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In the book " 1001 Movies You Must See Before You Die " eminent film critic Jonathan Rosenbaum wrote about RED PSALM being " . . . dazzling . . . awesome . . . ravishing . . . striking . . . it may well be the greatest Hungarian film of its time . . . " ; conversely , Miklos Jancso'’s acknowledged masterpiece THE ROUND-UP ( 1965 ) – which I adore – is conspicuous by its absence in that singular pantheon . Besides , the late great film critic Raymond Durgnat wrote extensively about this film in his very last article published in 2002 . Furthermore , Jancso ' won the best direction prize at the Cannes Film Festival when Joseph Losey ( whom I admire a great deal ) was the President of the Jury and where RED PSALM was competing against such remarkable contenders as Robert Altman’s IMAGES , Harry Kumel’s MALPERTUIS , Peter Medak’s THE RULING CLASS and Andrei Tarkovsky’s SOLARIS ! Why is it , then , that my star rating is such a lowly one ? There is no doubt in my mind that this is a key work in the director’s canon ( which makes my underwhelmed reaction all the more painful to me ) but , frankly , this is truly a case where form completely overpowers content or , to put it in the apposite layman’s terms , a film which can only be admired but not enjoyed . The main reason for this is that the entire running time ( a relatively modest 81 minutes in PAL mode ) is taken up by Jancso'’s obsession with politics and folklore with no space left for any real characters to emerge much less a discernible plot line . This would hardly be a problem in itself where it not for the fact that when somebody takes a break from the constant – and by now familiar – communal dancing marathons ( which , thankfully , does mean that some of the typically stunning girls get to shed their clothing ) , they do so only to spout a litany of Communist diatribes which completely wear the viewer ( and the film itself ) down before long . Although Jancso'’s exuberant visual style always had a certain aloofness to it , I really didn’t connect at all with any of the characters or events depicted here . In fact , I’d go so far as to say that this is one time where the English subtitles ( which , in themselves , are grammatically awkward and replete with spelling mistakes ) distinctly felt like an intrusion and their verbosity detracted from the power of the meticulously composed images . Consequently , one’s enjoyment of the film as a whole suffers for it and given the generic , prosaic nature of the dialogue , I might well consider watching the film unsubtitled in the future ! Amusingly enough , however , the Catholic prayer of Our Father is even blasphemously transformed into a Communist credo at one point . Still , this is not to say that the film is completely worthless : the rebelling peasant farmers sing various songs ( a couple of which are in English ) that , while lyrically are merely propagandistic , are also melodically haunting . Given Jancso'’s penchant for lengthy , traveling sequence-shots ( the film is said to contain a mere 26 in all ! ) which are , essentially , its true raison d’etre , some striking images can’t help but stand out , in particular the burning of a church by the peasants and their eventual massacre by the landowners’ army of defenders . Even more remarkable is Jancso ' fusing his historical recreation with unexpected but decidedly welcome fantasy elements which sees dead people coming back to life with a kiss and , in an unheralded uproar to which nobody retaliates , an incensed peasant woman shoots several soldiers in quick succession single-handedly , etc . As a result of my disappointing viewing of RED PSALM , I have decided to to take a sabbatical from Jancso ' for now and postpone the three other films of his that I have in my possession to a later date ( by which time , nevertheless , hopefully I would have acquired two more ) . . .

This is the ninth of twelve cartoons featuring Egghead , a lesser-known Warner character , who developed eventually into , and was superceded by , Elmer Fudd . This short has never seen release to DVD , but certainly needs to , since , IMO , the older Warner entries are the better . This short is available to be seen on YouTube . The twelve ' Egghead ' shorts : Egghead Rides Again ( 1937 ) http www imdb com title tt0028820 Little Red Walking Hood ( 1937 ) http www imdb com title tt0029154 Daffy Duck and Egghead ( 1938 ) http www imdb com title tt0030034 The Isle of Pingo Pongo ( 1938 ) http www imdb com title tt0030280 Cinderella Meets Fella ( 1938 ) http www imdb com title tt0029993 A-Lad-in Bagdad ( 1938 ) http www imdb com title tt0029833 A Feud There Was ( 1938 ) http www imdb com title tt0030129 Johnny Smith and Poker-Huntas ( 1938 ) http www imdb com title tt0030289 Count Me Out ( 1938 ) http www imdb com title tt0030016 Hamateur Night ( 1939 ) http www imdb com title tt0031401 A Day at the Zoo ( 1939 ) http www imdb com title tt0031213 Believe It Or Else ( 1939 ) http www imdb com title tt0031093 § " The Sleep of Reason Produces Monsters . " §

Exactly , he certainly didn't create those ideas . And I've seen it in other movies to . I guess they should start a beef over a fan script . We still have six more minutes to play .

Robert Redford was in The Chase w E . G . Marshall who was in Is Paris Burning ? W Caron next - Jane Krakowski

Perrine was in W . C . Fields and Me w Rod Steiger whow as in Al Capone w Martin Balsam was in Cape Fear w Polly Bergen next - Polly Adams

' You don't have to be ' close friends ' to be good co-workers ' 30 Nov , 2007 09 : 03 am ISTlReshma Kelkar / INDIATIMES MOVIES Print Save EMail Comment on this article Rohit Roy's directorial debut Rice Plate brings Shabana Azami and Naseeruddin Shah together after sixteen years . This pairing was last seen in Shekahr Kapur's Masoom . Naseeruddin gives us an insight to Rice Plate . How was it working with Shabana after 16 years ? It is always great to work with Shabana . She is a wonderful actress and we both have high regards for each other and trust each other . You don't have to be ' close friends ' to be good co-workers . She is best co-actor I could have and my performance wouldn't have been possible without her . Rice Plate is an interesting title , don't you think so ? Yes , like the storyline , the film's title is interesting , too . The movie is about communal harmony . It is a symbol of religion which is important for some people . It tries to say that there are fake differences in our society over religion . There are two characters in the film - Hindu and Muslim , who eventually realize about their prejudices and biases when they meet at an Irani restaurant . Isn't it a challenge for an actor to do a ten-minute film ? According to me the challenge is miniscule as compared to the usual three-hour film , because you shoot only for two to three days . Yes , you have to be well-prepared because you don't get time to get into your character . The real challenge is for the writer and director because they have to tell the story in ten minutes . You've been a director , too . How challenging is it to make a 10-minute film ? If you can't tell your story in three hours , you've failed as a story-teller . And if you are a good storyteller then you can present it all in ten minutes as well . It depends on how effectively and creatively you write and present your story . Has Rohit ( director ) managed to do that ? It was tough for Rohit to present this beautiful story in ten minutes . A 3-hour frilm would've been easier . But Rohit has succeeded . I don't like to interfere in a director's job . I follow my director's directives . Even though I feel things are going wrong , its better that the director learn from his own mistakes . In Rohit's case , I was completely happy with his direction abilities . Do you think a compilation of ten short films will prove to be attractive to audiences ? Why not ? It is just like a short story book and the way you get involved in a book , films lure audiences in a similar manner . I would like to see the film objectively and how it interests me as a spectator . I'm very excited to watch this one . Your film Yun Hota Toh Kya Hota was on similar lines . . . My film had four stories but this movie has ten stories so it may work twice as much at the box office . Apart from Rice Plate , any other short story from Dus Kahaniyan you'd recommend ? I'd like to see the complete film . I don't know much about the other stories but I know that each story is very different from the other and has its own flavour . What do you think of the experimental trend in Bollywod these days ? Well , the change is welcome but I don't think Bollywood is maturing . It's maturing only in terms of film promotions . But the change or attempt to experiment with something other than the formula is definitely good . ( \ _ _ / ) ( = ' . ' = ) ( " ) _ ( " )

Justin Long was in Herbie Fully Loaded w Matt Dillon who was in In & Out w Debbie Reynolds who was in Tammy and the Bachelor w Nielsen Next - Valerie Hobson

I completely ignored it for its first four seasons , until one day here on IMDb , on ' The Prisoner ' board , I saw a thread drawing superficial comparisons , and suggesting that one who liked ' The Prisoner ' would probably like ' Lost . ' So I began renting it from Netflix , and found it so captivating that I watched all of it that was available in fairly short order . I'm not sure how much my recommendation is worth to you , but I think it's a worthwhile series to watch . Don't watch any of it out of sequence , or skip episodes , though . It's complicated . § " The Sleep of Reason Produces Monsters . " §

Grant was in The Wizard w Beau Bridges who was in The Landlord w Lee Grant who was in In the Heat of the Night w Steiger next - Deborra-Lee Furness

man , this guy really knows what filmmaking is about ! ! ! He started of as an editor with some of the most prominent filmmakers in Bollywood like RGV and Prakash Jha . His directorial debut happened last year with the film My Brother Nikhil . Though not a very big hit , the film touched the audiences . It strongly conveyed how life of a person takes a drastic turn when detected HIV positive . Onir definitely put his message across strongly . And now , he is back with his second film Bas Ek Pal which deals with urban life . Onir speaks sense in this IndiaFM Exclusive . Check out the video 45 80 150 220 ( Real Player ) Tell us about your upcoming film Bas Ek Pal Bas Ek Pal is film which centers round one moment which changes the lives of five characters . It's about that one moment that changes the perception of the characters about other characters . The format is that of a thriller where you keep discovering new things about the other person though it's not a " who's done it ? " kind of a thing . I would say that this film is about one illusive moment of happiness that these characters are looking for . The tagline says the film it is about " urban relationships " . What exactly do you mean by that ? This film is set in Bombay . The characters are modern , upper middle class , who lead a very independent today's life . So the characters , their personalities , their lives are very urban , very city centric and cosmopolitan . All the characters in my film are living on their own and not in joint families which is a very urban phenomena . In the rest of India , even smaller towns , people usually live in joint families . But here , the character of Urmila who is a civil engineer lives on her own . Juhi and Rehaan are a young couple who are living on their own . There is Jimmy's character who is a businessman who is also living by himself . So , all of them are individualistic . Also their lives revolve around themselves in a certain way ; they are all very ambitious which is very urban again . Their life revolves around night clubs ; they do sport activities and things like that . So it is very much a part of city life . At times , Urmila would just call me up and talk about " scene number so and so . . . . " and I'm trying to figure out what scene she is talking of . Is this story inspired by Jessica Lal case in any way ? No , not at all . Actually I myself wrote this story and it's been registered . That's the best proof . Also , the story is not about justice not done . It is about an incident that happens at a night club but similarities begin and end there . The preview says that " revelations , passions , jealousies , insecurities , love and anger , as each character searches for that ever - - elusive moment of happiness . " There are five main characters in the film . And the film is their travel through different kind of emotions a normal human being goes through . They are not super humans , they are not typical heroes and heroines like you see in a Hindi film . They are all people who go through emotions of jealousy , envy , greed , love , passion , insecurities . And they are all very grey that way . In a sense they are not very good or bad , they are all very real . What you will see is people going through different kinds of emotions , experiencing these emotions , without the film being judgmental about anyone . The film does not take position in terms of the story saying this boy is bad or good ; it's just trying to understand what each character is going through , without being judgmental . I wanted actors who are not necessarily stars . And I needed people who would not be bigger than their characters . You have retained Juhi Chawla and Sanjay Suri in this film . Sanjay Suri was always a part of this film , since I wrote this film . So though My Brother Nihkil happened earlier , this film was written before and since then Sanjay was a part of the film . And after having worked with Juhi in My Brother Nikhil , I thought it would be very interesting to cast her in the role of Ira that she is doing in the film , because it is a kind of role that no one would expect her to do . It has a lot of grey shades . It's a kind of role that no one has seen her in before . And I think she brings in something special to this character which I don't think anyone else could have brought in . Also , I enjoyed working with her because of her warmth as a person . So there is an actor and director chemistry that we share . It's a bonding that one forms that spills over to the next film . Hence , lot of directors repeat actors not only because they believe in the actors but also because of a certain comfort level . Your experience of working with Urmila Matondkar . . . With Urmila I was earlier a little apprehensive thinking she is a big star . But I think after a first few days itself there was this level of comfort because she is a brilliant actress . Secondly she likes to be very thorough with the script . She knows everything in and out . At times she would just call me up and talk about " scene number so and so . . . . " and I'm trying to figure out what scene she is talking of . She is very particular about her clothes and everything that she is wearing , in detail . And that's my style of working as well . I like to be involved in everything . And I think that actresses like her try to understand what the directors want from them in terms of the character and then take it beyond . And through the process of the film , we have also becomes friends now . For me , so much time one spends working on a film ; it's now one's family in a way . And I think it's better if the relationship between an actor and a director goes beyond professional one , because that means you have succeeded as human being also . That happened with Juhi and Sanjay during My Brother Nikhil and I'm glad that now I have Jimmy and Urmila as friends too . If the relationship between an actor and a director goes beyond professional one , it means you have succeeded as human being also . How was it working with the actors this time , considering that you were working on a complex subject ? For me when I was casting I knew that I was having a strong script . Hence , I needed performers ; I wanted actors who are not necessarily stars . And I needed people who'd believe in the script and believe in me and they should not be bigger than their characters . And I would say all my actors have given the best of performances in 2005 . Jimmy in Yahaan , Urmila in Maine Gandhi Ko Nahin Mara , Juhi and Sanjay Suri in My Brother Nikhil had given performances which were most talked about in 2005 . And performance level itself takes the film to another scale . It gives life to my script . It takes it beyond what the script was , which the plan is . Not just representing the film in the form of script but taking it beyond that . And I think all my actors have contributed in making it go beyond what I had imagined . All my actors have given the best of performances in 2005 - - Jimmy in Yahaan , Urmila in Maine Gandhi Ko Nahin Mara and Juhi and Sanjay Suri in My Brother Nikhil Tell us about the music of the film . You have three music directors doing music for it . Music of the film is the integral part of the film but at the same time , it's not used like in most of the Hindi films , which is lip-sync song and dance . Most of the songs are used as background . There's one club song but then again here , this doesn't have actors singing it . When a song from a film is played in a pub everyone starts singing and people do certain steps , identifying to the film . No one is dancing to the camera . It is very important for me that it looks real . I love music but in a realistic way . I have three music directors for this film . Pritam is a very close friend of mine . I had produced his first music album , so here I wanted him to do one song for me which he did . Vivek Philip had done music for my previous film . He has done three of the songs . I like to introduce new people in my films and I had met Mithoon and really liked his songs . So I have two songs of his in my film too . I had produced Pritam's first music album , so here I wanted him to do one song for me which he did . Each character in Bas Ek Pal has a color code . What's the concept behind that ? I think that all of us have our favorite color like my favorite color is black . And I think it has something to do with what one is as a person and that's why I thought let me try and experiment with it . That's why I thought giving each character a color code which has something to do with their personality and it does not mean that they are wearing those colors all the time . It could be very subtle sometimes in the background somewhere or in the props around them . For people who notice it , its good as they'll get additional layer to the film and who don't notice it , there is nothing that'll disturb them . So I was just trying out . It was an experiment for me . How has the experience been with the producers ? Shailesh is a friend of mine whom I met 10 years ago . I had lost touch with him for a while but after My Brother Nikhil , we bumped into each other at Barista and he said listen I have to make your next film . I didn't take it seriously but somehow he was after me . I was traveling abroad with My Brother Nikhil when he kept emailing me . So I said that I am working on this script ; he loved it and it just happened like that . So it happened really fast . Without even realizing , we were ready with the film in six months time . You once said that you have certain scripts but the producers are apprehensive to back them . . . Yes , this film was one of those as this was written in 2002 but it is being made now . Bas Ek Pal was one of those scripts that I had written in 2002 but it is being made now . How does it feel after My Brother Nikhil won an award at the Milan Film Festival ? Also Bas Ek Pal got screened at the Osian Cinefan festival . It's nice . I feel really good over the past one and half years I've been traveling around the world with more than 25 festivals for My Brother Nikhil . The film won more than 10 awards and that was a very satisfying experience . Though in India it didn't get its due as people were more excited about Brokeback Mountain , despite the fact that My Brother Nikhil was done much before . But I realized that we always jump about things happening abroad rather than out here . It was also not nominated for any awards in India but in the rest of the world it was . So for me it was the world that compensated for the lack of it in India . Which I'm happy of because I think it connected with people all around the world and I could directly interact with audiences who were primarily not Indian . So it was interesting to see how people from other cultures reacted to the film . With Bas Ek Pal what's nice is that it starts of with a festival in India . I was absolutely surprised because for me Bas Ek Pal is not a festival but very mainstream film . But it was selected and opened at Osian and for me it's nice that this film starts in India because for me it's more important than the rest of the world . Do you think My Brother Nikhil helped changed people's perspective towards HIV affected and also ' Homosexual ' people ? Do you think the film has helped improve their status in the society ? See I don't think it's that simple . I think it's a small step towards changing people's perception . Luckily what has happened is , NGOs all over the world have been using this film majorly and successfully for screening it to common people , students , HIV positive people and their families to change their perceptions and it has worked for them . The amount of emails we have received on our website is not funny . People say their lives have changed because of this film . Be it issues of sexuality or HIV - AIDS awareness . So it has definitely happened to an extent . Also , UN aides have officially put their site link on ours . So unless the film had certain importance it wouldn't have been . About a week back I had a screening for NACO ( National AIDS Control Organization ) and they want to dub the film in other Indian languages because they think it needs to be shown in India in other languages so that people can benefit from it . Plus they are distributing DVDs in all schools . So for me , that means something . And not just in India , in Pakistan , it was the highest selling pirated DVD . So for me that means a lot . I have traveled around the world to raise funds for HIV-AIDS thing , especially US . We have done lots of screening for raising funds for HIV in India . So I do think it has done an impact . But it is a small step . A lot more needs to be done , a lot more could have been done with the film if there was more support from the industry ; then I think much more could have happened . A lot more needs to be done and a lot more could have been done with My Brother Nikhil if there was more support from the industry Do you think your stories are more " urban " hence restricted to limited target audiences ? See in a country like India , the divide between urban and rural is so much that it's very difficult to have a film that will cater to the entire Indian audience . And the kind of Pan-India films that happens , I can't identify with most of them . I respect it for what it is but it isn't something I can identify with . I can do what I'm good at , which I can identify with , which I believe in . For me making a film is telling a story I want to tell . The purpose is not to necessarily go like mass hit , as along as it reaches the target audience . A film like My Brother Nikhil is a crossover because it was looked at as a multiplex film but it has been shown by NGOs in very remote areas . So for me it has crossed over from multiplex audience to other audience . I hope the same happens with Bas Ek Pal . I never try and negate the other audience . It's a step towards making my film understandable and people who are not the so-called multiplex audience should be able to relate , but provided they also have to take one more step , thinking this film will not have an item number and maybe still we will get something out of it . Real bad comedies are unfortunately doing really well . Also because lives are so difficult , people love escapism . It's a two way system . I'll give you a quote . Recently I was reading somewhere that a journalist had quoted that for Onir's films one has to use grey matters so I would rather not use it . So for me , if a journalist says that I would rather not use grey matters , I think it's a really sad state of the country , because then what all want is mindless films . The idea is the films , like any other form of art should be entertaining but at the same time fulfilling as a human being to take you forward in terms of some experience , something enriching . Otherwise , what is life all about ? For me making a film is telling a story I want to tell . The purpose is not to necessarily go like mass hit , as along as it reaches the target audience . Do you think the audiences here are now accepting reality based films ? I think to certain extend definitely or else why are they getting made . It's because of the demand . And if you think it's only a recent phenomena that realistic films ( I would rather put them as " sensible films " ) , are happening so much , you are wrong . Earlier , about 15 years back , parallel cinema or sensible cinema existed with mainstream cinema because people were going for it . But what has happened that with multiplexes , the tickets are so expensive that middle class housewives are now only glued on to television . So , one has lost out largely on the middle class audience which used to watch sensible good cinema before . That's a problem but I'm sure things are slowly changing . There's a huge urban educated audience who are looking for something else than just mindless comedies . But I think its going to take time to change , because mostly real bad comedies are unfortunately doing really well . So it will take time because unfortunately , we have huge illiterate population . Secondly , also because lives are so difficult , so we have people who love escapism . But we can't blame them because life generally is so difficult . But then I think sensible cinema packed with entertainment should appeal to everyone . The multiplex tickets are so expensive that middle class housewives are now only glued on to television . What kind of cinema do you enjoy the most ? I enjoy watching films which are sensible , intelligent and not regressive in terms of how they portray certain things , like the way women are portrayed . I really hate the films that have unnecessary item numbers . I don't like mindless comedy . But when you are told you keep your brains at home and come and watch the film , I would say sorry . I have this many years of life and god has given me brains and therefore I would like to use it and not keep it home . When you are told to keep your brains at home and come and watch the film , I would say sorry . God has given me brains and I would like to use it and not keep it home . Who are your favorite film makers ? Oh there are many . There is this Bengali film maker called Ritwik Ghatak whom I really like . I'm a fan of European cinema because I trained in Europe . I like film makers like Godard , Tarkovsky etc . I'm not that fond of Hollywood though I like Charlie Chaplin . And yea , I do like Spielberg as well . Do you think you have grown as a film maker since your first film ? Absolutely ! I think if one does not grow then that's the end of one . And for me with every film , I would like to try out different genre . Try and slowly discover a genre for myself . Try out new things and that is what I have tried in this film . I definitely see that there is a movement and therefore when I was making Bas Ek Pal it was important to see that it is a film which is totally different from My Brother Nikhil . So lot of people say ' oh this is totally different ! ' and I'm like ' yea of course ' . Why should I do something which is the same ? The idea is not to do My Brother Nikhil Part 2 but to do something else where I explore myself as a director . See my weakness and strengths and look forward to my third film . So I know it's a risk because people stereotype you but that's a risk I'm willing to take or else my growth will stop . You have also edited some films . . . Editing has always been a step towards reaching this goal . I worked with different filmmakers right from Vikram Bhatt to Sai Paranjpe to Ram Gopal Varma and Prakash Jha . And while editing I also used to be involved in other aspects of filmmaking because it was learning process . At the end when I finish my film in 30-35 days I think it's because I learnt as an editor what to edit while shooting . When I finish my film in 30-35 days , I realize it's because I learnt as an editor what to edit while shooting Your future projects ? I have a couple of scripts . My Brother Nikhil was my fifth script , Bas Ek Pal was my third script so there are a whole lot of scripts that are lying which I want to slowly start making . But I'll concentrate on it after my release because right now I'm just full of Bas Ek Pal . What would you call the USP of Bas Ek Pal ? Bas Ek Pal is an unusual story with really great performances . What are your expectations from the film ? Expectations from the film . . . I'm trying to talk to people . I hope people will listen . http www indiafm com features 2006 08 11 1435 index html

Well , Tabu has a small but interesting role in ' Darmiyaan ' according to what I've read but nonetheless I am curious about the film . I heard Saif was offered the lead role but he refused it because he found it offensive . Shahrukh was ready to replace and I heard that he even shot for it but backed out for some reason . Arif Zakaria ended up playing the part . ( \ _ _ / ) ( = ' . ' = ) ( " ) _ ( " )

I happened to notice , by chance , that this was being shown on late-night Italian TV recently ; I checked out its entry on the " Stracult " book - - where I learned that it was an " extremely vulgar " modernization of the perennial Helen Of Troy story . . . and , hence , would make for an interesting addition to my current Epic / Historical Film challenge ! Apart from that , I was highly intrigued by the credits including cult director Castellari and co-writer Lucio Fulci , a master film-maker in his own right . . . as , in fact , were a couple of members from its cast - - namely Vittorio De Sica and Luciano Salce . The rest of the acting ensemble ( despite the title , no one character takes center-stage throughout ) includes Giancarlo Giannini ( as Ulysses ) , Philippe Leroy ( Hector - - the " Lo Fusto " of the original title translating not to " The Mighty " as above but rather " The Stud " ) , Rosanna Schiaffino ( Helen - - depicted as a nymphomaniac , but a curiously unglamorous one ) , Vittorio Caprioli ( Menelaus ) and Orchidea De Santis ( as a slut brought in especially with her companion from Perugia and who also ends up being contended by the two gangs ) . The Greek setting of the original tale has been transposed to the criminal underworld in Rome - - with the warring factions involved being a big-time prostitution racket and a more modest rival establishment ( the updating also sees the usually stoic warrior Achilles now as a gay " Hell's Angel " though , thankfully , not a stereotype ) . In this respect , too , the prose of Homer's epic poem " The Illiad " is here replaced by the slang typically found in Italian films of the 1970s - - while a shiny new Rolls-Royce ( with the much reduced invading army concealed with great difficulty within its boot ) acting as the all-important Trojan Horse ! Similarly , the famed duel of champions takes place at night with flick-knives and motorbikes as opposed to javelins and chariots respectively . In the long run , then , the general style is all over the place and the film may seem slightly overlong for its purpose ; nonetheless , it's kept going by the enthusiastic performances and a lively score by the prolific and versatile Francesco De Masi . Incidentally , I'd seen three personalities involved with the film in the flesh at the 2004 Venice Film Festival : Giannini ( still a star after all these years ) , Castellari ( invited for the Italian B-movie retrospective ) and De Santis ( ditto - - she was present to introduce the excellent but little-known political satire COLPO DI STATO [ 1969 ] , coincidentally directed by her co-star from this film Luciano Salce ! ) .

You expect me to take the word of the Irish on it ? Just kidding . I tend not to make that distinction , but only because I know that El began the same way , and was less personal the farther back one goes , until at some remote point he was only a sky god , a male principle . Often these gods and goddesses began as spiritualized natural phenomena , a feature of animism - which is why the cultic Venus of Willendorf has no face . Primitive peoples ascribed gender to non-animate objects and forces - in Mesopotamia , sky was male , and sea and earth were female . In Egypt one finds the reverse , in Nut and Geb . Anthropomorphization comes later ; the gods and goddesses become persons who have biographies and stories only by slow development . Why is modern science undermining it ? Is it truly a matter of a fresh perspective on the sites and artifacts in question , or is it representative of a doctrinal sea change in the field ? ( This sometimes happens , as when anthropological academia got it in its collective head that reports of cannibalism among less advanced societies , both ancient and relatively modern , were false ; and that cannibalism as a societal practice never existed , except as a polemical accusation lobbed by competitive societies . Archaeology , paleoanthropology , and direct observations by modern sociologists proved this sweeping assumption to be false , but it had held sway for a couple of decades , and was difficult to dislodge . ) I would want to know what evidence has been uncovered which justifies these conclusions , to reassure me that there is not some other extraneous pressure coming to bear on the research . When a single scholar has had charge of material , or a long-standing monopoly , when the monopoly breaks , it sometimes happens that there is a tendency among the newcomers to trash the research , to overturn it in an effort to own it . This may or may not be the case with the researchers who succeeded Mellaart ; it tended to be with Henri Lhote and his work in Tassili n'Ajjer , and J . T . Milik and co , over the DSS . There were aspects of these mens ' work which was seriously flawed , but there was also a lot of personality and ego which came into it . Edit : The new view being championed is based on the number of occurrences of a given type of statuette . § " The Sleep of Reason Produces Monsters . " §

r u going to get the original one : ) ?

I just got season 4 yesterday . : ) . Now only have to get 1 and 5 in order to start rewatching : ) ( \ _ _ / ) ( = ' . ' = ) ( " ) _ ( " )

Would you prefer that the OP had instead said " Genesis and Exodus have no basis in fact " ? § " The Sleep of Reason Produces Monsters . " §

I agree , the younger version of Charley didn't pull off the accent too well .

It's the plain meaning of the text . § " The Sleep of Reason Produces Monsters . " §

DAN HEDAYA was in Pacific Heights w Tippi Hedren who was in The Birds w Rod Taylor who was in The V . I . P . s w Elizabeth Taylor who was in Father of the Bride w Tamblyn next - Alice Braga

This was among the first vintage horror films I recall watching , but it took me this long to re-acquaint myself with it ( after I had foolishly abandoned the prospect of a second viewing as part of a late-night Italian TV program hosted by two amiable ghouls - - the same thing would also happen with Hammer's FRANKENSTEIN AND THE MONSTER FROM HELL [ 1974 ] , which I then had to wait some 13 years to catch up with ! ) . Anyay , though the film's premise , in itself , is rather daft - - that of a host of antiquarians being ' possessed ' by the skull of the Marquis De Sade - - the result is very stylish and altogether one of Hammer rival Amicus ' most satisfying outings . Apart from director Francis , the men behind Amicus - - Max J . Rosenberg and Milton Subotsky ( the latter also scripted , from a story by Robert Bloch of PSYCHO [ 1960 ] fame ) - - again recruited Hammer's two most popular stars , Peter Cushing and Christopher Lee , for this production . As ever , they play extremely well off each other - - even if Lee , ostensibly , is only a " Guest Star " - - delivering typically committed performances : Cushing has fun acting crazy - - under the influence of the skull - - towards the end ( and also during a surreal nightmare sequence in which he's forcefully taken before a judge who promptly hands him a gun to play at Russian Roulette ! ) , whereas Lee gives surprising poignancy to his role . Supporting them is a splendid cast indeed - - led by Patrick Wymark , who actually matches the stars with his seedy supplier of generally weird artifacts , and the brief ( albeit equally welcome ) presence of the likes of George Coulouris , Michael Gough , Nigel Green and Patrick Magee ! While Francis creates wonderful atmosphere via the cinematography ( particularly when shooting through the skull's eyehole ) and the set design ( the film starts off as a period piece but then reverts to a modern-day setting for the central plot line ) , I do feel that the possibilities presented by the nonetheless intriguing theme are regrettably constrained by censorship and budgetary restrictions - - so that the Marquis De Sade's legacy seems somehow to have been mixed up with that of Jack The Ripper ! In any case , THE SKULL is generally considered nowadays as Francis ' best directorial effort - - though I personally feel NIGHTMARE ( 1964 ) , THE PSYCHOPATH ( 1966 ) and THE CREEPING FLESH ( 1973 ) to be superior to it . . .

This is only my second proper Varda film : I've only watched her documentary on her late husband ( director Jacques Demy ) , JACQUOT DE NANTES ( 1991 ) and her ode to nickelodeon days ONE HUNDRED AND ONE NIGHTS OF SIMON CINEMA ( 1995 ) ; I do have 4 more titles by her on VHS but , alas , only in French i . e . with no English subtitles ! Despite being past her vintage , this is a remarkable piece of work : affecting but unsentimental , vivid rather than depressing . It deals with the last few days of a vagrant girl ( a member of the working-class who got fed up with her vapid lifestyle and decided to find herself again ' on the road ' ) , played with candor and great passion by Sandrine Bonnaire - a deserving Cesar Award recipient ( the film itself emerged triumphant at Cannes ) . Still , the film doesn't romanticize her existence at all - the rejections and abuses she suffers throughout her journey , the abject poverty , the bitter cold , indeed her entire unwholesome environment - and , in fact , has all the air of being a story gleaned from the headlines ( fittingly given a cine-verite ' approach by Varda , providing intermittent interrogations by the police of the people who saw her last and one particular character addressing the audience directly at several stages during the film ! ) . Necessarily episodic in nature , the film does goes on a tad too long ( especially the interlude with the Arabic immigrant , who actually plays himself ! ) but it basically covers the gamut of emotions , while also containing an unexpected - but most welcome - spurt of irreverence in the scenes involving a senile rich old lady , the messy ( and vaguely Surrealist ) Wine Festival towards the very end , and extending even to the droll final credit roll ! Like a number of their early releases , the Criterion DVD is unfortunately bare-bones .

I wonder if the tusks were its own , or if they were something it was wearing , just as certain tribes wear objects like bones or discs , pierced through lips or cheeks ? That's probably to definitive a question to be addressed - I suppose some questions must be left unanswered . § " The Sleep of Reason Produces Monsters . " §

THE SCREWFLY SOLUTION is my fourth venture into this promising TV series and what attracted me primarily to this particular episode was the involvement of Joe Dante ( whom I often saw – and even spoke to twice – during the 61st Venice Film Festival in 2004 ) ; however , the fact that a hunk – BEVERLY HILLS 90210’s Jason Priestley – was going to be the lead didn’t seem too promising on paper and , in fact , the recurring steamy sex scenes ( while related to the theme of the episode ) almost made it seem like something out of the RED SHOE DIARIES series at times ! Still , Priestley’s bedfellow – Briton Kerry Norton – gives a good performance , is the real protagonist of the story and , ultimately , the best thing about it ; Elliott Gould is also on hand to offer fine support as Priestley’s scientific partner and , eventually , together with Norton , one of the last untainted earthly survivors . Unfortunately , the theme – the male population is infected by a virus which makes them viciously exterminate every female they come across indiscriminately – while interesting and engrossing in itself is just too similar to that of 28 DAYS LATER ( 2002 ) and its sequel , 28 WEEKS LATER ( 2007 ) ; besides , its resemblance to the screwfly’s predicament is tenuous at best ( though the revelation as to the source of the epidemic is interesting ) .

Voight was in Coming Home w / Bruce Dern who was in Hush Hush , Sweet Charlotte w / Mary Astor who was in The Prisoner of Zenda w / Colman NEXT : Daliah Lavi

the trend has been to Matthew as first Gospel , but it's irrelevant . It's irrelevant because it's not true . Irenaeus died in 115 ad , and mentioned luke and the rest in his works . You're mistaken . Irenaeus is supposed to have been born around 115 CE . He wasn't a significant player in Christianity until approximately 180 CE , and he died around the beginning of the 3rd century . Luke , Acts , and the Pastorals do not make an appearance until cited by Irenaeus around 180 CE . They are late compositions . § " The Sleep of Reason Produces Monsters . " §

Egoitz Lasa was in Kutsidazu bidea , Ixabel w Mikel Losada who was in Casual Day w Luis Tosar who was in Miami Vice w Jamie Foxx who was in Any Given Sunday w Charlton Heston who was in The Ten Commandments w Yvonne De Carlo next - Yvonne Elliman

Damn dude , Im leaving you alone . Your like one of those viruses that keeps popping up with a bunch of crap . On April 30th , the Nightmare returns .

In the short term , perhaps . But not in the long term . It's hard to imagine a greater hit than they took during the Protestant Reformation , and yet here they still are . They fought liberty , democracy , and modernism tooth-and-nail ; they supported the Axis during WWII , and various fascist dictatorships since , and still emerged relatively unscathed . In the 19th century , scandals of this nature became widely known - all the jokes about priests and impropriety have all been covered . A few generations of Catholics were loath to trust their children to the care of priests and nuns . They took a bath , public-relations-wise , but by the turn of the century , the flap faded away . Ignorance and superstition come washing back in , inexorably , like the tide . § " The Sleep of Reason Produces Monsters . " §

R . I . P .

That would be the damnable A & E edition . § " The Sleep of Reason Produces Monsters . " §

Kane was in Carnal Knowledge w / Rita Moreno who was in Summer and Smoke w / John McIntire was in Horizons West w / Robert Ryan who was in Odds Against Tomorrow w / Grahame NEXT - Franchot Tone

http www imdb com board bd0000108 nest 165793550 p 5 d 165845630 # 165845630 § " The Sleep of Reason Produces Monsters . " §

This is undoubtedly the least of the series ( and is saved from a rating by a hair ) : Fantomas is back to his old tricks , deciding that the time has come to tax the higher echelon of society of a good chunk of their wealth ( no doubt the common people would applaud his efforts ) - but , by now , the formula had grown pretty tired and the comic relief , regrettably , had practically obscured the romantic couple's purposefulness ! Still , why the setting has been changed to Scotland ( of all places ) is unclear , especially since Scotland Yard only really comes into play at the very end ! What we get , in fact , is a lot of old jokes about ostensibly haunted castles , disappearing corpses and frightened manservants - with Louis De Funes ' Commissioner Juve in the thick of it ! - which are better suited to a Bob Hope or Abbott & Costello vehicle rather than one concerning the exploits of an iconic criminal mastermind ! ! ; there's even the traditional fox-hunt which Fantomas disrupts by throwing in his own dog ( barely disguised in fox furs ) as a decoy ! Finally , the master criminal exits by way of a shuttle fired through the castle tower : how he managed to get it inside unobserved ( and keep it from being discovered by the owners and their numerous guests , including our intrepid heroes ) is anybody's guess ! Unfortunately , then , the series ends on a bit of a whimper but it's sheer fun nonetheless and , ultimately , that's what really matters . . .

I thought Kick-Ass just came out ? Anywell , mr-krueger , I fixed that poster , If you'd like to see . I made it more clear , with higher res . , brightened the coloring a little bit , and resized and touched up a few things . http hunter nightmare deviantart com art Micro naps 161163811 Any better ? He was burned alive , and on April 30th , He returns .

James Drury & Walter Pidgeon in Forbidden Planet next - Helena Bonham Carter

A powerful , uncompromising early look at " Yellow Journalism " which made a great enough impact at the time to be counted among the year's best films at the Academy Awards - - to say nothing of the rush of similar pictures which followed in its wake , culminating in Howard Hawks ' masterpiece , HIS GIRL Friday ( 1940 ) . Edward G . Robinson is re-united here with the director of LITTLE CAESAR ( 1930 ) , the film that made him a star , and delivers another great performance which is sufficiently nuanced to anchor the somewhat melodramatic plot in reality . Supporting him , among many others , are Aline MacMahon as his long-suffering secretary who's secretly in love with him and Boris Karloff in a marvelous turn as the most shamelessly hypocritical reporter on the newspaper's payroll . The cynical , rapid-fire dialogue gives it an edge and an authenticity that's almost impossible to recapture these days and , needless to say , became one of the key elements in this type of film . The film features a number of good scenes but the highlights would have to be : the split-screen technique introduced to shut out the former convict , who is now being hounded by " The Gazette " , from having a conversation with either the owner of the paper or its news editor ( Robinson ) ; the lengthy and heart-breaking scene in which the female ex-convict's husband ( played by the ever-reliable H . B . Warner ) bids farewell to their daughter and her soon-to-be husband without letting them in on the fact that the woman has committed suicide and that he intends to join her soon after ; the hysterical tirade at the end by the daughter when she finally confronts the men who have destroyed her life , a brave tour-de-force moment for Marian Marsh ( familiar to horror aficionados from SVENGALI [ 1931 ] , THE MAD GENIUS [ 1931 ] and THE BLACK ROOM [ 1935 ] ) who had so far only rather blandly served the romantic interest of the plot ; the final shot of the picture , with the latest issue of " The Gazette " being swept into the gutter by street-cleaners along with the rest of the garbage , thus leaving no doubt whatsoever as to where the film-makers ' true sentiments lay .

Dil Chahta Hai 60 Lagaan 72 Earth 45-3 = 42 Rangeela 111 + 3 = 114 ELIMINATED 5 . Hum Hain Rahi Pyar Ke 6 . Rang De Basanti 7 . Taare Zameen Par 8 . Dil Hai Ki Manta Nahin 9 . Jo Jeeta Wohi Sikandar 10 . Qayamat Se Qayamat Tak 11 . Andaaz Apna Apna 12 . Dil 13 . Raja Hindustani 14 . Sarfarosh 15 . Ishq 16 . Akele Hum Akele Tum 17 . Ghulam 18 . Fanaa 19 . The Rising 20 . Mann " a tulawin "

Having independently made one of the most unusual horror films up to that time in WHITE ZOMBIE ( 1932 ) , the Halperin Brothers were given the opportunity to duplicate its success - - on a bigger budget , relatively speaking - - by a major studio , Paramount . Alas , the result wasn't as good and , in fact , SUPERNATURAL emerged as a lesser addition to the studio's brief output in the genre during its Pre-Code heyday ! Despite a nice opening montage sequence depicting the exploits of the murderess ( Vivienne Osborne ) , it takes a while to get going : Carole Lombard only appears 15 minutes into the movie , and the possession plot only really comes into play during the last 15 ( interestingly , the ' transference of souls at the moment of death ' gimmick was also featured in EXORCIST III [ 1990 ] - - though it's unlikely this element was derived from the film in question ) . That said , I enjoyed SUPERNATURAL a good deal and there are some undeniably stylish sequences throughout . Still , one might say that luscious Lombard's virtually the whole show here , though she isn't totally comfortable in her role . Randolph Scott and H . B . Warner lend solid if unexceptional support - - but the villainous character of the spiritualist ( Allan Dinehart ) isn't particularly well-developed , while Beryl Mercer offers the obligatory comic relief as the latter's tipsy landlady ( who isn't above spying on and eventually blackmail her boarders ! ) . For all that , the latter stages of the film - - involving the séance ( highlighted by the ' apparitions ' of Lombard's dead twin brother and various other tricks perpetrated by Dinehart to milk his gullible clients ) and Lombard's possession ( particularly the nice close-ups of her lit eyes ) - - are reasonably effective . All in all , while I wasn't excessively let down by it , I can only see SUPERNATURAL ( I wouldn't mind having it on an official DVD from Universal , either , perhaps as part of a horror collection ? ) improving with further viewings , and I would certainly like to catch up with the Halperin Brothers ' subsequent horror outings - - REVOLT OF THE ZOMBIES ( 1936 ) and TORTURE SHIP ( 1939 ) - - even if their reputation is nowhere near as assured as this one's is , let alone WHITE ZOMBI . . .

Clint Howard was in Parenthood w Jason Robards who was in Long Day's Journey Into Night w Ralph Richardson who was in The Heiress w Clift next - Leora Dana

Probably true , but the remake has far from failed . It tripled it's production cost , and although it didn't make as much as thought , it still did pretty good . 1 , 2 Guess who's coming for you .

Sounds worthwhile - maybe you should do it . § " The Sleep of Reason Produces Monsters . " §

George Tobias was in A New Kind of Love w Paul Newman who was in Sweet Bird of Youth w Geraldine Page whow as in Pete ' n ' Tillie w Rene Auberjonois whow as in The Ballad of Little Jo w McKellen next - Miriam Hopkins

It's really sad that the stupid producers can't meet Sherman's reasonable demands . GG lost a lot of its touch in the last season . " a tulawin "

I thought she was hot in ' P . S . I Love You ' . ( \ _ _ / ) ( = ' . ' = ) ( " ) _ ( " )

I wasn't expecting much from this one , given that I had been let down by the director's subsequent - and signature - film , the notorious MARK OF THE DEVIL ( 1970 ) ; I would still like to watch HOUSE OF THE LONG SHADOWS ( 1983 ) , however , which Armstrong only scripted ( it was directed by Pete Walker and featured genre stalwarts Vincent Price , Christopher Lee , Peter Cushing , John Carradine and Sheila Keith ) . Similarly , the fact that the majority of the cast was made up of juveniles ( with Frankie Avalon - referred to in the film as " the epitome of Swinging London " ! - the most experienced among them ! ) wasn't exactly enticing ; however , at least a couple of the girls - Jill Haworth and Gina Warwick - don't register too badly under the circumstances and , interestingly enough , a pre-stardom David Bowie had originally been slated for the role of the killer ! As for Dennis Price , he's wasted as the investigating officer ; the role , insignificant as it was , had been intended for Boris Karloff - but he was too ill to appear , and died not long afterwards . Anyway , the end result is a truly lame film full of obnoxious characters ( particularly the couple that's supposed to provide comic relief ) , wooden acting & # 8230 ; and pointless zooms onto the Gothic architecture of the titular house ! Surely the best thing about it is the rapid editing of certain sequences ( a couple of brutal murders , a suspenseful scene at a gallery ) , in which the director admits - during the Audio Commentary - to being influenced by the work of Sergei Eisenstein ! Reg Tilsley's score - except for a terrible song near the beginning composed by Gerry Levy ( more on him later ) - is quite good & # 8230 ; and the ending offers a couple of surprises as well , but all this isn't enough to salvage the film ! It was released in the U . S . as a double-bill with CURSE OF THE CRIMSON ALTAR ( 1968 ) , which I watched for the very first time only a couple of days prior to this one . Writer-director Armstrong's Audio Commentary was very interesting , however , because he went into great detail about how the film was taken out of his hands by AIP ( it was made in conjunction with Tigon ) and changed considerably : a new director - Gerry Levy - stepped in , generally softening the characters and toning down the sex ( which became practically non-existent ) and violence ( one bloodless killing was clearly his work ) , but also adding a new subplot involving an extra-marital affair between Warwick and George Sewell ! It's very probable that the original version made a better film altogether , but there's little to suggest that it would have been anything special - despite Armstrong's vehement , denigrating comments throughout about Levy and AIP's Louis M . ' Deke ' Hayward ! Ironically , the exact same thing happened to Armstrong on his second film ( the intrusion this time around came from producer Adrian Hoven ) , which basically put him off directing for good - though his bad experience during the making of THE HAUNTED HOUSE OF HORROR did translate into a feature-film script , ESKIMO NELL ( 1975 ) ! Interestingly , I followed this with the only film Gerry Levy directed by himself - THE BODY STEALERS ( 1969 ) - which , being a Tigon release as well , it ended up as part of the same Box Set with THE HAUNTED HOUSE OF HORROR ! Needless to say , Armstrong had no kind remarks about Levy's film ( despite the presence in it of one of my favorites , George Sanders ) - but I'll comment on that film in its own brief space & # 8230 ;

I know , I remember seeing the clip on the net , and thinking , oh , that's a cool way to introduce Freddy without using cheap jumpscare . Unfortunately , they did , because for some reason opening up a set of claws results in a monstrous sound , apparently like dropping a coffee mug would ; ) 1 , 2 Guess who's coming for you .

Diana Dors was in West 11 w Eric Portman who was in The Deep Blue Sea w Vivien Leigh who was in A Streetcar Named Desire w Karl Malden who was in Baby Doll w Baker next - - Owen Wilson

A peculiarity of Mormon religious belief causes this form of execution to still hold appeal . It is one of the original teachings of the LDS that there are some sins for which the blood of Christ is insufficient , and that these must be atoned for by the blood of the sinner . ( The doctrine is called Blood Atonement . ) Taking as their precedent the Jewish sacrificial system in the Torah , wherein the blood of the animal is poured out onto the ground ( and the resonance it shares with the story of the slaying of Abel , whose blood cried out from the ground ) , it is thought that the terms are fulfilled , and sins are expiated if one is executed by firing squad over open ground . It's the only form of capital punishment which meets the requirement . § " The Sleep of Reason Produces Monsters . " §

Who the hell cares what people're going to be eating during the watching of a movie ? What a crappy idea for a thread . I could say the same about your post . He was burned alive , and on April 30th , He returns .

Despite - - or perhaps because of - - its being atypically filmed in German , this remains one of Rohmer's more recognized titles . The period setting ( the director's first , though not last , feature to adopt this ) lends an aesthetic quality in this case which complements - - or , one might say , excuses - - his customary austerity . The simple plot proves quietly fascinating throughout : an aristocratic lady is saved from near-rape by an enemy Count ( Bruno Ganz ) ; though the woman is no great beauty , the man apparently loses his head over her , almost compromising his own rank into the bargain . The Marquise and her family cannot understand this impulsive behavior but , then , she finds herself mysteriously pregnant ; her parents and brother obviously shun her , but the returning Count is even more intent on marrying her ( she is a widow who has already borne two children ) . Eventually , the Marquise puts an ad in a newspaper requesting the father to present himself - - and , at the appointed hour , it is none other than the mortified Count himself who turns up ( having apparently taken advantage of her while she was unconscious on the night of the attack ) ! As with all of the director's work , this is certainly not for all tastes but , as I said at the beginning , it is exquisitely filmed ( by Nestor Almendros ) on wonderful and expansive locations - - though the approach is thoroughly low-key ( mostly confined to medium shots of people conversing against a backdrop of candle-lit interiors ) , in keeping with the intimate nature of the tale . While , for all his straining for realism , even Rohmer's modern-day efforts could be deemed contrived on occasion , here he seems to have embraced a deliberate artificiality ( the expulsion of the bewildered heroine in particular is redolent of barnstorming melodramas ! ) perhaps to better convey the intolerant morality of its ( distant ) time . Though I am not sure parallels to the Immaculate Conception were intended , THE MARQUISE OF O does recall Manoel De Oliveira's contemporaneous and , regrettably , little-known BENILDE OR THE VIRGIN MOTHER ( 1975 ) which , while comparably ' self-conscious ' , is perhaps an even more compelling , thought-provoking - - and altogether spiritual - - experience .

Okay . Cool , my script is almost over . I'm trying to elongate it , but I think for the most part it's okay . 1 , 2 Guess who's coming for you .

The Horror genre isn't dead . It may not live up to may peoples expectations of what horror should be , but the genre will never die . Remakes still count , and regardless to this films outcome , the remakes will continue . It's a shame that we don't get any original ideas that introduce us to new iconic characters that hollywood can remake 10 years later . Scream is the only movie of the past decade , in my eyes , to rovide a new and fresh iconic figure . The formula philbs is referring to is that , basically , you get the same thing form PD remakes every time . I agree that the films setup is the same , but the films are entirely different in story . But I will admit , they use the same route and filming styles along with the never changing stereotypical characters . But the characters and such are different , which for some is enough to send them into a completely different world , not making the connection that the techniques they are seeing are vaquely familiar . We are basically going through a phase the late 80's fell into . Cheesy characters , and lacking sequels . The only difference now is were getting remakes . I personally like the remakes , providing a new and refurbished version of a movie that is badly dated is a great idea . But , it's rare that the new remake will provide any new original material . I enjoy most all horror , because I know what to expect . Certain films are almost expected to be corny , but you can enjoy them . Some films , however , have a history and deserve to be highly criticized . The NOES remake is a prime example . One of the most original series ' of the genre , along with Carpenter's Halloween for inventing the slasher , deserves a quality remake . I think it will get it , some feel otherwise . As for indipendent films , I think you will find that alot of them are quite good and original . My favorite indipendent film is the original version of Paranormal Activity , which differs from the original . Horror will never die . Why are you screaming ? I haven't even cut you yet .

At the Fortune Teller's house , Michael is asked to place his hand in a box as a test . This was an obvious steal from Frank Herbert's novel Dune , and the conclusion is the same : fear is the killer . I can't fault Coscarelli for taking these elements ( including all the steals from Burnt Offerings ) and making a better film from them . The result is excellent . § " The Sleep of Reason Produces Monsters . " §

I have all these clips on my Zune ! He was burned alive , and on April 30th , He returns .

Although I have been aware of this film for a long time , it was only after watching its amusing theatrical trailer – on THE OWL AND THE PUSSYCAT ( 1970 ) DVD – that I became eager to watch it . The end result proved to be a patchy affair but , nevertheless , it does have its fair share of belly-laughs and , in any case , watching Streisand in kooky mode is always fun ; Estelle Parsons and William Redfield are her hubby ( Michael Sarrazin ) ’s well-to-do and snobbish relatives who particularly look down on Streisand . It clearly emulates the screwball style of WHAT’S UP , DOC ? ( 1972 ) , parodies THE FRENCH CONNECTION ( 1971 ) – the underground station cat-and-mouse chase between Gene Hackman and Fernando Rey is performed here by a disguised Streisand and a persistent police dog ! – and it also homages Buster Keaton’s GO WEST ( 1925 ) in the urban cow stampede sequence and Luis Bunuel’s BELLE DE JOUR ( 1967 ) in the role-playing encounters during Streisand’s disastrous stint as a call-girl ! British action director Yates was surprisingly roped in for this , but he seems to have enjoyed the experience as his next project was on similarly zany lines – the black comedy MOTHER , JUGS AND SPEED ( 1976 ; which I’ll be watching presently ) . Another notable sequence sees the heroine involved , unbeknownst to her , in terrorist activity ( she’s asked to deliver a package in disguise to a similarly-dressed woman ) – which eventually rebounds on her shady brother employers ! Similarly , one of the best lines has Streisand’s nonchalant black maid ( she hires a Hispanic woman to do her own cleaning-up ! ) who , admiring the former’s tenacity , tells her : " Girl , you could even sell a Confederate flag in Harlem ! "

This was something of a milestone - - denoting a leap for pioneer D . W . Griffith from his customary one or two-reelers to a then considerable length of 49 minutes in this version ( its length may vary on account of differing speeds utilized during projection of Silent movies ) as well as from a modern-day , or at least American , setting towards apparently unlimited scope . In that regard alone , JUDITH OF BETHULIA is worthy of attention - - but Griffith's Victorian sensibilities ( which he could never , or would not , shake off ) still ground it into the antediluvian quality of film-making which is perhaps the most common objection raised by certain viewers nowadays to watching Silent pictures ! Anyway , this was obviously inspired by the Old Testament tale in which a saintly woman sacrifices her dignity in order to release the Jewish people ( depicted as long-bearded stereotypes which would not go down well today ! ) from oppression by the Assyrian army : she ingratiates herself within the affections of King Holofernes , whom she gets drunk one night and decapitates - - after which the invaders disperse . Apart from a lengthy offensive outside the city walls , the running-time is padded-out with the plight of a young couple ( the boy is a brave warrior and the girl eventually enslaved inside the enemy camp ) and , also appearing from time to time , is Lillian Gish in a typical role symbolizing motherhood . Unfortunately , the print I acquired of this 95-year old title was extremely fuzzy - - rendering the elaborate and often chaotic visuals even harder to make out - - and it was accompanied besides by one of the most incongruous scores I have ever heard , approximating to a circus jingle ( complete with laugh track ! ) which one finds at its most jubilant when the on-screen events seem to demand emotions of an entirely different nature ! !

Joanne Pflug was in Cyborg 2087 w Michael Rennie who was in Phone Call from a Stranger w Bette Davis who was in All About Eve w Monroe Next - Lamman Rucker

Well , I'm neither American nor European and I love this movie . ( \ _ _ / ) ( = ' . ' = ) ( " ) _ ( " )

let's see if you can answer what the difference is between the polytheist view in most religions and the trinitarian view of divinity . if you cant , your talking out of your butt . I see that you are poised ready to school someone in the casuistic arguments crafted by generations of mendacious , crafty Church Fathers , on how the three-fold god of Nicene Christianity isn't really polytheism , similar to how the worship paid to Mary and the saints isn't an expression of polytheism , and the relics and statuary to which the faithful venerate isn't really idolatry , etc . There's not any argument advanced by the Church on this subject whose way was not paved by ancient pagans in describing their trinitarian gods and goddesses . § " The Sleep of Reason Produces Monsters . " §

Meh . Believe it or not , they do remakes better than creating original movies . I watched The Unborn , and that was all the proof I needed . Why are you screaming ? I haven't even cut you yet .

Nick Stahl was in In the Bedroom w Sissy Spacek who was in Carrie w Piper Laurie who was in Kelly and Me w Onslow Stevens who was in Sealed Cargo w Rains next - Tim Robbins

Well I bought seasons 2 and 3 ( without having any previous knowledge of the show ) and it's very good if you're into sci-fi . You can see that ' Heroes ' stole many of the ideas from this show and ' The 4400 ' is way better . ( \ _ _ / ) ( = ' . ' = ) ( " ) _ ( " )

Grant was in Topper w Billie Burke who was in Breakfast in Hollywood w / Granville next - Chief Dan George

For the last time ! Her rabbit is not fat ! ! ! Dingataca is woah ! fo sho

' Friends ' , ' Arrested Development ' and ' Six Feet Under ' ( \ _ _ / ) ( = ' . ' = ) ( " ) _ ( " )

This is an oddity in Elvis’ filmography : a quaint but pleasing musical comedy based on the popular song which had already inspired a similarly-titled film from 1936 starring Helen Morgan – apart from being featured in the Mae West vehicle SHE DONE HIM WRONG ( 1933 ) and , again , as recently as Robert Altman’s A PRAIRIE HOME COMPANION ( 2006 ) . The star isn’t entirely comfortable amid the 1890s riverboat setting , what with a few of his musical performances ( and especially his hairdo ) coming off as inextricably modern . Still , the plot – thin as it is – emerges to be quite engaging ( what with its backdrop of fortune-telling , gambling parlors , variety acts and costume parties and involving mistaken identities , misunderstandings , an attempted murder and a bar-room brawl ) ! The cast presents three notable female roles : Donna Douglas ( as Frankie ) , Nancy Kovack as Elvis’ red-headed lucky charm and the flame of his jealous boss , and Sue Ane Langdon as a ditzy " blonde " – who , along with Presley’s long-suffering sidekick Harry Morgan , turns out to be the most likable character as well as the purveyor of the film’s comic relief . Elvis’ best ' new’ number is " Hard Luck " ; apart from the title tune , he also gets to sing the standard " When The Saints Go Marching In " ( while dressed in full military regalia ) ! The film is short enough at 87 mins . not to overstay its welcome , but the rather low-key presentation also prevents it from being anything more than unassuming entertainment . I wouldn’t classify it among the top-flight Presley vehicles , therefore , but it’s certainly superior to some of the bigger-budgeted ( yet simple-minded ) fluff he made over at MGM – this being a production from independent producer Edward Small released through United Artists .

Anyone . She could guest star in ' Heroes ' : ) . It would be nice to see her as a villain with powers . She's already done more successful non-Indian films like ' The Namesake ' and ' Hanuman ' unlike your Aishwarya . " Shut Up & Bounce "

Thanks . I already got Season 4 and saw the first three episodes . It's not ' Frasier ' but am still enjoying it : D . ( \ _ _ / ) ( = ' . ' = ) ( " ) _ ( " )

Oh no , don't leave Styler ! I'll miss ya ! He was burned alive , and on April 30th , He returns .

Haha , I can top it . I saw a tampon commercial where a girl placed the tampon under a waterfall and nothing leaked through . Why are you screaming ? I haven't even cut you yet .

Have you ever read Harlan Ellison's I Have No Mouth , And I Must Scream ? § " The Sleep of Reason Produces Monsters . " §

The Lubitsch touch was all the rage at the start of Hollywood's Talkie era , which is why musical trifles such as this one or the preceding THE LOVE PARADE ( 1929 ) - - skilfully made and pleasantly risqué though they might be - - ended up being major Academy Award contenders for a spell . In fact , the film under review got its sole Oscar nod for Best Picture - - an achievement which would become virtually impossible in a decade's time . Popular Continental crooner Maurice Chevalier plays his typical role of a Viennese roué who steals the girl ( an almost unrecognizably young Claudette Colbert appearing as a concert violinist ) of his comrade-in-arms ( Charles Ruggles , who unaccountably disappears from the film after the first few scenes ! ) ; standing guard at the ceremony of visiting royalty , he creates a diplomatic scandal for seemingly winking at the naïve princess ( Miriam Hopkins ) when in fact he had been making eyes at Colbert who was watching the parade from the sidelines ! To make amends , he is forced to marry Hopkins but he is not about to be tied down to a life of luxurious boredom and slips out in the commoner's uniform of straw hat and tuxedo for a night on the town every chance he gets ; in the meantime , the flustered King comforts his lonesome daughter by playing chess in her boudoir ! Colbert and her bandmates give a recital in Chevalier's kingdom and she finds herself invited to the Palace . . . but it's Hopkins who summoned her - - to seek advice on how to ignite Chevalier's passion ! Curiously enough , Chevalier had been unusually loyal to Colbert instead of his usual roving self and it is only on the latter's advice ( and her involvement in Hopkins ' jazzy makeover ) that he finally abides willingly to his marital duties . As is customary for Lubitsch , what is left unsaid is about as important as what is spelled out and THE SMILING LIEUTENANT provides the director several instances wherein to indulge his subtle wit : the very opening sequence showing a tailor , who had called at Chevalier's to demand payment , leaving when the door is unanswered while a girl is ushered inside soon afterwards by the accomplice-butler ; the sequence showing Ruggles trailing behind Chevalier and Colbert and carrying her violin case ; Colbert's indoctrination of the stuffy Hopkins into what the modern woman wears and which music she plays , etc .

This is another Mexican horror classic being given a new lease of life via Casanegra's superb SE DVD . The plot is a mishmash of various well-proved elements ( with even a nod to Poe ) - a young wife is forced to live in the shadow of her husband's former bride ( largely through the machinations of the latter's devoted housekeeper ) as in REBECCA ( 1940 ) ; when the wife is horribly scarred in a fire , her doctor husband resorts to body snatching for skin graft experiments as in EYES WITHOUT A FACE ( 1959 ) ; the hands he gives her ( unbeknownst to him , they belong to the revenge-seeking first wife he poisoned ! ) take on a life of their own as in MAD LOVE ( 1935 ) , etc . - but which works reasonably well in the context of its essential " witchcraft vs . mad science " theme ( to quote the DVD sleeve notes ) . The first half is a bit slow , but the cheaply-realized yet often poetic visuals - borrowed from Cocteau and Dreyer ! - keep one riveted ; the latter stages are more frenetic , with several of the characters resorting to histrionics and a fair splattering of gore ( leading up to a particularly busy and highly satisfying climax ) . The acting from all the major players is above-average for this type of film but , best of all perhaps , is Isabela Corona as the outwardly reserved but sinister and powerful witch ; the two younger women also make an impression - Dina De Marco as the murdered wife who keeps turning up as a ghost to haunt her husband and her rival ; Rosita Arenas as the innocent young bride who becomes the unfortunate victim in both the doctor and the witch's scheme of things ( particularly effective when essaying the pathetic qualities of the bandaged-up , desperate and lonesome woman ) . As was the case with THE BLACK PIT OF DR . M ( 1958 ) , the Gothic / supernatural atmosphere deployed with the barest of resources through camera-work , lighting , sets and props is truly incredible . . . though the special effects ( which get quite a heavy workout here ) , ultimately , leave a lot to be desired ! I've purposely refrained from describing individual sequences ( as I often tend to do ) so as not to deny first-time viewers - as I was myself - the pleasure of discovering its considerable felicities on their own ! The supplements are similar to those of BLACK PIT : the Audio Commentary ( by the same Frank Coleman ) is just as interesting , but he seems to be enjoying himself a good deal here as he approaches the film with tongue-in-cheek - while retaining a justified reverence for his subject . One disappointing aspect of these DVD editions , however , is that the English-dubbed version of the films aren't included as they were released back in the day ( for instance , in the Commentary it's mentioned that the narrated prologue accompanied by sketches in the Mexican original was dropped for the export version - but the DVD includes it , presumably with the ' new ' lines recently looped in ! ) .

In hindsight , this obscure , meaninglessly-titled Italian horror movie is to " Dr . Jekyll And Mr . Hyde " what LADY FRANKENSTEIN ( 1971 ) was to " Frankenstein " but , as an erotic version of the classic tale , it is a long way behind Walerian Borowczyk's brilliantly delirious DOCTEUR JEKYLL ET LES FEMMES ( 1981 ) . The atrocious print displayed on this bootleg DVD - - replete with fuzzy video and annoyingly processed audio as if it had been recorded under water ! - - destroys any attempt at the Gothic feel the film strives for but , in truth , the whole production is a mind-boggling hodgepodge of every horror cliché in the book with elements of Frankenstein , Jekyll and Hyde and Jack The Ripper ( whom star Klaus Kinski would play , far more successfully , for Jess Franco a couple of years later ) thrown into the mix . . . not to mention an impotent villain given to raging fits of jealousy , indigestible dollops of Freudian self-analysis ( usually uttered by a wimpish Kinski while lounging from one sofa to another ) , a rival doctor vieing for the attentions of the mad scientist's neglected wife , gore ( the gratuitous vivisection of a dog ) , not one but two distinct tramps convicted of the murder spree ( lazy writing , if you ask me ! ) , hilarious character names ( Nijinsky , Polanski , Boris , Ygor , Ivan Rassimov ) , etc . ! Having said that , Kinski - - who is unusually subdued here - is always worth watching but , while the movie is mostly dull , it is occasionally alleviated by the vivid colors and two effective sequences : Kinski's savage attack on his wife while transformed and the conscience-stricken flashback to his past murders . The film's final image is arresting as well , the music score is rather nice and Katia Christine makes for a lovely leading lady ( almost like an older Scarlet Johansson ) and the intermittent bits of nudity certainly don't hurt any . Still , all the frenzied cutting and odd camera angles prove laughable rather than laudable ; Kinski's make-up only extends to close-ups of his bulging eyes and , what's worse , although a serum is concocted , his transformation seemingly occurs when he comes in contact with a certain laboratory lever ( what the f ? ) . . . but what about the other times ( unless his jealousy attacks bring on the mutation ) ? For the record , writer-director Sergio Garrone is brother to actor Riccardo ( best-known nowadays for portraying God on a slew of coffee commercials on Italian TV ! ) and THE LOVER OF THE MONSTER itself was simultaneously filmed with another obscure international potboiler , THE HAND THAT FEEDS THE DEAD ( 1974 ) , with most of the same cast and crew participating in both productions .

This sequel to the above - and the final entry in the " Kharis " series - is slightly more enjoyable on the whole but it's also more contrived ( hell , we even get a singing barmaid / hostess ! ) : Peter Coe is easily the least charismatic of the various Egyptian high priests we've seen during the course of these films , and Martin Kosleck as his henchman seems uninterested in the proceedings ; Kurt Katch , then , is saddled with a ridiculous accent as the man who discovers the newly reincarnated Princess Ananka : the latter , in the form of Virginia Christine ( later a much-used character actress ) gets her most substantial ' role ' and , indeed , the sequence of her resurrection from the swamps is a highlight not only of this film but the entire series . Unfortunately , here too , Chaney has precious little to do as once again the emphasis is on Ananka , as I've said ; his Mummy ( to which he returned most often at Universal - apart , naturally , from his signature role of The Wolf Man ! ) remains , without a doubt , his least memorable monster for the studio .

I commemorated the 25th anniversary from the death of director Joseph Losey ( which occurred on 22nd June 1984 ) by watching his two best ( and , ironically , rarest ) Hollywood movies , both noirs made in 1951 - - THE PROWLER and M . Fritz Lang's original 1931 version of the latter is not only generally considered to be its director's masterpiece but , on a personal note , is also included in my all-time Top 20 movies . Therefore , I had always been particularly interested in seeing how Losey ( another director I admire a great deal ) had tackled the daunting task of remaking - - and relocating to L . A . - - such an iconic German movie . Boasting the original's own producer , Seymour Nebenzal , the 1951 remake has been almost impossible to see and , actually , I only managed to track down a mediocre-looking print a few months ago ; even so , I am certainly grateful to have been given the opportunity to catch up with it . . . especially in view of the fact that Sony's long-rumored Joseph Losey box set on R1 did not materialize after all ! Perhaps inevitably , the film's initial stages ( the murder of little Elsie ) closely resemble those of Lang's film - - even down to the choice of camera set-ups : the high angle shot down an eerily desolate flight of stairs , the close-up of the vacant breakfast table , the tell-tale shots of a solitary flying balloon and a rolling ball - - but Losey nevertheless manages to gradually make the film his own , culminating in a trademark hysterical finale that highlights a new character not featured in the original : Luther Adler's alcoholic attorney who is , ill-advisedly , moved to turn against his boss Martin Gabel after the baby-killer's confession . David Wayne - - best-known until then for playing lightly comic roles - - is quite good in his own right ( especially during the aforementioned trial sequence ) if , understandably , falling short of Peter Lorre's unforgettable original characterization ; similarly ( and effectively ) cast against type , Howard Da Silva makes for a fine Chief of Police , while the sterling supporting cast includes Raymond Burr ( also atypically amusing as a raspy-voiced , leading underworld thug ) , Steve Brodie ( as a sadistic cop ) , Glenn Anders and Jim Backus ( as the mayor ) ! Interestingly enough , two directors-to-be were employed in minor capacities on this film : assistant director Robert Aldrich and script supervisor Don Weis . Allegedly , Fritz Lang balked at Nebenzal's offer to direct the remake himself and never forgave Losey for daring to touch his magnum opus . . . he must have conveniently forgotten the fact that he had himself remade in Hollywood two Jean Renoir classics - - LA CHIENNE ( 1931 ) and LA BETE HUMAINE ( 1938 ) - - as SCARLET STREET ( 1945 ) and HUMAN DESIRE ( 1954 ) respectively !

Actually I agree with elanorji . The first 1 / 2 to 2 / 3 is the best part of the film . The rest is ripped off ' One Good Cop ' but the former is a treat to watch mostly for Juhi's comedy and hotness and of course , she and Shahrukh are magic on screen . Even the beginning is a bit boring until Juhi appears . " a tulawin "

Start with Patrick Magee

I don't really like Cronenburg . But isn't Yuzna something of a blunt instrument , comparatively speaking ? § " The Sleep of Reason Produces Monsters . " §

Given the fact that The Muppets had already tackled the Yuletide perennial " A Christmas Carol " in 1992 , this would seem like a redundant effort ( even if we stick to a contemporary setting now , with the various popular characters playing themselves rather than re-incarnated as literary figures ) - - which may also explain its relegation to video . Incidentally , the star cast ( including David Arquette as an angel and Whoopi Goldberg as God ! ) roped in for this venture is perhaps the least impressive ever , with only Joan Cusack as a Scrooge-like tycoon entering into the spirit of the thing ( since she gets the sole substantial role here ) . The premise , as can be gathered from the above description , is a variation on that other Christmas classic IT'S A WONDERFUL LIFE ( 1946 ) , so that we have Kermit The Frog being shown what life would have been like without him after wishing he had never been born ; as would be the case with THE MUPPETS ' WIZARD OF OZ ( 2005 ) , which I watched recently , the climax involves a duel between the villainess and Miss Piggy ( where she was actually the baddie ) - - and , once again , the one to get the most screen-time is Pepe the playboy-ish and laid-back King Prawn ( which is not in itself a bad thing ) . Tolerable enough as a kiddie film , then , but a long way from the best Muppet movies out there .

For a long time Broodwich was my favorite , but now I have to acknowledge some others as well : Bible Fruit , Hand Banana , and Redickulous . § " The Sleep of Reason Produces Monsters . " §

This won't make much more than the other movies , whatever they made . It's not like this film brought in some new craze of fans , the same people that payed for the first two are the ones going to see this . We still have six more minutes to play .

01 . Martin Balsam - THERE GOES THE BRIDE 02 . Debbie Reynolds - I LOVE MELVIN

It's funny that I checked this out on the same day as PRISON ( 1949 ) : having found that film stimulating ( I'd been away from Bergman or Art-house cinema , for that matter , for a while ) after going through several Bela Lugosi films of late , I then found myself quite worn-out intellectually by the time I was done with THE RITE - which only confirms my previously-held belief that Bergman ( like his staunchest pupil , Woody Allen ) is best taken in small doses ! ; actually , this factor also goes a long way in explaining why his 5-hour marathon SCENES FROM A MARRIAGE ( 1973 ) and AUTUMN SONATA ( 1978 ) have been gathering dust among my extensive " DVDs To Watch " pile for the last 3 years already ! ! That is not to say that I didn't admire the film on an artistic level ( the rating alone attests to that ) , though stylistically constrained by having originated in TV - but which actually suits its claustrophobic tone and compact plotting ( the film is mercifully short at just 73 minutes ) . Still , the constant soul-searching ( often descending into hysterics ) is matched by no-holds-barred performances from a slim cast - which almost make it seem like a parody of the typical Bergman film : for one thing , the climactic re-enactment of the indecent ' rite ' ( for which a troupe of performers has been indicted before an outwardly tenacious judge , but who's ultimately revealed to be as angst-ridden as they are ! ) would be fairly risible - what with the male members of the trio sporting , for no obvious reason , huge black dildos as part of their costume - were it not for the hypnotic intensity of the mise-en-scene ! ! Needless to say , despite my reservations about the director's work in general , I'll still be renting the titles I haven't watched from Tartan's " Bergman Collection " which the owner of my local DVD outlet has said are on the way . . .

Like Rajni Kanth publicly coming up with punch dialogues stating in Baba A man needs to go out of his home and a woman should not go out of her home " . Do you know women hate such approaches . Also crappy movies made which has the storyline of a milkman in a local village being chosen by FBI as their only hope to catch terrorists and the captain Vijaykanth goes to fall 25 men and when random shots of bullets are fired at the guy by ak47's and other machine guns , he still loads his gun and shoots them out and he is then shown as the guy who saved the Earth ! ! " " Did you ever make the mistake of thinking that you understood women ? "

NRI filmmaker Deepa Mehta , whose latest venture on domestic abuse , called ' Videsh ' in India and ' Heaven on Earth ' abroad , is ready for release in India , was so impressed by actress Preity Zinta's intelligence and talent that she has no qualms in saying that she is a " gift from the gods " . " Preity is extremely talented and for me truly a gift from the gods . I had seen her body of work but I met her for the first time at IIFA in England . We met and spoke about so many things and issues . I was blown away by her intelligence and social consciousness and that's what made me offer her the role of Chand . She has truly given a mind-blowing performance , " Deepa said . Preity won the Best Actress award at the Chicago Film Festival last year for her performance in the film . She has also been nominated alongside Hollywood actress Susan Sarandon at this year's Genie Awards that will take place in Canada in April . The film , which revolves around the life of a young woman ( Preity ) from the rural hinterland of Punjab who migrates to Canada post marriage , is set to hit screens March 27 . " ' Videsh ' is a film very close to my heart and I really enjoyed making it . The film is about two things . One , the triumph of imagination and two , about immigration and isolation , " explained Deepa , who has earlier made women-centric films like ' Fire ' and ' Water ' . " Domestic abuse is the major theme of this film . But that's not the only thing the film deals with . Domestic abuse has an environment and a socio-economic atmosphere . It can happen to anyone anywhere . I have also tried to portray the isolation and the pain of a woman who has migrated to another place , " she added . The Canada-based filmmaker's forthcoming projects are ' Exclusion ' with Akshay Kumar and a film based on Salman Rushdie's book ' Midnight's Children ' . http movies indiatimes com News Gossip Interviews Preity is a gift from-the-gods-Deepa-Mehta / articleshow / 4264367 . cms ( \ _ _ / ) ( = ' . ' = ) ( " ) _ ( " )

No Jew would have a problem with any observant Jewish male referring to himself as " the Son of God " . Jews consider themselves ALL " Sons of God " . He doesn't get that the reason the text is out of synch with an actual Jewish point of view is that its Greek Christian author didn't know any Jews , and didn't give a damn about their views . What he was writing was not history , but polemic . § " The Sleep of Reason Produces Monsters . " §

No she doesn't look hot . She always looked like a shemale . all her movies should get shelved . Nobody would ever admit to having bad taste

I've been a little out of touch with Indian songs since beginning 2008 so tell me your favourite songs and soundtracks on Indian films so that I can check them out . ( \ _ _ / ) ( = ' . ' = ) ( " ) _ ( " )

Who's more talented ? Who speaks better Hindi and English ? ( \ _ _ / ) ( = ' . ' = ) ( " ) _ ( " )

You'll need to be a little more specific ; there's all sorts of ways of coming at the KJV . § " The Sleep of Reason Produces Monsters . " §

One of my pet peeves has always been when movies have identical names but absolutely nothing else in common with each other ; this is just such a case since , back in 1967 , Elliot Silverstein had already directed Anthony Quinn and Faye Dunaway in a now-forgotten hippie kidnappers comedy which , incidentally , I’ve caught on Italian TV ages ago . Typically for M . Night Shyamalan’s recent movies , his latest offering was coolly received by both critics and audiences but I actually thought that , at least for the first hour , it was pretty good . Hell , even Mark Wahlberg gets better with each successive film I see him in – or at least seems more tolerable as a leading man here than in that deplorable PLANET OF THE APES remake from 2001 ! Like the director’s previous films THE VILLAGE ( 2004 ) and , to a lesser extent SIGNS ( 2002 ) , this one also has an intriguing premise which is , however , marred by an unsatisfying denouement . In any case , the film’s would-be apocalyptic feel and the eventual discovery of its natural aggressor bring to mind equally modest ( but vintage and decidedly superior ) sci-fi outings like PANIC IN YEAR ZERO and THE DAY OF THE TRIFFIDS ( both 1962 ) . The belatedly introduced ' redneck granny’ character was hard to take at times and , besides , as often happens to me while watching disaster movies , I break out in giggles every time there is depicted an event of mass hysteria ( which come in droves here ) . One does wonder at this point , though , where Shyamalan’s career might possibly be headed since he has basically been stuck in the same allegorical / apocalyptic fantasy rut for far too long now . . .

The Mithric Eucharist story can't be verified to have existed before the 2nd Century . Neither can the Christian Eucharist . But that of Dionysus certainly can . http www dhushara com book diochris dio1 htm anchor280298 § " The Sleep of Reason Produces Monsters . " §

My guess is no , but he used them to manipulate Nancy . Like the slashes in her wall , too much of a coincidence to be an earthquake . He simply used them to get inside Nancy's head . He was burned alive , and on April 30th , He returns .

You won't post such a source because you know I'd laugh your a$$ out of here . Christian numerology is right up there with The Bible Code and the ravings of Charles Piazzi Smyth . Why don't you tell us all how the life of Jesus Christ is prophesied in the measurements of the Great Pyramid ? Christian numerology is not the equivalent of Pythagoras's theorem . § " The Sleep of Reason Produces Monsters . " §

Was Muareen the one with Manic Depressive Disorder ? ( \ _ _ / ) ( = ' . ' = ) ( " ) _ ( " )

You guys should really chill out on Talat . The dude's very cool , he's always been nice to people that will return it . His opinion's are just that , opinions , not meant for you to take and twist them every which way to make him look bad . Don't worry , I got your back Talat : ) On April 30th , the Nightmare returns .

I took my pair . When I saw FD4 , I didn't , but after that I took them from Toy Story 3 . They are very good glasses , far better quality than the paper ones . The lens ' are clear , they are real-D . I don't have any 3D films myself , so I couldn't tell you if they work on DVD , but they are cool . We still have six more minutes to play .

Good-looking but rather disappointing film for a DeMille in exotic vein although , to be fair , the version I watched was pared down from the original 95 minutes to 78 . Still , a few Pre-Code touches remain ( notably Claudette Colbert's nude bathing scene ) , along with the standard action of jungle adventure fare and a genuinely cringe-inducing encounter with a cobra . Handling is typically stilted for a product from the early Talkie era , and the cast interesting yet variable : Colbert , initially dowdy as a geography teacher ( ! ) but gradually " blossoming " into womanhood to the initial consternation - - and eventual rivalry - - of rugged newspaperman William Gargan and middle-aged but essentially decent Herbert Marshall ( stifled by his high-society marriage ) . The last member of the titular group is Mary Boland in an unlikely role as an expert on indigenous culture , and also on hand is Leo Carrillo as an affable native guide . Incidentally , this is one of a handful of films by the larger-than-life director I'll be watching in order to commemorate the 50th anniversary of his death ( which actually fell on January 21st ) .

LOL and why should her eyes , facial experession etc change if she's playing THE SAME character ? ( \ _ _ / ) ( = ' . ' = ) ( " ) _ ( " )