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If you have a child who loves the zoo.. then this is the video for you. My son loves going to the zoo and he enjoys Barney music so this was a perfect video. I wasn’t definite if this video had actually LIVE zoo animals or if they were going to consume pretend ones… this is the sincere stuff! You perceive Elephants, Hippos, Lions and so considerable more. It felt like you were really at the zoo. Barney, B.J. & Baby-Bop took you on the zoo fling from starting out by buying you a tag to getting you a drink of lemonade to enormous info. about the animals and let’s not forget about the Barney animal songs. It is a seize you won’t be disappointed with.. My 10 & 8 yrs olds stare it along with my 5 yr conventional!!

My 16 month primitive granddaughter loves Barney but the only Barney video she would recognize was “Whine and Dance with Barney”. We bought other Barney videos that she wouldn’t give the time of day to. When we bought “Let’s Go to the Zoo”, we figured she wouldn’t notice it either but we wanted to give it a try since she loves animals. She absolutely loves it and we witness it many, many times a day. You bag to gaze so many different animals terminate up. I know all the words to all the songs. There is impartial something about Barney, Baby Bob and BJ with all of those improbable animals. If you are not able to collect to the Fort Worth Zoo, you can witness it all on video. Simply magnificant and highly recommended. I reflect I’ll engage another in the event she wears this one out.
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Who would have idea that Paris would be saved by the German general that Hitler sent to burn it to the ground? This gem of a film from the 1960’s tells the epic.

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The film was a astronomical failure in its initial realease; it’s often called a ‘turkey’. I’d have to disagree aesthetic strongly with that assessment. It’s biggest pickle, at least for American audiences, is that it’s–well, so French. Even though the screenplay was written by Gore Vidal and Francis Ford Coppola, the cast is nearly all French–some of the biggest French stars of the 1960s. Americans are relegated to cameo roles.

Americans also disliked the film because it claims that the French, not the Americans, liberated Paris. That idea has never gone down well on this side of the pond. But if you read the book (and unbiased about any other chronicle of the incident), it’s distinct that the Americans and British wanted to bypass Paris. They had edifying reason for doing so–Patton argued that he would do enough gasoline to create the Rhine by the extinguish of August and destroy the war by Christmas.

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The Parisian insurrection in mid-August made those plans dazzling questionable, but it was DeGaulle’s threat to withdraw his forces and march on Paris, together with alarm at the destruction of Warsaw (which Stalin was ‘bypassing’ at the same time), that changed things. Even so, the Allies let French Gen. LeClerc acquire the city, because they mild had hopes of maintaining the momentum of their main thrust toward the Rhine.

If you are a Freedom-Fry lover, you probably won’t like this film. If you are alive to in this period of history, read the book first, but definitely peruse the movie. Some reviews criticize this movie for dubbing it’s French actors (many of whom dubbed their possess lines into English) . I certainly would have preferred the movie that plot, and I dearly wish someone would restore it with French dialog. But, had that been done, about 85% of the movie would have been in French. That’s a hard sell in America, whether the year is 1966 or 2006.

Finally the movie is in dusky and white, except, oddly enough, for the raze credits. Many capture that’s because of the amount of archive footage incorporated into the movie. But the exact reason is that the French government refused to allow the Nazi flag to hover over any Parisian buildings for the exterior shots. A compromise was worked out where miniature point to of the swastika was permitted, but only on a gray flag (rather than a red one) . During filming, one elderly Parisian stumbled across a couple of extras in German uniforms and ran off screaming “They’re benefit!”

But in 1966. the era of dusky and white was over, and the exercise of B&W was the third strike against this film for American audiences. It’s a shame, because this film really does a immense job of showing how German Gen. Von Choltitz saved the city, at noteworthy risk to himself and, ultimately, his family. His reason? He concluded that Hitler was insane, and that the destruction of Paris would do nothing to improve the German military dwelling. “If I concept that destroying Paris would support our war exertion,” he said, “then I would not hesitate to burn it to the ground. But that is not the case.”

Recommended for WW II buffs and those who like Paris.

I loved watching this movie. It deftly splices documentary and fictional scenes to design an emotional, uplifting sage of the individuals interested in the liberation of Paris (the greater emphasis is on the Parisian resistance) . It is very noteworthy in the tradition of The Longest Day – many stars in cameos, a hundred short stories of bravery and resistance – among the French, Americans and Germans; it’s often amusing. The music is wonderful (I have it going through my head now – 2 years after renting the movie) . It’s also fun to gape virtually all the French male stars of the 1950s and 1960s in one movie – Jean-Paul Belmondo, Charles Boyer, Jean Louis Trintignant, Yves Montand, Alain Delon – the French casting for the movie pulled out all the stops.

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The astounding emotional impact aside, the movie is actually difficult to follow. The valuable reason is that the filmmakers apparently didn’t want to offend anyone (except Nazis) so were not explicit on the Communist/Gaullist rivalry that is at the heart of the book (bottom line – the Gaullists elbowed out the Communists) . Instead, the movie viewer watches a titanic resistance group that seems to fissure, but has no thought why, sees jealousies and rivalries without explanation. You’ll watch some French resistance members upset that others have captured the Police Headquarters, but have no plan why. The book gives you a sense of DeGaulle’s concept of the French, amounting to genius (and of why any American or Englishman in snort would have found him inferior to deal with) .

So, I’d suggest a truly CAREFUL read of the short, improbable and animated book on which the movie is based – THEN study the movie, which is shapely in its emotional impact.
Total Gym 3000

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This area of tapes was very disappointing. The makers of these films need to sit down with a typical middle schooler or have some experienced teachers provide them some guidance. The producers clearly do not have a take of what engages a teenager (adults would be bored too) . In the tapes, talking heads dominate . Many sections glimpse like a chase demonstrate with text superimposed. The background music is positively terrible and the narration is dumb. Suggestions: Exhaust clips from CSPAN with Congressmen going after it. Exercise more Senators, justices and Administrative workers and let them define what they do. Score some spicy personality to guide the viewer through the present and interview people instead of using a narrator’s voice-over. Expend anecdotes. Loosen up. Have some fun. Inject some humor. I would agree that the tapes are fairly informative but if you are a teacher be forewarned: your students will lose interest very rapid.
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Producer/Director Charles Band returns to his roots with Doll Graveyard. A Puppet Master style thriller with a promising premise, but with deadly listless execution. When young Guy (Jared Kusnitz) uncovers a Samurai doll in the backyard of his house, he also digs up the vengeful spirit of its previous owner. A young girl accidentally killed by her abusive father. Soon the girl’s spirit is trying to occupy Guy while the Samurai and its friends (an african warrior, a german soldier, and a regular baby doll) are attacking Guy’s sister DeeDee (Gabrielle Lynn) and her partying friends (Anna Alicia Brock, Kristyn Green, and Scott Seymour) . Play time is over.

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While Doll Graveyard has its moments, the overall quality of the movie is far removed from Fat Moon’s far grand Puppet Master movies. Not helping is the clumsy pacing of the yarn and Band’s inattention to storytelling detail. There are plenty of moments where the characters could honest leave the house, but don’t. Band’s next project, the insane killer cookie movie The Gingerdead Man, also suffered from the proper same problems. What Band needs is a director that can inject some b-movie energy into his productions, because he doesn’t seem to reliable of doing so. Too awful, because the concepts are fleshy of potential.

The disc has the usual slack the scenes documentary and a blooper right. Both are far more sharp than the movie itself, but neither are worth the pudgy retail note of the disc. This one is for Tubby Moon fanatics only.

I’ll withhold it short and sweet. This movie reminded me of the early Puppet Master flicks. Some capable kills, decent storyline and acting (!) . The dolls search for really grand and are quite convincing. The movie itself is short, but never really gets dead. If you’re a fan of Chunky Moon’s killer doll films, you definately need this one!
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Product: House of Bamboo
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I was expecting a lot more from this movie than I got. On one level it’s a fairly taut crime drama that takes residence in Tokyo in the mid-Fifties. On the other hand, it has a lot of tough guy cliche dialogue and a performance by Robert Stack that is unprejudiced not marvelous. The tale line is simple, but discover out for spoilers ahead.

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Sandy Dawson (Robert Ryan) heads up a gang of ex-servicemen in Tokyo who pull off robberies with military precision and complete ruthlessness. If anyone gets wounded, he’s killed lawful then. The U.S. Army and the Japanese police join forces to crack the gang. They send in a ringer, Eddie Spanier (Robert Stack), to infiltrate the gang. Spanier is a counterfeit identity; he’s actually an Army crime investigator. What follows is the record of Dawson’s operation and how it works, and of Spanier gradually gaining Dawson’s trust. The climax pits the two against against each other when Dawson at last learns of Spanier’s valid job.

The movie was shot in Tokyo and looks tall. Anyone who has spent time there will sight a number of locations. (One spurious mark is when Samuel Fuller cuts to a scene that was actually filmed in Kamakura at the Large Buddha and at the Hachiman shrine.) Robert Ryan and, in a smaller role, Cameron Mitchell as Griff, his second in jabber, do genuine jobs, especially Ryan. Sandy Dawson is a unsafe man, superficially polite and solicitous, but not far below the surface is a expansive ego, a bound of cruelty and what could be a hint of homoerotic feelings for Spanier. This isn’t stressed, but it explains Dawson’s actions concerning Spanier, and his intensity when he finds he has been betrayed. Dawson is also honest a bit off. His last dialogue with a quiet Griff is not that of a man who is in total verbalize of his marbles. Ryan dominates the movie. Unfortunately, the movie is about the efforts to regain Ryan’s character, and these efforts center on Robert Stack’s character. Stack fair isn’t a kindly enough actor. Sam Fuller evidently wanted Stack to play Eddie Spanier like a staunch tough guy, but Stack can’t carry it off. He “acts” like a tough guy would hump and disappear. He “acts” the method a tough guy would recount and sound. It’s phony from the first sentence out of Stack’s mouth, and it undercuts the effectiveness of the narrative.

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The romance scenes between Stack and Shirley Yamaguchi seem stilted and almost unnecessary, but Fuller pumps up the tension on the action sequences. The dispute robbery, the robbery at the cement factory and the place up for the robbery of the bank bus are well handled. And the showdown between Dawson and Spanier, with the Tokyo police, at a children’s fun park high on top of a business building is big. On balance, however, House of Bamboo’s strong points seem to me to be a nice performance by Robert Ryan and some expansive scenery. The DVD narrate is first rate.

This 1955 Sam Fuller film noir is basically saved, character-wise, by Robert Ryan who plays a vicious crime boss in, of all places, post-WW II Japan. The first American film shot there after the war, this is new for that aspect. Ryan is spacious, as usual; I can’t mediate of one film he’s in that he doesn’t construct better than it is thanks to his presence. He runs a bunch of pachinko (read: pinball) parlors, a front for his crime operations which include robbing American supply trains of all kinds of stuff (the opening scene shows this really well) .

Robert Stack plays an undercover cop who infiltrates Ryan’s gang to bag out exactly how the man murdered at the beginning of the film during the heist bought it. Thanks to not only luminous settings, but Ryan’s mountainous performance, this is better than it should be. The script is kind of ho-hum. Stack is OK, aesthetic apt, not great; he’s Robert Stack. He falls for the widow of the murdered guy; she’s Japanese so Fuller brings in another (semi-) controversial element, interracial savor (which he also did in Crimson Kimono) .

Fuller’s an unusual, no request. Whether that originality is always of high quality is questionable, but he does like to hit the viewer in the face with issues bright social convention and in that respect, he’s definitely worth watching. When he’s great–as in Pickup on South Street, or Shock Corridor–where everything fits together and purrs like a Ford Cobra engine–he’s unbeatable. Here, in House of Bamboo, he gets some of the issues in, but the epic is nowhere advance as strong as it could or should be.

Worth seeing. Owning? I dunno.
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Product: The Wizard of Oz
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Like most baby boomers, I’ve watched this film dozens of times in the past on broadcast TV, then VHS tape, then LaserDisc … but I had never actually SEEN “The Wizard of Oz” until this newly restored DVD came out. It’s an improbable transfer. The sepia-tone Kansas sequences are startlingly consuming and obvious, and the Technicolored world “Over the Rainbow” is truly delicate. I found myself fascinated by details I had never noticed before: the glittering corn stalks in the Scarecrow’s field; the mirror-like floors of the Emerald City; the polished buttons on the guardsmen’s uniforms. Incredibly, even the individual grains of red sand in the Witch’s hourglass stood out and glistened! All these minor-but-sumptuous visual details served to heighten the magical spell that the film has always woven, enhancing the performances, the narrative, and the music.

The DVD extras are a mind-boggling embarrassment of riches. The “Making Of” documentary hosted by the incomparable Angela Lansbury is worth the brand of the DVD alone, but there’s so distinguished more: an international poster gallery, interviews with cast members, deleted scenes, production stills, radio clips, etc, etc. There’s enough material to sustain even the most casual viewer fascinated for hours, and a fair Oz buff will be occupied for days!

If you only bought a DVD player to spy this one disc, it would well be worth the expense. Treat yourself, and tumble in fancy with this classic film again … for the first time.

I was unbiased critized for foisting off the following review of the 3-disk DVD state as a review of the current Blu-ray. I didn’t; Amazon did. As anyone who’s been here for a while will perceive, Amazon throws all DVD reviews into the same bucket, regardless of the edition. So don’t blame me.

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I impartial got the Blu-ray, and will have some comments on it at the raze.

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There’s no need to discuss “The Wizard of Oz” itself, a classic among classics (though I’ll have something to say about its “philosophy” later on) . You probably want to know whether the UltraResolution transfer justifies the occupy.

It does. Oh, yes it does.

“The Wizard of Oz” has always looked estimable, one of the better Technicolor films. Unlike “Gone With the Wind”, which was generally shaded and desaturated, and which UltraResolution greatly improved, I didn’t inquire of mighty enhancement for “Oz”.

Was I ever sinister. I stared with my jaw hanging commence. “Oz” is the best UltraResolution transfer by far — and the others were not exactly chopped liver.

The improvement in detail and sharpness is startling, especially as the unusual prints did not seem obviously lacking in either. Even more fabulous is the expansion of the tonal scale. Unlit scenes (particularly those in the forest and outside the “witches” castle) are now filled with rich detail. Have you ever noticed how resplendent the Winkies’ red, white, and gray uniforms are? I hadn’t — until now.

These enhancements combine compose the biggest improvement of all — a major revelation of _texture_. The “feltiness” of many costumes is determined. The burlap of the Scarecrow’s face is now plainly visible, particularly in the close-up where he misstates the Pythagorean Theorem. And the Lion’s costume is a thick pile of fur you want to approach out and stroke. You can ogle every last strand of hair.

I’m exaggerating only slightly when I say the improvements of this UltraResolution transfer are not mighty less than those from cleaning the Sistine Chapel’s frescos. It’s as if layers of murk and grime — that you never even knew were there! — have been stripped away. Until you opinion it, you cannot imagine what this film (that is, the new camera negatives) _really_ looks like. It’s a shame the people who created “Oz” never got to sight it this design.

The image quality is so high that I often felt as if I were looking through a window at live performers. (Well, almost.) No matter what versions you already have, you won’t be disappointed with this one. I watched it twice in two days, and I might even belief it a third time tonight.

My only quibble is that several matte paintings do not blend properly, because the hues at the join lines do not match those of the scene. This could have been fixed; I suspect it seemed too considerable work for a limited improvement. (A friend suggested that these sorts of things are left in because videophiles devour finding them.)

As to the differences between the two- and three-disk sets… The latter includes a packet of novel programs and promotional material of the sort we haven’t seen in 40 years ago. (Remember the 50-cent deluxe programs for road-show films? ) There’s also a spot of 10 reproductions of Kodachrome publicity photographs. For this viewer, these extras alone account for the higher mark.

The third disk will be of most interest to lovers of all things Oz. It includes a handsomely produced biography of L. Frank Baum (titillating enough that you might want to behold it more than once), plus all the calm Oz films and a Technicolor Oz cartoon. The existence of these is famed to anyone familiar with the history of Oz productions, but they’ve never appeared (as far as I know) in any home-video format.

The films are problematic. The two from Baum’s production company are the best — they have style, charm, and imagination. The others are cheesy ripoffs that contain exiguous relation to the modern book. The Larry Semon — a once wildly-popular but now virtually forgotten cartoonist and laughable * — version is especially heinous, as it is shrimp more than a vehicle for Semon’s sign of physical comedy. The Baum estate is at least partly to blame — _any_ movie version must have seemed more stunning than none, especially as the technology to design a convincing version of “Oz” would not exist for another 15 years.

The film’s opening titles praise the book’s “grand philosophy”, which seems to be either “You already have everything you need to be blissful”, or “The retort to your problems lies within yourself”. These are not so grand “qualified” as reflections of the hard-nosed “All your problems are your have fault” and “If you’re not a success, it’s because you’re indolent” homilies that grew out of the broad opportunity for personal development and material success this country offered.

I acquire L. Frank Baum had something a bit different in mind. “The Wizard of Oz” is a fairy record in which magic has no bearing on the issues at the center of the tale. I contain Baum wanted to discourage children from fantasizing that magic could be a solution to one’s problems.

So… he has the four principals do a grueling lag to the Emerald City, then come by the wizard is a humbug. (What a shame the blander “deceptive”, “fraud”, or “phony” have replaced that delicious word.) He posesses no magic to supply wit, cherish, or grit, which the Scarecrow, Tin Woodman, and Cowardly Lion have demonstrated they already have.

Baum’s “honest” is simple — Treasure, wisdom, and courage are what we need to rep through life. No one can _give_ them to us, because we _already_ have them, and all we need to do is advise them.

“Is that honest? ”

“That’s all it is.”

Now… the ask you’ve been waiting for the respond to… Is the Blu-ray situation worth the trace?

I viewed the Blu-ray on a Pioneer 60″ Pro Kuro, fed from a Sony BDP-S550. I also watched the DVD on the Pioneer (fed from the same Blu-ray player), and on a 36″ Sony 400-series WEGA “improved definition” TV (fed from a Sony DVP-S7000) .

The DVD remains a terrific DVD, and looks terrific on a high-quality 480i monitor. (Gape the preceding review.) It was, and unruffled is, a demo-quality DVD.

When played on the BD player, and upconverted to 1080p, the DVD’s image on the Kuro is glorious darn honorable — the sharpness and detail are at least “acceptable”. But when you play the Blu-ray disk, the image goes from “acceptable” to almost-startling. Two examples… Impress the enhanced detail and texture in the weather-beaten wood above the WWE’s monotonous legs. And in the crowd scenes, you can discover (unbiased about) every Munchkin face. There is virtually no smearing of detail.

So… should you urge proper out in a buying frenzy and regain the BD edition? It depends.

The DVD is superb enough for an noble narrate on a high-quality SD monitor. But even upconverted, it isn’t superior enough for a _large_ HD exhibit. If you have, say, a 40″ display; your BD player has a first-rate upconverter (not all do) ; and you don’t sit “on top of” the cover (as I do) ; you might leer petite incompatibility between the DVD and the Blu-ray.

But if you’re a video fuss-budget (as I am) and sit closer than the “experts” recommend (why _shouldn’t_ you? ), you will almost certainly take the Blu-ray. It’s your call.

A few remarks on the extras… The wristwatch, as the kid in the Ally bank commercial says, is a fraction of junk. The gain shows no particular style, wit, or imagination. And as others have said, “The Dreamer of OZ” is a dejected transfer, very badly unpconverted to 1080. It is not of acceptable quality, and should have been assign on the DVD disk.

I will reach assist later (I hope) with some more comments on the sound and the other extras. Forcing yourself to repeatedly view mammoth chunks of a movie, regardless of its quality, is an ennervating experience.
Colon Cleanse

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