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Watch Banjo the Woodpile Cat 30th Anniversery Edition 2-Disc DVD Movie Online

jacqualine6174993 — Mon, 15 Mar 2010 11:03:16 +0000

Watch Banjo the Woodpile Cat 30th Anniversery Edition 2-Disc DVD Movie Online.

Movie Title: Banjo the Woodpile Cat 30th Anniversery Edition 2-Disc DVD
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Banjo the Woodpile Cat 30th Anniversery Edition 2-Disc DVD is available for streaming or downloading.

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Just so we’re all on the same page, “Banjo” is a short film (about thirty minuted nefarious, making it a TV special or featurette) made by Don Bluth and other young animators in their spare time while they were level-headed employed at Disney. As the DVDs special features will sigh you, these young animators were looking to learn techniques they felt Disney had abandoned by making an titillating film on their occupy. Though “Banjo” was certainly not the only factor that led to the exodus of Bluth and his crew from Disney, it certainly helped to give the animators confidence that they could build challenging films without Disney’s abet.

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For its status in history, “Banjo” is spellbinding. As a film, it’s less so. Banjo is a mildly mischevious farm kitten. After getting into distress one too many times, he decides to accelerate away to the gigantic city, Salt Lake City in this case. Almost immediately, Banjo is overwhelmed by the perils of the great city. He meets some fine cats who try to serve him catch his method home, has a brief adventure escaping from some mean dogs, and eventually gets his contented ending. The position feels resplendent rushed between the short running time and the need to fit in a song or two. Though the artists working on the film are obviously talented, the animation is smooth a miniature rough around the edges, not quite up to the classic Disney standard they had space for themselves. It’s a cute film, but it doesn’t have grand more going for it and I doubt either kids or adults will win it particularly intelligent.

The 2 disc area has an impressive amount of extras for a shrimp, relatively unknown film. The interviews, while certainly a tiny one sided, are not entirely self serving and it is very curious to survey the work that went into making this film outside of the studio system. I wish there had been a dinky more discussion of the film’s shortcomings and how the animators learned from their work on “Banjo” and applied the lessons to the films they made after leaving Disney. Trailers for many of Bluth’s feature films are included, which manufacture for spicy viewing, as you can scrutinize the quality of the films lessen as time goes on and Barry Manilow songs become the main selling point.

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Serious animation fans will be pleased to scrutinize “Banjo” and the various included extras, but more casual viewers will probably want to pass on it.

This movie is one that I loved as a child and I know my kids will fancy. Ample movie! All I had ever seen was the cable version, which left out a bit of the beginning, with Banjo’s sisters. I was inflamed to inspect the “modern” stuff that I hadn’t seen before!
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Watch Baby Signing Time Volume 1 DVD Movie Online

jacqualine6174993 — Sun, 14 Mar 2010 20:19:16 +0000

Watch Baby Signing Time Volume 1 DVD Movie Online.

Product: Baby Signing Time Volume 1 DVD
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I bought this because my 11-month-old daughter loves Signing Time Volume 1 of the recent series and I belief the baby version might be even better for her. I was irascible – she’s unbiased not into this one. The novel Signing Time (vol. 1) is considerable simpler and honest shows kids in natural environments doing the signs. This baby version has more cartoon enlighten and is powerful more “high-energy” which seems to turn my daughter off (and is less delectable for me as well) . This might be mountainous for some babies, but mine prefers the simple, low-tech version.

We too were so impressed with the modern Signing Time that we decided to try this one for our nearly one-year-old baby. While we’re not fans of TV for children under two, the first Signing Time was so straight-forward and simple that we were comfortable watching it with our child. It took only a few times of watching it before she was using the signs all the time!

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So we were inflamed when the Baby version came out and ordered it. But it is contrivance too “produced” in comparison to the new one, and the cartoon graphics and music are annoying and distracting. We let the baby perceive it once and she sat like a zombie, which haunted us, since she’d been so engaged by the novel one. But this one is far less effective in terms of teaching her than the low-budget/realistic unusual one.

If you’re looking to launch your child on the path to learning ASL, I strongly recommend you stick with the modern Signing Time series. The Baby version is honest too terminate to that mindless entertainment junk you rep in most children’s videos today, which is a proper shame, since the unique series are so spellbinding and interactive.

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I gave this two stars as it’s not the worst thing for a baby, but in comparison to the unique series, it was very disappointing.
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Watch The Last Detail Online

jacqualine6174993 — Sat, 13 Mar 2010 03:27:29 +0000

Watch The Last Detail Online.

Movie Title: The Last Detail
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The Last Detail is available for streaming or downloading.

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This is one of my favorites, but it’s also one of the most difficult movies to report to people. Yes, it’s about two experienced guys in the Navy who are assigned to escort a young charge (whom they don’t know) to Naval prison. And yes, they have some fun along the device, incandescent how black the status really is. But there’s an indescribable something about “The Last Detail” that unbiased gets to me on a delicate deep level. First of all, it’s the acting. I mean if you ever request Jack Nicholson’s talent and depth as an actor, then gaze this movie. I beg to argue about who on earth could have ever embodied this role this deeply. I don’t believe any of the other stout and tremendous actors of his time could have pulled it off this perfectly (Gene Hackman, Al Pacino, George C. Scott, Robert DeNiro) . Also, Otis Young and Randy Quaid are pitch-perfect in their roles as well, though the movie clearly belongs to Nicholson. This is a Large PERFORMANCE!! It’s the definition of one!

But in addition to the acting, the photography of the film is intellectual. It captures the times and places in a rather bleak yet very haunting blueprint. The guys drinking beer in the parking garage in D.C. The three of them pressed into the microscopic hotel room in D.C., along with all those empty beer bottles. Walking a smooth and snowy residential block in Camden, NJ. Walking the streets of nighttime NYC. Playing darts in a bar in NYC. Going to a unhurried night party in an NYC apartment. Going to a Boston brothel. Trying to grill and have a picnic in the middle of a snowy park in Boston! I don’t know if it’s fair my fascination with the time that causes me to procure it so darn striking, but it objective is. I gather these scenes so haunting, and so Accurate.

To me, those two things are what acquire this film so exceptional. The dialogue is also intelligent, as is the complexity of the emotions that are raised by the record. I guess it works on a lot of levels. Honest don’t miss it, whether you’re a Nicholson fan or not. But if you are a Nicholson fan, don’t miss out on what is probably his greatest performance!!

Directed by Hal Ashby, who made such great commentaries on life in America as SHAMPOO, COMING HOME, BEING THERE and the cult-favorite HAROLD AND MAUDE, THE LAST DETAIL offers the yarn of three U.S. Navy sailors on a toot–and at the time of its 1973 release it was chiefly renowned as the most profane film to attain a mainstream release. The passage of time has dimmed that profanity’s bite, but nothing can sunless the power of its performances, it’s darkly comic account, or the director’s bitter vision of both life in the Navy and the urban decay of 1970s America.

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Two Navy-lifers (Jack Nicholson and Otis Young) are ordered to escort a young sailor (Randy Quaid) to a military prison, where he will do eight years followed by dishonorable discharge for attempting to consume a charity jar containing forty dollars. Once the stride gets underway, they realize the young sailor is essentially an innocent–and they plot out to indicate him a salubrious time before he is locked away. And their thought of a friendly time ranges from a bout of hard drinking in a hotel room to a brawl in a men’s restroom to an evening with Fresh York hookers. Along the design, Nicholson and Young gradually realize that they are honest as worthy in prison as Quaid will soon be–victims of their absorb ennui, serving out their sentences in a military that fosts coarseness, frustration, and mindless machisimo as a matter of course.

The performances are qualified throughout. This was the film that launched Nicholson to stardom–but it is also a film that allows us to seek what Nicholson could do before he became immured in the trappings of his believe fame and collapsed into self-characture: he is every bit as qualified here as he would be in ONE FLEW OVER THE CUCKOO’S NEST and CHINATOWN. Otis Young, an actor whose career never quite took off, is Nicholson’s equal here, balancing Nicholson’s excesses with his no less firey but considerably more commonsense role. And Randy Quaid scores an equally memorable performance as the young sailor, while Carol Kane gives a memorable turn as one of the hookers they encounter in their travels. Recognize closely and you’ll also peek a very young Gilda Radner as a member of a religious cult.

In spite of the noteriety it received upon release, like many of the best films of the 1970s THE LAST DETAIL has fallen through the cracks to become a largely unsung classic. Fashion changed, and with the advent of Ronald Regan, the stock market assert, and two decades of heavy-handed materialism Americans abandoned their cinematic realism and social statement in favor of broad budget, special effects heavy, and largely escapist film. But the pendulum inevitably swings support, and now that we face serious issues both at home and abroad such films as THE LAST DETAIL are at last, perhaps, beginning to arrive into their absorb. Strongly recommended.
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Buy Doctor Who – Resurrection of the Daleks Online.

jacqualine6174993 — Fri, 12 Mar 2010 21:37:21 +0000

Buy Doctor Who – Resurrection of the Daleks Online..

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Another two adventures featuring the bold Time Lord are released on DVD, again showcasing different eras from the long running BBC adventure series. “Carnival of Monsters” dates from 1973 and the tenth season of the explain, with the companion release “Resurrection of the Daleks” hailing from season twenty-one broadcast in 1984.

As with all the previous DVD releases of Doctor Who, the archive material has been painstakingly restored, with spectacular results. Each of the two stories looks as impressive as when the adventures were first broadcast all those years ago. In addition to the restoration, a number of very piquant extras has been added to both releases which are almost worth the heed of the discs alone.

Starting with the earlier adventure, starring Jon Pertwee as the third incarnation of The Doctor, there are a lot of goodies included along with the four-part adventure. The tale itself marked something of a watershed in the Pertwee era, since it was the first to feature the Doctor traveling freely in time and spot since the dim and white Troughton era which ended in 1969. The intervening seasons had become somewhat dumb with endless earth roam adventures, albeit with occasional escapes for the Doctor, so it was refreshing to have the Doctor once more freely roaming the universe. “Carnival of Monsters” was the first chronicle to be recorded for season ten, actually being completed as fraction of the production block for season nine in 1972. It was held over and transmitted second in the tenth anniversary season. It was also the second Pertwee narrative to be directed by the show’s producer, Barry Letts. Letts provides a genuinely involving commentary along with the other star of the demonstrate, Katy Manning, the actress who played the enormously approved Jo Grant. Although a fairly one-dimensional character, Manning certainly brought a large deal of energy and warmth to her portrayal of Grant, and that enthusiasm hasn’t been lost in the thirty plus years since the chronicle was made. Manning and Letts are clearly glad to be reunited again for this DVD, and their commentary is captivating, informative and indeed scrumptious. There are also on conceal captions to beget in the gaps in their memories.

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This release differs from the earlier VHS release considerably. The four episodes have been re-mastered from the unique broadcast tapes. All the additional footage and indeed edits from the VHS release have been included as extras rather than in the body of the programme. There is also a spellbinding, but short, behind-the-scenes explore at the making of the programme, plus an abandoned reworking of the theme tune, some model work, a photo gallery, the trailer from a 1981 TV tell and an Easter egg to salvage.

The record itself is witty and refreshing, being penned by the programmes most prolific and common writer, Robert Holmes, and acted well by the assembled cast. Sadly, I would say the production is let down by some gaudy invent and costuming, particularly the scenes on the alien planet, but that was often the case with the Pertwee stories. The sister release, “Resurrection of the Daleks” is quite different and noteworthy darker in tone and appearance. Heralding the return of the Doctor’s oldest and most common enemies after a five year absence from the point to, this anecdote is from the demolish of Peter Davison’s rather brief reign as the fifth incarnation of the Time Lord and indeed marks the slay of an era as it includes the departure of the long running companion Tegan Jovanka, played by Janet Fielding.

One of the things I was dreading for this release was the commentary featuring Davison, Fielding and director Matthew Robinson. Davison has not exactly been bright with the earlier releases he has contributed to, and as most hard-core fans of the demonstrate know, Fielding has been extremely vital of the show; particularly it’s portrayal of female characters in the years since she relinquished her role. However, I am satisfied to narrate that their commentary is astounding! Definitely the highlight of the release. Obviously Fielding has rediscovered her sense of humor, and doesn’t even seem to mind when Davison and Robinson form endless sexist remarks about her costume and legs! Although it’s a bit mean, their sending up of fellow actor Note Strickson (Turlough) is genuinely amusing. Robinson is actually the dilapidated link in the commentary team, since unfortunately he is almost impossible to silence, and constantly talks over the other two. But it’s a minor quibble.

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Another surprise is the inclusion of BOTH John Nathan-Turner; the shows much-maligned long running producer, and his script editor Eric Saward who also penned the script. The two fell out while producing the ill-fated twenty-third season of the note resulting in Saward stalking out of the programme mid-way through production and a tall deal of public mud-slinging. Although they are not actually seen together, they’ve both filmed recent sequences with Director Robinson at the locations venerable for the filming of the account. The on-screen production notes are a microscopic insensible on this release, and there are also two features from the BBC’s “Breakfast Time” which actually have precious shrimp to do with the epic itself. But they’re fun to look again.

It’s a taught record, with a stellar guest cast, although like most of the Davison era, it’s all a cramped too complex, and doesn’t stand up to a enormous deal of scrutiny. Some of the state holes are delicate grand, but it composed works as a very tantalizing portion. The episodes are included as produced, in four 25-minute episodes, even though they were actually transmitted as two 45-minute episodes at the time, thanks to the BBC’s coverage of the 1984 Winter Olympics.

They’re both gargantuan releases, and a welcome addition to the growing Doctor Who DVD library. I’d recommend both discs even if you’re not a die-hard fan of the reveal.

“Resurrection of the Daleks” is the first of the stories available on DVD that I saw as a fan. I was only eleven years stale and had only been watching the reveal (aired nightly on PBS) for a month. It made a expansive impact on me and led, indirectly, to my sitting here on a perfectly superior September evening 19 years later, writing this review.

A lot of “Resurrection” is unexcited effective today. I saw this legend first the year that it debuted — 1984 — and, of course, a lot of the acting and special effects seem woefully dated today. What I like is the air of precise *menace* around these Daleks, as opposed to a string of predictable, less-than-memorable 1970s outings. These Daleks actually instill apprehension in their victims. They shoot on seek and play quick and loose with biological weapons. “Resurrection” is a violent, shocking record whose impact is only slightly dulled by the two dozen badly-acted death scenes of random extras. One of the extras, referred to on the commentary track only as “the Geek”, looks a lot like David Letterman. For what it’s worth.

The DVD extras beget this package the better of the two “DW” stories released in the US this summer. The obligatory text commentary, pudgy of state filming dates and guest actor credits, also describes in detail the evolution of the story’s script over the three years it took to accept to hide. We learn how actor Terry Molloy (the third and final “Davros”) spent hours practicing the assure, to gain the character sound like Michael Wisher, the modern (and best) Davros. Molloy truly is advantageous playing a ranting wheelchair-bound villain in a latex hide (which, we learn, caused “lakes of sweat” to pool inside the oversized rubber chin), and would go on to play the role lawful up through the ruin of “Doctor Who” as a series.

The audio track is also a winner. Peter Davison (the Doctor) is benefit for his third DVD and is, as always, hilarious. Janet Fielding (Tegan, who makes her emotional departure at the waste of “Resurrection”) puts in her first DVD performance. She’s done her homework, giving a lot of convincing detail, and unexcited finds time to count the many furtive glances that co-star Tag Strickson (Turlough) shot to the camera as he strived to rep more face time. Legend director Matthew Robinson seems to remember the setup for every camera angle and every shot in the sage, and lets us know it. Peaceful, it’s the level of detail and humor that puts this in the “above average” range of DW audio commentaries, after a rather tedious unique accelerate by actors and directors with distressingly porous memories.

Another superior extra is the lengthy “on spot” segment, which returns to the narrow, dank Thames waterfront alleys where the fable was filmed. It’s all gone upscale now. Robinson re-enacts aged scenes by lurking in alcoves that have since become pastry shop windows. Also interspersed here is an interview with producer John Nathan-Turner, evidently the last interview he gave before his death last year. Also in the “deleted scenes” is the alternative cliffhanger to Section Two… which was actually the cliffhanger old-fashioned when I first saw this narrative in the US in 1984. I like this “alternate” version better than the “official” one, as it ends a couple of menacing beats later.

The ultimate goal, I judge, is to derive as noteworthy of Davison’s Season 21 output on DVD as possible. We have two of his six stories out now, and that’s unbiased not enough.
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Streaming A Film By Hiroyuki Nakano: Samurai Fiction Online

jacqualine6174993 — Wed, 10 Mar 2010 00:01:17 +0000

Streaming A Film By Hiroyuki Nakano: Samurai Fiction Online.

Movie Title: A Film By Hiroyuki Nakano: Samurai Fiction
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A Film By Hiroyuki Nakano: Samurai Fiction is available for streaming or downloading.

Click Here to Stream or Download A Film By Hiroyuki Nakano: Samurai Fiction

The MTV adds in Asia sold this movie as ‘Cool, Funky, Peace’ which splendid worthy sums up what makes this movie great.

Samurai movies are a dime a dozen, and the quality of these films varies widely. Everyone likes films for different reasons, so there is probably a perfect Samurai film for every different kind of person. This would have to be the perfect one for me.

Some people like ‘cult classic’ movies, and try to acquire the cheesiest, worst-made or gorriest films. The Samurai genre is ripe with these, but I am not of this school, so for a long time I had a terrible impression of the genre.

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In fact, I am of the real oposite type: I contemplate for haunting visual beauty, artistic vision, and deeply philosophical thought, and if possible – some rock & roll. As such, my loyalties in Japanese film lie with Kurosawa and Kobayashi, and it is in these film makers that I explore the roots of Samurai Fiction.

Akira Kurosawa, in films like The Hidden Fortress and Yojimbo, produced very subtle films mocking the macho ethos of Samurai culture, and ultimately enthralling towards the necessary message that violence and conflicts are not solutions, but in fact honest greater problems. When it comes to humanism and wit, Samurai Fiction, with it’s anti-Samurai non-violent message, is the intelligent heir to Kurosawa. It is also, at least to me, distinguished more accessible. Kurosawa’s humor was very, very, very subtle and philosophical, and although I can delight in it, it seems very dry and formal.

Samurai Fiction, on the other hand, is unusualy straightforward for a Japanese film, which adds to it’s hip, young feel. It also embodies the Japanese conception of ‘Okashii’ which sort of translates as ’silliness’ but it might as well fair mean fun, or light-hearted, or amusing. The sincerity of this kind of humor contrasts vividly with great of the bitter cynicism that has saturated comedey these days that one can’t serve but like it.

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Masaki Kobayashi, on the other hand, who directed “Kwaidan” and “Samurai Rebellion” is perhaps the most visualy elegant of Japanese filmakers. His films are genraly brooding and sunless, but tragicaly beautifull, where every shot is very carefully constructed as a work of art. Samurai Fiction is also the novel heir to this legacy, providing a film that is singularly visualy oriented. Some directors concept the camera as merely a mechanism and the visual allotment of a film as simply a device of telling the myth, but as a photographer myself, I disagree. Light, color, composition and even sound all strike emotional nerves. The elegance of the filming, the fluidity and dynamism of the actors’ movements, and the overal visual experience is as amazing all the plot through the film as it is in the dramatic veil photo.

In all of this, there is a deliberately new, rock & roll feel to the movie, through which it not only mocks the pompisity and violence of the Samurai, but also the pompisity and traditionalism of the Samurai film makers.

In the extinguish, this is to Japanese Martial arts films what Zhang Yimo’s latest film (”Hero” – only marginaly available in America) is to Chinese Martial arts movies: A soulfull and stunning portrayal of the delicate and peacefull core of martial arts.

I’m not determined why this movie is as far under the radar as it seems to be, but here’s hoping it doesn’t conclude there.

I bought this film sight-unseen, which is resplendent rare. Like most people, I like to have some understanding of what I’m plunking down my money for. For some reason, though, this movie sort of snuck off the shelf, took the twenty-five bucks out of my pocket, and came home with me before I’d even realized it. Maybe it was the frosty, minimalist camouflage, or maybe I was unexcited coming down off my “End Bill vol. 1″ kick and wanted a Samurai film, I don’t know. Either intention, I found myself watching it last night, and I was floored by what I was seeing.

You know those gay coincidences, where you realize you damage up with a lot more than you opinion you were going to secure? Like when you go to a current sushi plot and realize they’ve got the best stuff around for less money than that other location you’ve been going to for years, plus you collect more maki roll for your money? This movie brings a similar feeling to mind; “This is gigantic! I’m elated I took a chance here.”

The epic revolves around a young Samurai named Heishiro Inukai, who is on a quest to retrieve a clan adore stolen by a wandering, steely-eyed Ronin by the name of Rannosuke. It’s classic Samurai fare through and through, and for a Japanese film is remarkably straightforward, though it’s never stupid. Quite the opposite, actually.

Director Hiroyuki Nakano uses the relative simplicity of the sage as a blank canvas, and paints in a masterfully blended portrait of a classic Akira Kurosawa Samurai fable lovingly clothed in a hip, MTV Asia-style update. The enact sounds overwrought on paper, but Nakano pulls it off without seeming to bastardize the source material. In fact, it’s one of the more respectful homage films to date, cinematography wise.

Kurosawa film buffs (and I’ll impartial glean this out of the scheme fair now, I am a MASSIVE Kurosawa fan) will instantly take out the lifted scenes, from the busy, always-moving village shots of Seven Samurai to the murky, packed-earth barren landscapes of Throne of Blood. There’s even some subtle references to Kurosawa’s editing style, with extremely longs shots arranged horizontally, reverse-field cuts, and even a single (and therefore very distinct, and also very silly if you collect it) horizontal wipe. Of course, it goes without saying that the movie is almost completely shot in dim and white.

Because really, why would one build a color Samurai Film?

The best fraction about the movie, however, are the characters in it. Every cast member turns in a astounding performance, and the people they represent are as memorable as you could want in a film. We’ve got your headstrong young Samurai on a quest for honor and glory with his two friends (one of whom is actually named Kurosawa, go figure) and along the intention they arrive up against a conniving brothel mistress, a retired master fencer, his ridiculously radiant daughter, and the super-powerful, taciturn, skilled, very expansive, and possibly satisfied antagonist. We also regain an frail master ninja who steals every scene he’s in, and his two bumbling ninja students who manage to seem like they know what they’re doing…Most of the time.

It all blends in a huge intention because the movie doesn’t bewitch itself too seriously. It’s not goofy or funny, and the fighting is quite realistic, but it’s also a very comical movie. Heishiro’s aptitude to spring nosebleeds at inopportune moments (and his savor interest’s apparent ignorance as to what that means) made me chuckle, and the movie’s playfulness over the sexual orientation of Rannosuke is hysterical — but you have to be speedy or you miss some of it. The venerable ninja master is my personal favorite; you can’t beat a guy who makes his first appearance by basically falling out of a hole in the ceiling.

I don’t want to destroy any more of the movie than I already have, but suffice to say that nearly everyone can savor Samurai Fiction on whichever level they like. It’s simple and humorous enough that even young kids can survey it (provided they don’t mind subtitles – there is no dub, thankfully) but there’s plenty of depth here to satisfy veterans of the genre.

On a final, technical label, the DVD transfer is very friendly, though there is no surround sound, only Stereo Japanese. No matter, however, since the stereo mix is perfectly positive. One of the best things about the disc is actually the subtitles; they absolutely nailed it. My Japanese is admittedly quite unpleasant, but it’s edifying enough that I can buy out poorly-translated subtitles from a mile away. Thankfully, no such problems exist here. The titles travel well and maintain the shuffle of the movie to proper where it should be.

There are a few extras that advance with the film, one of which is inexplicably on Disc 1 while the rest are regulated to Disc 2. The main blueprint here, called “Samurai Non-Fiction”, appears to be a residence shown on Japanese television regarding the making of the film. It’s worth watching, and rounds out a nice package that is of considerable higher quality than a film like this would normally procure with a U.S. release.

Grab a copy of this film as soon as you can. This is one of those rare movies that has blanket appeal without diluting it’s core plan, and looks tremendous in any collection.
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High Sierra Streaming

jacqualine6174993 — Tue, 09 Mar 2010 10:32:57 +0000

High Sierra Streaming.

Product: High Sierra
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High Sierra (1941) is considered by most to be Humphrey Bogart’s first precise, breakout role, playing a piece that wasn’t initially offered to him. Bogart, the fifth member of Warner Brothers notorious ‘Murderers Row’, came into the role of Roy ‘Mad Dog’ Earle only after fellow ‘Row’ members Paul Muni and George Raft didn’t obtain the fraction, one disagreeing on the script and subsequent changes, and the other being talked out of taking the allotment by Bogart, respectively. Bogart, who hadn’t quite reached the level of immense name star by this point, as evident to second billing to costar Ida Lupino, wanted the role badly, as he knew the character of Earle was something he could really sink his teeth into, and showcase his talent to the world.

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As I said, Bogart plays Roy ‘Mad Dog’ Earle, a convicted bank robber serving a lengthy prison term, a life sentence, if I’m not inaccurate, who has unbiased been released. We soon catch that Roy’s early release isn’t due to parole for superior behavior, but strings pulled by his weak boss, Astronomical Mac (Donald MacBride) . Seems Mountainous Mac has a collect in California that he wants Roy in on, so Roy leaves the Midwest to form the connection. Along the design, Roy has a chance meeting with Pa Goodhue (Henry Travers), a farmer who lost his farm, and is now traveling west with his wife and his clubfooted granddaughter Velma (Joan Leslie), who we will discover again later. On reaching the Sierra mountains, Roy meets with the other members of the criminal enterprise Mountainous Mac has arranged, two younger, hot-tempered men, Babe and Red, who have a have a female companion, Marie, played by Ida Lupino. Roy objects to having a woman around, as it’s objective an unnecessary complication. Marie manages to procure Roy to change his mind, as she despises the belief of having to return to her previous career of dancing in a two-bit hall with men for a quarter a dance. Soon Roy learns of the gather, and things seem easy enough, but even the simplest plans can go awry.

Directed by actor/writer/director/producer Raoul Walsh, High Sierra is a rich, tense noir crime drama based on a fresh by W.R. Burnett and adapted for the conceal by Burnett and legendary director/actor/writer/producer John Huston. Bogart really adds depth to his character of Roy, presenting the duality of a seemingly cold-blooded killer who has a soft side. That certainly doesn’t mean he’s soft, especially when someone gets in the contrivance of his plans. Presented is a character who knows his time is past, and is looking to compose his procedure out, and having thoughts of a future that will never be…and then settling for less than he hoped for, not realizing that maybe that was even too distinguished to hope for…the supporting cast was fantastic, but I found the sort of pseudo funny relief of the character Algernon, a dark worker at the fishing camp Roy and his tiny gang hole up before the win, played by Willie Best, a bit awkward. At the time, it was probably more acceptable, but the stereotyping may chaff contemporary audiences. A minor point, but one I hope wouldn’t sour potential viewers from seeking out this film. I unprejudiced try to understand it for what it was and is, a get of ignorance that has, hopefully, long since past. Best to respond it happened and disappear on. What I found really gripping was how the noir understanding was flawlessly transplanted from dim city streets to the majestic Sierra mountains on the Neveda /California border. Another thing I really loved was the fleet exchanges and utilize of gangster colloquialisms. The dialogue zings along, honest adding a steady element of fun to the movie, despite the drama nature of the material.

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The represent quality here is pretty, and the audio sounds astonishing. I was also blissful to search for an helpful featurette called “Curtains for Roy Earle”, which talks about how Bogart got the role in the movie, his minor skirmish with the House Un-American Activities Committee (HUAC), and the film in general. Also included is a theatrical trailer for the film. If you’re a fan of Humphrey Bogart, High Sierra is a must recognize film. If you like friendly movies in general, you won’t be disappointed here. While the role of Roy `Mad Dog’ Earle may not be the one most remember Bogart for, it certainly confirmed his situation as an actor in every sense of the word, and served well to showcase his talent and made him a star. Another film soon to follow, The Maltese Falcon (1941) took the star and made him a epic.

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This film in many ways is the culmination of the Golden Age of the gangster film. At the same time it is the apt beginning of Humphrey Bogart’s star career. After a string of gangster films in the thirties, all demonstrating graphically that crime really didn’t pay, we bag this big film, in which it not only doesn’t pay, but doesn’t lead to happiness, either. Unlike most of the broad gangster characters of the 1930s, Roy “Angry Dog” Earle has an atypical degree of complexity and depth. He is tired of his life, and would like to very powerful live a different one. He meets two women, one who is a product of the kind of life he would like to flee, and another, who is young, innocent, handsome, and a symbol of everything he would care for to rediscover. Powerful of the movie’s power and poignancy derives from these dual relationships, as he realizes the life he would like to have is denied him, while at the same time not valuing the appreciate of a woman who doesn’t recount a unusual draw of life, but who nonetheless truly and genuinely cares for him. It ends a tragic like triangle.

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The movie features a host of genuine actors from Warner Brothers stable of contract players. The always-underrated Ida Lupino (who was also an accomplished director of “B” pictures) excells as Marie Garson, while 16-year-old Joan Leslie is perfect as the young, innocent girl Roy Earle wants to benefit. The rest of the cast is filled by such noble character talents as Henry Travers, Arthur Kennedy, Jerome Cowan, Henry Hull, Barton MacLane, and a very young Cornel Wilde.

The other thing that really makes this film stand out is the powerful on place scenes in the Sierra Nevada Mountains. Almost all gangster films of the thirties were shot entirely on movie sets, and very, very few were shot outdoors. In this one, numerous scenes were shot in various locations in the Sierra Nevada Mountains and elsewhere, and this lends an atmosphere original to the era. Also, setting it in California rather than Original York or Chicago enhances the account. The final, climatic scenes with Bogart trying to elope from the police by heading into the mountains is a classic.

Bogart went on to obtain more gangster films in his career, most notably THE DESPERATE HOURS, but in many ways this film signaled the kill of the Golden Age of the genre. Although up to this point his career had primarily consisted of portraying gangsers, henceforward he would more often be associated with detectives or men of action. A huge film in every arrangement.
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Watch Naruto: Shippuden, Vol. 2

jacqualine6174993 — Fri, 05 Mar 2010 13:05:56 +0000

Watch Naruto: Shippuden, Vol. 2.

Product: Naruto: Shippuden, Vol. 2
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Naruto Shippuden is a itsy-bitsy different from the early Naruto years. But it is high octane adrenaline! The action and sage line arc takes up to 30 episodes before Sai comes into the portray. The only dissappointment I feel is in Viz Media, why are they bothering to release Shippuden 1 disc (4 episodes) at a time? They should go directly to box sets! And by box sets I mean, they should carry at least 20 episodes or more. Shipuden season 1 is like 50 or more episodes, each season is mammoth! Viz Media, why must you milk us of our hard earned money and give us so runt in return?! Anyone who buys this disc or the previous disc in this series, I suggest you believe off watching them until you have disc 10 in hand, these episodes bag you and never let you go, you will writhe in agony until the next release!

These episodes will gain to demonstrate us how mighty the other Konoha 11 have grown since Naruto has been away from his friends and teachers, as you inspect Naruto reuniting with his friends and finding out what has been happening Gara finds himself locked in battle with one of the elusive Akatsuki who have been sent to the hidden sand village to lift him. AS soon as Naruto finds out he of course rushes to help his friend and fellow jinchuriki(A Person who has a sealed tailed demon in him/her) as he journeys to the sand village with Kakashi, Sakura, and Temari what is happening to Gara ignites his possess arouse as he knows the Akatsuki only recognize him and the other jinchuriki as nothing more than monster vessels to employ in their insidious design. The series is unexcited very lively and follows the manga series almost perfectly there are of course a few minor differences but nothing to substantial to trouble about. I do hope that they’ll release uncut box sets like they did with Naruto but I guess will objective have to wait an gaze. So for all fans rejoice again as the Shippuden episodes have finally arrived for us all to delight in…
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Stream Afro Samurai Movie Online

jacqualine6174993 — Thu, 04 Mar 2010 22:35:54 +0000

Stream Afro Samurai Movie Online.

Movie Title: Afro Samurai
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Afro Samurai is available for streaming or downloading.

Click Here to Stream or Download Afro Samurai

There’s no doubt that Afro Samurai has a frosty and simple plan and a very bloody style. In this future world of feudal Japan nothing seems to matter but two headbands that characterize the two best fighters. To derive to the number one fighter you must go through the number two and to win to the number two you must go trough everyone else. This plot of life that nobody should have to live especially a child who has nothing but the headbands and revenge on his mind. As a child Afro saw his father who was the number one fighter at the time obtain massacred by a man named Justice. After the fight is over Justice takes the number one headband off of the head of Afro’s father, which was not too far away from his body. Justice tells Afro something similar to what Uma Thurman said to Vivica A. Fox’s daughter in End Bill, that if he wanted revenge he would fight him when he came for him.

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Afro took those words very seriously and took a few things of his fathers including his very frigid Katana. Afro immediately went from an innocent child to an almost emotionless man with a ton of weight on him as he begins his vengeful scamper. Afro Samurai is a recent anime or fable for that matter. You don’t sight too many people willing to achieve out a anecdote with basically nothing but very bloody fight scenes for about two episodes before a really gracious record starts up. Especially in a 5 fraction series where the episodes are only between 20 and 30 minutes long. I can’t lie because I savor stuff like that and it made Afro Samurai all the more tempting to effect watching. The second is that this was a pricy anime to get costing $1 million per episode so I’m certain a few viewers from the Hip hop community were expected to see this. Even if you’re an action film fan you have to admit when there’s too powerful action and not enough yarn Even in a revenge tail like End Bill with a definite scene that this anime could portray to 88 times over it had a mystery and legend.

Afro was on the verge of being in the too great and not enough category and then a chilly legend hits you somewhere around the slay of episode two. Flashbacks of Afro’s life are showed, you inspect him as a kid again and the people who took him in and gave him his gritty skills. All throughout the 5 share series you view that the money was well spent because the animation is unbelievable and heavenly. The things that Afro does with his skills are crazy and this animation was a giant step up for anime samurai fight scene, it was flawless. The inform actors are substantial including Sam Jackson who is enormous for co-producing this and putting his foot in it.

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I reflect it would have been frosty to actually give Afro a sincere name, it’s chilly for people that assume him on to call him Afro but I judge he should have had a name for his other life before he became the Afro Samurai. In other words I kind of wish the anecdote went fair a bit deeper with a diminutive bit more complexity. I deem that Afro Samurai is a expansive series that everyone should watch especially to idea its pleasing quality.

I objective caught the first ep showing on Spike Tv and WOW. Insane small anime. Really worth a explore and steal. The action is quick, violent and plenty of it. Samuel Jackson does the recount for two characters(maybe more) . He of course does Afro the main character, but since Afro doesn’t really talk all that considerable, most of it goes to this other guy that follows him around, who I believe might impartial be in Afro’s head. Splendid frosty region, there’s two headbands, each with a number one and a number two. Afro’s dad wore number one. Until number two killed him infront of his eyes. Here’s how it works. The one that wears the number one headband means no one can challenge you. You’re untouchable. Only the wearer of the number two has the fair to challenge. But if you wear the number two headband it means that EVERYONE and ANYONE can challenge you. And that’s glorious worthy the spot. Afro is making his contrivance to glance and challenge number one while fighting off the others that want his number two(headband) . Anyway, eye and then later assume.
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Streaming Tom Thumb Online

jacqualine6174993 — Mon, 01 Mar 2010 17:05:39 +0000

Streaming Tom Thumb Online.

Movie Title: Tom Thumb
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Tom Thumb is available for streaming or downloading.

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Are you looking for a film that you can safely gaze with your children? Have you seen most of the Disney catalogue? Well, happily–once in a while–someone other than Disney produces a film that can enchant young and frail, and in 1958 Mr. George Pal did unprejudiced that with “Tom Thumb”. After producing several science fiction classics in the fifties, Mr. Pal and his crack special effects team position up shop in England for this winning musical fantasy, based on the eminent fairy memoir.

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A awful, just wood-cutter, Jonathan (Bernard Miles) and his wife, Anne (Jessie Matthews) are granted three wishes by the Forest Queen (glorious June Thorburn) for sparing her favourite tree. They basically bungle their wishes, but they are granted a son to raise. His name is Tom, and he is 5 1/2 inches sizable. Of course, being so minute, Tom has all sorts of titillating adventures. Unfortunately, one of them involves innocently helping two crooks (the hilarious team of Terry-Thomas and Peter Sellers) win a bag of gold, for which Tom’s recent parents are blamed. Luckily, Tom is able to eventually turn the tables on the crooks, with relieve from a local “merry minstrel”

(affable Alan Young),who also has a crush on the Forest Queen, and we wind up with a very ecstatic ending!

Tom is played by one of the most talented and grand performers in the history of cinema–Mr. Russ Tamblyn–an astonishing dancer and acrobat with a very consuming personality. Even among this strong cast, Russ Tamblyn–all “5 1/2 inches” of him–stands stout! The extended production number with Tom and the toys is a classic–a tribute to Mr.Tamblyn’s talent and Mr.Pal’s Oscar-winning (as it turned out) special effects team. You can study how all that “puppetoon” experience paid off! A later scene where Tom puts on wooden shoes that can’t close dancing is another highlight.

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As the “heavies”, Terry-Thomas and Peter Sellers are a matchless pair–with his rolling eyes, and devilish grin, Mr. Thomas gives this film exactly the type of “over-the-top” performance it needs, with Mr. Sellers as a perfect, dim-witted foil. They are perhaps the funniest duo since Laurel and Hardy.

The DVD is widescreen on one side, and fleshy shroud on the other. The colour is pretty, especially the scenes where Tom is interacting with the toys. The sound is mono. Miss Peggy Lee collected the provocative bag, with several songs that your children will bask in (especially the “Yawning Man” sequence, voiced by Stan Freberg) –was there no kill to Miss Lee’s talent?

Extras are sparse–brief biographies of Russ Tamblyn and George Pal (who directed as well as produced), and the film’s trailer.

“Tom Thumb” is the tickled result of two major talents combining their efforts to construct a timeless classic. Today George Pal is remembered and respected as a pioneer of imaginative film. As for Russ Tamblyn, this title role–perhaps more than any other–provides a showcase for his special gifts. How about 4 1/2 stars for a 5 1/2 dash star! Recommended for the entire family!

and the generous parts are honest as suitable today.

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start off, of course, with the vivid sequences from george pal. if i am not erroneous, this was the final puppetoon animation he did, as he was then eager increasingly in directing feature length films. but if only for the yawning man and con-fu-shen, this film would be worth seeing.

add to that, the extraordinary live performances by such as the underrated dancer russ tamblyn in the title role; the legendary jessie matthews; and a young peter sellers and terry thomas as splendid silly villains. sadly, the fancy yarn between queenie and woody slows thing down, and even the usually incredible alan young cant put that fraction of the movie. (incidentally, a year later young would turn in his finest performance in the george pal “time machine.”)

i have such fond memories of this movie, and it manages to live up to them — i would wholeheartedly recommend it, especially to fans of fantasy, dance, or puppetry. bravo!
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Buy The Corporation

jacqualine6174993 — Mon, 01 Mar 2010 09:15:45 +0000

Buy The Corporation.

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This is an unbelievable film about the creation of the American corporation, its right organizational model, its global economic dominance and its psychopathic tendencies, and its unbelievable ambition to influence every aspect of culture in its unrelenting pursuit of profit.

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The Corporation was spawned from Joel Balkan’s in depth book, “The Corporation: A Pathological Pursuit of Profit and Power”. (Due to be released in March this year) The film and book begins in the 18th century, in the establishment of the 14th Amendment. Initially the 14th Amendment was designed after the Civil War to give ex slaves’ accurate rights, like any other citizen of the United States, but through a maze of apt precedents, the business corporation organization model was now deemed a “proper person” with all the civil rights accorded to a citizen. This highly absurd precedent has paved the contrivance for corporations to literarily acquire away with abolish, because a “corporation” is not an individual that you can set aside in jail. In attain, a corporation has no legal or social obligations; their only obligation is the pursuit of profit. This film offers numerous examples of unethical practices resulting in death for many people, and because of their residence under the 14th Amendment, and endless good loopholes, have gotten away with poor crimes against humanity and the environment with no more than a magnificent, a mere slap on the wrist.

As the law treats corporations as “persons”, Balkan understanding it appropriate to set aside the various behaviours of these companies under psychological examination. What this psychological sight illustrated is that corporations, as “persons” behave and explain the symptoms of the clinical psychopath. A psychopath typically does not have a social conscience, is guilt free after committing spoiled acts, and will kill anything or anybody that prevents them from attaining the object of their particular obsession – in this case, the relentless pursuit of profit.

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This documentary took several years to obtain with over 650 hours of footage, director(s), Jennifer Abbot and Price Achbar, had to chisel down this astonishing amount of material into a comprehensible film. What is most incredible is the range of people interviewed for this film, that argue from all sides of the “corporation recount”: Ira Jackson, Ray Anderson – CEO of Interface, the world’s largest carpet manufacturer; Noam Chomsky, Richard Grossman, Howard Zinn, Michael Moore, Milton Freidman – Honorable Prize winning economist; Jeremy Rifkin – President, Foundation of Economic Trends; Dr. Robert Hare – Consultant to the FBI on psychopaths, and many more individuals from all sides of the debate.

When Balkan wrote his book and then collaborated with Note Achbar to design this film, what they did not want was the film to appear as objective some left-wing diatribe, attacking the corporations, but to illustrate to people how the corporation began, how they have evolved and what they could well turn into if the people do not become eager in the democratic process, ensuring our governments hold aid the reigns of power.

After viewing this film, it becomes all too evident that these spacious corporations have too grand power, whose mandate is not the celebrated salubrious of the people, and who will go to any lengths, legally and otherwise, in the pursuit of profit and the bottom line.

I hold this is one of the best and most famous documentary films to be made in many years.

This amazing documentary is based on the book The Corporation: The Pathological Pursuit of Profit and Power (2004) by law professor Joel Bakan (eye my review at Amazon) . Bakan’s thesis is that the corporation is a psychopathic entity.

In his book he notes that the original corporation is “singularly self-interested and unable to feel profitable anxiety for others in any context.” (p. 56) He adds that the corporation’s sole reason for being is to enhance the profits and power of the corporation. He shows by citing court cases that it is the duty of management to accomplish money and that any compromise with that duty is dereliction of duty.

Directors Designate Achbar and Jennifer Abbott bring these points and a slew of others to cinematic life through interviews, archival footage, and a magnificent legend written by Achbar and Harold Crooks. The interviews veil a wide spectrum of belief, from Michael Moore and Norm Chomsky on the left, to Nobel Prize winning economist Milton Friedman on the accurate. Friedman is heard to agree with Bakan that the corporation’s duty is to its stockholders and that anything that deviates from that duty is irresponsible.

What emerges is a plan of the corporation as an entity working both for and against human welfare. Designed to turn labor and raw materials efficiently into goods and services and to thereby raise our standard of living, it has been a very effective tool for humans to utilize. On the other hand, because it is blind to anything but its believe welfare, the corporation uses humans and the resources of the planet in ways that can be and often are detrimental to people and the environment. Corporations, to attach it bluntly, snide the environment with their wastes and will not orderly up unless forced to.

An though-provoking technique that Achbar and Abbott utilize is to go down the list of behaviors cited in the Diagnostic and Statistical Manual of Mental Disorders that identify the psychopathic personality and prove how the corporation has all of those behaviors including a criminal disregard for the welfare and feelings of others and a complete absence of guilt. Indeed corporations feel no compunction when they fracture the law. Their only distress is whether breaking the law is cost-effective. The result is a nearly constant bending and breaking of the law. They pay the gorgeous and then shatter the law again. The corporation, after all, has no conscience and feels no remorse.

Bakan notes that “corporations are designed to externalize their costs.” The corporation is “deliberately programmed, indeed legally compelled, to externalize costs without regard for the wound it may cause to people, communities, and the natural environment. Every cost it can unload onto someone else is a abet to itself, a divulge route to profit.” (pp. 72-73) We are shown how rivers are polluted, environments destroyed and people placed into something conclude to servitude by the corporation’s insatiable lust to profit.

The acknowledge to this, as presented in the film, is to effect corporations pay for their pollution. What many people are proposing is the creation of bills or certificates that would allow the barer “the proper to pollute.” The cost of these bills would mediate the societal and environmental costs of the pollution. This sounds scary, but what it would do is invent those who pollute pay for their pollution instead of having the costs be externalized as they are now. Consequently, to protect their bottom line, corporations would pollute less.

Another jam with the corporation as emphasized in the film is that the corporate structure is essentially despotic. It is not a democracy or anything discontinuance. The owners hire officers to exhaust control over everyone who works for the corporation. This is in mutter dissimilarity to democratic governments whose officers are elected and who are subject to the checks and balances of a constitutional government with shared powers. It is legal that if you are a shareholder of a corporation you may be able to indirectly vote for the CEO. However, such a “democracy” is a democracy of capital in which the electoral power is inequitably distributed. Some people have hundreds of millions of votes. How many does the average shareholder have?

Bakan, Achbar and Abbott play blooming, and give both sides of the case–although that is not to say that the weight of evidence or sentiment is equally distributed. After all, who’s in favor of pollution or the destruction of the environment? The pathological corporation doesn’t care about such things, but its officers should. Some do, but feel constrained by their fiduciary duty to their stockholders. Consequently it is our responsibility as the electorate to regain our government to construct the corporation socially and morally responsible. The device to do that is produce the fines for breaking the law big enough to change corporate behavior. Furthermore–and this is essential–make management responsible–criminally if necessary–for the actions of the corporation.

This is absolutely one of the most gripping, most compelling, and, yes, challenging documentaries that I have ever seen. But beware of some graphic footage.
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