This is a high concept movie with an idea that it is hard to say has been done before. This film centers around a love affair between a buoy and satellite after humanity's extinction.
With this strange story this movie tries to answer questions like "what does it mean to be alive," "how do you define love," "why are we here" and "how do we define ourselves." In its attempts to answer these questions, it answers none of them. All this movie offers us is pointless pseudo-philosophical ramblings that amount to the equivalent of a middle schooler trying to sound profound. The filmmakers obviously think they have something profound to tell us with this story. However, whatever they are trying to say is clear to no one else but them. There are many scenes that make you think, "this is supposed to be thought-provoking," but leave you unsure of how.
Even as a romantic film, this movie fails. The characters feel almost like outlines for characters rather than real people. You simply cannot connect to or relate to either of them. Also, for a romantic story, we never feel like these characters care for each other at all. They say they do but it never shows in their interactions with each other. Not only do they not feel like a couple, but they also don't even feel like friends. Kristen Stewart and Steven Yuen try their best with these roles, but it is simply not possible to make us care about these characters.
This movie is only about an hour and a half. However, there were many times watch this that I was wondering, if the runtime I read before watching was correct. It feels much longer than an hour and a half and there are many movies that are over two hours that much shorter than this.
This film is a waste of time that works neither as art nor entertainment. Avoid at all costs.
The very premise of this movie, a companion robot (in other words a robot girlfriend) finding out just what she is, is clever. However, what this film does with this premise is even more clever. This is one of the rare modern movies where you don't always know where it is going. There is twist after twist here and many of them took me by surprise. Yet each of these twists makes perfect sense in the context of the story. I do not want to go into great context or analysis of these twist because I don't want to give any of them away. It is best to go into this movie knowing as little about it as you possibly can. Just keep in mind that this is a movie that will keep you on the edge of your seat.
This movie takes the side and the point of view of the robot girlfriend, even having her narrate the start of the film. Throughout this film she is the one we connect with and the character who seems the most human. That this non-human character is more human than the actual human characters really help drive home how evil and despicable the human characters are. This film takes a look at people who try to convince themselves they are good people and that they deserve the best. While they state this and truly believe this deep down, they only care about themselves. Most filmmakers would try to make this an anti-technology movie but that is far from what this is. It is rather a look at a world where what is real or not can no longer be easily defined. And the same can be said for morality. Yet all these themes are balanced by a very dark sense of humor that is often laugh out loud funny.
What in lesser hands would have been a cheap horror flick instead becomes a highly intelligent and complex look at humanity.
Hello my friends and welcome back to another service of Cowboy Church.
Today's musical selection begins with Roy Rogers and Dale Evans with The Bible Tells Me So. This song was written by Dale herself.
This is followed by Vernon Dalhart and Adelyn Hood with their 1930 recording of Sing Hallelujah.
Then comes Willie Nelson with his self-penned gospel song, In God's Eyes. Speaking about this song Willie stated, "I needed to remind myself that, although I've strayed from the straight and narrow, I never strayed from my core beliefs. In 'In God's Eyes,' the next song in the sequence, I made that very point." This song comes from Willie's 1971 album, Yesterday's Wine. About this album Willie would state, "I looked up and simply began asking questions. Rather than keep those questions to myself, I put them into songs. The songs became my own particular prayers, my own personal reflections. I strung those prayers and reflections together in a loose-fitting suite. Music critics were throwing around the term 'concept album' - like the Beatles' Sgt. Peppers Lonely Hearts Club or Marvin Gaye's What's Going On. I suppose you could say this new notion of mine came together as a concept album. Rather than trying to write a bunch of hit singles, I simply followed the natural path taken by my mind." (quotes come from Willie's autobiography It's a Long Story: My Life).
Afterwards is Chris Tomlin, Florida Goergia Line and Thomas Rhett with Thank You Lord. This comes from Chris Tomlin's 2020 album, Chris Tomlin and Friends. This album featured the Christian singer performing various songs with popular country singers.
Next is The Sons of the Pioneers with their 1947 recording of The Sea Walker. This song was written by Tim Spencer, one of the group's founding members. Music was a major part of Tim's life from very early on. In fact, when he was only 3 years old, he was already singing at the church he grew up in. His love of things cowboy and western related also began very early as he had grown in awe of western movies and screen cowboys like Tom Mix, Hoot Gibson, William S. Hart and others were his boyhood heroes. With this it is no surprise that in 1931, he went to California to see how his talents could be used in Hollywood. Yet music always remained a major passion for him. As he worked in a warehouse, he would spend his weekends and time after working going around to all the country music radio shows, getting to know all the people he could. This is how he met fellow founding members of the Sons of the Pioneers, Bob Nolan and Leonard Slye (later Roy Rogers). The Sea Walker as well as being written by Tim also features him as the lead singer. The great Bass vocals in this song are courtesy of Hugh Farr.
Then comes Melba Montgomery with Crossing Over Jordon. This recording comes from her 1966 gospel album, Hallelujah Road.
This is followed by Chosen Road with Blessed Assurance. This hymn came about when songwriter Fanny Crosby visited composer Phoebe Palmer Knapp. Knapp played a tune for Crosby and asked what came to her mind with that tune. Crosby said, "Blessed assurance, Jesus is mine!" She then immediately followed it with more lyrics that would be in the finished song. The song was published in 1873 and first appeared in a monthly magazine for which the editors were Joseph Fairchild Knapp and Phoebe Palmer Knapp (who were husband and wife). When it later appeared in 1887's Gospel Songs, No. 5 by Ira Sankey, this we lead it to greater fame as it would be commonly sung in the revivals of Dwight L. Moody and Sankey. By 1889, the hymn commonly appeared in Methodist hymnals.
Today's musical selection ends with Johnny Cash singing Jesus Was a Carpenter. What I love about this song is that it takes about what happened back when Jesus was on Earth, but it puts it in a modern context even looking at many of today's political and social issues. This shows that the Bible is just as true today and that even after all these centuries we can still apply it to what is going on in our world today. The very idea of praising Jesus in socially conscious folk song, paints a great picture of what Johnny Cash and his music were all about. This recording comes from his 1970 album, Hello I'm Johnny Cash.
Now for some of Roy Rogers and Dale Evans' home movies.
Now for a sermon from Martin Luther King Jr.
When I am afraid, I put my trust in you. In God, whose word I praise, in God I trust; I shall not be afraid. What can flesh do to me? Psalm 56:3-4
You keep him in perfect peace whose mind is stayed on you, because he trusts in you. Trust in the Lord forever, for the Lord God is an everlasting rock. Isaiah 26:3-4
There is no fear in love, but perfect love casts out fear. For fear has to do with punishment, and whoever fears has not been perfected in love. 1 John 4:18
Be careful for nothing; but in every thing by prayer and supplication with thanksgiving let your requests be made known unto God. Philippians 4:6
My prayer is not that you take them out of the world but that you protect them from the evil one. John 17:15
Therefore I tell you, whatever you ask for in prayer, believe that you have received it, and it will be yours. Mark 11:24
Thanks for joining me, come back next week for another service of Cowboy Church. Happy trails to you until we meet again.
Hello my friends and happy Saturday morning once again it is time for some classic cartoons.
Today's cartoon selection begins with Heckle and Jeckle in Wild Life (1959).
Up next is the Walter Lantz produced cartoon, The Big Cat and the Little Mousie (1938). I personally have a fondness for these black and white Walter Lantz cartoons. This is a really charming and fun film. It may not be exactly hilarious, but it does have a real charm to it. The whole sequence with the drunk mouse is similar to a famous sequence in the Disney cartoon, The Country Cousin (1936) and was perhaps inspired by it. While the character animation here may not be as impressive as that of the Disney film, it is still quite well done. A review in The Film Daily stated, "Kids and grownups alike will find this yarn amusing." A review in the Motion Picture Herald calls this film "unnecessary" and states, "The background commentary with its 'teeny weeny little mousie,' has a burlesque ring in light of the theme of this Oswald Rabbit subject."
Next comes an early example of one of Disney's Silly Symphonies, Arctic Antics (1930). Like all Disney cartoons of this era, this short film benefits from an incredible cast of animators. The opening scene with the bears and seals was animated by Frenchy de Tremaudan. Wilfred Jackson, who would go on to direct some of the finest Silly Symphony shorts animates more of the bears and seals as well as the penguin leader and the little penguin during the march. Dave Hand, who would later be the supervising director for the Disney feature films, Snow White and the Seven Dwarfs (1937) and Bambi (1942), animates the bear cub on the ice cake and much of the penguin march. Les Clark, one of Walt's future Nine Old Men and one of the best Mickey Mouse animators, animates the large bear on the ice cake and a penguin doing a dance by himself. Norm Ferguson, whose animation would help define the character of Pluto, animates the operatic walrus (reused animation from the Mickey Mouse cartoon, Wild Waves (1929)) and the penguins dancing in a chorus line. Ben Sharpsteen, who was the supervising director for the Disney feature films Pinocchio (1940), Fantasia (1940) and Dumbo (1941), animates the four dancing seals, the seals applauding (reused animation from the Mickey Mouse cartoon, Wild Waves) and the walrus with the fish. Dick Lundy, who would go on to be a great Woody Woodpecker director, animates the seal dancing by himself and the seal balancing a fish on his nose. Johnny Cannon animates the seal squeezing the walrus' nose. Jack King, who would go on to direct some wonderful Donald Duck cartoons animates more of the penguin march. This short film would make its TV debut on an episode of The Mickey Mouse Club that aired on February 17, 1956.
Now for the World War Two era Terry Toons short, Keep 'Em Growing (1943). This film is incredibly topical and of its time but that is just what makes it so much fun.
Now it is time for a commercial break.
Now for the first short film directed by Walt Disney, Little Red Riding Hood (1922).
Next comes another real classic, Falling Hare (1943). This cartoon features one of the few characters to get the upper hand of Bugs, the gremlin. Despite only appearing in this one short, the character has proven quite popular and has appeared in quite a few Looney Tunes spin offs. The original title for this short was going to be Bugs Bunny and the Gremlin. However, since Disney was working on an animated feature film about gremlins (a movie that would never be finished), the studio took the word gremlin out of the title of this cartoon to appease the Disney studio. The following is a review from The Film Daily, "Literally and figuratively, Bugs Bunny, already a prime favorite among current cartoon characters, gets off to a flying start in the distribution season just started. The buck-toothed, long-eared clown meets up with a gremlin and both find themselves aloft in an airplane, with Bugs or what's left of him being darn glad to get back to earth. There are plenty of laughs throughout. The tough Bunny, if this initial '43-'44 offering of his producer Leon Schlesinger, is any criterion, is in for a further rise in popularity among fans who like humor. Of course, the reel is in Technicolor. It was supervised by Robert Clampett and animated by Roderick Scribner. Warner Foster wrote the story and Carl W. Stalling handled the musical direction." This cartoon amounts to one of my favorite Bugs Bunny cartoons and it is appropriately in Jerry Beck's book, The 100 Greatest Looney Tunes.
Motion Picture Daily, 1941
Now for the Aesop's Sound Fables short, Gypped in Egypt (1930). The following is a review from The Film Daily, "This Aesop Fable has the cartoon cat and dog on an adventure in Egypt. They fall into an ancient town and find themselves surrounded by mummies and skeletons that come to life. There is a funny fire sequence, with all the skeleton riding pell-mell to the fire in chariots. It finishes with a wild ride in an elevator to the top of an obelisk, where they step off the platform into space. A nightmare of goofy antics cleverly worked out for the laughs."
Now for The Simpsons in Skateboarding (1988). This was a short made for The Tracey Ullman Show before the family received its own TV series.
Thanks for joining me. Come back next week for more animated treasures. Until then may all your tunes be looney and your melodies merry.
-Michael J. Ruhland
Resources Used
Silly Symphonies: A Companion to the Classic Cartoon Series by Russell Merritt and J.B. Kaufman
Run Time: 20 minutes. Studio: Hal Roach Studios. Director: Hal Yates. Titles: H.M. Walker. Producer: Hal Roach. Supervising Producer: Leo McCarey. Main Cast: Anita Garvin, Marion Byron, Edgar Kennedy, Stuart Erwin, Spec O'Donnell. Cinematographer: Art Lloyd. Editor: William H. Terhune.
The filmmakers at the Hal Roach studio tried multiple times to create a female comedy team in the vein of Laurel and Hardy. The best known of these attempts was Thelma Todd and Zazu Pitts (later Thelma Todd and Patsy Kelly). Less known is Anita Garvin and Marion Byron. This is unfortunate as the three shorts that paired these two are truly hilarious. Still A Pair of Tights might be the best of the bunch.
Like many of the best silent comedy shorts, the premise of this film is very simple. Two girls are invited to a dinner with their boyfriends and one of their boyfriends' bosses. On the way the girls decide to get some ice cream. Unfortunately, with swinging door and a clumsy Spec O'Donnell, this proves to be a very difficult task.
This film is everything you could want from a silent comedy short. It takes a simple premise and milks as many gags as it can out of it. Many of these gags are laugh out loud funny. When I first saw this film, I wasn't expecting anything great and was shocked by just how often and loud I laughed. This short even has a fantastic use of a running gag. The running gag with the sliding door starts off as simply amusing but it gets increasingly funnier with each use, adding a little bit to the gag each time. This brilliant use of the running gag is one of the specialties of the Hal Roach Studio. It is something this studio did better than pretty much any other comedy studio of Hollywood's golden age. This short also benefits from a great cast. Anita Garvin and Marion Bryon are both perfect here. They show themselves to be expert slapstick comedians They deliver each gag perfectly and their timing and facial expressions make each gag all the funnier.
Hal Yates is a very underrated director of comedy shorts. His other work for the Hal Roach Studio included the Mabel Normand films, Anything Once (1927) and One Hour Married (1927), the Laurel and Hardy films, Sailors Beware (1927) and Hats Off (1927, the infamous lost film) and the Charley Chase short, Imagine My Embarrassment (1928). As a writer he worked on the Mabel Normand film, Raggedy Rose (1926) and the Our Gang (or Little Rascals) short, Thundering Fleas (1926) as well as comedy shorts starring the likes of Lucien Littlefield, Clyde Cook, Bill Beavan and Glen Tryon. However, comedy fans might remember him best for his work at RKO, where he wrote and directed many of the Leon Errol and Edgar Kennedy comedy shorts. He would continue working into the TV era directing episodes of the My Little Margie and Blondie TV series.
Not only does this short show some similarities to the Laurel and Hardy films but Stan Laurel and Oliver Hardy were originally going to appear. There was originally going to be a bit involving the famous comedy duo, but it never made it to the final film. This was perhaps due to trying to keep the focus on Anita Garvin and Marion Bryon. During the big climatic fight scene, Stan and Ollie were going to get involved in the big fight (this involvement would involve the two being hauled off in a police wagon). This bit was actually filmed but not used.
The Hal Roach Studio paid $35 to the movie animal provider Henry East of use of Hank, the angry dog who appears in the short for the days of September 19th and 20th. The money was well spent as dog provides some great gags for this film. This short was filmed from Wednesday, September 19, 1928, through Friday, September 28,1928 and released on February 2, 1929. Much of this film was shot on the Hal Roach backlot. However, there were a few shots taken on location at Culver City on Main Street. This can be told by the fact that the Harry H. Culver Building (later the Culver Hotel) can be seen in some shots.
Anita Garvin (who was 22 at the time of filming) was born on February 11, 1906. She started her acting career as a Mack Sennett Bathing Beauty (though on stage not in the movies) at the age of 12. She was able to start so young because she was 5'6 and looked older than she actually was. At the age of 13 she became a Ziegfeld showgirl. She began her movie career in 1924 at the Christie Studio. She made over 90 films before retiring in 1940. However, she is probably best remembered today for the 11 films she made with Laurel and Hardy. Marion Byron (who was 17 at the time of filming) is best remembered for her very first movie role as the leading lady in Buster Keaton's Steamboat Bill Jr. (1928). Unfortunately, despite her talent, she spent much of her career in small roles. The leading men were played by Edgar Kennedy and Stuart Erwin. Edgar Kennedy will be familiar to most any fan of classic film comedy. He worked with such comedians as Laurel and Hardy, The Marx Brothers, Charlie Chaplin, Roscoe "Fatty" Arbuckle, Charley Chase, the Our Gang (or Little Rascals) kids, W.C. Fields and many more. He would even have his own series of short comedies (many directed by Hal Yates). Kennedy acted in more than 400 films. The actor would even appear in some dramatic movies such as A Star is Born (1937). Stuart Erwin didn't do much work for the Hal Roach Studio but had a long and varied movie career. He would even be nominated for an Academy Award for his supporting role in Pigskin Parade (1936), a movie that is best known today for being Judy Garland's feature film debut. His other acting credits include The Big Broadcast (1932), International House (1933), Going Hollywood (1933), Our Town (1940), Cracked Nuts (1941), The Bride Came C.O.D. (1941), Blondie for Victory (1942), Father Is a Bachelor (1950), Son of Flubber (1963) and The Misadventures of Merlin Jones (1964). Supporting player, Spec O'Donnell will be a familiar face to my fellow Disney fans as he appears in the live action sequences in the Alice Comedies. He also appeared in a couple of Mary Pickford features and was a supporting player in the Max Davidson comedy shorts. He was 17 when he made this film but would continue playing teenagers into his 30's. His last movie would be Convoy (1978).
Anita remembered working with Marion very well. When decades later Anita was talking to historian Randy Skartvedt, the two were having coffee and she reminisced about how she and Marion would sit in the cafe at the Hal Roach Studio and have coffee with lots of cream and sugar. Remembering such a minor insignificant detail decades later involving Marion says a lot about the relationship between the two. The two remained good friends until Marion passed.
A testament to how talented the stars of this film were is that a shot with Anita Garvin simply staring at Edgar Kennedy lasts for one minute and thirty-three seconds. Yet this shot remains hilarious and does not seem like it is held too long.
The following are some Exhibitors reviews from Exhibitor's Herald World. "ANITA GARVIN COMEDIES, — "A Pair of Tights." One of the funniest comedies we have ever shown. Pleased the adults as well as the children. (Mrs. I. H. Dietz, Star theatre, Covington, Ga., Small Town Patronage.)" " A PAIR OF TIGHTS — This is a knockout. (S. B. Kennedy. Central theatre, Selkirk, Man., Canada - General Patronage.)" " A PAIR OF TIGHTS— Not much to this one, just so much film. No laughs registered from this one. (W.M. Lodge, Fulton theatre, McConnellsburg, Pa. - Small Town Patronage.)"
For decades this short was only known for its use in the Robert Youngston compilation movie, When Comedy Was King (1960), which used many clips from classic silent comedies. Today though the entirety of this film can be viewed in great quality on the recent Laurel and Hardy: Year Two Blu-Ray set from Flicker Alley. It is included as a bonus feature on that set, which is an essential must have for all silent comedy fans.
This short can also be watched on YouTube below.
-Michael J. Ruhland
Resources Used
Laurel and Hardy: The Magic Behind the Movies by Randy Skredvedt
Laurel and Hardy Year Two Blu-Ray set liner notes by Randy Skredvedt
This movie about a half-man and half-dog cop is based on a series of popular kids' books by Dav Pilkey (who produced the film). I guess as someone who grew up with Pilkey's Captain Underpants books, I have a predisposition to enjoy this type of zany humor. This entire film is full of extremely silly gags piled on top of one another. While this does make this an acquired taste in some ways, it is a taste I acquired. Not every gag is funny and some fall flat. However, the gags that do work made me laugh out loud. There is mixture of smart and clever humor with juvenile dumb humor and silly slapstick gags. Yet there are gags in each of these categories that hilarious. However, what really makes the movie work is not the gags themselves but how (like a classic Looney Tunes or similar cartoon short), the whole film has a delightfully silly and cartoony feel that is a joy to watch. I have always had a fondness for animated feature films that are simply feature length cartoons and that is exactly what this is. This even goes down to the look of the film. Though this is computer animated, the artists have done a great joy capturing Pilkey's delightfully cartoony art style. This art style brings us back to being kids ourselves and puts us in the right state of mind to enjoy something as silly as this movie.
Despite all the silly gags, this film has a real heart to it. The relationship between Dog Man and the main villain's "son" is actually rather touching and many charmingly sweet moments come out of this. I found myself not only laughing at these characters but really caring about them as well.
I will admit though that the third act is too overstuffed with ideas, and this can make it feel exhausting and overlong.
This marks Peter Hastings' first time directing or writing an animated feature. However, he has worked heavily on Dreamworks Animation's TV and streaming series including Kung Fu Panda: Legends of Awesomeness, The Epic Tales of Captain Underpants and Kung Fu Panda: The Dragon Knight. Before that he had worked on such TV cartoon series as Animaniacs, Tiny Toons Adventures and Pinky and the Brain.
This movie is preceded by a delightful short film featuring the characters from The Bad Guys (2022). This short is just as fun as the feature.
This film has Brazilian filmmaker, Walter Salles, returning to his native country with a story he has a personal connection to. This is the true story of a family living a happy life in 1970's Rio de Janeiro, when one day the father (former congressman Rubens Paiva, who has been outspokenly critical of the newly instituted military dictatorship) simply disappears. There is no explanation given to why this happened and where the father is or if he is still alive. Though this movie is based on Marcelo Rubens Paiva (one of the son's) memoir (which is also called I'm Still Here), one of the guiding forces behind making this film is that Salles actually knew this family as a teenager and even spent time in their house (which he tried to recreate the look of as closely as possible). Perhaps this is why this film feels more real than many "based on a true story" movies.
What makes this movie work so brilliantly is the family unit. In every second of this film, we believe that we are watching the real family. Each member has his or her own unique personality. It is too often in movies like this that one character simply feels like their entire personality is being "the other kid." That never the case here. Part of the reason for this is that Salles encouraged each of the child actors to let their own personalities find their way into the film. They each decorated their own rooms and were allowed some of their own improvisational dialogue. Salles also had all the actors playing the family live together (in the home he rented for production) for two weeks. The result is characters that feel as comfortable around each other as real family members. The chemistry between each of the actors is so natural that we feel like we are watching a real family and forget that these are actors. Because the family unit feels so real to us, when that family unit is forcibly torn apart, we feel unnerved. The result is very emotional powerful. We feel for each of the characters and their loss, just as if they were our friends.
This movie also benefits from a very strong soundtrack filled with Brazilian, American and British pop songs of the era. Each of these songs are used perfectly and many reveal more about who these are. The film is also very visually beautiful as Salles does his best to recapture the look of 1970's Rio De Janeiro.
I don't want to say too much more about this movie as it something you have to see and experience yourself. It is a one-of-a-kind experience and a must watch for any serious movie fan.
After the Keystone Kops, the second image that comes to mind when Keystone comedies or Mack Sennett is brought up is the Mack Sennett Bathing Beauties. Even back in the silent era sex sold (perhaps not much has changed in over 100 years). Showing beautiful women in bathing suits was a sure way to make sure, audiences enjoyed your films. Some of these Bathing Beauties would go on to successful acting careers, while for others these roles would be their 15 minutes of fame.
Here is an article from an issue of Motion Picture Magazine (dated May 1932) taking a look at what happened to the famed Bathing Beauties. If you have trouble reading the following pages, click on them and use your touch screen to zoom in. If you don't have a touch screen, click here.
Here is a classic 1919 short film featuring the bathing beauties.
And here are the Bathing Beauties in all their risqué glory. Try not to get too excited gentlemen.
This movie definitely has its share of flaws. However, it has enough things going for it to provide a decent watch. The performances here are really good. Michelle Dockery, and Topher Grace both shine in their roles and make us like these cliché characters. However, the scene stealer is Malk Wahlberg. Wahlberg gets to play a villain here and he is having the time of his life playing this role. He is having so much fun in this role that I simply had fun watching it. This movie also benefits from Mel Gibson's direction. While he may be a controversial figure, Mel Gibson does know how to direct a suspense scene and even makes the most predictable suspense scene exciting to watch.
This movie definitely has its share of flaws though. The dialogue is often does not feel even remotely like how people talk, the attempts at humor are awful and so much of the plot depends on these characters being idiots. If the characters simply had half a brain cell, so many of the suspense scenes would never have happened. Yet we are somehow supposed to believe that these characters are supposed to be at least moderately intelligent.
This is far from a great movie and will never be considered such. However, in the right frame of mind this film does provide a certain amount of dumb fun.
This movie follows black two teenage boys who were sentenced to a reform school in the Jim Crow south of the 1960's. This is not a film that is easy to watch or one that can often be called enjoyable. Despite this it is an essential watch for any movie fan. This movie forces us to look directly at America's racist past making it near impossible to look away. We are forced to either learn from it or consciously try to block it out. There have been many films about racism in recent years but few of them have had the sheer emotional impact of this movie. I found myself overcome with emotion and very angry that in relatively recent history this could have happened in my country (and the need to make sure it doesn't ever happen again). Besides the dark but important subject matter, the strong emotional impact also comes from very intelligent filmmaking. Most of the film is told through point of view shots that alternate from being from the point of view of both of our main characters. While this may sound like just a gimmick, it does not come off as such. In fact, it feels perfectly natural, and we understand that this was the best way to tell the story. It forces us to live in these characters' shoes for over two hours. This makes everything that happens to them feel all the more real and horrific to us. This movie doesn't announce that this is the way the story is being told. Rather we must figure it out on our own. This choice works especially well in the opening scenes. Not knowing yet that this film is telling its story from point of view shots, we feel as if we are watching an almost avantgarde montage of happy and calming images. This puts us in a mood of tranquility and contentment. Over the course of the film these feelings are violently and suddenly ripped away from us, which makes us subconsciously feel a deep emotional connection with these characters. As dark as this movie's subject matter is though, it avoids showing the most gruesome scenes onscreen. Leaving these scenes to our imaginations though conjures up much more disturbing images in our minds than anything a movie can show us. How well made this movie is makes it all the more impressive that this is only director, RaMell Ross' second feature length film and his first non-documentary movie. Great performances by Ethan Herisse and Brandon Wilson also help this film feel all the more real and powerful.
It may not be easy to watch this movie, but that is exactly what makes it such a powerful film.
This is the first segment of the eleventh episode of The All-New Super Friends Hour, unlike most other Super Friends formats, this one had hour long episodes that were made up of various shorter cartoons. The first segment would be an adventure staring two members (or three in some cases as Batman and Robin would often team with another Super Friend) of the Super Friends. The second would be a morality play staring the Wonder Twins. The third would be a typical half hour Super Friends adventure. The fourth and last segment would feature one of the main Super Friends teaming up with a special DC Comics guest star.
In this short, Professor Amy Zahn creates a formula to make women as physically strong as men. The formula makes her turn fifty feet tall. The experiment affects her mind as well and she goes on a rampage. Batman, Robin and Wonder Woman team up to return her back to normal.
This is a fun episode. The idea of superheroes fighting a giant is something so simple yet charming. This leads to some great action scenes and a good sense of suspense when she captures Batman. The villain herself is again very simple but there is a lot of fun in her simplicity. The moral of this story is a great one about how women and men are already equals and women don't need to change themselves to prove that. The delivery may be a bit didactic but not in a way that distracts from the fun of this cartoon. I will admit though Wonder Woman's joke at the end is a bit of a groaner.
In today's pop culture world, a spy movie often means an over-the-top action movie like the Mission Impossible films. This makes Inheritance stand out. This film is more about being a globe-trotting adventure than about large scale action scenes. In fact, the only real action scene here is a car chase that feel very small scale compared to many action movies today. This is not to say that this is a movie is not a visually pleasing one though. While it is true that this movie was filmed entirely on an iPhone, it was filmed on location at the various countries that our main character visits. This adds a real sense of adventure to this film as we feel like we are traveling along with her.
Without the over-the-top action sequences, this movie depends much more on characters and plot twists here. While the storyline may be very familiar, the worked surprisingly well. While early parts of this film are quite predictable, the last act is full of a lot of twists that work very well, some of which really took me by surprise. The main character is also a very good one. She is likable and relatable enough for us to care about but can also be quite morally ambiguous at times. This makes it so we don't always know what she is going to do next and leads to some of the film's best twists. Phoebe Dynevor's performance also makes this film work very well. She can pull off that action hero charisma that makes us automatically attracted to her and her character. I do wish she had more memorable supporting characters to play off of, but her character still works very well.
A fun spy thriller that harkens back to when these movies didn't have to depend on over-the-top action scenes.
Hello my friends and welcome back for another service of Cowboy Church.
Today’s musical selection begins with the King of the Cowboys and The Queen of the West, Roy Rogers and Dale Evans with Jesus in the Morning. This song reminds us that we are not only to leave a small part of the day with Jesus as our focus but all day long as well as every day. We should wake up each morning with Jesus on our mind and go to bed each night the same way. While few of us will succeed with this every day, we will find that each day we do it will be an enriching day that will makes us grow as a person. This song comes from Roy and Dale’s 1973 gospel album, In the Sweet By and By.
This is followed by Johnny Cash with Jesus in My Soul. This lively song comes from John's 1979 album, A Believer Sings the Truth. This was a double length gospel album and Columbia Records felt that such an album from John could never be successful. However, Columbia allowed John to release the album on its own and it was successful earning a spot in the Country Top 50. A shorter version of the album called I Believe would be released in 1984, which would feature a select few songs from the double album, including this one. Strangely A Believer Sings the Truth would not find its way to CD until 2012.
Afterwards is Adelyne Hood and Vernon Dalhart with their 1928 recording of The Ninety and Nine.
Then comes Sons of the Pioneers with their 1937 recording of Leaning on the Everlasting Arms. This hymn began with a man named Anthony Showalter. As a fan of gospel music and an elder in a Presbyterian church, he held many "singing schools" at various churches in the south. One day he received two letters from former students who were struggling after their wives had passed. To respond to these letters, Showalter consulted scripture. He came across Deuteronomy 33:27, "The eternal God is thy refuge, and underneath are the everlasting arms." After reading this verse lyrics for a song chorus went through his head and he wrote down, "“Leaning, leaning, safe and secure from all alarms; Leaning, leaning, leaning on the everlasting arms.” After using this in the letters to his former students he sent this chorus to his friend hymnist, Elisha Hoffman. In the letter he also wrote, “Here is the chorus for a good hymn from Deuteronomy 33:27, but I can’t come up with the verses.” Hoffman then wrote the rest of the lyrics to which Showalter put to music. The hymn was published in 1887.
Next is Chris Tomlin and Florida Georgia Line with Forever Home. This comes from Chris Tomlin's 2020 album, Chris Tomlin and Friends. This album featured the Christian singer performing various songs with popular country singers.
This is followed Cody Johnson with By Your Grace. This comes from his 2021 album, Human: The Double Album.
Next comes Kris Kristofferson and Larry Gatlin with Help Me. In 1971 Connie Smith had invited Kris Kristofferson to the Evangel Temple. Jimmie Snow (the pastor of the church) had asked Larry Gatlin, who was a member of this church and currently worker as a janitor, to come up and sing a song he wrote. That song was Help Me and it had a major effect on Kris. Kris would later say, "It was what I guess you call a religious experience. I've never had one before or since. To this day I don't know why I did it. I think Jimmy sensed I didn't know what I was doing because he asked me if I was ready to be saved and I told him I didn't know. He put his hand on my shoulder and asked me to get down on my knees. There were a number of us kneeling and I don't remember what he was saying. It was something about freedom from guilt. All I can remember is that I broke into tears. I was weeping and when it was over I felt like I had been purged. I was carrying a lot of guilt at that time. I felt I had disappointed my family, my friends, my ancestors and everybody that knew me. So, I wrote that song [Why Me Lord]." Because of the effect this song had on Kris, Kris recorded the song as a duet with Larry Gatlin on his 1972 album, Jesus Was a Capricorn. Kris later talked about this saying, "I did it because I loved the song and was so grateful for the effect it had on me. To further demonstrate my gratitude, I put it on the B-side of my single Why Me instead of one of my own, giving Larry mechanical royalties on the biggest single I ever had. Payback!" The source for these quotes is The Man Called Cash by Steve Turner.
Today's musical selection ends with Rex Allen with Prayer of a Frontier Doctor.
Now for a sermon from the reverend Martin Luther King Jr.
Now for a silent short film starring Broncho Billy Anderson, Broncho Billy's Last Hold Up (1912).
The Lord is near to the brokenhearted and saves the crushed in spirit. Psalm 34:18
Who comforts us in all our affliction, so that we may be able to comfort those who are in any affliction, with the comfort with which we ourselves are comforted by God. For as we share abundantly in Christ's sufferings, so through Christ we share abundantly in comfort too. If we are afflicted, it is for your comfort and salvation; and if we are comforted, it is for your comfort, which you experience when you patiently endure the same sufferings that we suffer. Our hope for you is unshaken, for we know that as you share in our sufferings, you will also share in our comfort. 2 Corinthians 1:4-7
And let us consider how to stir up one another to love and good works, not neglecting to meet together, as is the habit of some, but encouraging one another, and all the more as you see the Day drawing near. Hebrews 10:24-25
Put on then, as God's chosen ones, holy and beloved, compassionate hearts, kindness, humility, meekness, and patience, bearing with one another and, if one has a complaint against another, forgiving each other; as the Lord has forgiven you, so you also must forgive. And above all these put on love, which binds everything together in perfect harmony. Colossians 3:12-14
The Lord is good, a stronghold in the day of trouble; he knows those who take refuge in him. Nahum 1:7
A greedy man stirs up strife, but the one who trusts in the Lord will be enriched. Proverbs 28:25
Thanks for joining me. Come back next week for another service of Cowboy Church. Happy trails to you until we meet again.
Hello my friends and happy Saturday morning. Once again it is time for some classic cartoons.
Today's cartoon selection begins with Heckle and Jeckle in Steeple Jacks (1951). Paul Terry personally considered the Heckle and Jeckle films to be the best that he produced and I am inclined to agree with him.
Next is Cubby Bear in Galloping Fanny (1933). Cubby is one of the many examples of a cartoon character of the early 30's whose creators tried to replicate Disney's success but making what is essentially a Mickey Mouse clone. Despite this I personally really enjoy Cubby's cartoons for their often-bizarre sense of humor.
Now for perhaps my favorite of the classic Betty Boop cartoons, Snow White (1933). This short film is chock full of imagination and there is never one moment that isn't a lot of fun. There is a pure energy in this film that simply never lets up. This cartoon is simply everything I love about the cartoons from the Fleischer Studio at this time and is perhaps the best example of why the early 1930's Betty Boop cartoons are held in such high regard by animation fans. What makes this cartoon all the more impressive is that it has often been said that it was animated almost entirely by Doc Crandall. The main song number is performed by jazz legend Cab Calloway, who also provided vocals for the Betty Boop cartoons, Minnie the Moocher (1932) and The Old Man of the Mountain (1933). This film arrived at the number 19 spot in Jerry Beck's book, The 50 Greatest Cartoons.
Now we join those literal love birds, Donald and Daisy Duck in Donald's Double Trouble (1946). As Jack Hannah and Jack Kinney are often praised by cartoon fans for directing much of the studio's funniest short subjects, Jack King often gets overlooked. Jack King's Donald Duck cartoons are consistently very good. The following is an excerpt from an issue of Showman's Trade Review (dated August 23, 1947), "John Arnold of the Yale Theatre, Houston, Texas billed the Walt Disney Donald Duck short, 'Donald's Double Trouble,' equally with the feature on the marque. The short meant more than the feature he said." This cartoon played with Alfred Hitchcock's Notorious (1946) at the Radio City Music Hall the weeks of September 23rd, September 30th and October 7th. The following is an exhibitor's review of the cartoon from the Motion Picture Herald, "DONALD'S DOUBLE TROUBLE: Walt Disney Cartoons—Pretty good. This had the usual quota of laughs, and the crowd seemed to appreciate it.—Fred J. Hutchins, Community Theatre, Sask., Can." The elegant voice for Donald's double is provided by Leslie Denison and was based off of actor Ronald Coleman. The story was written by Roy Williams who Disney fans might best know as the big Mooseketeer on TV's The Mickey Mouse Club.
Now it is time for a commercial break.
Next up comes the black and white Van Bueren cartoon, Tight Rope Tricks (1933). This short film stars a couple of human cartoon characters named Tom and Jerry that predate the famous cat and mouse duo.
Now comes a real classic, the Bugs Bunny cartoon, The Wacky Wabbit (1942). As many of you know all the major Looney Tunes directors had their different take on Bugs Bunny. Bob Clampett's Bugs was very much a fun-loving prankster. Unlike Chuck Jones' version of the character, this Bugs did not always need to act in self-defense but could just pick on someone to have a little fun. That is true of the way he treats Elmer here. Elmer in this film is not hunting wabbits, but simply minding his own business, when Bugs decides to let the poor fellow have it. Elmer in this cartoon looks different from how many cartoon fans picture him looking. This is because he was briefly redesigned to look like his voice actor Arthur Q. Byran. The following is a review from The Film Daily, "Fourteen carrot entertainer this 'Wacky Wabbit.' There's a laugh in every foot. The wise guy rabbit in this instance tries his trick on a gold prospector. He drives the poor guy crazy confounding him and keeping him constantly on the jump. Bugs Bunny grows in stature with every new Merry Melody release. He bids fair to become as funny as any character now in animated cartoons. The smart showman should grab this short."
Now for a classic silent short starring Felix the Cat, Felix Finds 'Em Fickle (1924).
Today's cartoon selection ends with The Simpsons in Bart the Hero (1989). This is one of the shorts made for The Tracey Ullman Show before the characters got their own TV series.
Thanks for joining me. Come back next week for more animated treasures. Until then may all your tunes be looney and your melodies merry.
-Michael J. Ruhland
Resources Used
The 50 Greatest Cartoons edited by Jerry Beck
Of Mice and Magic: A History of the American Animated Cartoon by Leonard Maltin.
Donald Duck: The Ultimate History by J.B. Kaufman and David Gerstein
There is little to nothing about this movie that anyone watching will not have seen before. The story about a troubled teen, who finds himself getting in trouble with the law but is helped by a teacher who believes in him will be familiar to any movie goer. Yet sometimes a familiar story that is well told is just what we want when we go to the movies. That is exactly what this film is. Though we have seen everything here before many of the emotional moments work perfectly. This is especially true of the last act, which will pull on anyone's heartstrings. In these scenes the filmmakers are not afraid to have some dark moments. The dark moments, however, are just what make the more joyful and uplifting moments work as well as they do. These uplifting moments feel all the more uplifting because they feel truly earned. The movie also works because we care about the two main characters. While flawed, they are easy to relate to and care about. We see ourselves in both the worst and best of these characters. Not only are these characters likable on their own but the relationship between the two feels completely real to us. Both the moments where they are getting along and where they are arguing feel equally real. And even in the scenes where they are arguing we can see underneath it that they care about each other.
As good as the two main characters are though, all the supporting characters are bland and underdeveloped. This is especially true of the main teenager's best friend and his love interest, both of whom have very little personality outside of what is needed to move the plot forward.
Even if there is little you haven't seen before, the story is well told, and the emotional moments work quite well.
This movie follows three teenagers who join together to create a band. The title comes from the main character who can see the color of people's auras. This allows for some truly beautiful visuals. She thinks her bandmates' auras have the most beautiful colors. Due to the magic of movies and animation, we are allowed to see these colors. Not only are these some of the most visually pleasing scenes in the film but the shades of the colors being used here having a very calming effect. The three main characters are truly great as well. Each of them is easy to relate to and care about. They all have personalities that represent different parts of all of us. Coming together the three of them truly seem to complete each other. They bring out the best in one another and help each other overcome each one's insecurities. It is hard to believe any of them would be capable of putting themselves out there the way they do if they hadn't met. This makes us care not only deeply about these characters but the friendship between them as well. For a movie that centers around a band, this is one of the most important elements. Another important element for a film about a band is of course the music. The three songs that each of them writes are pretty darn good. One of them was even stuck in my head when I left the theater.
The storyline to this movie is very familiar through and I always saw which direction it was going to go. I also felt that some plot elements (particularly how fast one character learned to play piano) felt very rushed.
Despite a few flaws though this movie is a real charmer.
This movie follows the story of Laszlo Toth, a Hungarian architect who immigrates to the U.S. after World War 2. While this movie has a lot to say and a well written story, what really makes it stand out is the complexity of the main character. Here is a man that is full of contradictions. He is a deeply sympathetic character that has a good heart and looks out for others. Yet he can also be selfish, cruel, a drug addict and a bit of a womanizer. Still every contradiction in this character's personality perfectly fits together to create a real and complex portrait of a human being. Because of this we are drawn into this character and everything around him. We not only care about him, but we are drawn to his complexities in a way that simplicity makes us fixated with everything going on around him. This is all boosted by an incredibly performance by Adrian Brody. He becomes this character in a way that seems like he is not acting but has rather transformed into someone else.
This is a movie with a whole lot to say. While many films have a hard time giving truly intelligent commentary on one subject, this film provides brilliant insight into many subjects. The movie comments on the immigrant experience, racism (both causal and not so causal), classism, drug addiction, the importance of art, the cost of being an artist, whether the ends always justify the means, religion, Zionism, the American Dream and post-World War 2 America. It tackles each of these subjects in a completely believable way that never feels forced into the story. Not only does this commentary come naturally from the story but what it has to say will leave you thinking long after the film is finished. The storyline itself is also very intelligently written. While the story may seem at first glance as your typical Amercian Dream storyline, there is much more to it than this. I do not want to give anything away but little in this movie works out the way you think it is going to.
This film is made in VistaVision (if you wish to delve into what VistaVision is, I highly recommend this article) and the look of this movie makes you wish more films today were made in this way. This is an absolutely beautiful movie to look at and many of the images will stay in your mind long after the credits stop rolling. Yet all of these visuals help the story rather than distract from them. This film also uses an overture and an intermission to help it feel like an old school movie epic. These devices work perfectly, and this movie does truly feel larger than life in a way few films do anymore.
However the best thing I can say about this movie is that though it runs for three and a half hours, I was never once bored or anything less than completely captivated. This is a true feat that would make this a must-see on its own.
For many Superman IV was the death kneel of Superman as a film franchise. Not only was it a commercial and critical disappointment but it is still considered to be the worst superman movie to date. Because of this film's failure, there would not be another theatrically released Superman movie until Superman Returns (2006).
In this film, a little boy writes Superman asking him if he can get rid of all nuclear weapons. At first, he is hesitant about this because he vowed not to interfere with the world's politics. He eventually decides that the world is in so much danger that he should make an exception. Meanwhile Lex Luthor intends to create a creature as powerful as Superman that will obey him by stealing a strand of Superman's hair.
There is no way around it, this is a bad movie. While Superman III (1983) was a very flawed movie, it had its good points as well. This film has nothing to recommend about it. Its messaging is done with all the subtlety of a sledgehammer. It also presents it in such an overly simplistic way, that it is hard to take anything that this movie is saying seriously. In its messaging this movie comes off as more of a cheap afterschool special than an actual theatrical superhero movie. The film also is very weak on the villain front. Lex Luthor is presented in a very comedic fashion here. However not only does this make him not feel as much of a serious threat as in the previous films but the humor itself is not even close to funny. This movie also introduces his nephew, who is the most annoying character to ever appear in a superhero film. This character tries too hard to be a hip 80's teenager and fails miserably at it. The character is also played by Jon Cryer with what is easily the worst performance of his career. Nuclear Man (the creature Lex creates from Superman's hair) is incredibly bland and has such a silly look (that is much too overly 80's) that it hard to take him seriously. This film has the worst special effects of any Superman movie. The special effects definitely received a downgrade from the previous films, and I am no longer sure I believe a man can fly. These special effects make it hard to enjoy any of the action scenes at all. The subplot about a tycoon gaining ownership of Daily Planet is extremely cliché and predictable. Even the return of Christopher Reeve (Superman), Gene Hackman (Lex Luthor), Marget Kidder (Lois Lane) and Jackie Cooper (Perry White) can’t help this film.
In 1985 at the Cannes Film Festival the producers of the last three Superman movies (Alexander and Ilya Salkind) sold the movie rights to Superman to Cannon Films for $5 million. Cannon Films was known for producing such movies as The Last American Virgin (1982), Ninja III: The Domination (1984), and Breakin’ 2: Electric Boogaloo (1984). Chrisopher Reeve was by this time tired of the role of Superman. However, Cannon Films was able to get him by promising that he could also make his passion project Street Smart (1987), which he hoped would prove that he was a classically trained actor capable of playing more than one role. Reeve was also given approval over the script and director. A script by Lawrence Konner and Mark Rosenthal (the team that had written The Legend of Billie Jean (1985) and The Jewel of the Nile (1985)) was written but the film still needed a director. Reeve originally wanted Ron Howard as the director but that didn't work out. Reeve even briefly thought about directing the film himself, despite having no directorial experience. Richard Donner (director of Superman the Movie (1978)) was even briefly approached but he turned it down. Wes Craven (who had recently directed Nightmare on Elm Street (1984)) was briefly assigned to direct but left due to creative differences with Reeve. Eventually Candian director Sidney J. Furie (Lady Sings the Blues (1972), Iron Eagle (1986)) was given the director's chair.
Reeve would later state that the production of this film was “hampered by budget constraints and cutbacks in all departments. Cannon Films had nearly thirty projects in the works at the time, and Superman IV received no special consideration.” Nearly everyone working on the film noticed that they were not given the resources necessary to make this movie even look halfway decent. Though the film was approved at a $36 million budget over the course of production it was trimmed to $17 million. Even Jon Cryer who was fairly new to the movie industry noticed that the studio was not giving this movie the care and attention it should have had. Cryer stated “I just noticed little things, like the craft-service table got more and more meager. And they took less and less time every day. We would get props that were especially, uh, crappy.” Reeve would even tell Cryer in private “It’s an absolute mess.”
This movie originally ran at 134 minutes but after a disastrous test screening, it was trimmed down to only 90 minutes. This left gapping plot holes in this already extremely flawed movie. The film only grossed $15 million in its total domestic run. The film helped bring Cannon Films to financial ruin and hurt Reeve's career and the public opinion of superhero movies. Luckily for superhero fans a couple years later Tim Burton's Batman (1989) would help redeem the public opinion on these films. Chistopher Reeve would later state about Superman IV, “Superman IV was a catastrophe from start to finish. That failure was a huge blow to my career.”
This still stands as one of the worst superhero movies ever made. Even with many superhero movies planned for the coming years, I doubt that will change anytime soon.
This movie is based off the true story of how ABC's sports news crew covered a terrorist attack that was taken place nearby the 1972 Olympics in Munich. This film goes out of its way to present this story in the most authentic way possible. The filmmakers even use actual clips from the 1972 newscast. These are worked into the film masterfully to the point that you don't even think about it. The filmmakers and actors spent much time researching the events and people as well as the world of sportscasting. The production design team worked hard to as authentically create the most authentic replica of the type of environment the sports team would have been working in at this time. Unlike many of these "based on a true story" movies, this film has an almost documentarian feel to it that makes us forget we are watching a movie not the real events.
Yet the authenticity is not the only reason to watch this movie. This is a very intelligent and thought provoking look at how the media covers tragedies to this day and the ethics of journalism. This film paints a very morally ambiguous portrait of the media and journalism. In every scene we are questioning whether or not our main characters are doing the right thing. The characters themselves even contemplate this at times. But there is no right answer to this question just a morally ambiguous grey. While we ponder these questions about the morality of what happened at this time, we also contemplate the same thing about modern journalism and the news we take in every day. This is the type of intelligent food for thought that will be going through our minds for long after the end credits roll. The next time we watch the news or read it on our phones or in a newspaper, we may even apply greater critical thinking. This film also takes a look at what these attacks having happened in front of the whole world affected Germany at the time. The country was still trying to no longer be associated with the horrors that took place there in World
War 2 and trying to establish themselves a new Germany. These Olympics were more than just a sporting event to the country, they were a way to prove that they were no longer the same country as they were a few decades ago. To have innocent blood shed there (and Jewish blood on top of it) negated everything they were trying to do.
Tight pacing a great acting also makes this a very engaging watch as well.
While when most people think of Martin Luther King Jr. they think of his famous, "I have a dream" speech. However being a pastor this great man delivered many more great speeches as well. Here are some of his other sermons.
While many of you will know about these two Blu-Rays, I want to give my wholehearted recommendation of two fairly recent Blu-Ray sets that every film lover should own.
Laurel and Hardy: Year Two
If you are a Laurel and Hardy fan, who does not own this Blu-Ray set, you need to buy it immediately. This set has all the silent short films that Laurel and Hardy released during 1928. I am very glad to see the silent Laurel and Hardy films finally getting the attention they deserve. Most of the DVD and VHS sets focused on the team's talkies and paid little attention to their silents (except for some of the two's early solo work, which was in public domain and therefore found its way on to cheap DVDs). This is a shame as the Laurel and Hardy silent shorts often mark some of their best work. This set includes some true classics of silent comedy (restored and looking amazing) including Two Tars (1928), The Finishing Touch (1928) and You're Darn Tootin' (1928). I was laughing myself silly watching these films and this laughter would be worth the price of admission alone. However, these shorts aren't the only reason to buy this set. The bonus features are fantastic and everything a classic comedy fan can hope for them to be. The audio commentaries (by Laurel and Hardy experts, Richard W. Bann and Randy Skretvedt) are so chock full of information that you might want to have a pencil and paper as you listen to them. There are also some wonderful bonus films including some solo work from Stan and Ollie, a Charley Chase short where both appear separately and an absolutely hilarious short starring Anita Garvin and Marion Byron.
Looney Tunes Collector's Choice Vol.4
I am in love with this Looney Tunes Collector's Choice sets. What I love about these sets is that they focus on the shorts that have not been released on Blu-Ray or DVD before. As you watch these sets, it becomes amazing that such wonderful films as these could have possibly been overlooked in previous sets. The cartoons on this set are truly delightful and still make me laugh after all the years, I have been a Looney Tunes fan. To see these cartoons in such great conditions only makes this more of a treat. While there aren't any real bonus features on this Blu-Ray (unless you include two cartoons listed as bonus cartoons), this is more than made up for by how delightful the films themselves are.
