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Gran Torino Widescreen Edition Description:

A disgruntled Korean War vet, Walt Kowalski (Eastwood), sets out to reform his neighbor, a young Hmong teenager, who tried to steal Kowalski’s prized possession: his 1972 Gran Torino.

• Amazon Sales Rank: #346 in DVD
• Brand: Warner Brothers
• Released on: 2009-06-09
• Rating: R (Restricted)
• Aspect ratio: 2.35:1
• Formats: Color, DVD, Widescreen, Subtitled, NTSC
• Original language: English
• Subtitled in: English, French, Spanish
• Number of discs: 1
• Dimensions: .30 pounds
• Running time: 116 minutes

Features

• ISBN13: 0883929033164
• Condition: NEW
• Notes: Brand New from Publisher. No Remainder Mark.

Customer Reviews:

It’s not about the car….
Throughout his illustrious acting career, Clint Eastwood has delivered a series of iconic characters, such as The Man with no name, Dirty Harry, Josie Wales, and Will Munny in Unforgiven.

Throughout his illustrious directing career he has delivered outstanding movies such as Unforgiven, Mystic River, and Million Dollar Baby, for which he has won five Academy Awards, for best Picture, Best Director, and including the Irving Thalberg Life Achievement Award.

The actors who have worked with him have been blessed with Oscar: Gene Hackman for Unforgiven, Tim Robbins and Sean Penn for Mystic River, Morgan Freeman and Hilary Swank for Million Dollar Baby.

In Gran Torino he both directs and acts, and delivers an acting performance that will be remembered long after the final credits roll, in its unique way, as memorable as any other character he has created.

Gran Torino is the second best movie I have seen this year. Not just for the acting, not just for the directing, but for the storytelling, and the emotional journey on which it takes you, the laughter, the feeling of being gripped, and its more surprising moments.

In the opening scenes, we have the exposition of the character. We get to know Walt Kowalski, by how people act around him, and his seemingly hateful attitude towards people. More is conveyed through a scowl, and a snarl than with words. When the mischievous grandchildren go through his stuff in the basement, we see the Silver Star he won in Korea. There are three other important symbols in the movie, the lighter, the gun, and the car.

We see a hero with a warrior past, a patriot who fought for a cause greater than himself. Clearly, his bigotry stems from those experiences.

He’s not just mean, he’s ‘get of my lawn’ mean. He’s Dirty Harry ‘Go ahead punk, make my day!,’ mean.

His dead wife’s priest bugs him to hear his confession, at her request. The priest in a way is his wife’s conscience.

When he snarls down the barrel of his rifle, at the neighborhood punk: ‘I could blow your head off, and sleep like a baby,’ you get the sense that he means it.

So, with all that happens, we see the change in his decision making, from someone reluctant to be involved in his neighbor’s affairs, and a story can turn on something as random as looking at an empty beer cooler.

For all his faults, Walt has mature masculine character. Even though he is a difficult father, he has taught his children character. So, when he sees the boy next door lacks character, and a strong male role model, he takes him under his wing, and teaches him how to be a man.

The scenes where the boy practises Walt’s high octane ball busting banter, are the funniest in the movie. Through knowing Walt, he makes decisions he never would have made by himself. In so doing, Walt finds meaning and purpose, and a chance for redemption, and the boy becomes a man.

The Academy’s actor awards tend to go to actors in two types of role:

1.Psychopath- No Country for Old Men, The Usual Suspects, There Will Be Blood, Training Day, Silence of the Lambs.

2.Mentally Disabled, Social or Physical Handicap, overcomes great adversity or discrimination- Shine, As Good as It Gets, A Beautiful Mind, Ray, Scent of a Woman, Capote, Philadelphia, The Pianist, A Beautiful Life.

Every rule has an exception. Russell Crowe in Gladiator played a character with thematic similarities to Walt.

For a 78 year old man to direct and be lead actor in a movie of this caliber is an achievement worthy at the very least of being nominated for the highest award for Acting, Directing or both.

I hope you find this review helpful.

A Better Movie about Racism than “Crash”
People react strongly to “Gran Torino,” either embracing its depiction of a flawed but heroic racist old coot, or deriding the movie simply because its apparent political incorrectness makes them nervous. But even if the Academy does not bestow one award on what is probably Clint Eastwood’s last movie as an actor, remember this: “Gran Torino” is a more intelligent film on the state of race relations today than “Crash” (a multiple Oscar winner) ever pretended to be.

The story is about Walt Kowalski, a grizzled Korean War vet and widower who spends his time drinking, smoking, and polishing his 1972 Ford Gran Torino, a vintage example of Detroit muscle. Because he installed the car’s steering column himself, the car represents not only a classically American fixation on the automobile, but also a blue-collar, pull-yourself-up-by-your-bootstraps work ethic, one that Eastwood himself would no doubt agree with. (If for some reason you don’t believe me, read his “What I’ve Learned” interview in the latest issue of Esquire.)

Kowalski mentors an aimless Hmong teenager named Thao, who is being pressured to join his cousin’s gang. This is where the “Karate Kid” comparison comes in, which is inaccurate, partly because the characters of “Gran Torino” exhibit considerably greater depth. The boy who plays Thao (and in fact all of the Hmong characters) is not a professional actor, so although his portrayal is sometimes rather wooden, there really isn’t any substitute for authenticity. Eastwood came of age in an era when Hollywood produced war movies using, say, a Chinese actor to portray a Japanese soldier. It’s clear from the casting of “Gran Torino” (and “Letters from Iwo Jima,” for that matter) that Eastwood prefers to do things his own way.

Kowalski makes fun of Thao (calling him “Toad”), but also teaches the boy how to earn an honest living. In the process, he becomes closer to Thao’s family than he is to any of his own kin, who have degenerated into a distant, crass, materialistic clan of their own, far removed from the values Kowalski attempted to pass on.

The steady stream of racist epithets in “Gran Torino” will cause some people to laugh uncomfortably, others to laugh with delight, and still another group to glare at those who are laughing. Ultimately, however, this unsettling portrayal of one man’s deep prejudices evolves into a different story altogether. It is not possible to show the audience a path away from a racist mentality without showing honestly where that mentality came from–a feat which “Crash,” in spite of its heavy-handed moralizing, never came close to pulling off.

There’s So Much We Can Learn from Each Other
Can Clint Eastwood go wrong? After striking gold a few months ago with the brilliant “Changeling,” he releases “Gran Torino,” another one of the year’s best films. What a masterful storyteller Eastwood is, so focused on creating that perfect balance between story and character. He doesn’t disappoint with “Gran Torino,” a nearly flawless film that gives us characters we believe in and a story so compelling that it’s virtually impossible to not be absorbed by it. What we have here is a cross-generational, cross-cultural story about people who can learn so much from each other despite being different. It’s about regret, sadness, redemption, and growth, which isn’t to say that it’s conventional or archetypal; Eastwood plays a contemporary version of a Wise Old Man, someone who draws on life experience to teach an undeveloped youth. What’s unique is that, regardless of what life has taught him, this Wise Old Man still has a lot to learn.

He has a name, of course: retired Ford factory worker Walt Kowalski. As a veteran of the Korean War, Kowalski has seen and done a lot of things he wishes he hadn’t. He’s bitter, antisocial, and politically incorrect. After his wife’s funeral, we discover that he doesn’t get along too well with his sons, specifically Mitch (Brian Haley) and his wife, Karen (Geraldine Hughes), who seem to believe that his age automatically makes him codependent and eligible for a spot in a retirement home. His grandchildren don’t appreciate him one bit; the granddaughter only wants his stuff, hand-me-downs to take with her to school. They don’t make things easy for him, but then again, he doesn’t make things easy for them, either. It’s a vicious cycle of resentment and miscommunication.

As this is being established, we’re introduced to a teenage boy named Thao (Bee Vang), who lives next door to Kowalski with his large Hmong family. He’s the black sheep of his deeply traditional family, always doing chores that the women are supposed to do. Having no direction in life, he’s pressured by his cousin, nicknamed Spider (Doua Moua), to join his neighborhood gang. As an act of initiation, Thao must sneak into Kowalski’s garage and steal his most prized possession: A 1972 Gran Torino. The attempt backfires. Some time later, Spider arrives with his posse and tries to abduct Thao. The resulting scuffle is broken up when Kowalski points his shotgun at the gang members and demand they get off his lawn.

Within no time at all, Kowalski’s front steps are covered with tokens of appreciation from Thao’s family, none of which go appreciated. But then Kowalski gets to know Thao’s sister, Sue (Ahney Her), a remarkably independent young woman. Quick-witted and outgoing, she takes Kowalski’s racial slurs in stride, believing that a good man lies behind the disgruntled façade. As he spends more time with Sue and her family, he begins to realize that he has more in common with them that with his own family, which, in all likelihood, scares him more than it brings him comfort.

When Thao formally apologizes for trying to steal Kowalski’s Gran Torino, Kowalski puts him to work doing various chores, like repainting a house and fixing gutters. Hardly a scene goes by when he isn’t verbally berating Thao, although it’s obvious from the start that he’s doing it to toughen him up, to make him believe that his life has a purpose and that he should actively be trying to find it. Part of this involves getting Thao to talk like a man. There’s a priceless scene in which Kowalski brings Thao to a barber, who has been sharing insults with Kowalski for a number of years. Afterwards, Kowalski arranges for Thao to work at a construction site; the boss, as it turns out, is the perfect man for Thao to test his new vocabulary on. What Kowalski doesn’t realize is that he’s learning just as much from Thao, especially in matters of caring for other people. Eventually, Kowalski comes to the conclusion that Thao and his family will never be at peace so long as Spider and his gang are around.

The film’s most fascinating character is Father Janovich (Christopher Carley), a twenty-seven year old priest who promised Kowalski’s wife that he’d look after him upon her death and get him to confess. Initially, Kowalski wants nothing to do with Janovich, who gives sermons on matters of life and death yet has no real idea what it means to face your own mortality. Kowalski knows–he served his country in Korea. “What do you know about life?” Janovich calmly asks. “Well,” says Kowalski, “I survived the war. I got married and had a family.” There’s absolutely no joy in his voice when he says this. Gradually, he begins to appreciate Janovich; he many not have all the answers, but at least he’s willing to listen.

The brilliance of this movie comes not from the development of the characters, but from the way the characters interact with one another. Virtually no one is on friendly terms at the start, but by the end, there’s an understated feeling that respect has been earned on all sides. Kowalski refers to Thao as his friend only once, and while it was nice to actually hear it, it still didn’t come as a surprise given everything that had been leading to that moment. At a certain point, you just knew how Kowalski felt. “Gran Torino” is such a wonderful film, so carefully structured, so perfectly cast, so rewarding for the audience. To make just one great film in a year is the mark of real talent. But to make two great films in the same year, now that’s the work of genius.

Amazon.com
Clint Eastwood’s Gran Torino, an unassuming picture shot during a post-production lull on his elaborate period piece Changeling, was quietly rolled out at Christmastime 2008, whereupon it proceeded to blow away all the Oscar-bait behemoths at the box office and win its 78-year-old star the best reviews of his acting career. Both film and performance are consummately sly–coming on with deceptive simplicity, only to evolve into something complex, powerful, and surprisingly tender. Just as Unforgiven was a tragic reflection on Eastwood’s legacy in the Western genre, Gran Torino caps and eloquently critiques the urban heritage of Dirty Harry and his violent brethren. And on top of that, the movie becomes a savvy meditation on America in a particular historical moment, racially, economically, spiritually. Call it a “state of the union” message. But call it that with a wry grin.

The latest Dirty Harry is actually a grumpy Walt: Walt Kowalski (Eastwood playing his own age), widower, Korean War veteran, retired auto worker, and the last white resident of his Detroit side street. It’s hard to say who irks him more–his blood kin (a pretty lame bunch) or the Hmong families who are his new neighbors. Kowalski’s a racist, because it has never occurred to him he shouldn’t be. Besides, that’s the flipside of the mutual ethnic baiting that serves as coin of affection for him and his working-class buddies. Circumstances–and two young people next door, the feisty Sue (Ahney Her) and her conflicted brother Thao (Bee Vang)–contrive to involve Walt with a new community, and anoint him as its hero after he turns his big guns on some ruffians. The trajectory of this may surprise you–several times over. Eastwood opted to film in economically blighted Detroit–a shrewd decision, but it’s his mapping of Walt’s world in that classical style of his that really counts. Every incidental corner of lawn, porch, and basement comes to matter–and by all means the workshop/garage that houses the mint-condition Gran Torino which Walt helped build in a more prosperous era. This is a remarkable movie. –Richard T. Jameson

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I’ve had the advantage of seeing The Shy Forest as a movie and on stage. Taking into epic the fact that the stage production I saw wasn’t the greatest, I mild mediate that the movie version captured the account better. The anecdote is dated and clearly belongs in the time period it was made, but that works in the film. The performances also work. Leslie Howard, sort of a forgotten Thirties’ star these days, manages to manufacture some difficult dialogue play well. Humphrey Bogart, in an early role as the young gangster, makes his character an entertaining and sympathetic figure, despite not having many moments to really form the character with dialogue. Bette Davis brings a lot of conviction to her role as the young, rotund of ideas waitress that Howard falls in savor with. The Panicked Forest is a hostage drama, but it’s more than that. It looks at life, growth, esteem, and disillusionment. It presents a nice incompatibility of characters, since Howard and Bogart are both at the waste of their roads, having gotten there in very different ways. Bearing in mind that the film/play was written for an audience in the Thirties, today’s movie fan will unruffled score truths and entertainment in it.

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The movie is based on Robert Sherwood’s hit Broadway play of the same name. Howard plays gentle roustabout Alan Squier, an esthete young man hitchhiking across America, `looking for something to contain in.’ The wind shakes him out of the even indicate dust and deposits him at the isolated Arizona diner young Gabrielle Maple (Bette Davis) runs with her father and grandfather. Davis plays the naïve and romantic and `gabby’ young girl stuck in the middle of nowhere who paints and dreams of reuniting with her mother in France and reads the poems of Francois Villon to hold the stink of the hamburger and gasoline out of her system. The first act, and grand of the second, is old to bud the romance between Alan and Gabby, all the while reminding us that brutal criminal Chop Mantee is on the loose and in the state.

Of course, Mantee finally arrives and Alan presciently announces that `carnage is imminent and I’m due to be among the fallen.’ Bogart, who modeled Mantee on genuine life criminal John Dillinger, then proceeds to lay claim to Hollywood immortality. With his heavy stubble and shadowy and apprehensive eyes and stooped shoulders Bogart looks like a hunted beast of a man. More a mono-syllabic killer than `the last vast apostle of rugged individualism,’ as Alan puts it. Or, as Mantee would say, `Maybe you’re proper, pal. I couldn’t say.’

THE Vexed FOREST never quite shakes it stage heritage. Although commentator Eric Lax (Bogart biographer) tells us in his fact filled and though-provoking commentary the tons of dust old-fashioned on the soundstage, the film spends almost all of its time on one place - the interior of the diner - and the movie has a exquisite static feeling to it as a result.

The print looks and sounds grand, by the procedure. The dvd also has a 15- slight feature “Menace in the Desert”, in which film historian Alain Silver and others discuss the Robert Sherwood stage play, its conversion to the shroud, and the role that place Humphrey Bogart’s star. Also included on the disk is the savory and always welcome Warners Night at the Movie. It opens with a trailer for Bullets or Ballots, an Edgar G. Robinson crime thriller where he plays the favorable guy. That’s followed by “Rhymitis”, a dancing short with Hal LeRoy and Toby Skim. It doesn’t have powerful of a station but it’s fun. A current day alchemist comes up with a pill that makes you want to dance dance dance whenever you hear a beat that can’t be beat. Night at the Movies concludes with the color cartoon “The Coo Coo Nut Grove,” a take-off on the Coconut Grove nightclub and a lampoon of contemporary Hollywood stars - i.e., W.C. Fields as a pig, Katharine Hepburn a horse, etc.

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I’ve got to accept one thing out of the map first, for all those who didn’t like Terminator 3. The Sarah Connor Chronicles does NOT pretend T3 doesn’t exist, it addressed one of major issues in the film in its first 2 episodes. And since this is sci-fi, complete with time move, there’s no reason that history (even future history) can’t be re-written.

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To the folks who assume the action is “broad…for a t.v. explain,” I can only capture they haven’t been watching t.v. in the last 10 years or so. There have been several shows that far eclipse what is being done in movies (Buffy, Alias, two more girl-power shows fair off the top of my head) .

What really surprised me about the demonstrate is how faithful it is to the first and second movies. In objective this shortened (9 episodes) first season, we’ve seen the following characters from the films appear: Miles Dyson’s widow and son, Dr. Silverman, Enrique and Kyle Reese.

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As for the cast, Lena Headly is no Linda Hamilton, but her voice-overs became more and more convincing and even poignant as the episodes progressed. And of course, what sci-fi geek didn’t salivate over the news of Firefly - The Complete Series’s Summer Glau being cast in the pivotal role of female cyborg Cameron. And considering John Connor has been played by 3 different actors, Thomas Decker acquits himself quite well. He’s less irritating than Edward Furlong, by a long shot.

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It’s a rare thing that a TV series based upon a movie’s premise ends up being as wonderful as the show’s origins: while tedious to inaugurate, with a poor pilot and many sub-par episodes, the first series of Terminator: The Sarah Connor Chronicles, over-all, became something that arguably lived up to that standard.

The present follows Sarah and John as they try, again, to prevent Judgement Day. The prove follows on from the current two movies, generally ignoring the third (thankfully.) Grand of the site surrounds the character of Cameron, a female terminator sent benefit from the future to protect John. The explain, so far at least, has eschewed predictable cliches sharp the character, and often takes the viewer by surprise, from displays of sad humor to dragging the viewer through alternate displays of coldness and humanity.

Episodes I particularly recommend include “Dungeons and Dragons” and the jaw-dropping follow-up “The Demon Hand”. Performances are variable. Lena Headey doesn’t match Linda Hamilton’s portrayal of the title character, reflecting more the post-La Femme Nikita (Shadowy Angel, Bionic Woman) obsession with angsty heroines. Thomas Dekker either gives the best or the second-best performance as John Connor, depending on whether you’re familiar with the Director’s Slit of Terminator 2. It’s a helpful performance. The best performances are arguably by Summer Glau and Richard T Jones, as Cameron - a Terminatrix sent help to protect the Connors - and James Ellison - the surprised FBI agent chasing Sarah Connor - respectively. Glau’s performance, while initially confused, provides depictions of humour and coldness that surprises or shocks the viewer every time.

This DVD dwelling is reasonable for what you pay for, reflecting the short nine-episode rush of the first season, slit short due to the 2008 Writer’s Strike. The area includes a few commentaries and nick scenes. The aforementioned “Demon Hand” episode is complemented by a “rough-cut” of an alternative version, though the jarring changes in visual and audio quality construct it somewhat difficult to bask in by itself. Over-all, visual quality is honorable, I doubt you’ll regain great more enjoyment out of the less portable Blu-ray edition.

For all of their qualities, the unusual two Terminator films - at least, as released theatrically - were basic killer robot fantasies with their depth being itsy-bitsy to surface level discussions of time recede and anthropomorphism. Some would argue that the Director’s Carve of T2 was a mighty step above this and I’d agree with them. But regardless, the first series of The Sarah Connor Chronicles managed to rise above the Theatrical versions of the movies: what seemed like another attempt to cash in on a pop-culture classic turned out to be a incandescent, sharp, thought-provoking science fiction series. This DVD space is definitely recommended.
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Love conqurs all in the radiant Bob & Rose, a six-part British series about an unorthodox romance that quickly gets under a viewer’s skin. Bob Gossage (comedian-actor Alan Davies) is a thoroughly gay, Manchester schoolteacher who falls for Rose (Lesley Sharp), a vibrant secretary stuck with a boyfriend she doesn’t love and a nalve mother bent on marrying a creepy con artist. Bob and Rose’s bumpy, inexplicable affair has its share of doubts, and there are many rules to be re-written (Rose stands by her man whenever he insists that he’s gay, not bi-sexual).

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Watch And Then There Were None Movie Online. Movie Title: And Then There Were None Average customer review: And Then There Were None is available for streaming or downloading. Click Here to Stream or Download And Then There Were None

The fresh Image DVD version of AND THEN THERE WERE NONE is a mammoth improvement in video/audio quality over previous DVD releases by VCI in 1999 and Madacy in 2001. All three versions are currently available at Amazon, so be definite to check the technical info page for each disc to explore which company makes it.

The video transfer on the Image DVD, said to be made from “current elements”, is considerable, noteworthy sharper and more detailed than that on the VCI and Madacy versions. It also shows a slight more represent on all four sides of the veil. The portray looks somewhat battered during the opening credits, but it looks stout the rest of the design. There is a runt amount of graininess and other blemishes throughout, but it is not detrimental. I’m especially impressed with the scenes that grasp status in the shaded, in which some of the background details, such as engravings on the wall, the subtle lights and shadows, etc., can be seen with great greater clarity. The VCI disc, conversely, looks considerable less moving, and the Madacy disc even less so.

The monophonic audio tracks on the VCI and Madacy discs are louder but have more noise compared to that on the Image disc. The predicament of the dialogs not being synchronized properly on the VCI and Madacy discs has also been fixed on the Image disc.

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The Image disc has one extra: the film’s British opening credit sequence, which uses the deplorably offensive title “Ten Itsy-bitsy N******” (which is also Agatha Christie’s recent title for her whodunnit) . The sequence is preceded with an explanation of its spend so the viewer has the historical context in mind. The VCI disc has a biography allotment on the filmmakers and the 1946 comedy short TWIN HUSBANDS, starring Leon Errol. The Madacy disc has a 9-minute newsreel footage from 1945, a 12-minute blooper footage (of OTHER films), 3 screenshots of lobby cards, and a trivia query fraction. All three discs are region-free and without subtitles or closed captioning.

Agatha Christie’s 1930s unusual AND THEN THERE WERE NONE told the account of ten unrelated people who are lured under various pretexts to an island resort; once assembled, they see they have been brought to the island by a mysterious homocidal maniac who accuses each of them of having escaped punishment for a past murder–and who then proceeds to remove them off one by one as the ever dwindling party rushes to unmask the hidden killer in their midst. Nothing like the original had been seen before, and it was a well-liked sensation. So great so that Christie herself adapted the modern to the stage. In creating the script, Christie discovered that the novel’s uncompromising tone and unsightly conclusion did not translate well to the stage, and the final script was considerably lighter and had a considerably softer conclusion. When performed, the script was played as powerful for comedy as for suspense–and proved as celebrated as the unusual. A film version became inevitable.

Countless novels, plays, and movies have borrowed the premise Christie presents in AND THEN THERE NONE, and there have been at least four film versions (most often known as TEN Small INDIANS) of the unusual work. All of these versions rely more upon the play script than the fresh, offering a mix of comedy and suspense, and by far and away the best of them is noted French director Rene Clair’s 1940s version. Brilliantly played by an ensemble cast of famous character actors including Judith Anderson, Barry Fitzgerald, Walter Huston, C. Aubrey Smith, and Roland Young, Clair creates a stylish, somewhat surrealistic romp that satirizes British “stiff upper lip” sensibilities with florishes of sunless comedy while quietly building a sense of increasing unease. From a unusual standpoint, the Clair version seems more comical than suspensful; few will accept it in the least unnerving. This does not, however, change the fact that it is a astronomical amount of fun to stare. The film creates an air of mature mischief that is compulsively savory, and even if a contemporary director decided to have another go at the material it seems unlikely that any cast to equal this could be assembled. If you’re prepared for a witty amusement, AND THEN THERE WERE NONE is recommended.

I don’t usually comment on the quality of DVDs unless there is a glaring issue–but since there are several DVD versions of this film, and some have been poorly reviewed, I will specify that I purchased the VCI edition. (The cloak of this particular edition is yellow with the faces of the characters appearing in a V-shaped “wedge.”) When the DVD began to play, the VCI logo was very distorted; when the DVD changed over to the menu, however, the narrate became stable. When I ran the movie, I found the titles had a bit of a flicker, but this expeditiously vanished; as for overall quality, the represent and sound quality are rather unpleasant as the movie begins but speedy corrects to an acceptable–although not excellent–level.
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My 2 1/2 year-old son received this dvd as a Christmas gift and LOVES it! It’s now February and he unruffled asks to witness it frequently. It is well-produced and inspiring so we don’t mind watching it as well.

Yes, it is longer (obviously) and more complex than the Bob TV series, and some children may obtain bored with it. And Elton John fans, be warned, his character does not have a very spacious role.

We have been waiting for this for over a year, and my 4 year-son faded was VERY glad to sight it finally approach. We loved the last “feature length” movie (Knights of fix-a-lot) so I knew that this epic would be able to beget his attention for the fat myth. I LOVED seeing Elton John… which my son couldn’t care less about. He wished he could leer the trucks more. (They didn’t do considerable work in this anecdote that is for determined.) He also wanted to watch Bob and his brother (Tom) together more… don’t want to spoil it, but they don’t regain together till the waste! He didn’t find to witness them expend Christmas together, which was the whole point of the movie to him. He also view the novel Mayor was bossy… which she was.

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So…. we liked it, but idea it was quite a bit different from the usual fix-everything-format. My son smooth asks to peek this one, but more often asks to gawk other “Bob movies”.
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I watched this proper now on HBO. Every parent should inspect this documentary. Even if your acquire kids go to a noble school, you SHOULD create it a point to inspect this exhibit. Most kids in this documentary, instead of helping us compete against our Chinese and Indian counterparts, are going to be at the mercy of our tethering welfare system.

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This documentary spends no time debating the pros/cons of the No Child Left Tedious policy. Rather, it focuses on the daily struggles at a one of the many schools that does not obtain the grade. Some of the scenes will, without a doubt, shock you; embarrass you and might invent you want to approach into the your region and choke a couple of those kids.

To Alan and Susan Raymond … can you please originate a PG version of your documentary? I am certain some parents would like to point to this documentary to their middle-school kids and stutter them - how not to go unfriendly.

I saw this one day while flipping thru the channels. After watching it I felt as if someone had followed me personally around with a camera at the schools where I worked. I live in Novel Orleans, but the issues in the school featured in this doc are the True one I and other teachers faced. This is an awesome doc

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Black comedies don’t come much blacker than this cult favorite from 1972, and they don’t come much funnier, either. It seemed that director Hal Ashby was the perfect choice to mine a mother lode of eccentricity from the original script by Colin Higgins, about the unlikely romance between a death-obsessed 19-year-old named Harold (Bud Cort) and a life-loving 79-year-old widow named Maude (Ruth Gordon). They meet at a funeral, and Maude finds something oddly appealing about Harold, urging him to “reach out” and grab life by the lapels as opposed to dwelling morbidly on mortality. Harold grows fond of the old gal–she’s a lot more fun than the girls his mother desperately matches him up with–and together they make Harold & Maude one of the sweetest and most unconventional love stories ever made. Much of the earlier humor arises from Harold’s outrageous suicide fantasies, played out as a kind of twisted parlor game to mortify his mother, who’s grown immune to her strange son’s antics. Gradually, however, the film’s clever humor shifts to a brighter outlook and finally arrives at a point where Harold is truly happy to be alive. Featuring soundtrack songs by Cat Stevens, this comedy certainly won’t appeal to all tastes (it was a box-office flop when first released), but if you’re on its quirky wavelength, it might just strike you as one of the funniest movies you’ve ever seen. –Jeff Shannon

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Harold and Maude was harmonious! You have to have information about this movie! A exquisite performance by Harvey Brumfield & Eric Christmas make Harold and Maude a “have to espy” movie!

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John Rhys Davies (The Lord Of The Rings Trilogy) stars in this mind-blowing adventure about a countryside under siege. When meteorites fall from the sky, they unleash fire-breathing dragons that threaton to destroy mankind.

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