Vusi Madlazi (Ice Cube) left his South African village when he was a young child, but he hasn't lost a sense of where he came from. When he receives word that his father has passed away, Vusi decides to return to his previous home, for the funeral. After fourteen years away Vusi is on his way back to the home he left behind, but how much has changed his departure? Of course, one major difference is that Apartheid has ended, but another plague seems to have gripped many people there, one that is almost as destructive. As the demand for this new plague, drugs, increases, money and resources become available to those who control the product. As such, rival drug organizations are bound to run into each other, and battle over who has the rights to sell their merchandise. This type of war doesn't just effect those involved, but also innocent people, which creates chaos and fear. When he arrives, he learns of the drug infestation, and learns his brother is not only an addict, but he also is in deep debt with a local drug lord (Ving Rhames). Vusi's brother has been missing for some time now, and Vusi joins forces with his brother's girlfriend (Elizabeth Hurley) to track him down and free him from whatever trouble he is in.

I have mixed feelings about this movie. It's obvious that a suspense/action genre listing would serve the synopsis well, but that isn't the approach always taken. Sure, there is some gunplay and plenty of suspense, but the movie tries to wedge in a message about drugs or freedom, or something, which bogs down the movie. I mean, how serious can you take a movie in which Ice Cube talks about how the white man oppresses him? Had the movie stuck with the action and suspense and laid off the sermon, this would have been a very good movie, but as it stands, it is a little below average in my mind. Aside from the moral lessons the film tries to kick down our throats, the movie is pretty good and fun to watch. The cinematography is excellent, especially the golden glow shots and the scenic camera work. If you can overlook the obvious political rhetoric, this is a decent way to spend an hour and a half. If you're a technical or analytical movie lover, this isn't your type of film though, this one's a no brainer. If you haven't seen it, if you like the storyline and stars, give it a rental and make the call.

This movie was directed and co-written by Darrell James Root, whose roots in South Africa show through in this, as well as most of his other movies. Root was born in South Africa, which shows the motivation behind the message in this film, although this is the wrong genre for delivering a political or social message. While lead actor Ice Cube (The Player's Club, Three Kings) is hilarious in Friday and other comedy driven pieces, his work here is less than stellar. Perhaps a smaller role would have suited him better, but he just falls short here, often to a laughable extent. But, given the ridiculous inclusion of the political message, it's easy to overlook Cube's mediocre performance. Stealing the show is Elizabeth Hurley (Austin Powers, EdTv), who gives an over the top turn here as a heroine addicted stripper. Hurley is hilarious, and continues the pace of the other actors, which is acting so bad that it's good. The supporting cast here includes Ving Rhames (Pulp Fiction, Mission: Impossible), Wilson Dunster (Yankee Zulu, Operation Delta Force), Robert Whitehead (Ernest Goes To Africa, Kickboxer 5), and Toni Caprari (Back To Freedom).

Dangerous Ground is presented in a 1.85:1 anamorphic widescreen transfer, with a full screen version also included on this dual layered disc. The cinematography showcases some wonderful scenic shots, and the natural color scope and accurate contrast levels make sure the image always looks awesome. The colors are bright, but stay within a natural spectrum, and flesh tones are natural and consistent. The blacks are sharp and well defined, while the lighter areas never bloom or distort. The transfer shows no signs of compression errors, another top notch New Line transfer.

This film has a mixture of audio styles, some scenes are quiet and reserved, while others are loud and explosive. The included Dolby Digital 5.1 track never wavers though, and handles even the harshest transitions without a hitch. There is some major gunplay, and those scenes will have the surrounds pulsing, you'll feel like the guns are aimed right at you. But the track does the more subtle sequences well also, with all the nuances and small impact audio coming across well. The dialogue is clear and consistent as well, no serious issues to find with this track.

This disc contains some talent files as well as the original theatrical trailer.

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Four teenagers (Birch, Harrington, another filly, another boy) attending a private coach find a mysterious situation in the ground best to an underground structure from day one built as a explosive seek.

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Haze details

Hustle & Current

MPAA Rating


R

for sex and drug content, pervasive language and some violence

Running Time


114 minutes

Released


Jul 22, 2005

(Nationwide)

Distributed By


MTV Films

Official Web Site

A star-making performance by Terrence Howard isn't the only thing that distinguishes

Hustle & Flow

.

The multilayered story of a group of Memphis down-and-outs stands on its own as a tale of people who defer their own dreams. Knocked down by insecurities and lack of faith, they hunker down in their fixed positions of hopelessness and stay there.

Hustle & Flow

is a feel-good film without too much schmaltz, though it occasionally gets distracted in message-baiting that's reminiscent of Spike Lee.

Howard is the ringleader here. His DJay is a perm-wearing, philosophizing pimp who drives a three-tone car and lives in a shotgun shack in north Memphis.

Three of his tricks live with him. The group doesn't get along as much as they merely tolerate each other.

Across town, working-class Key (Anthony Anderson), enjoys a comfortable, routine life with his wife (Elise Neal). But something is missing. The sound engineer always wanted to make music, but never realized his dreams.

Guess what happens next? Old friends DJay and Key reconnect, and they attempt to make music.

Complications arise, but to reveal more plot points would be to spoil a film where every character struggles with inner demons while silently resigning themselves to their fates.

Performances are nuanced. Taraji Henson is heartbreaking as Shug, one of DJay's prostitutes who's pregnant. Near the end of the film she tells DJay what singing on his rap demo has meant to her. It's a tear-jerking scene played with depth and sincerity.

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Rapper Ludacris is entertaining as Skinny Black, the superstar whom DJay sees as his connection to stardom. The great Isaac Hayes is fantastic as a bar owner and mentor who keeps careful watch over the neighborhood.

But this is Howard's show. His DJay is intense, with blue sky dreams other than pimping and living in Memphis.

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Don't misunderstand: DJay isn't the clichéd pimp with a heart of gold. He gives motivational speeches to his prostitutes, but the guy is also mean. In one scene, he tosses a woman

and her baby

out on the street.

DJay is a poverty pimp, emphasis on poverty. It's refreshing to see something other than the glamorized pimp life portrayed on-screen. This is a dirt-poor Dolemite who doesn't even have air conditioning in his car.

Despite the gritty authenticity,

Hustle

isn't without its problems. The last portion lunges into random violence, a third-act staple of filmmaker John Singleton, who produced here.

And the "everybody's gotta have a dream" message is beaten to death. Several characters even

say

it. We get it … dreams are important.

But so is this film, which will likely launch Howard into the celebrity stratosphere.

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Reviewed by Dennis Schwartz

One of the weaker Roy Rogers cowboy films. It’s a whimsical tale
with too much lighthearted comedy and songs and not enough action. William
Witney (”Bells of San Angelo”/”The Gay Ranchero”/”Trigger, Jr.”) directs
and Sloan Nibley adapts it from the story by Gerald Geraghty.

It’s set in modern times. Roy Rogers while working for the Great
Southwestern Tent Show finds out from a sheriff in Sioux City, Iowa, that
a man named Burnett is coming to collect on the $10,000 loan that rancher
Rogers countersigned with show performers Bob Nolan and The Sons of the
Pioneers. Burnett will confiscate their show equipment if they cannot pay,
but agrees to give them a few weeks in which to raise the money. Soon Roy
discovers one of the performers, Candy Martin (Jane Frazee), has a love
poem from a gypsy named Ricco Perado (Tito Guizar). Roy’s sidekick, Cookie
Bullfincher (Andy Devine), then tells Roy about a $10,000 reward for the
capture of a gypsy who has been robbing oil companies of their payroll
funds. Roy discovers that their show was in the area of all the robberies,
and captures the gypsy to collect the reward and thereby pay off the loan.
But he soon believes the gypsy is innocent. It leads to the climactic scene,
where after staging a mock holdup for the show Roy discovers that all the
villainy was committed by the gang led by one of the showmen, Harry Blaisdell
(Charles McGraw), Candy’s boyfriend. That gives way to the film’s only
exciting moment: Roy chasing down the robbers on a runaway stagecoach and
proving that the gypsy was innocent. With that, the gypsy takes off with
his hot tamale senorita Lola Gitana (Estelita Rodriguez) and the salvaged
tent show moves on to perform in the next city. Singing cowboy Rogers,
known as the “King of the Cowboys,” ends the dull venture by singing the
dull title song.

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Supposing I think it’s safe and sound to say there has never been a acceptable videogame movie, 2002’s Resident Evil came closer than most to keeping the get of the popular franchise but modifying the story to spasm the larger partition off. The commander, Paul W.S. Anderson (not to be confused with Paul Thomas Anderson or Wes Anderson, because they actually make good movies), favored loud and foul in excess of subtle or suspenseful, but achieved a reasonable balance for his take on the zombie/gore survival rancour story.

The sequel, Resident Evil: Apocalypse, written by Anderson but directed by his protégée, Alexander Witt, goes the other street: It’s more like the videogame, less like an verifiable movie. Milla Jovovich returns as Alice, the exclusive survivor the horde of undead in the first movie. If you remember (and how could you not?), when we last saw her, she’d been kidnapped by the multi-state zombie-virus producing Brolly Corporation and subjected to unspeakable operations. A single time finally she escapes, she discovers the virus has escaped into Raccoon Big apple, which I requirement say, is a most excellent delegate because a city, and I can only assume it’s a simple translation from the original Japanese game. As everyday people begin munching on each other, Umbrella sets up a quarantine (funny no one noticed the mammoth walls being built surrounding their city), more to study the mutation of the virus than to hold in check it from spreading.

A group of different forces soldiers (led by Oded Fehr) teams up with a few red shirts (including a plucky dispatch lady of the press distinct to get the grave info, even though early on she’s shown giving a climate ailing report) and rash cop Jill Valentine (Sienna Guillory), who wears teal spandex and short shorts, because that’s how practical, bolt-minded, professional women dress in videogames (see also, Lara Croft, examples one and, uh, two). After running into a tougher appear of inadequately quick CGI creatures, the clique (minus a few members) is illogically rescued by Alice, who randomly has some stamp of experiment-related superpowers stolen from Alien: Resurrection. Towards reasons that defy explanation, but involve magic cameras that cross every inch of the borough, the group is some time contacted by a disgruntled Umbrella scientist whose daughter (Sophie Vavassuer, in her odd follow-up to a lovely performance in Evelyn) is trapped preferred the city, and promised a way out if they can understand her.

In the present climate, I’m a fan of the Resident Evil videogames, and I’ll be the first to admit there’s a certain indemnity to spending two hours on-going there and blowing away zombies. But watching people run around pretending to be videogame characters shooting zombies? Not so much pranks. The first film, whether it was faithful to the game or not, was more about story and atmosphere (more being a relative term, attention you). Apocalypse, on the other hand, is utterly brainless&#8212though, in uniting to what’s explained on the top of, there is a drawing more plot, most of it delivered through into fragments exposition and strung together from the plots of at least three another games in the horror series, including a segment involving the Nemesis, an experimental super-soldier engineered by Agency out of Alice’s old boyfriend. In defiance of all the sci-fi elements, conceding that, most of the flick picture show involves shooting zombies, or kicking zombies, or blowing zombies up, and there isn’t one suspenseful scene or obviously-directed action sequence entirely. Director Alexander Witt, who did second unit work on the cardinal vapour, favors a flair best described as “murky, but also with lots of edits,” and not one of those endless fight scenes includes even a moment of visceral, enjoyable action.

The remove does a decent drudgery with hackneyed material, especially Jovovich, who gets a speck more to play with, particularly in a closing cliffhanger series that I liked even even though it hints at yet another sequel. Dwelling Wrong was a moderately good time; Apocalypse exists only to fill for the nonce at once, and I can’t imagine that’s going to change.

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Maze Box Set

July 10, 2001
Release Date: July 10, 2001

Maze wakes up with amnesia in a zany fantasy world, merely to find herself by evildoers and spoil-sitting a spoiled princess. Luckily, she?s developed highly charged superpowers to help her cope! But the powers recover consciousness with a unheard-of side consequence? Every twilight, Intricacy transforms into a flirtatious man!

The Comment!

All-embracing Rating: 3.4
(on a scale of 1-5)
-Technical Ratings-

Judicious: 4

Exact likeness: 4

Menu: 4

Display: 4

Goodies: 5

Overall: 4.2
-Thesis Ratings-

Animation: 3

Sound: 3

Plot: 2

English Acting: 3

Music: 3

Entertainment: 2

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All-inclusive: 2.6
-Intro-

Fans of the first season of Slayers rejoice, this series has the but tone and spirit as that series. To whatever manner, if you are dig me and were disappointed by the start season of Slayers, then stay away from this series. Slow far away from it. This is what happens when a unapproachable estimate for an anime series is taken and just stretched and stretched beyond it?s limit. It?s not too pretty.
-Technical Review-

As indubitably as boxsets go, this is pretty adroit. The sound and picture are heavens average, winsome much what you think. The menu works quickly and has motion, and music (Junkyboy! But more on that later). The package trap itself contains all the bumf you need on it including: rating, total match time, region coding, numbers of channels acclimated to, edition of languages, and of course the extras. The stratagems on the boxset is kinda every once in a while but if you are a fan of Slayers it makes the consistency with it right on the replace. This boxeset is done in the verbatim at the same time style as the Slayers and Height of Lodoss Make TV series. Like most CPM boxsets this sets comes flush with extra stuff. A specific the first disc you get a behind the scenes of the English dub. This gives you a scrap prowl bill at the actors and some amusing stories that occurred during this dub and others (a recording conference in the buff!). There is a gallery of stills from the show done in a slideshow style to the main themes. There is a far-sighted meet the characters section. And to wrap it all up is a montage of scenes from the initially disc that include Mill and joined of her favorite turns of phrase. It?s entitled "Big Sister Brother". It?s in English and it has to be seen to be believed. I loved it. I reminded me a portion of Nanako-tronic from the Amazing Nurse Nanako discs (without the jiggling). On the DVD-Rom side you prepare e dress a larger gallery that you can step on account of, the scripts to all 25 episodes and cast and production credits for Japanese and English teams. All these should be placed any Maze fan pleased

**Special Note**

I don?t really have a rating throughout this kind of act and I remarkably shouldn?t have to standing this. But the subtitles on this get under way are truly insufficient. The biggest maladjusted is that they are semi-pellucid, and as you watch them across light colored backgrounds it makes it granite-like to scan them in many places. They are yellow, but this series has lots of bright backgrounds and costumes so the lack of vagueness is a real minus. Another quick point, the covers on each keepcase have wiliness and info on the cancel side, but they are not clear! Doesn?t that kinda defeat the advantage? I get a bang the clear keepcase, and it makes have a funny feeling that to contain them in this boxset.
-Delighted Review-

I have to say that I want to visit with the OAV of Labyrinth now. The characters, the basic white and the personality the whole shebang falls into place seems like it could be lots of fun, remarkably if it was handled correctly. Intricacy has all the basics that could make it a fun flight of fancy romp with lots of bawdy humor. Instead you get a series that starts out pretty considerate but soon spirals out of master into a long boring tale, and a semi-interesting conclusion.

Maze is a young college student who wakes up with amnesia in a very weird Terra. She comes to the aid of a princess named Mill. You see Maze has been granted incredible powers, mould being able to shoot zip from her hands and control a large Mecha named Dulger. There is an individual disregard problem with this. You see during the daylight, Intricacy is a description, peace loving girl who at most wants to commandeer her friends. At night, Maze becomes a man with a ton of testosterone and the power to beg on any girl that is in the vicinity. Mill falls instantly in fondness with Maze (both versions). Maze decides to become Simple?s champion, on their galavant to the safety of a nearby kingdom. It wouldn?t be a delusion story if there wasn?t a war brewing. And it wouldn?t be a comedy if there weren?t plenty of characters to interact with each other. In customary Tenchi/Ranma style most of the first heroes depend on in love with Complex (Male or Female depending on the desires of the character). So of course you?ve got the quest, the battles, the groping, and the whack-stick humor in Maze.

The animation is pulchritudinous average overall. It?s pretty running, but there is some reuse of footage and lots of moment the characters can look kinda funky. The costumes and character design are the most desirable of the work. I?m not sure if the uniform character conniver worked on this series as well as Slayers, but there are lots of similarities. I wasn?t too crazy surrounding the mecha design or some of the set conceive. Lots of it seemed kinda thrown together and not de facto reminiscences out at all. It?s not a horrible job, but it lacks a authentic tangible feel, something that should beat it the world that Maze enters entirely tangible (Escaflowne and El Hazard are adroit examples of how to do it right). The sound task is in the selfsame boat. It?s pretty typically and doesn?t extraordinarily appearance of to stretch any creative limits or boundaries.

As I mentioned above, the story seems to have in the offing all the elements in place to make it a real send up and interesting story. It?s got a touch of Ranma, Tenchi and El Hazard all confused together. But where it goes wrong is in the lack of a variety of situations and humor. This is a one note series, same joke over and over again. Same underlying run after and discharge terminated and outstanding again. The total, antagonistic torn lands battling for domination, depict has been done better more willingly than. There are some creative twists that occur mostly at the end, and I will reply that the last disc was the best of the group because of the twists. Unfortunately sitting throughout the rest of the series is a bit of a chore. There were profusion of scenes that I knew should be enduring been ludicrous and worked overall, but it at best didn?t encounter. Lots of the secondary characters ended up getting in the way or were just pretty useless whole (the old man and to a point Ms. Rapier). It just felt like a series of elements were created and the writers decent worked a story on all sides of them. It just didn?t fall together marvellously.

The dub is a pretty solid effort. Most of the main actors got into the characters and did a good job bringing them to pep. I especially liked Mill and both Male and Female Maze. They seemed to be having a blast doing the parts and undeniably made the dub enjoyable. Most of the supporting characters and baddies were a whit overdone and at time again due took the cheese to a recent level. This series should be to the ground done, but there is a peak where too much over the top can hurt the dub. Overall it was a good true-blue dub, not the win out over but far from being the worst I?ve heard either.

The score was dulcet official anime make one’s way. It wasn?t anything lofty nor was it standing missing as being ghastly. Most of the time it fit the action and the emotions. I helped create minded when it needed to. The actual songs were a mixed bag. The vernissage credits were O.K. but the style positively got on my nerves yon disc 2. Now the end themes… well there?s a speck ditty called Junky Boy. I take pleasure in it. It?s gotta be a particular of the spazziest end themes since Tenchi in Tokyo. It?s hyper, and funky and it just made me smile every for the moment it came on. In episode it was a sincere highlight suited for this whole series (I?m glad it was used as the menu music). But after the halfway point you nag a new end theme. It?s a good theme, but it?s no Junky Little shaver! Don?t touch Junky Boy! (cough) Anyway…

Maze is inseparable of those shows that had a bunch of capacity on the side of fun and wacky high-skittishness and thoroughgoing entertainment. And as contrasted with it just spiraled out of jurisdiction and really seemed to lose with with where it could be dressed gone and what it could be suffering with done. As a result I was in effect disappointed with it. There was a everything of potential here, but most of it was wasted in requital for the selfsame repetitive joke, or the same sight gag. It really reminded me of the elementary pep up of Slayers in that way. If you?re looking recompense a data d fabric series with dimension crossing fun and over sexed characters, El Endangerment does it much better. If you are looking for something with a share more of a straightforward stand then Vision of Escaflowne is also great. But Maze was something that could and should induce been good and just didn?t pan out.

Roman J. Martel

Tell me what you notion of! E-letters me at…

roman@animeondvd.com
http://members.nbci.com/darksideof/

Features


Japanese Language,English Language,English Subtitles,Behind the Scenes Video,Character Sketches,Big Sister-Brother,Art Gallery,Meet the Characters

Review Equipment


General Electric Performance Plus (25 Inch), Sony Playstation 2

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Acclaimed veteran LAPD detective Compel Dormer (Al Pacino) and his accessory Hap (Martin Donovan) are sent to a mignonne Alaskan metropolis to investigate the cruel massacre of a 17 year old schoolgirl. In the indestructible sun of Alaska’s summer, they fossick for evidence with the local cops, specifically Ellie (Hilary Swank), a puerile officer who is a Dormer junkie. Meanwhile in Los Angeles, Internal Affairs are cracking down, and Hap confesses to Dormer that he’s sarcastic to cut a deal so he can stay his occupation dependable. When close by author Walter Finch (Robin Williams) is identified as the main suspect, Dormer sets up a stakeout on a blurry lakeside, during which Hap is like greased lightning beige, but Finch gets away. The shooter is meditating to be Finch, but Dormer knows different. The philosophical battle really gets under way when Finch contacts Dormer with a proposition.

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Reviewed by Dennis Schwartz

One of the most interesting Yiddish films ever
made. It was made at the time the Nazis were going into their ‘Final Solution’
plans and were publicly blaming the Jews for all their troubles. Sholem
Anskil’s folk tale of a disembodied spirit who possesses the body of the
woman he is about to wed serves as the theme. The supernatural and the
search for the Jewish soul, make this film a testament to the inner Jewish
experience more than what most of the Yiddish films had previously done.

Leon and Lili are the star-crossed lovers living
in Warsaw’s shtetl (Jewish village). The film was shot in one of Warsaw’s
most anti-Semitic neighborhoods, according to J. Hoberman’s wonderful book
on the Yiddish cinema “Bridge Of Light.” Hoberman goes on to tell how the
cast had quite a difficult time just getting to the studio to work, being
taunted by the local hooligans with anti-Semitic remarks and often beaten
upon. 

How lovers suffer, is a theme audiences of
various beliefs could relate to.

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The marvelous voice of the great cantor Sirota
divinely rings through the temple. There is elation in the music and in
the dance of the shtetl inhabitants that brings on an unexpected joy and
grace, and adds much weight to the film’s sense of culture.

What is eerie, even as the irrational is presented
onscreen, is the evil that lurks for the actors and audience, as the incomprehensible
is soon to descend on them in the form of a Holocaust. They, more than
likely, were caught up in it and had to brutally suffer for their religion.
Also, the film’s “Dance of Death” scene has become a legendary one.

This is not only a great Yiddish film, but
one of my top 100 hundred films.

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Posted by T'Bonz - 04/06/10 at 03:06 pm

Fans waiting for CBS’s $#*! My Dad Says can watch a new trailer uploaded to YouTube.

According to CBS, the Shat hits the fan this autumn, but fans of

Justin Halpern

’s father’s utterances can rile an doctrine now of what to wait for when the show airs.
In the stubby video, those involved with creating the show, including Governing Producers/Writers

Max Mutchnick

and

David Kohan

,

William Shatner

(who will misbehave “Ed Goodson” the vituperative father) and

Justin Halpern

(who created the original Dither feed that has evolve into so popular) and others talk about the represent, and equity clips of the action.

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Halpern explained how the Twitter account got its name. “When I was trying to put it on Twitter,” he said, “they made me fill out all this stuff, ‘what do you want to call it?’, ah this is ’shit my dad says.’”

One scene in the trailer shows Shatner as Goodson asking his son (Henry) why he doesn’t introduce his girlfriend to him. “She’s just my roommate, not my girlfriend,” says Henry. “Why not?” asks Goodson. Henry explains that the woman dated his best friend for years, and that “You don’t mow another guy’s lawn.” “You do if the house is abandoned and the lawn is begging to be mowed,” replied Goodson.

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One problem here is that the jokes aren’t funny; another is that Sally Field is funny by mistake. It’s saved by Tom Hanks‘ portrayal of Steven Gold, flunking seedy medical student by day and zealous trainee take-up by night. Esteem (hero worship) arrives in the shape of Lilah Krytsick (Field), a downtrodden housewife so sweetly caring, so maternally smothering, that even boiling oil couldn’t be good sufficiency. Lilah, alas, wants to be a witty too. Underwater Gold’s tutelage she becomes one; the rule, he explains, is that you don’t bag on by telling someone else’s hollow-eyed gags, but by spieling from experience. Her episode consists of Polish roots and her husband’s personal habits, and the punters learn to harmony it. Worse, Krytsick learns to love Gold, and imperfection versa. The talent contest climax is the equivalent of a grievously engineered courtroom drama, tantrums, tears and all. It’s to Hanks’ reliability that Punchline remains grimly watchable.

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