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Milla Jovovich




Milla Jovovich is an Ukrainian actress, supermodel, fashion designer, singer and public figure, who was on the cover of more than a hundred magazines, and starred in such films as The Fifth Element (1997), Ultraviolet (2006), and the 'Resident Evil' franchise.

She was born Milica Natasha Jovovich on December 17, 1975, in Kiev, Ukraine, Soviet Union (now Kiev, Ukraine). Her Montenegrinian father, Bogdan (Bogdanovich) Jovovich, was a medical doctor in Kiev. There he met her mother, Galina Jovovich (nee Loginova), a Russian-Ukrainian actress. At the age of 5, in 1981, Milla with her parents emigrated from the Soviet Union, moving first to London, UK, then to Sacramento, California, and eventually settled in Los Angeles. There her parents worked as house-cleaners for the household of director Brian de Palma. Her parents separated, and eventually divorced, because her father was arrested and spent several years in prison.

Young Milla Jovovich was brought up by her single mother in Los Angeles. In addition to her native Russian, she also learned French, German and English. However, in spite of her cosmopolitan background, Milla was ostracized by some of her classmates, as a kid who emigrated from the Soviet Union amidst the paranoia of the Cold War. Many emotional scars had affected her behavior, but she eventually emerged as a resilient, multi-talented, albeit rebellious and risk-taking girl. She was coached by her actress mother since her childhood, first at home, then studied music, ballet, and acting in Los Angeles. In 1984 she made her first career move, appearing on the cover of 'High Times' in the UK, at the age of 9.

She shot to international fame after she was spotted by the photographer Richard Avedon at the age of 11, and was featured in Revlon's "Most Unforgettable Women in the World" advertisements, and on the cover of the Italian fashion magazine 'Lei' which was her first cover shoot. She made her first professional model contract at the age of 12, and soon made it to the cover of 'The Face', 'Vogue', Cosmopolitan' and many other magazines. The total number of her magazine covers worldwide was over one hundred by 2004, and keeps counting. In 2004 she made 10,4 million dollars, becoming the highest paid supermodel in the world.

Milla Jovovich was torn between two professions, before she eventually became one of the very few supermodels who also developed a steady and serious film career. In 1988, at age 12, she made her film debut credited as Milla in a supporting role in Two Moon Junction (1988) by writer/director Zalman King. During the 1980s and early 1990s, she played several supporting roles as a teenage actress in film and on television, then starred in Return to the Blue Lagoon (1991). In 1997 she co-starred opposite Bruce Willis in the sci-fi blockbuster The Fifth Element (1997), then she starred as Joan of Arc, the title character in the eponymous costume drama. In the early 2000s, Milla had a few years of uncertainty in her acting career due to uneven quality of her films, as well as some hectic events in her private life. However, she managed to overcome her personal crisis. With the leading role as Alice in the 'Resident Evil' trilogy, she established herself as a film star, and her success in acting career eventually matched her success as a supermodel.

Outside of her acting and modeling professions, Milla Jovovich released several critically acclaimed musical recordings, making her debut as a singer, songwriter and musician with the 1994 release of 'The Divine Comedy'. She also gave several live performances with her band called 'Plastic Has Memory', and was featured on 'Hollywood Goes Wild'. Her vocal recordings appeared on soundtracks of several films. She has been writing music and lyrics to her song-demos, playing her guitar and sampling other sounds from her computer, and allowing free download and remix of her songs from her website.

For many years Milla Jovovich has been maintaining a healthier lifestyle, practicing yoga and meditation, trying to avoid junk food, and cooking for herself. Since she was a little girl, Milla has been writing a private diary, a habit she learned from her mother. She has been keeping a record of many good and bad facts of her life, her travels, her relationships, and all important ideas and events in her career, planning eventually to publish an autobiography. After dissolution of her two previous marriages, Milla Jovovich became engaged to film director Paul W.S. Anderson; their daughter, Ever Anderson, was born on November 3, 2007.

John Cusack


John Cusack was born in Evanston, Illinois on June 26, 1966. He was the fourth of five children born to a math-teacher mother, and a filmmaker father. At the age of 8, he joined the Piven Theatre Workshop. By the time he was 12 he had a string of industry films, had acted radio spots and commercial voice overs a his belt. When he was 17 he got his first real acting break in the teen comedy "Class"(1983).

Biography and Career :

He remained busy the remainder of the '80's in hit's like "Sixteen Candles" with Molly Ringwald, "Better Off Dead", "The Sure Thing", "The Journey of Natty Gann," and Cameron Crowe's classic eighties movie, "Say Anything." John Cusack has said that of all the characters he had ever played, his character in "Say Anything" ,Lloyd Dobler , was the most like himself. His performance in the movie effectively confirmed that he was capable of carrying a film and better offers began to role in.

John Cusack won his first grown-up role in "The Grifters"(1990), where he played a small-time hustler caught between the attention of two rival women. His costars in the film Angelica Houston and Annette Benning both received Oscar nominations for their performance in the film but John Cusack had to settle for the rave reviews he received instead of a nomination.

Next, John Cusack appeared in "True colors" with James Spader and had a cameo role in "The Player". He has gone on to continue enjoying roles opposite box office champs. John Cusack has given wonderful performances in dramatic films such as 'True Colors", "Shadows and Fog", and "Map of the Human Heart" as well as comedic roles in "Money for Nothing" and "Bullets Over Broadway". In 1996 he co-starred with Al Pacino in "City Hall".

The next turning point in John Cusack's career was when he starred in "Grosse Point Blank" with Minni Driver. The movie was critically acclaimed and darkly funny and Cusack not only starred in the flick he also co-wrote and co-produced it. Recently he has appeared in "Midnight in the Garden of Good and Evil," "Pushing Tin" and "Being John Malkovich." His latest film was in the lead role of Steven Frears' winning adaptation of Nick Hornby's cult-fave novel "High Fidelity" which Cusack also logged co-producing and writing credits for the flick.

Despite many fine performances, John Cusack hasn't launched into the realms of super-stardom. Not that he cares. With his taste for the offbeat combined with his continued loathing for celebrity and for semi-literate, sensationalist film-making. It is unlikely his feelings will be hurt if he doesn't command the lead in the type of conventional big budget flicks that keep the Tom Cruises of Hollywood in the $20 million club.

John Cusack's Dates :


Janice Dickinson

Lili Taylor (1988)

Uma Thurman (1992)

Susannah Melvoin (1992 - 1995)

Minnie Driver (1996)

Claire Forlani (1997 - 1998)

Alison Eastwood (1997)

Pamela Anderson (1998)

Neve Campbell (1998)

Meg Ryan (2002 - 2003)

Britney Spears (2003)

Gabriela Spanic (2004)

Rebecca Romijn (2004)

Alexandra Kerry (2004)

Sheryl Crow (2006)

Gary Oldman


Gary Oldman (full name Leonard Gary Oldman) was born on Friday, March 21, 1958 in New Cross, London, England. He is a famous actor, producer and director.

Biography and Career:

When he was a child Gary loved to play the piano and sing but he gave this up for an acting career. Although he became a successful actor, Oldman never forgot his love for music and managed to combine his hobbies some of his movies like Track 29 and Immortal Beloved. He studied at Rose Bruford College where he also managed to get a B.A. in Drama.

After graduating in 1979, Gary started playing in various theatre plays and worked in theatre for the next eight years. Although his acting career started in '79 Oldman got hist first leading role in 1986 in "Sid & Nancy", a motion picture which made it poss ible for him to work at Hollywood.

He later played in Prick Up Your Ears (1987), The Firm (1988) and Track 29 (1988) having real-life portrayal roles. JFK, True Romance, Jesus, Lost in Space, Harry Potter and the Prisoner of Azkaban, Harry Potter and the Goblet of Fire, Batman Begins, Harry Potter and the Order of the Phoenix, The Unborn are some other movies in which he played. Oldman also won more than 22 awards and nominations for his roles in different movies.

General appearance:

- 5' 10" (178 cm) height, blue eyes and brown - light hair.

Being born on 03/21, Gary is an aries and has a slim body.

Gary Oldman attended the BA Theatre Arts, Rose Bruford School of Speech and Drama (1979).

Gary dated Lesley Manville and amongst other famous relationships was Uma Thurman.

Nicolas Cage




Nicolas Cage (birth name Nicolas Kim Coppola) was born on Tuesday, January 07, 1964 in Long Beach, California, U.S. He is a famous actor.

Biography and Career:

He was born to August Coppola and Joy Vogelsang, a professor of literature and a dancer and choreographer. He has another two siblings and spent his childhood mostly in Long Beach.

Since he received his first role in "Fast Times at Ridgemont High" Nicolas has played in a wide range of genres and received a lot of fame and respect from his fellow actors and not only.

He has received many awards and nominations during his career, including Academy Award for which he was nominated twice and won once for his role in "Leaving Las Vegas".

Bangkok Dangerous, National Treasure: Book of Secrets, Next, Ghost Rider, World Trade Center, Lord of War, National Treasure, Gone in Sixty Seconds are some of the best known movies in which he played.

General appearance:

- 6' (183 cm) height, blue eyes and brown - dark hair.

Being born on 01/07, Nicolas is a capricorn and has a bodybuilder body.

Nicolas Cage had studied at Beverly Hills High School, Beverly Hills, CA (dropped out) and then Nicolas attended the UCLA School of Theater, Film and and Television.

Nicolas dated Uma Thurman and amongst other famous relationships was Patricia Arquette.

Nicolas is also known as: Nicholas Cage.

Uma Thurman




Uma Thurman (Uma Karuna Thurman) was born on Wednesday, April 29, 1970 and she is a famous actress.

General appearance:

- 6' (183 cm) height, green eyes and blonde hair.

Being born on Apr 29, Uma is a Taurus and she has a slim body.

Uma Thurman studied at Northfield Mount Hermon School, Northfield, MA (dropped out).

Uma dated Don Johnson and amongst other amorous encounters was Robert Plant.

Holly Madison



Holly Madison (birthname Holly Cullen) was born on December 23, 1979 in Astoria, Oregon, USA. She is a model, actress and she is one of Hugh Hefner's girlfriends.

Biography and Career :

She attended the Portland State University.

While being a Hawaiian Tropic model she was spotted by one of Hefner's friends and got invited to a Mansion's party. That's how she met Hefner, becaming his girlfriend. She is the only girl who lives in his room, the other two have separate bedrooms. She appears in the television show, "The Girls Next Door", a show that presents the life of Hugh Hefner's girlfriends.

Before being a model she worked at Hooters. She also appeared in the Playboy magazine. Some of the television shows in which she was seen are The Sharon Osbourne Show, The Tyra Bank s Show, The Big Idea with Donny Deutsch and Larry King Live.

Trivia :

- Height: 170 cm
- Measurements: 36-23-36
- Two of her favorite books are "The Great Gatsby" and "Vanity Fair".
- She says Hugh is her soul mate.

Quotes :

- "I don't get jealous of other girls, because I was [...] raised in a cloning lab to be the perfect woman for Hugh M. Hefner, so, other than the fact that my I.Q.'s probably a little higher than he would like, I have nothing to worry about."

- "I look back on my middle/high school days and see an Alaskan fish out of water who wasn't good at socializing or fitting in."

- "Well, when your boyfriend dates other girls the age difference is the last thing on your mind."

Filmography :

- Robot Chicken (1 episode, 2006)
- Scary Movie 4 (2006)
- Curb Your Enthusiasm (1 episode, 2005)
- Entourage (1 episode, 2005)
- The Last Broadcast (1998)
- Ellen: The Ellen DeGeneres Show (1 episode, 2006)
- The Girls Next Door (25 episodes, 2005-2006)
- The Late Late Show with Craig Ferguson (2 episodes, 2006)
- Amazon Fishbowl with Bill Maher (1 episode, 2006)
- E! True Hollywood Story (1 episode, 2006)
- The Tyra Banks Show (2 episodes, 2005-2006)
- The Big Idea with Donny Deutsch (1 episode, 2005)
- Playboy: Hef's Halloween Spooktacular (2005) (V)
- Viva la Bam (1 episode, 2004)
- The Bernie Mac Show (1 episode, 2004)
- The Sharon Osbourne Show (1 episode, 2004)
- Doggy Fizzle Televizzle (1 episode, 2003)
- The Surreal Life (1 episode, 2003)
- Cribs (1 episode, 2002).

Amanda Holden




Amanda Holden (Amanda Louise Holden) was born on Tuesday, February 16, 1971 in Bishop's Waltham and she is a famous actress from England. Her birth name is Amanda Louise Holden, and she has a younger sister, Debbie. Being born on Feb 16, Amanda is an Aquarius. After a period of 3 years of training at London's Mountview Theater School she made her debut in 1990 at the age of 19 as an unsuccessful contestant on Cilla Black's dating game show "Blind Date".

Amanda has appeared in several stage musicals and in 2004 was nominated for a Laurence Olivier Theater Award for Best Actress in a Musical for her performance in the West End production of Thoroughly Modern Millie.
Amanda dated Les Dennis (husband) and amongst other amorous encounters was Neil Morrissey (boyfriend).

Why is she famous

Amanda Louise Holden is well known for her roles as Sarah Trevanion on Wild at Heart. She is also notable for being a judge on Britain's Got Talent.

Here is one of here famous quotes

"I had a weekend job in a shoe shop to get me through college. I had a grant, but when you study in London you need as much money as you can get. I also once sprayed perfume in Boots for a week, but I couldn't stand the smell."

Kay Parker




Kay Parker was born on August 28, 1944 in Birmingham, England. She is a famous actress. She is also known as Jill Jackson. She won 2 awards in her career. Kay started her career as an actress with the famous television series "Howie's Adventure" which was released in 1962.

She acted in the movie "Casanova" in which she played the role of a Secretary in 1977. She also acted in the movie "Sexworld" in which she played the role of Millicent in 1978. Kay got her fame from the movie "Untamed" in which she played the role of a Journalist in 1978. She played the role of Mrs. Bunn in the movie "Downstairs and Upstairs" which was released in 1980. She acted in the movie "Chorus Call" in which she played the role of Mona in 1979.

After that she acted in the movie "Taboo" which was released i n 1980. Her movie "The Dancer" is one of the major project of her career. Her last appearance was in the movie "Merchants of Venus" which was released in 1998.

Life in Brief:

- Being born on Aug 28, Kay is a Virgo.
- her ethnicity: White.

Kay dated Joey Silvera (love affair) and amongst other amorous encounters was John Leslie (love affair).

Aria Giovanni



Aria Giovanni was born on November 3, 1977 in Los Angeles, California and she is a nude model who was Penthouse Pet for the month of September 2000.

Biography and Career :

Aria Giovanni was born in Los Angeles and by high school she was living in nearby Orange County. Growing up Aria Giovanni recounts that she was quite shy, with only one friend in high school, but that she did very well in her classes. According to her website, she did so well that she was able to graduate and head to college by the age of 16.

She attended college for several years, waitressing and tutoring in science and math on the side, when she decided modelling might be an easier way to make good money. Aria Giovanni started answering newspaper ads in October, 1999, and soon began appearing on various amateur pornography websites such as Amateur Pink, Busty Amateurs, and Seductive Amateurs.

In 2000, Aimee Sweet introduced Aria Giovanni to glamour photographer Suze Randall, who in late May of that year shot photos of Aria Giovanni which appeared in the September issue of Penthouse magazine.
At the same time, she also appeared on the web site Bomis, posing clothed for a Ferrari giveaway contest.

Aria Giovanni's professional modeling career began when she was introduced to renowned photographer, Suze Randall. The pictures were shot for Penthouse magazine and the editors noticed Aria's appeal immediately! They decided to put her on the cover and make the her the centerfold of the September 2000 anniversary issue. It's been quite a ride since then, as Aria has worked for every major modeling entity, including Playboy and Mystique. She also appeared on the TV show Shipmates in 2001.

In 2001, Aria Giovanni played Monica Snatch in the movie Survivors Exposed, a parody of the Survivor television series.

Aria Giovanni has also appeared in bondage, fetish (here most notably working with Ken Marcus ) and artistic photography. Aria Giovanni has gained particular respect for being among relatively few large-chested models working in the field who have not undergone cosmetic surgery.

Aria Giovanni has worked extensively with Andrew Blake, appearing in Girlfriends, Aria, Blonds & Brunettes, Justine, Adriana, and Naked Diva. Aria Giovanni has appeared in both softcore and hardcore pornographic movies, although most of her lesbian scenes involve purely implied sexual contact.

She is currently married to John Lowery (better known as John5), formerly of the band Marilyn Manson.

Filmography :

Notable TV Guest Appearances :

Shipmates playing herself, November 16, 2001
Howard Stern playing herself, October 30 2002
Wild On! playing herself in episode: "Wild on Hollywood Nights" 2003
Rock Theatre Television playing herself in episode: "DragonCon 2003" (episode # 1.2) November 2, 2003

Aria Giovanni Videos :

Meridians of Passion (Aria Giovanni & Old Pueblo Distribution)
A day in the Life of Aria Giovanni (Mystique)
Models of Mystique # 1 (Mystique)
Models of Mystique # 7 (Mystique)
Models of Mystique # 9 (Mystique)
Lingerie : the secret art of seduction
Mystical Journeys (Mystique Magazine)
Mystique presents H2Ohh ! (Mystique)
Aria Giovanni Photos of Mark Daugh (Mystique)
Aria (Andrew Blake)
Justine (Andrew Blake)
Girlfriends (Andrew Blake)
Naked Diva (Andrew Blake)
Adriana (Andrew Blake)
Blond & Brunettes (Andrew Blake)
Aria Giovanni of Mac Daddy ( Stars )
The girls of Penthouse # 4 (Penthouse)
The Thrill Seekers (Penthouse)
Pet of the Year PLAY-OFF 2003 (Penthouse)
Pet of the Year 2003 (Penthouse)
Veronika (Danni)
Virtual Lap Dancers (Danni)
Virtual Lap Dancers 2.0 (Danni)
Erotic Idols of Suze Randall (Suze)
Beach Blanquet Malibu - California Dreams
Aria and Friends
Survivors Exposed
13 Erotic Ghosts (Retro Media 2000)
Matrix Centerfolds :(old Pueblo 2004)
Starz (Macdaddy Entertainment 2003 )
Kokudoh Oh 4 DISC BOX SET Voice of aria
Digital Dream Girls #1 (J.S.Hicks)
Chloroformed Pin-Up Girls! (2004) (V)
Foot Worship Adventures! (2004) (V)
Bubblegirls: Aria Giovanni Danni's Exotic Beauties (Danni 2005)
Busty Dream Tales (Danni 2005)
Mystique Hottest women on Earth 2 (2005)
Mystique Natural Nude Beauties ( Mystique 2005)
Wild Exotics Uncovered Contest (Hotbody.com 2005)
Alabama Jones (Digital Entertainment 2005)
Nikki Nova's Sex on the Beach (Digital Entertainment 2005)
Behind the Fantasy (Mystique Magazine 2005)

The Fog of War


This brilliant work by director Morris is the stuff of life. And death. It arouses the most basic moral and immoral questions of being human through an enormously complex and yet simple man, Robert Strange McNamara. It seems no coincidence, his middle name, as we get to know him in all his cleverness and contradictions. Morris subtly illuminates, literally through McNamara's eyes, what it means to have power over life and death. Like God. There is something almost spiritual in McNamara's eyes, edited against searing images of, well, graphs, statistics, memoranda, bursting firebombs and nuclear mushrooms, almost all rarely seen-before footage. The eyes are the soul of this film - McNamara's are a combination of supreme confidence and extreme doubt. But not only his eyes - for example, we see President Kennedy's eyes frozen in the lens as he tells the nation of imminent nuclear war in 1962, a look that would make a Marine shiver. This new interview technique ("interrotron" ) draws us into what? War? Peace? Honor? Life? Power? Evil?
Born 85 years ago, McNamara is the quintessential man of his time, what Brokaw called the greatest generation, a sobriquet this documentary underscores. In McNamara's words he deplored the sorrow and pity of the four great wars of his lifetime; the trenches in France; the nuclear and indiscriminate firebombing of innocent Japanese; the debacle in Korea; the flaming jungles of Vietnam. His command of statistics is breathtaking. But it is the eyes that reveal an inner truth, the precise opposite of his concise, rational words - his 11 "lessons". We see a man who never found himself in harm's way. We see eyes so ironically blinded by a circa 1918 vision of duty and honor that, though he loathed the horrifics of Vietnam, he was compelled to allow his true judgment to go unexpressed until nearly 60,000 Americans were dead. He was at once perhaps the most powerful man in the world and its most despicable. It is easy to see why a brilliant young President Kennedy would choose someone as Defense Secretary who seemed so like himself, but tragically without the courage. And why, with Kennedy's death, McNamara by sheer ambition and brilliance would ascend to the very pinnacle of power.

Yet, I couldn't hate this guy. Perhaps the most telling moment is McNamara's clear devastation at Kennedy's assassination 41 years ago, again told in his eyes and a rare, emotional choking voice. So it's difficult to blame him for all those deaths he might have prevented -- McNamara genuinely believed he was doing the right thing for his Presidents: through an obsessive sense of duty and loyalty. Now that his day of legacy approaches, he expresses criticism over the actions of others -- General LeMay and President Johnson are the favored targets. But McNamara cannot quite bring himself to admit his own mistakes of enormous proportions. Yet it's quite clear that he was one of only two men who could have ended the 7-year slaughter (of his term in office). Many may find that failure a reason to despise the man. I found it just human.

This film offers up no easy answers (certainly not his 11 "lessons'), but more importantly raises many fundamental questions. Philip Glass' elegiac, edgy scoring perfectly meshes with this thriller. An impressive and important contribution to understanding our nation's ambivalent past.

Why We Fight


With great pain in my heart, for some time now I have been forced to admit that the United States government is no longer a power for good in the world. This film confirms that and explains why: the increasing hegemony of the military-industrial-congressional complex. The film brilliantly details the problems facing democracy today caused by this behemoth. I wish it had been equally as brilliant in suggesting a way out and a solution, but the first step in treating a disease is to accurately diagnose it.


Shortly after 9/11 I became aware once more of the increasing influence of the military industry and militarism in American life when Bush proclaimed that we were at war with the forces of terrorism. I found this alarming in part because it was obvious that the act perpetuated by bin Laden's men was not an instance of state-sponsored terrorism, and therefore there was no army or even nation with which we could engage. It was very similar to the terrorist killings of the Israeli Olympic Team at the 1972 Olympics in Munich. The Israelis properly understood that the correct reaction was what was in fact a long, painstaking police investigation. They knew there was no "war" and no army to attack. I was deeply upset by Bush's declaration of war partly because I feared (correctly, it turned out) that he would engage on a series of military adventures that were largely irrelevant to 9/11 and partly because it meant that the U.S. would not be focused on actually dealing with the terrorists (something else I was unfortunately correct about).

What we have seen since 9/11 is the intense and ongoing engagement of America's military in further attempts to dictate world policy through militarism and war. Although this has never previously been an effective tool of government as seen in hosts of previous world empires, and in fact has always signaled the beginning of the end of the predominance of a nation in world affairs (Paul Kennedy's marvelous THE RISE AND FALL OF THE GREAT POWERS examined this in 1987 and predicted then that America's expanding militarism would begin America's international decline), the Bush administrations Neocon foreign policy is yet another instance of people being unwilling to profit from the lessons of history.

This film tells several stories. On one level it tells the story of the growing and expanding military industry that first developed in the wake of WW II and continued throughout the Cold War. On another it tells of the increasing complicity of government and congress in allowing this industry to control and shape national policies. Although America kept no large standing army until the advent of WW II, we now always maintain as a matter of course an inconceivably vast military. As they point out in the film, over half of the money spent by Congress is on the military (some doubting this will look up the budget approved by the Congress each year and see that military spending takes up usually between 28% and 35% of the annual budget, but this ignores discretionary spending, almost all of which goes to the military, and which is the reason why we spend more on the military than all other programs combined). Whatever else one wants to say about the Founders, they clearly never envisioned a situation where most of the nation's resources was going to maintaining a vast army, navy, and air force.

The documentary also deals with the necessity of an aggressive military posture due to this vast military industry. It would be difficult to justify keeping a vast military apart from any actual military conflicts, which explains why we deploy our military in so many petty military operations, and in the case of Iraq, a large one, though against a weak foe. This of course leads to vast profits for the military industry, and as Chalmers Johnson brilliantly remarks in the film, "When war becomes that profitable, you're going to see a lot more of it." Right now it appears that the Bush people have wrongly estimated how much militarism the general population will tolerate, but this is apt to cause merely a temporary lull, not a permanent retreat from attempting military solutions to political situations.

The most upsetting part of the film deals with the complicity of Congress in tolerating this situation. While our elected representatives ought to be leading the movement to reduce the size and influence of the military in our lives, they are in fact protecting it. The film deals with weapons systems that intentionally have parts built in every state, so that representatives from every state will support them in order to protect the jobs the contracts bring. What distresses me is what we lose by devoting so much money to the military. Any sane individual knows that military--as opposed to terrorist, which are not the same things--threats to the US are currently close to nonexistent. Yet we build this massive military that only causes harm to the rest of the world and ill will and hatred to the US. In the many clips of Eisenhower, he at one point mentions that single bombers equal in cost two schools or a hospital or any of a number of other social services. I look in awe at the remarkable system of social services that has been created in the European Union nations, a system that results in a standard of living that surpasses what one finds in the United States. Although the United States has a far larger economy, why are we not able to have quality education for all Americans? Why no universal healthcare? Why do we not have jobs programs to guarantee employment to all Americans? Why are American workers restricted to only two or three weeks of vacation a year, while many Europeans get six to eight? It is because we devote such a vast amount of our economy to the military. Europeans, on the other hand, devote a comparatively small amount.

I consider this a must-see documentary for every American. And I hope that we can do something to resist the beast. To be honest, I don't think there is much that we can do and my fear is that what we will see is no reductions in the size of the military until the inevitable economic collapse of the United States. That was what happened to all the other empires in history after their constantly expanding military led to their end. I see no reason why it will end differently for the United States. I think the shift in power in the 21st century will go towards the E.U. and China. The only hope for the U.S is a halt to the vast military expansion. The film ends with a woman who had retired as a Lt. Colonel in the Air Force after becoming disenchanted with the campaign of misinformation that preceded the invasion of Iraq. She expresses the hope that people will just start refusing to go into the military. I personally believe that Americans currently have a patriotic duty not to join the military. Excepting internal collapse due to the increased pressures of an expanding military and the worldwide hatred of our nation that our military escapades creates, I see no other hope except for us to simply refuse to go down this path any further.

The Corporation


This is an extraordinary film about the creation of the American corporation, its legal organizational model, its global economic dominance and its psychopathic tendencies, and its incredible ambition to influence every aspect of culture in its unrelenting pursuit of profit.

The Corporation was spawned from Joel Balkan's in depth book, "The Corporation: A Pathological Pursuit of Profit and Power". (Due to be released in March this year) The film and book begins in the 18th century, in the establishment of the 14th Amendment. Initially the 14th Amendment was designed after the Civil War to give ex slaves' legal rights, like any other citizen of the United States, but through a maze of legal precedents, the business corporation organization model was now deemed a "legal person" with all the civil rights accorded to a citizen. This highly absurd precedent has paved the way for corporations to literarily get away with murder, because a "corporation" is not an individual that you can put in jail. In effect, a corporation has no moral or social obligations; their only obligation is the pursuit of profit. This film offers numerous examples of unethical practices resulting in death for many people, and because of their status under the 14th Amendment, and endless legal loopholes, have gotten away with terrible crimes against humanity and the environment with no more than a fine, a mere slap on the wrist.

As the law treats corporations as "persons", Balkan thought it appropriate to put the various behaviours of these companies under psychological examination. What this psychological study illustrated is that corporations, as "persons" behave and display the symptoms of the clinical psychopath. A psychopath typically does not have a social conscience, is guilt free after committing heinous acts, and will destroy anything or anybody that prevents them from attaining the object of their particular obsession - in this case, the relentless pursuit of profit.

This documentary took several years to produce with over 650 hours of footage, director(s), Jennifer Abbot and Mark Achbar, had to chisel down this amazing amount of material into a comprehensible film. What is most astounding is the range of people interviewed for this film, that argue from all sides of the "corporation issue": Ira Jackson, Ray Anderson - CEO of Interface, the world's largest carpet manufacturer; Noam Chomsky, Richard Grossman, Howard Zinn, Michael Moore, Milton Freidman - Noble Prize winning economist; Jeremy Rifkin - President, Foundation of Economic Trends; Dr. Robert Hare - Consultant to the FBI on psychopaths, and many more individuals from all sides of the debate.

When Balkan wrote his book and then collaborated with Mark Achbar to produce this film, what they did not want was the film to appear as just some left-wing diatribe, attacking the corporations, but to illustrate to people how the corporation began, how they have evolved and what they could well turn into if the people do not become involved in the democratic process, ensuring our governments take back the reigns of power.

After viewing this film, it becomes all too evident that these large corporations have too much power, whose mandate is not the common good of the people, and who will go to any lengths, legally and otherwise, in the pursuit of profit and the bottom line.

I believe this is one of the best and most important documentary films to be made in many years.

Wal-Mart: The High Cost of Low Price


'Wal Mart, The High Cost Of Low Price' is filled with first hand testimonials and some hard-fact figures that will help in validating your hatred of this greedy giant, and visually exposes those in other countries who are ruthlessly used as slaves to produce the cheap products you purchase when you patronize this monolith.

These "jobs" provided to the labor forces of India, China, Bangladesh, and Mexico are not 'good wage' jobs even for third world standards. The people are overworked, underpaid, and forced to work in sub-human conditions. These human beings make 13 to 17 cents and hour, and work 10 to 18 hour days without breaks, all so you can have that $1.49 blouse.

Exposed in this film are the squalid, rent controlled apartments in China, provided by the company, that put to shame the most rancid ghetto house in your hometown. And if the employee chooses not to live in these rat-infested housing developments, the rent is still deducted from their wages. Wal-Mart has managed to lower the work standards set for these hard-pressed, low wage, third-world countries that other companies are going to follow, sucking down the standards of working all across the world.

The manager of the Mexico factories went on a tour to make sure that working conditions were humane. He was fired when he reported that the conditions were intolerably inhumane. In his own words, he didn't think retaliation would be brought against him for doing his job.

If you think it was a good thing that America abolished slavery, then think again before you go into a Wal-Mart. Just because the US is no longer "importing" slaves, doesn't make it right to continue to use slavery in other countries to produce high profits for personal gain. Wal-Mart's practices are no different than bringing slaves over from Africa to pick our cotton, it's still a cheap way for the rich to get richer at the expense of human blood and sweat.

Intermittently inserted in the film is a speech made by Lee Scott to the high-end employees and stockholders of Wal-Mart, which sounds very much like an Amway pep-talk. Lee Scott's earnings for 2005 were $27,207,799.00. The average Wal-Mart hourly employee's was $13,861.00.

Interesting facts: After 9/11, the Walton's built themselves an underground bunker in case of another terrorist attack, costing millions of dollars that should have went into paying back the Government for having to subsidize their employee's un-affordable medical benefits.
The Walton family gave less than 1% of their wealth to charity. Bill Gates, not even a nice man himself, gave 58%.
The "Critical Need" fund, set up to assist Wal-Mart employees in emergencies, received five million dollars from Wal-Mart employees (making $13,861.00 annually) and only $6,000.00 from the Walton family, who made, collectively, 102 billion.
Wal-Mart actually had a commercial campaign about "buying American" while all their products come from sweatshops overseas.

Wal-Mart has refused to address crime statistics that show an upswing of violent crime in their large, remote, under-lit and un-protected parking lots, putting their customers in danger and taxing the local law enforcement. The State of California alone paid out 80 Million dollars in medical benefits to poverty-level Wal-Mart employees because the 102 Billion Dollar Walton family does not want to give their "associates" fair medical benefits.

There are many ways to hate Wal-Mart and its ilk, and many books out on the subject, but I recommend watching this DVD so you can actually see the slave workers and conditions overseas that these selfish billionaires exploit without passing down their profit to the "small people" who helped build their empire. The presentation could have used a little more snappiness, and the DVD starts out very slow, but keep watching and you will eventually see the monster peeking out from behind your curtain.
Stop shopping at Wal-Mart. Just stop. You don't need their cheap goods that fall apart two days after you bring them home, and it feels good to know that you make a difference by not supporting slavery. Enjoy!

Who Killed the Electric Car?


A great film about another sorry episode in the history of America's automobile and energy industry. Set as a "Who-Done-It", the film chronicles how short sighted automakers (especially GM) develop great electric cars in response to the California ZEV mandate only to do everything in their power - from suing the state, making ridiculous ads, creating a red-tape filled lease application process - to kill them. Consumers buy bigger and bigger vehicles (whether they need them or not). Government officials and staffers bow to the pressure of intense lobbying, and conflicts of interest. The sad fate of most of the EVs produced during the late '90s to 2002 is revealed.

GM, especially, comes off as incredibly vindictive. What automaker ever tracked down every car of any model and crushed them (not the Corvair, Edsel, etc.)? Even after loyal drivers pleaded to keep them, offering to buy the last remaining EV1s with junk titles at lease buyout prices, GM went out of its way to ensure that the EV1 was history.

The passion of GM's EV specialist Chelsea Sexton for the EV1 makes her the star of the movie. One can only imagine what the engineers who designed the EV1 felt when their babies were being crushed.

But the movie ends on a hopeful note. We may never see the EV1 again, but vehicles using electric drive systems, either as full EVs (which are coming from several start-up companies) or plug-in hybrids, must inevitably roam the roads. The upward trend in gasoline prices, the effects of global warming, the inherent efficiency of electric drive trains, the continued improvement of battery technology, and the upcoming reevaluation of the ZEV Mandate guarantee it.

Super Size Me


Supersize Me felt to me like two movies interwoven together. First off, and most compellingly, this is a documentary about the fast food industry and its role in the obesity epidemic in this country. Although it's an angle most of us have probably already been exposed to, the movie does a good job illustrating the insidious way that the fast food industry pedals its products to the masses and infiltrates all aspects of our American culture. In particular, Morgan Spurlock does an impressive job illustrating the pervasiveness of marketing towards children. We see what today's parents are up against if we try to teach our kids healthy habits. Throughout the movie, we see repeated references to the famous lawsuit in which McDonalds was sued for making people obese. I imagine most people probably have a similar experience to mine, in which I started out thinking such a lawsuit was laughably preposterous, but by the end of the movie I could actually see the logic in it. I wasn't exactly what point he was trying to make with the graphic footage of the gastric bypass surgeries. If it was suppose to gross viewers out, the reality is that any surgery could do that if shown in that detail. I hope it didn't have the effect of discouraging anyone from pursing a gastric bypass, which happens to be a wonderful operation that has helped many people turn their lives around.

The second thread of the movie is the human experiment, in which our protagonist goes 30 days eating only McDonalds food. For me, this part felt like bad reality TV to me. Although posed a scientific experiment, it is clear our narrator knows from the start what direction it will go. For one thing, we see his vegan girlfriend reprove his plans. From even the first couple of days, we get endless shots of him looking at the food and telling us how gross it looks, or telling us how sick he feels. The shock this study, if you can call a sample size of one person with an agenda a study, is that he actually gets even more physically ill than anyone anticipated. Well, he gains weight and has an elevation of his liver enzymes. His doctors appropriately try to coach their patient into reverting back to a healthier diet, putting as grim a spin on it as possible. Elevated liver enzymes however are the normal response of a healthy liver to an acute insult. It's going abruptly from a low fat diet to a massively high-fat diet that causes it. If he wanted to make the case that this was a dire lethal reaction to fast food, we could have checked the liver enzymes of any of the characters we meet in the movie who habitually eat fast food. He would have found them to be mostly normal, since the bump in liver enzymes is a function of the acute change, not the fast food in and of itself. His doctors make the analogy to alcoholics, who get elevated liver enzymes from the insult of alcohol to their livers. But, in fact, it is when an alcoholic binges and doesn't get a corresponding rise in liver enzymes that there is evidence of end-stage liver disease (Morgan's internists hopefully understand this but are either doing their job by trying to scare him, possibly hamming it up for the cameras, and/or the interactions are edited for maximum melodrama and don't reflect the content of the actual visits.) We even see that Morgan's liver enzymes are returning to normal by the last set of blood tests, even though he is still on the diet at that point, but little is made of that in the movie, because it doesn't support the premise that eating all fast food for a month can kill you. His chest pain, which looked like an anxiety attack, and his other physical symptoms such as headaches are hard to interpret, especially in someone with an agenda to get as sick as possible. Then we get to see footage of Morgan on the phone with his mother, her only half joking that she would donate part of her liver if he needs it, and footage of Morgan on the phone with his girlfriend practically mourning his heroic and fated death. Too much. The informational content is important enough without watering it down with the intellectual equivalent of fast food.

My personal Amazon-confession: I love McDonald's, but I do feel gross afterwards. One of my professors in Med school was fond of saying "there's no good or bad foods, just good or bad diets." The McGridle really puts that sentiment to the test, but I would still agree with it. I always hoped he would slip one day and say "there's no good or bad food, just good or bad people," but it never happened.

Overall, a good movie, I'm glad I saw it. The extras don't add much in particular but still a good DVD. For me, personally, I could have watched much more of the documentary footage and skipped the "reality" melodramatics of the 30 day experiment. However, that experiment was probably the gimmick that got the movie financed, publicized, and accessible to a mass audience, so maybe it was necessary from a practical point of view.

An Inconvenient Truth


Ok, let me get this straight. They made a documentary about Al Gore giving a lecture? About global warming? Okay, I'm already asleep. Snore. Yawn. Why don't I just stay home and save the money I would spend to take a nap.

All kidding aside, if you know anything about Al Gore, you know this is a subject he is extremely committed to and passionate about. Very passionate. And after five years of some of the worst, most harmful environmental policy to ever come out of Washington, DC, there is no better time for "An Inconvenient Truth".

I know many consider Gore to be less than a captivating speaker. But in "An Inconvenient Truth" he comes across as a different man because he is so passionate and committed to the subject of global warming, he comes across as a different man. Informed, knowledgeable, conversational and persuasive, if he were like this during the election, there would be no Florida Recount in our history books. Okay, so that didn't happen. But the result is that Gore, much like Clinton and Carter, are trying to do something with their status to help better the world. Gore has long been an environmental advocate and it shows. He knows the facts inside and out; people have provided him with statistics, graphs, charts and more, and he uses them in this presentation.

As Gore states, he has given the lecture more than a thousand times around the globe. Because of this, he is extremely comfortable addressing large audiences, giving them a lot of scientific research to digest. Remarkably, he makes it easy to understand, pointing out key facts, walking us through some of the more difficult to understand ideas and problems. He also knows when the audience needs a break and interjects humor here and there. At one point, he shows a spoof of an educational film animated by the people at "The Simpsons". At others, he makes fun of himself and his political ambitions and woes.

Davis Guggenheim, the filmmaker, has apparently presented Gore's lecture virtually intact. As Gore moves around on a dais, clicking for the next slide, he makes persuasive points. But he also reaches a couple of key points. When this happens, the filmmakers smartly pull back from the lecture, giving us a portrait of a few key moments in Gore's life. The argument he makes in his lecture is persuasive, intelligent and well thought out, but because we learn more about the man making the presentation, these points have even more resonance. Not only do these moments give us more details about Gore, they also provide a respite from the scientific data, allowing us to absorb what we have learned.

At one point, Gore states that the data is irrefutable and it appears to be. Remarkably, the filmmakers show footage of various people attacking Gore, or claiming the data he is presenting is not based in fact. Yet, we can see it for ourselves, right in front of us. And I am sure Gore could easily provide a bibliography of resources for us to check out all of the facts he uses. What would drive some of these people to attack Gore and this data? Some of the clips are from Gore's days as a Senator and Vice President, so some of that can be contributed to political parties trying to one-up each other. But currently, Gore does not hold political office, yet the current administration seems intent on giving every break to the worst polluters in the country, allowing them to make as much money as possible while they pollute and pollute and pollute. Gore shows a slide about this argument. Apparently, there is the thought good environmental policy will impact the economy. How do these same people explain the relationship between Toyota, Honda, Ford and GM? Toyota and Honda manufacture vehicles with far better gas mileage than their competitors and are much more successful because of it. An argument Gore makes very convincingly.

Thankfully, Gore stays away from political bias. More or less. A couple of times, he makes funny remarks about his failed run for the presidency, or he makes a pointed comment about the current administration, but by and large his comments are directed at us and what we should do to save our planet. The film isn't void of bias, but there could certainly have been a lot more. The fact the filmmaker and Gore showed some restraint makes his presentation even more persuasive.

The film ends with a series of `calls to action' as the credits begin. Frankly, these aren't needed because Gore's arguments are so convincing. But they are effective. As one call to action states "Urge everyone you know to see this film." Well, folks, that's what I am doing. Go and see this film. We need to do something before it is too late to do anything. Hopefully, this film will one day be viewed as a historical document of the beginning of a great change and not as a horror film.

Fahrenheit 9/11


There must be a reason why Fahrenheit 9/11 is ranked #1 on Amazon and I can mention a few right here:

1. The movie pulls no punches. It delivers a serious message with verifiable facts in a way that moves people to tears and laughter, seconds apart from each other.

2. The movie is controversial. It tells the story of how our current President and his administration have ties to oil interests in the Middle East, an old hatred of Saddam ("tried to kill my Daddy"), and a heretofore unmatched ability to make the wrong decisions based on preconceived and premeditated agendas without considering the costs in human lives or human dollars.

3. Tears. This movie could reverse a drought with the amount of tears it has evoked so far. The power of anyone watching this movie to be moved to tears (and you will, trust me) is a powerful statement of it's importance and relevance right now. We've all seen the destruction in New York City but we haven't ever understood some of the reasons it was allowed to happen, or why we find ourselves in a war in the wrong country, with no connections WHATSOEVER to the terrorists that brought 9/11 into our lives.

Bowling for Columbine


I'll be fair first. I don't always like Michael Moore. While some of Stupid White Men made me laugh, other parts were offensive to me, particularly a chapter devoted to his own foriegn policy "ideas." His next film is going to be called Farenheit 911, and he's said that he's determined to release it in October 2004, right before the election. I'm not a fan of Bush, but I worry it may be hard to sit through a movie that was created entirely to slander someone.

That's why I like Bowling for Columbine, because I sense honest intentions behind it. Moore comes from Flint, Michigan, a place where a little girl was shot by her classmate shortly before Bowling for Columbine was shot. He's sad to see these happening to our nation's children, and he wants to know why. The most valuable part of this film, at least in my opinion, is how it systematically refutes "explanations" for gun violence.
-Charlton Heston blames it on a "mixed ethnicity," but Moore claims Canada had an even bigger mix, complete with a lower crime rate.

-Violent video games? Japan has much more violent games than we do, and their homicide rate is much lower as well.

-Violent history? Germany was once home to the Nazi party, and they have a lower rate than us.

One possibility he raises that I always found very reasonable was the description of enormous high school prssure that was discussed in his interview with Matt Stone. Kids are cruel to each other growing up, and I think the reason those Columbine kids snapped was because of years and years of teasing by their classmates.

Conservatives seem very intimidated by Bowling for Columbine, I'm not sure why. It doesn't seem so dangerous to me. Do you think that a movie would be enough to ever change the policy of the president? Anyone who heard the "with us or with the terrorists" speech should know the answer to that. But then again, some of these people who flip out over the Dixie Chicks or Tim Robbins stating their opinions never seem to be able to grasp that these isolated incidents of free speech are pretty harmless.

Moore is often called an Anti-American, which is a term I think is overused and rarely appropriate. Osama Bin Laden is an Anti-American. Moore would not like to see American destroyed, he would like to be a place with less violent deaths and discontent citizens. Moore doesn't hate America, he loves America. The free speech he's grown up with has given him the opportunity to write his books and make his movies. He is certainly anti-Bush, but why should that make someone anti-American? I'm sure plenty of conservatives were anti-Clinton or anti-Carter of anti-Kennedy, but I would never call them anti-Americans. Our real enemies are people who would destroy crowded buildings in NYC, not people who voted for Gore.

Yet, despite all this, the attacks on Moore's film are often totally vicious and off-base. A disturbing number of the reviews on this site, and many others, attack his weight more often than they attack the film. Yes, Moore is fat but so is Rush Limbaugh for God's sake.

Now, as for the allegations that Moore has fabricated some of the events in this film, I'm not sure exactly how to address all of them. Did he take Charlton Heston's "From my cold dead hands" speech totally out of context? Yes, he might have. But the thing is, this happens ALL THE TIME. Doesn't make it right, but it does happen. The Dixie Chicks said they were ashamed Bush was from Texas, you hardly ever read about the apology they issued shortly afterward. Critics of Bowling for Columbine only cite parts of it to try and dismiss the whole movie as meritless, and that's the same thing. And also, do these people really think that Rush Limbaugh and people over at Fox News always present clear and fair arguments about their politics? I don't think so.
Bowling for Columbine may not be entirely true, and it's advisable for a viewer to keep an open mind and swallow everything so easily. But it is a brilliantly constructed polemic, engrossing to watch and certainly relevant. No matter what your politics, you'll think on the issues raised here after seeing the movie, and that's admirable in itself.

Bowling for Columbine is a movie, and like all art it is certainly subjective. Those out there who are afraid of the left wing having a chance to speak out? Don't be. The war in Iraq still happened despite vocal objections from many Americans, so what do you have to worry about? People (and don't call us anti-Americans) who are disillusioned with the state of the country, disillusioned by the constant violence going on here, disillusioned by lies and the manipulation of media, may find some brief solace in a movie like this. Is that so wrong? I think this is Michael Moore's best work, because it concerns all of us. I can give this film nothing less than my highest recommendation.

Sicko


No matter what people may think of Michael Moore, they will be hard-pressed to counter his film "Sicko" with one of a contrarian view. I suppose "Sickohype" or Sickohypo" or "Let'em all Die" just doesn't have the same resonance as "Fahrenhype" did to challenge his previous film.

Perhaps as landmark as Jacob Riis's "How the Other Half Lives," "Sicko" brings the devastating cost and state of health care in this country to light beginning with people who have lived the American dream and expected to live their retirement independently and in comfort. Early on, Moore shows a working couple forced to sell their home to meet medical obligations not covered, and now depend on the charity of their children. Moore carefully singles out several cases of the twenty-five thousand emails he received that reveal the appalling state of health care in a country that nurtures that dream. (None of the stories or emails are about couples in separate bathtubs looking out over a vineyard).

First are the insurance companies that are out to make a profit. (Nothing's wrong with that). However, the profit is at the expense of the medical coverage and preventative care they can deny. If they cannot deny it outright or claim such care is experimental, they will pour through a patient's medical history to see if any condition occurred that was not mentioned or remembered in the application process. This will give the company the means to deny all claims retroactively. Incidentally, doctors receive bonuses for the most claims they can deny!

The next spotlight is on the pharmaceutical companies which are so expensive that many people must continue working well beyond their retirement years, years they should be enjoying, years when there is the greatest need for medication. In particular, Moore singles out the very new and complicated prescription plan, which is more expensive for seniors than ever before, but benefits the pharmaceuticals. (Thank you, Mr. Bush).

Besides our illustrious president benefitting from the contributions of pharmaceuticals, Moore identifies a host of other republicans who have had their hands in drug company pockets--including the lady who was going to provide universal health care in the first place--Hillary Clinton whose plan the drug companies spent $100,000,000 to defeat. Fourteen staffers who worked on the Seniors' Prescription bill, moved on to lucrative lobby positions with the same companies, and Billy Tauzin was hired as CEO for Pharma at $2,000,000 a year. In any other milieu, that is called bribery, corruption, and conflict of interest. In Congress, it's called the cost of doing business.

But what gives Americans a strong sense of pride is our belief that our medical system and healthcare, while flawed, is the finest in the world. Moore is quick to write "denied" all over that fantasy. We see in Canada, Great Britain, and France, how people receive first rate health care, from first rate physicians without having to sell their homes, decide which finger they can afford to save, and have a higher life expectancy than Americans. (Doctors in Britain are actually paid more for getting people into better health habits and regimens).

Misnamed socialized medicine by its detractors, socialized insurance works in these countries efficiently without people crowding in waiting rooms, being taxed to death (as the health companies would have us believe), or dying because they cannot afford the medication, or because the insurance company denied their claim. Moore implies that paying higher taxes makes more sense than losing your homes or retirement to catastrophic illness in what is now the leading cause of bankruptcy in the country.

Moore's direction is flawless. His graphics and humor are engaging; dry and deprecating. This is a film that may make you well-up with tears that a society could take such good care of its companies and business, and dump its destitute on the street. Moore succeeds in making you feel empathy for those who are poorly treated or not at all. He is able to make you think: "Can that happen to me?" or "If it can work there, why can't it work here?"

The special edition also offers more in-depth discussion of health care that could not be put in the original film. This includes conversations with people on the street, HR 636 brought before the house, Norway which has the highest standard of health care in the world. (Yes, it is free). Sadly it also shows some of the people from the film whose family members died for lack of treatment, or because they were turned away.

The final irony of the film is one of the more poignant. The man who runs the most virulent anti-Michael Moore website announced that he would have to shut down because he couldn't afford the hospital care his wife so desperately needed.

Guess what Moore did.

The God Who Wasn't There


I found this DVD both richly entertaining and extremely informative. Having been an atheist myself for over thirty years now, I considered myself knowledgeable on the subject matter of this DVD. Yet I was surprised - and quite delighted - by how much new insight I gained from this superb documentary.

For example, I did not previously realize that the Pauline Epistles make no reference at all to the virgin birth, to Mary and Joseph, to Bethlehem, to Herod, to *any* words allegedly spoken by Jesus, to anything pertaining to Jesus' earthly ministry, nor to any of the miracles Jesus supposedly performed. Paul mentions only the cruci-"fiction," resurrection and ascension, tales handed down to Christianity from older mythologies, as Brian Flemming powerfully demonstrates here.

Better than any other source I've seen, this DVD explains how the time-gap between Jesus' alleged death and the writing of the Gospels lends credibility to the assertion that Jesus probably never existed. Moreover, even if Jesus did exist, the stories surrounding him, such as the slaughter of the innocents, have no historical corroboration and therefore lead an objective viewer of this DVD to conclude that the Gospel accounts couldn't possibly be true (whether or not Jesus existed).

This documentary was also extremely funny where appropriate. When Brian Flemming summarized the highlights of Jesus' career, the footage running in the background - along with Flemming's casual manner of speaking - left me laughing more boisterously than I have since watching the original Monty Python episodes. What was especially funny was that Flemming's summary of the Gospels was perfectly on-target and did not distort scripture in any way. The DVD therefore succeeded in showing that the Bible, when viewed objectively, is truly laughable.

I also thoroughly enjoyed this DVD because I got to see video of individuals whose writings I have admired for years, such as Bob Price, Sam Harris, and Richard Carrier. People sometimes come across differently on camera than they do in print. But all of the extended interviews on the DVD showcased the intellect of these scholars as impressively as their books.

The physical production and packaging of this DVD are equivalent to anything marketed by Sony Pictures or Warner Brothers. I was expecting to receive a one-off DVD with an adhesive label. But what I received was a highly professional product in every sense of the word. My enthusiastic compliments to Brian Flemming and to everyone who participated in this important project. I hope that additional DVDs will be forthcoming.

Religulous


GLOBAL WARNING: "If you do not have a Bill Maher, please invent or clone one. IT WILL DO YOUR COUNTRY GOOD". We, in the US have the original and are very happy with him.

I read in Variety about a few advanced "RELIGULOUS" screenings in Claremont California, (August 2008) and immediately hoped in my car, drove 40 miles and rushed to see the film. Happy I did.

The film is sharp, intelligent, real, thought provoking, educational and it is HILARIOUS! Though, sometimes I was not sure ... if I should laugh or cry? Cry for the foolishness and ignorance of so many of us who believe or believed in those clowns up there on the big screen. Let's not call them clowns, because I like clowns, but call them opportunists or entrepreneurs. It is a free country, THEY can sell anything that looks right from the outside and rotten in the inside.

The film eloquently showing us, RELIGION: Business for Grabs....fast and easy. "Religulous" would have been 24 hrs long if he would have included all religions and sects, but tackled only the major organizations and a few odd groups like the Jose Luis de Jesus Miranda. You will have a hoot listening to this impostor.

I loved the film, and I am recommending to ALL who have some common sense and open to intelligent conversation. This film will open more dialog than The DaVinci Code, and hope it will make "semi-believers" question their faith or at least see that all this Religious Business is nothing else but, well... business. I only wish Bill and his creative team, would have mentioned the Inquisition and the multitude of evil crimes, these religions committed since their existence. Than again, THAT WOULD NOT BE FUNNY.

Religious+Ridiculous=Religulous. What a great title and only after I watched the film, I realized how ridiculous were "almost" all who agreed to be interviewed, how selfish, how brainwashed and irrational ready to tell the world how they and "only THEY" will be saved at the end. I say almost, because there were some great people, including Bill's mother and a few ex-religious folks, who give us a good insight of their past. All the way through the film, Bill kept us laughing and informing. Sometimes amazingly serious and sometimes just plain funny.

Have a good time, go see, rent or buy the DVD. But caution: It is not for the already brainwashed poor souls or religious fanatics! They will get angry, shout, speak in tongs (like in the film), they will hear voices from god or find 1 million ridiculous answers for all Bill's questions. It is recommended for intelligent people, period.

Zack and Miri Make a Porno


First there was Kevin Smith, with his patented brand of hugely over-the-top raunch in CLERKS. As he "matured," he added a level of true feeling behind this work in CHASING AMY. And then he sort of lost his way with a few pretty awful films. Meanwhile, Judd Apatow established himself as the King of Sweet Raunch with 40 YEAR OLD VIRGIN, KNOCKED UP, SUPERBAD, etc. In these films, the characters spoke about sex with a level of filthy detail never before heard. They indulged in reckless behavior. They were the kinds of people films had for decades told us were "bad." Yet we recognized people we knew in them, or even ourselves. They were also infused with an innocence and an acknowledgement that behind all the strutting bluster, we all just want to be loved. They acknowledged the weakness in men, and the strength in women who can make these men pull themselves up by their bootstraps and start to take life seriously. This was the Apatow "brand."

Now Kevin Smith has come storming back to reclaim his part of that little mountain. While his ZACK AND MIRI MAKE A PORNO doesn't re-establish him as King, it reminds us that Apatow and others owe him a debt...and that he's still capable of out-raunching the raunchiest stuff we've seen. And, as will be no surprise to anyone who has seen the trailers for the film, he mixes in the "sweet" stuff pretty well too.

The presence of Apatow disciple Seth Rogan makes the film seem more like an Apatow film than perhaps it really is. For example, in movies like SUPERBAD, there is actually relatively little sex being had. Characters talk about it, and they sure would like to be indulging in it...but not much happens. In ZACK & MIRI, a great deal of sex is had and shown. It is a far more visually explicit movie than Apatow's (the full frontal male nudity in WALK HARD being a notable exception). I wouldn't want to compare the level of explicit imagery in the dialogue side by side with a SUPERBAD, but I suspect that ZACK & MIRI is also verbally just a smidge more explicit as well.

Zack (Rogan) and Miri (Elizabeth Banks) have been friends since first grade, and now, on the eve of their 10th High School Reunion, they are roommates sharing a rundown rental and one very run down car. They both have dead-end jobs and apparently no ambition. They also have not paid bills in quite awhile. While neither seems exactly HAPPY with life, both are content in the little routines they have to get through the day.

Miri forces Zack to go with her to the reunion, because she's hoping to shamelessly throw herself at the "boy" she crushed on in school (Brandon Routh). Zack, meanwhile, has an interesting conversation with this guys boyfriend (a hilarious Justin Long, as we've never seen him), who apparently is a well-known gay porn actor. Naturally, Miri is crushed to find this guy she intended to sleep with is gay, but the two are more upset to find their hot water and electricity has been turned off. But Zack comes up with the "great" idea to make a pornographic movie in order to pay their bills.

I won't dwell on the specifics anymore, but you can imagine how things might develop. The two hapless friends have no money and no video camera, so they have to turn to friends to underwrite their crazy venture, and an unlikely troupe of filmmakers develops. There are obligatory scenes of auditions and the struggle to come up with the right title for the film. (If this weren't a "family" site, I'd share a few...the one involving a twist on LAWRENCE OF ARABIA just about made me spew soda through my nose)

It's all quite, quite raunchy. While not literally as explicit as a real porn film, not all that much is held back. I can sure see why Smith had to fight to avoid an NC-17 rating. Under absolutely no circumstances to you want to see this film with your kids...no matter how old your kids are!

Will Zack & Miri find out they are right for each other? Will doing porn ruin their discovery? The film holds few plot related surprises, frankly. It is the verbal dazzle that keeps you entertained.

And the performances. Seth Rogan pretty much gives us the same character again...but he does have an ease about his acting that makes him enjoyable. His characters may be insecure, but Rogan is not. But it is Elizabeth Banks who surprises the most. I've seen her in a lot of smaller roles (on "Scrubs", for example) and to be honest, she's struck me as vaguely perky but lightweight. Here, it is frankly a bit startling to see her right in this raunchy mix, her mouth as dirty as anyone else. Smith has empowered her, that's for sure (don't know if that's a good thing for "society" or not). She also finds some true depths in Miri, particularly as the film winds down, that elevate her performance to a special level. It's not Oscar winning stuff, exactly, but it will make people sit up and take notice of her. This, and her praised performance in W., have made it quite a good year for her.

The movie is hilarious. That's what you want to know, isn't it? My wife and I both laughed uproariously many time. It will offend you, too. Smith loses control a few times, with some random scenes that grind the story to a halt. Most revolved around the character played by Jason Mewes (better known as "Jay" in a myrid of Smith's earlier films) a young man who makes it into the film due to some "special talent." He's funny, but his stuff seems out of place...as though Smith stopped his movie to let his old buddy riff on some dirty stuff. There's also some stuff about a constipated actress that devolves into the nastiest couple of seconds you've ever seen, that even so are unbelievable, unlikely, unfunny AND distract from a key moment for the story.

(By the way, I apologize if I've offended anyone with the review...tough to talk much about this film without stretching the boundaries a little. If you find my review offensive...please skip the film.)

Overall, Smith has made a funny and sometimes tender film. If Judd Apatow had never existed, this film would be groundbreaking. Now it is a familiar formula, with the raunchy dial turned to 11. But, if that's something you've enjoyed before, you'll get many big laughs from ZACK & MIRI!

Let The Right One In


I was very disappointed with this DVD. So much so that I'm returning my copy of it. I saw the movie in theatres, and found it masterful. The amazing tone is part of the beauty of the film, and the subtitles on the US DVD release are a travesty. They remove most of the subtlety from the tone and characters (see http://iconsoffright.com/news/2009/03/let_the_wrong_subtitles_in_to.html for examples). The movie I saw in theatres was a masterpiece; the movie on this DVD (using subtitles) is a mediocrity. If you are going to buy this DVD, either download and use the theatrical subtitles or use the mediocre dubbing track. As for me, I'm going to look for another region's copy or wait for a re-release.

In the end, this DVD is a masterclass on why good subtitle translations are critical in foreign films.

Repo! The Genetic Opera


This movie is amazing! The scenes are very creepy and unsettling, but at the same time very appealing and artistically beautiful. Even if you hated the music or plot, which I didn't this movie alone for the scenery is worth a buy.

Now about the music. At first I was uncertain of how to feel regarding their musical numbers, and by the third song I was hooked. The lyrics in this are comedic at times, other times serious, and actually nearing the end there is a song that I think is pleasant, "I Didn't Think I'd Love You This Much," is the name of the song I believe. The vocals of lead Alexa Vega are great, strong, and defined. Even Paris Hilton surprised me as this is the first time I have heard her vocals, and it reminded me some some old school goth rock cd I'd listen to in high school. Finally, Sarah Brightman. What can I say about Sarah that anyone doesn't already know? Musical Wise, she was nothing short of spectacular.

Acting wise, I'm a big junkie for Bill Mosley and it was fun to see him pull off the comedic cult character he portrayed. Paris, actually did great acting, it surprised me how great Alex Vega did considering I had never seen her attempt anything like this, and I was surprised that Sarah Brightman could be as dark as she was in this movie. The casting meshed well and it was fun to see such big names in a movie that hadn't hit theaters in my area.

Art wise, the scenes were mind-blowing. There are scenes where there is much cgi used, but overall it looks good, and that's saying a lot for me considering I hate cgi. Also, the make up was great with good effects, example, if the box hadn't said Paris was in this I doubt I would have recognized her until the end.

Overall, I rarely say this.... But I wish I could give this a higher rating then a 5 star. I will be buying the soundtrack as soon as I complete this review. Repo! Will be played a second time tonight for my posse... Yes, it was that good.

Dr. Horrible's Sing-Along Blog


So it's nothing short of a miracle that I ran into this webcast musical. I'd never dipped in the pond of Whedon's work and at the time I wasn't a fan of any of the actors, but boy did that change.

I first heard about Dr. Horrible's Sing Along Blog from a couple weekly podcasts that I listened to and everyone loved it, so I gave it a try. I came out of the experience singing the catchy songs for weeks, seeking out the actors' works, and wanting to be a bigger Whedon fan.

The acting is spectacular. Neil Patrick Harris is one of the best actors of his generation and he shows real and refined talent by both singing and acting as Dr. Horrible himself. It's a shame that Nathan Fillion, Captain Hammer, is not an exploding star. Felica Day, too, exhibits fine acting and singing skills and it's hard not to fall in love with her character, Penny.

The Whedon team (+ Mo) do an amazing job of weaving together fine acting, extremely catchy and well-written songs, and witty, yet thought-provoking dialogue in the tragicomedy that is Dr. Horrible's Sing Along Blog and I, for one, cannot wait for more.

Dollhouse


I am writing this review one week away from the finale and I have to say this show is easily the best new show of this season.

Yes, true that the first half of the season is much slower in terms of action and suspense than the latter half but do we really expect to go into a brand new show with mysteries and action coming at you from all directions? It would have proved to be a little overwhelming.

With that said, I'm one of the rare few that appreciated the time given to adjust to the concept of the show and to understand and develop a care for the characters. Many viewers went into the show with this expectation of what the show should be simply because it is a Joss Whedon creation.

With that level of expectation, it of course resulted in major disappointment and in turn created this whole frenzy about the show's survival which ultimately hurt the enjoyment of the show.

Refused to stress over the fate of the show, I decided to watch the show for what it is and am truly satisfied with it. Both the writing and acting has been nothing short of being superb and like any Joss Whedon show, it is inevitable for you to fall in love with the characters.

Not only do you find yourself falling in love with the lead character - Echo, you soon find that you can't help but care for those around her as well. Like her fellow doll, Sierra played by the incredible Dichen Lachman who has this coolness about her that makes it really enjoyable to watch every time she takes on the character of a under cover agent as well as the "cold hearted boss woman" Adelle played by Olivia Williams. Adelle is easily the most complex character on the show. There are just so many layers to that character and you feel her pain and her loneliness and you care despite of that tough exterior and that is something you look for in a character. Props to Joss Whendon on this one!

Buffy fans like myself would be pleased to know that Eliza Dushku is back kicking butt in this show. In fact there are many moments in which Echo reminded me of Faith.

Yes, it is still uncertain if the show would be back for another season but there's absolutely no doubt as to if you should get this DVD. Go into the show with a open mind that's all the advice I have to give.

I already pre-ordered my copy so get yours today! and let's hope FOX have enough sense to renew them for a 2nd season.

Fringe


I have dual suggestions for anyone thinking of trying FRINGE. First, definitely watch it. Second, be very, very patient. The show eventually gets very, very good, but it takes a very long time to get there. I have a theory as to why that is. FOX has a tendency to micro manage many of its shows. DOLLHOUSE is an example. After Joss Whedon brought them his initial pilot, they nixed it and asked for a new one, and then dictated that the first several episodes be standalone episodes. And guess what. In the sixth episode DOLLHOUSE became one of the best shows on TV, with multiple delicious plot twists. The weakest part of the series? The first five stand alone episodes. I have not heard similar things about FRINGE, but given that the first half of the season tends to be almost all stand alone episodes and that they are far and away the weakest part of the show, I suspect more FOX interference. FRINGE has been compared to THE X-FILES in many ways, but one way that they are dissimilar is that THE X-FILES standalone episodes were far superior to FRINGE's standalone episodes. So the viewer has to be patient for the payoff for watching the show to come to fruition. But the payoff does finally come. About halfway through the series a "mythology" arc emerges in a most satisfying way, resulting in a string of deeply satisfying and exciting episodes in the second half of the season. At the end of the first year, it hasn't yet quite become a great show, but it shows all the potential of becoming one. But perhaps only if FOX will get out of the way and let them get on with the story.

The show also suffered from internal problems, the main one being casting. I came to like Anna Torv in the lead role of Agent Olivia Dunham, but she remained in many ways the show's weak link. Many fans noted that her American accent (Torv is Australian) often faded and especially early in the show her Aussie accent would briefly creep in. She isn't a bad actress, but neither is she - comparing the show once again to THE X-FILES - Gillian Anderson, who was by any accounting a brilliant actress. When I watch FRINGE, I often wonder just what the show would be like with a stronger actress in the lead role. I also have not yet become sold on Joshua Jackson as Peter Bishop, but this may be far more of a problem with the writers fully integrating him into the show. (Though the season ends with a great, great twist involving Peter that explains a lot of the background on Walter's story.) Other than being Walter's son, his role in the greater scheme of things hasn't really become clear, though perhaps the writers envision a more crucial role in Season Two. Lance Reddick is a powerful physical presence, but is another actor who has perhaps been under utilized at this point.

Which leaves John Noble as Walter Bishop. Is there a more delightful supporting character on TV? He steals just about every scene he is in as the delightfully idiosyncratic and marvelously insane genius Walter Bishop. Walter is both a wonderfully written character and brilliantly portrayed by Noble. Sci-fi series do not as a rule get much recognition by the Emmys, but I would love to see Noble get a nomination for Best Supporting Actor in a Drama. Many of the great moments of the show's first season revolve around Walter. And there are so many fine Walter moments that some go unnoticed. Among my favorites was in the show's penultimate episode where the crew is assembled in Walter's Harvard lab and someone says they need to turn the lights out. Walter gleefully tells them all to hold on and he claps his hands, demonstrating that he has "the Clapper" installed in the lab. But what makes the scene so funny is a very subtle bit of business. Walter has been passing out cookies and has one of his own. To be able to clap, he has set his own cookie down on the derrière of the corpse he has been examining and that is laying immediately in front of him. So while Walter is clapping his cookie is on this dead guy's rear end. Typical Walter. Not least because of Walter's penchant for blending the investigation of the most grotesque phenomena with food. Icky disfigured corpse? Nothing like that to get Walter to think about food!

The best thing about FRINGE is that it got better as it went along. This is a great sign for Season Two. I blame FOX for the slow first half of the season. Maybe I'm wrong in doing that, but we know for a fact that FOX messed up the first half of DOLLHOUSE, and they've been known to interfere with the development of other shows. The fact is this: executive producers and their writers know more about how to do a great show than network executives do. Maybe they feel that they need to earn their salaries by "crafting" the new series, but generally what they do is mess things up. You hire someone like J. J. Abrams or Joss Whedon to do a series, just get out of the way and let them do what they inevitably do better than you do.

So definitely watch this show. Be patient. It starts off OK, but about halfway through the season it will really start to kick tail. I think there is some core weakness in the cast, but not to the degree that it cripples the show. Best of all, this show really feels like it is going somewhere special. Make sure you are along for the ride.

Supernatural


I highly anticipated the return of Supernatural after the cliff hanger we were left with on Season Three. So far [there's still a couple more episodes of season four which have yet to air] this season has not been disappointing. From the beginning, with Dean escaping from Hell, to this raging war between the angels and demons, this is one action packed adventure and thrilling ride to be on. I have watched this show from it's debut, and it just keeps getting better. I don't want to reveal too much information for those who read this and have not watched SPN, and I also can't comment as much as I'd like because the season has not yet finished. However, I couldn't wait 'til it's completion to fill out a review for it, and I have definitely put this box set on Alert so that I know immediately when it's released this Fall [more than likely]. I can't wait to have these episodes on DVD to rewatch and relive. I highly recommend this show to anyone; this season stands so far to be the best of SPN yet.

Just wanted to add to my review quick: a lot of people seem to be wishing for a Supernatural soundtrack. Here are 2 awesome sites that will give you a list of songs played in every episode from Season One to Season Four. So get to downloading and making a SPN playlist of your own! :)

Edit: I'm so sorry; every time I put the URLs in for the sites, Amazon doesn't show them.. I'm going to try putting them into a comment for this review so check there if you're interested!

Eureka


There's some not-so-pleasant changes in store for the little town of Eureka.

"Eureka Season 3.0" (meaning the first half of the third season a la "Battlestar Galactica") provides plenty of those, which adds some new tension to geniustown (including some rather shocking cast changes and a new "love-to-hate" person). It's kind of disconcerting to only have eight episodes, but they have the signature mixture of warm comedy and intriguing sci-fi mystery.

Among the changes in store: Alison (Salli Richardson-Whitfield) and Nathan (Ed Quinn) contemplate remarriage, and Henry is in jail. And the DOD sends in a corporate "fixer" named Eva Thorne (Frances Fisher) arrives to cut the deadwood from Global Dynamics. But then an anti-missile VIPER drone goes AWOL during a flight test and starts threatening Eureka, while Thorne decides to embed herself in Global Dynamics as one of the new bosses.

And while Eva ruthlessly makes GD "profitable," the usual sci-fi disasters crop up. Carter has to deal with bizarre transformations in a sealed biosphere, a wedding-day timeloop, exploding biomemetic dogs, an impossible volcano brewing under Eureka (and which sprays gross fluids on people), an inept spandex-wearing "Captain Eureka," a mayoral election heated up by an artificial supernova, and a swarm of ancient Egyptian insects.

In the meantime, Thorne is snooping around Eureka in search of something. Her quest leads to the discovery of a vast military base, and some bodies dead since 1939 -- and a bizarre substance that threatens Zoe's life after she slips and falls in it.

Apparently the once all-important Artifact is yesterday's business, because the dark subplot of "Eureka Season 3.0" is the mystery prewar bunker and whatever Thorne wants destroyed. It adds a nice undercurrent of conspiracy and tension to this season, though the focus is always first and foremost on our Everyman Sheriff, and how he tries to deal with the Horrific World-Ending Scientific Crisis of the day.

That's a nice balance, because the rest of the season flows in a river of gentle humor and extreme scientific problems. Plenty of weird inventions (cloud sculpting, flying rabbits and robot pooches), fun tongue-in-cheek dialogue ("They killed the infected and burned the city to the ground." "Let's call that Plan B"), and hilarious comedic moments. And Carter's always in the middle of it, trying to unravel a way to fix things.

But it's worth noting that while the Disasters Du Jour and the bunker plots are dealt with by the eighth episode, the half season ends with a cliffhanger for one character. Just sayin'.

Ferguson does a brilliant job as Carter, the down-to-earth Everycop who just wants to do his job ("It's all fun and games until someone gets cursed"). But Carter has some new problems in this season -- his new-agey, pregnant sister moves in with him, and Zoe continues to spread her wings with a job and boyfriend. Erica Cerra's Jo experiences some relationship woes, while Richardson-Whitfield's Alison is put in the position of being pretty powerless. Sadly, a longtime cast member also exits the scene early on.

This season also sees the return of Henry, whose skills turn out to be too invaluable for him to rot in prison -- and he even gets a new job on top of his old one. And Fisher turns out to be a great addition: she initially makes a great steely-eyed corporate dictator, but the facade cracks as time goes on, and we get to see that she's haunted by something terrible in the past.

"Eureka Season 3.0" is way too short (new episodes coming in July), but it still has the fresh mix of out-there sci-fi and small-town comedy. Definitely still worth the seeing.

Saving Grace


I'm in love with this series. I thought it would be a joke ("a cop gets advice from an angel"), but I have no trouble accepting the angel ("Earl") as the real thing, or a figment of Grace's imagination; it really doesn't matter! Serious issues, tense drama, great acting (even from Laura San Giacomo (sp?)).

In Plain Sight


I didn't catch onto this series until the first season was already over, but have been enjoying reruns on the USA network and Sleuth. And I have been anticipating the release of this series on DVD ever since. The characters are well developed, full of the flaws which accompany us all on life's path, and for the most part are very likable. That said, the over-the-top dysfunctional antics of Mom and Sis DO get old, and I find Jinx's character to be a waste of the talents of Leslie Ann Warren. She is absolutely the queen of quirky, but of all the characters, her storylines are the least entertaining, and in fact, bring down the entire show a notch. If I get tired of this series, this will be the reason for it. Mary certainly has dysfunctions of her own, but she at least, appears to be able to learn along the way. I'd like to see the dysfunction toned down. If these characters can all grow a bit, then I believe this series could have a long and successful run.

The interaction between Mary McCormack and Fred Weller's characters is especially delightful; it's the jewel of this series, and without it, I'm not sure how successful this show would be. What with his encyclopaedic knowledge of all things arcane and quirky, and his perfectly dry, straight-man delivery, he and Mary have a delightful kind of chemistry you don't see too often. In fact, I feel he really should have equal billing to Mary McCormack.

The Witness Protection aspect of the story makes for somewhat unusual storylines, which are MORE than welcome, and the show is well written. All in all, it adds up to a lot of fun. And as an extra bonus for me, it's filmed in Northern New Mexico, my favorite place in the world. What more could I ask for?

Burn Notice


The writing for the first season of Burn Notice was excellent, very tight with interesting characters and situations. However, towards the end, a lot of fans were worried. Some of the helpless clients of the week were starting to feel a touch repetitive.

We needn't have worried.

The second season just finished, and I can assure you that the writing is even better, the characters stronger, and many of the story lines more compelling, than in the first season. It's no wonder the show has doubled its viewing audience. I particularly like how the characters have evolved. Michael has dealt with some of his family issues, gotten closer to his brother, and understands that his mother really does care about him--even if that's easier to take when she's not blowing cigarette smoke (literally) in his face. The bad guys are organized and smart, which means he have to be even smarter. It's good story telling.

However, even with all the other positives that made me pre-order the DVD set as soon as it was possible, there are several particular episodes that stand out from the rest, which alone are worth the price of the DVDs. One of these involves Michael Westin trapped inside a bank during a robbery with a government agent, Bly, whom he blackmailed the first season and who hates Michael's guts. Watching the respect build between the two, and the way they wind up working together -- not to mention Michael Westins way of dealing with the robbers -- is delightful. It's nothing you've ever seen before. It's not Die Hard and it's not like The Ransom of Red Chief (where a little boy makes kidnappers regret ever taking him to the point they wind up paying the parents to take him back). From start to finish, the robbers never figure out that they have a tiger by the tail. The only one with a clue how dangerous that Westin can be is Bly, who had read Westin's dossier in season 1 and has been dancing back and forth with him to see who can top whom. The ending is particularly satisfying. So, I really loved "Bad Breaks" and doubted (silly me) whether they could top this story line in the remaining episodes.

They did.

The season finale completed a fascinating story arc involving an ex-CIA agent, Victor, gone to the dark side. This 4 episode story arc alone makes this season is a must-have for fans. What can one say about this amazing character? Played by Michael Shanks in a recurring role, Victor took us through the gamut. We went from hating him and thinking he is a psychopath wavering on the edge of sanity (you were never quite sure how he was going to react to things), to realizing he was an incredibly tragic character and a cautionary tale of what Michael could have been in other circumstances. The emotional roller coaster we share with the characters on screen as we learn of Victor's back story (which comes out in the finale) and resulting changes in his relationship to Michael Westin is story telling at its best.

I have not been a fan of Michael Shanks in the past. However, his acting here is truly inspired. It goes far beyond anything I've seen him do other than in "The Arc of Truth" in the prison scene when Shanks' character, Daniel Jackson, finally gives up hope. It is worthy of an Emmy. Moreover, even with the already great supporting cast of Bruce Campbell (always worth watching and allowed some great scenes in the 2nd season), Sharon Gless (as Michael's mother who smokes while exercising to Jack LaLanne--which you have to watch to realize how funny that is), and Gabrielle Anwar (as the explosive Fiona), there's something magical about the chemistry between Shanks and Donovan that seems to kick Donovan's acting--already extraordinary--up a notch to a level seldom seen on the small screen. And if the ending is shocking, the choices made surprising to the viewer, one cannot help but feel that the characters have been changed forever by this experience and nothing will be quite the same again. Perhaps best of all, it makes the viewer asks of season 3, what's next? Because if there's one thing the writers, actors, and producers have shown us, it's that they understand good story telling, and can be trusted to make choices that will keep us on the edge of our seats, coming back for more.

I highly recommend this DVD set, especially if you haven't seen the show on TV. Although most of the story lines could work as stand-alones, there is an on-going story arc (of how and why Michael got burned and what he's doing to get his life back) that makes more sense if you watch them in order. The extras on the season 1 DVD set were excellent (including Donovan and Anwar's audition tapes), and I expect them to be equally good here. So far, I know of at least one extra that should be a lot of fun. Michael Shanks has reported recording a commentary track with Bruce Campbell and Matt Nix.

I speak for many fans when I say I can hardly wait for June, and the start of season 3 on USA network! Thank goodness Donovan's contract has been extended for another 6 years (total 8 seasons)! I love this show!

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