The Artist reviewed

"The Artist," reviewed

Photo: "The Artist," The Weinstein Company, 2011.

In the classic film "Singin' in the Rain," directors Stanley Donen and Gene Kelly examined Hollywood's transition from silent to sound cinema from the perspective of the winners; actors like Kelly's Don Lockwood, who successfully survived the advent of the talkies. In the new romantic drama "The Artist," director Michel Hazanavicius reimagines that same journey from the perspective of the losers, men like Jean Dujardin's George Valentin, who were left behind when Al Jolson belted out his first onscreen tune in "The Jazz Singer." While "Singin' in the Rain" used the formal language of the musical to celebrate everything that the movies gained with sound, "The Artist" cleverly uses the language of silent cinema to remind us of what the movies lost, namely the magic of pure visual storytelling.

Dujardin is the film's impossibly handsome and charismatic star, a Douglas Fairbanks-esque matinee idol. As "The Artist" begins, he's presenting the premiere of his new adventure picture, "A Russian Affair." The film within the film is clearly silent, but it's not immediately obvious that "The Artist" is too. It opens with a packed house enjoying "A Russian Affair" while a full orchestra plays an accompanying score. It's only when the movie palace audience bursts into ecstatic applause -- and we hear absolutely nothing on the soundtrack -- that we understand the extent of Hazanavicius' devotion to the silent film form.

At the premiere, George has a chance encounter with an aspiring actress named Peppy Miller (Bérénice Bejo), and still more chance pairs George and Peppy together in George's next film (this one's titled "A German Affair"). Their chemistry is instant and obvious in a wonderful scene where George, the superstar, is supposed to casually dance with Peppy, the lowly extra, as he navigates a crowded dance floor. George spoils take after take, enchanted by Peppy's beauty and distracted by her touch. Again, there's no dialogue, but Dujardin and Bejo tell us everything we need to know through gestures and body language. A few helpful cutaways to the production's clapperboard do the rest of the work.

George's boss at Kinograph Studios (John Goodman) believes that talking pictures are the future. Peppy embraces sound and rises from chorus girl to household name; George rejects sound and suffers a precipitous fall, foolishly sinking his fortune into an ominously titled silent epic called "Tears of Love." If George wasn't crying before he got the box office results...

George's arc is sad but "The Artist" is nevertheless an exuberant movie. The key to its success is the way Hazanavicius turns silent cinema's restrictions into opportunities for the sort of whimsical gestures that modern movies rarely allow. After George and Peppy share their dance on the set of "A German Affair" she goes looking for him in his dressing room. Finding it empty, she stops and admires his tuxedo jacket, and as she tries it on, it magically comes to life, embracing her as she imagines what it might feel like in George's arms. In a sound film, Peppy would no doubt explain her feelings for her co-star to a plucky sidekick (and the audience). The silent approach is, in this case, far more economical and far more powerful.

I'm not sure cameos from the likes of Malcolm McDowell, Missi Pyle, and others add anything to the film beyond unnecessary distractions and George's cold, shrewish wife (Penelope Ann Miller) is an unfortunate mix of convenience and "Citizen Kane" homages. An argument could also be made that the film's ending is thematically inappropriate to Hazanavicius' "Singin' in the Rain" counter-narrative. But I don't think the director is eulogizing silent cinema as much as he's mythologizing the true artists of the Hollywood dream factory, and that makes George and Peppy's final fate the only sensible one. He's paying tribute to those great old crowd pleasers by making one of his own, while reminding us that silent films aren't inferior to sound ones, just a little different.

"The Artist" opens Friday in New York and Los Angeles. If you see it, tell us what you think. Leave us a comment below or write to us on Facebook and Twitter.

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Confessions of a political mind

A POLITICAL MIND: George Clooney takes about this latest movie The Ides of March

A few years ago, George Clooney joked that one reason he never seemed able to hang on to a girlfriend was that his idea of a great date was a few days at the Democratic National Convention. Obviously, he said, this was a turnoff. I didn't believe this for a second. What red-blooded woman wouldn't want to go and help Clooney work the room and get the numbers for a decent policy on Darfur?

But after seeing his latest film, The Ides of March, set in a succession of bloody back rooms during a Democratic primary race, you stop wondering about why the most attractive man in show business is mostly single.

''He loves all the rough and tumble of this stuff,'' says Paul Giamatti, who plays a campaign manager in the film. ''He gets off on it, the theatre and the drama of it, stuff like that. He definitely does.''

But judging by this film, Clooney's fourth as director, this appetite for politicking would have to be the visible tenth of some great iceberg of madness. Who could love the vicious business depicted here?

The story of The Ides of March is a classical one. Clooney directs himself as Governor Mike Morris, a charismatic liberal contender for the Democratic nomination battling it out with a Bible Belt conservative. Ryan Gosling plays his young press liaison officer, Stephen Meyers, alight with hope and belief and clearly heading for disillusionment. It is based on a successful play, Farragut North, which was written by Beau Willimon, an enthusiast not unlike Gosling's character. Willimon worked on the unsuccessful campaign of Democrat Howard Dean for the party's nomination in 2004.

He says that although the story is a concoction, there is nothing unlikely in it. ''I had worked on a number of political campaigns and the characters are fictional amalgamations of the hundreds of people that I ran across during those experiences,'' Willimon has said in interviews. ''But everything mentioned in the play in terms of breaking laws, manipulating the democratic process, the back-room dealings: that's all true ... playing by the rules of the game is not what gets you elected president.''

Clooney and his writing and producing partner Grant Heslov - with whom he collaborated on Goodnight and Good Luck,Leatherheads,The Men Who Stare at Goats and The American - were working on a script about Wall Street when the play was sent to them. They immediately saw that the competitive dynamics of this world were similar to those of high finance but were supposedly driven by higher ideals.

''It seemed like a fun world where you could ask some questions about morality,'' Clooney says at a press conference in London.

''If you do something to better your own chances, something that hurts someone else, is it worth it? Sometimes the answer might be yes. At one point on a moral scale, is something bad worth doing? Negative advertising, saying rotten things about the guy in office, bending the truth. If the right guy gets in and that election has consequences for huge numbers of people's lives, maybe it is.''

Farragut North is a Metro stop handy to a street full of lobbyists' offices in Washington; a great title for a play, Clooney observes, but too parochial for a film. By placing the primary in the film on March 15 - the middle, or ''ides'', of the month - he was able to give it a title that immediately suggests the timelessness of the struggle for power. Julius Caesar was warned to ''beware the ides of March'' by a soothsayer in Shakespeare's version of events; not that being forewarned and wary helped him to avoid being assassinated.

Clooney's father, Nick, a retired news anchor, ran unsuccessfully for Congress on a Democratic ticket in 2004. To lose was disappointing but it was the actual campaigning that embittered him. Some of the sleaziest scenes in The Ides of March, Clooney says, are from conversations they have had about his experience.

''There are hands you have to shake that you wouldn't normally shake,'' he says. ''It's unfortunate but that's the way it is. You can't finance your own campaign unless you're independently wealthy, so you end up having to make deals. I know there are deals made all the time for cabinet posts ... Right now, in the United States, 95 per cent of the people who win elections have the most money.''

Filmmaking is a business of compromise, too, of course. You drop scenes to save money, change dialogue to please an actor or shoot in cloudy conditions when you need the sun. There are money men to mollify; bigger films are run by power structures of executives.

''Every day brings a thousand decisions,'' Clooney says. ''But it's still a playground. If I've made a mistake, it doesn't cost 200,000 people their lives.''

He is often asked if he has any plans to run for office himself. As a political animal with the most mellifluous voice in Hollywood, he seems a natural. Clooney is more interested in ''telling stories''.

Moreover, he says, his life contains far too much rakeable muck to survive the attentions of opponents' fixers. ''I f---ed too many chicks and did too many drugs, and that's the truth,'' he told Newsweek a few years ago; he's said versions of this dozens of times. ''I'd start from the beginning by saying, 'I did it all. I drank the bong water.' Now can we talk about the issues? But that would be my campaign slogan: I drank the bong water.'' He has a point: that line's certainly not going to play in the red states.

Instead, he addresses those issues in a number of campaigns with NGOs, of which the best known is his activism on behalf of South Sudan through the United Nations and through his own Satellite Sentinel Project, which keeps cameras trained on the disputed border between north and south Sudan to monitor illegal troop movements and cross-border fighting. ''It doesn't hurt to go where people don't get enough attention and try to shine a light on them,'' he said recently on television.

But Clooney's value as a campaigner is not simply that he brings cameras in his wake. He also has a unique ability to talk in an entertaining way about things that are crushingly grim. Only Clooney could keep a David Letterman audience chortling through a 20-minute discussion about the Sudan. Clooney often says he counts himself lucky that he wasn't anything like a celebrity until he was 33; until he became ER's heart-throb, he was just a jobbing actor. Since then he has been able to keep the fame and the intrusions that come with it in proportion because he was old enough to understand that it was something separate from him. Even so, he found playing a politician a stretch in the other direction.

''You'd think actors have big egos. And they do,'' he tells his London audience. ''But the ego it takes to take all those good shots with your chin up. Politicians have a tremendous amount of ego to be able to do that. It's hard when the product you're selling to the entire country is yourself and you're selling the hell of out of that product, all the time. 'I'm better than anyone else in the room!' We have to have that and we need someone good at it but it was something really tricky to embrace.''

But are those few people who are good at it bound to be disappointing? Interestingly, he and Heslov were ready to make The Ides of March in 2008. Then Barack Obama was elected president. ''We realised we had to shelve it because everyone was in such a good mood,'' Clooney says.

It took about a year for the cynicism of Farragut North to return. Not that Clooney is cynical. Despite everything, he is still an honest believer. He sounds like one anyway. His great hope is that recent groundswells, even one as uncongenial as the right-wing Tea Party but also the newer Occupy movement, will eventually throw up candidates who represent real people and real positions, ''who aren't just saving their jobs or answering to a very minor constituency'', he says. ''I think that's going to change. It always does with us. It always has.''

In the meantime, there's lobbying to be done. That new girlfriend, Stacy Keibler, had better be willing when the next Democratic National Convention rolls around.

The Ides of March opens in New Zealand on February 16, 2012.

Watch the trailer

- Sydney Morning Herald

---

Orignal From: Confessions of a political mind

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Confessions of a political mind

A POLITICAL MIND: George Clooney takes about this latest movie The Ides of March

A few years ago, George Clooney joked that one reason he never seemed able to hang on to a girlfriend was that his idea of a great date was a few days at the Democratic National Convention. Obviously, he said, this was a turnoff. I didn't believe this for a second. What red-blooded woman wouldn't want to go and help Clooney work the room and get the numbers for a decent policy on Darfur?

But after seeing his latest film, The Ides of March, set in a succession of bloody back rooms during a Democratic primary race, you stop wondering about why the most attractive man in show business is mostly single.

''He loves all the rough and tumble of this stuff,'' says Paul Giamatti, who plays a campaign manager in the film. ''He gets off on it, the theatre and the drama of it, stuff like that. He definitely does.''

But judging by this film, Clooney's fourth as director, this appetite for politicking would have to be the visible tenth of some great iceberg of madness. Who could love the vicious business depicted here?

The story of The Ides of March is a classical one. Clooney directs himself as Governor Mike Morris, a charismatic liberal contender for the Democratic nomination battling it out with a Bible Belt conservative. Ryan Gosling plays his young press liaison officer, Stephen Meyers, alight with hope and belief and clearly heading for disillusionment. It is based on a successful play, Farragut North, which was written by Beau Willimon, an enthusiast not unlike Gosling's character. Willimon worked on the unsuccessful campaign of Democrat Howard Dean for the party's nomination in 2004.

He says that although the story is a concoction, there is nothing unlikely in it. ''I had worked on a number of political campaigns and the characters are fictional amalgamations of the hundreds of people that I ran across during those experiences,'' Willimon has said in interviews. ''But everything mentioned in the play in terms of breaking laws, manipulating the democratic process, the back-room dealings: that's all true ... playing by the rules of the game is not what gets you elected president.''

Clooney and his writing and producing partner Grant Heslov - with whom he collaborated on Goodnight and Good Luck,Leatherheads,The Men Who Stare at Goats and The American - were working on a script about Wall Street when the play was sent to them. They immediately saw that the competitive dynamics of this world were similar to those of high finance but were supposedly driven by higher ideals.

''It seemed like a fun world where you could ask some questions about morality,'' Clooney says at a press conference in London.

''If you do something to better your own chances, something that hurts someone else, is it worth it? Sometimes the answer might be yes. At one point on a moral scale, is something bad worth doing? Negative advertising, saying rotten things about the guy in office, bending the truth. If the right guy gets in and that election has consequences for huge numbers of people's lives, maybe it is.''

Farragut North is a Metro stop handy to a street full of lobbyists' offices in Washington; a great title for a play, Clooney observes, but too parochial for a film. By placing the primary in the film on March 15 - the middle, or ''ides'', of the month - he was able to give it a title that immediately suggests the timelessness of the struggle for power. Julius Caesar was warned to ''beware the ides of March'' by a soothsayer in Shakespeare's version of events; not that being forewarned and wary helped him to avoid being assassinated.

Clooney's father, Nick, a retired news anchor, ran unsuccessfully for Congress on a Democratic ticket in 2004. To lose was disappointing but it was the actual campaigning that embittered him. Some of the sleaziest scenes in The Ides of March, Clooney says, are from conversations they have had about his experience.

''There are hands you have to shake that you wouldn't normally shake,'' he says. ''It's unfortunate but that's the way it is. You can't finance your own campaign unless you're independently wealthy, so you end up having to make deals. I know there are deals made all the time for cabinet posts ... Right now, in the United States, 95 per cent of the people who win elections have the most money.''

Filmmaking is a business of compromise, too, of course. You drop scenes to save money, change dialogue to please an actor or shoot in cloudy conditions when you need the sun. There are money men to mollify; bigger films are run by power structures of executives.

''Every day brings a thousand decisions,'' Clooney says. ''But it's still a playground. If I've made a mistake, it doesn't cost 200,000 people their lives.''

He is often asked if he has any plans to run for office himself. As a political animal with the most mellifluous voice in Hollywood, he seems a natural. Clooney is more interested in ''telling stories''.

Moreover, he says, his life contains far too much rakeable muck to survive the attentions of opponents' fixers. ''I f---ed too many chicks and did too many drugs, and that's the truth,'' he told Newsweek a few years ago; he's said versions of this dozens of times. ''I'd start from the beginning by saying, 'I did it all. I drank the bong water.' Now can we talk about the issues? But that would be my campaign slogan: I drank the bong water.'' He has a point: that line's certainly not going to play in the red states.

Instead, he addresses those issues in a number of campaigns with NGOs, of which the best known is his activism on behalf of South Sudan through the United Nations and through his own Satellite Sentinel Project, which keeps cameras trained on the disputed border between north and south Sudan to monitor illegal troop movements and cross-border fighting. ''It doesn't hurt to go where people don't get enough attention and try to shine a light on them,'' he said recently on television.

But Clooney's value as a campaigner is not simply that he brings cameras in his wake. He also has a unique ability to talk in an entertaining way about things that are crushingly grim. Only Clooney could keep a David Letterman audience chortling through a 20-minute discussion about the Sudan. Clooney often says he counts himself lucky that he wasn't anything like a celebrity until he was 33; until he became ER's heart-throb, he was just a jobbing actor. Since then he has been able to keep the fame and the intrusions that come with it in proportion because he was old enough to understand that it was something separate from him. Even so, he found playing a politician a stretch in the other direction.

''You'd think actors have big egos. And they do,'' he tells his London audience. ''But the ego it takes to take all those good shots with your chin up. Politicians have a tremendous amount of ego to be able to do that. It's hard when the product you're selling to the entire country is yourself and you're selling the hell of out of that product, all the time. 'I'm better than anyone else in the room!' We have to have that and we need someone good at it but it was something really tricky to embrace.''

But are those few people who are good at it bound to be disappointing? Interestingly, he and Heslov were ready to make The Ides of March in 2008. Then Barack Obama was elected president. ''We realised we had to shelve it because everyone was in such a good mood,'' Clooney says.

It took about a year for the cynicism of Farragut North to return. Not that Clooney is cynical. Despite everything, he is still an honest believer. He sounds like one anyway. His great hope is that recent groundswells, even one as uncongenial as the right-wing Tea Party but also the newer Occupy movement, will eventually throw up candidates who represent real people and real positions, ''who aren't just saving their jobs or answering to a very minor constituency'', he says. ''I think that's going to change. It always does with us. It always has.''

In the meantime, there's lobbying to be done. That new girlfriend, Stacy Keibler, had better be willing when the next Democratic National Convention rolls around.

The Ides of March opens in New Zealand on February 16, 2012.

Watch the trailer

- Sydney Morning Herald

---

Orignal From: Confessions of a political mind

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Previous productions of Rocky

Sylvester Stallone in Rocky in 1976 Photo: SNAP / Rex Features

By Florence Waters

1:15PM GMT 21 Nov 2011

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Rocky, 1976 The then-unknown Sylvester Stallone wrote and starred in the low budget feature film about second-rate club boxer Rocky Balboa who must take on a heavyweight champion. The story was inspired by a real 1975 fight between Muhammad Ali and Chuck Wepner. The film was famously shot in just 28 days, and was the highest grossing film of its release year (1977) after winning the Oscar for Best Picture. Directed by John G. Avildsen, the film propelled Stallone to stardom, and became a classic of American cinema.

Rocky 2, 1979 Stallone’s directed the first sequel about Rocky’s demise after a brief period of fame. It suffered classic sequel fever; critics complained about its predictable story line, and felt that it did not live up to its predecessor. While the film featured a great final fight scene, the work as a whole is a cruder piece of filmmaking.

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Rocky 3, 1982 Stallone managed to keep the character development interesting in the third film, which sees Rocky sink into depression after losing his title. The fighting continues but feels like crowd-pleasing fare. The Rocky vehicle is still in the ring at this point. “Bigger but not better,” was the critics’ consensus.

Rocky 4, 1985 Rocky fans began to drop off here as the Stallone wallows in melodrama and Cold War patriotism. Rocky is invited to the Soviet Union where he vows to take revenge on his friend Apollo Creed’s killer.

Rocky 5, 1990 With Oscar-winning director John G. Avildsen back at the helm, surely Rocky’s fate would begin to improve? Not so. In this, the sloppiest of the sequels, Rocky becomes a trainer in a working-class Philadelphia neighbourhood. He becomes a mentor to a young talent, which sparks a father-son drama at home for Rocky. The BBC’s critic said the film was “like watching some favourite relative die”.

This was touted as the final film in the franchise. But, thankfully, true to his fictional character, Stallone proved he was not prepared to throw in the towel when things hit a low.

Rocky Balboa (Rocky 6), 2006 Critically-speaking, this 2006 sequel is regarded as the best of the follow-up films. Stallone wrote, directed and starred in the film which sees Rocky come out of retirement to face much younger opponent, Mason Dixon.

Rocky the musical, 2012 It was Stallone’s idea to commission this musical show, which has been written by Tony Award-winning Ragtime songwriters Lynn Ahrens and Stephen Flaherty and Tony-winning librettist Thomas Meehan (Annie, The Producers, Hairspray) wrote the musical. The show is expected to include the original film's popular, Oscar-nominated song Gonna Fly Now, as well as the Oscar-nominated Eye of the Tiger from Rocky III. It will premiere in Hamburg next year and then Broadway in 2013.

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Orignal From: Previous productions of Rocky

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Twilight Wedding Makeup A Tutorial Emily Blunt YSLs Purrfect Poster Child And More">Twilight Wedding Makeup A Tutorial Emily Blunt YSLs Purrfect Poster Child And More

Twilight: Breaking Dawn fans, get excited. Kristen Stewart’s on-set makeup artist, Stacey Panepinto, dishes on Bella Swan’s wedding day makeup look and how she manages to nail Stewart’s special brand of low-key glamour on-screen and off. [Bella Sugar]

According to a new survey, one in three bosses think their female employees wear too much makeup to work, with most participants having the largest aversion to brightly colored lipstick. Apparently these administrators have not received the memo that lipstick is the new It bag. [Fashion Etc.]

Emily Blunt is the new face of YSL Opium and is now starring in a behind-the-scenes video trailer for her first commercial for the brand. “There’s something very powerful about it,” Blunt explains of the storied fragrance. In the clip, a baby snow leopard follows the starlet’s every move. [People]

Aesop, Australia’s favorite apothecary-style grooming range, recently unleashed an all-out retail blitz on New York City, opening not one, not two, but three retail outlets in Manhattan. Its latest coup? An e-commerce store, of course. Starting this week, the brand is now shipping to—and from—the United States. [Aesop]

Photo: Courtesy of www.bellasugar.com

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Orignal From: Twilight Wedding Makeup A Tutorial Emily Blunt YSLs Purrfect Poster Child And More">Twilight Wedding Makeup A Tutorial Emily Blunt YSLs Purrfect Poster Child And More

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Watch How Much Does GreenScreen Really Add to a Movie

Love them or hate them, digital effects are here to stay. CGI backgrounds and computer-crafted objects have become valuable tools in the filmmaker’s arsenal of tricks these days – and while not every computer-generated effect is a smashing visual success, this new video demonstrates that we’ve all been watching lots of films and TV shows using green-screened backgrounds and computer imagery without even realizing it.

Website GeekTyrant posted this very cool YouTube video showcasing how green-screen and computer backgrounds are being used in current productions – and it’s really pretty amazing. We’ll always feel like shooting a city scene on a tiny soundstage surrounded by green material is a little bit like cheating, but there’s no denying the post-production effects that add an entire skyline or cityscape are quite impressive. The old days of elaborate matte paintings and fake-front buildings are long gone at this point, but as this clip demonstrates, there is artistry to creating movie magic with a computer. Makes you wonder how hard it is to act effectively when you’re pretending to interact with something that isn’t actually there, though.

Check out the clip below and let us know what you think. 

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Orignal From: Watch How Much Does GreenScreen Really Add to a Movie

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Watch How Much Does GreenScreen Really Add to a Movie

Love them or hate them, digital effects are here to stay. CGI backgrounds and computer-crafted objects have become valuable tools in the filmmaker’s arsenal of tricks these days – and while not every computer-generated effect is a smashing visual success, this new video demonstrates that we’ve all been watching lots of films and TV shows using green-screened backgrounds and computer imagery without even realizing it.

Website GeekTyrant posted this very cool YouTube video showcasing how green-screen and computer backgrounds are being used in current productions – and it’s really pretty amazing. We’ll always feel like shooting a city scene on a tiny soundstage surrounded by green material is a little bit like cheating, but there’s no denying the post-production effects that add an entire skyline or cityscape are quite impressive. The old days of elaborate matte paintings and fake-front buildings are long gone at this point, but as this clip demonstrates, there is artistry to creating movie magic with a computer. Makes you wonder how hard it is to act effectively when you’re pretending to interact with something that isn’t actually there, though.

Check out the clip below and let us know what you think. 

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Acqua Di Parmas Art Star Burns Bright

Acqua Di Parma’s original Colonia is one of those scents that we’re pretty sure has universal appeal. Even if you’re not a fragrance fan, it’s near impossible not to fall for the neroli, verbena, lavender, and Bulgarian rose eau, which manages to be simultaneously sweet, fresh, and powdery all at once. While originally created for men, the perfumed splash has a gender-neutral quality that makes it a particularly good holiday gift, especially since the almost 100-year-old citrus blend has been repackaged in a new limited-edition flacon that is itself a work of art. Acqua di Parma has teamed up with renowned Italian architect and artist Luca Scacchetti to create a black, Art Deco-inspired design emblazoned across the brand’s classic, cylindrical glass flacon. As a bonus, the refillable bottle comes with a metal funnel, so you can continue to use it once you run out of its precious contents. And run out you will: Another thing we love about the Colonia is that as an eau de cologne, it boasts a significantly lighter concentration of essential oils than an eau de toilette or an eau de parfum, allowing you to spritz it liberally and often.

Photo: Courtesy of Acqua di Parma

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Giveaway Win a Conan the Barbarian Bluray 3D Combo Pack and More

In case you missed it the other day, we recently reviewed the new Conan the Barbarian on Blu-ray (out today, 11/22) and came away pleasantly surprised by not only how enjoyable the movie was, but how entertaining the BD package was as a whole. Not only does the movie look dynamite in HD, but it's got a lot of great features, including a highly amusing commentary track where Jason Momoa and Rose McGowan swap laugh-out-loud stories about what it was like working on the movie (apparently filming in Bulgaria brings some very interesting personalities to set).

We liked it so much, in fact, that we'd love to give you a copy free of charge. Here's what we've got to share:

(1) Grand Prize = 1 Blu-ray 3D Combo Pack + 1 "Conan The Phenomenon" Book (see attached image) + 1 Signed Poster (Signed by Jason Momoa, Rachel Nichols, and Ron Perlman) + 1 Conan T-Shirt

(4) Runners Up = 4 Blu-ray 3D Combo Packs + 4 Conan T-Shirts (each runner up would get 1 Blu-ray Combo Pack & 1 Conan T-Shirt)

So what do you need to do to win? Just leave a comment on this post. Doesn't matter if you use Facebook or Twitter or whatever, so long as it contains a means to contact you your randomly selected prize. The deadline to enter is midnight, November 25th. Winners will be notified within a week. Good luck and in the mean time, enjoy this exclusive snippet from the Conan the Barbarian 3D Blu-ray / DVD combo pack:

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Dialogue John Landis on Three Amigos Singing Bushes American Werewolf Remake and Why Horror and Comedy Are Alike

Whether you laugh or scream while watching his movies, John Landis loves an honest gut reaction. The 61-year-old director of National Lampoon's Animal House, The Blues Brothers, American Werewolf in London, Trading Places and Innocent Blood has happily walked the fine line between horror and comedy since his debut with the low-budget 1973 satire Schlock.

One of Landis's most loved comedies is 1986's ¡Three Amigos!, which stars Martin Short, Chevy Chase and Steve Martin as three silent-film actors who mistakenly get bamboozled into fighting for a small Mexican village that is being oppressed by a gang of thugs. ¡Three Amigos! makes its Blu-ray debut on November 22 and includes deleted scenes, interviews and a booklet featuring dialogue from a recent reunion between Landis and his three leading men.

We sat down with the affable director as he reflected on the 25^th anniversary of ¡Three Amigos!, why remakes of his films can be a "win-win" situation, and why switching gears between comedy and horror is so effortless to him.

Movies.com: Even though ¡Three Amigos! wasn't a huge blockbuster, people still have affection for it 25 years later. What is it about the film that has legs?

Landis: I just think it is entertaining. It's fun, so when something is funny and entertaining it lasts.

Movies.com: What was the silliest thing Steve Martin, Martin Short or Chevy Chase improvised on the set that you kept in?

Well, in terms of improvisation, I tend to do that in rehearsal. I remember there were things that were funny to me. Probably the funniest moment for me when shooting was when I had the Three Amigos on horseback in the desert and I was shooting while they were wearing those ridiculous outfits and after having been shooting for three weeks, Chevy objected to a line of dialogue and he said, "I don't think I should say this." And, remember, Chevy plays a character named Dusty Bottoms. So I said, "Well, why not?" He said, "Because my character would have to be a moron to say this." All I could think was, What movie has Chevy been making? So I said, "OK, I'll give it to Marty because it's a laugh." Then Chevy said, "I'll say it!" It's one of my favorite moments with an actor.

Movies.com: Are some of your favorite cut scenes included on the Blu-ray?

Landis: There are 20 minutes of deleted scenes on the Blu-ray and the only scenes that are not included are the one scene with Fran Drescher and one scene with Sam Kinison. Those were cut after the first preview for length.

Movies.com: Whose idea was the singing bush and was that really Randy Newman singing?

Landis: That was Randy singing and that was in the screenplay, which was written by Steven Martin, Lorne Michaels and Randy Newman. I guess that is from the Old Testament. Doesn't Moses talk to the singing bush or some kind of bush? It struck me funny when I read it and I thought, How ridiculous can I make this look? There were huge discussions about whether or not it should be animated or if we should see its lips moving. I said, "Bushes don't have lips! I'm just going to make it look as ridiculous as possible."

Movies.com: If forced to in a social situation, could you still do the Amigo salute?

Landis: I think I could, yeah. We made up that salute on the first day and that was a group effort from the three guys. I forget who added the cough at the end.

Movies.com: Does it irk you a little bit that movies like Galaxy Quest and Tropic Thunder have capitalized on the same ¡Three Amigos! idea where a group of actors are unwittingly thrown into real danger?

Landis: They completely ripped it off! The first Pixar movie about the ants, A Bug's Life, took the same plot. It's amazing how often the plot has been used. If Galaxy Quest weren't so funny, it would probably bother me more.

Movies.com: ¡Three Amigos! was the only Western you directed in your career. Would you ever make another?

Landis: I've worked on a lot of Westerns as crew, but I'd love to direct more Westerns. I would do it in a heartbeat. That's one of the reasons I was so pleased with the Blu-ray of ¡Three Amigos! because I was able to restore the picture the way it was supposed to look. We were trying to make it look like those Technicolor Hollywood Westerns of the '50s.

Movies.com: Hollywood is remake happy. What would your gut reaction be if you heard that someone intended to remake ¡Three Amigos! or another movie of yours like American Werewolf in London?

Landis: Well, I actually wrote An American Werewolf in London and I optioned the remake rights to Dimension. People were all upset about it and said, "Why would you do that?" It's kind of a win-win for me because if they do a good job—and there have been clever ones like David Cronenberg's The Fly, John Carpenter's The Thing and even The Maltese Falcon that have been successful—then I make more money and there will be more. If they do a bad job, then I look like a genius. I don't want to be anywhere near the remake, though.

Movies.com: An American Werewolf in London is a terrific horror film and the makeup in the wolf transformation scenes still holds up. If that movie were made today, it would all be done with CGI. How do you feel about that?

Landis: If I were doing An American Werewolf in London today, I would do a combination [of makeup and CGI]. Did you see the very, very bad Wolfman remake? Rick Baker won an Oscar for that and there was stuff that you probably thought was makeup that was CG and stuff that was CG that was actually Rick's makeup. These are just tools. The truth is, people s**t on CG but I've seen some remarkable work. I didn't think the second Pirates of the Caribbean film was a great movie, but the Davy Jones character looked fantastic. You couldn't really do that with conventional makeup, so I think CG has its use like any other tool.

Movies.com: Your video for Michael Jackson's "Thriller" was a game changer for his career, MTV and music history. You later directed Jackson's "Black and White"…

Landis: That was the first time anyone had seen computer morphing. There was a man named John Whitney who really is the father of CG imagery and invented it. He was a fine artist. The practical applications of a lot of John Whitney's stuff were flight simulators and a lot of things the military uses. I went to school with John Whitney's son and I went to John Whitney Sr. in 1971 with a description of An American Werewolf in London and I asked him if a computer could generate the in-between transformation steps. He looked at me and said, "Eventually, yes, but we don't have the power now." In 1981 I went to John Whitney Jr. who, in fact, made the first CG feature film with The Last Starfighter. I asked him the same question and he said, "No, not yet. But soon." When I made "Black and White" with Michael, they had finally gotten the technology and I was so impressed because they were doing it with desktop computers, not those giant IBM Univac rigs. Now you can buy that technology used in "Black and White" and do it on your laptop.

Movies.com: You are one of the rare directors that can do comedy and horror well. Do you see them as genres that can comingle?

Landis: Well, they are very similar in many ways. One, they get no respect—critics don’t credit how difficult it is to do either one, especially comedy. Two, they both invoke a physical response and are unforgiving. You have a spastic response—you either laugh or you gasp or scream. That's straightforward.

Movies.com: What is the next movie you will be directing?

Landis: It depends because I'm involved in a number of different projects and the truth is that the one that gets funded is the one that you do. It's increasingly hard to get the money to make the movies that I want to make. I have a Western that I'd like to do, but probably the next one is going to be this little monster movie in Paris. It's untitled because no one can come up with a good one, but Trading Places didn't have a title until post production. In many ways the movie is old fashioned but in many ways it is radically new.

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Orignal From: Dialogue John Landis on Three Amigos Singing Bushes American Werewolf Remake and Why Horror and Comedy Are Alike

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Confessions of a political mind

A POLITICAL MIND: George Clooney takes about this latest movie The Ides of March

A few years ago, George Clooney joked that one reason he never seemed able to hang on to a girlfriend was that his idea of a great date was a few days at the Democratic National Convention. Obviously, he said, this was a turnoff. I didn't believe this for a second. What red-blooded woman wouldn't want to go and help Clooney work the room and get the numbers for a decent policy on Darfur?

But after seeing his latest film, The Ides of March, set in a succession of bloody back rooms during a Democratic primary race, you stop wondering about why the most attractive man in show business is mostly single.

''He loves all the rough and tumble of this stuff,'' says Paul Giamatti, who plays a campaign manager in the film. ''He gets off on it, the theatre and the drama of it, stuff like that. He definitely does.''

But judging by this film, Clooney's fourth as director, this appetite for politicking would have to be the visible tenth of some great iceberg of madness. Who could love the vicious business depicted here?

The story of The Ides of March is a classical one. Clooney directs himself as Governor Mike Morris, a charismatic liberal contender for the Democratic nomination battling it out with a Bible Belt conservative. Ryan Gosling plays his young press liaison officer, Stephen Meyers, alight with hope and belief and clearly heading for disillusionment. It is based on a successful play, Farragut North, which was written by Beau Willimon, an enthusiast not unlike Gosling's character. Willimon worked on the unsuccessful campaign of Democrat Howard Dean for the party's nomination in 2004.

He says that although the story is a concoction, there is nothing unlikely in it. ''I had worked on a number of political campaigns and the characters are fictional amalgamations of the hundreds of people that I ran across during those experiences,'' Willimon has said in interviews. ''But everything mentioned in the play in terms of breaking laws, manipulating the democratic process, the back-room dealings: that's all true ... playing by the rules of the game is not what gets you elected president.''

Clooney and his writing and producing partner Grant Heslov - with whom he collaborated on Goodnight and Good Luck,Leatherheads,The Men Who Stare at Goats and The American - were working on a script about Wall Street when the play was sent to them. They immediately saw that the competitive dynamics of this world were similar to those of high finance but were supposedly driven by higher ideals.

''It seemed like a fun world where you could ask some questions about morality,'' Clooney says at a press conference in London.

''If you do something to better your own chances, something that hurts someone else, is it worth it? Sometimes the answer might be yes. At one point on a moral scale, is something bad worth doing? Negative advertising, saying rotten things about the guy in office, bending the truth. If the right guy gets in and that election has consequences for huge numbers of people's lives, maybe it is.''

Farragut North is a Metro stop handy to a street full of lobbyists' offices in Washington; a great title for a play, Clooney observes, but too parochial for a film. By placing the primary in the film on March 15 - the middle, or ''ides'', of the month - he was able to give it a title that immediately suggests the timelessness of the struggle for power. Julius Caesar was warned to ''beware the ides of March'' by a soothsayer in Shakespeare's version of events; not that being forewarned and wary helped him to avoid being assassinated.

Clooney's father, Nick, a retired news anchor, ran unsuccessfully for Congress on a Democratic ticket in 2004. To lose was disappointing but it was the actual campaigning that embittered him. Some of the sleaziest scenes in The Ides of March, Clooney says, are from conversations they have had about his experience.

''There are hands you have to shake that you wouldn't normally shake,'' he says. ''It's unfortunate but that's the way it is. You can't finance your own campaign unless you're independently wealthy, so you end up having to make deals. I know there are deals made all the time for cabinet posts ... Right now, in the United States, 95 per cent of the people who win elections have the most money.''

Filmmaking is a business of compromise, too, of course. You drop scenes to save money, change dialogue to please an actor or shoot in cloudy conditions when you need the sun. There are money men to mollify; bigger films are run by power structures of executives.

''Every day brings a thousand decisions,'' Clooney says. ''But it's still a playground. If I've made a mistake, it doesn't cost 200,000 people their lives.''

He is often asked if he has any plans to run for office himself. As a political animal with the most mellifluous voice in Hollywood, he seems a natural. Clooney is more interested in ''telling stories''.

Moreover, he says, his life contains far too much rakeable muck to survive the attentions of opponents' fixers. ''I f---ed too many chicks and did too many drugs, and that's the truth,'' he told Newsweek a few years ago; he's said versions of this dozens of times. ''I'd start from the beginning by saying, 'I did it all. I drank the bong water.' Now can we talk about the issues? But that would be my campaign slogan: I drank the bong water.'' He has a point: that line's certainly not going to play in the red states.

Instead, he addresses those issues in a number of campaigns with NGOs, of which the best known is his activism on behalf of South Sudan through the United Nations and through his own Satellite Sentinel Project, which keeps cameras trained on the disputed border between north and south Sudan to monitor illegal troop movements and cross-border fighting. ''It doesn't hurt to go where people don't get enough attention and try to shine a light on them,'' he said recently on television.

But Clooney's value as a campaigner is not simply that he brings cameras in his wake. He also has a unique ability to talk in an entertaining way about things that are crushingly grim. Only Clooney could keep a David Letterman audience chortling through a 20-minute discussion about the Sudan. Clooney often says he counts himself lucky that he wasn't anything like a celebrity until he was 33; until he became ER's heart-throb, he was just a jobbing actor. Since then he has been able to keep the fame and the intrusions that come with it in proportion because he was old enough to understand that it was something separate from him. Even so, he found playing a politician a stretch in the other direction.

''You'd think actors have big egos. And they do,'' he tells his London audience. ''But the ego it takes to take all those good shots with your chin up. Politicians have a tremendous amount of ego to be able to do that. It's hard when the product you're selling to the entire country is yourself and you're selling the hell of out of that product, all the time. 'I'm better than anyone else in the room!' We have to have that and we need someone good at it but it was something really tricky to embrace.''

But are those few people who are good at it bound to be disappointing? Interestingly, he and Heslov were ready to make The Ides of March in 2008. Then Barack Obama was elected president. ''We realised we had to shelve it because everyone was in such a good mood,'' Clooney says.

It took about a year for the cynicism of Farragut North to return. Not that Clooney is cynical. Despite everything, he is still an honest believer. He sounds like one anyway. His great hope is that recent groundswells, even one as uncongenial as the right-wing Tea Party but also the newer Occupy movement, will eventually throw up candidates who represent real people and real positions, ''who aren't just saving their jobs or answering to a very minor constituency'', he says. ''I think that's going to change. It always does with us. It always has.''

In the meantime, there's lobbying to be done. That new girlfriend, Stacy Keibler, had better be willing when the next Democratic National Convention rolls around.

The Ides of March opens in New Zealand on February 16, 2012.

Watch the trailer

- Sydney Morning Herald

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Orignal From: Confessions of a political mind

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Image of the Day The United States of Documentaries

Here's a great little graphic from PBS' POV blog that's a map of the United States full of images of the best documentaries produced in each state -- as in the film's main subject and story were set in the state. The idea here is that documentaries provide a window to different worlds; some we're familiar with, and some we never knew existed. How much would we learn about the United States through these 50 docs, and would those answers inspire more growth or simply inspire you to move the hell out of the country?

We've posted a few of the doc titles and their corresponding states below the image. You can check out the rest -- as well as participate in a poll for each state, selecting which doc you feel best represents it -- over at the POV Blog.

Click image to enlarge

 

Alabama The Order of Myths Margaret Brown, 2008 Alaska  Grizzly Man Werner Herzog, 2005 Arizona  Crossing Arizona Dan DeVivo, Joseph Mathew, 2006 Arkansas Paradise Lost: The Child Murders at Robin Hood Hills Joe Berlinger, Bruce Sinofsky, 1996 California  Dogtown and Z-Boys Stacy Peralta, 2001 Colorado  Bowling for Columbine Michael Moore, 2002 Connecticut  Harvard Beats Yale 29-29 Kevin Rafferty, 2008 Delaware  Keeping the Peace JJ Garvine, Tai Parquet, 2009 Barbara Kopple, Cathy Caplan, Thomas Haneke, Lawrence Silk, 1990 Mississippi Freedom on My Mind Connie Field, Marilyn Mulford, 1994 Missouri Slam Planet: War of the Words Kyle Fuller, Mike Henry, 2006

Montana Sweetgrass Ilisa Barbash, Lucien Castaing-Taylor, 2009 Nebraska The Brandon Teena Story Susan Muska, Gréta Olafsdóttir, 1998 Nevada  Area 51: Declassified National Geographic, 2011 New Hampshire Winning New Hampshire Aram Fischer, Mark Lynch, William Rabbe, 2004 New Jersey  Street Fight Marshall Curry, 2005 New Mexico  American Waitress, New Mexico Vanessa Vassar, 2002 New York  Man on Wire James Marsh, 2008 North Carolina The Trials of Darryl Hunt Ricki Stern, Anne Sundberg, 2006 North Dakota  Jesus Camp Heidi Ewing, Rachel Grady, 2006 Ohio  Flag Wars Linda Goode Bryant, 2003

 

Check out the rest over on the POV Blog

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Orignal From: Image of the Day The United States of Documentaries

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Rocky The Musical is coming, says Stallone

Sylvester Stallone in Rocky in 1976 Photo: SNAP / Rex Features

11:52AM GMT 21 Nov 2011

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Sylvester Stallone has teamed up with heavyweight boxing legends Wladimir and Vitali Klitschko for what is billed as the world's first musical version of Rocky.

Stallone said he had always envisaged creating a musical version of the 1976 Oscar-winning rags-to-riches story of Rocky Balboa, a down-at-heel amateur boxer who bravely fights the world champion in a bruising and bloody bout.

"I always had the idea of Rocky as a musical. At the end of the day, 'Rocky' is a love story and he could never have reached the final bell without Adrian," Balboa's girlfriend in the film, said Stallone.

"To see this story coming to life on a musical stage makes me proud. And it would make Rocky proud," added Stallone, whose Hollywood career was launched by the film.

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The musical will incorporate many of the tub-thumping hits from the film, said producers Stage Entertainment, including Eye of the Tiger and Gonna Fly Now. The movie from then-unknown Stallone won the Academy Award for Best Picture. It also won the Oscar for Best Director (John G. Avildsen) and Film Editing.

The musical will be in German and so far casting has not been finalised. Stallone, who has previously sung on films and TV appearances with Dolly Parton and the Muppets, is unlikely to be cast himself.

The Klitschko brothers will co-produce the musical along with Stallone and train the main actors in the art of boxing, Stage Entertainment spokesman Holger Kersting said.

Wladimir said he and his brother had adored the films as boys.

"Seeing Sylvester Stallone in 'Rocky' when we were kids actually was the reason for us to start boxing in the first place, he said. "We are very excited to support this theatrical project."

Alex Timbers, who directed Broadway's The Pee-wee Herman Show and wrote directed and wrote the book for Bloody Bloody Andrew Jackson (for which he was Tony-nominated as a writer), will direct, according to a promotional video released by Stage Entertainment.

Rocky - the musical opens in Hamburg, northern Germany, in November 2012.

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Orignal From: Rocky The Musical is coming, says Stallone

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Experiments In Custom Nail Color With Perfect Formula

After a multiple month-spanning love affair with nude nails (thank you, Rococo Nail Apparel Nude Wardrobe), I have officially entered that time of year when I transition into seasonally appropriate shades of burgundy, wine, and chocolate lacquers. Something about the sanguine quality of these varnishes against my now completely tan-free olive complexion just works. A sworn fan of Essie’s Bordeaux—a truly fantastic shade of dark raisin—I decided to branch out when I stumbled upon the latest from Perfect Formula. Included in its new four-piece holiday collection are Caviar, a true brick red, and Invite Only, a rich aubergine. Caviar has an amazing rust quality that offers up a nice autumnal alternative to more summery shades of cherry, while Invite Only imparts a creamy, blackened plum effect. If you want to get a little crazy at your next manicure appointment, we’d suggest mixing the two together for a vampy purple-tinged crimson. Your nail tech may be a little annoyed at the proposition of creating a custom color on the spot, but it’s truly worth the momentary awkwardness of asking.

Photo: Courtesy of Perfect Formula

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Orignal From: Experiments In Custom Nail Color With Perfect Formula

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Buy Me, Rent Me, Forget Me &#39Super 8,&#39 &#39Conan,&#39 &#39Spy Kids 4&#39 and More

High-Profile New Releases

Read our full review of the Blu-ray here.

Conan the Barbarian Release Date: Aug 19, 2011 Rated: R for strong bloody violence, some sexuality and nudity Genres: Action/Adventure Director:Marcus Nispel Cast:Jason Momoa, Stephen Lang, Rachel Nichols, Ron Perlman, Rose McGowan. Full cast + crew Verdict: Rent Me (If you're game for a truly barbaric Conan) Available On: 3D Blu-ray, 2D Movie-Only BD, DVD Special Features: A surprisingly funny commentary from Momoa and McGowan, two featurettes on the history of the character and his creator, and more

Read our full review of the Blu-ray here.

Super 8 Release Date: Jun 10, 2011 Rated: PG-13 for intense sequences of sci-fi action and violence, language and some nudity Runtime: 1 hr. 52 min. Genres: Sci-Fi/Fantasy Director:J.J. Abrams Cast:Kyle Chandler, Elle Fanning, Gabriel Basso, Noah Emmerich, Ron Eldard. Full cast + crew Verdict: Buy Me (If you need to own one of the best-looking Blu-ray transfers you'll ever see) Available on: Blu-ray, DVD Special Features: Commentary with JJ Abrams, his producer and his cinematographer, as well as 90+ minutes of featurettes focusing on every aspect of the film

Other New Releases

BD, DVD Rent Me

DVD Rent Me

BD, DVD Forget Me

BD, DVD Forget Me

BD, DVD Forget Me

 

High-Profile Catalog Releases

12 Angry Men Release Date: Apr 20, 1957 Rated: NR Runtime: 1 hr. 35 min. Genres: Drama Director:Sidney Lumet Cast:Henry Fonda, Lee J. Cobb, E.G. Marshall, Jack Warden, Jack Klugman. Full cast + crew Verdict: Buy Me (If you love courthouse dramas) Available On: Blu-ray, DVD Special Features: New interviews about the filmmakers, archival interviews with Sidney Lumet, Frank Schaffner's 1955 TV version and more

Three Amigos! Release Date: Dec 12, 1986 Rated: PG Runtime: 1 hr. 55 min. Genres: Comedy, Drama Action/Adventure Director:John Landis Cast:Chevy Chase, Steve Martin, Martin Short, Alfonso Arau,Tony Plana. Full cast + crew Verdict: Buy Me (If you enjoy the sound of laughter) Available On: Blu-ray Special Features: Cast and crew interviews, deleted scenes

 

Everything Else

Blu-ray	BD, DVD	DVD	Blu-ray	BD, DVD
BD, DVD	Blu-ray	DVD	Blu-ray	DVD
BD, DVD	Blu-ray	BD, DVD	Blu-ray	DVD

 

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Orignal From: Buy Me, Rent Me, Forget Me &#39Super 8,&#39 &#39Conan,&#39 &#39Spy Kids 4&#39 and More

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Buy Me, Rent Me, Forget Me &#39Super 8,&#39 &#39Conan,&#39 &#39Spy Kids 4&#39 and More

High-Profile New Releases

Read our full review of the Blu-ray here.

Conan the Barbarian Release Date: Aug 19, 2011 Rated: R for strong bloody violence, some sexuality and nudity Genres: Action/Adventure Director:Marcus Nispel Cast:Jason Momoa, Stephen Lang, Rachel Nichols, Ron Perlman, Rose McGowan. Full cast + crew Verdict: Rent Me (If you're game for a truly barbaric Conan) Available On: 3D Blu-ray, 2D Movie-Only BD, DVD Special Features: A surprisingly funny commentary from Momoa and McGowan, two featurettes on the history of the character and his creator, and more

Read our full review of the Blu-ray here.

Super 8 Release Date: Jun 10, 2011 Rated: PG-13 for intense sequences of sci-fi action and violence, language and some nudity Runtime: 1 hr. 52 min. Genres: Sci-Fi/Fantasy Director:J.J. Abrams Cast:Kyle Chandler, Elle Fanning, Gabriel Basso, Noah Emmerich, Ron Eldard. Full cast + crew Verdict: Buy Me (If you need to own one of the best-looking Blu-ray transfers you'll ever see) Available on: Blu-ray, DVD Special Features: Commentary with JJ Abrams, his producer and his cinematographer, as well as 90+ minutes of featurettes focusing on every aspect of the film

Other New Releases

BD, DVD Rent Me

DVD Rent Me

BD, DVD Forget Me

BD, DVD Forget Me

BD, DVD Forget Me

 

High-Profile Catalog Releases

12 Angry Men Release Date: Apr 20, 1957 Rated: NR Runtime: 1 hr. 35 min. Genres: Drama Director:Sidney Lumet Cast:Henry Fonda, Lee J. Cobb, E.G. Marshall, Jack Warden, Jack Klugman. Full cast + crew Verdict: Buy Me (If you love courthouse dramas) Available On: Blu-ray, DVD Special Features: New interviews about the filmmakers, archival interviews with Sidney Lumet, Frank Schaffner's 1955 TV version and more

Three Amigos! Release Date: Dec 12, 1986 Rated: PG Runtime: 1 hr. 55 min. Genres: Comedy, Drama Action/Adventure Director:John Landis Cast:Chevy Chase, Steve Martin, Martin Short, Alfonso Arau,Tony Plana. Full cast + crew Verdict: Buy Me (If you enjoy the sound of laughter) Available On: Blu-ray Special Features: Cast and crew interviews, deleted scenes

 

Everything Else

Blu-ray	BD, DVD	DVD	Blu-ray	BD, DVD
BD, DVD	Blu-ray	DVD	Blu-ray	DVD
BD, DVD	Blu-ray	BD, DVD	Blu-ray	DVD

 

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Orignal From: Buy Me, Rent Me, Forget Me &#39Super 8,&#39 &#39Conan,&#39 &#39Spy Kids 4&#39 and More

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