Doctor Who has finally found it’s way (legally) to my television screen. It’s like the television gods have bukakked right into my mouth with pure joytainment. Mmmm...
In this Jin/Sun episode, a supposedly startling revelation concerning Sun comes out. But the mystery of the captive's identity cannot be denied and the two storylines compete for space in this very decent episode.
Okay, let’s convert an adult-oriented comic replete with pop culture references, sexual innuendo, and a cast of douchebags into an animated, PG-13 straight-to-video abortion with only one of the above three ingredients. Care to guess which one it is? If you were thinking of vinegar and water, you should probably start seeing a psychiatrist.
From the beginning, with the creation of a former Iraqi soldier as one of the main characters, Lost has not been shy about commenting on the “war in terror.” Usually, however, this commentary manifests in subtle ways. "One of Them," however, takes that subtlety and shoves it up your Abu Ghraib.
About halfway through this movie I started wishing that Harrison Ford would challenge himself just once with a movie that is completely outside of his range of experience. He's long since gotten any possible mileage out of movies like Firewall and continuing down this path is bordering on the abusive.
A DVD Review of The Decalogue: Special Edition
Krzysztof Kieslowski’s ten-hour Polish miniseries “The Decalogue” (1989) has often been rightfully praised as being one of the best films ever made. The reasons, while numerous, can successfully be trimmed down to two keys points. First and foremost, Kieslowski’s tells each of his self-contained one-hour morality tales, which each revolve around one of the Ten Commandments, without being didactic. Secondly, Kieslowski makes full use of the filmic medium. Relying on images and sound, Kieslowski refuses to tell his stories without unnecessary dialogue. To simplify things, “The Decalogue” probably best resembles Ingmar Bergman’s questions of morality intersecting with the aesthetic of Stanley Kubrick or Robert Bresson. However, such comparisons do not even come close to the emotional and artistic zenith that Kieslowski reaches in his massive canvas.
Now this is Lost at its finest. Season two has had some hiccups, including the series’ worst episode to date. But “The Long Con” features a perfect mix of character development, plot twists, full use of the ensemble cast and, for the ladies, plenty of scenes with a topless Sawyer. Jesus, this episode had more six packs than Sam Brady’s apartment during one of his notorious Jack Bauer marathon orgies.
The following takes place between 12:00 p.m. and 1:00 p.m.
In addition to a handful of excellent film adaptations, Japanese director Akira Kurosawa and English playwright William Shakespeare have one metatextual artistic trait in common: the paradoxical ability to produce a piece of art that is firmly rooted in a native culture but also tends to be interpreted as being incredibly universal. For instance, Kurosawa’s early samurai epics, The Seven Samurai (1954) and Yojimbo (1961), both firmly planted in Japanese culture, became Americanized to great success in The Magnificent Seven (1960) and A Fistful of Dollars (1964). In the meantime, Kurosawa did a bit of adaptation himself, turning the Bard’s MacBeth into Throne of Blood (1957) and King Lear into his masterpiece Ran (1987). However, in the middle of all these adaptations, Kurosawa produced The Bad Sleep Well (1960), an incredibly loose adaptation of Hamlet that fails to reach the quality set by Kurosawa’s more focused efforts.
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