Kannada Movie Reviews

This disc features a mix of assorted animation by members of the NFB that is sure to please the most discriminating animation collector. From the wild, thoughtful and free experimentations of Norman McLaren to more lighthearted contributions that don't compromise the overall quality of the whole presentation at all - if you are a fan of experimental / independent animation, this is a must for your DVD collection. You won't be dissapointed.

This is a delightful collection of animation. Crac! by Fredric Back is among the most moving of animated films. I recommend this collection to any fan of great animation.

This video rocks! "The Cat Came Back" was a cool one and "Log Drivers Waltz" was funny. Wanna know why that cartoon's so funny? 'Cause people can't really drive logs! This video's rockin'! If your'e a lover of cartoons,then this is the video for you!Also,"Pas de Deux" was one of the best French-Canadian cartoons of all time! Hopelly more videos with the cartoons of The National Film Board of Canada will come soon,so be sure to buy this video now.

I hesitated because I already have one DVD played by Galway and, it's rather expensive.

Anyway, I bought it. But I couldn't finish it in one go, not just because it's rather long, but becasue of it's primitive production. The first part wasn't too good. The footage was as bad as one could imagine and so was the photography. Don't expect to see Rampal's embrochure, the picture quality is so poor that you have to use your own imagination to figure out what exactly it was. Most of the time, we have too wide an angle with only a few close-ups. And when we do, it's just a profile and then shot from such an angle (e.g. in Couperin for no apparent reason, and in Haydon, in order to cover the harpsichord ) that we only have 3/4 of the profile, about 1/3 or 1/4 of his mouth! There are some nice shots from Bach though. Anyway, the support Rampal got from the orchestra also leaves much to be desired.

BUT, if you want to have a glimpse of this Maestro, you dont have much choice. There aren't much devilish technique (in the narrow sense), not even in his cadenzas. Some beautiful tonguing, yes and of course an immense sense of musicality. He may not be as expressive as Schwarzkopff, one of the century's top sopranos, and it's as intriquing as Szryng, if not because of the limitations of the instrument. He is so close to any of the two. The colour of his tone is such that it has a life of it's own. And in different piece, you get almost a completely different tone as though it's a different kind of instrument. And the secret of this Maestro, other than his musicality, lies in the absolute control of his breath.

So the result, the second time I went back to it, I finished it in one breath. A whole world of difference from any other flutist in film so far. Wood wind, or any wind players or even vocalists or string players won't want to miss this great performances.

The sound is however barely acceptable. 5 stars, despite poor picture qualities.

I hesitated because I already have one DVD played by Galway and, it's rather expensive.

Anyway, I bought it. But I couldn't finish it in one go, not just because it's length, but becasue of it's primitive production. The footage was as bad as one could imagine and so was the photography. Don't expect to see Rampal's embrochure, the picture quality is so poor that often you have to use your own imagination to figure out what exactly it was. Most of the time, we have too wide an angle with only a few close-ups. And when we do, it's just a profile and then shot from such an angle that we only have 3/4 of the profile with less than 1/2 of his mouth! There are some nice shots from his Bach though. Anyway, the support Rampal got from the last orchestra also leaves much to be desired even though the first one is much better.

BUT, if you want to have a glimpse of this Maestro, you dont have much choice. There aren't much devilish technique ( in the narrow sense) here, not even in his cadenzas. Some beautiful tonguing, yes and of course an immense sense of musicality. He may not be as expressive as Schwzarkopff, one of the century's top sopranos, and it's a tiny bit less intriquing than Szeryng, one of the most lyrical violinists of the century, all because of the limitations of the instrument. But he is so very close to the two of them. The colour of his tone is so warm that it has a life of it's own and that in different piece, you get almost different tone as though it's a different kind of instrument. And the secret of this Maestro, other than his musicality, lies in the absolute control of his breath.

So the result, the second time I went back to it, I finished it in one breath. A whole world of difference from any other flutist in film including Galway. Wood wind, or any wind players or even vocalists or string players won't want to miss this great performances.

The sound is however barely acceptable. 5 stars, despite poor picture qualities.

See the other review by me.

This is a great dancing movie starring Jason Gedrick.It's highly recommended!!

I SAW THIS MOVIE IN 1991 AND WAS AMAZED BY THE APPLAUSE AT THE END BY THE MAJORITY BLACK AUIDENCE WHO SAW IT. THE STORY OF THE DELLS IS A PRIMER OF HOW THE MUSIC INDUSTRY OPERATED IN THE 1960'S (AND TODAY ALSO IN SOME INSTANCES) FROM PUTTING WHITE FACES ON THE ALBUM TO INSURE "CROSSOVER" FROM HOODS LIKE "RED" WHO WERE CONNECTED TO ORGANIZED CRIME TO THE GROUP THEMSELVES. TOWNSEND DID A GREAT JOB CASTING THE ACTORS AND GIVES A SENSTIVE PERFOMANCE HIMSELF AS "DUCK". MICHEAL WRIGHT AS EDDIE KANE STEALS THE MOVIE WITH HIS STRONG PERFORMANCE AND LEON IS A CLOSE SECOND AS J.T. WATCHING DIHANN CAROLL AND HAROLD NICOLAS WAS A TREAT, I THOUGHT BLACK MOVIES LIKE THIS WOULD BE THE NORM AFTER SPIKE LEE'S AND TOWNSEND'S BREAKTROUGH IN "HOLLYWOOD SHUFFLE "INSTEAD OF MOVIES LIKE "I GOT THE HOOK-UP",OR THE STEPIN FETCHIT LIKE "BRINGING DOWN THE HOUSE". THIS MOVIE MEANDERS NEAR THE END BUT THE CHURCH SCENE MAKES UP FOR ALL THE MISTEPS IN THE MIDDLE THIRD. THIS IS GREAT FILM IT WORKS AS A GREAT STORY AND A LESSON ON LOVE, DEDICATION AND FRIENDSHIP.

"The Five Heartbeats", one of my favorite films by Robert Townsend, is a wonderful movie about a fictional singing quintet's rise to fame in the 1960s. It somewhat echoes the story of the Temptations, but in actuality, it could have been a profile of just about any black male singing group of that era (it was supposedly based on the story of The Dells). The struggles to get to the top, what happens when you get there, the egos, trying to keep up with musical trends and of course, the racism, backstabbing, and shady characters -- it's all included here as a very real look into just how ruthless the recording industry can be. There are scenes that will make you laugh, make you cry, and just make you feel good all over!

With strong performances from Leon, Robert Townsend and Michael Wright, this movie is a CLASSIC and extremely enjoyable. Also included in the cast are Hollywood legends Diahann Carroll and dancer Harold Nicholas. I highly recommend this...great acting and great musical scenes add up to a GREAT FILM. Get it today!

There was a time in the late 80s when a spate of new black films were coming out and, inspired by Spike Lee's early movies (She's Gotta have It, Do the Right Thing), I began my collection of modern black movies. However, lost in my video "must see" list was the Five Heartbeats. Luckily, a friend reminded me about this film in the mid 90s and I was blown away by Robert Townsend's film. Originality that is hard to find in American black movies of today; an "historical" look at a musical era that meant so much to black people (and indeed a lot of white people worldwide, especially in my native Great Britain);and great music numbers. There are so many wonderful performances in the movie, not least that of the actor who plays Red, the nasty independent record company owner (the next time I saw him play a film it was as a bus driver bit part in Sandra Bullock's "Speed" - what an absolute waste of a talent!) One of my favourite sections of the film is the transformation of the group's image from the late 60s into the early seventies, characters of the band now sporting "Earth, Wind & Fire" type sideburns, hairstyles and flairs. This video is an absolute joy to watch over and over again! And Robert Townsend: where are you fella? We need more of your craft displayed on film. Finally, I agree very much with critics on this site who find much drab repetitiveness of some of the black films of today. One of the great things about filmmakers like Spike Lee and Robert Townsend is that they have introduced the world to some fantastic black talent over the years - if only we had some more talented writers and directors to equal their talents and produce some truly astonishing storylines I for one would be ever so grateful.

Hitchcock isn't at his best though this film is a classic. Tallulah Bankhead plays a woman who survived with 6 other people when the ship they were on was destroyed by a German ship. Soon, another man comes aboard. Walter Slezak plays the man who's really a German spy rowing them back to the Germans. The directing is superb, but somehow filming 8 people on board a boat for the whole movie gets a little boring. All in all it's a classic but it is boring in some places.

To those only acquainted with the later Hitchcock work of the 50's on, this little gem is a new exposure and an education.

A case could almost be made that this film was made for the Germans! Certainly, Slezak's Nazi captain was the most sane and rational of the film's characters. The histrionics of some of the other members, particularly Hodiak's bigotry, only confirm this observation. However, Ms. Bankhead's part is the central one, and she plays this for all it is worth. It is only a short while after the beginning of this film that the concept that it is made on only one movie set recedes. As with a one-act play, with the proper cast one set is all that's necessary. Of course, as with so many classic films, it's impossible to visualize any modern actors capable of duplicating these performances.

I look forward to purchasing this film on DVD when available.

This movie is a great drama. It has wonderful actors and a good
setting. It also has a mystery. This movie is a movie that you should see.

The scene where Elizabeth Shue sang the Babysitting Blues will remain in enfamy. Well-executed cute film ! nothing deep here... no earth shattering social mores discussed; society's ills are not cured. It;s just a feel-good, sit back and enjoy it kind of movie.

In the tradition of Uncle Buck, Home Alone, and Trains Planes and Automobiles, Adventures in Babysitting is another screwball comedy that has become a "Chicago Classic."

Chris Parker is in for one hell of a night!

A babysitter, Chris Parker (Elisabeth Shue) was looking forward to a date with her boyfriend, but he decides to cancel, and she's left feeling disappointed, of course. But, more importantly, she decides to keep an eye on kids Brad (Keith Coogan) and Sara (Maia Brewton) while their parents attend a gathering. However, Chris is suddenly faced with a challenge when her friend Brenda (Penelope Ann Miller) is scared to death, as she lands in a seedy downtown Chicago bus station, during her attempt to runaway from home. Chris has to make a choice: stay home with the kiddies, or go downtown to rescue her friend. Of course, she chooses the latter option, and takes the kids with her. Meanwhile, Brad's sex-obsessed best friend, Daryl (Anthony Rapp) happens to blackmail the gang into letting him come along for the ride. And from there, the action begins.

The kids bump into one misadventure after another in the mean streets of urban Chicago. From flat tire accidents, to auto theft, to gang fights, to secret criminal operation headquarter drop-ins, and then some -- somehow, no matter where they turn, these kids find themselves caught up in one catastrophe after another, so to speak. And, of course, their biggest challenge - other than making it through all the chaos in one piece - is to rescue Brenda, and make it back home before the parents arrive.

While the attributes of the film that were mentioned above sound pretty disturbing -- at least for a film aimed at the younger audience, there's very little that's dangerous in this film -- all of these elements are made to be kid - or rather - pre-adolescent-friendly. It's quite interesting and compelling how Chris Columbus made so many gritty elements appear fun and lighthearted, without sinking into sheer parody and silliness.

You can find guest appearances from many who would go onto more acclaimed projects. All in all, a lighthearted, fun, adventurous (pun excusable), charming and utterly poignant film. A guilty pleasure? Absolutely not - just a pleasure, as I have no shame in enjoying this film.

The movie Lone Star was released in 1996 and tells the story of cultural conflicts experienced by a few different social groups in Rio County, Texas from 1957 to present day. The story involves Mexican, Anglo, African-American and Indian cultures and the problems these groups have while living near the Mexican Border. In a culture where 19 out of 20 residents are Mexican, the Anglos are in the minority but still rule the powerful positions in the community namely politics, law enforcement, and business. The African-American population is smaller than the Anglo population and this group faces discrimination and prejudice from the Mexicans and Anglos both.

The movie focuses on three stories with characters from each ethnic group and the issues that they are confronted with both within their cultures and also as their culture relates to the other cultures. The characters experience prejudice and acceptance, love (sometimes forbidden) and hate, democracy and dictatorship, tragedy and triumph, and success and failure. The relationships touch on family dynamics, romance, social and political aspects of the individuals in this film. In addition to the movie's entertainment value, the hidden educational content was a pleasant addition. I found it difficult to stay emotionally detached from the characters in this film and I was surprised to learn how their lives intertwined.
I think this movie was extremely well done and I think it has something to offer just about everyone. Although I was disappointed in the way the movie ended, I truly enjoyed Lone Star and I would give it a four out of five star rating. This is an excellent movie that I would recommend to anyone.

John Sayles is first and foremost, a writter and his screenplays are why his films are so compelling. Prior to his career as a director, actor, producer and screenwritter, John Sayles was a novelist and I became aqauinted with Sayles in 1977 when I read "Union Dues". Even then, Sayles possessed an uncanny ear for writting simple and elegant dialogue. Like Anton Chekhov, Sayles proves that a good writter is also a good listener. Sayle's dialogue has the ring of an everyday conversation, and is refreshingly free of the pretensions and historonics that many screenwritters fall prey to. Folks in Texas don't sit around diners chatting about the existential nature of reality. In "Lone Star" we are treated to John Sayle's best writting and an ensemble of accomplished actors who appear to delighted to be working on a rare project of artistic substance.

Chris Cooper's potrayal Sheriff Sam Deeds is compelling evidence of what a masterful actor can accomplish with a well written screenplay . A lesser screenwritter would have resorted to dialogue that fit Sam Deeds into the mold of a stereotypical screen cop. In Hollywood, the Sheriff Deeds role gets written as either a facist, a buffon, a flawed anti-hero, or the Sgt. Friday perfect role model. Chris Cooper's tender and heartbreaking conversations with Elizabeth Pena's character should be studied by students of film, as a rare moment when accomplished acting is supported by a well written screen play. Chris Cooper's triumph is that he authenticates his character by playing against the prevailing "wisdom" of who cops are. Over the years, Cooper has revelled in the challenge of playing roles which shatter stereotypes, like the closeted gay Ex-Marine father in "American Beauty", or the seriously demented but often charming orchid pirate, John LaRoche in "Adaption". I pray that Chris Cooper's new found success doesn't lead him away from his frequent collaborations with Sayles. Sayle's dialogue and Cooper's acting fit like a glove. Chris Cooper is an actor of astounding range and should be included among the great screen actors of this era.

The supporting cast of Kris Kristofferson, Francis McDormand and several Latino actors in secondary roles is impressive. Two actors merit special mention for their performances: Joe Morton is a long-time member of Sayles periodical ensemble of actors. His small role as Col. Delmore Payne is a painful reminder of how his prodigious talents are woefully under utilized. Morton a Tony Award winning stage actor appears to have been relegated to a character actor in supporting roles, since his astounding performance in another Sayle's movie "Brother From Another Planet". One hopes that a shrewd casting agent will realize Morton's untapped potential as an actor. The other performance of note is Matthew McConaughey's portrayal Buddy Dees. McConaughey was once the toast of Hollywood; but currently appears to be deadlocked by his own indecision on whether he wants to be a movie star or an actor. McConaughey has made some bad career decisions and in "Lone Star" we learn that he is capable of great things, if he doesn't let his pretty face get in the way.

The byazantine plot line is complex and the fine details of it's twin story lines may be alternatively fascinating and frustrating, to the viewer. One line involves a cast of characters in present-day and the other involves a separate cast that involves events 30 years prior to the present. For an attentive viewer, the rewards are great as Sayles skillfully merges, weaves, blends and resolves the dual story lines by the final credits. Along the way the viewer is treated to more murder, treachery, corruption, greed and incest than a Greek tradgedy.

It's safe to say that John Sayles will remain an outsider and renegade in the eyes of Hollywood. Sayles emerged from the counter-culture and stays at the margins, by choice. Hollywood doesn't like left leaning directors like Sayles or Oliver Stone. The fact that Sayles doesn't even make dogmatic films doesn't seem to matter, Sayles is "one of them" and it's unlikey that things will change. Oliver Stone for all of his huffing and puffing about the Establishment, still won an Oscar or two. Sayles is the better filmaker because he doesn't hammer the viewer with, overblown rhetoric, cartoonish characters and self-indulgent auteurism to make a politcal point. "Lone Star" managed tweak the establishment by being a favorite of critics who took the Academy to task for ignoring "Lone Star." Sayle's amazing legacy will be recoginzed with the passage of time. Perhaps when John Sayles is 85 years old and in an extended care nursing home, the Academy will finally wheel him out bestow a Lifetime Acheivement Award and soothe their guilt for never recognizing his artistry. I think Sayles would be more flattered by a National Book Award, if and when, he decides to write the Great American Novel.

Not only does this film unfold with the richness and complexity of a very well written short story (think William Trevor in a border town), no one here seems to have mentioned that it also contains echoes of Greek tragedy (or even the biblical sins of the fathers being visited upon the children). It is so subtle and its many little subplots reflect back on each other in such surprising ways -- okay, I'll admit it: I never thought Sayles was capable of such greatness. This screenplay ranks up there with Chinatown and Sunset Boulevard. It's that great. Oh -- and once again, it is a little film graced with a terrific, throwaway cameo from the always-wonderful Frances McDormand. But it needs to be said: Chris Cooper is the calm, sure anchor of this film, playing a man who has had wisdom and insight thrust upon him perforce by things over which he had no control. A masterful performance from a great, heretofore underrated (but now Oscar-winning) actor.

Although Eddie Murphy is the star of "Boomerang", it's the ladies in the film who steal the show. Eddie plays Marcus, a smooth cosmetic company ad exec who is used to loving and leaving the ladies he dates. But when he meets Jaqueline (Robin Givens), who treats him as disposably as he usually treats women, the tables are turned. Givens is great playing a ballbusting ice queen, and Halle Berry is sweet and endearing as the platonic friend who Eddie eventually falls for. Grace Jones is absolutely hysterical as a crazed celebrity hired to promote a new perfume, and Eartha Kitt is also funny as the aging cosmetic company's founder. Chris Rock, Martin Lawrence, and David Alan Grier all also have supporting roles, but they all play second fiddle to the army of divas in this film.

I did not see this movie in the theatres, I rented it years ago and every time I see it, I laugh till I cry. this film is a romantic comedy that happens to have a primarily African American cast. The cinemetography is beautiful...Everyone looks great, sets, costumes, all of it...well done. And the characters are not caricatures of how Black people "act" in the corporate world , in love or just living life. Eddie's playboy character truly gets his just rewards by way of Ms. Givens well acted character, Jacqueline Boyers. She goes for what she wants, (in life and in romance) gets it and moves on if it gets too intimate. (How stereotypically male of her LOL!) I actually liked her in this, her work wasn't forced or overly smug as she usually can be. And a un glamorized and very pretty Halle Berry was a real treat.. a basic sister with what looks like her original features and a sweet acting style, very believable...I am sure if you look at her early films you will see what I am talking about...
It is a fun film, so many great cameos and characters. Grace Jone's scene in the restaurant and actually all of her scenes are hysterical. Geoffrey Holder and Eartha Kitt? absolute Gems!
Like Coming to America, I think Murphy hit on something that AFrican AMerican viewers have always looked for in Tv and film...non caricatured treatment of the kinds of stories that all lovers of film want to experience and enjoy. Ten years later, with films like Brown Sugar, Love and Basketball
etc, we have an opportunity to experience a wider range of African AMerican storytelling. I wish we could see Angela, Lynn, Denzel, Eddie, Anna, and so many other well trained performers have a chance to explore this area. Peace

I am not a big Eddie Murphy fan but Boomerang was the best film he'd ever done! I saw it in 92 with my friends in high school and while they were drooling over how good Eddie looked, I found the movie full of charm and unstoppable laughs.

Eddie is the perfect bachelor and the perfect star for the role. But not only Eddie did a good job. There were so many great cameos in this film. Some of the world's top comedians: Chris Rock, Martin Lawrence, David Allen Grier, and Tisha Campbell rocked the house and really pulled this film over the top.

Grace Jones was as gorgeous as she is charming and stole the show. Eartha Kitt was hilarious and brought her own special spark. Robin Givens could have been a little spicier for her part but she was believeable. Halle Berry I didn't too much care for because I've always found her whiny. I think someone like Vanessa Williams or Lynn Whitfield would have done wonders in that part. Halle was bland and weak. I think they should have switched her role with LeLa Rochon's. Also the gorgeous Vanity would have been super in Halle's part and more believable. The only thing this film needed was Bernie Mac ( I haven't seen the movie in years so if he was in it, I don't remember ). This movie was all that. There aren't enough stars to go around!

This is definitely one for Eddie lovers and anyone who likes intelligent black comedies instead of the ones that thrive on stereotypical stupidity. Also get that soundtrack! That Aaron Hall song is the bomb!

Pure energy! I've never seen musicians enjoying music so much... they really love what they're doing

I really recomend this dvd to all phil collins fans. This is the best performance Phil had ever done. Not only does he put out an outstanding performance, but also all the members of the band put out an outstanding performance. It is just great! You won't regret to buy that dvd it's just fenomenal!!!!!!!

This is a supurb DVD with Collins at his best - in "the round"- with a full band - backing vocals, horns - the works.

Filmed in Paris, this is one of the finest concerts I've seen on DVD and I'm not even a huge Phil Collins fan. The director chose to position most of the cameras away from the stage so that you get the feel and sound as if you were there. The lighing is top notch. You get more energy from the performers and very little of the audience. It's way concerts should be filmed.

I highly recommned this as must buy if you're a Phil Collins fan or if you collect music concerts as I do. Get this DVD!

What a 180-degree turn from his role in Deep Blue Sea!
LL showed he had much talent in acting as in Hip-Hop.
His acting here was vivid, energetic and fierce, which made "GOD" scary as hell but at the same time revealed his "family" side...Really GREAT

However, I think the film lost focus when Omar was pulled off his undercover job in the middle. And the ending is somewhat tame and tasteless

this is a really great film, the two actors Epps and Cool j where
great in this film, this is a powerfull film but i dont think its
as good as mennace to society but this is still a great film,
Epps is the only cop that will go deep enough into the case of catching the crime lord of the streets (cool J) known as god, but the only thing is has Epps gone into DEEP and will he ever get out, a must see film

This movie did a good job of presenting the trials and tribulations of acceptance. I honestly felt bad for the "badguys" at some points in the movie. The drug dealers were like family, but their actions weren't commendable by far. The money and love provided by the "underworlds" were quick fixes for the things the main character seemed to be lacking. It made me really think how easy it could be to get engulfed in the life of crime if the situation presented itself.