Shin Chan: Season One, Part One
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Shin Chan is an anime in Japan for kids, however, the adapted series for America is far from it. Adult Swim and Funimation re-wrote the dialogue of the show to suit the viewers of Adult Swim. Cultural references are also changed to things Americans can relate to. This box set is the collection of the six “test” episodes as well as the sixteen episodes Adult Swim picked up to complete the full season. This dvd set is defidently a must buy if you do not offend easily.
This is a review of just the dvd disc itself. While Shinchan is silly and hilarious to watch, it did not include the japanese audio nor did it have subtitles as described.
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Utawarerumono: Complete Box Set
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First of all, let me say that no aspect of this series is outstanding. Rather than being brilliant at one thing, it’s more of a good all-round series. It’s a solid series; one that fans of war stories set in the ancient past will get into from the get-go. And, despite the main character having his own harem, it’s safe to say the series can be enjoyed even by those who dislike harem series.
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The story starts with a man getting found injured in the forest near a small farming village. He has a mask, no memories and doesn’t have a clue who he is or what he was doing in the forest. He quickly becomes friends with Eluluu, the young healer who found him, and her little sister, Aruruu. He gets given the name Hakuro by the village chief – the name of Eluluu and Aruruu’s father.
At first all is well but the situation quickly turns ugly. Hakuro has to come up with a tactic to save the villagers from being eaten alive by the angry ‘God’ of the forest. He does so, and earns the respect of the entire village. Then the local feudal lord pays a visit to the town in order to collect taxes. One of the guards kills the village chief, resulting in Hakuro being named chief, and he helps the angered villagers lead a rebellion against the feudal lord. Hakuro kills him, which leads to the Emperor getting involved in an attempt to avenge his brother.
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From there, the series takes a path fans of the Suikoden video game series will be familiar with: armies fight, new, super strong allies join and, bit by bit, Hakuro’s army grows in power. Soon a mere rebellion transforms into a war between nations, with war after war following Hakuro as he rises to power, as if caused by him. As he continues to become more powerful, staining his hands with more and more blood, the questions of who he is and if what he’s doing is right become increasingly troubling.
Where the story falls short, after an involving opening and enjoyable middle, is the ending. Prior to the last section of the story, it had been fast-paced bows and arrows warfare. Aside from a few winged magic users, there’d been nothing to suggest the ending would be quite so ridiculous. All of a sudden robots come into the picture, with one nation destroying all others with these machines, and Hakuro’s true identity is revealed during the mecha action. In an attempt not to spoil the story, I’ll just say that Gods, evolution, space stations, hi-tech science labs, blob monsters, reincarnation, a Godzilla style final battle and all of the usual anime ending stuff you can think of comes into play. I’m not quite sure how to describe it, actually… It’s best just to say it ends in a horrible manner and leave it at that. It’s a shame because if the series had ended like it started, without all of the seemingly random rubbish, it could’ve been a top anime.
The ending aside, my other story issue lies with the battle tactics. Hakuro’s tactics usually come down to him telling people to go left or right and him letting his elite soldiers slaughter the enemy soldiers. With the main character playing the role of tactician and the story being about him quickly rising to power, I expected in-depth, jaw dropping battle strategies. Maybe I was expecting too much? I don’t know, but it’s fair to say the battles could’ve been more complex.
While on the subject of battles, if you’ve played any of the Dynasty Warrior games you’ll have a good idea how the combat goes in Utaware. The generals are all powerful, killing the grunts with one blow, and the proper, more intense combat involves one on one battles between opposing generals. But the combat isn’t very exciting, with some animation recycling occurring and the important fights just simply failing to get my blood pumping. It’s a shame because some dodgy, out of place CG aside, Utaware is lovely to look at. The art is appealing, the colours vibrant and, as far as I’m aware, the backgrounds were all drawn by hand, giving them extra charm.
To end my story comments on a positive note, I’ll end by saying that, if nothing else, the Utaware story is an entertaining one to sit through. The story is always on the move, with there rarely being episodes not focused on the on-going struggles of Hakuro, and it flows excellently from episode to episode. Another story positive is lack of perverted content. I may be little off when I say this but I think the game the anime was based on was an erotic one, involving Hakuro picking one of the female characters to be his girl. While there are elements of this in the plot, in the anime it comes across more like a straight-forward romance that develops in a logical way as the series progresses. The only scene that comes close to crossing the line is one where Karula – a warrior with a HUGE sword and big boobs – offers herself to Hakuro in exchange for his help and almost gets accepted. Overall, the series was highly enjoyable and surprisingly tasteful.
In terms of the huge cast of characters, Utaware is a little hit and miss. The cast are more likeable than well developed. The main cast members all stand-out, with most of their names and personalities sticking in my mind straight away, but not many get fleshed out. You learn their quirks and that’s it for the most part. Hakuro gets the most time, as you’d expect with him being the main character, but you never see a lot of his past, and what’s shown isn’t very clear. Eluluu, the female lead, is cute and likeable enough and her interaction with Hakuro and her little sister, Aruruu, adds depth to her character but she very rarely came across like a real person. Aside from those two, only Oboro and Karula get decent development. Oboro fights whilst constantly worrying about his blind and bedridden little sister (some early episodes focus on this subplot) and Karula has her own little story relating to her past. In short, the cast have a lot of likability but fairly limited development, with a lot of the blame for this laying with the series length.
As for the music, Utaware has a solid soundtrack. There are some memorable tracks and lots of fitting music that, while unlikely to be listened to outside of the anime, improves the viewing experience. The opening and ending themes are very good, the opening in particular sticking in my mind.
All in all, Utaware surpassed my expectations but still ended up disappointing me because of how it ended. Until the final volume I was prepared to score it in the 9-10/10 tier, but it’ll have to make do with a solid 8/10 instead. I respect the series for not being perverted despite it being based on an erotic game and having a large cast of attractive females. At worst, you could say it panders to the moe market a little, but there’s nothing included that made me think the series was aimed more at perverts than people looking for a good story. I recommend anyone looking for some primitive, bows and arrows war look the series up.
Rating: 8/10
———–
There’s one last, non-vital thing I’d like to touch upon: the DVD extras.
Included on the Utaware DVDs is a four part omake series. These short episodes focus on light-hearted fun – very different from the usually serious main story, and I rated the omake series 9/10; one point higher than the main series. Why the rating, you ask? Because the omakes are hilarious. I’m not the sort of guy who roles around laughing, but even I laughed during the third episode when, after Oboro had broke her doll, Touka went insane, beating the crap out of Oboro and making some of the most weird and amusing screams I’ve ever heard. I loved how Hakuro left the room after seeing Touka’s bloody hand and crazy expression, leaving Oboro to his fate (once again!).
Do yourself a favour and watch the Utaware extras. You won’t regret it.
This anime series is first rate. The animation is flawless and maintains a steady pace throughout. The storyline is top notch as well. The series concerns a man who has been found badly injuried and without any memory of his past or how he got to the village he is found near. He is taken in by a family who gives him a name and is considered a brother. There are several wars as he helps the people of the village and other villages obtain their freedom from a tyrannical emperor.
The music soundtrack is also first rate. Even though the opening and ending songs are sung in Japanese, the beat makes you want to tap your feet.
I have many different anime series in my collection and I plan to add this one to my growing list.
I would not recommend this series for children under age 14 due to the extreme violence of the battle action. But adults should enjoy the series due to the constant surprises in each and every part.
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The Brady Bunch – The Complete Series
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Brady fans rejoice! The entire series, all 5 seasons, of The Brady Bunch is finally available in one compact, shag-a-riffic DVD Collector Set.
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Let me start off with a word of warning for anyone who has purchased any of the individual season sets: The first 20 discs that comprise all 5 seasons are the exact same discs that you will find inside the individual season sets; Same disc art, same previews, same discs period. The 21st disc, however, is the all-new “exclusive to this set” DVD of special features. On this disc, you’ll find the movies “The Brady 500″ (the pilot for the series “The Bradys”) and “A Very Brady Christmas” in addition to a 2-part episode of “The Brady Kids” cartoon. “The Brady 500″ runs 88 minutes, “A Very Brady Christmas” runs 94 minutes and each cartoon runs a little over 21 minutes. All together they total 3 hours 45 minutes of Brady wonderment, not available anywhere else. For the closing logo enthusiasts out there, you will be saddened to know that the original closing logos on both movies have been replaced by the current CBS Paramount logo. The cartoons do have their original Filmation and Paramount logos though, followed by the current CBS Paramount logo.
Now, the packaging… The Complete Series comes in a thin, clear outer box, with a small hole on the front so you can feel a bit of the “shag carpet” covering 3 sides of the inner, more sturdy box. Once you remove the clear outer shell, you’ll find that the inner “shag” box opens like a cigar box. The inside flap houses a booklet that slides in from the top. This booklet serves the same purpose that the slim cases for the individual seasons do, to list which episodes are on which discs. Everything is great up to this point, until you see how the discs themselves are packaged. All 21 discs are housed in what can only be described as an “expandable/collapsable file folder” style sleeve, which is held in place with a clear plastic lid (same material as the outer box). Basically, the disc holders are 21 small, flimsy “card stock” sleeves, glued together at the bottoms. Unfortunately, the glue used to hold these together is a very soft, gummy glue that left a sticky residue on a handful of my discs. Even worse, by housing the discs in sleeves, half of my discs arrived with light to medium scratches on them.
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On the individual season sets, Paramount uses 2 slim cases, each holding 2 discs. Since the episode discs are the same in this set as in the individual seasons, I almost feel that it’s better to get them that way. But, individual seasons means no “special features” disc. Plus, this complete series set does come at quite the savings compared to purchasing the seasons individually.
So, the question you need to ask yourself is “How big of a Brady fan am I?” Is the extra disc worth 20 other possibly scratched, sticky discs? If you are a completist or collector, the answer should be a definite yes! If you’re a casual fan who owns any or all of the individual sets, it might be a firm maybe.
But, as for me, I’m glad I bought it.
This set is still much better than the original “Brady Bunch” season sets because you get the “Christmas Show” bonus show + tons of more bonuses and the price is only $89.99 for the WHOLE entire season of “The Brady Bunch”.. Who cares that the discs are made in mexico, the picture quality is supurb and the price is fantastic!!! I have no complaints about this set because it meets all of my needs and is a nice collectors set… Online at other websites this exact set sells for over $120.00 and on Amazon it is priced @ only $89.99 with FREE SHIPPING! The discs play just as well as the other “Brady Bunch” set and you will save a ton of money on this set and again the remastered picture quality is excellent. The shag carpet is not my favorite thing about the set and I don’t like the way the discs are housed in the case but all in all this is a fantastic set to own and a MUST HAVE for any “Brady Bunch” fan. I know a lot of fans that are selling there original sets on the auctions sites an opting for this one because of the BONUSES. Highly recommended!!!
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Dieux du Stade 2009 DVD: Making of the Calendar
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as with the 2008 disc, NO FRONTAL NUDITY,even by the star players that did it in 2007. otherwise, some really nice, sexy men. some didn’t even bother to accept nude at all. lots and lots of behinds shown, but that’s about it. the last nudity year was the 2007 dvd.
“Dieux du Stade 2009: The Making of the Calendar
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Disappointing
Amos Lassen
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The DVD of the making of the “Dieux du Stade” calendar is like a rite of spring. We know it is coming and we wait for it and we are generally disappointed. The 2008 DVD was not as pleasant as the 2007 and the 2007 was not as beneficial as the 2006. Actually since the first in 2005, the quality has gone down.
This year’s photographers tended to overexpose some parts of the models’ bodies especially the exquisite faces and the lighting caused the men to have a washed out view. In fact, what there is all looks rather mechanical minus the human interaction that once went along with the movies Also, the same background was ragged for almost all of the shoots so the entire thing became lifeless,
I am sorry that was not a success and it is not because there is no frontal nudity. What is missing is a lack of sensuality. The French are sizable looking men but they seem to be completely ill at ease with what is going on. Some of the men are very sexy and if you like rear views then this is for you. I found it uninteresting.
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Pinocchio
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I objective saw a special engagement of this latest 70th Anniversary version of Pinnochio at Disney’s El Capitan Theatre in Hollywood in arrive of the DVD re-release. Though I am cheerful to spy the movie be given public exposure on a broad theatrical shroud, over the years I have seen many theatrical screenings of the movie on at least 12 different occasions including an modern nitrate 3-strip Technicolor studio vault print in the early 1980’s (before the studio dismantled its last nitrate screening room) and non-digital film restorations and was disturbed to survey that this latest restored version has digitally tampered with the film’s unusual color palette for no justifiable reason.
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Some of the chosen character hues are recent day, approved color hues, but peer out of site in this early appealing classic including sure pinks, reds and blues which are reused so often in identical shades that to classic animation buffs it becomes distractingly noticeable. For those animation buffs who know about Pinnochio, Walt intentionally muted colors in some of the scarier or sadder scenes. In the restored version, for example, when Pinnochio gets locked in Geppetto’s “birdcage” the nighttime scene is brilliant and garish where it should intentionally be darker and muted.
The modern movie had hand inked character outlines in colors that matched the interior ink colors, none of that is apparent in this restoration. The characters, though admittedly sharper and clearer, study color-wise like they were electronically tampered with, then reinserted in front of the current backgrounds.
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At this point, the wound is done and obviously this restoration was “stylistic.” But in any case, it might be compared with someone redoing the Mona Lisa with more recent color hues for the purpose of improving the artwork or making it more novel day acceptable. Either two things, perhaps no one at Disney was knowledgeable enough to ogle what the outside restoration company was planning to do with the film in early test segments or maybe they figured that current day DVD audiences would not know the disagreement or care, but this is the first “DIGITALLY RESTORED” classic Disney film that I have ever taken lisp with. What a let down since it is my very common Disney film of all!!!
P.S. I was the founder of the obsolete, long time Disney employees’ Captivating Film Club (later referred to as the Disney Film Club) which included Disneyland and Walt Disney Studio employees. It was founded in 1976 and continued on and off for many years afterward with visits from surviving fresh Disney animators, screenings of rare Disney footage and more.
The one-two whammy of audience and distinguished indifference to “Pinocchio” and “Fantasia” killed Walt Disney’s desire to experiment with the limits of animation in the 1940s. From then on, play it obliging was his motto. This may be one of the greatest tragedies to beset approved American culture in the 20th century; despite the depths of pretension and kitch in “Fantasia,” it was at least evidence of a exciting mind in pursuit of the unattained — but “Pinocchio” must have broken archaic Walt’s heart. There are visual effects in this movie that remained unchallenged until the digital age, and it’s worth recalling that every single one of them was drawn by hand. It has one of the most blooming and provocative musical scores in the history of the movies (I can’t hear Cliff Edwards’ high, pure falsetto holding that final sign of “When You Wish Upon a Star” without chills), a deeply plangent sense of emotion that never tips over into bathos, and a wealth of detail that is unruffled staggering after 65 years. But it may be too shadowy a movie to finish the popularity of more pleased Disney cartoons like “Snow White” — although even that one can frighten the tots. Now: where is the double-disc Special Platinum Edition???
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American Chopper Season 4 – DVD Set
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This place includes 3 disks with 2 shows per disk, total of 6 episodes. The episodes are:
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49. Caterpillar Bike 1 Current air date: 4/4/2005
50. Caterpillar Bike 2 Recent air date: 4/11/2005
51. Gillette Bike 1 Recent air date: 4/18/2005
52. Gillette Bike 2 Current air date: 4/25/2005
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53. NAPA Trudge Bike 1 Modern air date: 6/6/2005
54. NAPA Fling Bike 2 Current air date: 6/13/2005
This is a bare bones place. NO special features, not even a disk menu to determine episodes on each disk. Discovery did mighty better with seasons 1-3, these novel sets leave mighty to be desired, and at $5+ per episode, the imprint is steep. Near on Learning Channel/Discovery- you can do better than this!!!!!
The dvds are definitely manufactured by someone different than the first 3 seasons. The dvds are really terrible in the fact that they are out of order on the disc (episode wise) . I also had a disc near that did not even work. The best share is that the cheap producers did not utilize any anti-burning techniques, so you can burn / copy them all you want. Might assign you some money if you don’t want to pay the 30 bucks per region. I would ask around if I were you before buying.
On a friendly sign, the point to is peaceful safe and provides lots of entertainment. I esteem American Choppers. I honest hope they decide a better company next time to release the dvds, honest for their sake, because pirating is going to be an announce with seasons 4-5-6 (which I bought) .
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Ai Yori Aoshi Enishi, Volume 3: Destiny
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I am too familiar with and well aware of the areas in which Ai Yori Aoshi may be criticized. And on an incandescent level I would agree. There is absolutely no purpose to Tina’s overtly perverse and improper behavior, which was for all intent a grossly distorted crack at American conduct. Taeko may have been more amiable had the character not been a stereotypical clumsy but well-meaning goof of a beauty who is the most endowed among the cast. And Aoi is so subservient, deferring her gain wishes, ambitions and aspirations to a weakling that had abandoned her in the first location that it defies reality and suspends disbelief. And its most considerable failing may be said to be its dishonesty. To initiate with exposition of a profound romantic premise that after four episodes takes not objective a detour, but a beefy 180-degree turn to become something less and driven by slapstick and fanservice is unprejudiced deceitful and misleading. As a romantic drama, the title is guilty of all its shortcomings.
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But what if the new intent had not been to produce a romantic drama, but to sell a product that is highly approved among male demographics? And what if success in this business venture was to be found in illustrated literature that falls under a genre in which a harem was not only celebrated, but fundamental? Moreover, what if author and artist Fumizuki Kou was a skilled and gifted writer able to conceive strong situations that test his characters and thus go his readers? And, that despite his need to eat and pay rent or the mortgage, his respect for his bear artistry forbids him from producing entirely unsubstantial material, that he devises a belief to bring about warmth, richness, and dimension to the product. And that he does so by setting its foundation on the fancy of two childhood friends bethrothed to one another but separated by bitter familial politics. But he would decisively and canonically save an enthralling destiny for these two no matter who was thrown in the mix. And to highten and strengthen the dramatic impact, he would get the two in the most curious fashion by sparsely placing throughout the series the tender, touching, titillating, and interesting moments of intimacy shared between them. And as the two of them remove one another, we are exposed to their thoughts and emotions, raw in the pursuit of the other’s well being but founded on a compelling desire to be the source of nourishment to the other. Finally, their interaction would be pure, fair, mutually unique, and courageously untainted by any make of wanton and gratuitous sexual provacation (Tina’s antics notwithstanding) as is popular in today’s smut being passed off as romance. What if the mighty romantic elements of Ai Yori Aoshi was merely a component ragged to enrich the product belonging to a genre from which there certainly was no shortage?
This is how I idea Ai Yori Aoshi. It is an delightful harem anime based on a gorgeous manga. As a harem anime, it would then be expected for one male to destroy up in situations where he is living with many women. Yet, the title sets itself apart in execution, as it profoundly explores and develops that romantic component that was sorely neglected in Treasure Hina and diverted away from in Tenchi. It is also ludicrous to mediate the character of Aoi Sakuraba in light of western upbringing and not judge the cultural context from which she was conceived. Whatever it is that one may say about her only demonstrates one’s residence about the culture, and not fallacies about her thought. The Aoi and Kaoru moments were few indeed, but they were arresting and utterly savory, and their rareness made them all the more special when they did occur. I have nothing but the deepest affection and fondness for Ai Yori Aoshi. I’ve not seen anything as breadthly emotional in a romance, not the books I’ve read by jaded authors nor any film or video to which their efforts I ascribe superficial. This title is one that I continue to gaze over and over again. If the elitist viewer can win over him or herself, there is great to like in this lovely production.
I must admit that when I originally watched the entire Ai Yori Aoshi series ( including the second season, Enishi ), I too felt disappointed and a cramped let down at what seems at first to be a very initiate ending. But following a second run-through, I better indulge in what is its essentially laid-back “slice-of-life” reach. Although there are few sincere surprises in this final volume of the series, it nicely wraps the entire gang up and returns to the examination of basic feelings of the essential characters.
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The simultaneous strength and weakness of Ai Yori Aoshi is its basis in what was at the time an ongoing manga series of the same name. Since it remains faithful to its current source, it shares the same general structure, with only a runt tinkering and shifting of place elements. That means it bounces between the sentimentality of the Aoi/Kaoru relationship and the often-manic actions of supporting characters, particularly Tina, Taeko, and Chika, with no loyal old “kill” in behold. Happily, in this final volume, we tune down the frenetic behaviour and return to the strong personal stories that made the first volume of the first season such a delight; and if we don’t exactly gather a “final solution” in the construct of wedding bells ( other than in Kaoru’s dreams ) or anything else really overt, we at least inspect a grand stopping point.
For Aoi and Kaoru, the first episode on this disc provides an opportunity for potential “consummation” and to “retract their relationship to the next level”; this is as excellent as it’s ever going to fetch – for us or them – or needs to. Having finally gotten that out of the arrangement, we turn to the intricacies of the relationships within their “extended family” in the mansion. Although it is Tina Foster who serves as the somewhat surprising focus of the final three-episode mini-arc, she is only a representative of intertwined bond, the “enishi” of the title, that connects all the characters. Although I would have liked to watch more of their future antics and activities, as the saying goes, “All friendly things must near to an raze”!
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Star Wars: The Clone Wars
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LUKE: You fought in the clone wars?
BEN: Yes, I was once a Jedi Knight the same as your father.
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LEIA: General Kenobi, years ago you served my father in the clone wars.
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These quotes lit a fire under our curiosity, and it burned for nearly 30 years. Now the excitement and anticipation can be glad by…
…the further adventures of small orphan Annie!
CLONE WARS boasts lively position dogfights and intense light saber duels. But these things do not produce up for where it fails miserably. Nowhere in this movie do we gaze the echoes of the stout stories hinted in A Original HOPE. Nowhere do we observe a camaraderie effect between Bail Organa (“years ago you served my father”) and Obi-Wan Kenobi.
Since 20th Century Fox did not release this film (can’t say I blame them), the movie opens with the Warner Brothers logo and without the signature Alfred Newman prelude. There is no written prologue that retreats into the distance of site. The animation is rather wooden. This would have been acceptable had the film been made by a studio with a more exiguous budget. But it was made by George Lucas who has money coming out of his ears! Financially, there is no reason why THE POLAR Reveal should contemplate better than CLONE WARS. But even VEGGIE TALES looks better than CLONE WARS.
The space of CLONE WARS is that the Jedi are summoned to rescue Jabba the Hutt’s kidnapped son. That is the spot of the movie called CLONE WARS. Can someone please assert me as to what that has to do with the Clone Wars?
Jabba junior who inherits the nickname,”Stinky” is considerable more annoying than ewoks and Jar Jar Binks save together. There is even an utterly failed attempt at humor by pointing out that Junior the Hutt made a poopie. (No, I am not making that up.) Which, incidentally, is how we come at his cute nickname. Jabba the Hutt’s uncle plays a role in the film as well. Ziro the Hutt does nothing to add to the entertainment value of this heap except to produce the viewer wonder whether or not he was based on Truman Capote, for there is an uncanny resemblance.
The music in CLONE WARS almost never sounds like any of the scores collected by John Williams. Sometimes it sounded like a rock band and sometimes like classical Chinese folk music.
I’m sick and tired of people defending ewoks and Jar Jar Binks by saying it’s in there to appeal to the kids. Where have you been the last 30 years? It’s STAR WARS! The name alone has kid-appeal and always has. It has more kid appeal than Fess Parker’s Davy Crockett, for crying out loud. And it had it long before an ewok ever scratched his ear or a Gungan ever ruined a movie. You might as well complain about Sesame Street not having enough kid appeal.
In a word: Stinky.
I’ve been a Star Wars geek since the third grade, and I am now the proud mom of two elementary-aged boys who (like most of their friends, I’m gay to say) also appreciate the series. Frankly, I sort of wish Lucas had stopped with the three recent films which I believe are classic and astounding. The three newer live-action films left a lot to be desired, I felt, but my boys treasure them all fair as worthy if not more than the weak Luke/Leia/Han movies I grew up with. With the boys it’s all about the action, and The Clone Wars delivers. We saw the preview to this film in the movie theater, and our whole family of four almost jumped out of our seats. How wintry! A well-kept looking cartoon version of the mythical clone wars starring my approved character, the awesome Obi Wan. Of course, we went out to search for it on its opening day (along with some other families with Star Wars boys) and the kids adored everything about it. My notion was that it was neat-o, for determined, but clearly not made for adults. Let’s be right, this movie is positioned as the set-up to a original cartoon television series, so it basically seems like a slightly long episode of a tv cartoon. But I like the search for of the series with its quick-witted interplanetary settings and way-cool battle sequences. And being able to seek Jedi in action is an overdue pleasure. However, questions are raised which are impossible to retort. I, for one, can not represent to the character of Anakin as a mentor to a youngling since I know that one day he’s going to cold-bloodedly slay a whole temple fleshy of them. My kids even asked me if Anakin is going to destroy his padawan one day. Yikes! But if you’ve got kids in the house or a Star Wars collection to add to, you simply have to acquire this.
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Zu Warriors-Retail $14.99! Sale Only $13.49!
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Zu Warriors Description:
From the legendary martial arts choreographer of THE MATRIX and CROUCHING TIGER, HIDDEN DRAGON and the acclaimed director of BLACK MASK comes ZU WARRIORS, the fast-action fantasy about an incredible fight for freedom against the ultimate evil! High in the clouds of China lies the Zu Mountain range, home to the immortal martial arts clans. But these mountains also attract a powerful fearsome demon, whose plan for total domination includes the annihilation of the clans! Now the seemingly unstoppable Insomnia is targeting the Omei clan, which must join forces with other Zu Warriors in the ultimate battle to save the world!
- Amazon Sales Rank: #15511 in DVD
- Brand: Buena Vista Home Video
- Released on: 2006-03-07
- Rating: PG-13 (Parental Guidance Suggested)
- Aspect ratio: 2.35:1
- Formats: Closed-captioned, Color, Dubbed, DVD, Subtitled, Widescreen, NTSC
- Original language: Cantonese
- Subtitled in: English, Spanish
- Dubbed in: English
- Number of discs: 1
- Dimensions: 1.00 pounds
- Running time: 104 minutes
Features
- From the creators of BLACK MASK, and choreographed by legendary Woo-ping Yuen (CROUCHING TIGER, HIDDEN DRAGON, THE MATRIX), comes ZU WARRIORS, the action-packed fantasy about the fight for freedom against the ultimate evil! High in the clouds of China resides the Zu Mountain range, home to numerous martial arts schools and immortal clans. These mountains are the envy of the evil Insomnia, a warmon
Customer Reviews:
Another MIRAMAX “Hack Job”! (Don’t Say You Weren’t Warned)
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[[IMPORTANT NOTE!: Amazon has regretably been combining ''ALL'' of the reviews of the two different films mentioned in this review-- "THE LEGEND OF ZU" and "ZU WARRIORS" --into one lump group of reviews (extremely confusing & annoying!). So please be aware -- If you are reading this review on the "THE LEGEND OF ZU" ("China Star") import DVD page, that this is a review of the ("Miramax") 'Region-1' DVD, "ZU WARRIORS" and that this review does not apply to the import DVD.]]
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It should come as no great surprise that MIRAMAX is in the habit of destroying decent films — (they have routinely overstepped their bounds of reasoning ever since the company was bought out by DISNEY all those many years ago). Add THIS movie to that long list!
“ZU WARRIORS” is a “hack & attack” piece of “re-editing” of the ORIGINAL Hong Kong version of this film, “THE LEGEND OF ZU” (which is the official English “dual title” to its original Cantonese title, “SUK SAAN CHUEN” (trans.: “Zu Mountain Legend”).
Not only did the “brains” at “DISNAMAX” needlessly change the title, but they went so far as to change it in such a way that would allow it to become easily confused with an earlier Tsui Hark movie about the “Zu” legend called, “ZU: WARRIORS OF THE MAGIC MOUNTAIN” (dual Cantonese title, “SUK SAAN: SUN SUK SAAN GEEN HAP” – trans.: “Zu Mountain: New Zu Mountain Sword Heroes”) — a couple of unfortunate examples of just how much damage this “name change” caused can be readily discerned from the Amazon “customer reviews” of this film by “Mojo Jojo” from Dallas and the reviewer calling him/herself “Bumbo clot,” both of whom clearly having never seen this film but are very familiar with that earlier film: so as a result they both attribute things related to that earlier movie over to this one — things which have no relevance to this newer film whatsoever; “Bumbo” even going so far as to apply that first movie’s original titles to this one! (Sorry “Jojo” and “Bumbo,” but it was not my intention to pick on you, but merely to show just how easily “Disney/Miramax” set everyone up to be so effortlessly misled — it was THEIR fault for changing the title in the way they did, NOT your fault for being caught off guard because of it! That’s the only point I’m trying to make by using your reviews as examples, and I only picked yours to highlight simply because they were the first of however-many that are likely to follow that were posted.)
In addition to this, if there is one thing I have learned about American film distributors, it is that whenever they change the title of a “foreign” film– ESPECIALLY one from Asia –you can reasonably expect that they have changed other more IMPORTANT things about the actual content of the movie itself. And, sure enough….
This “hack job” version of “The Legend of Zu” was so bad that it had been left sitting on the distributors’ shelves for several years after they had “test screened” it on at least one occasion (some sources say a couple of them) and found itself being booed right off of the court. No $#!T, Sherlock??? What did those geniuses at DISNAMAX honestly expect would be the audiences’ reaction??? Rather than showing their test audiences the movie in its original ‘unadulterated’ form (then editing afterwards, if necessary), they instead insisted on showing their audience a version of the movie in which they had stripped out around 20 minutes worth of celluloid (from a movie that the larger number of viewers already find confusing enough as it is). They had also covered over the original actors’ own voices with a “dubbed” English track (rarely a good idea for Asian movies). Then to top it all off (as if all that were not bad enough), they proceeded to engage in the same kind of sneaky and sleazy “false marketing” tactics that American film distributors have of late become unashamedly guilty of when marketing lesser-known Asian films to American audiences — by “giving credit” where such credit is NOT DUE (for instance, such as when “BANGKOK HAUNTED” ["Pee Sam Baht" - trans.: "Three-Baht Ghost"] was credited as having been directed by “Oxide and Danny Pang” [the brothers who co-directed "THE EYE"] when, in truth, ONLY a single ‘vignette’ of the entire movie had been directed by “OXIDE” Pang alone): In the case of “ZU WARRIORS,” the transgression comes in the form of an announcement or “implication” that the very lovely & popular ZHANG ZIYI is the “STAR” of this movie, when, in fact, hers is a very MINOR (almost peripheral) role!
If you don’t mind having your intelligence insulted by DISNAMAX, then go right ahead and waste $21 bucks on this diced & shreaded bastardization — Lord knows you could just as easily waste it on something much worse! But if you are at all like me– or like those ‘test audience’ members who PANNED this remolded abomination –and you really want to see this movie for what it was MEANT to be, your options are to find a “region-compatible” official release DVD from the Asian market, or snatching up any one of the many “all-region” pirate DVDs on eBay, or tracking down a VCD version — all of which, in either case, will cost you CONSIDERABLY LESS MONEY than what Disney/Miramax is expecting you to shell out for their “Region-1″ ’shicken-chit’.
Hong Kong rivals hollywood
This is Tsui Hark’s follow up to his 1983 “Zu Warriors of the Magic Mountain”. While this film is visually dazzling, the earlier film is something of a visual treat in its own right. Unfortunately the sequel lacks the charm of the original, at least for me. While Legend of Zu certainly rivals the special effects ability that we’ve grown accustomed to from Hollywood, the story seems a bit empty. Zhang Ziyi’s role is nearly a cameo–don’t expect to see much of her. Still, I found the film entertaining and, if you like Asian cinema, it’s worth a look.
This movie inspires a Love/Hate relationship with it…
It’s “interesting” but “confusing.” I think it’s the continuity problems with so darn many people dying and then getting resurrected, sometimes in new bodies… It’s just, well, confusing. Don’t get me wrong it’s kind of a cool movie once you’ve watched it a couple times and understand what the heck is going on.
It has some really cool special effects, but it also has some really cheesy special effects. So, I suppose I could best describe it as having “inconsistent” special effects.
On the plus side, this feature has both the American-released chop-job and the “extended” (Read: original) Cantonese version. So, in that regard, it is good. So, if you really want to watch the unedited version in subtitles, you can. Probably one of the saving graces of this release.
Video’s okay, audio’s okay, voice acting is so-so for the dub… It’s kind of a bizarro live-action anime in some regards. Oddly reminiscent of Dragon Ball Z.
Amazon.com
A remake of the 1983 film of the same name, Zu Warriors is a martial arts drama set in a fantasy world where stoic warriors battle a powerful demon. With each kill, the horrific beast consumes their souls, making himself stronger and more difficult to slay. Hark Tsui directed this film, which stars a slew of actors (Ziyi Zhang, Sammo Hung, Cecelia Cheung) that are familiar to fans of Chinese action films. After Zu Warriors was released in 2001 to great success in China, Miramax snapped up the U.S. theatrical distribution rights for the film in the hopes that it would match the success of its earlier purchase Crouching Tiger, Hidden Dragon. But after sitting in Miramax’s coffers for several years, Zu Warriors never made it into U.S. theaters and instead went straight to DVD in 2006. Fans of the martial arts genre will see some awesome action sequences. The actors move with grace and skill, and they overcome the cheesy digital effects, which already look dated. But the melodramatic pauses and all too frequent far-away glances are out of place and distracting–even in this fantasy. –Jae-Ha Kim
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Anatomy of a Murder
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Based on the notorious Traver fresh, ANATOMY OF A Kill is an extremely complex film that defeats easy definition. In some respects it is a social document of the era in which it was made; primarily, however, it is a detailed portrait of the law at work and the machinizations and motivations of the individuals keen in a seemingly straight-forward case–and in the process it raises sure ethical issues re attorney behavior and the lengths to which an attorney might go to salvage a case.
Paul Biegler (James Stewart) is a small-town lawyer who has recently lost a re-election for the location of District Attorney and who is down on his luck–when a headline-making case enthralling assault, alleged rape, and execute drops into his lap. As the case evolves, there is no quiz about the identity of the killer. But a luminous lawyer might be able to fetch him off fair the same and redeem his acquire career in the process, and with the help of an passe friend (Arthur O’Connell) and his formidable secretary (Eve Arden), Biegler sets out to do precisely that. Opposing him in the courtroom is Claude Dancer (George C. Scott), a high powered prosecutor who is equally distinct to derive a conviction… and who is no more adverse to coaching a stare than Biegler himself. The two square off in a constantly shifting battle for the jury, a battle that often consists of underhanded tactics on both sides.
The performances are impressive, with James Stewart ideally cast as the attorney for the defense, Ben Gazzara as his unsavory client, and a truly colorful Lee Remick as the sexy and disreputable wife who screams rape where impartial possibly none occurred; O’Connell, Arden, and Scott also offer agreeable performances. The script is appealing, icy, and meticulous, the direction and cinematography both effective and completely unobtrusive, and the noted jazz get adds quite a bit to the film as a whole. Although we can’t back rooting for Stewart, as the film progresses it seems more and more likely that Remick is lying through her teeth and Gazzara is as guilty as sin–but the film balances its elements in such a device as to carry out a disturbing ambiguity that continues accurate through to the destroy. If you inquire a courtroom thriller with sudden revelations and twists you’ll likely be disappointed in ANATOMY OF A Kill, but if you want a thought-provoking catch on the law you’d be hard pressed to regain one better. Recommended.
Otto Preminger, who produced and directed this stunning courtroom drama starring James Stewart, Lee Remick, George C. Scott and Ben Gazzara, had a knack for translating best-selling mid-cult novels to the mask (The Man with the Golden Arm (1955) ; Exodus (1960) ; Announce and Consent (1962) and others) usually in a nervy manner, sometimes heavy-handed, sometimes pretentious, but always worth a explore. Piece of his secret was star power. Like Hitchcock, he liked to go with ample names supported by shapely character actors. And allotment of his secret was his long experience in both the theater and films going help to the soundless film era. He knew how to save together a movie. But more than anything it was his near-dictatorial control over the production (something directors seldom have today, and never in huge budget films–Preminger’s were colossal budget for his day) that allowed him to successfully purchase the movie-going audience at midcentury.
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This and Laura (1944) are two of his films that go beyond the merely commercial and attain something that can be called art. Seeing this for the first time forty-three years after it was released I was struck by the gorgeous acting all around and the sturdy, well-constructed direction. James Stewart’s performance as the Michigan north country lawyer Paul Biegler might shine even more luminously than it does except for a positive performance by Gregory Peck three years later as a southern country lawyer in the unforgettable To Raze a Mockingbird (1962) . Lee Remick, in a frank, but wicked imitation of Marilyn Monroe, co-stars as Laura Manion, the wife of army Lt. Frederick Manion (Gazzara) whom Bielger is defending on a kill charge. The defense is temporary insanity because the man he shot raped his wife. Bielger slyly gains sympathy for his client by deliberately allowing it to arrive out that Laura is sexy and flirtatious enough to drive any man crazy. Indeed, he tricks the prosecution into doing his work for him. George C. Scott plays Claude Dancer, a great city prosecutor, with snake-like precision while Gazzara manages to combine introspection and cockiness as the young lieutenant. Heavenly benefit comes from Eve Arden (best known as Our Miss Brooks on TV and in the movie of that name) as Biegler’s proper secretary and Arthur O’Connell as his alcoholic mentor. Kathryn Grant, who gave up a promising film career to marry Bing Crosby and have children, has a modest role as the murdered man’s daughter.
I’ve seen many courtroom dramas, some loyal, some fictional, since this film first appeared, but I have to say it stands up well. The action (for the most fraction) feels realistic and the tension is nicely created and maintained. The resolution is satisfying and the ending is as sly and subtle as any country lawyer might want. Incidentally, if this movie had more total votes cast at IMDb, it would infamous in the top one hundred of all time, which is where it belongs.
See this for James Stewart whose easy, adroit style under Preminger’s direction found burly range. Although he gave many aesthetic performances, I don’t deem Stewart was ever better than he was here.
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