The photography is fantastic. The commentary of David Attenborough very instructional and captivating. The ‘Behind the scene’ section following each documentary is as enjoyable as the documentaries themselves!

I thoroughly enjoyed this DVD and highly recommend it. I lived in Angola, Africa and went to the Okavango delta in Botswana, yet I learnt so much more about this ecosystem covering these 2 countries by watching the DVD!

I own (too?) many DVD series by BBC/Attenborough, and out of my extensive collection, this DVD is my favorite! : Nature’s Great Events takes up the mantle left by the stunning BBC series Planet Earth, and offers a closer look at some of the most fascinating and dramatic natural happenings on the planet. Narrated by David Attenborough, it digs in some detail into the impact on nature of certain events, and manages to hone in on small stories in the midst of major happenings. It’s a breathtaking cocktail.

What particularly lifts Nature’s Great Events too is the stunning photography. Those who recall Planet Earth will recall just how superb the shots within that frequently were, but if anything, Nature’s Great Events tops it. The cinematography here is world-class, and it greatly enhances the series around it as a result.

That said, there’s more than enough substance to Nature’s Great Events as it stands anyway. Diligently made and researched, and presented in an accessible, yet not condescending manner, it’s another major success for the BBC in this area, and further cements why it’s a world leader where natural history documentaries are concerned.

Credit must go too for the decision to include the making-of material. Back when the BBC broadcast The Blue Planet, these were often just as interesting as the main feature itself, and the same is true here. It’s a genuinely fascinating insight into the production of such an ambitious, and unmissable, series. –Jon Foster Nature’s Great Events [DVD] [2009]

• Yellowstone [DVD]
• South Pacific [DVD] [2009]
• Blue Planet : Complete BBC Series (Special Edition 4 Disc Box Set) [DVD]
• Life [DVD] [2009]
• Charles Darwin And The Tree of Life [DVD]

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Nearly 50 years since its original release, Elizabeth Taylor still has the power to drag you to the edge of your seat with her performance as the vicious Martha, while Richard Burton as her long suffering – and equally dangerous? – husband George still shifts shiveringly from menace to compassion in the blink of an eye.

For anyone who hasn’t seen it, the film captures most of the horror and awe of Albee’s play, leaving you shaken, confused and wondering more than a little bit about what you’ve just witnessed. Watch it, watch it again, and learn to love it.

Who’s Afraid of Virginia Woolf? is still a film unlike anything else you’re likely to see, and if it doesn’t drive you to drink, it’ll revitalise your outlook on life in a way you never thought possible. : A word of advice: if George (Richard Burton) and Martha (Elizabeth Taylor) ever ask you over for late-night cocktails–pass. On the other hand, if you have the opportunity to see Mike Nichols’s scorching film version of Edward Albee’s sensational play, don’t miss it! Elegantly photographed in crisp black and white by the great Haskell Wexler, the play has been “opened up” for the screen by director Nichols (The Graduate, Primary Colors) and producer/writer Ernest Lehman (North by Northwest) without diluting its concentrated, claustrophobic power. Taylor has never been better or brasher as Martha, letting loose with all the fury of a drunken, frustrated academic’s wife on one crazy Walpurgisnacht bender. Burton plays her husband, George, the ineffectual history prof married to the college president’s daughter. And George Segal and Sandy Dennis are young, callow Nick and Honey, who have no idea what sort of mind-warping psychological games they’re being drawn into. Among the most successful theatrical adaptations (artistically and popularly) ever brought to the screen, the entire principal cast of Who’s Afraid of Virginia Woolf was nominated for Oscars–and Taylor, Dennis and cinematographer Wexler won. –Jim Emerson Who’s Afraid Of Virginia Woolf? [DVD] [1966]

• Cat On A Hot Tin Roof [1958] [DVD]
• Suddenly, Last Summer [DVD] [1959]
• A Streetcar Named Desire [1951] [DVD]
• Look Back In Anger [DVD] [1959]
• Who’s Afraid of Virginia Woolf? (Vintage classics)

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Duke (James Garner) regularly reads from the pages of a notebook to an older woman in a nursing home. Suffering from Alzheimer’s disease, her memories of the parts which he’s read in the past appears and disappears without order, but Duke continues to read to her because of their deep and enduring friendship.

The notebook’s story centers around the lives of a teenage boy and girl who meet at a carnival in the late-1930s. At first, Allie Hamilton doesn’t know what to think of Noah Calhoun, but she soon gives into his insistence that they go out on a date. When Noah and Allie fall deeply in love, Allie’s parents try to break up the couple. The Hamiltons are rich, and Noah and his father are from the poor side of town. Nevertheless, Allie and Noah are determined to be together.

When World War II breaks out, Noah is sent into conflict. He writes numerous letters to his love, but they go unanswered because Allie’s parents are hiding the letters as well as her replies to Noah. After several years apart, Allie becomes engaged to successful businessman. But after reading a newspaper article concerning Noah’s restoration of a historic home he once promised her, she decides to go visit him.

Allie’s visit with Noah turns both their worlds upside down when they learn the truth about the letters. Now, Allie must choose between the fiancée she truly loves and the man who is her real true love…

Actor Ryan Gosling is entertaining and likeable in his portrayal of the young and energetic Noah Calhoun. The Notebook as a film is better served by featuring his superb talents. Likewise, up-and-coming actress Rachel McAdams is brilliant in her role as Allie. The emotions of her young romance are clearly conveyed by a natural and instinctive penchant for delivering her lines in just the right way. Call it onscreen charisma or whatever, but McAdams is one to look out for in the future.

In short, The Notebook is as good a film as it is as a book. Few books translate onto the big screen as well as they read in print, so The Notebook is to be heralded for its ability to do so. Charming and easy to like, the film glorifies the romance of a young couple who find true love – a love that lasts forever. Well-produced and featuring some amazing shots of natural locations, The Notebook ranks as a definite must-see film. Do yourself a favor and go see it today…

About the Author

Britt Gillette is author of The DVD Report, a movie review site [http://thedvdreport.blogspot.com] where you can find more articles like this one of The Notebook (DVD) Review [http://thedvdreport.blogspot.com/2006/02/notebook-dvd.html].

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Yes, it’s old, old material but as always, it ain’t the joke, it’s the way it’s delivered. “The Proposal” is solid entertainment, well-romanced by reasonable but not sizzling chemistry between Sandra Bullock and Ryan Reynolds. I can’t, however, really give it a “good” rating because it’s fairly devoid of any romance-comedy imagination and a bit loaded with shaky contrivances.

A lot of reliable charm pervades this movie, with intimacies — like nude scenes — delivered cautiously to avoid the R rating. Director Anne Fletcher seems to hold a cannily calculated grip on the intrinsic appeal of each scene, that built-in essence that attracts you at subliminal levels regardless of quality of substance or total predictability of plot direction. Going to this film is like going home, taking yourself back into the warmth of your heart where you are reassured that love can work even if details are missing.

Unquestionably, there’s a significant problem is having Sandra Bullock in there as a witchy type. She’s just not that. But early on, you get it: this is not a film to be picked apart. It’s just good old honest fun. Fact is, she and Reynolds leave little more to be desired in every interaction, clicking flawlessly, if not inspirationally.

Andrew (Ryan Reynolds), the brow-beaten assistant of aggressive New York book editor Margaret (Sandra Bullock) for the past three years, at last may see the tables turned. Seems she’s Canadian and she’s caught in a sudden unexpected bind. Advised that she’s about to be deported, she has to think fast, coming up with the blatant fiction that Andrew is her fiance and that they’ll forthwith be wed.

Well, . . . OK, he responds, he’ll put on the act but only under certain conditions. She’s to be required to come visit his family in Sitka, Alaska for a weekend. The idea here is that they can use this up close and personal time to get to know a little more of each other’s eccentricities, like, for instance, tattoos, allergies (to pine nuts and a wide variety of emotions) plus lots more.

But the dominating change in their individual lives is that Margaret is now plainly on Andrews’ turf. First of all, his family appears to own most of the town (interiors and almost all locations were shot in Massachusetts). And his family is a mite quirky. Mom, Grace (Mary Steenburgen), is welcoming, but imposing dad, Joe (Craig T. Nelson), who has an abiding bitterness over his son’s rejection of the family business, resents this distraction who Andrew has brought home. Grandma Annie is about to celebrate her 90th birthday and there will be a hastily contrived wedding and, not surprisingly, an immigration official on their trail.

Ryan Reynolds more than fills the screen in most of his scenes, his poker-faced demeanor a decided plus. Sandra Bullock delivers a very professional role, up to every nuance. Bit by bit she exposes the pain in her stridency, the career-contrived surface which she has always projected, in which we can realize her emotional wounds that make her assaults on Andrew, as she sees them, necessary. Andrew and Margaret become totally real.

A pleasant experience, if that works for you.

Marty Meltz was, for 30 years, films critic for the statewide Award-winning Maine Sunday Telegram till his column was terminated in budget-cuts on 12-31-07. His website is at http://www.martymoviereviews.com

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THE GOOD: This is the perfect conclusion to the Bourne series. The film is just as gripping as the previous two, throwing you right in to the thick of the action from the beginning and never letting up pace. The intrigue surrounding Jason Bourne’s past finally comes full circle in this film and there isn’t a second that goes past where you are left hanging on the edge of your seat waiting for the outcome. Matt Damon is excellent as Bourne, showing a maturity and a brutalness required for such a demanding role. You just love it that he’s smarter than the guys (and girls) chasing him. The supporting players are also excellent, in particular David Straitham as the CIA director out to get Bourne who has a hidden agenda, and Joan Allen as the only person within the agency who comes to believe that Bourne may be innocent of the crimes he has been accused of. The tension in the film is incredible, and also includes some incredible fight scenes which go above and beyond what you’d expect. Director Greengrass has shaped a tough, intelligent spy film with quick cutting and a sense of immediacy in the camera work (a nice contrast to say Bond films which are also good but in different ways). The film just sped along and by the end, you almost feel that it shouldn’t have to end with this film!

THE BAD: Not a whole lot. One could get nit-picky with the shaky camera-work because it can make you feel sick when you see it on the big screen for any longer then ten minutes but hey, it also adds to the tension. Just a minor point. And if it’s your thing, then the film is perfect!

For the original review, follow this link: http://www.allaboutmovies.net/filmreviewthebourneultimatum.htm

Todd Murphy is a staff reviewer at the film/DVD review web site, All About Movies.net – for all the latest reviews on the newest releases. He also contributes reviews and articles for the Digicosm Film Blog: http://www.filmannex.com/Digicosm

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Director: Tony Gilroy

Screenplay: Tony Gilroy

Cast: Julia Roberts, Clive Owen, Tom Wilkinson, Paul Giamatti

Time: 2 hrs., 5 min.

Rating: PG-13 (vulgarity, some sexual content)

Smart. Very smart. Indeed, it is so sophisticated, loaded with mazes of mazes of plot turns and dazzling wit that, y’ know, you may not even like it.

I’ll observe that if you truly comprehend and follow every scene, you’re at major league level rocket scientist level. It is best, you realize after a bit, if you just let it all flow as long as you understand what the key characters’ basic motivations are. “Who was that?” and “What’s s/he mean by that?” are just too complex to deal with continuously.

To make matters even more challenging, time periods are mixed freely, although captions do advise you as to when you are where you are.

Roberts and Owen are absolutely electric together, drawing, repelling equal and opposite energies, radiating a crackling romance undertone. Their dialogue is so peppery and provocative that you’re just handling one retort when two more overwhelm you. At the same time, the sizzling dynamic of corporate greed chillingly overruns the schemes.

For sure, forget your popcorn as your intellect will be demanded at max. Be ready to nudge your companion time and again with, “Are you getting this?” (Some indication of the twists, turns and density of plot may be indicated by the film having been written and directed by Tony Gilroy who did last year’s “Michael Clayton”).

For an opening, after two high-powered CEOs physically duke it out on the tarmac between their corporate jets, try a sexy bed-goaled confrontation in Dubai between Claire Stenwick (Julia Roberts), formerly of the CIA, and Ray Koval (Clive Owen), formerly of Britain’s MI6.

Five years later, 2008, Ray runs across Claire again in Grand Central Station. She claims she doesn’t remember him. That bit of gamesmanship, among countless others between them, is going to keep popping up time and again.

The question asked is — where does love fit in on the list of priorities when this pair, each working for two competing multi-conglomerate corporations know that nothing, but nothing, must stop the acquisition of a secret formula that will bring untold riches to the winner? Seems that Claire and Ray have taken on the assignment from mighty moguls Howard Tully (Tom Wilkinson) and a pirating CEO Dick Garsik (Paul Giamatti) who will accept no option of failure in the whole world in getting that formula. But, not surprisingly, Claire and Ray really have as their first motive the pilfering of the formula for themselves. Speaking in nothing but fluent duplicity and intrigue, every phrase of every word, phrase and sentence is a killer move on a chess board, especially with each and every individual on hair-trigger response mode.

Pursuing high stakes of outer orbit levels, with their diabolical CEO overseers operating at ruthless high-tech max with razor-sharp operatives, each is perfectly confident of success until . . . love. So how is their world of cross, double-cross and triple-cross will they make it? True, they’re each profoundly dedicated loners. But love won’t accept that background. And neither party to it will trust the other. They both know they’re made for each other, but both know they can’t reveal that or a lot of other things.

Let the games begin, even as the corporate chiefs ride a whip hand with no mercy.

Here’s your intelligent person’s romance intrigue at stratospheric levels. Good luck.

Marty Meltz, 30-year former films critic for the Portland (Maine) Sunday Telegram. Offering right-to-the-point reviews that address directly the question of the film’s entertainment value to you. Films have personalities. It doesn’t matter who wrote it, who directs it, who stars in it, if it doesn’t reach out to you with charisma. I examine its honesty and intelligence. Are you being respected, or are you being jerked around?

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The story is simple enough. Young Pursy finds out from her boyfriend that her mother Lorraine has died. Rushing off to her home in New Orleans, she in fact discovers that her mother has already been buried, with the funeral having been the day before. Pursy returns to the family home to discover two unexpected occupants, Bobby Long and his pupil, Lawson Pines. Bobby tells her that Lorraine left the house to all three of them, hiding the truth that in fact the house was left entirely to Pursy but that she allowed Bobby and Lawson to stay in the house for at least one year after she died. Taking the former to be true, Pursy at first tolerates her room mates, but eventually they become friends through their trials and tribulations together, eventually leading to a revelation about Bobby that changes Pursy’s life forever.

I’ve spoken already about the performances and they really don’t disappoint in this film. The highlight of course is John Travolta. With his white hair, permanent five-day growth, witty dialogue and constant quotes of literature, he plays his cranky old man with delight but with enough intelligence and compassion that you really can’t not like the guy. Scarlett Johansson fares well as Pursy, although her performance is a bit more straight-down-the-line given she’s the anchor for the film. Gabriel Macht is likewise very good as Bobby’s pupil who reveals how both he and Bobby came to live in New Orleans due to a tragic and disastrous series of events that saw their fall from grace. Other characters in the film are also put to screen in a memorable fashion.

The spirit of New Orleans appears to have been captured very well by the director and cinematographer. Numerous shots of the quarter and suburbs are faithfully represented and give you the feeling of actually being there. The pacing of the film is a little slow and at times you feel it could be a bit shorter.

Overall, this is a pleasant way to spend a few hours.

For the original DVD review, click this link:
http://www.allaboutmovies.net/dvdreviewalovesongforbobbylong.htm

Alex DeMattia is the lead DVD reviewer at the film/DVD review web site All About Movies.net – He also contributes reviews and articles for the Digicosm Film Blog: http://www.filmannex.com/Digicosm

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For both film and TV sound recording, microphones, mixing boards, and DAT recorders are important equipment that should be understood by producers and sound engineers.

Many sound engineers prefer the use of external dynamic shotgun mics. These are mics at the end of a long boom which can make a big difference in the final sound quality to be edited; for instance, ambient equipment sounds are diminished considerably.

Some people choose wireless microphones for more precise mic placement. Some people say that wireless mics don’t have the same signal fidelity as wired ones, but they are in the minority.

Most film sound is sent through a mixing board and not directly to the recording device. This allows for very subtle fine-tuning of sound, the way a large graphic EQ in a component stereo system allows one to get the “perfect” sound playback for different recordings.

Film sound engineers also make heavy use of the DAT recorder. These “digital audio tape” recorders were first developed by Sony in the early 1980s.

Sony discontinued their production in early 2006 to make way for the hard disk recording revolution but DAT recorders are still in heavy use in film.

DAT recorders are especially used for on-location filming as they allow for much greater post-production sound editing control. They’re great for capturing “natural” background sound.

Film actors add in their voices later on via over-dubbing. They speak their lines aloud on camera but their voices are not recorded at that time, or if it is, this will be totally replaced later on in a recording studio through Automatic Dialogue Replacement.

Special effects sounds such as the firing of laser cannons in “Star Wars” are also recorded separately and dubbed in later. The mixing-in of sounds later on in film allows for very great levels of control over the final quality, which is why film sound quality often seems more “sonorous” than TV production sound.

For film, a sound editor will take separate tracks of dialogue, special effects, and music scoring and dub them all together into a multitrack recording and edit the mix later on.

Modern film making, especially for independent productions, makes increasing use of computer-based DAWs, or digital audio workstations.

Using a computer, an ADC-DAC (analog to digital/digital to analog converter), and digital audio editor software, the sound editor uses the computer’s sound card acts as an audio interface, especially when converting analog audio signals into digital form.

The software controls the two hardware components and provides a user interface to allow easy access to recording and editing.

Some modern DAWs, such as the Euphonix System 5-MC integrated DAW controller, are made to integrate with other computerized DAWs such as Pro Tools, Nuendo, Logic Pro, Digital Performer and Pyramix. These give ever more powers of control and refinement to sound recording editors.

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1. Gone with the Wind (1939)

This film was adapted from Margaret Mitchell’s novel “Gone with the Wind” (1936). The epic film is set in America’s South during the Civil War. This story chronicles how the Civil War impacted the lives of White Southerners. “Gone with the Wind” won an astounding 10 Academy Awards, which set a record that lasted for two decades.

2. Wizard of Oz (1939)

This musical-fantasy movie is based on the children’s novel of the same title. The film includes several stars, including Judy Garland. It has become renowned for its storytelling, its utilization of Technicolor, and its special effects. The film has become one of the most famous of all time, and is included on several top 100 film lists.

3. Citizen Kane (1941)

This quintessential classic film starred, and was directed by Orson Welles. The story chronicles the life of Charles Foster Kane. Although Kane is initially intent on serving the public, he later becomes obsessed with obtaining power. The film is mainly narrated through the use of flashbacks. Many critics consider “Citizen Kane” to be the greatest film of all time.

4. Casablanca (1942)

This film has some of the most memorable one-liners in film history, including “Play it again, Sam” and “Here’s looking at you, kid.” The movie stars Humphrey Bogart and Ingrid Bergman, and is set in World War II. “Casablanca” focuses on the dilemma of Rock Blaine, played by Bogart. He must choose between love and virtue. The film was nominated for eight Academy Awards, and won three.

5. It’s a Wonderful Life (1946)

Though set during Christmas, you can enjoy this film during any day of the year. The film was directed and produced by Frank Capra, and stars James Steward. Stewart, who plays the character George Bailey, is a man whose pending suicide is halted by his guardian angel-Clarence. Clarence shows George how he has affected other people, as well as his community.

6. All about Eve (1950)

It’s difficult for anyone to ignore a film that was nominated for 14 Academy Awards (it eventually won six). The movie is based on a short story. “All about Eve” stars Bette Davis. It chronicles one Broadway star’s rise to stardom, resulting in her receiving a prestigious award.

7. Singin’ in the Rain (1952)

This comedy-musical film stared Gene Kelley (who was also the co-director). It’s has unquestionably become one of the most popular and critically-acclaimed musicals of all time. The film is about films, and chronicles Hollywood’s transition from silent films, to “talkies.”

8. Rear Window (1954)

Alfred Hitchcock directed this suspense film. The story features Jimmy Steward, who plays a photographer. While recovering from a broken leg, the photographer observes signs that one of his neighbors may have murdered his wife. Many movie critics argue that this was Hitchcock’s best film.

9. The Bridge on the River Kwai (1957)

Set during World War II, the film is based on the novel of the same name. The story is based on the experiences of British prisoners of war, in a Japanese prison camp. All of the prisoners are required to participate in the construction of a bride over the River Kwai. The film won seven Academy Awards, including the one for Best Picture.

10. Some Like It Hot (1959)

This comedy film stars Marilyn Monroe in one of her most famous roles. The movie is about a pair of struggling musicians who witness a massacre in 1929. They flee Chicago, in order to save their lives. The men decide to disguise themselves as females, so they can play in an all-female musical band. The American Film Institute listed this film as the greatest American comedy film ever.

So there you have it! These are some of the top films that have withstood the test of time. They prove that quality filmmaking produces quality films that can last for eons.

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Some of the visual tricks we might have seen before – the sudden, jerky movements, for example – but they work well and never fail to horrify. The director expertly plays on movements and atmospheres that just seem ‘wrong’ and unnatural to the viewer, and all the more terrifying for it.

In terms of continuity it follows on well, developing the original Grudge storyline, answering questions and filling in gaps. Saying that, it made sense to a friend who had not seen the first film, so all in all it makes for a good night in hiding behind the sofa! : The Grudge 2 is a spooky installment in Takashi Shimizu’s hardworking Ju-on/Grudge series of horror pictures. It doesn’t carry the disorienting thrill of the very first Japanese Ju-on features, but it’s a lot creepier than anybody could have expected. The story picks up from the end of the first Hollywood version of The Grudge, and has nothing to do with Ju-on 2, Shimizu’s Japanese sequel. Sarah Michelle Gellar returns (a distinctly supporting role) as an American woman traumatized by her experiences with a haunted house in Tokyo; younger sister Amber Tamblyn flies over to help out. This particular storyline doesn’t have much meat on it; the murder house is still there, and people who go inside have a disconcerting habit of dropping dead. Fortunately, two other plots thread into the basic one: a group of American schoolgirls in Tokyo become intrigued by the legend of the house, and some Chicago apartment dwellers are unsettled by domestic anxiety and the weird sounds coming from next door. (This storyline, featuring Jennifer Beals, gives the film its extremely satisfying opening sequence.)

As usual with these movies, sequences come to us in non-chronological order, and it’s up to us to piece it together. You can guess where the film is going, but the slow trajectory toward its final sequences is surprisingly involving. The movie was widely panned upon its release, which says more about the presumption of the law of diminishing sequel returns than the film itself–it’s a decent little horror flick. –Robert Horton Grudge 2, The [2006] [DVD]

• Grudge, The [DVD] [2004]
• The Grudge 3 [DVD] [2009]
• Grudge, The- Extended Director’s Cut [2004] [DVD]
• The Return [DVD] [2006]
• The Ring Two [DVD] [2005]

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