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Next year, YouTube plans to add 30-second bumper ads to the beginning of video clips. I visit the site infrequently to watch the latest, "you gotta see this" video, or to find trailers of older films. You think I'm going to sit through 30 seconds of crap advertising to watch some idiots launch their friend with a giant slingshot? Think again.

No word on whether the ads will be on every video, or whether ads will vary in length. No matter how you cut it, this is bad news for YouTube users, and will surely mark the end of YouTube's reign as top video-sharing site. What'll be next?

If you told me about a film by the screenwriter of Forrest Gump, The Insider and Munich, and the director who brought us L.A. Confidential, I'd say bring it on. If you went on that it was set in the high stakes world of professional poker, I'd be excited. But then you'd say it's a romance starring Eric Bana (Troy) and Drew Barrymore (Never Been Kissed). I'd begin to doubt. Then I'd think back to The Insider, and tell myself a great script is the only way to make a great film.

Then I'd watch Lucky You and realize even a great screenwriter can turn out a clunker. But maybe there'd be hope for the DVD?

2004 brought moviegoers two big-budget historical epics in Oliver Stone's Alexander and Wolfgang Petersen's Troy. One bombed. The other performed well, but was by no means heralded as a critical success. No, Troy was praised for slick production values and exciting battles, but derided for a lack of emotional depth.

Can it all be blamed on running-time constraints and compromises made for the ratings board? The answer is here, with the unrated Troy: Director's Cut, Petersen's second shot at eternal glory, this time with more than 30 minutes of additional footage.

(Since I was lucky enough to review the standard def copy of The Wedding Date, I'm going to be lazy and let you view my thoughts on this, with the audio and video updated to reflect this HD DVD copy).

I would hope that The Wedding Date, signals the end of the genre of films set around weddings. There’s nothing left to mine, the horse is very dead, and in this case, the film is rather predictable. Or to put in another way, my wife said “this film will probably be stupid, but I’ll like it”. And when I was watching parts of the film, the story was so easy to follow that I could go and make a batch of chili, come back, and still know what happened while I was away.

(Comments on the supplemental part of the disc are pulled from Gary Van Auken’s review of the Blu-ray version of the disc, which can be foundhere.

Synopsis

It’s hard for me to believe that Darkman comes from a time when Sam Raimi was fresh off directing Evil Dead 2 and Liam Neeson was a little known Irish actor. A lot has changed since then, but a true classic can stand the test of time, and although I was very young when I first saw this movie, I remember it being very unique. Of course my perspective on films has blossomed since the time I was watching Rugrats, and it has literally been that long since I’ve seen Darkman. Nonetheless I’m pleased to finally get the chance to watch this Liam Neeson classic, and in HD to boot.

Darkman was hardly what I remembered it, but not in a bad way. I can understand it better now, and see there is more depth to it than I remember. It tells the story of scientist Peyton Westlake (Liam Neeson, Star Wars Episode I : The Phantom Menace) who is developing a synthetic skin that would allow burn victims to appear normal. That’s pretty handy considering Mr. Westlake is about to be hideously disfigured, but I’ll overlook that. Anyways, there is a flaw with the skin; it only lasts for slightly over 90 minutes before it disintegrates in the sun. In the dark it will stay intact. This all comes into play later, but in the meantime Westlake’s girlfriend and attorney Julie Hastings (Frances McDormand, Fargo) has found evidence incriminating a local developer and a mobster. This leads to Westlakes lab being blown up, with him in it. The Darkman is now born, the disfigured Westlake undergoes surgery that severs his nerves and his ability to feel anything, along with an overactive adrenal gland, and you got a pretty pissed off halfway superhero. He escapes from the hospital and hopes to rebuild his relationship with Hastings, and get his vigilante justice on those responsible for making him the way he is.

Scott Adams, author of Dilbert, made an interesting observation about R vs. G rated movies in a recent post:

"A study done in 2005 showed that G-rated movies are 11 times more profitable than R-rated movies, yet the industry cranks out 12-times more R-rated movies." [from Scott Adams]

Found via digg, another funny feature on Cracked: the 10 Best Animated Films for (Traumatizing) Kids.

Number One: Pom Poko, distributed by Walt Disney.

It’s clear watching Fantastic Four: Rise of the Silver Surfer that Tim Story and company spent lots of time on the Silver Surfer and little gags for the Four’s powers, and not so much time on the actual story.

The result is a shiny hunk of refuse. There are holes all over the place, and once again the filmmakers have failed to present characters and conflicts the audience will actually care about. The world’s going to end? Big deal. On the bright side, while the film sucks, this 2-Disc Power Cosmic Edition DVD set is pretty fantastic.

An interesting bit of news I stumbled across: a new Braveheart release on DVD. Uninspiring audio, but a new features list - I don't think, from a cursory scan of Amazon, that all of these have been seen previously...