Ventriloquist Jeff Dunham’s second live-performance DVD, Spark of Insanity, is much funnier than his first, Arguing With Myself, perhaps because his new puppets allow him to cover more controversial territory beyond skits about family beefs and office humor. Though some puppets reappear, like the beloved Peanut, a purple monkey who loves wordplay, new characters emerge as the stars of this hour-long stand-up show. A tense laughter ripples through the audience, for example, when Dunham announces his wish to talk with a terrorist as he brings out Achmed the Dead Terrorist, a turban-sporting skeleton who’s refrain is “I will kill you!” Previous show star, Jose Jalapeño, a Mexican chili pepper on a stick, returns for a discussion about whether the puppet has a green card. If his racial jokes rode a line slightly too Caucasian to clarify his point of view before, Dunham has achieved real satire in Spark of Insanity, showing his audience how ridiculous it is to create stereotypes of any sort. Additionally, Dunham mocks his own culture with Walter, a grumpy old white man whose parental chiding rings true for many. Moreover, Dunham impresses with his ventriloquism skills, and shows off some new vocalization techniques that will stun anyone interested in this fascinating art.

Neil Patrick Harris (How I Met Your Mother) stars as Billy, A.K.A. Dr. Horrible, a budding super-villain whose plans for world domination continually go awry. His two goals: getting accepted into the Evil League of Evil, and working up the guts to speak to his laundromat crush Penny, played by Felicia Day (The Guild). The only thing standing in his way is Captain Hammer, Billy’s superhero arch-nemesis played by Nathan Fillion (Firefly). With one big score, Billy could get into the E.L.E. and earn the respect of Penny, but only if he can keep her away from the dashing Captain Hammer…

This is an amazing piece of work, and was one of the first “created for the web” creations to really succeed, both artistically and virally. Neil Patrick and the whole cast are perfect, and the entire production is highly original in content, format, and artistry. The songs are great (you’ll be singing them for days, if not weeks) and bottom line, it’s just really, really good, and worth watching or buying or whatever!

Get Dr. Horrible’s Sing-Along Blog DVD now!

Nearly 20 years after riding his last Crusade, Harrison Ford makes a welcome return as archaeologist/relic hunter Indiana Jones in Indiana Jones and the Kingdom of the Crystal Skull, an action-packed fourth installment that’s, in a nutshell, less memorable than the first three but great nostalgia for fans of the series. Producer George Lucas and screenwriter David Koepp (War of the Worlds) set the film during the cold war, as the Soviets–replacing Nazis as Indy’s villains of choice and led by a sword-wielding Cate Blanchett with black bob and sunglasses–are in pursuit of a crystal skull, which has mystical powers related to a city of gold. After escaping from them in a spectacular opening action sequence, Indy is coerced to head to Peru at the behest of a young greaser (Shia LaBeouf) whose friend–and Indy’s colleague–Professor Oxley (John Hurt) has been captured for his knowledge of the skull’s whereabouts. Whatever secrets the skull holds are tertiary; its reveal is the weakest part of the movie, as the CGI effects that inevitably accompany it feel jarring next to the boulder-rolling world of Indy audiences knew and loved. There’s plenty of comedy, delightful stunts–ants play a deadly role here–and the return of Raiders love interest Karen Allen as Marion Ravenwood, once shrill but now softened, giving her ex-love bemused glances and eye-rolls as he huffs his way to save the day. Which brings us to Ford: bullwhip still in hand, he’s a little creakier, a lot grayer, but still twice the action hero of anyone in film today. With all the anticipation and hype leading up to the film’s release, perhaps no reunion is sweeter than that of Ford with the role that fits him as snugly as that fedora hat.

The delirious sight of Meryl Streep leading a river of multigenerational women singing “Dancing Queen” is one of the high points of Mamma Mia! The Movie, the musical built around the songs of the hugely popular pop group ABBA. The plot sets in motion when Sophie (Amanda Seyfried, Mean Girls), daughter of Donna (Streep), sends a letter to three men, inviting them to her wedding–because after reading her mother’s diary, she suspects that one of them is her father. When all three arrive at the Greek island where Donna runs a hotel, Donna flips out and finds that passions she thought she’d laid aside are coming back to life. But let’s face it, the plot is not the point–it’s a ridiculous contrivance that provides an excuse for the characters to sing the massive hits of ABBA. Regrettably, first-time film director Phyllida Lloyd (who directed the original stage production) has drawn over-the-top performances from everyone involved, even Streep; every production number hammers its exuberance into your eyeballs. Which is too bad, because Mamma Mia! is a rarity: A middle-aged love story. The kids start things off, but the story is really about Streep and the three guys (former James Bond Pierce Brosnan, former Mr. Darcy Colin Firth, and Swedish star Stellan Skarsgard), as well as Donna’s best friends (Christine Baranski, best known from the TV show Cybill, and Julie Walters, Calendar Girls). It’s a romantic comedy aimed at the people who were around when all these songs were new, and that’s an age group Hollywood largely ignores. For that alone, Mamma Mia! deserves to find an audience.

Dr. Seuss’s classic 1954 book Horton Hears a Who has entertained generations of children and served as the inspiration for a 26-minute, 1970 television special Dr. Seuss’s Horton Hears A Who! and the 2000 Broadway musical Seussical: The Musical. This 2008, full-length animated movie features the voice talents of Jim Carrey as Horton, Steve Carrell as the Mayor of Whoville, Carol Burnett as the Kangaroo, and Jesse McCartney as JoJo and promises to delight a whole new generation of children and their parents and grandparents. The technological wonders of computer animation have allowed 20th Century Fox Animation to bring to life the wacky, colorful Whoville with its minute inhabitants and the lush Jungle of Nool with its host of distinctive animals and the result is a rich, fantastical world of wonder worthy of Dr. Seuss’ own imagination. All the major plot elements of Dr. Seuss’ book are present, with Horton hearing the faint cry for help from a tiny dust speck atop a small clover and doing his best to protect the inhabitants of that small civilization of Whoville despite the disbelief, disdain, and persecution of his fellow animals. The feel of Dr. Seuss’ original rhyming prose is partially preserved in the sparse narration by Charles Osgood that’s interspersed throughout the film’s dialogue and the overarching themes of staying true to one’s convictions and the celebration of the power of perseverance, imagination, and kindness come through loud and clear. Horton Hears a Who is a fun rendering of a classic Dr. Seuss story that’s sure to entertain viewers of all ages.

After Oceanic Air flight 815 tore apart in mid-air and crashed on a Pacific island, it s survivors were forced to find inner strength they never knew they had in order to survive. But they discovered that the island hold many secrets, including a mysterious smoke monster, polar bears, a strange French woman and another group of island residents known as The Others. The survivors have also found signs of those who came to the island before them, including a 19th century sailing ship called The Black Rock, the remains of an ancient statue, as well as bunkers belonging to the Dharma Initiative a group of scientific researchers who inhabited the island in the recent past.

This seasons twists and turns have renewed my interest and respect for Lost. There were no fillers due to the (mostly planned) reduced episode count and even with the writer’s strike it was a solid season. There were really only 2 hours lost to the writer’s strike anyway, which ABC has stated they will “give back” by giving 1 extra hour to the next 2 seasons. The quality of the show this season more than made up for the reduced episode count.

It was interesting in the final show of the 3rd season to see Jack’s focus change (seen in a flash forward) from getting off the island to getting back on it. This season was spent giving a set up to the reason why without really answering the question but creating enough suspense to make it worth finding out…next season I hope. This season is about who gets off the island (the Oceanic 6, as they’re called) and how, and a bit about what they’re going to do back in the real world. A few other people also get off the island but they aren’t included in “the Oceanic 6″ and you’ll also get a partial reason why by the last episode, as well as finding out who was in the coffin in the final episode of the 3rd season that had Jack so upset (but not why or how.) Jack finally finds out who Claire is to him, but we still don’t know what actually happened to her. Ben’s character becomes more complex, as we start to see how he manages to go from outcast to leader and gets people to do what he wants (such as Locke, Sayid, and even Jack,) even if they are uneasy in their association with him. Clearly some other Oceanic refugees have escaped the island but we don’t know how yet, and it doesn’t seem like the “Oceanic 6″ are necessarily even aware of them.

Another interesting addition this season is the newcomers, the “freighter folk,” who may as well be the new “others.” Some are decent people and some are evil, and one will be familiar face from previous seasons. Speaking of “the others,” who they are, where they came from, and what is their nature became a new set of unanswered questions this season. I wasn’t thrilled with Rosseau’s or her daughter’s storylines, but it seems what happened was done in order to develop Ben’s character.

What is planned for extra features is below, it is subject to change since it wasn’t released yet. If you want to see more info for yourself on planned extras, run a search for TV shows on DVD, you should be able to find the site I got my info from.

Features:

Lost Bloopers
Oceanic Airlines Safety Guide
The Lost Flashbacks
Audio Commentaries
Deleted Scenes
Lost on Location – Go on location with the cast and crew of Lost for a behind-the-scenes look at the making of some of Season Four’s hottest episodes.
Freighter Folk (working title) – Where did the folks on the freighter come from? Get to know them and find out what the show runners looked for in new cast members.
Transforming Hawaii (working title) – From the deserted beach to urban Los Angeles, Hawaii serves as a global backdrop for the excitement and intrigue of Lost. Join the small army of technicians that transforms Hawaii to the Island as they go about their duties.
Gun Tracking (working title) – Lost features a formidable array of firearms Get real life gun profiles and find out what it’s like working with so much firepower.
The Music of Lost (working title) – The Honolulu Symphony performs Michael Giacchino’s award-winning score live for the first time ever. Witness the power of the show’s many musical themes as well as its innovative use of instruments-and learn how music affects the production, from writing to directing.

I recommend this season for anyone who ever enjoyed this show. You won’t feel the writer’s strike when watching the DVDs.

Jeff Dunham and his cast of characters join to make Christmas very special — and hilarious — like only they know how. All new show Very Special Christmas Special also includes bonus material with numerous DVD extras. Share this must-have event with the entire family for Christmas and all year long!

DVD is loaded with additional footage and extras not seen on television including Holiday Tips, Outtakes, Ask Santa-Walter, and Behind The Scenes.

I’ve seen Jeff-fuf 3 times now (his live show, that is) and I never cease to be AMAZED at his talent!! You REALLY believe there’s MORE THAN HIM onstage!! The last show I saw included previews of this upcoming special and we are all in for a TREAT!!! Achh-med singing “Jingle Bombs” is sure to make the Christmas charts this year!

I LOVE guitar guy! (Brian Haner). Not only is he an extremely talented guitar player – he is also extremely FUNNY. He and Jeff play off one another quite well, and obviously enjoy one another alot. They’d have to with the amount of time they spend together on the road.

Peanut, is my all-time FAVORITE character. As he says – “When you go PURPLE, you NEVER go back!”

Whatever DVD you decide to pick up, you will NOT be disappointed. Jeff Dunham is one of the most talented comedians of our time. You will laugh till you cry!

Based on David McCullough’s bestselling biography, the HBO miniseries John Adams is the furthest thing from a starry-eyed look at America’s founding fathers and the brutal path to independence. Adams (Paul Giamatti), second president of the United States, is portrayed as a skilled orator and principled attorney whose preference for justice over anti-English passions earns enemies. But he also gains the esteem of the first national government of the United States, i.e., the Continental Congress, which seeks non-firebrands capable of making a reasoned if powerful case for America’s break from England’s monarchy. The first thing one notices about John Adams’ dramatizations of congress’ proceedings, and the fervent pro-independence violence in the streets of Boston and elsewhere, is that America’s roots don’t look pretty or idealized here. Some horrendous things happen in the name of protest, driving Adams to push the cause of independence in a legitimate effort to get on with a revolutionary war under the command of George Washington. But the process isn’t easy: not every one of the 13 colonies-turned-states is ready to incur the wrath of England, and behind-the-scenes negotiations prove as much a part of 18th century congressional sessions as they do today.

Besides this peek into a less-romanticized version of the past, John Adams is also a story of the man himself. Adams’ frustration at being forgotten or overlooked at critical junctures of America’s early development–sent abroad for years instead of helping to draft the U.S. constitution–is detailed. So is his dismay that the truth of what actually transpired leading to the signing of the Declaration of Independence has been slowly forgotten and replaced by a rosier myth. But above all, John Adams is the story of two key ties: Adams’ 54-year marriage to Abigail Adams (Laura Linney), every bit her husband’s intellectual equal and anchor, and his difficult, almost symbiotic relationship with Thomas Jefferson (Stephen Dillane) over decades. Giamatti, of course, has to carry much of the drama, and if he doesn’t always seem quite believable in the series’ first half, he becomes increasingly excellent at the point where an aging Adams becomes bitter over his place in history. Linney is marvelous, as is Dillane, Sarah Polley as daughter Nabby, Danny Huston as cousin Samuel Adams, and above all Tom Wilkinson as a complex but indispensable Ben Franklin.

The lobby cards were first utilized in the year 1910 and they were used as display items in the lobbies of the theaters. For the 1st a decade, the lobby cards came in black and white. However , after a decade with advancements in film technology, lobby cards were printed in color. These lobby cards went thru transformations along with the changing theater aesthetics and lobbies. It even disappeared from theaters which used other ways of promoting the films. By the year 1985, the multiplex culture hit America and lobby cards were nowhere to be found thereafter. Nonetheless these cards are still produced for distribution overseas.

These lobby cards were pretty small in comparison to some of the other equipment and tools utilized for promoting a film. These cards often were measured in inches. There was no single card produced for a film. These lobby cards were produced in groups and it used to depict the plots of the film. These cards would either be released together or over a period of time. Such groups of cards were called sets and there were eight cards in one set. The first set was the title of the movie and the leftover 7 cards were for showing random scenes of the film. Most lobby cards were produced in sets and were pretty fascinating. There are even people who collect these lobby cards as mementos or collectibles. Every nostalgic work of art has some worth in this world and it is absolutely correct in the case of lobby cards.

Though lobby cards were introduced in the 1910s for commercial usage, people started using these lobby cards as collectible items only in the 1940s. As the use of these cards started declining on one end, the number of folk desiring to store them as pieces of art increased on the other side. Though lobby cards are no more produced for more recent films in America, there are a few of the people manufacturing lobby cards of old films exclusively for selling them as collectible items.

The cost of the lobby card varies and it depends on what is depicted on the card and , the size of the card. The title lobby card is usually the most expensive of all the lobby cards and it comes at a price tag which is 20 to 30 p.c higher than the other lobby cards. The other cards ‘ price customarily relies upon the seriousness of the scene being showed in the card. The scenes which aren't popular or which have not got enough recognition usually sell for less. Folks that are not able to buy the pricey lobby cards would sometimes go for these less expensive cards, thus satisfying their want for owning a lobby card without sinking a hole in their pocket.

If you've got access to lobby cards or simply want additional information then stop by and ask Ralp Deluca any questions you could have.

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