I'm not sure that any good series on the supernatural has ever tried as hard to be simply good fun. It isn't the masterpiece that BUFFY THE VAMPIRE SLAYER was, but I don't think Alan Ball set his sights that high. While Joss Whedon strove in BUFFY to create an icon and redefine television narrative, Ball just seems to want to tell a compelling story filled with memorable moments.

TRUE BLOOD is, of course, based on the series of novels written by Arkansas writer Charlaine Harris. The series was originally known as the Southern Vampire Mysteries, but has since come to be better known as The Sookie Stackhouse novels. The premise is that a Japanese corporation has successfully created artificial blood, a product so like the real thing that vampires, previously relegated to feeding off humans in the dark, come "out of the coffin" and into society, intent on living off the new fake blood. The series' title comes from the name of the artificial blood marketed and sold in stores. The television series wisely does not try to hew too closely to the novels, though for the most part Sookie's story does. And the way things turn at the end of the season, it is clear that Season Two (the show was renewed very early in the season) is going to pick up with the second novel in the series, though the action most likely will be in Bon Temps and not in Dallas (the second novel is entitled LIVING DEAD IN DALLAS).

The major difference between the novels and the TV series is that while the novels focus almost entirely on Sookie, the series has elevated a number of secondary characters and padded out their story. The focus on Sookie in the books is inevitable given that she is the narrator. But since few shows attempt to tell a story primarily from one character's point of view (an exception is Season One of VERONICA MARS, in which the title character features in very nearly every scene), elevating several characters was a necessity. Tara is a very minor character in the books (and white to boot), but on the show she is black and one of the most important characters. Sookie's brother Jason is a moderately important character in the books, but definitely not as central as Bill, Eric, or Sam. Tara was promoted on the show partly to balance out the show in terms of race and gender. I'm not quite sure why Jason was made more important. The story arcs that are given to these characters are not always successful, but they do give the show some diversity. Lafayette, Tara's flamboyantly gay cousin and short order cook at Merlotte's, the tavern where Sookie is a barmaid, likewise is a major character on the TV series, but barely makes an appearance in the novels.

I'm not always comfortable with the additions the show makes to the story and they usually are the weakest part of the show. For instance, the long story of Tara's mother and her demon possession is an addition that I feel clutters the show, even as it raises the question of why Tara herself struggles with relationships. The character of Amy, who is weirdly involved with Jason in the latter half of the season, sits on the rest of the story like a weird, disconnected appendage. In fact, the entire obsession with V (or vampire blood, which is taken like a drug) is unique to the show and not the books, I think to the show's detriment. Terry Bellefleur is a slightly more important character in the series, and about 20-30 years younger (and played by Todd Lowe, who played Zack, Lane's band mate/boyfriend/husband in THE GILMORE GIRLS), and a veteran of the Gulf War instead of the Vietnam War. I don't expect for a show to be especially true to its source material. I don't look for a scene-by-scene recreation. But I do think that the additions show actually add something of value to the story. All in all, I do not think the completely original aspects improved the overall story.

There is a lot of controversy on boards where fans of the books linger about Anna Paquin. Physically she isn't quite like how Sookie is described in the books, where she is far curvier and extremely busty. I personally love Anna Paquin's performance. She has a haunted, hunted look that someone who has had to struggle for years of hearing the thoughts of others might have. She does very much seem to embody "Crazy Sookie," as she is known to everyone in Bon Temps. I also like all the actors who played the three other major characters from the books, Stephen Moyer as Bill, Alexander Skarsgaard as Eric (who will, given his stature as an actor and the precedent of the books, become a more important character in Season Two -- and let me just add, could anyone have been found more perfect to play Eric?), and Sam Trammell as Sam Merlotte. My favorite performer to play a major role on the show but a minor one in the books is Nelsan Ellis, who also had a recurring role on the sadly short-lived THE INSIDE and was on an excellent episode of VERONICA MARS, and who on TRUE BLOOD plays Lafayette. Though I have to add that he is s completely unbelievable character. I've lived three years in a town not terribly distinct from Bon Temps and I can assert that you simply will not find many if any openly gay people and definitely not one a flamboyant one.

All in all I really enjoyed the series TRUE BLOOD, though on the one hand I prefer the books (and I strongly recommend anyone who loves TRUE BLOOD to give the books a try, though I also warn them that the show does seem to be following to a greater or lesser degree the books -- Season Two is already set up to follow many of the second novel's storylines) and on the other I prefer Alan Ball's earlier show SIX FEET UNDER. Still, it is a good, fun show.

And can I just add that this show has my all time favorite opening credits. It is filled with one astonishing image after another, from a coiled water moccasin to a Holy Ghost inspired preacher doing a 180 jump in church to lasciviously dancing strippers, all to a wonderfully appropriate song by country performer Jace Everett entitled "Bad Things."

I'm not sure that any good series on the supernatural has ever tried as hard to be simply good fun. It isn't the masterpiece that BUFFY THE VAMPIRE SLAYER was, but I don't think Alan Ball set his sights that high. While Joss Whedon strove in BUFFY to create an icon and redefine television narrative, Ball just seems to want to tell a compelling story filled with memorable moments.

TRUE BLOOD is, of course, based on the series of novels written by Arkansas writer Charlaine Harris. The series was originally known as the Southern Vampire Mysteries, but has since come to be better known as The Sookie Stackhouse novels. The premise is that a Japanese corporation has successfully created artificial blood, a product so like the real thing that vampires, previously relegated to feeding off humans in the dark, come "out of the coffin" and into society, intent on living off the new fake blood. The series' title comes from the name of the artificial blood marketed and sold in stores. The television series wisely does not try to hew too closely to the novels, though for the most part Sookie's story does. And the way things turn at the end of the season, it is clear that Season Two (the show was renewed very early in the season) is going to pick up with the second novel in the series, though the action most likely will be in Bon Temps and not in Dallas (the second novel is entitled LIVING DEAD IN DALLAS).

The major difference between the novels and the TV series is that while the novels focus almost entirely on Sookie, the series has elevated a number of secondary characters and padded out their story. The focus on Sookie in the books is inevitable given that she is the narrator. But since few shows attempt to tell a story primarily from one character's point of view (an exception is Season One of VERONICA MARS, in which the title character features in very nearly every scene), elevating several characters was a necessity. Tara is a very minor character in the books (and white to boot), but on the show she is black and one of the most important characters. Sookie's brother Jason is a moderately important character in the books, but definitely not as central as Bill, Eric, or Sam. Tara was promoted on the show partly to balance out the show in terms of race and gender. I'm not quite sure why Jason was made more important. The story arcs that are given to these characters are not always successful, but they do give the show some diversity. Lafayette, Tara's flamboyantly gay cousin and short order cook at Merlotte's, the tavern where Sookie is a barmaid, likewise is a major character on the TV series, but barely makes an appearance in the novels.

I'm not always comfortable with the additions the show makes to the story and they usually are the weakest part of the show. For instance, the long story of Tara's mother and her demon possession is an addition that I feel clutters the show, even as it raises the question of why Tara herself struggles with relationships. The character of Amy, who is weirdly involved with Jason in the latter half of the season, sits on the rest of the story like a weird, disconnected appendage. In fact, the entire obsession with V (or vampire blood, which is taken like a drug) is unique to the show and not the books, I think to the show's detriment. Terry Bellefleur is a slightly more important character in the series, and about 20-30 years younger (and played by Todd Lowe, who played Zack, Lane's band mate/boyfriend/husband in THE GILMORE GIRLS), and a veteran of the Gulf War instead of the Vietnam War. I don't expect for a show to be especially true to its source material. I don't look for a scene-by-scene recreation. But I do think that the additions show actually add something of value to the story. All in all, I do not think the completely original aspects improved the overall story.

There is a lot of controversy on boards where fans of the books linger about Anna Paquin. Physically she isn't quite like how Sookie is described in the books, where she is far curvier and extremely busty. I personally love Anna Paquin's performance. She has a haunted, hunted look that someone who has had to struggle for years of hearing the thoughts of others might have. She does very much seem to embody "Crazy Sookie," as she is known to everyone in Bon Temps. I also like all the actors who played the three other major characters from the books, Stephen Moyer as Bill, Alexander Skarsgaard as Eric (who will, given his stature as an actor and the precedent of the books, become a more important character in Season Two -- and let me just add, could anyone have been found more perfect to play Eric?), and Sam Trammell as Sam Merlotte. My favorite performer to play a major role on the show but a minor one in the books is Nelsan Ellis, who also had a recurring role on the sadly short-lived THE INSIDE and was on an excellent episode of VERONICA MARS, and who on TRUE BLOOD plays Lafayette. Though I have to add that he is s completely unbelievable character. I've lived three years in a town not terribly distinct from Bon Temps and I can assert that you simply will not find many if any openly gay people and definitely not one a flamboyant one.

All in all I really enjoyed the series TRUE BLOOD, though on the one hand I prefer the books (and I strongly recommend anyone who loves TRUE BLOOD to give the books a try, though I also warn them that the show does seem to be following to a greater or lesser degree the books -- Season Two is already set up to follow many of the second novel's storylines) and on the other I prefer Alan Ball's earlier show SIX FEET UNDER. Still, it is a good, fun show.

And can I just add that this show has my all time favorite opening credits. It is filled with one astonishing image after another, from a coiled water moccasin to a Holy Ghost inspired preacher doing a 180 jump in church to lasciviously dancing strippers, all to a wonderfully appropriate song by country performer Jace Everett entitled "Bad Things."

One of Washington's most well- connected political pros Howard Ickes talks about the election, about Hillary Clinton, and Barack Obama. He is the person responsible for compiling the comprehensive data- bank containing profiles of individual voters which were used by both Clinton and Obama, and which in the campaign helped them contend with a long- time Republican advantage in this area. Ickes is a Clinton person who served as White- House gatekeeper for Bill Clinton. He gives high marks to the Obama transition operation, and says Obama is showing himself a competent and strong leader.
In another segment Washington Post Economics correspondent Pearlstein analyzes the government bailout of Citigroup. It is another twenty billion in addition to the twenty- five billion given earlier in the year, plus a guarantee for three- hundred and six billion of Citibank mortgage and credit obligations. In return the Government received preferred stock paying an eight percent dividend, an option to buy more. It did not Pearlstein says insist on what it should have exchanging the board which has made so many wrong decisions. Pearlstein is especially critical of former Treasury Secy. Robert Rubin who is a key Citibank player.
In the third segment Vernon Jordan speaks with dignity and eloquence about his own mentors in the area of preaching. He tells one particularly instructive anecdote in which he had been called and sent to do a talk as replacement for a senior figure he tremendously respected. When asked why the senior figure told him that he had been late and had sat in the back at a talk Jordan gave, one which impressed him greatly. He said as a piece of advice to Jordan, 'Whatever you do prepare thoroughly and give it your best, because you never know who is listening'.
Jordan tells of his feelings at the Obama election and speaks a bit of his prior support of Hillary Clinton.
An outstanding program.

Paramount Pictures presents "HOLIDAY INN" (4 August 1942) (101 mins/B&W/Color) (Dolby digitally remastered) -- Bing Crosby and Fred Astaire were the stars of Holiday Inn with support from Marjorie Reynolds and Virginia Dale --- Produced and directed by Mark Sandrich, filming took place between November 1941 and February 1942. Holiday Inn had its premiere at the New York Paramount Theatre in August 1942. It was a runaway success both in the U.S. and the United Kingdom, proving to be the highest grossing film musical up to that time --- The big song had been expected to be "BE CAREFUL, IT'S MY HEART" --- While that song did very well, it was "WHITE CHRISTMAS" that topped the charts in October 1942 and stayed there for eleven weeks.

Story line and plot, In the first of two films Crosby and Astaire did together the other being "Blue Skies" (1946), the characters are remarkably the same --- Ted Hanover (Fred Astaire) is the elegant and charming show business professional who's ambitious for success --- Jim Hardy (Bing Crosby) is the talented, but lazy partner who just wants a life of ease and comfort and not to work more than he has to --- Small wonder that their double act broke up --- But now enter a complication --- They both get interested in the same girl who in this film is Linda Mason (Marjorie Reynolds) --- Plus Lila Dixon (Virginia Dale), who becomes Fred's dancing partner with some wonderful routines in fine fashion.

"BE CAREFUL IT'S MY HEART", the Valentine's Day song, sung by Crosby and danced to by Astaire and Reynolds --- Fred Astaire gave a tour de force performance, singing, and, of course, dancing his way through this delightful piece in rare form --- It is said that he worked so hard during rehearsals that he wasted away some 25 pounds by the time he filmed the firecracker number --- He might just as well have been weightless, because he defies gravity with his every move.

Under the production staff of:
Mark Sandrich - Director / Producer
Claude Binyon - Screenwriter
Elmer Rice - Screenwriter
Dave Abel - Cinematographer
Irving Berlin - Composer (Music Score)
Robert Emmett Dolan - Musical Direction/Supervision / Composer (Music Score)
Ellsworth Hoagland - Editor
Hans Dreier - Production Designer
Roland Anderson - Art Director
Edith Head - Costume Designer
Wally Westmore - Makeup
Charles C. Coleman, Jr. - First Assistant Director
Daniel Dare - Choreography

Scene Index
Disc One -- Irving Berlin's: Holiday Inn
1. Love Triangle (Main Titles) [4:39]
2. "I'll Capture Your Heart Singing" [5:43]
3. "Lazy" [8:26]
4. "You're Easy to Dance With" [3:40]
5. "White Christmas" [6:18]
6. "Happy Holiday/Holiday Inn" [3:09]
7. Let's Start the New Year Right" [6:19]
8. A New Partner [3:29]
9. In Disguise [3:30]
10. "Abraham" [5:46]
11. "Be Careful, It's My Heart" [6:38]
12. "I Can't Tell a Lie" [6:38]
13. "Easter Parade" [3:42]
14. "Song of Freedom" [3:11]
15. "Let's Say It With Firecrackers" [7:49]
16. "Plenty to Be Thankful For" [6:24]
17. Lights, Camera, Action [4:52]
18. Happy New Year (End Titles) [8:06]

the cast includes:
Bing Crosby ... Jim Hardy
Fred Astaire ... Ted Hanover
Marjorie Reynolds ... Linda Mason
Virginia Dale ... Lila Dixon
Walter Abel ... Danny Reed
Louise Beavers ... Mamie
Irving Bacon ... Gus
Marek Windheim ... François
James Bell ... Dunbar
John Gallaudet ... Parker
Shelby Bacon ... Vanderbilt

BIOS:
Bing Crosby (aka: Harry Lillis Crosby)
Date of Birth: 2 May 1903 - Tacoma, Washington
Date of Death: 14 October 1977 - Madrid, Spain

2. Fred Astaire (aka: Frederic Austerlitz Jr)
Date of Birth: 10 May 1899 - Omaha, Nebraska
Date of Death: 22 June 1987 - Los Angeles, California

SPECIAL FEATURES:
1. A couple of song and dance men; An intimate retrospective of Bing Crosby and Fred Astaire
on interview with Ava Astaire-McKenzie;
2 All singing - All dancing; Experience the making of the unforgettable song and dance numbers of Holiday Inn; ;
3. Audio commentary; Feature length audio commentary by film historian Ken Barnes with archive audio comments
by Bing Crosby, Fred Astaire and John Scott Trotter.
4. Original theatrical trailer
5. Coloring a Classic: With the help of Jan Mucklestone personal sketch artist of Edith Head.
6. Music Soundtrack: 12 classic Irving Berlin tunes from the original soundtrack

Great job by Paramount Pictures and released by Universal ---The conversion of color is done by Legend Films, which has colorized a number of Shirley Temple films --- The results are remarkable. If you'd never seen a Technicolor film, you'd think "Holiday Inn" was shot in color --- looking forward to more high quality titles from their film market --- order your copy now from Amazon where there are plenty of copies available on DVD, stay tuned once again for top notch releases --- where they are experts in releasing long forgotten films and treasures to the collector.

Total Time: 101 mins on DVD ~ Paramount Pictures ~ (10/14/2008)

In the last year, Jack Bauer (Kiefer Sutherland) has seen the world. No, he's not on vacation; he's running from a subpoena calling him to testify before Congress about his use of torture over the years.

Most recently, he's landed in the African country of Sengala where he's helping a friend named Carl Benton (Robert Carlyle) with his school for orphaned boys. When the subpoena catches up with him, Jack plans to move on. But before he can, the rebels make a play for the boys, planning to force them into becoming soldiers in their bid to over throw the government.

Meanwhile, back in the States, the first female President, Allison Taylor (Cherry Jones) is about to be sworn in. While she clashes with outgoing President Daniels (Powers Boothe) over the situation in Sengala, her son is approached by a friend wanting help with a sticky situation at his job as a stock broker.

What does that have to do with Jack's situation? And can Jack get the boys to safety?

This TV movie was created to bridge the gap between the disappointing sixth season and the delayed (due to the writer's strike) seventh season. It does a good job of setting things in motion, but as such it feels incomplete to me. Normally, the first episode of every season is slow as we catch up with our characters. Here, that takes up too much of the time. The happenings back in Washington DC were interesting, but they didn't seem to do anything but set up storylines for season seven. And, in a show known for its twists, this movie was fairly predictable. There was only one real twist.

Now, being a 24 fan, I won't say I was completely disappointed. The action here seemed better than what we got last season. Jack also seems to be more on an even keel, which might help. And I was certainly entertained the entire time.

And for those wondering, outside of a brief prologue, the events do occur in real time.

The threads set in motion here could be interesting once next season premiers. And fans of the TV show will certainly enjoy it. I know I did. But this isn't the best the franchise has to offer.

I've been meaning to see this 2007 award-winning film for a long time. I'm glad I finally did.

This is a comedy but it is more than that. It is a heartwarming story of an off-beat and lovable 16-year old girl who becomes pregnant. She is exceptionally wise and savvy with one of the most lovable personalities I have ever seen on the scene. Ellen Page is cast in this role and is absolutely perfect for the part. I don't think any other actor could have done as well. I applaud her performance and want to just keep applauding.

The screenplay is wonderful too and a great vehicle to showcase her acting. It is heartwarming and not maudlin as we share her experiences with her understanding family and the prospective adoptive parents who she interviews and bonds with. There is also good upbeat music throughout which supports the theme of the story.

Yes, there are a few bumps along the way. Her boyfriend invites a different girl to the prom. The prospective adoptive father becomes enamored with Juno romantically. She has to deal with her own bulging body and the stares of her classmates. And there are times that her situation seems too much of a burden for her.

This is a really fine film and I highly recommend it for everyone. Enjoy!

Monogram Pictures presents "RAINBOW OVER THE RANGE" (29 July 1940) (58 mins/B&W) -- Tex Ritter was an American country singer and actor --- From his very first film in 1936 through some of his best loved singing Westerns of the mid '40s, he gave the American public some of the best B-Westerns of that era --- Ritter also worked on various radio programs --- In 1932, he starred on the WOR Radio show The Lone Star Rangers, which was New York's first broadcast western --- He sang songs and told tales of the Old West --- Ritter wrote and starred in Cowboy Tom's Roundup on WINS Radio in New York in 1933 --- This daily children's cowboy radio program aired over three stations on the East Coast for three years --- These shows marked the beginning of Ritter's popularity in radio, which paved the way for his upcoming singing career --- He also performed on the radio show WHN Barndance and sang on NBC Radio --- He appeared in several radio dramas, including CBS's "Bobby Benson's Adventures" and "Death Valley Days".

Ritter began recording for American Record Company (Columbia Records) in 1933 --- His first released recording was "Goodbye Ole Paint", also recorded "Rye Whiskey" same label --- In 1935, he signed with Decca Records, where he recorded his first original recordings, "Sam Hall" and "Get Along Little Dogie."

In 1936, he moved to Los Angeles, California --- His motion picture debut was in "Song Of The Gringo" (1936) for Grand National Pictures --- He starred in twelve movies for Grand National, "B" grade Westerns, love that art deco "Grand National Pictures" animated clock logo at the start and finish of the movie --- which included "Tex Rides with the Boy Scouts" (1937), and "Trouble In Texas" (1937) co-starring Rita Hayworth (then known as Rita Cansino). (From Wikipedia, the free encyclopedia)

Under the production staff of:
Albert Herman - Director
Edward F. Finney - Producer
Roland Lynch - Screenwriter
Robert Merton - Screenwriter
Roger Merton - Screenwriter
Robert Emmett Tansey - Screenwriter
Marcel Le Picard - Cinematographer
Fleming Allen - Songwriter
Garland Edmundson - Songwriter
Johnny Lange - Songwriter
Lew Porter - Songwriter
Frank Sanucci - Musical Direction/Supervision / Composer (Music Score)
Art Wilcox - Composer (Music Score)
Fred Bain - Editor
Glen Glenn - Sound/Sound Designer

Our story line and plot, Tex Reed (Tex Ritter) is a U.S. Marshal coming to the aid of a beleaguered schoolmarm --- Ritter and his sidekick Slim Chance (Slim Andrews) discover that the only school in the valley is threatened with closure by town boss Jim Rader (James Pierce) --- Is Rader also behind the rustlings --- Can our hero Ritter stop his skullduggery with his flying fists and fast guns --- This was the sixth out of nine Monogram oaters --- Tex Ritter oater featuring his future wife Dorothy Fay --- The sagebrush tale was filmed in and around Prescott, AZ, including Watson Lake, Granite Dells, and the movie studio Producers Pictures Corporation (soon to be PRC) built at what is now Watson Lake Park. After making only two pictures at their new Prescott studio, PPC first rented it to Monogram, and then sold it to the City of Prescott --- Listed third billing on the title credit is Warner Richmond, yet he is barely in the beginning of the film --- During early shooting he was thrown by his horse, landing on the granite rocks, suffering a fractured skull --- Check out this catchy tune under the credits: "My Tonto Basin Home" by Garland Edmundson.

the cast includes
Tex Ritter ... Tex Reed
White Flash ... Tex's Horse
Slim Andrews ... Slim Chance (as 'Arkansas Slim' Andrews)
Dorothy Fay ... Mary Manners
Gene Alsace ... Henchman Bart
Warner Richmond ... Gene Griffin
James Pierce ... Jim Rader (as Jim Pierce)
Chuck Morrison ... Buck
Dennis Moore ... Jeff Manners
Art Wilcox ... Musician
Art Wilcox and His Arizona Rangers ... Band
Charles Wilcox ... Musician
Ted Bronson ... Musician
Garland Edmundson ... Musician
Zoebra McLain Jackson ... Singer (as Joleen McLain)
Pinkie Jackson ... Musician

BIOS:
Tex Ritter (aka: Woodward Maurice Ritter)
Date of Birth: 12 January 1905 - Murvaul, Texas
Date of Death: 2 January 1974 - Nashville, Tennessee

TEX RITTER WESTERN DOUBLE FEATURE FROM VCI ENTERTAINMENT:
Vol 1: Marshal of Gunsmoke & Oklahoma Raiders (VCI #7204)
Vol.2: Arizona Days & Arizona Trail (VCI #7294)
Vol 3: Rollin' Plains & Song of the Gringo (VCI #7302)

CLASSIC WESTERNS - TEX RITTER FOUR FEATURE FROM VCI ENTERTAINMENT:
Marshal of Gunsmoke; Oklahoma Raiders; Arizona Days & Trouble In Texas

Hats off and thanks to Les Adams (collector/guideslines for character identification), Chuck Anderson (Webmaster: The Old Corral/B-Westerns.Com), Boyd Magers (Western Clippings), Bobby J. Copeland (author of "Trail Talk"), Rhonda Lemons (Empire Publishing Inc), Bob Nareau (author of "The Real Bob Steele") and Trevor Scott (Down Under DVD Com) as they have rekindled my interest once again for Film Noir, B-Westerns and Serials --- looking forward to more high quality releases from the vintage serial era of the '30s & '40s and B-Westerns --- order your copy now from Amazon or VCI Entertainment where there are plenty of copies available on DVD --- stay tuned once again for top notch action mixed with musical adventure --- if you enjoyed this title, why not check out Amazon or VCI where they are experts in releasing B-Westerns --- all my heroes have been cowboys!

Total Time: 58 mins on DVD ~ Monogram Pictures ~ (5/27/2008)

Street wise teen Casey (Jodie Foster) is living by her wits in America. She's an orphan who has found a place to crash. But that changes when con-man Bundage (Leo McKern) shows up. He thinks that Casey is a dead ringer for an English heiress and whisks her off to England.

Of course, there's a bigger reason for Bundage's plan. Seems there's a hidden fortune in gold in the mansion, and he wants Casey to follow the clues and find it for him.

Once Casey gets to Candleshoe, she grows to love Lady St. Edmund (Helen Hayes), her supposed grandmother. Even butler Priory (David Niven) and the orphans who live there grow on her. But they are having money problems of their own. Can Casey find the gold? What will she do with it if she can?

I remembered liking this movie as a kid, but I hadn't seen it in a long time. Turns out, it's still not a bad little film. True, it's definitely oriented toward kids with several slapstick scenes. Frankly, I didn't like Casey at the beginning, but she grew on me as the movie progressed. And there are several moments that scream out the 70's, but it really holds up pretty well today.

The story is fairly predictable, in fact, I wanted to shout one thing to the characters early on. But once it gets going, you come to care for the characters, so watching it isn't a chore.

While their parents might not care for the story, kids will enjoy it. Get it for them. And you might even find yourself enjoying the nostalgia as well.

Steve Kroft has had a special relationship with President elect Obama, which began a few days after Obama announced his very unlikely candidacy for the Presidency. As Charlie Rose explains it the good interviewer is the one who asks the persons those questions that lead them to speak what is really on their heart and mind. Kroft has done this with Obama and so gained his trust. As Kroft sees it Barack Obama is an unusual politician in that he always tries to give an answer to the question he is asked. He is extremely intelligent and makes an effort to truly respond to the other. Kroft engages in an activity well- known in the Media by now, great-praising of President elect Obama. The surprising thing is that it does not seem like flattery but rather something well- deserved. Kroft also says Obama has shown an ability to recognize his own mistakes, correct course when necessary. His method of decision involves getting the best minds together on the subject he can , letting them battle it out, and then trying to find an answer which will in some way satisfy them all. So far in choosing people for his Administration he has made the effort to get the very best. When Kroft is asked if he has any doubts or worries he does not speak about Obama's character, but rather about something so apparent, the enormous problems both domestic and international which the President- elect will contend with.
Still he gives a sense, one which the American people seem to share, that President Obama is the right man, one of extraordinary gifts and qualities, for the job at this time.

VCI Entertainment and Kit Parker Films presents "FORGOTTEN NOIR & CRIME COLLECTION 4" (1949-1951) --- (Dolby digitally remastered) --- Film noir has sources not only in cinema but other artistic mediums as well...the low-key lighting schemes commonly linked with the classic mode are in the tradition of chiaroscuro and tenebrism, techniques using high contrasts of light and dark developed by 15th- and 16th-century painters associated with Mannerism and the Baroque --- film noir's aesthetics are deeply influenced by German Expressionism, a cinematic movement of the 1910s and 1920s closely related to contemporaneous developments in theater, photography, painting, scultpture, and architecture --- opportunities offered by the booming Hollywood film industry and, later, the threat of growing Nazi power led to the emigration of many important film artists working in Germany who had either been directly involved in the Expressionist movement or studied with its practitioners --- Directors such as Fritz Lang, Robert Siodmak, and Michael Curtiz brought dramatic lighting techniques and a psychologically expressive approach to mise-en-scène with them to Hollywood, where they would make some of the most famous of classic noirs. Lang's 1931 masterwork, the German M, is among the first major crime films of the sound era to join a characteristically noirish visual style with a noir-type plot, one in which the protagonist is a criminal (as are his most successful pursuers). M was also the occasion for the first star performance by Peter Lorre, who would go on to act in several formative American noirs of the classic era ... featuring top performances from the '40s and '50s with outstanding drama and screenplays, along with a wonderful cast and supporting actors to bring it all together --- another winner from the vaults of almost forgotten film noir gems

DISC ONE (1) - KPF 595 - Volume 10:
"Counterspy Meets Scotland Yard" (21 November 1950) (67 mins/B&W) - Seymour Friedman (Director) -- Cast Includes: Howard St. John, Ron Randell, Amanda Blake, Lewis Martin, June Vincent & John Doucette -- Story line, Another "David Harding, Counterspy" series, Howard St. John stars as Harding travels to England joining forces with Scotland Yard --- Operative Simon Langton (Ron Randell) and Harding attempts to break up a spy ring that uses hypnosis as one of its "weapons." --- Could this also be a future tool for smokers to quit smoking --- Watch for the future Miss Kitty Amanda Blake bring some class to this noir.

"Radar Secret Service" (28 January 1950) (59 mins/B&W) - Sam Newfield (Director) -- Cast includes: John Howard, Adele Jergens, Tom Neal, Myrna Dell, Sid Melton & Ralph Byrd -- Storyline, G-men track stolen Uranium-238 shipment using new radar technology; they also recruit the girlfriend of a gang member as an informant --- Radar helps, but it takes an undercover blonde to really get the goods on criminal masterminds, this could be a trend.

"Motor Patrol" (12 May 1950) (67 mins/B&W) - Sam Newfield (Director) -- Cast includes: Don Castle, Jane Nigh, William Henry, Gwen O'Connor, Onslow Stevens, Reed Hadley, Richard Travis & Sid Melton -- Story line, Don Castle as Ken, a rookie policeman plays his part to the hilt --- Take note that when his fiancee's brother is killed by car thieves, Ken volunteers to bring in the killers --- What happens when Ken poses as a big-city racketeer and infiltrates the gang --- The high point is the feeling this is a documentary dramatizing real-life police procedure.

DISC TWO (2) - KPF 596 - Volume 11:
"Mr. District Attorney" (27 March 1941) (69 mins/B&W) - William Morgan (Director) - Cast includes: Dennis O'Keefe, Florence Rice, Peter Lorre, Stanley Ridges & Minor Watson -- Story line, Republic's release follows for laughs the original radio segments, Dennis O'Keefe stars as P. Cadwallader Jones, a guileless assistant DA straight out of Harvard --- Goes up against the master criminal Mr. Hyde (Peter Lorre). Florence Rice, daughter of sports columnist Grantland Rice, is appropriately cast as a newspaper sob sister --- Watch as the fun gets better with each scene that follows.

"Western Pacific Agent" (10 April 1950) (65 mins/B&W) - Sam Newfield (Director) - Cast includes: Kent Taylor, Sheila Ryan, Robert Lowery, Mickey Knox, Morris Carnovsky & Sid Melton - Story line, Mickey Knox is a fantastic cold-blooded killer; Kent Taylor brings his usual touch of class to the title role --- Sid Melton, a Lippert regular, is added for comic relief as a near-sighted mail-order detective school graduate --- Robert Lowery as a local railroad employee who is an early victim, and a very moving performance by Morris Carnovsky as Knox's father, who knows what his son has become yet still loves him and believes he can change, some touching moments.

"Highway 13" (28 December 1948) (58 mins/B&W) - William Berke (Director) - Cast includes: Robert Lowery, Pamela Blake, Michael Whalen & Lyle Talbot -- Story line, Robert Lowery plays Hank Wilson, an honest truck driver who suspects foul play after a series of trucking accidents --- Lowery joins forces with undercover detective George Montgomery (Gaylord Pendleton) --- Lowery finds himself in hot water as the villains who hope to put a major transportation firm out of business when Montgomery is murdered --- The plot thickens as we watch this exciting little film unfold.

DISC THREE (3) - KPF 597 - Volume 12:
"Treasure of Monte Cristo" (27 August 1949) (76 mins/B&W) - William Berke (Director) - Cast includes: Glenn Langan, Adele Jergens, Steve Brodie, Bobby Jordan, Michael Whalen, George Davis, Margia Dean & Sid Melton - Story line, This modern tale borrows from an old story in establishing Langan, who works on a ship that docks in San Francisco, as a descendant of the Count of Monte Cristo --- Crooked Lawyer Brodie sets up a scheme to get at the treasure of Langan's famed ancestor, and using the beautiful blonde Jergens, tries to lure Langan into a trap --- Langan proves worthy of his heritage, using a gun instead of a sword, and wins legitimately both his forturne and Jergens --- Steve Brodie is at his evil best.

"Roaring City" (4 May 1951) (59 mins/B&W) - William Berke (Director) - Cast includes:Hugh Beaumont, Edward Brophy, Richard Travis, Joan Valerie & Anthony Warde -- Story line, Hugh Beaumont, who previously had played Michael Shayne for a series of detective films at PRC in the 1946-47 season put the trench-coat back on for a series of three hour-long feature films as detective Denny O'Brien, released in short succession through Lippert Pictures in 1951 --- This particular film has two stories: one of a fixed fight that O'Brien is hired to bet on, and the other where O'Brien is hired to pose as a woman's husband for an evening --- Beaumont fans will NOT be disappointed --- The other two Denny O'Brien films are DANGER ZONE and PIER 23, both of which I also recommend to detective film fans who do not mind bargain-basement productions in the PRC/Lippert vein --- These are directed by the ever-reliable William Berke.

"Sky Liner" (28 July 1949) (61 mins/B&W) - William Berke (Director) - Cast includes: Richard Travis, Pamela Blake, Rochelle Hudson, Steven Geray & Greg McClure -- Story line, stars Richard Travis as FBI agent Steve Blair --- Here's the plot, as a government courier is murdered by a foreign spy during a transcontinental flight --- Blair manages to collar the spy, who is then promptly murdered himself --- Blair is now forced to play detective, checking out the guilty members from the passenger list --- Much suspense and who-dun-it went into this production, which in the final scenes pays off.

Hats off and thanks to Robert Blair and his staff at VCI Entertainment --- VCI was named in Variety and Hollywood Reporter as the first company to produce and release motion pictures directly to the home marketplace --- order your copy now from Amazon or VCI Entertainment where there are plenty of copies available on DVD, stay tuned once again for top notch releases --- VCI are experts in releasing long forgotten films and treasures to the collector -- looking forward to more Nostalgic Collections.

Total Time: 575 mins on DVD ~ VCI Home Video KPF-601 ~ (11/18/2008)

"Wall-E," which is one of Pixar's last films for Disney, is an absolute masterpiece -- a heartwarming, lively, funny film with a deadly serious message about the dangers of unconstrained mass consumerism, and a glimmer for hope on what may be a dying planet. You probably know the basic outlines of the plot -- Wall-E is the last of a series of small robot trash compactors. left behind to clean up Earth as the frightened remnants of the human race flee into space, to avoid the fallout from their mindless trashing of the planet. Almost by accident he catches up with the humans and finds them flabby and apathetic, each one permanently plugged into their personal entertainment/life management device, and utterly unaware of anything happening in the physical world.

What Wall-E discovers, though, is that once the people become unplugged -- or are reached out to in any meaningful way -- their humanity and compassionate spirit emerges with surprising strength. Left empty by a consumer culture that makes everything "easy," the humans are ready for real-life experience and real-life connections, and are unafraid to make sacrifices to live, rather than simply exist. The skill with which the Pixar folks tell this story -- and tell it in a way that is not noxious or saccharine -- is astounding. These artists are at the peak of their form, and seem headed for even better things to come.

As far as the reviews, etc., that found this film too bleak, or perhaps unsuitable for younger viewers, I'd say it's certainly worth a preliminary viewing by concerned parents, but it's not really as depressing or dark as early critics made out. It's certainly not as stressful a film as, say, "Little Nemo," which I do *not* find appropriate for really young viewers. It's worth previewing -- you won't regret seeing it one more time, and it will prepare you for any discussions you might want to have about with your kids about the environmental and social themes of the film. All in all, this is a highly entertaining movie with a substantive message, but it's not preachy or depressing. You'll love it.. your kids will, too. (Joe Sixpack, ReadThatAgain children's media reviews)

In one segment Senator Shelby and Representative Frank debate as to whether the wise action is to rescue GM, Ford, and Chrysler or to let them go to Chapter Eleven bankruptcy, and then restructuring. Shelby believes the giving of twenty- five billion to the car industry was a mistake. He is in principle against such rescues and concludes that the rescue of Chrysler even though it brought it thirty quite good years of continued existence, was a mistake. Representative Frank seems more worried about the jobs that will be lost and is for rescuing the Industry.
In the other segment NY Times Journalist Andrew Ross Sorkin argues that better Chapter Eleven now , and bankruptcy reorganization rather than Chapter Seven liquidation later. Auto industry expert David Cole vociferously disagrees, making a jibe at those pundits far away from the industry that want to do it in. He says that the Industry has done important restructuring already, and would be okay had they not been hit by the global credit crisis. He suggests twenty- five billion ( A stretch) to fifty billion (Surely enough) of Federal money will give it the bridging loan it needs to see it turn itself around within a couple of years. He says that there is a lot of pent- up demand from those who have been holding off buying new cars because of the climate of uncertainty.
I thought Charlie Rose was quite considerate of David Cole in his closing remarks. He saw how passionate and upset the guy was, and gave him a number of encouraging words.
Nothing however can conceal the sense that all these economic shows give, of no one really knowing what to do, as the situation gets worse and worse and worse.

Yoga Journal's Yoga for Morning Noon & Night offers three short (20 minutes each) yoga sequences, each designed to be used at a different time of the day. The practices are led by yoga instructor and Yoga Journal contributing editor Jason Crandell, who provides instruction via voiceover; he also demonstrates the postures along with two additional background exercisers. Each sequence begins with a very brief introduction by Crandell and then flows right into the practice, which features a sparse studio with gentle, non-obtrusive music playing in the background. Although Crandell cues all of the poses in English, both the English and the Sanskrit names appear on screen briefly at the start of each new posture.

The Main Menu of the DVD allows you to select each practice individually or to choose a "Play All" option. I have described each sequence in greater detail below:

MORNING
This practice is intended to boost energy, but it is designed to allow the body to awaken gradually. The practice starts on the floor in child's pose and moves on to shoulder stretches, a simple seated twist, and cat/cow stretches for the spine. Down dog and standing forward bend follow, and then eagle arms in chair pose provides an additional stretch for the shoulders. Next comes a series of sun salutations: 2 half sun salutations, 2 full sun salutations, and then several additional rounds adding the mild backbends locust and cobra. This is followed by a series of standing postures (warrior 2, triangle, side angle), first performed all on one side, then the other. Th practice concludes with wide-angle standing forward bend and mountain pose.

NOON
The Noon practice is designed to foster strength; Crandell states that it is the most vigorous of the three practices. It opens with three rounds of sun salutations followed by eagle arms to stretch the shoulders. Next comes an additional three rounds of sun salutations, this time ending with warrior 1 and revolved warrior. After using one additional sun salutation to transition to the floor, Crandell flows through a series of mild backbends, including locust, cobra, bow, and upright pigeon. Downward dog is used as a transition onto the back for bridge pose, and then this practice concludes with thread the needle and savasana.

NIGHT. This final practice is designed to reduce stress. It begins on the floor for a reclined leg stretch using a strap and then moves into a reclined twist. All of the remaining postures are seated, although down dog is performed in between some of the poses. The first series includes a simple twist, a side bend, and cross-legged forward bend. Next is cow face pose (legs only), half lord of the fishes, and cobbler's pose. The final seated postures are forward bends, including head-to-knee pose (adding a twist), revolved side angle, and wide angle forward bend. This practice ends with a brief seated meditation. Crandell says that this practice will help to prepare your body for sleep, but I would suggest doing this more as an after-work, evening practice rather than a pre-bed one.

Overall, these are three well-done, well-designed practices. In contrast to Yoga Journal's other recent release, Yoga for Well Being, I felt that these practices met their stated goals of providing options to match the time of day. Crandell does a nice job with the voiceover instruction, although I would have liked to have seen mirrored cuing, as yoga practices in particular can be very difficult to follow when the instructor is not mirroring you. As stated on the DVD case, these practices would be appropriate for beginning and intermediate students. However, those brand new to yoga would likely require more instruction and details on form than Crandell provides. Finally, the DVD offers a short (3-minute) bonus interview in which Crandell describes his own history with back injury, anxiety, and insomnia.

Overall, I liked this DVD and think that it will particularly appeal to those struggling to find ways to fit yoga into their day. Recommended with a final rating of 4 1/2 stars.

Mitzi Gaynor had the talent to be a big star in Hollywood. After her spectacular performance in "South Pacific" everyone expected greater things, but instead of being the breakthrough launching pad for superstardom, it ended up being the culmination of her career in film. Yes, she made a few more movies, but nothing that built her star power. Maybe it was the change in fashion and fewer musicals. I don't know. When you look at her ability to really dance, to really since, and she could actually act, well, how could she not become a superstar? And she did, but not in Hollywood, but in Las Vegas.

Her abilities to sing, dance, be funny, engage an audience, and her boundless energy were perfect for a long Vegas career. Then in 1967 she did an unlikely number, "Georgy Girl" on the 39th Academy Awards broadcast. It stopped the show. Someone realized they had to use this huge talent on TV and they gave her a special in 1968. When it was a hit, she got a second and then a third annual special. All in all, there were ten of these wonderful extravaganzas. Bob Mackie gave her perfect costumes to show off both her body and her movement and the numbers were all about showing off her strengths. For a decade people loved them.

The main part of this DVD is a series of cuts from those shows, commentary by Mitzi and her fellow stars, friends, and industry admirers. Well, a selection from that big universe. In the extras, you get Mitzi and Bob Mackie looking at the designs he made for her and talking about them, Mitzi talking about being on the Ed Sullivan show with the Beatles when she was a huge star and they were just becoming known and how wonderful they were. Two clips of Mitzi as "The Kid", a couple of full length comedy sketches from her specials and 8 full length dance numbers. These are not set up to be serious "art", they are about having fun. But the dancing and singing is top notch stuff.

It also appears that she is going to tour in 2009. I have no idea what it will be, but I am sure he fans will be quite delighted to see her and hear from her. If you don't know this great talent, which would blow almost anyone today off the boards, this disk is a great intro. And if you do know her, this disk is a great delight.

Strongly recommended.

Reviewed by Craig Matteson, Ann Arbor, MI

Hugo Dill (Benny Hill) dreams of being a private detective, and when he wins a bloodhound and 100 pounds in a contest, it seems like his time to become one has finally arrived. Making friends (or so he imagines) with Detective-Inspector Hancock, and making the acquaintance of the beautiful Frankie Mayne, he starts his career. However, when a group of spies decide they can use Dill as a dupe, he quickly finds himself in over his head. Now, Dill must stay clear of the police, and stop the spies' evil machinations. Can he do it? He'll get by with a little help from his friends!

I grew up watching Benny Hill - a British master of burlesque comedy. This 1956 movie was his first starring role on the big screen, and he played it for all he was worth. Admittedly, this is lighter fare than you might be used to with Benny Hill - there's no head slapping, and no semi-naked ladies, though there is a chase scene. But, what there is is a lot of funny situations and a highly entertaining story.

If you are a fan of old movies, especially old British movies, like I am, then I really think that you will like this movie. I highly recommend it!

Oh by the way, there is a great "bonus" on this DVD - a thirty minute "silent movie." This 1969 film features Benny and David Battley (remember the teacher from Willie Wonka?) as incompetent waiters that some poor family hires to run their party. Their hijinks quickly turn the party into a disaster...along with their employer's house! Watch it, and enjoy!

There are a few flaws in this otherwise successful film that is in fact as frightening as the trailer makes it out to be. Not being one for the constant barrage of thriller films (the 'Saw' Series, the endless vampire variations, 'I know what you did...', etc) this viewer hesitantly watched what could have been yet another exercise in blood and gore. But surprise! The story (based on a true incident in 2005 as outlined by an off camera narrator discussing the number of violent deaths in America each year before the film opens) is tight, credible, and deals more with the emotion of terror of the unknown than images of gore. Kudos to writer/director Bryan Bertino for finding the core of the macabre. And it is true!

James Hoyt (Scott Speedman) is driving his girlfriend Kristen MacKay (Liv Tyler) to the isolated summer home in the woods that James and his best friend Mike (Glenn Howerton) had earlier decorated with rose petals, candles and champagne in preparation for what was supposed to be a celebration of a marriage proposal. Sadness prevails in the car as Kristen has turned James' proposal down. They quietly enter the decorated house, and almost immediately begin to hear sounds outside and a door knock by a young girl apparently looking for a person not living in this house. Kristen asks James to go out and get her cigarettes and the creepy action begins. Three strangers each in masks terrify Kristen with noises, secretly entering the house, and creating a tense atmosphere until James returns. At this point the story becomes an almost unbearable sequence of events: it is clear the strangers are out to murder James and Kristen. Bound and beaten by the three strangers Kristen asks 'Why us? Why do you want to kill us?' and the simple answer from of the strangers is 'Because you're home'. The ending of the film could have been better handled by someone telling us the results of the night - the follow up to this true story. But instead Bertino elects to keep the level of terror high.

Peter Sova (cinematographer) finds the right amount of shadow and dark to keep us guessing and the musical score by tomandandy is pitch perfect. This is a fine little film, but be prepared to jump in a few spots...and keep the lights on! Grady Harp, November 08

This twenty- minute segment has historian Eric Foner and journalists Jonathan Alter and Mark Halperin talking about the Obama transition to and early days of the Presidency and its comparison with Lincoln's and FDR's. All of them agree that Obama so far has finessed the job of transition. They also agree that Obama must act rapidly in the first hundred days of his Presidency as FDR did. The opportunity of the first days they all point out is a special one before Congress puts obstacles in the way. Alter says Obama is like Roosevelt in mastering a new media, the Internet as Roosevelt mastered Radio talks. Halperin discusses among other things, the Hilary Clinton appointment and refers to the Doris Kearns Goodwin idea that Lincoln put his foremost rivals, the best men in the country in his Cabinet. They all speak about Obama's admiration for Lincoln .Foner points out that like Lincoln Obama made his mark as speechmaker and that too like Lincoln he is a master politician. Foner warns against expecting everything to be resolved in a quick time - frame and points out that Lincoln's greatest accomplishments came well after the first one- hundred days.
This is a top -flight discussion combining real historical knowledge with a most - up-to - date picture of American realities.
One might however take objection to one remark made by the usually super- accurate Mark Halperin. He says the Economic Crisis has largely not been felt by the greatest share of the population. If that is the case one wonders why at this point already so many of the economic indicators have 'headed south'.

What else can I say about this movie that hasn't already been said? It reminds me of the comedies that Buster Keaton did and what he might have done with the technology we have now--very little dialog during the first half but full of character and emotion. Wall-E is the last of his kind; a robot designed to clean up an Earth that we have ruined. The rest of humanity has taken to the stars until Earth is cleaned up. 700 years later, Wall-E is still at it (which gives you an idea about how bad it was)when EVE arrives--another robot unit designed to find evidence of life and return it to the Axiom the ship housing our overweight, consumer obsessed descendants.

The extras on the one disc version are quite good (I wouldn't spring for the three disc and as much abuse as this disc will get in my home I wouldn't spring for the pricy Blu-ray either)including "Presto" a delightful short that echoes the best Bugs Bunny/Elmer Fudd cartoons that Warner produced involving a rabbit, a magician and an act that has gone awry. "Burn-E" focuses on one of the service robots that we see in the movie. It's quite clever if less inspired.

Other special features include deleted scenes, a "sneak peak" of "Wall-E's Tour of the Universe", a featurette on the sound design by Ben Burtt (who also did Wall-E's voice and created all of those wonderful sound effects for R2D2) as well as a commentary track by Director Andrew Stanton that is quite informative covering everything from the conception/changes to characters and storylines that they chose not to pursue.

The 3 disc set evidently has a full documentary on Pixar and its history made by Leslie Iwerks the goddaughter of the great Disney animation pioneer Ub Iwerks.

The DVD transfer looks wonderful.

The packaging sucks. I understand that it IS important to send a message with eco-friendly packaging but the packaging on this looks like it was designed by someone who failed design school. THe disc will float around inside, get scratched (ours already was by the way)when it could just as easily been kept the same IF a small piece of plastic had been put (or even an adhesive spindle for the DVD)inside the packaging. It's a mixed message--a good movie with horrible packaging that will make sure that the disc is damaged with repeated use. It's a good thing I didn't spring for the more expensive set.

Four stars for the movie, 1 star for the packaging. I'd suggest renting it if you want to see it once and then if you decide to buy it you might as well purchase one of those wasteful ecologically unsound DVD holders at a local retailer to store it in (the other option is a DVD plastic envelope).

I found this DVD to be a fascinating viewing experience. George Balanchine was born in St. Petersburg in 1904. His parents were Georgian and his father was a well known composer and his mother was devoted to the arts. At nine he enrolled at the Imperial Ballet, which was disbanded after the Soviets took over. He made his living playing the piano anywhere he could earn some money. He eventually returned to formal study of both music and dance. After his graduation he began his professional work in dance. He joined Diaghilev's Ballets Russes in 1924 and continued to develop his art. Balanchine came to America in 1934 and formed the American Ballet in 1935. After various other companies and incarnations the New York City Ballet emerged in 1948. He returned to St. Petersburg in 1962 (and I believe also in 1972 - but I am not sure). The great choreographer died in 1983. He was often married and divorced and had passionate and publicized affairs with many dancers. Yet, he had no children. But he left behind a rich legacy of glorious ballets and this film is a great presentation of those dancers who care to keep that legacy alive and part of our living artistic traditions and I bless them for it.

Peter Martins became the artistic leader of the New York City Ballet after his own career as a dancer with the Royal Danish Ballet and the company he now leads. He now choreographs new ballets, teaches dancers, and does all it takes to keep the company alive and performing at a very high level. I love his pride in the legacy he both inherited and helped create with Balanchine, Robbins, and others. He notes that the present company dances as well or even better than when the dances were first created.

This movie shows the companies return to St. Petersburg in 2003. We see this as a part of the company rather than as the audience. The dancers work hard, struggle to get the dances right, have physical and emotional problems, and end up dancing gloriously. I enjoyed the views from the wings where we see what the dancers are doing in preparing their entrances. We even hear the sound of the dancers on the stage, which is very different than what the audience hears. The sounds of the footsteps, the rustling of the costumes, the breathing caused by the tremendous exertion (and yet controlled), and everything else are all familiar to anyone who has performed on stage.

We also get to hear the thoughts, concerns, and see the work of the other professional artists who help the dancers prepare and get ready for their performances. And, of course, we get interviews with many of the principle dancers and even hear some from the company. I also enjoyed hearing from the Russian dancers. Independently, they all seemed to admire the American dancers' leg movements, but thought their arm positions were somewhat less than theirs. They also commented on how fast the Americans danced in rehearsals and classes. The audiences who were interviewed loved the American dancing. All the Russians commented on how wonderfully surprised they were at the quality of the dancing by the New York City Ballet.

We get to see some works by Balanchine and a work each by Jerome Robbins and Peter Martins. This is not a film of complete performances. You get to see big pieces of the numbers, but you also get to see the other things I noted: what goes on in the wings, in the lobbies, and in the dressing rooms. We also get to see a performance by the wonderful conductor Valery Gergiev and hear his comments about performing with the NYC Ballet. All fascinating stuff.

Martins wisely notes that no one gets rich or famous from ballet. What you do get is bunions, a bad back, and joint problems. You have to love it and have a passion for it to do the art well and this film shows us a group of people who have that love and passion and I am so glad that it was captured on film to share with us.

Treat yourself to this DVD.

Reviewed by Craig Matteson, Ann Arbor, MI

The opening shot is of downtown New York City. Only these aren't normal buildings but towers of blocks of trash. WALL-E (voiced by beeps and Ben Burtt), our hero, is a glorified trash compactor who has made the mountains. As we follow him across the vast landscape, we learn that he is the last of his kind and that he is indeed on earth. Humans fled years ago because they bought into the commercialism of the Buy-n-Large stores that ruled the earth. The resulting garbage overran the planet.

But WALL-E is not a mindless robot. He is curious and collects bits and pieces of things that are still intact. At night, he takes these to his bunker where they are on display a la Ariel. His only companions are a cockroach and a video tape of Hello Dolly.

Into this world comes Eve (voiced by beeps and Elissa Knight). Eve is another robot but much more high tech. She is on a classified mission. WALL-E immediately falls for her. So much so, in fact, that when the spaceship returns to collect Eve, WALL-E tags along. Suddenly, the two find themselves caught up in an adventure with the future of mankind at stake. Can they save humanity?

This isn't quite Pixar's best, but it is very good. I mean, we've got robots who hardly speak as our main characters, yet we are completely rooting for them. And even though the dialogue is limited, these robots have personality. But it was the limited dialogue that got to me. I got tire of long stretches where the only words we heard were Wall-E and EVE calling each others' names, especially during the climax.

There are few characters here. Frankly, that makes sense due to the extra effort it takes to develop character and story without dialogue. And the story was a tad slow in spots, but it usually picked up about the time I was ready to move on.

There are some many cute and funny moments in the film. While most of these will appeal to the whole family, even those that kids wouldn't get are appropriate for all ages.

The animation is spectacular throughout, but this is especially true once we leave earth. There are some space shots that took my breath away.

There are several morals lurking just below the surface of the film. And you know what I appreciated abut them? They lurked just below the surface. Oh, they're hard to miss, but the story never stopped to lecture us.

While slow at times, I had a smile on my face by the time the film was over. And really, that's what it is all about.