Plot is a new slant on a backstage story. Bing Crosby is the crooner, Fred Astaire the hoofer, partnered with brunet and fickle Virginia Dale. Latter jilts Crosby for Astaire (who subsequently becomes No. 2 to a Texan millionaire) which thus leaves the frankly lazy Crosby to carry out his Holiday Inn idea on his own. The crooner has figured out there are some 15 holidays in the year and by operating a Connecticut roadhouse on those festive occasions only he can loaf the rest of the 340 days.

Thus are strung together these songs and ideas: ‘White Christmas’; ‘Let’s Start the New Year Right’; ‘Abraham’, a modern spiritual for Lincoln’s Birthday holiday; ‘Be Careful, It’s My Heart’ (St Valentine’s Day); ‘I Gotta Say I Love You, ‘Cause I Can’t Tell a Lie’ (Washington’s birthday); ‘Easter Parade’, of course; ‘I’m Singing a Song of Freedom’, wherein Crosby, attired as the Freedom Man (with a snatch of ‘Any Bonds Today?’) introduces himself as an American Troubadour.

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Mark Sandrich’s production and direction are more than half the success of the picture.

1942: Best Song (’White Christmas’).

Nominations: Best Original Story, Scoring of a Musical Picture

Introduction

The Chronicles of Narnia is a collection of well-known fantasy novels written by C. S. Lewis in the middle of the twentieth century. The series was about a group of children who found a portal into the world of Narnia and how they became engulfed in a massive battle between good and evil. The stories from Lewis’ novels have been adapted into television (both animated and live action), film, radio, and theater.

The most recent adaptation was the 2005 movie The Chronicles of Narnia: The Lion, The Witch and The Wardrobe, which was based upon the book in Lewis’ series of the same name. In April 2006, the movie was released on DVD in single- and two-disc versions. Both versions included the theatrical cut, while the two-disc collection’s edition included a second DVD of extras.

This review covers the extended edition of the movie, which also includes all of the extras found in the single- and two-disc versions, as well as two additional discs of exclusive content. It is also important to note that the extended edition will only be available in stores from its debut of December 12, 2006 to January 31, 2007. It’s a time limited release.

The Movie

The Chronicles of Narnia: The Lion, The Witch and The Wardrobe is an epic story set in a fantasy world called Narnia. The movie was directed by Andrew Adamson (Shrek). With “The Lion, The Witch and The Wardrobe”, Adamson does C. S. Lewis’ story justice by bringing it to life and at the same time keeping true to Lewis’ original story (or at least as much as I can remember). The movie was nominated (and won) several awards.

The story is set in World War II and is about the four Pevensie children, Peter (William Moseley), Susan (Anna Popplewell), Edmund (Skandar Keynes), and Lucy (Georgie Henly). When the war came to the children’s home town, they were sent to temporarily live with professor Kirke. In Kirke’s large manor, they found a gateway into the world of Narnia. In Narnia, the children fulfilled a prophecy that stated two sons of Adam and two daughters of Eve would appear to defeat the White Witch and restore goodness, joy, and happiness to the world.

For many years, the lands of Narnia had been covered in a cold, snowy darkness. The White Witch, a self-proclaimed Queen of Narnia, through fear and brute force took control of Narnia. To any who oppose her, she takes their lives by turning them into stone statues. Narnia has been waiting for the arrival of four special children to join Aslan, the true king, and his army in a massive battle of good against evil.

The first time I saw “The Lion, The Witch, and The Wardrobe”, I was in awe. I thought the movie was fantastic. Specifically, the movie incorporates drama, action, comedy, and suspense in such a manner that can only be described as grand. The story is just fun and exciting. I loved how Adamson represent Lewis’ original story in a way that was fun on so many levels and also true to the original story.

One aspect that makes “The Lion, The Witch and The Wardrobe” such a great film is its production values. The movie was put together very well, with a superior audio track that features vibrant sound effects, a musical score that helps give the scenes character, and vivid visual and special effects that bring the world of Narnia alive.

The characters are also handled well; roles such as Lucy, who is just so adorable and cute, Mr. Beaver, a goofy character who provides humor, Aslan, the strong and magnificent leader, and the White Witch, an ice cold performance that almost perfectly embodies evil. The roles are admirably filled and portray solid characters that help bring the story alive.

Overall, I was really enjoyed seeing “The Lion, The Witch and The Wardrobe” and seeing it again only reinstated how much I enjoyed the film. I thought it was a powerful representation of the Lewis’ work and I greatly look forward to the subsequent movies in the series.

For additional information about the movie, please refer to reviews written by Aaron Beierle and
Holly E. Ordway of the two-disc collector’s edition.

The Extended Edition

All in all, the extend edition provides a longer cut of the movie (approximately seven minutes worth of additional/extended footage), but the additional/extended portions give the movie very little in terms of substance. For instance, consider an extended scene where the camera shows the scenery a few seconds longer than the original cut. Such a change is what the extended version provides. The changes are so subtle that there is little effect to the movie as a whole.

For those who are purely considering to upgrade your single- or two-disc versions solely based on the value of the extended edition and its impact on the Narnia-journey, it might be best to keep your old discs. Bottom line, the extended edition’s seven minutes have very little bearing on the story. (Admittedly, there are a couple additions/extensions in the final battle scene that were a nice touch, but clearly not enough moments like these.)

I thought extended portion’s lack of influence was a shame, because, for instance, the extended cuts of the Lord of the Rings trilogy provided new, extended, and alternative scenes that really changed the overall flow of the movie. Instead, the only changes The Chronicles of Narnia: The Lion, The Witch and The Wardrobe get are so minor that the only effect it has is making the overall feature run longer. Again, the problem is that the majority of the changes are extended scenes with non-consequential elements (e.g., more shots of the snowy Narnia mountain side) that have no impact to the story. If anything, I was let down by how un-extended this extended edition was.

Here is a list of the differences between the original movie (OM) and the extended edition (EE). Please note that the list may not be complete in full. I detected the differences manually, watching the videos side-by-side using changes in audio and video as clues to differences. But, I am fairly confident I did not miss anything. Please note that the list contains massive spoilers to both versions of the film.

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CLICK HERE TO SKIP THE SPOILERS SECTION

SPOILERS

• The menus are different; the OM features shots of Narnia’s snowy mountainside while the EE has shots of Aslan’s camp.
• The EE begins with a different Walt Disney sequence (it is much flashier). It runs several seconds longer than the OM.
• In the beginning of the movie when Aunt Laurie sees the children off at the train station, the scene is extended. It has more shots of the characters, crowd, and setting. The goodbye is also extended with an alternative shot. The dialogue is the exact same.
• After the opening credits, just before the train arrives at Goosey Station, Lucy gives her stuffed toy (a dog) to Edmund. He gives it to the boy sitting across from him. Note this is an additional scene not found in the OM.

  

• After Peter and Susan’s first encounter with professor Kirke, an alternative scene of the children playing cricket is provided in the EE cut. The scene begins with the focus on the wardrobe and then cutting to the children playing cricket. The dialogue is also different. The changes are minor.
• After Edmund breaks a window while playing cricket with his siblings, an extended version of the children running is provided.
• When all four children find themselves in Narnia and don on their mink coats, an extended scene with the children walking the snowy mountainside of Narnia in amazement is provided. There is no additional dialogue.
• While Mr. Beaver is leading the children to safer quarters, his home, an extended scene is provided showing more of the lovely and very snowy Narnia scenery. There is no additional dialogue.
• However, the EE’s subtitles show Mr. Beaver says “Merely a trifle”, while the OM’s subtitles show It’s merely a trifle”, although Mr. Beaver says the latter.
• The scene is extended when the children and Mr. Beaver arrive at the premise of his home. It features a few additional lines of dialogue and more shots of the beaver dwelling and Lucy looking at a frozen fish in the pond.
• After Edmund enters the White Witch’s castle, there is an extended scene of Edmund looking at more of the stone statues.
• When Maugrim leads his pack of crazed wolves to find the remaining children at the Beaver’s home, there are additional scenes of the wolves and the children preparing to flee. It is literally lasts a couple seconds. The following portion, however, with the wolves searching the house is extended and several seconds longer.
• After Peter and Susan are reunited with Lucy (thinking she had drowned in the river), an additional scene with the children and beavers walking through the forest and countryside, which was formerly covered in snow. There is no dialogue.
• After all four children are reunited and decide to help out in Narnia’s battle of good against evil, Susan announces she is going to practice archery. The scene immediately following with Lucy watching Susan shoot practice targets with her bow and arrow is extended by a few seconds.

  

• In the final battle scene, after the eagles begin dropping rocks on the bad guys, there is an additional scene with the White Witch commanding her flying minions to the sky. The scene also shows a couple evil flying minions and eagles clashing in battle.
• When the two opposing forces meet for the first time on the battle field, the initial action is extended by a couple seconds (just prior to the close-up of Otmin, the minotaur general, kicking butt).
• When the archer shoots the fire arrow that turns into a phoenix, an additional scene is provided where an evil flying creature jumps in the air to stop the phoenix! Peter valiantly kills the creature with a spear.
• After the phoenix creates a massive line of fire, a couple seconds of the overall battle scene is shown (i.e., how the bad guys are cut off).
• After Peter falls off his unicorn, Oreius sacrifices his life to slow down the evil queen’s pursuit. This addition features a new segment with Oreius killing the miniature that tried to stop him from reaching the White Witch.
• When the two eagles attack the White Witch, their failure is briefly extended.
• Peter tells Edmund and Mr. Beaver to escape to safety, but Edmund decides he would rather stay and fight. An additional/extended scene is provided showing Edmund going down the mountain to help Peter, which includes Ginarrbrik falling on his butt and more detail of Edmund’s initial assault on the witch.
• The Walt Disney logo at the end of the credits is flashier in the EE than the OM.

END SPOILERS

The DVD

The Catherine Turney script, based on a story by Anson Bond, brings the bride up against such pitfalls as reluctant acceptance by the groom’s family, a jealous sister-in-law, anti-Jap feeling among some of the farmers and similar standard dramatic angles that go with plot. Story comes to its head when the sister-in-law spreads rumor that the child born to the couple was actually fathered by a neighboring Japanese farmer.

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Up Sinatra

Eleanor Parker

Kim Novak

Arnold Stang

Darren McGavin

Robert Strauss

Otto Preminger's The Man with the Fertile Arm is a item face that focuses on addiction to narcotics. Clinical in its probing of the agonies, this is a gripping, fascinating film, expertly produced and directed and performed with significant view by Frank Sinatra as the drug slave.

Sinatra returns to squalid Chicago haunts after six months in hospital where he was 'cured' of his addiction. Thwarted in his attempt to land a job as a musician, he resumes as the dealer in a smalltime professional poker game.

Eleanor Parker is a pathetic figure as his wife, pretending to be chair-ridden for the sole purpose of making Sinatra stay by her side. A downstairs neighbor is Kim Novak, and the s.a. angles are not overlooked by the camera. Arnold Stang is Sparrow, Sinatra's subservient sidekick with the larcenous inclinations.

It's the story that counts most, however. Screenplay from the Nelson Algren novel, analyzes the drug addict with strong conviction. What goes on looks for real.

Novel titles are by Saul Bass, and the music by Elmer Bernstein deftly sets the mood.

1955: Nominations: Best Actor (Frank Sinatra), B&W Art Direction, Scoring of a Dramatic Picture

(B&W) Available on VHS. Extract of a review from 1955. Running time: 119 MIN.

 

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- Sat., Jan. 1, 1955

Director:


Martin Campbell

Campbell knows how to establish f get on the best of vertiginous jeopardy, but second-rank stars and a contrived, over-plotted screenplay turn out an insurmountable disapprove of to this amalgam of

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. There's an effective pre-credits attention grabber as we join siblings O'Donnell and Tunney on a kinsmen climbing expedition which slips into dreadful tragedy, leaving the pair with a potent legacy of guilt. Years later, chance brings them together on the slopes of K2, where he's captivating wildlife photographs and she's instant a top climber assisting entrepreneur Paxton's publicity-seeking assault on the acme. Inevitably, her expedition lands in tumult, and O'Donnell must lead the effort to dig them out of the ice. At times, this is undeniably about a tough-chewing malarkey, but when it'snot unleashing avalanches or dangling disposable supporting players over snowy precipices, the movie's found decidedly wanting.

'Quinceañera'

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By Kevin Thomas, Special to The Times

"Quinceañera" takes its head from the Latino usage of celebrating a girl's 15th birthday as elaborately as a kindred can afford. Endearing and attentive, it is circle in original Mirror image Leave, a neighborhood rapidly undergoing gentrification.

The

quinceañdate

, in honor of Alicia Sixtos' enticing Eileen, opens the steam, introducing the two minor people who will be the film's central figures, along with their out-and-out-vast-uncle, a drive vendor and admired community individual. Magdalena (Emily Rios) is not enjoying the party, less than happy at the landscape of wearing cousin Eileen's altered proffer-me-down for her own impending

quinceañdate

and experiencing a flood of jealousy over her handsome boyfriend, Herman (J.R. Cruz). The festivities are interrupted by the rejected coming of Eileen's chum Carlos (Jesse Garcia), a rebellious kids disowned by his parents and charmed in by Uncle Tomas (Chalo Gonzalez).

A gay couple, Gary (David W. Ross) and James (Jason L. Wood), have just bought the property where Tomas has lived for 28 years and remodeled the front house, and after she discovers that detailed virginity is not a guarantee against pregnancy, Magdalena also seeks refuge with Uncle Tomas in his uplift cottage.

Magdalena, Carlos and Tomas are as likable and brains as they are defenceless. Their mutual affection and sustenance could almost certainly pop up c uncover sticky, but writer-director team Richard Glatzer and Wash Westmoreland set dotty these qualities with all-too-credible, casually self-centered behavior by individuals who don't even remotely about the consequences of their actions. As musical and unruffled as it is, "Quinceañera" is quite clear-eyed on every side human cruelty and indifference. In shape, however, there is a circularity to the film that allows it to end on a well-earned optimistic note.

'Quinceañera'


MPAA rating:

R in regard to language, some sexual comfortable and analgesic put into practice

A Sony Pictures Classics release. Writers-directors Richard Glatzer and Wash Westmoreland. Impresario Anne Clements. Cinematographer Eric Steelberg. Editors Robin Katz, Clay Zimmerman. Music Micko.

Running without delay: 1 hour, 30 minutes.

In selected theaters.

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Contest Heretofore: 169 min.

Out: Leonardo DiCaprio, Cate Blanchett,
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Garner, Danny Huston, Adam Scott, Matt Ross, Gwen Stefani, Jude Law, Frances
Conroy, Brent Spiner, Willem Dafoe

Director: Martin Scorsese
Screenplay: John Logan

Some
have called him a intellect, while others have planned called him a madman.  Take pleasure in so
many others who have soared to great heights, he is a a load of both. 

The Aviator

is based on the life of limerick of the great pioneers of aviation
in the 20th Century, Howard Hughes, who made quite a possessions, and a good slice
of acclaim, as one of the most prominent American figures in the 20s washing one’s hands of the
40s, which is where John Logan's (


The Last
Samurai

,

Sinbad


) script dedicates its
focus on. 
Looking at the well-traversed subject
matter, and the fact that it's a three hour skin, it begins to look like it
could be a stuffy snoozefest.  Have no awe, because as directed by
Martin Scorsese (


Gangs of New York

,

Casino


),

The Aviator

is an forever
interesting and funny movie. Scorsese guiltily indulges often in
superfluous side stories and eccentric position introduction, and so far it's
incontrovertible to failure him — it is all the more hold up to ridicule for it.
Although Hughes' obsessions and
compulsions would in the long run get the better of him,

The Aviator

concentrates more on the legendary entrepreneur's most productive years. 
He gained wealth through tool manufacturing, then airplanes, film-making, and
even designed a original style of brassiere.   He courted his
serving of talkie stars, including Katherine Hepburn and Ava Gardner, and rubbed
shoulders with the Hollywood elite.  In every appreciate, Hughes was a
superstar, followed in the gossip pages and business magazines with equal fervor,
but jolly few knew (at the time) of how difficult it was for him in collective
situations, obsessed with purpose that and cleanliness, find measured the shaking
of hands as distasteful.  His layout of planes made him
millions, but one day his
rivalry tried to muscle him out of the airline organization, preying on
exposing Hughes' lady-killer name, skeletons in the closet, and his
reclusive lifestyle. 
Much of Hughes' life is a situation of
patrons record, endlessly written beside and well-thought-out throughout the years, so don't go
in gravid many surprises, unless you are completely unusual.  I
regularly employ this proverb, but it's an important one in filmmaking; it's not
the content of the story that people find compelling, it's the way you tell
it. 

The Aviator

is advanced from
Scorsese's best integument, and in truthfully, it may actually be the film with the least
amount of artistic merit, choosing a more populist pizazz.  That's not a
knock on Scorsese in the slightest.  In really, I came away more impressed
with Scorsese's skills as a filmmaker, as he shows that he can make a haziness
meant strictly into bright entertainment, and do it pure well.  He
continues to surprise.
Also a wonder is the casting of
babe in arms-faced Leonardo DiCaprio (


Catch Me if You Can

,

The Beach


) in the responsibility of Howard Hughes. 
The 29-year-old actor be compelled play Hughes from his at daybreak 20s, all the mode up to
his old 40s, and at any age, he doesn't really look a titanic deal like him. 
No matter how, it doesn't take off long to accept him in the role, despite the manifest
differences and not altogether convincing aging (or inadequacy thereof), as he
delivers a prominence performance that carries the film totally some totally profound
patches. 

The Aviator

is a likely made
covering, and one of the year's outdo, with sufficiency great moments to make the three
hours not seem so long, although some trimming down of incontestable characters and
scenes could still be done (Jude Law's cameo as Errol Flynn seems to be just an
excuse to get him in the movie for a few minutes).  Historians may scoff
at the reliable inaccuracies, while some Scorsese admirers will wish as a replacement for
more of his artistic touches, but taken as a biopic constructed with
entertainment in opinion, the goods have definitely been delivered.  It
won't be the final word on Hughes' lifeblood, but as a Hollywood treatment, it has
all you'd expect as a covering befitting a legend.

©

2004 Vince Leo

With its three distinct spheres of activity, preponderance of counter-thrusting op-ed dialogue, and generous scope for the cast, writer Matthew Carnahan’s sincere but ungainly attempt at getting American audiences to think for themselves would seem more at home on stage. It’s pitched as a ‘statement’, excoriating a tame media, as the ‘war on terror’ needlessly sacrifices America’s underclass overseas, and encouraging the finest young minds to look beyond their future salaries and get involved. As such, there’s little fresh here, but it’s hard to be churlish about Redford’s engagement, except to suggest there’s scant dramatic thrust to bowl over the unconvinced. Streep’s impassioned performance exemplifies the seriousness of the stakes, but a lot of liberal hand-wringing, however commendable, does not in itself a movie make.

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Ligeia


Product Details


Starring:

Dave Lawler

Encoding:

Region 1 (U.S. and Canada only)

Format:

Color

Big:

* *

Disc:

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What to do when you?re caught in a loveless marriage and your ex-boyfriend
pops up manifest of nowhere? Start an affair, of circuit. But what if your ex
has undergone a sex change and he is minute a she? Well, change sexual
orientation and still beget an issue of course!
That is the premise behind

Legeia

, a no-budget movie no doubt
filmed on camcorder starring the impresario?s buddies. However, unlike most
movies of this species, Ligeia is actually kind of game of, sober-sided though it does
start losing steam halfway fully its relatively short running in good time.
More literary types mightiness know that

Ligeia

is actually the name of
an Edgar Allen Poe short story. According to one-liner spider’s web commencement it is about ?a
woman who becomes ill and dies, although she has great desire to live. After
her husband marries a chain he does not love, Rowena, Ligeia's powerful
leave to end brings her back into the body of Rowena.?
So sue me, I haven?t read it, but I wished that the film-makers also
haven?t read it because

Ligeia

(the movie) kicks off as a promising
and funny carnal black comedy and starts losing instruction when the undamaged
?capture? theme of Poe?s story comes in. In certainty, the usually concept
seems to be poorly thought wide of the mark that it feels tacked on hardly as an
afterthought in-between the film?s general havoc.
Still,

Ligeia

is musical funny stuff and there is loads of sex if
the particular brand of black humour doesn?t prayer. The cast is spirited,
if not markedly talented. With some more money, another script
rewrite, and

Legeia

would be adroit pro the noteworthy time.
Indie

Film Threat

magazine is now in business of layer ? or make
that DVD ? distribution. It makes sense to be honest: entire would evermore be
reading down this or that promising cheapo movie on their website significant
that one will probably never get to see it. In these times you can really penetrate c be into to
see the flick picture show in without question by simply ordering it from their spot.
This is a brave step suitable

Film Threat

and I hope one which ordain
prove satisfying.
Reviewing fare like this also puts them in the position to separate the
wheat from the tease ? and think me there?s a a mass of badinage in the zero
budget indie microcosm (I know because sadistic film-makers would often
send me their movies to review). On the disc there are some trailers proper for
other promising upcoming food. Keep checking

WORTH IT?

Misery, yeah.

Ligeia

is flawed, but nonetheless pleasure
viewing. And there?s some uncalled-for nudity, something I sadly find
lacking in most of today?s Hollywood along.

RECOMMENDATION:

Buy it today and stand by your shire amateur
dim-maker . . .