Movies Books

Great Read! A wonderful disney story! Many different emotions throughout the book and life learning experiences that happen through all the events. Best sequel I've ever read in a children's book!

It was the best Disney book I have ever read. I am a Disney fanatic, and would have wished so much, to meet Walt Disney, even though he is frozen at the moment. I loved this book, because it was so heartwarming to me, and it reminds me of everyday life...I mean the story. You never know what is going to happen next. Something dangerous, something funny, or something romantic? I guess it was so special, because my life is exactly like the ones of Kovu and Kiara. The writers must have put a lot of time and thinking for this story. I wish the best. Thanks!

I am a Lion King freak, and so have collected many children's books. I often am disapointed that the drawings barely resemble the actuall characters. This book is not a disapointment, the pictures are wonderfull, and I flip through it again and again. It also goes very in depth with the story, readers with a short attention span may get bored with the long text.

Songs in the key of springfield is on of my most cherrished cd's in my collection. It is an exquisite blend of songs and skits. GO SIMPSONS!

the best song is "around the house" featuring cherry bobin

One may lament the fact that the best work in original musical comedy today is being done, not on Broadway, but in animated cartoons (the Simpsons, Disney films like Beauty & the Beast and the Little Mermaid, South Park, etc.) However, that shouldn't stop us from enjoying good show tunes in whatever form and this Simpsons show compilation is a collection of true classics of the genre. I find it much superior to the "original" Simpsons collections on CD ("The Simpsons Sing the Blues" & "The Yellow Album.") and can hardly wait until enough material is available to issue a second TV show collection.

There have been a lot of wonderful books released over the past decade on the subject of classic horror films of the 30's, 40's, and 50's, with many coming from Mcfarland & Co., who are also the publishers of this book. While most of these books focus on the films or biographical accounts of the actors, Mark Clark's book spotlights the great performances in horror films, a decidedly refreshing take. Clark seeks to give credit for these wonderful performances that often have been ignored by mainstream film critics.

As mentioned in the introduction, Clark mainly looks at the classic horrors of the 30's through the 50's because that's what he likes and it's what he grew up watching. Clark is a "monster kid" one of those lucky youngsters who grew up in the 50's and 60's watching the classics on late night TV. Plus as he points out, classics and old are relative terms. Some consider "Halloween" to be an old horror film.

The first part features the well-known horror stars in roughly chronological order beginning with Lon Chaney. Each actor covered features a close look at one to as many as four or five of their most notable roles, but also has smaller sidebars on some of their other notable performances. For example, on Chaney Clark features The Phantom of the Opera as his most famous film, but then also notes the lost film "London After Midnight" as the first American film that dealt with vampirism.

Karloff gets the largest treatment from Clark with no less than seven of his films featured, and who can blame him..."Frankenstein", "The Mummy", "The Black Cat", "The Walking Dead", "The Body Snatcher", all are recognized classics of the horror genre. Clark Keenly points out that Karloff did more with his body language, facial expressions, and a few grunts in "Frankenstein" than most actors can do with hundreds of lines of dialog. Although Clark does mention it in Karloff's other notable performances, I think his work in "The Mask of Fu Manchu" deserved to be note as one of his best roles. Karloff is at his most sinister as the sinister oriental menace.

Next up is Bela Lugosi and in a rare circumstance, two actors (Karloff & Lugosi) are noted for great performances in the same film: 1934's "The Black Cat". Lugosi's role as the avenging Dr. Werdegast afforded him the rare opportunity to play the heroic role to Karloff's villainous Hjalmar Poelzig. Other great Lugosi films covered are "White Zombie", "Murders in the Rue Morgue", "Son of Frankenstein", and, of course, "Dracula".

Clark goes on to look at other great horror stars including the overlooked George Zucco and Lionel Atwill, Lon Chaney Jr., Peter Lorre, Vincent Price, Peter Cushing, and Christopher Lee. While they don't get full sections, I credit Clark for also not forgetting to mention some lesser known horror stars such as Tod Slaughter, J. Carrol Naish, Rondo Hatton, and Tor Johnson.

There's also a chapter on leading ladies horror that runs the gamut from Gloria Holden in "Dracula's Daughter" all the way to Jodie Foster in "Silence of the Lambs" although the fact is that most of these women only made perhaps one true horror film in their careers while true scream queens like Fay Wray and Evelyn Ankers are relegated to the "Other Leading Ladies" section. It's the only thing I can really find fault with in this great book. For fans of classic horror, Clark even provides a comprehensive bibliography.

Reviewed by Tim Janson

Do not let this book's rather flippant title fool you. Mark Clark engages in thoughtful, relevant criticism of the subject matter. He even manages to re-engage the reader in discussion of films one would think had already been talked to death. In an era when much of what passes for "criticism" is in reality extended plot summaries with very little analysis, Clark delivers the real thing. If you are a student of horror cinema (and/or acting) this is a must have.

SMIRK, SNEER AND SCREAM closely examines a broad range of great performances in horror movies, from as early as Lon Chaney in THE PHANTOM OF THE OPERA to Anthony Hopkins in SILENCE OF THE LAMBS. The book has three sections, with the first covering 12 horror stars with in-depth examinations of some of their greatest performances, the second section examining key horror roles played by nine mainstream actors, and the third section looking at nine superlative performances by actresses in horror movies. In addition to close dissection of performances by these actors, there are brief overviews of other actors who have contributed to the horror genre.

Clark has a very warm, and often humorous, writing style, so even though the book is packed with detailed descriptions of individual performances, it is often very funny and sometimes refreshingly personal. He's very open about the frankly subjective nature of his approach. It's a fun book to read.

Clark's emphasis on acting is very welcome. There have been many general surveys of the horror genre, biographies of horror film stars, and even auteurial approaches to the great horror directors. The decision to concentrate on acting is overdue, allowing the book to fill an important niche. As Clark writes: "After all, filmgoers during horror cinema's Golden Age didn't pay to see the latest James Whale or Tod Browning picture. Most paid no attention at all to the director's credit. Audiences paid to see Boris Karloff or Bela Lugosi or, on a few happy occasions, both."

The book is at its strongest and most memorable when it gets down to very close study of the performances. Some of Clark's opinion are a little off the mainstream, but that just makes it more interesting. While the sections on major horror stars like Boris Karloff and Bela Lugosi are excellent, my favorite sections covered more obscure horror luminaries, like Dwight Frye, George Zucco, and Lionel Atwill. All in all, it's a fun and informative book for movie enthusiasts and horror fans.

This book goes way beyond the usual movie companion book genre or the groupie can't get enough photos of the leading guy (or gal) genre for a very simple reason - its terrific design.

After flipping through a few pages, I knew I was in for a visual treat. Great layouts - the more powerful images rightly stand alone in a spread, while background and other less important photographs appear side by side. Creative use of color - Black and white photos are often on wonderful purple or red backgrounds that make them jump and don't distract. Great graphic and type choices are everywhere. Congratulations go to the book's creative team. The credits from Vision On Publishing list "Book Design by Nuisance" and "Reprographics by AJD" - great work.

Of particular note was the well-balanced choice of photos and interviews to include. Normally, movie books have way too many shots of the name-brand stars. Of course we hear from Guy Ritchie and Brad Pitt in Snatch, but great coverage of extras, production people and even Holly the Dog (who gets a two-page spread) make this more than the usual fanzine. In fact, its more like a coffee table art book.

This is a well-produced book and was worth the wait (I first placed an order for it in October). This book features many photos I had never seen before on nice thick pages. Some of the photos were full page and some covered two pages. There were over two dozen pics featuring Brad Pitt. Most of the photos are pretty good resolution though some are a bit blurred. Overall, a pretty good book. As for what it says ... the text was very little but always very amusing. Since I bought it for the photos, this did not matter. Buy it while you can!

If youv'e not yet read this book, you need to do so now, to put it simply, although difficult, is that it is an amazing insight into the creation and the characters that star in the film, from their character traits to their own personalities comming through into the making of the film. The comical attitude of each character is an exception to the book, giving it a humorous yet serious and 'real' content. This book is definately a must buy for Snatch fans, and espcially for those who have not yet seen the film.

I really loved the book, it was so exiting and infolved many real life issues. I loved the way the charaters where expressed in the book,I have learn to love reading because of this book.

I read this book not long ago and it's fantastic. I really like Mary-Kate and Ashley. I never like reading their books until now. It's because I saw their TV series and they are really talented. I totally cannot understand how anyone can say that they are snobs.

I would just like to note that the review titled "Mary-Kate is Beautiful" is not true. There is no part in which Mary-Kate auditions for a B-movie and seduces the director - this is all from the imagination of an obsessed Mary-Kate fan who wishes he was that supposed "director".

But otherwise, this book is really good. I'd highly recomend it.

I loved this book. It's so easy to use the phasing techniques. I highly recommend reading it.

Dawnea Adams is a remarkable and brilliant woman. Here book is funny and inciteful, filled with interesting stories about her life and her work as a metaphysician. However, more than that, her meditations are remarkable. This book will help you tap into your higher power.

Dawnea Adams is a remarkable and brilliant woman. Here book is funny and inciteful, filled with interesting stories about her life and her work as a metaphysician. However, more than that, her meditations are remarkable. This book will help you tap into your higher power.

"I recommend this book to film students and anyone else who is interested in the art of mixing film sound; it contains absorbing insights into the creative process from some of the best sound designers in the industry. By engaging film sound artists in a series of revealing dialogs, Pasquariello highlights some of the practical problems and ingenious solutions to making films sound good." Ioan Allen, senior vice president, Dolby Laboratories

From May/June, 1997 issue of the Editors Guild (IATSE Local 776) Newsletter, Hollywood, California BOOK REVIEW: "SOUNDS OF MOVIES - Interviews with the Creators of Feature Sound Tracks" by Nicholas Pasquariello 240 pages, softcover - Port Bridge Books Reviewed by Dave Whittaker Nicholas Pasquariello has been writing about the technical side of filmmaking for a variety of periodicals for about twenty years, and he now has published a valuable book that collects together interviews with thirteen individuals who are all prominent in the world of film sound. The interviews span the last thirteen years, published originally in Mix magazine and others, and the interviews included here seem to have been chosen for their timelessness, a wise choice. While this book seems aimed largely at the academic film community, there's sufficient depth in the contents so as to be of value to "working professionals" in the film industry. The book is divided into two main sections about production and post-production. The production interviews are with prominent production mixers; the section on post is with re-recording mixers, sound editors, and "sound designers" who wear both hats. The balance is devoted to absorbing interviews on director/composer collaboration, the archival restorations of 'Othello' and 'Lawrence of Arabia', and the perils of translating and dubbing foreign-language versions abroad. In the production section the interviews are with Chris Newman on 'A Chorus Line' and 'Mosquito Coast', Drew Kunin on the rigors of getting usable sound on racing yachts for Carrol Ballard's 'Wind', Ivan Sharrock on 'The Last Emperor', Simon Kaye on 'Platoon', Tod Maitland on 'The Doors', and Nelson Stoll on the marriage of documentary and feature techniques and the politics of the job. It's an interesting and highly varied group of films, with an equally interesting and varied group of mixers talking. If you've never worked in production, or if you've ever complained about the production mixing on a show you're working on, these interviews can be most enlightening. You'll gain some appreciation for the difficult position these folks are in. Trying to reconcile the goal of good sound quality with the conflicting demands of preoccupied directors, camera and lighting needs, difficult locations, and budget realities, all the while "looking good in dailies", is clearly revealed to be a most elusive objective. In the post-production section are interviews with Mark Berger on re-recording 'Amadeus' and 'Mosquito Coast', Richard Beggs on sound design for 'Cotton Club' and 'Tucker', Leslie Shatz on sound design for 'Mishima', Mark Mangini on sound effects for 'Star Trek IV', and Mike Minkler on re-recording 'Explorers'. Like the production mixing section, the group of films here is quite varied and the personalities of the interviewees are often quite engaging. The post section devotes most of its length to the interviews with Bay Area professionals. As a Hollywood sound editor, I was taken aback by this at first, but then realized that this proves to be a bit of a virtue, because the multiple-hat wearing of Richard Beggs and Leslie Shatz allows the interviews to roam over the entire sound-post process, presenting a cohesive picture of what really goes on beyond the picture editing room. Perhaps this Bay Area weighting is a reflection of the tendency for many filmmakers who appreciate the value of collaboration to be attracted to the less-compartmentalized working methods there. It proves useful to read about the difficult location sound recording on 'Mosquito Coast', and then read later about the ramifications of those early decisions when Alan Splet and Mark Berger were trying to edit and mix the tracks. Where this book could be improved would be if there more of these linkages of interviews. Also, when techniques with a long history are discussed in the interviews (such as dance foley for 'Chorus Line') an internal author's reference about that history would be enlightening (as in: "Fred Astaire and others were doing this in 1934"). But these are minor quibbles, somewhat made up for by the presence of fascinating 'bonus' interviews with Vittorio Storaro and Dean Tavoularis on the cinematography and production design for 'Tucker'. There's precious little published material on the working and creative processes of film sound, and this book helps to fill the void. Check it out.

"I recommend this book to film students and anyone else who is interested in the art of mixing film sound; it contains absorbing insights into the creative process from some of the best sound designers in the industry. By engaging film sound artists in a series of revealing dialogs, Pasquariello highlights some of the practical problems and ingenious solutions to making films sound good." Ioen Allen Senior Vice President Dolby Laboratories

Maybe. Check out especially the Fallwell-Robertson commentary on Planet of the Apes (non-Wahlberg edition). They get into a little debate about some giant-ant-attack movie Charlton Heston was in once. Maybe you had to be there, but it's hilarious. Sequel! Please!

Imagine having a collection of transcripts of today's most noted pundits discussing our era's most popular movies. Impossible, you say. There's no way such a book could exist. When pigs fly, maybe. Even optimistically, it seems pretty far-fetched.

But lo, what is that in the distance? Is it...could it be?? It is! Speak, Commentary! God bless us, everyone, and just in time for Kwanzaa.

book of fake DVD Commentaries available in the United States this year. It's a gas!

i enjoyed it very much. It showed how you can stand up for what you believe.The book and the movie gave me a new look at things.i remember in history class about the event that happen with the students protesting and frought for what they believed in,but no one wanted to listen but cause hurt and pain.The book gave a whole new outlook on them event. It has and will always have place with me in my heart. Liberty Moon is incredible she showed so much faith and heart in what she thought was wrong or right.I read the book long time ago and seen on tv awhile back so alot of things are frizzybut i do that i enjoyed and when I seen it and read it it was memorable and eveytime i get a chance to see it or read I go crazy and i feel like everytime I get that chance I feel like I'm there. i give it 10 tumbs up. love ya

In the video and the book,we now see true freedom of the spirit bringing forth new love, joy and peace.For Jean, it is pure enjoyment to see her husband again as well as her friend,George and finally, her daughter,Liberty Moon. We all hope that everyone else has that same courage like Jean.

This book was truly amazing. It closely followed the episode that aired on television, and it had a litle bit of everything for everyone--comedy, romance, action, cultural differences, suspense, and, ultimately, a spiritual message of hope, truth, and courage. It helped me reevaluate my own priorities and search for whatever courage I may have deep inside me. I highly reccomend this book to anyone who loves Touched by an Angel, and anyone who doesn't.

Great book and easy for kids to read. No nightmares here! Good story line where the good guys win and the ending will not disappoint the little ones...or the readers. This is a Tale with a meaning behind it and lessons to learn while providing action and a love story suitable for young readers. It Encouraged my kids to inquire about history and initiated a great teaching and learning opportunity for all of us. I Cannot recommend this book enough. It's a favorite in my family--the movie and the soundtrack are even better. The kids loved the movie and the soundtrack is easy listening for us too.

I bought this book for my 3 year old. I was surprised at the beautiful paintings within this book. You sometimes forget your reading a children's book. This is the story of a mustang, stolen away from his herd and his freedom. With his new friends, a young Lakota brave and his pretty paint mare, he discovers not all humans are bad, never give up, and never let them break you. The new American hero for children and yes, even their parents to love.

This is a really beautiful book...high quality...the graphics and story are excellent...my 5 year old loves it. It's a keeper.