DTS HD 5.1 MA (English)

A short time ago I had the unexpected pleasure of watching and then reviewing Tyler Perry's I Can Do Bad All By Myself. I say unexpected, because I was looking for the typical Madea antics and ended up drawn into a compelling gospel musical that was inspirational and entertaining without ever feeling like I was sitting in mass listening to a long homily. Now I've just had the opportunity to see Stan Foster's The Preacher's Kid. There's no doubt that Foster has been inspired by the Black Theater productions of guys like Perry.

"Most of the world's population has been wiped out by a virus. Civilization, as we know it, has come to an end. For the few survivors, every day is a fight for life. But sinister forces threaten their future."

Right from the opening credits, you can see that a lot has changed since 1975 and the original series. I'm guessing that my watching them back to back allows for even more dramatic notice of the changes. Everything is cleaner here. The production values are light-years away from what they were. Even the disc menus reflect the higher-tech edge of the 21st century production values.

These last couple of years have seen a resurgence of a particular kind of character study. For me I think it started with The Wrestler. For Mickey Rourke, it was a powerful comeback and led to an example of grand theft at that year's Oscar celebration. Now, I wouldn't exactly say that Jeff Bridges was in any particular need of a comeback. He's had some pretty steady work over the years. Still, you just can't watch Crazy Heart and not be reminded of The Wrestler. These characters could not be more different in a lot of ways. But they are also cut from the same cloth.

The first District 13 movie was considered a modern day cult classic. It featured a number of meticulous and daring stunt scenes that were worked without the use of wires or computer generated effects. It was written and produced by Luc Besson famous for Fifth Element & Leon. But would the sequel set in the future 3 years later be able to hold the same interest?

"You're not in Kansas any more. You're on Pandora, ladies and gentlemen. Respect that fact every second of every day. If there is a Hell, you might want to go there for some R&R after a tour on Pandora. Out there beyond that fence, every living thing that crawls, flies, or squats in the mud wants to kill you and eat your eyes for Jujubes..."

I don't really have to tell you what Avatar is. If you haven't heard of it by now, I have only one question to ask of you: How was that coma?

We are in the mid-60s, when, during the glory days of the Stones, the Who, and other colossi of British rock, the BBC allows almost no airplay of said music. To the rescue comes a group of commercial pirate radio stations, broadcasting from ships off the coast. Priggish minister Kenneth Branagh is determined to shut them down, and our focus is on one particular ship, run by Bill Nighy, and boasting such luminaries as Philip Seymour Hoffman and Nick Frost as DJs. Onto this ship of counter-culture rebels comes a young Tom Sturridge, and this wet-behind-the-ears youth becomes the eyes through which we watch the various eccentric goings-on.

Flight Of The Intruder is one of those films that appears and disappears off of the film world radar about as quickly as a stealth bomber. It has had its share of accolades but often passes swiftly into that entertainment night of obscurity. While it is at its core a Vietnam War film, the movie never really appears to be about the war at all. It attempts to capture some of the sartorial wit of Catch 22 while still trying to pass itself off as a serious enough movie. Make no mistake. This film leaves no war cliché unused, particularly in the stilted, sometimes gung-ho dialog of its characters.

Remakes are a fact of life. It might seem now more than ever that we are plagued with this reality, but it's been true for a very long time. It's not so new, as you might expect. Even the lauded Cecil B. Demille The Ten Commandments was a remake of his own silent 1923 film. They've existed almost as long as the movies themselves and will continue to exist for the foreseeable future. So, the question should be: Why should a particular film be remade? Often technology catches up with the content in a film. The ability to create on the screen something that was simply impossible originally is a legitimate reason to tackle an older film. Sometimes the movie is so powerful that it bears retelling for a new generation.

Holy crap, this movie made a boat load of money for Fox when it came out around Christmas 2006, making $250 million and running second only to the Pirates of the Caribbean sequel for box office money. And to see Ben Stiller finally appear in a film that could be considered a blockbuster success was nice too. And in Night at the Museum, he gets to play Larry, night security guard in the New York Museum of Natural History.

Ice Age – The Meltdown is a  funny, well-animated sequel that offers up a new adventure for the memorable characters from the original Ice Age film. As a great bonus, it’s nicely balanced for audiences young and old.

20th Century Fox Animation is still a poor second cousin to Disney’s Pixar Animation Studios, but for sheer entertainment value, Ice Age – The Meltdown doesn’t get knocked completely out of the water by top-shelf blockbusters like The Incredibles. Sure, the animation is weaker, and story is less inspired, but the voice work is excellent, with the talent of Ray Romano, John Leguizamo, Queen Latifah, Denis Leary, Jay Leno, and the list goes on.