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The contents below are from unseen-cinema; they include the contents of a 160-page softcover Series Catalog, which is sold separately, but I reflect you would want. This is clearly a labor of love; though I can’t imagine trying to scrutinize all this in a month of Sundays, I could sight dipping into it from time to time.

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Disk 1: THE MECHANIZED EYE

Experiments in Technique and Form

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The dynamic qualities of motion pictures are explored by cameramen and filmmakers through current experiments in technique and gain. Early cinematographers James White, “Billy” Bitzer, and Frederick Armitage indicate experimental shooting styles that wowed audiences. Other independent companies further image manipulation through creative staging, editing, and printing, such as a magnificent three-screen film that predates Gance’s Napoleon. Experiments by photographer Walker Evans, painter Emlen Etting, musician Jerome Hill, and the film collectives Nykino and Artkino characterize the world in a continual process of flux. A most vulgar advance is realized by Henwar Rodakiewicz with Portrait of a Young Man (1925-31), a monumental spy of natural and abstract motions.

18 FILMS:

5 Paris Exposition Films (1900) -James White

Eiffel Tower from Trocadero Palace (1900)

Palace of Electricity (1900)

Champs de Mars (1900)

Panorama of Eiffel Tower (1900)

Scene from Elevator Ascending Eiffel Tower (1900)

Captain Nissen Going through Whirpool Rapids, Niagra Falls (1901) -creators unknown

Down the Hudson (1903) -Frederick Armitage & A.E. Weed

The Ghost Advise (1903) -creators unknown

Westinghouse Works, Panorama Notion Street Car Motor Room (1904) -G.W. “Billy” Bitzer

In Youth, Beside the Lonely Sea (c. 1924-25) -creators unknown

Melody on Parade (c. 1936) -creators unknown

La Cartomancienne (The Fortune Teller) (1932) -Jerome Hill

Pie in the Sky (1934-35) -Nykino: Elia Kazan, Ralph Steiner & Irving Lerner

Travel Notes (1932) -Walker Evans

Oil: A Symphony in Motion (1930-33) -Artkino: M.G. MacPherson & Jean Michelson

Poem 8 (1932-33) -Emlen Etting

Storm (1941-43) -Paul Burnford

Portrait of a Young Man (1925-31) -Henwar Rodakiewicz

Disk 2: THE DEVIL’S PLAYTHING

American Surrealism

Edwin S. Porter and other early filmmakers aged bizarre sets, incredible costumes, and magic lantern tricks to illuminate their fantasy films. American parody supplied Douglas Fairbanks with enough current material to manufacture the truly surreal When the Clouds Roll By (1919) . The expressionistic Cabinet of Dr. Calagari (1919) influenced American sensibilities throughout the 1920s as seen in Beggar of Horseback (1925), The Life and Death of 9413-A Hollywood Extra (1927) and The Telltale Heart (1928) . The emphasis shifted when amateurs J.S. Watson, Jr., Joseph Cornell, and Orson Welles crafted a original variety of American surrealism on film unfettered by European concerns.

17 FILMS:

Jack and the Beanstalk (1902) -Edwin S. Porter

Dream of a Rarebit Fiend (1906) -Edwin S. Porter

The Thieving Hand (1907) -creator unknown, Vitagraph

Impossible Convicts (1905) -G.W. “Billy” Bitzer

When the Clouds Roll By (1919) -Douglas Fairbanks & Victor Fleming (excerpt)

Beggar on Horseback (1925) -James Cruze (excerpt)

The Descend of the House of Usher (1926-27) -J.S. Watson, Jr. & Melville Webber

The Life and Death of 9413: A Hollywood Extra (1927) - Robert Florey & Slavko Vorkapich

The Care For of Zero (1928) -Robert Florey & William Cameron Menzies

The Telltale Heart (1928) -Charles Klein

Tomatos Another Day (1930/1933) -J.S. Watson, Jr. & Alec Wilder

The Hearts of Age (1934) - William Vance & Orson Welles

Unreal News Reels (c. 1926) -Weiss Artclass Comedies (excerpt)

The Children’s Jury (c. 1938) -attributed Joseph Cornell

Thimble Theater (c. 1938) -Joseph Cornell

Carousel: Animal Opera (c. 1938) -Joseph Cornell

Jack’s Dream (c. 1938) -Joseph Cornell

Disk 3: LIGHT RHYTHMS

Music and Abstraction

The rhythmic elements of cinema are explored by artists and filmmakers fascinated by the abstract qualities of light. The American authors of avant-garde classics Le Retour á la raison (1923), Ballet mécanique (1923-24), Anémic cinéma (1926), and Une Nuit sur le Mont Chauve (1934), are finally acknowledged for their seminal artistic achievements made in Europe. Pioneer abstract films by Ralph Steiner, Mary Ellen Bute, Douglass Crockwell, Dwinnell Grant, and George Morris are compared and contrasted with Hollywood montages created by Ernst Lubitsch, Slavko Vorkapich, and Busby Berkeley. For the first time on video, composer George Antheil’s novel 1924 find accompanies Fernand Léger and Dudley Murphy’s film Ballet mécanique, a truly avant-garde cacophony of image and sound.

29 FILMS:

Le Retour à la raison (1923) -Man Ray

Ballet mécanique (1923-24) -Fernand Léger & Dudley Murphy

Anémic cinéma (1924-26) -Rrose Sélavy (Marcel Duchamp)

Looney Lens: Anamorphic People (1927) -Al Brick

Out of the Melting Pot (1927) -W.J. Ganz Studio

H20 (1929) -Ralph Steiner

Surf and Seaweed (1929-30) -Ralph Steiner

7 Vorkapich Montage Sequences (1928-37) -Slavko Vorkapich

The Furies (1934)

Skyline Dance (1928)

Money Machine (1929)

Prohibition (1929)

The Firefly- Vorkapich edit (1937)

The Firefly-MGM release version (1937)

Maytime (1937)

So This Is Paris (1926) -Ernst Lubitsch (excerpt)

Light Rhythms (1930) -Francis Bruguière & Oswell Blakeston

Une Nuit sur le Mont Chauve (Night on Bald Mountain) (1934) -Alexandre Alexeieff & Claire Parker

Rhythm in Light (1934) -Mary Ellen Bute, Ted Nemeth & Melville Webber

Synchromy No. 2 (1936) -Mary Ellen Bute & Ted Nemeth

Parabola (1937) -Mary Ellen Bute & Ted Nemeth

Footlight Parade - “By a Waterfall” (1933) -Busby Berkeley

Glen Falls Sequence (1937-46) -Douglass Crockwell

Simple Destiny Abstractions (1937-40) -Douglass Crockwell

Abstract Movies (1937-47) -George L.K. Morris

Scherzo (1939) -Norman McLaren

Themis (1940) -Dwinell Grant

Contrathemis (1941) -Dwinell Grant

1941 (1941) -Francis Lee

Moods of the Sea (1940-42) -Slavko Vorkapich & John Hoffman

Disk 4: INVERTED NARRATIVES

New Directions in Story-Telling

Early directors D.W. Griffith and Lois Weber effect the radical language of cinema anecdote through audience-friendly melodramas made for nickelodeon theaters. Experimental fantasies are depicted in such independent productions as Moonland (c. 1926), Lullaby (1929), and The Bridge (1929-30) . Depression era films by socially-conscious filmmakers reshape drama as demonstrated in Josef Berne’s brooding Sad Dawn (1933) and Strand and Hurwitz’s biting Native Land (1937-41) : each pictures a raw reality. Parody and satire accumulate their effect in Theodore Huff’s Shrimp Geezer (1932) and Barlow, Hay and Le Roy’s Even as You and I (1937) . David Bradley’s Sredni Vashtar by Saki (1940-43) boasts an inadvertent post-modern attitude.

12 FILMS:

The House with Closed Shutters (1910) -D.W. Griffith & G.W. “Billy” Bitzer

Suspense (1913) -Lois Weber & Philips Smalley

Moonland (c. 1926) -Neil McQuire & William A. O’Connor

Lullaby (1929) -Boris Deutsch

The Bridge (1929-30) -Charles Vidor

Little Geezer (1932) -Theodore Huff

Black Dawn (1933) -Josef Berne & Seymour Stern

Native Land (1937-41) -Frontier Films: Leo Hurwitz & Paul Strand (excerpt)

Black Legion (1936-7) -Nykino: Ralph Steiner & Willard Van Dyke

Even As You and I (1937) -Roger Barlow, Harry Hay & Le Roy Robbins

Object Lesson (1941) -Christoher Young

“Sredni Vashtar” by Saki (1940-43) -David Bradley

Disk 5: PICTURING A METROPOLIS

New York City Unveiled

Only Unseen Cinema DVD released as a SINGLE

The DVD depicts dynamic images of Recent York City and scenes of Current Yorkers among the skyscrapers, streets, and night life of America’s greatest city during a half century of progress, while at the same time showing changes in film style and the history of cinema experiments. Avant-garde moments pop up in the most unlikely of places including turn-of-the-twentieth-century actualities, commercial and radical newsreels, and Busby Berkeley’s “Lullaby of Broadway” from Gold Diggers of 1935. Included are spectacular prints of Charles Sheeler and Paul Strand’s Manhatta (1921), Robert Flaherty’s Twenty-four-Dollar Island (c. 1926), Robert Florey’s Skyscraper Symphony (1929), Jay Leyda’s A Bronx Morning (1931), and Rudy Burckhardt’s Pursuit of Happiness (1940) .

26 FILMS:

The Blizzard (1899) -creators unknown

Lower Broadway (1902) -Robert K. Bonine

Beginning of a Skyscraper (1902) -Robert K. Bonine

Panorama from Times Building, Current York (1905) -Wallace McCutcheon

Skyscrapers of NYC from North River (1903) -J.B. Smith

Panorama from Tower of the Brooklyn Bridge (1903) -G.W. “Billy” Bitzer

Building Up and Demolishing the Star Theatre (1902) -Frederick Armitage

Coney Island at Night (1905) -Edwin S. Porter

Interior Unique York Subway 14th Street to 42nd Street (1905) -G.W. “Billy” Bitzer

Seeing Original York by Yacht (1902) -Frederick Armitage & A.E. Weed

2 Looney Lens: Split Skyscrapers (1924) and Tenth Avenue, NYC (1924) -Al Brick

4 Scenes from Ford Educational Weekly (1916-24) -creators unknown

Manhatta (1921) -Charles Sheeler & Paul Strand

Twentyfour-Dollar Island (c. 1926) -Robert Flaherty

Skyscraper Symphony (1929) -Robert Florey

Manhattan Medley (1931) -Bonney Powell

A Bronx Morning (1931) -Jay Leyda

Footnote to Fact (1933) -Lewis Jacobs

Seeing the World (1937) -Rudy Burckhardt

Pursuit of Hapiness (1940) -Rudy Burckhardt

Gold Diggers of 1935 - “Lullaby of Broadway” (1935) -Busby Berkeley (excerpt)

Autumn Fire (1930-33) -Herman Weinberg

Disk 6: THE AMATEUR AS AUTEUR

Discovering Paradise in Pictures

These home-made films incorporate avant-garde strategies and techniques to effect a legal sense of cinematic intimacy. Glimpses of life caught unawares are found in the home movies of Elizabeth Woodman Wright, Archie Stewart, Frank Stauffacher, and John C. Hecker. Poetic lyricism finds a deny in city symphonies: Lynn Riggs and James Hughes’ A Day in Santa Fe (1931) and Rudy Burckhardt’s Haiti (1938) . Professionally minded films, like Theodore Case’s sound tests (c. 1925) and Lewis Jacobs’ Tree Trunk to Head (1938), operate from a similar home-spun perspective of sincerity. Joseph Cornell offers an enigmatic but pretty homage to childhood with Children’s Trilogy (c. 1938) .

20 FILMS:

7 Case Sound Tests (c. 1924-25) -Theodore Case & Earl Sponable

Windy Ledge Farm (c. 1929-34) -Elizabeth Woodman Wright

A Day in Santa Fe (1931) -Lynn Riggs & James Hughes

4 Stewart Family Home Movies (c. 1935-39) -Archie Stewart

Children’s Party (c. 1938) -Joseph Cornell

Cotillion (c. 1938) -Joseph Cornell

The Midnight Party (c. 1938) -Joseph Cornell

Haiti (1938) -Rudy Burckhardt

Tree Trunk to Head (1938) -Lewis Jacobs

Bicycle Polo at San Mateo (1940-42) -Frank Stauffacher

1126 Dewey Avenue, Wonderful. 207 (1939) -John C. Hecker

Disk 7: VIVA LA DANCE

The Beginnings of Ciné-Dance

Dance and film have shared the aspiration to creatively sculpt motion and time. Some of the first films ever made featured Annabelle’s skirt dance, hand-painted in shapely colors. Isadora Duncan and Ruth St. Denis’ innovations found their procedure into Diana the Huntress (1916) and The Soul of the Cypress (1920) . Highly cinematic renditions of dance evolved in Stella Simon’s Hände (1928), Hector Hoppin’s Joie de vivre (1934), and Busby Berkeley’s “Don’t Say Goodnight” from Wonder Bar (1934) . In counterpoint, ciné-dances by Mary Ellen Bute, Douglass Crockwell, Oskar Fischinger, Norman McLaren, Ralph Steiner, and Slavko Vorkapich dispensed with staunch dancers in favor of color, shape, line, and earn choreographed into abstract light-play.

33 FILMS:

7 Annabelle Dances and Dances (1894-1897) -W.K.L. Dickson, William Heise & James White

Davy Jones’ Locker (1900) -Frederick Armitage

Neptune’s Daughters (1900) -Frederick Armitage

A Nymph of the Waves (1900) -Frederick Armitage

Diana the Huntress (1916) -Charles Allen & Francis Trevelyan Miller (excerpt)

The Soul of the Cypress (1920) -Dudley Murphy

Looney Lens: Pas de deux (1924) -Al Brick

Hände: Das Leben und die Liebe eines Zärtlichen Geschlechts (Hands: The Life and Loves of the Gentler Sex) (1928) -Stella Simon & Miklos Bandy

Mechanical Principles (1930) -Ralph Steiner

Tilly Losch in Her Dance of the Hands (c. 1930-33) -Norman Bel Geddes

2 Eisenstein’s Mexican Footage (1931) -Sergei Eisenstein (excerpts)

Oramunde (1933) -Emlen Etting

Hands (1934) -Ralph Steiner & Willard Van Dyke

Joie de vivre (1934) -Anthony Deplorable & Hector Hoppin

Wonder Bar: “Don’t Say Goodnight” (1934) -Busby Berkeley (excerpt)

Dada (1936) -Mary Ellen Bute & Ted Nemeth

Escape (1938) -Mary Ellen Bute & Ted Nemeth

An Optical Poem (1938) -Oskar Fischinger

Abstract Experiment in Kodachrome (c. 1940s) -Slavko Vorpapich

NBC Valentine Greeting (1939-40) -Norman McLaren

Stars and Stripes (1940) -Norman McLaren

Tarantella (1940) -Mary Ellen Bute, Ted Nemeth & Norman McLaren

Spook Sport (1940) -Mary Ellen Bute, Ted Nemeth & Norman McLaren

Danse Macabre (1922) -Dudley Murphy

Peer Gynt (1941) -David Bradley, starring Charlton Heston (excerpt)

Introspection (1941/46) -Sara Kathryn Arledge

SERIES CATALOG

“Unseen Cinema: Early American Avant-Garde Film 1893-1941″

Unseen Cinema catalog features 30 essays, articles, and documents and 65 annotated photographs. Authors are scholars, critics, and filmmakers whose knowledge of the early avant-garde derives from either yelp experience as a participant or years of scholarly research. Many hard-to-find photographs and sources detail the first decades of American experimental cinema in the United States and abroad.

Table of Contents

Foreword-Jan-Christopher Horak

Words and Pictures-annotated photographs

1. The Immense Experiment-Bruce Posner

2. Hollywood Extras: One Tradition of `Avant-Garde’ Film in Los Angeles- David James

3. Emlen Etting: Three Films-R. Bruce Elder

4. The Attraction of Nature in Early Cinema-Scott MacDonald

5. “Le Retour á la raison”: Hidden Meaning-Deke Dusinberre

6. Music for “Ballet Mécanique”: 90s Technology Realizes a 20s Vision-Paul D. Lehrman

7. Sara Kathryn Arledge: “Introspection”-Terry Cannon

8. Busby Berkeley and America’s Pioneer Abstract Filmmakers-Cecile Starr

9. Joseph Cornell: An Exploration of Sources-Lynda Roscoe Hartigan

10. Discussing D.W. Griffith-Jay Leyda

11. Maurice Tourneur and “The Bluebird”-Jan-Christopher Horak

12. Diva of Decadence: “Salome”-Kenneth Anger

13. W.K.L. Dickson: Pioneer Filmmaker-Paul Spehr

14. Elizabeth Woodman Wright: “Windy Ledge Farm”-Karan Sheldon & Bruce Posner

15. Robert Florey and the Hollywood Avant-Garde-Brian Taves

16. Working on “The City”-Henwar Rodakiewicz

17. Warren Newcombe: “The Enchanted City”-Stephen J. Schneider

18. My Films-J.S. Watson, Jr.

19. J.S. Watson, Jr.: “Nass River Indians”-Lynda Jessup

20. …And Melville Webber-Dale Davis

21. Making “Twenty-four Dollar Island”-Robert Flaherty

22. Avant-Garde Production in America-Lewis Jacobs (excerpts)

23. Rutherford Boyd and “Parabola”-Douglas Dreishpoon

24. Notes on Unusual Cinema of 1929 and 1930-Harry Alan Potamkin

25. Herman G. Weinberg: “Autumn Fire”-Robert A. Haller

26. Unanswered Questions: Eisenstein’s “Qué Viva México!”-Herman G. Weinberg

27. My First Movie and “The Hearts of Age”-Orson Welles interviewed by Peter Bogdanovich

28. Highway 66: Montage Notes for a Documentary Film-Lewis Jacobs

29. The American Vanguard: Flux and Experience-R. Bruce Elder

30. Fresh Artistic Process-Claire Parker and Alexandre Alexeieff

Old irregular Americana takes a bow in the sprawling and richly rewarding DVD dwelling “Unseen Cinema.” Running almost 20 hours, the collection provides sizable evidence that valorous experimental filmmaking thrived in the early days of lively pictures — decades before the avant-garde torch-bearer “Un Chien Andalou” seared its arrangement onto screens in 1929.

“Unseen” curator Bruce Posner says his goal was to “provide the broadest possible spectrum of experimental films produced between the 1890s and 1940s” — roughly, the period from Thomas Edison to WWII. And so we have everything from home movies to lavish production numbers; wispy dance performances to strident union propaganda; gothic terror to languid studies of life on a farm. Many of these films have not been seen in decades and some were never screened for the public. Others, surprisingly, were products of the Hollywood studios.

The best of the early works are triumphs of the imagination over technical limits and creaky acting — in quite a few, the wow factor remains potent. Watching the many bits of fantasy and cinematic sleights of hand, it’s easy to plan a loopy line to the works of cinematic descendants such as Ray Harryhausen, Tim Burton and George Lucas.

Plenty of titanic names are represented in “Unseen” — Welles, Sergei Eisnenstein, Ernst Lubitsch, Charles Vidor, Victor Fleming, Douglas Fairbanks, Busby Berkeley, Elia Kazan — but the status shows that noteworthy of the heavy lifting in cinema’s toddling years was done by inspired amateurs and free-thinking artists known for their work in other media.

The individual discs are arranged by theme, with titles such as “The Devil’s Plaything” (surrealism and fantasy), “The Amateur as Auteur” (home movies) and “Inverted Narratives” (storytelling) . Recent York City merits its fill disc, with 29 films state in the metropolis (this inspiring time capsule is available separately, retail $24.99) .

For orientation, there are informal but to-the-point on-screen notes before the films. The lack of commentaries undercuts the set’s many sure academic applications — even so, it’s a mind-expanding film course in a box. For extra credit, filmographies and biographical information can be accessed via DVD-ROM.

Some of the 155 shorts and excerpts have unique recordings of their modern music, some have newly written scores and others remain totally quiet. In the case of the mind-bending “Ballet mecanique” (1923-24) the complex fresh fetch wasn’t recorded as the filmmaker intended until five years ago. The DVD set’s audio tracks sound as if they came from the same shop, cutting down on jarring transitions and smoothing the plan for extended viewing.

The source materials — rounded up from 60 or so archival collections around the globe — were restored from 35mm and 16mm prints. The full-screen images are often surprisingly gracious but quality proves case-by-case, of course.
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Holly Hunter plays Claudia, a forty year primitive woman forced to endure calamity after calamity on her plan to her parent’s house for the Thanksgiving holiday. Hunter has her role sewn up from the moment we ogle her; she encapsulates Claudia and makes her very dependable as she is conforted with mini-nightmares. These problems plague her, only to account for her life as unrealized, possibly misdirected. That Hunter refuses to play her as a sack unlit, or someone pitiful, is a testament to her belief of Claudia.

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Its only ravishing to say up front that “Home For the Holidays” is the kind of movie not everybody will understand or luxuriate in, especially those with qualified well adjusted lives. However, for we huddled masses, this film is like a smiling tiny angle in some newly restored Renaissance masterpiece as director Jodie Foster paints with shiny flare a portrait of a typical middle-class family at Thanksgiving. That is…a typical less than functional…American family. We, who are products of such, know what’s meant by that, and delight in the apt beauty of this work is that it lets you hold the distress and joy that only families can give.

At first discover Home For The Holidays is a good-old-fashioned comedy about the reality of family values and holiday reunions. It follows the return of Claudia Larson (Holly Hunter), a 30-something never been married single-mom eldest daughter professional with a exotic career, to the childhood home for the much-dreaded November 25th holiday feast. In the course of one short not-so-good day she loses her glamorous job, self-respect, and expensive fabulously sparkling coat. As she prepares to board the plane her 15-year-old daughter, Kit (Clare Danes), informs her in a passing after understanding…”I’m going to have sex with Tim, safely, and not in the car, have a nice Thanksgiving.” Now, the terrified-of-flying Clyde endures the always-bumpy mind-numbing siege of a Topple flight from Chicago to Baltimore siting next to the somebody’s mom passenger-from-hell. She is primmed, prelimed, and primed for a terminate encounter of the parental kind.

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Adele, (Anne Bancroft), is an all shining neurotic chain-smoking…”why are you squandering your god given talents”…kind of well meaning mom with a more than slightly unsound but flatulent sister, Aunt Glady (Geraldine Chaplin) . She was a Latin teacher! Henry Larson, the dad (Charles During) , a recently retired BWI (Baltimore/Washington International) flight mechanic, spouts profound non sequiturs and drives both the car and wife a shrimp more crazy by the dinky. Like a slowly drowning pouch in the bottomless pool of parentally pain the minute Clyde’s shrinks ever younger with deafened eyes glazed unprejudiced over the rim of a10 year-old three-sizes-too-big spare radiant red parka. Of course mom and dad play their hydrous game of catch-up. When, from the benefit seat mom leans over and whispers…”I can study your roots Claudia”…and you’re greeted at the door by Frank the cat coughing up a hairball, you know your really home.

To Clyde’s unbemused delight Tommy (Robert Downey), the popular baby brother makes a surprise night-vision goggle raid that culminates in ballroom kitchen dancing and a behind snack. They all know Tommy sports many hats as a successful Boston restaurateur, manic wisecracking prankster, Polaroid popping paparazzi, and a mans-man. But now he has a relationship secret that Clyde will pry out if it kills him. She thinks something unpleasant has happen between Tommy and his vital other, Jack (Sam Slovick) . She also resents, no questions her brother’s unusual guy pal in-tow, specialty cook Leo Fish’s (Dylan McDarmatt), incessant sucking up. That is, until it finally dawns that he’s not blissful and has been hitting on her. Tommy told Leo about huge terrible sister’s earlier fragile in fight bawl for attend and showed him Clyde’s portray. Hey, that relate, was something else…but was she naked…was she what…in the describe, Tommy showed him, was she naked? The most difficult share of this eccentric jigsawed quilt is the wonderfully dreadful Witmans freshly flushed from their curbside bunker. This passel of possum players is headed-up by the up-tight, resentfully compulsive, younger sister turned care taker, Joann (Cynthia Stevenson), followed in suit by husband banker Walter (Steven Guttenborg), brat niece Brittany Lace (Emily Ann Lloyd), and ingrate nephew, Walter Jr (Zack Duhame) .

So, to the melody of Nat “King” Cole’s “The Very Though of You” this quirky cast lends the film the unforgettable rhythm of a tap dancer on a run-away roller coaster. Despite the many ups, downs, twists, and turns it doesn’t miss a beat. At the kill of the day, after the birds are et, all is said and done in the wake of the explain and philosophize, and the last dish been washed and build away, this comely puny comedy has a very itsy-bitsy but special message. Although it maybe lasts for 10 seconds, tops…the really necessary things in life are those brief, seemingly insignificant, sometimes tender, and often bittersweet incidents we experience when we’re with family. We always remember and worship…the moments…and Home for the Holidays has more than a few marvelous moments.
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James Bridges (Urban Cowboy, Bright Lights, Big City) directed this 1979 film that became a worldwide sensation when, just weeks after its release, the Three Mile Island nuclear accident occurred. Jane Fonda (Klute, Julia) plays a television news reporter who is not taken very seriously until a routine story at the local nuclear power plant leads her to what may be a cover-up of epic proportions. She and her cameraman, played by Michael Douglas (Wall Street, American President), hook up with a whistleblower at the plant, played by Jack Lemmon (Save the Tiger, Missing). Together they try to uncover the dangers lurking beneath the nuclear reactor and avoid being silenced by the business interests behind the plant. Though topical, the film (produced by Douglas) works on its own as a socially conscious thriller that entertains even as it spurs its audience to think. –Robert Lane

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Watch Take Me Home Movie Online. Movie Title: Take Me Home Average customer review: Take Me Home is available for streaming or downloading. Click Here to Stream or Download Take Me Home

Okay, many of the reviews here either pre-date the DVD release, or refer impartial to the group themselves, not this DVD. Which can be misleading to someone considering this rob. I’m going to unbiased address the Buy Me Home DVD.

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The guys sound grand on the DVD (unquestionably live this time ’round) and are objective as cute and talented as ever, though I do have some issues with this position. Damian needs more worn songs to go with his more former notify, and Keith fans will be disappointed that he sings nothing fresh here (the only one who doesn’t. And I’m not counting Castles in the Air, since it was included in the Act II cd) . The Select Me Home cd has two original Keith songs, which for some reason don’t effect it into the explain. The CD may be more worth your money, as it consists of all unique songs, plus a novel version of Consume Away, that you do hear on the DVD. As others have said, this DVD seems to honest recycle a lot of songs from the first DVD, which is disappointing.

But none of that bothers me as considerable as the Poor production value of the DVD. It looks like someone from a college video class made it. Crazy camera angles, unnecessary zooms, shaky-cam to the point of vomit-cam a couple of times. Dreadful lighting, odd crowd shots, and even my DVD menu didn’t work. I can’t do anything in the Song Selection on the main menu. It keeps looping and looping. I have to play the first song, cessation, hit menu, and THEN I can buy a particular song. At the raze of the DVD, if I hit terminate, it won’t, and then after it plays out on it’s have, I again catch booted succor to the Song Selection menu, which aloof won’t let me grasp a song. Anyone else having this predicament? It is fair another example of how this DVD was shoddily made in an wretchedness to cash in rapid on the Lad’s popularity. It is insulting to them and their fans.

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So, to sum up, Celtic Allege, the group, bag 5 stars. Celtic Sigh, Steal Me Home, the DVD, gets a 0. If you are a CT fan, as I am, you’ll glean this anyway (or even pre-ordered it like me, whaaa) but unprejudiced be prepared that it is nowhere advance as nicely done as the first one.

After seeing the PBS performance I can say this DVD is recommended to all Celtic Lisp fans or those who are unusual to the group and looking for a extraordinary novel group. Each member can attach on a prove alone when they do a solo but when they bellow together it’s a remarkable thing that no one should miss. I can’t wait for this DVD release.
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Annie wannabe’s, here is the standard to which you strive for. Unfortunately for all of us, she’s been locked away in the MGM vaults for the last 50 years. But, if I know Annie, she’s coming befriend, better than ever! Musical lovers under 50, are you in for a treat. Forget all that you’ve heard about Judy Garland, and her sunless exit from Metro while working on this report. About Louis B. Mayer begging Hal Wallis at Paramount to loan MGM his hugely well-liked star, Betty Hutton. About the cool shoulder Betty recieved from cast and crew on the “Annie” plot. None of it affects the stunningly lively final product. THIS IS A Enormous MUSICAL! The win is as trustworthy (or better) than any you’ve ever heard. Songs you’ll remember, and be singing, for the rest of your life. Hopefully we’ll be seeing a totally restored version, which means the beautiful Technicolor will dazzle you. The young Howard Keel makes his MGM debut here, and will knock you out. Louis Calhern is perfect as Wm. F.(Buffalo Bill) Cody, certainly larger-than-life! But, this is Betty Hutton’s movie, from begin to attain. I’ve always considered it her crowning achievement. It’s tall, brash, delicate, laughable, and above all, it’s FUN!

Finally available on video and DVD, Annie Salvage Your Gun is a fabulous movie musical like they don’t produce any more. The color, the production, the performances, and the music are terrific. Betty Hutton is perfect as Annie. Giving a performance closer in style to Ethel Merman’s, perhaps, but Hutton truly makes the role her possess. As Frank Butler, Howard Keel is in dazzling mumble and matches Hutton’s strong hide presence. I know it’s not politically moral to like the blueprint the Indians are depicted or the “I’m an Indian Too” number, but I do. The humor isn’t mean engrossing, nor are the Indians portrayed as total goons. In fact, J. Carrol Naish makes a elegant wise Chief Sitting Bull, helping Annie gather the heart of Butler. Louis Calhern and Edward Arnold are perfect as the competing showmen Buffalo Bill and Pawnee Bill respectively. Keenan Wynn rounds out the supporting cast as Buffalo Bill’s assistant, Charlie Davenport. Besides the big derive and cast, the movie contains some elegant color cinematography. There is a titanic shot from the air as Annie and Frank compete in skeet shooting that is truly fabulous. A broad example of what Hollywood was respectable of producing during the primitive studio system, Annie Come By Your Gun is definite to please most viewers. And if you’re a Betty Hutton fan, you’re in for a treat. She’s terrific. Both video and DVD versions enjoy footage not included in the final cut; two musical numbers with Judy Garland (originally cast as Annie) and Frank Morgan as Buffalo Bill (he died before filming was complete and had to be replaced by Calhern) . A must for fans of movie musicals.
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Stream Under Siege Online. Movie Title: Under Siege Average customer review: Under Siege is available for streaming or downloading. Click Here to Stream or Download Under Siege

I would say 90% of the whole movie was cleaned and sharpened for HD. Other 10% of random scenes exhibited alot of grain and snow. Aloof a major improvement over the DVD release that I have viewed multiple times. Only wished they cleaned the whole movie. You won’t miss the untreated scenes, extremely grainy. Otherwise, tranquil a mountainous movie in my conception.

Steven Seagal is finally coming to Scotland, Edinburgh specifically, to play with his band Thunderbox. Although he has a few more chins than he conventional to, my boyfriend is thinking of going to scrutinize him in concert, so what better procedure to celebrate the fact a major star is coming to Edinburgh, than to study a movie?

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I’m normally not that fussed about Mr Seagal. I bear one of his movies (Marked For Death), but I’ve discovered, since watching this, that I have so distinguished more respect for him when he doesn’t have that ponytail. Which impartial looks laughable on a guy that titanic anyway. I knew I was going to be watching this, as it was “reserved” for watching on the label recent, HD DVD player that now resides in my boyfriend’s sitting room. It was my first viewing of a HD DVD and overall, I was very impressed.

Shock apprehension, you do actually accept to gawk Steven SMILE in this film, which made me originate to like him even more. Normally, he’s all serious. It did peer like he was going to launch dancing at one point, which would have left me cringing, but thankfully, he didn’t. Gary Busey and Tommy Lee Jones join him in this movie, including some female nudity from Erika Eleniak, who proves she can handle a gun that looks bigger than her. This is a very stereotypical action movie of the nineties, where terrorists select over whatever it is. In this case, it’s a very substantial naval battleship. Tommy Lee Jones looks like he came straight from the sixties to this point in time. There’s not worthy to the epic, but Seagal saves the day, leading everybody along in the process to occupy that he’s nothing but a lowly cook.

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The HD is very impressive, looks astronomical on a 50 streak ample mask (some guys have cars - my boyfriend has all his TV stuff and DVDs), the portray has been remastered, and is brighter and sharper than you can possibly imagine. There’s no extras on this unfortunately, honest a trailer, but some other HDs boast of in movie experiences etc. Shame they couldn’t have brought help Steven for a “glance support on…” or a commentary, I’m determined it would have been worthwhile.

Definitely the best Seagal movie in my eyes. Obtain it, witness it!

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You remember high school? Really remember? If you think you do, watch this film: it’ll all really come racing back. After changing the world with the generation-defining Slacker, director Richard Linklater turned his free-range verite sensibility on the 1970s. As before, his all-seeing camera meanders across a landscape studded with goofy pop culture references and poignant glimpses of human nature. Only this time around, he’s spreading a thick layer of nostalgia over the lens (and across the soundtrack). It’s as if Fast Times at Ridgemont High was directed by Jean-Luc Godard. The story deals with a group of friends on the last day of high school, 1976. Good-natured football star Randall “Pink” Floyd navigates effortlessly between the warring worlds of jocks, stoners, wannabes, and rockers with girlfriend and new-freshman buddy in tow. Surprisingly, it’s not a coming-of-age movie, but a film that dares ask the eternal, overwhelming, adolescent qustion, “What happens next?” It’s a little too honest to be a light comedy (representative quote: “If I ever say these were the best years of my life, remind me to kill myself.”). But it’s also way too much fun (remember souped-up Corvettes and bicentennial madness?) to be just another existential-essay-on-celluloid. –Grant Balfour

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Dazed and Confused was fair and pleasant! You have to glimpse this movie! A outlandish performance by Jason London & Rory Cochrane make Dazed and Confused a “need to take note” movie!

The astonishing cast includes Jason London, Rory Cochrane, Wiley Wiggins, Sasha Jenson, Michelle Burke. This cast just make Dazed and Confused the more confounding!

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Having been diagnosed with an incurable disease, teenager Yuji Kaido enters suspended animation in 2009 to await the discovery of a therapy. He’s awakened 22 years later to find that Earth has been conqured by the Blu: monstrous, insectlike aliens. Yuji is rescud by tough-as-railroad-spikes mecha pilot Marlene Angel, who serves in an elite Sleeper Recovery Team from the satellite Second Earth. Yuji is apparently a valuable asset in the struggle against the Blu, despite his illness. As he does little but stare blankly and whine, and voice actor Laura Bailey delivers Marlene’s lines–including an account of the destruction of human civilization–in a robotic monotone, they’re not an engaging pair. The action scenes are violent, bloody, and generally well choreographed. Unrated; suitable for ages 17 and up: Graphic violence, brief nudity, sexual situations, grotesqu imagery. –Charles Solomon

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Blu Gender was enjoyable! You have to attend this movie! A stupendous performance by Kenji Nojima & Houko Kuwashima make Blu Gender a “need to come alive” movie!

The prodigious cast includes Kenji Nojima, Houko Kuwashima, Chinami Nishimura, Masatake Ginga, Jin Domon. This cast just make Blu Gender the more staggering!

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In this enchanting film adaptation of J.K. Rowling’s delightful bestseller, Harry Potter learns on his 11th birthday that he is the orphaned son of two powerful wizards and posseses magical powers of his own. At Hogwarts School of Witchcraft and Wizardry, Harry embarks on the adventure of a lifetime. He learns the high-flying sport Quidditch and plays a thrilling game with living chess pieces on his way to face a Dark Wizard bent on destroying him. For the most extraordinary adventure, see you on Platform 9 3/4!

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Harry Potter and the Sorcerer’s Stone Gift Set With Fluffy Collectible was honeyed! You have to reassure this movie! A remarkable performance by Richard Harris & Maggie Smith make Harry Potter and the Sorcerer’s Stone Gift Set With Fluffy Collectible a “ought to be conscious of” movie!

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