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"How do you do? My name is Deems Taylor, and it's my very pleasant duty to welcome you here on behalf of Walt Disney, Leopold Stokowski, and all the other artists and musicians whose combined talents went into the creation of this new form of entertainment, Fantasia. What you're going to see are the designs and pictures and stories that music inspired in the minds and imaginations of a group of artists. In other words, these are not going to be the interpretations of trained musicians, which I think is all to the good."

Just three years after Walt Disney introduced the world to the animated feature in 1937, Uncle Walt was already experimenting with the idea.

"Cal Lightman sees the truth. It's written all over your face. It's also in your voice, your posture, the words you choose. Give him five minutes and 20 questions and he'll know whether you went off to Argentina to cheat on your wife, lied about a well-timed stock sale, or murdered a one-night stand."

I spent quite a few years as a detective. My specialty turned out to be in the interview room. When some of my fellow detectives had a suspect they couldn't break, they often called me in.

"Well when you gettin' "got" and somebody done "got" you and you go "get" them, when you get 'em everybody's gon' get got."

When Tyler Perry started writing his small plays, he probably never had a clue just how far it might all go from there. The plays had a solid audience, but there was always concern that the appeal would be too narrow. That didn't stop Perry from putting together a few relatively low-budget films located in his adopted film hometown of Atlanta. For the most part the studio got pretty much what it expected.

Written by Diane Tillis

Vogue magazine editor Juliette (Patricia Clarkson) travels to Cairo to attend a UN function where she will meet up with her UN-official husband Mark (Tom McCamus). Mark is unavoidably delayed in Gaza, but sends a trusted friend and former UN official Tareq (Alexander Siddig) to keep Juliette company. Tareq and Juliette have known of each other for years, but this is the first time they have met face to face.

Most of the huge names of Broadway are gone. Certainly there are young talents that have created some memorable shows. Perhaps one day they will build up the mountain of classics that we received from the likes of Rodgers, Hammerstein, Bernstein, and others. There are even a couple of writers out there that have amassed that kind of a career. Andrew Lloyd Weber absolutely comes to mind as a fine example. But Stephen Sondheim is the last of a dying breed.

The axiom in Hollywood these days is that more is better. Every year we get inundated with blockbuster films sporting $200 million budgets, groundbreaking f/x, epic journeys and casts of thousands. Enter first-time director J. Blakeson and his intimate and quite claustrophobic thriller, The Disappearance Of Alice Creed. Right from the start we know that we're in for something completely different. There are no opening credits of any kind. There isn't even a title screen.

Most people remember the Bee Gees from their disco days and Saturday Night Fever. They sold a lot of records and achieved more fame than at any time in their careers. But the Brothers Gibb had been performing since the 1950's as children. They would headline automobile races and appear on local radio and television shows. They would quickly gain attention for their harmonies and eventually for their own songs. By 1967 they had begun to gain international attention, appearing on the national rock-and-roll shows. The brothers would become known then for their power ballads and love songs.

As a kid who grew up in the 1960's I remember Cher mostly for her musical career and the music and variety show she shared with then-husband Sonny Bono. When they split, it was a big deal in the time. We didn't quite follow celebrities’, lives near as obsessively as is done today, but these guys were a power couple that had gained fame pretty much as a package deal. When they split Sonny wasn't very successful at maintaing the same level as Cher was able to do.

Tyler Perry burst on the scene in 2005 with Diary of a Mad Black Woman. It was one of the worst-reviewed movies of the year, but when it raked in over $50 million dollars at the box office, Tyler Perry silenced critics and became a force to be reckoned with in Hollywood. Before his movie-making career, Perry was already a huge success in the African-American community, having written several Christian and family-oriented plays upon which many of his movies are based.

Tyler Perry once again dons multiple costumes to incarnate several characters, most prominently Madea, the no-nonsense but mischievous matriarch of a very fractious family. She is ordered by the court to take in a runaway as a foster child, and that project of reclamation joins that of helping out her nieces. They have a mother from hell. One sister is struggling to learn how to love again, while the other is being forced into marriage with the hideously abusive Blair Underwood.