drbloodscoffinblog

Format :

Blu-ray

Editeur :

Metropolitan

Zone :

B

Date de sortie :

22/10/2008

Langues :

Français DTS-HD MA 6.1 / Anglais DTS-HD MA 6.1 /

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Bonus:

Commentaires audio. Le Making of. La règle du jeu. Les pièges du tueur au puzzle. Du Storyboard à l’écran. Zombie. La véritable histoire de Saw. L'enquête de Scott Tibbs. Les contes de Billy. Saw II en 3 animations. Bandes annonces.

L'édition SD nous avait un tantinet déçus. Le Blu-Beam et son encodage VC-1 est là pour nous réconcilier, du moins dans les grandes lignes. Ce second production de la tétralogie enchante sous bien des …

A l'image de ce que nous avons pu découvrir avec le Blu-Ray du premier opus, les mixages DTS-HD Ingenious Audio 6.1 anglais et français font des merveilles (avec une nette préférence pour la version …

Test interactivé / extra 3/5

Attardons-nous sommairement sur le nouveau montage proposé ici. Sommairement est le mot puisque si la franchise Saw ne brille pas particulièrement pour l'énorme contraste constaté sur ses versions …
16 septembre 2009
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8 commentaires

Il a beau être mort et enterré (à moins que…), le Jigsaw Killer continue de nous livrer chaque année sa nouvelle fessée cinématographique et, comme à chaque fois, pléthore d'affiches accompagnent …

Preview
06 mars 2009
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4 commentaires

Rendez-vous désormais incontournable de chaque période de fin d'année (mais jusqu'à quand tiendront-ils ce rythme ?), le prochain épisode de la saga Saw aiguise donc d'ores et déjà ses lames acérées …

Général rumour
20 octobre 2008

La saga Saw est revistée par le format Blu-Ray grâce au coffret de la tétralogie édité par Metropolitan. Penchons nous aujourd'hui sur les deux "director's cut" de Saw et Saw 2 reprenant les …

Send in not base.

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In some bright scriptwriter’s brain, there’s a musical that evokes the heyday of Rooney and Garland and stirs you up with song and dance. Walt Disney’s “Newsies” is not that musical.

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Set in the summer of 1899, the movie’s about the trouble that arises when New York tabloid publisher Robert Duvall ups the price of his newspaper. Hardest hit are the young newspaper hawkers (the “newsies”), who have to buy in bulk.

From this juvenile discontent arises leader Christian Bale (the kid from “Empire of the Sun”), who organizes his non-unionized fellow urchins in a citywide strike. Duvall, his goons and a boys’ home director (Kevin Tighe) who’s been on the lookout for escapee Bale get to villainous work.

The script, based on a true story, is nonetheless bland and meandering. Scriptwriters Bob Tzudiker and Noni White string the elements together loosely and without much zest. Director Kenneth Ortega, a choreographer for countless music videos and the movies “One From the Heart” and “Dirty Dancing,” never reaches the high points. He doesn’t even get off the ground. He wants to make a seamless, stylized show of leaping, quipping, tough-talking kids. But his cast of youthful unknowns just isn’t up to it. They don’t dance together. They scramble. Their voices — singing and speaking — seem weak and tentative. From clutzy dance numbers to its collection of overtheatrical New Yawk accents, “Newsies” is all left feet, noise and clutter. It looks like its own rehearsal — an early one at that.

Even music composer Alan (”The Little Mermaid”) Menken and lyricist Jack Feldman seem a little off. At one point, homeless Bale sees the harmonious atmosphere of newsie pals David Moscow and Luke Edwards. He slinks quietly away and — in a musical soliloquy meant to be touching — blurts, “So dat’s what dey cawl a fam’ly/Wid a fadda, mudda, son.”

Duvall is incapable of hiding his talent. Even in a piece of mediocrity like this he gets in a few memorable tics as evil millionaire Joseph Pulitzer. At one point he has assembled his rival publishers (including archenemy William Randolph Hearst) to discuss their common enemy — the newsies. As he circles his seated invitees, Duvall brings his hands in a strangulating gesture just inches from Hearst’s throat, as he makes a quick, almost indiscernible choking splutter. But in the same movement, he checks himself and pulls away. He has a business speech to deliver, after all. It’s a deft, humorous little touch — and probably the best bit of choreography in the whole movie.

by Alison Nastasi Mar 2nd 2010 // 6:15PM

Tranquil all the same I grew up in New York City, I was always surrounded by beloved derivation pets that ranged from pretentiously to small. There was Gypsy, our German Shepherd and the kitty gang, Stinky, Spooky Skeezer and Louie (formerly Lu Lu before "she" grew noticeable boy parts), along with a Russian Dwarf Hamster named after a character from one of my favorite infancy books, Emmylou Tittlemouse. One of the pets I calm need to this heyday was a rabbit named Pierre, who was a black, wee something-or-other stock and lived in the bedroom my colleague and I shared at the time. Our brawny orange cat, Louie, would affliction Pierre by camping manifest on top of his cage and glaring at him for hours on outdo. You can't not do justice to nature.

Rabbit Fever

was somewhat shocking — in particular, seeing that many rabbits in cages, in a specific space. Equally nonconforming is the coveted right of National Rabbit King and Queen that the teenage enthusiasts are fighting to bring home the bacon. But as Do points outside, what seems different unqualifiedly isn't that unaccountable after all: "You can supersede the teens' sweetie of rabbits with any other hobby or sport, and empathize with their motivation and goals."

Rabbit Fever

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This ambitious contemporary musical quite literally makes a beefy staging calculate out of AIDS. The virus looms sizeable in the lifetime of Jeanne (Ledoyen, gamine to a fault), who thinks she has found the perfect guy until he starts getting dizzy spells and ends up in the hospital. He’s played by Mathieu Demy, son of Jacques, who of line made the definitive Gallic musical in The Umbrellas of Cherbourg. No Michel Legrand multitudes here, anyhow, honourable bustling sub-Eurovision tunelessness which leaves the heart resolutely untouched. The jaunty choreography and vivid colours make a piquant deviate from with the serious gist matter, but we never really believe in the characters enough for the purpose it to count. An spirited idea, disappointing in killing.

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GALAXY CRUSADE

Synopsis:

Never give up, Never Surrender! Galaxy Quest is part parody, part space adventure & total comic relief! The crew of the NSEA Protector have sworn to protect & uphold the liberty of all life it comes in contact with. That is until their series was cancelled. Now Commander Peter Quincy Taggart (Tim Allen) Dr. Lazarus (Alan Rickman) Lt. Tawny Madison (Sigourney Weaver) & the rest of the bridge crew, Laredo, Tech Sgt. Chen & Crewman #6 are eeking out a living on the Sci-Fi convention circuit, until envoys of the Thermian race request their assistance in defeating the greatest enemy their race has ever known. Having reviewed the “Historical Documents”, the Thermians know the only hope for saving their people lies in the hands of the Crew of the NSEA Protector & their knowledge of the mysterious yet powerful Omega 13! Thinking this just another, Sci-Fi gig, Commander Taggart accompanies the Thermians to their “Space Ship” & is blown away…mentally, when he realizes it’s a “REAL” space ship! Galaxy Quest is probably one of the funniest movies I have ever seen! As a fan of Star Trek for over 30 years, I greatly enjoyed this session of good-natured ribbing!

Reviewed by Dennis Schwartz

This was the tenth feature film starring the biggest box office and
most famous dog star of all time, the German shepherd called Rin-Tin-Tin.
Lee Duncan was a corporal during the First World War who rescued Rin-Tin-Tin
in a French battlefield in 1918 and brought him to America for his long
film career, where he earned a weekly salary of $6,000 and had a career
that lasted until 1932. The film takes on the Androcles’ theme, when the
animal is shown love by mankind he responds in kind. 

There’s a forest fire in the High Sierras in California, and a pack
of famished wolves led by Lobo (Rin-Tin-Tin) come down to the desert town
to hunt for food. They disturb the local ranchers as they kill their cattle.
One of the ranchers is Sam Barstowe who objects to, May (June Marlowe),
his young single daughter’s romantic interest in loner tenderfoot borax
prospector Dave Weston (Charles Farrell).

When Lobo gets stuck in cactus thorns and can’t pull them out, he
leaves his mate Nanette for the desert fearing the other wolves would detect
his weakness and devour him. Dave spots his struggle and removes his thorns.
The grateful half-breed, part wolf and part dog, allows Dave to become
his master. Since there’s a $100 reward in town for Lobo, he’s disguised
with a fake detective beard tied by string on his lower jaw and his paws
are covered with laced leather shoes (the attempts at comedy were never
realized). 

The villain is posing as a chemist assayer named Borax Horton (Pat
Hartigan), who in reality is a claim-jumper. He attacks Dave leaving him
badly wounded in a cave and steals his claim. It’s up to Lobo to alert
May and save the day. There’s a terrific scene of a pack of wolves chasing
down the villain fleeing on horseback across the desert, as he gets his
comeuppance. 

If you ever care to see a flick that had all the endearing qualities
that made “Rinty” so lovable and famous, this one is it. The film’s only
weakness was the lame comedy performed by Alkali Bill (Heinie Conklin),
the comic foil character who worked on the Barstowe ranch as a chaperone
for May.

I believe

"Final Destination"

(2000) was a widely misunderstood film. On its face, it seems to be a generic, unbelievable horror film about teens who get killed, with thin characters and wooden dialogue. Upon further examination, though, it becomes clear that the filmmakers — "X-Files" veterans James Wong and Glen Morgan — intended it that way. They want us to laugh with the film, not at it. Surely these guys, being responsible for many genre-defying episodes of a genre-defying TV series, know "lame horror flick" when they see one. "Final Destination" was not meant to be taken seriously, but as a wickedly dark spoof that, like "X-Files," successfully blended mockery of horror with actual horror. On that level, it was a decent piece of entertainment.

Now comes the depressing and obligatory sequel, made by new, inexperienced people, featuring almost none of the faces from the original, and using not a continuation of the first film's plot, but THE SAME PLOT, recast with different characters. It is wearisome to contemplate Hollywood's dearth of good ideas.

The story is that a teen-age girl named Kimberly Corman (A.J. Cook) foresees a horrific traffic accident in a vision, acts accordingly, and prevents the deaths of nine or 10 people who would have otherwise perished. But this messes with Death's design — when it's your time to go, it's your time to go — and soon Death, merry prankster that he is, begins killing off the survivors anyway, using increasingly elaborate and ghastly methods.

Kimberly knows what's going on. The near-accident occurred one year to the day after a teen-age boy foresaw a plane crash, got off, and spared the lives of several people, all of whom also died soon thereafter; this is what happened in the first "Final Destination." She seeks out Clear Rivers (Ali Larter), the one person from that earlier incident to still be alive, though she has barricaded herself at a mental institution, safe from anything that could possibly kill her.

(This is a typical horror-film institution, by the way, all mist-enshrouded and featuring raving lunatics who yell things like, "Get ‘em off me!" when there's nothing on them.)

Clear decides to help Kimberly and her fellow survivors, who are quickly becoming convinced that Death IS after them, since sure enough, they're starting to drop like flies. They visit a creepy mortician (Tony Todd, from the first film), who gives them some ideas about how to escape Death once and for all.

The film is a copy of its predecessor, but a bad one. The plane crash vision in "Final Destination"? Whatever critics said about the film, they loved the sweaty terror of that well-produced sequence. The multi-car collision in "Final Destination 2"? OK, but marred by the over-use of fiery explosions, including a car that bursts into flames simply by having its top half — the half where the gas tank ISN'T — being sliced off.

More to the point, the aforementioned attitude of the first film is gone here, like maybe the new filmmakers didn't even get it, much less were able to duplicate it. Where "FD1" was full of subtle visual clues foretelling characters' deaths, and the use of "Rocky Mountain High" as a constant harbinger of doom, "FD2" manages one or two lame hints then gives up.

There is no atmosphere. This sequel, a deliciously stupid 90 minutes of outrageousness, actually is all the things that those who misunderstood its predecessor thought IT was. It's lame and obvious, though I will say that at least it's never boring. As far as bad movies go, this is a great one.

Grade: D+

Rated R, abundant harsh profanity, brief non-sexual nudity, a lot of blood and gore

Identical twins, one-liner a shy artist, the other a predatory gink-snatcher are in POSSLQ = ‘Person of the Opposite Sex Sharing Living Quarters’ with the still and all darbies, who happens to be married to the artist. Academy Award Nominations: Rout Special Effects.