Compare Prices on A Collection of 2006 Academy Award Nominated Short Films
I fancy shorts and have bought a number of short collections. However, it’s always a grab-bag. Usually there will be some shorts that are top-notch, a few that are dull or lousy, and some that are mediocre. But I’m willing to set up with the lousy and mediocre ones in order to be pleased the superior ones. However, this particular collection of 7 shorts that were nominated for the 2006 Academy Awards, plus 6 extra ones, is the absolute best collection that I enjoy. Of the 13, not one was lousy, and only 2 or 3 were in the mediocre category. The two which won, “West Bank Legend” for live action and “The Danish Poet” for captivating, blew me away, but many of the others gave them quite a hurry for their money. Particularly “Helmer and Son” about a son who is called into a nursing home to talk to his father who has locked himself inside his closet, and “The Savior” about a group of church missionaries who are trying to convert the people who live in a neighborhood by going door-to-door, but one of them begins to have an affair with one of the housewives, who is married. And of the bonus shorts, “A Gentleman’s Duel” (about two men who want to end each other over a lady) and “One Rat Short” (agreeable animation of a rat caught in a scientific laboratory) really stand out. Tranquil, my absolute current is “West Bank Tale” which satirizes “West Side Yarn” and tensions between Israelis and Palestinians by comparing it to competing speedily food restaurants.
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This DVD brings together the five short films nominated for the 2006 Live Action Short Film Academy Awards and two of the captivating short films nominated for the 2006 Enchanting Short Film Academy Awards. The films on the disc are:
WEST BANK STORY–this live action mini-musical parodies the illustrious WEST SIDE Account. The film takes status in the Middle East on the West Bank. On the border between Israel and un-nationalized Palestine are two competing quick food restaurants. One the one side of the border is the Kosher King, a hasty food kosher restaurant. Directly across the border next to the Kosher King is the Hummus Hut, a like a flash food restaurant specializing in Middle Eastern cuisine. The sister of the owner of the Humus Hut, Fatima, and an Israeli border guard, David, tumble in cherish with each other. The chronicle is told through silly singing and dancing numbers. This film was the winner of the 2006 Academy Award for Best Live Action Short Film.
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THE SAVIOUR–in this short live action film from Australia, a young apparently Christian missionary sent on a weekly door to door witnessing campaign becomes fervent in an affair with a married woman.
HELMER & SON–Jess is called into the retirement home where his father, Helmer, is staying. Helmer has locked himself into the wardrobe and won’t reach out.
ONE TOO MANY–tired of living with two helpless males, Fernando’s wife leaves him and throws many of his belongings into the street. Fernando awakens his son, Joaquin, and the two disappear to a rest home where Fernando’s mother-in-law lives. They lift the woman up and bring her home, hoping that she will prefer her daughter’s state and cook and shipshape for them.
BINTA & THE Spacious IDEA–Binta is a young girl living in a runt village in Senegal. Binta’s father is a fisherman with ample ideas. He shares a tremendous conception with Binta that he hopes will bring peace and joy to the world. Binta transcribes a letter he dictates and her father starts out on a creep taking the letter from one government official to another. Meanwhile, Binta’s cousin Soda yearns to aid school and receive an education, but her strict father refuses to allow her to go. So, the school children obtain together and acquire a play in an attempt to convince Soda’s father to allow her to succor school.
THE DANISH POET–one of the two featured though-provoking shorts on the DVD. The narrative revolves around a man named Kasper, a Danish poet, and his search to become inspired. The message of the movie is about the interconnectedness of humanity and the importance in living a life elephantine of joy and like instead of despair and sadness. This film won the Oscar for Best Spirited Short 2006.
MAESTRO–the second of the featured inspiring shorts on the DVD. A mechanical arm and a wooden arm work together for their substantial performance.
Besides the featured five live action shorts and two featured bewitching shorts, the DVD also includes six other films.
THE WRAITH OF COBBLE HILL–in this murky and white halt motion clay animation, it’s winter in Cobble Hill Brooklyn. Felix is a high school student living with his mother. His mother is around, but only physically and Felix is left to fend for himself. When the elderly owner of a convenience store asks Felix to see the store and his dog while he is gone for a few days, Felix is given a gigantic opportunity. He starts spreading the spoils of the store with his friends, but neglects the dog. Felix has to near to grips with what he is doing and determine if this is the life he wants to live.
SURVIVING THE RUSH–this is the only live action short of the extra shorts included on the DVD. It follows an assistant manager and his team at a local Cineplex in Michigan through the worst possible night ever.
THE PASSENGER–while reading a scary legend on his contrivance home, a boy sits next to unique fish on the bus that turns into a ferocious beast anytime he hears loud vibrations. The fish terrifies the boy until he realizes he can spend the creature to his advantage.
ONE RAT SHORT–in this computer intelligent short, a brown city rat chases a bag of discarded cheese curls and accidentally lands in a science lab where he meets and is smitten with a blue-eyed white female lab rat. They view to rush from the lab, but even the best prepared plans sometimes go awry. This is an elegantly illustrated record told without any dialogue.
A GENTLEMEN’S DUEL–in this section of computer consuming steam punk, two gentlemen “duel” over the same extremely resplendent and voluptuous young woman.
GUIDE DOG–in this more traditionally-animated film, an energetic and enthusiastic dog applies to be a guide dog. As the dog finds out, being a guide dog isn’t as easy as it seems.
As far as short collections go, this DVD is one of the better that I’ve seen. Usually collections such as these possess a few really capable films and several stinkers. There really aren’t any dreadful films on the DVD. The only film I didn’t be pleased very distinguished was THE WRAITH OF COBBLE HILL. I really liked all the other films. My favorites were WEST BANK Myth, BINTA & THE Spacious Belief, THE DANISH POET, THE PASSENGER, and A GENTLEMEN’S DUEL.
Overall, a very nice collection and highly recommended for anyone who enjoys watching short films.
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Compare Prices on 12 Monkeys
When I saw “12 Monkeys” in the theaters, I belief to myself, “This is one of the greatest films of the past ten years.” Despite working with a script written by others and under some stringent studio restrictions, Terry Gilliam more than managed to infuse the record with his trademark reach to movie-making.
I had some reservations going in about the choice of Brad Pitt to play the role of a mentally unbalanced eco-terroist, but Pitt did a satisfactory job and really made the character his enjoy. (Viewers who like Pitt in “12 Monkeys” would probably do well to check out his performance in “Fight Club”. Tyler Durden is what Jeffery Goins could be if he were less manic.) Bruce Willis and Madeline Stowe also turn in terrific performances, especially Willis for whom this was one of his first non-action films. Fans of the traditional “Batman” TV indicate will be amused to observe Frank Gorshin (the Riddler) as the chief psychiatrist at the mental institution were noteworthy of the early section of the film takes site. Christopher Plummer is not given noteworthy camouflage time, but he does an first-rate job with what tiny he has.
As for the sage itself, even though many people try to claim that it is about the line between sanity and madness(in the vein of Gilliam’s “The Fisher King”), I honest do not contemplate it as such. I never doubted Cole’s sanity, the future world was too true to fabricate me assume that it was a figment of Cole’s imagination. And if one did have that impression at first, there was too grand revealed early in the film to retain that understanding. I assume to thought the record as an extremely intricate “whodunit”, where the viewer actually receives most of the information relevant to the conclusion by about half-way through the film, but in such a jumbled and contradictory manner that the legal outcome remains obscure until the last 15 minutes. But of course, this being a Gilliam recount, even after the conclusion is revealed, a final twist is thrown to the viewer. (Note: to enjoy the twist, pay attention to the future scientists. I’ve known some people who didn’t peek closely and they didn’t understand the twist as a result.)
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Setting aside the film, and considering the DVD, Universal did an obliging job with this release. The documentary “The Hamster Factor” offers some vast insights into both “12 Monkeys” and the movie industry in general. And the commentary track with Gilliam and the producer is very ample for thought the process of movie-making, as well as how specific scenes were situation up. My only disappointment came with the “Production Notes” feature. If you scrutinize the documentary and listen to the commentary track, the production notes really impartial relate what you’ve previously learned.
Good Science Fiction (weather a book, a movie, tv, whatever) has the power to originate us contemplate at ourselves as a society. The events in this movie metaphorically mimic events in our everyday lives. Even though we have not yet discovered time recede, all of the other events in this movie could happen, which is absolutely ugly. This is a murky movie, not for everyone, which has a deep high-minded script and situation (it may retract a few watchings to fully understand this one.) The cinematography, directing, and acting are incredible. Bruce Willis proves that he can do other movies besides his normal action type. He also proved it later in The 6th Sense, but I reflect this is one of his best performences. As for Brad Pitt, it is his best performance. It’s so steady that by the slay, you’ll reflect he’s crazy.
Another critical thing to brand is to prefer the DVD, but not the DTS one. The non-DTS version has an insightful long documentary on the making of the film, the DTS version does not have this. Plus the Dolby Digital sound is advantageous in itself.
Most Highly Reccomended.
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Compare Prices on Holiday
There was a ample controversy earlier this year with “The Cary Grant Box Area” which is a vast collection in its beget just. Many people were upset that it included the first release of “Holiday” which was unique to DVD (unlike the other films in the collection), but no stand alone disc was being offered. Well, satisfactory news. If all you wanted was “Holiday” and you held out, here it comes ten months later.
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Now, I’ve always had a soft site for “Holiday.” It hasn’t achieved quite the classic residence as a couple of other Hepburn and Grant pairings–”The Philadelphia Legend” and “Bringing Up Baby”–but I actually mediate that works to its advantage. I might acquire into inconvenience for this, but I somewhat catch this to the more antic “Bringing Up Baby” (Don’t shoot me, I know it’s a gigantic film too) .
Cary Grant plays a carefree soul that becomes engaged to a millionaire’s outrageous, socialite daughter. He is expected to pick life more seriously and responsibly–but that’s not necessarily in his master belief. Grant, as always, is charming–the quips and physicality that were his trademark are veteran to apt conclude here. Katherine Hepburn, as the girl’s sister, is obviously a better match for him! Hepburn uses her fleet fire delivery and plays brilliant and wry better than anyone else in her era. Of course, Grant and Hepburn have big chemistry and it’s a joy to survey these two masters banter. There’s plenty of slapstick, but fragment of “Holiday”’s charm is that it balances this with precise romance. It’s comical and sweet.
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Any fan of Grant, Hepburn, director George Cukor, classics and/or screwball comedy needs to check this film out. It’ll perform you smile. KGHarris, 10/06.
Katharine Hepburn made three films in a row with Cary Grant when she brought her career support after being branded “Box Office Poison.” The pair had first made “Sylvia Scarlett” together in 1936, the contemptible film where Hepburn’s character pretended to be a boy. In 1938 they made the classic screwball comedy “Bringing Up Baby” with director Howard Hawks and in 1940 Hepburn returned to stardom and Jimmy Stewart won an Oscar for “The Philadelphia Sage.” The latter had been a play specifically written for Hepburn by Philip Barry. In between these two classic films, #97 and #51 respectively on AFI’s Top 100 Film of all-time, Hepburn and Grant did “Holiday,” another film based on a Barry play. Hepburn had been the understudy for Hope Williams in the unique 1928 Broadway production and it was the intention she picked up a glass in her camouflage test of a scene from the play that inspired director George Cukor to cast the young actress in her debut film “A Bill of Divorcement.” Now, five years later, he would negate her in the second movie version.
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The legend begins with us meeting Johnny Case (Grant), an involving young man with some curious ideas about life. At Lake Placid he met Julia Seton (Doris Nolan), fell in cherish, and proposed to her. Coming to Novel York City to meet her family, he arrives at a mansion and is worried to learn that his beloved is one of THE Setons. Julia’s father (Henry Kolker) is not obvious what to deem of his daughter’s intended, but Julia’s rather unconventional sister, Linda (Hepburn) thinks Johnny is astonishing. The pickle is that Johnny’s broad understanding is to form his fortune when he is young and then retire (i.e., go on a “holiday”), returning to work again when he gets older, which is heresy to customary man Seton. He and Julia will try to impart Johnny the error of his ways, while Linda offers her befriend. Helping to balance the odds for Johnny are his friends, Cleave (Edward Everett Horton) and Susan Potter (Jean Dixon), the chief members of his fan club. Linda tries to retain Johnny and Julia together, but it seems she is the only one in the Seton household who appreciates Johnny on his bear terms.
“Holiday” had been filmed in 1930 by Edward H. Griffith with Ann Harding as Linda, Mary Astor as Julia, and Robert Ames as Johnny. Edward Everett Horton played Gash Potter in that version as well, although his wife was played by Hedda Hopper. The screenplay for the 1938 version was done by Donald Ogden Stewart and Sidney Buchman, and it was primarily Stewart who punched up the script version of Barry’s revolt against the stuffed-shirts of the world with shiny and literate dialogue (Stewart had played the Chop Potter role on Broadway) . The result was that the production ended up with some nice ensemble work. Hepburn was under contract to RKO at the time, but bought herself out of her contract to do this film with Cukor at Columbia. Her performance was arguably the most simple and straightforward of any she had done in films up to that point, with all of the pretense and mannerisms stripped away, and the scene where she compares her angular face, with those noted cheekbones, to that of a toy giraffe, is one of the most endearing shots in her film career. Granted, “Holiday” is not going to ruin up on the AFI’s list of Top 100 Films like “Bringing Up Baby” and “The Philadelphia Legend,” but it is tranquil an palatable, solid tiny filme in which the two stars actually derive to do some acrobatics.
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Lowest Price on 2008 Olympics: Beijing 2008 Highlights – The Games of the XXIX Olympiad at Amazon..
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Compare Prices on 2008 Olympics: Beijing 2008 Highlights – The Games of the XXIX Olympiad
I honest recieved this in the mail and had missed considerable of the precise broadcast. I was hoping to regain a capable representation of the games here. Well design no mistake there is some superb footage here. But sadly this whole DVD seems to be about American participation and medal winners. There are a few clips of the Jamaican runners.
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But you’d be forgiven if you never knew that any other team but America mattered or won medals. I’m told that people in other countries acquire to gaze remarkable more balanced coverage than we do. On the basis of this DVD I’d guess that there was no boxing, no weightlifting, no boating events, no rhythmic gymnastics, no marathons, etc.
The loyal highlights program is about 110 minutes. Not nearly enough to give anyone, except folks who need to chant U-S-A, an understanding of the proceedings. Fortunately there are a couple of hours worth of accurate NBC feed, mostly US medalists winning their events. There was also no critcal perspective whatsoever.
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What would be nice would be something that gives us an understanding what the athletes of the world were doing in Beijing in 2008. I miss the days when you could cheer the Kenyan runners or feel the political tension of the Ukrainian gymnasts. Instead we fetch the most isolationist vision of the world I’ve ever witnessed.
If your opinion of a “highlight” is to glance runners crossing the do line with their arms in the air, swimmers hugging after their accelerate or athletes standing on the podium waiting to receive their medals then this DVD is for you. If you are looking for something a itsy-bitsy more huge….like actually seeing the bustle (or event) you will be very disappointed.
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Compare Prices on Chuka
This is one of the better westerns around. The cast is unbelievable. The memoir is very captivating and action packed. I don’t survey how anyone could give it 2 stars. The Indians net and the army loses, maybe that’s why. But in any event the account line is intriging. Rod Taylor is at his finest as a hired gun with ethics and a deep appreciation for the Arapahoe Indians predicament. John Mills, Ernest Borgnine, Luciana Paluzzi, Louis Hayword, James Whitmore et. al. are all fine in this 1967 western. By the method the fight scene between Rod and Ernie is the greatest fist fight ever seen on film. The Indian attack on the fort is spectacular and the spear scene with Rod Taylor will stun your senses. The ending is special, so don’t miss it.
Rod Taylor plays a gunslinger named CHUKA (he was raised by a Chuck Wagon cook…and nicknamed chuka boy by the cowboys) . He is on the perambulate during a winter storm and comes across a group of starving Indians. He shares their fire and gives them what dinky food he has. He leaves and finds refuge at a Cavalry Fort rush by John Mills (an ex-British Officer and his SGT….Ernest Borgnine) . Also at the fort is his long lost fancy and her niece. Chuka tells Mills that the Indians are starving and will attack the fort to derive food. The status thickens with other characters in the fort. Not a tremendous movie but very intriguing and a splendid fine “shoot-em-up”. Worth buying for it’s differences from other westerns.
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Compare Prices on Tenebre – Special Edition
TENEBRE
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(Italy – 1982)
Aspect ratio: 1.85:1
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Theatrical soundtrack: Mono
While fans may be divided over the relative merits (or not) of Dario Argento’s unusual output, there’s no denying the sheer visceral power of his earlier accomplishments. TENEBRE contains some of the most genuinely shocking material in Argento’s entire filmography, and some of the best performances too. Anthony Franciosa is quietly convincing in his role as an American writer in Rome, targeted by an obsessive killer who’s been modelling a series of murders on scenes from the author’s latest book; and the hugely underrated John Saxon provides a memorable turn as Franciosa’s shady literary agent (his final scene is a itsy-bitsy masterpiece of observation, brilliantly edited) .
The rest of the cast is less sure-footed, perhaps because these broken-down European actors – including Daria Nicolodi and Giuliano Gemma – aren’t entirely comfortable performing in English, though the entire cast play second fiddle to the director’s bravura execution of the weird scenario. Argento takes mountainous delight in toying with the audience’s expectations and misdirecting them with clever bits of visual trickery, whilst punctuating the tale with a series of horrific ‘exclamation marks’ (such as Veronica Lario dying in a spectacular welter of gore), culminating in a truly horrible finale. What’s more, he indulges his trademark eccentricities without obscuring the status or the characterisations, and the film takes its status alongside DEEP RED (1975) as one of the enduring giallos of the 20th century. A triumph.
After seeing Dario Argento’s 1982 (it is ‘82, not ‘87) film “Tenebrae,” I have moved into the final phases of seeing his entire body of work. It was easy to claim ignorance of many of this Italian director’s films until a few years ago because it was difficult to accumulate them anywhere, let alone in an uncut beget. Fortunately, DVD arrived on the scene and interested film fans with dollars to exercise inspired numerous companies to initiate churning out any movie they could gain their hands on. It wasn’t too long before practically every Argento film arrived on store shelves, many of them in uncut, unrated formats. Unfortunately, most viewers have likely never heard of Dario Argento. These days more people know about the director’s aesthetic daughter Asia than the panic maestro himself. What a shame. Argento’s films, at least the ones I have seen, are masterpieces of style injected with truly cringe inducing violence. For a few years in the 1980s and 1990s, Argento drifted away from his tried and just giallo formula, only recently returning to some semblance of perform with “The Stendhal Syndrome” and “Sleepless.” “Tenebrae” was Argento’s first “return” to the giallo genre, after he strayed into the supernaturally themed “Suspiria” and “Inferno.”
I happen to consider “Tenebrae” may well be the best Argento film I have seen, even better than his first wave of gialli. It’s the yarn of Peter Neal (Anthony Franciosa), a approved writer of disturbing novels who travels to Italy to promote his latest thriller. Unfortunately for Neal, and more so for several other people, a killer decides to imitate the murders laid out in the author’s most unusual book. It isn’t too long before the local police, in the compose of Detective Germani (Giuliano Gemma), originate the connection between the homicides and Neal’s book. With his assistant Anna (Daria Nicolodi), book agent Bullmer (John Saxon), and a young man named Gianni (Christian Borromeo) standing by his side, the favorite novelist soon joins the investigation into these monstrous crimes. And frightful they are as only Dario Argento can earn them. We gawk throat slashings, stabbings, a hand liberated from a wrist, and other gooey surprises shot in the sort of alarming, outrageous terminate up that is a trademark of this director’s label of cinematic carnage. “Tenebrae” constitutes one of Argento’s most disturbingly violent escapades into the giallo genre. It is, fortunately, one of his most coherent films as well.
Neal continues to promote his book even as he helps the police in the hunt for the killer. He faces a slew of protests about the supposedly misogynistic, ultra violent stammer of his novels from an inflamed female protestor and from a smarmy television critic on one of those face-to-face talk shows. Both of Neal’s critics perish horribly soon after (surprise, surprise), thus throwing some suspicion on the author himself as a prime suspect. Of course, many others could very well be the ones putting on the sunless gloves. The only right clue we fetch from Argento, if you can call it that, is a uncommon flashback of a young woman tormenting a boy with her red-heeled shoes. As creepy carnival style music plays throughout the flashback, we then peruse the focus shift to the killer stepping out from leisurely a hedgerow to stab the woman. What this memory means, and why we glimpse it from the perspective of the killer, soon emerges as “Tenebrae” draws to its ultra frightening conclusion. And the conclusion is terrifying, containing some of the most graphic gore I’ve seen as well as a truly gasp excellent revelation I won’t clarify on here except to say other films (”Nightmares in a Damaged Brain” comes to mind) have feeble it to broad accomplish. “Tenebrae” is a actual treat for the scare fan.
Apparently, “Tenebrae” came about after a crazed fan stalked Dario Argento. Whatever the impetus for making this film, the result is one of the director’s most inviting excursions into the realms of terror. Aside from the graphic gore, we also secure the requisite Argento photographic style. Check out that crane shot of the outside of the apartment building, a shot that runs on forever while building the suspense up to a fever pitch. Then there’s the astronomical hobble scene with the dog, and the execute of the television critic that we notice through the windows of his house. Argento truly achieves a masterful vision of mayhem with “Tenebrae.” The performances, although dubbed in spots, are darn effective too. Franciosa does a vast job playing the blissful go lucky Peter Neal, and it’s always colossal to stare John Saxon in another dread film (even if he does exercise a lot of time messing around with that confounded hat!) . “Tenebrae” also ratchets up the suspense by employing yet another mesmerizing synthesizer win from Goblin. The music heard doing those flashback sequences ranks as one of the eeriest bits of music I’ve ever heard in a apprehension movie. Yes sir, “Tenebrae” worked on nearly every level for this genre fan.
Dario Argento would go on to execute several non-giallo films after “Tenebrae” (”Phenomena” starring a young Jennifer Connolly among them) before heading succor to his roots again. None of his current black-gloved nightmare thrillers, however, can match the pounding intensity of this movie. Extras on the DVD include a commentary track, an alternate waste credits music fragment, and a couple of slack the scenes looks at the film. Less here than on other discs, perhaps, but the movie is so pleasurable you won’t care. I’m starting to gain a runt gloomy since I’m running out of Argento films to notice for the first time. Nonetheless, I now know I can always advance help to “Tenebrae” when I want to observe the best Dario Argento has to offer.
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Compare Prices on Flight of the Conchords: The Complete Second Season
My whole family fell in care for with Brett and Jermaine in Season One. We couldn’t wait for Season Two to commence on HBO and I admit,we were a petite disappointed in a few of the episodes. However, after the season ended, I watched all the episodes several times again on HBO “On Inquire” in April and was paralyzed at how astounding some of the episodes that I understanding I didn’t like were. I ended up LOVING Season Two. My common episode is level-headed Unnatural Like where Jermaine dates the Australian girl…Too Many [...] on the Dance Floor and Carol Brown are large, creative, humorous songs! The Cup and the Tough Bretts are other tremendous episodes. Have fun! You’ll bask in edifying luminous humor with any of the Conchords Seasons DVD’s. I can’t wait to find mine!
I can believe of other righteous comedy duos. I can consider of other musical duos which I really appreciate and effect on my ipod. I can deem of other performance artists who do leading edge work which is visually experimental. I cannot reflect of any other duo, either currently or in the past, who can do all three and do them all well. The only act this even sort of reminds of is Martin & Lewis because Dean Martin could converse and their comedy was ravishing valid for its day. I wouldn’t go so far as to call Martin & Lewis’s work performance art though. Other than Martin & Lewis, I can’t judge of anyone else like these guys at all.
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Why are viewers here debating season 1 versus season 2? This is not remotely like anything else out there and it is so innovative that I can scarcely contain that it survived for a second season. If it had been on anything but HBO I consider it would have been too leading edge and been cancelled after the first season. I’m not comparing the two; I am in grovel mode that there were two seasons!
Ok, here is the premise. There are two musicians from Fresh Zealand who approach to Recent York City (of all places) to smash into the entertainment world as musicians. Their manager works for the Fresh Zealand Commission in Original York City and that job is such a no brainer that he basically can do whatever he wants with his time. The band has exactly one fan, a woman. The only reason she is a fan is that she has the hots for Bret. The guys are bad as can be. They live together in a subsistence lifestyle. And they are complete nerds on top of everything else. At first I liked Bret best because (being a woman), I found him cuter. But Jemaine has grown on me and I’ve gotten past his bad glasses and sideburns (’70s style sideburns) . Their manager I net positively uproarious. Even the fan has her moments. Very often the guys bid their lines in complete deadpan, which makes it even funnier. Oh, and they are more often than not a pains with women. They have dates on the point to and these dates rival anything we saw on SEINFELD or FRASIER (which heretofore covered dating hell rather definitively) .
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The best piece of all is when the guys rupture out into song and movement, usually in an immoral MTV kind of music video style, to comment on the latest bizarre aspect of their lives. Those performances are worth playing again and again.
I do listen to the songs on my ipod and I appreciate their music. I am not alone as their music has been voted on favorably in the NPR yearly music polls. Bob Bollein of NPR’s ALL SONGS CONSIDERED was very taken with their musical numbers without lustrous a thing about their tv point to. So their music is an indispensable component of the exhibit for me.
Funny as Bret and Jemaine are, Rhys Darby as Murray their manager deserves a special mention. He honest slays me and I fancy every puny he is onscreen. I admire his band meetings, especially when he takes attendance and there is NEVER anyone but the three of them in the room.
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