Ah, the weirdness found in snips and snaps from the old "MTV Liquid Television" days..."Aeon Flux" was easily the most inspired efforts from those brilliantly twisted pseudo-underground types back in the day...and thanks to Peter Chung's latter day successes with the "Matriculated" episode from "The Animatrix" and the "Reign: The Conqueror" series, maybe those who weren't on board during the era when grunge was king will give these earlier made-for-basic-cable exercises in sex (such as it was) and violence (as it always is) another look.

This was my informal introduction to anime, and although it lacks most of the essential elements of the genre, I still feel "Aeon Flux" better captures its finest qualities, so much so that more often than not I find myself drawn away from the round-faced, big watery-eyed (and dog-whistley high-pitched female voices) of most anime artists even now.

Most anime purists for some reason don't rate this at all (for what anyone else's opinions are worth), but I've never understood WHY...it's got the elements of every decent adult-oriented anime I've ever seen...scantily-clad women, gratuitous violence, and a detached sense of things which seemingly happen for no clearly defined reason (this is especially the case in the shorts taken from the "Liquid Television" series as opposed to the half-hour episodes selected from the "Aeon Flux" series...though even those don't seem to have begun from a specific point). This is a good collection of episodic animation that you won't need to buy an additional 5-10 DVD's to complete; the artwork does look a bit dated and possibly could have used better production values...but keep in mind that this was never supposed to be more than a warm-up act for "120 Minutes" on Sunday nights. I think all things considered, it holds up well and does serve notice that Peter Chung was definitely and up-and-comer in the animation world. Well-recommended (if you can find it, of course)...good luck!

Al Pacino was without a doubt a well-respected actor who had "made his bones" with any number of defining roles prior to his portrayal of Tony Montana in this Brian DePalma remake of the 1932 Howard Hawks "Scarface" based loosely on the life of Al Capone. And in truth he's done some terrific work since, as well ("Scent of a Woman", "Heat", "The Devil's Advocate", "Any Given Sunday", to name a few).

But this movie, thanks mainly to Pacino's merciless performance, has done more for pop culture than anything else he's ever been associated with. That crazy over-the-top Marielito accent has been (badly) imitated more often among a generation of movie fans who weren't even out of diapers when "Scarface" was released back in 1983 than Marlon Brando's cotton-cheeked Don Corleone was mimicked since he came onto the scene in 1972; "SAY HELLO TO MY LITTLE FRIEND" has become the "YOU TALKIN' TO ME?" of the closing stages of the 20th Century.

"Scarface" practically invented the culture behind the hip-hop lifestyle, and this is brilliantly conveyed in the Def Jam featurette "Origin of a Gangsta" included on the second disc of this two-disc set, one of the most unique (and well-placed) special features ever to be included with a feature presentation; a director's commentary audio track would probably have been better appreciated, but the documentary footage included on the second disc mostly makes up for it.

The movie itself never looked better. I never saw the previous DVD format, so I can't make a comparison, but it absolutely blows my old VHS tapes out of the water. The 2.35:1 widescreen ratio is fantastic and all of Miami in its cocaine-addled '80's glory shines off the TV screen like a great big p****, just waitin' to get f*****...but I digress. The sound is fantastic, and just when you think the movie has been dragging for too long, the last fifteen minutes exhilerates you to the point where you're ready to watch the whole thing all over again.

If this gangster movie isn't in a class by itself, it won't take long to call the roll. If you EVER suspected that you might like gangster movies but want a different take on the genre than the NYC goombah angle, this is the flick for you. And if you're a fan of Al Pacino...well, chances are you've already seen it at least five times...so what are you waiting for? Buy it at once!

I bought this DVD set for my girlfriend as a 2-year anniversary present because if it weren't for her insisting that we watch it on Tuesday nights when we first started dating there is likely no way I ever would have chosen to do so on my own. Thanks, Tiger Blossom...you REALLY did me a favor with this one.

WOW, this is good...I probably haven't been this stoked over a TV drama series since "Miami Vice" back in the day. And "Smallville" is already proving to have superior staying power than that brief cross-section of '80's kitsch. Superior production, drop-dead casting, and a hearty respect to the original idea of Superman that you just didn't see in "Lois & Clark"...but still they find time to wedge the tongue FIRMLY in cheek with foreshadowing innuendo that never fails to bring a smile to this viewer's face. And this from a guy who leaned more toward Batman than the Big Blue Schoolboy as I was growing up (I had issues, okay?).

I won't go into the basics of the plot, chances are you already understand the adolescent Clark Kent growing into the blue suit & red cape as he grows from boy to young man being equally awkward transitions to make. The first season, being primarily an introduction not just to the characters but to the city for whom the series is named, DOES lend itself to predictability and in fact the quality of the shows has improved since then (no small feat; the first season was in itself extremely entertaining). And true, the WB could possibly have been a tad more generous with special features (at LEAST offering a 5:1 sound mix option...the special effects would seem even larger than life over a home theatre system)...but I'll happily take what they've presented here and eagerly await the following seasons to be released (note to Warner Bros: Tiger Blossom's birthday is on June 22nd...can ya help a brother out?)

Bottom line: If you enjoy good television writing (which is SO rare these days), or if you EVER enjoyed any aspect of any of the innumerable interpretations of the Superman mythos, you owe it to yourself to give the show a chance. Once you do, you'll find that owning the First Season on DVD is as natural as being able to leap tall buildings in a single bound.

Once again Sergio Leone proves that he is the master of the classically "American" genre film, this time training his exquisite eye from the Western to the gangster film...gangster EPIC, actually.
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This movie takes place via disjointed flashbacks over a period of fifty years, focusing on the life (and death) of crime as experienced by four childhood friends, specifically David "Noodles" Aaronson, portrayed in maturity by Robert DeNiro in another typically inspired performance.
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The movie in its American release nearly 20 years ago was absolutely butchered by the US-based distributor, with over an hour of footage removed from the feature in order to make it more managable for US audiences. The result was that the personality of the movie was essentially siphoned off and the film was savaged by film critics nationwide. When the movie was released for cable a year or so later, a fair bit of the footage was restored (and in fact another edit presented the film exclusively in chronological order from Noodles' youth to old age).
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This restored version does include as much as the film's original footage as can be accounted for (to our knowledge), and the effect is somewhat more enlightening than the cable edit I first saw (and legitimately loved) almost two decades prior. The violence edited back into the movie makes it more difficult for the viewer to find sympathy/empathy with any of the characters (which may have been a stretch to begin with)...but while the extra features are a wonderful addition to the DVD (James Woods' admission on the Leone bio piece that to this day he is asked what exactly happened in "his" last scene...and to this day he's uncertain himself...is worth the price of purchase alone. And Richard Schickel's film-length commentary track is also a joy to watch/listen to.
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But Warner Brothers REALLY dropped the ball by deciding to split the film into two equal lengths for the purpose of placing it on 2 discs; particularly when considering that in fact Leone did make provision for an intermission within 2:45 of the film's original running time. The most obvious issue is that yes, a rather crucial scene was unceremoniously interrupted as Disc One ends and resumed at the beginning of Disc Two. Arguments will be made that this was necessary to include the full-length commentary track for both discs, but even "Pulp Fiction" with a complete running time of over two-and-a-half hours was able to complete the presentation with commentary track on the same disc; you have to believe Warner Borthers could at least have done a better job with Leone's final masterpiece. As it is, the perfect realization of the film that was by all admissions nearest and dearest to the Italian film maestro's heart still eludes him, even in this digital age. Had he lived to see it, he could not have been pleased with this treatment. Nor was I. A terrific film, beautifully and lovingly shot as always, speaking to the emotions of the viewer in a way that so many American directors simply can't pull off...but once again the editors have failed the artist. I own it, and will view it regularly out of respect to its brilliance as a film, but someone should have been sacked over this DVD presentation.

The subtle electronic treatments that appeared on 2000's NOT QUITE U.S. breakthrough CD "Thirteen Tales From Urban Bohemia" and the subsequent Dandy Warhols remixes that have sprung up since then seem to have hinted that the band was moving from a traditional Brit-pop based guitar sound to one where keyboards and other gadgetry would be a bit more prominent. When the word hit that Duran Duran synth stylist Nick Rhodes was assisting with the production with the (EXTREMELY long-awaited) follow-up to "Thirteen Tales...", the cat was out of the proverbial bag.
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The result is an album that doesn't sound like any they've released before, yet still retains the inherent characteristic that makes the previous records sound so good (and is missing from so many other acts in the music business today): Quality songwriting and Courtney Taylor-Taylor's unabashed willingness to pay homage to (or completely rip off, depending on your point of view) the bands and artists he most admires.
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The increased electronics add additional flavoring to the CD, but in some cases the end-result is that the songs sound like premixed remixes of Dandy Warhols songs (particularly the case with "Scientist")...and Dandy Warhols fans who are also Duran Duran fans (like me) will realize that the sound is more influenced by "Medazzaland" era Duran rather than the classic "Rio" sound. With this comes an undeniable funkiness previously lacking on Dandy Warhols CD's, especially in "Wonderful You" and "I Am Over It"...these songs wouldn't sound of place on one of Prince's better albums, actually.
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The best song on the album is undeniably the Bowie-flavored (musically, anyway) "The Last High", scheduled for release as the first North American single following the European success of the uber-pop, electro-bublegum "We Used To Be Friends" (which sounds remarkably a lot like The Apples In Stereo during their "Signal In The Sky" phase). It probably won't (and shouldn't) be remembered as the "Bohemian Like You" of 2003, but it is undeniably catchy and a joy to listen to, a ready-made classic.
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"Welcome To The Monkey House" is neither better nor worse than its predecessors (personal preference will dictate how well it's received by fans already familiar with the Dandy Warhols); I wouldn't recommend it as being indicative of what the band's sound actually is (the ambient drone of "Insincere" represents a style of song that has been repeated on nearly every album, but even that one track does not sum up the band's musical philosophy as recorded in studio). It's an interesting album, well-written and recorded; certainly worth your time and purchase. Do NOT expect to hear 13 more "Bohemian Like You" clone tracks, though.
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This North American pressing is touted on the Dandys website as having a different mix than the version released three (3) months prior in Europe, Asia, and Australia/New Zealand. However, the difference in mixes is miniscule at best and not worth either dwelling or balancing your purchase decision upon if you in fact already own an overseas version of the disc. Some of the song titles have also been changed for North American release, but rest assured they are still the same songs.
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As for folks who were anticipating bonus material included with the disc's initial pressing in a similar vein to "Thirteen Tales From Urban Bohemia"'s 4-track bonus CD, you're most likely to be disappointed here. The only bonus features are the enhanced CD features that you need a computer to access. "The Odditorium" features are the same as the overseas version, but there IS an artsy short film project directed by frontman Courtney Taylor-Taylor featuring himself and Ione Sky as well as otherwise perpetually troubled Stone Temple Pilots frontman Scott Weiland that makes for an interesting curiosity. If you're fans of pop stars as multi-media starlets you'll probably enjoy it...or if you just can't think of anything interesting for your own film school project and would like to use Courtney's, well, I can't think of anyone who'd appreciate the gesture more. Good luck, and enjoy!

The slight electronic treatments that appeared on 2000's NOT QUITE U.S.-breakthrough CD "Thirteen Tales From Urban Bohemia" and the subsequent Dandy Warhols remixes that have sprung up since then seem to have hinted that the band was moving from a traditional Brit-pop based guitar sound to one where keyboards and other gadgetry would be a bit more prominent. When the word hit that Duran Duran synth stylist Nick Rhodes was assisting with the production with the (VERY long-awaited) follow-up to "Thirteen Tales", the cat was out of the proverbial bag.
>
The result is an album that doesn't sound like any they've released before, yet still retains the inherent characteristic that makes the previous records sound so good (and is missing from so many other acts in the music business today): Quality songwriting and Courtney Taylor-Taylor's unabashed willingness to pay homage to (or completely rip off, depending on your point of view) the bands and artists he most admires.
>
The increased electronics add additional flavoring to the CD, but in some cases the end-result is that the songs sound like premixed remixes of Dandy Warhols songs (particularly the case with "I Am A Scientist")...and Dandy Warhols fans who are also Duran Duran fans (like me) will realize that the sound is more influenced by "Medazzaland" era Duran rather than the classic "Rio" sound. With this comes an undeniable funkiness previously lacking on Dandy Warhols CD's, especially in "The Dope" and "I Am Over It"...these songs wouldn't sound of place on one of Prince's better albums, actually.
>
The best song on the album is undeniably the Bowie-flavored (musically, anyway) "You Were The Last High", scheduled for release as the next single following the uber-pop electro-bublegum "We Used To Be Friends". It probably won't (and shouldn't) be remembered as the "Bohemian Like You" of 2003, but it is undeniably catchy and a joy to listen to, a ready-made classic.

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"Welcome To The Monkey House" is neither better nor worse than its predecessors (personal preference will dictate how well it's received by fans already familiar with the Dandy Warhols); I wouldn't recommend it as being indicative of what the band's sound actually is (the ambient drone of "Insincere Because I" represents a style of song that has been repeated on nearly every album, but even that one track does not sum up the band's musical philosophy as recorded in studio). It's an interesting album, well-written and recorded; certainly worth your time and purchase. Do NOT expect to hear 13 more "Bohemian Like You" clone tracks, though.

The slight electronic treatments that appeared on 2000's NOT QUITE U.S.-breakthrough CD "Thirteen Tales From Urban Bohemia" and the subsequent Dandy Warhols remixes that have sprung up since then seem to have hinted that the band was moving from a traditional Brit-pop based guitar sound to one where keyboards and other gadgetry would be a bit more prominent. When the word hit that Duran Duran synth stylist Nick Rhodes was assisting with the production with the (VERY long-awaited) follow-up to "Thirteen Tales", the cat was out of the proverbial bag.
>
The result is an album that doesn't sound like any they've released before, yet still retains the inherent characteristic that makes the previous records sound so good (and is missing from so many other acts in the music business today): Quality songwriting and Courtney Taylor-Taylor's unabashed willingness to pay homage to (or completely rip off, depending on your point of view) the bands and artists he most admires.
>
The increased electronics add additional flavoring to the CD, but in some cases the end-result is that the songs sound like premixed remixes of Dandy Warhols songs (particularly the case with "I Am A Scientist")...and Dandy Warhols fans who are also Duran Duran fans (like me) will realize that the sound is more influenced by "Medazzaland" era Duran rather than the classic "Rio" sound. With this comes an undeniable funkiness previously lacking on Dandy Warhols CD's, especially in "The Dope" and "I Am Over It"...these songs wouldn't sound of place on one of Prince's better albums, actually.
>
The best song on the album is undeniably the Bowie-flavored (musically, anyway) "You Were The Last High", scheduled for release as the next single following the uber-pop electro-bublegum "We Used To Be Friends". It probably won't (and shouldn't) be remembered as the "Bohemian Like You" of 2003, but it is undeniably catchy and a joy to listen to, a ready-made classic.

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"Welcome To The Monkey House" is neither better nor worse than its predecessors (personal preference will dictate how well it's received by fans already familiar with the Dandy Warhols); I wouldn't recommend it as being indicative of what the band's sound actually is (the ambient drone of "Insincere Because I" represents a style of song that has been repeated on nearly every album, but even that one track does not sum up the band's musical philosophy as recorded in studio). It's an interesting album, well-written and recorded; certainly worth your time and purchase. Do NOT expect to hear 13 more "Bohemian Like You" clone tracks, though.

I have to admit that as much as I was anticipating the release of "The Matrix Reloaded" in the Spring of 2003, I was not particularly impressed with the effort. Sure, the special effects were terrific and (most of) the action sequences were amazing, but the movie eventually disappeared up its own @rse and drowned in a sea of metaphysical philosophical nospeak. It really didn't add much to the story as introduced in the original "Matrix" movie.
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Which is why I find "The Animatrix" so much more rewarding and entertaining to watch. I was skeptical about the notion of an animated interpretation of "The Matrix" (what would be the point as beautifully presented as it was in live action?), but not only does "The Animatrix" expand dramatically on the themes of the first "Matrix" movie, this expansion also enables it to stand (to a large degree) independently of the first movie altogether.
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"Final Flight of the Osiris" starts the program; the graphics are amazing enough, but the true reason for this episode is to introduce the video game "Enter The Matrix" (and to show off the animation skills of its creators); it looks great, but it has little purpose.
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"The Second Renaissance (Pts. I & II)" does more to explain the cirumstances under which the characters in "The Matrix" movies have found themselves; extremely well-thought out and executed.
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"Kid's Story" is a bit of a Gen-X take on the "awakening" experience detailed in the first "Matrix" movie (guest appearances from Keanu Reeves and Carrie-Anne Moss in the English translations are a nice touch).
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"Program" is another variation on the training exercises within the virtual world; terrific animation from the folks who brought you "Vampire Hunter D: Bloodlust" and "Ninja Scroll".
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"World Record" is dismissed by other reviewers, but I found it to be another interesting take on the "awakening" theme.
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"Beyond" was the first episode I'd seen from this collection; it is perhaps the most original interpretation of "The Matrix" themes to be found on this DVD (think back to Neo's "deja vu" experience from the first movie as a point-of-reference); many aspects of this story have "other-worldly" applications that weren't breached during either "Matrix" live-action movie...this one may have the most Japanese soul of all entries included here.
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"A Detective Story" is obviously (and brilliantly) done by the folks behind "Cowboy Bebop"; very noir, very pulp fiction-esque, and another cameo appearance by Carrie-Anne Moss. Slickly done and my favorite episode to watch just for the sheer beauty of the production.
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"Matriculated" completes the collection, an hallucinogenic collection of images that begin wihtin the real world and pick up to a nearly lysergic rate with another training exercise session (although this one designed with the idea of "converting" enemy machines to the side of the human beings). My favorite anime artist, Peter Chung of "Aeon Flux" and "Reign" fame is the creative force behind this episode; like the other writers/directors/producers involved with this project, he makes the segment with which he's involved indelibly his own.
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The soundtrack CD that accompanies the DVD in this set is also a worthy purchase; I'm no fan of electronica music, but the works included in "The Animatrix" are tastefully selected and rank high within the echelon of great anime' soundtracks. The songs are prominently mixed within the movie's audio mix (with the exception of "Hands Around My Throat" by Death In Vegas, my personal favorite track) and are recognizable at once when listened to after viewing the movie. The bonus, non-soundtrack selections inspired from the first "Matrix" movie (and including dialogue samples from it as well) "Red Pill, Blue Pill" and "The Real" cap off a terrific listening experience.
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If you watch the movie and enjoy it, a prominent aspect for your enjoyment will undoubtedly be the soundtrack; I knew after a single viewing that I had to own the DVD as well as its score CD, and I am absolutely satisfied with both.

This was an intense drama surrounding police corruption which comes to a head on the day of the Rodney King beating verdict, turning South Central Los Angeles into Mogadishu, Somalia on a bad day.
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There are as many as four different storylines going on all at once, magnificently paced and spaced to keep the viewer guessing as to how they will eventually meet (collide, actually); we are presented with a cast of characters that are inherently flawed, some of whom you sympathize with, some of whom disgust you, and then some that you want so badly to achieve salvation.
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Kurt Russell makes it all work; it is difficult not to connect with his character as a result of the performance he gives. Ron Shelton has done a brilliant job (particularly considering that he's best known for romantic sports comedies such as "Bull Durham" and "Tin Cup") with a script adapted from a James Ellroy story, but the intensity of Russell's slow-burn-to-quick-fuse personality is the picture's finest asset. By the time the riots are in high gear you're struggling with him. And by the time he understands what must be done to save what's left of his soul you're cheering him on.
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Ving Rhames would appear to be credited as one of the main personalities in this movie, but in truth his presence (undeniably powerful as usual) is more lurking than up-front; his view from above and behind the lines contrasts sharply to those of Russell's front line veteran. He has had better and more fulfilling roles than this, obviously cast (literally) as Black to Kurt Russell's White.
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This movie shouldn't be overlooked if you enjoy a good police drama or if you have memories of Los Angeles during the Rodney King era. The soundtrack is equally impressive, drawing together a top-shelf collection of old gangsta rap that makes today's beats seem weak in comparison. For added realism the performance of the rap stars in smaller parts also works very well...but this movie is definitely a shining moment for Kurt Russell; I don't know who he's offended with his politics in Hollywood, but this movie deserved a heckuva lot more attention that it received. Very well-recommended.

The slight electronic treatments that appeared on 2000's NOT QUITE breakthrough CD "Thirteen Tales From Urban Bohemia" and the subsequent Dandy Warhols remixes that have sprung up since then seem to have hinted that the band was moving from a traditional Brit-pop based guitar sound to one where keyboards and other gadgetry would be a bit more prominent. When the word hit that Duran Duran synth stylist Nick Rhodes was assisting with the production with the (VERY long-awaited) follow-up to "Thirteen Tales", the cat was out of the proverbial bag.
>
The result is an album that doesn't sound like any they've released before, yet still retains the inherent characteristic that makes the previous records sound so good (and is missing from so many other acts in the music business today): Quality songwriting and Courtney Taylor-Taylor's unabashed willingness to pay homage to (or completely rip off, depending on your point of view) the bands and artists he most admires.
>
The increased electronics add additional flavoring to the CD, but in some cases the end-result is that the songs sound like premixed remixes of Dandy Warhols songs (particularly the case with "I Am A Scientist")...and Dandy Warhols fans who are also Duran Duran fans (like me) will realize that the sound is more influenced by "Medazzaland" era Duran rather than the classic "Rio" sound. With this comes an undeniable funkiness previously lacking on Dandy Warhols CD's, especially in "The Dope" and "I Am Over It"...these songs wouldn't sound of place on one of Prince's better albums, actually.
>
The best song on the album is undeniably the Bowie-flavored (musically, anyway) "You Were The Last High", scheduled for release as the next single following the uber-pop electro-bublegum "We Used To Be Friends". It probably won't (and shouldn't) be remembered as the "Bohemian Like You" of 2003, but it is undeniably catchy and a joy to listen to, a ready-made classic.
>
"Welcome To The Monkey House" is neither better nor worse than its predecessors (personal preference will dictate how well it's received by fans already familiar with the Dandy Warhols); I wouldn't recommend it as being indicative of what the band's sound actually is (the ambient drone of "Insincere Because I" represents a style of song that has been repeated on nearly every album, but even that one track does not sum up the band's musical philosophy as recorded in studio). It's an interesting album, well-written and recorded; certainly worth your time and purchase. Do NOT expect to hear 13 more "Bohemian Like You" clone tracks, though.