This is a picture-filled look at the 60's Irwin Allen production. It has in-depth profiles of cast members, including the guy in the robot suit (Bob May), background on the then state-of-the-art special effects, as well as a comprehensive episode guide. There are a number of errors in the guide, but they are minor and will only be caught by the diehard fan.

With the upcoming Fox television remake, the book is a nice time trek for a "boomer" seeking to relive his childhood past.

You'd think that a movie that had assassinations, religious overtures, implied incestuous relationships, betrayal, treachery, floating aliens, explosions, windstorms, large crowd scenes, marauding animals, and costumes that would make Edith Head shudder would have a better pacing.

Not so with "Children of Dune".

The story lumbers on and on until it reaches a less-than-satisfying conclusion.

Some of the same "strengths" from the first miniseries are continued: Alec Newman returns as "Paul Atreides", older and slightly wiser about his divine role as the "Ma'ud Dib", eye-popping costuming, mammoth set pieces, and psuedo-religious mumbo jumbo."

But, it's bogged down by not enough action and a reliance on long passages of confusing dialog. An impending battle between the opposing forces is hinted but never comes to fruition.

Perhaps, if one reads the book, he or she can get a better understanding of the on-screen occurences.

However, in its present filmed form, "Children" leaves the viewer a bit clueless and bored.

The title says it all. Buoyed by a strong video and popular singers, this duet soared to the top of the charts in 1998. In hindsight, it's the background instrumentation that really makes the song. The throbbing bass line, the solo harp, and the seductive strings make this pop tune a memorable one. Brandy and Monica will never give Aretha, Chaka, or even Christina a run for their vocal money, but the two are acceptable in their roles of "battling ingénues" in this hit from recent memory.

I came upon this little-known film by accident the other evening and it was a discovery that I was glad to have made. As has previously been stated, Eric Roberts portrays "Nick" who has been living an idyllic existence with his partner "Brandon", portrayed by Gregory Harrison. Suddenly, their lives are turned inside out when Nick is diagnosed with AIDS. Brandon is unable to cope with the revelation and begins to distance himself from his friend. The strain on the relationship caused them to have a permanent and ugly separation.

One year later, as the disease begins to progress to its eventual fatal end, Nick decides to throw a "bash" for his himself, as well as his family and friends. Nick also intends on taking his own life because prior to his mind and body's deterioration.

Nick's family and friends all come with the exception of the unknowing Brandon. Margaret Cho, playing one of Nick's friends, intercedes and seeks out Brandon, telling him about his former lover's intentions. During the party, Brandon appears and amidst the celebration, he and Nick briefly reconcile.

The final meeting between the two is poignant as well as celebratory.

As far as the performances are concerned, the principals are superb. Why Roberts did not attain the heights, as his better-known sibling, Julia, is unfathomable. He is quite good as the dying Nick.

Harrison is appropriately confused and compassionate as one that must deal with his own guilt and the mortality of someone with whom he had planned to share his life.

Lee Grant, as Nick's mom, is brilliant, showing why she has been one of the most under appreciated actresses of the past fifty years.

With a supporting cast of Bronson Pinchot, George Segal, Bruce Davison, Marlee Matlin, Olivia Newton-John (who supplies the song heard over the closing credits), Roddy McDowall (in one of his last roles), and a cameo appearance by acting legend Nina Foch (as Brandon's mother), the film has the clout to be one of the best ensemble cast in recent years.

It's too bad that this well-made film came and went with little fanfare and seems now relegated to late night on cable televsion.

The film is powerful and deserving of wider viewership.

The centuries-old King James Version is, for many, the definitive translation of the Holy Scriptures. There are times, however, when that interpretation is confusing to modern readers. Thus, The Living Bible plays an important place in the true understanding of what has been credited to authors of the text.

It is an invaluable asset for those seeking to totally follow THE WORD.

As one that frequently must refer to the Bible, I find this book to be invaluable in my comprehension and appreciation of Christian precepts.

For those seeking particular passages, the book offers a handy reference of helpful consolation on a variety of concerns.

It is not a replacement; it is a welcome "extension".

The above line, and subsequent collision, still chills after repeated viewings as it did when the episode aired over fifteen years ago. Although the destruction of the Enterprise is fiction, the line resonates almost as much as did the real-life "Go with throttle up" spoken to the crew of the ill-fated Challenger.

"Cause and Effect" is one of those time loop episodes that find a welcome home in most science fiction. And it's a remarkably well-paced one, with each "revisitation" as enigmatic as the first one.

This is is first-rate in all aspects!

"Incredible" is the best word to describe "Kingdom Come", a deft blend of DC mythology and Christianity. While fundamentalists might scoff at the inclusion of Biblical text in what is essentially a "comic book", Mark Waid's story line doesn't rely heavily on the text; it just serves as a background for the events that unfold within the book's pages.

Ross's artwork is exemplary, actually surpassing anything from the "Golden Era of Comics".

Unlike another reviewer, I found Superman, Wonder Woman, and Bruce Wayne to be well-developed characters, showing new sides of their respective personalities while exhibiting the traits that fans have come to expect from them.

The major players in the history of DC Comics appear in some form or fashion in this beautifully illustrated work. Because so many make "cameos", the book becomes a bit crowded, at times coming across like a "Where's Waldo?" as one searches for the recognizable. Thus, it loses a star on account of overkill.

Later to make himself known as "Quark" on DS9, Armin Shimerman dons the lobes of Ferengi commander "Bractor" in this episode from the series' second season. This was not the first time that the actor portrayed one of big-earred aliens, having assayed similar and distinctive characterizations in two earlier installments.

The story is rather routine and not among the show's best but it's worth a look for the development of Ferengi as pivotal characters in the Trek mythology.

Not on MY life I won't.

Being the owner of this distinctive edition, I have yet to find the "typos" mentioned by earlier reviewers. I appreciate the footnotes, highlighting Biblical text with details as it relates to an African perspective.

The book has photographs depicting various stories and events of Bible history, with actors portraying important and relevant "inhabitants" of the text.

Another "bonus" is the inclusion of African-American spirituals in the book's appendix. These songs were invaluable to the slaves as a testament to their faith as well as a strategy to be used to announce "running" from their oppressors.

They're all here: the solitary trumpet; the lush strings; the acoustic guitar; and the somber and touching lyrics. All the trademark Bacharach touches combined with the seductively soulful Isley tenor are here in this fantastic collaboration from two musical legends.

Forget the fact that the majority of these tunes are four decades old. They are just as potent today as they were when Dionne and others originally did them so long ago.

Especially hard-hitting and timely is the restructuring of "The Windows of the World". Backed by a superb orchestration, Isley gives the words a poignancy and urgency that can only have greater value following the events of September 11th.

This song takes the proverbial spinal chills to a totally new level!