movie Texas Chainsaw Massacre

THE STRAIGHT DOPE:
The Dracula myth is one that has seen innumerable
permutations over the years, from time-honoured horror and
out-and-not on gore, to lesbian erotica and Mel Brooks
spoof. All of this legend, putting, originated in
Romania in the fifteenth century when a prince named Vlad
Dracula vowed to let out his homeland
from various pressures of the Muslim and Roman
Catholic world. Despite it’s extremely misleading
cover art (complete with pointy vampire fangs)
Dracula: The Black Prince is a important
of the Vlad story from this historical
perspective that long speedily fans might want to validate out.

Vlad (Rudolf Martin) and his young sibling Radu (Michael Sutton) are kidnapped by a nefarious sultan who holds the boys (and molests Radu) for years under the semblance of deliverance to constrain Vlad’s father to juxtapose the rest of his countrymen in paying off the marauding clumsy. When it turns out that Vlad’s dad has been calm all along – buried animated, in fact – he sets his sights on revenge. After his somewhat puzzling release Vlad aligns himself with King Janos of Hungary (Roger Daltrey) and falls in love with the intriguing Lidia (Jane March). With his renewed Roman Catholic alliance Vlad returns to his Orthodox homeland and begins to build an army, starting with the orthodontically challenged Bruno (Christopher Brand). Twists and turns in the rest of the story find Dracula fighting aggressors on virtually every side.

Vlad’s penchant on skewering enemies alive (hence his famous nickname “Vlad the Impaler”) and then drinking their blood is shown in some detail, but the film never portrays him as a vampire, per se. Even though some key details of vampire culture are referenced (like bats and mirrors) the film tries to confirm how supernatural legends can entertain their origins: Vlad’s followers take it he has risen from the dead after a fight with when he probably was ethical knocked of. The film also seems to have a good buy of ruth for Vlad, portraying him as more righteous in his efforts to free his nation of overseas tyranny. He is betrayed moment and time again but maintains a certain amount of dignity.

Rudolph Martin (who also played Dracula in a particularly lame
episode of Buffy the Vampire Slayer)
tries to play the sunless prince with a cool,
creepy growl and he is intermittently
successful. I’m not sure what his initial accent sounds like but his Romanian accent drifts in and out. Daltrey plays his Hungarian king like the infant of Prague awaken to life, strutting around pompously. Peter Weller is almost unrecognizable as a wilted Traditionalist priest and, other than an unconvincing accent, is quite good.

There is something slightly off about the storytelling. The film drags at times and the pacing is a in. Years pass all of a sudden and we don’t know where Vlad is. The about together of accents amidst the kick off b lure actors makes it tough to appearance out-moded where some scenes take place.

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Spike Lee has been cranking out films that have seemed less than inspired for the last few years, from the uneven He Got Game to the pointless Summer of Sam to the unbelievably bad Girl 6. Somewhere along the way, however, he quietly directed one of the most beautiful, emotional, and heart-wrenching films of his varied career: The documentary 4 Little Girls (1997). While the focus of 4 Little Girls is on the horrific 1963 bombing of the 16th Street Baptist Church in Birmingham, Alabama, the film is really a primer in high- and low-points of the civil rights movement. Lee turns an unblinking eye on the wide variety of personalities and events that shaped that era. He interviews the families of the girls killed in the blast with sympathy and sensitivity. All of the family members, from parents to siblings, aunts and uncles are clearly still emotionally tethered to the deaths caused by the bombing. During an era where violence on blacks was a common sight, including police attacks in the streets with high-pressure water hoses and snarling dogs, the cowardly bombing on an active church on a Sunday morning stood out. The girls became symbols for the struggle and their families were deeply changed.

Chris and Maxine McNair, parents of Denise McNair, strike especially sad figures as they recall their young child during happier times. Other notable interviewees include civil rights activists Fred Shuttlesworth and Wyatt Tee Walker.

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Lee also allows the opposition a voice, including Arthur Hanes Jr., an attorney who defended one of the bombers (The lawyer cheerfully brags that Alabama was a great place to raise a family during the fifties while Lee shows Klansmen burning crosses), and former Alabama Governor George C. Wallace who, as a politician, was a fierce supporter of racism (The platform on which he ran for office was “Segregation now, Segregation forever.”) The Wallace interview is notorious since the senile Wallace’s mental state had deteriorated to the point that he looks utterly pathetic. Critics called Lee a manipulator who took advantage of the old man. I tend to think that Lee did the right thing. Wallace was a nightmare for a large number of his constituents and history must record his downfall. Lee gave Wallace the opportunity to speak for himself and explain his horrendous actions. It’s not Lee’s fault that Wallace, who has since died, was unable to make himself clear, only repeatedly dragging his black male nurse in front of the camera to try to show that he is not racist and that his very best “friend” is black. The man has such a hardened put-upon look on his face, that you can read his entire take on Wallace’s condescending excuses without the man saying a word.

The bombing itself is handled with care but Lee also manages to build some suspense. His use of the morgue photos of the girls is shocking and effective. Just as they were key in building a hatred of the bomber among the jury in court, they are instrumental here in making the viewer truly feel the magnitude of the crime. When the images of the girls destroyed bodies appear on the screen it’s like a kick in the gut. When one of the mothers, during a tour of her daughter’s carefully preserved toys, suddenly unwraps a large chunk of brick that had to be removed from her child’s skull I just felt sick with sadness. At various points during the film I found myself near tears and can’t imagine a human being who would not be outraged by this act.

4 Little Girls only goes a little off its mission when Lee brings in some famous faces like Bill Cosby and Rev. Jesse Jackson to draw parallels between the bombing of the Birmingham church and the church burnings that became common in the mid-nineties. It’s distracting to bring in someone like Cosby just for a quick sound-bite when Lee could probably have covered that territory with the interview subjects he had been using all along. His coverage of the belated trial of one of the bombers feels tacked on. Even though it is necessary, it could have been integrated into the film better.

Minor criticisms aside, 4 Little Girls is an excellent documentary on a tragic moment that defined one of the major divides in our society.

Reviewed by Dennis Schwartz

For MGM’s 50th anniversary celebration in 1974 it presents a film
clip compilation of numbers from some of its great musicals that date from
1929 to 1958. MGM was rightfully known for its classy style and in producing
Hollywood’s best musicals. The result was the most popular That’s Entertainment!
which renewed interest in MGM’s musicals with the public; it was directed
by Jack Haley Jr., as he takes us through the musicals by using MGM stars
such as Frank Sinatra, Liz Taylor, Jimmy Stewart, Mickey Rooney, Liza Minnelli,
Gene Kelly and Fred Astaire as narrators. It begins in 1929 when the talkies
took over the industry and the musical was spawned with films like the
Hollywood Revue (MGM’s first all-sound movie) and The Broadway Melody.
It features such great musicals as Singin’ in the Rain, High Society, Gigi,
Meet Me in St. Louis, and An American in Paris. My favorite pieces were
Clark Gable dancing to “Puttin’ on the Ritz” in Idiot’s Delight, Jimmy
Durante mentoring the young Frank Sinatra in “It Happened in Brooklyn,”
the energetic woodchopper’s dance from “Seven Brides for Seven Brothers”
and Judy Garland merrily going down the Yellow Brick Road in “The Wizard
of Oz.”

This type of film doesn’t do much for me, but it gives one a refresher
course in seeing snippets from the greatest musicals. If nostalgia for
the Hollywood musical is your cup of tea, then this one is pleasingly sentimental
as it covers many of the over 200 musicals MGM produced during that period.

Minimize some self-conscious talk hither Art as a national tradition, as well as ungainly dubbing of the supporting players, and you have a rattling good thriller about a World War II German general (Scofield) determined to flee Paris virtuous more willingly than the liberation with a trainload of Impressionist paintings. An individual obsession runs headlong into another as a French railway inspector (Lancaster), once unwillingly started out in opposition, finds he cannot stop, and must go on finding new ways and means of delaying the train throughout an hour here, a light of day there. In Frankenheimer’s hands, the whole paraphernalia of trains, tracks and shunting yards acquires an almost hypnotic fascination as the screen becomes a colossus chessboard on which huge metallic pawns are manoeuvred, probing for some fatal weakness but outwardly plighted in some deathlike primeval struggle.

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Reviewed by Dennis Schwartz

A brilliant lighthearted musical comedy that is one of the early
films to be shot in sound. It’s directed with panache by René Clair.
For its time it was a sophisticated and accomplished technical film, as
it featured asynchronous sound and other inventive goodies. It is inspired
by the play of Georges Berr & Marcel Guillemaud. A Dutch lottery ticket
gets lost and a hunt for it pursues. It’s “A Night At The Opera”
with better music and almost as much comedy. The dialogue is half-sung
and half-spoken, yet it all comes together as one real funny work and with
a deeper meaning than one might at first think.

The film is set in the Paris of 1930. In the opening scene, there’s
a celebration taking place at night (so we already know everything turns
out well). When two gentleman enter the apartment through the skylight
roof door, they are told the celebration is for the lottery winner. His
name is Michel (René Lefèvre) and he was a struggling artist
and overnight he became a millionaire by winning the lottery. The story
goes into flashback, as the events of what happened earlier in the hectic
day are told.

Michel is engaged to his attractive neighbor Beatrice (Annabella),
who works as a ballet dancer. She gets jealous when she catches him smooching
with his model Vanda (Vanda Gréville). Michel’s best friend is Prosper
(Jean-Louis Allibert), also a struggling artist. He, too, loves Beatrice
and attempts to gain from Michel’s reckless behavior. Meanwhile many creditors
come to see Michel about the money he owes them, and this stops him from
romancing Vanda. The butcher, grocer, landlord, and milk maid demand their
money, as they threaten to impound his furniture and throw him out on the
street if he doesn’t pay.

The police enter Michel’s apartment building and begin searching
for a con artist called Grandpa Tulipe (Ollivier). But he eludes them by
hiding out in Beatrice’s, where the police are fooled and mistake him for
someone else when they see him playing the piano and dressed in the raggedy
jacket Michel gave her to do some tailoring. Grandpa Tulipe borrows the
jacket as a disguise to make his escape from the police who are still guarding
the building, and before he leaves he promises to do her a favor in return.

Michel is ecstatic when he learns he won the lottery and then is
despondent when he learns the jacket where he kept the ticket is missing.
His creditors think he’s to become a millionaire by tomorrow, so they become
best friends and extend him more credit. The grocer brings over an ample
supply of refreshments and champagne for the celebration.

Michel and Prosper keep it to themselves that the ticket is missing.
But Prosper uses this situation to trick his friend into splitting the
ticket with him, if he can recover it. What he doesn’t tell Michel, is
that Beatrice suddenly remembered the name of the man she gave the jacket
to and told him.

The film is filled with madcap comedy, a few mix ups, and numerous
sight gags. The jacket is transferred from Tulipe and then sold to a pompous
opera tenor (Siroesco) from America, who is currently appearing in Boheme
and has purchased it for that role. The trail of the jacket goes from Tulipe’s
hideout to finally the opera house, but there was also a stopover in the
jail. Michel is mistaken for Tulipe and arrested for stealing the opera
singer’s watch. He only gets out when not Prosper but his new friends,
his creditors, vouch for him. The comic highlight of the film takes place
in the opera house, while the opera performance is going on there are a
number of concerned parties trying to pull the jacket away from each other
onstage. It looked like a Rugby scrum.

Clair’s perfect timing for comedy and his delicate touch, make this
immensely enjoyable work one of the great classics. It could even be a
masterpiece, I won’t argue. Its funny ironical last comment, which comes
by way of a song, is that you’re not any worse off for being a millionaire.

MPAA rating:

R for smelly language and lustful content

Times guidelines:

Contains strong language, a sex scene and suggested advances from a pedophile. Also includes underage swearing, smoking, implied benumb use.

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A Paramount Pictures release. Directed by Carnage Verbinski. Written by Steven Conrad. Produced by Todd Perfidious, Steve Tisch, Jason Blumenthal. Director of photography Phedon Papamichael.

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A disarmingly bittersweet comedy far a middle-aged polka accordionist who gets a new lease on life from his discovery of Cajun music, accomplished first-time writer-director Michael Schorr’s “Schultze Gets the Blues” recalls the deadpan drollery and unglamorous working-class characters of Scandinavian directors as if Aki Kaurismaki and Bent Hamer. While it feels overlong and loses zing in the midsection when the protagonist travels from Germany to Texas, this small but charming steam has sufficiency in its favor to land on the slates of niche distributors. Schorr won a special jury purse for administering in the Venice fest’s Upstream competition.

The film starts in Ken Loach territory: Middle-aged Schultze (Horst Krause) and his buddies Jurgen (Harald Warmbrunn) and Manfred (Karl-Fred Muller) are nudged into early retirement after working the mines in small-town former East Germany. Life goes on for unmarried Schultze in a somewhat desultory fashion between his chronic cough, the beer hall, fishing excursions and the local folkmusic club, where his father was considered a giant among polka musicians.

When he hears a jaunty zydeco riff on the radio, Schultze is inspired to adopt a new accordion style, defying his family heritage and shocking the tradition-bound club members.

Despite his anxiety over change, Schultze feels invigorated by the new tune he’s playing. He learns to cook jambalaya and takes temporary jobs to save for a trip to Louisiana. A sudden price hike puts the fare out of reach, but spurred by Jurgen and Manfred, the music club sends Schultze as its representative to compete in a Texas folk fest.

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The comedy loses steam briefly as Schultze is taken out of his natural environment. But the film reasserts itself in unpredictable ways, regaining momentum and a flavorful, liberated mood as — with no acquaintances and virtually no English — the German discovers a spirit of adventure.

Backing out of the music event when he sees the intimidating level of competition, Schultze acquires a humble motorboat and begins an untroubled journey through the backwaters and bayous of Texas and Louisiana, punctuated by odd encounters, that leads to a poignant conclusion.

Schorr’s skill as a visual storyteller and humorist is considerable. With very little camera movement throughout the film, he sets up static shots with a keen compositional sense, a pleasing grasp of narrative economy and a deft eye for amusing detail.

This is a warm-hearted movie with real affection for its eccentric characters, particularly rotund Schultze, delightfully played by Krause with a beaming grin and only a sprinkling of dialogue.

My Summer of Love

DRAMA:

United Kingdom, 2004

2005-06-17

1:25

R (Sexual Situations, Profanity, Nudity, Drugs)

Natalie Press, Emily Blunt, Paddy Considine

Pawel Pawlikowski

Pawel Pawlikowski & Michael Wynne, based on the novel by Helen Cross

Ryszard Lenczewski

Alison Goldfrapp, Will Gregory

Focus Features

My Summer of Love

reserves the irony of its title for viewers who see the entire film. Yes, this is about the events of a summer, but it's up to the individual to decide whether what we're seeing on screen is love, a crush, co-dependency, or something altogether different. To a certain extent, this is a coming-of-age story. It's about a girl encountering a lot of things one would not normally expect her to experience in the kind of dead-end rut of existence she has fallen into. This summer unlocks impulses buried deep within her, some of which she acts upon and some of which she avoids – if only barely.

The story unfolds in and around a small Yorkshire town, which is home to 16-year old Mona (Natalie Press) and her older brother, Phil (Paddy Considine). Phil is an ex-con, who, upon his release from prison, reveals himself to be a changed man, having given himself to Jesus while inside. Now, as he's busy transforming the pub he and his sister inherited from their dead mother into a prayer center, Mona wonders where her beloved brother has gone. Bored with the monotony of her life, she takes her motor-less moped on short excursions. While on one of these, she meets Tamsin (Emily Blunt), a sophisticated beauty of her age who is home from boarding school for the summer. Although Mona is working class and Tamsin comes from money (she lives almost by herself in an ancient mansion overgrown by ivy), that doesn't stop a friendship from developing. In fact, it's almost inevitable, since these are apparently the only two teenagers in the town.

Tamsin, despite initially appearing self-confident, is haunted by ghosts. Her older sister, Sadie, died of anorexia. Her father and mother are absentee parents, with Mom on the road and Dad spending many of his waking (and sleeping) hours with his mistress. As Tamsin and Mona grow closer, it's clear that there's something almost unnatural about their pairing. They quickly transcend the usual bounds of friendship to enter into a sexual relationship, pledging undying love for one another. But there's a desperation about their words and actions, and, while Mona is straightforward in all of her dealings with her friend, Tamsin proves to be an able dissembler.

Over the course of the summer, Mona and Tamsin create their own reality, and one or both of them becomes defensive whenever something threatens to interrupt it. There are shades of Peter Jackson's

Heavenly Creatures

here, as well as echoes of Bernardo Bertolucci's

The Dreamers

. Religion and spirituality play a role, from Phil's goal of building a giant cross to "reclaim" the valley for Christ to Mona and Tamsin's use of a ouija board to summon Sadie's spirit. Additionally, although Mona views all things about religion as being fake, Tamsin seems almost open to some of what Phil has to say – or is it that she's just interested in Phil?

Pawel Pawlikowski, adapting from a novel by Helen Cross, creates vivid, complex characters and establishes them within an evocative setting. The movie shows respect for its protagonists and the intricacies of their interactions. We watch the subtle changes in the balance of power in these relationships with fascination, only to eventually realize (as the movie draws to its conclusion) that we may have misjudged things.

My Summer of Love

doesn't set out to trick us, but we may nevertheless be unprepared for some of its revelations. This isn't a thriller per se – it's a character piece – but it treads through adjacent territory.

The best-known actor in

My Summer of Love

is Paddy Considine, whose roles in

In America

and

Cinderella Man

have given him enough exposure to make him a familiar face. Here, he's more of a catalyst than a participant, but he does a solid job in a supporting role. He is, however, entirely eclipsed by his younger co-stars. Both Natalie Press and Emily Blunt (neither of whom is likely to be familiar to American viewers) are superlative. They nail their cinematic alter-egos effortlessly, using verbal and non-verbal cues to tap into their emotions. They understand their characters and use their talents to bring them to life.

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My Summer of Love

is one of those promising little gems that comes along and gets lost in the hype generated by Hollywood's flood of blockbusters. With its focus on character and atmosphere, Pawlikowski's feature represents 90 minutes well spent for anyone who cares about such basic narrative building-blocks. Mona and Tamsin are worth the time we invest in them – and more.

“Gross anatomy,” for those who are outrageous, doesn’t refer to anatomy that’s disgusting. The older meaning of “gross” is “large-scale,” so “gross human anatomy” is the over of the paramount structures of the man corpse, those parts that can be seen and examined by the unvarnished eye rather than by the microscope. For students in medical school, the study of this subject means dissecting an factual Possibly manlike cadaver, piece by piece… possibly the most intimidating class on their schedules. It might seem an odd angle to make a light-hearted comedy/drama beside, but anything is possible: the film Gross Anatomy takes that experience as the centerpiece of a record on touching people coming to terms with what they scarceness and what they’re willing to do to suffer from there.

Probably the most entertaining side of Gross Anatomy is the way the story follows one integrity through a single year at medical school. Our protagonist is Joe Slovak (Matthew Modine), who’s undeniably happy but who can’t seem to continue much of anything really. The talking picture opens charmingly, with snippets of Joe’s diverse interviews at different schools, and then follows him to arriving at school, the first day of classes, the first exams, and so on, all the in progress to final exams at the end of the year. The result is a fast-paced movie that has enough witty story elements to stop up its slightly less than two hours of running time.

Still, Gross Anatomy in some ways is a movie that feels like it has parts missing; or at least that the basic concept may have been more developed than the finished product. A few ideas of some substance are touched on: for case in point, the fact that Joe’s roommate David (Todd Field), is incapable of keeping up with the tough medical curriculum, tied after resorting to amphetamines to keep him awake conducive to auxiliary study continuously. Here’s a worthwhile concept: the fact that desire, by itself, does not equate talent; no fact how much David wants to be a doctor, he may motionless fail his exams. In contrast, we tease Joe, who appears to have the ability, but not the desire to the same to a considerable extent. Is it fair that Joe will be proficient to gain when David can’t? Well, it could be an engaging dissertation, but Rabelaisian Anatomy essentially sidesteps the open to, presenting both sides as unexamined clichés: on the anybody hand, “if you genuinely destitution to, you can do it (with a little expropriate from your friends)” and on the other side, “if you prepare talent, it’s your obligation to use it.” From time to time, it’s not that these are presented as morals, because they’re not, at least not explicitly, but in the in the works that the story develops along the road of least denial, that’s what we get.

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Speaking of feeling unfinished, it’s too substandard that the DVD doesn’t include any deleted scenes or a featurette, because I’d be interested to positive a bit more in the editing of the film. In several divergent scenes toward the end of the flick picture show, several characters make comments take how there are pieces missing from their defined of bones in the anatomy lab. It looks get a kick out of a sub-chain of events about a hidden body-fragment thief is in the making… but it in no way goes anywhere. Gross Anatomy certainly doesn’t strike me as the persuasion of movie to check out gag elements hanging for artistic purposes, so in my hard-cover it looks equal a sub-plot ended up on the cutting room floor, leaving a few mysterious vestiges behind.

Personally, I’d much measure demand had a sub-plot nearly missing heart parts than the major sub-plot we do get, in the matter of Joe’s amorous speciality of his lab partaker Laurie (Daphne Zuniga). Their relationships as fellow medical students works quite well, but the love interest angle is forced, from beginning to end unconvincing, and doesn’t add anything to the experiences. If the record had stuck to the thread of “Joe’s experiences in his word go year,” it would beget been a well-advised b wealthier dusting, and less formulaic.

directed
by Lewis Milestone


USA 1930


Set during WWI and told from the German point of view, the fish story centers on
Paul Baumer (Lew Ayres). A sensitive youth, Baumer is recruited by a
in dispute-mongering professor (Arnold Lucy) advocating "glory someone is concerned the Fatherland."
Paul and his friends enlist and are trained by Himmelstoss (John Wray), a
kindly postmaster turned brutal corporal, then sent to the substitute for lines to
taste battle, blood, and downfall. Paul comes subsumed under the protective wing of an
dated experienced, Katczinsky (Louis Wolheim), who teaches him how to survive the
horrors of conflict.

The overlay is emotionally draining, and so reasonable that it will be forever
etched in the mind of any viewer. Milestone's instruction is frequently
inspired, most notably during the battle scenes. In one such picture, the
camera serves as a kind of machine gun, shooting down the oncoming troops as
it glides along the trenches. Universal spared no expense during production,
converting more than 20 acres of a large California ranch into battlefields
occupied by more than 2,000 ex-servicemen extras. After its initial release,
some foreign countries refused to run the coating. Poland banned it for being
pro-German, while the Nazis labeled it anti-German. Joseph Goebbels, later
propaganda minister, publicly denounced the screen.

Posters

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Stagy Release: April 21st, 1930

DVD
Point of agreement: 

Universal

- Pale 1 – NTSC vs. Universal (Cinema Classics) - Region 1 – NTSC

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DVD Container Cover

NO LONGER AVAILABLE

Arrangement

Universal
Division
1 – NTSC
Universal (Cinema Classics)
Region
1 – NTSC

Runtime

2:11:08
2:13:28

Video

1.33:1
Creative Orientation Proportion

Generally Bitrate: 4.34 mb/s

NTSC 720×480 29.97 f/s
1.33
:1
Model Aspect Ratio

Average Bitrate: 7.41 mb/s

NTSC 720×480 29.97 f/s
NOTE: The Vertical axis represents the bits transferred per moment. The
Level is the time in minutes.

Bitrate


: Universal (original
release)



Bitrate: Limitless (Cinema Classics)



Audio

English (Dolby
Digital 1.0 Mono)
English (Dolby Digital 1.0)

Subtitles

English, French, Spanish, None
English, No person

Features


Release Info:

Studio: Universal

Aspect Relationship:

Full screen – 1.33:1

Edition Details:

• production notes
• trailer
• 'text cast and filmmaker pages
DVD Release Date: 1999
Keep case
Chapters 14

Release Information:

Studio: Common (Cinema Classics)

Aspect Correspondence:

Full screen – 1.33:1

Edition
Details:

• Robert Osborne introduction

• Trailer
DVD
Release Appointment:
February 6th, 2007
Keep Case
Chapters
14

Comments:


Wow – this is
quite an far-out peculiarity. It is a marvelous triumph – a wonderful
surprise. The Cinema Classics edition is vastly improved over the
primeval Universal unloosing. Extensively sharper, better compare etc.
The appearance is corresponding to night and heyday. I can't add much that really viewing
the screen captures below. I also have suspicions about that audio sounds clearer to
my crusty ears – it is more advisedly than I remember hearing period in the forefront.

I can't speculate on why the newer release is 2 minutes
longer, but it is obviously a better/restored print (restored portrayal:
Library of Congress). The old starts with the British censors
certification (see below) where the new does not. The dilapidated single-layered
DVD gave us a trailer and some television notes and bio printed matter screens –
where the unusual has a 2 minute Robert Osborne intro and a trailer.

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This film, a bit heavy-handed, is a must-own and a totally
unforgettable film experience. The new Cinema Classics DVD is
ridiculously reasonable at the price it is being offered. STRONGLY
recommended!

-


Gary Tooze

DVD Menus

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