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This video was lively for both children and adults alike in our test group. Viewers are taken on a personal tour of Seagrave Fire Apparatus plant and learn exactly how fire trucks and rescue vehicles are assembled. This plant has been designing, constructing and assembling the toughest trucks for 125 years. They are the very best in the business and you secure to watch how they do it.

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When a customer orders a vehicle, they employ computerized 3-D technology, which enables them to contemplate every item on the vehicle before production begins. Amazingly, there are 1800 to 2500 different parts on each vehicle. At Seagrave, many of these parts are mild hand-crafted. For this reason, it takes 1500 to 3500 hours to accomplish a single fire truck. No vehicle is allowed to leave the lot without extensive testing to exhibit its strength, stability and safety.

The plant tour is interspersed with gripping fire engine facts, such as the inequity between fire trucks and fire engines. Fire engines, or pumpers, primarily pump water to raze fires, while fire trucks carry ladders, tools and specialized fire equipment. This video does a gargantuan job of explaining the components of a fire vehicle and exactly how those parts are assembled. It’s set aside together in a fun, informative contrivance, and would create a terrific gift. Did you know there are 125 different colors to decide for a fire vehicle - but 92 of these are variations of red? You would if you had watched this video.

This is a gigantic video for both young and former. Explain cases a commonly seen truck, but one alot of people know nothing about. Vast profile,, of a company with a long history. Very appetizing.
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Watch Blood Diamond. Product: Blood Diamond Average customer review: Amazon Price: Sale Price Too Low To Display Click Below To See Amazon Sale Price Add to cart to see discount price@ Availability: In Stock Usually ships in 24 Hours Free Shipping At Amazon

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MOVIE: Edward Zwick’s films always strike a excellent chord with me because of their amazing emotional impact. The Last Samurai left such a colossal impact on me that I was in tears at its fabulous and emotional climax. The Blood Diamond does the same thing by establishing strong central characters with a distinct unbiased that makes the film attractive and tense. The record revolves around Solomon Vandy (Djimon Hounsou) a local fisherman whose village is raided by local militia who are at civil war over the control over the diamond fields. These events took region in the gradual 90’s and it serves as the backdrop of the film. Danny Archer (Leonardo DiCaprio) is a Rhodesian smuggler who works for a corporate diamond company in London he also works as a mercenary. He smuggles diamonds to the corporations so that they can select them off of the market thus keeping supply coarse and examine high, that arrangement they spike the prices. After Vendi is removed from his village and his family separated, he is build to work in the diamond fields where he comes across a pink diamond so rare that it could change the fate of not only his life but a nation’s. Vandy is able to speed his imprisonment by the rebels but is save in prison by the police, and in prison he meets Danny Archer who now wants to location his sights on the hidden diamond. When Archer meets Maddy Bowen (Jennifer Connelly), an American journalist, she believes that his myth holds the key to revealing the truth slow the diamond corporations. When Vandy’s son is recruited by the rebels he sets out on a quest to glean his son while Archer wants the diamond so that he can leave Africa and begin his scared life over. Arnold Vosloo plays a general who is also after the diamond. So we have four people after one tiny stone for four different reasons.

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The film has many sides to it. At times it’s a dim examine into the social and economical conflicts of Africa, sometimes it becomes a burning commentary on the nature of man, but overall this film is an intimate epic of three characters placed within the setting. The main fair of the film is to explain the legend of the characters where as in films like Tears Of The Sun or Sad Hawk Down it’s more about sending a central message. I’m not saying the latter films are abominable, I enjoyed Tears Of The Suns and Dark Hawk Down immensely. I’m also not saying that Blood Diamond is not trying to send a central message either. It’s unbiased that Blood Diamond really tries to articulate a fable, honest like Zwick did with The Last Samurai. While the film portrayed a civil struggle in Japan it was more focused on Tom Cruise’s and Ken Watanabe’s characters so that when tragedy struck it had a strong emotional impact on the audience. Blood Diamond is not only emotional but it’s incredibly tense and thrilling. There is lots of action in the film and the final air raid was executed perfectly. The memoir is solid and the film is an expansive accomplishment. The reason why I knocked off half a star from my final rating was that I had two minor problems with the movie. There were places where a few tweaks could have heightened the emotional impact of the film and have kept the chase of the film more consistent. However, it is whithout a doubt that the film was superbly edited. The whisk and structure were very consistant and strong. I was ecstatic by the script, Charles Leavitt did a blooming job with the screenplay even though he has taken a long smash from writing since his last difficulty with K-Pax. The second thing that bothered me was that once the movie ends and the credits inaugurate to roll we are hit with this hardcore rap song. I was absolutely unnerved and disapointed with the decision to utilize rap in the ruin credits, it ruined the lasting achieve of the film within a split second.

The film also displays some fantastic artistic efforts. The cinematography is absolutely radiant. There is a very pleasurable chance that Eduardo Serra should be one of the directors of photography nominated this year at the Oscars. Some of the shots were truly breathtaking and of course you have to give credit to fair landscapes of Africa. The film’s salvage was calm by James Newton Howard who relied heavily on African vocals for the unbelievable rep. I have to mention here that Hans Zimmer is the pioneer of incorporating native sounds into a film’s catch based on place. Zimmer made African vocals his speciality with films like A World Apart, The Power Of One, The Lion King, and Tears Of The Sun. You have to respond the Zimmer style in the fetch, but James Newton Howard makes it completely his absorb and delivers an extraordinary accumulate. There were scenes where I wished the gain was more prominent, but overall I was very gratified with the musical efforts. All of the artistic efforts effect together with the fable compose Blood Diamond what it is.

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ACTING: Does Leonardo DiCaprio give his best performance yet? In my concept I really judge so. He was fabulous in the film and created a perfectly accessible character that we cared for. Many people are criticizing his accent when in fact he is using an extremely authentic Rhodesian accent. People retract that since he is white and an African he must be South African. That’s not the case here, people. DiCaprio does an unbelievable job with the role. Djimon Hounsou is also equally astonishing in the film. There are a few intimate scenes with his son that will bring you to tears. He plays an uneducated fisherman with his only interests in his family, but it is his character that shows the wonderful of mankind in the middle of this mess. Jennifer Connelly is a titanic actress and she portrays a journalist impartial as a journalist would act. She uses her wits and looks to net the memoir, but her priorities are not to design headlines but rather to relieve change the world for the better. Arnold Vosloo has a diminutive role in the film, but I like him and consider he’s an underrated actor. People will glance him from The Mummy films and his guest role on the demonstrate 24. The acting in this film is obedient, the characters all carry the film and form it something to remember.

BOTTOM LINE: Blood Diamond is intriguing, thrilling and emotional. I shed some tears when I saw The Last Samurai and I indeed shed some tears when I saw Blood Diamond. It’s an action film with so worthy substance, it really pulls you in as an audience member. The few structural problems and the rap song at the demolish credits are not enough for me not to highly recomend this film.

Greed is the dim heart of “Blood Diamond,” director Edward Zwick’s (”The Last Samurai”) uncompromising leer into the underground trafficking of illegally-traded gems in sub-Saharan Africa. Greed of depraved men for power, greed of an amoral mercenary willing to sacrifice anything for a chance to flee Africa, greed of Western businessmen who view to artificially control the diamond market, and the greed of a simple man for his family’s return. This movie powerfully demonstrates the valuelessness of a human life to those persons obsessed with blood diamond collection in war-ravaged Sierra Leone.

Djimon Hounsou plays Solomon Vandy, a simple fisherman and father of two who witnesses his idyllic existence crumble before his eyes. Rebels seeking fresh recruits, slaves, and random carnage swarm into his village. They steal his adolescent son and other young men as future cadets in their guerilla army–following top-notch brainwashing and manipulation techniques–before then getting down to the exact business of slave collection. Seemingly devoid of any mental workings besides casual sadism, these bandits top-off their kidnapping and slave-taking expend with the mutilation and execution of men deemed too troublesome for them to bother with. Vandy is rescued from dismemberment at the last diminutive when the rebels gape his strength, seeing it as an asset they can employ in their constant search for capital: the blood diamond pits. Condemned to toiling underneath the blazing sun with nary a chance of reaping any encourage (besides possible continued survival) for his efforts, Vandy happens to explore an egg-sized blood diamond hidden in the streambed. Hiding it underneath his foot, he buries it when the rebel encampment is attacked by government troops. The only behold to his “theft” is the wounded slave captain–now captured, along with Vandy, by government forces–who swears that the archaic fisherman will soon be begging to sigh the diamond’s whereabouts.

Parallel to Djimon’s character’s storyline is the epic of Danny Archer (Leonardo DiCaprio), an opportunistic solider of fortune caught within a dichotomy of conflicting motivation. He desires sprint from Africa at any cost, yet secretly knows that his blood will someday mix with the earth of his homeland. Perhaps it is this realization that he is doomed which propels Archer forward: in every action and every word, he seems to be bold destiny to obliterate him. Taken in and trained from a young age by Colonel Coetzee (Arnold Vosloo), Archer is easily the most uncertain entity alive on the continent: ruthless, misanthropic, callous, manipulative, and incredibly lethal with bullet and blade. After a close-call haggling with rebel leaders over comely prices for blood diamonds, Archer is arrested for smuggling while crossing the Sierra Leone border. It is here that he intercepts the distraught Vandy and begins weaving a thought to achieve himself from the war-torn country: by dangling the freedom of the fisherman’s family as bait to cajole Vandy into revealing the grand diamond’s set. Solomon, though a simple man, is not so easily fooled. He eventually agrees to support Archer–but only if the mercenary agrees to serve locate his family and also permit Solomon to be his disappear companion.

There is barely time for indrawn breath during the watching of this movie. Action sequences are inflamed, brutal, and frequent. The run of the movie is frenetic. The find is perfect throughout. The “education” of Vandy’s son by the rebels is heart-wrenching. Solomon’s overarching idea that fatherhood trumps all initially feels naïve, but is eventually revealed to be the singularly most remarkable force in the entire movie. Danny’s character–the realist mercenary who seems most obedient of surviving, when compared to Vandy–shows the most evolution, shedding layers of the personality onion until an dependable human appears. He is moved to announce an element of his past to the gorgeous American reporter (Jennifer Connelly), whose persistence and mutual survivorship cements a bond they both were too proud to admit from their first meeting. Archer and Vandy relationship morphs into something pretty when a sacrifice is needed, prompting Solomon to reverse that remarkably chauvinistic statement made by Rudyard Kipling over one hundred years ago: the “white man’s burden.”

This is hands-down Djimon’s most impressive performance: I have never seen him better narrate a character. In fact, he blurs the line between character and actor, totally suspending my disbelief to the point where I “knew” him only as Vandy. I have been told by an acquaintance–currently living in Zimbabwe (formerly Rhodesia) –that DiCaprio’s accent is spot-on. In addition, he was utterly believable as heartless mercenary, and his later transformation was also quite convincing. The action sequences were, as mentioned, jaw-dropping in their intensity, but never felt gratuitous or over-the-top.

Easily one of my five current movies of 2006–miss it, and you risk missing some of the finest cinematographic wizardry and directorial finesse of cinema from the last year, period.
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Stream Born Romantic. Product: Born Romantic Average customer review: Amazon Price: Sale Price Too Low To Display Click Below To See Amazon Sale Price Add to cart to see discount price@ Availability: In Stock Usually ships in 24 Hours Free Shipping At Amazon

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I esteem this film (obviously being able to understand the dialogue helps a lot), to me it’s the quintessential Brit flick - absolutely what we do best - but I don’t judge it a Rom Com at all. It’s very bitter sweet, and if all you’re seeing is the silly stuff on the surface then you’re missing the point of this film. Every character had a dismal thread running through them, a secret injure or guilt or unprejudiced sorrow at unfavorable turnings made. But it’s also about hope, and the message that I score from this film is that no matter what disasters lie in your past, you can always overcome them or redeem yourself.

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Adrian Lester was, as always, improbable at the emotional epi-centre of the film. BTW if you ever pick up the chance to inspect him do Shakespeare on stage then travel heaven and earth to go, he is a sensational actor who absolutely understands how to act ‘the beats inbetween’.

So, my advice is to scrutinize past the tabasco jokes and search for the actual film.

A palatable British comedy interesting three couples attempting to collect together, “Born Romantic,” written and directed by David Kane, is a lighthearted, feel-good film place to a heartbeat, as well as a “Salsa” beat. It features a number of lively performances, and offers a contemplation on life with moments that alternate between silly and poignant; delightful fare that leaves the “baggage” of the world gradual for awhile to concentrate on the more personal, intimate aspects of what makes the world go `round, and a valid diversion it is.

A cab driver, Jimmy (Adrian Lester), and a Salsa club are the binding threads of the anecdote, through which the lives of the individual characters intersect. Mo (Jane Horrocks), jilted at the alter some eight years before by Fergus (David Morrissey), has moved on with her life, finding solace in men and the Latin rhythms of a local Salsa club. What she doesn’t know is that Fergus, regretting that long ago decision, is serve in town looking for her. Meanwhile, a somewhat passive petty thief named Eddie (Jimi Mistry), after a botched mugging ends up at the club, where he falls under the spell of a rather peculiar bird named Jocelyn (Catherine McCormack) . Then there’s Frankie (Craig Ferguson), who happens by the club where he meets Eleanor (Olivia Williams) ; but Frankie fancies himself a latter-day Dean Martin (”Did you survey `Ocean’s Eleven? ‘” he asks her at one point), and Eleanor is simply not having any of it. And it all becomes a series of ups-and-downs, ins-and-outs and highs-and-lows, as these six attempt to connect with (or avoid) one another. Along the intention there is music and dancing, and without a doubt, treasure is in the air.

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There are some subtle insights into human nature to be gleaned from this one, but mostly it’s for fun and entertainment, a film that will effect a smile on your face and occasionally cause you to capture stop and perhaps mediate upon the residence of things in your absorb life, as there are elements in the situations and characters depicted here that are no doubt going to hit end to home for many in the audience. To verbalize his tale, Kane sets a brisk hobble and never lets it lumber, and his transitions between the storylines are executed perfectly, which gives the film a rhythm and inch that takes the viewer along with it. He has a terrific ensemble cast with which to work, and he makes the most of their talents, as evidenced by the succinct development of no less than seven characters, to the extent that you have a pleasant win of who each of these individuals are and what makes them tick. And with a right hand, Kane exacts the kind of performances that really brings it all to life.

As Frankie, the guy who tries so hard to be frigid a la Dean Martin, Craig Ferguson hits the price perfectly. If you were around in the days of the “dependable” Rat Pack, you no doubt knew this guy; he was the one with the affected smoothness, all the true moves (at least in his hold mind) and the appropriate “nomenclature.” He could be fun for awhile, but any impression he made was mostly on himself. Happily, Ferguson captures the essence of that guy, but only the expedient parts. He manages to leave the boorish elements slow and opens up enough to let you examine the “right” Frankie, who in reality is fair a guy trying to net on with it and do the best he can. Coming off a dreadful marriage, he simply wants to fetch something (someone) suitable to part his life with. It’s a genuine performance by Ferguson, who is probably best known as Mr. Wick on the “Drew Carey” television point to.

Jane Horrocks (the phenomenal talent of “Slight Grunt”) also gives a convincing performance, as does David Morrissey as Fergus. Together they develop their residence believable, rather than a depiction of some ersatz fairy epic. The development of their relationship as they attempt to reconcile rings correct, which makes the romantic angle all the more proper and unaffected.

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The most endearing couple of the bunch, however, is Jocelyn and Eddie, who point to that when it comes to romance, the curious and the eccentric will catch each other, one intention or another. Catherine McCormack is a delight as Jocelyn, a role that is decidedly unglamorous, but a character in which there is a fresh charm nevertheless; one which McCormack finds and displays in a sensitive, sympathetic diagram that shines through from leisurely an (unattractive) pair of glasses, a neck brace and an introverted, introspective bearing. And it’s touching to peek Eddie, a misfit of the lowest order– played perfectly by Mistry– drawn to this quirky woman, in whom he is able to discern a beauty that is truly more than skin deep.

The most striking of all, however, is Eleanor, as played by Olivia Williams. Adopting a rather hardened exterior as a design of avoiding any right intimacy or commitment, Eleanor is something of a mystery woman, and Williams has a charismatic conceal presence that sells it perfectly. Like Ferguson, she opens up objective enough to let you peek what lies beneath, and it adds a deeper perspective to her portrayal of Eleanor, and you arrive to understand why Frankie is drawn to her.

Finally, Adrian Lester is effective as Jimmy, the cab driver who bears the weight of a dramatic event in his acquire life, which is his secret alone. Jimmy is a pivotal character in the play, and Lester’s portrayal lends some of the more poignant moments to the film.

Rounding out the cast are Ian Hart (Second Cab Driver), John Thomas (First Cab), Kenneth Cranham (Barney) and Louise Delamere (Maria) . An upbeat sage presented with music and a smile, “Born Romantic” offers a romantic interlude that cuts to the stir and leaves the baggage at the door; in all, it’s a fun and satisfying experience.
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Buy Buffy the Vampire Slayer - The Complete Fourth Season Online.. Product: Buffy the Vampire Slayer - The Complete Fourth Season Average customer review: Amazon Price: Sale Price Too Low To Display Click Below To See Amazon Sale Price Add to cart to see discount price@ Availability: In Stock Usually ships in 24 Hours Free Shipping At Amazon

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Let me initiate by issuing a spoiler alert. It is not primitive by Internet etiquette to whine such an alert for shows that have been out for several years, but let me err on the side of caution.

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Immediately after offering THE X-FILES in fresh and cheaper slim-pack editions, they now offer the entirety of BUFFY THE VAMPIRE SLAYER in similar packaging. The contrast is that unlike THE X-FILES, where they gash out enough special features to prick the unusual seven discs to six, the BUFFY releases are uncut.

Of the seven seasons that comprise BUFFY THE VAMPIRE SLAYER, Season Four is the most perplexing. On the one hand, it is almost universally regarded as one of the weakest of the seven seasons, usually ranked with Season Six as the weakest. I personally contemplate that Season One is the weakest followed closely by this one. On the other hand, a lot of BUFFY fans, when they infamous their all time accepted episodes, kill up putting a disproportionate number of Season Four episodes on the list. Two of the episodes, “Hush” and “Restless,” might be consensus picks for the five best episodes ever. How to choose this paradox? It isn’t hard. Although Season Four had a enormous number of truly expansive episodes, the overall Season Four arc was probably the weakest of all seven seasons. The introduction of the Initiative and the Frankenstein-like Adam, the season’s “mountainous dreadful,” seemed in conflict with the expose as a whole. In the earlier seasons and especially Season Five, mighty of the brilliance of the prove and a grand deal of the emotional tension derived from the season-long memoir. Season Four almost completely lacked the kind of yarn drama that made Seasons Two and Three so exhilarating. So even though the season featured a ample number of truly big episodes, they tended to stand on their fill, unlike previous seasons where the best episodes were integrated in a central account.

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Season Four finds Buffy and Willow going off to University of California at Santa Cruz . . . uh, I mean Sunnydale (UC Santa Cruz doubled for UC Sunnydale), Xander making his plan through a string of entry level jobs while becoming romantically eager with worn vengeance demon Anya, Giles without worthy to do since being fired as Buffy’s Watcher and without a librarian job since Sunnydale High School had been blown up at the kill of Season Three, and Angel and Cordelia off to Los Angeles (and their gain series) . And the snide vampire Spike finds himself defanged by the Initiative, unable to acquire in violence towards anyone but demons, inadvertently beginning his transformation into an ally of the Scooby gang. The season also sees the departure of Oz from the display (Seth Green was getting too many movie offers to construct his staying on the explain in a supporting character to invent distinguished sense) and the introduction of Tara as Willow’s girlfriend, thus introducing arguably the first normalized lesbian relationship on television. Oh, and Buffy gets a modern boyfriend, Riley Finn, along with Connor from ANGEL one of the two least common characters in the Slayerverse.

As mentioned above, the main sage is disappointing compared to prior seasons. The Initiative never became especially attractive or compelling and Adam impartial too wooden to match the appeal of the Master, Angelus, or the Mayor from the first three seasons. Great of the reason was the fact that the heavy design up made mighty in the draw of either facial or physical expression difficult to impossible. The romance between Riley and Buffy in neither this nor the next season alive to fans of the indicate, so there was an emotional void in the season as well. Interestingly, Buffy’s best romantic episodes took space not on BUFFY but on ANGEL, especially in the incredible “I Will Remember You.” Nonetheless, despite the conventional central story arc and the lack of an emotional center, the season contains a host of fantastic episodes. Some are comic, some are bright, some scary, some deep, and some a mixture of all of these. The most illustrious episode of Season Four, and one of the two or three most illustrious episodes ever, is the haunting “Hush.” Some critics had complained that the writing of BUFFY was being overpraised, that it seemed better than it really was because of Joss Whedon’s incredible skills at writing dialogue (even when he didn’t actually write an episode, he would wait on punch up scripts by adding some lines) . His response, therefore, was to write a script in which all the characters lost their voices for the bulk of the episode. The result was sheer genius with a host of pleasurable discover gags and a amazing meditation on the trouble of communication. The Gentlemen in the episode are among the most haunting creatures in the history of TV, comparable to anything one will secure in THE TWILIGHT ZONE or THE X-FILES. They stare very worthy like well-dressed Victorian cadavers, impeccably polite, who disappear by floating eerily along a few feet above the ground, cutting hearts out of their victims. So that their victims will be unable to sob, they have captured the voices of all the residents of Sunnydale. No one who ever sees the episode will be able to forget it. Whedon says that one of his goals in writing the episode was to make in the Gentlemen monsters that would stand out as the big television monsters of their time. There is petite doubt that he succeeded. This was also the episode where Riley, who Buffy idea was objective a Psychology teaching assistant but who really worked for the monster-hunting Initiative, and Buffy examine that neither was who they understanding they were. The episode ends with Buffy and Riley standing in her room staring at each other in silence after one of them says, “We need to talk.”

The season was filled with a host of other big episodes. Nearly as highly praised is “Restless,” the interestingly anti-climatic season finale. The Scoobies had defeated Adam the season’s Broad Dreadful, the previous week. “Restless” is a astonishing reflection on the previous four seasons and the journeys that all four principle characters have traveled, presented as a series of dreams of their being killed by the First Slayer (except Buffy, who resists her and thereby saves the others) while watching APOCALPYSE NOW (spicy given Riley’s comment to Buffy earlier in the season that since meeting her he had had to learn the plural of apocalypse) . The episode also contains another and final hint about Season Five when in Buffy’s dream Tara appears and tells her, after she has left a room, “Be relieve before dawn.” In Season Three in a dream that Buffy and Faith shared Faith mentioned “Tiny Sis” and referred to something that would happen exactly two years later (it would be Buffy’s death to achieve Dawn) .

Speaking of Faith, another huge pair of episodes were the two featuring her: “This Year’s Girl” and “Who Am I? ” One of the most fantastic things about BUFFY is the contrivance it would purchase on faded subjects and handle it better than any other note on TV ever had. There has never been a more remarkable episode about losing one’s virginity than that from Season Two of Buffy, never a better episode on TV about death than “The Body” from Season Five, and although a number of TV shows have attempted musical episodes, all pale compared to “Once More, With Feeling” from Season Six. A residence staple on television has been having two characters switch bodies. Joss Whedon was never speak with honest doing their capture on such an oft-repeated place arrangement. Instead, the episode becomes an fabulous discourse on self-hatred, with Faith in Buffy’s body doing Faith kind of things in Buffy’s social nexus. There are many very comical moments, such as the mountainous scene in which Faith encounters Spike, realizing that he is a vampire but also realizing something that Buffy never had (his basic sexual attraction to Buffy), and then offering a hyper-sexualized description of what she could do for him if she wanted. There is a memorable moment, reminiscent of Travis Bickle’s mirror scenes in TAXI DRIVER, where Faith, trying out Buffy’s body for the first time, stands in front of the mirror, towel wrapped about her following a bath, rehearsing variations on her caricature of how she views Buffy. Over and over she states variations of “It’s harmful!” obviously viewing Buffy as a goody two shoes. Interestingly, honest before she escapes from Sunnydale she hears on TV about three vampires who have taken over a church during admire service. She goes there to remove on the vampires and when one of them asks her why she doesn’t unbiased go away and not risk her life in saving the others she replies, “Because it’s nasty,” with no hint of irony in her narrate. The episode starts off as a cruel trick on Faith’s section, one that will allow her to run Sunnydale and the Watchers Council that wants to assume and neutralize her as a rogue Slayer, but ends with Faith realizing how mighty she hates herself by view how Buffy has a powerful better life because of her relationships and principles. Buffy and Faith encounter each other in the church objective before switching bodies and fight, with Faith in Buffy’s body getting Buffy in hers on the floor, beating on her face, screaming how she hates her, obviously meaning that she actually hates herself. The two episodes lead to two additional tremendous episodes on ANGEL, where she goes to destroy Angel, eventually trying to secure Angel to extinguish her as an unfamiliar originate of suicide/penance. The four episodes comprise the beginning of Faith’s salvation and transformation to a decent human being.

There are many other huge episodes as well, including the hysterical “Something Blue,” where a spell by Willow that goes unfavorable leads to Buffy and Spike getting engaged and planning their wedding; “The I in Team,” in which Buffy briefly becomes an ally of the Initiative; “A Fresh Man,” in which Giles is turned into a demon and almost killed by Buffy; “The Yoko Factor,” in which Spike attempts to wait on Adam, who has promised to recall the chip that keeps Spike from killing humans, by turning the Scoobies against one another; and the wonderfully laughable “Superstar,” in which Jonathan, who dominates the briefly redesigned opening credits, is suddenly the center of life in Sunnydale. I should, however, also mention that the season also contains the episode that usually wins fan polls of the worst BUFFY episode ever, the simply bad “Beer Awful,” in which a doctored batch of beer turns Buffy into a Neanderthal. Collected, all in all this is an imminently watchable, if overall disappointing season. No fan of BUFFY will, however, not want to hold it, and with the unique inexpensive edition, there is no reason not to do so.

Yet I unruffled give it 5 stars? That’s because, and this is such a cliche, but even at its worst, is better than most series best. Coming after the emotionally charged season 2 and the action packed near-perfect season 3, season 4 was not going to be as captivating. So while episodes don’t arrive the heights the last 2 seasons had, they were detached worth watching anyway since there’s very petite filler here.

Buffy graduated from high school, and slit off everybody’s future chance to since she blew it up fighting a astronomical snake. Well now it’s university time and things are unbiased as worse. She’s dealing with hard professors, an incredibly outlandish roommate, an weak enemy(2 in fact) and a secret military group called the Initiative that doesn’t like Buffy poking around since she has ties to one of its officers.

The season starts with “The Freshman” and like all the other season openers, it’s merely okay. From then on we acquire episodes that range from absorbing to objective merely serviceable. One blemish is “Beer Abominable” where drinking beer leads to men literally acting like cavemen. While it contains a hilarious performance by Sarah, it fair feels rather meh the entire time. That gets saved later with “Hush”, probably the coolest understanding for an episode. The Gentlemen, floating bald guys with unsuitable smiles stealing the voices of everyone in town and then crop out their hearts with no one the wiser since they can’t wail. Most of the episode plays out with no dialogue and there’s even some comical jokes(the hand motion sans Mr. Pointy is quite silly) .

A welcome addition(although I’m getting tired of the overusage of the anecdote) is when Faith returns and manages to switch bodies with Buffy. While I pick up tired of the body swap episodes, this one’s quite comical and allows both actresses to do something a bit different. Eliza totally nails the Buffy character in Who Are You, especially when she’s convincing people of her identity. Then we have the only season finale to not be a expansive sizable blowout: the characters have very irregular dreams featuring the first Slayer in Restless.

Is there some pain spots? Well, the episodes aren’t as consistent as season 3 was. They’re usually meh episodes that are very comic are unprejudiced really tall ones, exception being Beer Dreadful which is objective terrible. The Initiative storyline doesn’t seem as expansive a threat as Angelus or the Mayor was or even the Master and the Riley/Buffy relationship doesn’t have the attraction it should, despite the sometimes often physical scenes(such as the sex minded Where the Wild Things Are) .

One nice thing about shows like Buffy or Smallville is you can place whatever episode you felt like on without losing your residence. 24 or Lost makes you feel like if you missed one episode then you’re completely screwed. While season 4 may not be the best, it’s fair misunderstood and ultimately a fairly solid season.
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Stream La Femme Nikita - The Complete First Five Seasons Online. Product: La Femme Nikita - The Complete First Five Seasons Average customer review: Amazon Price: Sale Price Too Low To Display Click Below To See Amazon Sale Price Add to cart to see discount price@ Availability: In Stock Usually ships in 24 Hours Free Shipping At Amazon

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I watched every single exiguous of every episode USA aired of this absolutely outstanding series! I lived for Sunday nights and it didn’t matter where I was or what I was doing, I stopped to spy this exhibit. I actually worked it into my schedule and Sunday nights revolved around this prove. I was so heartbroken when they cancelled it due to budget constraints. I quiet cling to some fleeting hope that someday they will revive the series, but I reflect that is only a dream at this point.

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It’s hard to characterize what made this present so salubrious. Perhaps it was the irresistable and ever-evolving savor legend between Michael and Nikita. You were always left guessing: Is this fair a Allotment ploy or does Michael really worship her? Will they ever be together? Ooooooo. Inspiring! Kept me hanging on week after week! Or perhaps it was the eclectic and fashionable aura the creators were able to infuse into each episode, from Nikita’s open-aired apartment, the outfits of the characters, Madeline’s private minute garden in her “office”, or all those deserted help hallways of Portion. Or perhaps it was the funky, wintry, rhythmic tunes that seemed to win their scheme into each episode. Depeche Mode, Enigma, Morcheeba, Garbage, Gus Gus, and a whole host of other little-known artists created some ever-so-cool grooves for Nikita, and I have them all on CD. Or maybe it’s objective the fact that I like a kindly chick-with-a-gun reveal where the heroine is a classy, splendid, bad-mamma-jamma, with a gargantuan upper prick and roundhouse kick, fighting against the system for the first-rate of the people!

Whatever it is, La Femme Nikita will remain my approved TV note for all time…and I doubt I’ll ever accept another exhibit to replace its stellar standing in my heart. Some shows are unprejudiced magic, and this is one of them.

This is a fabulous deal on the complete site of all 5 seasons and will place you remarkable money in the long speed. Quality of the recordings are wonderful. DO NOT possess the information listed for this item however that it contains only “15″ discs. In fact it contains all the discs from the individual items as would be expected and comes to something like 27 discs. I even wrote customer service to behold into the mislabeled information above but they responded it was “moral” Yeah, whatever…the ordered place command from this link is sitting suitable in front of me guys and I’ve counted ‘em.

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ADDENDUM 3/2/08 - Okay, I eye now that Amazon has updated (finally) their disc count in the description of this item. It now lists the fair number of discs. Nice they finally believed me.

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When Tae Suk (Jae Hee) and Sun-hwa (Lee Seung-yeong) meet or more to the point peek each other for the first time, it takes but a moment for them to realize they were meant to be together: one, very unexcited moment you peek because neither of them assure nary a word during the bulk of Ki-Duk Kim’s “3 Iron.” In fact, in this movie it is only the loud mouths, the abusers, the malcontents, the bullies, the unpleasant guys who stammer out loud and when they do, it usually is a wail, a build down or an abuse.

Tae Suk has an ingenious style of living: he breaks into unoccupied homes and settles down for a night or two. He even does any laundry he finds and neatly hangs it out to dry. He also repairs anything he finds broken: he is the ultimate, caring intruder as, even though he eats whatever is in the refrigerator, he often leaves the home cleaner than he finds it.

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It is during one of those “stays” that Tae-Suk meets Sun-hwa, who escapes her abusive husband and joins Tae-Suk in his vagabond ways. Almost immediately, Tae-Suk and Sun-hwa are in sync in what becomes “their” quest to glean the perfect home to have. One such home is decorated in the veteran Korean-style with a stunning garden and the two are the most unruffled and at peace there as befits their obviously loved and care-for surroundings.

As with all fables, and “3 Iron” is definitely one, the valid world intrudes in the person of Min-kyu (Kwon Hyuk-ho), Sun-hwa’s abusive and contemptible husband who promptly buys off the police and has Tae-Suk arrested and sends Sun-hwa into a major depression.

Director Ki-Duk Kim (the sublime “Spring, Summer, Topple, Winter…and Spring”) delicately slices launch Korean society and exposes the gross underbelly and the steady brutality the often passes for treasure and caring. And by extension, he exposes this fakery underneath all societies with the intrepid exhaust of wit, humor and a luminous witness on what makes us all tick. That he also creates a romance that rivals that of any unusual shroud pair impartial adds to his masterful achievement.

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“3-Iron” is a delicious surprise. Kim Ki-duk’s “Spring, Summer, Topple, Winter” was so lyrical and so cinematically graceful that it is unbelievable that this DVD keeps up that film’s quality. The fact that most of the film is nonverbal makes this subtitled drama particularly easy for international audiences to adopt. Jae Hee Song as the young lead Tae-suk is expedient looking and keeps our eyes glued to the conceal. The modern residence of a young man who breaks into houses and apartments while the owners are away is filled with lyrical details. In one scene, he carefully selects a toothbrush before sitting on the toilet brushing his teeth. He seems to experience the lives of the people by seeing their surroundings, cleaning their clothes, fixing appliances & eating their food. Lee Seung-yeon was in a 1996 film about a serial killer called “Pianoman” before taking on the role of Sun-hwa. Sun is an abused wife of a controlling husband. Tae-suk inhabits her house as she quietly observes him taking a bath and reveals herself to him as he lies in her bed self-stimulating to nude pictures of her from an album. Her middle worn controlling husband Min-kyo played by Gweon Hyeok-ho returns from a business journey. He has bruised her face and bloodied her lip and blames her for not picking up the phone and speaking to him. Sorrowful, she falls into an magnificent wordlessness that suits Tae-suk’s observant lifestyle of stepping into other people’s lives. After the husband has slapped his wife, Tae-suk launches golf balls into the squealing husband. When Sun-hwa flees with Tae-suk on his motorcyle, they enter a series of other people’s homes, relaxing on a red sofa looking out on an interior garden, being in the home of a boxer and finally finding the body of an elderly person that they well-organized, wrap and bury according to custom. Not each of Tae-suk’s attempts wind up benign, however, as he injures a person in a car with a golf ball and perhaps results in the shooting of a young mother. Ju Jin-mo plays the despicable detective who eventually charges Tae-suk and releases Sun-hwa to the prison of her husband. Tae-suk immediately applies his observation of limited detail to his jail cell, memorizing the floor, exploring the walls and completely making himself at home. Lee Ju-suk is the abusive jailer who repeatedly investigates an apparently empty cell as Tae-suk mirrors each movement and stays directly leisurely the jailer. It is breathtaking cinema for the incorporation of martial arts-like movement and dance in to the simplest of surroundings. The film concludes with Tae-suk’s rush and revisiting of houses into which he had previously broken. It climaxes with him reuniting with Sun-hwa, kissing her as she hugs her husband. “3-Iron” is a fabulous delight, quite different from the heavy-handed car-crash Hollywood-style blockbuster, pixie-like in its sweetness and simplicity. It explores the sometimes microscopic distance between life and dream. Bravo!
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Stop Tuned is about Roy and Helen Knable. Roy gets a recent TV from Mr. Spike. The fresh TV has 666 channels that’s filled with shows such as “Facts of Life Help”, “30 Something to Life”, “Sadistic Hidden Videoes”, “Abolish, She Likes” and commerical parodies. Roy and Helen has 24 hours to live through Hell’s channels. Will they obtain it out alive? Conclude TUNED!

“Quit Tuned” is a gargantuan one of a kind movie. Roy Knable (John Ritter) and Helen Knable (Pam Dawber) are captured inside a television station after they are mischievously tricked by a salesman named Spike (Jeffrey Jones) . Roy and Helen have to gain a draw to survive 24 hours of the hellish Tv by completing several tasks and finding a television cover in whatever status that they are currently in. Their scoot inside the television will consume them to many places and adventures such as Star Trek: The Next Generation, The French Revolution, a game note, and even a cartoon where they are both rats.

“Finish Tuned” is a hilarious comedy movie. It’s comical unbiased about the whole time. John Ritter, Pam Dawber, and Jeffrey Jones all assign on colossal performances. If you like innovative and hilarious comedy movies, I recommend getting “Discontinue Tuned.” The movie never gets faded no matter how many times you discover it, so you might be staying tuned longer than you deem.
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Many people will explore at this film version of Andrew Lloyd Webber’s classic musical spectacular, THE PHANTOM OF THE OPERA with mixed emotions. There are people who will be upset that Sarah Brightman and Michael Crawford, who played the novel Christine and Phantom respectively, were not allowed to recreate their signature roles. There will also be people who’ll be disappointed that this version is not a literal translation of the stage musical. Finally, we have the critics of both Webber and director Joel Schumacher, who have both been accused of depressed excess in previous projects in their individual careers. Taken as a film version however, this PHANTOM stands the test of time, not only as a astounding musical film, but as one of the more faithful versions of Gaston Laroux’s romance/horror new.

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Starting with a dusky and white prologue, the film tells the yarn of budding opera star Christine Daae and the two men who fight for her heart: the beneficial Viscount who she knew in childhood, and the mysterious Phantom of the Paris Opera House who hides his ugliness tedious a half-mask while sponsoring Christine’s career. Like the stage production, this film is awash in beautiful colors and sets that would effect many epics to shame. It’s well balanced by solid performances that aid propel the romantic, if melodramatic, myth along.

Gerard Butler makes for a wonderfully black and obsessive Phantom, while allowing the character to sustain the audience’s sympathy. Miranda Richardson is solid as the dour Madame Giry, who knows the Phantom’s secret. Minnie Driver easily gets the most laughs as the over-bearing diva, Carlotta. (It’s challenging to designate that Ms. Driver’s singing is dubbed in the film kindly, while she actually sings the unique closing credits melody “Learn to be Lonely.”) Patrick Wilson makes for a stalwart, if somewhat bland, Viscount. But the strongest impression is made by the heavenly Emmy Rossum. Only in her behind teens when filming, she turns in a incredible performance with a crystal sure divulge that does justice to Webber’s accept. Joel Schumacher does a strong enough job in directing this film, allowing the music and the screenplay that he co-wrote with Webber to shine.

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In the slay, THE PHANTOM OF THE OPERA is a enjoyable spectacle that does justice in its believe procedure to both the stage current and Laroux’s book. As such, this is a film I highly recommend.

You know that a movie works when it follows you long after you’ve left the movie theater. I saw the Broadway tour of “Phantom of the Opera” a few years ago and it has been my common musical since. I treasure it more than Cats, 42nd Street, West Side Epic, Les Miserables, Miss Saigon…you name it. Its romanticism and pretty songs honest blew me away.

I was then somewhat hesitant to inspect the film version, fearing that it would not live up to my expectations. A petite over two hours later and I found myself crying over the Phantom (Gerard Butler) and his treasure for the young Christine Daae (Emmy Rossum) as she decides between him or the nobleman Raoul (Patrick Wilson) .

In short, I esteem this movie! It was everything I had hoped it to be and more. The account is faithful to the stage version but it also gives the audience a closer scrutinize into the lives of the three main characters. The art direction, sets and costumes are exquisite and breath-taking. And the songs are brought to life superbly by the talented cast of young newcomers (Rossum, Wilson) and film veterans (Miranda Richardson, Ciaran Hinds, Simon Callow) .

I know many would argue that Michael Crawford was a pleasurable Phantom…that is, except for me. I always felt that Crawford’s advise was too high-pitched and not manly enough. To me, Gerard Butler is more effective Phantom. Apart from being incredibly graceful (under that make-up), mammoth and well built, he also has this rough and raspy speak that is very masculine and rotund of passion. He IS the Phantom! Emmy Rossum has a hauntingly blooming swear and has an innocence and sweetness that fits perfectly for Christine. Her shriek gives me goosebumps! Patrick Wilson’s romantic tell contrasts well with that of the Phantom’s. After all, one is supposed to be a nobleman and the romantic hero while the other is shadowy, mysterious and brooding (like the misunderstood Quasimodo of “Hunchback of the Notre Dame.”) But even without the singing, Gerard Butler turns in a memorable and passionate performance as the Phantom and you really do feel for him in the destroy. If there was one fault to this film, for me, it would be Minnie Driver’s Carlotta. She was so over the top that I sometimes found her grating.

All in all, however, I walked out of the theater wanting to recognize “Phantom of the Opera” again and again (I’ve now seen it twice and counting) . I couldn’t fetch the music out of my head and have since purchased the CD. I can’t wait for the dvd to advance out so I can contemplate it over and over. I highly recommend it to fans of the stage version, music lovers and incurable romantics everywhere. And if you loved the songs, be definite to steal up the equally favorable soundtrack. This phantom will haunt you long after you’ve left the movie theater….and I have gladly fallen under its spell. Gracious!

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For those of us who long to contemplate lives of faith portrayed with the grittiness and courage that this life entails and demands, here is the movie we’ve been waiting for. I found the memoir immensely bewitching - all the more so for it being right - and the acting, especially that of Frank Rautenbach, particularly estimable. Worth the money for definite.

I unprejudiced saw the movie a week ago. It was so arresting that it caused me to consider on my relationship with Jesus. The Bonus materials were equally as qualified as the movie. I’ve been a astronomical follower of the Sherwood Baptist Church movies: Flywheel, Facing the Giants, and Fireproof (which are without seek information from anointed by the Holy Spirit), and this one has moved honest up to the top with them! I continue to pray that all of these movies increase in befriend and that we survey other interesting Christian movies bewitch root! I fair praise God for using such folks at Sherwood and the ones gradual this movie. All of these movies are life-changing because they are based on the Word of God! A fair must notice, along with the other 3 movies I’ve mentioned!
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This is a movie plump of intrigue and suspense. Denzel Washington turns in one of his best performances as Gray Grantham. Julia Roberts is equally as sharp as Darby Shaw a Tulane law student. Together they work to display a criminal conspiracy that involves many high officials that include the White House. When attempts are made on their lives, it becomes a run to perceive if they can solve the case before they forfeit their lives in pursuit of justice.

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The Pelican Brief DVD

The Pelican Brief is based on John Grisham’s novelThe Pelican Brief (John Grisham) in which a student (played by Julia Robert’s) discovers a spot to murder a couple of U. S. Supreme Court Justices so that two less environmentally biased justices can be appointed. Julia Roberts is pretty as usual and Denzel Washington is fine, also as usual.

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Highly recommended for fans of Julia Roberts, Denzel, Washington, and John Grisham.

Gunner February, 2008

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