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Alexandra Barreto was awesome!
PBS was right to do this seriesAmerican Family is one of the best and most complex and well written family dramas I have seen in a long time. It tells about the Hispanic community in LA for one and it is refreshing to see a drama with Hispanic characters instead of your usual white family and black family dramas. It is shame that network TV didn't pick this series up, but I'm glad PBS saw how great a show this would be. If you want a series that is worth getting on DVD, this is the one.
Beautiful culture-packed seriesThe show boasted a powerful cast of actors: Sonia Braga as Berta, who dies in the first episode but is a crucial part of the series and comes back in flashbacks and memories and influences the physical and emotional journeys of her family (all of whom go through a revelation and transformation in the course of the show). Edward James Olmos as Jess, who is a dysfunctional yet loving father. Esai Morales as the long suffering son Esteban; Raquel Welch as the always humerous Diva of an aunt; and the list goes on and on and on (this show has a LARGE cast) with cameos and a solid plethora of extremely talented character actors.
The atmosphere of the show is incredibly colorful. Filmed in East LA on High definition digital, the show has a very energetic and passionate feel to it, and the art design helps along.
But best of all is the incredibly powerful and very creative writing and execution. Lucky for buyers of this DVD, in my opinion at least, the first season contains the best episodes (the second season was very short, though it included some zingers of episodes).
This show has enormous potential as a college classroom tool for social studies; as entertainment, as a urgent social message, as deep powerful art, as what TV can and should be.


HILARIOUS!!!!!!!!!!!!!1
Anna, Anna, Glamorous Anna, Anna Nicole!
Outlandish, Trashy, Pathetic and GeniusThe quotes you and your friends can get watching this show are endless, "Somtimes, I like to pretend Kimmie is a bouncy ride and I drop a quarter down her shirt and she bounces me." Oh Anna, what would we do without you???


very funny, insightful, jab at the hollywood scene
refreshing and funny
A must see for independent film lovers!

If Schools Showed This In Class, Kids Wouldn't Be So Stupid!As always in this series, aggressive proximity of close-up detail is so harsh, it's perverse. For instance, in 'Seasonal Seas' is contained a piece about the elusive salmon shark, which, heretofore, I had never ever heard of, much less seen. This segues into another beneficial aspect of Blue Planet. Complementing its unholy vivid cinematography is the rare find of being exposed to something utterly new and unprecedented, which may have been completely stagnated in the dark of unenlightenment for you. A smaller relative of the Great White (the shark, not the nightclub-fire setting band) that measures 10 feet long, these fish fit well under a "seasonal" heading because every year they return to the same Alaskan inlets to attack salmon, as the producer of this episode described at the end of this show's regular insights into the filming of these episodes.
Or how about another segment, concerning female spawning lobsters which move to warm shallows to look for a place to incubate their eggs in, wherein attention to the minutest detail is so hardened, it's perverse. They followed one particular lobster that, upon it's arrival, discovered that many craters in the sand had already been occupied by rivals. Blue Planet shows the fearsomely overlookable fight between the two, which is more of the smaller lobster yielding to the larger female with her eggs. Not to mention the preceding, yet torturously brief, feature relating to the basking shark. They have such an impressive shot of the fish, with it's mouth wide agape as it just propels itself through the water collecting plankton, almost like a loathsomely colossal sieve. This was after Attenborough had established that the plankton was some of the most microscopic ocean life.
Another curious facet was when they showed California otters surrounded by seaweeds. To sleep, these sea otters use the strands of kelp, coming up from 100 meters beneath them from the ocean's floor, as anchors to wrap around themselves to keep themselves from drifting off with the current. Successively, Blue Planet showed the otters' hunting methods, which consisted of diving down for shellfish, then bringing them back to the surface for consumption while swimming. Additionally, interesting was the sight of dolphin----in early autumn----appearing in B.C. to "play" with seaweed, as the crew caught them. It's doubtful whether this really was a game----one dolphin would carry the seaweed by its mouth or flipper and then desert it for the next dolphin to take, who promptly resumes this----because when animals move, they don't possess any dexterity.
In 'Coral Seas', again citing the grudging let down of the theme of much sadder animals in this pack, it starts off exploring corals, catastrophically predictably. However, what's quite fascinating in this piece is the time-motion camera they use to illustrate the narrator's points concerning coral survival of the fittest. Namely that as coral beds grow atrociously, increasingly near each other, they tend to fight for space by one consuming the other, rival coral, because of overcrowding. They do this at night.
Other aspects are consistently the same warring mix of inferior animals together with the most obscurely witnessed, and probably heretofore, filmed, perversely specific acts of nature. Such as threats to corals, like the crown-of-thorns starfish, that attempts to eat corals live by sucking them outrightly through it's stomach, on it's outside. Blue Planet particularly shows this harshly magnified, as do they the next pertaining scene, where small crabs that inhabit the coral will emerge to defend their home, by pinching the thorns of the starfish, causing it's retreat. Also factually immaterial, yet new to me, was the revelation of parrotfish having jaws so ornery, they'll not only eat coral but also rocks. Parrotfish erode corals, yet surprisingly, they aid in the development of beaches----by defecating this coral and rock they ingest as the fine sand on beaches.
They also cover how nighttime in reefs is supplanted by nocturnal hunters like Moray eels and Whitetip sharks, which hunt using electrical senses. When their prey (fish) are hiding in the dark inside the corals, they use these senses to detect movement of these fish, since Whitetips are impeded visually because of the dark. In another one of this series' closing features where they interview camera people for their techniques, the divers disclosed their methods for shooting the feeding frenzy, once the Whitetips found their prey, occurring in what would be cloudily black water, at night. They created artificial lighting using colossal floodlights connected to a portable generator they took underwater with them, in turn connected to miles of cable going to the surface. The divers confessed they were distraught that their imposing lighting would disrupt the natural occurrence of the Whitetips' feeding, but then explained that the instinct of them was grievously powerful, that they would single-mindedly focus on their kills, and nothing else.
Closing 'Coral Seas' out romantically is talk of turbulent ocean storms. Intimidating footage of the most tumultuous tempests is delivered severely close-up, with the animosity of waves and winds crashing in full fury to highlight the fact that, supposedly, in just such chaos, coral reefs hundreds of years old can be wiped out in hours. Contrastingly, out of such devastation emerge new coral larvae to re-colonize the ruined landscape where the storm just hit.
Out of our usual world
stunning
Travolta went on to Grease, a 1978 adaptation of the Broadway musical. With unforgettably campy and catchy tunes (like "Greased Lightning," "Summer Nights," and "You're the One That I Want") and fabulously choreographed musical numbers, the '50s-nostalgia story about a group of graduating high school seniors remains fresh, fun, and incredibly imaginative. Travolta struts, swaggers, sings, and dances appropriately, while Olivia Newton-John portrays virgin innocence. And then there's Stockard Channing as Rizzo, the bitchy, raunchy leader of the Pink Ladies, who steals the film from both of its stars.
Travolta traded in disco duds for a cowboy hat in Urban Cowboy (1980), a corny love story about a workingman who breaks up with his girlfriend (Debra Winger), then plays out their relationship's turmoil inside a huge honky-tonk called Gilley's. The story essentially parallels Saturday Night Fever in its blend of ordinary life, incomplete relationships, and personal pride channeled into niche stardom at a neighborhood club, and the film is really a time capsule on a lot of levels--notably Travolta's career and late-'70s Western kitsch.
That Oscar-winning title song buzzes in your ears long after Flashdance (1983) has stopped. Jennifer Beals holds down a macho job as a welder by day but performs erotic dance numbers in a club at night. She dates her wealthy boss (Michael Nouri) and practices hard for the day she can audition for the upscale, local dance school. It is malarkey, of course, but as a romantic fantasy it works because you are carried along by the sheer force of the energetic, boisterous, MTV-style imagery by director Adrian Lyne.
For Footloose (1984), director Herbert Ross pulled a winning movie out of an almost self-consciously archetypal tale of teenage rock rebellion. Starring as a hip city kid who ends up in a Bible-belt town where rock is frowned upon and dancing is forbidden, Kevin Bacon rallies the kids and takes on the establishment. Between a good cast really embracing the dramatic screenplay and imaginative, highly charged dance numbers, you can get lost in this all-ages confection, and you won't even mind Kenny Loggins's bubbly pop.

Good set!Includes: "Saturday Night Fever" (1977, 118 min) - Gradually, Tony becomes disillusioned with the life he is leading and he and Stephanie decide to help one another to start afresh. "Grease" (1978, 110 min.) - The quintessential hit movie musical about the fabulous '50s. "Flashdance" (1983, 94 min.) - Alex Owens is a female dynamo: steel worker by day, exotic dancer by night. "Footloose" (1984, 107 min.) - A big city kid learns that his town has outlawed dancing, he sets out to correct what he sees as unjust. "Urban Cowboy" (1984, 134 min.) - A country boy moves to the city, and meets and marries a cowgirl. When she allegedly meets with a con man who teaches her to ride the mechanical bull, the country boys signs up for a bull-riding contest in hopes of winning her back. (5 disc)
Tanto baile junto vale la pena
awesomeAwesome choices.


Amazing collection of British Period Films!
A & E, The Romance Collection
Well worth it...

Excellent movie
I can't get it out of my head
Leary's, Davis's and Scott's best work

Get It!!
Perfect Workout
Excellent
Friday is that rarest specimen of African American cinema: a 'hood movie refreshingly free of the semiseriousness and moralism of shoot 'em up soaps such as Boyz N the Hood, yet still true to the inner-city experience. Scripted by rapper Ice Cube, Friday is a no-frills tale of a day in the life of a pair of young blacks in South Central. Cube plays Craig, a frustrated teen who endures the ultimate humiliation: getting fired on his day off. Then unknown Chris Tucker plays Smokey, a marijuana-worshipping homeboy whose love for the green stuff lands him in predicament after predicament. Sitting on the stoop of Craig's rundown home, the two hilariously confront a kaleidoscopic array of gangbangers, weed dealers, crack heads, prostitutes, scheming girlfriends, and neighborhood bullies--all of whom, it should be noted, come off as sympathetic even as they are being caricatured, a true achievement in the crass, "booty call" environment of '90s African American comedy. --Ethan Brown
Next Friday
Ice Cube wrote and stars as Craig in this sequel to Friday, which he also wrote. His nemesis from that film, neighborhood bully Debo (Tommy "Tiny" Lister Jr.), has just escaped from county jail and is out for revenge. To protect Craig, Craig's father (John Witherspoon) sends his son to stay with his Uncle Elroy (Don "D.C." Curry), who won the lottery and bought a house in Rancho Cucamonga. Craig expects the suburbs to be dull, but no sooner has he arrived than conflicts arise: The neighbors are hostile hoods, his cousin's girlfriend is out for blood and child support, and the house is about to be seized because of unpaid taxes. It's up to Craig and his cousin Day-Day (Mike Epps) to solve these problems before the day is over. It's a rambling, loose movie, but a genuinely entertaining one. Ice Cube doesn't write punch lines, though funny lines abound; he writes richly comic characters that speak in virtual arias of bragging, complaining, and scamming. Sure, some of the characters are stereotypes and many of the jokes are about drugs and scatology--but that's been the basis of humor since Plautus and Molière. The rhythmic energy of Ice Cube's dialogue and the easy charisma of his performance make Next Friday thoroughly enjoyable. --Bret Fetzer
Friday After Next
Ice Cube (Barbershop) uses his relaxed, raffish charm to glide through the third movie in his Friday series. As Craig (Cube) and Day-Day (Mike Epps) sleep in the wee hours of Christmas Eve, a burglar dressed like Santa Claus breaks in and steals their presents and rent. Thus begins a classically bad day full of unsympathetic family members, obnoxious neighbors, squealing pimps, pot smoking, and sexy babes. No one's going to win any awards for this sloppy installment, loaded with preening stereotypes and half-hearted low humor; Cube generally plays straight man and lets the rest of the cast screech, yowl, and contort their faces, their performances as ornate and ritualized as a Japanese Noh play. But if you're a fan, Friday After Next will give you a modest dose of Cube's goofy humor. John Witherspoon and Don "D.C." Curry return as Craig's eternally disgruntled father and uncle. --Bret Fetzer

3 GOOD DAYS!You definetly wont be dissapointed with these 5 star hit movies.
not just a good day
Friday Is A Good Day

finally!
FinallyThere has been no report as to whether it will be colorized or not yet. We'll see...
Another Television Landmark