by Dustin P. Anderson

Charlie Brown and his gang of friends are at it again; this time the crew must go to France for a foreign exchange program. Before his journey begins, Charlie Brown receives a strange letter from France telling him to come and stay at a Chateau. Little does Charlie Brown know, he is going to an infamous Chateau in this small French community, which is notorious for not allowing visitors. Charlie Brown and Linus sleep outside in a stable with no sign of anyone actually living at this place, but they are still provided food each morning by some unknown entity. It is up to Charlie Brown to find out who this person is, and why he has been forced into sleeping under such conditions.

by Dustin P. Anderson

Our series follows Mikey and his friends as they thrown into the digital world while trying to save a strange creature from certain death. This creature is a Digimon that leads him to encountering a strange, intangible voice which gives him the choice of saving the hurt Digimon or walking away. Mikey chooses to save him and in turn receives something known as a Fusion Loader, and is transported into the digital world. Once there, it is revealed to Mikey that the hurt Digimon is seeking to become the ruler of the Digiverse so he can protect all of his fellow Digimon from the evil overlord, Lord Bagra, conquering lands one by one. Facing insurmountable odds, it is revealed that Mikey has one thing the evil conqueror doesn’t: his Fusion Loader. This Fusion Loader is capable of fusing together all types of Digimon to create one new, more powerful being. With the Fusion Loader in hand, and his friends by his side, Mikey sets off to right the wrongs caused by the overlord.

Yet another film from the Sundance Film Festival has been distributed to Upcomingdiscs headquarters. Noaz Deshe’s White Shadow was nominated for the World Cinema Grand Jury Prize in the “Dramatic” category, and while it didn’t win, it is very easy to see why this film is a strong contender. The film is beautifully shot and edited, paying a lot of attention to lighting and color. White Shadow tells the story of Alias, a young albino boy living in Tanzania, who must flee his home after the murder of his father. There is a danger to all albinos in the area as a local witch doctor harvests their organs for his various potions. His mother sends him to live with her brother in the city, but Alias soon learns trouble follows him everywhere he goes.

Noaz Deshe really created a name for himself as an auteur with this film. He is credited as director, writer, cinematographer, editor, and composer. While he did work with a team of people, the quality of the film produced by a man taking on that much responsibility is commendable. Deshe is truly a passionate artist when it comes to filmmaking. That being said, the story does drag a little bit, but overall the film is such a treat for the eyes that a slow story can be overlooked.

Dennis Hopper was probably a friend of James Dean, since he appeared in two of Dean's three films, Giant and Rebel Without a Cause. It's hard to tell about Hopper, because he went through so many changes over the years. In the fifties and early sixties, he was clean-cut and quiet. After Dean's death he started to acquire a rebellious streak, famously confronting director Henry Hathaway on the interpretation of a scene requiring 80 takes. It nearly destroyed Hopper's career early on, but John Wayne got Hopper on two other Hathaway westerns, and fences were mended in the Old West. Around the time one of those westerns (True Grit) came out, another film came out starring Hopper. It was Easy Rider, which Hopper also directed and co-wrote. Easy Rider basically changed all the rules in Hollywood due to its enormous success. It is in the wake of Easy Rider's success that The American Dreamer was made.

Hopper was an accomplished photographer in the sixties, having been published in Vogue and other magazines as well as doing extensive portrait work of people like Martin Luther King, Jane Fonda, Tina Turner, and Andy Warhol. Hopper was also an accomplished painter and a very successful art collector. All of this figures into the portrait of the man that comes out in The American Dreamer. Hopper was clearly being pulled in many directions by his impulses, including increasing abuse of drugs and alcohol. He was nothing if not multidimensional and was probably frequently lost in one of those other dimensions.