Posts Tagged ‘Australia’
Watch Australia Movie Online
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Watch Australia Movie Online.
Movie Title: Australia Australia is available for streaming or downloading. |
I appreciate Howard Hawks’ films…Bringing Up Baby, His Girl Friday, Red River, and Rio Bravo are extraordinary pieces of entertainment. As I was watching Australia, the modern Baz Luhrmann movie with Hugh Jackman and Nicole Kidman, I kept thinking…man, Baz must really cherish Hawks’ movies, too.
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As evidenced by the films above, the mismatched couple who fight and fight until they realize they’re perfect for each other (peep Worthy Ado About Nothing, Taming of the Shrew, and Moonlighting as other examples of the earn) and the group of underestimated misfits who near together to fight wicked are two large elements musty again and again by Hawks. Throw in a bit of John Ford’s The Searchers and its hard notice at racism leading to inhuman deeds and mix well and you have…Australia.
The predicament current audiences may have with Luhrmann’s recent movie is it’s very, very earnest. This is straight ahead myth storytelling with its heart on its sleeve and hat and boots with never a wink to the crowd in the theater to say “ain’t these people quaint”. You either grasp in or you don’t. If you do, like I did, you’re in for a hell of a coast.
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This, I feel, is the flip-side to The Black Knight. Obliging and unfriendly are trapped in something akin to a battle and an embrace in Nolan’s Gotham City. You root for Batman, but he does stuff that is on the nefarious side of freedom and civil rights. The Joker is pure crazy, but he’s the most mesmerizing character in the film. In Australia, there are suited guys and dreadful guys and you are either really trustworthy or twirl your mustache harmful. The main villain actually may be a bit too two-dimensional in that aspect, but it didn’t harm my overall enjoyment.
Why? Well, account melodrama is hard to pull off…I’m talking about the steady stuff here. The unusual BBC production of Bleak House is a grand example. There are very ample and very, very awful people in that narrative, but the acting is so amazing you rarely if ever rep yourself rolling your eyes (like whenever I’ve watched Smallville…see: unpleasant anecdote melodrama) . Kidman and Jackman sell their characters…the displaced Englishwoman and the rough-hewn “Drover”. They are thrown together unprejudiced to, initially it seems, thwart a noxious cattle baron from monopolizing the beef industry in the country. But the other large anecdote, the main one in fact, centers around Australia’s “lost generation”. These were Aboriginal children who were fathered by white men who didn’t claim them. They were taken by the government, the mothers had no rights, and handed over to the church to be taught to “act white” and then work in the servant class. Nullah, played by the unbelievable child actor Brandon Walters, is one of these “creamies” who has been hidden on the ranch now owned by Lady Sarah Ashley (Kidman) . Lady Ashley discovers what is going on, is vexed by the law, and works to maintain him hidden as well. Why the Drover cares so powerful about Nullah becomes sure later in the film (no, it’s not what you believe…that would be too easy) and Jackman’s experience with stage and musical work does him proud here. He can do earnest better than almost any actor alive when he needs to and his later utilize of the f-word (the only curse I can remember from the entire film) hits so hard, in impartial the true emotional moment, that it kills. Russell Crowe was originally cast as the Drover but backed out. If Crowe had done the film, and I have liked him in other things…the Napoleon-era British navy film that I can’t remember the name of factual now, it would not have worked. Crowe never loses that bit of edge and the Drover, at one point, really has to fully fracture down and become completely vulnerable. Jackman shines at that point.
Anyway…a warning, the movie is long 2 hours and 40something minutes, but I didn’t realize that until I had left the theater. I saw it alone…I was out of town at a pediatrics meeting…and that’s a wonderful thing. I didn’t have to cover from Holly the few times the movie hit me a bit too hard and do that cough-throat clearing thing we dudes do to screen up a stray straggle.
I was looking forward to seeing this movie when it was release tedious last year given all the hype, and was not dissappointed!
Director, Baz Luhman, has served up a slab of nostalgia ala Australian style with all those pleasing elements we appreciate from films of the 40′s and 50′s, breathtaking, sweeping landscapes, aesthetic costumes and two splendid actors in Kidman and Jackman who accumulate the essence of the film. It nostalgia in every sense of the word, in every frame. The acting style reminds us of Bogart, Grant, Bacall and Dunne. The anecdote is record in every intention and fair gorgeous. I loved the salute to “The Wizard of Oz”a really nice touch!
Of course we all know how it’s going to ruin. Watching Australia was like eating a box of Quality Street chocolates. Determined I know what I’m getting, but I calm fancy it.
For those of you who want to utilize a few hours (and I mean a few; it’s almost 3 hours) being completely entertained then thisis the movie for you. I only wished they had inserted an interval on it’s theatrical release and made the whole event at the movies a precise nostalgic experience.
I can’t imagine why anyone wouldn’t like this movie, unless you unbiased aren’t up for a feel well-behaved describe. I want to inspect more movies being made like this!!!! Well done to all!!!
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Streaming Don’t Tell Mom the Babysitter’s Dead Online
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Streaming Don’t Tell Mom the Babysitter’s Dead Online.
Movie Title: Don’t Tell Mom the Babysitter’s Dead Don’t Tell Mom the Babysitter’s Dead is available for streaming or downloading. Click Here to Stream or Download Don’t Tell Mom the Babysitter’s Dead |
Christina Applegate is surprisingly obliging in this cult classic playing Sue Ellen. After the babysitter dies from faded age, she finds herself responsible for her four younger brothers and sisters for the entire summer. As mighty as she hates it, Sue Ellen has to salvage a job to aid them all. When she applies for a receptionist job with a clothing manufacturer, her fabricated resume lands her a job with the chief executive. This is a lighthearted movie with many droll scenes.
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Thinks are looking up for the Crandell children. Mom (Concetta Tomei, “Deep Impact” and “Picket Fences”) is going to Australia for two months. Things seem like they are going to be expansive until a babysitter shows up. The babysitter seems like a sweet cramped weak lady until mom leaves. The babysitter then turns into a militant, giving the children orders and rules and telling everyone that she will tolerate no infractions.
The children can hardly occupy their terrible luck. Now they will be stuck with the babysitter from hell. After meeting to discuss their space, the children elect Sue Ellen (also called Swell, played by Christina Applegate, “Married with Children”) to go mutter to the old-fashioned lady. Swell knocks on the extinct lady’s bedroom door and enters when she fails to reply. Swell discovers that one jam was solved, but another created, when she learns that the babysitter is wearisome.
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After another meeting of the children, they choose to catch the dilapidated lady to a mortuary and plunge her off with a label. Unfortunately, the children neglect to rob the money their mother left from the passe lady’s clothes, as they learn after they return home. Swell and brother Kenny (Keith Coogan, who starred in another classic comedy, “Adventures in Babysitting”) determine that one of them has to accumulate a job. A flip of the pizza box and Swell starts looking for a job while brother Kenny hangs around the house and smokes pot.
Swell’s first job is at a hotdog residence, where she gets the joy of cleaning out the grease pots. Swell decides there has to be a better job she can net, so after a tiny creative resume writing, she lands a high-paying job as an executive administrative assistant for Rose Lindsay (Joanna Cassidy, “Blade Runner” and “Who Framed Roger Rabbit”) . In spite of obstacles placed in her intention by a receptionist and her toady, Bruce, played by a David Duchovny before his “X-Files” days, Swell manages to excel in her job, accidentally learning to delegate and even build.
Of course, things are not mild sailing for working girl Swell. There is the office letch, who keeps trying to become intimate with Swell, not bright she is only 17 years extinct. Swell is also trying to have a diminutive romance of her hold, with the brother of the receptionist who is trying to wait on stab Swell at the office. Brother Kenny is more anxious to hang out with his friends than engage care of his siblings and the house. To top it all off, mom keeps calling, wondering how things are going and probably wondering why she is unable to shriek to the babysitter.
I would limit viewing to children at least 14 years ancient and above because of the behavior of the children. You may wish to limit viewing to an even older age for some children.
This movie is not only good; it is a comic and luscious movie for adults. This movie is probably the best thing Christina Applegate has done to date outside of her continuing role on “Married with Children.” A few of the gags tumble flat, but the bulk of them work, and Applegate does an valid job of making you feel sorry for her as her dream summer becomes a nightmare, all the while laughing at the things happening around her. As a light comedy this movie works, and is one that I will leer again.
Enjoy!
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SOMERSAULT Lowest Price!
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SOMERSAULT
Product: SOMERSAULT Lowest Price! List Price: —- Amazon Price: $2.99 Add to cart to see low price@ Availability: In Stock Usually ships in 24 Hours Free Shipping Available |
- Amazon Sales Rank: #9454 in Movie
- Released on: 2008-05-01
- Running time: 102 minutes
Heidi is 16 and on her own and not always making the right choices
Living Down Under, Heidi (Abbie Cornish) might be only 16, but she has the body of an older woman. Lonely and struggling to deal with new feelings, she makes a pass at her mother’s tattooed boyfriend. He of course reciprocates, but they are caught by her mother (Olivia Pigeot)), who totally freaks. Rejected by her mother, a shattered Heidi runs away from home. Because she is willing to trade her body for a place to stay and transportation, things are not looking promising for Heidi. Then she has a bit of lucky, because she crosses the path of Joe (Sam Worthington), the son of a farmer, who is drawn to the nymph but is not interested in taking advantage of her.
So when she gets in his pickup he takes her to this ski resort town, which is not in the off-season, and there she tries to make a life for herself. Joe puts her up for the night in a motel run by Irene (Lynette Curran), who is willing to let Heidi stay in the flat behind the place that her son used to stay in as long as she pays rent and does not cause trouble. Heidi scours the town for a job at gets one working behind the counter at the BP station. She is way too needy for Joe, who has his own problems, but he sees her from time to time until she asks him if he is her boyfriend. He does not respond well to pressure and perhaps he is put off by her trashy background. In fact, that seems to be what most of the people in this town think about her, which is brought home in a scene that is representative of the tenor of this film.
At several key moments in “Somersault,” the film does exactly that. You think you know what is about to happen when Heidi is being given a ride and the guy suddenly turns off the road to show her something; but the expected does not happen. You think that Heidi is forming the nucleus of a new family, but that is not what is happening here either. What should have been a friendship with Bianca (Hollie Andrew) at the BP, is quickly denied her. Even when we get to the pivotal moment where a depressed and despondent Heidi decides to become the person that apparently everybody think she is, things do not pan out as we would think either. It is this ability to surprise me time and time again that fully justifies rounding up on this 2004 film.
This is a heartfelt and painful movie, because Heidi is living on the edge, and obviously mistaken sex for love. We have trouble thinking she is still a little girl, but we never believe she has become a woman. In her favor is the fact that she is trying to make an honest go of it out on her own. I was expecting her to start stealing things, but she does not, although she scavenges left over food at the motel. In fact, one of the signature aspects of her character is that she eats whatever she can at every opportunity. Heidi is so emotionally numb that that what stands out are the two moments where she loses it. The first comes when she learns of a cruel lie that adds insult to injury and forces a primal scream of rage out of her. The other is when she finally breaks and confesses to another person as to what has happened to her, and in that honest moment finds the lifeline she so desperately needs.
“Somersault” is the first feature film by writer-director Cate Shortland, who had previously made a trio of short films. There are some artistic flourishes throughout the film and a strategic reduction in the color palate, but primarily Shortland has her cinematographer Robert Humphreys go with a hand held camera to create a sense of intimacy with the characters. The results are quite successful. “Somersault” won 13 Australian Film Institute awards out of 15 nominations (the previous record for wins was 8), with the two it did not win being because it had multiple nominees in the supporting actor and actress categories. Obviously there is a lot of pressure on Shortland for her new film, which I should think they are eagerly anticipating in Australia, but she appears to be biding her time. That reminds me: whatever happened to James Cameron?
Little girl lost…
Light, impressionistic and ethereal, the Australian film Somersault steadily grows on the viewer. Very much reminiscent of this maverick and new wave genre of Australian movie making, in Somersault meaning comes from the very modest and a lot happens when very little is being said. It’s where a teenage girl sets off on a sexual and moral coming-of-age odyssey that resonates with remarkable truth and purity.
The lovely sixteen-yea-old Heidi (Abbie Cornish) is a bit of a femme fatale. She knows men are attracted to her and she realizes pretty early on that she can probably get whatever she wants from them. After getting caught making out with her Mum’s hunky young boyfriend, this lonely and wraithlike girl drifts up to Jindabyne in the Australian Alps of New South Wales.
Constantly yearning for male attention, her striking blond looks make her an easy target for the young, vacationing boys – they don’t hesitate to take advantage of her. She’s also a bit of a party girl and thinks nothing of getting drunk and stoned at the local hangouts. As she tries to find employment – she eventually gets a job working the counter in a service station – she catches the eye of Joe (a terrific Sam Worthington), the son of wealthy landowners.
Joe is handsome and likeable enough, although he’s very uptight and remains non-committal. At first, he appears to be in it for thrill of sleeping with an underage girl, but his initial hesitancy masks a deep-seated self-loathing, and certain confusion over his sexuality. As much as Heidi needs him, Joe’s just too insecure to return her feelings.
Of course, this is a world of entrenched snobbery where the sons and daughters of the wealthy landowners look down on working class girls like Heidi. At only sixteen Heidi gradually discovers that her whorish behaviour and limited employment prospects condemn her to the bottom rungs of this picturesque Jindabyne’s social ladder. Even the maternal motel owner Irene (a fabulous Lynette Curran) who takes Heidi under her wing, has her patience tried by the unruly and irresponsible girl.
Somersault with its arty, indistinct photography and it’s otherworldly atmosphere, is very much a portrait of two troubled souls searching for love and respect, but director Cate Shortland is talented enough to show that there isn’t an easy way out for this couple. As Heidi drifts through life, keeping a diary and looking at the world almost through a childlike sensibility, Shortland is totally adept at delicately capturing Heidi’s lovelorn world.
Alternating between glacial, pastel landscapes and burnt-ochre interiors, Summersault is a disturbing portrait of a young girl somewhat at a loss and Cornish’s astonishingly empathic performance always stays directly connected to Heidi’s troubled soul. Her desire actually seems to protect her from the consequences of some very dire situations. Worthington is also terrific as Joe, with his need to connect with Heidi and his somewhat opaque sexual ambivalence constantly keeping us guessing.
Summersault is an accomplished film, another gritty and edgy slice of Australian life – although the film is at times brutal to watch. Heidi’s very presence in this small resort town often seems to make adults uncomfortable and boys cruel. There is a definite sense that there is nothing Heidi can do to escape her looks, class and circumstances. Mike Leonard July 06.
coming of age movie from a female perspective
This movie resonated deeply with me as it will with most females but that’s not to say that men cannot enjoy it as well. It’s one of those films that both sexes will like but will view it differently. It’s a haunting film about a 16 year old girl coming to terms with her sexuality and finding her way in life.
We first met Heidi as her mom’s boyfriend sends her into the local bar to get her. Her mom is annoyed when Heidi shows up (a younger version of herself) as she apparently enjoys the company of fellow male patrons more then staying at home. Abby is annoyed at her mom for the way she acts with other men. Typical mother/daughter relations when the daughter starts to become a woman. But Heidi’s first attempts at feminine wiles are inappropriate and have dire consequences. She’s devastated by her own actions as well as her mother’s reaction and decides to run away. Abby goes to a resort town where she thinks she can get a job from a guy she met. He had given her his card and told her to call if she was ever in the area but of course, he did not really mean it and I felt for her when she made this call. She is stuck in a town with no place to stay and she does the only thing she knows works (me thinks her mom has not been the best role model), let a man have sex with you in exchange for drinks, a place to stay – fill in the blank really. Heidi is in that very awkward stage between childhood and becoming a woman. The actress (Abby Cornish) plays her with amazing skill, her whole body language tells the story. Heidi soon hooks up with Joe (Sam Worthington) who also wants to “sleep” with her but she mistakes his backhanded kindness for love and calls every number in the town’s phone book until she tracks him down. He ignores her. When they run into each other by accident and Joe does not acknowledge her, Heidi’s face tells of immense heartbreak that only a teenager in love can experience. Of course, they end up back in bed but this quasi-relationship is doomed from the start. Heidi is devastated by the breakup and becomes even more self-destructive and goes back to trolling bars with disturbing consequences. Joe, of course, walks in at the worst point and things turn nasty. At this point, Heidi has no self worth and runs after Joe stark naked to no avail. Her behavior once again has consequences and she is kicked out of her flat. Heidi becomes spiteful to the one person who showed her true kindness. She is at a turning point in her life, she can continue her spiral downward or take responsibility for her actions. This time her walk around town is not filled with childlike curiosity but a more mature introspection. She returns to thank the woman who helped her before breaking down in tears and telling her the truth of things. Heidi’s mother is called and arranges to come and bring her back home. The next time she runs into Joe, Heidi handles it with dignity. She has grown up. When we see her mother take her back home, there is hope for the future.
The scenes are shot beautifully with great usage of the landscape around them. The performances were magnificent in their honesty. This film spoke to the core of my emotions. It did not require a box of Kleenex although it did leave deep sadness in its wake, a kind of mourning for innocence lost as we reach adulthood and the embarassment over the things we have done as we make our way.
The Final Sale-$3.99!
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The Final Sale-$3.99!
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The Final Description:
- Amazon Sales Rank: #1208 in Movie
- Released on: 2020-01-01
- Rating: R (Restricted)
- Running time: 93 minutes
Customer Reviews:
A Pretty Good Year!
Kill Theory: This is an above average slasher, with a sort of “Saw” flavoring (though nowhere near as gory). A group of graduating college kids holed up in a cabin are told only one of them can survive till the morning or they’ll all be killed. The rare slasher where the character development actually pays off.
The Graves: Mal-direction and less-than-tight editing make the actors look bad (even Tony Todd!) in this “Texas Chainsaw” meets “The Devil’s Rain” story. Two girls are stalked by maniacs in mining town, then by crazy culty townsfolk. Standout performance by Bill Moseley. The Grave sisters themselves are easy on the eyes and had good chemistry. Marred by run-of-the-mill-ishness and some unbelievably bad choices.
Zombies of Mass Destruction: Sharp, funny, campy, gory, and fast-paced for the first two thirds. A Persian-American woman and a gay couple return to their hometown in time for a zombie invasion. Very left politically, but okay until political bent takes over last third, when movie bogs down with torture scenes, and a church confrontation. With “Dread”, Best in Show.
Hidden (Skjult): Broody Norwegian film about a crazy guy who goes back to childhood home and the bodies start stacking up. Is he doing it? Or is it the changeling who he left to his abusive mothers’ devices on the night he escaped? Almost had me believing it wasn’t going to end in the obvious way.
Dread: Clive Barker produces first-time director Anthony diBlasi in this tense adapation of Barker’s short. Little boy Quaid sees his parents murdered with an axe and grows up with nightmares–fear of the axe murderer’s return. Two film students are seduced by the idea of studying dread for their final project, but when the results don’t deliver what Quaid wants, he goes to greater and greater extremes to get them. Disturbingly violent, with plenty of typically Barker-esque mixing of sex and horror. Best in Show with “ZMD”.
The Reeds: English movie about something haunting the Norfolk Broads. Many attempts to distract from actual story (which is run-of-the-mill) tend to dilute the effect it should have. A rather typical, somewhat muddled ghost story, with some very good moments.
The Final: Boorish kids are punished by their oddball classmates. “Breakfast Club” meets “Silence of the Lambs”. Or something. Extreme stereotypes clash. Movie depicts terrible torture, but in an oddly bloodless and detached way.
Lake Mungo: Not a horror movie. Realize that going in. If “The Reeds”, “Hidden” and “The Final” feel low key, they’re high-powered adrenaline-fueled thrill rides compared to Mungo. This movie is a documentary about the family and friends of a missing girl, with the family being semi-sorta haunted by the missing girl. Since it’s all happening in the past, with the people relating in the present, a great deal of potential menace is gone. Since it’s all secondhand, it’s also a little abstract for anything really visceral. if you can stay awake, it’s not bad. Stunning video of Australia.
Kind of a low-key year, but not a bad one.
There’s something in The Reeds
Set in the Norfolk Broads, a desolate but photogenic part of the UK, six attractive Brits go on a weekend boating trip on the Corsair Star to celebrate two of their number getting engaged to each other, little realising that there’s more to the reeds than, well, the reeds. There’s laughing, joking, high-jinks, and then some weird local kids appear and things start getting creepy. Suddenly the film turns, as most good horrors do, from nicey-nicey to oh-my-God-how much nastier can it get??? I think that the final act could probably have done with a little bit more thought, but I don’t think the film suffers terribly from this. To the contrary, for the most part it’s an extremely watchable horror. The slightly retro feel is very ‘movie’: you can tell this was shot on film and not digital, and the piece benefits from this.
The girl who plays the lead ‘Laura’ (Anna Brewster) is very good, natural and believable and the Brit TV actor Will Mellor makes a great, humorous and then horrific (in a good way) impression. The cinematography is good, very good in fact. From a directing/writing perspective there’s certainly not too much fat on the story, and what is clever is that there’s sufficient misdirection to keep the eventual outcome in the balance. I think this would deserve another half-star IF – and only IF – the last act had had a bit more thought, and maybe punch but then some will really love it and some won’t.
Three point seven-five stars, which Amazon nicely rounds up to four for me.
Nice attempt at creativity, but falters somewhat
It’s a shame that After Dark Horrorfest 4 only got a week long run in the theater. The Reeds is the second film I was able to catch on the big screen, and it was a solid attempt by writer Chris Baker and director Nick Cohen.
The story is pretty basic–a group of 20-something year old friends embark on a weekend boating trip through the Norfolk Broads. Disaster strikes as something stalks them from the reedy tidewaters.
This story is developed pretty well, taking its time with character development and building tension. There is solid acting from the cast, plus believable dialogue. The setting is superb, as the tall reeds in the water make for difficult navigation. But when a horrible accident occurs, things start to sink rather quickly.
I’m all for a story with a mysterious deadly force wrecking havoc on an unsuspecting crew. Nothing groundbreaking, but it provides one hell of a creepy story. But eventually I’d like to have some sort of halfway legitimate explanation of the evil forces–what the hell is going on here? Ghosts, demons, river bandits, dopplegangers, zombies? It seemed this film didn’t really know where to go, so it decided to go nowhere.
Plus the end was totally ridiculous. Not wanting to give anything away, but it seemed to me (and several people in the theater) to just be a bad joke on the audience.
Maybe with another attempt I’ll get more out of this film. As for now, I can only recommend it for bored horror fanatics. 2.5 stars
Buy The Beautiful Truth At Amazon!
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Buy The Beautiful Truth At Amazon!
Compare & Purchase The Beautiful Truth at Amazon by clicking here! List Price: —- Amazon Price: $2.99 |
The Beautiful Truth Description:
- Amazon Sales Rank: #3320 in Movie
- Released on: 2009-11-17
- Running time: 92 minutes
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Gerson Therapy, or Chemotherapy: Guess which one has less than 3% success?
It has been said that more people live off cancer than die from it. The Beautiful Truth is a movie that can put a stop to this travesty. Here is a very practical guide to the intensive nutritional treatment of cancer and other life-threatening diseases that many would consider to have been impossible to obtain. But thanks to the work of Max Gerson, M.D., and his daughter, Charlotte Gerson, this knowledge is readily available.
Max Gerson cured cancer. He did so with a strict fat-free, salt-free, low-protein, essentially vegetarian dietary regimen, based on great quantities of fresh vegetable juice, supplements, and systemic detoxification. Ms. Gerson explains:
“Dr. Gerson found that the underlying problems of all cancer patients are toxicity and deficiency. He had to overcome both these difficulties. He found that one of the important features of his therapy had to be the hourly administration of fresh vegetable juices. These supply ample nutrients, as well as fluids to help flush out the kidneys. When the high levels of nutrients re-enter tissues, toxins accumulated over many years are forced into the blood stream. The toxins are then filtered out by the liver. The liver is easily overburdened by the continuous release of toxins and is unable to release the load. Dr. Gerson found that he could provide help to the liver by the caffeine in coffee, absorbed from the colon via the hemorrhoidal vein, which carries the caffeine to the portal system and then to the liver. The caffeine stimulates the liver/bile ducts to open, releasing the poisons into the intestinal tract for excretion.”
Some of the blunt, uncompromising statements this movie makes are certain to get up the medical profession’s collective nose. Too bad for them, for Dr. Gerson was right. And as for Charlotte, his daughter, her entire life has been immersed in healing people, first learning while assisting her father, and later teaching his method to the world.
I personally have seen what the Gerson program can do for a terminally ill cancer patient. I have been called upon to help in a couple of high-profile but last minute cases. One patient was a well-known sports figure. He was given some months to live and was not happy about it, as he was still in his 50s. He asked what his best shot would be for inoperable, untreatable metastasized cancer. I told him: the Gerson therapy. He did it, not in its entirety, but with enthusiasm. And, he lived considerably longer that he was expected to. But what really impressed me was the dramatic improvement in his energy level. From fatigue and weakness, he went instantly to a vibrant life, commencing from the very week he started the program. He maintained a more-than-full schedule for so long that even people who knew he was sick forgot that he was sick.
Years later, people that never knew of my involvement in the matter would bring up his name, invariably recalling how active he was and how good he looked until, almost as a surprise, he died.
I saw a similar level of success with a prominent New York businessman, the owner of a chain of stores and afflicted with untreatable liver cancer. He began to do much, but by no means all, of the Gerson program, and was subsequently able to extensively travel the world with his family. He lived years longer than expected, with a high quality of life confirmed by all who saw him.
Looking only at these two patients, wanton critics of Gerson’s method might think that, without complete and unequivocal cure, there is little to crow about. Such a view is unproductive, for neither of these patients followed the Gerson program completely. It is a tough sell, even to a person with a terminal diagnosis.
Why is this?
Ignorance and arrogance make a bad combination, and “modern” medicine has been guilty of both for decades. Political physicians did not heed Dr. Gerson. In fact, they publicly condemned him. The news media, and some so-called “consumer” websites, have been their willing accomplices. The misinformation they spew to this day is fraught with fabricated frights of natural therapies, while in the same breath they spew forth the wonders of pharmaceutical drugs. When is the last time you saw a favorable mention of the Gerson program in the newspaper or on TV? Since pharmacological doctors have no sure-fire cure for cancer (an understatement if there ever was one), they might at least back a winning horse. According to peer-reviewed research, conventional chemotherapy contributes 2.3% to five year survival in Australia and a mere 2.1% in the US. (Morgan, Ward and Barton. Clinical Oncology, 2004. 16: 549-560) The Gerson approach has been shown, for over six decades, to significantly improve both quality of life and length of life in the sickest, the most hopeless, of cancer patients. Many people have been completely cured on the Gerson therapy. Not all, but many. Far, far more than with chemo.
Some years ago I watched a video tape of a Gerson patients’ “reunion.” On stage were people from all walks of life, and most were advanced in age. One after the other they spoke of the cancer they were diagnosed with three, ten, or twenty years ago. All were recovered. Dr. Gerson was the reason. You cannot watch such an event and fail to be moved.
Charlotte Gerson is 87 now (2009) and fit as a fiddle. I’ve met her many times. She glows with energy and vivaciousness and life. But what is much more important, so do the vast majority of Gerson patients. I urge you to watch this movie.
Common sense cure -how brilliant!
This documentary reveals a simple truth to healing ourselves. You are what you eat…eat to live…food is the best medicine…all of these well-known conepts, when put into practice, really work! I have a relative who was cured of cancer through the Gerson Therapy in Mexico. She is in her ninties now!
thanks Garrett!
WARNING this movie may cause EXTREME WELLNESS
Dr. Max Gerson saved my life. PLEASE WATCH THIS MOVIE. IT could save the life of someone you know or may know in the future. The Gerson Therapy is saving people from having their testicles, eyes, prostates, removed and discarded. And after all that the patient still has a severe metabolic breakdown, and just maybe they’ll throw in a little chemical cocktail for an expensive, sickening finish. PLEASE BUY THIS MOVIE! For the sick and the suffering. This movie will change your life if you let it. TOO ALL THE DR. GERSON HATERS>>> TOO BAD COMMON SENSE ISN’t COMMON. I personally know many cases of true wellness caused by the content of this Movie. Thank you for reading.
Streaming So Proudly We Hail Online
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Streaming So Proudly We Hail Online.
Movie Title: So Proudly We Hail So Proudly We Hail is available for streaming or downloading. |
“So Proudly We Hail”, often comes in for more than it’s gorgeous part of criticism over it’s depiction of the splendid work carried out by nurses in the South Pacific during World War Two. Mention is made of the nurses looking like they have impartial stepped out of the beauty parlour with makeup and hair all looking perfect. I’m always mystified by that reaction as I feel this production goes a long blueprint towards depicting the wait on breaking and often extremely unsafe work that nurses carried out during the war in the Pacific. The film was made with the very best of intentions at a time when the outcome of the war was tranquil far from clear. Criticism has also been leveled at the propaganda inherent in parts of the script. Once again one has to plan this film in it’s time and station and if it motivated people to feel patriotic about their country in time of war and at least partly informed the movie going public about some of the work of wartime nurses then that is a job well done in my concept.
“So Proudly We Hail”, traces the stories of 9 nurses from the time they leave San Francisco through the trials and tribulations of their service with the armed services in the South Pacific. Three in particular are focused on, team leader Lt. Janet Davidson (Claudette Colbert), vivacious Lt. Joan O’Doul (Paulette Goddard) and inwardly tormented Lt. Olivia D’Arcy ) Veronica Lake) . Their stories are interwoven through the loyal life action of the group first being sent to Hawaii and then after a torpedo raid which sinks some of their companion vessels, being removed to the Bataan and Correigador regions where they care for and then assist evacuate the military and civilian wounded. The saga ends with the remains of their party being evacuated after mighty loss and suffering to Australia before embarking for home at the destroy of their tour of duty. The women experience all the deprivations of war and personal loss along the diagram as Lt. Davidson falls in fancy with Lt. John Summers (George Reeves) only to live in daily anxiety of him being killed while aloof having a job to do as the team’s main source of strength. Lt. O’Doul (Paulette Goddard) experiences similiar feelings for “Kansas” (Sonny Tufts), the gangly soldier who wins her heart and in the most tragic site Lt. D’Arcy who confronts old-fashioned demons and the loss of her fiance at the hands of the Japanese. Many ghastly incidents darken the daily grind of the nurses work such as regular bombing of their medical camp by the enemy and having to experience all the injure and suffering of wartime casualties and death of loved ones. Each woman is touched in some draw by her involvement in the action and emerges the better for her experience. We discover the women work under not only uncertain conditions but in those that would test the sanity of the strongest person with daily shortages of supplies, shelter and food a constant feature in the daily work.
The film places huge emphasis on the inner strength of the individual under fire whether it be soldier, nurse or wounded civilian. In this respect the film could never be judged superficial as many precise life elements of this period are tied into the account. Grand scenes abound in “So Proudly We Hail”, a standout is the scene during the evacuation of the camp when the nurses are stranded in one of the huts under fire and the trusty life treatment of war nurses in Nanking is mentioned as a telling reminder of the brutality of war. Lt. D’Arcy’s ultimate self sacrifice for the edifying of the group mild is a scene that packs a exact punch with it’s graphic depiction of a suicide killing of enemy soldiers. All three lead actresses are standouts in their maintain recent plot. Claudette Colbert delivers yet another great and totally convincing performance as the leader of the group. Long associated with extremely glamourous roles here she portrays a character forced under unpleasant conditions to peaceful be strong for the sake of her nurses. Paulette Goddard in an Academy Award nominated performance is great as the flighty mantrap with only men on her mind who develops into a responsible and dedicated nurse as her wartime experiences deepen her character. Veronica Lake also minus her o usual glamourous persona is effective in her role as the bitter nurse who is out to punish all Japanese because of the loss she has suffered. Despite the reported tension between Claudette Colbert and Paulette Goddard during filming none of that shows on veil as the main three actresses work very effectively together as the one team. One last standout in the cast is actress Mary Servoss who plays Capt. “Ma” McGregor the lead of the camp and in ultimate charge of all nursing staff. Her lovely scene where she faces the death of her wounded son is a stunner and the emotional highlight of the whole film.
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Passed off as Hollywood’s removed belief of what war is like, “So Proudly We Hail”, offers considerable more than that and contrary to current opinion in a number of scenes where appropriate, the women do note what the wear and toddle of war work does to the individuals. I acquire the film a considerable depiction of war and the fright it causes. Mixed with horrific scenes such as Lt. D’Arcy’s suicide are gripping ones like the simple Christmas celebration on the boat and the scenes showing operations being conducted lawful in the middle of air raids. These can’t attend to travel the viewer and instill even in the most hardened cynic a thought in the basic agreeable of man. A accurate sage is how I would report “So Proudly We Hail”, and a film I recommend to anyone who believes in the power of a person’s inner strength to beat outside adversity.
If they are bringing THE HIGH AND THE Powerful to DVD finally, then maybe it’s time to unravel the complications surrounding this film and feature it on DVD. SO PROUDLY WE HAIL is one of the greatest of all war movies, and because it is told from a woman’s point of conception (so to mumble, it collected had a male director in the person of Price Sandrich) it is sometimes ridiculed and derided, usually by armchair critics who should whisk a mile in a nurse’s shoes before courageous to denigrate her bravery under fire.
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Claudette Colbert plays Janet Davidson. An unique choice for a nurse, Colbert eschews most of her usual glamor (except for the San Francisco embarkation) and really gives herself to the fragment. Colbert is often excellent when she has to play against strong women, and here Sandrich surrounds her with a gallery of independent types, the intention Francois Ozon made Catherine Deneueve shine in the modern 8 1/2 WOMEN. Janet is a born leader even though she can only be photographed on one side of her face, which somewhat limits her utilitarian duty during battle scenes. Even covered with grime and jungle grease, Colbert unexcited can turn heads, and when she meets George Reeves, the sparks ignite, hot enough to burn Corregidor down to the ground.
Veronica Lake plays up her dim side playing Lieutenant D’Arcy, a time bomb honest waiting to explode. Often seen as soignee and entertaining, with that cute fringe of hair playing peekaboo with her eyes, Lake here is going for a Cornell Woolrich-style vengeance against the Japanese. If Tarantino had made Destroy BILL in the 1940s Lake would have beat Uma Thurman in the role easily. She’s hotter than a pistol and she’s Ms. 45.
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Paulette Goddard has, I believe, the most tantalizing role and I agree with other reviewers who say this is Goddard’s best fraction. While Colbert and Lake really honest maintain the same acting region throughout the movie, Goddard’s character has to change, so that viewers contemplate her conventional from a soar by night flapper with only men on her mind, to a woman with a heart who lives to assist others, not unbiased sign them with her oomph. It’s harder than it looks to straggle that line, but Goddard pulls it off without a whimper. Often cast as the sexpot pure and simple, or the gold-digging mantrap she apparently was in sincere life, Goddard is entirely persuasive in her role, and like Lake, she’s a natural at action scenes. I want her to be my nurse. Her romance with “Kansas” is kind of cute too.
All in all, an underrated movie with the kind of place that screws in deeper and deeper, unbearably tight, like DAS BOOT, except situation in the Pacific.
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Stream Farscape: The Complete Series Movie Online
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Stream Farscape: The Complete Series Movie Online.
Movie Title: Farscape: The Complete Series Farscape: The Complete Series is available for streaming or downloading. Click Here to Stream or Download Farscape: The Complete Series |
A year or two ago, when I heard that the rights to FARSCAPE had been sold and would be rereleased on the A&E price, I was gratified. I bought the entirety of the series on the way-too-expensive Starburst edition, which was, as expensive as it was, vastly cheaper than the recent DVDs. FARSCAPE as originally released was one of the most expensive series ever sold on DVD. I’ve lent my DVDs out to several people as section of an worry to relieve more people learn about this wonder series. Now I can recommend that people lift it.
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FARSCAPE is, after only BATTLESTAR GALACTICA and FIREFLY, my all time accepted Sci-fi series. It is recent in that women tend to esteem it as great as men (or perhaps I should say younger male viewers, who usually acquire a ample percentage of the Sci-fi demographic), largely because of the tall character development that occurs on the prove, and the main romance, which I honestly believe is as astronomical and sage as any romance on any mainstream or nongenre series. To this day, when TV Guide or Entertainment Weekly or other such mainstream publications do lists of the stout TV romances of all time, people who do not know FARSCAPE are surprised and baffled to ogle John and Aeryn accomplish the list.
In a method, it is astonishing that I care for this indicate so distinguished. It contains many of the things I most abominate about Sci-fi series, such as aliens (in fact, the aliens in FARSCAPE are more uncouth than usual because it was produced by the Jim Henson Company as a platform for putting some of its more rude puppet creations before the public see), pulse weapons, shields (“Shields down to 20%”), and what I call “magic science,” where something unbelievable takes state that beggars the laws of physics and some equally fabulous scientific solution is proffered to station things apt. I dislike these things! But I forgave them in FARSCAPE because it got so many other things lawful. Like what? Well, primarily character development. My complaint with all of the STAR WAR franchise series is that on all of them (with some exceptions like 7 of 9 or some of the characters in ST:DS9) there is no character development. I savor Jean-Luc Picard, but he is magnificent cessation to the same character on the final episode as on the first. Disagreement that, say, with BUFFY, where every character has undergone an amazing paddle of transformation (e.g., objective perceive atCordelia Straggle in Season One, then where she was in Season Three, and then where she ended up in Season Three of ANGEL — we’ll unbiased ignore Season Four of the latter) . D’Argo may be a ample alien with tentacles hanging from his head, but he becomes a rich, wonderfully nuanced character. Aeryn Sun — one of the expansive female heroes that TV has produced — stars off as essentially a spot nazi, but ends a complex, caring, passionate (despite herself) human being. Scorpius is one of the gargantuan, most complex villains that television has produced, unique in ways that only a few character in television have ever managed to be. Moreover, the display tells a stout anecdote over the course of its four seasons. The first two seasons it stays halt to a standalone format, even while developing a longer term arc, but Seasons Three and Four build a colossal long yarn arc.
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Season Three. What can you say about it? On the Internet you often glimpse lists of the greatest seasons of shows in TV history. Season Three of FARSCAPE almost always makes such lists. I don’t want to give anything away by explaining why it is so substantial, since powerful of the joy is in the plan the wonderfully fresh place twists, but beginning with the amazing resolution of the colossal cliffhanger ending Season Two through the heartbreaking twists and location shockers from the middle of the season, to the recent cliffhanger that ended the season, it was a season for the ages. I’ve told friend that even if you don’t like the first two seasons of FARSCAPE, it is worth watching unbiased for Season Three. Definitely one of the huge seasons I’ve ever seen.
A lot of people did not give the series a shot because they were repulsed by the consume of two animatronic puppets in the exhibit. I can understand this feeling, but it is not supported by an loyal viewing of the demonstrate. I never came to relish the smaller of the two main Muppets in the display, Rygel. He was actually the more complex of the two Muppets, largely because his face was more expressive. But I personally vastly preferred Pilot, a staggering grand puppet who nonetheless is enormously endearing in a arrangement the microscopic, unhuggable Rygel is not. There are a few other animatronic puppets on the note, but these tow are the main ones. I won’t say everyone who gives the explain will advance to like Rygel, but I do deem that Pilot is different, and I don’t reflect even Rygel will alter how one feels about the point to overall. In other words, if you don’t like this exhibit, the Muppets won’t be a factor.
One other thing that I very remarkable savor about this series is that it, like FIREFLY, features a nonmilitary ship. All other spot operas focus on military vessels or military installations. The Star Treks, BABYLON 5, BATTLESTAR GALACTICA (both the colorful unique version and the stinky obsolete one), the Stargate franchise, SPACE: ABOVE AND BEYOND, and many others, even RED DWARF. Ka D’Argo is passe military and even towards the raze of the series Aeryn Sun comes across like a military officer, but the structure of the crew is that of civilians.
The main ship on the explain, Moya, is one of the most delectable ships ever in Sci-fi. A living ship who is symbiotically bonded with Pilot, she often has a mind of her maintain. She is also as depicted on the point to one of the most gorgeous ships we’ve seen on TV, with the interiors of a elegant organic appearance. The series was perhaps the first to back from advanced CGI. Previous series such as BABYLON 5 had broken-down CGI, but it was indecent resolution with flat surfaces and simply not very impressive. In the second episode of FARSCAPE we stare Moya rise from a lake to skim off into situation, and it was, at that point, without ask the most breathtaking utilize of CGI up to that point. The demonstrate did not have an unlimited budget, but they managed to build the most of the prove they had. Filmed entirely in Australia, it is unquestionably the finest Sci-fi series ever made outside Hollywood or Vancouver. And being dwelling in Australia, they spend a host of Australian actors not seen in many American productions, though they are seen in films and TV series made in Australia and Recent Zealand. The result is a string of unusual actors and filming locations. Sometimes the sorrowful American accents of some of the actors will wear on you, but by and great the whole series has a enormous feel to the cast and guest stars.
If you fancy quality television, you really need to notice this series. If you worship Sci-fi, you need to peer it several times. And if you impartial worship a colossal romance, you can’t do better than this. And luckily you can now hold this huge series without having to recall out a mortgage on your house or condo.
“My name is John Crichton, an astronaut… a radiation wave hit and I got shot through a wormhole… now I’m lost in some distant fragment of the universe on a ship — a LIVING ship, pudgy of exclusive alien life forms…”
From the very first episode onward, it’s sparkling sure that “Farscape: The Complete Series” is no ordinary sci-fi series — the characters are outlaws, the ship is alive, and distant galaxies are burly of Muppets. Fortunately, it’s not objective fresh but radiant — rotund of irreverent humor, queer alien species, heart-pounding action and eerie sci-fi.
Astronaut John Crichton is planning to slingshot his experimental craft, Farscape One, as a one-small-step into interstellar exploration. Instead, he gets thrown through a wormhole, and ends up drifting in a firefight between a mammoth living prison ship called Moya and the hypermilitaristic Peacekeepers. Obviously, he wants to go home, but isn’t determined how.
So he begins a creep with a gang of escaped criminals — the priestess Zhaan, the bombastic warrior D’Argo, deposed dominar Rygel, and the prickly, surly ex-Peacekeeper Aeryn Sun. They come by a few unusual members of their crew (including Moya’s weaponized baby and the seductive, rebellious Chiana), but also lose some valued friends and allies along the method.
As the series unfolds, the Moya crew encounter countless alien planets, where they deal with bizarre problems, individuals (angry scientists, vengeful Peacekeepers, and Ancients), and alien life-forms (shapeshifting situation bugs!) . And they must constantly dodge the Peacekeeper Forces, and later the cruel Scarrans — including the Sebacean/Scarran Scorpius. The Scarrans want the wormhole secrets locked inside Crichton’s head, and passe beings are even more sure to sustain his knowledge secret….
“Farscape: The Complete Series” smashes apart the station opera mold, and puts it abet together in its hold style — flying Muppets, an alien pilot grafted into Moya, squeaking insectile robots, Leviathans, and blue-skinned telepathic plant people. Yeah, it DOES sound cheesy — but instead the Farscapeverse objective ends up feeling shimmering, diverse and sometimes horrifically unlit. And fortunately, its promise is fulfilled by intelligent writing.
The series has lots of overarcing storylines twined with clever, intricate one-off episodes and solid personal subplots (mostly enchanting romance and revenge — though thankfully it rarely gets soapy) . And the dialogue is beyond awesome — it’s crammed with speedily dialogue, pop culture references (“How Batman was that!”), and alien slang words (“frelling” and “mivonks” among others) . Every episode has loads of clever, irreverent and wonderfully quotable lines (“I’m not quick enough, I am not alien enough, and you know what, there are people in the universe who don’t like me!”) .
And the cast is simply smart, especially since their characters evolve gradually through the series, revealing tragedies and hopes in the process. Ben Browder is expansive as the “alien” one, a seemingly ditzy astronaut with plenty of brains and sweet kookiness; Claudia Black’s Aeryn makes a immense appreciate interest for him, as a hardnosed, disdainful ubersoldier who changes into a strong, passionate woman. Virginia Hey, Gigi Edgley, and Anthony Simcoe all give stellar performances as well — and while Rygel and Pilot are technically played by Muppets, they are gloriously three-dimensional and expressive.
One thing to note: “Farscape: The Complete Series” ends on a massive cliffhanger because the Sci Fi Channel unexpectedly cancelled it, and “The Peacekeeper Wars” (the conclusive ending) apparently won’t be included, since the rights belong to two different companies.
Thankfully, it has bucketloads of extras — twenty-nine commentaries with actors, directors, Brian Henson; TV promos, slideshows, archival photos and clips; assorted conceptual scripts and art; deleted scenes; archival clips; and chitchats with the cast, crew, and fans. Also a whole bunch of featurettes and documentaries including “In The Beginning,” “Making of a State Opera” and “Inside Farscape: Keep Farscape.” Whew!
“Farscape: The Complete Series” is a cult sci-fi series that deserves to be watched again and again, especially with the current extras. Too abominable the final miniseries isn’t here.
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