About this product: HP Professional High-gloss Contract Proofing Paper offers great color range for fast and affordable prints in 18-inch by 100-foot rolls. This microporous, quick-dry media allows proofers to emulate and predict the outcome of the most demanding offset and gravure print jobs.
About this product: HP Professional High-gloss Contract Proofing Paper offers great color range for fast and affordable prints in 18-inch by 100-foot rolls. This microporous, quick-dry media allows proofers to emulate and predict the outcome of the most demanding offset and gravure print jobs.
About this product: In the shadow of the big film score trio of the 1930s and 40s, Steiner, Korngold, and Waxman; there were other distinguished film composers such as Adolph Deutsch. Thanks to this now budget priced reissue on Naxos, we are given a varied program example of his film score output from 1941-44. John Morgan again as in most of these projects has reconstructed and quilted together suites to preserve talent that would go down in obscurity. Deutsch was a contract composer at Warner a good part of his career, where the five selections on this disc are drawn. Oddly Deusch had a popular music background, but was not given any musical assignments. He was however thrown a comedy or two, one which was the Jack Benny, Ann Sheridan farce "George
Washington Slept Here". Through whimsical dressed up folk themes, we see the mishaps of a couple struggling to get a supposed historical farmhouse up to par. Nice to have a comedy score for a change! We get two Bogart scores, ofcourse "Maltese
Falcon" and "High Sierra". In Maltese the music is subtle and mysterious using economy of instruments; yes, because the studio was on a budget. "High Sierra" also was budget restricted, but Deutsch still managed a melody Steinerish score depicting the great natural locations of California's Sierra Mountains. In the "Mask of Dimitrios" we get a tension filled mood score as Peter Lorre pursues a deadman walking. "Norhtern Pursuit" a WWII
espionage thriller gets a big orchestra illustrating icy Canada and patriotic themes as well as Nazi darkness. The bars of V victory from Beethoven's fifth end the film abruptly. Mosfilm Studios does another good job with the recording, full and spacious.
About this product: All the Hitman games have been scored wonderfully by Jesper Kyd.
I noted, when playing this game, that Kyd went for more of an ambient feeling vs. the more thematic material he seemed to favor in part two. He still makes excellent use of orchestral color whilst shooting for an even darker, more moodier setting.
This is certainly an excellent orchestral score, and very easily better than most movie scores these days, and should not be overlooked.
About this product: Thy Mighty Contract, the first full length record from these Greek metal-masters sets a standard of its own in passionate metal. The music flows with immense emotion woven neatly into powerful classic deathmetal styled riffs, the beauty is the fact that all the melody is achieved not by sacrificing the speed but rather using it as the very gateway !!!! It would be wrong to strictly classify this record as black metal rather it is a melodic form of powerful doom/black/death. Rotting Christ definitely compose very passionate music, with just a touch of anger, most vividly exemplified on the track "The signs of evil existence". This album is beyond a doubt a document that displays the finest musicianship imaginable and I would recomend it to anyone who has a liking for metal with brains. It easily makes it into the favourite albums of my life with a perfect 10 out of 10.
About this product: THIS MOVIE WAS SUSPENSEFUL AND KEEPS YOU WANTING TO SEE HOW IT WILL PLAY OUT WITH THE MURDER AND THE ATTEMPED MURDER. THE MOVIE KEEPS YOU ON THE EDGE OF YOUR SEAT. YOU SIT THERE WANTING THE BAD PEOPLE TO GET PUNISHED BUT YOU AREN'T SURE OF WHO ACTUALLY DID THE KILLING OR WHO PAID WHOM TO KILL THE PEOPLE. THE MOVIE IS GREAT. I WOULD LOVE TO HAVE THIS TO ADD TO MY COLLECTION.
About this product: "I try very hard never to distort or dissemble," says Mr. Neville (Anthony Higgins), a draughtsman of considerable talent contracted by a certain Mrs. Herbert (Janet Suzman) to make 12 drawings for her absent husband of their English estate. Part of that contract involves Mr. Neville taking his pleasure, and that pleasure is Mrs. Herbert. While Mr. Neville aims for fidelity in his drawings, infidelity in private is quite another matter. Then the film becomes a cerebral puzzle when objects start appearing mysteriously in the subjects of Mr. Neville's various drawings: a ladder that wasn't there before, a pair of boots standing in a field. Mr. Neville's penchant for realism is stymied by these clues, which may or may not suggest the murder of Mr. Herbert. Peter Greenaway seems to have directed this, his first art-house success, with the aim of exploring the failings of perspective in art and casting his doubtful eye on the possibility of "faithful" drawings such as those by which Mr. Neville makes his living. Greenaway was, after all, an art student, and must have known that drawing machines like the one Mr. Neville uses in the film (which is set in 1694) led not only to the invention of photography, and therefore of film itself, but also to the renouncing of perspective that informs so much of 20th-century painting.
In the film, Greenaway overlays the story's mysterious elements with highly mannered tableaux, making each scene like a realistic, though sumptuous, painting, while having his actors spout witty and complicated sentences. While this is very entertaining, it has a dual purpose, which is to depict the falseness of surfaces. Mr. Neville's faith in the same is his downfall, and Greenaway's triumph is in his distortions and dissemblings, the narrative lie that gets closer to the truth than any architectural drawing could. --Jim Gay
About this product: It's not really a knock to say that nothing in Tropic Thunder is funnier than its first five minutes, so sly that--especially for people watching in theaters--you don't realize right away they are the opening minutes of the movie. This outrageous comedy begins with a series of fake previews, each introducing one of the main characters in the film-proper (not that there's anything proper about this film) and each bearing the familiar logo of a different motion picture studio: Universal, DreamWorks SKG, et al. Such playing fast and loose with corporate talismans verges on sacrilege, but it's an index of how much le tout Tinseltown endorses the movie as a demented valentine to itself. The premise is that the cast of a would-be "Son of Rambo" movie shooting in some Southeast Asian jungle get into a real shooting war with drug-smuggling montagnards. Don't ask--though the movie does have an answer--why such highly paid, usually ultra-pampered personnel as superhero Tugg Speedman (Ben Stiller), Mozart of fart comedy Jeff Portnoy (Jack Black), hip-hop artist Alpa Chino (Brandon T. Jackson), and five-time Oscar-winner Kirk Lazarus from Aus-try-leeah (Robert Downey Jr.) should be running through the jungle unattended and very vulnerable. It matters only that the real-life cast has a high time kidding their own profession and flexing their comedic muscles. Bonus points go to Stiller for co-writing the script (with Justin Theroux) and directing, and to Downey, brilliant as a white actor surgically turned black actor for his role and utterly committed to staying in character no matter what ("I don't drop character till I done the DVD commentary").
Be warned: The movie, too, is committed--to being an equal-opportunity offender. Its political incorrectness extends not only to Lazarus's black-like-me posturing but also Speedman's recent, Sean Penn-style Oscar bid playing a cognitively challenged farmboy--or, in Lazarus's deathless phrase, "going the full retard." Others in the cast include Steve Coogan as a director out of his depth, Nick Nolte as the Viet-vet novelist whose book inspired the film-within-the-film, Matthew McConaughey as Speedman's sun-blissed agent back home, and Tom Cruise--bald, fat-suited, and profane--as an epically repulsive studio head. Two hours running time is a mite excessive, but otherwise, what's not to like? --Richard T. Jameson
Stills from Tropic Thunder (Click for larger image)
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