament might need a set of crib notes to explain. But while each installment has become progressively grimmer, this finale is the most balanced between light and dark (the dark is quite dark--several familiar characters die, with one significant death particularly grisly); the humor is sprinkled in at the most welcome times, thanks to the deft adaptation by Steve Kloves (who scribed all but one of the films from J.K. Rowling's books) and direction by four-time Potter director David Yates. The climactic kiss between Ron (Rupert Grint) and Hermione (Emma Watson), capping off a decade of romantic tension, is perfectly tuned to their idiosyncratic relationship, and Daniel Radcliffe has, over the last decade, certainly proven he was the right kid for the job all along. As Prof. Snape, the most perfect of casting choices in the best-cast franchise of all time, Alan Rickman breaks your heart. Only the epilogue (and the lack of chemistry between Harry and love Ginny Weasley, barely present here) stand a little shaky, but no matter: the most lucrative franchise in movie history to date has just reached its conclusion, and it's done so without losing its soul. --Ellen A. Kim Read more
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