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March 12th, 2010 by bennett2680960
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Movie Title: Gone with the Wind
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It seems like a ‘new, improved’ edition of “Gone With the Wind” has appeared every couple of years, offering the ‘ultimate’ in report and sound reproduction, and extras. It can become expensive keeping up, and frustrating (remarkable like buying a classic Disney DVD, when you know a more complete “Special Edition” will soon render your “First Time on Video” copy used), but the unique GWTW Four-Disc Collector’s Edition most assuredly deserves a situation in your collection.

Buy,Download, Or Stream Gone with the Wind! Click HereFirst off, the narrate and sound quality is fabulous. Warner’s Ultra-Resolution process, which ‘locks’ the three Technicolor strips into right alignment, provides a clarity and ‘crispness’ to the images that even the 1939 unusual print couldn’t accomplish. You’ll honestly beget your TV is picking up HD, whether you’re HD-ready, or not! This carries over to the Dolby Digital-remastered sound, as well. All of the tell-tale thunder and scratchiness of the opening credit title music, detached discernable in the last upgrade, is gone, replaced by a richness of tone that will give your home theater a genuine workout. (Listen to the brass in this sequence, and you’ll peep what I’m talking about…)

The biggest selling point of this edition is, of course, the two discs of additional features offered, and these are, in general, well-behaved. Beginning with the suitable “Making of a Account” (narrated by Christopher Plummer), Disc Three offers enchanting overviews about the film, the astonishing restoration, footage from the 1939 Premiere (and the bittersweet 1961 Civil War Centennial reunion of Selznick, Leigh, and de Havilland), glimpses of Gable and Leigh with dubbed voices for the foreign-language versions, the international Prologue (tacked on to elaborate the Civil War to foreign audiences), and a 1940 MGM documentary on the “Old-fashioned South” (directed by Fred Zinneman) memorable today for it’s simplistic notion of the time, and stereotypical portrayal of blacks.

Buy,Download, Or Stream Gone with the Wind! Click HereDisc Four is a mixed bag; the long-awaited reminiscences of Olivia de Havilland are more chatty than informative (with the 90-year-old actress more enthusiastic in discussing her wardrobe than on-set tension…although a prank she pulled on Gable is comical), and the Clark Gable Profile is superficial (A&E’s biography of ‘The King’ is far noble) . Things improve, however, with the insightful, sympathetic TCM biography of Vivien Leigh (hosted by Jessica Lange), and a Amazing allotment devoted to brief bios of many of the GWTW supporting cast, narrated, again, by Christopher Plummer (although I wish the filmmakers would have included bios for Ward Bond, Victor Jory, Fred Crane, and George ‘Superman’ Reeves) .

All in all, the GWTW Four-Disc Collector’s Edition isn’t perfect, but offers so noteworthy terrific material that it is CERTAINLY the one to beget!

I mature to deem that this Hollywood classic was for everyone. However, after reading nearly 300 reviews of the film, I deem that isn’t legal anymore. This movie is NOT for you IF 1) you assume a movie must be as historically factual as a history book, 2) you mediate a 1939 movie should assume the values of the 21st century, 3) your attention span is so short that you must only study movies from 90-120 minutes in length, 4) you can only come by politically legal films, particularly in terms of racial issues, 5) you are so Humdrum as to contemplate widescreen movies were made before the 1950s (although to be delicate, Selznik originally intended to expend a special widescreen process for the so-called “burning of Atlanta” sequence but gave up on the expensive concept), 6) you can only win computerized special effects as they appear in current films, or 7) your view of broad acting is to be found in slasher or teen films being made these days.Buy,Download, Or Stream Gone with the Wind! Click HereGWTW is NOT a documentary on the Civil War period. It is NOT a history of slavery in America. It is NOT a memoir of perfect people behaving perfectly at all times. It IS an adaptation of a recent written by a Southern woman who, as a child, sat and listened to the stories the aged Confederate veterans told about the used days before, during, and after THE war. It IS a cherish anecdote, probably about the novelist’s grandmother, which reflects the attitudes left over from that long-ago time. To criticize this film for so many unrelated issues is laughable. It stands on its merits as a masterful film that tells of bittersweet adore and lost fantasy. That it succeeds so well is a tribute to the actors and filmmakers of over sixty years ago.
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March 10th, 2010 by bennett2680960
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Movie Title: Brothers Bloom
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Whimsical, sentimental, bright, and both comical and awkward, THE BROTHERS BLOOM is unusual in its context and characters even if the place itself is relatively predictable. The memoir of two brothers who learn at an early age their skill at pulling off confidence schemes (all in the film’s well designed and droll first 10 minutes) . They continue to urge cons into their early thirties when Bloom (Brody), the younger of the two, is faced with a bit of a quarter-life-crisis and decides to conclude conning alongside his older brother Stephen (Impress Ruffalo) . Of course he returns on the premise of helping Stephen carry off ‘one last job,’ the most glaringly cliched element in the entire film. All is forgiven however as the cast of characters unfolds, and director Rian Johnson rolls out more yarn arc. We meet Bang Bang (Rinko Kikuchi), a semi-mute Asian woman with a penchant for blowing things to pieces and Penelope Imprint (Rachel Weisz), a billionaire heiress & collector of exclusive hobbies. Weisz is convincingly awkward, amusing, luminous, and ultimately lovable. Weisz, Brody, and Ruffalo give righteous performances but are quiet all outclassed by Rinko Kikuchi’s portrayal of Bang Bang. She communicates noteworthy with few to no words. She is the master of the subtle facial expression and she singlehandedly raised this film from 3 stars to 4 for this viewer.

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Rian Johnson’s directorial style resembles Wes Anderson’s, but with more of a penchant for sweetness. THE BROTHERS BLOOM is littered with sentimental twists, moments, and visuals. Johnson’s craft is calm developing, with his this, his sophomore concern, falling slightly short of his improbable first film Brick. The gentle goodnaturedness of the film is surprisingly refreshing in a movie marketplace littered with grit, angst, and cynicism. I deem this is why the film scored so poorly with paid reviewers; they were too shocked of seeming soft by liking the movie and being branded as ’sentimental.’ The film has a sweetness to it that may turn off some viewers, but to me is was a nice change of skedaddle from the typical Hollywood offering.

As the film progresses it does a decent enough job of not revealing too noteworthy and providing the viewer a plausible suspension of disbelief. There are a few moments that don’t ring legal (the first encounter with Diamond Dog at the bar for example–actually I didn’t like the Diamond Dog character at all and idea he was superfluous to the residence and movie as a whole) but they are few and far between. My strongest criticism of the film is that Johnson, Brody, and the rest of the cast know how clever sure elements of the film are, and they let the audience know that they know. Clever is exquisite, but I don’t need to be reminded every ten minutes that the movie is oh so gleaming. Another confusing dwelling element is Penelope’s seeming inability to drive a sports car–this from a woman who has mastered more than a few difficult hobbies including pinhole photography and martial arts!

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Overall this is a very appetizing movie if you bask in warmth in film. It’s sentimental. It’s shiny and fun and knowing. Viewers who grasp their cinema to be dim and brooding should probably skip this one and discover Mystic River or The Murky Knight instead. However, if you loved The Life Aquatic you’ll probably adore THE BROTHERS BLOOM.

4/5 Stars. Well worth renting or even owning.

Got the movie because of the cast. Rachel Weisz, Adrien Brody, Impress Ruffalo any one of them is watchable but all three together was a must sight in my book.

A memoir of con men brothers who grew up perfecting the con game and crafting the perfect tale. Well, one brother anyway. Ruffalo writes the scripts and Brody fumbles through more and more complicated plots hating the game and detesting himself for playing it. With the promise of an extinguish in perceive they agree to one more con before parting ways.

The con involves an eccentric small rich girl (Weisz) who apparently has a stable paunchy of the identical car because as she crashes one another is delivered in its region. After crashing said car into Bloom (Brody) she becomes intrigued by him and his chronicle. She is a very talented self-taught woman with a thirst for adventure. This unique con, unique script doesn’t quite raze up the arrangement it was intended to ruin.

Great acting. The cast must have had a blast. And this is a quirky almost whimsical film with an primitive fashioned feel. It reminded me of Pushing Daisies if you had an opportunity to ever ogle that petite television gem. Weisz has a few piquant scenes, one a diminutive embarrassing that puts it in the “not for kids” category. (Judge the diner scene in Harry and Sally but on a advise.) Though kids would probably not be loyal fervent in the slower crawl of the film, so that might be a moot point.

Be warned. As charming as this campy quirky adventure is, the pervasive thick vein of downhearted almost chokes it at times. Bloom grows so embittered he is willing to chew his leg off to dash the trap he’s in. Enter his brother who loves Bloom enough to write the ultimate script.

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March 7th, 2010 by bennett2680960

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