(...)This film (...) fails to capture the true essence of Easter. Not that I expected it to, for sure! But it might be a good idea to remind your young viewers that Easter is about more than eggs and bunnies, ribbons and flowers. It's certainly a time to celebrate new life...but to celebrate the new life that is given us by God, through his Son Jesus.

The film is still cute - although certainly not among the best stock that Disney has produced. I recommend it, but I also recommend something to remind children of the real reason for Easter.

Ann Coulter has compiled a devastating fusillade to those of the liberal spectrum still left holding the Left's tattered and torn banner post-9/11.

Liberals, you are really better off to remain in your bitter and spiteful delusions, unless you are prepared to open up your door to the Left's constant, consistent failures, both in politics, and in the court of public opinion

If you are conservative, this is just the weapon to boost your arsenal while dispelling any slight fleeting doubts you might have about who is right and who is wrong when it comes to the ongoing political debate. Coulter magnificently and efficiently demolishes any and all lingering hesitation in a style somewhat reminiscent of the voice of Gandalf the White, dispersing the fog of Saruman's enchanting voice with a laugh.

Most conservatives are able to detect the liberal nuances in "objective" media reports, and columnists, but it's always just too subtle to put a finger on. Then along comes Ann, and she's got a net in which she catches each little catch-phrase and platitude until she's got a writhing, wriggling mass of them, painting a foreboding picture for Left-wing reporting.

Stepping back in history (but not too far), Coulter takes us through the historical record that liberals hope like mad no one will point out. Hypocrisy abounds, from leaving a ignoring a philandering statesmen (solely because they happen to agree with them on issues such as abortion) to shoving the lie of "conservative" bias in the media down American citizens' throats.

I found chapter five fascinating in particular. Going back to the 2000 election (you know, the one that liberals can't seem to get over?) Coulter demonstrates the left-wing media's responsibility for the election mess, from calling certain regions for Gore (before the polls closed) to reporting that polls closed (when in fact they hadn't). Suddenly, it all becomes clear; left-wing journalists fouled that up from the beginning.

Then we go back and look at the lie that the public was told about Bush (and the same lie that was attempted to be passed off about Reagan), that he was unintelligent. I must confess even I had fallen prey to the idea that perhaps George W. Bush isn't the most eloquent in the world, based strictly on media reports of foul-ups, misstatements, and verbal slip-ups. Coulter smashes that idea by pointing out documented proof of media celebrities who emphasize Bush, and downsize Gore (who had a fair share of his own slip-ups!)

Finally, Coulter crushes the myth of the "religious right" that is constantly referred to. The problem regarding that is, it is both an enormous bullying lobby, and a weak and feeble organization that has been wiped out, it seems liberals can't decide which.

Newsmax Magazine calls Ann Coulter the "acid-tongued Joan-of-Arc of the Right", and make no mistake about it. Coulter's exhaustive footnotes (thirty-five pages' worth) spell out the sad and sordid tale of liberal deception that has plagued Washington politics for decades. If enough thinking Americans could get this book into their hands, it would spell a sad and sordid fate for the Left too.

Conservatives, wash your minds out with this. Liberals? If you're going to post negative reviews, do us all a favor and read the book first. If you won't, then stick to your hate-filled mouthing-off books by Michael Moore and Al Franken, and leave the intelligent dialogue to us.

I've found The Gospel According to Tolkien to be the most comprehensive exploration and study on the spiritual themes of Middle-Earth that is available today. Ralph C. Wood shows his true understanding of Tolkien's works, extending beyond just the trilogy of books itself.

No one can deny that, while eschewing blatant allegory (ala C.S. Lewis), Tolkien inserted numerous Christian themes and principles into his wonderful 1,000 + literary work. Wood works his way through the beginning of Middle-Earth (not going back to the Shire; I'm talking the very beginning, when Eru first began the Symphony of Creation) to discuss the Music of the Ainur that sang into being Arda, the world within. No one can deny that a supernatural Father of All ("Eru" literally translated "The One" in Elvish) creating a world with the music of his divine minions is too far off from the mainstream Judeo-Christian story of Biblical Creation. But this is just the beginning. Wood next explores the disfigurement of celestial accord found in the original Dark Lord Morgoth, whose workings wrought great woe in Middle-Earth's founding years. Wood then looks at how evil is countered throughout the ages of Middle-Earth, followed by Tolkien's redeeming principles of life, and finally the lost tale of the coming Consummation of Middle-Earth.

I found the book on a whole to be rather academic, long-winded, and at times dull. But some can find this to be the case with Tolkien's books as well, so you should know what you're in for. Anyone who HAS seen the trilogy through in book form should be able to stick with this. While academic in nature, the contemplations, and revelations are none the less enjoyable.

Again, very comprehensive and complete study of the theological themes gleaned from these works, and if you are interested in learning more about them, buy this book.

Comical side note: Be aware when you buy this book that roughly 50% of the cost is devoted to ten-dollar words like "milquetoast", "supernal", "repudiate", "concupiscence", and "ubiquitous".

Amidst the loads of movie merchandise generated by the Lord of the Rings movies, this is one item in particular that stands above the rest as a spectacular edition to both the movies and the books. Included are six wonderfully large maps of the different regions of Middle-Earth, including the vast plains of Rohan and its adjoining lands, the dark land Mordor, the northern wilds of Eregion (the lands that lie west of the Shire, including Bree, Weathertop, the Trollshaws, Rivendell, Hollin, Caradhras, Moria and Lothlórien), two maps to show both West and East Gondor, and a highly-detailed map of the four farthings of the Shire.

Each map is highly detailed, and looks quite similar to the ones drawn for the Lord of the Rings books. The maps (if you succeed in making the creases in them disappear) are high quality, and worthy of framing if you want.

There is also an excellent 32-page book that takes you over each region included on each map, examining its importance to the Fellowship's Quest, and to the history of Middle-Earth in general. The book includes all six maps shrunk down to page-size in the back, a general map of Middle-Earth on the back cover, and an index for location reference.

Cheers to Daniel Reeve and crew for their excellent calligraphy work as well as research and planning. This set is a perfect compliment to the books. For those who enjoyed the movies and want to learn more, for those of you who want to brush up on some Tolkien knowledge so your well-versed friends won't have such an edge on you, and for Tolkien fans everywhere, you will love this set.

Foxtrot being one of the funniest syndicated comics available today (this might be arguable for some, depending on your standard for humor), you'll definitely want this comic book. This book is shorter than most of the others, the anthologies as they are called, but still chock full of loads of laughs. The book is 128 pages long, and is probably one of the more recent published form of the Foxtrot cartoon strip by Bill Amend.

Included is the sage of Jason's Spider-Man movie anticipation, or "When web shooters go bad", as well as the Star Wars II wait. You'll also laugh as Jason prepares to take over Martha Stewart's million dollar empire, and goes camping with the rest of the family.

Bottom line, I get genuinely concerned when/if I don't understand the humor in a Foxtrot comic, or if I fail to smile or laugh, and I'm quite positive you'll enjoy this book at least as much as I did. That's how good this comic strip is. Yes, there are reused jokes...but to anyone who might complain about them, you have to remember that SOMETHING kept them reading long enough to discover reused jokes!

I heard about The Santa Claus movie a long time ago, but was never motivated to see it until after purchasing the sequel, which appeared even more family friendly than the first. You will definitely want to see them in order, but there are a few slight moments of objectionable content in this first movie, while I'll mention in a second.

PLOT: Scott Calvin is a divorced father, an executive of an advertising company, and getting set for a Christmas time visit from his son. Little Charlie isn't thrilled to be with his *other* dad for Christmas, especially when Christmas dinner equals Denny's. Charlie awakens Scott in the middle of the night when hearing thumping noises on the roof. Scott steps outside and hollers at the perpetrator on his roof - and looks on in stunned disbelief as a red-suited figure comes tumbling down. Scott finds a card in the fellow's pocket saying "If something should happen to me, put on my suit, the reindeer will know what to do." Climbing up on a magic ladder, Scott finds himself face-to-face with eight not-so-tiny reindeer...and one long night's work. He finds himself at the North Pole at the end of his journey, where head-elf Bernard irritably informs Scott that, according to the Santa Clause (the clause in the contract, as stated in microscopic text on the card he removed from Santa's pocket) he's the new Big Guy himself. Scott is returned home in disbelief, and must decide whether or not to accept the job ... all the while in trouble with Charlie's parents when Charlie tells them the tall tale of the North Pole visit.

GOOD POINTS: With a few exceptions, most of the humor in the movie is clean and humorous. And, again with a few exceptions, the whole movie is family-friendly, and a great holiday classic for everyone to sit down and watch.

BAD POINTS: There's a lot of discussion about whether or not Santa Claus is real. Charlie doesn't believe at first, and when he does after visiting the North Pole, his other father Neil attempts to dissuade him by raising numerous objections as to how Santa could do that. Neil and Charlie's mother Laura discuss the times they stopped believing in Santa. There's also some potty humor found in such things as Scott passing gas early one morning. Scott also hollers at a neighbor that he usually sleeps "butt-naked". During his first night taking over for Santa, he isn't very nice to one young girl who wakes up to see him, and grumbles about passing out the other gifts. There's also several "Oh my god" exclamations. Most of these "bad points" are minor, but might raise objections for those searching for a thoroughly clean family film.

THOUGHTS: The question of Big Red's validity will probably be raised again by this movie, even though he is proven by Scott's North Pole visit. But if you don't mind that, and a few other parts like those listed above, then you'll want to buy this movie. Six and a half out of ten stars.

DVD BONUSES: Minimal. I'm guessing this was among the first few to enter DVD-dom because of the small extras. There's an interactive game you can play (keep Santa airborne by ducking flocks of geese, and chimneys) a Make Santa Snacks with some Chef you've never heard of but are supposed to have, and a "So You Wanna Be An Elf?" feature, which is an early attempt at a behind-the-scenes feature, but didn't quite make it.

Foxtrot being one of the funniest syndicated comics available today (this might be arguable for some, depending on your standard for humor), you'll definitely want this comic book. It is chock full of 250 pages of the popular strip by Bill Amend, and, with very few exceptions, you'll laugh at every strip.

The actual "camp" doesn't happen until somewhere near the middle of the book, where brainy Jason and his friend Marcus go to Geek Camp for the summer, just to let you know, but you won't mind, I promise.

There is a delightful little bonus kindly provided by the author at the end ("My publisher tells me I have six blank pages to fill") which documents the path that Amend started down in order to become the success he is today. Amend takes six pages to discuss how he creates the strips (does he draw them, or think up the plotline first?) and how he submits and is hired out to do them regularly (so what exactly is the running salary for a cartoonist these days anyway?) with tips on how a person with talent can attempt to do the same.

I get genuinely concerned when/if I don't understand the humor in a Foxtrot comic, or if I fail to smile or laugh. That's how good this comic strip is. Yes, there are reused jokes...but to anyone who might complain about them, you have to remember that SOMETHING kept them reading long enough to notice reused jokes!

I did my level best to give this album its own fair chance, but I must admit I am a little spoiled by the insurmountable Howard Shore and the film score for the three Lord of the Rings movies. Arkenstone has some great stuff in his album, but I'm just going to have to admit that Shore's music is better, much better. Had I listened to this CD prior to hearing any of Shore's soundtracks, I would have thought "wow, pretty good." But when a fellow like Shore comes along and raises the bar so high, you look back at the rest and say "gee, that sounded pretty good...but THIS is AWESOME."

Still, Arkenstone is talented, no doubt about it. And he gets points merely for sharing the name of the famous jewel in Tolkien's 'The Hobbit'. There were a good many of the tracks whose music was good, yet in my mind did not fit the exact theme he titled it after. Arkenstone admits that he knew the challenge would lie in fighting the mental images and private imaginings that nearly every member of his audience who had read the books would have. I also found some of the tracks went on just a little too long. Perhaps it was his intention to listen to this music while reading a particular selection of Tolkien's books.

Regardless, here is a track-by-track analysis.

Track 1 (4:08): Majestic, symphonic opening - excellent. It has a Celtic flair to it, and for you soundtrack aficionados out there, it reminds me of a combination of the Prologue music from Shore's Fellowship soundtrack, the Prince of Egypt soundtrack, and the Apollo 13 soundtrack. (All of which are great pieces to buy) About two minutes into the track, the mood obviously shifts to hobbits. It works for the simple and quiet lifestyle of hobbits, and once again, maybe I'm spoiled by Howard Shore and can't help but make comparisons, but it does seem like there should be some emphasis on the jolly and cheerful nature of hobbits as well.

Track 2 (3:39): Very light, merry journey music. It's kind of an industrious, or progress-ish theme, in the sense that it's the kind of song that gives you the image of something being progressively completed, which fits perfectly for a "journey" theme. Also seems a little out of place when we remember that the road to Rivendell was fraught with danger and peril most of the way. Thus, I found myself instead fitting this tune into the four hobbits' first start on their journey from Buckland. The tune is great, but it is one that gets a little to repetitive after a while.

Track 3 (5:28): Excellent theme for the Quest. The music is very grand and magnificent. (Varying adjectives are the trickiest part of writing reviews of great music) One of my favorite tracks.

Track 4 (5:02):Very somber, dark music, perfect for the dark caverns of Moria. Though, once again, this is one of the tracks that overstays its welcome, so to speak.

Track 5 (4:18): It's a great theme for the flowered Elven land ... yet, it seems that Arkenstone strove a little too hard for the conventional paradise-like theme instead of shooting for something a little more original. I also enjoyed the background choir, and wish they would have been enhanced more. (Note to any future aspiring soundtrack/instrumental artists: Use choir!)

Track 6 (4:32): Started off by a mystical/reverent choir, which would probably have functioned perfectly just on its own. However, it is joined by other instruments. It's still really good - and a good theme for the solemn splendor, grace, and beauty of Elves.

Track 7 (4:24): Eh...somehow I didn't enjoy this track as much. It's still great music, but it has this Middle-Eastern/Egyptian musical flair to it, and does not work for my (or, as far as I can see, any) image of Rohan's horseback warriors.

Track 8 (4:50): Once again, a mystical, enchanting theme. Great for the tempting allurement of that shiny...mysterious...bright...intriguing...stone...

Track 9 (3:29): Not exactly a love theme for mortal and Elf, but it's still good music. Perhaps a little heavy on the plucked strings, in my opinion.

Track 10 (4:25): Wow, nice. Very majestic and adventurous. However, while it's really cool music, it appears there's an element missing from the entire scheme. The element of danger! Isengard was a treacherous place, and it seems like this should come through somehow. Also a little heavy on the Middle-Easter flair again.

Track 11 (4:22): Oo, dark and creepy. Very dismal, and yet, again, I find the absence of an element that should be there - some element conveying the terrible power of darkness that exists and reigns in Mordor. Still, it's very good, and I like the wind effects.

Track 12 (3:33): Excellent start, with majestic horns and brass. Shifts to a military-sounding rhythm towards the middle. Pretty good.

Track 13 (3:37): Maybe my best pick of the CD. Arkenstone finishes out his work with a lovely refrain for the Elven harbor of departure into the West. Very soft and lovely - again portraying the noble grace and beauty of the Elves.

As you can see, there are tiny complaints about many of the tracks. Having my own imaginings, these selections may strike you differently. But you won't know unless you buy it, and if you like Tolkien, you really will want to buy it.

Howard Shore has proven his talent beyond any doubt with this, the third and final of the three soundtracks for The Lord of the Rings movies. The music is the perfect score for the three most incredible movies the world has seen, taking us from emotional heights, to depths, to simple and quiet moments with some of the most wonderful music you'll ever hope to hear, regardless of whether or not you have seen, or even wish to see, the cinema trilogy by New Line.

I'd hoped to do a track-by-track analysis, but I simply don't have room, so I'll share some of this CD's better tracks.

Track 3 (3:38): It starts out with dangerous overtones, as Pippin attempts to steal the Palantír from Gandalf, and the terrible consequences of his deed. Gandalf takes him to the city of Gondor, and we hear the premiere of Shore's theme for the City of Kings. (Actually, we first heard a sampling of the Gondor theme in the first movie, when Aragorn is first spoken of as the exiled king, and again in the motion picture preview released earlier in 2003) A wonderful choir makes way to the splendorous, magnificent theme for Gondor, perfectly capturing all the wonder and awe of the city. Awesome. Actually, the solo by Ben Del Maestro, I have concurred, is the part that plays when the White Rider dashes out onto the planes to challenge the Nazgûl.

Track 4 (3:25): A solemn tune, with distinctive Death of Boromir overtones, then the theme for Gondor again, just as grand as before. I believe (I'm big on figuring out which part of the soundtrack goes to which part of the movie) that this is the glorious music that plays as Gandalf rides through the citadel of Gondor, to the very top level of the city.

Track 5 (3:53): Not EXACTLY one of my favorite picks, but I had to comment on this one since it is the one with Billy Boyd's solo. In the beginning, it is primarily flute, along with other, somber-sounding instruments mixed in. Gondorian theme again, quieter this time. This, I have figured out, is the sad music that plays as Faramir leads his troops out onto the field. At 2:35 on the CD counter, Billy Boyd begins his quiet, dirge-like solo which provides the background theme for Faramir's suicide charge on enemy ranks. And yes, it is a very lovely, though somber and sad song. Billy Boyd sings it very well.

Track 7 (2:09): The action-oriented muster of Rohan's troops. As you could expect, the theme of Rohan from The Two Towers prevails in a heroic and magnificent way. In the middle, there is a quiet moment where Shore makes use of the generally-saved-for-hobbits Celtic-sounding flute. The track picks back up triumphantly before it ends.

Track 10 (2:35): Quiet beginning, with Rivendell overtones. Another tune begins, a very royal and glorious as the sword of kings is reforged anew. The end transitions to the creepy Paths of the Dead theme.

Track 13 (3:26): Slow beginning, then a very drawn-out tune of hopefulness. Rohan's arrival to Gondor's aid? Then the stunning, dramatic theme for the Ringwraiths is blasted out by the incredible choir Howard Shore commands. It may be the bad guy theme, but it is still incredible to hear. The track is too short, in my opinion.

Track 15 (4:02): The last desperate stand of Aragorn's troops before Mordor's endless ranks. At the same time, the quiet flute plays as Frodo works against all odds to climb the mountain of doom. This track and the next are the themes for the most powerful, poignant moments in the movie, and are NOT to be missed. (Referring to the music, but the movie too!)

Track 16 (5:13): Terribly desperate, frantic choir plays during the final moments of the climax at Mt. Doom and the Black Gate. A silent moment appears, with a slow solo by Renee Fleming, as Aragorn faces down the Eye of Sauron. Shore makes brilliant use of the choir - well, pretty much any time he uses them for his Lord of the Rings film score, but especially in this case.

Track 19 (5:48): Of the three songs (May it Be, Gollum's Song, and Into the West) that Howard Shore has featured on his soundtrack, I nominate this one as the best. It is sung by Annie Lennox, whose voice credit-viewers may recognize from Apollo 13's end credits. Her voice in this sounds somehow a little less feminine, and a little more like a male with a high-pitched voice, but that's just an observation, not a complaint. The song itself is really great. It sings in very poetic, descriptive terms basically of Heaven. For anyone, but particularly believers in Jesus like me, it is an especially inspiring and thrilling song of hope for the World to Come; of heaven. Beautiful. And as usual, the end credits song also includes a bit of the film score after the song.

Folks, Howard Shore's soundtrack abilities remain unequaled. For fans of the film, the music is an excellent way to relive parts of the movie when silly things like, say, real life prevent you from going to the theater. For people who haven't seen the movie, this music is awesome no matter which way you dice it. Please, please buy this CD.

Hey, the boys at Lonestar have a great thing going, and when they hit the already-written songs of Christmas, you can't go wrong. I got this album recently when I stumbled across it in my brother's laptop case. I had to pay for it, but I don't care, it was worth it.

For the non-country fans: I think you'd still enjoy this album. Lonestar has carved out a unique, distinctive niche for itself, and has enjoyed several top ten hits in the world of country music. Yes, you'll still find the country flavor sprinkled through out the tracks of this CD, but there is enough reverence and respect for the Christmas songs to give them a great sound.

For country music fans, and the rest: Ritchie McDonald's mellow voice with the other boys backing him up makes this CD very much worth it if you like Lonestar. Some might complain that McDonald's voice is just the least little bit whiny, but I like it. He sings with a passion, and respect for the season, and the One for whom we celebrate it.

The songs are the perfect balance of upbeat happiness, and the more silent moments that make up the Christmas season.

Track 1 (4:11): Starts slow, but distinctively country. It warms up to the peppy, upbeat rendition of the classic warning to youngsters to be on their best behavior.

Track 2 (2:44): Kind of a blues song, but it's not very quiet. Not exactly my favorite.

Track 3 (4:23) Slower, quieter version of this song - nothing particularly noteworthy or special about this track, it's rather traditional.

Track 4 (4:34): Not a BAD song . . . slow and everything, but still a little to blues-ish for my tastes.

Track 5 (4:36): Done very traditionally, I'd say, though the opening is a little different sounding.

Track 6 (4:53): My favorite Christmas carol, and while it's been done better than this before, it's Lonestar you bought, and it's Lonestar you hear. That to say it's not the best I've heard, but it's still pretty good.

Track 7 (4:02): Personal favorite of the album. It's a song of wonder and praise for the One for Whom we have a "reason for the season". Awesome song.

Track 8 (3:14): Like most of the tracks, it's traditionally done, but in Lonestar fashion.

Track 9 (3:19): Just for fun, the sleigh ride tune is very lively and enjoyable. I hear it often on my local radio station.

Track 10 (4:07): Once again, traditional, with a Lonestar twang. Slow and nice.

Track 11 (3:52): It's not exactly a wonderful climaxing track for the album, but it's still a very nice tune. Lonestar's general niche, pared down from the general Country category, is love songs, and that's sort of what this is. While it appears to be all about family, it sounds to me as if the song is singing to one person, presumably a spouse.

If you, like me, enjoy Lonestar, then you will want to add this album to your collection for the Christmas season.