Let's be clear.

8/10 is based on value for money. The inlay and DVD case for this are 'cheap as chips' but then so is the asking price.

My copy was 99p and for that I won't complain about the no frills packaging.

The actual print/transfer of the film was not bad at all.

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I gave this a high rating because it's a classic 1950s sci-fi film in a beautiful black and white transfer with enhanced sound, a strong cast, vintage cars/styles in a high quality production. The 3D is well done. I found myself looking sometimes at the images rather than following the story. This is a 3D film I will view again and again.

The accompanying documentary discusses this film in particular, exploring the 3D effects and the place of this film in the historical context of sci-fi films and the development of 3D feature films.

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It's a 1973 Hammer Film collector item. Previously a 4:3 VHS had been available. That edition is included here as a bonus, in addition to the theatrical edition, which really just trims the bottom and top. The box states that the film shape was 1.75, which is unusual. My calculations on the DVD are 1.72 within 1.77.
Nude scenes are intact.
To stomach this movie you need to be able to accept Kenneth Haigh's personality here, which comes across slobbish. He must have changed since starting the TV series. Most people can't take it, but some appreciate the film.

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Fats Domino's contributions to the birth of rock and roll have been long underrated. A reclusive personality, Domino seldom gave interviews and preferred to let his music speak for itself. Fortunately, we now have Joe Lauro's documentary and Rick Coleman's biography to document the life and career of this seminal artist. We get most of the usual biographical trappings: Fats' early life and influences, television and movie clips, interviews with friends and collaborators, but no face-to-face interview with Domino himself. That gap is mostly filled by audio excerpts from interviews with Coleman done for the book, although the lack of captions and Domino's thick Creole accent often make him difficult to understand. The musical highlights come from a recently discovered 44-minute film of Domino's performance at the 1962 Festival de Jazz d'Antibes, which includes solos from Dave Bartholomew and most of the band. The disc includes the 87-minute director's cut, the edited version broadcast on US PBS, and clips from the French film as extras. Not only highly recommended, but essential. By the way, this disc was released the same day as the premiere broadcast on Domino's 88th birthday.

[YouTube Video]

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Chuffed to find this one going relatively cheap on ebay (£12 new) as i did not have any of his TV appearances.
Pleased to say it's worth the money, with some great performances, highlights being "Voodoo Chile" on German TV, and trading licks with Jeff Healey on Canadian TV.
Despite a couple of fashion faux pas from Stevie (it was the 80's after all:), his sheer talent shines throughout, and mesmerises you, truly gifted.
Recommended to old fans and those yet to discover him, 9/10

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the first, very strange johnny depp film "inspired by" the first of lewis carroll's two classic fantasy/satire novels, tim burton's "alice in wonderland" (2010) creates an original, but clearly carrollian wonderland, a world riven by the bitter sisterly rivalry of the red and white queens, at daggers drawn since a long-repressed utterly horrific betrayal, an incident too dreadful to be mentioned in more than hushed whisper, into the middle of which which alice - definitely an alice - and possibly, but not necessarily, "the right alice'' - is pitchforked,

(- intro précis to be completed when yr hmbl srppnt.'s a bit better recovered from the death of a friend. sorry.)

the stories of the hatter, and of the jabberwock, and their fates, and whether the outcome of - the long foretold, inexorably oncoming - frabjous day depend upon whether ''the right alice'' has indeed been matched to the right job - that of the long-awaited heroine who will save everyone and wonderland from the vengeful, demented rage of the red queen.. probably...

- only probably. . .

- this film moves some distance away from lewis carroll's original first "alice" fantasy novel - if that's quite the right classification for it (that creation possesses many levels besides that of ''fantasy''), but imnsho burton and its other makers kept faith with carroll's thematic concerns, and the story and images are - again, very weirdly - well in keeping with many of those that were his abiding concerns.

- this "alice in wonderland" is complete and satisfying in itself, coming to a thundering fine climactic conclusory frabjous day - and one that fully satisfies alice - this alice - in the fantasy world of underland, and about her place in her real world too; she gains confidence through shaping events according to her own ideals - mostly - in the one, and discovers it transfers in its own, weird way, and ways, into insights into the difficulties and decisions she faces, in the other.

- and yet the 2016 james bobin-directed sequel (q.v.) isn't an anticlimax of any kind, and in its own right is a superb film.

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I have never seen such a moving film. This is really a movie that should actually be seen in schools.

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One of the best musicals of all time. The first written together by Richard Rodgers (music) and Oscar Hammerstein II (words and libretto). Splendid tunes that became "classics" like "Oh, What A Beautiful Mornin' ", "Oklahoma Waltz", "People Will Say We're In Love", "Out Of My Dreams", just to mention a few. A Must see.

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A very nice film set on the rugged landscape of central England.

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A very good Israeli film. Fierce, but reality. Both as on Palestinian and Israeli territory you cannot move freely as a gay person.

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Extract of online review from HERE
If you are not familiar with the film or its source material, The Magic Christian is essentially a “High concept” movie – it follows the exploits of an eccentric multimillionaire, Guy Grand (Peter Sellers), who takes a homeless young man (Ringo Starr) under his wing, and together the pair set about concocting a series of increasingly elaborate pranks and challenges in order to demonstrate that “everyone has their price”, having much fun at the expense of officious traffic wardens, arts snobs, privileged upper class twits, bigots, and the terminally trendy. Along the way, they use cash bribes to sabotage the Oxford-Cambridge boat race, that epitome of elitism and fair play, take a well-aimed shot at the world of advertising and boardroom yes-men, and we are presented with a memorable scene of the lovely Hattie Jacques discussing sex crimes and Nazi war atrocities, which I’m fairly sure never happened in Sykes.

Its mischief-making theme, with its frequent overturning of class and social sensibilities and surreal detours, has a lot in common with Cook and Moore’s Bedazzled (not least the pulchritudinous presence of Welch) and feels more like a series of comedy sketches than a movie with a long-form narrative. Its sketchiness is no surprise when one takes into account the influence of its star, Peter Sellers, a man for whom the adjective ‘difficult’ may have been invented; it’s well-documented in Python biographies that the Python sketch ‘The Mouse Problem’ was originally written for this film, but rejected by Sellers because, according to popular anecdote, his milkman didn’t find it funny.
It was Sellers who brought in Cleese and Chapman to assist with scripting The Magic Christian, after his endless impetuous tinkering had seen the film go through, in John Cleese’s words, “thirteen drafts by the time it got to us, Graham and I managed to put the script into shape in three or four weeks” before further interventions by McGrath (“A very nice man who had no idea about comedy structure”) saw the film “end up as a series of celebrity walk-ons.”
For his part, Ringo Starr is basically playing the version of himself that had been honed in numerous TV interviews and newsreels, not to mention the two Beatles movies, as a laconic, dreamy layabout prone to droll asides and non-sequiturs. It’s the kind of unaffected performance you only get from non-actors with natural charisma who are at ease in front of the camera (his dumb-show when demonstrating facial exercises [“Silent scream… Tiny mouth”] before an increasingly apoplectic Spike Milligan is worth the entrance price alone).

If you are a Python-head, The Magic Christian is also noteworthy as a small stepping stone between their pre-Python TV work for BBC, Rediffusion and Thames, and the Flying Circus. Cleese and Chapman both appear in the two self-written scenes that survived Sellers and Southern’s interventions, the former as a Sotheby’s employee aghast as Ringo vandalises a Dutch master, the latter looking ruggedly handsome as an oarsman for the Oxford-Cambridge boat race, but the film is strewn throughout with the kind of scenarios that became recognisable tropes in Python’s first BBC1 series when it aired later in 1969, most of them retained from Southern’s original novel: Eccentric behaviour in restaurants and art galleries, an upper-class hunting outing that soon gets wildly out of hand, a boardroom meeting full of fawning toadies constantly on the backfoot as they attempt to make the right noises in response to a mogul’s flights of fancy, and a brace of gags playing on drag and homoeroticism (It’s worth bearing in mind that such gags may seem reactionary now, but were transgressive in 1969 – it’s called progress). Another proto-Python element is the casting of broadcasters (in this case, Michael Aspel, Alan Whicker, Harry Carpenter) appearing as themselves, in the same way Python would later employ Reginald Bosanquet, Richard Baker and David Hamilton. Keen-eyed connoseiurs of queer cinema will also appreciate a cameo from Leonard Frey, aka Harold from ground-breaking gay drama The Boys In The Band.
Fabulous Films DVD release of The Magic Christian is, to all intents and purposes, a clone of the decade-old Universal mid-price DVD (right down to the packaging and menu screen), and as such offers no tantalising extras, not even an original trailer. The Magic Christian is a real curio of its time, with enough celebrity cameos and ‘60s British Cinema, Beatles and Python connections to appeal to a cross-section of fandoms for cultural and historical interest alone. And it’s good fun: Daft, silly, flawed, patchy, but rarely dull, with Sellers and Starr carrying the film with their infectious personalities alone – for better or worse, a shining example of “They don’t make them like that any more” and “Drugs in the sixties must have been REALLY good

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Hopkins @ 38 is as sexy as ever.

Bogie miscast as a slime ball bandido!

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If u r a classic film (the Golden Age Of Hollywood) buff and haven't seen this one before - it is must see.

I'll refer to you the DVD case - back image.

BTW: Ms. de Havilland turned 102 on July 1, 2018.

She lives in Paris and I pray she's doing as to be expected!

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The eventual 1946 theatrical release version was less than "linear" but that didn't stop audiences from embracing another Bogie & Bacall film.

Michael Winner tried to recreate this classic by Raymond Chandler with an All-Star cast set in England.

Winner's vewrsion included American & mostly U.K. Big stars including the very sexy Sarah Miles but, does it even come close to Howard Hawks' original US production - I ask you!

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Not a bad flick with Lloyd Nolan as the private eye Michael Shayne.

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Redford's message is clear but so was the outcome!

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Peck has never been better since "To Kill A Mockingbird" - a must see!

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Talk about customer service - A+

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"This is the Inner Sanctum. The strange, fantastic world controlled by a mass of living, pulsating flesh: the mind. It destroys, distorts, creates monsters, commits murders. Yes, even you, without knowing, can commit murder."



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Essential viewing for fans of The Three Stooges.
Disc includes the recently rediscovered Technicolor short Hello Pop!, that had been in the custody of a film collector in Australia until 2013.

The films were produced following the departure of Shemp Howard in August 1932, and the introduction of his younger brother Jerry (Curly), and Ted Healy's girlfriend Marion "Bonnie" Bonnell into the act. Healy, having secured a contract with MGM, appeared in many features and short subjects with his stooges, and as a solo. Although Healy himself enjoyed a modicum of success, the relationship with Moe, Larry, and Curly was strained (they had already left him once after Shemp split). Not having a legally binding contract with MGM, in early 1934 they walked out on Healy, and signed with Columbia Pictures. They even kept the Stooges name, much to Healy's protest and threats.

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Originally meant to be released May 9, it was delayed to do more touchup of the video master. Some orders were fulfilled on May 9, but somehow these were already corrected. 3-channel audio was created electronically by 3D Film Archive from mono source to recreate the original 3D release.
Listening in stereo it seems that the vocals are mainly centered while the orchestra is mainly on your left. I find the center channel volume is much lower than the left.
In 1953 the attempts to project 3D were not very successful. Now the testimony is that this has some of the best effects of all movies.

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A parallel issue with the Bluray, the film is newly restored. Video and audio quality are good. The Preview (trailer) is a little misshapen, too wide. The DVD description has errors about the story. Only Teresa Brewer as Pat Edmonds worked in the saloon, not all four daughters. It says it is "anamorphic", but the movie was not filmed anamorphic, so I don't understand that.

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Undeniably visually impressive,especially on and around the ship itself,but not your typical humans vs aliens thing however,this one's more of a Sci-Fi rom/com really :)

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Classic Hollywood movie about a song and dance man who decides to turn a Connecticut farm into an inn, open only on holidays. Trouble is the joint proprietors of what is now a roadhouse hotel love the same girl. This disc comes with both the original B&W movie and the newly restored and colourised version which I have to say is superbly done. Bing Crosby is his usual self in this but Fred Astaire is the ever consummate professional putting on a superb performance. Highly Recommended 10/10

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I was only just saying to a friend that i haven't seen a good film for ages,and then this comes along (i'm always slightly behind and playing catch-up with films,so it's new to me;),gripping stuff,and one i really enjoyed,brings a whole new meaning to the word "suffering",not for the squeamish though perhaps,recommended.

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I would guess that after Wade Williams obtained the copyright to the movie, he took control of this pre-existing videotape release.
The back cover declares "Guaranteed Superior Quality". Isn't it funny how the most inferior products like to use declarations like this. First this is from 16mm film rather that 35mm. That would not be bad in itself. There are no scratches in the film. But the tape is made at SLP speed. Low resolution, shaky image, and bad hifi tracking which can't be corrected. They want you to feel that it's your own fault, by instructing "For best results adjust VCR tracking". You could create a fuss by taking it back, but then you wouldn't have a copy. Add to this that they used a full roll of VHS tape for it, so there would have been room for SP speed.
There are previews at the end for two other science fiction movies.
Of course this is the US edition. Movie length turns out ~1:17.
Of historical archival interest. My rating of 5 is for the tape release, not the movie.

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The only DVD anyone has issued of this 1990 made-for-cable Canadian movie starring Megan Follows. Spain was interested because Damon D'Oliveira is a Portuguese Canadian. It includes Castellano and English audio. The copy I got was not technically top quality and was hard or impossible to play except on my computer drive. Once played the quality is okay, but closer to VHS than to DVD quality.

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While the first film was about Toula finding herself, this is more on them all finding family.
Actually a sequel that's as good as the original. A rare thing these days.

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From the days when fans were hungry for videos of old uncommon material, this issue of Hammer's last production of that era was of interest. A 4:3 format, it actually was not even panned and scanned, of all things dey jis pointeded the scanner to the middle of da widescreen picture. So dat in the restaurant scene with Cybill and Angela Lansbury in opposite chairs, ve don't even see their heads on the sides. In a widescreen composition of Gould climbing out the train window as it approaches a tunnel, we don't see Gould or the train at the right side. There was a different US 4:3 videotape at the time which was panned.

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Wade Williams, a US theater owner, searched for a print of the movie in the 1970s and found only one at a Los Angeles TV station, and bought it. The original negative had had the ending cut off in order to make a different UK ending, and then that end strip was lost. This 35mm film has some scratches, and it was not processed and restored for this release. It is now stored in controlled vaults with other classic films.
Williams went on to refilm the story in 1986 with Toby Hooper. In 2002 he released this 50th Anniversary DVD of his 1953 film.
There are mixed feelings about it because the film imperfections can spoil the enjoyment. There are many 16mm films of it around America and some have been used to issue a couple of tape releases without imperfections.
I've read that the film is public domain, but I'd like confirmation.
Oh, you ask about the movie. Yes it was damn good. Yes color.

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