Audyssey has been working on sound technology for home theaters for years now, but it's stayed mostly clear of portable gadgets. That's changing with today's announcement of a new technology for beefing up the sound capabilities of small devices....
This year is seeing some of the greatest movies ever made hit Blu-ray. First Criterion announced that it will be releasing Akira Kurosawa's Seven Samurai on Blu-ray Disc this fall, and now Lionsgate has announced that Francis Ford Coppola's...
Price: $3,499 At A Glance: Less powerful version of AVR600 • Omits network/IP functionality and some legacy inputs • HDMI 1.3 connectivity excludes 3D
Paring Down to Essentials
In this economically tough climate, we all have to trim expenses to the essentials. Just this week, I instructed my manservant to take my suits to the dry cleaner only if they’ve been worn for more than three hours. My nightly meals at five-star restaurants will be cut back to six nights a week at 4.5-star restaurants. During the summer, I’ll raise the thermostat in my 25-room summer house from 70 to 71 degrees (unless I’m actually there). The pilot of my personal jet will have to cut back the monthly Caspian Sea caviar run to every other month. And no more caviar for the pool boy.
Price: $2,700 At A Glance: Numerous networked music options including Rhapsody • Anchor Bay VRS video processing • HDMI 1.3 connectivity excludes 3D
Features, Performance, or Both?
In Akira Kurosawa’s classic film Rashomon, a violent crime is followed by several markedly variable versions of the same story as told from the viewpoints of four different characters: the criminal, two victims, and finally a relatively neutral observer. In the same manner, readers may finish this review with wildly divergent ideas of what’s important and whether the Yamaha RX-Z7 is right for them.
Four estranged buddies embark on a road trip across the country in a last ditch effort to reclaim their friendship. Star Wars fans since childhood, their goal is to break into George Lucas' Skywalker Ranch in an attempt to see a rough cut of Star Wars: Episode 1 - The Phantom Menace before its worldwide theatrical release in 1999.
My name is David Vaughn and I have been a Star Wars fanboy since 1977. Yes, I stood in line for more hours than I would like to admit to see The Empire Strikes Back and Return of the Jedi when I was an adolescent. Furthermore, I did the same in 1999 at the ripe young age of 30 in order to be one of the first to see The Phantom Menace.
Neal Caffrey (Matt Bomer) is a charming criminal mastermind who is finally caught by his nemesis, FBI Agent Peter Burke (Tim DeKay) and in lieu of being sent back to prison, the two form a unique partnership. Caffrey lends his criminal expertise to the FBI in exchange for limited freedom to help the Feds capture other elusive criminals.
I don't have much time to watch TV and I find watching the shows on Blu-ray is much more convenient to my schedule. The buddy-cop angle is far from new and I was a bit apprehensive when I popped the first disc in my player, but surprisingly I've enjoyed every one of the 14 season one episodes. The tandem of Bomer and DeKay has great chemistry and the supporting cast that includes Tiffany Thiessen and Willie Garson is very strong.
Flint Lockwood has been obsessed with science and inventing since grade school. He lives on an isolated island that has long since lost its vitality when the sardine trade, its major industry, went under. But Flint has a plan that could change all that, with the Flint Lockwood Diatonic Super Mutating Dynamic Food Replicator, or, as Flint puts it, FLD SM DFR (flid sim difur) for short. It turns water into food.
The invention accidentally rockets into the stratosphere, where it remains fixed over the island, soaking up the plentiful water from passing clouds. Soon hamburgers begin to fall from the sky, complete with all-beef patties, special sauce, lettuce, cheese, pickles and onions on a sesame-seed bun. And that’s just the beginning. At first it’s manna—or at least Big Macs—from heaven, but things quickly spiral out of hand. The town’s ambitious mayor starts living large in more ways than one and turns the town into an all-you-can-eat cruise ship buffet.
Earth is threatened. Galaxar, a four-eyed, tentacled, interstellar bad guy, is headed our way in search of his lost Quantonium, which it seems is even more valuable than Unobtainium. To make things worse, the Quantonium has landed on earth, struck a bride-to-be named Susan, and turned her into the proverbial 50-foot woman, much to the horror of her groom and wedding guests. She is thrown into an Area 51–like prison, where other monsters have been squirreled away from the public for decades. Out of options, the U.S. president recruits the monsters as Earth’s best hope for survival.
If all of this seems to be straight out of the usual Bruckheimer-Bay-Emmerich mold, it isn’t. Instead, it’s one of the funniest computer-animated films of recent years. Galaxar is a hoot. “People of Earth, I mean you no harm,” he proclaims. “But you’ll all be either dead or enslaved in 24 hours. Don’t be angry; it’s just business.” Susan discovers that she can do better than her egotistical fiancé, and the other monsters prove to be both endearing and fascinating.
Coraline Jones is a lonely little girl. She has just moved into a creepy old house, has no real friends, and her parents are so preoccupied with their work on a gardening catalog that they have no time for her. But she soon discovers a small, papered-over doorway in the living room. It leads to another universe—similar to her own but different in important ways. Her “other” parents in that universe are devoted to satisfying her every whim. Her only new friend there doesn’t talk much (actually, not at all), the neighbors who share the old, subdivided house are fascinating rather than merely eccentric, and everything is colorful and fun.
All is not what it seems. Coraline is, at its core, a bloodless horror story. Much like the recent computer-animated film 9 (the first post-apocalyptic sock-puppet movie, and another dynamite audio/video transfer), it gets under your skin in ways that animated fare rarely does and could seriously frighten young children. It also uses stop-motion animation as refined by stop-motion expert Henry Selick (The Nightmare Before Christmas, Monkeybone, James and the Giant Peach).
As the third installment of the Ice Age franchise, you’d expect the latest adventures of our odd herd of prehistoric mammal friends—Sid the sloth, Manny and Ellie the wooly mammoths, Diego the saber-toothed tiger, Crash and Eddie the possums, and (off on his own as usual) everyone’s favorite latter-day Coyote, Scrat, the squirrel-rat. Scrat’s role has grown with each entry in the series, and here he gets a love (or rather love-hate) interest in Scrattle, a challenge to his acorn obsession.
The main attraction, and what makes this film the best of the three Ice Age movies, is clear from the title. It’s hard to make a bad movie featuring dinosaurs (although the recent remake of Land of the Lost took its best shot). Dinosaurs disappeared long before wooly mammoths walked the glaciers, but as they appear here in a sort of lost-world environment, we can forgive this bit of creative license.