Movie Title:A Christmas Celebration

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The sparkling and all so talented young women from the Emerald Isle have once again achieved perfection. The long awaited Christmas DVD “A Christmas Celebration” is finally out and is it ever a treat for the whole family! Shot in Dublin, encourage in July honest three weeks after the reveal completed a wildly successful five month concert tour of the US performing the “A Original Budge” indicate. Graceful in the most glorious gowns and delicate stage settings Orla, Lisa, Chloe, Mairead and Meav (making her farewell appearance, sorry that’s what we’re told) breath original life into many of our well-liked Christmas classics. Backed by the world illustrious Irish Film Orchestra, the Celtic Woman band and choir,

the ensemble entertain to the max!

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A few of the highlights, and beleive me there are many- White Christmas: Chloe, Lisa and Meav, The Dinky Drummer Boy: duet by Orla and Chloe, Oh Holy Night: ensemble, Away in a Manger: Orla, The Christmas Song: Lisa, O Advance All Ye Faithful: ensemble, Let It Snow: ensemble, Have Yourself A Merry Itsy-bitsy Christmas: ensemble, The First Noel: ensemble, The Christmas Song: Lisa and many more.

These very gifted young women blew this writer away with their first concert and they objective maintain getting better and better. The “A Novel Jog” live at Slane Castle is from all aspects a perfect music video yet the “A Christmas Celebration” takes perfection to a higher level. With the sizable success the exhibit is having the girls appear to be having more fun than ever if that’s possible. We’ll really miss Meav, her fabulous grunt, charm and grace is irreplaceable and we hope she can rejoin the exhibit somewhere down lifes road.

Every time I mediate there is no map the gorgeous and talented ladies of CELTIC WOMAN could possibly out-do themselves, they do!! Every time I believe there is no scheme they could top this, they do!! They unbiased support getting better and better. More glowing. More dazzling, to both the ears AND the eyes. More talented. Even more gifted, if that’s somehow possible. I have seen CELTIC WOMAN live in concert numerous times. They are simply unbelievable! Simply the most gifted, talented performers you could ever hope to peer and hear. And yet, they objective sustain getting better! (For those of you who may be unaware or, not entirely positive … yes Meav did proceed CW. She has decided to consume more time on her acquire solo [musical] projects as well as more time with her family. Meav is of tremendous talent, beauty, grace and class. She is edifying in every sense of the word and she will be sorely missed as piece of one of the most incredibly gifted group of performers/vocalists I have ever encountered. [Meav, we wish you all the best in all you do]. Stepping in is Lynn Hilary who is herself a very dazzling and talented singer. She has worked in Riverdance and in fact her and Lisa [Kelly] have worked together previously. So Lynn is no stranger to this type of music or performance. She is also of pure Irish/Gaelic decent. We welcome Lynn aboard and will contemplate her on the Plunge 2007 Tour) .

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This “A Christmas Celebration” DVD is easily, by far, the most fair Christmas Concert I have ever seen. This is MUST HAVE!! If you like Christmas Music, you will luxuriate in this offering. If you like Christmas Music AND are a CELTIC WOMAN fan, you will not own your ears and your eyes!! I know (first hand) how incredibly talented and exquisite Lisa, Meav, Orla, Chloe and Mairead are and yet, I was positively Stupefied by the beauty of this performance. It is SO far beyond even what I had expected, that I calm can’t find over this performance. I rec’d my copy the day is was officially released (Tuesday 10/02/2007) and have watched this, twice a day, every day since receiving it. I don’t usually inaugurate with Christmas Music until Thanksgiving. But I knew there was no scheme I could last that long, impartial from intelligent how talented these ladies are AND from looking at the splendid DVD package/cover. I had to play it. I did play it. And now, like so many others, I can’t Cessation playing it. They are beyond anything you could imagine. I have never, never heard nor seen anything so exquisite in my life! As one other reviewer here said … “don’t dawdle, Race to your nearest music store and net this for yourself”. The most extraordinary Christmas Concert you could ever hope to leer, performed by five unbelievably ravishing and talented Angels. As a ‘bonus’, if you will, the Choir and the Orchestra are also in top design. They ALL deserve tons of credit for this performance. This was also a beautifully shot/filmed performance as well. The ladies never looked lovlier and the stage and lighting are also done to perfection.

Every, single number is stunningly graceful but … Some of the highlights are:

“Carol Of The Bells” (opening number) .

“Itsy-bitsy Drummer Boy” (beautifully done by Orla and Chloe and Ray on the snare) .

“The Wexford Carol” (again, beautifully done by the one and only lovely Meav) .

“Christmas Pipes” (is out of this world)!

and closing the note is …

a Tremendous Band rendition of “Let It Snow” (that is NOT to be missed)!

Devour and oh what a Merry Christmas, thanks to CELTIC WOMAN!!

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Movie Title:The Old Dark House

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Not only is there an Dilapidated Dim HOUSE, there’s also a unlit and stormy night outside said house, a heavy rain that causes mud slides and has turned the roads into quagmires. It’s so unpleasant that travelers Roger Penderel (Melvyn Douglas) and Philip and Margaret Waverton (Raymond Massey and Gloria Stuart) swallow their fears (how would YOU like it if your knock at the door of a scary primitive house was answered by Boris Karloff? ) and scrutinize refuge there. They are followed soon enough by portly and high-spirited Sir William Porterhouse (Charles Laughton) and fiery young Gladys DuCane (Lilian Bond) . Nobody in their moral mind would contemplate spending a night in the spooky traditional spot unless forced by the sharpest contingency. Nobody in their moral mind, we soon learn, inhabits the house, either. It’s the space of the Femm family, weak siblings Horace and Rebecca (Ernest Thesiger and Eva Moore) and a brace of unseen, but not unheard, relatives locked in upper memoir rooms. Boris Karloff plays Morgan, a butler or sib (never explained either intention), who’s scarier than all accumulate out.

THE Used Sunless HOUSE is a scare movie, of sorts. It doesn’t indulge in splatter-gore or supernatural head-twisting to shock and thrill. Rather, it relies on high shadows and sardonic dialogue, unfamiliar characters and menacing situations. The movie contains no character stranger than Karloff’s Morgan, a hulking soundless brute glowering from slack a bolshie beard and a few deep and delicately placed scars painted in by Universal make-up genius Jack Pierce. Morgan develops an overarching attraction to fine young Margaret Waverton. Director James Whale makes Margaret undergo the only costume change in the film, a travel that accomplishes a number of things. Undressing down to her slouch, Margaret is at once sexualized and made vulnerable. It gives deaf veteran Rebecca Femm the opportunity to suppose lines at once darkly silly, sardonic, and deeply disturbing. As Gloria Stuart, who recently played the 100-year-old survivor in TITANTIC, tells us on the easy and informal commentary track, Whale wanted her to appear a `flaming dagger’ when Karloff chased her about the sunless mansion, hence the pink Jean Harlow-ish silk gown. Rebecca Femm, fondling the gown’s silk, declares “Pleasing stuff, but it’ll rot.” Touching the young woman’s skin beneath the gown, she says “Finer stuff level-headed, but it’ll rot, too!” Whale intercuts the scene with images of Margaret and Rebecca and Margaret looking at herself in an feeble and distorting mirror. It’s a knowing sequence, transcending and enhancing the terror simultaneously.

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THE Aged Shaded HOUSE is filled with hooked, dusky comedy and tremendous performances. Whale, of course, had earlier directed Karloff in FRANKENSTEIN, and would work yet again with him in a few years on THE BRIDE OF FRANKENSTEIN. Thesiger would join them as the demented Dr. Pretorius. If you’ve seen that movie and enjoyed its singular price of humor, you’ll savor THE Passe Dismal HOUSE as well. HOUSE lacks BRIDE’S humanity, there are no friendly monsters in this one, but its comedy is more finely honed and definitely of a darker hue. And the ensemble cast is as capable as it gets. I loved this movie.

Included on the Image dvd is Gloria Stuart’s informal and personal commentary, a nine-minute stills gallery (button free, it runs on its acquire) and an eight petite interview with director Curtis Harrington, who was a friend of Whale’s and the man most responsible for preserving, and restoring, THE Conventional Shadowy HOUSE as it lay mouldering in the Universal vaults in the 1960s.

Director James Whale deftly combined dry, sardonic humor with classic apprehension elements to gain the richly spirited dark comedy “The Customary Shadowy House”. By turns darkly witty and genuinely creepy, the film benefits from a razor-sharp script, temperamental cinematography, and uniformly magnificent performances in addition to Whale’s creative directorial flourishes. Simply summarized, the set involves a group of stranded travelers who buy refuge in an isolated Welsh mansion owned by a dangerously eccentric family during a terrific storm; before the night passes, members of the group will encounter anxiety, romance and even death as the inform, wind and rain rage outside.

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Among a famous cast that includes such luminaries as Boris Karloff, Melvyn Douglas, Charles Laughton, and Gloria Stuart, the acting honors are stolen by Ernest Thesiger playing the pinch-faced, hollow-eyed lord of the manor. Thesiger manages the difficult task of being very comical and vaguely menacing at the same time; in his first scene he introduces himself in a sepulchral but prissy tone as, “Femm … Horace Femm”, and the do is both marvelously droll and discomfortingly shivery. Eva Moore also makes a distinctive impression in the role of Thesiger’s sharp-tongued sister whose begrudging hospitality to her guests does not include “beds … they can’t have beds!” She is particularly ominous as she fingers the fabric of Gloria Stuart’s grievous chop evening gown, noting “radiant stuff, but it’ll rot”, and then proceeds to keep her hand on the exposed flesh above Stuart’s chest, adding “finer stuff smooth, but it’ll rot too!”

The Kino DVD offers a sparkling video transfer of this film which was once considered lost. After the film’s negative was discovered moldering in a vault, and then painstakingly restored, a copy was shown a very few times on pay cable TV channels encourage in the early 1990’s; unfortunately, that print was so gloomy that the movie was virtually unwatchable. The Kino version features correctly balanced inequity and a clearer, crisper soundtrack. As far as extras go, there is a unbelievable photo gallery; excerpts of an interview with Curtis Harrington, a long-time acquaintance of James Whale who initiated the long search for the film’s missing negative; and a commentary by film historian James Curtis. Best of all is a second audio commentary by actress Gloria Stuart who with big intelligence and charm reveals piquant tidbits about the film’s production, the other cast members, and the shooting of individual scenes, as well as general stories about Hollywood and her enjoy career.

The 1962 Hammer remake of the same title, directed by William Castle, bears very few similarities with Whale’s production; Castle’s version is almost devoid of awe and emphasizes huge comedy which sometimes veers into the realm of slapstick. Both are exciting films in their hold ways, but I personally choose Whale’s current and heartily recommend that you add it to your home DVD library.

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Movie Title allas – The Complete Fourth Season

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… but that’s an argument for another time.

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Season 4 of ‘Dallas’ continues apace, and, to directly contradict the spotlight review above, is most certainly the equal of, and in many places, surpasses the very high standards place down in Season 3.

Okay, so we all know who shot J.R. I won’t spoil it for the two-and-a-half people left on the planet who do not know, but with the first four episodes done and dusted, there’s a wealth of current situations and characters and mishaps waiting to be introduced to the unhappiest family in Texas.

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New sons, unusual mothers and recent (and mature!) wives are unbiased for starters: Season 4 also brings us resurrections, infidelities, engineered foreign revolutions, oil terrorism, murders and more high-octane drama than you can shake an oily stick at. The more standout recurring characters near in the shape of Susan Howard as Donna Culver and Leigh McCloskey as Mitch Cooper (the whiniest chauvanist since… …ever!), and the resident cast is every bit as watchable and lovable as before.

While Season 4 of ‘Dallas’ does gain noteworthy of the previous high standards of writing and acting, there’s a decidedly more ’soapy’ air on indicate – although nowhere as uncommon as ‘Dynasty’, there are sure situations, such as the hasty deterioration of Bobby and Pam’s marriage, or the reintroduction of one of Sue Ellen’s traditional flames, that hint at the beginnings of that gloriously escapist behemoth known as 80’s Prime Time. Unruffled, it’s a very subtle shift, and this isn’t a complaint; rather, the Ewings are changing for the better.

All in all, Season 4 of Dallas is truly good. In addition, audio/visual quality is, as ever, wonderful, and the extra ‘Return to Southfork’ documentary, though obviously and painfully scripted, is a nice touch – particularly to peruse impartial how extraordinarily well Miss Linda Grey has passe!

Highly recommended, now PLEASE won’t y’all release the rest of the reveal??

Season Four of the sinfully-good CBS-TV nighttime, prime-time soap opera “Dallas” came out on DVD on January 24th, 2006, in a nice-looking 4-Disc area, which contains all 23 full-length, fourth-year episodes (running about 49 minutes each) .

This station, as most Dallas fans surely realize, has within it the episode that resolves the “Who Shot J.R.? ” record arc. It’s episode #4 of this season (“Who Done It? “), which first aired on Friday night, November 21st, 1980. And it looks unbiased tall on this DVD (as do all the other episodes as well) . The video quality here, like the earlier DVD sets of “Dallas” achieve out by Warner Home Video, looks A-OK to me.

Prior to the much-anticipated airing of “Who Done It? ” in behind November of 1980 (which was delayed in getting aired by about two months due to an actors’ strike in Hollywood that shut down production of all TV series), it had been exactly eight months since TV viewers had seen the season-ending cliffhanger where we watch J.R. Ewing being filled with hot lead from the gun of an unseen and unknown would-be murderer.

That meant eight long months of guesswork engaged in by fans of the series, trying to figure out who plugged John Ross Ewing II. I can vividly assume the media build-up to the “Who Done It? ” episode in 1980. It was something else. Everyone was talking “Dallas” and speculating as to who might have been the gunman (or gunwoman) . And there wasn’t a shortage of “suspects” either, moral on up to Miss Ellie Ewing, J.R.’s enjoy mother! Several people notion Ellie had had enough of her eldest son’s backstabbing shenanigans and had decided to steal matters (and a execute weapon) into her bear hands.

Anyway, those months leading up to the substantial cliffhanger-resolution 4th indicate of the year were truly something to sight. So it’s no wonder that the “Who Done It? ” episode managed to fracture all kinds of television records. 41,470,000 homes (“households”) were tuned to “Dallas” that Friday night in 1980 to search for who it was that tried to demolish Mr. Ewing, shattering the previous television ratings’ relate (held at that time by the last episode of “The Fugitive” in 1967) for the highest-rated and most-watched single TV program in history.*

* = Total number of sincere “viewers” watching “Dallas” on 11/21/1980, however, was great higher than the 41-Million-plus figure previously mentioned. From data I’ve gathered on the Internet, there were approximately 83,000,000 people watching “Dallas” that night in the United States. (Although some sources list this “Total Number Of People Watching” stat as greater than 90-Million.)

Another tantalizing statistic that surrounds the airing of the “Who Done It? ” episode is the fact that commercial advertisements that were seen on CBS-TV that night cost those sponsors $500,000 per puny. And, remember, that was many, many years ago, in 1980. Whew! J.R. would no doubt be very proud of those monetary stats!

Of course, that half-a-million-dollars-per-minute TV ad cost, circa 1980, is dwarfed by some similar 21st-century stats….e.g., the average cost for a 30-second TV position during the annual Spruce Bowl telecast reached a staggering $2.4-Million (as of 2005) .

This fourth year of “Dallas”, which is considered by many precise “Dallas” fans to really be fair the third (burly) season of the point to, in addition to containing some of the most-memorable episodes from the whole series, also marks the unlit departure of Jim Davis (who played “Jock Ewing”, the always-gruff and no-nonsense head of the Ewing family and Ewing Oil empire) .

Jim Davis died at the age of 71 on April 26, 1981, which was honest days before this fourth-season’s cliffhanging finale (“Ewing-Gate”) was aired on CBS. Jim’s/Jock’s presence was indeed missed by this writer during the subsequent seasons of “Dallas”. And while the character of “Clayton Farlow” (played by the unhurried Howard Keel) was a fair advantageous character in his maintain apt, there was impartial no replacing Jock Ewing. Couldn’t be done.

As fate would have it, Keel passed away on the loyal day that the “Dallas Reunion” special originally aired on network TV in early November 2004. He was 85 years former. That very Reunion special is also included in its entirety in this DVD state.

This DVD aggregation contains four double-sided discs, which are held in two overlapping disc trays within a smaller and more-compact Digipak case than was faded for the two earlier DVD collections. The footprint (spine width) of this 4th-season pack is a mere 3/4 of an rush.

When all four discs are removed from the two DVD-holding compartments, an impressive-looking underlying image emerges beneath the plastic trays — a represent of a “smoking gun”. A nice packaging touch.

There is no booklet included here in the Season-Four position. And the slimmer packaging reduces the amount of room for episode info…so there are no detailed (or even non-detailed) episode descriptions to be found on the innards of the box. The episode titles and airdates are listed however.

The outer slipcase box features photos of three of the main cast members (J.R., Pam, and Bobby), with the Dallas city skyline in the background. And while these three pics on the front cloak are cut-and-paste jobs, I contemplate the shroud looks very nice.

And I fair esteem the amusing blurb on the benefit of the outer box here too. A part of it reads — “Who shot J.R.? One of the men he cheated in business? One of the women he cheated in admire? Or is the culprit closer to home: a member of the gargantuan, downhearted Ewing family who figured to cleave the weasel population of Texas by one? ”

Excellent! That packaging verbiage deserves a enormous ol’ “LOL” too!

Bonus Feature:

There are no Audio Commentaries included here, but the folks at Warner Home Video have included a really nice extra bonus item on Side B of Disc #4 of this site — “Dallas Reunion: The Return To Southfork”.

First seen on CBS on November 7th, 2004, this 2-hour Reunion special (87 minutes on the DVD, without the new commercials) was watched by more than 9-Million people during its initial airing. It ranked an impressive #20 in the Nielsen ratings for that week.

The Reunion Special is a very fun program to perceive, with many current “Dallas” cast members (including Larry Hagman, Patrick Duffy, Linda Gray, and Victoria Necessary) getting together at the staunch “Southfork” Ranch in Texas to allotment their individual and collective remembrances of the TV series (which ended its noteworthy 357-episode network bustle in 1991) .

The “Reunion” is filled with cast-member anecdotes, bloopers, behind-the-scenes footage, and more valid stuff too. A nifty itsy-bitsy portion of the Reunion program centers its attention on the “Best Dallas Cliffhangers”. And there’s some absorbing unaired footage that was filmed during the “Who Shot J.R.? ” frenzy, which includes scenes of various “suspects” firing the notorious shot heard ’round the TV world.

Some of the outtake/blooper footage is hilarious. I especially like the outtake which has a frustrated Barbara Bel Geddes (“Miss Ellie”) unleashing an unmentionable invective as she blows a line of dialogue. The curse word has been “bleeped out” by the CBS censors, but it’s detached humorous anyhow, because you know Barbara uttered something impish.

All-in-all, this Dallas Reunion is a very first-rate and exquisite explore help at one of TV’s pioneering “nighttime soaps”, a note that entered American living rooms for 14 consecutive years, spanning parts of three separate decades.

Some Season-Four DVD Specs:

VIDEO — These 23 episodes are displayed in their native Full-Frame ratio (1.33:1), as first aired in 1980-1981. The 2004 Reunion special is also presented in 1.33:1 Full-Frame, as originally seen.

AUDIO — Dolby Digital 1.0 Mono for all episodes (English only) . The Retrospective Documentary includes a DD 2.0 Stereo soundtrack.

SUBTITLES — In English, French, and Spanish. No subtitles are provided for the Reunion special though.

CHAPTERS? — Yes. Each episode is divided into 6 chapters, and the originally-aired “previews” are intact prior to the main titles on all episodes. The “Next Week On Dallas” trailers at the destroy of each note are not included, however. (Note: The Reunion special is not broken up into individual chapters.)

MENUS — The S.4 Menus are objective like those from the earlier “Dallas” sets, featuring the main-title theme music playing on a continuous loop while the Main Menu is on hide. Sub-Menus can be accessed for “Episodes”, “Languages”, and “Special Features”. Plus, there’s a “Play” option on the Main Menu too. Selecting that item will “Play All” of the three episodes on that side of the disc without interruption. (There are objective two episodes on the “B” side of the last disc, however — plus the lengthy Reunion documentary.)

The Main Menu on each disc and side features a recount of the Ewing family….although Jock isn’t in the record. I can’t figure out the reason for this blatant omission, because Jock was collected in the cast during this season. Donna, Ray, and Cliff are shown on the Main Menu, but not Jock. That’s a shame, too, because Jock should certainly be included in a “family” type portrait (circa Season 4; ‘80-’81) .

——————

This Season-Four DVD collection of “Dallas” is an valuable rob for those who already have Season #3. I cannot imagine having one without the other. Those two “Dallas” seasons go together like hand-and-glove.

To be able to believe the forever-popular “Who Done It? ” episode (and the eps. that lead up to it) in a handsome, digitally-preserved format, as we eye here, for a very reasonable notice stamp, is something that virtually all “Dallas” fans should be pleased about.

And, on top of that, with a feature-length documentary program tacked on to this DVD situation as a bonus, it makes “Dallas: The Complete Fourth Season” an even better ’steal of a deal’. I’m not too certain that even the scheming J.R. Ewing himself could have wangled a better deal for this DVD package.
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Movie Title ead Man’s Hand: Casino of the Damned

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As a ‘Full Moon’ junkie, I may be somewhat biased, but that wasn’t as terrible as it’s been made out to be on the ‘net.

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I won’t go in to a long-winded bustle down of the film (the other review does a valid job of that) but, here are some thoughts:

The movie looks Sizable compared to other Stout Moon (and b-horror for that matter) flicks. Camera work is worthy, audio is obliging, color is qualified. The acting is passable, again you have to remember what you’re dealing with here, the gore is .. ok ..

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My issues with this lie in the pacing more than anything else. Two people gain waxed within the first 5 or 10 minutes of the movie then there’s………….NOTHING. No action until the last 1/4 of the film. This fact makes ‘Dead Man’s Hand’ a total yawnfest for the most section.

Great strides in the audio/visual department here, a few steps encourage in the action and true enjoyability category.

Wait til it’s out for a while and the heed goes down, but if you’re a Chubby Moon ‘freak’ you’ll probably indulge in it. If not, support browsing.

You know how in splatter flicks, “Bawl” being the exception that proves the rule, having sex is a obvious ticket that a character is going to die? Well in “Lifeless Man’s Hand: Casino of the Damned,” there are characters who merit their deaths by PRETENDING to have sex. Of course, in this film you can waste up unprejudiced as slow by deciding whether or not to ask for another card at the blackjack table. But that is what you have to interrogate when the dealer is tiresome. This is at least the third movie with the title “Lifeless Man’s Hand” made this century, and although the hand that was in Will Bill Hickock’s hands when he was gunned down does advance into play at the climax of the movie, it is really the “Casino of the Damned” that is more indicative of what this attempt at camp scare is all about.

Matthew Dragna (Scott Whyte) inherits an stale casino from his uncle and shows up with his friends to notice what he now owns is a decrepit gambling palace that got shot down after a bloody mob massacre took position there. There’s Matthew’s girlfriend JJ (Robin Sydney), Emily (Lily Rains) who is the quick-witted one with the glasses who has a system for counting cards, Jimbo (Wes Armstrong) the superb guy, Skeeter (Kavan Reece) the jerk, and Paige (Kristyn Green), his vocal girlfriend. They display up trying to figure out how to turn the location into their have personal goldmine, only to perceive that that whatever else might not arrive with the status it does have a curse. It seems that it was Matthew’s uncle who was responsible for the massacre and they have been waiting for payback for some time now.

Heading up the ghosts that manufacture up the titular Casino of the Damned are a couple of familiar faces, Sid Haig (“House of 1,000 Corpses”) as Roy “The Word” Donahue and Michael Berryman (“The Hills Have Eyes”) as Gil Wachetta, but neither of them is required to do anything let alone accept into their roles. You also have a creepy bartender (Bob Rumnock), a chilly blonde (Jessica Morris), and a crazed Blackjack dealer (Rico Simonini) . Yes, that means there are five ghosts honest like there are five cards in a poker hand, whether it is aces over eights or not. Now that a blood relative of the man who killed them has showed up they want to even things up by killing five of the six. At least this is an engaging idea: one of them is guaranteed to bag out alive. I saw something similar in another anxiety film earlier this month, but neither one of them really exploits the view, which could find stunning intense when the choice between death or life comes down to you and the one that you admire. But “Stupid Man’s Hand” does not go in that direction. In fact, it takes a long time to derive around to distinguished of anything happening that would be on interest to terror fans.

This 2007 film is directed by Charles Sign for Chunky Moon Pictures, which Price started after Empire Pictures collapsed in the 1980s. Impress has produced a couple hundred movies under assorted names and directed a couple dozen films, and approach up with anecdote ideas for a bunch as well, most notably the “Puppetmaster” trilogy. The script is by August White (“Doll Graveyard”) and if this 80-minute film were a 30-minute episode of some television terror anthology it would be a whole lot better because basically it steal design too long for what shrimp happens in this film to launch happening. There are quantitative and qualitative problems with the camp half of the equation here, and by the time we regain to survey the faulty faces of the ghosts they peep humorous rather than horrific or even campy. This is a low-budget quickie and it shows.
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Movie Title:Clifford’s Really Big Movie

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This is a classic Sylvester Stallone action movie. It’s one of the best he ever made. Cobra was mostly known for the number of people killed during the movie. It far exceeded any previous represent for an action movie…bordering on the laughable. Some of the things you’ll remember… The match he keeps in his mouth. His awesome gun. His Mercury which is painfully destroyed during the movie. And the most memorable moment is when he meets up with “Night Slasher” (Brian Thompson) at the waste and gets an earful about the judicial system. “They’ll say I’m insane. Won’t they…PIG!? ” If ever there was a classic fragment of film it’s this encounter. Me and my friends smooth joke today about how spittle and sweat comes from his mouth when he says, “PIG!”. It’s hilarious. That alone is worth owning this movie. In all, it’s typical of 80’s action films. Sylvester’s films always seem to have a pleasing amount of cheese in them. It’s a given. At the same time tho, they don’t create films like this anymore. The days of the action hero seem over, but they can be relived with movies like Cobra.

A friend of mine once stated that Cobra was “one of the greatest works of art ever committed to celluloid”. He’s unimaginative now, so I feel okay saying that his comment was patently absurd. Cobra is, in fact, the greatest achievement in human history. More to the point, watching Cobra is like peering into the mind of God.

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Following all the movie’s area twists and turns is certainly a test of mental acuity, but under the beautiful helmsmanship of director George Cosmatos, even a dullard can inquire of 87 minutes of uninterrrupted rapture. Based on Paula Gosling’s criminally Nobel-overlooked modern “Delicate Game”, Cobra explores the fragile struggle between civilized society’s need for a humane justice system versus its innate lust for exacting revenge. In an increasingly violent, hostile, and lonely world, where apocalyptic serial-killing cults are allowed to infiltrate our power structures (in this case, the police force), slaughter our pop icons in parking garages (Peter Cetera), and clink their axes together in abandoned warehouses, where do we design the line between cruelty and justice? Where Cosmatos stands on this articulate is purely speculative, as he tackles the films denouement with characteristic subtlety and restraint: Cobra impales the maniacal cult leader on a hook conveyor to be immolated in a roaring smelting furnace. It’s an ending that will no doubt continue to inspire attractive discourse amongst filmgoers and ethicists for decades to arrive.

At the center of all this wondrous mayhem is Sylvester Stallone as the hard-boiled “zombie squad” toiler Marion “Cobra” Cobretti. And, surprise surprise!, he is once again at the top of his craft. Here he revolutionizes thespianism with a vivid current school of character development whereby the actor bypasses the diverse landscape of emotions one would request from his/her character and instead tenaciously embraces a glimpse of fatigue, angst, and confusion throughout the film’s entirety. It’s a talent only the likes of Burt Reynolds and a young Dolph Lundgren could ever hope to master.

Need romance? Cobra has it in spades. The chemistry between Stallone and damsel-in-distress Brigitte Nielsen recalls classic Tracy-Hepburn and DeVito-Perlman. This is never more evident than in the outrageous diner scene, in which Nielsen squirts a viscous lagoon of ketchup on her french fries before an inflamed Cobretti. This fair utilize of condiments only hints at the unbearably thick sexual tension between the protagonists and always lights a fire in my shorts.

The only dark sign in this film : wardrobe director Tom Bronson’s mind-boggling decision to saddle Cobra’s partner Gonzalez (played by an unbelievably adequate Reni Santoni) with a tweed cap throughout most of the action. Yes, the smart fez lends some street-cred and authenticity to the role, but it isn’t until a shootout arrive the waste of the film that the heaven that is this man’s gossamer follicles are exposed! Shame on you, Mr. Bronson. Anything less than the unadulterated glory that is Mr. Santoni’s vibrant plumage is a crime in my book!!!

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Aspiring filmmakers acquire heed: commit “Cobra” to memory…or steal up bricklaying.

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