Comprising a cascade of clips (61 movies are plundered) that’s alleged to illustrate different sorts of suspense-creation, this compilation seems more interested in the yield a return-offs (when the axe descends, the head explodes). With Allen and Pleasence as hosts, you can be dependable nothing very original is thriving to go for said; and the organisation of the extracts is not in the least first of all suggestive. But it’s undeniable that these Jack Horner movies - stick in your thumb, come up to short a plum - do collar the attention, no matter how urbane the presentation.

Laura Clifford 

Robin Clifford 

Existential detectives Bernard (Dustin Hoffman) and Vivian
(Lily Tomlin) Jaffe are ration Albert Markovski (Jason Schwartzman, "Rushmore")
conceive of the connectedness in life's haphazard coincidences but he is swayed
by the beliefs of their nemesis, Caterine Vauban (Isabelle Huppert, "The Piano
Teacher"), when the Jaffes also help Albert's be a match for, retail executive Brad
Stand (Jude Law) and his girlfriend Dawn Campbell (Naomi Watts), the spokeswoman
who persuades consumers to think "I Essence Huckabees."
Laura:

Cowriter (with Jeff Baena)/director David O. Russell ("Three Kings") appears
to be looking pro item into the quirky auteur circle of Paul Thomas Anderson,
Charlie Kaufman and Spike Jonze, but flights of existential hunger for are not
his powerful trousers and "I Heart Huckabees" is an airy comedy stuffed with entertaining
performers saying little in rat-a-tat-tat rushes of dialogue.

For some unexplained reason, Albert finds three retreating-ins with the same tall
Sudanese refugee a reason to ponder the meaning of life.  The added coincidence
of judgement Vivian and Bernard Jaffe's duty humorist in a borrowed dinner
jacket sends him to their door (after wondering through mazelike plain ashen
corridors freedom out of "Punch-Drunk Love").  Lily informs him that she
thinks fitting be observing him from one end to the other his day and Bernard uses a blanket to demonstrate
how the whole shooting match is the same.
Albert is an Green who believes that his amoral poetry ("You rock,
rock") is the at work to move the masses, whereas ambitious exec Brad sees noble
PR for Huckabees, a department store chain that marries Target with Howard
Johnson's color schemes which plans to build in the marshland Markovski is
unwavering to save.  Albert's escalating trauma mould the Jaffes pair
him up prematurely with his 'other,' firefighter Tommy Corn (Mark Wahlberg),
but Tommy's already questioning the Jaffes beliefs and Brad's usurpation of
Albert's coalition drives him into the arms of the Jaffes' fallen angel Vauban. 
Vauban has a more nihilistic view of life, believing that nothing is connected
and that it does not matter what you do.
In the goal, Russell brings his dueling philosophies together, determining
that life is just one charitable gray area - everyone is searching for something
and whatever fit suits rhyme at the time is as meaningful as its opposite. 
Yet, ignoring this muddled go at some kind of existential relevance, "I
Heart Huckabees" works on an absurdist comedy level, albeit in fits and starts,
due to its unusually impure ensemble.  Mark Wahlberg is astral as a
man struggling with his kind's creditability to the planet, fit to lecture
on the misuse of petroleum with the tiniest provocation.  The Wahlberg/Schwartzman
pairing is brilliant and the two actors highlight off each other marvellously,
uniquely employing Vauban's 'above reproach being ball thing' expertise in which
the two knock each other virtually daft with a big red ball. Another high
moment finds the duo laying waste to a family tree dinner when they are invited
to the Hootens' supper table by their adopted Sudanese lost boy.  Talia
Shire, Schwartzman's real shelter, appears as the pamper who may have scarred
him as a replacement for life by giving priority to an inane venereal constraint over the expiry
of her son's cat.
Jude Law is pure American hucksterism, giving a skin performance until
he's faced with the shallowness at his core.  It's a screwball piece
of acting unevenly matched with Naomi Watts' buoyant take on the film's most
moot role, that of a model whose spiritual search is satisfied by donning
an Amish bonnet.

Tomlin melds her prior sleuthing experience in "The Late Show" with her
own "Search to go to Intelligent Signs of Life in the Universe" to continue the more
grounded Jaffe wife while Dustin Hoffman lets go of all of his usual actorly
tics to gleefully float as the Magritte-loving optimist in a brackish and sprinkle
Ramones do.  Huppert is fabulously cast as their dour counterpart, but her
literal indulge oneself in in the gunge with Schwartzman falls curry favour with than a mudpie.
B-

Robin:

Download Harry Potter and the Half-Blood Prince Movie dvd

David O. Russell begin filmmaking life with his off-beat incest comedy, “Spanking
the Monkey,” then went on to his journey of search and discovery of one’s
roots in “Flirting with Disaster.” He shunned his independent feature roots
when he took on the Hollywood big budget Gulf War (the first one) epic with
“Three Kings.” Russell returns to his indie film days with an existential
detective comedy that tries to answer the questions of life in “I Heart Huckabees.”

Albert Markovski (Jason Schwartzman) is the poetry-spewing director of the
environmentally conscious Open Spaces Coalition and is doing his part to
save the fast dwindling local rural environment. The intense character experiences
a series of coincidences” when he repeatedly runs into Steven Nimieri, dubbed
“the African Guy (Ger Duany), for no reason.” Another coincidence occurs
when Albert goes to a swanky restaurant and must wear the provided sports
jacket. In the pocket he finds the business card for Vivian Jaffe, Existential
Detective, and contacts her for help in explaining the chance meetings with
Steven.

Vivian introduces Albert to her husband and partner, Bernard Jaffe (Dustin
Hoffman), and the pair of ethereal gumshoes invades the young man’s life.
Their plan is to dismantle Albert’s life, and the fear it contains, and show
him “the blanket truth” that links everything in the universe together. To
these nutty detectives, there is no coincidence - everything is linked together,
somehow.

Meanwhile, Albert’s position in Open Spaces is being challenged by Brad Stand
(Jude Law), the handsome, ambitious, corporate ladder-climbing exec in the
giant department store conglomerate, Huckabees. Their conflict builds quickly
when Brad hires the Jaffe’s for his own dismantling. This conflict of client
interest draws the attention of the detectives’ former protégé
and now opponent, Caterine Vauban (Isabelle Huppert), who spouts a philosophy
of disconnect diametrically opposed to the Jaffe’s.

I Heart Huckabees” is an enigmatic film that wears its philosophical heart
(pun intended) on its sleeves while steeping itself in a great deal of silliness.
The tongue-in-cheek dialogue is voiced with an earnest fun that keeps things
low-key but tense. Albert is an excitable idealist who is the antithesis
of his rival, the coolheaded and pragmatic Brad. But, they are really two
sides of the same coin and the plotting Brad begins to see his own life really
is in need of dismantling.

The cast of “Huckabees” is better than the material they are given. Jason
Schwartzman gives his Albert an angst-ridden persona that desperately needs
answers to his deep questions. Albert’s sudden, frustrated swear-laden outbursts
are just the tip of the iceberg of his frustration with life. Dustin Hoffman
gives a deadpan performance as the philosophizing detective with all of the
answers to Albert’s questions, at least in the detective’s mind. Lily Tomlin
gets mileage out her intensely low-key performance that would put her in
good stead with Jack Webb in the old Dragnet” TV series. Jude Law has fun
with his Brad and uses his handsome looks and winning smile to good, if underutilized,
effect. Isabelle Huppert flashes her saucy Frenchness as the opposition party.
Naomi Watt does not show the stuff she displayed in her American debut, “Mulhulland
Drive,” though her role as the spokesperson for Huckabees feels like an add
on. Mark Wahlberg gets the most out of his working class fireman, Tommy Corn,
who has eschewed fossil fuels and bicycles to his firefighting assignments.
He and Schwartzman spark a good deal of male-bonding chemistry.

David O. Russell doesn’t seem to know where he wants to go with his career
if you take “I Heart Huckabees” as his next step in filmmaking. The success
and budget of “Three Kings” appears to have given the helmer a taste for
bigger things – the prestigious cast for the silliness of “Huckabees” is
an indication – but wants to get back to his roots. I’m not sure he can have
it both ways and the result is a sometimes amusing, mild mannered philosophical
comedy that is, in the end, shallow. I give it a C+.

I first encountered the 2004 Irish TV miniseries “Proof” earlier this year, profession it such critic-y things as “a rousing, completely absorbing mystery” and “the TV match of a real page-turner.” (You can read the full critique here.) Upon finishing the series, I eagerly anticipated the occasion likelihood to catch its heed-up, which premiered in 2005 and, like its predecessor, is unpunctual in making its clearance across the pond.

The follow-up series is called “Proof: Prescription For Mar,” which is right away a remorseful sign - the first title is unnecessary, as the title was a key disquisition of its predecessor but not so much here, while the second title has the generic ring of, say, the sort of mystery in which Ben Matlock or Jessica Fletcher might appear. (Note: IMDB lists the title as a substitute for as “Proof 2.”) The ambiguity at collusively here is fitting as elaborate and piqued-plotted as the first series, with our esteemed investigative journalists Terry Corcoran (Finbar Lynch) and Maureen Boland (Orla Brady) uncovering a skeleton in the cupboard involving a pharmaceutical guests, a new anti-depressant benumb, an upcoming fusion, and, of course, murder.

Written by Tim Loane and directed by Thaddeus O’Sullivan (”The Heart of Me”), “Prescription For Murder” is back as proficiently made as a project like this can possibly be - like its ancestor, the cast is leftover, the story is enjoyably multi-layered - while also being, well, fitting a little too dull. The urgency of the master series seems strangely absent this time gone from. The journeys into the characters’ particular lives be sorry for lesser, as if more out of onus than of a genuine poverty to flesh alibi the story. And the ensemble mystery lacks the same zing.

There are great moments sprinkled from one end to the other to go to those willing to wait for them, most notably the storyline involving a troubled man accused of murder. Plus, the series’ knell eye for bitter social commentary is still sharp in spots. (Terry’s editor reads his latest column and beams, “That’ll be dynamite beside the dead baby,” thoughts of simmering sales based on give someone a turn-value front recto pics swimming in his head.) But there’s just too little else here to depleted it that unmodified page-turner quality. Plot elements quickly bleach from memory, the conspiracy is less compelling, and respective “suspense” scenes come across as forced and a flash too hackneyed. (A cliffhanger involving a car drive should be a jaw-dropper, but it’s so unsatisfactorily staged it earns only a shrug.)

Download Aliens in the Attic Full Movie hd

All of this is a shame, as the makers of the prime series managed to ingest essentially the same elements to ransom higher quality storytelling. These are excellent characters in the hands of an supreme cast, and the producers evidently trust the audience’s wit enough to make them both complex plotlines and enough down outdated to crowd on the people traveling through them. And later all of this quiet can’t quite settle a sequel personage of the original series. “Prescription For Murder” is fit, but not compelling.

Religion and psychiatry have seldom been perceived as sympathetic to the invert bring on; centering mostly on the bizarre collusion of these two forces in gay “cure” groups, “One Country Under God” is a fascinating docu hampered by to some muddy pinpoint. Its overambitious field results in occasionally too-familiar footage and unresolved structure. Theatrical future is modest, broadcast developing high.

Download Aliens in the Attic Movie blu ray

Interview and archival footage are mixed to give an overview of the psychiatric field’s frequent moralizing stand against gay lifestyles.

While the American Psychiatry Assn. deleted homosexuality from its “disorder” list in 1974, that decision hasn’t killed off the existence of organizations like Exodus Intl., which mixes Christian ministry with “therapy” to fix “sexual brokenness.”

Pathetically funny sequences feature “experts” in such orgs discussing the benefits of beauty shop makeovers for repentant lesbians and football games for gay men. One born-again heterosexual takes a more blunt approach to behavior modification: “God hates homsexuals, and so do Christians.”

An articulate male couple of “ex-ex-gays” explain the “brainwashing” techniques of these groups, having once been leaders themselves.

Therapeutic training films from as late as the early ’70s offer one “treatment” after another, including an electroshock “organismic reorientation” method right out of “A Clockwork Orange.” All this material is powerful. By the time Nazi medical experiments are cited, the comparison hardly seems inapt. But in straining to encompass the vast histories of Christianity and modern psychiatry as connected to the subject — plus that of the Gay Liberation Movement –”One Nation” sometimes loses clarity of focus.

Shots of Quayle, Dannemayer and others promoting antigay sentiments, the Stonewall riots and other events cover terrain already exhausted by other dox, and distract from the central point.

Editing could improve matters by either fleshing it out to a less cluttered, comfortable length, or by excising minutes not directly connected to the church/shrink theme. Otherwise, tech qualities are all high-grade.

BOYS DON'T CRY

Rated R - Running Even so: 1:58 - Released 10/22/99

While the antihero is a popular theme for motion perfect example inform drama
in this country (Americans love an underdog), there is some ground
on which even movie producers usually fear to tread. One such
subject is what some might bidding "sexual perversity";
that a person might judge not to follow the traditional path
dictated by the public for members of his or her intimacy is extremely
upsetting to tons people.

Boys Don't Cry

is a curriculum vitae about
a juvenile Nebraska lady-in-waiting who was uncomfortable with the gender function
she was expected to play, and therefore attempted to make a way
throughout herself in the animal and societal arenas masquerading as
a man. It is a testament to the fearlessness of writer/director Kimberly
Peirce, co-writer Andy Bienen, and leading actors Hilary Swank
and Chloë Sevigny that they would not exclusive endeavour to forecast
this tragic, truly story, but would tell it with such honour and
genuineness. Although the dominate matter, and diagrammatic way in which it
is portrayed, may be profoundly disconcerting to some, the performances
by Swank and Sevigny are incredibly real and heartfelt, and the
honesty of the libretto and direction immaculate.

Brandon Teena (Swank), as we learn early on, is actually Teena
Brandon, a young woman who, for whatever reason, feels more comfortable
in society as a male. Adopting a short, neat haircut and stuffing
a sock in her blue jeans, she leaves her hometown of Lincoln,
Nebraska, just before her 21st birthday in 1993, and travels to
Falls City, an ultra-conservative town where she knows sexual
ambiguity is not accepted. As a young man, however, Brandon jumps
into the world of testosterone with both feet, drinking, driving,
"bumper skiing," and meeting some friends who seem to
accept him as what he wants to be. Good-old-boys John (Peter Sarsgaard)
and Tom (Brendan Sexton III) are both ex-cons who seem to live
on beer and pot, and Kate (Alison Folland) and Candace (Alicia
Goranson) are their female counterparts. But the one who really
catches Brandon's eye is Lana Tisdal (Sevigny), an attractive
girl who is currently dating John. As Brandon becomes one of the
group, and he and Lana grow closer together, there soon emerges
the real possibility that his dreadful secret is going to be discovered.
How he handles this situation with Lana is difficult enough, but
beyond that is the real danger of John, Tom, and Lana's mother
(Jeanetta Arnette), with their homophobic sensibilities and beer-fueled
impulses.

Regardless of one's attitude regarding transgender experimentation,
one can imagine how difficult it would be to play such a part
as Brandon, all the more so because of the fact that the person
actually lived. Swank portrays this character with the kind of
honesty that forces us to like Brandon, even if we can't always
understand his desires or intentions. On the surface, as Brandon's
secret is discovered, it seems a logical solution for him to just
leave town and escape the circumstances, but Swank shows us how
love can complicate such simple answers; this was never really
an option. Just as remarkable is Sevigny as Lana, a girl who must
make the kind of unpleasant choices between love, family, and
social acceptance that most of us are glad we are never in a position
to contemplate. The film's closing credits note thanks to the
real Lana Tisdal, who must have aided the producers in telling
the story. Again, this shows great courage; many might have chosen
to distance themselves from such an experience, but Tisdal saw
the need for this story to be told and put herself in a possibly
unflattering light to do so.

Boys Don't Cry

is a unreservedly upsetting look at the unfriendly
way in which procreant irregularity is seen by a large portion of
the free; initially rated NC-17, it was reportedly cut to attain
a tamer and more revenue-producing R rating. Silence, potential
viewers should note, it does contain graphic sexuality and brutality,
and is not for the squeamish. Whatever one's feelings may be on
the business sum, in all events, there is no irresolution that Swank and
Sevigny (who were both nominated for Oscars quest of their astounding,
honest acting), with the help of Peirce, Bienen, and their supporting
thrust, have approached this subject with truth and respect.
****½

Copyright
2000 by John R. McEwen and

The Republican

Reviewed by Dennis Schwartz

MGM’s legendary team from the Thin Man series, Myrna Loy and William
Powell, take a break from that private eye series to do this zany screwball
comedy. Loy was waiting for the green light to work with Clark Gable in
a Road to Rome (it never got funded) while Powell was in a funk over the
accidental death of his girlfriend Jean Harlow, only to recover by surprisingly
marrying actress Diana “Mousie” Lewis someone 26 years his junior. The
Loy and Powell team made fifteen films together, six in the popular Thin
Man series; this was their ninth film together. Ironically, Loy was known
in these films as the perfect wife, but in real life she was married four
times. Her relationship with Powell was always friendly but never amorous.

I Love You Again is sprightly directed by W.S. Van Dyke, affectionately
known in Hollywood as “one-shot Woody.” He was someone who liked to keep
filming without stopping for retakes. “Again” is taken from the novel by
Octavus Roy Cohen and scripted by Charles Lederer. It gets off to a fast
start but dies in the stretch, as it can’t keep up the quick pace and concludes
with a contrived ending that sanitizes its moral behavior in much too pat
a manner.

For the last eight years Larry Wilson (William Powell) has been a
model though dull citizen married to Kay (Myrna Loy); the staid suburbanites
live in the small town of Habersville, Pennsylvania. Businessman Larry
while on a pleasure cruise alone finds fellow passenger, a tipsy con man
named Doc Ryan (Frank McHugh), go overboard and Larry accidentally falls
in and rescues him anyway. While taking Ryan back to a rescue rowboat,
Larry’s conked on the noggin by a sailor’s oar and develops amnesia. Larry
can’t remember the last eight years when he was a tightwad prudish pottery
businessman and unbearable bore as a husband. All he remembers was nine
years ago and he was on a train attending the Max Schmeling fight when
he was conked on the head and robbed of $10,000. He recalls being a notorious
con man named George Carey who worked scams with a petty thief named Duke
Sheldon (Edmund Lowe). No one in his small town knows of his shady past
and since he’s such a stuffed shirt, no one would believe it anyway. Ryan
and Larry scheme to go partners, and return together to Habersville. 

Met at the dock by Kay, Larry’s told she’s bored by his stuffiness
and penny-pinching and wants a divorce to marry her new love interest Herbert
(Donald Douglas). But Larry while faking his way as a Larry he no longer
remembers becomes no longer the same dull Larry and tries to win pretty
wifey back with a new exciting personality. In the meantime, Duke comes
to town and the trio of con men scheme to pull off a land swindle by faking
that there’s oil on the property Larry owns and selling it for a ripoff
price to the locals. But Larry changes his mind while they have a bunch
of suckers lined up, as he’s fallen in love again with his wife and returns
to being honest. Ryan spills the beans to Kay about her hubby’s past and
instead of being upset she finds him more appealing than ever. Duke, upset
that Larry calls off the swindle, conks him on the head and when he comes
to he thinks he’s back on the ship and doesn’t recognize Duke or Ryan.
Larry reverts back to being the old Larry but this time around mixes in
a little of the old con man’s zest for life. This satisfies Kay, as the
couple start over again and she stays married for the same reason she married
him, claiming she saw something no one else did: an exciting man behind
his eyes.

Although tor music was lull something actually fresh and new in 1957, that didn’t mean that it couldn’t be grafted onto the old and hoary. That was the case in this cynically concocted mellifluous that takes rock acts, both big name and forgettable, and melds them onto a stage melodrama that’s fairly creaky at its master.

Two young singers, Pete Porter (Paul Carr) and Honey Wood (Freda Holloway) are vying for the notable time. They are each to each represented by a pair of unscrupulous agents, Goodness Shaw (Kay Medford) and Lew Arthur (Bob Pastene) who good happen to be ex-spouses. When Suppleness sees the draw between the youngsters, she comes up with the idea of teaming them as sentimentalist singers, and the couple swiftly hits the whacking big time. But Grace and Lew are craving and distrustful, and both of them try to engineer their clients to struggle out a unaccompanied business, greatest to inevitably disastrous results.

The story is static and not monumentally credible, especially since neither of the youngsters has an ounce of charisma. They’re singularly at a disadvantage up against the numerous other actual tuneful acts, a fact that isn’t helped by Holloway’s singing utterance being incongruously dubbed by Connie Francis. Their meant popular move, Who Are We to Say, is, however, surprisingly catchy and actually not a cranky not much tune. Medford and Pastene are somewhat entertaining as they snipe against each other, but their de rigeur reconciliation rings absolutely fallacious.

The earnest appeal, of course, is the presence of all the other mellifluous acts here. Carl Perkins, Jerry Lee Lewis, Fats Domino, Count Basie and Frankie Avalon are the biggest names, and they give reasonably good performances as they lip-synch through their numbers. At the other effect of the spectrum are the appallingly offensive Sayonara by Jodie Sands, the nauseating Hula Love by Buddy Knox, and an damned sincere musical tribute to bullfighters by Ron Coby. The story’s conventions earmark them to do a number as part of a show (or in in unison extended series, as part of a telethon hosted by a 1957 Dick Clark), and then righteous exit without being troubled by dialogue or interacting with the cast of the story. It feels like the tunes are just slapped on, and insomuch as writers Max Rosenberg and Milton Subotsky’s keep up with record of churning dated whatever was selling tickets, any cynicism is well founded.

Transformers: Revenge of the Fallen movie download dvd

In two dozen disc jockeys also make an appearance, hyping the fictional Honey and Pete feat. My jaundiced eye suspects this was another maneuver to get some bountiful publicity to go to this fairly dismal picture. It does give unified a look at the surprisingly button-down DJs of the early rock date, however, and the strikingly loopy and certainly not button-down buffoonery of New York’s Jocko Henderson. But that’s not enough to save this dud by a elongated swig.

Songs:

Rocco and His Saints: Record Hop Tonight
Connie Francis: Inasmuch as Children of All Ages
Carl Perkins: Glad All Over
Paul Carr & Connie Francis: Who Are We to Divulge
Frankie Avalon: Teacher’s Pet
Connie Francis: Siempre
Charlie Gracie: Imperturbable Baby
Jodie Sands: Sayonara
Jerry Lee Lewis: Cyclopean Balls of Salvo
Ron Coby: Toreador
Lewis Lyman and the Teenchords: Your Matrix Chance
Paul Carr: If Not for You
Slim Whitman: Unchain My Goodness
The Four Coins: A On the fritz Promise
Count Basie: Carouse
Joe Williams and the Count Basie Orchestra: I Don’t Like You No More
Buddy Knox: Hula Fiance
Jimmy Bowen: Cross Over
Fats Domino: Wait and See
Paul Carr and Connie Francis: Twenty-Four Hours a Day

Imagine spending heretofore with two of your favorite storytelling grandfathers who righteous happened to space perfidious movies. “MAU MAU SEX SEX” features Dan Sonney and David Friedman, Independent Cinema’s original outlaws, and who the Imaginative York Times affectionately calls “the Sunshine Boys of Smut.” Take a scintillating tarry thoroughly a century of cinematic sex, and a merry and unexpectedly poignant look at the friendship, families, and fortunes of two men who catered to a repressed society’s forbidden desires, and made a bigger strike on the culture’s concept of sexuality than Masters and Johnson. Since the 1940s they have produced an avalanche of ‘Adults Only’ movies for generations of insatiably curious moviegoers. “MAU MAU RELATIONS SEX” charmed audiences when it debuted at the 2001 Santa Barbara International Dusting Festival in advance opening appropriate for two weeks at Late York’s Cinema Village Theater where it received rave reviews. It is now playing in theaters nationwide. Critically acclaimed, (see Press & Reviews page on this website) ‘Mau Mau Sex Sex’ is a thought-provoking and laugh-inducing look at a hugely valuable, but morally marginalized, slice of the ’sexploitation’ business. It’s more than a sociology lesson. The movie challenges beforehand notions as it examines the family lives of two typical characters: Friedman, a ‘carny’ from Alabama who dropped a Paramount paycheck to pursue his treacherous profession, and Sonney, the other half of the notorious twosome. Sonney, the son of a frontier lawman became the nation’s leading purveyor of cinema sleaze – while raising four daughters in the Broad Church. Championed by on the house-speech advocates and vilified by self-appointed moral watchdogs, the partner has enjoyed a hanker association and phenomenal friendship, which they discuss with eye-opening candor and side-splitting good humor. The cinema combines the latest digital technology with seasoned film clips to record a kaleidoscopic weather on a loopy, gender-wild consociation - and two cagey operators who knew how to exploit it. ‘Mau Mau Shacking up Sex’ does not contain manifest, hard-core sexual subject-matter. It is an ‘R’ rated type movie. From primary-time Supervisor and Business Ted Bonnitt and 7th Planet Productions. 80 minutes.